FULL CAST NOW ANNOUNCED FOR CHESS THE MUSICAL IN CONCERT PLUS AN ADDITIONAL MATINEE PERFORMANCE HAS BEEN ADDED ON 2 AUGUST 2022 AT THE ICONIC THEATRE ROYAL DRURY LANE

FULL CAST NOW ANNOUNCED FOR

PLUS AN ADDITIONAL MATINEE PERFORMANCE HAS BEEN ADDED ON 2 AUGUST 2022

AT THE ICONIC THEATRE ROYAL DRURY LANE

The hotly anticipated Chess the Musical in Concert will add an additional matinee performance to its chequerboard, on Tuesday 2 August, due to popular demand. The first announced date sold out in 7 days, so there will now be a total of three performances of the iconic production.

Full casting is also announced for the production as listed below;

 Samantha Barks (FrozenLes Misérables) as Florence, Hadley Fraser (2:22 A Ghost Story, City of Angels) as Anatoly, Joel Harper-Jackson as Freddie (Cock, Kinky Boots), Frances Mayli McCann (Bonnie and Clyde, Our Ladies of Perpetual Succour) as Svetlana and Ako Mitchell (Caroline Or Change, The Colour Purple) as The Arbiter are joined by Craige Els (Matilda the Musical, The Imitation Game) as Molokov.

Completing the ensemble is Joshua Robinson who will join the previously announced Joseph Craig, Darius J James, Aoife Kenny, Jessica Lee, Nick Len, Natasha May-Thomas, Alice Readie, Stuart Rouse, Phoebe Samuel-Gray, Grant Thresh and Libby Watts.

Chess, with music by ABBA legends Benny Andersson and Björn Ulvaeus, and lyrics by the incomparable Sir Tim Rice, returns to the West End for the first time since 2018, as part of three star-led musical concerts. They will be accompanied by both the London Musical Theatre Orchestra as well as the London Musical Theatre Chorus and will be presented at the Theatre Royal Drury Lane this August.

Chess’s creative team are as follows; Director and Choreographer: Nick Winston, Associate Director and Choreographer: Alexzandra Sarmiento, Musical Director: Freddie Tapner, Designer: Ruth Sutcliffe, Lighting Designer: Ben Cracknell, Sound Designer: Tom Marshall, Video Projection Designer: Duncan McLean, Casting: Harry Blumenau and Lighting Programmer: Chris Winn, Assistant Director & Choreographer: Tara Young, Production Manager: Pete Kramer, Company Stage Manager: Rachael Downey, Deputy Stage Manager: Bryony Relf, Costume Supervisor: Stephen Frosdick, Sound 1: Harry Greatorex, Sound 2: Olly Smith, Production Sound Engineer: Josh Richardson, Chorus Master: Dan Turek and Assistant Musical Director: Honor Halford-MacLeod.

Chess the Musical in Concert is part of three concerts presented in August at Theatre Royal Drury Lane. It precedes concert stagings of Kinky Boots the Musical in Concert on 8 and 9 August and Treason the Musical in Concert on 22 and 23 August.

JMK TRUST ANNOUNCES SHORTLIST FOR THE 2022 JMK AWARD

JMK TRUST ANNOUNCES SHORTLIST FOR THE

2022 JMK AWARD

The JMK Trust today announces the shortlisted directors, and the designers they are partnered with, for this year’s JMK Award – Emily AboudJoanna BowmanEmerald CranksonLeo DoultonDale EdwardsMasha KevinovnaIndiana Lown-Collins and Elsie Yager. Presented in partnership with the Orange Tree Theatre, the winning director will stage their production there this Autumn as part of Paul Miller’s final season at the venue.  The winner will be announced on 13 July at the Orange Tree.

