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.
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
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.
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)
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.
Mayflower Theatre, Southampton – until 15 April 2023
Reviewed by Alexandra Browning
4****
Titanic the Musical starts quietly in the riff raff of the audience arriving with the Titanic’s designer Thomas Andrews (Ian McLarnon) finalising the blueprints and plans for the feat defying ship. The show starts subtly with the introduction to the Titanic, the crew and the captain. Following the introductions, the passengers of the Titanic were greeted to come onboard, starting from First Class passengers, Second Class and ending with Third Class Passengers. Once the ship was fully loaded and the final inspections checked the whole cast sang the wonderful “Godspeed Titanic”. “Godspeed Titanic” immediately sets the scene for the immensely talented cast, featuring a magnitude of talented voices and beautiful harmonies.
The show included a fantastic array of costumes including a creative use of the main cast to ensure scenes featuring: First, Second- and Third-class passengers were jam packed, over multiple points in the show it is near impossible to comprehend the speed of the costume changes and character changes the cast make. The stage features a simplistic yet obvious nod towards the bow of the Titanic and with some careful choreography involving moving scenery make you feel like you are onlooking the bow of the ship itself. This simplistic stage design finds a clever way to emulate each section of the boat from the busy engine rooms to the luxurious private dining suite.
Two stand out performers are hidden amongst the cast as Charles Clarke (Mathew McDonald) performs impressive male vocals in the song ‘We’ll Meet Tomorrow” showcasing a wide range of emotions and vocal range, in an emotional tribute to his bride-to-be. Kate McGowan (Lucie-Mae Summer) performs “Lady’s Maid” with clear lead vocals with an operatic talent.
The most tear-jerking scene of them all was between Ida Straus (Played by Valda Aviks) and Isidor Straus (Played by David Delve) in the musical number “Still” of the second act. The song highlights Ida as the last remaining female passenger in first class sharing in a romantic and tender last night together before their demise onboard The Titanic. The couple shared a romantic ballroom dance and a last drink of champagne together provided by the butler. The couple tenderly adorned their prized positions before dancing their last dance together.
Overall, I would give this performance four stars for its story and performance, although the show has to end on a sad note due to the nature of events the cast manage to pull together for one final performance of “Godspeed Titanic Reprise” for the curtain call. This performance will pull on the heartstrings but is definitely one to watch.
Best pantomime (over 900 seats) & Best Set Design – Mark Walters/Nina Dunn/ Matt Brown
Beauty and the Beast, Swansea Grand
Best Newcomer to Pantomime
Vernon Kay -Cinderella, Wycombe Swan
Following 12 nominations pantomime producer Imagine Theatre are delighted to announce a win in three categories at the UK Pantomime Association’s annual pantomime awards last night.
Beauty and the Beast at Swansea Grand which last year broke box office records, won two awards including the coveted award for Best Pantomime (over 900 seats).
Swansea Grand Theatre manager, Grant McFarlane commented; “We couldn’t be more delighted, what a great night for Swansea Grand and Imagine Pantomimes! Audience feedback last year was exceptional, and it’s great to see that reflected in this award. Panto is alive and well in Swansea and we look forward to seeing many more people return to visit us this year”
Kev Johns, Swansea’s favourite Dame who will return again this year said; “We were up against some hefty competition and it’s wonderful for Swansea Grand to take home these wins! Swansea is a real panto town, who love the tradition and this is a lovely acknowledgement for all of us and those who support us year on year”
The pantomime also won Best Set Design for Mark Walters, Nina Dunnand Matt Brown. Their ground-breaking digital set combines state of the art technology with all the elements you’d expect to find in a traditional pantomime brought to life with LED animated scenes to create a magical and enchanting theatrical experience.
Vernon Kay who made his debut in High Wycombe’s Cinderella this year was crowned Best Pantomime Newcomer said “I’m so delighted to have been recognised as best Newcomer to pantomime in the UK Pantomime association awards. As a panto lover this is a real honour. Performing in Cinderella at High Wycombe was my stage debut. I had a fantastic time playing Dandini with a great bunch of people and I’m hugely proud to have won this award for my local venue and the team behind the show. Perhaps I am, as I’ve always suspected, the true king of the Dad joke!’
