Queens Theatre, Hornchurch – until 25th February 2023

Reviewed by Bobbi Fenton

5*****

Everybody has secrets, some more sinister than others. However, when a dinner party suddenly becomes a murder investigation, everybody is left trying to keep their own secrets covered up, leading to false accusations and some dramatic revelations about some character’s pasts. Inspector Rebus (John Michie), Stephanie Jeffries (Emily Joyce), social media genius and influencer Candida Jones (Emma Noakes) and Husband Jack Flemming (Billy Hartman) are attending a dinner party at hosts Paul and Harriet Godwins’ (Forbes Masson and Rebecca Charles) house. Harriet Godwin has created a very clever murder mystery case for her guests to try to solve, using her own life as inspiration for the characters and story. However, after a rather tense scene in which Jack Flemming talks about the death of his ex-wife, it is revealed that there is a body in the upstairs master bedroom’s en suite. Everybody becomes a possible suspect, turning on one another with accusations of too many cigarette breaks, or toilet trips. By the end of the play, two huge secrets have come to light, and the person responsible for a murder is revealed.

This play is absolutely fantastic, with twists and turns, and tension that emulates a modern day version of a Sherlock Holmes case. The cast are amazing at constantly doing something when in the background, with subtle facial expressions and body tension helping to show their true feelings towards one another. The one character that is impossible to read, which he even says is deliberate, is Inspector Rebus, who seems to have everybody else in the room completely figured out.

This play is truly phenomenal, and will leave you trying to figure out the ending for the whole show. Make sure you don’t miss this spectacular play.

Leeds Grand Theatre – until 1 April 2023

Reviewed by Dawn Smallwood

4****

Leoš Janáček’s The Cunning Little Vixen is part of Opera North’s 2023 Winter Season repertoire. This production was originally co-produced between Scottish Opera and Welsh National Opera, under the direction of Sir David Pountney, and was first performed at Edinburgh International Festival in 1980. Sir David Pountney returns to directing this production and he is supported by talented cast members and creators.

This three-act opera is based on Rudolf Tĕsnohlídek’s novella and Leoš Janáček’s libretto and is about the folklore tale of Vixen Sharp-Ears (Elin Pritchard) who was captured as a young cub and while in captivity yearns for freedom, and escapism. She eventually escapes to the forest and the narrative unfolds her liberated journey. The sights and sounds of the forest enchant and captivate all to the natural world of dragonflies, squirrels, and other creatures.

Moravian folk music and rhythm is well set into Janáček’s musical composition and energises and enchants the characters on the journeys they make. This is all done under the musical direction of Andrew Gourlay and in song by the artists particularly from Pritchard (Vixen Sharp-Ears), Heather Lowe (Fox) and James Rutherford (Forester).

It is light and innocent in narration but contextually dark with the juxtaposition of both the human and animal worlds and the cycles of life and death from excellent characteristic portrayals from each member of the cast. Being in the present is part of the animal world as transpired on stage however this is reflected differently among the human characters as seen.

The main draw for the opera must be the late Maria Björnson’s set and its exquisite animal costumes designs. The botanical theme set with its forest’s backdrops and Nick Chelton’s lighting works well for the different scenes and plots in the opera and the different spaces and positions are thoroughly well used.

This well projected opera, co-ordinated and choreographed by Elaine Tyler-Hall, is an evening’s treat and delight for everyone of all ages and everywhere. It is heartening that this classic folktale is going to be made accessible to schools and Little Listeners: Mini Vixen, a production targeted for children. The Cunning Little Vixen is enchantingly natural and botanically refreshing.

Vault Festival – until 5 February 2023

Reviewed by Claire Roderick

4****

Carol Murphy’s The Body & Blood is a picaresque rollercoaster of a tale. Described as a 19th century Irish Famine Folk Fable, the adventures of Maggie Murtagh, The Vigilante Cannibal Nun are not for the fainthearted. Originally a series of online videos, this live performance of the story is an exciting and exhausting 70 minutes.