The shortlisted directors/designers and their chosen productions are:

·                  Emily Aboud (she/they) with their production of Meetings by Mustapha Matura. Designer: Anna Reid (she/her)

·                  Joanna Bowman (she/her) with her production of Crave by Sarah Kane. Designer: Alisa Kalyanova (she/her)

·                  Emerald Crankson (she/her) with her production of Swallow by Stef Smith. Designer: Zoe Hurwitz (she/her)

·                  Leo Doulton (he/him) with his production of Nightwatchman by Prasanna Puwunarajah. Designer: Charley Ipsen (they/them)

·                  Dale Edwards (he/him) with his production of hang by debbie tucker green. Designer: Caitlin Mawhinney (she/her)

·                  Masha Kevinovna (she/her) with her production of Crave by Sarah Kane. Designer: Cara Evans (she/they)

·                  Indiana Lown-Collins (she/her) with her production of The Solid Life of Sugar Water by Jack Thorne. Designer: Ica Niemz (he/they)

·                  Elsie Yager (she/her) with her production of Swallow by Stef Smith. Designer: TK Hay (he/him)

Stephen Fewell, Chair of the JMK Trust, said today, “This year’s shortlisted directors represent some of the most exciting directors across the country, and we’re faced with the considerable challenge of choosing to promote the work of just one, when they are all so deserving of career success. At this time, when venues are finding their feet and their audiences again, we hope that by announcing this shortlist each and every one of them will attract interest and work opportunities. Of course, the winner receives a full production and the support of our host venue The Orange Tree Theatre, who already do so much to support and promote early career artists.”

The JMK Trust was founded in memory of James Menzies-Kitchin, a young director of great promise who died suddenly and unexpectedly at the age of 28, to give opportunities to theatre directors of similar ability and vision. Each year it gives one prestigious award to enable an outstanding applicant aged 35 or under to create their own production of their choice of classic text. Its intensive development and selection process has itself given powerful impetus to the best theatre practitioners of the future. Previous winners have become major players in British theatre, including Thea Sharrock, Orla O’Loughlin, Bijan Sheibani, Joe Hill-Gibbins, Natalie Abrahami, Roy Alexander Weise and Polly Findlay.

The expanding National Directors Programme provides year-round training, mentoring, bursaries and support for directors of all ages. The current partners in the programme are Bristol Old Vic, HOME in Manchester, Royal and Derngate Northampton, Wiltshire Creative, Traverse Edinburgh, Birmingham Rep, Northern Stage, New Vic Stoke, Nottingham Playhouse, Reading Rep, and Leeds Playhouse. The programme at each partner venue is run by the JMK Trust’s Director Practitioners – who are established, locally-based directors. They curate a free programme of workshops for their region, working with their nearest partner venues to tailor the work to the needs of local directors. An essential network seeking talent from across the UK, the Programme feeds into the JMK Award, enabling a truly national reach.

THE JMK AWARD-WINNING PRODUCTION

An Orange Tree Theatre Production in association with The JMK Award

15 October – 12 November 2022

OT On Screen: 15 – 18 November
A brand-new production from an emerging theatrical talent. The winner and play will be announced on 13 July 2022. Tickets are now on sale via: https://orangetreetheatre.co.uk/

The OT produced the JMK Award-winning production for the first time in 2019 with Tristan Fynn-Aiduenu directing a critically acclaimed production of Little Baby Jesus by Arinzé Kene. 

The JMK Trust gives opportunities to young theatre directors of similar ability and vision, allowing one such director a year to stage their own professional production of their choice of play. Last year saw Diane Page directing Athol Fugard’s Statements After An Arrest Under The Immorality Act

Supporters

The JMK Award is supported by the Martin Bowley Charitable Trust, the Katie Bradford Arts Trust, The Leche Trust, The Garrick Charitable Trust, and other individual donors.

For further information on how to support the Trust, please see: http://www.jmktrust.org/support-us/

Patrons

Tom Morris OBE (Founding Chair), Clare Menzies-Kitchin MBE, Dame Judi Dench, Baroness Howe and Sir Ian McKellen.

