Underbelly, Cavendish Square – until 3 June 2022

Reviewed by Donna Easton 

4**** 

Oh La Clique, La Clique, you make me happy! 

Like a crispy Cider in the sunshine or a 99 with a flake, I love that ‘summer’s coming’ feeling that a trip to Underbelly brings. 

The Spiegeltent always gives that atmospheric nostalgic circus vibe I loved from childhood although La Clique adds a big dash of sauce that makes this technicolor cabaret show a purely grown up affair. 

As a lover of cabaret, La Clique appeals to my very soul with smooth transitions, just the right amount of audience interaction and great use of space … what a giggly, engaged and happy audience were we! 

I particularly loved the two roller skaters even though I had to watch through my fingers and the two rope aerial guy … even though I had to watch through my fingers! 

La Clique is basically a banger of a fun night out. We absolutely loved it and if you want to escape the real world crazy, this is a whacking great dollop of the best sort of entertainment, scantily, sexy as hell, cabaret-filled, lolly-fied crazy they gave me all the good feelings in my tummy and lit the sequins of my heart! 

Sunderland Empire – until 22 May 2022

Reviewed by Lyall Mum and Son

4****

Billionaire Boy is a wonderful, family fun show with a great lesson behind the story. We are introduced to the billionaire boy “Joe” played by Matthew Gordon and fascinated by the HUGE screen he uses to play his games console. A perfect way to reel the children in to get to know him. The billionaire dad, played by Matthew Mellalieu is introduced as a stereotypical money making “snob” due to his brilliant loo roll invention! Throughout, we continue to love him and his humour. It’s sad to see the relationship between them both revolve around money when in fact we learn very quickly that Joe is only wanting to feel loved and special. His journey to a new comprehensive school is intriguing but very relatable due to the variety of stereotypes and teachers. “Walk, don’t run” is the perfect number where you hear the adults chuckling! We remember those days!

Whilst keeping his fortune and fame a secret, Joe starts his new comprehensive school. We meet the most lovable character “Bob” played by Jake Lomas who becomes Joe’s best friend. They become the perfect duo, a friendship your grandma always wants for their grandson! We love Bob almost right away due to his adorable background helping his mum with it being just the two of them.

Other characters we meet along the way are The Grubbs twins who are the school bullies, Raj the typical corner shop owner, a bazaar and wild dinner lady, annoying school teachers and a gold digger. All are characters we have met in the real world but with a humorous twist.

We learn that Dad and Joe are quite similar due to the helicopter appearance from Dad, buying out a friend and using money to defend another (Go see, you’ll see what I mean!) All leading to failure…. But is it really?

Little Lyall really enjoyed this one and said “This is one of the best shows we have seen Mum!”. And that’s coming from an eight year old boy who dreams of all the consoles in the world, the money in the world and popularity. Little Lyall especially enjoyed the new kid who we meet in act 2. I could hear him “spitting rhymes” in my left ear…….thanks for that. Billionaire Boy created a great conversation between Little Lyall and Mum. “Money really doesn’t mean everything, does it mum?” and if that comes out from a young child then thank you David Walliams for writing a meaningful and entertaining piece!

Chichester Festival Theatre – until 4 June 2022

Reviewed by Gill Gardiner

5*****

A hugely entertaining adaptation of Agatha Christie’s novel for theatre by Ken Ludwig; a masterly performance by Henry Goodman as Poirot with a superb supporting cast including Patrick Robinson (Monsieur Blanc), Samuel Collins (Hector MacQueen), Laura Rogers (Countess Andrenyi) and Sara Stewart (Helen Hubbard).

This is the first time the novel has been adapted for stage in Europe. From a book very heavy on detail, the play manages to successfully condense the plot whilst maintaining the sense of mystery as well as the quirkiness of the characters.

For me, Henry Goodman was the perfect Poirot for a stage adaptation. He manages to infuse humour into the character adding to the theatrical entertainment without losing the sense of the seriousness of the crime he is trying to solve or the moral dilemma that he faces as he gets closer to the solution. A stand out performance.

