RSC INTERVAL DRINKS PODCAST RETURNS FEATURING DAVID TENNANT, FEMI TEMOWO AND TINUKE CRAIG

NEW EPISODE AVAILABLE TO DOWNLOAD NOW

Today (Thursday 12 May 2022) the Royal Shakespeare Company (RSC) releases a new episode of its in-house podcast, Interval Drinks, featuring RSC Associate Artist and star of stage and screen David Tennant in conversation with Mark Quartley, who currently plays Henry VI in the RSC productions of Henry VI: Rebellion and Wars of the Roses.

The second episode, which features an interview with composer and musician Femi Temowo (Much Ado About Nothing) with sound designer Claire Windsor, will be available to download on Thursday 19 May. The third episode of the series will be available on Thursday 26 May with theatre director and winner of the Genesis Future Directors Award Tinuke Craig in conversation with RSC director Aaron Parsons. Further episodes to be announced later this summer.

Interval Drinks is an opportunity to learn more about the life of the RSC from those at the heart of the Company. The Podcast offers audiences a rare insight into the professional journeys of these RSC artists, as well as a chance to explore the craft of modern theatre and discuss some of the biggest issues facing the theatre industry today.

In episode one, actor Mark Quartley, who is currently playing Henry VI in the RSC’s productions of Henry VI: Rebellion and Wars of the Roses, speaks to David Tennant about auditioning for drama school as a 16-year-old from Paisley, how it feels when you forget the lines on stage and imposter syndrome. They also chat about what David likes about playing characters by Steven Moffat and Russell T Davies and Shakespeare.

Episode two features sound designer Claire Windsor chatting to composer and musician Femi Temowo about his musical journey, from first picking up a guitar at age 19, to MOBO Award nominated musician who composed the music for the RSC production of Much Ado About Nothing. Femi explains why theatre is like Power Rangers and shares his guilty pleasure in music.

In the third episode, theatre director Tinuke Craig meets RSC director Aaron Parsons to explain what is similar about directing a Sarah Kane play about trauma and a pantomime. She talks about what drives her as a director, how she decides which are the stories she wants to tell and some of the barriers she faced on her way to becoming a director.

The series launched in Spring 2021, bringing together members of the RSC’s acting company with inspirational personalities from the Company’s history. Previous episodes include conversations with Adjoa Andoh, Justin Audibert, Paul Chahidi, Kate DiCamillo, Juliet Gilkes Romero, John Kani, Lucien Msamati, Tim Minchin and David Threlfall. Each episode of the series is available to download for free via the RSC website, as well as multiple podcast platforms, including Spotify and Apple Podcasts (formerly iTunes). There are also vodcast episodes with Charlotte Arrowsmith and Sophie Woolley available via the RSC YouTube channel.

The music is ‘Oberon’s Theme – King of Shadow’, originally composed by Sam Kenyon for A Midsummer Night’s Dream (2016).

The Theatre Cafe are delighted to announce
new venture The Theatre Cafe Diner
Opening Summer 2022
154 Shaftesbury Avenue, WC2H 8HL

The Theatre Cafe are delighted to announce a UK first with The Theatre Cafe Diner. Opening Summer 2022, it will be situated over two floors at 154 Shaftesbury Avenue.

The Theatre Cafe Diner will be a full theatrical dining experience like no other. The main feature will be the highly trained singing waiting team who will perform musical theatre classics around the diner to entertain the customers throughout their meal. The menu will offer classic high quality diner food, catering for all, alongside a wide selection of cold & hot drinks, alcoholic beverages and cocktails. Much like The Theatre Cafe, the walls will be covered in theatrical memorabilia, but it will also include some very special unique spaces showcasing some of the much-loved West End productions.

Joe Davey, Managing Director and founder of The Theatre Cafe, said, I am so excited to be launching The Theatre Cafe Diner in the West End. It’s been a tough few years for our industry, so we are thrilled that The Theatre Cafe brand is expanding. The Theatre Cafe has grown so much from its beginnings as a family ticketing business, and we are delighted to be seen as a key beacon within the theatre industry. The diner is going to be an excellent companion to The Theatre Cafe, and I can’t wait to open the doors and for people to experience a diner like no other!

Julia Wilkinson, Restaurant Director at Shaftesbury, commented, We are thrilled The Theatre Cafe have selected Seven Dials as the chosen destination to expand their brand with an experiential diner concept. The Theatre Cafe Diner will further energise Seven Dials’ dynamic F&B offering, and the brand’s dedication to showcasing popular West End theatre productions, will perfectly complement its setting at the heart of London’s iconic theatre scene. We are confident that the theatre fans and food lovers from near and far will be eager to experience this vibrant new operator.

