Upstairs at the Gatehouse, Highgate – until 15 January 2023

Reviewed by Phil and Viv Brown

5*****

Surely few theatre lovers can resist a 60s musical, especially one as polished and entertaining as this. And is there a better way of escaping a winter of discontent than with a blast of 60s high energy optimism?  Set in Swinging London at the height of the beat boom, the story charts the hopes and dreams of 5 eager young adults looking for a break at the Four Eyes Coffee Bar in Carnaby Street (a humorous nod to the original 2i’s coffee bar that played such a formative role in the birth of British pop).  

The Four Eyes is the hub of the action and is run by Hetty (well played by Helen Goldwyn) with the help of Sam Wilmott (Connor Arnold), a go-getter recently discharged from the US Air Force.   Hetty is an ex showbiz pro and falls into the role of matriarch, facilitator and confidante to the main characters who are slickly introduced in the opening scene.  Joanna (Eliza Shea) is a cub reporter for the Evening Standard and sings with the Four Eyes house band on the side.  Scouse wannabe photographer Bobby (Harry Curley) is looking for the action but a parking violation leads instead to traffic warden with a heart of gold Vera (Elizabeth Walker).  Hopeful fashion designer Cassie (Candis Butler Jones) then becomes Bobby’s target for his “you could be a model” spiel.  With Cassie’s need for college funds and Sam’s persistence, the three girls form a girl group – The Vixens – under Sam’s management, whilst Bobby takes care of publicity.  The stage is set for future stardom.

Aside from the obvious nostalgia appeal, there is so much to love and admire about this fondly crafted Ovation production.  The attention to period detail is exquisite.  The design and direction (John Plews) is masterful. The overall music supervision is immaculate (Kevin Oliver Jones & Curtis Lavender), and the small Four Eyes band is superb throughout.  It’s all expertly threaded together with a  beautifully written story (Jennifer Selway) that weaves in plenty of humour about the period and also the future, (“If only we had phones that we could carry around”), along with the smoothest of segués to the musical numbers, selected (pleasingly) from some of the more overlooked troves of 60s treasure.  Lead singer duties are shared pretty evenly across all six members of the ensemble and each grabs the opportunity to shine in the spotlight, showcasing a wonderful array of individual talent.   Connor Arnold as Sam also impressed as a multi-instrumentalist, moving from double bass to trumpet to guitar.  Together, this seriously talented cast pulled off a block-buster of a performance.  

Amongst the stand-out moments were the full-on dance routines in each half, Joanna’s hard rocking “Shoot Shoop Song“, Bobby’s tender “Ferry ‘cross the Mersey”,  Cassie’s powerful  rendition of “First Cut is the Deepest”,  Sam’s soulful “SOS Stop Her on Sight”, and Vera’s poptastic “Lost in London”  – the production’s one original song that is not at all out of place amongst the 60s hits. 

Sadly, this is the last Ovation production at The Gatehouse.  This hugely enjoyable show embodies what it means to go out with a bang.

Park Theatre – until 14 January 2023

Reviewed by Claire Roderick

4****

It’s not just Scrooge getting his redemption story this Christmas, with grumpy goblin Rumpelstiltskin taking centre stage at Park Theatre. Charles Court Opera’s pantomimes are always a boutique treat, and Rumpelstiltskin doesn’t disappoint.

With a whirlwind retelling of the entire Grimm fairy tale in the opening number, John Savournin takes the audience on a trip through fairy tale land as Rumpelstiltskin’s discontent at everyone now knowing his name attracts the attention of the mysterious Dreamcatcher. Determined that nobody should get their wishes granted without payment, Rumpelstiltskin wishes that everybody would forget his name. The evil Dreamcatcher gives him exactly what he wants, meaning that his name is lost, even to him. Rumpelstiltskin meets Daisy the cow and soon a quest begins as they search for the lost characters that the Dreamcatcher has imprisoned, with Rumpelstiltskin learning about friendship and generosity along the way.

