Theatr Clwyd, Yr Wryddgrug – until 25th March 2023
Reviewed by Julie Noller
4****
Little Women an American literary classic exploring family life during the trying times surrounding the American Civil War. Written and published in two volumes in 1868 and 1869 by Louisa May Alcott.
It supposedly draws on Louisa’s own life experiences of growing up as the second of four sisters the tomboy surrounded by roses. This version draws on the emotions within the story using Jo as the main storyteller. It’s essentially a one woman actor, one man musician play; having come about during lockdown when the nation was reaching for contact within zoom, Jenny Wicks, the Director, adapted and worked with Hannah Churchill (Jo March) to develop the characters looking at each in depth. Kieran Capaldi came on board adding music which is a fantastic addition, adding lightness into what could quite easily become a heavy and mentally draining piece of theatre. Reece Webster then joined the small creative team as Laurie or Theodore Laurence.
Hannah Churchill you can tell has lived the role delving into Jo’s psyche and delivering a highly emotive sometimes raw performance but never faltering. It’s a brilliant look at Jo and how she herself as the writer of the story looks at not just her sisters but views the people she holds dear. It has what many film adaptations lack, with their confusing multi character analysis often missing the emotional element and encouraging attachment to one fully rounded character for us to concentrate on. For somewhat like the pages of a book I found my imagination working and forming pictures following Jo’s descriptions and words in her sisters voices.
Reece Webster as Laurie is an encouraging and welcome addition helping the story develop, keeping things from going too dark. It’s a reminder that music can trigger many memories, both good and bad.
As a story there is a lot of content for one women to deliver within one show but congratulations it is managed, it could have evolved in many directions but I’m happy to say it didn’t follow the romance path but took Jo as a character and looked at her emotionally, her angers, what makes her tick. We see just how spirited Jo is. It felt sometimes that Laurie was just tagging long for the ride but in reality that is the true nature of their friendship and his matter of factness in having married Amy, was quite fitting in closing the play with the mention of the floppy haired, kind brown eyed professor having called to visit.
Almost like a book closing a chapter the play finished with the closing of the chapter of childhood.
Hay Fever is a joyous combination of chaos and hilarity that grows on you throughout the 3 acts. It is set on a midsummer day in 1925.
The wonderfully dysfunctional Bliss family take you on a realistic journey of hosting a collection of people and their evolving dramatic relationships. Each member of the Bliss family has invited a plus one to the house in the country without asking permission or considering logistics of hosting so many people in short notice. The guests are thrown into this whirlwind of a drama, games and family dynamics. The Bliss family consists of mother Judith (Issy Van Randwyck), father David (Nick Waring) and their two not grown up enough children son Simon (William Pennington) and daughter Sorel (Emily Panes). All totally absorbed in their own personal dramas and unable to hear what anyone else has to say. Their housekeeper Clara (Joanna Brookes) brings a comical grounding to the family’s chaos. In some way you end up connecting with each of the family members and the guests. They were relatable, mad as a box of frogs and utterly lovable, I was rooting for them.
The set and costumes are beautiful, with great attention to detail including a series of elegant 20s dresses. The venue has to be mentioned as well- The Mill at Sonning is a grade II listed building, perched on an island on the Thames and the show is set in Cookham, Berkshire next to the Thames so this is a perfect place to see such a show. The theatre itself feels intimate, creating an illusion that the audience is another guest in the room with the characters.
The show was an amalgamation of slapstick, comedic timing, witty quips made for an hilarious experience. By the end of the show my face hurt from smiling so much.
The Rep, Birmingham – until Saturday 8th April 2023
Reviewed Nadia Dodd
4****
The story is set within the times of the Great American Depression in the 1930’s. The world had become a very dark and uncertain place to live. John Steinbeck the writer had no issues with introducing the audience to the characters which were living in such cruel and desperate times.
This production has been directed by Iqbal Khan who wanted to bring to bring this story to life as he was very interested in the characters.
