Duke of York’s Theatre – until 10 February 2023

Reviewed by Claire Roderick

4****

The National Youth Theatre REP Company’s 10th anniversary production of Much Ado About Nothing, remixed by Debris Stevenson, moves the scheming, flirting and revenge to a reality TV show – Nothing Island. The Shakespearean villainy and prejudices sadly don’t seem out of place in the cutthroat world of wannabe celebrities, and Stevenson has a ball setting familiar characters in modern jobs. Screens above the stage show the contestants’ introductory videos – Benedick (Daniel Cawley) is a stand-up comic, Beatrice (Isolde Fenton) is a psychiatrist, Don Pedro (Jack D’Arcy) is a brand ambassador, while Leonarto (Jessica Enemokwu) is now the executive producer of the show, giving orders to runners and trying to ramp up the drama and viewing figures.

Instead of returning from war, the boys are first seen returning from the Messy Villa, with the girls anxiously waiting to see if they have brought new girls back with them. Benedick and Beatrice’s sparring becomes a rap battle, and their heartfelt pondering on love takes place in the diary room – of course. The setting and energy of the production is irresistible, with the impressive young cast nailing the humour and silliness. The show runners attempting to remain off camera are comedy gold.

The plotting against Hero is a means to win the prize money for Borachio (Dalumuzi Moyo) egged on by the crew. In a swift 90 minutes, director Josie Daxter doesn’t have the characters linger over the darker moments of the plot – Claudio’s denouncement of Hero is instead commented on by the TV show’s viewers on social media, with their messages popping up on the screens above the stage. These became like an extra character – at times funny, but often cruel and offensive – that was completely recognisable to the young audience, eliciting exasperated sighs and gasps. The effects of social media pile-ons is shown beautifully as Don John (Jasmine Ricketts) reads what the world thinks of her in the final scene where the islanders come back to reality.

The shallowness and masks worn on reality TV are portrayed wonderfully in this production, but the quiet intensity of Hero and Claudio (Thuliswa Magwaza and Jez Davess-Humphrey) when they are together, and the banter of Beatrice and Benedick ensure that these relationships appear sincere in this production and as solid as any Shakespearean romance can be. A fantastic celebratory show.

Richmond Theatre – until Saturday 11^th February 2023

Reviewed by Carly Burlinge  

4**** 

Richmond brings you When Darkness Falls, written by James Milton and Paul Morrisey also the director. The story is set on the Island of Guernsey regarding its History of folklore and the paranormal tales that have been told over the years. 

The play opens on a very stormy and chilling evening where John Blondel (Tony Timberlake) a local Historian who is preparing to do his first pod of all the supernatural sighting and happenings, of many ghost stories that have occurred over time and haunted the island.  He has a guest that has come forward offering him his insight about the unknown and to share his many stories as a writer and a paranormal researcher named The Speaker (Thomas Dennis). John being a sceptical historian with the views that Ghost are not real but the Speaker entices him with his five stories over the evening. Will they agree to disagree with such different opinions? or will John be pulled into the stories of the speaker, who as the night progresses become more believable by the minute. Turning John’s so-called confidence in his beliefs into a thought-provoking tension and bundle of nerves. 

As John and the Speaker interact within the four walls of his unorganised, cluttered office with the storm outside, that’s clearly raging, detectable to the audience’s ears. This adding to the atmosphere of spine-chilling superstition. 

The story further unfolds when elements begin to make themselves known with their spooky presence of lights going out, filing cabinets opening, lights flickering, books falling from shelves, with the occasional knock at the door, but is there anyone there!  

I enjoyed how both actors jumped into different characters whilst the Ghost stories were being told.  Although the stage appearance did not change, small props were used to enhance the tales whilst being told. All this gave it a slightly believable notion, which came across scary and eerie within the process. 

With thunder blazing through the audience as a very sharp and noisy effect, scaring and making us all jump in our seats.  