Director and writer John Savournin injects the perfect mix of humour needed for a panto, with the more mature jokes accompanied by silly sound effects to keep the younger audience engaged. There is, of course, audience participation with a rat based challenge from Larry the no.10 cat and some dreadful puns. With the quest taking Rumpelstiltskin through enchanted caves, a magic carpet ride and a visit to London, the scenes are set using furniture and props from the intricate bookshop/library set, packed with drawers and secret doors for characters to pop in and out of, and the perfect backdrop for demonstrating the magic of books and storytelling. David Eaton’s original songs are fantastic, with a range of influences and serving the plot brilliantly.

Philip Lee is a hoot as the goblin, full of eccentric energy and Emily Cairns is cartoonishly evil as the Dreamcatcher. Lucy Whitney excels in various roles, and Tamoy Phipps almost steals the show as Daisy the cow with her boundless energy and ability to milk every emotion. The vocals are fantastic, and the pace of the show is well-judged, with Rumpelstiltskin’s realisation that with kindness he can make his own story a wonderful message for young and old.

A cracker of a show for all the family.

@sohoplace – until 28 January 2023

Reviewed by Claire Roderick

4****

Josie Rourke’s gorgeous production of As You Like It exudes warmth and charm with its inclusive cast and performance.

With her father exiled by her uncle, Rosalind’s protection in court is her cousin, Celia. But when Duke Frederick loses patience and exiles Rosalind, Celia leaves as well along with the fool Touchstone. Disguised as a shepherd boy and his sister, they travel to the Forest of Arden, where Rosalind’s father has set up a fairer bucolic society. Also fleeing to Arden is Orlando, ill-treated by his older brother and madly in love with Rosalind. This being Shakespeare, Orlando doesn’t see through Rosalind’s disguise as young Ganymede, and she is soon ‘curing’ him of his love.

Set in the round, with a piano the only permanent fixture on stage, the bare and cold feeling of the court scenes – all swishing skirts and boots clomping on the wooden floor – transform simply into the forest with a fall of leaves from the branches suspended high above the stage and a subtle lighting change, softening the pallet and the atmosphere.

The casting of deaf actors Rose Ayling-Ellis and Gabriella Leon as Celia and Audrey opens up a world of possibilities for a director like Rourke, and the choices add many layers to the story. The surtitles around the auditorium are introduced beautifully as notes appear when pianist and composer Michael Bruce begins playing the piano, before changing to parchment like screens as the dialogue begins. While Leon speaks and signs in the raunchy manner you’d expect from Audrey, Ayling-Ellis does not speak. Her signing is dramatic and emotive, and after a few scenes I forgot about the surtitles and instead just sat back and enjoyed her fantastic performance. The only time she speaks is to her father. The contrast between his attitude and the loving sincerity of Ben Wiggins’s stumbling attempts to sign when they first meet illustrates the fractured relationship and his lack of acceptance of her in a heart-breaking manner.

The impact of Ayling-Ellis’s performance slightly overshadows Leah Harvey and Alfred Enoch’s meeting in court, but also serves to highlight their characters’ growth and throwing off the shackles of court in Arden. Enoch’s Orlando, already dressing like a forest dweller in court, is passionate and funny – his vocal battle with the excellent Tom Mison as Touchstone is a hoot. Leah Harvey’s energy and wit as Rosalind is outstanding. June Watson adds gravitas as Adam and Corin, while Martha Plimpton prowls the stage magnificently as Jacques – portraying the restlessness and search for knowledge in an increasingly disappointing world with the slightest hunch of her shoulders.

Michael Bruce’s piano provides the beating heart of the show, and the songs that can usually be a bore in some productions are a joy. The arrangements and vocals – particularly from Allie Daniel and Plimpton – are delightful and create a dreamlike quality to the play.

