Crucible Theatre, Sheffield – until 26th February 2022

Reviewed by Dawn Smallwood

4****

To coincide with the Crucible’s 50th anniversary Sheffield Theatres is hosting Leo Tolstoy’s Anna Karenina which is adapted by Helen Edmundson and directed by Anthony Law. This fresh modern interpretation of this classic gives one an opportunity to appreciate the character of Anna (Adelle Leoncé) and redefine what love really means amidst the societal expectations including class, duty, and gender roles at the time when the story was first written.

The staging is stripped bare which totally focuses on the individual characters, and this certainly works well with the production. Levin (Douggie McMeekin) also acts the narrator and confidante to Anna (Leoncé) throughout the production; from when she met Count Vronsky (Chris Jenks) for the first time to undeciding of her fate of the consequences.

The story does not focus on Anna exclusively it also focuses on the lives of Levin and Kitty (Tara Tijani) and their perspectives on life and love and the troubled marriage between Stiva (Solomon Israel) and Dolly (Isis Davis). The main theme is love however there is emphasis on forgiveness and happiness, explored among the characters and relationships. Tolstoy could be highlighting the importance of pleasing the inner self and following the heart rather than how money and power one has and exclusively focus on façade appearances in the line of duty and tradition.

There are plenty of modern touches particularly with the costumes and props and this production is uniquely diverse and inclusive. However, the adaptation sticks to the original text, and nothing is compromised. This production is certainly equipped for a 21st Century audience and how the themes that are explored are relatable to everyone today.

Excellent performance from Leoncé who portrays Anna whose strength and determination are combined with fragility vulnerability. Along with desire and passion, these are shown simultaneously from the character and the variety of emotions that is brought from such complex circumstances at the time. She is supported by Jenks who plays Count Vronsky who is the typical lover which only for his responsibility of the relationship to be questioned.

Though tragic in nature, the production brings comedic and characteristic touches particularly from Israel as Stiva and from the company themselves. This is a production with a thorough modern take on the 19th Century establishment which the society in Tolstoy’s time participated in.

The staging works so well with the lighting, effects, and soundscapes which creates the appropriate ambience and atmosphere for the production. This is courtesy of Georgia Lowe, Jack Knowles, and Alexandra Faye Braithwaite.

An excellent production of a timeless classic with a modern adaptation for a 21st Century audience.

New Victoria Theatre Woking – until 12^th February 2022

Reviewed by Carly Burlinge 

5***** 

David Walliams’ famous book Gangsta Granny has come to life on stage. When Ben (Justin Davies) realises it’s Friday Night and his mum (Jess Nesling) and dad (Jason Furnival) are off to their weekly dance class. Panic sets in as he has to go to Granny’s once again for his usual boring evening of scrabble playing and worst of all eating and smelling Cabbage! Granny (Isabel Ford) on the other hand, thoroughly enjoys her evenings with Ben although he thinks she’s tedious and would rather be anywhere but there. However, Granny has an enormous secret… and things are about to get really exciting for the pair of them as they embark on an adventure full of fun. Bringing them closer than they’ve ever been before.  

Ben and Granny showed a lovely connection and were entertaining to watch especially with granny’s wonderful moves along with her continuous farts and her getaway motorised scooter making all the kids as well as adults laugh and smile throughout the show. Mum was great to watch with her obsession of dancing and foot work along with her forever celebrity crush of the famous dancer Flavio (Irfan Damani). Dad also offered some great dancing with some elaborate costumes and a few gags thrown in for the audience’s amusement. Flavio (Irfan Damani) took the spotlight with his long luscious hair flicks, elegant see-through top and flirtatious notions. He was really amusing to watch and received much laughter and attention. He also got the audience riled up with his are you ready to rumble.  

The set was done incredibly well with the view of 3 houses/buildings which all opened up into different areas such as Granny’s kitchen, the corner shop, living room, bedrooms all this being cleverly done with parts being pulled out for beds, sofas and props. 

This was a smashing production to watch with lots of laughter and many smiling faces within the audience. A marvellous night out for the family, definitely a good laugh and one to not be missed. 

Mayflower, Southampton – until 12 February 2022

Reviewed by Lucy Hitchcock

4****

Carlos Acosta choreographs Birmingham Royal Ballet’s newest piece, Don Quixote.

The 19th century classic is reimagined for ballet and together with Tim Hatley’s set and costume design Spain is brought to life and sunshine hits the stage. This 60 company strong, is a true diamond-a real feat for the eyes. Acosta has really made ballet accessible, with an easily understandable storyline that tells of love and desire with a hint of comedy and fear. Momoko Hirata as Kitri, the daughter of an innkeeper in love with Basilio (Mathias Dingman) was superb. With such elegance and poise, the stage was hers and she exudes pure delight and joy. Dingman was also stellar, performing with unflattering strength, he truly commanded the stage. The set was exciting and when intertwined with Peter Mumford and Nina Dunn’s lighting and video, the show comes to life.

