FOURTH WALL LIVE ANNOUNCES

TONY AWARD WINNING

BROADWAY SENSATION

STEPHANIE J. BLOCK

LIVE AT

CADOGAN HALL

SUNDAY 29 OCTOBER 2023

AT 2.30PM AND 6.30PM

FOURTH WALL LIVE is delighted to announce Tony Award winning Broadway sensation STEPHANIE J. BLOCK live at Cadogan Hall on Sunday 29 October 2023 at 2.30pm and 6.30pm. Tickets are on sale now at www.fwlive.com and www.cadoganhall.com

One of the most relevant and versatile voices in musical theatre, Stephanie J. Block will present a concert full of iconic moments from her career, filled with emotion, honesty and humour.

STEPHANIE J. BLOCK’s Broadway credits include Into The Woods, The Cher Show (Tony, Drama Desk, Outer Critics Circle Award winner), Falsettos (Tony, Drama Desk, Outer Critics Circle nominations), The Mystery of Edwin Drood (Tony, Drama Desk nominations), Anything Goes, 9 to 5: The Musical (Drama Desk nomination), The Pirate Queen, The Boy From Oz, Wicked. Off Broadway she has been seen in Brigadoon (Encores!); Little Miss Sunshine (Drama Desk nomination); By the Way, Meet Vera Stark (Drama Desk nomination). Her film and television credits include, “iMorcecai,” “Bluff City Law,” “Rise,” “Madam Secretary,” “Orange Is the New Black,” “Homeland,” “It Could Be Worse,” “Stephanie J. Block Live From Lincoln Center” for Great Performances on PBS. She currently co-hosts and co-produces “Stages Podcast” with Marylee Fairbanks.

Stephanie said today, “I am thrilled to finally be performing this concert in London. It’s been a long time in the making, and I can’t wait to share my favourite music with you all in a city I adore being in. The show will be an honest, candid and emotional ride. It will be as much about heart and humour as it will be about music.”

Stephanie will be joined by MD Ben Cohn. Ben is currently the music director for Once Upon A One More Time on Broadway. He recently music directed and conducted Sunset Boulevard at the Kennedy Center in Washington, DC. Since 2015, Ben has been the Music Director and Associate Supervisor for Dear Evan Hansen Broadway/Tour/London and music director on The Dear Evan Hansen movie. Ben also conducts currently at & Juliet. Ben was the pianist and assistant conductor for Wicked on Broadway.

FOURTH WALL LIVE is an entertainment company that produces events, concerts and on-stage shows. In January 2022 FWL presented Bonnie and Clyde The Musical In Concert for two nights to a sold-out audience at Theatre Royal Drury Lane, starring Broadway favourite Jeremy Jordan. The concert broke Drury Lane box office records selling out a two-night run in less than six minutes. 

In recent months Fourth Wall Live has presented Audra McDonald at the London Palladium, Jeremy Jordan at Theatre Royal Drury Lane and most recently Ariana DeBose at the London Palladium. FWL regularly presents concerts featuring stars of the West End and Broadway including Keala Settle, Sierra Boggess, Matthew Morrison and Hannah Waddingham among others.

Fourth Wall Live is also a producer of the What’s On Stage Award winning Bonnie & Clyde The Musical which is currently running at the Garrick Theatre in London’s West End.

Bingley Arts Centre – 12th April 2023

Reviewed by Sal E Marino

5*****

Bingley Arts Centre, a most welcoming and friendly venue filled with good Yorkshire cheer, was the perfect place to host the new Mikron Theatre Company play Twitchers, written by Poppy Hollman. I’d never been to the Bingley Arts centre before and never seen a Mikron production either and after last night’s experience, I am now an avid fan and champion of both!

Twitchers is a truly unique and engaging play, and I left Bingley with a head full of fascinating facts, lots of chuckles and an overwhelming feeling of joy! Joy because you just end up smiling throughout the performance and joy due to being part of our amazing earth, which Twitchers remind you of! If there’s one thing people will take away with them it’s not just that of being highly entertained but the message that nature is sacred, and we must start looking after it. That might sound like it’s a show that is ‘heavy’ and full of environmental issues but it’s the complete opposite – the production is light-hearted, very funny and very warm.