We get introduced to George and Lennie, two close friends, almost like brothers, they are farm hands who seem to stick together no matter what. George, played by Tom McCall is extremely protective of Lennie who is labelled ‘slow’ and ‘dim’. He is a good worker, manual labourer, he has a super strength compared to other workers. All George would like is to earn their money and keep a quiet life. Save enough to live the American Dream but Lennie, played by William Young is making this difficult for him.
Following an incident with a lovely young lady who got the wrong idea about Lennie, they fled looking for work on a new ranch where no one knew them. Lennie has a tenderness about him, he dreams of petting rabbits or anything soft. Sadly, Lennie does not realise his own strength.
After finding work at a new ranch, we are introduced to other characters, all of which are very different. The Boss of the ranch is a little unsure of Lennie but George assures him that he is a good worker and he won’t be disappointed. Curly, played by Riad Ritchie is a fiery character, recently married and moved in with his bride, played by Maddy Hill. Curly’s wife has an eye for the men on the ranch, or so they think. She really wants someone to talk to, she’s lonely there as the only woman.
The story unfolds covering friendships and the want of a better life, but also racism and prejudices. Crooks, played by Reece Pantry, the only black man at the ranch was very aware of feeling different due to his colour.
The set rotates between work place and bunk house, seamlessly moved by the cast themselves depending on the scene. The costumes were perfect and the lighting very harsh, giving the whole play a real intense dramatic feeling, although there were some lighter quotes that had the audience quietly laughing.
A real close look at how in tough circumstances, people can stand together united. The cast were amazing portraying this 80 year old book onto the stage, just mesmerising.
Co-production between Leeds Playhouse and Belgrade Theatre Coventry of William Golding’s Lords of the Flies is brought to the stage and re-imagined 70 years later when it was first written. Nigel Williams’ adaptation and Amy Leach’s direction of this production realistically correlates to the world many live in.
The society people live in is compromisingly competitive and this has an impact whether inward or outward on everyone’s purpose to survive or thrive in society. Golding’s classic reflectively remains true to this present day and proves how society conditionally progresses and govern but sadly at the cost of humanity with psychological consequences.
The classic is set on an uninhabited island where a group of children are stranded following a plane crash during a war evacuation. This group of children are the sole survivors of the crash and are left to rule for themselves. Ralph (Sade Malone) and Piggy (Jason Connor) are firstly introduced and are keen to have order on the island however it doesn’t bide well with some the others particularly Jack (Patrick Dineen) whose ideas about authority differ. The power divisions within the group unfolds with wildly unimaginable actions which one wouldn’t imagine.
The narrative is dramatic, fast paced, bloodied and wild and certainly keeps one on the edge of their seat to anticipate what happens next. Strong themes evolve and battles are demonstrated between the rulers and unruly, morality and immorality, rational and irrational, the collective and the individual. It depicts how human nature and differing personalities contribute and compromise to the battle of wills and how this disunites all. This is very evident with today’s current affairs and events happening in many societies across the world.
Excellent portrayals of the cast including those from Sade Malone (Ralph), Jason Connor (Piggy) and Patrick Dineen (Jack) whose ideas of leadership embody the wild spirit of this production. Max John’s contemporary staging portrays an isolated desert island and works well with the story being told. The staging is supported by Chris Davey’s lighting and John Biddle’s soundscapes.
This well-done production is undoubtedly unique and inclusive with members of the deaf and hearing-impaired community being part of the cast and creative team. This solidifies the Leeds Playhouse’s commendable desire to include one and all to the world of theatre and creativity.
Lord of the Flies is chaotically energetic, honest, raw, and wild.
Theatr Clwyd, Yr Wyddgrug – until Saturday 25th March 2023
Reviewed by Julie Noller
5*****
I don’t have enough words to tell you how much I enjoyed Showstopper, but you must just go and see it before it heads back to the West End for a new run. You will laugh from start to end I promise you. The origins of this hillarious and totally improvised Olivier Award winning musical comedy are the Edinburgh Fringe, where its wacky and crowd pleasing antics won over the masses. Co-created and Directed by Adam Meggido and Dylan Emery they Produced along with Keith Strachan. If you remember the days of comedy improv shows such as Whose Line is it Anyway then this without a doubt is for you.
