JASON MANFORD & ASHLEY BANJO

TO SOAR OVER THE RAINBOW AND INTO

THE ICONIC LONDON PALLADIUM THIS SUMMER

Comedian, Presenter & Actor

JASON MANFORD to play The Cowardly Lion

Diversity star ASHLEY BANJO

to make West End musical debut as The Tin Man

Further casting to be announced – Performances begin

Friday 23 June 2023

www.wizardofozmusical.com

London, Thursday 23 February: Michael Harrison and the Really Useful Group are thrilled to announce that Jason Manford and Ashley Banjo will star in the The Wizard of Oz, the musical based on the iconic story by L. Frank Baum, which plays a strictly limited season at the world famous London Palladium this summer.

Michael Harrison, the producer of the smash-hit Joseph and the Amazing Technicolor Dreamcoat, presents Curve’s brand-new production of one of the world’s most beloved musicals, beginning performances on Friday 23 June (Press Night: Thursday 6 July).

Jason Manford, who is a multi-award-winning stand-up Comedian, Actor, Singer, Writer, Radio and Television Presenter, will play The Cowardly Lion.

Well known for his critically acclaimed live stand-up tours, Jason also has musical theatre credits that include Signor Pirelli in the Olivier-winning production of Sweeney Todd alongside Imelda Staunton & Michael Ball in 2012, Leo Bloom in Mel Brooks’ The Producers across a UK-wide tour and as Caractacus Potts in the family musical, Chitty Chitty Bang Bang.  After a short run as Nathan Detroit in Guys and Dolls at the Royal Albert Hall, Jason also starred as Detective Frank Cioffi in the Kander & Ebb musical, Curtains. 

Jason has been the regular host of the Olivier Awards for the past five years as well hosting several shows on tv from daytime quiz show Unbeatable to Sunday Night at The Palladium and The Royal Variety Performance. He can currently be seen on ITV1 every Saturday night judging on the new series of Starstruck. Later this month, he will host BBC One’s primetime show Big Night of Musicals for the second time.

Ashley Banjo is the founder, creative director and choreographer for the dance group Diversity who found fame in 2009 after winning Britain’s Got Talent. He will make his West End musical debut in The Wizard of Oz, in the role of The Tin Man.

The BAFTA award-winning group Diversity has achieved what no other dance group has, having sold well over half a million tickets across their 10 sell-out UK tours. Diversity have numerous television performances to their name and won a BAFTA award for the Must See Moment of 2020 for their iconic performance on Britain’s Got Talent. Ashley was recently awarded an MBE in the New Years Honours 2022 for services to dance and last year Ashley and Diversity were privileged to perform for Her Majesty Queen Elizabeth at her Platinum Jubilee concert.

As well as his own tours with Diversity, on the stage, Ashley starred in the Olivier Award-winning production of Dick Whittington and went on to headline a further five productions, showcasing not only his dance but also his acting and comedic talent. Aside from his on stage achievements Ashley is well known for his television roles; he has presented, judged and produced many award-winning programmes including Britain’s Got Talent, Dancing On Ice and the Emmy and BAFTA award-winning The Real Full Monty.

Further star casting is to be announced.

Join Dorothy and Toto on an unforgettable adventure as they are swept over the rainbow to the merry old land of Oz. 

Featuring the iconic original score from the Oscar-winning MGM film, including Over The Rainbow, Follow The Yellow Brick Road and We’re Off To See the Wizard – with additional songs from Andrew Lloyd Webber and Tim Rice – this spectacular production will be a magical experience for all the family.

Directed by Nikolai Foster (Billy Elliot The Musical, A Chorus Line) The Wizard of Oz has choreography by Shay Barclay, Set Designer is Colin Richmond, Projection Designer is Douglas O’Connell,Costume and Puppet Designer is Rachael Canning, Lighting Designer is Ben Cracknell, Sound Designer is Adam Fisher, Creative Consultant is Mark Kaufman, Musical Director and Musical Supervisor is George Dyer, Casting Director is Kay Magson CDG, Props Supervisor is Marcus Hall Props and Wigs, Hair and Makeup Designer is Elizabeth Marini.

Follow the yellow brick road next summer to The London Palladium!

