Yvonne Arnaud, Mill Studio – 5th November 2022

Reviewed by Jacqui Radford

5*****

‘Unknown’, a play about homelessness written by Dougie Blaxland, is as much about the complex issues behind homelessness as it is about the thousands of people who find themselves sleeping on our streets every year.

The story is informed by contributions from people who shared their experiences of living homeless on the streets of Bath with the writer. The play was inspired by a shocking discovery that nearly half of all people who die on our streets are unnamed. The show itself is consequently deeply moving, reinforcing the harrowing aspects of homelessness that we do not see as we pass on by.

The cast of only three actors portray a powerful message about people who find themselves living on our streets, missing from home, invisible and ending their days listed as ‘Unknown’.

Scott Bayliss plays the central character role of a homeless man who was recorded as ‘Unknown’ on his death but he is given a voice and a name by Scott’s commanding delivery and comment. Powerful scenes of a timeline that spans fourteen years living on the streets are interwoven with creative additions of ‘behind the scenes’ explanation portrayed by Dan Gainsford and Sabrina Laurison. All three display a deep connection with the storyline and are persuasive in their delivery.

You are left under no illusion that the reasons for homelessness are complex, that homelessness is not always a choice and is complex in itself, that many homeless people are invisible because of systems and bureaucracy and that getting off the street is not easy by any stretch of the imagination. This show is one that everyone should make an effort to see.

Yvonne Arnaud, Mill Studio – 4th November 2022

Reviewed by Jacqui Radford

4****

In PurSUEt is a one woman show, written and performed by Eleanor Higgins. Perfectly written for the small stage and theatre, the production tells the true story of a woman with an obsession for Sue Perkins (who appears only in cardboard cut-out form).

We meet a woman who has been sent for therapy to deal with her drink problem and quickly learn that in fact she believes she does not have a drink problem, that her problems are rooted in social pressures and that if she had a relationship Sue Perkins, everything would be fine.

We all relate to the social pressures cited but fewer relate to obsession with celebrity. Audience members, as though they are the therapist, get to hear the musings of a woman whose drinking seems to be intricately connected to an obsession with Sue Perkins.

A series of scenarios recount stories of a woman who knows exactly where to find Sue and makes it her mission to be wherever Sue appears. Her drive to meet and form a relationship with Sue is depicted in almost caricature moments that that lead quicky to binge drinking and embarrassment, bringing us back to the realisation that the drinking is less about Sue and more about something that is missing. Thankfully, the ending of the story shows progress towards acceptance that drinking has contributed to feelings of despair and isolation and that there could be more to life (even without Sue).

This production is cleverly presented, drawing you in from the outset. You find yourself invested in the wellbeing of a woman who is searching for something more and are relieved to join her in discovering that in fact she does need help and more than a relationship with Sue Perkins.

Grand Opera House, York – 5th November 2022

Reviewed by Katie Brewerton

4****

Dave Gorman is well known in the comedy world, having appeared on various comedy and panel shows including ‘Taskmaster’, ‘QI’, ‘Have I Got News for You’ and many more as well as having his own shows including ‘Dave Gorman: Modern Life is Goodish’. If you’re a fan of comedy shows there’s a very good chance you’ve seen him somewhere. Powerpoint to the People is Gorman’s latest tour and as the title suggests he uses powerpoint to assist in the show.

Having not seen Gorman live before I wasn’t sure what type of comedian he would be, often people you see on TV are a more extreme version of their TV persona’s when you see them live. However, Gorman’s humour is honest, good hearted fun. You will find it difficult to be offended and while there is some bad language, which is to be expected from a comedian, the is no malicious content.

Beginning the show with some warnings about getting older and things you need to think about when turning 50 Gorman goes on to talk about one of his favourite TV shows, cleverly using video clips to emphasise what he’s saying. During the second act he focuses on his writing of cryptic crosswords for the Guardian, the Independent and the Telegraph under various pseudonyms. It’s clear he is a very intelligent person and as he goes through some of his previous crossword clues it’s clear how much work goes in to them. Although, not everyone appreciates Gorman’s work as he has, unfortunately found himself a nemesis through his crossword writing. He hilariously divulges how this happened and goes in to detail on some of the reviews left by this person.