As You Like It is a superb production, full of warmth and wit – a welcome treat this winter season

Jack Studio Theatre – until 30 December 2022

Reviewed by Claire Roderick

4****

It is the Christmas truce of 1914, and as the able-bodied soldiers play football, the injured men from both sides are gathered inside an abandoned theatre to listen to a British Medic tell a Christmas story. Ross McGregor’s tender adaptation of A Christmas Carol goes straight for the emotional jugular but doesn’t become overly maudlin as there are wonderful payoffs to come as soldier Jim (Tice Oakfield) compares the soldiers’ inevitable fate with Scrooge’s opportunity for redemption.

Tice Oakfield is sweet and awkward as Jim begins his story, with faltering attempts at German and innocent joy that he has brought a box of magic tricks along. Director Kate Bannister skilfully maintains the conceit that this is an amateur storyteller making the most of what he finds around him in. As he begins his story the practical nature of Karl Swinyard’s atmospheric set is revealed, with doors wheeled across the stage and spun around to portray changes of location. Using a mix of recorded tracks and simply speaking behind a door, Oakfield manages the conversations between various characters seamlessly, but always with a knowing twinkle to remind the audience that this is Jim revelling in telling the story. A swift change of jacket or hat mark the different characters, but Oakfield’s body language and vocal skills sometimes render this unnecessary. Oakfield’s physicality and stamina is astonishing – especially in his performance of a whirlwind rendition of 12 Days of Christmas.

Sleight of hand magic tricks from Jim are matched by technical wizardry with Chomsoonthorn’s lighting complementing Baker’s video design and Julian Starr’s sound design to create the perfect spooky atmosphere for a ghost story. The projections of the ghosts are impressive and the Ghost of Christmas Past’s old school stage magic and Oakfield’s personification of the Ghost of Christmas Present are a welcome addition in this affectionate mashup of theatrical effects.

The added emotional weight of the WW1 setting, being taken out of the story as Jim addresses his audience directly about his wartime experiences, and one last revelation make this adaptation of A Christmas Carol something very special. A barnstorming performance from Tice Oakfield and the magical touch of the Jack Theatre team deliver a heart-warming Christmas treat.

Hull New Theatre – until 31st December 2022

Reviewed by Catherine McWilliams

5*****

Jack And The Beanstalk will deliver everything you could possibly want from a panto, it is an utter joy from start to finish. This production does not rely on gimmicks or major technical wizardry, it harks back to the simpler productions of yesteryear and is all the better for it. Having said that, the simple sets are quite stunning and the 3d effects are fabulous. Jack And The Beanstalk has all the audience participation you could want, cheesy jokes, singing and dancing and will brighten even the coldest of days.

This production has a small cast, but what a hugely talented and tight knit bunch they are, working hard to ensure that the audience has the best night out. In this version of Jack And The Beanstalk, the Giant’s wife Mrs Blunderbore (Chelsea Hall) comes down from Cloudland to find animals for her husband to eat and the Trots are worried that she will take their cow Daisy. Mother Nature (Georgia Iudica-Davies) has found Jack Trot (Gareth Gates) and Princess Jill (Allana Taylor), who she is sure will defeat the Giant.

Neil Hurst’s Silly Simon is an utter delight, he developed an instant rapport with the audience, working us with consummate ease! He is clearly in his element as he bounces around the stage causing chaos and ad-libbing with glee. Full of corny jokes that remain just this side of clean, absolutely perfect. He was the glue that held the whole panto together.

Gareth Gates made an excellent Jack Trot and clearly relished every minute of his role. He has a beautiful singing voice and his rendition of Unchained Melody was a highlight for me.

Jack Land Noble was delightful as Dame Trot, the perfect panto dame. Dame Trot’s costumes were suitably over the top. He had an excellent rapport with the rest of the cast.

Chelsea Hall may be from Hull, but as the baddy of the panto she was booed with great glee by all the audience. She played her part to perfection.