Murphy’s struts onto the stage dressed like a prize fighter, setting the tone for her bravura performance of her own verse. Her face is painted a mask of blue and black, and she is draped in gold chains and dirty bandages under the robe that portray different stages of Maggie’s story. With phrases as extravagant as her mannerisms, Murphy begins with Maggie’s childhood – an indifferent father and an abusive aunt – and her attempts to avoid marriage before becoming a nun in China. As the Famine begins, she is sent back to Ireland, and what she sees stirs the anger (and hunger) inside her as she sees the church’s impotence in the face of the disparity between the English, the landlords and the Irish people. Her murder of a red coat is told in visceral detail, followed by Maggie’s futile flight of fancy about what changes the prostitute she “saved” could make. Maggie’s reassurances that she only eats colonisers are hard to swallow for the terrified woman. As Maggie embraces her fury and becomes wilder, leaving a trail of bodies, her adventures catch the imagination of a journalist who becomes obsessed and wants to tame her as his imagined version is more compliant than the reality. Maggie insists that she remains her own woman ready to die on her terms, in stark contrast to the women around her – but does she truly have agency, lurching from one horror to another with no hope of redemption and escape from the scars of her childhood?

This is a story from a dark time in history, full of bleak themes and serious questions, but it is very funny – full of one liners and asides that take the audience out of the story and give them a chance to breathe. Murphy is a whirlwind of a performer, with magnificent physicality and exaggerating every cliché in Irish speech. Her writing has the same energy – teasing and probing with exciting energy and searing intelligence. I hope we see more of Carol Murphy and Maggie Murtagh in London soon.

Southwark Playhouse – until 25 February 2023

Reviewed by Claire Roderick

4****

Kim Davies’s play transfers the heartless powerplays of Strindberg’s Miss Julie to 2012 New York. During a BDSM party, Julie (Meaghan Martin) finds John (Oli Higginson) smoking in the kitchen. The master/servant dynamic of Julie’s father and John becomes world famous photographer/intern – which isn’t even a proper job according to Julie. They know of each other, and tentatively dance around each other to discover more.

John is a regular on the BDSM scene but this is Julie’s first party, and he begins explaining how things work, and finding out what she likes in an initially reassuring, but increasingly patronising way as he finds out she wants to be dominated. His tales of what other men have done to women without their consent, and how he would never do that begin to sound more and more hollow after he reveals what he likes to do – and at this point the power starts to shift as well. As the pair begin a “scene” it becomes more and more unclear what is real and what is an act as the dynamics shift and swirl like the black sand on stage. Throughout the play, John is repeatedly interrupted by phone calls from Julie’s dad with demands to go to the studio, and this realisation that John is in reality as powerless as Julie wants to be made to feel allows Julie to let rip with a verbal assault that feels as damaging as John’s last power play – a truly shocking sequence that is choreographed and performed with shuddering intensity. Kim Davies’s writing is sharp and funny, leaving so much unsaid for the actors and audience to interpret. Directors Polina Kalinina and Júlia Levai ramp up the intensity and the in the round staging is exquisite as the characters manipulate and manoeuvre around each other.

The blurred lines of consent in this encounter raise lots of questions without resolution, and the bleak ending leaves a nasty taste in your mouth, but rightly so. There is very little physical contact in the play, instead the pit of black sand in which the actors perform is used in haunting imagery. Trickling handfuls of sand represent smoking cigarettes and the sand is used both gently and violently as the pair play. Sami Fendall’s design is stark and cold, with Rajiv Pattani’s lighting changing erratically to signal the discomfort and danger unfolding in the kitchen. Higginson and Martin are exceptional – he switches between lithe prowling and puppy dog confusion in an instant, but always keeps John a little off kilter, especially when he is supposedly reassuring Julie. Martin raises Julie from what could have been a stereotypical bored trust fund brat into a complex character full of contradictions who appears to just need to feel something… anything – and her enigmatic expression in her final moments onstage will leave you wondering.