A rapturous applause was well deserved for the whole company, orchestra and backstage crew. This piece is no mean feat and with the perfect amalgamation of dance and orchestral accompaniment, this piece showcases excellence in the discipline of Ballet. Birmingham Royal Ballet should be extremely pleased with this beautiful performance.

HANNAH TREADAWAY APPOINTED AS

WILTSHIRE CREATIVE’S AGENT FOR CHANGE

AS PART OF THEIR ASSOCIATESHIP WITH RAMPS ON THE MOON

Wiltshire Creative today announces that Hannah Treadaway returns to the theatre as the company’s newly appointed Agent for Change as part of their associateship with Ramps on the Moon – an Arts Council funded consortium of UK theatres working to increase visibility and accessibility for D/deaf and disabled people on and off stage.

Hannah Treadaway said today, “Having enjoyed working with Wiltshire Creative many times in the past, I am really looking forward to working with the team as Agent for Change alongside the brilliant Ramps on the Moon.”

Executive Director of Wiltshire Creative Sebastian Warrack commented, “At Wiltshire Creative, we are delighted to have been invited to be part of Ramps on the Moon – a consortium of organisations which enriches stories, by normalising the presence of D/deaf and disabled people on and off stage. As part of our work with Ramps on the Moon, we are thrilled to have appointed Hannah Treadaway onto our team as our Agent for Change. As a disabled director, Hannah Treadaway brings a wealth of experience and knowledge which will help us strengthen and broaden our engagement with D/deaf and disabled audiences and participants.”

Hannah Treadaway is a South-West based writer, director, composer, coach and access consultant. She is currently a Connect Artist at Regional Theatre Young Directors Scheme, a writer on Sphinx 30 with Sphinx Theatre and alumni of Graeae’s Write to Play. She recently wrote an adaption of Grimm Tales for Folio Theatre and University Arts Bournemouth which was performed as a digital performance. During the pandemic she has created work in a range of mediums including writing interactive Twitter story Be Taylor Jones and YouTube monologue Specs of Light for Graeae Theatre Company; short play Double Bounce for Sphinx Theatre, and spoken word piece Here for All the Queens Men and Wiltshire Creative, alongside working as a coach, dramaturg and access consultant. She has previously worked with companies including Diverse City, Wyldwood Arts, Folio Theatre, Nuffield Southampton Theatres, Graeae Theatre, Paine’s Plough, The Bunker, Lighthouse Poole, Taking Flight and HighTide.

As one of their Associate Partners, Wiltshire Creative will also stage at least one full-scale production in accordance with Ramps on the Moon commitments, including casting a roughly equal mix of deaf, disabled and non-disabled performers and integrated accessibility, such as embedding audio description, BSL interpretation and captioning from the first stages of the creative process.

Wiltshire Creative’s associateship will last until 2023 and as they have committed to a programme of organisational change including:

• Embedding Deaf and disabled people throughout their organisations.
• Putting access and inclusion on the agenda of all meetings.
• Creating long term employment and training opportunities for Deaf and disabled people.
• Committing core production expenditure to the project, alongside the specific additional project funding.

Led by Director for Change Michèle Taylor and New Wolsey Theatre, Ramps on the Moon also includes Birmingham Repertory Theatre, Theatre Royal Stratford East, Nottingham Playhouse, Leeds Playhouse, Sheffield Theatres and associate partner Regional Theatre Young Directors Scheme (RTYDS).

#RampsOTM

@rampsOTM and @_A4C_   

New Wimbledon theatre – until 12th February 2022

Reviewed by Liberty Noke

5*****

Blood Brothers tells the story of twin boys separated at birth and raised by different families. They grow up together but never realise they are brothers. The stage opens with the narrator ( Robbie Scotcher) foreshadowing the death of the twins and introducing the audience to their mother Mrs Johnstone played by Niki Evans. Evans gives an amazing performance perfectly portraying the heartbreak of being separated from her son. Her entire performance especially her vocals was incredible.

During the first act we are introduced to the brother Mrs Johnstone kept, Mickey (Sean Jones) at age 7. He sits on the stage age chatting excitedly to the audience in such a way that you forget that he is being played by a grown man not a 7 year old boy. Similarly we meet Edward (Joel Benedict) who was raised by wealthy parents. Benedict also plays a convincing 7 year old making Edward a charming character you cant help but like. Both actors portray the brothers throughout the play and show amazing talent playing the characters as teenagers and adults.

The second act as the brothers grow older their brightly coloured clothes are swapped for a more muted colour palette which helps show the contrast between the light-hearted , carefree fun of childhood and the hardships of adult life when you are living on the edge.

