Winners announced for UK Theatre Awards 2022

• 3 wins for Leeds Playhouse including UK’s Most Welcoming Theatre, Best Performance in a Musical and Best Design
• Accolades for Giles Terera, Divina de Campo and Nishla Smith
• Sarah Holmes honoured with Outstanding Contribution to British Theatre Award

Sunday 23 October: The 2022 UK Theatre Awards winners were revealed today in a lunchtime ceremony at London’s Guildhall. The Awards returned following a two-year hiatus due to the pandemic.

The Awards were hosted by star of the stage Courtney Bowman (Everybody’s Talking About Jamie, Six, Legally Blonde), and presenters included Dame Arlene Phillips, Isabella Pappas, Joel Harper-Jackson and Rakie Ayola. 

The UK Theatre Awards are the only nationwide awards to honour and celebrate outstanding achievements in theatre throughout England, Scotland, Wales and Northern Ireland by UK Theatre members.    

The biggest winner of the day was Leeds Playhouse, who won three awards including UK’s Most Welcoming Theatre,  Best Design for Laura Hopkins & Simon Wainwright for Dracula: The Untold Story and Best Performance in a Musical for Divina de Campo for Hedwig and the Angry Inch, a Leeds Playhouse and HOME co-production. 

Best Director was won by Elin Schofield, Robert Hastie and Anthony Lau for Rock/Paper/Scissors. In this theatrical first, the cast performed in the Crucible, Lyceum and Studio simultaneously at Sheffield Theatres. 

The Best Musical Production award was given to the Curve Theatre Leicester’s Billy Elliot the Musical. Based on Stephen Daldry‘s acclaimed 2000 film, with music by Elton John and book and lyrics by Lee Hall. The musical features incredible songs such as Solidarity, The Letter, He Could Be a Star and the show-stopping Electricity.

Mugabe, My Dad & Me won Best New Play. The story charts the rise and fall of one of the most controversial politicians of the 20th century through the personal story of Tonderai’s family and his relationship with his father. The show is a co-production by English Touring Theatre, Brixton House & York Theatre Royal in association with Alison Holder. 

The Best Performance in a Play award was won by Giles Terera for Bristol Old Vic’s Production of The Meaning of Zong. Nishla Smith garnered Best Supporting Performance for Kes, an Octagon Theatre and Theatre By The Lake co-production.

Brian Friel’s modern masterpiece Translations won Best Play Revival. The Abbey Theatre and Lyric Theatre Belfast co-production is a three act play about language and (mis)communication which centres around a rural town where language, myth and history thrive within a small north Donegal community.

Fantastically Great Women Who Changed The World, based on the award-winning picture book by suffragette descendant Kate Pankhurst was awarded Best Show for Children & Young People. 

Richard Mantle received the award for Achievement in Opera in recognition of his incredible work at Opera North.

The dancers of Rambert won the Achievement in Dance Award for their ability to inhabit any choreographer’s vision, as a company of unique, versatile, incredibly skilled performers. 

Sarah Holmes was honoured with the Outstanding Contribution to British Theatre accolade, presented by Stephanie Sirr MBE and Michèle Taylor MBE. Accepting the award Holmes said: “I accept this award as recognition for the quality, innovation and creative spirit which is to be found in our pioneering regional theatres”.

Offstage awards included Excellence in Arts Education which went to the Lyric Theatre in Belfast; Excellence in Inclusivity won by English Touring Theatre; Excellence in Touring awarded to Graeae Theatre Company; Best Digital Innovation given to Chichester Festival Theatre and Best Workforce awarded to The Marlowe, Canterbury. 

The UK Theatre Awards are sponsored by: Harbottle and Lewis, John Good Ltd, Nyman Libson Paul, Settingline Production Management, Spektrix, Theatre Tokens, Tysers in association with Ecclesiastical, Unusual Rigging, and White Light

The full list of winners is available here. 