Slick and darkly funny, Smoke is an intriguing and intelligent play with two brilliant performances. Grab a ticket while you can.

Mayflower Theatre, Southampton – Thursday 2nd February 2023

Reviewed by Joanna Huggett

5*****

My 13-year-old daughter and I went to see the Swan Lake and found it utterly amazing. The set was really effective. The costumes were beautiful, and the music from the live orchestra was spellbinding. The lighting was also effective, especially in Acts three and four when the main characters were illuminated at the back of the stage.

We thought the performance by the principal dancer, Brandon Lawrence, who played Siegfried, was excellent. As was the performance by his equerry, Benno, danced by Tzu Chao-Chou. The performance by Momoko Hirata, who played Odette in Act two, was also excellent. We found the performance by Celine Gittens, who played the black swan, Odile, in Act three to be outstanding. She performed 32 fouetté turns in quick succession, which was quite remarkable.

The performance was split into four acts, which worked well, and gave the audience a chance to breathe and stretch between each section. I’m sure it also allowed the dancers to have a much-needed break from their rigorous dance routines.

My daughter had never seen a full-length traditional ballet before. She described it as ‘inspiring’ and ‘the best show she had ever seen.’ Well done to all involved. A must see.

Theatre Royal, York – until Saturday 4^th February 2023

Reviewed by Katie Brewerton

3***

Around the World in 80 Days is based on  the Jules Verne novel of the same name, following the eccentric Phileas Fogg (Alex Phelps) as he sets out to prove he can make it around the world in 80 days or less, after making a wager with some friends. He takes along Passepartout (Wilson Benedito), a French man who has recently entered his employ. As they set out on their journey, unbeknown to them Detective Fix (Eddie Mann) has also set out on a journey, to hunt down the person responsible for a huge robbery in England, he suspects Fogg and sets out to keep him on English soil while awaiting a warrant for his arrest. Phileas, finds himself having a variety of new experiences and even gains a new friend in Aouda (Genevieve Sabherwal) who joins them on their travels after being rescued in India. 

This adaption sees a group of circus performers re-tell the story as well as the fascinating true story of Nellie Bly, an American journalist who decided to take on Phileas Fogg’s journey herself. Bly became a record holder for her accomplishment, played by Katriona Brown her story is interspersed with Phileas’ throughout the play as true events are mixed with the events of the play. 

Directed and adapted by Juliet Forster this ia a unique, family friendly adaption. The talented group of performers take you around the world with them, from France to Egypt to Hong Kong, Japan and America you are part of the adventure. Using the props and stage well to create various modes of transport including trains, boats and an elephant, this is a play with humour for both adults and children alike with a great cast and a vibrant set. The performers use their skills to include the circus in the production and their skill is clear, this is a light-hearted fun filled show for all the family. 

Leeds Playhouse – until 11 February 2023

Reviewed by Dawn Smallwood

4****

Theatre Royal Wakefield brings this production, Blow Down, to the Leeds Playhouse. Written by Garry Lyons and directed by Tess Seddon, Blow Down, is a down to earth production with a specific focus on the communities of Knottingley and Ferrybridge (West Yorkshire) that served Ferrybridge Power Station during its existence. The Ferrybridge Power Stations were in operation from 1927 to 2016 and its cooling towers, until 2022, were the iconic industrial landmark for motorists passing the site on the M62 and A1(M) motorways and which can be seen for miles.

The communities, including workers, are represented by five cast members. The shared stories, jointly curated by Edgelands Arts, are characteristically rich in content that ranges from the communities’ prosperous industrial period and its strong social scene to the demise and decline of the industries which massively impacted the communities which are considered “forgotten”.