Trustees

Justin Audibert, Stephen Fewell (Chair), Robert Gill (Secretary), Christopher Haydon, Cordelia O’Neill, Lucy Popescu and Mark Rosenblatt (Vice Chair).

www.jmktrust.org

Twitter: @JMKTrust1

Facebook: /jmktrust

‘DSI GRACE’ TO TREAD THE BOARDS, AS PETER JAMES’ CRIME NOVEL IS ADAPTED FOR THE STAGE

FOLLOWING THE HUGE SUCCESS OF ITV DRAMA ‘GRACE’

JOSHUA ANDREWS AND PETER JAMES

ANNOUNCE THE WORLD STAGE PREMIERE & UK TOUR OF

‘WISH YOU WERE DEAD’

TICKETS ON SALE FROM PETERJAMES.COM

Following the critically acclaimed smash-hit primetime ITV series ‘Grace‘, based on the best-selling novels by the UK’s number one crime author Peter James, producer Joshua Andrews is delighted to announce the world stage premiere of James’ novel ‘Wish You Were Dead‘ – featuring DSI Roy Grace.

This will be the sixth stage adaptation of James’ best-selling novels – making it the most successful crime thriller stage franchise since Agatha Christie.

Adapted exclusively for the stage, the world premiere of ‘Wish You Were Dead‘ will kick off a major five-month nationwide UK tour in February 2023 at the Churchill Theatre, Bromley. The production will then travel to theatres across the country until late July. Tickets are on sale now from PeterJames.com, with further dates to be announced soon.

Peter James said: “I have always loved live theatre, so it’s been thrilling to watch how much audiences around the UK have loved the plays. Theatre and the escapism it provides us all is so important – particularly now. Inside the safe cocoon of a theatre, audiences love to be on the edge of their seats and sometimes shocked, always hoping when that final curtain falls, order will have been restored and the world will seem just a little bit of a better place. I am incredibly grateful for the support regional theatres and their audiences have shown our plays and it will

be fantastic to see another one of my books being adapted for the stage – the sixth one! – and audiences enjoying it, in 2023.

Previous Peter James novels brought to the stage include: ‘Looking Good Dead’ which premiered earlier this year starring Adam Woodyatt; ‘The House on Cold Hill’ starring Joe McFadden and Rita Simons in 2019; ‘Not Dead Enough’ starring Shane Richie and Laura Whitmore in 2017; ‘The Perfect Murder’ starring Shane Richie and Jessie Wallace in 2016 and ‘Dead Simple’ starring Tina Hobley in 2015.

The gripping television series ‘Grace‘ was an immediate success with audiences when it launched on ITV in 2021, with almost nine million viewers tuning in to watch the primetime drama starring John Simm as DSI Roy Grace. Series two returned to TV screens in spring this year, with five more thrilling episodes being the most watched programme across all channels on each of the Sundays they were broadcast. A third series has already been commissioned for 2023.

The stage play of ‘Wish You Were Dead‘ follows DSI Roy Grace and Cleo Morey as they take a much needed holiday together. Cleo hopes that she will finally get Grace to herself for a few days and away from his crime solving exploits. But their dream escape turns out to be the holiday from hell, as the past comes back to haunt them.

Adapted by award winning writer Shaun McKenna, who has adapted the five previous Peter James plays, the production will also reunite the creative team from Looking Good Dead, with Jonathan O’Boyle directing, Design by Michael Holt, Lighting by Jason Taylor and Sound by Max Pappenheim.

Peter James is a number one bestselling author of crime and thriller novels and the creator of the much-loved Detective Superintendent Roy Grace. He has topped the Sunday Times bestseller list 19 times and has achieved global book sales of over 21 million copies which have been translated into 37 languages. Synonymous with plot twisting page turners, he has garnered an army of loyal fans throughout his storytelling career which also included writing for TV and producing films. He has won over 40 awards for his work, including the WHSmith Best Crime Author of All Time Award, Crime Writers’ Association Diamond Dagger and a BAFTA nomination for The Merchant of Venice starring Al Pacino and Jeremy Irons, which he also executive produced.

