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Theatre Royal Windsor – Saturday 19th August  2023

Reviewed by Carly Burlinge 

5***** 

Windsor brings you the world premiere of Alone Together written by Simon Williams and Directed by Sean Mathias. It tells the story of an unhappy couple Colin (Martin Shaw) and Angela (Jenny Seagrove) with a tragic and devastating relationship, with not much more to hold onto! With life seeming utterly depressing, she meets a young man named Jonty (Josh Goulding) in the surroundings of her favourite park, whilst sitting on a bench. Jonty is a young writer looking for the motivation for his new novel, which he may have just found in Angela. The two find themselves meeting weekly, divulging snippets of their lives to one another. Her unhappy marriage going nowhere with Colin, a man who plays a nasty unthoughtful character, gives her no hope of being happy once again. Her dreams become apparent of who and what she could have been – studying art, listening to Bob Dylan and smoking weed! Jonty only encourages her to leave Colin and pursue her dreams – it’s amazing just how much they have in common! With Jonty also opening up about his life and past and talking about his love he has met online but not in person, now seeking advice from Angela about this relationship. The two form a friendship of intelligence and emotion but all is not as it seems. 

With all parties trying desperately to escape their real lives – was their meeting really by coincidence or is there more to the story than meets the eye! 

Angela is portrayed as a crushed and broken woman trying to hold onto her life before. She plays her part tremendously well, capturing the audience from start to finish.  

Jonty plays a clumsy but vulnerable character that has an intellectual mind. I have to say all three actors showed much talent, offering many levels of emotion alongside a fantastic connection on stage. 

The show gives you a realistic view on life as well as a look into fantasy and the dangers of online social media where you can pretend to be someone you are not. Two wrongs don’t make a right but maybe in this story it does!! 

This production was spectacular from start to finish, a very enjoyable watch with Martin Shaw and Jenny Seagrove on tip top form. Windsor you have done it again with a fantastic and exceptional all-around play that should definitely not be missed!!!

SingEasy West End extends their legendary
West End sing-along party with Lates
From Saturday 9th September, 9:45pm – 3am
The Piano Works, Clareville House, 47 Whitcomb Street, London WC2H 7DH

From Saturday 9th September, SingEasy West End will be keeping the party going into the early hours, cementing their reputation as the home of spectacular stagey nightlife in London’s West End. During brunch and dinner service, SingEasy’s singing waiters host their unique sing-along West End party, serving delicious food and performing audience requests for songs from bestloved musicals, Disney favourites and off-Broadway deep-cuts! SingEasy Lates keep the good times going with a DJ playing musical theatre favourites and cheesy pop hits from 12am until 3am.

With the announcement of SingEasy’s Lates comes the introduction of their brand-new latenight Happy Hour. From 12am-1am, guests can grab a half-price drink to enjoy on SingEasy’s dancefloor where the tunes will keep going until 3am.

SingEasy’s exclusive, free membership scheme allows guests to book in advance for Lates tables from 9:45pm onwards. Members also have the option of a £20 Late ticket that includes their entry and 3 drinks vouchers, and for more spontaneous members Late entry on the door is only £10 on a Saturday night. SingEasy is only open to bookings, membership card holders and their guests in order to ensure SingEasy is an exclusive and affirming space

As the launch of Lates coincides with drama school freshers week, SingEasy are offering a special for new and old students alike. Find out more and book with a valid Student ID here:
https://www.designmynight.com/london/bars/west-end/singeasy/dram-school-singeasylates?t=tickets

FIVE WEEKS TO GO UNTIL THE OPENING OF DERREN BROWN’S UPCOMING LONDON PREMIERE OF UNBELIEVABLE

Vaudeville Productions and Kenny Wax Ltd presents Unbelievable

EVERYONE YOU MEET IS PERFORMING A KIND OF MAGIC TRICK –

PRESENTING THE PARTS OF THEMSELVES THEY WANT YOU TO SEE,

THEIR ‘EFFECT’ –

AND HIDING THE PARTS THEY DON’T,

THEIR ‘METHOD’

Tickets: https://unbelievablelive.com 

In just five weeks, internationally acclaimed psychological illusionist Derren Brown launches his brand-new show UNBELIEVABLE, which will open in London’s West End at the Criterion Theatre, Piccadilly Circus on 19 September 2023. 

After decades of appearing on stage solo, this will be the first time that one of Derren’s shows will be performed by a cast rather than himself.

From the team behind Derren’s recent project SHOWMAN, UNBELIEVABLE is an exciting new production that reinvents and challenges the traditional magic show.  

Fusing the best of theatre with magical illusions, UNBELIEVABLE features a live band and a company of multi-talented performers who will bring to life, live on stage, an evening of trickery that will leave you entertained and amazed.