With 18 pantomimes on sale across the UK for 2023 Sarah Boden Business and Marketing Director for Imagine Theatres said “We are over the moon to have won these three awards and are so proud of all of our winners and nominees and the teams working behind them to bring magic to the stage in panto every year. Our congratulations go out to all of the winners who work tirelessly to ensure the tradition of pantomime continues to thrive”
Founded in 2021, the UK Pantomime Association is a charity that explores, shares and celebrates pantomime by investigating the genre’s rich past, engaging with contemporary practice and inspiring the future. The Pantomime Awards 2023 were hosted Christopher Biggins London’s West End, on Tuesday 11 April.
PLAYWELL PRODUCTIONS & POSITIVE EAST LAUNCH POWERFUL EXHIBITION ON DIVERSE HIV EXPERIENCES ALONGSIDE
LIVE TO TELL: (A PROPOSAL FOR) THE MADONNA JUKEBOX MUSICAL
BY BRIAN MULLIN
CAMDEN PEOPLE’S THEATRE (UNTIL 15TH APRIL)
PlayWell Productions and Brian Mullin officially launched the return of Brian’s Live To Tell: (A Proposal For) The Madonna Jukebox Musical to London alongside the exhibition “Expressing Ourselves” at Camden People’s Theatre with a special event on Wednesday 5th April.
Brian Mullin’s Live To Tell: (A Proposal For) The Madonna Jukebox Musical, which runs at the London venueuntil 15th April, a “highly personal, impassioned stance on living with HIV” (Everything Theatre) that follows the quest of Brian, a Madonna superfan living with HIV, as he pitches himself to Madonna to create a musical based on her songs, whilst also facing what it means in his own life to survive with HIV.
Alongside the show, audiences can view “Expressing Ourselves” an exhibition in Camden People’s Theatre’s lobby curated by Brian from workshops he is currently co-leading with HIV charity Positive East. It features powerful, personal writing from a diverse range of men and women sharing often unheard experiences of life with HIV in their own words.
For the special event, performer and playwright Brian Mullin was joined by co-facilitator Mina Kakaiya from Positive East, Clinical Research Fellow at UCL’s Institute for Global Health Dr Shema Tariq and actor/HIV advocate Stephen Hart alongside participants in the exhibition who shared and discussed their experiences and writing.
Brian Mullin plays the self-inspired role of Brian with Dan de la Motte playing all other characters and Nadya Ginsburg (2 Broke Girls, RuPaul’s Drag Race) providing the voice of Madonna.
Alongside Mullin on the creative team are Deirdre McLaughlin as Director, Josh Anio Grigg as Digital & Sound Designer, Alex Thomas as Lighting Designer and Steph J Weller for PlayWell Productions as Producer.
Dr Shema Tariq said of the event, “Brian’s thought-provoking play captures the messy middle bit of living with HIV as a long-term condition. The psychological toll, the side effects, and the difficulties of taking daily medication for the rest of your life are all examined unflinchingly. It is also a breath of fresh air to see the work of women and people of colour living with HIV be amplified in the accompanying exhibition. When HIV has been represented in popular culture it has tended to focus on the experiences of white, cisgender gay men. Whilst undoubtedly important, we must remember that over half the global population of people living with HIV are women. Brian, Mina and the workshop participants’ commitment to diversifying the narratives of HIV should be applauded. Tremendously inspiring and moving.”
Mina Kakaiya, Peer Support Worker at Positive East: “I’ve been living with HIV for 20 years, and my work seeks to empower other people living with HIV and to challenge and overcome stigma. As a South Asian woman, there is a lack of visibility and experiences of people like me reflected in media about HIV. I’m thrilled that these workshops have attracted a good proportion of women, particularly African and Caribbean women. Combining my skills as a facilitator, coach and activist with Brian’s artistic ones, we’re proud to have created a safe space for participants to open up and unlock their hidden creative talents with a sense of playfulness and empathy. The room has been filled with laughs and some cathartic tears, but mostly a sense of pride as we shape writing that expresses a range of often unheard perspectives about living with HIV.”