The cast: Eddie Ahrens, Hannah Baker, Harvey Badger and Rachel Hammond are all first-class actors, musicians and all-round multi-talented performers. Not only did they portray quirky people, but birds too and got it all spot-on! It’s hard to explain how one portrays a heron or a robin, but they just did it and brought the house down! I learnt so much and kudos must be given to the Mikron creative team, who along with Poppy, crafted and weaved the bird facts into the narrative through song, dance and amusing props. Did you know that the RSPB was created by women in a protest against the use of plumage in hat making? This and so much more information was seamlessly presented to the audience in a way whereby you didn’t even realise you were picking up facts but once heard, never forgotten.

There were things in the play that will stay with you, not only the jokes but the bigger message – the one that awakens your consciousness, especially towards looking after nature. The songs were chirpy (pardon the pun), cheerful and spoke to the heart just like our birds. Have you noticed they seem to be more abundant in number and louder in song this year – perhaps they’re trying to help us humans by waking us up? With Mikron’s play Twitchers, I think they’ll achieve this! In their 51st year of touring, Twitchers is an absolute gem of a play to celebrate with and achieves all that any feel-good production should aim for – fun, music and laughter. However, Twitchers also has a cherry on top of the cake too which is that if you’re not a bird lover already, then you will be by the end of the play or at least appreciate our beautiful, feathered friends more and want to protect them.

Ambassadors Theatre, London – until 20 May 2023

Reviewed by Celia Armand Smith

4****

In the summer of 2022, the nation was gripped by the trial of Vardy vs Rooney, or as it became known, the Wagatha Christie Trial. It all started in 2019, when Coleen Rooney accused Rebekah Vardy of leaking private instagram posts to a tabloid newspaper. Vardy would go on to sue Rooney in a multi million pound spectacle that would inspire columns, podcasts, books, and TV dramatisations. However, Liv Hennessy was one of the first out of the starting gates with this verbatim stage adaptation of what went down inside the English High Court last year. The main dialogue is taken directly from court transcripts, and boy was there content to be had.

Like all good sporting fixtures and courtroom dramas, this is a game of two halves.

Each half is approximately 45 mins long (plus stoppage time), and there are football pundits and supporting characters brilliantly played by Nathan McMullen and Halema Hussain, commentating on the action and helping explain the legalese. When one of the sides wins an argument, hilarious football themed tableaus are formed on stage to the sound of a stadium of cheers, motionless whilst a detail is explained.

The first half puts Lucy May Barker as Vardy on the stand being interrogated by glossy barrister David Sherborne (Tom Turner). Lucy May Barker is fantastic in this role, all straight face and petulant innocence on the stand, but changing like the flick of switch to hilariously reenact incriminating (or are they?) WhatsApp messages and Insta posts. Then, the second half brings Laura Dos Santos’ much quieter and more sympathetic Rooney to the centre of proceedings, as Rooney is questioned by the tenacious Hugh Tomlinson QC (Jonnie Broadbent). We hear about evidence lost at sea, flooded £2 million basements, arguing with FA reps, and the 2016 Euros. If we weren’t told it was word for word, I think we would all have a hard time believing that this was real.

Although there is an appearance of the courtroom, Lisa Spirling’s production is all set against a background of football. Polly Sullivan’s set has the high court benches sat on a green pitch with white lines, and fake grass bordering the edges of the stage. Sullivan’s costuming is genius too, with near exact replicas of the outfits worn in court right down to the air boot and one Gucci mule Coleen Rooney wore due to her broken foot.

The high court trial of Vardy vs Rooney was gripping and a much needed tonic to the state of things in 2022, and Vardy v Rooney: The Wagatha Christie Trial is equally gripping and a much needed tonic to the state of things in 2023. There are thoughts to be had on the concept of privacy and celebrity, and what those things mean, but truthfully, the acting is tremendous, there are a lot of out loud laughs, and the whole production is terrifically entertaining. If you need a break from reality but also want a dose of “reality”, I can highly recommend Vardy v Rooney: The Wagatha Christie Trial.