The Theatre Cafe Diner, which will operate alongside The Theatre Cafe, will also be used to host special events, such as West End Musical brunches, live performances from the stars of the West End and Broadway and an exclusive space to book for special theatrical events.

Runaway Entertainment presents

2:22 – A GHOST STORY

The hit play by Danny Robins

Directed by Matthew Dunster

@222AGhostStory #222AGhostStory 

• 2.22 – A GHOST STORY RELEASES PRODUCTION IMAGES OF THE CAST FOR THE CRITERION THEATRE RUN.

• TOM FELTON PLAYS SAM, MANDIP GILL PLAYS JENNY, BEATRIZ ROMILLY PLAYS LAUREN AND SAM SWAINSBURY PLAYS BEN

• THE PRODUCTION IS DIRECTED BY MATTHEW DUNSTER AND WRITTEN BY AWARD-WINNING WRITER DANNY ROBINS

• THE PRODUCTION RUNS AT THE CRITERION THEATRE UNTIL 4 SEPTEMBER 2022

• TICKETS ON SALE AT  WWW.222AGHOSTSTORY.COM

Production images are released today for the transfer of Danny Robins’ edge-of-your-seat, supernatural thriller 2:22 – A Ghost Story for a third season at the Criterion Theatre. The run at the Criterion follows two record breaking runs at the Noel Coward and Gielgud Theatres, three Olivier Nominations including Best New Play, and winning the Best New Play category in the Whatsonstage awards.

Tom Felton plays the role of Sam. Having made his breakthrough as ‘Draco Malfoy’ in the Harry Potter series of films, Tom has gone on to star in award winning films The Rise of the Planet of the Apes, A United Kingdom, and Belle, television series The Flash, Netflix filmThe Forgotten Battle and was most recently seen on screen in SKY’s Save the Cinema. Coming up, he will star in Independent Film Burial.

Mandip Gill plays Jenny. Mandip played companion Yasmin Khan in series 11, 12 and 13 of Doctor Who opposite Jodie Whittaker. She also played Phoebe McQueen in Hollyoaks and has appeared in Cuckoo, Doctors, The Good Karma Hospital and Casualty.

Beatriz Romilly plays the role of Lauren. Beatriz was born in Spain. She is best known for her work in Assassin’s Creed Valhalla, Final Fantasy XIV: Shadowbringers and War of the Worlds. She has also appeared on stage at Chichester Festival Theatre, Shakespeare’s Globe and The Bush Theatre.

Sam Swainsbury plays Ben. Sam is known best for his roles as Jason in the BBC sitcom Mum and Rowan in the 2019 film Fisherman’s Friends. In 2015, Swainsbury featured in the film Thor: The Dark World, In 2017, Swainsbury appeared on Fearless, In 2019, he appeared in Victoria as Dr John Snow.

After breaking all box office records for a new play at the Noel Coward Theatre; described as the theatre event of the year and the hottest ticket in the West End; and after weeks of sell-out performances, the show transferred for another record breaking run at the Gielgud Theatre. The run there ended in February and a third season, this time to the Criterion Theatre, was immediately announced. 

2.22 – A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist and it is directed by Matthew Dunster. Intriguing, funny and scary, it takes audiences into one adrenaline fueled night where secrets will emerge and ghosts may appear….What do you believe? And do you dare to discover the truth?

“There’s something in our house. I hear it every night, at the same time.”

Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and her new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they are going to stay up… until 2.22am… and then they will know.

2:22 – A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, co-direction by Isabel Marr, casting by Jessica Ronane CDG and illusions by Chris Fisher.

2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. 

Waterside Theatre, Aylesbury – until 14 May 2022

Reviewed by Sue Portman

4****

Based on the 1980s screen sensation which took the world by storm, Footloose sizzles with spirit, fun and the best in UK musical talent. With cutting edge modern choreography, you’ll enjoy classic 80s hits including Holding Out for a Hero, Almost Paradise, Let’s Hear It For The Boy and of course the unforgettable title track Footloose.

City boy Ren thinks life is bad enough when he’s forced to move to a rural backwater in America. But his world comes to a standstill when he arrives at Bomont to find dancing and rock music are banned. Taking matters into his own hands, soon Ren has all hell breaking loose and the whole town on its feet.

The show began with the audience being told that the actors would be playing their own musical instruments on stage and as far as I could see, this was indeed the case.