THE 40^TH ANNIVERSARY PRODUCTION OF MICHAEL FRAYN’S BELOVED COMEDY
NOISES OFF

COMES TO THE WEST END
FOR 8 WEEKS ONLY

LONDON’S PHOENIX THEATRE FROM 19 JANUARY 2023

STARRING

FELICITY KENDAL, TRACY-ANN OBERMAN, MATTHEW KELLY, ALEXANDER HANSON, JOSEPH MILLSON, SASHA FROST, PEPTER LUNKUSE, JONATHAN COY

DIRECTED BY LINDSAY POSNER

Theatre Royal Bath Productions is delighted to announce that Michael Frayn’s multi award-winning farce, Noises Off, will head to the West End’s Phoenix Theatre for a strictly limited run from 19 January to 11 March 2023 with tickets now on sale via atgtickets.com

Noises Off stars Felicity Kendal (The Good Life, Relatively Speaking and Hay Fever) as Dotty Otley, Tracy-Ann Oberman (EastEnders, Friday Night Dinner and Edmond) as Belinda Blair and Matthew Kelly (The Dresser, Waiting For Godot, as well as hosting Stars In Their Eyes and You Bet!) as Selsdon Mowbray, Alexander Hanson as Lloyd Dallas, Joseph Millson as Garry Lejeune, Sasha Frost as Brooke Ashton, Pepter Lunkuse as Poppy Norton Taylor and Jonathan Coy as Fredrick Fellows.

This celebrated 40^th Anniversary production directed by Lindsay Posner (God of Carnage, Hay Fever, Stones in his Pockets) opened to critical acclaim at Theatre Royal Bath this autumn before touringto Richmond, Brighton and Cambridge.

One of the greatest British comedies ever written, Michael Frayn’s celebrated play serves up a riotous double bill – a play within a play. Hurtling along at breakneck speed, Noises Offfollows the on and off-stage antics of a touring theatre company as they stumble their way through the fictional farce, Nothing On. From the shambolic final rehearsals before opening night in Weston-super-Mare, to a disastrous matinee in Ashton-Under-Lyme seen entirely, and hilariously silently, from backstage, before we share their final, brilliantly catastrophic performance in Stockton-on-Tees.

After watching from the wings a production of his 1970 farce The Two of Us with Richard Briers and Lynn Redgrave and noting that the goings on behind the scenes were funnier than out front, Michael Frayn wrote Noises Off. The original production opened in London in 1982 before becoming a worldwide hit. A feature film was made of Noises Off in 1992.

Noises Off is written by Michael Frayn. The creative team for this 40^th Anniversary production includes Lindsay Posner (Director), Simon Higlett (Designer), Paul Pyant (Lighting Designer), Greg Clarke (Sound Designer), Will Stuart (Composer), Ruth Cooper-Brown (Movement and Fight Director), George Jibson (Associate Director), Ginny Schiller (Casting Director).

Founders Hall, Chelsea, London – Saturday 21st October 2022

Reviewed by Steph Lott

5*****

Last night I went to see Opera Loki’s production of Puccini’s Tosca at the Founders Hall, a bijou venue just off the King’s Road in Chelsea. I haven’t been to see an opera for an exceedingly long time and was excited at the prospect of going to see something different. I will say that although I love music, I am no expert when it comes to opera! This is very much an amateur review.

Opera Loki focusses on providing a platform for fledgling opera singers and it is a fabulous opportunity for the audience to see new talent very close up. The Founders Hall is a very intimate venue and the atmosphere cosy and familiar. Many in the audience were clearly loyal followers of Opera Loki and it was incredibly sad to hear that last night’s performance was to be Opera Loki’s last, as I understand that the founder, Peter, (my apologies I was unable to find out his last name) has decided to retire at long last.

At the centre of Puccini’s Tosca is a tense and ultimately tragic love triangle. The corrupt and villainous police chief Scarpia is in love with the singer Floria Tosca. If she agrees to let him have his way with her, Scarpia will halt the execution of her lover, the painter Cavaradossi.

The backdrop for the production was 1920’s Italy with a picture of Mussolini at the back of the stage. Tosca was played by Kirsty Taylor-Stokes and Cavaradossi by Phil Clieve. Their relationship was charming and so captivating that it made Scarpia’s evil plot (played by a fabulously devilish Geoff Clapham) even worse!