York Theatre Royal – Wednesday 12 April 2023

Reviewed by Michelle Richardson

4****

Buffy Revamped, written and performed by Brendan Murphy, is a one-man celebration and parody of the popular 1990’s show Buffy the Vampire Slayer. Directed by Hamish MacDougall, and at only 70 minutes, this show covers all 7 seasons, the entire 144 episodes, as told through the eyes of Spike, the iconic vampire from the series.

Though Murphy is predominantly Spike, who I must admit was my favourite, he also plays all the top characters, Buffy, her Scooby gang and the forces of darkness, from the entire series through different means. His depictions of the characters are quite hilarious and encapsulate each personality perfectly. For Buffy there’s a wig and a dress, Angel is just a long black leather coat on a hanger, Xander a shirt and later an eye patch, just examples of the many, all accompanied by different voices, mannerisms, and actions. The contempt Spike showed for Angel through that medium is inspired and gloriously funny.

Flying through each season, Murphy enacts a quick re-enactment of pivotal moments. This resonated with a lot of the packed-out theatre, who couldn’t help but laugh at Murphy’s interpretations. There is some audience participation, if you want a chance to be involved make sure you sit in the front row. These interactions only added to the enjoyment.

For the climax we are treated to a twist on REM’s “It’s The End Of The World As We Know It”. A perfect finale, where we all sang along.

This show is so fast paced, it has to be to cover everything, and it does cover everything. Murphy handles it so efficiently, frantically racing though the content with such energetic abandonment. It is a fun and hilarious take on Buffy, though I must say to follow and really enjoy the show for all its worth, it helps to be a huge Buffy fan. Whilst I have watched a fair bit of Buffy, mostly during the Riley and then Spike eras, there is a lot I have not watched, as a result, some of the story telling went over my head. I must say this has ignited my thirst for Buffy and I just might have to hunt out the old series and watch it from scratch.

Buffy obviously has a huge pull, as the packed-out theatre showed, which is a glorious thing to see. Murphy is a great storyteller and wonderful to watch, full of gusto and enthusiasm, he is dedicated to the source material and to the performance. You could tell he has a lot of passion about Buffy and performing. A must see for any Buffy fan.

Barbican Theatre, London – until 16 April 2023

Reviewed by Antonia Hebbert

4****

King Basilio has heard a prophecy that his infant son Segismundo will grow up to be a monster and tear the kingdom apart. So to prevent that, he locks the boy up in a lonely tower. When Segismundo is released years later, he has no idea how to behave, and kills someone on a whim. The king hastily locks him up again, but Segismundo is freed by rebels and leads a revolution. Thus the king has brought about the very things he wanted to prevent. But Segismundo has learnt wisdom through his ups and downs, and brings about a fair result for all. The message is that you can’t change destiny, but you can learn to handle your fate wisely.

That’s the bare bones of the story, and it’s not why this is considered one of the world’s greatest works of literature. The power of the play lies in the way it constantly throws big questions at you. What is consciousness? What is reality? Is each of us living in our own version of it? Is a dream a dream of dream? What is a good ruler? La Vida Es Sueño is the work of Pedro Calderón de la Barca, a playwright, soldier, priest and courtier in 17th century Spain. You could say that in this work he brings all his interests together. I’m embarrassed to confess I knew nothing about him, but he is evidently the Spanish equivalent of Shakespeare and the themes feel familiar from Shakespeare plays – the confusion of dreams and reality, use and abuse of power, concealed identities, fate. In a subplot, there’s a girl disguised as a boy, on a quest to find her faithless lover, and at one point the king calls out for a horse. The play is performed in Spanish. There are English surtitles, but non-Spanish speakers must be missing out on a lot of text, and also its poetry.

The focus is on the dreams and consciousness, inner-life themes of the play, rather than plot and subplot, which perhaps came across as extra clunky as a result. There is no scenery – the set is a row of doors, through which characters appear, sometimes in a random way as if in a dream. In the battle scene the doors are all thrown open to show smoky chaos. Sometimes the light is turned on the audience, so that we too are drawn into the question of what’s real or not.

