New Theatre, Peterborough – until Saturday 19th March 2022
Reviewed by Boo Wakefield
4****
For anyone whose formative years were in the 1980s, Footloose had a huge impact. The very catchy soundtrack rather blurs the memory of the story-line and with this in mind, it would be interesting to see how the film transferred to the stage at New Theatre, Peterborough.
Footloose is set in 1980 in a back of beyond town called Bomont and is based around a real story from the 1860s. After a tragic accident where four teenagers died, the Reverend Shaw Moore (Darren Day), who lost his son, insisted that no more dancing should be allowed in the town. After his father walks out, Ren McCormack (Joshua Hawkins) is forced to move to Bomont from Chicago with his mother to live with his uncle. Ren is a lively teenager who loves to dance so can’t believe that he is not allowed to. He makes friends with Willard Hewitt (Jake Quickenden) and Ren falls for the Reverend’s daughter, Ariel (Lucy Munden). Ren then decides that its time the dance ban should end.
Joshua Hawkins plays Ren with endless energy and enthusiasm which is slightly overshadowed by Quickenden’s comic portrayal of the rather goofy Willard who has no idea how to dance. His lumbersome movements and incredulous facial expressions along with the awkward on-stage relationship with Rusty (Oonagh Cox) were definite highlights. His timing was spotless, his vocals strong and note perfect, and he hit the mark with his accent. The image of him ripping off his dungarees to reveal tight gold hot pants will be hard to leave behind!
Although Day’s Reverend never stopped being the grieving but proud father, some of the bitterness he must have felt to have forced the ‘no dancing’ ban on the community was not there. Holly Ashton, playing his wife, came across as the forgotten soul in the story and sang beautifully particularly in “Can You Find It In Your Heart”.
Lucy Munden is playing Ariel Moore in her professional debut which she played with enormous confidence.
Throughout the performance the whole cast is fully included in every scene, from singing and dancing to playing most of the instruments whilst on stage, and moving the sets. Their enjoyment in this production is clear to see through their well-choreographed dance routines and chorus singing. And although the sets (Sara Perks) were clever, there were occasions where the dancers looked cramped and could have benefited from more space. The spots from the lighting were also a bit hit and miss.
Footloose has kept all the well-known songs – “Let’s Hear It For The Boy”, “Holding Out For A Hero” and of course “Footloose” which provided the toe-tapping, sing-a-long moments for the predominantly female audience. The story-line is remains overshadowed by the many songs for an entertaining evening. And those gold shorts………!
BRAND NEW SHOWS ON SALE FOR THE LYCEUM AND STUDIO THEATRES
Sheffield Theatres today announces a number of new shows heading to the Lyceum theatre, including returns of highly-anticipated favourites such as Jersey Boys and Rocky Horror Show.
In the Lyceum, Mischief Theatre’s multi-award-winning international smash-hit comedy The Play That Goes Wrong returns to Sheffield following its previous sell-out success, from Monday 11 – Saturday 16 July. The Cornley Drama Society are putting on a 1920s murder mystery, but as the title suggests, everything that can go wrong… does! As the accident-prone thesps battle on against all the odds to reach their final curtain call, hilarious results ensue!
Northern Ballet’s The Little Mermaid graces the Lyceum stage from Thursday 22 – Saturday 24 September. When a young mermaid is finally allowed her first glimpse of life beyond the ocean, she is enthralled by what she sees. From breath-taking underwater scenes to vibrant life on land, rediscover Hans Christian Andersen’s original fairy-tale performed by Northern Ballet’s world-class dancers with Celtic-inspired music played live by Northern Ballet Sinfonia.
Bugsy Malone runs from Tuesday 27 September – Saturday 1 October. Prohibition era, New York. A city full of mobsters, showgirl and dreamers. Rival gangster bosses Fat Sam and Dandy Dan are at loggerheads. Enter Bugsy Malone, a penniless one-time boxer and all-round nice guy, thrust not-so-willingly into the gangster limelight. Alan Parker’s world-famous movie, which launched the careers of Jodie Foster and Scott Baio, becomes an unforgettable theatrical experience in this revival of the universally acclaimed Lyric Hammersmith Theatre production.
Pride and Prejudice* (*sort of),a unique and audacious retelling of Jane Austen’s most iconic love story, runs from Tuesday 22 – Saturday 26 November. Men, money and microphones will be fought over in this irreverent but affectionate adaptation, where the stakes couldn’t be higher when it comes to romance. It’s the 1800s. It’s party time. Let the ruthless matchmaking begin.