George Hodson, 74, artist and long-term HIV warrior queen, who attended the launch of the production and exhibition said, “Brian’s engaging play shows us just how AIDS/HIV meds don’t just help our friends the T-cell gang, but can and do percolate and penetrate our brains causing all sorts of tangential psychological problems. Sadly like so much of life there are no free lunches in the world of meds. They can and do stir up a hornet’s nest of anger and fear for Brian, seeping into his very self-confidence and being, interfering with his relationships with himself and those who love him. He turns for support and clarity to his idol the blessed Madge for some kind of clarity and relief.His end speech brought me, a 40-year hardened old HIV/AIDS queen, to tears! He is a fierce and natural actor who totally throws himself into this play. Go see!”
Aboard ‘Silver Sockeye’ on the Thames – until 29 October 2023
Reviewed by Alec Legge
4****
To Tower Quay right by Tower Bridge and next to the Tower of London, there to board the good ship ‘Silver Sockeye’ for the Terrible Thames Tour.
Seated on the open top deck with a panoramic view all around. Hosted by two actors playing the parts of a Teacher and very naughty and unruly Pupil on a day trip. We then left Tower Quay sailing under Tower Bridge and along the Thames to Lambeth Bridge where the boat turned and we sailed back to Execution Dock and thence back to Tower Quay.
On the outward leg the teacher gave a running commentary of the sights on the northern bank and the sights on the southern bank on the return leg This included most of the major London sights such as the Tower of London, St Paul’s Cathedral, Houses of Parliament etc. The South bank sights included Lambeth Palace, County Hall, Tate Modern, Globe Theatre
The dialogue was entertaining and funny with the pupil constantly interrupting with comedic acts and typically juvenile comments. They involved the audience, particularly the children, the banter being typical of the Horrible Histories with lots of references to gruesome deaths, torture and of course ‘poo’ and ‘sick’, urgh! All in all very funny but also interspersed with real facts and history.
The actors were very good and well rehearsed. There were sufficient speakers so every word was audible. There was plenty of movement by the actors up and down the aisle between the seats so that they could be involved with the audience.
A good performance which lasted about 45 minutes which children enjoyed and was also amusing to adults who would appreciate juvenile humour.
The only thing I would perhaps criticise would be that the actors were dressed in normal clothes and that some form of costume would have accentuated their performance.
As to cost, adults £25, Seniors £20, children £15, family at £60 and £70 are typical for London attractions.
If you like the Horrible Histories genre then this is one to visit.
Kings Theatre, Southsea – until Sunday 16th April 2023
Reviewed by Sally Lumley
5*****
Chitty Chitty Bang Bang the musical is based on the beloved 1968 film version of Ian Fleming’s novel, with wonderfully recognisable songs by the incredible Sherman Brothers.
The show tells the story of inventor Caractacus Potts (Paul Clements) and his children Jeremy (Cohen Bates) and Jemima (Jemima May Rees). Together they restore an old racing car to her former glory, with a little extra magic thrown in. When the children’s grandfather is kidnapped by the Baron of Vulgaria (John Bettesworth), they join forces with Truly Scrumptious (Georgia Deloise) and go on an adventure in Chitty to rescue him.
This is a community production by the Kings, with a cast comprised of local non-professional actors who deliver top class performances. The lead roles are in very capable hands with Clements and Deloise, impressively supported by the children who would be at home on a west end stage. Chris Ballard and Callum Tickner as Boris and Goran the Vulgarian spies provide the classic comedy double act leaving the audience in stitches. Daniel Vaughan is also fabulous as the iconic Child Catcher, thoroughly deserving the appreciative boos they received for their performance; my nine year old son was just the right amount of terrified.
The real star of the show though is Chitty herself of course, and she doesn’t disappoint. When she flies at the end of the first half it was a proper “wow” moment, with lights, sounds and staging combining to have the audience believe that a car was flying around the theatre. It really was “more than spectacular (to use the vernacular)”, and we could feel the magic of the car in that special moment.
The flyer promised a show that has something for everybody and judging by the standing ovation in Southsea last night the Kings Theatre delivered on that promise. This is a truly fantasmagorical show – drive, sail or fly down to the Kings for a ticket before they sell out.
