Bard in the Botanics Festival, Glasgow Botanic Gardens – until 30 July 2022

 Reviewed by Rachel Farrier 

5*****

It might sound fanciful, but throughout last night’s performance of Much Ado About Nothing in Glasgow Botanic Gardens I had a feeling that if Shakespeare himself was watching on from some other place, he would have been utterly delighted with this production. 

As we sat in the gathering darkness of the gardens on our camping chairs and rugs, and with rain threatening throughout, this outstanding cast wove the magic that is possible when the poetry of Shakespeare’s writing is matched with a performance that an audience can immediately relate to. This is truly a production for the 21^st century, where Beatrice is played as Bertram, and Leontes the Governor has become the feisty and convivial Leonata – a hotel/bar landlady of ‘Hotel Messina’. 

The whole cast shone in their individual roles, but Robert Elkin as Bertram feels like the lynch pin of this production – by turns completely hilarious (his Freddie-Mercury-with-a-vacuum-cleaner at the ‘masked ball’ was nothing short of genius), then holding the audience in spellbound silence at Bertram’s soliloquies of frustration and distress. James Boal brought great energy, humour and depth to Benedick, and Zackary Moore’s exuberant, high spirited Borachio delighted the audience – particularly as he wandered amongst us. Katie Barnett was exceptional in both her roles – as the sharp-tongued Margaret (whose beautiful sung lament for Hero was also stunning), and as the  hapless Constable Dogberry, whose malapropisms and shrill delivery had me crying tears of laughter. Isabelle Joss as Leonata the indominatable landlady is also brilliant and has exceptional comic timing, as well as conveying a wonderful ferocity towards the scheming men who seek to besmirch her daughter, Hero.

Despite the limitations of staging an outdoor production, the set design and costumes by Carys Hobbs were superbly conceived – the hotel bar provides a back drop to much of the action, and the uproarious scenes in which Betram and Benedick ‘mistakenly’ overhear conversations about the other work perfectly in this setting. 

There is an energy and fun to this production that builds to moments of fabulous, hilarious crescendo – interspersed with moments of beautiful and moving poignancy. 

My companion last night was my early teenage daughter and this was her first experience of live Shakespeare – I really hoped that this would be an experience that would engage and enthuse her and it did not disappoint. This morning she asked when we could back to Bard in the Botanics to see other productions, which is exactly the response I was hoping for. 

I know there are very few tickets left for this run, but if you can possibly get your hands on one, then go – a magical night awaits. 

Forum Theatre, Malvern – 22nd July 2022

Reviewed by Courie Amado Juneau

4****

Queen. The very name evokes a certain emotion, shared memories and an evangelical fanaticism! Their legend reverberates down the musical ages in the same way that Rome casts a shadow across early history. So it was with some anticipation that I awaited tonight’s show… The evening began (indeed, was bookended) with Bohemian Rhapsody; “is this the real life, is this just fantasy“ and of course it was fantasy time as we enjoyed Freddie and the gang’s music once more, in the absence of (tragically) being able to enjoy the frontman proper ever again. I know from doing karaoke just how difficult it is to attempt Freddie’s vocals. Pretty soon your vocal chords are shredded and you wonder “what was I thinking?” The singer, then, has the most difficult job of the night (arguably the most difficult job in show business). It was a fully committed performance from tonight’s singer with all the mannerisms in place as well as the outfit and Tash! “I Want To Break Free” was the possible high point and a superb way to end the first half, with drag to the fore as well as the Hoover which seemed to please the crowd so much I wondered if it was the original Hoover from the video! The guitarist was pretty much note perfect and grabbed my attention for much of the show – though that may be because I’m a guitarist. To be honest, my boat was well and truly floated before the performance even began, just by seeing THAT iconic guitar on stage. A thing of beauty, as were Mr May’s exceptional guitar work throughout their entire oeuvre. The rhythm section provided a solid foundation for the frontmen to shine whilst awaiting their own moments like the drummer taking vocal duties for “I’m In Love With My Car” or those famous bass lines (e.g. “Under Pressure”). The show was a veritable best of I, II and III. It was wonderful hearing hits from all eras covered including some great tracks from late in the band’s career such as “I Want It All”. I really enjoyed the surprise medley of piano-centric songs culminating in “Save Me”, which you don’t hear very often.

