PRESENTS: Tony Walsh at a

Gala Night for ‘BRICKS’

Manchester poet, Tony Walsh, pens brand new poem as anthem for 53two, to garner support for the arts charity. The bespoke poem for the independent theatre, shines a light on the industrious history of the city’s inhabitants and the new hive of creativity that nestles beneath the very bricks that our past is built on. ‘THESE BRICKS, THEY SPEAK’ will be used as the charity’s anthem and will launch brand new show ‘BRICKS’, beneath the arches

‘BRICKS’; a production from Red Brick Theatre Company, will showcase talent in writers, directors and actors from across Greater Manchester and is the first of what they hope to be many incarnations.

On the 24th March, 53two Patron Tony Walsh, will present the poem at a Gala Launch Night in the 150 seater theatre, as a curtain raiser to ‘BRICKS’. The poem, which has never been performed before, is the perfect frame for the festival of new writing.

‘The arches have quickly become a diverse, welcoming and supportive home for many different communities that make up the Manchester scene.

I’ve been looking for a way to help and I was delighted when some lines for a 53Two poem started to come to me. I’ve used the beautiful brickwork and structure of these historic arches as metaphors for strength and unity and tried to celebrate those qualities and use them to inspire even more artistry and history-making into the future.

I can’t wait for people to hear the poem and I very much hope that it will inspire people, raise awareness and help with further all-important fundraising efforts. Do come take a listen, check out the venue and get involved!’

Recently, registered charity 53two received a grant from long-term supporters, Backstage Trust, to part-fund the installation of a Changing Places toilet. The facility with hoist and changing bed, to be named the Freedom Suite, will provide severely disabled patrons the chance to visit the venue and indeed the city, without fear of having to return home when needing the toilet. It will also allow those actors who require it to change costumes, shower etc. and a chance to perform on stage, where previously this may not have been an option. Prints of Tony’s poem will be sold and auctioned, which they hope will raise the remainder needed to complete the build.

‘There are only three other Changing Places facilities in the city centre – one is currently closed. They are a necessary facility not just at the theatre but for every visitor to Manchester. We’re eternally grateful for the grant from Backstage Trust and with Tony’s undying support we can’t wait to complete the build on the Freedom Suite. Raising the money via art seems to be the perfect option.’

– Simon Naylor, Creative Director, 53two.

‘BRICKS’ will run until April 1st and prove to be the first of several productions to visit the arches in 2023. The recognised format of six short plays is a great way to showcase a raft of creatives and welcome large numbers of visitors to the venue as it increases its footprint in the arts scene across Greater Manchester.

53two is a Manchester-based theatre, bar and arts charity that strive to support disadvantaged and underserved artists. With their new renovation, they now have a 150- seater theatre that is fully accessible as well as being open 7 days a week for artists to meet, greet and share. For further information on 53two’s work and venue, you can view their website here.

Red Brick Theatre are a collaborative Manchester-based theatre company with a commitment to telling stories in innovative ways through varying mediums of performance. You can look into the company’s previous works here.

Tickets are available via 53two https://www.53two.com/whatson

Red Brick Theatre https://redbricktheatre.co.uk/

Eventbrite direct link here

Royal Shakespeare Theatre, Stratford-Upon-Avon – until 4th March 2023

Reviewed by Amarjeet Singh

5*****

This production of The Tempest is absolutely mesmerising. Spellbound, I was enthralled from the moment the great storm began to final falling rains as the lights went out.

The combination of techniques director Elizabeth Freestone’s employs to tell Shakespeare’s second shortest text, loses the protracted wordy interactions and long speeches. Not by dumbing The Tempest down or cutting it, but instead, by bringing the story vibrantly to life, with music and movement. Strong and then subtle actions. Elements of fierceness and then moments of pure tenderness which take your breath away. Each character is multidimensional. It would have been so easy for the peripheral comedic cast to become ‘one note’ but there has been meticulous care to ensure this is not the case.