I really enjoyed some of the sound effects that were used throughout the show of pouring rain and also the terror of John’s heartbeat pound louder and louder. 

The sound effects and lighting were done extremely well throughout the production 

This show may not be to everyone’s taste, due to the theme, however I thoroughly enjoyed myself and would recommend a watch. 

I must say it was very funny and entertaining watching everyone in the audience jump a few times throughout, also producing nervous laughter within the rest of the audience. 

New Wimbledon Theatre – 9th February (and touring)

Reviewed by Antonia Hebbert

3***

This is a ballet of two contrasting halves. The first act has scenes of village life and lots of mimed storytelling. Beautiful, beloved-by-all peasant girl Giselle falls love with Albrecht, a nobleman who is in the village incognito in order to pursue her. She thinks he is going to marry her, but he is already engaged to Countess Bathilde, who turns up in the village on an aristocratic hunting party. When Albrecht’s deception is revealed by Giselle’s jealous local admirer Hilarion, Giselle goes mad, dances wildly and falls dead.

The very different second act is set around around Giselle’s moonlit grave. This is the haunt of the Wilis (‘veelees’) – the ghosts of young women who take revenge on men by dancing them to death. (Fleur Delacourt, the Veela in the Harry Potter books, must be a relation.) They emerge around Hilarion when he goes to visit Giselle’s grave, and frighten him away. Then a repentant Albrecht arrives, and Giselle’s spirit dances with him. But instead of dancing him to death, Giselle protects Albrecht from the Wilis and thereby saves her own soul. In the meantime, the Wilis chase down Hilarion and destroy him instead.

Katerina Petrova made a very delicate and graceful Giselle, who shone throughout her transformation from happy innocence, through grief to ghostliness. Tsetso Ivanov was not so convincing as Albrecht in the first act – Pierre Gaston’s dashing, athletic Hilarion looked a better bet – but was much stronger in the second, with fine, impressive jumps. Petrova and Ivanov together gave us some really beautiful moments in this second act. The village dancing in the first act had charm, but the corps de ballet came into its own as the Wilis – this was a big group of dancers, and lovely to watch. They were led by Francesca Busquet (Queen of the Wilis), Pauline Faget and Megan Reid (excellent). Giulia Visali didn’t get to dance as Countess Bathilde, but had imposing presence and carried the story forward well.

The scenery was traditional in style. Act 1 had village houses and a backdrop of scenic landscape. Act 2 suggested forest, with a backdrop of graves out of which we see a film of Wilis appearing. This seemed ludicrous to me, but my partner liked it as a linking device that helped explain the Wilis. It was great to have a sizeable orchestra for Adolphe Adam’s 1841 music for this ballet, but the sound seemed thin, perhaps because the orchestra pit is so deep at this grand Edwardian theatre.

Varna International Ballet is an offshoot of Varna State Opera, which was founded in 1947 in Varna, Bulgaria. It draws dancers from all over Europe, including the UK, and they’re on tour with Giselle, Swan Lake, Coppelia and The Nutcracker for several more weeks.

CASTING ANNOUNCEMENT

FAYE BROOKES TO JOIN

KEVIN CLIFTON

IN THE CAST OF

2023 UK TOUR

DIRECTED BY CRAIG REVEL HORWOOD

Dancing on Ice finalist and Coronation Street star, Faye Brookes, joins the cast of Baz Luhrmann’s Strictly Ballroom The Musical from 27 March, starring in the lead female role of Fran.* She will join Kevin Clifton, who stars as Scott Hastings, in the all-singing, all-dancing extravaganza as it makes its way across the UK & Ireland as part of its huge 10-month tour.