From the moment you set foot in the theatre, you and the rest of the audience will be an essential element – indeed the beating heart of the performance.  

UNBELIEVABLE is the magic show you’ve been waiting for. 

Speaking on UNBELIEVABLE, Derren Brown said: “We have reimagined what a night of illusion could be. We have taken the love and experience we’ve put into my own stage work over twenty years and created, from the ground up, a proper, original, theatrical experience. I think we have liberated the magic show. It’s going to be a glorious thing.”  

Created, written and directed by UK stage and screen phenomenon Derren Brown, and long-time collaborators Andy Nyman and Andrew O’Connor.

Derren Brown will not appear on stage in Unbelievable.

A co-production with Colchester Mercury Theatre Ltd

Curve Theatre Leicester – until Saturday 19th August 2023

Reviewed by Amarjeet Singh

3***

I arrived at the theatre, armed with a bag full of tissues and a heart full of hope. This adaptation of Lara Williamson’s hit novel, The Boy who Sailed the Ocean in an Armchair promised to tell the story of Becket, whose life is left all at sea when he is bundled into his Dad’s fish van, along with his younger brother and mums armchair as they all run away in the middle of the night, leaving behind their almost-mum Pearl, without saying goodbye. Becket lost his real mum when he was 4 years old, and he didn’t have a chance to say goodbye to her either. This retelling promises an armchair of stories, one thousand paper cranes, a journey of loss and a young boy’s determination to bring his family back together again.

Unfortunately, after watching the performance, I was confused with a capital z.

I’m going to start with the positives. There was a huge wealth of talent on the stage. Sam Carter as Becket Rumsey was phenomenal. He commanded the stage with ease and sang with a beautiful clarity. James Breen was superb as Billy Rumsey, cheeky and on point. I truly hope to see a lot more of these stars in the making. The rest of the cast and musicians were equally as talented, singing, playing and dancing with aplomb.

Where it falls down, however, is with the production/adaptation itself. The aspect I loved most about the book and I feel a lot of readers did too, was how it felt to be 10 years old again and see the world through young Becketts eyes. Harnessing that innocence even when dealing with momentous difficulties. The way children seek out magic in the mundane and utilise the power of imagination to get through hard times, relying on each other to carry you through. There is such a simplicity even when the situation is quite complex.

This production, book, music and lyrics, by Jordan Li-Smith, lost it’s way because it was trying to be too full. When adapting from a book it’s clear not everything can be included, so focusing on important aspects/themes/characters is crucial. In this production there was such a mish mash of everything that character and relationship building was lost. Main characters came across as shallow and 2 dimensional, their actions and motivations did not make sense and jarred. The relationship between Becket, Billy and their father is lost. Ibiza Nana left me scratching my head, she looked the same age as almost mum Pearl.

The show contained 41 musical numbers (28 of them in it’s extremely long first half). The only songs which were memorable were the Crane song ‘Fold and Fold’ and One where Billy tap danced with a rather charming snail. Both were far too short in relation to ‘Becket’s Birthday’ which had 2 parts and was reprised twice. The production felt too long.

In terms of set design, by Richard Cooper, there was a huge red armchair, with a bright colourful halo which sat impressively on stage as the audience took their seats. Very soon it became clear this was the only piece of set. It had a trap door on the seat which people came up through, but I’m not sure how much this added to the story, gimmicky it became repetitive. The chair revolved to reveal it had things hanging on the back, signs, maps etc. The cast brought on props. Umbrellas to represent the ocean, and at one stage (reminiscent of The Ocean at the End of the Lane) there were carboard puppets bobbing in the umbrella sea. The puppets were crude and ineffectively lit and displayed, so were lost amongst the umbrellas and cast.

Choreographically, led by Steve Kirkham, there were a lot of people on the stage at once for almost every musical number, adding to that feeling of fullness. Certain effects were lost as there was a lot of repetition, the ensemble coming around the audience for example. To have less people on stage at once and the dance numbers being tightened up would work a lot better.

In it’s current format The Boy Who Sailed the Ocean in an Armchair has a cast of talented performers but unfortunately it’s humour misses the mark, it’s songs are plentiful and forgettable, it’s story line and themes meander, the characters don’t have depth or ring true and it’s far too long. However, there is no doubt a huge amount of passion has gone into this production. It needs a rethink, a rewrite, but like Becket and Billy, I will not lose belief that things will get better.