Girl from the North Country plays from Tuesday 17 – Saturday 21 January. It’s 1934 in the heartland of America and we meet a group of wayward souls who cross paths in a time-weathered guesthouse. Standing at a turning point in their lives, they realize nothing is what it seems. But as they search for a future, and hide from the past, they find themselves facing unspoken truths about the present. Featuring music and lyrics by Bob Dylan.
Cult-favourite Rocky Horror Show runs from Monday 23 – Saturday 28 January. Follow squeaky-clean sweethearts Brad and Janet on an adventure they’ll never forget, with the scandalous Frank’n’Furter, rippling Rocky and vivacious Magenta. Get ready for a night of fun, frolics and frivolity in this thrilling production of Richard O’Brien’s classic original script, with timeless classics, including Sweet Transvestite, Damn it Janet, and of course, the pelvic-thrusting Time Warp, Rocky Horror Show is a non-stop party!
Fisherman’s Friends The Musical plays from Tuesday 7 – Saturday 11February. When a group of Cornish fisherman came together to sing the traditional sea shanties they’d sung for generations, they hoped to raise a few quid for charity. Nobody, least of all them, expected the story to end on the Pyramid stage of Glastonbury… Fisherman’s Friends is a brand-new musical based on the true story of the Cornish singing sensations, and the hit 2019 film.
Jersey Boys returns for a two-week run from Tuesday 21 February – Saturday 4 March. They were just four guys from Jersey, until they sang their very first note. They had a sound nobody had ever heard… and the radio just couldn’t get enough of. But while their harmonies were perfect on stage, off stage it was a very different story — a story that has made them an international sensation all over again.
In the Studio theatre, Under the Stars, a creative arts charity for people with learning difficulties and/or autism, present two shows from Tuesday 31 May – Wednesday 1 June.
These Hill Are Ours then plays on Saturday 4 June. Do you ever want to run away from it all? Daniel Bye and Boff Whalley’s did exactly that: they ran a series of routes from the centre of a city to the top of the peak overlooking that city. But what are we really running from? In story and in song, These Hills Are Ours is the story of what they found out on those journeys.
What Happened To You plays on Saturday 9 July. Follow Little Red, Bo and Noodles, three raggedy puppets, who just like their puppeteers, are trying to get through the day but ahead of them lies a mountain of challenges. Through humour and creativity they overcome their impassable surroundings. What Happened to You? exposes the preconceptions disabled people face in a playful and humorous way, and showcases the endless opportunities out there once barriers, of all kinds, are removed.
In an attempt to find clues for how to overpower uncertainty, circus Strong Lady Charmaine presents Power on Thursday 14 July. Expect a mix of storytelling, circus, comedy and a voice-over soundtrack of people revealing their strength and struggle in their own words. Uncover stories, choice, change, resilience and determination – and marvel at the extraordinary strength of ‘ordinary’ people.
The Bonbons Cabaret: On The Road runs from Friday 15 – Saturday 16 July. Be a drag, be a queen, get out the shoes that were made for walking, for tonight we are going to do it our way! Step through the doors and who knows who you will meet. A glitter-fuelled, foot stomping, pant wetting cabaret riot! A safe environment that champions dangerous, queer and alternative performance work from the north east and beyond.
as british as a watermelon plays on Thursday 21 July. ‘My name is mandla. It means power. I gave it to myself.’ mandla rae has a selective memory and they are scrambling to piece together their life. as british as a watermelon questions what it means to belong through exploring mandla’s fragmented asylum and migration memories. mandla weaves poetry and storytelling together with destruction and colourful chaos.
In the Crucible, Human,a story about the small moments that shape us, runs from Wednesday 18 – Thursday 19 May. This new live show by Extraordinary Bodies is a poetic record of our time. It is based on real-life stories from the company and performers and told through circus, music and film. Human is BSL interpreted, captioned and audio described. All performances are relaxed.
Jarvis Cocker, at his home in the Peak District, UK. June 17, 2020.
Tom Jamieson for The New York Times
Jarvis Cocker is In Conversation: Good Pop, Bad Pop on Monday 30 May, also in the Crucible. Join legendary musician and broadcaster Jarvis Cocker live in conversation to celebrate the publication of his highly anticipated new book Good Pop, Bad Pop.
Tickets for all new shows go on sale to Centre Stage Members on Saturday 26 March at 10am, then on general sale on Saturday 2 April at 10am. More information about all upcoming shows can be found at sheffieldtheatres.co.uk. Tickets can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.
David Harbour and Bill Pullman will star in the world première of Theresa Rebeck’s dark and funny new play Mad House. Directed by Moritz von Stuelpnagel, the production opens on 26 June at the Ambassadors Theatre, with previews from 15 June, and runs until 4 September.