The big emotional impact live was always the acoustic version of “Love Of My Life” and tonight was no exception. I also found “Who Wants To Live Forever” and “These Are The Days Of Our Lives” (that last “I still love you”) especially moving. There was liberal use of backing tracks for the multifaceted parts of the songs not playable live by the onstage band and they were unobtrusive and intelligently employed. I found the lights were rather underemployed with patchy use throughout the evening. When used, though, they certainly added to the spectacle. If you love the music of Queen you will love this show and judging by how many of the crowd were on their feet there were a lot of Queen fans in. They promised they would rock us and they did

Theatre Royal Concert Hall Nottingham – until Saturday 23rd July 2022

Reviewed by Amarjeet Singh

4****

The English Youth Ballet’s Sleeping Beauty is a sumptuous and scintillating display of traditional dance alongside modern twists. The lavish production comprised of 6 international principal dancers and showcased the talents of 70 young dancers from the local area. This made for a wonderful, warm atmosphere as the audience comprised of a mixture of ballet fans like myself and family members who were tingling with excitement at seeing their loved ones perform. With simple sets and spectacular costumes the show was a sight to behold.

Sleeping Beauty is the story of good triumphing over evil. At Aurora’s christening, the party is interrupted by wicked Aunt Carabosse who places a curse upon Aurora. To reverse the curse the good Aunt Lilac places Aurora, her family and guests in the Palace Gardens in a cryogenic frozen state to sleep for one hundred years, until the arrival of the Prince and his kiss.

When put in those simplistic terms, it does not do justice to the majesty that was brought to life on the stage tonight. The stamina, the skill, the artistry. It was mesmerising. The heart of the show was the youth who vibrantly pumped new blood into this age-old tale. But the dancers, as a whole, worked seamlessly together to tell the tale of Sleeping Beauty

I wish there could have been a live orchestra playing Tchaikovsky as this would have added the icing on the cake of a feast for the senses. But that aside, The English Youth Ballet’s Sleeping Beauty, is a charming and enchanting production and I would urge you to go see it and support local talent.

EMPIRE THEATRE, LIVERPOOL – UNTIL 13TH AUGUST 2022

REVIEWED BY MIA BOWEN

5*****

There is nothing that will prepare you for the musical, The Book Of Mormon famously created (book, music and lyrics) by the minds behind South Park. Without knowledge of the plot, there is an expectation that Trey Parker, Robert Lopez and Matt Stone will test limits, challenge establish thoughts and push the boundaries. Last night at the Empire Theatre the atmosphere was spellbinding and the weight of expectations huge – and this production did not disappoint!

From the very first musical number ‘Hello’, which introduces us to the Mormons, popping up on stage and ringing doorbells; we are amazed at the pure talent of the cast who maintain their astonishing energy and commitment to their roles, throughout.

The multi award winning musical follows a pair of ill-matched Latter-day Saints missionaries, Elders Price and Cunningham as they attempt to preach the faith of the Church to the inhabitants of a remote Ugandan village. The earnest young men are challenged by the lack of interest from the locals, who are distracted by more pressing issues such as HIV/AIDS, famine, female genital mutilation and oppression by the local Warlord.

This musical is everything you would expect from a top West End show. Scott Pask’s set design is inventive, immersive and impressive, especially the Ugandan slums. Along with Ann Roth’s stunning costume design, this production adds to the script and music to give the audience a wonderful evening’s entertainment.

The songs are superb, with each one adding to the overall narrative. For me every song is a winner but my favourites include ‘Two By Two’, ‘Turn It Off’ and the fantastic catchy but wrong on so many levels ‘Hasa Diga Eebowai’ which I am still humming!

The cast is equally excellent, particularly Elder Cunningham played by Jacob Yarlett, the adorable, jubilant and energetic Mormon with an overactive imagination and Elder Price played by Robert Colvin, the charming, pomp, straight character that will do what it takes to get what he wants. Stealing the show was Jordan Lee Davies who played the suppressed and sexually frustrated gay Elder McKinley. He was an absolute joy to watch, especially in the musical number ‘Turn It Off’.

Although not for the easily offended, The Book Of Mormon is wickedly funny, risqué and inappropriate in almost every way. This is a vibrant and joyous musical with fantastic songs, energetic dancing and pitch perfect performances from a talented ensemble cast.

Darlington Hippodrome – until Sunday 24 July 2022

5*****

It’s normal, as a reviewer, to have people wanting to attend a show with you.  Today at Zog I had to take my 23 year old son and 29 year old daughter because they were arguing about who was going to come with me.  So thank you to the Hippodrome for helping me to have family harmony!