The set is also impressive. The opulence of an Istanbul restaurant in the opening scenes contrasts sharply with the chill of a broken down train in a snowstorm where an impressive huge train at the back of the stage allows for more flexible staging at the front. The impression of the train is never lost incorporating the geographical relationship between the compartments essential for the plot. Snow falling around the borders of the stage helps to set the scene. Never before in the theatre have I experienced spontaneous applause for the scenery. 

First class entertainment, mystery, intrigue, and stand out performances. A memorably murderous evening out, highly recommended  whether you are a fan of Agatha Christie or not . 

London Coliseum – until 27 August 2022

Reviewed by Claire Roderick

3***

The Lincoln Center’s production of My Fair Lady attempts to be a sumptuous affair but feels a little lost in the Coliseum. It has been 21 years since the show has been in the West End, and Bartlett Sher’s production is a safe bet for the summer season.

Lerner and Loewe’s magnificent music and lyrics stand the test of time, with many overheard interval chats about forgetting how many wonderful songs there are in the show. Lerner’s book, with the archaic and pompous arrogance of English gentlemen remaining true to Shaw’s play and highlighting the comedic immaturity of the men. Bartlett Sher’s reverence of the original musical means that there is no change to any character – a missed opportunity to make Freddy less of a lapdog and present Eliza with the choice of a loving relationship of equals instead of being a piece of property or mothering a man-child? Any change to Freddy would be welcome, as here he is a buffoonish, empty headed toff stalker.

The sets vary from an over-detailed study (leaving me wondering if the cast can actually be seen against the busy backdrop from the balcony) as part of a revolving house set to minimalist street scenery that appears to be from a different production, making it feel as if all the money was spent on Higgins’ house and the rest was an afterthought. Perhaps this choice reflects Higgin’s busy mind and self-centredness, but even then, it feels a bizarre decision. The Ascot and ball scenes begin promisingly enough, but soon become bland and static imitations of the film. This will probably delight the audience members who want to see a live version of their favourite film, but makes you wonder whether the acclaim for the New York production was driven by nostalgia.

Disappointment in the direction aside, there are some stellar performances from the cast. Amara Okereke makes her mark as Eliza – her beautiful vocals soaring in I Could Have Danced All Night and showing great comedic chops in the Ascot scene. Harry Hadden-Paton is wonderful as Higgins, becoming ever more frenetic as his world and beliefs are threatened by Eliza and managing to make Higgins more vulnerable without diluting his unlikability. Malcolm Sinclair is a delight as Colonel Pickering and Vanessa Redgrave has a ball as a physically fragile but VERY sharp Mrs Higgins.

One for the nostalgists, this My Fair Lady is… fair – professional, some amazing performances, but lacking that magical touch.

Southwark Playhouse – until 18 June 2022

Reviewed by Claire Roderick

4****

Lift is a weird and wonderful musical full of heart that leaves you with a big goofy smile on your face.

Set in the lift of Covent Garden underground station, Gabriel, a busker (Luke Friend), spends the 54 second journey imagining the lives of the other people crammed into the lift with him. Unable to move on from the end of his relationship with Sarah a year ago (he still carries around her Dear John letter), he uses these scenarios to work through his own grief. One of the people in the lift is a woman whose smile as she drops money in his hat has inspired him, and he is desperate to know her name, but cannot summon the courage to talk to her.

Since playing at Soho Theatre in 2013, writers Craig Adams and Ian Watson have worked to clarify the busker’s story. Having not seen the earlier production, it was extremely pleasing that it still takes a while to realise what exactly is going on, dropping breadcrumbs (or sometimes entire loaves) to enable the audience to figure out the plot. At first, I had no clue, just enjoying the fabulous songs and the first few scenes – but just when you think you’ve got a handle on the show, along come the avatars to scramble your brains.

The characters the busker fantasises about are a gay ballet dancer whose life in London is hidden from his Yorkshire family and his friend who pays for ballet school by providing dominatrix sessions, a teacher of French who is mystified when her girlfriend buys her a session with the dominatrix, a businessman and his secretary (the woman the busker is obsessed with), and two stereotypical American tourists. With every character named Gabriel, Sarah or K as projections of his grief, the relationship woes and personal revelations the characters work through are all steps on the path to healing for the busker, finally enabling him to leave the lift and finish his song.