Theresa Rebeck said today, “There are those projects when the stars simply align, and to see David and Bill together on stage is beyond my wildest dreams. I’m very much looking forward to being back in the rehearsal room with Moritz as we bring the play to production here in London.”
David Harbour added, “So excited to return to the London stage with Theresa’s blistering new dark comedy. It features two of my favourite things: the abyss of madness that lies at the pit of every family as they stare blankly, incomprehensively into the nature of our fleeting existence, and real estate.”
The production reunites Rebeck and von Stuelpnagel following their collaborations on Bernhardt/Hamlet and Seared.
Public on sale is 12pm today via ATG Tickets, with ATG TheatreCard holders able to book from 10am.
AMBASSADOR THEATRE GROUP PRODUCTIONS PRESENT
THE WORLD PREMIÈRE OF
MAD HOUSE
BY THERESA REBECK
Directed by Moritz von Stuelpnagel
at the Ambassadors Theatre
15 June – 4 September
A family reunion. Time to pay your last disrespects.
In rural Pennsylvania, Michael has returned to his childhood home to look after his dying father. His siblings Ned and Pam soon arrive, determined to work out how much money Dad actually has left and how they’re getting their hands on it.
David Harbour and Bill Pullman return to the West End in the world première of Theresa Rebeck’s dark and funny new play. Directed by Moritz von Stuelpnagel, Mad House opens at the Ambassadors Theatre this June for a strictly limited season.
David Harbour plays Michael. His theatre work includes Cal in Camo (Rattlestick Theater), Glengarry Glen Ross (Gerald Schoenfeld Theatre), Romeo and Juliet (Delacorte Theatre 50th Anniversary reading), The Merchant of Venice (Broadhurst Theatre), The Coast of Utopia: Part 1 – Voyage, The Coast of Utopia: Part 2 – Shipwreck, The Coast of Utopia: Part 3 – Salvage (Vivian Beaumont Theatre), Who’s Afraid of Virginia Woolf? (Longacre Theater – Tony Award nomination for Best Featured Actor in a Play – also Apollo Theatre in the West End), The Invention of Love (Lyceum Theatre), and The Rainmaker (Brooks Atkinson Theatre). For television his work includes as series regular Jim Hopper in Stranger Things – winner of SAG Award for Outstanding Performance by an Ensemble in a Drama Series and Critics Choice Television Award for Best Supporting Actor in a Drama Series, and nominations for Emmy and Golden Globe Awards for Best Supporting Actor; Star Wars: Visions, Q-Force, Big City Greens, The Simpsons, Animals, Drunk History, Crisis in Six Scenes, Banshee, State of Affairs, Manhattan, Rake, Elementary, Blue, The Newsroom, Midnight Sun, Pam Am, Royal Pains, Lie to Me, Law & Order, The Unit and Hack; and for film, Violent Night, Black Widow, No Sudden Move, Extraction, Hellboy, Human Affairs, Sleepless, Suicide Squad, Black Mass, The Equalizer, A Walk Among the Tombstones, X/Y, Parkland, Snitch, Knife Fight, Between Us, End of Watch, The Green Hornet, Every Day, State of Play, Quantum of Solace, Revolutionary Road, Awake, The Wedding Weekend, War of the Worlds, Brokeback Mountain, Confess, and Kinsey.
Veteran of the stage and screen Bill Pullman returns to the London stage to play Daniel – he previously appeared in All My Sons at The Old Vic. His other theatre work includes The Other Place (Samuel J. Friedman Theatre), Oleanna, The Goat, or Who Is Sylvia? (John Golden Theatre), and Off-Broadway, The Jacksonian, Peter and Jerry – Drama Desk Award for Outstanding Actor in a Play, and The Sad Lament of Pecos Bill on the Eve Killing His Wife Killer’s Head/Action. For television, his work includes The Sinner (as series regular Harry Ambrose), Halston, Ten X Ten, 1600 Penn, Innocent, Torchwood (as series regular Oswald Danes), Too Big to Fail, Nathan vs. Nurture, Revelations, American Masters, The Virginian, and Fallen Angels; and for film, his extensive work includes The High Note, Dark Waters, The Coldest Game, The Equalizer 2, Trouble, Battles of the Sexes, A Thousand Junkies, The Ballad of Lefty Brown, LBJ, Independence Day: Resurgence, American Ultra, The Equalizer, Peacock, The Killer Inside Me, Your Name Here, Surveillance, Phoebe in Wonderland, Bottle Shock, You Kill Me, Nobel Son, Dear Wendy, Igby Goes Down, Ignition, A Man is Mostly Water, Titan A.E., The Guilty, Brokedown Palace, Zero Effect, Lost Highway, Independence Day, Mr Wrong, Casper, While You Were Sleeping, Wyatt Earp, The Last Seduction, Malice, Sleepless in Seattle, Sommersby, Singles, A League of Their Own, Newsies, The Accidental Tourist, Rocket Gibraltar, The Serpent and the Rainbow, and Ruthless People.
