Etcetera Theatre, Camden – until 31st October 2022

Reviewed by Bobbi Fenton

4****

Nosferatu. Where do I begin to try and describe this play. This play is the perfect thing to get you in the mood for Halloween, especially if you’re not a fan of really scary horrors. Spooky, hilarious, and very fun, Nosferatu is absolutely brilliant, and will probably leave you quite speechless.

The play opens with the head of Van Helsing (Jessica Olim) talking to the audience, explaining how he has been there for 100 years, while his body is stood next to him, gesturing along with what he is saying. We are then transported back in time to the year 1922, and are introduced to Phillip Hutter (Eleanor Homer) and his wife Margaret (Henry Charnock). With Van Helsing, they venture to Transylvania to sell a house to the mysterious Count Orlock (Blake Heaven). The castle is spooky, and some very strange things start happening while they are there, which makes the three very worried for their safety, especially when they figure out that Count Orlock is a vampire. The play ends with Van Helsing being decapitated by Count Orlock, and an undead Margaret killing Phillip. While there are a few unnerving moments, there is also a lot of comedy, such as a moment when Van Helsing, totally infatuated by Phillip Hutter, steals a pair of his underpants, and later puts them on, singing and dancing to the song ‘I Touch Myself’. Not to mention a scene towards the end of the play when Margaret Hutter channels her inner Jay Hawkins and puts a spell on Count Orlock (Nosferatu) to defeat him. This works, and Nosferatu disappears leaving behind only a puddle of what Margaret assumes to be white ectoplasm. There is a lot more sexual content in this play than I expected going in, but this content made the play even funnier because of the flawless delivery by all.

Jessica Olim’s portrayal of Van Helsing is hilarious, as he tries to hide his love for Phillip throughout the play. As is Henry Charnock’s portrayal of Margaret, as she is presented as a typical ‘damsel in distress’ archetype who is constantly brushed off by her husband whenever she tries to tell him something he doesn’t know. Eleanor Homer as Phillip is another great archetype of typical old-fashioned man which is incredibly funny paired with Henry Charnock’s Margaret. My favourite interactions however are between Phillip and Van Helsing, as Phillip is completely oblivious to Van Helsing’s feelings, something I think most people can relate to but exaggerated by the over-the-top acting by Jessica Olim. Not forgetting the comical portrayal of Count Orlock by Blake Heaven. Similar to Van Helsing, Count Orlock falls in love with Margaret which results in him stealing something from Phillip. Instead of stealing a pair of underpants though, he steals a photo of Margaret from Phillips wallet, which Phillip catches him with later on in his bedroom.

Nosferatu is an absolutely hysterical theatre experience that everybody should see before the 31st.

IMMERSIVE AND MOVING NEW PLAY TO BE PREMIERED ON TOUR THIS AUTUMN

The Possibility of Colour poses important questions around mental health issues

A powerful new play which asks questions about what is ‘normal’ – and who gets to decide – is touring to venues across the north this autumn.

The Possibility of Colour, from the acclaimed Tree Fish Productions, is an immersive and moving insight into the reality of voice hearing, synaesthesia, neurodiversity and forced treatment, and has been created over several years in collaboration with mental health professionals, academics and those who have lived experience of the themes it explores.

The production, from award-winning writer and director Pete Carruthers, will be staged at theatre spaces in Salford, Preston and Ormskirk during November, as well as being broadcast online with a live Q&A session.

And along with the public performances, special sold-out shows for up to 1,350 student nurses will also be held at each venue, funded by Health Education England and forming part of the students’ official training.

Following each performance, audience members will be able to take part in a Q&A with a panel including leading mental health experts and people with lived experience of the play’s themes.

These important discussions will continue to take place as part of a larger national tour being planned for autumn 2023 and spring 2024.

Designed by the AI-controlled ‘Vigil’ Corporation, the Implant is a new miracle device that promises to cure all mental illness.

For many, the Implant is an irresistible guarantee of eternal happiness; a life without suffering. For others though, it’s a terrifying instrument of control, stripping them of what it means to be human, and increasingly forced upon a growing number of ‘compulsory recipients’.

Will Joseph, his sister Aisling, or his best friend Helen, be able to decide which of them, if any, should have the implant? And with the ever-looming presence of Vigil, do they even have a choice?

The production is written, produced and directed by Tree Fish founder and artistic director Pete Carruthers with set and costume design by Carly Altberg, lighting design by Isabel Potter and Carly Altberg, video and projection design by Ed Grimoldby, and original music and sound design is by Patch Middleton. Ally Davies is creative producer.