Michael Harrison, Gavin Kalin with David Mirvish, Crossroads Live, Tulchin Bartner Productions, Rupert Gavin & Mallory Factor by arrangement with The Really Useful Group Limited, present the Curve production of The Wizard of Oz.

Lyceum, Sheffield – until Saturday 4th March 2023

Reviewed by Alison Beaumont

4****

Jersey Boys is a jukebox musical by Marshall Brickman and Rick Elice. The show documents the real life story of the creation, success and breakup of the 1960’s group The Four Seasons (Frankie Valli, Tommy DeVito, Bob Gaudio and Nick Massi), who later became Frankie Valli and The Four Seasons.

The show starts with a Rap to “Oh What a Night” which was very different and something I had never heard before.

The first act is fast paced with regards to telling the story of how the Four Seasons came to be but is quite slow with regards to engaging the audience. At times it was difficult to hear some of the dialect but I think this could have been down to microphone issues.

In my opinion the show comes to life when the Four Seasons donned on their red jackets and sang “Sherry” followed by “Big Girls Don’t Cry” and “Walk Like a Man” and then the show went from strength to strength and showed the actors enjoyment.

Frankie Valli the most well-known member of the band was played by Michael Pickering and boy what a range of vocals he has. The high-pitched recognisable tone was amazing. I particularly liked the song “My Eyes Adored You” which started with Frankie and saw Mary Delgado (Frankie’s wife played by Emma Crossley) singing a little before being joined by the rest of the Four Seasons.

Bob Gaudio played by Blair Gibson who writes may of the songs for the band covered the song “December 1963 (Oh What a Night)” exceptionally well.

Tommy Devito (Dalton Wood) and Nick Massi (Christopher Short) made up the rest of The Four Seasons group.

The second act was started by another musical rendition of “Oh What a Night”, definitely a song to get you in the mood.

I enjoyed “I Love you Baby” when the brass instruments were on a higher level on the stage.

This show for me was all about the songs and I could quite happily have listened to many more of their famous tracks. Overall, it is definitely worth seeing if only to be transported back in time.

@sohoplace – until 22 April 2023

Reviewed by Claire Roderick

4****

Robinson Jeffers’ intelligent adaptation of Euripides’ tragedy is only 90 minutes long, but never feels rushed in Dominic Cooke’s hands. The production often feels calmer and more meditative than longer versions of the play, with Ben Daniels’ prowling silently around the stage as a symbol of the constant threat to the women from the men of Greece.

The production begins traditionally, with Medea’s nurse (the wonderful Marion Bailey) relating what has happened to cause her mistress such sorrow. After falling in love with the adventurous young Jason and using her knowledge and skills to help him acquire the golden fleece, Medea murdered her brother and manipulated the daughters of Jason’s rival into patricide. Living as exiles in Corinth, the couple have two sons but Jason, seeking power and security, leaves “barbarian” Medea and marries the golden haired daughter of Creon, king of Corinth – “a true Greek marriage”.

The women of Corinth (Jo MInnes, Amy Trigg and Penny Layden – all excellent), watching on helplessly, rise from the audience to speak, surprising those around them and adding to the voyeuristic feel of this stylish production set in the round. Vicki Mortimer’s stark but arresting set consists of curved steps rising from below the stage to an oval yard. Medea doesn’t set foot outside this space, while Ben Daniels moves slowly around the outer limits of the stage. Neil Austin’s lighting design and Gareth Fry’s sound design punctuate the invasion of Medea’s space and mind by each male character, and the screams and sirens offstage as Medea’s vengeful plot is carried out heighten the tension and sense of foreboding as we wait for her final act.

Sophie Okonedo is devasting in the title role. Her Medea is heart-breaking as she begs for time from the men who have wronged her, and when wavering between fury and horror at what she has chosen to do. Once decided, Okonedo’s Medea has an otherworldly calm appearance – as the women talk around her, she stands still and silent. It is impossible to take your eyes off her, and then you notice her eyes – darting about with a wild passion as she listens and observes the people watching and judging her. Okonedo’s Medea is so quick-witted, fierce and funny that it is hard to fathom what she saw in Ben Daniel’s posturing Jason as he mansplains why none of this is his fault. Daniels portrays all the male roles expertly, with slight costume tweaks and a change of accent. His entitled Jason is a wonderfully judged portrayal of the weaknesses of a “strong” man, and he is icy cold as the gruff patrician Creon. The lightness he brings to the stage as the foppish Aegeus is a welcome break from the mounting pressure, until he sows the seeds of her final revenge. None of the speaking characters he portrays are quite as intimidating or as full of the potential for violence as his ever-circling presence onstage – menacingly hypnotic.