That might sound very abstract, but it is full of life and action, with terrific, vigorous performances. Everyone is sharp and watchable. Alfredo Noval is a compelling Sigismundo, moving from desperate ‘monster’ in chains to soldier and statesman. Ernesto Arias is appealingly bumbling as the king, thinking he can control things but actually a helpless onlooker (is this all happening in his head?). Rebeca Matellán makes a bright, funny Rosaura (the girl-disguised-as-boy), who uses her implausible plotline to comic effect. She is accompanied by a wise-fool character, played by Goizalde Núñez, who reminded me of Victoria Wood and was somehow hilarious even if you couldn’t get all the jokes. The most touching moment in the play is when she too tries, and fails, to foil fate.

This is a joint production by Cheek by Jowl (artistic directors Declan Donnellan and Nick Ormerod) and Compañía Nacional de Teatro Clásico in Madrid (artistic director Lluís Homar).

Bolton Octagon, Bolton – until 22 April 2023

Review by Rebecca Hampson

5*****

Using the 1895 novel ‘The Time Machine’ by H.G.Wells as it’s inspiration this hilarious comedy had me belly laughing from start to finish.

Made up of a 4 strong cast including the talented Dave Hearn, Amy Revelle, Michael Dylan and Noah Marullo, we were transported into the world of ‘The Time Machine’ through an incredibly Brechtian and thrilling comedy.

There are so many incredible aspects of the show to comment on, to me the most impressive was the use of Brechtian techniques such as Placards, Audience Participation and Multi-role were the ultimate reason I fell in love with this comedy within the first act. I was especially impressed with the use of props and direct address to ensure the audience felt engaged and involved in the performance.

As well as asking the audience members questions related to the performance they also asked for volunteers to become members of the play and contribute to the performance. I was lucky enough (depending on your perspective) to be chosen to play the Morlock and interact with Dave Hearn in a short scene. I was invited from my seat onto the stage where I was directed backstage to put on a costume and wig, be handed my script and microphone before heading back on stage for the scene. This led to me leaving the theatre with the biggest smile with my best friend who had attended with me talking about how hilarious the show was and how it was the best night in a while.

Comedy isn’t usually the type of theatre that I go to see, my favourite type of theatre being musicals, but this show was everything I did not expect and more – it was the play that goes wrong meets H.G.Wells meets conspiracy theory play in a beautiful mash up together. I also didn’t know that I needed to see a Cher tribute performance in the middle of The Time Machine but I loved it.

I cannot put into enough words how fabulous this play was and how grateful I am to have had the opportunity to not only review but also participate in it.

You do not want to miss this show

Runaway Entertainment presents

2:22 – A GHOST STORY

The hit play by Danny Robins

Directed by Matthew Dunster
@222AGhostStory #222AGhostStory 

• 2.22 – A GHOST STORY ANNOUNCES THE SIXTH CAST FOR ITS RUN AT THE APOLLO THEATRE 
   
• SOPHIA BUSH WILL PLAY LAUREN; RICKY CHAMP WILL PLAY BEN; CLIFFORD SAMUEL WILL PLAY SAM AND JAIME WINSTONE WILL PLAY JENNY 
   
• THE CURRENT CAST AT THE LYRIC THEATRE WILL PERFORM UNTIL 23 APRIL 2023 WITH THE NEW CAST PERFORMING AT THE APOLLO THEATRE FROM 14 MAY – 17 SEPTEMBER 2023
   
• TICKETS ARE ON SALE NOW FROM WWW.222AGHOSTSTORY.COM

Producer Runaway Entertainment is delighted to announce casting news for the fifth West End  transfer of Danny Robins’ edge-of-your-seat, supernatural thriller 2:22 – A Ghost Story, which will move from the Lyric to the Apollo, just next door! No other play has ever transferred in the West End this many times within a two year period. During its run at the Lyric it broke the record for box office weekly takings for a play 5 times! For the Apollo run US actress Sophia Bush (One Tree HIll, Good Sam) will play Lauren; Ricky Champ (Him & Her, Eastenders) will play Ben; Clifford Samuel (McMafia; Sex and Drugs and Rock and Roll) will play Dan and Jaime Winstone (Kidulthood, Donkey Punch) will play Jenny.