FULL CASTING ANNOUNCED FOR

THE EUROPEAN PREMIÈRE OF

LYNN NOTTAGE’S CLYDE’S

With Tom Kitt and Brian Yorkey’s Next to Normal currently running at the theatre, Donmar Artistic Director Michael Longhurst and Executive Director Henny Finch today announce full casting for the European première of Clyde’s which reunites double Pulitzer Prize winner Lynn Nottage and director Lynette Linton as a follow up to their Donmar smash hit Sweat which transferred to the West End.

Linton directs Ronkẹ Adékọluẹ́jọ́ (Letitia), Patrick Gibson (Jason), Gbemisola Ikumelo (Clyde), Sebastian Orozco (Rafael) and Giles Terera (Montrellous). The production opens on 19 October, with previews from 13 October and runs until 2 December.

CLYDE’S

By Lynn Nottage

Directed by Lynette Linton

13 October – 2 December 2023

Designer: Frankie Bradshaw
Lighting Designer: Oliver Fenwick
Sound Designer: George Dennis
Movement Director: Kane Husbands

Composer: Duramaney Kamara

Wigs, Hair and Make Up Designer: Cynthia De La Rosa

Voice and Dialect Coach: Hazel Holder

Casting: Anna Cooper CDG

It’s kind of a ritual, we speak the truth. Then, let go and cook.

In the bustling kitchen of a run-down Pennsylvania truck stop, the formerly incarcerated staff have been given a second chance. Under the tyrannical eye of their boss Clyde, this unlikely team strives to create the perfect sandwich, as they dream of leaving their past mistakes behind for a better life.

Double Pulitzer Prize-winning writer Lynn Nottage (Ruined, Sweat, The Secret Life of Bees) and director Lynette Linton (Critics’ Circle Best Director for Blues for an Alabama Sky) reunite for the European premiere of the hilarious and hopeful CLYDE’S,the follow up to their Donmar five star production of SWEAT which transferred to the West End.

Ronkẹ Adékọluẹ́jọ́ playsLetitia. Her theatre work includes Blues for an Alabama Sky –nomination forBest Actress at the Evening Standard Theatre Awards, Three Sisters – winner of the third prize at The Ian Charleson Awards and Best Female Actor in a Play at the Black British Theatre Awards (National Theatre), Lava (Bush Theatre – Winner of Best Performance Piece at The Offies, nomination for Best Female Actor in a Play at the Black British Theatre Awards), Cyprus Avenue (Royal Court/Abbey Theatre Dublin/Public Theater New York), Bad Roads (Royal Court Theatre), The Mountain Top (Young Vic), Twelfth Night (Filter Theatre), The Oresteia (Home), Pride and Prejudice (Sheffield Theatres), The House That Will Not Stand, The Colby Sisters of Pittsburgh, Pennsylvania (Tricycle Theatre), Anon (Welsh National Opera) and Random (Crooked Path). For television, her work includes Rain Dogs, Alex Rider,  Big Age, Soul Mates, Black Earth Rising, Cuckoo, Cold Feet, Doctor Who, Josh, NW,  Sick Note. Chewing Gum and Suspects; and for film, Chevalier, Ear For Eye, The Big Other, Been So Long, Christopher Robin, Ready Player One and One Crazy Thing.

Patrick Gibson returns to the Donmar to reprise his role as Jason – a character who also appeared in Sweat. His television work includes Shadow and Bone, Before We Die, The Spanish Princess, The OA, The White Princess, Guerilla, The Passing Bells and Neverland; and for film, The Portable Door, Good Girl Jane, Tolkien, The Darkest Minds, In a Relationship, Their Finest, Property of the State, Cherry Tree and What Richard Did.

Gbemisola Ikumelo plays Clyde. For theatre, her work includes Twelfth Night (Young Vic), Our Country’s Good (Nottingham Playhouse), Oliver Twist (Regent’s Park Open Air Theatre), The New Nigerians (Arcola Theatre), The Night Watch (Royal Exchange Theatre), The Lion King (UK tour), The Colored Museum (Talawa Theatre), Death and The King’s Horseman (National Theatre). A BAFTA winning actress and writer, she won the BAFTA for Best Short Form Programme in 2020 for Brain in Gear, her BBC pilot which is currently being made into a 6×30 series for BBC2. This year she was nominated for Best Comedy Performance at the Independent Spirit Awards 2023 for her breakout role as ‘Clance’ in Amazon series A League of Their Own. In 2021 she was BAFTA nominated for Best Female Performance in a Comedy and won the RTS Award for ‘Female Performance in a Comedy’ for her series regular role in BBC sketch show Famalam. Her other television work includes Black Ops (which she co-created), Temple, Roadkill, Sex Education, One Night, and Broadchurch; and for film, The Power, The Last Tree and Cocktail.