The murders take place offstage, with the deaths of Jason’s new bride and her father described in satisfyingly bloody detail, while the sound of Medea killing her sons below the stage will haunt you. There is no escape for Medea on a chariot from the gods here – instead the play ends with her calmly standing tall watching Jason brought low literally and figuratively as he lies weeping (for his sons or his loss of status?) on the wet floor. This passionate and stylish production is another triumph for @sohoplace

CAST AND CREATIVES ANNOUNCED FOR UK TOUR OF

NOËL COWARD’S BRIEF ENCOUNTER,

ADAPTED FOR THE STAGE BY EMMA RICE

A CO-PRODUCTION BETWEEN NEW WOLSEY THEATRE AND WILTSHIRE CREATIVE

New Wolsey Theatre and Wiltshire Creative,in association with Yvonne Arnaud Theatre, today announce the full cast and creative team for Noël Coward’s Brief Encounter, adapted for the stage by Emma Rice. Chief Executive/Artistic Director of New Wolsey Theatre Douglas Rintoul directs Nicola Bryan (Myrtle Bagot), Hanora Kamen (Laura Jesson), Jammy Kasongo (Dr Alec Harvey), Samuel Morgan-Grahame (Albert Godby), Tom Self (Fred Jesson/Stephen Lynn), Lucy Elizabeth Thorburn (Beryl), Luke Thornton (Stanley) andChioma Uma (Dolly Messiter).

Brief Encounter opens on 4 April at Salisbury Playhouse, with previews from 31 March, and runs until 22 April, before touring to New Wolsey Theatre, Yvonne Arnaud Theatre, Theatre Royal Bury St Edmunds and finally Northern Stage. The production features lighting design by Jessie Addinall, sound design by James Cook, set and costume design by Jess Curtis, video design by Daniel Denton, casting by Debbie O’Brien, wardrobe supervision by Margaret Lock and choreography by Alexzandra Sarmiento, with music direction, orchestration and additional music composed by Tom Self.

Douglas Rintoul said today: “I’ve been itching to direct Emma’s adaptation since I saw the original production. It’s a hugely playful and spirited take on the most romantic love story ever told – Emma’s work is thrilling Event Theatre for today’s audiences, so it was a perfect choice for my first big show at the New Wolsey Theatre. I’m thrilled to be working with Wiltshire Creative again and I’m proud that this Ipswich made production will be seen by audiences across the UK with our brilliant partners.”

A New Wolsey Theatre and Wiltshire Creative Production

in association with Yvonne Arnaud Theatre

BRIEF ENCOUNTER

By Noël Coward

Adapted for the stage by Emma Rice

Cast: Nicola Bryan (Myrtle Bagot), Hanora Kamen (Laura Jesson), Jammy Kasongo (Dr Alec Harvey), Samuel Morgan-Grahame (Albert Godby), Tom Self (Fred Jesson/Stephen Lynn), Lucy Elizabeth Thorburn (Beryl), Luke Thornton (Stanley) andChioma Uma (Dolly Messiter)

Lighting Design by Jessie Addinall; Sound Design by James Cook; Set/Costume Design by Jess Curtis; Video Design by Daniel Denton; Wardrobe Supervision by Margaret Lock;

Casting by Debbie O’Brien; Directed by Douglas Rintoul; Choreography by Alexzandra Sarmiento;

with music direction, orchestration and additional music composed by Tom Self.

Salisbury Playhouse: 31 March – 22 April

New Wolsey Theatre: 26 April – 13 May

Yvonne Arnaud Theatre:  16 May – 20 May

Theatre Royal Bury St Edmunds: 23 May – 27 May

Northern Stage: 31 May – 3 June

A dazzling adaptation of the greatest love story of all time.