The Tempest deals with both tragic and comic themes. It opens with a dramatic storm, but prior to that, Prospero, the former and rightful Duke of Milan and a great magician, has been betrayed and usurped by their treacherous brother Antonio. Escaping by boat with their infant daughter Miranda, Prospero fled to an island, surviving with the island’s only other inhabitant, Caliban, a feral half man-half monster, and an airy spirit, Ariel.

Twelve years later, Prospero conjures up a storm using the help of Ariel, after learning a ship carrying their brother Antonio is passing nearby. The storm is devastating, the ship is destroyed, Antonio is shipwrecked, along with Alonso, King of Milan, Ferdinand (Alonso’s son and heir to the throne), and other court members. Prospero is determined to regain rightful airs and secure the safety of Miranda. Using magic, the shipwrecked survivors are divided. The story unfolds and is told through music and songs that evoke the spirit of enchantment on the island.

This production of The Tempest turns the tables by having the main protagonist as a female. Alex Kingston took on the role of Prospero and commands the stage with such grace and skill it’s difficult not to be left stunned and in awe. Interacting with the audience and great physical presence along with melodic delivery of lines, she embodies the magic and, in this version, motherhood, of the Duke of Milan and had my jaw dropping to the floor as the show reached its stunning conclusion.

Heledd Gwynn brought Ariel to life with an energy and dynamism that you can’t fail to love. She lights up the room with her sprite like delights in her playful moments and fills you with a terrible darkness that chills when she is doing Prospero’s bidding. With a naturally ethereal quality, a singing voice that sent tingles down my spine and a hint of the style of ‘Bowie’, Gwynn makes the character’s airy tricksiness believable, which balanced so well with the sadness at wanting to attain her freedom and longing that next mission set by Prospero would be their last.

At first, I was confused by Tommy Sim’aan’s Caliban. There was nothing monstrous about him. To look at him he is the epitome of a perfectly beautiful man. There is nothing ‘savage and deformed’ as Shakespeare had written. I feel in this production it may have been to show that monsters come in all shapes and sizes. After all Prospero was betrayed by her brother and the King of Milan in all their grandeur and finery. Tommy Sim’aan played Caliban to perfection, mainly a physical performance but each line was delivered flawlessly.

Simon Startin and Cath Whitefield as Stephano and Trinculo bought just the right level of hilarity, quirky and clownish without overreaching into idiocy. Peter de Jersey delivers an exquisite Alonso, as is Jamie Ballard’s powerful Antonio, ultimately, all the cast are superb, there isn’t a single weak link in this chain.

A wholly immersive set has been cleverly created from theatrical cast-offs and recycled junk, whilst retaining mesmerising elements of spellbinding beauty. Elizabeth Freestone, following recommendations from Paddy Dillon’s ‘Green Book’, has ensured the costumes, set and props all resemble or are items found washed up on beaches or discarded in skips. This adds to the islands shipwrecked vibe, the set strewn with life’s detritus that has washed up on its shores. This ‘litter’ is personified to embody key characters and moments in the story as a powerful storytelling tool.

Tom Piper’s set is masterful at combining the desolation of humanity and the unwavering strength of nature. Grass growing through the floor tiles, real trees, oil drums, washing lines, huge pieces of the ship jutting out from the backstage, which rise and fall to give the stage different height levels. The amazing cast were key in bringing this set to life and moving each piece into place, items having multiple roles which fed into the ‘recycle’ and ‘sustainable’ themes. The Tempest features a live orchestra of eight, who accompany key moments with some truly fantastic music. Even their instruments are tin pans and junk, which add to the percussion sounds of the sea, the wreck and a lost world. Adrienne Quartey’s almost folky soundscapes to complement the gentler moments, this production is significantly elevated by the careful and complex thought put into the audio aspects of the show. The lighting, designed by Johanna Town, is spectacular. A huge lighting rig hangs at the back of the stage, blending into the derelict set and aimed at the audience, which shakes and rattles during the storms.