Its cast includes Pete Carruthers as Joseph, Rachel Marwood as Aisling, Amy Revelle as Helen, Verity Henry as Vigil, Gareth Cassidy as Lucas, Chloe Proctor as Mollie and Orla Mullan as Woman.

Tree Fish Productions is a theatre and film production company based in the north of England which creates high quality work with a mission to inspire greater understanding, empathy and compassion while contributing towards real social change.

The company is passionate about creating work which speaks to people from all corners of society, with a specific focus on reaching those who are in a position to bring about change, from changes in personal professional practice to wider social reforms.

And along with creating independent work, it also collaborates with health and education providers to create powerful, empathic and truthful stories that bring training to life.

Writer and director Pete Carruthers of Tree Fish Productions says: “The play opens up vital conversations about the ways in which we treat people who are deemed by society to be ‘abnormal’ or ‘mentally ill.

“It aims to improve understanding and empathy for others, but also to provoke discussion, reflection, and even policy change, in the long run. We don’t just want to entertain and inform, but also to challenge and inspire the audience.”

To find out more and to book tickets, visit https://www.treefishproductions.com/

Instagram:       https://www.instagram.com/tree_fish_productions/

WHAT IS BEING SAID ABOUT THE POSSIBILITY OF COLOUR

“INCREDIBLY THOUGHT-PROVOKING, REALLY POWERFUL…”

Sally Ashton-May, lead midwife, National Nursing and Midwifery Team, Health Education

LISTING INFORMATION

THE POSSIBILITY OF COLOUR TOUR 2022

THE NEW ADELPHI THEATRE, UNIVERSITY OF SALFORD

Thursday 17 – Friday, 18 November 2022 at 7pm

University Road, Salford, M5 4BR

Website:         https://www.newadelphitheatre.co.uk/

Box Office:       0161 295 2533

THE MEDIA FACTORY, UNIVERSITY OF CENTRAL LANCASHIRE

Wednesday 23 November at 7pm and Thursday, 24 November at 2pm and 7pm

Kirkham Street, Preston, PR1 1JN      

Box Office:       07857 405681

THE ROSE THEATRE, EDGE HILL UNIVERSITY

Tuesday 29 November 2022 at 7pm

St Helens Road, Ormskirk, L39 4QP

Website:         https://www.edgehill.ac.uk/departments/support/artscentre/whats-on/

Box Office:       01695 584480

ONLINE – RECORDED PERFORMANCE PLUS LIVE Q&A

Thursday 1 December – Friday 2 December 2022 at 7pm

Website:         https://www.treefishproductions.com/

‘HONEY WHAT YA WAITIN’ FOR?’

THE RECORD-BREAKING HIT MUSICAL RETURNS FOR A NEW UK AND IRELAND TOUR

BY LAURENCE O’KEEFE & KEVIN MURPHY

BEST NEW MUSICAL

WHATSONSTAGE AWARDS ‘19

****

Daily Telegraph, The Independent, Metro, Daily Express,

The Stage, Attitude, The Arts Desk, Broadway World

*****

The New European, City AM

Following two record-breaking seasons at London’s The Other Palace and West End transfer to the Theatre Royal Haymarket in 2018 and having won the WhatsOnStage 2019 award for ‘BEST NEW MUSICAL’, Heathers the Musical will embark on a highly anticipated UK tour from 2023.

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

The 2023 Class of Westerberg High and the full tour timetable will be announced shortly.

Greetings and salutations! Welcome to Westerberg High, where popularity is so very a matter of life and death, and Veronica Sawyer is just another of the nobodies dreaming of a better day.

But when she’s unexpectedly taken under the wings of the three beautiful and impossibly cruel Heathers, her dreams of popularity finally start to come true.

Until JD turns up, the mysterious teen rebel who teaches her that it might kill to be a nobody, but it’s murder being a somebody.