When a chance encounter in a train station tearoom kindles a timid, yet passionate, love affair between a married doctor and a suburban housewife, the two are forced to question if it’s worth risking everything for the sake of love. Tender and joyous, this show has all the drama of the original masterpiece with added live music, comedy and spectacle, taking you on a rollercoaster ride through all of love’s beautiful complications.

Brief Encounter is adapted for the stage by award-winning theatre-maker Emma Rice, directed by the New Wolsey Theatre’s new Chief Executive/Artistic Director Douglas Rintoul.

Emma Rice is Artistic Director of Wise Children. She adapted and directed the company’s Bagdad Cafe (The Old Vic), Angela Carter’s Wise Children (The Old Vic/UK tour) and Enid Blyton’s Malory Towers (Bristol Passenger Shed/UK tour). For the ENO she directed Orpheus in the Underworld. As Artistic Director of Shakespeare’s Globe (2016-18), she directed Romantics Anonymous, Twelfth Night, A Midsummer Night’s Dream and The Little Matchgirl (and Other Happier Tales). For the previous 20 years, she worked for Kneehigh as an actor, director and Artistic Director. Her productions for Kneehigh include The Flying Lovers of Vitebsk, Tristan and Yseult, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes, The Wooden Frock, The Bacchae, Cymbeline (in association with RSC), A Matter of Life and Death (in association with National Theatre), Rapunzel (in association with Battersea Arts Centre), Brief Encounter (in association with David Pugh and Dafydd Rogers Productions), Don John (in association with the RSC and Bristol Old Vic), Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages), and Steptoe and Son. Other work includes the West End production of The Umbrellas of Cherbourg, Oedipussy (Spymonkey), The Empress (RSC), An Audience with Meow Meow (Berkeley Repertory Theatre) and Wuthering Heights (National Theatre). In 2019 Rice received the UK Theatre Award for Outstanding Contribution to British Theatre.

Nicola Bryan plays Myrtle Bagot. Her theatre credits include The Osmonds, Our House, Tom The Musical, Sister Act, David Essex’s All The Fun Of The Fair, The Full Monty, Me and The Girls (UK tours), Who To Follow, Our Blue Heaven, Sweet Charity, Dick Whittington, Beauty and The Beast (New Wolsey), Mamma Mia – Movies In The Park (Abu Dhabi), Cinderella (Arts Depot, London), Sweet Charity (Watermill Theatre), Dreamboats and Petticoats (Playhouse Theatre), Fame (Edinburgh Playhouse and UK tour), Beauty and The Beast (Coventry Belgrade), Venetian Masquerade (Millennium Point), Return To The Forbidden Planet (Theatre Royal, Lincoln), Jack and The Beanstalk, West End Girls (Jersey Opera House) and KOBA – Man of Steel (Alexandra Theatre, Birmingham).

Hanora Kamen plays Laura Jesson. Her theatre credits include A Gig for Ghosts (Soho Theatre with 45 North), The Ballad of Maria Marten (Eastern Angles), Five Children and It (Theatre Royal Bath), Winners, Riot, 1972: The Future of Sex, Education,  Education, Education, The Wind in the Willows, Eloise and the Curse of the Golden Whisk, Edgar and      the Land of the Lost (The Wardrobe Ensemble), Pippi Longstocking (Royal and Derngate), Rebellion Playground, The Snow Beast, Great Train Robbery, Nel, A Fool’s Proof (Scratchworks Theatre Company), and Chloe and the Colour Catcher (Theatre Ad Infinitum/Bristol Old Vic). Her television credits include The Undeclared War and Breadline.

Jammy Kasongo plays Dr Alec Harvey. His theatre credits include Cassette (Parkhouse Pictures), Tina – The Tina Turner Musical, Beautiful – The Carole King Musical (Aldwych Theatre), Hair (The Vaults), Grand Hotel (Southwark Playhouse) and Superior Donuts (Capitol Stage Sacramento CA).

Samuel Morgan-Grahame plays Albert Godby. His theatre credits include 101 Dalmatians (Regent’s Park Open Air Theatre), Amelie (West End/UK tour/The Watermill Theatre), Sweet Charity (The Watermill Theatre), Sister Act (UK tour), Titus Andronicus, The Taming of the Shrew (New Wimbledon Theatre), Grim (Charing Cross Theatre), Just So (Bridewell Theatre), Cool Rider Live (Lyric Theatre), and Island Song (St James Theatre).

