The Grand Theatre and Opera House, Leeds – until 5^th November 2022

Reviewed by Katie Brewerton

5*****

South Pacific is back on tour! The classic Rogers and Hammerstein Musical is presented by Chichester Festival and is one not to be missed. First performed on Broadway in 1949 South Pacific stands the test of time. 

A classic love story based on an island in the South Pacific during world war two, South Pacific tells the story of Nellie Forbush (Gina Beck), a nurse in the navy who meets Emile de Becque (Julian Ovenden) an older French plantation owner and they soon fall in love, but Emile has secrets and is running from his past. Will Nellie be able to overlook this and her own prejudice upon learning of Emile’s mixed-race children so they can live happily ever after? 

Meanwhile we are introduced to the marines on the island, who are soon joined by newly stationed Lieutenant Cable (Rob Houchen). Lieutenant Cable has arrived on a mission to recruit Emile and use his knowledge of other Pacific Islands to spy on Japanese planes and aid the US forces in turning the tide of the war in their favour.

One of the marines, Luther Billis (Douggie McMeekin) is determined to use Cable’s officer status to hire a boat to travel to Bali Ha’i an island full of local culture, tribal rituals, dancing and women. The only problem, they are forbidden from going there. After being convinced to travel to Bali Ha’i Lieutenant Cable meets Liat (Sera Maehara), a young Tonkinese girl who he falls in love with, however he struggles to come to terms with consequences he may face should he marry someone of another race. 

South Pacific is a simply wonderful production full of fantastic music and lyrics, featuring some of Roger and Hammerstein’s most well-known songs including ‘I’m Gonna Wash That Man Right Outa My Hair’, ‘Some Enchanted Evening’ and ‘Bali Ha’i’.  With phenomenal talent from the main cast especially Ovenden who’s solos were spectacular. The staging is marvellous, with effortless scene changes throughout and brilliant costumes, particularly during the Thanksgiving Show. 

With love and heartbreak, a whole array of magnificent music and a fantastically talented ensemble cast this really is a must-see production of a classic musical. 

Crucible Playhouse Theatre, Sheffield – 1st November 2022

Reviewed by Sophie Dodworth

3***

Emmerson and Wards’ The MP, Aunty Mandy and Me arrives at The Sheffield Playhouse for one night only on its last night of its first ever UK tour, direct from the Edinburgh Fringe 2022.

The one-man show is written and performed by Rob Ward himself and sends you on a crazy, comedic journey with him during the (just over) one hour performance. Ward tells the story of Dom, an ‘Instagay’ wannabe influencer, living at home with his MDMA popping mum. He’s looking for love and hoping to find a man who he can share his passion for steam trains with; however this is not so easy for him due to his panic attacks and lack of gay men in his tiny village. Things on that front alter a little when he arrives for a visit at his local MPs office…

Ward takes on every character in the show, executing with ease and communicating clearly with the audience. You feel all the emotions along with Dom, right from the playful opening to an especially poignant scene where his mum has had a little too much MDMA. This really is credit to Ward himself for his acting but also the effect that the lighting by Will Monks and sound by Iain Armstrong have on the show. A one-man show can be incredibly difficult to keep you engaged but this has all the ingredients to keep you hooked. The set is simple but you’re transported to different places and scenes easily through the direction and talent of all involved.

This show is certainly not for the faint hearted/anyone offended with use of profanities or details of extremely explicit, sexual acts. The storyline also explores consent, coercion and grooming within the gay male community but Ward offers support at the end of the show with details of Survivors Manchester who actually support the tour.

A funny, wild and sometimes serious play with extreme talent running through it.

Theatre Royal Brighton – until 12 November 2022

Reviewed by Sue Bradley

4****

To be honest, I didn’t know what to expect from this show. Anyone who’s had any exposure to pop culture over the past 60 years cannot help but at least know of the existence of the phenomenon known to the world as Cher. So, would it be an autobiography? Would it be a concert performance of the hits?