The musical, based on the award-winning global film phenomenon of the same name, inspired the world to dance and spawned the smash-hit TV series Strictly Come Dancing. Directed by Craig Revel Horwood, who co-choreographs with Strictly’s creative director Jason Gilkison, the tour kicked off in Portsmouth on 26 September and culminates in Bristol on 15 July. Tickets are on sale now from strictlyballroomtour.co.uk

Faye, who takes over the role of Fran from Maisie Smith who leaves the show on 25 March, is no stranger to musical theatre, having previously starred as Roxie Hart in Chicago, Princess Fiona in Shrek and Elle Woods in Legally Blonde. She became a household name when she joined Coronation Street in the role of Kate Connor, from 2015-2019, and was involved in some of the biggest storylines the show has seen. In 2017 Faye won the National Television Award for Best Newcomer, while in 2021 she made it all the way to the final of ITV’s Dancing on Ice.

Faye Brookes said: “I’m thrilled to be joining the tour of Strictly Ballroom and can’t wait to work with Craig Revel Horwood, Kevin Clifton and the hugely talented cast. I’m so excited to be playing the role of Fran and making it my own. Bring it on!“

Kevin Clifton said: “It’s very exciting news that Faye is joining the cast of Strictly Ballroom and I’m looking forward to singing and dancing my way across the UK & Ireland with her!“

Craig Revel Horwood said: “I am delighted to be directing the sensational Faye Brookes as she joins Kevin Clifton and the super talented cast of Strictly Ballroom The Musical. I know that she’ll be nothing short of FAB-U-LOUS!”

Strictly Ballroom The Musical tells the beguiling story of Scott Hastings, a talented, arrogant and rebellious young ballroom dancer – played by former Strictly Come Dancing professional and 2018 champion, Kevin Clifton. When Scott’s radical dance moves see him fall out of favour with the Australian Federation, he finds himself dancing with Fran (Faye Brookes), a beginner with no moves at all. Inspired by one another, this unlikely pair gather the courage to defy both convention and their families – and discover that, to be winners, the steps don’t need to be strictly ballroom.

Featuring a show-stopping book by Baz Luhrmann & Craig Pearce, together with a sublime cast of over 20 world class performers, Strictly Ballroom brings to life iconic songs, including Love is in the Air, Perhaps Perhaps Perhaps and Time After Time with dynamic and joyous verve. This tour will also feature some amazing new songs by internationally acclaimed artists including Sia, David Foster and Eddie Perfect. The show’s scintillating singing, dazzling dancing and eye-popping costumes combine to bring audiences a story of heart, comedy and drama, and promises to be an unforgettable night under the glitterball.

This uplifting and courageous musical originated as a stage play that Baz Luhrmann devised with a group of classmates at Sydney’s National Institute of Dramatic Art in 1984. Eight years later he made his screen directorial debut with ‘Strictly Ballroom’, the first instalment in Luhrmann’s acclaimed Red Curtain Trilogy. The vibrant film enjoyed staggering success, winning three awards at the 1993 BAFTA awards and a 1994 Golden Globe nomination for Best Picture, going on to become one of the most successful Australian films of all time, earning more than $80 million at the box office. In April 2014 Strictly Ballroom The Musical had its world premiere at the Sydney Lyric Theatre.

Baz Luhrmann’s Strictly Ballroom the Musical is a fabulous, feel-good evening full of sequins, singing and salsa. This unmissable kaleidoscope of glitz and glamour is a tonic for the soul and will send your heart soaring and toes tapping long after you leave the theatre!