When the lights went down, and the curtain went up the audience witnessed a splendid show. The first scene illustrated a factory setting (in Chicago) where the actors sang along in unison to the Footloose tune. This was an epic start to the show.

From that moment on, the musical delivered in all areas from acting, singing, choreography, lighting, music and scene changes. Ren, played by Joshua Hawkins played the character convincingly. This role was played by Kevin Bacon in the original film. Although I thought
that his voice was not as strong as some of the other characters, he nevertheless delivered his part in spades.

As the scene shifted to a Church, we see Darren Day who plays Rev. Shaw Moore, the town’s spokesperson, and what he says goes. Rock music and dance has been made illegal in the town of Bomont but the kids are allowed to sing Gospel music. Other music is illegal because the Reverend lost his son in a car crash on the way back from a dance and he bears a grudge.

The demure ‘Ariel’ played admirably by Lucy Munden, appears and she is railing against her father, the Reverend. Her boyfriend is a local bad boy, Chuck, played with great zeal by Tom Mussel.

The characters begin to reveal themselves in a scene at the local café as we meet Willard Hewitt (Jake Quickenden) who fancies Rusty (Oonagh Cox). The cast, comprising of several actors (some of whom had been changed at the beginning so I cannot be sure who was who) began to build the story and set the scene for the rest of the show. In essence the plot was that Ren and friends wanted to put on a dance in the town, but they must seek permission from the Town Council who have already been influenced by the Reverend and told how to vote. So it is a resounding ‘non.’

Ren and the Rev have a heart to heart and the outcome is that the dance goes ahead. What unites them? This is a reflective moment of loss and grief and guilt.

The dance does go ahead and it is a raging success as depicted in the final scene of the show. The cast and crew interacted with the Waterside audience at this point imploring them to stand up and dance/sing along which the packed house did with glee. This was a fitting end to a joyful evening.

During the show there were memorable moments, such as Willard having his clothes ripped off in good old Buck’s Fizz style, revealing a ripped body and tiny gold shorts (phew) and Oonagh Cox providing the enthralled audience with a rip-roaring rendition of ‘Let’s Hear it for the Boy’

Ariel’s performance was slick and smooth, and her song ‘Holding out for a Hero’ was in my view as good as anything Bonnie Tyler could deliver. I should say that Darren Day is still the custodian of a marvellous voice and in general the whole cast sang competently and professionally which of course is expected of a major musical performance. Well done
to all. I particularly enjoyed the lighting and stage sets and the very quick scene changes.

The audience (including myself) came away from the theatre feeling happy and nostalgic. I thoroughly enjoyed myself and congratulate the players and the venue on yet another first-class show. I must give this a 4/5 rating based on my experience.

New Wimbledon Theatre – until 14^th May 2022

Reviewed by Carly Burlinge 

5***** 

Set in the 1960’s where three friends Effie (Nicole Raquel Dennis), Deena (Natalie Kassanga), and Lorrell (Paige Peddie) take a journey through music and fame and enter a talent contest in which at first, they don’t succeed but get snapped up, whilst there as backup singers on a 10-week tour with the amazing Jimmy Early (Brandon Lee Sears). Assisted by Curtis (Dom Hartley Harris) who wants to take charge and become their manager he plays a strong dominant character making them believe Hes the only one who can guide them in the right direction, knows what’s best for them and can turn them into the stars they truly want to become! As they tour along with Jimmy who thinks himself as a sex god that has soul. Is very over the top a true performer he was amazing to watch and had the audience involved from start to finish with his fast-paced dance moves and fab vocals. So much laughter was involved just fantastic. The girls blew me away with their vocals also and Effie’s song And I’m Telling you I’m not Going – was just outstanding and beautiful to watch what a voice and was sang with so much emotion and with ease just incredible to view and take in. The three sang together with an outstanding connection for all to see was unforgettable and glamorous. 

Now to mention the astonishing costumes so much glitz and glam in one setting that was just eye catching and exceptional. Also, remarkable staging and lighting that was over the top fitting in perfectly well making the whole show complete.  

Such a dazzling rich and rewarding show, was refreshing to watch and will stay with me for some time what an experience just phenomenal 

Applications open to find Most Welcoming Theatre ahead of 2022 UK Theatre Awards

The search is on for the UK’s Most Welcoming Theatre, with venues around the country invited to compete for this accolade ahead of this year’s UK Theatre Awards.

Applications, which are now open to all UK Theatre member venues until 1 July, will be judged on how theatres can demonstrate they are welcoming in three distinct areas; ‘place’, ‘people’ and ‘programme’ – looking at the building itself, the relationship with audiences and everyone interacting with the venue, and the creative work offered.