Gorman also talks about the Billionaire Space Race between, Elon Musk, Richard Branson and Jeff Bezos. He finds some of the best and most ridiculous comments people have made on social media and puts them together in a fantastically funny poem. Gorman is known for his ‘Found Poems’ created in this way on different topics.

This is a wonderful show which will have you laughing from start to finish, from someone who comes across as a genuine person who doesn’t want to offend anyone and wants everyone to have a good time. Whether or not you know much of Gormans previous work I urge everyone to give this a go.

Barton Village Institute – Saturday 5 November 2022

5*****

So the life of a reviewer is often busy, seeing very different shows sometimes on the same day sometimes with hours of each other. Whilst my previous review had been to Sunderland Empire to review the mighty Les Mis, today I was in a local village hall reviewing the Scouts.

And what a show it was! Packed full of dancing, acting and comedy. From the very youngest 6 year old up to the very dedicated leaders this was full of fun. The young people had learnt a lot of choreography and showed off their skills with aplomb. It would be cruel to pick out a favourite moment but I did enjoy a sassy crab and the leaders versus young people in the Tik Tok Dance Off.

A lot of hard work went into this show, not just the epic performances but behind the scenes too with the costumes, music, staging, fabulous props (a very comedic iceberg lettuce) and the previously mentioned choreography

You’ve missed your chance to see Barton’s Gang Show this year but please support Scouting in your local area and watch out for Barton’s next show too

Gillian Lynne Theatre – until 8 January 2023

Reviewed by Claire Roderick

4****

This magical production of CS Lewis’s beloved story has everything you could wish for. Whether the audience has fond memories of reading the book, the BBC teatime series or the big screen adaptations, this thoughtful adaptation preserves the cosy period atmosphere and still manages to surprise and delight.

Evacuees Peter, Susan, Edmund and Lucy Pevensie are sent to Scotland and are taken in by kindly Professor Kirk (Johnson Willis), discovering that an old wardrobe is actually an entrance into the magical world of Narnia. Their presence sparks a battle for survival in Narnia as the White Witch seeks to keep hold of her icy power over the land by killing the children to ensure the ancient prophecy of peace returning under the reign of four humans is never fulfilled. The mighty Aslan returns to help the children and the creatures of Narnia, and the fate of the land depends on the courage of the four children.

Sally Cookson’s original production at The Bridge made the most of the adaptable stage area, and Michael Fentiman has worked wonders adapting the show for more traditional stages. Tom Paris’s evocative costumes are gorgeous, with the magical animals in clothes and uniforms the children would have seen in wartime Britain, as the Narnian conflict, although without firearms echoes the children’s experiences, rooting the fantasy land in their reality and creating a wonderful sense of camaraderie on stage. The only characters who do not wear period clothes are the White Witch and Aslan, highlighting the eternal battle between good and evil. The actor/musicians are astonishing, performing the gorgeous folk inspired songs beautifully, whether they are jolly jigs or haunting ballads. The stage magic and effects are magnificently old-school, but still thrill, and the puppet work is incredible. The power of Aslan is palpable as the huge lion’s head rises behind Chris Jared.

Amar Duffus, Delainey Hayles, Shaka Kalokoh and Robyn Sinclair are charming as Peter, Susan, Edmund and Lucy. They carry the show effortlessly and Hayles nails the mannerisms of the youngest Pevensie. Womack is magnetic as the White Witch – stiff and regal in her icy crown and slowly becoming more animalistic as she loses her cool.

There are some dark and quiet sections in the show, but nothing too scary for most children. The production doesn’t rush the story, allowing these moments to sit and make an impact and the wonderful cast carry the audience along with them on the magical journey. This is such a well-judged adaptation, keeping true to the original book without trying to produce a noisy, all action spectacular, and instead creating an entrancing and exciting show that will warm your heart.