STRICTLY BALLROOM THE MUSICAL – 2023 TOUR DATES

Dates Venue

9th January – 14th January Ipswich, Regent Theatre

16th January – 21st January Reading, The Hexagon

23rd January – 28th January Cardiff, Millennium Centre

30th January – 4th February Plymouth, Theatre Royal

6th February – 11th February Truro, Hall for Cornwall

13th February – 18th February Wolverhampton, Grand Theatre

20th February – 25th February Southampton, Mayflower Theatre

27th February – 4th March Northampton, Royal & Derngate

6th March – 11th March Hull, New Theatre

13th March – 18th March Canterbury, Marlowe Theatre

20th March – 25th March Southend, Cliffs Pavilion

27th March – 1st April Bradford, Alhambra Theatre

3rd April – 8th April Milton Keynes, Theatre

10th April – 15th April Norwich, Theatre Royal

17th April – 22nd April Bournemouth, Pavilion Theatre

24th April – 29th April York, Grand Opera House

1st May – 6th May Newcastle, Theatre Royal

8th May – 13th May Edinburgh, Playhouse

15th May – 20th May Aberdeen, Performing Arts

22nd May – 27th May Derry, Millennium Forum Theatre

29th May – 3rd June Dublin, Bord Gáis Energy Theatre

5th June – 10th June Glasgow, Theatre Royal

12th June – 17th June Aylesbury, Waterside

19th June – 24th June Nottingham, Theatre Royal

26th June – 1st July Salford, The Lowry

3rd July – 8th July Leeds, Grand Theatre

10th July – 15th July Bristol, Hippodrome

* Maisie Smith is performing until 25 March

Listings information:

Website: strictlyballroomtour.co.uk

Instagram: @strictlyballroomtouruk

Facebook: @strictlyballroomtouruk

Twitter: @sbtourUK

Runaway Entertainment presents

2:22 – A GHOST STORY

The hit play by Danny Robins

Directed by Matthew Dunster & Isabel Marr

@222AGhostStory #222AGhostStory 

 

• SMASH HIT 2.22 – A GHOST STORY WILL EMBARK ON A UK TOUR BEGINNING AT BATH THEATRE ROYAL ON 1 SEPTEMBER AND CONTINUING THROUGH TO MAY 2024
   
• NINETEEN FURTHER VENUES CONFIRMED WITH MORE TO BE ANNOUNCED
   
• THE SHOW IS CURRENTLY AT THE LYRIC THEATRE LONDON – IT’S 5TH WEST END SEASON – STARRING CHERYL, JAKE WOOD, LOUISE FORD AND SCOTT KARIM
   
• THE TOUR PRODUCTION IS DIRECTED BY MATTHEW DUNSTER & ISABEL MARR AND WRITTEN BY AWARD-WINNING WRITER DANNY ROBINS
   
• TICKETS FOR UK TOUR ARE AVAILABLE FROM https://222aghoststory.com/uk-tour-tickets/
   

Producer Runaway Entertainment is delighted to announce that the critically acclaimed, smash hit, supernatural thriller 2:22 – A Ghost Story will embark on an extensive UK-wide tour, opening at Bath Theatre Royal on 1 September 2023, and continuing through to May 2024 with the full tour schedule to be announced soon. Also on sale from today is a week-long run at The Lowry, Salford opening on Halloween and the Grand Opera House Belfast from 14 November 2023. The UK tour is announced following the opening at the Lyric Theatre last week. The Lyric  is the fourth transfer and fifth West End season for the show. Going from strength to strength, the Lyric is the biggest house the production has played in to date and the tour will bring the buzz, chills and excitement to audiences all over the UK.
 

The production began its life last summer 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. For the first season at the Criterion (May – September 2022) the cast was Tom Felton, Mandip GIll, Sam Swainsbury and Beatriz Romilly. In late September Laura Whitmore, Matt Willis, Felix Scott and Tamsin Carroll took over. 
 

2:22 is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist, and is directed by Matthew Dunster and Isabel Marr; it’s an adrenaline-filled night where secrets emerge and ghosts may or may not appear…
 

Danny Robins said: ‘Over the last year I have had so many people asking me on social media when we are going to bring 2:22 out on tour. That moment has finally arrived. We are beyond excited to be taking the show around the UK. It’s a play that will make you laugh, scream, cry, think and jump out of your seat – a proper spooky night out  – and it’s coming to a town near you!!! Do you dare come and watch? We can’t wait to see you!’
 

What do you believe? And do you dare 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 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’re going to stay up… until 2:22… and then they’ll know.
 

“A slick, chilling, romp of a play” The Guardian

‘A modern classic’ Sunday Times
 

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 and illusions by Chris Fisher. Casting by Matilda James.