I could not believe the quality of the performance I attended, in terms of acting as well as their musical talents. Although it was a very small-scale production, I was truly blown away by the artistic capabilities of all involved. The talent on stage was second to none and it was wonderful to be so close that I could see all their expressions and little nuances. The piano accompaniment was provided by musical director Aleksandra Myslek and it was such a delight to see an opera performed at close quarters.

Kirsty Taylor-Stokes plays Tosca as a passionate vulnerable woman. Her beautiful soprano voice soars. Phil Clieves’ tenor voice is rich and velvety. Geoff Clapham plays Scarpia as an evil sadist, pawing Tosca obscenely as she sings “Vissi d’Arte”; his singing as well as his acting is hugely impressive. In the final scenes, it is tragic that both Cavaradossi and Tosca believe that they will escape together, not realising that the promised mock-execution is fraudulent and that Cavaradossi is really going to his death.

I am sad not to have discovered Opera Loki before. They have made an artistic form that is often viewed as “niche” very accessible. Opera Loki has provided new talent with the opportunity to perform much loved operatic favourites and I really hope that I get to see all of those performing in other productions very soon. I fear that their stellar performances may have given this amateur reviewer a new-found taste for opera

Festival Theatre, Malvern – 22nd October 2022

Reviewed by Courie Amado Juneau

5*****

Tamerlano (1724) is an opera (very) seria in three acts by Handel.

The Ottoman Emporer Bajazet is held prisoner at the court of Tamerlano, who has fallen in love with Bajazet’s daughter Asteria. He offers Andronico (who loves Asteria) marriage to Irene (who was formerly to marry Tamerlano before he switched his affections) the Greek throne and freedom for Bajazet. No-one is happy with this and the percieved betrayals of all kinds cause much soul searching and scheming… As you can tell from my convoluted attempt to explain the opening scene, those Baroque composers liked twisty plots!

I was glad I attended the extremely interesting pre-talk from conductor Jonathan Peter Kenny which included much background to the piece as well as signposting some fascinating technical details such as Baroque tuning.

From the outset you could tell this is an intense work – set entirely in prison where we open in the dark to Bajazet in a cage. The set is a nightmare industrial vision; bare metal, stark and humourless – apart from a curtain at the back which is lit with different colours evoking particular moods which enhance the action. A really effective use of colour from Lighting Designer Tim van‘t Hof.

The small (but perfectly formed) cast had a range which was impressive as were their vocal gymnastics, especially the ornamentation of the vocal lines (I learnt that in the pre-talk you know). The aria at the end of act 1 from Andronico (Greek Prince, James Hall), in which he plumbed the depths and scaled the heights of his vocal range in rapid succession, was extraordinary and the first of many emotional highlights, very much standing out for me.

Bajazet (Jorge Navarro Colorado) and Asteria (Ellie Laugharne) had some truly heart wrenching scenes together which both singers conveyed with acting of commendable (at times uncomfortable) realism. Rodrigo Sosa Dal Pozzo (Tamerlano) gave us a very hissable villain and April Koyejo-Audiger (Irene) rounded out this cast which shone brightly in this stellar work.

The music tripped along with a gleeful inevitability that only a musical genius could produce. I was keeping my ears out for the pre-show talk mentioned moments like the flutes and recorders quartet – which were indeed as glorious as promised!

The opera concludes with the chorus (at least those left standing) singing of love’s ability to save light from darkness. Heady stuff that brought the work to a satisfying conclusion – especially given this was the only time we had an ensemble of singers singing in a combination larger than a duet. Finishing very much on a high.

Tamerlano is one of Handel’s acknowledged masterpieces and it sure packs a punch. It’s a rollercoaster ride for the emotions. For the curtain call at finale the conductor looked absolutely shattered and I sympathise as I felt drained too (in the nicest possible way). Another triumph from English Touring Opera; a company I urge you to seek out at every possible opportunity. I know I already eagerly awaiting their return. Bravi a tutti

An all-star cast for ‘Footballers’ Wives the Musical’ Studio Cast Recording

The album will be unveiled this weekend with a special performance at MusicalCon

A video is released today with Ivano Turco singing a taster of ‘Let’s Dance’

Celebrating the 20-year anniversary of its premiere on ITV in 2002 and ahead of a planned stage musical production, Big Broad Productions are next month releasing an 18-track studio cast recording of Footballers’ Wives The Musical.