Honest in manner and spirit, Blow Down, shares the happy times as well as the adverse and poignant times which correlate with the ever-changing current affairs and events, particularly politically and environmentally, past and present. Songs and music are shared to reflect the feelings of the individuals and community felt and the exploration of the creative, resilient, optimistic, and determined spirit the residents had and still have – particularly then and now with the camaraderie in the communities’ social sphere.

Excellent portrayals of the cast of Luke Adamson, Matthew Booth, Matthew Bugg, Alison Saxton and Nicky Filshie who gives a great testimony of the workers and communities that served in the vicinity of Ferrybridge Power Stations. It is a celebration of the working class and its industrial pride that served the communities and people’s livelihoods. It’s an excellent collaboration of authentic local stories being woven into an evening’s entertainment with the visual backdrops of the iconic cooling towers.

NEW SEMESTER ROLL CALL!
CAST ANNOUNCED

FOR THE UK AND IRELAND TOUR OF

BY LAURENCE O’KEEFE & KEVIN MURPHY

DIRECTED BY ANDY FICKMAN

WINNER OF BEST NEW MUSICAL – WHATSONSTAGE AWARDS 2019

****

Daily Telegraph, The Independent, Metro, Daily Express,

The Stage, Attitude, The Arts Desk, Broadway World

*****

The New European, City AM

Following its multiple West End runs, and continuing success at its home – The Other Palace, Heathers the Musical will embark on its highly anticipated UK and Ireland tour from 14 February 2023.

Heathers the Musical will open in Windsor and visit cities throughout the UK and Ireland, including Liverpool, Nottingham, York, Birmingham, Norwich, Manchester,  Dublin, Brighton, Bath, Leicester, Clywd, Cardiff and Glasgow. Full dates and venues can be found at www.heathersthemusical.com

Making it beautiful in blue, Jenna Innes (Les Miserables) takes on the role of angst-ridden teen, Veronica Sawyer, and returning to the role of Jason ‘J.D’ Dean is Jacob Fowler (Rodgers and Hammerstein’s Cinderella).

The Westerberg tour class of 2023 is completed by Verity Thompson (Cinderella) as Heather Chandler, Elise Zavou (Fantastically Great Women Who Changed the World) as Heather Duke, Billie Bowman (Heathers–The Other Palace)as Heather McNamara, Kingsley Morton (The Addams Family) as Martha Dunnstock, Alex Woodward (Mamma Mia!) as Kurt Kelly, Morgan Jackson (Mamma Mia!) as Ram Sweeney, Katie Paine (We Will Rock you) as Ms. Fleming, Jay Bryce (Motown: The Musical) as Kurt’s Dad/Big-Bud Dean/Principal, Conor McFarlane (Once) as Ram’s Dad/Veronica’s Dad/Coach Ripper with Tom Dickerson (The Book of Mormon) as Beleaguered Geek, Lizzie Emery (Rent) as Midwestern Surfer Punk, Eliza Bowden (professional debut) as New Wave Party Girl, Eleanor Walsh (The Rocky Horror Show) as Drama Club Drama Queen, Summer Priest (Get Up Stand Up) as Young Republicanette, Maeve Byrne (Grease) as Stoner Chick, Liam Dean (GYPSY) as Hipster Dork and Markus Sodergren (Roles We’ll Never Play) as Preppy Stud.

Produced by Bill Kenwright and Paul Taylor-Mills, this high octane, black comedy, rock musical based on one of the greatest cult teen films of all-time starring Winona Ryder and Christian Slater, is back with a bang!

Welcome to Westerberg High where Veronica Sawyer is just another nobody dreaming of a better day. But when she joins the beautiful and impossibly cruel Heathers and her dreams of popularity may finally come true, mysterious teen rebel JD teaches her that it might kill to be a nobody, but it is murder being a somebody…

The award-winning writing team, Laurence O’Keefe and Kevin Murphy’s hit musical adaptation has enjoyed successful runs in Los Angeles and New York, and its European premiere saw it become the highest grossing show at The Other Palace, having sold over 20,000 tickets across the run and selling out prior to its opening gala performance. It had a similar success on transferring to the Theatre Royal Haymarket. The smash-hit return engagement at The Other Palace under Bill Kenwright continues to excite and delight audiences.