Georgia Iudica-Davies and Allana Taylor played their parts to perfection too, both have beautiful singing voices.

The ensemble was great, playing a variety of roles, the animals and particularly Daisy the cow being real favourites. The band led by Jon Chamberlain provided the perfect musical accompaniment.

Last night there was an additional person on stage – Andy the signer, as this was a signed performance. He was constantly being teased by Silly Simon as he tried to make him sign “rude” words or quickly gave him tongue twisters. Andy was wonderful to watch, BSL is a very expressive language and he threw himself into the whole performance. Absolutely fabulous.

Pantomime should be a joyous experience and this was just that. Do not make the mistake that pantomime is for children, I went with three adult friends and we all had an absolute blast and I left the theatre with my jaws aching as I had laughed so much. This is without a doubt the best panto I have seen. Make every effort to get to see it – it really will make your Christmas.

Everyman Theatre, Cheltenham – until 31st December 2022

Reviewed by Jacqui Radford

4****

Hammerpuzzle Theatre Company have adapted the literary classics written by Flora Thomson to the studio theatre setting.

The story is seen through the eyes of Laura Timmins as she looks back on her life; from her childhood in a rural community to her joy at breaking the mould and pursuing a life more in keeping with the stories in the books she loves. Leaving her family home to work as a postmistress, Laura relishes the opportunities opened up to her by her cousin whose vision is of a world where limits are not set by background or expectation but pushed away by enthusiasm and aspiration.

Performed in the Irving Studio Theatre with a cast of only four people, it is impossible not to feel like each of the characters is talking with you. Each scene is enhanced by sights, sounds, smells and quick changes that draw your eye to all areas of the stage.

Laura’s thirst for adventure and embracing new ideals is brought to life by Katy Sobey, who adds a dash of youthful spirit to the role. Meanwhile, Lizzie Crater seamlessly switches between the roles of two major and opposite influencers in Laura’s life; Emma Timmins (Mother) and Dorcas Lane (Cousin). The rest of the cast (Alex Wilson and Emmanual Olusanya) add further dimension to the character of rural life and love, bringing multiple characters and viewpoints into the mix.

If you are looking for a production that gives you a chance to stop and enjoy a moment of nostalgia or reflection, this definitely fits the bill.

BRIAN COX TO STAR IN  LONG DAY’S JOURNEY INTO NIGHT IN THE WEST END

Second Half Productions has today announced that Emmy-award winning actor Brian Cox will star as James Tyrone in a new production of Eugene O’Neill’s magnum opus Long Day’s Journey into Night, widely considered one of the greatest American plays of the 20th Century. This new production, which will open in the West End, will be directed by Jeremy Herrin.

Brian Cox says:“It has long been an ambition of mine to play Eugene O’Neill’s flawed patriarch James Tyrone, and I’m delighted to have the opportunity to do so on a West End stage. I’m a great admirer of Jeremy Herrin’s work and I am looking forward to us delving into O’Neill’s masterpiece together.” 

Jeremy Herrin says: “It’s the privilege of a lifetime to direct one of our finest actors in one of the greatest plays ever written. The peerless Brian Cox as James Tyrone is a match for the ages, and a wonderful opportunity to create a deeply moving and cathartic piece of the theatre.”

Further details including, venue, dates and creative team will be announced in due course. For priority booking please sign up to Second Half Productions’ mailing list: https://www.secondhalfproductions.co.uk/

Grand Opera House York – until Sunday 8th January 2023

Reviewed by Michelle Richardson

3 ½ ***

Berwick Kaler and the gang are once again gracing the stage at the Grand Opera House York with this years pantomime, The Adventures of Old Granny Goose. Along with Berwick, Martin Barrass, Suzy Cooper, David Leonard and AJ Powell, have such a following who come to see them year after year, a true York institution. There were a few in attendance on Press Night, having a whale of a time.