Sophia Bush (who will play Lauren) said: ‘I am elated to be joining this wonderful cast in 2:22 – A Ghost Story! For this revered production to be my West End debut is a dream come true for me. One that I can’t wait to share with live audiences in the UK. We’re deep in rehearsals now and there is just nothing like the energy and comradery of the theatre community. Diving into this rich material is a thrill; exploring these complex relationships, and what makes each of our characters tick. The clear vision from our creative team led by Danny, Matthew, and Gabe serves as a bright North Star. I’m honoured to be welcomed into this family with open arms as I bring my version of ‘Lauren’ to life.’

Ricky Champ (who will play Ben) said: ‘I’m really excited about starting on 2:22 and carrying the banner on this particular version in this amazing new theatre. I can’t wait to show everyone ‘Ben’, see you there!’

Clifford Samuel (who will play Sam) said: ‘I’m hugely excited to be joining the new 2.22 company. It’s a brilliant play, and I’m really pleased to be surrounded by these fantastic actors, director, and team!’

Jaime Winstone (who will play Jenny) said: ‘I’m so excited to be joining the cast of 2:22, we’ve got such a buzz in the rehearsal room. Excitement, nerves, fear, which is all perfect for this amazing play. I’ve been so excited to work with Matthew, he’s such a good, hands on director. I can’t wait to bring a new energy to Jenny, I’m just throwing myself in the deep end and I can’t wait for everyone to see us perform at the Apollo, to be in the West End and to bring Jenny to life.’

2:22 A Ghost Story has its world premiere at the Noel Coward in summer 2021 where It received three Olivier Nominations including Best New Play and Best Actress, and where it won the Best New Play category in the Whatsonstage. 

The production began its life in the summer of 2021 at the Noel Coward Theatre starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood. It then transferred to the Gielgud Theatre for 10 weeks from 4 December 2021. The production there, starring Stephanie Beatriz, James Buckley, Elliot Cowan and Giovanna Fletcher, completed its run on 12 February 2022. The first cast at the Criterion Theatre featured Tom Felton, Mandip Gill, Beatriz Romilly, Sam Swainsbury; the second Criterion Theatre cast which ended its run on 8 January this year was Tamsin Carroll as Lauren; Felix Scott as Sam, Matt Willis as Ben and Laura Whitmore as Jenny. The US premiere of 2:22 A Ghost Story at the Ahmanson Theatre, Los Angeles opened on 29 October and ended its run on 4 December 2022. The current box office record breaking run at the Lyric features Cheryl as Jenny, Jake Wood as Ben, Scot Karim and Sam and Louise Ford as Lauren who will perform until 23 April.

2.22 – A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist and Uncanny and it is directed by Matthew Dunster. Intriguing, funny and scary, it takes audiences into one adrenaline-fueled night where secrets will emerge and ghosts may appear….What do you believe? And do you dare to discover the truth?

“There’s something in our house. I hear it every night, at the same time.”

Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and her new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they are going to stay up… until 2.22am… and then they will know.

Danny Robins said ‘I am thrilled with this 6th cast for 2:22 A Ghost Story. Each set of actors we’ve had brings their own distinctive talents to the production and so I can’t wait to see my spooky play continue its amazing West End life with this very talented group, and it’s so overwhelming to think that we’re breaking records along the way. Although we’re only moving next door, it’s quite the journey we are on, and we look forward to spooking a whole new set of audiences over the next few months. Who cares if it’s meant to be Spring – 2:22 will chill you to the bone!”

2:22 – A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, casting by Matilda James, CDG, illusions by Chris Fisher, and  Co-Director is  Gabriel Vega Weissman.

2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. 

Storyhouse Chester – until 15th April 2023

Reviewed by Jennifer Daley

5*****

I love Jane Austen’s work. I love the history, the costumes, the language and the literary masterpieces. I love the TV and cinema adaptations and their accuracy. I had no idea what this  ‘sort of’ was all about. But did I love seeing Austen’s literary classic characters swigging Moët  straight from the bottle, face planting a tin of quality streets, vomiting into a vase and enunciating  some of the most wonderfully, colourful  expletive language ever? Yes I did! So much so I’ve booked to see it again. 