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

2:22 – A Ghost Story
By Danny Robins
Directed by Matthew Dunster & Isabel Marr

MORE DATES TO BE ANNOUNCED

2023 

Bath Theatre Royal – on sale 20 Feb
1 – 9 Sep 7.30pm; matinees Thur & Sat 2.30pm

The Marlowe Canterbury – on sale 11 Apr
12 – 16 Sep 7.30pm; matinees Thur & Sat 2.30pm

Newcastle Theatre Royal – on sale soon
19 – 23 Sep 7.30pm; matinees Thur 2pm & Sat 2.30pm

Milton Keynes Theatre – on sale 17 Feb
3 – 7 Oct 7.30pm; matinees Wed and Sat 2.30pm

Norwich Theatre Royal – on sale 24 Feb
10 – 14 Oct 7.30pm; matinees Wed & Sat 2.30pm

Southampton Mayflower – on sale 24 Feb
17 – 21 Oct 7.30pm; matinees Thur & Sat 2pm

Brighton Theatre Royal – on sale 17 Feb
24 – 28 Oct 7.30pm; matinees Thur & Sat 2.30pm

Salford Lowry – on sale 20 Feb
31 Oct (Halloween) – 4 Nov 7.30pm; matinees Thur & Sat 2pm

Curve Theatre, Leicester – on sale soon
7 – 11 Nov 7.30pm; matinees Thur & Sat 2.15pm

Belfast Grand Opera House – on sale now
14 – 18 Nov 7.30pm; matinees Thur & Sat 2.30pm

Glasgow Theatre Royal – on sale 17 Feb
21 – 25 Nov 7.30pm; matinees Wed & Sat 2.30pm

Plymouth Theatre Royal – on sale April
28 Nov – 2 Dec 7.30pm; matinees Thur & Sat 2.30pm

2024 

Northampton Royal & Derngate – on sale 8 Mar
5 – 13 Jan 7.30pm; matinees Wed & Sat 2.30pm

Birmingham Alexandra Theatre – on sale 17 Feb
16 – 20 Jan 7.30pm; matinees Wed & Sat 2.30pm

Sheffield Lyceum – on sale 24 June
13 – 17 Feb 7.45pm; matinees Thur 2pm & Sat 2.30pm

Wolverhampton Grand – on sale 13 Feb
20 – 24 Feb 7.30pm; matinees Wed & Sat 2.30pm

Richmond Theatre – on sale 17 Feb
26 – 30 March 7.30pm; matinees Wed & Sat 2.30pm

Woking Theatre – on sale 17 Feb
9 – 13 Apr 7.30pm; matinees Wed & Sat 2.30pm

York Grand Opera House – on sale 17 Feb
30 Apr – 4 May 7.30pm; matinees Wed & Sat 2.30pm

Nottingham Theatre Royal – on sale 20 Feb
7 – 11 May 7.30pm; matinees Thur 2pm & Sat 2.30pm
 

Age recommendation 12+

Ambassadors Theatre – until 18 March 2023

Reviewed by Claire Roderick

5*****

The fabulous Rob Madge returns to the West End with their inspirational award-winning show.

Rob’s parents’ home videos of Rob’s Disney shows became a sensation during lockdown, and Rob’s autobiographical show is a joyful and uplifting celebration of queerness and family that brightens and enlightens the audience.

Rob – a self-proclaimed flamboyant monster as a child – was blessed with a family that loved and supported them. As Rob describes their early childhood, there are lots of self-deprecating and self-aware comments amongst the celebrations – with newly added saltiness about a certain West End acting debut. Dad Jon’s attempt at sticking to the binary was buying Rob a Beast costume, but the dream was the yellow Belle dress, and Rob’s parents accepted and loved their child for who they were. The clips of Rob’s Disney parades in homemade costumes are hilarious as the demanding diva rolls their eyes at dad’s tech and demands professional attitudes to their productions. As Rob’s experiences at school crush their spirit and force them out of the imaginative play area, their family’s response will make you cheer at the love and encouragement on display. Honestly, whenever the grandparents show up you will be howling with laughter or ugly crying, nothing in between.