Tom Self plays Fred Jesson/Stephen Lynn. He is an actor and Musical Director. His acting theatre credits include The Secret Diary of Adrian Mole Aged 13 ¾, Robin Hood, Priscilla Queen of the Desert (Queen’s Theatre, Hornchurch), Ordinary People (Parkwood Theatres), Camelot, Sweet Charity (The Watermill Theatre), Barefoot in the Park (Pitlochry Festival Theatre), Noël Coward’s: Me and The Girls (UK tour), Salad Days (Theatre Royal Bath/Union Theatre). As Musical Director, his credits include The Hired Man (Hull Truck, Oldham Coliseum and Queen’s Theatre Hornchurch), Murder for Two (The Watermill Theatre/UK tour/The Other Palace), Priscilla Queen of the Desert (Queen’s Theatre, Hornchurch), Salad Days (Theatre Royal Bath/Union Theatre), and Aladdin, Peter Pan, Beauty and The Beast (Malvern Theatre). 

Lucy Elizabeth Thorburn plays Beryl. Her theatre credits include Jack and the Beanstalk (Corn Exchange Newbury), Kinky Boots (New Wolsey Theatre/Queen’s Theatre Hornchurch), SMOOSH! (Paraorchestra) and Jekyll and Hyde (National Theatre).

Luke Thornton plays Stanley. His theatre credits include Goldilocks and the Three Bears (New Wolsey Theatre), A Midsummer Night’s Dream (Scoot Theatre/UK tour), The Secret Diary of Adrian Mole Aged 13¾: The Musical, Love Letters (Queen’s Theatre, Hornchurch), Weapons of the Weak (The Other Palace), The Crucible (Pitlochry Festival Theatre), Midnight (Union Theatre), Summer Holiday (Octagon Theatre Bolton/Pitlochry Festival Theatre), Beauty and the Beast, The Panto That Nearly Never Was, Jack and the Beanstalk, Dick Whittington, Sleeping Beauty, Aladdin (Theatr Clwyd), A Night at the Musicals (Congress Theatre), Footloose (UK tour), Dusty (Charing Cross Theatre), Chitty Chitty Bang Bang (London Palladium/Sunderland Empire) and The Cunning Little Vixen (Queen Elizabeth Hall).

Chioma Uma plays Dolly Messiter. Her Theatre credits include Cinderella the Rockin’ Panto! (New Wolsey Theatre/ArtsDepot), Kiss Me Kate, Camelot, Othello (The Watermill Theatre), Doctor Who: Time Fracture (Davies Mewes), Dirty Dancing (Secret Cinema), Robin Hood and The Panto That Nearly Never Was (Theatr Clwyd).

Douglas Rintoul directs. He is an award-winning theatre-maker and cultural leader. He was born in Suffolk, grew up in Essex, read Drama and Theatre Arts at The University of Birmingham and was awarded a bursary on the Regional Theatre Young Director Scheme to Salisbury Playhouse where he trained as a director. He is the Chief Executive/Artistic Director of the New Wolsey Theatre, was the Artistic Director of Queen’s Theatre Hornchurch (2015 – 2022), founder of the national touring theatre company Transport (2010 – 2017), and an associate of Complicité (2004 – 2010).

LISTINGS

BRIEF ENCOUNTER

Salisbury Playhouse, Malthouse Lane, Salisbury, SP2 7RA

31 March – 22 April

Box office: 01722 320 333 / https://www.wiltshirecreative.co.uk/whats-on/main-house/brief-encounter/

New Wolsey Theatre, Civic Drive, Ipswich IP1 2AS

26 April – 13 May

Box Office: 01473 295900 / https://www.wolseytheatre.co.uk/shows/brief-encounter/

Yvonne Arnaud Theatre, Millbrook, Guildford GU1 3UX

16 May – 20 May

Box office: 01483 440000 / https://www.yvonne-arnaud.co.uk/whats-on/brief-encounter/ 

Theatre Royal Bury St Edmunds, Westgate Street, Bury St Edmunds IP33 1QR

23 May – 27 May

Box Office: 01284 769505 / https://theatreroyal.org/shows/noel-cowards-brief-encounter/

Northern Stage, Barras Bridge, Newcastle upon Tyne NE1 7RH

31 May – 3 June 

Box Office: 0191 230 5151 / https://northernstage.co.uk/whats-on/brief-encounter/

Olivier Awards with Mastercard 2023 announce recipients of Special Award and Lifetime Achievement Award

Two individuals have been honoured in the ‘Special Awards’ category of the Olivier Awards with Mastercard 2023, recognising their outstanding contributions to the theatre industry.

