Hull New Theatre – until 19th March 2022

Reviewed by Catherine McWilliams

5*****

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.

Theatre Royal, Brighton – until 19th March 2022

Reviewed by Sue Bradley and Francois Craig

3***

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 19^th 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. 

FESTIVAL THEATRE, EDINBURGH – UNTIL MARCH 26th 

 REVIEWED BY RACHEL FARRIER  

5*****

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 presents
MOTHER GOOSE

●     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, WITH TICKETS 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.

THE PLAY THAT GOES WRONG ANNOUNCES [BRAVE] NEW TOURING CAST 
CRASHING INTO THEATRES NATIONWIDE FROM 20 APRIL 

The Play That Goes Wrong, Mischief’s Olivier Award-winning box office hit that continues to entertain audiences on a global scale, today announces casting for its 2022 UK Tour. The cast includes new and returning performers: Kazeem Tosin Amore as Robert, Colin Burnicle as Chris, Damien James as Dennis, Beth Lilly as Annie, Edi De Melo as Max, Aisha Numah as Sandra, Gabriel Paul as Trevor and Steven Rostance as Jonathan, with understudies Harry Boyd, Mary McGurk, Clare Noy and Will Taylor.

Embarking on its fifth national tour, the production will open at Theatre Royal Bath on 20 April before visiting Mold, Southend, Leicester, Birmingham, Liverpool, Manchester, Newcastle, Cardiff, Plymouth, Bristol, Sheffield, Hull, Milton Keynes, Dartford and Guildford, until 13 August 2022.

Awarded the 2014 WhatsOnStage Award for Best New Comedy, the 2015 Olivier Award for Best New Comedy and a Tony Award for the Broadway transfer, The Play That Goes Wrong is now booking into its ninth year in the West End and continues to delight audiences around the world, also currently running off Broadway and in Chicago. The show’s success is a testament to the hard work and determination of a group of drama school graduates who became friends, set up a company under the name ‘Mischief’ and created an extraordinary body of work. Now celebrating 10 years since its first performance at The Old Red Lion fringe venue, with only four paying customers, The Play That Goes Wrong shows no signs of slowing down. Since then, it has played to an audience of over two million in over 35 countries and on every continent, except for Antarctica, which it has avoided for fear of a chilly reception. 

The play features the (fictional) Cornley Drama Society who are putting on a 1920s murder mystery, but as the title suggests, everything that can go wrong… does! As the accident prone thesps battle against all the odds to reach their final curtain call, hilarious results ensue!

Mischief’s other West End successes include Magic Goes Wrong, Groan Ups, Peter Pan Goes Wrong, Mischief Movie Night and A Comedy About A Bank Robbery. Magic Goes Wrong is also currently touring the UK until 29 May 2022. The second series of their award-winning television comedy, The Goes Wrong Show, launched on BBC One in September 2021. The five-part series was broadcast weekly and is currently available on BBC iPlayer. The company is owned and controlled by its original members and is led by a creative group and its directors Henry Lewis and Jonathan Sayer. 

The Play That Goes Wrong is co-written by Mischief company members Henry Lewis, Jonathan Sayer and Henry Shields. The tour is directed by Sean Turner, originally directed by Mark Bell, with set designs by Nigel Hook, costumes by Roberto Surace, lighting by Ric Mountjoy, sound design by Andy Johnson and resident director Amy Marchant. The Play That Goes Wrong is produced by Kenny Wax Ltd and Stage Presence Ltd. 

THE WITCHES OF EASTWICK

IN CONCERT

AT SONDHEIM THEATRE

FOR ONE NIGHT ONLY

ON MONDAY 20 JUNE 2022

STARRING GILES TERERA MBE

Producer Jack Maple, by arrangement with Cameron Mackintosh Ltd, is delighted to announce a special one-off concert of THE WITCHES OF EASTWICK at the Sondheim Theatre on Monday 20 June 2022. THE WITCHES OF EASTWICK has a book and lyrics by John Dempsey and music by Dana P. Rowe, based on the novel by John Updike and the Warner Brothers motion picture. Maria Friedman will direct with musical staging by Stephen Mear. Olivier Award-winning actor Giles Terera will star as Darryl Van Horne. This will be the first time the musical has been seen in London since it originally played at the Theatre Royal Drury Lane in 2000, transferring to the Prince of Wales Theatre in 2001. Tickets are on sale from 10am on Thursday 17 March.

Further all-star casting is to be announced.