The musical is directed by acclaimed American screen and stage director Andy Fickman, with choreography by Thriller Live’s Gary Lloyd, design by David Shields, lighting by Ben Cracknell, musical direction by Will Joy and sound by Dan Samson.

LISTINGS

BILL KENWRIGHT & PAUL TAYLOR-MILLS PRESENT

HEATHERS THE MUSICAL

2023 UK and IRELAND TOUR

BY LAURENCE O’KEEFE & KEVIN MURPHY

DIRECTED BY ANDY FICKMAN

CHOREOGRAPHY BY GARY LLOYD

DESIGN BY DAVID SHIELDS

LIGHTING BY BEN CRACKNELL

SOUND BY DAN SAMSON

MUSICAL DIRECTOR – WILL JOY

Theatre Royal, Windsor                                             theatreroyalwindsor.co.uk

14 – 25 February 2023                                                01753 853 8888

New Theatre, Peterbourough                                       newtheatre-peterborough.com

28 February – 4 March 2023                                         01733 852992

New Victoria Theatre, Woking                                  atgtickets.com/Woking

7 – 11 March 2023                                                      0844 871 7615

Theatre Royal, Brighton                                             theatreroyalbrighton.com

14 – 18 March 2023                                                        0333 009 6690

Theatre Royal Bath                                                    theatreroyal.org.uk

21 – 25 March 2023                                                    01225 448844

Theatr Clwyd                                                              www.theatrclwyd.com

28 March- 01 April 2023                                             01352 344101

Theatre Royal, Plymouth                                           theatreroyal.com

4 – 8 April 2023                                                           01752 267222

Regent Theatre, Stoke-On-Trent                               atgtickets.com

11 – 15 April 2023                                                       0844 871 7615

Congress Theatre, Eastbourne                                  eastbournetheatres.co.uk

18 – 22 April 2023                                                       01323 412000

Bord Gáis Energy Theatre, Dublin                              bordgaisenergytheatre.ie

25 April – 6 May 2023                                                 353 (0) 1 677 7999

York Opera House                                                      atgtickets.com

9 – 13 May 2023                                                         0333 009 6690

The Alexandra, Birmingham                                      atgtickets.com/birmingham

16 – 20 May 2023                                                       0844 871 7615

The Orchard, Dartford                                               orchardtheatre.co.uk

23 – 27 May 2023                                                       0343 310 0033

Waterside Theatre, Aylesbury                                   atgtickets.com

30 May – 3 June 2023                                                 0844 871 7615

Everyman Theatre, Cheltenham                                everymantheatre.org.uk

6 – 10 June 2023                                                         01242 572573

Theatre Royal, Norwich                                                norwichtheatre.org

13 – 17 June 2023                                                       01603 630 000

Empire Theatre, Sunderland                                      atgtickets.com

20 – 24 June 2023                                                        0844 871 7615

Kings Theatre, Glasgow                                             atgtickets.com

27 June – 1 July 2023                                                   0333 009 6690

The Empire, Liverpool                                                atgtickets.com

4 – 8 July 2023                                                            0844 871 7615

The Alhambra, Bradford                                               bradford-theatres.co.uk

18 – 22 July 2023                                                        01274 432000

Festival Theatre, Malvern                                             malvern-theatres.co.uk

25 – 29 July 2023                                                        01684 892277   

The Hawth, Crawley                                                      parkwoodtheatres.co.uk

1 – 5 August 2023                                                       01293 553636

Palace Theatre, Manchester                                      atgtickets.com/manchester

8 – 12 August 2023                                                     020 7206 1174     

Curve Theatre, Leicester                                               curveonline.co.uk

15 – 19 August 2023                                                   0116 242 3595