Each show is absolutely different with a large company to pick from (including cast and band), I wonder if they draw straws for who gets to hit the stage? It’s a brilliant concept that I am totally in awe of and more than a little bit jealous at the skill and talent working together to entertain us; when I run out of steam in minutes.
There is no real story line for me to share for tonight will be another random selection by chance. Before the start of the show as we were finding our seats I noticed the background music was songs from well loved musicals perhaps nudging us to seek inspiration. Sean McCann was our evenings compare there to liaise with us, nudge the performers on if in its fast paced up, down and round the world action things were missed, forgotten or just dried up. He took to the stage to answer a red flashing telephone an ingenious way to signal to the audience that the fun and high jinx was about to begin. It may be improvised but its immersive too; theme, title and track ideas are all random offerings from the audience.
Don’t worry you don’t have to get involved this way, you can sit back and just listen; watch as a typical British audience throw their hands up high in order to be picked to offer ideas, would it be murder, Welsh rugby or witches? Highest cheer for witches narrowly beating Welsh rugby (which had its own segment) the title was Burn Baby Burn with track ideas from wide choices such as Eurovision, Oklahoma and The Beatles.
You wonder how this can be truly improvised? Well just watching the cast in action from the little movements, extravagant motions; smoking, cocktail making, dancing – the Cabaret scene was hilarious well in fact it was pretty much all hilarious. It’s joyous to watch the catch totally engrossed in trying to keep singing and dancing, thinking of new lines whilst I feel equally being a tad naughty and stitch each other up.
The Second Act begins with suggestions made via twitter by the audience, some of which were chosen (small print claims all, some or none might be used) everyone’s favourite was the soap dish suggestion proving that really anything goes.
I wish I had another ticket, it’s a show you could watch again and again, each performance widely differing from the last. It’s fair to say I loved it and if you haven’t seen Showstopper then you really are missing out – do your homework before you go and have some ideas ready
MATTHEW BOURNE’S SLEEPING BEAUTY COMES TO NEWCASTLE THEATRE ROYAL
Audience favourite New Adventures make a triumphant return to Newcastle Theatre Royal with the gothic romance Matthew Bourne’s Sleeping Beauty which takes to the stage for a stunning two week run (Tue 18 – Sat 29 Apr 2023).
The stellar cast includes several original cast members as well as a young generation of performers new to this beloved production which in 2022 celebrated 10 years since its premiere at Sadler’s Wells, when it became the fastest-selling production in the company’s history.
We caught up with Matthew Bourne on how it felt to be bringing back his production of ‘Sleeping Beauty for its 10th anniversary…
Credit: Johan Persson/
“Sleeping Beauty is interesting because I felt I had to find an original way of approaching this piece. I love the music, but it did feel very grand and very famous and very difficult to approach in many ways.
Credit: Johan Persson/
“So, I read everything around Sleeping Beauty, the fairy tale versions, there a several, and various books about fairy tales that give insight into the story. I watched lots of version of the ballet. The thing that’s interesting about the story is that it covers a long period of time with the 100-year sleep of Aurora. But it was really the time-period that influenced me the most. The ballet was created in 1890 and I said, ‘Why don’t we set the piece to begin in 1890?’ Then we go forwards in time to Auroras 21st birthday which is 1911 and with the 100-year curse we are brought right up to the present day. Unfortunately, that was 10 years ago! So now we’re sort of 110 years later, but we get around it somehow by being a little vague about the time period when she wakes up!
Credit: Johan Persson/
“What’s great about recreating a classical ballet, is you’ve got this incredible score that was all written to dance to. The music becomes your script and tells you what the feeling and the emotion of each scene should be. Because Tchaikovsky and Petipa, who was the original choreographer, told their story through dance, its easy then to find a slightly different story through dance but using the emotions written into the music to guide you.