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

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

LISTINGS

BILL KENWRIGHT & PAUL TAYLOR-MILLS PRESENT

HEATHERS THE MUSICAL

2023 UK and IRELAND TOUR

BY LAURENCE O’KEEFE & KEVIN MURPHY

DIRECTED BY ANDY FICKMAN

CHOREOGRAPHY BY GARY LLOYD

DESIGN BY DAVID SHIELDS

LIGHTING BY BEN CRACKNELL

SOUND BY DAN SAMSON

Theatre Royal, Windsor                                                  theatreroyalwindsor.co.uk

14 – 25 February 2023                                                    01753 853 8888

New Victoria Theatre, Woking                                  atgtickets.com/Woking

7 – 11 March 2023                                                      0844 871 7615

Theatre Royal, Brighton                                                theatreroyalbrighton.com

14 – 18 March 2023                                                        0333 009 6690

Theatre Royal Bath                                                         theatreroyal.org.uk

21 – 25 March 2023                                                    01225 448844

Theatr Clwyd                                                                   www.theatrclwyd.com

28 March- 01 April 2023                                                01352 344101

Regent Theatre, Stoke-On-Trent                               atgtickets.com

11 – 15 April 2023                                                       0844 871 7615

Bord Gáis Energy Theatre, Dublin                              bordgaisenergytheatre.ie

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

York Opera House                                                      atgtickets.com

9 – 13 May 2023                                                         0333 009 6690

The Alexandra, Birmingham                                         atgtickets.com/birmingham

16 – 20 May 2023                                                       0844 871 7615

Waterside Theatre, Aylesbury                                   atgtickets.com

30 May – 3 June 2023                                                 0844 871 7615

Empire Theatre, Sunderland                                      atgtickets.com

20 – 24 June 2023                                                        0844 871 7615

Kings Theatre, Glasgow                                             atgtickets.com

27 June – 1 July 2023                                                   0333 009 6690

The Empire, Liverpool                                                atgtickets.com

4 – 8 July 2023                                                            0844 871 7615

Palace Theatre, Manchester                                      atgtickets.com/manchester

8 – 12 August 2023                                                     020 7206 1174                                             

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

Website:

www.heathersthemusical.com

Lyceum, Sheffield – until 5th November 2022

Reviewed by Alison Beaumont

4****

I’m sure most people already know what Mamma Mia the musical is about but for those of you who don’t Mama Mia is a smash hit musical based on the songs of ABBA. It tells the story of a single mother (Donna) and her daughter (Sophie) who live on a Greek Island. Sophie has never known her dad but when she is due to get married to her boyfriend Sky she dreams of her dad walking her down the aisle. Sophie finds an old diary of her mums which leads her to the possibility of 3 father’s, Sam, Bill and Harry. Sophie decides to invite all 3 men to her wedding without the knowledge of her mum to try to find out which one is her real dad.

Having seen the musical and the movie many times before I was really excited to be seeing this once again. After all who doesn’t love a bit of Abba.

The orchestra perform some of the songs before the first and second acts and gave you a small insight into some of the songs. However, the music at this point was really loud and could have done with being toned down a little bit.

Sophie is played by Jena Pandya and from the moment she stepped out on stage and started to sing I knew she was going to play the part well. Her voice seemed pure and innocent and from start to finish she didn’t fail.

It took a bit for me to get used to Sara Poyzer who played Donna but as the show went on I found I was enjoying her more and more. She totally blew me away when she sang “The Winner Takes It All” and this had to be the be one of the best songs of the show.

Unfortunately for me personally I wasn’t feeling the chemistry from Toby Miles who played Sky towards Sophie and didn’t think he was strong enough vocally for the role compared to people who have played this role previously.

I loved the costumes when Donna and the Dynamos sang Super Trooper. Tanya and Rosie were played by Helen Ankler and Nicky Swift and certainly added a comedy element to the show. Although you have to give the award for the best comedy performance in this musical to James Willoughby Moore for his role as Pepper. He definitely made the audience laugh.

I really enjoyed “Gimmie! Gimmie! Gimmie!” I thought the choreography in this was amazing and all the cast and ensemble made this a pleasure to watch. I particularly liked Chloe Gentles from the ensemble.

It was without a doubt that this musical ended up with everyone on their feet joining in with the all time classics of ABBA.

Blackpool Winter Gardens – until Saturday 5 November 2022

Reviewed by Debra Skelton

5*****

Sensational is how I would describe the performance of Dreamgirls that is currently showing at The Winter Gardens in Blackpool. It transported the audience back to 1960’s Detroit telling the story of a small black record label and its stars through song and dance.

The show begins with three girls called the Dreamettes entering a talent show held in New York’s Apollo Theatre. Disappointed in their failure to win the contest, they attract the attention of a sly tongued talent agent named Curtis Taylor who persuades them to become a backup act to James Thunder Early, a rising pop singing star which ensures the Dreamettes to wide acclaim and success

At first Curtis falls in love with Effie, the full-figured lead singer who is the spark to the act but after trying to attempt to make them sultry by moving Deena into Effie’s lead spot he later also switches his love interest to her too. This prompts Effie to erupt into a rage prompted more by the hurt than the loss of her singing slot which causes the act to replace her with a new girl called Michelle. The Dreams (no longer the Dreamettes) continue to thrive and achieve international stardom and a string of chart-topping hits.