The Witches of Eastwick tells the tale of the people of the little town of Eastwick. It is a town where everyone knows everything about everyone else, and it is presided over by the indomitable Felicia Gabriel. Bored with their small town lives, three women – Alexandra (Alex), Sukie, and Jane–share a desire for “all manner of man in one man” to provide excitement and variety. That man arrives, literally in a flash, in the devil-like form of Darryl Van Horne. Darryl seduces the women and teaches them powers, which they never knew they had. 

Cameron Mackintosh said “I’m really thrilled that Jack Maple is conjuring up the wickedly funny WITCHES OF EASTWICK again, for one night only in concert with a glorious cast at the Sondheim Theatre.  It has always been one of my favourite scores, which I’m very much looking forward to hearing in its full splendour.”

Maria Friedman said “I’m so incredibly excited to be revisiting Eastwick after all these years. To be reunited with the fantastic Stephen Mear and to have the opportunity to bring this beloved musical back to London, and at the simply stunning Sondheim Theatre, for one night only is an absolute thrill and I can’t wait to get started.” 

Giles Terera MBE is an award-winning actor, musician and writer. He is best known for originating the role of Aaron Burr in the London production of the award-winning musical Hamilton, for which he won the 2018 Olivier Award for Best Actor in a Musical. Giles’s other work on stage includes Rosmersholm, The Tempest, Avenue Q, The Book of Mormon, 125th Street, Rent (West End); Ma Rainey’s Black Bottom, Hamlet, Death and the King’s Horseman, The Hour We Knew Nothing of Each Other, Troilus and Cressida, Candide, Honk! (National Theatre); The Merchant of Venice (Shakespeare’s Globe/international tour); The Resistible Rise of Arturo Ui (Donmar Warehouse); Pure Imagination – The Songs of Lesley Bricusse (St. James’s); King John (Shakespeare’s Globe/UK tour);  The Ratpack (West End/international tour); Jailhouse Rock (Theatre Royal Plymouth/West End); The Tempest (RSC) and Generations of the Dead (Young Vic). As a writer, his theatre work includes The Meaning of Zong (Bristol Old Vic), The Ballad of Soho Jones (St. James’) and Black Matter (Crazy Coqs). Giles was appointed a Member of the Order of the British Empire (MBE) in the 2020 New Year Honours for services to theatre.

The winner of three Olivier Awards and an Evening Standard Award, Maria Friedman is one of Britain’s most successful and acclaimed Musical Theatre actresses. Maria starred in the original West End production of The Witches of Eastwick as Sukie alongside Lucie Arnaz as Alex and Joanna Riding as Jane. Her many other West End acting credits include Passion, Ragtime, Merrily We Roll Along, Blues in the Night, Chicago, The Woman in White and, most recently, she played Golde in the Olivier Award-winning Trevor Nunn production of Fiddler on the Roof at the Playhouse Theatre. Maria won over a whole new audience when she joined the cast of long-running soap EastEnders, playing Elaine Peacock.  In 2013, Maria made her directorial debut at the Menier Chocolate Factory with a production of Stephen Sondheim’s musical Merrily We Roll Along.  After a series of 5-star reviews, the Critics’ Circle Award for Best Musical and a sell-out extended run, it transferred to the West End and played Boston.  In 2014, it won the Olivier for Best Musical Revival. It was recently announced that Maria will stage Old Friends, a celebration of the work of Stephen Sondheim at the Sondheim Theatre, with Matthew Bourne in May, as well as an Off-Broadway production of Merrily We Roll Along starring Daniel Radcliffe as part of New York Theatre Workshop’s 2022/23 season.

The multi award-winning Stephen Mear, is one of the world’s most celebrated choreographers, with two Olivier Awards, an LA Drama Critics Circle Award, and a Helpmann Award. His theatre work includes Mary Poppins with co-choreographer Matthew Bourne (Prince Edward Theatre 2004 & 2019); Funny Girl and Guys and Dolls, as director/choreographer (Marigny Theatre); Guys and Dolls Concert, as director/choreographer (Royal Albert Hall); Chess (ENO); Sunset Boulevard (ENO and Broadway); On the Town (ENO and Théâtre du Châtelet); 42^nd Street as director/choreographer (Théâtre du Châtelet); Singin’ In The Rain (Grand Palais);  City of Angels, The Vote and The Resistible Rise of Arturo Ui (Donmar); White Christmas (Dominion Theatre and Curve, Leicester);  Mack and Mabel, The Pajama Game, She Loves Me as director/choreographer, Amadeus, The Music Man, Funny Girl, How to Succeed In Business, Putting it Together and The Grapes of Wrath (Chichester Festival Theatre);  Die Fledermaus (The Metropolitan Opera, New York)and The Little Mermaid (Broadway). Stephen will be choreographing Old Friends at the Sondheim Theatre this May.