The Kings Theatre, Portsmouth – until Saturday 5th November 2022

Reviewed by Emma Barnes

5*****

Nativity! The Musical burst onto the stage at The King’s Theatre in Portsmouth last night, it was a dazzling spectacle of song, dance, comedy and festive sparkle not to be missed. 

This is writer Debbie Isitt’s adaptation of the popular 2009 Britcom. A modern day window into the Christmas reality for schools and teachers staging a primary school Nativity. 

The heartwarming story is set in Coventry. Teacher Mr Maddens is a reluctant director of the school play with a seemingly rowdy class of children with little talent or hope.   Things look gloomy until teaching assistant Mr Poppy bounces in and spreads his infectious joy, absurdity and optimism.  Much fun and hilarity follows as the double act develops and a unlikely bromance ensues.   

The plot of the show sticks closely to the film, with two schools competing for the five star review.  Cheery music favourites include Nazareth, She’s the Brightest Star, One Night One Moment and of course, Sparkle and Shine which is guaranteed to have you singing all the way home. 

I am unashamedly biased when I say that the children are naturally the stars of the show, as one of them was my own son! (proud Mummy moment).  However with an incredible 64 child cast , plus two dogs, alternating in two teams across the four performances my hat goes off to CCADS theatre. They have done a magnificent job of showcasing the amazing talent and versatility within the group whilst providing the youngsters with memories and positive experience that will stay with them for life.   The excitement and joy of performing within the cast was palpable and infectious.  Thank you for bringing this happy and unforgettable experience into our lives. 

John-Paul McCronhon as Mr Maddens and Charlotte Turnbull as Jennifer provided stand out solo performances and together their harmonies were absolutely on point and a joy to listen to. I loved to hate Tony Johnson who was despicably delightful as the competitive Mr Shakespeare from the rival Oakmoor school. 

Matt Sackman as the uncontainable Mr Poppy is absolutely engaging and a joy to watch. This is a role with such expectations for anyone who has seen the movie, and he does not fail to deliver!  Matt had the audience screaming with laughter over and over again. He easily achieves a rapport with the children, the cast and the audience (on occasions breaking the 4th wall) with his totally uninhibited and wacky take on the character.  The comedy timing was absolutely impeccable leaving me on the edge of my seat waiting for the next gag or side splitting antic.  

The show is also a real feast for the eyes as well as the senses, with beautiful costumes and lighting and an amazing set. Highlights include the star swinging into stage and the amazing grand finale scene which had all the pizazz that you’d expect in the West End. This show was genuinely one of the best that I have ever seen. Judging by the applause and standing ovation at the end the rest of the crowd felt the same. 

Nativity! The Musical is an absolute triumph of fantastical, feel good, festive fun. My absolute theatre highlight of 2022.  Is it a five star review?   Well of course it is, it’s five ginormous glittery Christmas stars and a big well done from me. 

http://www.ccads-theatre.co.uk/

Tanya Moiseiwitsch Playhouse Theatre, Sheffield – 3rd November 2022

Reviewed by Sophie Dodworth

4****

Following a UK tour, Mark Farrellys one-man show (written and performed by Farrelly), ‘Jarman’ arrives in Sheffield for one night only. We are taken on a journey through Derek Jarmans’ life, the iconic painter, activist, writer and film-maker. We have a transparent look at the highs and lows of Jarmans’ life, ending with his tragic death from an AIDS related illness. From the start Derek talks directly to the audience. There is lots of use of the seating areas and audience participation involved, which can be awkward for some but engaging for others.

Some of the play moved really fast and felt slightly disjointed at times, leaving me wondering what was going on. The writing and the wonderful staging is sometimes complex, which you do have to be on the ball with.

Mark Farrelly has made this production what it is with his ferocious acting talent, he is full of energy, charisma and skills that many actors would be envious of. He can completely command, entertain and charm a full theatre of people, no matter what the size (one would imagine) I am not sure I have ever seen an actor better than him and can not compliment him enough.