Dame Arlene Phillips has been awarded this year’s ‘Special Award’.

Arlene is a world-renowned choreographer and theatre director, honoured as a DBE for her services to dance and charity for over 45 years. Previously nominated for two Olivier Awards in the ‘Best Theatre Choreographer’ category, she is recognised for her considerable involvement with shows such asStarlight Express, Grease and Saturday Night Fever.

Arlene has also choreographed for high profile music videos (Whitney Houston, Elton John, Queen) and films (Annie, Ridley Scott’s Legend, Monty Python). She has been widely celebrated for her work on television, including her time as a judge on talent competitions Strictly Come Dancing, and So You Think You Can Dance, and as an events choreographer (BRIT Awards, The Royal Variety Show, Children in Need).

Sir Derek Jacobi receives this year’s ‘Lifetime Achievement Award’ for his remarkable 60-year career on stage and screen.

Derek has garnered critical acclaim over his distinguished career and been the recipient of numerous accolades, including two Olivier Awards (Cyrano de Bergerac and Twelfth Night). He is also one of the founding members of the National Theatre, enlisted by Laurence Olivier himself.In 1994, Derek was awarded a knighthood by Queen Elizabeth II for his services to theatre.

His lengthy career has known no bounds, from his famous affiliation with Shakespeare both in film and theatre (Hamlet, Romeo And Juliet, King Lear), to his notable roles on the small screen (Last Tango In Halifax, The Crown, Vicious). His other noteworthy cinema appearances include Gladiator, The Kings Speech and Murder On The Orient Express.

Claire Walker and Hannah Essex, co-CEOs of Society of London Theatre said:

“We would like to offer an enormous congratulations to the two recipients of the Special Awards – Dame Arlene Phillips, for her inspiring work in dance and choreography, and Sir Derek Jacobi, for his incredible, life-long service to the theatre as an actor.”

“This year’s honourees have inspired generations with their work, and it is a privilege to be able to publicly recognise them in this year’s awards.”

The Olivier Awards will take place on Sunday 2 April at the Royal Albert Hall, hosted by Hannah Waddingham.

The full list of nominees will be announced on February 28 at 2PM. Find the nomination announcement here: www.youtube.com/officiallondontheatre

#OlivierAwards

Network Theatre, London – until 24th February 2023

Reviewed by Mitzi Luck

4****

The Wedding Speech written by Cheryl May Coward-Walker is a powerful play that takes its audience on a journey that feels at times humorous, and at other times painful. The writer gets the balance between the two so relatable to real life, as the character teeters between finding forgiveness and joy from within a broken relationship with her mother and self-destruction and anger. Rosemary is played by Princess Donnough and is our sole performer. We see everything through her eyes and her reactions to speaking to the guests through the door.

We are taken into Rosemary’s confidences in the middle of her mother’s wedding. She has just nipped into the toilets to make the final preparations to her speech for her mother’s wedding and she speaks directly to us. She lets us know pretty quickly that things are not at all straightforward between the pair, but she is carefully light-hearted to begin with. What should she say at a happy occasion that can carefully unmask the unhappiness within their bond? Rosemary is dynamic, witty and fun – she is just the type of person you want to get to know.

The play twists and turns as we see just how damaged the relationship with her mother is and exactly how far Rosemary feels pushed into acting in a way that she doesn’t fully understand. It is seeing Rosemary in her most intimate moments, away from the guests, fully aware that she doesn’t know if she’s making the right decisions that feels the most powerful to me. Princess Donnough’s acting is so engaging and makes it is hard not to want to offer comfort to the character as she struggles with her own inner demons alone.