Zog and the Flying Doctors is written by the wonderful Julia Donaldson and Freckle Productions bring to life Axel Schefflers equally wonderful illustrations.  With music and lyrics from Joe Stilgoe.

Zog (Ben Raymond) is still learning to fly, or rather learning to land.  He still crashes with a bump.  Princess Pearl (Lois Glenister) and Sir Gadabout (Alex Bloomer) don’t seem to mind as they take to the skies and tend to their patients – a mermaid with sunburn (Sarah Freer), a unicorn with an extra horn (Danny Hendrix) and a Lion with a cold.  And their friends Rabbit and Squirrel (Annie Rose Chapman),  But on their travels they meet Pearls uncle, a King who believes that Princesses should wear pretty dresses and not be Doctors.  However, after he gets ill, Princess Pearl and her friends help him to get better and prove that Princesses can work too

Zog has a lovely message for the children, proving that anyone can do anything and they shouldn’t let anyone tell them otherwise.  The children in the audience enjoyed the singing and dancing and general shouting and silliness.  Its less than an hour long and designed for the under-8’s (and the random 23 and 29 year old obviously)

55 minutes of childish interactive joy, a perfect introduction to the theatre for your little ones

Bristol Old Vic – until 30th July 2022

Reviewed by Lucy Hitchcock

4****

Le Navet Bete and John Nicholson bring their hilariously adapted version of Treasure Island to Bristol, and it does not disappoint!

With only a cast of 4, we follow Jim Hawkins (Nick Bunt) as he sails across the world in search of buried treasure. Along the way, he meets some rather unusual characters, such as Long John Silver (Al Dunn), Captain Birdseye (Simon Burbage) and Blue Peter (Matt Freeman), who all join him on his quest-however some are our for their own gain! Whilst trying to gauge who he can trust and who he needs to outwit, Jim successfully retrieves the treasure and the story is complete!

With a minute cast of only 4, transitioning between 26 characters, this is a seamless show. Each member of the cast is exquisite, bringing their own flair to each character whilst being easily distinguishable-a real help for the younger members of the audience. Nick Bunt as ‘Jim Hawkins’ captures the naivety of a 14 year old boy well, and draws the audience in instantly on his side. Al Dunn as multiple characters but namely ‘Long John Silver’, took on the enviable task of initiating audience participation. With his good vocals, he connected with the audience well, breaking the fourth wall and making us believe each twist and turn of the story. Along with Simon Burbage as ‘Captain Birdseye’ and many others making up ‘Jim’s shipmates, this lead to some hilarious moments-Burbage was great at being the enigmatic friend, who becomes a foe!

The stand out performance was from Matt Freeman, mainly as ‘Ben Gunn’, a stranded man on Treasure Island. His perfectly executed slapstick was a triumph, causing uproars in the auditorium! There were also some moments that seemed unscripted, such as falling over and hilariously forgetting lines, which I think added to the charm of the show. Freeman is an artist and characterises himself well into anything-he was even a Mermaid and gave us a lovely rendition of the well known song ‘Loving You!’

At some points, I found it slightly difficult to hear the speech over the background music, but this was only for a few moments at a time.

This panto-esque performance is perfect for children and adults alike, I defy anyone not to come out of the theatre without a smile! You’d better crack on and grab your tickets-or it’s walking the plank for you!!!

Crucible Studio Theatre, Sheffield – 21st July 2022

Reviewed by Sophie Dodworth

3***

This solo show lands in the Crucible Studio Theatre with a bang. We are taken on an up-close and personal journey into the heart, soul and mind of the troubled Mandla Rae. This play is written by Mandla but is ‘just a story written in my bedroom, nothing is real’. The story telling is done in an endearing tone and manner, getting you hooked from the start. Mandla comes across as a sweetheart with a troubled mind and you almost feel protective of them as they takes you though the traumatic times they have had.

We learn that Mandla was a refugee and explore how the fear of being deported controls your life even at a young age. We get to see into the awful relationship that was there with Mandlas grandmother, making them believe in things that children should never even have to consider. There are tales of abuse, beatings, depression, abandonment and racism. A traumatic childhood it certainly seemed.

The set works well along with the lighting; with the lights being set into the minimal door and window frames. There are many watermelons, which are used for different scenes throughout, including being chopped violently, thrown and smashed, stabbed etc…this show really should come with a trigger warning for the amount of knifes on stage in close proximity to the audience on the front row. But this is essential to the performance and adds to the ambience.