Well, in the end, it was something of both. We were promised 35 songs and The Cher Show certainly delivered. This means that, in what amounts to a two hour show, there is not a great deal of time to explore the more intimate details of the superstar’s life. Instead, we are treated to a series of vignettes, illustrated by the songs.

Cher’s story has the background of the far-too-familiar tale of male exploitation and manipulation, but her immense drive for success and magnificent ability to re-invent herself when success has faded has resulted in an artist of almost mythic proportions. She is a singer, a successful Broadway actor, an Oscar-winning film-actor and an ever-changing fashion icon. And she isn’t finished yet.

That success has, inevitably, not been without its costs and her private life appears to be one of heartbreak, disappointment and frustration.

Her story is told through an unusual theatrical device of an almost constant presence of three versions of the Cher persona, talking to and advising each other throughout; Millie O’Connell as the awkward and shy teenager, Danielle Steers as the sassy wise-cracking half of the song and comedy duo with husband Sonny, and Debbie Kurup as the full-on Superstar Diva. All three women manage believable incarnations of the star, and all three capture much of the essence of the voice, with Steers, perhaps, having the closest interpretation.

Written by Rick Elice (Jersey Boys, Peter and the Starcatcher) , directed by Arlene Phillips, (perhaps now best known to us as one of the judges on Strictly Come Dancing, but with many decades of experience as a dancer and choreographer) and choreographed by Oti Mabuse,another famous Strictly alumni; the show is a true song and dance spectacular. The choreography feels heavily influenced by the styles of 60’s TV dance-troupes and, whilst perhaps oddly old-fashioned, the dancers give it their all. And the clever costumes, designed by Gabriella Slade, although not being as risqué as Cher’s own choices, give impressions of semi nudity without ever really revealing anything.

We saw the show on a packed opening night and the audience was ready to ‘Believe’ right from the off – and don’t worry – you’ll get a chance to sing along at the end. Cher is an entertainment industry phenomenon and this show allows you to feel something of the pleasure and pain that she has experienced on a journey that is still far from over.

Seven Dials Playhouse – until 19th November 2022

Reviewed By Emily Cliff

3***

Content warning: this review discusses themes of suicide

Lewis Cornay’s Daddy issues is a hard hitting play that touches on some extremely difficult themes surrounding the unexpected loss of loved ones, and the pain and trauma they leave behind. Rounded up into a 65 minute story, we watch as Imi formerly Imogen reinvents herself as she is trying to cope with the one year anniversary of her fathers suicide.

Upon entering the theatre the set is dressed in pink, with neon lights surrounding the set giving it a funky pop like glow. Fantastically designed by Andrew Exeter, the set reflects the chaos of the show to come, sprayed in pink. Imi is already on the stage putting up posters of what we soon learn to be her dead therapy dog, which gives us our first insight into the story to come.

Set in a granny annex on Halloween we first see Imi trying to enjoy and embrace the festivities of Halloween as she reinvents herself in the spirit of the holiday. Dressed in a skeleton costume ready to go out and enjoy the holiday. The story itself is structured around an instagram live, where Imi is holding a wake for her dead dog Roger. This soon morphed into discussions of Halloween and fond memories of the holiday but a noticeable elephant in the room that gets harder and harder to ignore as the night goes on.

Like many, Imi uses humour as a way of coping with her emotions, making this seemingly gloomy story one of dark humour which will leave your cheeks aching from laughter. Cornay has a great way of making you laugh with his writing but also leaving you with an underlying gut feeling of guilt; should we really be laughing at this person’s misery? Should I feel bad for laughing here? This style of writing has a fantastic way of putting you in the character’s shoes without even realising it, that subtle feeling of dread, guilt and sadness all bundled up into a ball of laughter and jokes.