Credit: Johan Persson/
“We use the same piece of music at the beginning of Act 1 and Act 2 to represent the baby Aurora and then the grown-up Aurora. The baby is very naughty, a real hand full, and so is more grown-up Aurora in a way, she’s a real wild child. By using the same piece of music, I thought that would tie them together. It’s different than in the ballet, but it sounds absolutely right.
Credit: Johan Persson/
“Lez Brotherston, who is the designer I’ve worked with on most of the shows that we do, does similarly detailed research to me. He likes the sense of history in pieces, so this piece really appealed to him, resulting in an enormous number of costumes and wigs! Because it’s not only the reality of those time periods, but also fantasy with fairies and wings and characters that are flights of fancy. Lez came up with amazing costumes for the fairies, all designed around different bird feathers. It gives Lez a chance to really be inventive and creative with those costumes and they’re not referencing anything historical. Something I’ve also noticed with Lez’s design, is that he loves to be true to history. It’s a wonderful thing because it makes you understand why people held themselves in a certain way because of a corset or whatever it might be, and how that affects movement.
Credit: Johan Persson/
“When we originally developed the piece ten years ago, we decided to set up the love story of Aurora and Leo. Leo is an invented character of ours and is her first love. He works in the gardens of the royal estate. When Aurora is cursed by Carabosse to sleep for 100 years, I realised that the question is, how can they be together in 100 years’ time? By turning the Lilac fairy, who is called Count Lilac in our version, into a vampire, he is able to give Leo the gift of eternal life. For me that was a very romantic idea and perfect for this story because it allows Leo to be there when she wakes up. Of course, there are consequences as he now is a vampire himself, but we sort of play with the idea that you can have a good vampire and bad vampire and this story is very much about good versus evil. Good and evil, it plays with it all the time, that’s what Sleeping Beauty is about.
Credit: Johan Persson/
“One of the interesting ideas that Lez and I came up with early on for the piece was I always felt when I saw the classical ballet, there is always sort of a baby in the cot and she is the main character in the piece, you know, she is the leading character in this story Aurora, so I thought it would be great if we could give her a personality. So, the idea of puppets came up – could we represent Aurora with a puppet? I love to inject a bit of humour into the early part of the show so people relax, who may be coming to dance for the first time or thinking they’re not to get the story and if they laugh, they’re happy. In order to achieve the effect several dancers are covered in black body suits, manipulating puppet Aurora, bringing her to life, and through the lighting you can’t even see they’re there. It’s incredible really.
Credit: Johan Persson/
“It’s wonderful to see the different generations of dancers pass on their knowledge of the show and that’s why I also like a mix in a cast of people who’ve done a show before and new people who bring a fresh light to it. Unlike other companies we get our dancers to work together on a role. They will share their experience of it and the new person will bring some new ideas that will go into the role as well, so it becomes very rich because of the input of lots and lots of people.
Credit: Johan Persson/
“The story is about the power of love, it’s about love across time that’s indestructible. That’s why I call it a gothic romance because the overriding emotion is love, and how two people be together despite everything.”
Credit: Johan Persson/
Now established as a firm favourite in the New Adventures repertoire, the award-winning Sleeping Beauty has enchanted audiences throughout the UK and across the globe.
Credit: Johan Persson/
With an unforgettable score by Tchaikovsky, sumptuous sets and costumes, evocative lighting and masterly storytelling, the beloved fairy tale is brought to life by the uniquely talented New Adventures company. Get ready to be transported in time from the halcyon days of the late Edwardian era through to the modern day in this dazzling gothic romance.
S Credit: Johan Persson/
Sleeping Beauty is directed and choreographed by Matthew Bourne working with his regular collaborators and New Adventures Associate Artists, Lez Brotherston (Set and Costumes), Paule Constable (Lighting) and Paul Groothuis (Sound Design).
Credit: Johan Persson/
Matthew Bourne’s Sleeping Beauty plays Newcastle Theatre Royal Tue 18 – Sat 29 Apr 2023. Tickets can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.