Sebastian Orozco plays Rafael. His theatre work includes A Fight Against (Royal Court Theatre), The Laramie Project, Earthquakes in London (Bristol Old Vic) and Ripple (National Youth Theatre, Arcola Theatre). For television, his work includes HALO, Masters of the Air, Alex Rider and You Don’t Know Me; and for film, The Crow.

Giles Terera returns to the Donmar to play Montrellous – he previously appeared in The Resistible Rise of Arturo Ui. His other theatre work includes Blues for an Alabama Sky – Olivier Award nomination for Best Actor, Othello, Ma Rainey’s Black Bottom, Hamlet, Death and the King’s Horseman, The Hour We Knew Nothing of Each Other, Troilus and Cressida, Candide, Honk!, The Darker Face of the Earth, Walk in the Light, Mind the Gap (National Theatre), The Meaning of Zong (which he also wrote, Bristol Old Vic/Royal Lyceum Edinburgh/Liverpool Playhouse/Barbican), Rosmersholm (Duke of York’s Theatre), Hamilton – Olivier Award for Best Actor in a Musical (Victoria Palace Theatre), The Merchant of Venice (Shakespeare’s Globe/international tour), King John (Shakespeare’s Globe/UK tour), Pre Imagination – The Songs of Leslie Bricusse (St James Theatre), The Book of Mormon, Rent (Prince of Wales Theatre), The Tempest (Theatre Royal Haymarket), Don’t You Leave Me Here (Leeds Playhouse), The Playboy of the Western World (Abbey Theatre, Dublin), Avenue Q (Noël Coward Theatre), The Rat Pack (Novello Theatre/international tour), Jailhouse Rock (Theatre Royal Plymouth/Piccadilly Theatre), 125th Street (Shaftesbury Theatre), You Don’t Kiss (Stratford Circus), Up on the Roof (Chichester Festival Theatre), The Tempest (RSC), Six Degrees of Separation (Sheffield Theatres), Generations of the Dead (Young Vic), Bill Shakespeare’s Italian Job (Playbox Theatre, Warwick), The Demon Headmaster and The Animals of Farthing Wood (Pleasance Theatre).  For television, his work includes Flack and Horrible Histories; and for film, Death of England, The Current War, London Boulevard and Muse of Fire (his documentary created with Daniel Poole).

Lynn Nottage is a playwright and a screenwriter, and the first woman in history to win two Pulitzer Prizes for Drama. Her plays have been produced widely in the United States and throughout the world. Recent work includes the book for MJ the Musical (Broadway), the libretto for the Intimate Apparel Opera (LCT), and Clyde’s (Broadway, 2ST, Goodman Theater), and co-curating the performance installation The Watering Hole (Signature Theater). Past work includes Sweat, Ruined, the book for The Secret Life of Bees; Mlima’s Tale; By the Way, Meet Vera Stark; Intimate Apparel; Fabulation, or the Re-Education of Undine; Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por’knockers; and POOF!. She has also developed This is Reading, a performance installation in Reading, Pennsylvania. Ms. Nottage is a member of the Theater Hall of Fame, and the recipient of a MacArthur “Genius Grant” Fellowship (among other awards). She is also an Associate Professor at Columbia University School of the Arts and is a member of the Dramatists Guild.

Lynette Linton is the Artistic Director of the Bush Theatre. She was previously Resident Assistant Director at the Donmar Warehouse. For the Donmar, her credits include Sweat (also West End; Best Director, Black British Theatre Awards).Her other productions include August in England, House Of Ife and Chiaroscuro (Bush Theatre), Blues for an Alabama Sky (National Theatre, Evening Standard Theatre Award for Best Director and Critics’ Circle Award for Best Director), Richard II (co-directed with Adjoa Andoh, marking the first ever company of women of colour in a Shakespeare play on a major UK stage) (Shakespeare’s Globe), Assata Taught Me (Gate Theatre) Function (National Youth Theatre) This Is (Arts Educational School), Indenture (Dark Horse Festival), Naked (Vault Festival), This Wide Night (Albany Theatre). She was also co-director on Chicken Palace (Theatre Royal Stratford East). As assistant/associate director her credits include The York Realist, Belleville, The Lady from The Sea and Knives in Hens (Donmar Warehouse), Torn (Royal Court), Image of An Unknown Young Woman, The Christians (Gate Theatre), Gutted (Theatre Royal Stratford East), and The Lieutenant of Inishmore (Noel Coward Theatre). As a writer her productions include Hashtag Lightie (Arcola Theatre), and Chicken Palace and Step (Theatre Royal Stratford East). For television, her credits include My Name is Leon; and as writer: Look At Me.