Alice Fearn and Simon Bailey are our power couple, Tanya and Jason Turner, team Captain and
Captain’s wife supreme!

Emma Hatton and Liam Doyle are Chardonnay Lane-Pascoe and Kyle Pascoe, the celebrity football couple who’ve got it all.

Chelsea Halfpenny and Ashley Samuels are the newbies Donna and Ian Walmsley, taking their first steps in the Premier League spotlight.

Ivano Turco is Salvo, the hot new Brazilian player set to ruffle a few feathers – especially Jason’s!

Julie Legrand reprises her infamous TV role as Nurse Dunkley – thankfully not your average bedside nurse!

And Ben Richards, who starred as Bruno in the TV series, plays against type (being extremely handsome!) as Frank Laslett, the club Chairman and major obstacle to Tanya getting things to go her way.

The ensemble are Nikki Davison, Soophia Foroughi, Adam Hepworth, Tom Hier, Kat Kleve, Emma
Lindars, Nadim Naaman and Joe Thompson-Oubari.

The tracks have been arranged and produced by Joe and Nikki Davison, Auburn Jam Music.

Footballers’ Wives The Musical will be released on 25 November, 2022 and will be available to stream from all major distributors.

There will be an exclusive preview performance this weekend at Musical Con, the West End’s first ever musical theatre fan convention at ExCeL London.

A musical comedy noir based on the cult guilty pleasure noughties TV drama, Footballers’ Wives The Musical has a book by Maureen Chadwick, co-creator of the original TV series, and music & lyrics by Kath Gotts (also co-creators of Bad Girls – The Musical).

Kath Gotts said: “We have decided to go down the same route as Jesus Christ Superstar and Evita and release the album of the show before it reaches the stage. It’s been fantastic working with Joe and Nikki Davison. Their orchestrations are wonderfully inventive and so much fun. And Alice Fearn as Tanya Turner is a dream. Not only is her voice amazing but she’s been a real ‘team captain’ throughout the whole process. There are 18 tracks, so it’s not the entire show, but that means there’ll still be new things to hear at the next stage. We’ve pulled together a brilliant cast and we can’t wait to get these songs out there for more people to join in our crazy world of Footballers’ Wives The Musical.”

Footballers’ Wives The Musical is based around the first TV season, and follows the fall and rise of captain’s wife and fabulously flawed super-bitch Tanya Turner as she struggles to save her marriage and the career of her cheating husband, Jason.

Let’s wind back to 2002 when Premier League Football was the new Rock ‘n’ Roll – with the money, the glamour and the bad behaviour to match. At Earls Park FC, the players’ wives are living it to the max.

These WAGs have the designer gear, the palatial homes, the flash cars and the handsome superstar husbands – and the press pack on their kitten heels at every turn.

Footballers’ Wives The Musical contains scenes of an adult nature and absolutely no football, along with disastrous hen and stag nights, a fairy tale wedding, deception, betrayal and murder – plus a surprisingly happy ending.

It is based on the WBTVPUK series. Produced by special arrangement with Warner Bros. Theatre
Ventures. Co-producers are Arden Entertainment and Sally Humphreys Productions.

www.fwmusical.com

Festival Theatre, Malvern – 21st October 2022

Reviewed by Courie Amado Juneau

5*****

English Touring Opera delighted us this evening with their staging of Agrippina, an opera seria in three acts by George Frideric Handel first performed in 1709. This opera is widely regarded as his first operatic masterpiece.

The story revolves around the political machinations of the title character to manoeuver her son onto the throne by contriving to have her husband, Emporer Claudius, killed. Of course nothing goes quite to plan; including Claudius being saved by General Ottone. All the main male characters of consequence (i.e. power) appear to be in love with and actively courting Poppea and it isn’t long before Agrippina is playing all these characters off against each other and, soon enough, vice versa as plot and counter plot ensue.

A smaller orchestra befitting the Baroque period was dynamically conducted by Leo Duarte, giving us a vigorous reading which also provided sympathetic balancing, helping us to hear the vocals clearly. This was most welcome given the labyrinthine libretto.