The incredible cast lift the roof of the theatre with soaring vocals and sublime harmonies. Craig Adams’ music and lyrics are brought to life with energy and style, and Ian Watson’s witty and soulful book enables the cast to get their teeth into some emotional scenes. Most characters get one big solo, and wow, the cast take their moment in the spotlight with style. Luke Friend is a vocal powerhouse as the busker but then also manages to convincingly shrink into himself when he is not singing and becomes a melancholy bystander as he watches his creations. Hiba Elchikhe impresses as the secretary finally realising that her boss does not see her and grasping her freedom. Marco Titus is fantastic as her boss, and his strange online dating scenes with the ballet dancer (Cameron Collins) are a hoot. Collins is a revelation – flipping between cartoonish simulated sex and heartfelt despair in the course of a verse – simply wonderful. Tamara Morgan manages to steal every scene as the dominatrix, spitting out hilarious one-liners as people dump their troubles on her. Her scenes with Kayleigh McKnight are tender and hilarious, with both actors bringing heart and soul to the barely sketched characters. The characters are enigmatic and not fully rounded, but that is as it should be if they are all the busker’s creations. Speaking of enigmatic, Jordan Broatch and Chrissie Bhima as the avatars of online dating are bizarrely magnetic. Their evolution towards real feelings is a joy to watch as Annie Southall’s choreography takes them on their journey. Southall’s choreography works brilliantly with Andrew Exeter’s ingenious design under Dean Johnson’s canny direction – taking us from the crowded lift to a rainy day in London, to a whistle stop tour of the city’s sights.

Lift is joyous – heartfelt and thoughtful soul-searching packed with incredible songs. Hold the doors – this is a ride you don’t want to miss

Storyhouse Chester – until 28th May 2022

Reviewed by Jennifer Hughes

3***

Directed by Joyce Branagh, Chesters Storyhouse Theatre hosts the word premier of Tim Frith’s brand new musical. Now Is Good.

Jeff Rawle’s much loved Ray opened the show with a moving and poignant song , which seems a bizarre description of a lyric largely based around falling through a shed roof and fig rolls, yet it was moving and humorous in equal measure. Beautifully, he sang about his late wife whilst surrounded by broken timber, dust sheets and memories. A scene echoed by his Health and Safety guru son , Neil (Chris Hannon) towards the end of the play …..but I won’t spoil that for you.

An old mahogany clock took centre stage throughout the show, never changing in time, never moving forward, which echoed the sentiments of the largely ‘older’ characters in the play who sang about their frustrations with the internet, video calling and the modern obsession with the ‘Alexa’ lifestyle. The ‘old and the new’ theme was not only portrayed through the refurbishing of the old high street bank into a new community hub, but depicted beautifully by the introduction of the Storyhouse Youth Theatre – playing characters from the nearby school, alongside their more mature fellow thespians. Working in education, I can honestly say that Alyce Liburd’s facial expressions as teacher Katy, were on point!

In all, this play was something very different. It is laced with subtle morals, themes and messages. Celebrating life, tackling loneliness, being afraid to move on but yet offering hope and a sense of community over a fig roll and a sing song.

“Beautiful souls can marry wrong; they usually do”.

THE SPECTACULAR 5-STAR

PRODUCTION

OF C.S. LEWIS’

THE LION, THE WITCH &

THE WARDROBE

ROARS INTO THE WEST END

WITH SAMANTHA WOMACK AS THE WHITE WITCH

GILLIAN LYNNE THEATRE

18 July 2022 – 8 January 2023

The smash-hit production of C.S. Lewis’ classic The Lion, the Witch and the Wardrobe, which has been wowing audiences around the UK and Ireland, will make its West End premiere this summer at the Gillian Lynne Theatre, Drury Lane, London. The show has been seen and enjoyed by a quarter of a million people on its nineteen-week tour which ended triumphantly this month in Bristol where it was described as ‘a must-see production – an exceptional re-imagining of a treasured story to bewitch and beguile the whole family.’