This play leaves the audience thoughtful about the issues raised. It is so exposing of many issues that are often hidden within families that it feels raw and emotional, but there is comfort in the relatability and the friendship created between Rosemary, played by Princess Donnough, and the audience. I highly recommend seeing this play while you have the chance.

Nottingham Theatre Royal – until Saturday 25 February 2023

Reviewed by Louise Ford

4****

“Your honor , with all due respect: if you are going to try my case for me, I wish you wouldn’t lose it.”

Who doesn’t love a courtroom drama? The little “man” against the establishment.

The Verdict was written by Barry Reed and was made into an award winning film in 1982, starring Paul Newman, it has been brought to theatres in the UK by Middle Ground Theatre Company Ltd. The UK tour started in Cardiff and ends in Oxford in July 2023. This production has been adapted for the stage by Margaret May Hobbs and is directed by Michael Lunney.

Even before the warning bell rings we see Frank (Jason Merrells) in his chaotic office getting ready for another day. He’s busy brushing his teeth, smelling his shirt, moving stacks of files around his cluttered desk and assessing how much whisky there is left in the bottle. This all sets the scene for the life and career of a man who’s washed up and is reduced to ambulance-chasing. He’s tired and disillusioned and it shows in his crumpled suit and battered brief case. His latest case, which has been running for sometime, is a medical malpractice suit against one of Boston’s largest Catholic hospitals. The case of Debra Ann Doherty, a young mother left in a vegetative state after a mishandled delivery of  her third child.

Mrs McDaid (Sarah Shelton) puts her faith in Frank and is dismayed to hear that he has rejected the Bishop’s offer (Richard Walsh) of an out of court settlement. Frank’s share of the settlement would have sorted out his back rent and the IRS and Debra’s medical bills would be covered. So what is Frank thinking?

After visiting Debra in hospital , Frank realises that he has to do the right thing. So he opts to go to trail.

The set is a mishmash of Frank’s office, snowy Boston, Meehan’s bar and transforms to the court room and the lawyer’s office. The audience is the hospital and the jury. It’s a clever way of incorporating several different scenes without disrupting the flow of the story.

Jason Merrells plays Frank is a calm and understated way his accent is faultless throughout. His rapport with Moe Katz ( Vincent Pirillo) is touching. Moe is his mentor and staunch ally, not afraid to say it how it is.

Whilst the cast is predominately male there are strong performances from the women, particularly Teresa Jennings (as Mary Rooney) and Holly Jackson Walters (as Natalie Stampanatto). One a buttoned up, loyal nurse the other a nervous, hand-wringing witness.

As to be expected there are many twists and turns, some of which drew gasps from the audience who were all clearly invested and absorbed by the story as it unfolded .

All in all a good solid production with some twists and turns.

Richmond Theatre, Richmond – until 25th February 2023

Reviewed by Bobbi Fenton

5*****

Blood Brothers is one of the best pieces of theatre I have ever seen, and I wish I could give it six stars. Set in the 1960’s, we see single mother Mrs Johnstone (Niki Colwell Evans) struggling to afford the children she already has, and with a pair of twins on the way. She makes a deal with the rich Mrs Lyons (Paula Tappenden) who is unable to have children, to give one of the babies to her, even swearing on the Bible to keep her word. However, after this exchange and the return of Mr Lyons (Tim Churchill), Mrs Lyons becomes worried about ‘her son’ finding out he is a twin, and fires Mrs Johnstone as her cleaner. Throughout this play we watch the two boys become friends, and make a pact to be blood brothers, unaware of their actual familial link. We watch as they both grow up in complete polar opposite homes, with Mikey (Sean Jones) experiencing life in a poor household, whereas Eddie (Joe Sleight) grows up with rich parents, experiencing little difficulty. Their friendship even survives both families moving far away. The difference in circumstances between them is multiplied as the boys grow older. Mikey has to get a job and is barely getting by, after marrying and having a baby with Linda (Olivia Sloyan) who was the third party in their friendship group as children, as well as getting in trouble with the police after losing his job. Eddie, however, gets to go to university and enjoy being young while not worrying about money. This builds the tension between the characters, as we see Mikey eventually snap, and lash out at Eddie over the privilege that he has had for his whole life. It is a very interesting parallel as the two are twins, but they don’t know it, and yet there are still similarities between them despite polar opposite upbringings. By the end of the play, we watch this tension all unfold in an incredibly dramatic scene, which leaves the audience wondering whether it would have been the same outcome if Mrs Lyons had chosen the other baby.