Agrippina (played with delicious relish by Paula Sides) was duplicitous in the extreme. She revelled in sarcastic asides and insincerity. Her gorgeous tone was especially moving in the quiet held notes (often through a rictus smile) but I particularly loved it when she was in turmoil, thinking her plans were unravelling. Here her acting was superb, being equally convincing when charming or sinister giving us a character one could just as easily boo as woo.

Poppea (charmingly portrayed by Hilary Cronin) brought a lighter counterpoint to Agrippina. A compelling performance full of elegance and power – especially when she discovered she was being played by the Empress. I totally understand why everyone fell in love with her.

The entire cast playing male characters were superb and only don’t get a mention by name due to restrictions in this review’s word count. Ottone deserves special mention though; arguably the male star of the piece – or perhaps I just liked him most since he is the most sincere and tragic of them (being the target of many of the plots). Tonight he was stunningly wrought by Tim Morgan who was fantastic – especially in the moving finale to the first act when he finds himself betrayed and abandoned on all sides and sings of his anguish. Heartbreaking!

The set was almost a character unto itself, consisting of a central section in three parts, which revolved, depicting different areas; Agrippina’s room (or inner turmoil), a public square and Poppea’s room. Very effective. I also loved the screens with their witty exposition such as “Poppea displays her anger, horticulturally” as well as some scant lyrics at crucial moments. With a plot only slightly less convoluted and backstabby than the present Tory party, naked ambition burned all before it. Politicking in action which was just as relevant today as back then. A fabulous opera, staged with a gusto which did Mr Handel proud. A massive bravo from me! I can’t wait to see your next production. Wholeheartedly recommended.

Belgrade Theatre Coventry – until Saturday 22nd October 2022

Reviewed by Amarjeet Singh

2**

I cannot begin to tell you how excited I was to watch this production. A child of the 70’s, I grew up with song in my soul and a ‘dishoom’ instead of a heartbeat. My mother had just settled down in the cinema, when she felt contractions, but there was no way she was going to miss ‘Amar, Akbar, Anthony’ for a baby, I simply had to wait until the credits to make my arrival. Bollywood meant everything to ardent viewers. One of the reasons why Bollywood films were everything, a heady combination of thriller, murder mystery, comedy, romance, tearjerker, musical, you name it, and why they went on for so long, was because people didn’t have lots of money or free time, so going to see a film was a treat and the people wanted to be treated.

Reading the previews got me geared up, for what read for an absolute treat. A female starlet, Laila, romanced by her dashing co-star, they make movies, sweet music and mayhem, what could possibly go wrong?

Well…as it turns out, quite a bit. The plot of Bombay Superstar transpired to be a bit of an unofficial biopic of the Bollywood actress Rekha. Rekha’s story has been subtly changed and some life events have been swapped with her then leading man, Amitabh Bachchan, for what I can only imagine to be creative/entertainment purposes.

In Bombay Superstar, Laila’s story spans her childhood, entering the film industry, her life struggles, being drawn into a less than savoury relationship and what transpires after that (no spoilers here).

Written and directed by artistic director Sâmir Bhamra, it’s the 50th production from award-winning British Asian theatre company Phizzical, the musical is co-produced with Belgrade Theatre and the New Wolsey Theatre in Ipswich.

Bollywood Superstar is told in a very fast paced fashion, as it’s trying to cram so much into 2 hours. Each scene lasts a matter of moments which is jarring and doesn’t lend itself to endearing one with the characters or fleshes them out. The female protagonists journey from orphan, to abandoned girl, to abused/harassed/racially/sexually objectified young woman, to actress, to Bollywood starlet, to the next step and then on and then on, happens at the rate of knots. Blink and she has become something else, or the next thing is happening. In terms of the rest of the cast, you don’t quite understand what they are doing or why, and so you don’t care. I could barely keep up with it all, but could, because I had previous knowledge of the actress’s life story and upbringing and her subsequent journey in Bollywood and beyond, but other audience members didn’t get it, and some left during the interval because, I could only imagine, they were lost. Others let it wash over them and said they were ok with just enjoying the sporadic songs.