While the jokes and the dark humour in this show was well written, Imy and many other women who have gone through something similar were incredibly let down by the portrayal of adult relationships in this piece. This was a flawed attempt at representing the sexual wants and needs that stem from past trauma, especially those inflicted by males in a woman’s life. It leaned into the stereotypes often portrayed across film and media making it feel like it was written in bad taste.

Despite its flaws this show dealt with harmful and incredibly difficult topics in a way that is witty and insightful. The eventual breakdown of Imi leads to her talking to her younger self giving her the hope to carry on. Bebe Cave’s performance was fantastic, radiating the desperate grasps of dealing with trauma on such a large scale. Supported by great character development and pacing this show is a fantastic devilish dark comedy.

If you are affected by the themes spoken about in this review please contact any of the charities below. No one has to suffer alone.

https://www.samaritans.org/how-we-can-help/contact-samaritan/talk-us-phone/

https://www.mind.org.uk/information-support/guides-to-support-and-services/crisis-services/helplines-listening-services

Nottingham Theatre Royal – until 5 November 2022

Reviewed by Louise Ford

5*****

We could’ve been anything we wanted to be…

Bugsy Malone hits the Nottingham Theatre Royal to blow away the wet and dismal evening to bring a show that is alive with charm, song and fun!

Director Sean Holmes has brought to the UK stage the 1974 Alan Parker film, Bugsy Malone. A quite unique film that cleverly blends the gangster movies of the 1920s with an all child cast. I certainly remember seeing it and my daughters rank it amongst their favourite childhood films.

The adaptation to the stage works really well . This is thanks in no small part to the unforgettable original songs by Paul Williams , arranged by Phil Bateman but also the sets and costumes (Jon Bausor) which perfectly capture the mood of the original film and move the story along at a cracking pace.

The main difference between the original film and this adaptation is the inclusion of an adult ensemble rather than distracting from the younger actors they bring an extra dimension and energy. The most memorable and hummable songs Bad Guys ( it’s still whirling through my head) and So You Wanna be a Boxer are wonderfully choreographed by Drew McOnie. We loved the complicated cat’s cradle of the boxing ring and the ensemble dodging and weaving their way around the stage. Of course the splurge guns and custard pies are great but the car chase steals the show!

The current tour has three sets of young actors, our performance was Team Roxy.

The show opens in New York with a gloomy and anonymous backdrop of fire escapes that hides Fat Sam’s speakeasy. Fat Sam (Isham Sankoh) delivers a brilliant performance as the troubled gangster with his hapless hoodlums being threatened by the new kid on the block Dandy Dan (Kit Cranston).

The contrast between the mean back streets with the glitz of Fat Sam’s bar is achieved with descending tables and whirling lights and a glowing drinks bar. The scenery moves around effortlessly to create the different locations.

Whilst Fat Sam was the stand out performance for me a great voice and comic timing the roles of Blousey (Delilah Bennett-Cardy) and  Tallulah (Faith Ifil) were delivered perfectly with strong voices and stage presence and fantastic costumes. Bugsy (Shaun Sharma) was sweet and adorable and wore his hat with aplomb!

The final scene was a perfect mash up of the whole cast break dancing and having great fun with the perfect finale song You Give a Little Love, which to be fair is what we all need on a cold November evening!

Yvonne Arnaud, Guildford – until 5 November 2022

Reviewed by Heather Chalkley

4****

Director Scott Graham has taken Frantic Assembly in a new direction, taking a classic and well known text instead of the fresh, new material they usually play. He has successfully presented Shakespeare in a modern context, staying faithful to the script. No mean feat and well done.

Right from the first choreographed opening scene the audience is captured and drawn in. The Moor, Othello (Michael Akinsulire), from the start has a strong and commanding presence. Akinsulire delivers a physical performance as one unit with the cast, as well as the epic soliloquies Shakespeare is so famous for. Akinsulire portrays the honest and earnest character of Othello, who takes people at face value. His jealous nature is easily twisted and manipulated by Iago (Joe Layton). You see a visible change in Othello (Alkinsulire) as he becomes more duped by Iago’s words.