A small set of five powerful  female actors  play every  character in this dynamite performance. Stunning  set changes and outstanding choreography support  the sorcery like changes on stage. 

Instantly the audience are  engaged  and drawn into the  performance of the actresses  playing  the roles of servants, cleverly setting the scene and later telling us to all go and get a gin and tonic in the interval. 

Soon after, the characters launch into the themes of love, marriage, class and prejudice and despite  this very different version of the classic, the themes and plot remain unbelievably faithful to Austen. The proposal scene between Elizabeth and Mr Darcey was powerfully emotive and phenomenally acted. If you had never read this novel before, you would still come away knowing the story. To achieve that in such a compact way, with such few actors is simply staggering. 

 The musical accompaniment of Lady in Red and You’re So Vain amongst others,  were  superbly well received . Every song chosen to accompany scenes was a comedy genius moment and at times, I have to be honest, I couldn’t breathe for laughing. The horse scene was a particular favourite, I shan’t offer any spoilers but be prepared to be completely and utterly indulged and entertained. 

Evoking echoes of Catherine Tate, Barry Island’s Nessa and the musical smash Six …. This raucous version of very English novel was simply superb . The most hilarious on stage performance I’ve ever seen . Never before have I bought tickets for the same show 2 days later. It really was that good !   Isobel McArthur, you are a genius and I think Jane Austen would thoroughly approve! 

CHRISTINA BIANCO BRINGS HER ONE-WOMAN SHOW IN DIVINE COMPANY

TO THE MENIER CHOCOLATE FACTORY FOR 11 PERFORMANCES ONLY

The Menier Chocolate Factory today announces that Christina Bianco returns to the Menier Chocolate Factory stage with her acclaimed one-woman show In Divine Company for eleven performances only from 11 to 20 May. Priority booking opens today, with public booking opening on 18 April.

Witness all your favourite divas on stage together, in the singular form of internationally acclaimed performer, Christina Bianco.

Inspired by the divine divas of our day, Bianco honours their talents as only she can – by channelling their voices through uncanny and hilarious impressions – while also illuminating the path that led her to find her own voice and brought her from New York City to London. 

From stage to screen, Bianco’s singular voice and comedic charm have brought audiences around the world to their feet. Part Barbra Streisand, part Bette Midler, part Tracey Ullman, her award-winning concerts are filled with soaring vocals and celebrity impressions that the whole family can enjoy. With music spanning a wide range of styles and eras, Bianco and music director Ryan MacKenzie will present dynamic arrangements of classic standards, show-tunes, and beloved pop songs. Don’t miss the chance to be In Divine Company, with Christina Bianco!

Christina Bianco made her West End debut starring in the Menier Chocolate Factory’s production of Forbidden Broadway at the Vaudeville Theatre.

Bianco’s New York credits include Forbidden Broadway (Drama Desk Award nomination) the one-woman, multi-character comedy Application Pending (Drama Desk Award nomination), The Marvellous Wonderettes, It Must Be Him and Newsical the Musical. Other credits include Hello Dolly (Indianapolis Symphony), Rent (Weston Playhouse), Beehive (Riverside Theatre) and Joseph and The Amazing Technicolor Dreamcoat (Theatre Royal Drury Lane) and Fanny Brice in Funny Girl (Theatre Marigny – Paris, Winner Trophees De Le Comedie Musicale). Most recently, she played LV in the 30th Anniversary UK tour of The Rise and Fall Of Little Voice and Glinda in The Wizard Of Oz at Curve Leicester.

Television credits include ITV’s The Imitation Game, POP TV’s sitcom Impress Me, Hallmark’s Signed, Sealed, Delivered, and frequent voice work for RuPaul’s Drag Race.

Bianco captured international acclaim as a YouTube sensation with her ‘diva’ impression videos, gainingover 25 million views. She has performed on television programs such as The Ellen DeGeneres Show, The Today Show, The Paul O’Grady Show, Steph’s Packed Lunch, and This Morning.