Mandla is a fantastic performer and uses their skills to keep the audience engaged. They are able to make you believe in what they are telling you and during the performance (if you have not already read the programme) you start to wonder if this is their actual life story. There are some moments which do leave you feeling like there could have been more explanation or story there, maybe one too many cryptic occasions.

If you are looking for something that bares all, delves deep into private life, mind and soul then this is for you, take a seat and get ready for a whirlwind of emotions.

Everybody’s Talking About Jamie is back
by popular demand embarking on a
second UK Tour from September 2023

Following a record-breaking three-year West End residency, sold-out UK & Ireland Tour and Amazon studios award-winning film, the smash-hit, critically acclaimed and award-winning musical Everybody’s Talking About Jamie embarks on a second UK Tour from September 2023 into 2024. The show opens at The Lowry on 7 September 2023 before visiting Sunderland, Nottingham, Bromley, Cardiff, Brighton, Leeds, Blackpool, Llandudno, Newcastle, Wolverhampton and Woking with further tour dates and casting to be announced.

Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation. Supported by his brilliant loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight.

This ‘Funny, outrageous, touching’ (Daily Telegraph), musical sensation is to be experienced by all the family and not to be missed!

With an original score of catchy pop tunes that will ‘blow the roof of the Theatre’ (Mail on Sunday) by lead singer-songwriter of The Feeling, Dan Gillespie Sells and writer Tom MacRae (Doctor Who), this ‘Sparking coming-of-age musical’ (The Times) will have everybody talking about Jamie for years to come

Sixteen: the edge of possibility. Time to make your dreams come true.

Music by Dan Gillespie Sells
Book and Lyrics by Tom MacRae
From an idea by Jonathan Butterell
Directed by Jonathan Butterell
Design by Anna Fleischle
Choreography by Kate Prince
Lighting design by Lucy Carter

Sound design by Paul Groothuis
Casting by Will Burton
Musical Supervisor Theo Jamieson
Video Design Luke Halls

SHEFFIELD THEATRES AND RAMPS ON THE MOON ANNOUNCE

LEAD CAST AND CREATIVES FOR SHEFFIELD RUN AND UK TOUR OF

MUCH ADO ABOUT NOTHING

By William Shakespeare
Directed by Robert Hastie
Designer Peter Mckintosh
British Sign Language Director Emily Howlett
Audio Description Director Chloë Clarke
Lighting Designer Ian Scott
Sound Designer Sam Glossop
Composer John Biddle
Casting Director Jacob Sparrow
Assistant Director Alexandra Whiteley
British Sign Language Consultant: Brian Duffy
British Sign Language Interpreter (Lead): Emma Dawber

Crucible Theatre, Sheffield – 9 to 24 September

UK Tour from 27 September

Sheffield Theatres today announces its lead cast members and creative teams for their production of William Shakespeare’s well-loved comedy Much Ado About Nothing, co-produced with Ramps on the Moon, which will open at the Crucible Theatre, Sheffield this September before embarking on a UK Tour.

Playing the roles of Beatrice and Benedick are Daneka Etchells and Guy Rhys. Guy returns to Sheffield Theatres, having just performed in Chris Bush’s trilogy of plays ROCK / PAPER / SCISSORS across the Crucible, Lyceum and Studio stages. Daneka makes her Sheffield Theatres debut with Much Ado About Nothing.

A pioneering initiative, Ramps on the Moon is a consortium of theatres which aim to enrich stories and the ways in which they are told by putting deaf and disabled artists and audiences at the centre of their work.

‘I do love nothing in the world so well as you. Is not that strange?’

Besotted young couple Claudio and Hero have fallen fast and are quickly engaged. Not everyone finds romance so straightforward – Benedick balks at the very thought of it and Beatrice agrees with him, on that if nothing else. But somewhere in this world, there’s someone for everyone, even if they’re right under your nose.

Robert Hastie, Artistic Director of Sheffield Theatres, directsthe play having recently directed PAPER in the Lyceum theatre for Sheffield Theatres’ ROCK / PAPER / SCISSORS trilogy, and before that She Loves Me in the Crucible. The Set and Costume Designer is Peter Mckintosh (Oliver!), British Sign Language Director is Emily Howlett (Tribes), Audio Description Director is Chloë Clarke (Elbow Room Theatre), Lighting Designer is Ian Scott (¡Carpa!), Sound Designer is Sam Glossop (PAPER), Composeris John Biddle (Oliver Twist), Casting Director is Jacob Sparrow (Anna Karenina), Assistant Director is Alexandra Whiteley (ROCK), British Sign Language Consultant is Brian Duffy (As You Like It) and British Sign Language Interpreter (Lead) is Emma Dawber (PAPER, SCISSORS).