The Royal Shakespeare Company have triumphed with this production of The Tempest. Incorporating key themes which embrace the zeitgeist of today and incredible performances from Alex Kingston and the cast as a whole. This is a production that is thought-provoking, entertaining and leaves you believing there is still magic left in this ‘brave new world’.

Leeds Grand Theatre – until Wednesday 1st March 2023

Reviewed by Dawn Smallwood

4****

Richard Strauss’ Ariadne auf Naxos, a co-production with Gothenburg Opera and first premiered in 2018, is part of Opera North 2023 Winter Season repertoire. This one act opera with prologue is based on Strauss’ composition and Hugo von Hofmannsthal’s libretto. This opera is unique with the fusion of comedy and opera with the backstage and film crew as the main premise.

It begins with the Prologue (Part One) where plans of the production of Ariadne auf Naxos are unveiled and is to be performed first before the comedy and a firework display. The plans are not manifested and harmonised, especially with an array of disagreements, clashes of personalities, change of mind from the sponsors which results in the unclarified narrative and composition changes to the opera which is to be intertwined with comedy.

Going into the actual production of the opera (Part Two), the setting now is that Ariadne (Elizabeth Llewellyn) is abandoned and is placed on the rocky island of Naxos. Her reminiscence of life and her new fatefulness is being reflected and she yearns for the Hermes, who is a messenger of death, to arrive. The comedy ensemble intervenes with cheer, song and views of life that are led and shared in parallel by Zerbinetta (Jennifer France) who is about to make a love choice between Harlequin (Dominic Sedgwick) or the Composer (Hanna Hip). The narrative of Ariadne changes when an arrival of a ship is being announced bearing Bacchus (Ric Furman), a young god. Ariadne assumes at the time this was the arrival of Hermes however she mistakes Bacchus for him. It is the same for Bacchus who mistakes Ariadne for Circe, a sorceress, whom he escaped from. Despite mistaken identities and misunderstandings, they both fall in love and after Ariadne taking Zerbinetta’s advice the production comes to an end with an array of fireworks.

Ariadne auf Naxos offer an eclectic variety of comedy and Greek mythology which is merged into a musical which sets well with Strauss’ gloriously temperamental music. Excellently staged by Rodula Gaitanou and Antony Hermus (musical) directions and with Victoria Newlyn’s choreography, the operatic concept is uniquely realistic and documents the backstage journey to the staging of the opera, which scopes further discovery and exploration.

This is a production well done with the cast’s excellent portrayals of the characters especially Hip’s Composer, Llewellyn’s Ariadne and France’s Zerbinetta. George Souglides’ and Simon Corder’s staging and lighting are versatile and works well for both the prologue and the opera. Ariadne auf Naxos is certainly a creation of an opera in an opera and is an opportunity to see well done production in this perspective.

Newcastle Theatre Royal – 17 February 2023

5***** 

After his success at the Disasters in Magic Charity Fundraiser, the Mind Mangler (Henry Lewis) returns with his new show – The Mind Mangler – Member of the Tragic Circle 

With help from the audience including Brian, Paul and Clive (Jonathan Sayer) who had never met the Mind Mangler before, the show included guessing deep dark secrets, predictions and tricks.

Lewis rattled off his performance with just a touch of magic but this a show that “goes wrong” and it goes wrong in such a clever way. And the Mind Mangler soon goes from pompous to irate as the tricks go wrong and things begin to fall apart. But there’s a lot of heart and poignant moments in the midst of the hilarity

Ben Hart acted as magic consultant to the show, you know that it’s going to be good and the act carries on from Magic Goes Wrong which was written by Penn and Teller, alongside the genius of Mischief – Henry Lewis, Henry Shields and Jonathan Sayer.