DONMAR WAREHOUSE

LISTINGS

41 Earlham Street, Seven Dials, London WC2H 9LX

Box Office: www.donmarwarehouse.com / 020 3282 3808     

PERFORMANCE TIMES

Next to Normal, Clyde’s
Evenings Mon – Sat: 7.30pm
Matinees Thu & Sat: 2.30pm

Macbeth
Evenings Mon – Sat: 7.30pm
Tuesday matinee (2 Jan) 2.30pm
Thursday matinees (4, 11, 25 Jan, 8 Feb) 2.30pm
Saturday matinees 2.30pm
No performances 24 Dec – 1 Jan

TICKET PRICES

Clyde’s

£60 / £55 (£50) / £41 (£38) / £21 (£19)

£10 standing tickets

Next to Normal

£65 / £60 (£55) / £45 (£41) / £23 (£21)

£10 standing tickets

Macbeth

£69 (£64) / £48 (£43), £25 (£23)

£15 standing tickets

*Preview discounts apply to the first four performances only

For Macbeth, standing tickets will be released for purchase online from 12pm on the day of the performance. Please note you will not be able to purchase standing tickets in person or over the phone.

*Bookers of Under 30s £10 tickets will be required to show photo ID to collect their tickets at Box Office and must be aged under 30 at the date of attendance.

Every booking made online, via telephone or in person is subject to a £1.50 transaction fee

YOUNG+FREE

YOUNG+FREE tickets for 16-25 year olds released by ballot. Sign up at www.donmarwarehouse.com.

Generously supported by IHS Markit.

DONMAR DAILY

New tickets on sale every day at the Donmar. Allocations of tickets will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band.

ACCESS

The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters.

Wheelchair space prices vary across all price bands, check the website for details.

ASSISTED PERFORMANCES

If you require a companion to attend the Donmar, their ticket will be free. To book call 020 3282 3808 or email [email protected].

For all other access enquiries or bookings call 020 3282 3808.

CAPTIONED PERFORMANCES (captioned by Stagetext)

Next to Normal: Monday 25th September 7.30pm

Clyde’s: Monday 20 November 2024 7.30pm

Macbeth:  Monday 29 January 2024, 7.30pm

AUDIO DESCRIBED PERFORMANCE – 2.30pm (audio-described by VocalEyes)

Next to Normal: Saturday 30th September

Clyde’s: Saturday 25 November

Macbeth: Saturday 27 January 2024, 2.30pm

BRITISH SIGN LANGUAGE INTERPRETED PERFORMANCES

Next to Normal: Saturday 23rd September 2.30pm

SEASON AT A GLANCE:

NEXT TO NORMAL

12 August – 7 October 2023

Captioned: Monday 25 September, 7.30pm

Audio-Described: Saturday 30 September, 2.30pm

British Sign Language Interpreted: Saturday 23 September, 2.30pm

CLYDE’S

13 October – 2 December 2023

Captioned performance: Monday 20 November 2024, 7.30pm
Audio described performance: Saturday 25 November, 2.30pm

MACBETH

8 December – 10 February 2024

Captioned performance: Monday 29 January 2024, 7.30pm
Audio described performance: Saturday 27 January 2024, 2.30pm

Alphabetti Theatre Newcastle – until 2nd September 2023

Reviewed by Sandra Little

4****

This family performance has an age recommendation of 7 to 11 years. It was written by Danielle Slade and directed by Stan Hodgson.

Raven is described by Alphabetti Theatre as, “a play about navigating mental health in adolescence and embracing wild hearts.” The story is told using music, puppetry, a talking gargoyle and a cast of four actors! If the opening description sounds a little bleak and intense be reassured that this play is far from bleak or intense!

The action begins in the wild woods where Raven Varmint (Maya Torres) has lived for most of her life. Raven bursts onto the stage at the beginning of the play in an almighty rage and the audience are told that she was born with a “wild heart.” Raven describes how she does things big and is full of big feelings that come from her heart. Raven experiences emotional outbursts of anger, sadness and frustration. We learn that, from the moment she was born, Raven’s family were forced to live as Shadows, never to be seen or heard. Raven eventually finds out why this is so and with the help of a talking gargoyle Artimould (played by Calum Howard) Raven embarks on a quest. The quest takes Raven to a place where life is very different from her life as a Shadow and the setting at this point changes significantly. Here Raven meets Sleek (Carl Wylie) and his grandmother (Ruth Mary Johnson).

Much of the play takes place in the wild woods where the setting is quite gloomy, however the transformation of this quite simple set partway through the play provides a stark contrast from the gloom of the woodland.