Theresa Rebeck is a prolific and widely produced playwright, whose work has been staged across the globe. Her work on Broadway includes Bernhardt/Hamlet, Dead Accounts, Seminar and Mauritius. Other notable New York and regional plays include Seared (MCC), Downstairs (Primary Stages), The Scene, The Water’s Edge, Loose Knit, The Family of Mann and Spike Heels (Second Stage), Bad Dates, The Butterfly Collection and Our House (Playwrights Horizons), The Understudy (Roundabout), View of the Dome (NYTW), What We’re Up Against (Women’s Project), Omnium Gatherum (Pulitzer Prize finalist). As a director, her work has been seen at The Alley Theatre (Houston), the REP Company (Delaware), Dorset Theatre Festival, the Orchard Project and the Folger Theatre. Major film and television projects include Trouble – with Anjelica Huston, Bill Pullman and David Morse (writer and director), NYPD Blue, the NBC series Smash (creator), and the female spy thriller 355 (for Jessica Chastain’s production company). As a novelist, Rebeck’s books include Three Girls and Their Brother and I’m Glad About You. Rebeck is the recipient of the William Inge New Voices Playwriting Award, the PEN/Laura Pels Foundation Award, and a Lilly Award.
Moritz von Stuelpnagel directs. His work on Broadway includes Bernhardt/Hamlet (Roundabout Theatre Company), Present Laughter (St James Theatre), Hand to God (Booth Theater – nomination for Tony Award for Best Direction of a Play, and also in the West End at the Vaudeville Theatre). Off-Broadway, his credit include Seared – also Williamstown Theatre Festival, The Thanksgiving Play, Teenage Dick – also Pasadena Playhouse, Huntington Theatre Company and Woolly Mammoth, Important Hats of the 20th Century, Verité, Bike America, TheaterJam IV: Sleep, Love Song of the Albanian Sous Chef, Trevor, Drop of a Hat, My Base and Scurvy Heart, I F*cking Love Winning, Gentrifusion, The Second Son, The Bird and the 2-Ton Weight, Best Sex Ever, Spacebar, Turnabout, Cerebral Planning, Too Little Too Late, Deathpod!, The Building Party, Mel & El: Show & Tell, The Clause, Historie of the Barber-Surgeons, Two Gentlemen of Verona, and Lunch with Bonnie; as well as extensive work regionally, including Found: A New Musical, Tell Me I’m Not Crazy, Twelfth Night, Tiger Style!, Romance Novels for Dummies, All Is Calm, Bike America, Macbeth and Fat Pig.
Mad House is produced by Ambassador Theatre Group Productions and Gavin Kalin Productions.
Ambassador Theatre Group Productions is the award-winning producing and general management arm of the Ambassador Theatre Group.
Upcoming and current productions include: Cabaret starring Eddie Redmayne and Jessie Buckley (West End); Pretty Woman the Musical (Savoy); Fatal Attraction starring Kym Marsh and Louise Redknapp (UK Tour); Cyrano de Bergerac starring James McAvoy and The Seagull starring Emilia Clarke (West End) via the Jamie Lloyd Company; The Doctor starring Juliet Stevenson (West End); Plaza Suite starring Sarah Jessica Parker and Matthew Broderick(Hudson Theatre, Broadway); and Sunday in the Park With George starring Jake Gyllenhaal and Annaleigh Ashford (West End).
Recent productions and co-productions include: Cyrano de Bergerac starring James McAvoy (Playhouse Theatre); Touching the Void (Duke of York’s Theatre); Ghost Stories (Ambassadors Theatre/UK tour) and 9 to 5 the Musical (Savoy Theatre and UK tours).
Previous productions and co-productions in London and the West End include: Ian McKellen On Stage (Harold Pinter Theatre/UK tour/Hudson Theatre, Broadway); The Lehman Trilogy (Piccadilly Theatre); Betrayal starring Tom Hiddleston (Harold Pinter Theatre); The Curious Incident of The Dog in the Night-Time (Piccadilly Theatre); Pinter at the Pinter Season (Harold Pinter Theatre); King Lear starring Ian McKellen (Duke of York’s Theatre); Caroline, or Change (Playhouse Theatre); the Tony Award-winning Oslo (Harold Pinter Theatre); Glengarry Glen Ross starring Christian Slater (Playhouse Theatre); Buried Child featuring Ed Harris in an Olivier Award-nominated performance (Trafalgar Studios); Big Fish starring Kelsey Grammer (The Other Palace); Hamlet starring Andrew Scott (Harold Pinter Theatre); The Maids and The Homecoming (Trafalgar Studios); Doctor Faustus (Duke of York’s Theatre); Oresteia (Trafalgar Studios); and Dirty Rotten Scoundrels (Savoy Theatre/UK tour).