She has performed her critically acclaimed concerts to sold out crowds across the USA and the UK. She’s also performed her solo shows in Switzerland, Spain, South Africa and Australia, including at The Sydney Opera House. She frequently tours with major US and Canadian symphonies and performs her solo symphony show under the direction of renowned Maestro Jack Everly. Her debut live album, Life Of The Party, is available on iTunes and other major streaming platforms.

LISTINGS INFORMATION

MENIER CHOCOLATE FACTORY

53 Southwark Street, London, SE1 1RU

PERFORMANCE SCHEDULE:

Thursday 11 May             7:30pm

Friday 12 May                   7:30pm

Saturday 13 May              3pm/7:30pm

Sunday 14 May                 3pm

Tuesday 16 May               7:30pm

Wednesday 17 May         7:30pm

Thursday 18 May             7:30pm

Friday 19 May                   7:30pm

Saturday 20 May              3pm/7:30pm

Box Office:                         020 7378 1713 (£2.50 transaction fee per booking)

Website:                             www.menierchocolatefactory.com (£1.50 transaction fee per booking)

Tickets:                               Prices vary, as below from discounted preview tickets to premier seats. With the emphasis on ‘the sooner you book, the better the price’:

Please note at this time the restaurant is unable to open due to circumstances beyond the company’s control.

www.menierchocolatefactory.com

Twitter: @MenChocFactory

Instagram: @menierchocolatefactory

Festival Theatre, Malvern – until 15th April 2023

Reviewed by Courie Amado Juneau

4.5*****

Mrs Warren’s Profession by George Bernard Shaw tells the story, principally, of a daughter battling to come to terms with the discovery that her mother has earned her living (and funded said daughter’s education) from the world’s oldest profession.

Vivie, a thoroughly modern young women, ploughs her own furrow being eminently practical and focused on her career! Rose Quentin plays our heroin with a believable air of realism through her commanding presence combined with a charm and wit which shows she has an impressive acting range and likable stage persona. She was a revelation in this demanding lead role.

Caroline Quentin is wonderful as the Mrs Warren of the title. She can emotionally pivot on a sixpence, from sense to insensibility. I loved her changes of accent to accentuate the more earthy practicality and justification of her life choices. A magnificent performance, as you would expect, considering her considerable body of exceptional work.

Naturally, this real life mother and daughter duo had an easy chemistry together and their two extended duets (at the end of each act) were particularly spellbinding.

The male ensemble were superb too. In order of appearance, Praed was amusing and a nice foil to the other men around him, played by Stephen Rahman-Hughes with an infectiously naive air and sunny disposition. Sir George Crofts, the hard nosed business man of the piece, was wrought with grit, steel and determination by Simon Shepherd. Our romantic lead Frank Gardner, was given all the contradiction of youth by Peter Losasso in a charmingly nuanced performance with hilarious timing – especially that shocked first kiss! And lastly, certainly not least, was Matthew Cottle playing Reverend Sam Gardner; the socially conscious clergyman with an embarrassingly colourful past. Another actor whose work I have enjoyed over the years, it was a thrill to see Mr Cottle in action, close up.

Credit must go to Director Anthony Banks for a perfectly paced production which whizzed by rapidly, the actors never dropping a beat. The set was employed to wonderful effect with a magnificently off kilter church conveying a sense of claustrophobia and inhibition and Vivie’s house seemed to be a metaphor for her small world straining at the seams with each new visitor’s revelations. The scene where the company took tea in the house was comedy gold. The transition between locations was also worthy of special mention, especially the one from Church to office being particularly epic.

The second act was even more amusing than the first, finishing on a high (dramatically speaking). It was full of revelation and emotion unleashed and, fittingly, all the actors final scenes were their best.

Shaw’s play is very much of its time and in many ways well ahead of it, still seeming surprisingly modern (given that it was first performed in 1902). A thoroughly enjoyable and thought provoking romp through the social mores which question attitudes we still struggle with. Above all though it’s highly entertaining and enormous fun, with an exceptional cast of fine actors! Another unmissable production at the wonderful Malvern Theatres.