Boeing Boeing Review

Festival Theatre – until 9th July 2022

Reviewed by Courie Amado Juneau

4.5****

Boing Boing Press photos © Sheila Burnett

Boeing Boeing is a comedy drama written (and set) in 1962 by Marc Camoletti, famous French playwright. The story concerns Bernard, owner of a Paris flat and proud of his juggling three fiances – each an air hostess who all are kept apart by their work schedules…

At first we find Bernard full of confidence in his lifestyle but as his orderly world falls apart his nerves shred trying to keeping his ladies apart, especially when they start turning up at the flat at the same time. John Dorney displays a commendable range of reactions and mannerisms – a tour de force of acting extremes.

The maid, Bertha, is a wonderful creation brought scintillatingly to life by Jo Castleton. She boils just under the surface with a sincere insincerity and world-weariness. Hilarious.

The star of the show is the flat’s visitor – at first appalled, then enticed by the love triangle. Robert (played by Paul Sandys) desires Paris’s excitement but is unprepared for the sheer level of stimulation that his friend’s flat affords. He, arguably, is the pivotal character with the most stage time. His attempts to do the right thing for his friend, whilst also battling with his own moral standards and his attraction to the flat’s many delights, are truly wonderful. A priceless performance!

All three ladies are wonderful, albeit vastly different characters befitting their nationality. Gloria from the USA (Isabel Della-Porta) is very sure of herself and the way a husband needs to act. Gabriella from Italy (Nathalie Barclay) is sexy and has total confidence in her man and the institution of marriage. Gretchen from Germany (Jessica Dennis) captures the Teutonic efficiency and command of the situation, bringing a deliciously sultry sensuality. A stunning ensemble of female actresses, each at the top of their game, propelling this work along with some delightfully nuanced acting.

The set (designed by Bek Palmer) is very stylish, reflecting the ladies professions – with a curved blue wall not unlike a globe of the world, into (and out of) which the ladies make their entrances and exits. I found the 60’s furniture rather appealing – especially the globe chair!

As farces go this is a classic, with the male characters becoming more manic (and panicked) as events unravel around them as they attempt to keep the deception going.

Fittingly, it is the women who are actually in charge and it is them who decide how the situation resolves itself. And it is a nicely satisfying conclusion that I found rather heartwarming.

Given the rather dubious nature of Bernard’s love life, this play is charming. Even Bernard, the resident cad at the heart of this web, is appealing – quite a feat which must be all credit to the script but also the director Michael Cabot.

It is a humorous script that elicited many laughs. If you want a feel good play that will make your spirits fly you could do no better than to go see this work. I thoroughly enjoyed and can wholeheartedly recommend it.

Dreamboats and Petticoats – Bringing on Back the Good Times Review

New Victoria Theatre, Woking – until 9 July 2022

Reviewed by Lorna Hancock

4****

Presented by Bill Kenwright and Laurie Mansfield, Bringing on Back the Good Times is the third in a series Dreamboats and Petticoats Jukebox musicals. We see Bobby, Laura, Sue, Norman and the gang get back together, for a follow on story based around the hits from the million selling Dreamboats and Petticoats albums. Laura (Elizabeth Carter) now has a successful solo career, but Bobby (Jacob Fowler) her partner on their number one hit record ‘Dreamboats and Petticoats‘ has left the spotlight and decided to re-join his former group Norman and The Conquests at St Mungo’s Youth Club.

With the book by Laurence Marks and Maurice Gran and musical production by Keith Strachen, Bringing on Back the Good Times is packed with some of rock ’n’ rolls greatest hits of the 50s and 60s.

With very fond memories of seeing the first Dreamboats and Petticoats musical back when it first came out, I was extremely excited to have the chance to review the latest instalment. I have to say, the first half was quite slow to get going and I was worried I would be leaving disappointed. However the second half started with a bang and filled the audience with the same nostalgic party feeling as the original and soon had everyone in the audience clapping along and dancing in their seats. 

The set is simple but very effective. The storyline is the bare minimum to string the songs together. The thing that stands out most in the show is the very strong cast, their vocal range and the impressive harmonies they achieved in every song performed. Along with the dancing having all of the instruments played live on stage makes the show a real treat for the eyes as well as the ears.