The Lion, the Witch and the Wardrobe – starring Samantha Womack as the evil White Witch – will begin performances on 18 July 2022 and play a strictly limited season through until 8 January 2023.

Booking for The Lion, the Witch and the Wardrobe at the Gillian Lynne Theatre opens at 12 NOON today  (Friday 20 May 2022) and tickets can be booked from the box office via www.lionwitchonstage.com.

Step through the wardrobe into the enchanted kingdom of Narnia. Join Lucy, Edmund, Susan and Peter as they wave goodbye to wartime Britain and embark on the most magical of adventures in a frozen, faraway land where they meet Mr Tumnus the faun, talking beavers, Aslan (the noble king of Narnia) and the coldest, most evil White Witch.

C.S. Lewis’ book (published by HarperCollins) has been engrossing readers young and old for over 70 years, has sold 85 million copies in 60 languages and is one of the top ten best-selling books of all time.  More information about C.S. Lewis from www.narnia.com.

Samantha Womack recently played the lead role in the sold-out production of The Girl on the Train in the West End and on tour.  Her past theatre roles include the Tony award-winning production of South Pacific in which she starred alongside Patrick Swayze, Guys and Dolls at London’s Piccadilly Theatre (directed by Michael Grandage) and playing Emma in an award-winning production of Harold Pinter’s Betrayal (directed by Sir Peter Hall). Her varied work on television has seen Samantha moving from comedy to drama with the cult success of BBC’s Game On and Babes in the Wood  to ITV’s gritty crime drama Liverpool 1, Imogen’s Face and Ronnie Mitchell in EastEnders. Films include playing the unhinged mother of Eggsy in the The Kingsman franchise sharing the screen with Colin Firth and Samuel L Jackson and playing Hazel in Jon Godber’s  Up ‘n Under. 

The full cast will be announced soon.

The Lion, the Witch and the Wardrobe is directed by Michael Fentiman based on the original production by Sally Cookson.

Joining Michael Fentiman on the creative team are Set and Costume Designer Tom Paris, Composers Benji Bower and Barnaby Race, Choreographer Shannelle ‘Tali’ Fergus, Lighting Designer Jack Knowles, Sound Designers Ian Dickinson and Gareth Tucker for Autograph, Puppetry Director Toby Olié, Puppetry Designer Max Humphries, Aerial Director Gwen Hales, Illusionist Chris Fisher, Music Director Toby Higgins, Casting Director Will Burton CDG, Fight Director Jonathan Holby, Wigs, Hair and Make-Up Designer Susanna Peretz, Props Supervisor Lizzie Frankl for Propworks, Dramaturg Adam Peck and Movement Consultant Dan Canham.  

Director Michael Fentiman said: “I’m delighted to be bringing our production of The Lion, The Witch and the Wardrobe to the Gillian Lynne Theatre. The production celebrates the magic of live theatre and is led by a multi-talented cast of actors, singers, musicians, dancers and puppeteers; it is a celebration of the possibilities of the collective imagination and the boundless wonders of individual skill. 

This story, about a community battling hardship in the darkest of winters, who together find freedom again in the light of summer, couldn’t be more pertinent for these times.”

Michael’s previous productions include the Olivier Award-nominated Amélie (Watermill Theatre/The Other Palace/UK Tour and West End), The Windsors: Endgame (West End), The Importance of Being Earnest (Vaudeville Theatre), the 50^th anniversary production of Joe Orton’s Loot (Park Theatre/Watermill Theatre), Titus Andronicus and Ahasverus (Royal Shakespeare Company), The Taming of the Shrew (Sherman Theatre/Tron Theatre) and, as director and writer, CinderELLA (Nuffield Southampton) and The Last Days of Anne Boleyn (Tower of London). 