Berwick, as always, is the writer and director of this panto, this year working with UK Productions. As with all his panto’s, the plot is very loose and not quite what you would expect.

Set in Acomb, a suburb of the wonderful city of York, Mrs Plum Duff (Berwick) lives with her two children Jessie (Martin) and Cissy (Suzy). They are struggling in these desperate times, until the arrival of a huge goose, who honks a lot, but also magically lays a golden egg. That is until the dastardly Lucifer Nauseus (David) gets wind and, though he is terrified of geese, his greed overcomes any fears, he needs that goose and plots to achieve his goal, with the help of a fairy, also played by the charismatic Suzy.

Berwick relishes going off script and has his fellow cast members trying so hard not to break down in laughter and remain somewhat professional. This made for great comedy. His costumes are aplenty, and an improvement on last years. With some aerial work, yes by him, he certainly utilises the stage to its full advantage. After a dip into the fountain of youth, he reminded me so much of a family member, can’t say who, before bursting into song with a take on the 1990’s hit, Barbie Girl.

David is superb as the baddy and really plays up to the audience, encouraging more and more boos, very theatrical. His costume is wonderful, with a long red devil tail, that doubles up as a phone. I am so envious of his fabulous legs, I’m pretty sure that I have mentioned them in the past. The performance of Lou Reed’s Perfect Day with Suzy and AJ was a highlight, with the latter two frequently switching roles as the fairy. Check out AJ rocking the blonde wig and tutu, very Rebel Wilson.

There was a bit of Rocky Horror Show inspiration in one of the ensemble numbers, with the costumes and music, I do enjoy a bit of Rocky Horror. Jake Lindsay is in his 10th year of working with the team and he plays his role, as Jakey the Lad, who just wants a larger role after all this time, with such sweet innocent enthusiasm, but is constantly criticised by Berwick. Also joining the stage were some young performers from York Stage School, who performed with gusto, especially one young girl, she looked like the youngest and was quite mesmerizing to watch, full of exuberance.

Berwick’s Old Granny Goose is full of mayhem and just what you would expect from an unconventional Berwick panto. Whilst it may not appeal to traditional panto lovers, you never know it until you try it, it is worth a punt, and you never know, you may be the lucky recipient of a Wagon Wheel (you have to see the show to get where I’m coming from).

ACTING FOR OTHERS ANNOUNCE OVER £75,000 HAS BEEN RAISED AT THIS YEAR’S ONE NIGHT ONLY AT THE IVY, WEST STREET

Theatrical charity Acting for Others announces that over £75,000 has been raised at this year’s One Night Only that returned to The Ivy, West Street on Sunday 4 December for the first time following the Covid-19 Pandemic.

Stars of the stage and screen swapped their costumes for aprons and served diners for a one-off sitting at The Ivy. The cast trying their hand at taking over the bar, waiting tables, hosting and welcoming guests included Geraldine Alexander, Annette Badland, Samantha Bond, Harriet Cains, Bessie Carter, Jim Carter OBE, Kim Cattrall, Ben Forster, Tamsin Greig, Ginny Holder, Celia Imrie, Cassidy Janson, Robert Lindsay, Lesley Manville CBE, Jessica Madsen, Dame Arlene Phillips DBE, Golda Rosheuvel, Hugh Sachs, Samantha Spiro, Polly Walker and Tom Read Wilson.

Sir Derek Jacobi, Dame Maggie Smith and Dame Penelope Wilton were also in attendance at the Dames and Knights table.

The evening also included an exciting live auction, led by Louise Simpson and Samantha Bond, offering an array of ‘money-can’t-buy’ experiences such as dinner with Sir Derek Jacobi, an Ivy chef preparing dinner for 10 in your own home, and two VIP tickets to Mother Goose starring Sir Ian McKellen, followed by drinks with Sir Ian and members of the cast.