Jacob Fowler gave a very touching performance as Bobby, and I think Joseph Lukehurst as Norman made the ladies in the front row blush with dance moves to rival Elvis. All of the musical numbers were brilliant, but two that stand out for me are Lauren Anderson-Oakley’s powerful performance of ‘I just don’t know what to do with myself’ and a magnificent rendition of Blue Moon by the full cast, and what a treat it was to have Mark Wynter performing a medley of his own songs. The script was witty, and David Bensons impression of Kenneth Williams had the whole theatre laughing with his short ditty ‘I love a foreign tongue’.

My personal highlight was the spectacular Megamix finale, which had the full company singing, dancing and playing instruments on stage, in a brilliantly choreographed routine that definitely succeeded in ‘Bringing on back the good times’. 

Chicago Review

Lyceum Theatre, Sheffield – until 9th July 2022

Reviewed by Alison Beaumont

4****

Chicago is an American musical set in in the 1920’s and based on real life murders and trials. It follows Roxie Hart who is a wannabe vaudevillian who murders her lover and tries to convince her pushover husband, Amos to lie for her, however despite her attempts Roxie is arrested for the murder. Whilst in jail Roxie meets her hero and nightclub performer Velma Kelly who is awaiting trial for the double murder of her husband and sister. Roxie and Velma both hire the same greedy lawyer Billy Flynn and both try to be in the spotlight.

Velma (Dajalenga Scott) started Act 1 off with All That Jazz and certainly set a precedent for the rest of the show. Her leg lines when dancing were amazing to watch.

Roxie is played by the famous Faye Brookes (best known as Kate Connor in Coronation Street and runner up in Dancing on Ice), she played the character well and I thought Faye and Lee Mead (who shot to fame after winning the role of Joseph in the BBC series Any Dream will Do) and played Billy Flynn the lawyer were outstanding both together and individually.

Mamma Morton should have been played by Brenda Edwards who unfortunately due to an injury was unable to perform. However this was played by her understudy Michelle Andrews. Initially I was disappointed that Brenda was not able to perform as I am sure she would play the role well, however, having said that other than one tiny mistake Michelle Andrews did not disappoint.

The music and the dancing certainly made this musical.

For me the orchestra was fantastic and the usage of the musical director (Andrew Hilton) during the performance was a welcomed first for me. The Entr’acte was amazing and I could have listened to it again.

The Company were all very talented, the boys especially were great to watch.

I wouldn’t say this is on my all time list of top 10 favourites, but if this is your genre then it is definitely up there and worthy of going to see.

School of Rock Review

Liverpool Empire – until 9 July 2022

Reviewed by Jen Hughes 

5*****

Wow,  just wow!  Laurence Connor’s  School of Rock at the Liverpool Empire  was a lesson in fun, music and comedy genius!  Not only was I up dancing, but so were my two teenage boys, and quite frankly,  that’s unheard of! 

Within moments of the curtain rising, it seemed that Jack Black himself had arrived in Liverpool and was taking the stage by storm. But actually,  this was a phenomenal  performance from Jake Sharp, who played unqualified imposter supply teacher,  Dewy Finn hilariously, bringing his own interpretation to the much loved comedic icon.   Sharp’s comedy timing, facial expressions and  playful leaping around the stage had the audience in fits of laughter, helped along by more than one appearance of a hairy belly!  Belly laughs all round!  

Superb musical performances from some wonderfully talented children,  who deserve much praise for their confidence and talent, left the audience amazed at their individual and collective talents. At  times It felt like the audience were rocking out at a concert and other times at a Britain’s Got Talent final. The atmosphere truly was electric.

The pace of the performance was punchy and slick. Set change  and clever  use of the stage were effective in creating a very authentic Horace Green Prep school, led by Principal Mullins (Rebecca  Lock). Lock added not only a love interest for Dewi, but moments of operatic emotion which added another dimension to this musical feast 

If I could give this 6 stars I would. 