There wasn’t really a set as such, an empty stage in its entirety with just a chair which Derek brought on with his entrance. Credit due to Farrelly and the team for the simple minimal props they had and using them innovatively…a roll of brown paper that was used in so many different ways – scrunched up in anger and thrown into the audience, or when the lights were out – screwed up, rustled by Dereks’ hands and a red torch light shone on to emulate a fire, which was so effective, to name a few.

The sound was extremely well thought out and strongly utilised in just the right places. It created joyous moments with the audience when singing along to A Little Respect by Erasure, it was atmospheric!

A real piece of fabulous theatre, with beautiful moments. It leaves you feeling reflective with some of themes of making sure you are giving every minute your everything.

Grand Opera House, York – Thursday 3rd November 2022

Reviewed by Kevin Roberts

3.5***

The opening scenes are played out on a projector screen, drawing us in to all that is magical about the Emerald Isles and its people. The rolling green landscape, the giants causeway, whilst in the background the dulcet tones of Ged Graham telling the tale of this wonderful island and all it has to offer and explaining about the yearning to be home on Christmas day, surrounded by family and friends.

Then on come the cast belting out hit after hit of Christmas songs, littered with the old Irish favourites such as the Irish Rover and Dirty Old Town, to name but a few. Admittedly it was difficult getting in to the Christmas spirit at the beginning of November but such is the personality and mannerisms of the cast that its difficult not to be drawn in, bringing back childhood memories of Christmas.

The cast are superb and such is the eclectic array of voices on stage it never gets boring. One minute Danny Muldoon, Ged and Adam Evans have you clapping and singing along and the next the beautiful voice of Claire Gleave and the melodic sound of Meabh Kennedy on the violin has you transfixed and silent, appreciating that beautiful Irish tone. Megan Jay adds her amazing voice to the performance and the wonderful support act perform dance after dance, creating a wonderful energy to the theatre.

With over 2 hours of non stop performing, aside a 20 minute interval it is definitely value for money and by the time the Pogues classic Fairytale of New York is sung, the crowd are fully engrossed in the experience.

Ged, Danny and Adam do a wonderful job of involving the crowd and encouraging everyone to sing and have a good time. The crowd at York were a bit hesitant at first to partake in the celebration but once the boys teased and cajoled about the effort and enthusiasm, the party soon started. I would say the show is probably aimed at the older generation, aged 40 plus but there were younger members of the audience there. Some might say it’s a bit kitsch or cheesy but if you’re after a bit of nostalgia and a good sing song and wanting to get in to the Christmas spirit early, then I thoroughly recommend it. It certainly had that feelgood factor and I left the theatre whistling to myself and feeling much more festive than when I went in.

Cambridge Arts Theatre, Cambridge – until Saturday 5th November 2022

Reviewed by Steph Lott

4****

What makes a good horror story? Horror author H.P. Lovecraft wrote, “The oldest and strongest kind of fear is fear of the unknown.” The sense of delicious, shivering anticipation is a major part of the pleasure of a ghost story. However, is the ghost worth waiting for?

It’s Christmas 1875 and Professor Gabriel Stokes (Max Caulfield) arrives to take up lodgings at The Sea House, a spooky eerie house cared for by Mrs Hinchcliffe (Juliet Mills), on a desolate stretch of the East Sussex coast. But the Professor hardly has time to set down his suitcase before Mrs Hinchcliffe tells him of the troubled history of the house, the disappearance of its owner who was a zealous missionary who mysteriously vanished, and there are unexplained bumps in the night.

Despite being a rational man, the Professor enlists the help of Tom Beauregard (Michael Praed) a troubled American spiritualist. The two men (one who bears a striking resemblance to General Custer!) then set out to discover the truth.

I don’t want to spoil the play by saying too much more about the plot. However you can expect some nice shocks and there were plenty of gasps and jumps amongst the audience on the night I saw it performed. A ghost is expected to appear but where and when?