John Dempsey wrote both the book and lyrics for Zombie Prom (Off Broadway & Germany), The Fix directed by Sam Mendes at the Donmar Warehouse (Olivier Award & Helen Hayes Award nominations) and lyrics for The Reluctant Dragon, A Country Christmas Carol, and the Ringling Bros. Barnum & Bailey Circus. Plays include; One Miracle in a Lifetime (Ohio Arts Council Award), The World Today and The Greater Goode.

Dana P. Rowe wrote the music for Zombie Prom (Off Broadway & Germany) and The Fix, directed by Sam Mendes at the Donmar Warehouse (Olivier Award & Helen Hayes Award nominations). He also  prepared the score for The Ballad of Bonnie & Clyde which premiered at the 2005 New York Musical Theater Festival as a featured production.

Website: www.sondheimtheatre.co.uk

Twitter: @jackmapleprods @DMTWestEnd

LISTINGS INFORMATION

Monday 20 June, 7pm

Sondheim Theatre

51 Shaftesbury Avenue

London

W1D 6BA

Tickets: from £35

Box office: 0344 482 5151*

*Calls to Delfont Mackintosh Theatres: 03 numbers cost no more than a national rate call to an 01 or 02 number

TONY AWARD-WINNING SHOW

TO EMBARK ON 10^th ANNIVERSARY

UK TOUR

Opens at Churchill Theatre, Bromley

on 16 March 2023

See www.TitanicTheMusical.co.uk

The Tony Award-winning Titanic The Musical is to embark on a new tour of the UK from March 2023.

Produced by Danielle Tarento, Steven M Levy and Vaughan Williams in association with Mayflower Theatre, Southampton, the production will open at the Churchill Theatre in Bromley on 16 March 2023, 10 years since it made its critically acclaimed debut at Southwark Playhouse in London.

Following Bromley, the tour will then go on to Newcastle Theatre Royal, Belfast Grand Opera House, Southampton Mayflower Theatre, Birmingham Hippodrome, Norwich Theatre Royal, Cardiff New Theatre, Nottingham Theatre Royal, Wycombe Swan, Hull New Theatre, Edinburgh Festival Theatre, The Orchard Theatre Dartford, The Lowry in Salford and Sheffield Lyceum in July 2023  (There are further tour dates to be announced)

Danielle Tarento said:  ‘Steven, Vaughan and I are so excited that the great ship Titanic is setting sail on a new UK Tour. I can’t believe that it’s been 10 years since that first production at Southwark Playhouse – it feels like a lifetime ago and only just the other day in equal measure!  After the couple of years that we’ve all lived through, to be able to mark this anniversary by revisiting some favourite venues from the last tour and also bringing the show to some new ones feels especially joyful.’

In the final hours of 14th April 1912, the RMS Titanic, on her maiden voyage from Southampton to New York, collided with an iceberg and ‘the unsinkable ship’ slowly sank. It was one of the most tragic disasters of the 20th Century. 1517 men, women and children lost their lives.

Based on real people aboard the most legendary ship in the world, Titanic The Musical is a stunning and stirring production focusing on the hopes, dreams and aspirations of her passengers who each boarded with stories and personal ambitions of their own. All innocently unaware of the fate awaiting them, the Third Class immigrants’ dream of a better life in America, the Second Class imagine they too can join the lifestyles of the rich and famous, whilst the millionaire Barons of the First Class anticipate legacies lasting forever. 

With music and lyrics by Maury Yeston (Nine, Grand Hotel) and a book by Peter Stone (Woman of the Year and 1776), the pair have collectively won an Academy Award, an Emmy Award, an Olivier Award and three Tony awards.

The original Broadway production of Titanic The Musical won five Tony Awards including Best Musical, Best Score and Best Book. This new production celebrates the 10th anniversary of its London premiere where it won sweeping critical acclaim across the board.

The director is Thom Southerland, the set and costume designer is David Woodhead, the lighting designer is Howard Hudson, the sound designer is Andrew Johnson, musical staging is by Cressida Carré and new musical arrangements are by Ian Weinberger.  The cast is yet to be announced.

www.TitanicTheMusical.co.uk 

Twitter: @TitanicOnTour

Grand Opera House York – until Saturday 19th March 2022.