Opening in Sheffield from Friday 9– Saturday 24 September, the production will tour to Leeds Playhouse (Tuesday 27 September – Saturday 1 October), Birmingham Rep (Tuesday 4 – Saturday 8 October), Nottingham Playhouse (Tuesday 11 – Saturday 15 October), New Wolsey Theatre Ipswich (Tuesday 18 – Saturday 22 October), Theatre Royal Stratford East (Tuesday 1 – Saturday 5 November), and Salisbury Playhouse (Tuesday 8 – Saturday 12 November).

Tickets for Much Ado About Nothing are on sale now with every performance featuring the use of integrated creative sign language, audio description and captioning. Tickets can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.

SHARON SMALL JOINS DAVID TENNANT AND ELLIOT LEVEY
IN THE WEST END REVIVAL OF C.P. TAYLOR’S GOOD
THURSDAY 6 OCTOBER – SATURDAY 24 DECEMBER 2022
HAROLD PINTER THEATRE

• David Tennant returns to the West End in a new production of the acclaimed play GOOD by C.P. Taylor, directed by Dominic Cooke, and will be joined by Elliot Levey and Sharon Small.
• Rehearsals start next month with the production running at the Harold Pinter Theatre for a
  strictly limited 11-week run from Thursday 6 October until Saturday 24 December.
• GOOD is the debut West End production for Fictionhouse, launched by Dominic Cooke and
  Kate Horton.
• Tickets are on sale now at www.goodtheplay.com with 100 £25 tickets available for every
  show and a third of tickets available at £35 and under.

Ahead of rehearsals starting next month, Dominic Cooke’s new production of C.P. Taylor’s GOOD, starring David Tennant and Elliot Levey, announces that Sharon Small will join the cast for its strictly limited run at the Harold Pinter Theatre this autumn.

Small reunites with fellow Scottish actor David Tennant, having first appeared together in a short film 25 years ago, and is best known for her long running role as Detective Sergeant Barbara Havers in the BBC adaptation of The Inspector Lynley Mysteries.

Produced by Fictionhouse and Playful Productions, GOOD will play a strictly limited 11-week season from Thursday 6 October to Saturday 24 December 2022.

Director Dominic Cooke said:
“I am so excited to finally get ‘GOOD’ into rehearsals and our patience has been rewarded with the thrilling combination of David Tennant, Elliot Levey, and Sharon Small together on stage. I can’t wait for audiences to experience C.P. Taylor’s remarkable and timely play with these three fantastic actors.”

Professor John Halder is a ‘good’ man.
But ‘good’ men must adapt to survive.

How is it possible to be a ‘good’ person when things are falling apart?

As the world faces a World War, John Halder, a decent, intelligent, music-loving German professor, finds himself swept along in a movement that crescendos towards an unthinkable finale. GOOD is a warning for our times.

Olivier Award-winning director Dominic Cooke reimagines one of Britain’s most powerful, political plays with David Tennant returning to the West End alongside Elliot Levey and Sharon Small, for 11 weeks only.

GOOD will be the debut West End production for Fictionhouse, an independent producing company, established by Dominic Cooke and Kate Horton. Their long and fruitful working relationship, which began at the Royal Shakespeare Company, developed into a celebrated partnership at the Royal Court Theatre where they were Artistic Director and Executive Director respectively from 2007 – 2014. At the Royal Court they produced over 100 new plays and were the original producing team behind a series of notable award-winning productions including Jez Butterworth’s Jerusalem, Nick Payne’s Constellations and Mike Bartlett’s Cock all of which have received recent West End revivals. Their productions have been nominated for 210 major awards, winning 59, and their partnership saw the development and launch of an exciting new generation of playwrights including Mike Bartlett, Polly Stenham, Bola Agbaje, Nick Payne, Lucy Kirkwood and Tarell Alvin McCraney. Recent productions include The Normal Heart by Larry Kramer (NT, London) and current projects include The Music Man (Broadway) and The Narcissist (Chichester Festival Theatre).

Tickets now on sale from www.goodtheplay.com