Recent Broadway productions include: Caroline, Or Change (Roundabout Theatre, Broadway); Betrayal starring Tom Hiddleston (Bernard B Jacobs Theatre); Sea Wall/A Life (Hudson Theatre); Sunday in the Park with George (Hudson Theatre); and Pretty Woman the Musical (Nederlander Theatre).
ATG Productions is also committed to bringing high quality shows to the UK regions and abroad. Recent touring productions and co-productions include: Baskerville (Beijing and Nanjing, China); Abigail’s Party starring Jodie Prenger; Glengarry Glen Ross starring Nigel Harman and Mark Benton; Strangers on a Train based on Patricia Highsmith’s novel; the Victorian thriller Gaslight starring Kara Tointon, Keith Allen and Rupert Young.
MARK RAVENHILL TO DIRECT A CONTEMPORARY QUEER REINVENTION OF PUCCINI’S CLASSIC OPERA
AT THE KING’S HEAD THEATRE 26 APRIL – 28 MAY 2022
Mark Ravenhill, Co-Artistic Director of The King’s Head Theatre, will direct a contemporary queer reinvention of Puccini’s classic opera LA BOHÈME, opening at the world-renowned Islington pub theatre’s stage from 26 April and playing until 28 May, with a press night on Tuesday 3 May.
With Puccini’s score and a new English libretto originally conceived by David Eaton and Adam Spreadbury-Maher with additional material by Philip Lee, and with Musical Direction from David Eaton, thisclassic tale of love and loss amongst a community of struggling artists returns to the King’s Head Theatre in a new version which relocates the story to contemporary London. Full casting will be announced shortly.
Penniless writer Rudolfo struggles to monetise his online writing but a Grindr hookup with a Liberty perfume salesman- known to his friends as Mimi -leads to unexpected blossoming of romantic passion. Meanwhile Rudolfo’s flatmate, Marcello pursues an on/off relationship with sometime model Musetta who is torn between the idealism of loving an artist and the material possibilities offered by a hedge fund manager. As a year passes from one Christmas to the next, the four friends struggle to reconcile love with artistic aspiration and the need to pay the bills.
Puccini’s story has been constantly reinvented since its premiere in 1896 most notably with the Broadway musical Rent. A previous production for Opera Up Close enjoyed a successful run at the King’s Head Theatre, and received an Olivier award. Subsequently in 2018 another incarnation of La Boheme from the King’s Head Theatre West End season was nominated for Best New Opera at the Oliviers.
Mark Ravenhill explains: “Our version of La Bohème is the story of a group of friends who started partying in the 1990s. As they reach middle age, they are faced with the possibility that now may be the time to sell out and settle down. But romantic passion, sexual desire and the hedonistic pleasures of partying remain as strong as ever. It’s exciting to honour the overwhelming romantic beauty of Puccini’s score with his eye for telling social detail in this new version”.
Musical Director David Eaton continues, “It is really exciting to be returning to the King’s Head to work on this new production of La Bohème with Mark Ravenhill. I’m always looking for ways to bring opera to new audiences and to reframe the outdated tropes and narratives that can make Opera feel elitist and alienating. The King’s Head is the perfect space to come and experience something new – up close, personal and modern, far from the old-fashioned conventions of the Opera House. There are some great singers on board and an inspiring Director – I can’t wait to get started!”
The King’s Head Theatre was established in 1970. Passionate about great theatre, it is known for its challenging work and support of early career artists.
The King’s Head is committed to fighting prejudice through the work it stages, and the artists and staff it works with. The team believes in fair pay for all on the fringe and create accessible routes for early career artists to stage their work – work they are passionate about. In 2022, subject to a fundraising campaign, the King’s Head Theatre will move into a custom-built space in the heart of Islington Square, directly behind its current home securing the future of the venue for generations to come.
Darren Murphy is an Olivier Award Nominated producer and writer who in 2014 founded his production company Making Productions. He has gone on to produce bold new writing and existing work in new and exciting ways to engage and entertain audiences. Combining newly discovered talent with experienced collaborators, partner organisations and other producers, the aim is to extend the scope of creativity in the performing arts. Darren is passionate about exploring relevant and current work for education and community organisations for the betterment of all and is unique in this practice by championing Women, BAME and LGBT+ creatives. @Make_Prods
New Vic Theatre, Newcastle Under Lyme – Saturday 9th April 2022
Reviewed by Lesley Eagles
5*****
“Marvellous” by Neil Baldwin & Malcolm Clarke-adapted for the stage by Neil Baldwin & Teresa Heskins
An absolute, not to be missed, treasure of a production. If you’re thinking about going please do not hesitate as you’re in for an absolute treat. I quite literally could not take the smile of my face throughout.