At the very beginning of this play I really wasn’t sure I was going to enjoy the performance, however within a few minutes I was hooked! As the story unfolds, the play works on several levels, appealing to different sections of the audience. Themes of exclusion, conformity, and perfection are explored which provide material for discussion for both children and adults. I was particularly pleased to see a positive slant put on children’s mental health issues. I loved Ruth Mary Johnson’s portrayal of the Mayor of Honeyville and Callum Howard’s contribution as Artimould. A talking gargoyle provides some balance to the performance and gives a point of interest and humour for younger children. Maya Torres also gives a very high energy performance as Raven .

Alphabetti Theatre are offering a “pay what you feel” policy for some performances of Raven.

Sonia Friedman Productions presents

Written by Penelope Skinner
Directed by Ian Rickson

• FULL CASTING IS ANNOUNCED FOR THE WORLD PREMIERE OF ‘LYONESSE’ BY PENELOPE SKINNER, DIRECTED BY IAN RICKSON.
• JAMES CORRIGAN, DOON MACKICHAN AND SARA POWELL JOIN KRISTIN SCOTT THOMAS AND LILY JAMES IN THIS GRIPPING NEW PLAY AT THE HAROLD PINTER THEATRE FROM 17 OCTOBER –23 DECEMBER 2023.

Sonia Friedman Productions (SFP) is delighted to announce full casting for the world premiere of Lyonesse by Penelope Skinner, directed by Ian Rickson at the Harold Pinter Theatre from 17 October – 23 December 2023 www.lyonesseonstage.com.  

James Corrigan, Doon Mackichan and Sara Powell will join the previously announced Kristin Scott Thomas and Lily James in this searingly funny and passionate new play.

Elaine (Kristin Scott Thomas) a reclusive and talented actress, disappears in mysterious circumstances. 30 years later, she finally feels ready to tell her story – summoning Kate (Lily James), a young film executive, to her remote Cornish home to assist with her glorious comeback.

But who really controls the stories we tell, and how we get to tell them? Will these women own their narrative, or will it be swept away from them at any given moment?

James Corrigan’s stage credits include Jack Absolute Flies Again (National Theatre), White Noise (Bridge Theatre), King Lear (Duke of York’s Theatre), Julius Caesar, Coriolanus, Antony and Cleopatra, Two Noble Kinsmen, The 7 Acts of Mercy, Wendy and Peter Pan, Othello, The Merchant of Venice and Shakespeare’s Birthday (all RSC); Monologue Slam UK (Triforce), Hay Fever (Kay and Mclean Australia) and Hay Fever and The Big Meal (Bath Theatre Royal). His television work includes C.B Strike, This England and This Is Going to Hurt. He is soon to appear in upcoming film Midas Man about Brian Epstein. Further television credits include: Time; My Lady Jane, Grace, Manhunt, Temple and The Tempest.

Doon Mackichan is best known for her roles in cult television shows such as Channel 4’s double Emmy-award winning Smack the Pony, Knowing Me, Knowing You with Alan Partridge (BBC), Toast of Tinseltown (BBC), The Duchess (Netflix), Flack (POP TV), Pure (Channel 4) and Good Omens (Amazon). She was nominated for a BAFTA for her performance in Plebs, won a British comedy award for Toast of London and has appeared in five series of BBC2 sitcom Two Doors Down.  Her stage credits include Bitter Wheat (Garrick Theatre), Twelfth Night (National Theatre), Loot (Tricycle Theatre), The Government Inspector (Young Vic), The Queen and I (Royal Court/Leicester Haymarket), Jumpy (Royal Court/Duke of York’s Theatre), Mother Courage (National Theatre) and her acclaimed one-woman show Primadoona (Edinburgh Festival Fringe/Menier Chocolate Factory).  In her fierce, frank and hilarious new memoir My Lady Parts: A Life Fighting Stereotypes (to be published by Canongate on 21 September) Mackichan examines through the roles she has played (and turned down) on stage, screen and in real life, how our culture still expects women to adhere to certain stereotypes.

Sara Powell’s extensive stage credits include The Seagull (Jamie Lloyd Company), The Madness of King George (Nottingham Playhouse), La Peste, Richard III (Arcola Theatre), The Crucible (Bristol Old Vic), Disgraced (Bush Theatre), Some Girls (Gielgud Theatre), Macbeth (Almeida Theatre), Stuff Happens, The Villain’s Opera, Honk (all National Theatre), World Music (Crucible Theatre, Sheffield/Donmar Warehouse) Racing Demon, Absence of War (Birmingham Rep) and The Duchess of Malfi (Royal Shakespeare Company).

On screen she is known for her many roles in television dramas including The Hunted, Vera, The House Across the Street, Doctor Who, Murder in Provence, Ghosts, Death in Paradise, Unforgotten 3, Silent Witness, Little Boy Blue, Damned, Midsomer Murders, DCI Banks, Holby Blue, Family Man, Ice Cream Girls, Whisteblowers and Law & Order. She will soon appear in upcoming legal thriller The Killing Kind. 