Producer Chris Harper said:  “This wonderful production has been delighting audiences up and down the country and I am so thrilled that we can bring this magical family show to the West End this summer.  We can’t wait for children and adults alike to join us on this spectacular journey through the wardrobe”

The Lion, the Witch and the Wardrobe is produced by Elliott & Harper Productions and Catherine Schreiber and was first produced at the Leeds Playhouse. 

NEW AND RETURNING CAST JOIN THE LONDON PRODUCTION OF
AWARD-WINNING ‘BEST MUSICAL’

PHOENIX THEATRE, LONDON

London, Friday 20 May: The multi award-winning London production of global hit musical Come From Away welcomes new and returning cast members to the Phoenix Theatre from June 2022.

Kirsty Malpass has returned to the London Come From Away familyin the role of Bonnie and others, Olivier Award-nominated Robert Hands returns to the role of Nick/Doug and others, Lejaun Sheppard will play Bob and others, with Sarah Morrison (returning to the production having performed in Come From Away in Australia) and Lucy Park also joining the cast.

They are welcomed by the current London cast who are extending their time with the show beyond June: Jenna Boyd (Beulah and others), James Doherty (Claude and others), Mark Dugdale (Kevin T/Garth and others), Gemma Knight Jones (Hannah and others), Alice Fearn (Beverley/Annette and others), Kate Graham (Diane and others), Jonathan Andrew Hume (Kevin J/Ali and others), Harry Morrison (Oz and others), and Emma Salvo (Janice and others) with Chiara Baronti, Ricardo Castro, Stuart Hickey, Alexander McMorran, Jennifer Tierney and Matthew Whennell-Clark.

The Come From Away band includes Alan Berry (Musical Director/UK Musical Supervisor), Matt Bashford (Whistles/Irish Flute/Uillean Pipes), Aoife Mairead Ní Bhriain (Fiddle), Oli Briant (Electric/Acoustic Guitar), Justin Quinn (Acoustic Guitars/Mandolins/Bouzouki), Joey Grant (Electric and Acoustic Bass),  Ray Fean (Bodhrán/Percussion), Ian Whitehead (Drums/Percussion), Huw Evans (Associate Musical Director), Andrew Barrett for Lionella Music, LLC (Electronic Music Design), Phij Adams (Associate Keyboard Programmer), Ryan Driscoll (Music Preparation), and David Gallagher (Orchestral Management).

Winner of every major Best Musical award when it opened in the West End in March 2019, Come From Away tells the remarkable and inspiring true story of 7,000 stranded air passengers during the wake of 9/11, and the small town in Newfoundland that welcomed them. Cultures clashed and nerves ran high, but as uneasiness turned into trust, music soared into the night and gratitude grew into enduring friendships.

Twenty years ago on 11 September 2001, the world stopped. On 12 September and in the years following, their stories of kindness, generosity and love have moved us all.

The international hit musical has celebrated sold-out, record-breaking engagements on Broadway, in Canada, throughout Australia, and on a 60-city North American Tour.

The Come From Away Creative team include Irene Sankoff and David Hein (Book, Music and Lyrics), Christopher Ashley (Director), Kelly Devine (Musical Staging), Ian Eisendrath (Music Supervision and Arrangements), Beowulf Boritt (Scenic Design), Toni-Leslie James (Costume Design), Howell Binkley (Lighting Design), Gareth Owen (Sound Design), David Brian Brown (Hair Design), August Eriksmoen (Orchestrations), Pippa Ailion CDG and Natalie Gallacher CDG (Casting), Joel Goldes (Dialect Coach), Michael Rubinoff (Creative Consultant), Bob Hallett (Newfoundland Music Consultant),  Shirley Fishman (Dramaturg), Tara Overfield Wilkinson (Associate Director and Choreographer UK), and Kirsty Malpass (Assistant Director and Choreographer UK).

Come From Away is produced in the UK by Junkyard Dog Productions and Smith & Brant Theatricals. The European premiere of Come From Away was co-produced with the Abbey Theatre, Ireland’s National Theatre.

Tickets for Come From Away at the Phoenix Theatre are available via comefromawaylondon.co.uk.