Pippa Cleary’s songs about pivotal moments are gorgeously Disneyesque and heartfelt with just the right amount of tongue in cheek touches in Rob’s delivery to keep things light. Luke Sheppard’s considered direction and Ryan Dawson Laight’s set design – a nostalgic and comforting living room that transforms into the perfect arena for the grand parade – are inspired, making the audience in the Ambassadors feel right at home with this wonderful family.

The joy of losing yourself in characters, of discovering your true self while lost in a character, and of being loved unconditionally comes across in every breath Rob takes in their show. Repeated viewings do not diminish the tears or belly laughs. Rob’s parents become everyone’s heroes and the joy in the auditorium is palpable. This is a show with something for everybody – queers, theatre fans, Disney fans, parents and grandparents. My Son’s a Queer is a lesson in tolerance and love that should be on the school curriculum. Glorious entertainment from a glorious human.

Birmingham Hippodrome – until Saturday 11th February 2023

Reviewed by Amarjeet Singh

5*****

Matthew Bourne has an astounding way of reimagining and recreating stories in ways in which are truly mind-blowing, and his production of Sleeping Beauty does not disappoint. It’s been 10 years since its premiere at Sadler’s Wells, when it became the fastest selling production in the company’s history, and it’s now established as a firm favourite in his New Adventures repertoire. Sleeping Beauty is enchanting and so so clever, and it has now come to sprinkle its magic at The Birmingham Hippodrome.

The basic story is as it should be. A royal couple produce a much longed-for baby girl, but they are then cursed by a spiteful and vengeful bad fairy, Carabosse. The new-born is destined to die by pricking her finger. Some good fairies intervene and lessen the curse to that of a deep sleep rather than death, and the curse can be lifted by true loves kiss. The baby, Princess Aurora then sleeps for 100 years until true love arrives and awakens her with a kiss.

But here’s where Bourne’s brilliance comes into force. In his gothic twist, there is a change of era. The princess pricks her finger on a black rose not a spindle. The good fairies that bestow blessings on baby Aurora and their King, are vampires. Princess Aurora has an established relationship with ‘true loves kiss’ beforehand, so it’s not some creepy guy finding a woman in the woods and planting one on her. And, without wanting to add any spoilers…look out for the baby.

Bourne’s production of Sleeping Beauty is quirky, thought provoking and modern in staging, characterisation and choreography. Ashley Shaw as Princess Aurora was mesmerising. She played the lead with a deeply sensual and playful quality which melded well with her true love, Gardener Leo, played by Andrew Monaghan. They very quickly established their romantic connection, and this continued throughout the performance. Ben Brown played the complicated Carabosse and her son to perfection. Revenge filled and yet wanting Aurora for himself, he was a joy to behold.

This production has the most innovative and effective sets, containing mirrors, moon, forests and movement, these were interchanged seamlessly and never failed to stun. The dancing was sublime. A standout for me was when Aurora refused to die/sleep, prancing and leaping and struggling like a toddler fighting extreme weariness. That was the chorography at its best.

I urge you to watch Matthew Bourne’s Sleeping Beauty as you will be transported into a magical world of fairies and vampires, where what you know of this timeless tale is flipped upside-down, creating a spectacular, supernatural love story that stays with you long after the curtain has come down.

Grand Opera House, York – until 11th February 2023

Reviewed by Aimee Forsyth

5*****

It is 1912 and the Birling family are in the middle of celebrating the engagement of Sheila Birling to Gerald Croft, when they are interrupted by a mysterious visitor. Inspector Goole is investigating the tragic death of a young woman named Eva Smith who killed herself by drinking disinfectant. The family are, of course, horrified by this story of self-destruction but initially confused as to why the Inspector has come to see them. What follows is a difficult and unpleasant investigation from the wise Inspector who reveals how each member of the Birling family contributed to the chain of events that lead to Eva Smith’s suicide.