I’m lucky that I saw Magic Goes Wrong on tour and the one hour taster of The Mind Mangler at the Edinburgh Fringe.  Now running at two hours with an interval, the show has grown to total brilliance.  Yes, I am a fan of Mischief, but I think with The Mind Mangler they have reached their zenith. With the chaos, unpredictability and so much laughter I genuinely think that The Mind Mangler might be my favourite Mischief show of the lot

On tour around the UK – dates, venues and tickets here

Turbine Theatre, London – until 26th February 2023

Reviewed by Mitzi Luck

4****

No Limits – A Song Cycle written by Sam Thomas and directed by Dean Johnson explores the lives of a series of 20 somethings as they navigate life in early adulthood. The show is set in a London apartment, which was echoed beautifully by the setting at the Turbine Theatre. The simple set pared with the exposed brick and cosy theatre made the perfect setting for the intimate glimpses into the young characters’ lives. Each character brings a certain trait to the stage, ranging from the #Romantic to the #Fighter.

The series of tales told by the 20 somethings feel painfully familiar to an audience of any age as the cast grapples with some of the tougher experiences life has to throw at them. The song cycle moves dramatically through highs and lows and back again, with each song bringing its own unique personality to the stage. The show opens with a light heartened and funny but no less meaningful song, titled ‘Headfuck’, sung by the #Romantic character, played by Owen Clayton, which had the audience laughing out loud already. ‘Every Girl Needs a Mother’ sung by the #Dreamer character, played by Natalie May Paris, shows the careful handling of all issues faced by young adults, with a truly moving song devoted to the characters lost mother. Natalie May Paris was breath-taking!

The show artfully paints a picture of the nuance between the sometimes superficially amusing lived experience of the characters and the painful emotions that hide behind. Like the characters, the show doesn’t linger too long on the sad moments and picks up with another amusing tale. ‘Confessions of a Catfish’ sung by the #Catfish character, played by Hannah Lowther, is the most delightfully funny exploration of one young woman’s quest for love, followed by ‘Two Weeks’ sung by the #Funemployed character, played by Mary Moore, a rousing song about career lows and being stuck in an unhappy job.

A highlight was the song ‘The Ballad of The One-Night Stand’ sung by the #Romantic, played by Owen Clayton, and the #Fighter, played by Michael Mather, a song about hoping for more in life and love but being too scared to try; it captures the heart of the musical, along with beautiful use of choreography. In contrast, at times the characters remain still to allow the raw emotion to shine; ‘Grow Up’ sung by Michael Mather, shows the star’s vocal power and captures the heartbreak from a son to his father.

No Limits explores so many themes but underlying it all is a wonderful message of hope and self-discovery. All the cast show the impact of their vocal range throughout. The crescendo of the show erupts in the final song as they all look for meaning and hope in their own journeys. The standing ovation was well deserved by all.

Jack Studio Theatre – until 4 March 2023

Reviewed by Claire Roderick

4****

Olive & Stavros bring The Play with Speeches back to the Jack Studio for a welcome second run. In the gloriously funny play, actors auditioning for a play must audition in front of a paying audience thanks to a booking mix up. This becomes more ridiculous as this romantic/medical/legal melodramatic mess is played out on the set of The Importance of Being Earnest and “writer” Anthony – with a TH, not a T – has constructed his play out of a sequence of audition speeches, so there’s lots fun to be had with OTT writing and acting styles.

As the audience file in, director Penny (Katherine Reilly), writer Anthony (Matthew Parker) and assistant Nick (Jumaane Brown) are setting up for auditions for their new play with frantic nervous glances at the audience. Anthony’s initial awkwardness explaining and introducing each speech soon disappears as his (not so hidden) diva emerges and he reveals personal details of his failed relationship with Penny. At first their reactions are the personification of head versus heart, but Penny’s professional, detached attitude gives way to exasperation as an increasingly showy Anthony goes too far, describing disastrous dates and fights.