Marvellous tells the heart-warming true story of a local legend Neil Baldwin (Nello) which was originally retold for a BAFTA Award winning drama for the BBC. The story tells of a boy with learning difficulties who left school at the tender age of 14 with no qualifications and ended up with an honoury degree from Keele University.
The production was specifically commissioned for the New Vic as it is Neil’s local theatre therefore created in conjunction with Neil Baldwin himself.
This unique play is staged “in the round” with a remarkable directoral style that I have not seen before which quite simply left me in awe of the talent of the production team involved.
The fact that it was staged in the round with the colourful signage was perfect to replicate the circular staging of the circus from which Neil’s stage name Nello was created.
The way in which Neil (Nello) Baldwin’s story was told was utterly brilliant with faultless performances from the entire cast.
I do not like to single out characters, as all performances were outstanding however credit needs to go to Michael Hugo who played the part of “The Real Neil” guiding the other cast members through the retelling of his life. The seven strong cast played out versions of themselves playing both Neil himself and an endless number of other characters that Neil encountered during his life. His portrayal of Neil was incredible demonstrating his quirky, warm and endearing nature to perfection.
Another stand out performance was delivered by Gareth Cassidy. His comic timing was genius along with his ability to deliver many voices, dialects and impersonations. He was quite clearly an audience favourite as a result.
The play demonstrates through Neil Baldwin’s positive outlook on life that you can realise your dreams despite any labels society tries to bestow.
He didn’t see obstacles but rather opportunities that weren’t to be missed. As a result, he always seemed to manage to get what he wanted. His achievements as a result were outstanding. His colourful life led him to becoming a clown (Nello), a kit man for Stoke City Football club, meet many famous people including HRH, receive a BEM and many more weird and wonderful achievements.
The mainly comedic script is a celebration of these life achievements, which allows for playful banter between the characters involved. The cast genuinely appeared to be having a blast with their clever use of props from their ‘bottomless’ bag for life!
“Marvellous”… it’s exactly that from beginning to end
As the Band started up with the familiar finger clicking theme tune, I wasn’t at all sure what to expect of The Addams Family, what I got was a fun-filled heart-warming musical full of fabulous music. Lighting, scenery and costumes added to the atmosphere and made this a cracking night out.
The Addams Family The Musical Comedy is based on the characters created by Charles Addams with the book by Marshall Brickman and Rick Elice and music and lyrics by Andrew Lippa. The story revolves around Wednesday Addams (Kingsley Morton) who has grown up and fallen in love with Lucas Beineke (Ahmed Hamad), Lucas’s family are coming to dinner and Wednesday is pleading with her family to behave “normally”. Of course, this is The Addams Family who do not do “normal” so things do not go to plan which leads to delightfully delicious chaos!
The entire cast is superb, music and singing is outstanding, the choreography (Alistair David) is tight and visually very effective and Diego Pitarch’s design superbly gothic and spooky. From the moment the music starts you will be hooked, timing is fabulous, there are laugh out loud moments and the most wonderful throw away lines from the cast. However, in the middle of the fun there will suddenly be the most touching moment as The Addams Family may be kooky and very, very odd but ultimately, they are a strong family unit who love each other and it is family love that drives this musical.
Joanne Clifton as Morticia and Cameron Blakely as Gomez lead the family and what a partnership this is, they play off one another so well and both have the most incredible singing voices. Joanne Clifton’s Morticia is cool and understated as she glides around the stage, whilst Cameron Blakely’s Gomez is almost frenetic at times but then he will show a much softer side to the character. From start to finish they are both incredible, I particularly loved “Not Today” sung by Gomez, and Morticia’s rendition of “Just Around The Corner”.
Matt Slack is a brilliant Uncle Fester, perhaps the most eccentric of all the family but caring about them all. There were many superb moments but “The Moon And Me” was a sheer delight.
Kingsley Morton’s Wednesday was suitably strong and feisty yet still had the edge of uncertainty of youth, Ahmed Hamad (Lucas) bounced off her beautifully as he so clearly wondered at times what he was getting himself into.
Sean Kingsley as Mal and Kara Lane as Alice were so right as Lucas’s parents, uptight and totally out of their depth. Grant McIntyre was a pugnacious and obnoxious Pugsley, Carol Ball a mischievous eccentric Grandma and Ryan Bennett delivered a slightly menacing Lurch.