BAFTA and Olivier winning actor Kristin Scott Thomas has extensive credits across stage and screen including the films The English Patient (for which she was Academy Award and Golden Globe nominated), Four Weddings and a Funeral (for which she won a BAFTA and Evening Standard British Film Award), Darkest Hour (for which she was nominated for a BAFTA), Nowhere Boy (for which she was BAFTA and BIFA nominated), Il y a longtemps que je t’aime (for which she was Golden Globe, BAFTA and César nominated),  A Handful of Dust, Angels and Insects and Partir (for all of which she won Evening Standard British Film Awards and for Partir was also César nominated) and Gosford Park.   On television she was nominated for an Emmy for her role in Fleabag and also recently starred in Talking Heads (BBC) and two series of Slow Horses (Apple TV) with the third soon to be released. Her debut feature film as a director, North Star, in which she also stars, will also be released soon. On stage, she won the Olivier for Best Actress for her performance in The Seagull (Royal Court/ Broadway) and was nominated for her roles in Electra (Old Vic), Three Sisters, Betrayal and Old Times (all West End). Other notable stage roles include playing Queen Elizabeth II in The Audience (West End).

Lily James is best known for her roles in films such as Baby Driver, Cinderella, The Dig, Yesterday, Mamma Mia: Here We Go Again, Darkest Hour, What’s Love Got To Do With It and TV dramas including Pam & Tommy (for which she was nominated for a Golden Globe and Emmy Award), War and Peace, Rebecca, The Pursuit of Love and Downton Abbey.  Upcoming films released later this year include Relay, The Iron Claw and Finalmente l’alba.  On stage she most recently appeared in All About Eve (West End).  Other theatre credits include Romeo and Juliet (Kenneth Branagh Season, West End) and Vernon God Little (Young Vic).  

Lyonesse is a powerful story for our times by Penelope Skinner, winner of the George Devine Award for Most Promising Playwright for The Village Bike, and whose other works for stage include Angry Alan, Meek, Linda, The Ruins of Civilisation, Fred’s Diner, Eigengrau and F*cked.  For screen, she was a writer on four seasons of Fresh Meat (Channel 4), wrote the film How I Live Now and, along with her sister Ginny Skinner, has created and written the upcoming TV thriller The Following Events Are Based On A Pack Of Lies (Sister/BBC1).

Kristin Scott Thomas and Lily James join forces for the first time on stage for Lyonesse after appearing together in the Oscar and BAFTA winning film Darkest Hour (Working Title Films/Universal) and screen adaptation of Daphne du Maurier’s Rebecca (Netflix/Working Title).  The play also reunites long-time collaborators Ian Rickson and Kristin Scott Thomas following their work together on The Seagull (Royal Court/ Broadway – for which Kristin Scott Thomas won an Olivier for her performance), Electra (Old Vic) and West End productions of Betrayal and Old Times (all produced by SFP).  This will be Ian Rickson’s twelfth collaboration with SFP including celebrated West End productions such as Jerusalem, Rosmersholm, Uncle Vanya, The Children’s Hour and The Birthday Party. Lily James last appeared on stage in the SFP production of All About Eve (West End).

Lyonesse will be designed by Georgia Lowe, with lighting by Jessica Hung Han Yun, music by Stephen Warbeck, sound by Tingying Dong and casting by Amy Ball CDG.

Blackpool Winter Garden – until Saturday 19 August 2023

Reviewed by Debra Skelton

5*****

“Could it be Magic – That is what Blackpool is in for when watching this spectacular performance of Greatest Days.”

The official Take That Musical, Greatest Days, which boasts a book by award-winning playwright Tim Firth and music and lyrics by Take That is a feel good and emotional story about love and friendship of five best friends who unite over their joint love of a boyband but due to a tragedy that impacts their friendship, they end up going their separate ways until they reunite twenty-five years later for one more epic show by their beloved band.

We first meet the girls ( Rachel – Olivia Hallett, Debbie – Mary Moore, Claire – Mari McGinlay, Zoe – Hannah Brown, Heather – Kitty Harris) at age 16 who are discussing their favourite boy bands performance on Top of the Pops the previous night only out find out that Debbie has entered a competition to see them that evening in Manchester and has only gone and won it.

The show is everything that they expected it to be but whilst waiting to see if they can catch a glimpse of the band after the concert, they miss their train home and have to catch the bus where they end up being thrown off for being excitable noisy teenagers singing and dancing to their favourite songs.