Between the squabbles, the auditioning actors file in and add extra ammunition in Anthony and Penny’s battle for control, with some dropping hints that Penny has tweaked Anthony’s script. James Woolf has added a few tweaks himself that work brilliantly – a smaller cast allows multiple auditions from some persistent auditionees, and some wonderfully silly audience participation straight out of The Generation Game adds to the controlled chaos guided skilfully by co-directors Katherine Reilly and Ursula Campbell.

Mark Parsons, Mayuresh Mishra, Anna Blackburn, Camilia O’Grady, Ursula Campbell and Michael Perlmutter all nail the comedic intensity of their auditions, but it is the reactions of Parker and Reilly, and the auditionees own responses that create the magic moments. Reilly is wonderfully bored and calmly frustrated as Parker’s Anthony devolves from a self-important fool into a flamboyant, pitiful mess milking every tragi-comic moment in a fantastic performance. The entrance of Lionel (Perlmutter), smooth, talented and successful with the ladies – the Anti-Anthony – changes the tone for a while, but there are still big laughs to be had from the “tragic” ending. Fantastic fun with stellar performances.

Orange Tree Theatre, Richmond – until 18th March 2023

Reviewed by Bobbi Fenton

5*****

Possibly the worst thing that can happen to somebody is to build their whole life around one thing that links everything together only to lose this key element that connects them to everyone and everything around them. This is exactly what happened to Stephanie Abrahams (Tara Fitzgerald). Following a diagnosis of Multiple Sclerosis, Stephanie loses her ability to play the violin. Her musical ability, which she has developed since childhood, is the one thing that connects her to life itself. Losing this incredible talent leads her into a deep state of depression in which she contemplates suicide, and ends up going to see a therapist.

During her sessions with Dr Feldmann (Maureen Beattie) we see an often hilarious display of denial and projection by Stephanie, as she makes jokes in an attempt to convince Dr Feldmann that she is fine, when in fact she is not coping as well as she tries to make out. This deflection with humour eventually gets to Dr Feldmann, and we see Dr Feldmann shouting at Stephanie in a display of intense anger at Stephanie’s nonchalant manner towards the severity of her depression, recounting previous patients who were not helped by her treatment. The ending of this play is left on a cliff-hanger which leaves the audience wanting more. We are left to ponder whether the future sessions with Dr Feldmann are effective, and whether or not Stephanie keeps her word and continues to work at getting better mentally.

It can be quite tricky to use in-the-round staging effectively, as it increases the risk of actors having their backs to the audience for extended lengths of time. Duet for One, however, uses a stage that rotates slowly throughout the play, which enables the audience to experience different angles and viewpoints during each of Stephanie’s sessions with Dr Feldmann. I thought that this worked brilliantly.

This play is phenomenal, and filled with such raw emotion and moments of intense vulnerability for both characters. Not to mention the absolutely beautiful music performed on the violin during each transition, by Gabriela Opacka-Boccadoro, performing as a past version of Stephanie, who played concerts during her career. Everybody should experience this wonderful performance.

Birmingham Repertory Theatre- until 11th March 2023

Reviewed by Emma Millward 

5*****

First broadcast in 1984 and produced by Central Independent Television in Birmingham, it is very fitting that they have returned to the second city for the world premiere of their first ever live show. It’s a unique show with the Puppeteers being clearly visible onstage throughout, although you are soon pulled into the story and focus on the characters. The satirical and at times x-rated dialogue spoken by the cast is pre-recorded by twelve talented voice artists, including the show’s writers Al Murray and Matt Forde.