Felipe Pacheco plays Roderigo with a youthful naivety and a hormone fuelled infatuation with Desdemona, that brings an element of humour to the plot, despite the sinister intentions of Iago (Joe Layton).

The whole cast move fluidly throughout like one body, delivering Shakespearian text eloquently and naturally. It is a unique combination. The physicality of the performance stays true to Franctic Assembly’s style and is a great medium for Shakespeare. The choreography really pumps the audience and the scenes deliver a clear message, whether that is of youthful exuberance, passion or violence. Perry Johnson, co-choreographer, has cleverly captured the essence of each scene in movement.

Frantic Assembly have created a performance that makes Shakespeare accessible and exciting for young people and anyone else who has not studied the master.

The Alexandra Theatre Birmingham – until Saturday 5th November 2022

Reviewed by Nadia Dodd

5*****

The Mousetrap opened in 1952 in the Ambassadors in London and, would have celebrated an unbroken 70-year West End run this year if it had not been for a global pandemic – seven decades of an amazing murder mystery which has become a must see show.

A gem of British classic theatre this tour produced by Adam Spiegel, has kept millions of people across the world asking themselves ‘Who dunnit?’

The whole play has one set, I’ve never seen another play like this before. Based in Monkswell Manor Guest House a new business venture by the owners Mollie and Giles Ralston (Joelle Dyson and Laurence Pears) you see four pre-booked guests arriving for their stay. Plus an extra guest who has come across the establishment following his car overturning in the awful snow blizzard that is unfolding threatening the guess and the Ralstons to be cut off from the surrounding area and civilisation until a thaw sets in.

As a murder mystery I wasn’t expecting the expert comedy timing from Christopher Wren (played by Elliot Clay) one of the pre-booked guests to the manor. His childlike and lovable character was a hit with the audience. All guests including the owners of the manor house become suspects after a murder takes place that evening.

Mrs Boyle, a woman who I don’t think anyone could ever please (Gwyneth Strong), Major Metcalfe a retired gentleman (Todd Carty), Miss Casewell, very unconventional for the 1950’s, lived many years abroad (Essie Barrow) and the unannounced Mr Paravicini (John Altman) are the other guests and murder suspects as the story unfolds.

The final person to enter the manor is Detective Sergeant Trotter (Joseph Reed) who accesses the manor on his skis due to the snow drifts, climbs in through a downstairs window and announces to everyone that they are in danger, one of them could be murdered tonight and also that one of them is the killer, but who?!

In the 70 years the story hasn’t changed and its part of the agreement with the audience at the end of the show that we don’t spill the beans and reveal ‘Who Dunnit’ to continue keeping such a gripping British theatre classic running for what could be forever. Clever, classic theatre at it’s best.

Southampton Mayflower – until 5th November 2022

Reviewed by Lucy Hitchcock

3***

J B Preistley’s timeless classic ‘An Inspector Calls’ has been adapted by Stephen Daldry and the National Theatre to bring a quintessential Nation Theatre production to the Mayflower.

This is a tale with twists and turns and becomes almost a ‘whodunnit’ piece, but with a gripping ending that had the audience stunned. A very limited cast meant that it was quite intimate, but the staging from Ian MacNeil’s brilliantly intricate design, meant that the stage opened up and the cast managed to utilise every inch of the open space.

Inspector Goole (Liam Brennan) arrives late one night, unannounced at the house of Mr Birling (Jeffrey Harmer) to enquire each member of the household on the untimely death of one of Birling’s ex employees. What unfolds, is that every member of the family have in some way contributed to this females suicide, thus prompting the family to learn a lesson about their actions and how to proceed and become better members of society.