We Will Rock You Review

Birmingham Hippodrome – until 30th July 2022

Reviewed by Emma Millward 

5*****

It’s been twenty years since ‘We Will Rock You’ debuted at London’s Dominion Theatre. This Jukebox musical featuring the songs of Queen and the book/script by Ben Elton definitely caught the public’s attention after a slow start in 2002 and is undoubtedly still as popular as ever after all those years.

The show is set in a dystopian future where Earth has been renamed ‘iPlanet’ and is controlled by Globalsoft Corporation. Everyone dresses the same, thinks the same way and listens to computer-generated music. Life is lived through the internet, musical instruments and live music are forbidden and rock music has long since been forgotten about.  Despite this, Galileo Figaro (Ian Mcintosh) still dreams and hears lyrics in his head. He meets Scaramouche (Elena Skye) when they are captured by Khashoggi (Adam Strong), the Commander of Globalsoft’s Police following the orders of the corporation’s leader ‘Killer Queen’, played with definite Cruella de Vil vibes by Jenny O’Leary. Her performance of the song she is named after showcased her amazing and powerful vocal skills. 

We are introduced to the ‘Bohemians’, a group of rebels who believe in the prophecy that there are hidden musical instruments somewhere on the iPlanet. They are all named after musicians such as Tina Turner, Madonna and Britney Spears (played brilliantly in this performance by understudy Edward Leigh). There are lots of pop culture references throughout the show, especially when Meat (Martina Ciabatti Mennell) sings ‘No One but You (Only the Good Die Young), which the Bohemians dedicate to the singers who died young (Janis Joplin, John Lennon, Amy Winehouse and, of course Freddie Mercury among others). Michael Mckell is outstanding as Cliff (Sir Cliff actually!), the slightly confused Bohemian who is trying to figure out whether the prophecy is true. He delivers some of the funniest lines in the show.

Ben Elton’s script is often a little silly in places, but it’s also still as relevant today in the way it depicts the internet-obsessed lives some people lead.  The music is, of course, an important part of the story and there are 24 songs packed into the show. The band appears onstage at different points on the top floor of the two-tiered backdrop and this makes them feel like more of a part of the show. It was so hard at times to resist the urge to sing along!!  The whole cast work brilliantly together. Ian McIntosh in particular, shines as Galileo, and has a vocal range I am sure Freddie would have approved of. Ben Elton has updated the script to include references to the Covid-19 pandemic, but not in such a way that it is off-putting for the audience. 

Die hard Queen fans will no doubt love the show regardless of the script though. There wasn’t a dull moment and the time flew by so fast, and the cast were met with a well-deserved standing ovation before the encore of ‘Bohemian Rhapsody’, performed in full by the cast. Queen and their music have been around for over fifty years and, judging by the response from this audience, the popularity of this show will definitely live forever and carry on having a certain ‘Kind of Magic’!

SISTER ACT REVIEW

PALACE THEATRE, MANCHESTER – UNTIL SATURDAY 9TH JULY 2022

REVIEWED BY MIA BOWEN

4.5****

‘Fabulous Baby!’ That is the feeling I got when I left the Palace Theatre last night. Sister Act, a divine musical comedy, was absolutely spectacular. Produced by one of the world’s most talented actresses, Whoopi Goldberg, this musical brings to life the award winning 1992 film, of the same name.

This brilliant tribute of the universal power of sisterhood tells the comical story of lounge singer Deloris Van Cartier performed by Sandra Marvin (Waitress) who witnesses her gangster boyfriend Curtis Jackson peformed by Jeremy Secomb (Sweeney Todd) murder a police informant. To protect her from being killed by Jackson and his gang of thugs; Pablo (Damian Buhagiar), Joey (Tom Hopcroft) and TJ (Bradley Judge), desk chief police officer Eddie Souther performed by Clive Rowe (Guys and Dolls) hides Deloris in the one place she won’t be found – a convent! Disguised as a nun she has to adjust to life as Sister Mary Clarence. Under the suspicious watch of Mother Superior performed by the legendary Jennifer Saunders (Absolutely Fabulous), Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.