Life for the Dreams is not so smooth with Lorrell who has taken up with the married James Thunder Early being disappointed with the fact that he will not leave his wife and Deena who is now married to Curtis wanting to leave the act to pursue a career in the movies. As the Dreams seem to be falling apart, Effie has now become a solo act and is enjoying her return to fame.

Curtis tries to undermine Effie’s new revitalised career by ensuring that the Dreams record her current hit song in an attempt to push her down the music charts. Effie however manages to outmanoeuvre him triumphantly on both a professional and personal level.

After Deena decides that she needs to move on, it is announced that the Dreams will disband and on their farewell performance they are joined by Effie one last time before they all go their separate ways.

The music in the show was outstanding with a variety of styles from Motown, R&B, soul to the sensational ballads which brought rapturous applause from the audience throughout the whole of the show.

As to the cast, I would normally write a little something about the main cast but for this show, the whole cast was just stunning with their dancing, choreography and to me the most powerful and harmonious voices I have ever heard in a musical production, and you could tell from the vibe of the audience that I was not the only one who thought this.

The multipurpose set was used to its advantage for each scene. The use of angles and perspective was skilfully done in the blocking stage, as often the cast headed to the back of the stage, or a corner of the stage to act as if they were performing their routines and numbers whilst the audience focussed on what was happening at the front of the stage at the same time which was both brilliant and clever.

A final shout out goes to the costumes which are always a favourite of mine, and I was not disappointed with the variety from little dresses, slim fitting fish-tailed gowns, business suits to glittering sequined showstopper suits.

Belgrade Theatre Coventry – until October 29th 2022 

Reviewed by Sarah Harris ( and Isla age 13) 

5*****

An outstanding stage adaptation by Birmingham Stage Company of one of David Walliams much loved children’s novels which is a must see for both young and old. 

The story  follows Alfie ( Sam Varley) a 12 year old boy and his friend Gabz (Georgia Grant-Anderson) as they try to find out who is leaving horrible things under children’s pillows when they leave a tooth out for the tooth fairy. 

We also see the relationship between Alfie and his disabled Dad (James Mitchell) as they accept they need help from a new social worker Winnie (Misha Malcolm). 

And no David Walliams story is complete without an appearance from Raj the shop keeper who is expertly brought to the stage by Zain Abrahams. 

Alfie and Gabz discover that the new dentist Miss Root (Emily Harrigan) is not as nice as she seems which takes them on an adventure to find out the truth and stop her. 

The show was entertaining and full of humour that was enjoyable for both young and old. It brought a much loved book alive. The Demon Dentist made some children scream out loud in the theatre but in a fun way. 

The actors playing children were so good they made you forget they were adults and Alfie’s singing voice was brilliant. 

Choreography (Paul Chantry and Rae Piper) was fun especially the improvisation scene which made us laugh out loud. 

The set was fantastic (designed by Jackie Trousdale) and changes were smooth. Although not a musical the songs sung were very good. 

The entire cast were absolutely amazing and this show is perfect for families and friends of all ages although younger children may be a little scared. 

Festival Theatre, Edinburgh – until 29 October 2022

Reviewed by Sara McGuire

5*****

I’m not a huge fan of musicals but this outstanding production of Rodgers & Hammerstein’s South Pacific by Chichester Festival Theatre Production won me over instantly. Bursting with life and pops of colour every single person gave their all belting out well known classics like Some Enchanted Evening and There is Nothin’ like a Dame throughout the show! 

The plot at first seems to be just a simple love story played out on an exotic island set during WWW2 but Oscar Hammerstein previously acclaimed for his sensitive and courageous treatment of racial prejudice uses South Pacific to highlight his views. You’ve got to be Taught beautifully sung by Emile de Becque (Julian Overden) and Lt Joseph Cable (Rob Houchen) in the second act makes this very clear. 

The charming revolving sets transport you straight to exotic island life. They ooze energy, vibrancy and colour (Peter McKintosh) and Howard Harrison in charge of lighting creates some almost perfect moments where at one point the stage is awash with candlelight and soft red hues. 

This production is full of sparkling powerful performances and especially from leading lady nurse Nellie Forbush (Gina Beck) and leading handsome man Emile de Becque (Julia Ovenden). After falling in love and singing I’m in Love with a Wonderful Guy the charismatic nurse runs off after finding out he has mixed-race children. The moral of the story is love wins out after all as thankfully she has a change of heart just in time. 