The ensemble who played the Ancestors were excellent. In their wonderfully spooky costumes they added to the atmosphere. Their singing and choreography was tight and beautifully performed.
The Band led by Bob Broad was excellent, whether they were delivering tango rhythms, Charleston or music which gave a nod to the early Broadway musicals.
Everything about The Addams Family shouts quality, from the lighting to the costumes to the music and to the outstanding performances of all this supremely talented cast. This really is the most fantastic night out. At the end of the performance the audience at the Hull New Theatre quite rightly roared their approval, we had just watched a fabulous performance. I cannot recommend The Addams Family highly enough, there was absolutely nothing to criticise this is not a 5-star performance but a 5 star + performance.
With a best -selling book and film of the same name, it would be hard not to have heard of the Da Vinci Code. The film, book and now this stage adaption combine a fast-moving conspiracy thriller with just enough detail to make you wonder if, just perhaps, there might be some truth to the conspiracy … you may also be familiar with the territory of the plot if you have read The Holy Blood and the Holy Grail by Michael Baigent, Richard Leigh and Henry Lincoln, or books by Umberto Eco such as The Name of the Rose or Foucault’s Pendulum.
With the action starting in Paris (a series of announcements and projections cause us to believe that we are in the Louvre) and then moving to London, our hero and his companion must decrypt a set of clues to a monumental religious secret hidden within various artworks and public buildings. Aided by – or is it manipulated by – an eccentric Grail scholar, the pair race to uncover the secret whilst being chased by a shadowy organisation, determined, at all costs, to prevent the secret being uncovered and made public.
This is a story reliant on visual clues, so it was intriguing to see how a theatre production would bring the story alive on the stage.
Nigel Harman leaves his Eastenders’ “Dennis Rickman” persona behind as the sometimes baffled art historian Robert Langdon. Hannah Rose Caton, as cryptologist Sophie Neveu, is spirited in her UK stage debut, becoming his partner in adventure, rather than simply a sidekick. Danny John Jules gives no hint of the Red Dwarf “Cat” that defined his earlier career, playing Teabing, the enigmatic expert.
The three principals lead the action at a breathless pace, ably supported by the rest of the cast, who take on multiple roles to bring us a larger number of diverse characters and a ‘chorus’ choreographed by movement director Tom Jackson Greaves.
Perhaps the real star of the show is the production itself. A deceptively simple set provides an effective backdrop to clever projections. These deliver the clues that drive the plot and you won’t need your opera glasses to read them, and a well-written musical score contributes to create an almost film-like experience.
The story’s twists and turns are brought to a satisfying conclusion although the secret-within-a-secret ending felt a little rushed. Nevertheless, this reviewer found it an entertaining diversion and if you are a fan of the book or the film, you will not be disappointed.
New Victoria Theatre Woking – until 19th March 2022
Reviewed by Emma Barnes and Gill Gardiner
5*****
Based on the real story of Jamie Campbell, Everybody’s Talking About Jamie is a musical portrayal of a gay teenager who knew from a young age that he wanted to be a drag queen.
The story covers all of the trials and tribulations that sadly you might expect both in school and the wider society, it is skillfully portrayed with a perfectly balanced mixture of comedy and sensitivity. Jamie’s desire to wear a dress for the school prom explores all the prejudices that a teenager could expect at the time not just from other pupils but also parents and staff.
The legendary Layton Williams is charismatic and lovable as Jamie. His ability to sing, dance in killer heels and portray the powerful emotions of a teenage boy seeking acceptance from his father is highly commendable. His performance takes us on a rollercoaster ranging from magnificent high energy sequences in “ the wall in my head “ to emotionally charged scenes where his character is left totally overwhelmed.
Amy Ellen Richardson’s wonderful performance of “He’s My Boy” captures the intense emotional spectrum of motherly love for her son, a beautiful moment which had many audience members reaching for a tissue. Later came the thought provoking “If I Met Myself Again” song which explores past mistakes and the realisation that memories however painful cannot be regrettable as they resulted in a much loved son. This was accompanied by two exceptional dancers who’s physical interpretation of the inner turmoil was absolutely on point.
Shane Richie oozed fabulousness as Hugo/Loco Chanelle the aging drag queen and mentor to Jamie. He helps Jamie on his journey to find his inner drag queen character. It was a pleasure to hear Shane sing.
Additional notable performances were given by Sharan Phull as Pritti, Lara Denning as Miss Hedge and Sasha Latoya as Ray. This was an exceptional cast which had the whole audience applauding leading to a well deserved prolonged standing ovation at the end.