The narrator played by Robbie Scotcher created an eerie atmosphere on the stage whenever he appeared he would sometimes walk across the stage or appear as if out of thin air. Is vocals were haunting yet beautiful.

It is easy to see why Blood Brothers is still being performed 40 years after its debut as audiences empathise with the characters, are fascinated by the effects of nature vs nurture and entertained by a wonderfully talented cast. Blood Brothers will have you laughing and crying, a fantastic show not to be missed.

The Leeds Playhouse – 9th February 2022 then on UK tour until May 2022

Reviewed by Dawn Smallwood

4****

Phoenix Dance Theatre celebrates 40 years of its existence and has put together a diverse, exciting, and eclectic programme of works which personifies what they are positively reputed for. Five works have been curated for this programme however because of indisposition of a dancer only four works have been performed on the opening night.

The programme begins with Henri Oguike’s Signal which is set to Japanese Taiko drumming and with the accompaniment of percussive music and real lives flames which set the mood and ambience for story and message telling. The dancers move intricately and intently to quick tempo drumming and their movements and portrayal reflect the rhythm and physical vibration that one feels to the beating of the drum and its loudness.

Harmonica Breakdown follows featuring one dancer, Yuma Sylla, who dances to Dr S Ama Wray’s Custodian of Harmonica Breakdown. Choreographed by the late Jane Dudley, this content packed three and half minute work explores the roles of women in society along with African American and white working people during the 1920s and 1930s, a period of hardships and adversaries. This moving dance shares the woman’s plight to move forward but at the same time she and one in society are impeded culturally, economically, and socially.

After the interval, Pave Up Paradise is presented and choreographed by Raquel Meseguer Zafe and Ben Duke. Two dancers, male and female, universally portray Adam and Eve and physically explore how a man meet a woman, give into temptations and realising how far their actions have gone. This is expressively performed to live music, by Andrew Burke, and spoken dialogue.

The final piece in the programme is Joanie Smith and Danial Shapiro’s Family which is performed by the cast. It explores the dysfunctional relationship between the parents and the parents and the children and between the family and relatives. With one sofa as sole prop each dancer portrays a family member and its relationship. It answers how a family can bond or un-bond family life whether immediate or extended. This typifies a modern family and how much good is to be found in imperfect relationships. This is a heartening piece of work which invites and encourages one to think about one’s family and ties.

Phoenix Dance Theatre, under the direction of Dane Hirst, has done itself proud in putting together a fitting birthday celebration of the company. The works being shown reflects their proud diverse, open, and universal repertoire over the years and no doubt many exciting works will be created and performed in the company’s future programmes.

Grand Opera House York – Tuesday 8th February 2022

Reviewed by Michelle Richardson

5*****

This show is a tribute to the late 1980’s/1990’s Luther Vandross, notable for his soulful voice. After his appearance on Stars In Their Eyes, as Luther Vandross, back in the 1990’s, Harry Cambridge is the perfect choice to bring his music back to life. Harry is now the UK’s top Luther tribute act.

It was so good a busy theatre, all eager to celebrate the music of Luther. Admittedly we were all mostly of a certain age, but there were a few exceptions, just looking forward to the night ahead. As the stage filled up with the musicians and backing singers, the anticipation went up another level. Then we heard the soulful lyrics of Luther, immediately the audience were in rapturous applause before Harry even got on to the stage. What followed was 2 ½ hours of celebration of “The Velvet Voice”.

Harry was very personable and really engaged with the audience. He explained that there were three types of people watching his show, the diehard Luther fans, who know every word of every song, those who knew a few and those that had been dragged along. I fell into the middle category, but there appeared to be numerous die-hard fans, some who follow Harry around on tour, which is a testament to how good he is. He really does have a good rapport and a passion for the music.

The repertoire covers a bit of everything, from ballads to his more upbeat songs. It had the audience laughing, crying, and singing along. There were a few couples smooching along to love songs and I for one enjoyed dancing along to the more upbeat numbers.

He is well supported by his backing singers, Ryan Ormsby, Gemma Samuels and Holly Reynolds. They shared some terrific synchronicity in dancing along to the tunes. Each shared a duet with Harry, which really showcased their vocal talents and wonderful voices. We mustn’t forget the band, Jason Ward, Lee Beards, Chris Lea, Robert Schmuck and Chris Taylor, playing this great music. It was the whole package.

We had several costume changes and there was certainly a theme going on, sparkle, sequins, and glitter. Who doesn’t love a bit of bling? Harry’s jackets were all matching Gemma’s and Holly’s dresses and just dazzled.

By the end of the night everyone was up dancing along to Never Too Much, my personal favourite, I’m glad the Grand Opera House’s floors held out. I must apologise to anyone who heard me singing along, I hope I didn’t make your ears bleed too much.