My favourite moments were when Liat, Bloody Mary’s young, beautiful and innocent Tonkinese daughter (Sera Maehara) opens and closes the show. Her stunning dance and movement captivated me from curtain up and had me hooked. Ann Yee’s choreography and movement direction provided dynamic and memorising routines keeping the audience entertained all night. 

Another highlight for me was when the stage filled with ladies alongside Nurse Nellie Forbush (Gina Beck) in fun colourful swim wear belting out I’m Gonna wash that Man Right outa my Hair in true chorus fashion.

I can’t end without a big shout out to the brilliant orchestra directed by Jon Laird, who brought so much energy to every show stopping moment!

By Janet Brodie Murphy

I visited the Shaftsbury Theatre yesterday to view the new and ongoing renovations of this delightful Edwardian Building.

We were met my James Williams the Executive Director who toured the Theatre with us showing us all the new renovations and modifications. We also met Don Taffner the owner of the Theatre which was a delight.

As a person with mobility issues I was delighted to see how the new work has wholly incorporated the needs of the disabled and this Theatre now offers full access to wheelchair bound personnel. The facilities, including new toilets are now first class and meet all the needs of the disabled.

I came away thinking it was a gem of an Edwardian building encased now in a sturdy metal frame which has given new life to this majestic Theatre.

Big thanks everyone who made my visit so enjoyable.

Leicester Square Theatre – touring until 4 December 2022

Reviewed by Claire Roderick

4****

With egos even bigger than their hair, Clinton Baptiste and Ramone Tamine take their paranormal show around the country to share their gifts with the unsuspecting public in their hilarious, unashamedly old-school comedy show.

Clinton Baptiste – “the notorious clairvoyant medium psychic” – is a character that will have you giggling before he opens his mouth – and when he does…

Alex Lowe’s creation is an amalgam of flamboyant psychics and club performers that is both monstrous and pitiful – a goldmine for laugh out loud moments, with a beautifully judged vocal tick. Baptiste’s nemesis, Ramone (Lewis Macleod) is the perfect foil – brasher and earthier, but just as desperate for recognition. The presence of the tour sponsors, the McBains, in the audience sees the two competing for the chance to dazzle with their charisma to become the face of McBains Boilers. Their readings and channelling for the audience soon turn into bickering and bitching as they try to upstage each other.

The pairs’ faux spiritualism, peppered with mantras like namaste…shalamah…shakattack, is guaranteed to get laughs, and their interactions with the audience are cutting but never cruel as they pass the spirits’ messages on. The nonsense is non-stop, with changes of pace and a sub-plot about their support act that develops nicely into the chaotic ending.

Clinton Baptiste Vs Ramone hits all the right notes for a night full of laughs, the show is charmingly OTT, cheesy with a wonderfully anarchic streak that will make you cringe. As one woman said in the loos after the show: “I don’t know what the hell I have just seen, but it was bloody funny”. Tour details available at https://www.clintonbaptiste.com/live

Little Angel Theatre – until 20 November 2022

Reviewed by Claire Roderick

4****

Little Angel and Monstro’s The King of Nothing is a cheeky and charming re-imagining of Hans Christian Anderson’s “The Emperor’s New Clothes” by Ben Glasstone and directed by Steve Tiplady. Aimed at 5 to 11 year olds, there are enough dad jokes to satisfy the adults and plenty of physical comedy and silliness to keep the younger audience members smiling.

The King of Falala isn’t interested in the rising price of electricity or the gurgling drains that bother his subjects. All he cares about is fashion and being smart and “in”. When one of his most trusted advisors is Keeper of the Royal Undergarments, you know the kingdom is in trouble. For his birthday parade, King Reginald wants to dazzle in something spectacular, at least three steps ahead of current trends, but what to wear? Enter two swindlers (Karina Garnett and Gilbert Taylor), weaving both the story and the mystical cloth for King Reginald’s birthday suit.

Alison Alexander’s colourful and creative set and puppet design gives a travelling circus feel to the show, with a variety of puppet characters that the children loved. The test for whether a young audience is lost in a story is when characters switch between puppet and performer representation without the audience losing their belief, and the switches are seamless in this show. The fantastic Garnett and Taylor pitch their performances perfectly and there are lovely moments where the audience become part of the story. With a lovely mix of music and storytelling, The King of Nothing breathes new life into this classic tale. Fantastic family fun.