The show starts as it means to go on, with an expletive laden announcement informing us if we are easily offended, it’s definitely time to leave. We meet our narrator for the evening, a tiny but domineering Ian McKellen. He is quickly interrupted by Prince Harry and Meghan Markle sitting in the ‘Royal box’ at the side of the stage. We then meet the rest of the Royal Family and are treated to the spectacular sight of the newly crowned King Charles singing Queen’s ‘We Will Rock You’ (or “I will Rule You”) and Queen Elizabeth II rocking the guitar solo! The King enlists a teeny tiny Tom Cruise to save the UK and the ailing ‘Fabric of Society’ (a grotty pair of underpants) by assembling a very unlikely Magnificent Seven group of celebrities including Greta Thunberg, RuPaul, Tyson Fury and Idris Elba. An overly enthusiastic Keir Starmer tries and continually fails to join the gang. They set off to defeat the most evil men in the world, which includes, among others, Boris Johnson and Rishi Sunak (characterised as a Posh Schoolboy) and James Corden.

What follows is two hours of probably the craziest, fast-paced and often shocking comedy I’ve seen in a long time. To name all the familiar faces who appear throughout would take up my entire review, but they include Taylor Swift, Kanye West, Adele, and a wild-eyed,drugged up Paddington Bear offering his advice to King Charles. The characterisations are as savage as we all expect from Spitting Image, including a hilarious take on Home Secretary Suella Braverman, depicted here as a creepy possessed little girl akin to Regan from The Exorcist. Other stand out moments included a tiny Vladimir Putin tap dancing and singing ‘Putin on The Blitz’. However, for me, a scantily clad Carrie Johnson and a troupe of giant dancing male genitalia definitely provided an epic climax to the first half of the show (pun fully intended).

Despite being pre-recorded, the show still manages to keep the show up to date by constantly making edits throughout it’s run at The Rep. Nicola Sturgeon’s recent resignation was added to the show with her gleefully popping up to tell the audience about her own new-found independence. The show’s director and writer, Sean Foley, explained in his pre-performance email that it is both a finished show, and a ‘work in constant progress. The prolonged standing ovation given to the talented Puppeteers at the end of the show was truly deserved after a show that definitely captured the essence of the original show and delivered a laughter-filled evening that left the crowd wanting more. 

Full cast announced for GYPSY at The Mill at Sonning

The full cast is today announced for ‘Gypsy’ at The Mill at Sonning Theatre, running from 24 May – 15 July, 2023.

Joining the previously announced Rebecca Thornhill as Mama Rose and Evelyn Hoskins as her daughter Louise are: Daniel Crowder (as Herbie), Samuel How (LA), Buna McCreary-Njie (Kansas), Tim Maxwell-Clarke (Pop), Peter Nash (Tulsa), Seren Sandham-Davies (Agnes), Marina Tavolieri (June), Laura Tyra (Tessie), Susannah van den Berg (Mazeppa), Joseph Vella (Yonkers), Natalie Winsor (Electra).

The children are played by
Baby June: Daisy Jeffcoate, Mia Burton, Isla Jones
Baby Louise: Sophie Bidgood, Aimee Brain, Sophie Lloyd
Newsboy: Avi Kruijt, Sacha Yarwood, Samuel Logan, George Clarke, Joshua Rowe, Harley Coles

Musicians: Joe Atkin-Reeves Woodwind, Callum White Drums and Percussion, Alexia Barbera Double Bass

‘Gypsy’, the story of burlesque performer Gypsy Rose Lee and her ultimate showbiz mother, Rose boasts a fabulous score by Jules Style and lyrics from Stephen Sondheim, including the memorable songs ‘Let Me Entertain You’, ‘Everything’s Coming Up Roses’, ‘You Gotta Have a Gimmick’, ‘Some People’ and ‘All You Need Is The Girl’. This eagerly awaited production will be created by director Joseph Pitcher, musical arranger & musical director Francis Goodhand, design by Jason Denvir, costume design Natalie Titchener, lighting Design Nic Farman, Sound Design Chris Whybrow, casting Pearson Casting.