Reviewed by Michelle Richardson

5*****

Already seen by over 30 million theatre goers worldwide, Richard O’Brien’s legendary rock ‘n’ roll musical returns to the UK as part of a worldwide tour. Promising to thrill you with fun and naughty moments. This week is quite special for the longest serving cast member, Kristian Lavercombe, who appears as Riff Raff. On Tuesday it is his 2000th appearance in the role, I got to see him in his 1999th.

As first when we sat down in our seats and looked around, there appeared to be a few empty seats and not the usual amount of fancy dress around, that soon changed. We were sitting in a packed dress circle with magnificent outfits all around. This show certainly has all the whacky and wonderful jumping at their chance to dress up, men in their wigs, stockings and suspenders, women as maids, or in brightly coloured shorts and tails. It is a sight to see, and anything goes. On this occasion we didn’t make the effort, as there were only the two of us, maybe next time.

As soon as the Usherette (Suzie McAdam, who also plays Magenta) appears on stage, looking resplendent and statuesque in her platform heels, the audience is full of rapturous applause, in eager anticipation. She belts out the fabulous Science Fiction/Double Feature, before pulling the curtain back for the show to begin.

This musical horror comedy tells the story of a young, innocent, and newly engaged couple, Janet (Haley Flaherty) and Brad (Ore Oduba). When their car breaks down, they decide to go for help and stumble on a castle in the middle of nowhere. Greeted by the creepy, hunchbacked butler, Riff Raff, they enter the lair of Frank N Furter (Stephen Webb), complete with his bizarre and madcap entourage. He invites the couple to stay to witness the birth of his creation, Rocky (Ben Westhead). They are both seduced, all innocence lost, by the charismatic and simply stunning, Frank N Furter, the Transexual Transylvanian.

Both Oduba and Flaherty are impressive as the young couple, both squeaky clean, until they weren’t, great comedic timing. I was quite surprised how much a good singer Oduba was and how he pulled off the nerdy Brad, plus he sure worked that bustier, suspenders and heels. Webb is sexy and mesmerizing to watch as Frank N Furter, the star of the piece, making the character his own. He really becomes the part and his rendition of I’m Going Home is quite spectacular.

The audience really make the show what it is, but there are perfectly matched by the Narrator, played by Philip Franks. I’ve seen this show a few times and he is by far the best I’ve seen, quite sensational, and I thought the others were good. He steers us through the story, with the audience shouting out replies and statements before he has even finished his line. A lot of what is said is filthy and unprintable, especially by one drunken punter, but the majority of it is all part of the experience. For a Rocky Horror virgin this can be quite shocking and how the hecklers can remember what to say and when to say it is beyond me. Franks quick-fire comebacks are right on point, so witty and topical, with mentions of Prince Andrew and £12,000,000.

By the end of the night, we were all up on our feet dancing and singing along to The Time Warp. The Rocky Horror Show is best described as an adult pantomime. It has a bonkers story line, about a cross-dressing alien from planet Transsexual in the galaxy of Transylvania, shouldn’t work, but is so does. It has fabulous music and costumes and makes for a serious great night out, a dazzling show.

Theatre Royal Windsor – – until 19^th March 2022

Reviewed by Carly Burlinge 

3.5 *** 

From the well-known and popular book – television series. Father Brown has been brought to stage. 

When Mundon Mandeville (John Goodrum) A famous actor and director is getting ready for the curtains to go up on his West End production. Father Brown (John Lyons) is invited by Mundon’s wife Miriam Mandeville (Karen Henson) to the view the acting before the big night! But as the rehearsals start and Mundon decides to go to his office for a rest, they soon discover that the prop gun that’s being used has disappeared! Suddenly with the sound of gun fire upon them, they discover Mundon dead in his office. With a shattered mirror something seems amiss. With all suspects in clear view at the time of the murder. Who could be responsible and will Father Brown slowly unravel the truth. 

The cast gave a profession performance with a few laughs thrown in throughout. This production was enjoyable to watch but I did feel it was slow at times and could have picked-up pace a little.  

The set was backstage of a theatre with two dressing rooms and a hallway slightly drab, with black brickwork adjoining the doors. In front of the walled hallway were large baskets and props. One dressing room had two mirrors with lighting around and gave a good effect when the lights were turned down making the room acknowledged and bright. In the background you could hear sound of leaking pipes giving it that backstage downtrodden effect. 

Overall, an interesting play that was pleasant and amusing to watch.