This classic thriller by J B Priestly is a commentary on England in the early 1900s but you could say that the themes are still as relevant today as they were when it was first performed in 1945. In his play Priestly seems mainly concerned with the idea of social responsibility but he also touches on important political topics such as the class divide, the inequality of women and the ability for the younger generations to adapt and change in response to tragedy. What could seem old fashioned and outdated is definitely brought into the 21st century by the clever direction of Stephen Daldry and his assistant Charlotte Peters.

Ian MacNeil’s award-winning set design for ‘An Inspector Calls’ is a sight to behold. The play opens up on a scene of Victorian England with a full collection of special effects including rain water, smoke, haze and war sirens created by the extremely talented technical crew. The audience are outside the Birling family’s home and we can hear them and see them through the windows. The whole play is centred around this house and it opens up and closes seamlessly throughout the production. The real beauty, however, is in how the house unfolds bit by bit as the Birling family’s secrets unfold and we learn more about their involvement in Eva Smith’s death.

The costumes also transform throughout the show and each character looks more and more dishevelled as the Inspector pulls them apart piece by piece. Costume supervisor Caroline McCall and her assistant Megan Doyle have done a magnificent job in tying the costumes in with the development of the plot.

The acting talent of the whole cast is something to be commended but special mention should go to Liam Brennan for his portrayal of Inspector Goole. He plays the role with the correct level of calmness and authority and brings a sense of humour as he mocks the ridiculousness of the Birling family. Chloe Orrock also deserves special praise for her characterisation of Sheila Birling. She starts off showing us an insolent and spoilt girl and ends up showing us a changed woman who knows that she must be better and do better in the future for herself and others.

This play has been running for decades and it’s not getting old. PW productions have brought the play into the present and it’s as chilling and captivating as always. We have the English GCSE syllabus to thank for keeping ‘An Inspector Calls’ on our stages but it’s production teams like this one that keep the classics relevant, suitable and exciting for our younger generations

PLUMBER TURNED ACTOR SAVES GALA NIGHT PERFORMANCE OF THE BARN THEATRE’S

AROUND THE WORLD IN EIGHTY DAYS

The gala night performance of the Barn Theatre in Cirencester’s Built by Barn production of Toby Hulse’s fast paced and playfully comic adaptation of Jules Verne’s epic adventure novel Around the World in Eighty Days was saved on the 1st February when James El-Sharawy, a builder turned actor, who plays ‘Passepartout’ and other characters in the production stepped into the breach whilst delivering his lines off stage.

Around twenty minutes before the end of the show on the 1st February, a radiator became dislodged from the wall of the theatre when one of the cast members accidentally collided with it whilst pushing a trolley off stage. Water began spewing from the severed pipe, and further chaos was prevented by the quick thinking of the Barn’s backstage management team as they sought to stem the flow of water with towels and anything else to hand.

Unbeknownst to the team, James El-Sharawy is a builder when he’s not taking to the stage. Seeing the catastrophe unfold, he rushed to wings and while delivering his lines off stage proceeded to stem the flow of water by isolating the radiator pipe.

Adam Elliot as Phileas Fogg and Evangeline Dickson as Fix of the Yard continued to play out the story, and minutes later James re-emerged stage side without missing a beat.

Heralded on the night by the various reviewers and audience alike as, “one of the funniest productions ever staged at the Barn,” it’s a show that Holby City and Casualty TV star Jason Durr also described as “an absolute must see.”

Around the World in Eighty Days, which runs at the award-winning Cotswolds venue until 11th March, is directed by Joseph O’Malley, who previously directed the Barn Theatre’s productions of The Hound of the Baskervilles, The 39 Steps and Ben Hur.