Zoe decides she can navigate them home where they stop along the way and discuss what they expect their futures to hold and make a pact to always be friends, however as they go their separate ways, tragedy strikes, and the girls separate until we catch them again 25 years later where they meet up to see their favourite boy band once again.

As adults, we find that the girl’s lives did not pan out as expected but it finally gives them the opportunity to discuss their feelings and to deal with the tragedy that hit them so many years ago and to reforge their friendship going forward.

The soundtrack for the musical was vast and just as a tease, you will be treated to hits such as Could it be Magic, Relight my Fire, The Flood and Shine.

This production starred Kim Marsh as Rachel, Holly Ashton as Zoe, Rachel Marwood as Heather, and Jamie-Rose Monk as Claire who were supported by an incredible cast including locally acclaimed Kitty Harris who trained at Langley Dance Academy & Arts School. Their acting talents created such a presence on stage with a standing ovation at the end.

The production also needs special thanks to Lucy Osborne for creating such an adaptable set and fabulous costumes, Tony Gayle for the wonderful sound, Rob Casey for the dazzling lighting, Aaron Renfree for the streamlined choreography and Jess Goldstein for the authentic costumes.

Wilton’s Music Hall – until Friday 18 August 2023

Reviewed by Phil Brown

3***

All aboard and welcome to the G & S Express – not quite the train ride to comedy heaven the Charles Court Opera aspires to, but a highly amusing divertissement nonetheless and worthy of 75 minutes of your undivided attention.  And, whilst the story line is purposefully silly, (possibly considered Pythonesque in another era), full attention and Mastermind grade knowledge is certainly required to pick up all the references to Gilbert & Sullivan operas in the course of the performance.  Lack of said knowledge is not a barrier to enjoyment, but it does mean you are not in on the joke a lot of the time, and can’t always fully appreciate the clever-clever exploitation of such operatic treasure.  (I am told that G & S Express references every Gilbert & Sullivan operetta, and specifically, ‘The Pirates of Penzance’, (Policeman’s Lot), ‘The Mikado’ (Three Little maids) and ‘H.M.S. Pinafore’ (Little List), as well as  the less performed, such as ‘The Sorcerer,’ ‘Princess Ida’ and ‘Utopia Ltd’).

The genesis of G & S Express was during 2020, and like many lockdown projects, what seemed like a wonderful idea at the time, does not necessarily come off completely.  The essence of G & S Express  is the selective adaptation of Gilbert and Sullivan operas inspired by the work of the Reduced Shakespeare Company.  A reasonable proposition at first glance, but one that possibly overlooks some commercial realities – there is a much larger audience for Shakespeare. 

G & S Express actually combines Gilbert & Sullivan with another particularly English icon, Agatha Christie to construct a murder mystery spoof, set on a train with Hercule Poirot’s French “twin” Philippe as the lead detective.  It’s the sort of thing that you could imagine Alan Bennett’s “History Boys” scholarship form devising or more likely an Oxbridge drama soc.   The key difference being in the detail of the invention and the flawless execution – this is very cleverly constructed (Director/Writer John Savournin), well honed, and immaculately performed by players of rare versatility.

The show is well introduced by Musical Director David Eaton who duly disappears to the usual musician’s spot to the right of Wilton’s stage to provide excellent, impeccably timed solo piano accompaniment.  Meanwhile the three main players – Matthew Kellett (playing Detective Philippe Poirot), Catrine Kirkman (Bridget, the train “trolly dolly” and various roles) and Matthew Siveter (Reggie, the train conductor and various roles) – proceed to ham it up outrageously and deliciously whilst engaged in solving the mystery of Bridget’s vandalised refreshment trolley – the so-called “doyly cart”.   Illustrative of the dialogue is  Poirot and Reggie’s  miscommunication over “red ‘erring” and the station ”Rederring” – a location which appears in Ruddigore.  Talking of “red ‘errings” , three clues left at the scene of the crime lead to three unlikely suspects – a peer, a jester (both played by Matthew Siveter) and a school governess (played by Catrine Kirkman who also plays a police constable).  All three performers seriously impress in both acting and singing departments with Kellett delivering a most delightful Poirot – up there with the very best.

Action takes place on a minimally dressed stage – a couple of train windows and a couple of bench seats as seen in trains of a certain vintage – mobile for unobtrusive and rapid set change and to create the impression of train speed.  A smart and economical design (Jessie Huckin) 

This top quality multi dimensional entertainment is delivered with such evident commitment and skill, it deserves the highest praise and support.  Although the audience chortled away throughout, it’s not consistently a laugh out loud kind of show, but it will definitely raise your well being quotient – how much may vary with your depth of knowledge of Gilbert & Sullivan.  And it does provide a more genteel musical alternative to the ever growing number of blockbusters on show.