ALLY PALLY THROWS ITS 150TH BIRTHDAY PARTY ON 27 MAY – AND EVERYONE IS INVITED!
To celebrate 150 years since London’s iconic Alexandra Palace first opened its doors back on 24 May 1873, Ally Pally will be hosting a massive free party, for all ages, featuring family entertainment, music and cinema, amongst a host of other activities.
Taking place on Saturday 27 May, the Birthday Party will offer an amazing opportunity to explore all corners of the Palace and the award-winning 196 acre Park. Celebrate the birthday of this cultural landmark, as we swing towards summer, in style.
Amongst the activities for people to enjoy are live music, DJs, cinema screenings, silent discos, a family rave, tours of the Palace’s Theatre and former BBC studios, a farmer’s market, makers market, ice skating sessions, plus street food, rum bar and beer garden. There will also be an array of workshops and entertainment for families and young people, hosted by the Palace’s very own Creative Learning team and partners.
The Party runs from midday until 9pm. Entry is free, with a limited number of paid-for activities that require booking.
Emma Dagnes, Alexandra Park and Palace Charitable Trust CEO, says:‘It is amazing to be celebrating Ally Pally turning 150 years old. We’ve been here since before the light bulb was invented – and we’ve certainly packed a lot into that time. The Birthday Party is a chance for people to come together, discover all that the Park and Palace has to offer and, more than anything else, enjoy themselves! We were built to provide entertainment and leisure to the masses, and over a century and a half later we are still doing just that, plus plenty, plenty more.’
In its 150 years, Alexandra Palace has hosted seminal moments of entertainment history, from being the birthplace of the world’s first regular television station to major live music performances. It was built as ‘The People’s Palace’, with the purpose of bringing leisure and entertainment to the masses – a mission that continues to this day, with over five million people expected to visit the venue this year, and more than 250 events and activities on offer. Run by a charity, the Palace also continues to play a vital role in supporting the local community through its Creative Learning programme. The Birthday Party kickstarts the 150th anniversary year which will see a series of celebratory events for visitors to enjoy, as well as Alexandra Palace’s ever-growing programme of live music, theatre and sport.
DEM Productions are delighted to announce that the musical adaptation of PIGS MIGHT FLY from Michael Morpurgo’s Mudpuddle Farm with book, music & lyrics by Caroline Wigmore and Jen Green will embark on a UK Tour from 30 May 2023, directed by Kate Golledge.
Casting to be announced.
This bold and energetic new musical follows the air-raising adventures of Pintsize, the youngest and most daring piglet on Mudpuddle Farm. Pintsize loves nothing more than playing with his neighbour and best friend Diana the sheep, until one day Pintsize wakes up to discover a tall fence built between their two farms. Devastated by the loss of playtime with his best pal, Pintsize resolves that he will figure out how to fly over it instead.
Can his determination and ingenuity defy the laws of physics? Will crotchety Farmer Rafferty finally make peace with his neighbour, Farmer Brightwell? Can Albertine the clever goose keep Pintsize from hurting himself as he tries to fly?
Based on the book by Michael Morpurgo, PIGS MIGHT FLY brings the farmyard to life with catchy songs, puppetry, and plenty of frolicsome fun.
PIGS MIGHT FLY has choreography by Chris Whittaker (Lady Chatterley’s Lover, Gatsby) and set and costume design by Stewart J Charlesworth (From Here To Eternity, The Dark).
PIGS MIGHT FLY is produced by Deus Ex Machina Productions.
Instagram: @pigsmightflymusical
Facebook: @ pigsmightflymusical
Twitter: @PMF_Musical
Running Time: 50 minutes
Age Guidance: 3-11
LISTINGS INFORMATION
Weds 24 – Fri 26 May LONDON Theatre Peckham 020 7708 5401
Mark Goucher, Gavin Kalin and Matthew Gale present SHREK THE MUSICAL
AHEAD OF THEIR PERFORMANCE ON BBC ONE’S BIG NIGHT OF THE MUSICALS ON SATURDAY 25 MARCH, NEW IMAGES OF THE CAST OF SHREK THE MUSICAL’S UK AND IRELAND TOUR ARE RELEASED.