Theatres will be judged by an expert panel, who will shortlist three finalists and visit them in person to determine the overall winner. This could involve the panel meeting staff, having a tour of the building, taking part in a scheduled activity, seeing a production or speaking to audience members.

The official Most Welcoming Theatre 2022 will be announced at the UK Theatre Awards, which take place on Sunday 23 October at London’s Guildhall. The last ceremony took place before the pandemic in 2019, with Storyhouse in Cheshire crowned that year’s Most Welcoming Theatre.

For 30 years, the UK Theatre Awards have been the only nationwide awards to celebrate the outstanding achievements of theatre across England, Scotland, Wales and Northern Ireland. Further details of this year’s UK Theatre Awards will be announced in due course.

For full details of Most Welcoming Theatre and how to apply visit uktheatre.org/training-events/uk-theatre-awards/uks-most-welcoming-theatre/ 

@UK_Theatre               #UKTawards

Richmond Theatre, Richmond – until 14th May 2022

Reviewed by Bobbi Fenton

5*****

Robert Icke’s adaptation of George Orwell’s ‘Animal Farm’ is absolutely phenomenal. The animals, controlled by amazing puppeteers such as Ashleigh Cheadle, Matthew Churcher, and Darcy Collins, are given their own unique ways of moving, even when standing still, and never feel like puppets. It feels like there are live animals on stage. These animals’ voices are pre-recorded by actors such as Garry Cooper, Robert Glenister, and Kevin Harvey, and we end up with a goat that has a Scouse accent, and a horse with a Birmingham accent.

The play is about a revolution, in which the animals on the farm chase away the cruel farmer Jones, and create what is intended to be a perfect society. The story starts off rather light-hearted and even quite funny at times, but slowly gets darker as the new society they create starts to fall apart. The pigs come up with eight original commandments, and slowly become more authoritative. Led by the pigs, and the ‘leader’, a pig named Napoleon, their new society begins to crumble, as inevitably the pigs begin to take on the role of the authoritative leaders, and one by one change the commandments to fit with what they want. The two pigs, Napoleon and Squealer, also use another pig as a scapegoat for everything that goes wrong, blaming Snowball for everything bad that happens. Towards the end of the play, Napoleon appears to lift off of his front legs and support himself only with his back two legs for a few moments, and by the end of the play we see Napoleon and Squealer walking around comfortably on two legs wearing clothes. This is a contrast to the original commandments, and even the slogan that started the whole revolution. All the animals had it drummed into them “four legs good, two legs bad”, however by the end this has changed to “four legs good, two legs better.”

This incredibly poignant show is a reflection on human society, and the faults within an authoritative state. It shows the inevitable failure and collapse of society when there is inequality, and is truly relatable to people from every generation. This story could compare to the Russian revolution in 1917, which inspired the original book, or even the current political climate with war in Europe and politicians not following the rules set out by them to do whatever they want.

It is honestly a must-see, because it is a truly remarkable representation of a corrupt government system, which uses propaganda and scapegoats to stay in charge and get their own way.

Malvern Festival Theatre – until Saturday 14th May 2022

Reviewed by Julie Bellerby

5*****

This Michael Morpurgo’s book, adapted for the stage by Simon Reade, was a thought provoking story of Private Peaceful. You are taken through Private Tommo Peaceful’s, night before watching his brother, Charlie, face the firing squad at dawn for disobeying his commanding officer in the trenches at Flanders in Northern France.

As a young first World War soldier Tommo battles with the injustices of war and recalls his happy early life throughout the night, unable to sleep he remembers the binding connection he has with Charlie. Private Tommo played by Daniel Rainford held the audience’s attention with a spell binding performance, as a troubled young man who’s brother tried to stand up to the futile decision to go over the wall to fight with an obvious outcome of death.

The stage set was innovative with amazing lighting and sound effects of war, designed by Lucy Sierra, Matt Haskins and Dan Balfour.

Tommo’s flashbacks of his life looked at his childhood, he was part of a loving family and his childhood sweetheart Molly. Molly, played by Liyah Summers performance lit up the stage with her portrayal of the young girl who loves both Tommo and his brother Charlie, finally marrying Charlie.

Tommo thinks he was the cause of the death of his father by a falling tree whilst pushing Tommo to safety, who bore the guilt. Just before his killing, Charlie reassures him it was not his fault, and saying he will be someone for his son to look up too.