This production is a feel good modern musical theatre at its very best, including stand out vocal solos, heart warming storylines and toe tapping singalongs that you are guaranteed to be humming for days.
Six began life as a student show at the Edinburgh Fringe in 2017, and returns to the city this week for a 10 day run at the Festival Theatre, having conquered Broadway and the West End in between.
And what a show it is – telling the stories of Henry VIII’s six wives, if I could give it six stars (one for each of the cast of Queens) then I would. This is a sassy, exuberant, incredibly clever, sexy, witty, funny and sometimes unexpectedly poignant musical, with brilliant tunes that match each character and story perfectly. The underlying feminist battle cry of women who are ‘just in some rhyme’ trying to reclaim their own histories (or HERstories, as they point out) is never heavy but nevertheless by the culmination of the show, the audience has learned a lot about the background and (often horrific) experiences of the Queens, before they reached their demises (‘divorced, beheaded, survived..’).
As they sing towards the end of the show, many of the stories contain what we would now recognise as trauma and abuse, and it is incredibly skilful writing that this is acknowledged and sung about, whilst maintaining a (dark) sense of humour that keeps the show moving.
All six of the actors were outstanding in their own way – Chloe Hart as Katherine of Aragon is the first Queen to tell her story and immediately captivated the audience, although we didn’t need much encouragement – clearly a lot of the audience were already familiar with the show and there was clapping and cheering in anticipation even before the curtain went up. All six possessed stunning voices and rightly all received prolonged applause after each of their ‘turns’.
Another brilliant aspect of the show is that the all-women band are also on stage throughout the show and are incorporated throughout. The costumes themselves deserve a mention in their own right – a dazzling cross between the styles of the tudor period and maybe the Spice Girls (showing my age here..), they marry perfectly with the whole tone of the show. My personal favourite song ‘Haus of Holbein‘ – which manages to be clever, informative and also hilarious – is brilliantly augmented by the addition of luminous accessories which brings in a raucous clubbing vibe.
Although I had imagined the demographic of the audience might be mostly young women and perhaps their mums, there was actually a very mixed crowd present last night and the standing ovation at the end demonstrated that it had been enjoyed by one and all.
If you can possibly get tickets for this show, GO, and take your friends – it is an absolute treat.
● HACKNEY EMPIRE TODAY ANNOUNCE THEIR PANTOMIME FOR CHRISTMAS 2022: MOTHER GOOSE
● IN ITS 120TH BIRTHDAY YEAR, HACKNEY EMPIRE STAGE THIS HISTORIC PANTOMIME, ITSELF FIRST PERFORMED 120 YEARS AGO
● CLIVE ROWE WILL DIRECT AND STAR AS MOTHER GOOSE IN HIS 15TH PANTOMIME AT HACKNEY EMPIRE
● MOTHER GOOSE WILL RUN FROM 19TH NOVEMBER – 31ST DECEMBER, WITHTICKETS ON SALE FROM MIDDAY ON 22ND MARCH WWW.HACKNEYEMPIRE.CO.UK
Hackney Empire today announces their Christmas 2022 pantomime, Mother Goose, which will open on 19th November and run until 31st December, with the press performance at 7pm on 1st December. Tickets go on sale to the public from midday on 22nd March at www.hackneyempire.co.uk. Priority booking for Friends and Supporters opens on 16th March at noon. To find out how to become a Friend, please visit www.hackneyempire.co.uk/membership-support/membership.
In what will be his 15th pantomime at Hackney Empire, Olivier award-winning panto royalty Clive Rowe will direct and star as the Dame, Mother Goose, with full cast and creative team to be announced. The pantomime Mother Goose was first created for another Hackney Empire legend, Music Hall comedian Dan Leno, who first performed the show in 1902. 120 years on, Hackney are proud to present the mother of all pantomimes in their 120th birthday year.
What would you do if you found a magical goose who lays golden eggs?! That’s exactly what’s in store for Mother Goose, and she soon discovered that this priceless talent isn’t all it’s cracked up to be! Packed full of all your favourite pantomime ingredients, this reimagining of the classic rags-to-riches tale is the perfect festive treat. Expect larger than life characters, gloriously outrageous costumes, incredible live music, uncontrollable laughter and loads of audience participation… oh yes, there definitely is..!
Clive Rowe said: “I’m incredibly proud, in Hackney Empire’s 120th birthday year, to be directing and playing Mother Goose, which was first created for music hall legend Dan Leno 120 years ago. Big shoes to fill but I will do my very best to make the walls shake with the love and laughter we’ve come to expect from Hackney’s pantomime.”
The 2022 festive season will burst into life with the 23rd Hackney Empire pantomime, providing joy for all the family, and in some cases, a vital introduction to the magic of theatre.