24 May – 15 July, 2023

Rebecca Thornhill recently finished playing Mrs Burke in ’Girl from the North Country’ on the first UK tour. Her extensive West End career includes Mrs Wormwood in ‘Matilda’, Karen Holmes in ‘From Here to Eternity’, Mrs Banks in ‘Mary Poppins’, Roxie Hart in ‘Chicago’, Evelyn Nesbit in ‘Ragtime’, Vicki Nichols in ‘The Full Monty’ and Sukie Rougemont in ‘The Witches of Eastwick’.

Evelyn Hoskins played Dawn in ‘Waitress’ and Thea in ‘Spring Awakening’ in the West End, Bonnie in ‘Bonnie & Clyde’ at The Other Palace and Carrie in the musical ‘Carrie’ at Southwark Playhouse.

Creative team:

Joseph Pitcher Director & Choreographer
Jason Denvir Set Designer
Francis Goodhand Musical Arrangements/Musical Director
Natalie Titchener Costume Designer
Nic Farman Lighting Designer
Chris Whybrow Sound Designer
Casting by Pearson Casting CDG
Associate Choreographer Alex Christian
Children’s casting Amber Edlin
Children’s Administrator Jo Hawes

Arthur Laurents (Book)
Arthur Laurents (1917-2011) was the author of musical plays such as ‘West Side Story’, ‘Gypsy’, ‘Anyone Can Whistle’, ‘Do I Hear A Waltz?’, ‘Hallelujah Baby!’ (1967 Tony Award For Best Musical) and ‘Nick & Nora’; and the screenplays ‘The Snake Pit’, ‘Rope’, ‘Caught’, ‘Anastasia’, ‘Bonjour Tristesse’, ‘The Way We Were’, and ‘The Turning Point’ (Golden Globe Award, Screenwriters Guild Award, Writers Guild of America Award, National Board of Review Best Picture Award).

Jule Styne (Music)
Jule Styne (1905-1994) made Broadway sing for 50 years with shows including ‘High Button Shoes’; ‘Gentlemen Prefer Blondes’; ‘Hazel Flagg’; ‘Gypsy’; ‘Peter Pan’; ‘Bells Are Ringing’; ‘Do Re Mi’; ‘Subways Are For Sleeping’; ‘Funny Girl’; ‘Fade Out-Fade In’; ‘Hallelujah, Baby!’; ‘The Red Shoes’; and ‘Darling of the Day’. His film work includes ‘Anchors Aweigh’ and the Oscar-winning title song for ‘Three Coins in the Fountain’. His songbook includes “I Don’t Want to Walk Without You,” “Just in Time,” “People,” “Guess I’ll Hang My Tears Out To Dry,” “Everything’s Coming Up Roses,” “I Fall in Love Too Easily,” “Make Someone Happy,” “Small World” and “Time After Time.” Mr. Styne was a 1990 Kennedy Center Honoree and was the recipient of an Oscar, a Tony, two Grammys, an Emmy, a Donaldson Award and a Drama Critics Award.

Stephen Sondheim (Lyrics)
Stephen Sondheim (1930-2021) wrote the music and lyrics for ‘Saturday Night’ (1954), ‘A Funny Thing Happened on the Way to the Forum’ (1962), ‘Anyone Can Whistle’ (1964), ‘Company’ (1970), ‘Follies’ (1971), ‘A Little Night Music’ (1973), ‘The Frogs’ (1974), ‘Pacific Overtures’ (1976), ‘Sweeney Todd’ (1979), ‘Merrily We Roll Along’ (1981), ‘Sunday in the Park with George’ (1984), ‘Into the Woods’ (1987), ‘Assassins’ (1991), ‘Passion’ (1994) and ‘Road Show’ (2008) as well as lyrics for ‘West Side Story’ (1957), ‘Gypsy’ (1959) and ‘Do I Hear A Waltz?’ (1965) and additional lyrics for ‘Candide’ (1973). Anthologies of his work include ‘Side by Side by Sondheim’ (1976),’ Marry Me A Little’ (1981), ‘You’re Gonna Love Tomorrow’ (1983), ‘Putting It Together’ (1993/99) and ‘Sondheim on Sondheim’ (2010).