Several other performers make a mark; veteran Lesley Joseph (Birds of a Feather) as Sister Mary Lazarus has a wicked sense of humour, Keala Settle (The Greatest Showman) as Sister Mary Patrick has boundless energy and Lizzie Bea (Kinky Boots) as Sister Mary Robert, the young postulant nun reveals a powerful voice. The marvellous Graham Macduff (Phantom of the Opera) as Monsignor O’Hara, is more then ready to raise his voice and the collection plate for the crowd pleasing numbers. I particularly enjoyed how the soul music of the choir changed his mood and vestment.

The music from multi award winning Alan Menken (Little Shop of Horrors) and lyrics by Tony nominee Glenn Slater (School Of Rock) mixes Motown, funk, soul and disco and even a jokey Barry White. They take you back to the 70’s with some terrific songs, especially the rousing ‘Raise Your Voice’, the touching ‘The Life I Never Led’ and the hilarious ‘How I Got The Calling’. One of my favourite musical numbers of the evening was the uproarious and provocative ‘Lady In The Long Dress’ performed by TJ, Joey and Pablo.

The book by Cheri and Bill Steinkellner follows the rough outline of the film but also adds to the feel good factor by ramping up the fun with a great deal of comedy moments.

The set design is absolutely stunning and is constantly changing. One minute you are in a glitzy lounge bar, the next you are in an old gothic church and then you are in a police station. All the scene changes are done flawlessly and as part of the performance.

Brace yourselves sisters, this musical is energetic, hilarious and thoroughly enjoyable.

The Rise and Fall of Little Voice Review

York Theatre Royal – until Saturday 9th July 2022

Reviewed by Michelle Richardson

4****

The Rise and Fall of Little Voice first hit the stage 30 years ago. Written by Jim Cartwright for the actress Jane Horrocks it has been hitting the boards periodically since then. Many will remember it more from the 1998 film starring the wonderful Horrocks. 2022 sees it back touring the UK with a brand new cast.

Little Voice (Christina Bianco), barely speaks and spends most of her time closeted up in her bedroom listening to her late father’s old albums. Whilst downstairs her mother, Mari (Shobna Gulati), a trashy, larger than life and alcoholic character, is more concerned with her new boyfriend, the sleazy Ray (Ian Kelsey) and the installation of her new phone. All Mari is interested in is men and booze, and Ray fulfils that criteria. Whilst Ray is visiting, LV is playing her albums as usual, but once the electricity shorts out and the music is still playing, he realises what a talent LV has and wants to use her to further his career. LV truly comes alive with her amazing voice, able to imitate all the greats, and is cajoled into performing for one night only at Mr Boos. All does not go smoothly and what follows is a story of disfunction, intimidation, exploitation, and innocence.

Bianco brings LV to life with her remarkable ability to mimic such iconic divas as Cilla Black, Judy Garland, Marilyn Monroe, plus many more. During LV’s knockout second performance at Mr Boo’s, my friend and I were questioning whether Bianco was singing live, obviously she was, but the transitions between each artist were extraordinary, flitting from one vocal performance to another, amazing, what a talent.

Gulati shines as the garish, loud-mouthed Mari, who selfishly is only concerned about herself, using and abusing all those around her, including LV and her downtrodden, affable best friend, her only friend, Sadie (Fiona Mulvaney), though there are times of vulnerability. She really does own the stage, bringing energy, comedy and personability to her role.

Kelsey, as Ray, provides just about the right amount of sleaze to his character and the interaction with Gulati is truly believable. His dissent from the would-be promoter to the abuser as things fall apart, had the audience gasping out loud in shock.

The stage is utilised well, with a cut out house over two floors, concentrating on LV’s bedroom and the living room/kitchen downstairs. When Mr Boo’s club is depicted a curtain of tinsel and lights is lowered down, simple but effective.

This production is full of some fabulous comedic moments. Some of the funnier moments were quite dated and almost cringeworthy, but in truth they only added to the experience. This is a show with a solid cast that gel together to deliver a sometimes uncomfortable narrative, but also not letting go of that sweet innocence that is out there. Well worth a night out.