In the great Victorian Age, it is clearly impossible to go around the world in eighty days, and only an idiot would try it.  It is also clearly impossible to tell this story with only three actors, but these idiots are going to take us all on a breath-taking roller-coaster ride around the world; filled with thrills and adventure, and no short order of panache, in a Built By Barn version of a rollicking, side splitting, laugh a minute, adaptation. Maybe, through the power of human invention and a bit of Barn ingenuity, they might just pull it off.

The production opens the Barn Theatre’s 2023 Season which also includes the first stage adaptation of Morpurgo’s 1990 Carnegie Medal shortlisted novel Waiting for Anya (27th March – 5th May), a new staging of Noël Coward’s comedy of manners Private Lives (15th May – 24th June), a revival of the Tony and Olivier award-winning musical Once (3rd July – 12th August), the world premiere of Richard Hough and Ben Morales Frost’s new musical Sin: A New Musical of Revenge (18th August – 16th September) and the premiere of Alan Pollock’s festive adaptation of Robert Louis Stevenson’s classic story Treasure Island (20th November – 6th January).

More information can be found at barntheatre.org.uk

THREE-TIME OLIVIER AWARD NOMINATED ACTRESS KATHERINE KINGSLEY JOINS

FELICITY KENDAL, JONATHAN COY, MATTHEW KELLY, ALEXANDER HANSON, JOSEPH MILLSON, SASHA FROST, HUBERT BURTON, PEPTER LUNKUSE IN
THE 40^TH ANNIVERSARY PRODUCTION OF MICHAEL FRAYN’S BELOVED COMEDY
NOISES OFF

DIRECTED BY LINDSAY POSNER

LONDON’S PHOENIX THEATRE UNTIL 11 MARCH 2023

Michael Frayn’s multi award-winning farce Noises Off continues its highly praised and critically acclaimed run at the West End’s Phoenix Theatre until 11 March 2023.

From Monday 13 February 2023, West End star and three-time Olivier Award-winning actress Katherine Kingsley (Piaf, Singin’ in the Rain, Dirty Rotten Scoundrels) will play Belinda Blair. She takes over the role from Tracey-Ann Oberman who’s final performance in Noises Off will be on Saturday 11 February before opening in her own production of The Merchant of Venice 1936, later this month.

Kingsley joins Felicity Kendal as Dotty Otley, Jonathan Coy as Fredrick Fellows, Matthew Kelly as Selsdon Mowbray, Alexander Hanson as Lloyd Dallas, Joseph Millson as Garry Lejeune, Sasha Frost as Brooke Ashton, Hubert Burton asTim Allgood and Pepter Lunkuse as Poppy Norton-Taylor.

This celebrated 40^th Anniversary production directed by Lindsay Posner (God of Carnage, Hay Fever, Stones in his Pockets) opened at Theatre Royal Bath last autumn before touringto Richmond, Brighton and Cambridge. It opened at the West End’s Phoenix Theatre on 19 January 2023.

One of the greatest British comedies ever written, Michael Frayn’s celebrated play serves up a riotous double bill – a play within a play. Hurtling along at breakneck speed, Noises Offfollows the on and off-stage antics of a touring theatre company as they stumble their way through the fictional farce, Nothing On. From the shambolic final rehearsals before opening night in Weston-super-Mare, to a disastrous matinee in Ashton-Under-Lyme seen entirely, and hilariously silently, from backstage, before we share their final, brilliantly catastrophic performance in Stockton-on-Tees.

After watching from the wings a production of his 1970 farce The Two of Us with Richard Briers and Lynn Redgrave and noting that the goings on behind the scenes were funnier than out front, Michael Frayn wrote Noises Off. The original production opened in London in 1982 before becoming a worldwide hit. A feature film was made of Noises Off in 1992.

Noises Off is written by Michael Frayn. The creative team for this 40^th Anniversary production includes Lindsay Posner (Director), Simon Higlett (Designer), Paul Pyant (Lighting Designer), Greg Clarke (Sound Designer), Will Stuart (Composer), Ruth Cooper-Brown (Movement and Fight Director), George Jibson (Associate Director), Ginny Schiller (Casting Director).