ANTONY LAWRENCE PLAYS SHREK, JOANNE CLIFTON PLAYS FIONA, JAMES GILLAN PLAYS LORD FAQUAAD AND BRANDON LEE SEARS PLAYS DONKEY IN THE BRAND-NEW TOURING PRODUCTION OF SHREK THE MUSICAL.
DIRECTED AND CHOREOGRAPHED BY NICK WINSTON AND CO-DIRECTED BY SAM HOLMES,THE SHREKTACKULAR PRODUCTION WILL PAINT THE TOWN GREEN THIS SUMMER, OPENING IN PLYMOUTH ON 21 JULY 2023 AND TOURING THROUGH TO APRIL 2024
Shrek-tastic images have been released today of some of the principal cast in character ahead of the upcoming Shrek The Musical UK and Ireland Tour. Previously announced by producers Mark Goucher, Gavin Kalin and Matthew Gale, the Shrektacular principal cast line-up includes Antony Lawrence (Shrek), Joanne Clifton (Princess Fiona), James Gillan (Lord Farquaad) and Brandon Lee Sears (Donkey) in the brand-new production of Shrek the Musical. Opening at Theatre Royal Plymouth on 21 July 2023, the smash hit musical will tour through to April 2024 to a total of 31 venues.
The cast of Shrek the Musical perform on BBC Big Night of the Musicals which airs on BBC One on Saturday 25th March at 7:50pm. The programme will also be broadcast on BBC Radio 2.
Antony Lawrence (Shrek) recently played Scar in The Lion King (International Tour) as well as performed in Mary Poppins (National Tour), Matilda the Musical (Cambridge Theatre/RSC) and We Will Rock You (International Arena Tour).
Best known for her time on the BBC’s Strictly Come Dancing, after winning the World Professional Showdance Champion and the European Professional Ballroom Championship, Joanne Clifton (Fiona) joined the iconic TV show as a professional dancer. During her time on the show she won the Christmas Special with McFly’s Harry Judd and went on to win the glitterball trophy as the 2016 champion with her partner Ore Oduba. On stage Joanne Clifton was most recently seen in Windfall (Southwark Playhouse) and The Addams Family (UK Tour).
(Photo by Jeff Spicer/Getty Images for The National Lottery)
Olivier Award-nominee James Gillan (Lord Farquaad) most recently created the role of Tray in Everybody’s talking About Jamie (Apollo Theatre, Shaftesbury Avenue) – a role he stayed with through the show’s entire West End run. He also performed in Everybody’s talking About Jamie at the Ahmanson Theatre in LA for its six-week run.
Brandon Lee Sears (Donkey) most recently played the role of Jimmy Early in Dreamgirls (UK tour). His previous theatre credits include the original West End productions of Be More Chill (Shaftesbury), Come From Away (Phoenix); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury); and On the Town (Regents Park).
(Photo by Jeff Spicer/Getty Images for The National Lottery)
From the producers of Hairspray and Priscilla Queen of the Desert, Shrek the Musical brings together a new creative team to re-image this award-winning Broadway and West End hit show for a new audience, featuring all the classic characters from the Oscar®-winning DreamWorks animated film and the iconic songs and story from David Lindsay-Abaire and Jeanine Tesori’s original musical.
(Photo by Jeff Spicer/Getty Images for The National Lottery)
Shrekthe Musical opens at Plymouth Theatre Royal on 21 July 2023 and then tours to Manchester, Dublin, Bristol, Southend, Carlisle, Aberdeen, Oxford, Wimbledon, Dartford, Northampton, Bradford, Woking, Eastbourne, Cardiff, York, Blackpool and in 2024: Glasgow Kings, Edinburgh Playhouse, Coventry Belgrade, Sunderland Empire, Liverpool Empire, Southampton Mayflower, Milton Keynes Theatres, Hull New, Cheltenham Everyman, Nottingham Playhouse, Norwich Theatre Royal, Grand Opera House Belfast, The Alexandra Theatre, Birmingham and The Millenium Forum, Derry. For full listings, please see the notes to editors below.