Sir Stephen Waley-Cohen, Chairman of Acting for Others said, “We are overwhelmed by the generosity of our supporters for the return of One Night Only at The Ivy which raised over £75,000, which is an enormous help at this difficult time. Our thanks go to all the wonderful diners who bid on exclusive lots in our live and silent auctions, as well as to those who donated the ‘money-can’t-buy’ items. This event of course would not be possible without the support of Samantha Bond and Richard Clifford who organised the fabulous Cast of 2022 who performed so well as Maître’d’s and waiters and were brilliantly supported by The Ivy’s regular cheerful team.”

CAST ANNOUNCED FOR THE UK TOUR OF TEECHERS LEAVERS ’22.

       THE CLASSIC AND POPULAR PLAY BY JOHN GODBER HAS BEEN LOVINGLY UPDATED BY THE WRITER TO REFLECT THE CHALLENGES OF STUDENTS TODAY.

Adrian McDougall, on behalf of Blackeyed Theatre is pleased to announce the cast for the world premiere UK Tour of Teechers Leavers ’22.

Opening at the Wilde Theatre, Bracknell on Wednesday 25^th January 2023, it continues a wide-ranging UK tour, running until Thursday 25^th May 2023 at the Albany Theatre, Coventry.

Directed by Adrian McDougall, Teechers Leavers ’22 will star Ciara Morris (The Play That Goes Wrong, Beast Quest) as Gail, Michael Ayiotis (The Sun, The Mountain and Me) as Salty and Terenia Barlow (Bridgerton) as Hobby.

Teechers Leavers ’22 is a newly updated version of the ever-popular play by John Godber, brought to stages across the UK by highly acclaimed Blackeyed Theatre.

John Godber, writer said: “This refashioned version of Teechers Leavers ’22 tries to take into account the embattled nature of state education during and post Covid 19. It still retains its comic elements, but I think the play is stronger, if darker, as it describes a school system which pushes arts subjects to the fringes. I had thought that social divisions might have grown closer in the thirty odd years since I first wrote the play: unfortunately, from what I hear and see, the divisions are wider and the marginalisation of drama in the curriculum in state education is still advancing strongly. I’m very excited that Blackeyed Theatre Company will have the opportunity to present this highly physical depiction of state education in their new production.”

Teechers Leavers ’22 is a hilarious, high-energy, full-blooded comedy that brings to life an array of terrifying teachers and hopeless pupils through the eyes of Salty, Gail, and Hobby; three Year 11 students facing a scary world with only their imagination and a love of theatre.

It’s 2022 at Whitewall, a struggling academy that’s failed its Ofsted. The bell’s gone and they can’t afford a new one. The first fifteen have lost sixty-seven nil and it’s not just the playing field that needs levelling up. Sadly, Whitewall’s led by donkeys. So’s Whitehall, come to that. Enter Miss Nixon, a new drama teacher with fire in her belly, a lesson for the elite and a well ‘sick’ Tik Tok!

Will Miss Nixon abandon her students in favour of a tranquil private school? Who puts the bounce in PE teacher Miss Prime? Will Mrs. Parry ever track down her Koko? And why does everyone smell like spring onions?

Adrian McDougall, director said “This will be our fourth national tour of Teechers, which tells you all you need to know about our love for the play. I come from a family of teachers and had precious little opportunity to do drama at school, so the play has always resonated with me. It’s scathing in its attack on a flawed, two-tier education system but at the same time inspiring in its celebration of the power of imagination and creativity. And what John’s done with this updated version of the script is just brilliant. It’s weightier without losing its comic irreverence. Together with our brilliant cast and artistic team, we’ll try our best to do it justice!”

Teechers Leavers ’22 is directed by Adrian McDougall, with assistant direction by Martha Godber, choreography by Scott Jenkins, set design by Victoria Spearing, costume design by Naomi Gibbs, lighting design by Alan Valentine and fight direction by Ronin Traynor.

Tickets for Teechers Leavers ’22 are on sale now.