GYPSY

A Musical Fable, Book by Arthur Laurents
Music by Jule Styne, Lyrics by Stephen Sondheim
Suggested by memoirs of Gypsy Rose Lee

Directed by Joseph Pitcher

The Mill at Sonning Theatre
Sonning Eye Reading RG4 6TY
www.millatsonning.com

24 May – 15 July

Evening Shows Wed – Sat
Sat Matinees Every Week
Sun Matinees from 4 June
Thurs Matinees from 15 June

Original Production by
David Merrick and Leland Hayward
Entire production originally directed and
choreographed by Jerome Robbins
Gypsy is presented by arrangement with Concord Theatricals Ltd

THE MULTI AWARD WINNING

PRIDE & PREJUDICE* (*SORT OF)

IS NOW BREAKING BOX OFFICE RECORDS ACROSS THE COUNTRY

AND HAS NOW RECOUPED ITS COSTS AND IS IN PROFIT

NEW PRODUCTION IMAGES RELEASED

PRIDE & PREJUDICE* (*SORT OF) by Isobel McArthur after Jane Austen is now breaking box office records as it tours the country after its award-winning run was curtailed at the Criterion Theatre in London’s West End by the pandemic. Isobel McArthur won both the Evening Standard Emerging Talent Award and The Olivier Award for Best Comedy or Entertainment in 2022. In the first four weeks of the 2023 tour the production has played 32 performances to 32 standing ovations. And now continues on to visit Richmond, Chichester, Cheltenham, Inverness, Cardiff, Nottingham, Eastbourne, Chester, Birmingham, Leeds, Blackpool, Bristol, Truro, Malvern, Exeter and Norwich where tickets are now on sale.

David Pugh the producer said, “This success for PRIDE & PREJUDICE* (*SORT OF) is long due and its delay was down simply to the effects of the pandemic. To be able to now produce a show, recoup its production costs and to go into profit at such an early stage must give such confidence back and faith to theatre investors everywhere.”

The cast for the 2023 tour includes Leah Jamieson as Anne, Mary Bennet, Lydia Bennet and Mrs Gardiner, Lucy Gray as Tillie, Charlotte Lucas, Charles Bingley and Miss Bingley, Emmy Stonelake as Effie and Elizabeth Bennet, Megan Louise Wilson as Clara, Jane Bennet, and Lady Catherine de Burgh, Dannie Harris as Flo, Mrs Bennet and Fitzwilliam Darcy, Laura Soper and Ruth Brotherton.

This unique and audacious retelling of Jane Austen’s classic love story originally played at Glasgow’s Tron Theatre.  Men, money and microphones will be fought over in this irreverent but affectionate adaptation where the stakes couldn’t be higher when it comes to romance.  The show features a string of pop classics including Young Hearts Run Free, Will You Love Me Tomorrow and You’re So Vain.  It’s the 1800s.  It’s party time.  Let the ruthless matchmaking begin.

PRIDE & PREJUDICE* (*SORT OF) is directed by Olivier and Evening Standard Theatre Award Winner Isobel McArthur and Simon Harvey. Comedy staging is by Jos Houben, design by Ana Inés Jabares-Pita, lighting by Colin Grenfell, musical supervision by Michael John McCarthy, sound design by Michael John McCarthy and Luke Swaffield for Autograph and choreography by Emily Jane Boyle.

David Pugh presents Tron Theatre Company, the Royal Lyceum Theatre Edinburgh and Blood of the Young’s production of PRIDE & PREJUDICE* (*SORT OF) with co-producers Birmingham Repertory Theatre, Bristol Old Vic, Leeds Playhouse, Northern Stage and Oxford Playhouse.

Website: www.prideandprejudicesortof.com

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Twitter: @PandPsortof

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