(Photo by Jeff Spicer/Getty Images for The National Lottery)
The team joining forces to re-create the bright and beautiful world of Shrek the Musical includes acclaimed director and choreographer Nick Winston (Bonnie and Clyde, Arts Theatre; Beauty and the Beast, UK tour), co-director Sam Holmes (Club Tropicana the Musical), who returns to the swamp having played Lord Farquaad in the previous UK tour. He is joined by Set and costume design will be by Philip Witcomb (Bonnie & Clyde (Garrick Theatre); Jack & The Beanstalk, Everyman Theatre Cheltenham). Further creative team includes Ben Cracknel (Lighting), Jim Arnold (Casting) and Ben Harrison (Sound).
Based on the Oscar winning DreamWorks film, the Broadway and West End smash hit Shrek the Musical is a fun filled and hilarious musical comedy with a cast of vibrant characters and a ‘shrektackular’ score.
(Photo by Kate Green/Getty Images for The National Lottery)
Featuring the beloved Princess Fiona, the evil Lord Farquaad, a host of magical fairy-tale characters and fabulous songs including the smash hit ‘I’m a Believer’, Shrek the Musical is a ‘musical extravaganza for big kids and little kids alike’.
(Photo by Jeff Spicer/Getty Images for The National Lottery)
Come join the adventure as Shrek and Donkey endeavour to complete their quest, finding unexpected friendships and surprising romance along the way.
Bill Kenwright presents The Classic Thriller Theatre Company A Murder Has Been Arranged by Emlyn Williams.
The show is set in the 1930’s, a ghost story told whilst on stage of St James theatre. Charles Jasper (Gary Webster) who is about to inherit an exceptional amount of money being two million dollars. He decides to throw a dinner party for his 40th birthday inviting his nearest and dearest, this including his wife Beatrice (Hannah Arterton) who’s a lot younger than himself and her mother Mrs Arthur (Marti Webb) who comes across as if she’s all about the money and likes to be heard. His secretary Miss Groze (Louisa Clein) comes across on edge, the whole thing is spooking her and she is sensing weird creepy ghostly goings-ons. Joining the party also is Charle’s old loyal maid Mrs Wragg (Deena Payne) She plays a character very on point know what her job entails and believes she is seeing ghosts around the theatre, this offering slight humour throughout the show. Also, there’s Jimmy North (Leon Ockenden) who gate-crashes the party at the beginning and it seems he has an eye for Charles Wife Beatrice.
Charles Jasper is an eccentric author and also enjoys the paranormal, so where else better to celebrate than in a old haunted theatre, where mysterious deaths have happened in the past! However, if anything were to happen to Charles his fortune will then fall into the hands of nephew Maurice Mullins (Ben Nealon) a missing relative, that just happens to turn up on the evening of his birthday. Funny enough this begins to take a turn for the worst on his arrival. He discloses that he is a novelist and as the evening unveils, he later involves his uncle into writing down words for a chapter of a novel for his is new book, although all is not as it seems but in a fact a suicide note, now written by his very own hands. With many twists and turns, A Murder Has Been Arranged offers you a classic thriller that will keep you engaged throughout.
I loved the opening scene of a piano being played beautifully offering a calm setting with candlelight only for an outrageous scream to take hold, shocking the whole audience and drawing them in cleverly done certainly made me jump.
I did enjoy the production although I did find the first half a little slow on the uptake with the second picking up the pace extremely quick, drawing in your observation. Despite this an entertaining, amusing evening was had at the theatre.
I also feel that the theatre which is gorgeous with much character and its staff need a mention, I can’t emphasis just how wonderful the staff are changing my seats at the last minute and finding two end seats for me and my partner too be more comfortable whilst on crutches. It wasn’t a problem at all and they handled it with care and a smile on their faces making me feel totally at ease! This making my visit an even better relaxing experience! Thank you