Millenium Centre, Cardiff                                             wmc.org.uk

22 – 26 August 2023                                                   029 2063 6464

Theatre Royal, Nottingham                                          trch.co.uk

29 August – 2 September 2023                                  0115 989 5555

Opera House, Blackpool                                               wintergardensblackpool.co.uk

12 – 16 September 2023                                            0844 770 0593

Belgrade Theatre, Coventry                                          belgrade.co.uk

19 – 23 September 2023                                            024 7655 3055

New Theatre, Hull                                                         hulltheatres.co.uk

26 – 30 September 2023                                            01482 300 306

The Hippodrome, Darlington                                        darlingtonhippodrome.co.uk

3 – 7 October 2023                                                     01325 405405

Castle Theatre, Wellingborough                                   parkwoodtheatres.co.uk

10 – 14 October 2023                                                 01933 270 007

Yvonne Arnaud, Guildford                                            yvonne-arnaud.co.uk

17 – 21 October 2023                                                 01483 44 00 00

Calling all #CornNuts – Be the first to hear the latest Heathers the Musical gossip and further details on dates, venues and on-sales by following us on the following:

Website:

www.heathersthemusical.com

The Rose Theatre, Kingston-Upon-Thames – until 11th February 2023

Reviewed by Bobbi Fenton

5*****

What would the world be like if racist oppression was reversed? Noughts and Crosses, by Malorie Blackman, explores just that in a remarkable fashion. In a world that is run by Crosses (black people), where Noughts (white people) are oppressed through enforced segregation, a so-called ‘terrorist’ organisation fights back. Callum (James Arden) and Sephy (Effie Ansah) have been friends since early childhood and have secretly been meeting up at Sephy’s family’s beach for the last three years, and now Callum is about to start attending the same school as Sephy. This is only the beginning, as we see Callum exposed to more and more oppression, and becoming more involved with the Liberation Militia, following in his Father, Ryan’s (Daniel Copeland) and brother, Jude’s (Nathaniel McCloskey) footsteps. James Arden and Effie Ansah are absolutely brilliant in this play, and portray these characters so perfectly.

Malorie Blackman creates a mirror with real events that have happened through history, such as the scene in which a bomb is planted in the shopping centre, and Ryan (Daniel Copeland) and Jude (Nathaniel McCloskey) insist there was a warning so people could evacuate before it exploded.

This play, adapted by Sabrina Mahfouz, challenges modern day racism by making the play seem like it takes place in a dystopian society despite reflecting real attitudes that have been commonplace at one point or another in history, simply through role reversal. By having Black characters as the top of the hierarchy, and white people as being oppressed, it seems almost difficult to see as realistic, which forces an audience to address their own unconscious bias towards minorities.

All of the actors in this show are amazing, portraying the characters wonderfully. I especially liked Daniel Norford’s portrayal of Sephy’s father, Kamal, as we see his character develop throughout the play, evolving from a quiet anger in the beginning to enraged shouting towards the end. Not to mention Daniel Copeland as Ryan, Callum’s father. Despite only being in the play for a small amount of time, Copeland’s portrayal of Ryan is outstanding. I thoroughly enjoyed seeing him interact with Nathaniel McCloskey, who played Jude. The two were brilliant.

Noughts and Crosses is captivating beyond belief. It is nothing like what I was expecting and better than anything I could have imagined. Its only downfall is a slight issue with the volume, as I found it slightly difficult to hear the occasional line. Despite this, it is a definite must-see, that should absolutely not be missed.

White Bear Theatre, Kennington – until 11 February 2023

Reviewed by Phil Brown

4.5****

The humorously suggestive “I found my Horn” is based on the true story of Jasper Rees who wrote the autobiographical book used as the basis for this brilliantly funny 90 minute show .  It has little to do with libido  quite a lot to do with the French horn but, ultimately is about much more than just music.  It’s an inspirational story that in current parlance, charts Rees’  journey from failing at everything to regaining his mojo.