Northern Stage Newcastle – until Saturday 21st May 2022

Reviewed by Sandra Little

3***

This one woman show, which was written and performed by Hannah Walker, addresses issues relating to online gambling addiction. The show uses minimal props and a range of multimedia techniques to explore the impact that gambling addiction can have on families and relationships. All performances have integrated BSL interpretation from Faye Alvi and there is also a contribution to the performance from Rosa Postlethwaite.

At the beginning of the show Hannah, who is a very extrovert, larger than life character, describes her experience of gambling as a win at bingo in the village hall. She then progresses to casino gambling in the city and eventually the audience are introduced to the glitzy world of online gambling. The ease by which people can participate in online gambling is described in glowing terms, and we are told that you simply have to open your phone, log in online and start gambling from the comfort of your own home. There is also reference to online gambling as “ entertainment” and the availability of “free” £50 bets is mentioned.

The issues relating to addictive gambling are mainly addressed through a story line involving a young couple with a baby. There are also powerful recorded interviews with several gambling addicts whose identity is hidden. In the main this show has a comedic style and the style is very exaggerated ( think Patsy in Ab Fab) . There are also some quite risqué elements included, with references to nipples, vagina and periods. However, within this jokey delivery, there are some very stark facts and serious messages. One part of the show for example tells us that gambling addicts are either dead, homeless or in recovery.

For me, the most hard hitting and poignant part of this show was the interviews with gambling addicts. This part of the show really brought home the impact gambling addiction has on people’s lives and the ease with which online gambling can spiral out of control.

Clearly gambling addiction is a very serious, modern day problem and therefore this performance must be applauded for raising awareness and providing opportunities for further discussion. However, I felt that the very important issues presented in the show were sometimes overwhelmed by the comedy. I think that the the serious aspects would have had a greater impact if there had been more of a balance between the humour and the despair online gambling addiction brings.

Information provided by the theatre describes how interviews with industry experts, health professionals, people in recovery and their loved ones has contributed to the content of this show.

Each performance is followed by a post show discussion with Dr Matthew Gaskell ( Clinical Lead and Consultant Psychologist for the NHS northern gambling service) . There is also the opportunity for people to have an informal chat, either online or in person, with Hannah on Sunday 22nd May from 10:30 AM until 12:30 PM and information on organisations offering support is also provided.

New Theatre, Hull – until Saturday 28th May 2022

Reviewed by Anne Walker

5*****

I really wasn’t sure if the Jersey Boys musical would be my cup of tea. Being a huge musical theatre fan, I thought this would be a bit of a jukebox show and it would be okay but not great. How wrong I was? The internationally acclaimed show which has won 65 major awards certainly changed my mind.

Each of the original Four Seasons band members, directly addresses the audience, narrating their side of the story. Four boys from Jersey, from the wrong side of the tracks, started by Tommy DeVito (Dalton Wood), Frankie Valli (the wonderful Michael Pickering with his amazing falsetto), Nick Massi (Lewis Griffiths, who brought the fabulous bass tones and also some very funny lines) and the very likeable Bob Gaudio , the writer of most of those great hits ( Blair Gibson who brought some amazing harmonies to complement the others).

You will watch this musical and realise just how many of their endless hits you recognise, ‘Big Girls Don’t Cry,’ Walk Like a Man, ‘Sherry,’ ’ Can’t Take My Eyes Off You’ and ‘Working My Way Back To You’ to name but a few. This is so much more than a ‘jukebox’ musical because the songs are slotted in perfectly to tell the Jersey Boys story and what a story it is. A combination of highs and lows, mob connections, prison spells, bad debts and soaring success, it has everything.

A simple set with a one tier scaffolding, teamed with a screen showing the changing of the seasons was very effective. At one point, the screen projects footage of the group performing in black and white on a television show, creating a whole different perspective for the audience. Special mention must go to the often forgotten ensemble cast, who had numerous different roles to play throughout the show. A very talented bunch.

This was a very slick production with wonderful performances from the whole cast. A great mixture of dynamic music and realistic drama. I would really recommend seeing this show as it was thoroughly enjoyable from start to finish. You will come away thinking, ‘Oh what A Night!’