The theme about woman power felt uncomfortable as did the mention of the #metoo. It appeared Bombay Superstar was championing strong, powerful, independent women, however, when you look at the female leads, they all engaged in some underhanded behaviour, competed against each other and ultimately proclaimed to ‘win’, but, when you think about what actually happened, did they really ‘win’? To what end? Did the male antagonists get their just desserts or at least learn anything? Embroiled in an era steeped in misogyny, these themes are hugely important and deserved exploring but Bombay Superstar did not do this justice.

Due to the incoherent storytelling, the audience were unable to fully engage during moments of poignancy, so they laughed. It sadly became quite farcical and pantomime like which is where Bollywood usually becomes the butt of most jokes, and that saddened me greatly, as there have been some timeless classics which have emerged from this genre of storytelling.

The staging of Bollywood Superstar was oddly static. Characters would walk on stage, deliver their lines as if doing a line read through and then walk off, perhaps carrying a piece of furniture if the lights went dark, ready for another quick scene change. If there were more then two characters on stage at a time they would just be standing there, waiting. The fight scenes were akin to a school production, no sound effects and they added very little to the drama or the storyline.

The set itself was simply a flat, white temple like structure that didn’t give any indication to any era, the edges of it lit up on occasion but it never changed. As previously mentioned, bits of furniture were brought/wheeled on to indicate a change of scene, but that was all. There was a distinct lack of creativity or imagination when it came to staging, set design and scene setting. Above the temple there was a screen, upon which the words the actors were speaking were projected. It helpfully translated the words of the songs which were sung in Hindi, but it didn’t translate the Hindi words spoken by the actors, words such as Junglee Bilee and Deewana, which seemed odd.

Costume/hair and make-up were not indicative of the 70’s/80’s. They were a mish/mash of modern and I’m not sure what. At one point, the backing dancers were dressed like shirtless hipsters and had questionable fishnets/shorts combo on. Granted, there were some strange things going on in the disco era, but if I had not been told this story was set in the 70’s/80’s I would not have been able to guess.

The song and dance numbers were entertaining but due to the costume, hair, make-up and set not supporting the numbers, they occasionally felt out of place and didn’t always lend to the story telling. The synchronicity was off, which was a real shame as this is part of the wow factor when it comes to watching the Bollywood choreography. In all honesty, not all performers could sing and dance to a polished level. Some could sing but not dance and vice versa. It would have been better to have played to those strengths instead of, again, trying to do it all.

However, Bombay Superstar did have the most amazing musicians. The live music was incredible and Chirag Rao who played DD and did a lot of the male backing singing was a singing stand out for me. To have had these musicians on stage would have really helped the production seem less vacant.

Overall, I think if Bombay Superstar focused on being one thing, either the semi tragic biopic, an attempt to show the behind-the-scenes Bollywood – where ‘reel life becomes real life’ or had been a magical, musical romcom romp then it could have been something amazing. But as it is, it’s messy, confusing and amateurish, I’m afraid, in its current state, it’s more Bombay Mediocre than Bombay Superstar for me

New Wimbledon Theatre – until 22 October 2022

Reviewed by Carly Burlinge  

5***** 

Wimbledon brings you the story of the Demon Dentist that we all know and love. Which I’m sure that many of us have read to our children on many occasions. Written by the fabulous David Walliams, the story unfolds when strange events take place in a small town. Children are finding that by leaving their tooth under the pillow for the tooth fairy to take. Their teeth are being taken and in return odd unusual and sometimes scary objects are being left behind in its place. What could be happening and could there be any connection with the new dentist Miss Root (Emily Harrigan) who’s sudden appearance in town gets the attention of Best Friends Alfie (Sam Varley) and Gabz (Georgia Grant-Anderson). They feel that Miss Root has something to hide along with the dark side that she harbours. They decide that together they will go on a journey to discover just why strange things are happening and who’s responsible for it all!! 

Sam Varley plays Alfie as a happy, cheerful, thoughtful character that’s cautious at times. He gives a great performance that’s full of enthusiasm and has the audience captivated. His partner in crime, Gabz plays a great role that’s upbeat, amusing and very funny to watch. Together they bring great joy with much laughter thrown in. 