This was a well scripted and thought out piece, but for me, I had some difficulty in hearing and understanding the dialogue. In some aspect, it was that a few of the characters were speaking a bit too quickly and their words were swallowed by the stage, and partly because the microphones could have been adjusted higher. For me, I felt a certain draw to Frances Campbell, who played ‘Edna’ the maid. She had only a handful of lines, but was on stage throughout. Liam Brennan as ‘Inspector Google’ carried this show brilliantly, with his fierce Scottish accent, attitude and complete command of the stage and audience. At one point, he directly addressed the audience, giving a message that resonates even in this day and age with complete sincerity and warning.

This is a good play, with twists, turns and excitement – I’m sure that you will not be disappointed.

Eleanor Lloyd Productions and Rebecca Stafford Productions present

Witness for the Prosecution
By Agatha Christie

• ALL RISE! AGATHA CHRISTIE’S ‘WITNESS FOR THE PROSECUTION’ EXTENDS ITS RUN AT THE MAGNIFICENT LONDON COUNTY HALL
• THE ACCLAIMED PRODUCTION IS NOW BOOKING UNTIL 8 OCTOBER 2023
• AS CHRISTMAS APPROACHES COURTROOM GIFT PACKAGES, INCLUDING THE CHANCE TO SIT ON THE JURY, MAKE THE PERFECT PRESENT FOR AGATHA CHRISTIE FANS

Eleanor Lloyd Productions and Rebecca Stafford Productions are thrilled to announce an extension for Agatha Christie’s Witness for the Prosecution following the production’s recent fifth anniversary.   Audiences will now be able to watch the trial of Leonard Vole at the magnificent London County Hall until 8 October 2023. Tickets for the new booking period are now on sale at witnesscountyhall.com.

A range of Courtroom Gift Packages, which include the chance to sit on the Jury, make the perfect Christmas gift for crime fans. For more information, please visit https://witnesscountyhall.com/tickets/gift-packages.

Witness for the Prosecution is now on to its eighth cast, which includes Eastenders star Harry Reid as the accused Leonard Vole opposite Naomi Sheldon (The Comedy of Errors, RSC; Good Girl, Trafalgar Studios/ Roundabout/ Old Red Lion) as Romaine Vole. Dugald Bruce-Lockhart (Private Lives, Bath Theatre Royal/Nigel Havers Theatre Company – UK Tour; The Last Temptation of Boris Johnson, Park Theatre) plays Sir Wilfrid Robarts QC, with Jonathan Coote (The Crown, Netflix; The Audience, West End) as Mr Mayhew, Justin Avoth (My Brilliant Friend, National Theatre/ Rose Theatre, Kingston; Love From a Stranger, Fiery Angel) is Mr Myers QC, and Nicholas Day (Yellowfin, Southwark Playhouse; After All These Years, UK Tour) is Mr Justice Wainwright. 

Witness for the Prosecution has captured the imagination of thousands gripped by the case of Leonard Vole, accused of murder in cold blood. Director Lucy Bailey thrillingly places the audience in the thick of the action as Christie’s enthralling tale of justice, passion and betrayal unfolds around them.

Leonard Vole is accused of murdering a widow to inherit her wealth. The stakes are high. Will he be able to convince the jury of his innocence and escape the hangman’s noose?

The twists and turns of the case are played out in a spectacular courtroom setting inside the atmospheric London County Hall as prosecution battles defence and witnesses take the stand to give their shocking testimonies. The production received Best Revival nominations at the 2018 Olivier and WhatsOnStage Awards.

The production is designed by William Dudley, with lighting by Chris Davey, sound design by Mic Pool and casting by Ellie Collyer-Bristow CDG.

Photos by Harry Elletson have today been released of HRH Prince Edward, The Earl of Wessex’s attendance at Reading Rep’s Corporate Partnership Scheme Launch this Monday. The event, which was held at the theatre, saw businesses across Reading and the Thames Valley connect and network with fellow organisations. HRH Prince Edward, The Earl of Wessex was this week announced as the Royal Patron for the multi-award-winning professional theatre