The singing that is performed by the whole cast in this play is absolutely beautiful, that will give you goosebumps at times. I especially enjoyed the repeated song ‘Marilyn Monroe’ by Mrs Johnstone, not to mention the absolutely wonderful song ‘Shoes upon the Table’, which is also repeated a few times, by the Narrator (Richard Munday).

This show is extraordinary, with an ending that will leave you speechless. Make sure not to miss it.

RICHMOND THEATRE SEARCHING FOR REAL-LIFE COUPLE NAMED ‘CHARLOTTE AND THEODORE’

To celebrate Ryan Craig’s new play Charlotte and Theodore coming to Richmond Theatre from 21-25 March, the theatre are looking to treat a real-life couple with those names to win a fantastic exclusive night out – and see their namesakes live on stage, played by TV’s Kris Marshall (Death in Paradise, My Family) and Eve Ponsonby (Harry Potter and the Cursed Child). 

The couple will be treated to a pair of tickets to see the show on a date of their choice alongside access to the exclusive Ambassador Lounge at the theatre, where they will be treated to the Ultimate Ambassador Lounge Experience including half a bottle of the bubbliest champagne and a luxury box of chocolates to enjoy on their date night.

Couples eligible (including those with variations on the two names e.g. Teddy, Thea, Lottie, Theodosia, Charles) should email [email protected] to claim their prize.

Richmond Theatre are also offering free tickets to the show to anyone with the name ‘Charlotte’ or ‘Theodore’ (or variations of those names). The name-bearer will be entitled to a pair of tickets for a date of their choosing – but be fast as there are only a limited number of tickets available. To claim, email [email protected]

Kris Marshall stars as Teddy, a charming, idealistic university professor at the top of his game, in Ryan Craig’s witty and challenging new play. Together with his wife and colleague Lotty, Teddy is determined to make a difference in their academic world and keep the spark in their relationship alive. This funny, timely and thought provoking new play will have you talking long after the curtain comes down.

Brighton Theatre Royal – until 25 February 2023

Reviewed by Sue Bradley

4****

Noughts And Crosses, Malorie Blackman’s hugely successful novel for young adults, has been adapted for the stage by Sabrina Mahfouz.

Set in a dystopian version of Britain, with a have/have-not split society, one faction is privileged and wealthy, the other is resentful and down-trodden. There might be a temptation to think this will simply be a story about class or racism but this production wrong-foots us from the beginning and the actors, playing against racial stereotyping, quickly disabuse us of simple analyses.

This is more a version of the star-crossed lovers theme we have seen throughout literary history. Young people experiencing love, perhaps for the first time, against a backdrop of a world that presents enormous challenges to that love. There is much that is tragic in this particular story but it is not just a re-tread of Romeo And Juliet.

The two young lovers, Sephy and Callum, played by Effie Ansah (The Maladies, Almeida Theatre) and James Arden in their first leading roles are engagingly adolescent – full of life, love and confusion and there is much to sympathise with as they negotiate their relationships with their respective families and each other.

Because this is conceived as a young adult story, rather than a story for the older and perhaps more world-weary, some of the plot devices are a bit simplistic. But it should taken as a testimony to the story-telling that the large number of people in the audience of a similar age to our lovers were remarkably silent throughout the very long first act – no rustling of crisp packets, no idle whispering. The whole cast kept the story unfolding at just the right pace to keep younger minds fully engaged.

Many productions make a point of having the audience come in to see a lavish set. This show had their (apparently) minimalist set on show from the start but with an ingenious combination of segmentation of the set and clever lighting and projection, the set came alive and the changes really helped to create a different tone for each scene. A word of appreciation, also, for the sound design which is subtle and effective.

If you are an adult with some life experience behind you, you are unlikely to see something you have never seen before in this play, but it is not heavy-handed in its point-making and, for young adults there is much to relate to and perhaps to talk about afterwards. And, after all, that is what we all want great theatre to do; give us something significant to talk about.