Miss Root on the other-hand is sharp, scary and she likes everyone to call her mummy, which comes across as very frightening. Her appearance is immaculate whilst she carries a suspicious manner about herself. At times she is slightly weird, creepy and on edge and her presents can send shivers down your spine. Her character was marvellous to watch and also offered some great vocals, she definitely had the audience spooked at times and with exceptional lighting to enhance her evilness, it offered a great performance to watch and take in. 

This show was a great family experience with lots to offer for all ages young and old. It was comical, enjoyable and enticing to watch. All props and staging changed quickly yet smoothly. The scenery was highly detailed which drew in the eyes of everyone along with the fabulous lighting which made the performance all the better. All in all, a satisfying, amusing, fun show. If you fancy a night out with the family, this is definitely one to watch.  

Bread & Roses Theatre – until 22 October 2022

Reviewed by Claire Roderick

4****

Sammy Trotman – a genius or a madwoman on a stage? After watching her painfully funny performance about her mental health, you’ll probably be none the wiser, but it’s one hell of a ride.

Trotman uses spoken word, movement and comedy to portray the inequity of mental health provision – she is white and rich so her parents could pay for treatment – and the labelling and victimisation of people. Gleefully announcing that she has a disorder now that she has ticked enough boxes, Trotman veers between childish tantrums (always checking that she has the audience’s attention) and introspective admissions (with a lovely running joke about melancholy music accompanying these quieter moments).

Jake Rix intuitive direction and Trotman’s bravura performance allow the audience to forget that this is scripted and just follow the shifts in tone and fall under the spell of the sociopath on stage. The traumatic effects of her time at boarding school and the toxic masculinity of her family are all explained and acknowledged as reasons for her attention seeking – wanting to be liked and to fit in, her narcissism making her want a caregiver she could lure in – and her daddy issues are hilariously exposed in an anecdote about an ex “he was an amazing babysitter”.

The nurses in the psychiatric hospital, where she started working on her stand-up, are memorable caricatures straight out of Victoria Wood – although Trotman acknowledges that they were markedly more southern than her portrayal. Her assessments of the doctors she has seen are scathing but well-deserved, and very, very funny – with a special mention for her power ballad to “All the men who tried to fix me and made me worse.”

This is no pity party, but a clever, insightful and funny glimpse into the mind of a narcissistic sociopath that should give Sammy all the attention she craves. Well deserving of a longer run.

Mayflower Theatre, Southampton – until 22 October 2022

Reviewed by Gemma Gibson

5*****

Northern Ballet’s latest masterpiece takes you under the sea, into the magical world of The Little Mermaid. 

Choreographed by David Nixon CBE, and composed by Sally Beamish OBE, this wonderful ballet explores a story of love, sacrifice and heartbreak, all through the wonders of dance.

Marilla, the little mermaid, exchanges her life in the ocean for a chance to live on land and find Prince Adair, enamoured after seeing his picture in a locket.

Her wish is granted by Lyr, lord of the sea, but it comes at a price. The price of losing her angelic voice that Adair was drawn to in the first place. 

Unlike the Disney adaptation that everyone knows and loves, this traditional tale is a lot more dark. And yet the ballet was able to portray moments of romance, delight, anger and pain beautifully. 

Despite a not so happy ending, this ballet was just breathtaking. I can’t say it enough. Elegant, easy-to-follow choreography, incredible characterisation, all with the challenge of needing to look under water.

This was enhanced by a wonderful live orchestra, helping us fully immerse ourselves within a mermaid’s world, as well as amplifying every single emotion felt in the story.

Of course it wasn’t all doom and gloom. An explosive scene of merry couples during a celebration of the summer’s catch was pure joy to watch. And you couldn’t help but smile when Miralla’s best friend Dillion the Seahorse galloped on to the stage. Or when Marilla danced with Prince Adair for the first time.

I sometimes find it hard to interpret ballet but Northern Ballet made it easy. Plus, the whole production was just so effortless, it was easy to forget how challenging and technically demanding ballet actually is.  

The pointe work, the lifts, the kicks, the floorwork, all while embodying mermaids and sea creatures, was just perfection to watch. The dance had a very contemporary feel too, which, combined with clever use of staging and lights, catapulted this ballet into the 21st century. 

Whether a dance lover or not, this production is a must-see.