The play starts with setting the scene of understanding the care free existence then a hard struggle of living in rural England without a father. Tommo has another brother, ‘big’ Joe, played by Robert Ewens, who, as a young child contracted meningitis and did not attend school, staying with his mother each day. The brothers shared a deep bond and when Charlie signed up for the Army the underage Tommo went with him.

Malvern Theatre is a lovely Theatre where you feel cocooned within its walls, which enhances the feeling of looking through the window at the memories of Tommo’s life.

The cast took on the many roles in the production, which was well executed but slightly off putting as each actor could cover up to 13 roles each!

I came away from the Theatre feeling compassion for the soldiers of World War 1 and maybe a little more understanding, as the portrayal of everyday people were thrown into unknown and horrific atrocities with little training and understanding what the reality would be. Definitely a must see production.

Bristol Hippodrome – until 14th May 2022

Reviewed by Alexandra Browning

4****

Get ready for a toe-tapping, head-rocking rock concert extravaganza.

Andrew Lloyd Webber’s adaption of School of Rock leaves you feeling like you’ve been to the battle of the bands yourself. The show starts with an insight into Dewy Finn’s hobby and living situation; a rock star with a messy home life. You’re then taken on the wild ride that is his venture into teaching. Upon arriving at school, you are quickly introduced to the strict ways of Rosalie Mullins, portrayed by Rebecca Lock. Lock brings her operatic talent into the production in the form of school chants and other musical numbers. The performance from Lock was a standout in the show, with her wide range of skills demonstrated throughout the show, with a character you just have to fall in love with.

The show continues with a classroom of high-paying students with a talent for classical music. Dewy soon locks onto the students’ potential and aids them with his personal collection of instruments. All of the talented students were playing the instruments on stage – in real life -(which was truly magical). However, the student Tomika* was truly breathtaking, the actress had impressive vocal control, and stole the show in her rendition of Tomorrow.

As the show draws to a close, you are transported to the battle of the bands where you get to watch the bands rock out to compete for the winning spot, I left feeling like I’d been to a gig myself with some cheering and some dancing!

School of Rock is a brilliant adaption of the film featuring a cast of many many talents, get those leather jackets out and have a rockin’ time.

*Tomika played by: Souparnica Nair, Jasmine Djazel, Angel Lucero depending on dates

 KING’S THEATRE, EDINBURGH – UNTIL 14^th MAY 2022

 REVIEWED BY RACHEL FARRIER 

4****

The scene is set for this production of Cluedo before the play has even begun – as they take their seats, the audience is eased into the ambience of a country house in the late 1940s by a large wireless set on stage in the ‘hall’, broadcasting the ‘Light Programme’ and news of the era. On one level, the whole of this production is one long cliche of extended slapstick and innuendo, but in the hands of this cast this actually works brilliantly to provide an evening of often-hilarious entertainment. 

We are presented with the familiar characters from the board game Cluedo, who are actually individuals who have some connection to the world of Westminster and have been invited to a ‘party’ (really an extended blackmailing ploy) with the instruction to play the parts of Colonel Mustard, Miss Scarlet and co.. They are ‘hosted’ by Wadworth, who appears to be the attentive butler, although all is not as it seems on that point… 

The caricatured and hammed up performances of each cast member are played just right – managing to avoid becoming irritating, instead they each remain amusing and carry the audience along with the playful and increasingly riotous action.

Holding the show together is Jean-Luke Worrell who plays Wadsworth the Butler with impeccable comedic timing coupled with exceptional physical comedy throughout.

Tom Babbage as Reverend Green was perfectly hapless and naive, and Michelle Collins hams up the classic female fatale of Miss Scarlett superbly. Harry Bradley (‘ensemble man’) deserves a special mention for the manner in which he dealt with the clearly accidental loss of his moustache, which shot from his face whilst he was delivering his lines as a police officer. The audience were already warmed up and laughing aplenty, but this really brought the house down. Etisyai Philip as Mrs White is delightfully imperious, and Laura Kirkham as the not-French maid Yvette is fabulous.

As the number of dead bodies ratchets up and the characters become increasingly paranoid about one another, the action and energy on stage becomes increasingly frantic and slapstick abounds, with the cast chasing one another from room to room. The set is brilliantly designed so that rooms are pulled out of from the side of the ‘hall’ as required, so this element of Cluedo is not lost – the library, lounge, kitchen, study, conservatory and billiard room and dining room all make appearances and the frantic running between rooms towards the end had the audience almost rolling in the aisles. 

This is a light-hearted and very funny production, which does not take itself too seriously and keeps the audience engaged with its energy and humour. A surprisingly fun night out.