They say that the appeal of science books drops in direct proportion to the number of equations included.  Be reassured, you really don’t need to know much about music to fully appreciate and enjoy this show.   But if you do, you should be delighted by the wealth of “technical” terms and references as well as names likely known only to musicians and horn experts at that.  It is quite refreshing that they have not been edited out in the interest of “greater accessibility”. In fact, they add immeasurably to the richness and authenticity of the play, and the prominence they assume in a musician’s life is a source of amusement in its own right.  The well chosen, and appropriately classical sound track is equally welcome

Jonathan Guy Lewis, who co-wrote the stage play, becomes Rees in this wonderfully realised one man show.  He is so good, he appears to be recalling first hand (or should that be “lived”) experience rather than acting a part.  It’s a bravura performance of restless energy, astonishing versatility and the deftest of transitions between the 8 or 9 different characters he assumes during the course of the show (including his French horn and stereotypical teenage son Daniel with whom he has a difficult relationship).  The dialogue between these very distinctive parts flows so naturally, it’s easy to forget there is only one actor on stage .  The portrayal of these different voices is superb.  And there can’t be many actors around who can play the French horn..  Truly, a tour de force.   

The play starts with Rees (Lewis), in his mid 50s, newly divorced, clearing his long forgotten possessions from the attic of the marital home, only to discover his old (Czechoslovakian made) French horn, last played 39 years previously.  This immediately provides something faintly familiar for Rees  to focus on during his post divorce PTSD moment.  In one of a few surreal passages, he starts talking to the French horn, which talks back…   

Rees formulates a crazily ambitious plan to play Mozart’s daunting Horn Concerto No3 solo at the annual British Horn Society (BHS) concert in a year’s time.  Not, I suspect, a particularly uncommon sort of fantasy amongst folk of a certain age who stopped playing instruments during their teens when other distractions presented themselves.  

He recruits a mentor – Dave Lee (Jonathan Guy Lewis!), an unlikely, no nonsense horn player from the People’s Republic of Yorkshire where brass bands are legendary.  Pedants might nitpick about Lewis’ Yorkshire accent, but his characterisation is spot on.  Lee introduces Rees to Philip Farkas who “wrote the bible” on the art of French horn playing.  “Do 2 hours a day with Farkas before allowing yourself 10 minutes of fun – with Mozart”.  Lee then sets up Rees with an audition for the BHS annual concert.  He’s full of home-spun philosophy and is also responsible for the best joke in the show with his Herbert von Karajan anecdote.  I won’t spoil it.

To bridge the gap between aspiration and achievement, Rees goes on to Horn Camp in New Hampshire (where else?) which opens up even more comic opportunities. There he meets Kendall Betts (Jonathan Guy Lewis!) the director, and Hermann (the German horn player) Baumann (Jonathan Guy Lewis!), a legend who gives him one on one tuition. His passion for the instrument suddenly becomes turbocharged.

Back in the UK of England,, as Kendall Betts calls it, Rees learns his audition has failed to secure the amateur  spot in the BHS annual concert.   However, before he can dispose of the horn in defeat, he is called on to fill in for the original player who is indisposed.  A pep talk from Dave Lee summons the spirit of the greatest horn player who ever lived (Dennis Brain) and convinces Rees not to bottle it now.  The remarkable final scene sees Rees visibly unravel as he struggles to play his solo, having dedicated it to his son Daniel. I’m guessing it tales a pretty good horn player to play the initial movements so badly.  Sweaty and dishevelled, he eventually channels Baumann to gain control over nerves and instrument to finish with a flourish.  Mission accomplished.

Congratulations to Jonathan Guy Lewis and director Harry Burton for staging such a life affirming surge of energy where an original, witty, and resonant story marries perfectly to jaw dropping performance.  At the end, when son Daniel said – “Dad you’re a nutter”, I’m sure what he really meant was “wow, awesome”.