Following the traditions of the finest ghost stories, Darker Shores is a gripping and shadowy tale of suspense. The play has a quietly menacing soundscape, and a nicely gothic set. The set is all shades of dark – black, brown and grey. There is low level background noise and eerie lighting which both contribute to the atmosphere of dread and foreboding. It seems a fitting play to enjoy during the lengthening autumnal nights.

The performance is well played by a competent and experienced company. Maxwell Caulfield plays hesitant, baffled and grief ridden Professor Gabriel Stokes with a confused gentlemanly air. Juliet Mills gives a fine performance as the slightly stiff, Northern landlady, Mrs Hinchcliffe. Michael Praed is wonderful as the American medium, Tom Beauregard, who may not be the charlatan that he appears to be. Chipo Kureya is charming as the maid Florence Kennedy, with a surprising talent for second sight. They all add real depth to the characters they portray and the gradual reveal of the backstory of each is extremely well done.

It was an enjoyable evening’s entertainment. Along with the shocks there are some very funny comedic moments and lines and it’s great to see a story that is more than one-dimensional. My only issue was with the ending. It is paramount that narrative demands are met and we have an explanation for what happened, yet what will that explanation be? If the bumps are logically explained, it’s not a ghost story. In Punter’s play, everything is finally explicit. It left me slightly deflated.

Everyone loves a ghost story. Judging by the gasps and jumps, the play delivered the delicious thrill and dread that the audience was promised.

FULL CASTING ANNOUNCED FOR WILLIAM SHAKESPEARE’S

AS YOU LIKE IT

DIRECTED BY JOSIE ROURKE @SOHOPLACE

STARRING LEAH HARVEY, ROSE AYLING-ELLIS, 

ALFRED ENOCH, TOM MISON AND MARTHA PLIMPTON

• Full casting is announced for William Shakespeare’s As You Like It, directed by Josie Rourke, with a musical score by Michael Bruce, @sohoplace, the first new build West End theatre to open in 50 years.
• The first performance is on Tuesday 6 December 2022, Press Night 14 December, for a limited season until 28 January 2023.
• The production stars Leah Harvey (Foundation, The Wonderful World of Dissocia Theatre Royal Stratford East, Shakespeare Trilogy Donmar at King’s Cross) as Rosalind, Rose Ayling-Ellis (EastEnders, Strictly Come Dancing 2021 winner) as Celia making her West End debut, Alfred Enoch (Harry Potter films, Red West End) as Orlando, Tom Mison (Sleepy Hollow, Watchmen) as Touchstone and Martha Plimpton (The Good Wife, Sweat West End, Cymbeline Lincoln Centre, NY, A Midsummer Night’s Dream, Public, NY, Shakespeare in the Park, Pericles Public, NY)  in the role of Jaques. 
• @sohoplace’s first production Marvellous opened last month and is running until 26 November. Following As You Like It is Fictionhouse Limited, Nica Burns and Kate Pakenham Productions’ Medea directed by Dominic Cooke, and starring Sophie Okonedo and Ben Daniels.

Producer Nica Burns today announces full casting for @sohoplace’s first original production, William Shakespeare’s As You Like It, directed by Josie Rourke with a musical score by Michael Bruce. The production stars Leah Harvey as Rosalind, Rose Ayling-Ellis as Celia, Alfred Enoch as Orlando, Tom Mison as Touchstone with Martha Plimpton in the role of Jaques. Further casting includes Allie Daniel (Amiens), Tom Edden (Duke Frederick), Dickon Gough (Charles), Gabriella Leon (Audrey), Mary Malone (Phoebe), Syakira Moeladi (Hisperia), Nathan Queeley-Dennis (Silvius), Cal Watson (Le Beau), June Watson (Adam and Corin) and Ben Wiggins (Oliver).

As You Like It will be the second production @sohoplace with the first performance on Tuesday 6 December 2022, running until 28 January 2023.

Design                  Rob Jones

Lighting                Howard Harrison

Sound                   John Leonard

Music                    Michael Bruce