This is a fabulous uplifting show that is more than a tribute, it surely is a celebration of the talent that was Luther Vandross and well deserved the standing ovation it received! What’s not to love? A good old sing along, a boogie, and all on a “school night”!

Cambridge Arts Theatre, Cambridge – until Sat 12th Feb 2022

Reviewed by Steph Lott

5*****

Old Major, the prize boar, calls the animals of Manor Farm together, to tell them of the strange dream that he has had, foretelling of a better future where all animals are equal and free. All they have to do is rid themselves of their oppressors and a utopian future awaits. They will take back control.

So starts Animal Farm, George Orwell’s renowned novella which tells the story of a revolution and its aftermath. It was written as a warning, based on observations of the 1917 Russian Revolution and the post-revolution Stalinist era and founded on Orwell’s own experiences during the Spanish Civil War.

It remains as relevant today as when it was written. As history tells us time and time again, “absolute power corrupts absolutely” and Major’s utopian dream of equality for all sadly isn’t realised. Everything that goes wrong is someone else’s fault, some animals find themselves labelled enemies and traitors, and history is changed.

The Children’s Theatre Partnership in association with Birmingham Rep has created a stage version of Animal Farm using life-size puppets to play the animals, with an extraordinary impact. This brand new production is directed and adapted by Robert Icke, with set and costume design by four-time Olivier award-winner Bunny Christie, and puppetry created by Toby Olie, (who is the creative genius behind the puppetry used in War Horse). Animal Farm marks Toby Olie’s third collaboration with the Children’s Theatre Partnership.

This modern adaptation of Orwell’s story is an astounding piece of theatre. The concept, design, direction and performance all come together to create something quite amazing. When the characters in your story are mostly animals, it presents a challenge, if the content of the production isn’t comic. Toby Olie’s puppets overcome that challenge. They are pretty much life-size recreations and they are magnificent. They are operated by an ensemble cast of incredibly skilled actor-puppeteers and voiced by some well-known names. What is interesting is that as you become immersed in the play, the actors operating the puppets seem to disappear – all you see are the animals, which all come to life on stage. They display all of the mannerisms and movement you expect to find from each individual creature. They move, snort, sniff, whimper and bark. The horses’ ears flick. The chickens flutter. When the pigs move you can feel their weight in the way they move. Nothing never jars; the production is moving and almost visceral.

Robert Icke’s adaptation provides an engrossing piece of storytelling, and I was so immersed that I didn’t notice the 90 minute running time passing. The design (Bunny Christie) and lighting (Jon Clark) work well together to create an atmosphere that moves from the warm and intimate barn interior at the start to a cold and bleak snowy winter. The way they depict some of the action is clever too – moving from full size animals at the front of the stage to smaller versions at the back to show distance.

What happens in the end is profoundly sad because it seems inevitable. The innocence and vulnerability of the animals is tragic. Orwell saw that the revolution that the Russian people underwent was in fact a change of regime from one small group of privileged people to another. It did not end tyranny, it just changed the tyrants. So it is that the inhabitants of Animal Farm move from “All animals are equal” to “but some are more equal than others”; it is impossible to distinguish the authoritarian regime of the pigs from that of the humans.

Animal Farm is an immaculately executed and powerful show. There is some humour from a few of the gentler animals, such as the hens and the cat, but it is grim stuff, though marvellously performed. The audience were spellbound, as was I.

It is an unforgettable production and if I could give it six stars I would.

Hull New Theatre – until 19th February 2022

Reviewed by Catherine McWilliams

5*****

I shall start at the end – with an audience buzzing with joy, laughing and chatting as they left the packed theatre, the noise carrying far into the night and still to be heard as we got into the car some distance from Hull New Theatre. The audience were a little tentative at the start, with no singing along to the overture of Abba tunes but they soon got into the swing of things and were clapping and up on their feet to give the cast a well-earned standing ovation and then singing loudly for the finale. The tentativeness is no reflection on this excellent cast but more a reflection on the last two years, Mamma Mia was the production that was playing at the Hull New Theatre as the first lock down was announced, so this was a very welcome return on our road to “normality”.

With deceptively simple sets (designed by Mark Thompson) and stunning lighting (Howard Harrison) Mamma Mia whisked us away to a sunny Greek island with shimmering Mediterranean light and the tale of Donna (Sara Poyzer) and her daughter Sophie (Jena Pandya) and Sophie’s rather rash attempt to track down her father before she gets married. With music composed by Björn Ulvaeus and Benny Andersson for Abba and with the book by Catherine Johnson, Mamma Mia was first staged in 1999 but is still a fresh and vibrant show.

One of the joys of Mamma Mia is its portrayal of relationships, whether it is the mother/daughter relationship, the exuberance of youth, the rekindling of relationships from the past, or the joy of long-lasting friendships like that of Donna and her friends. All are skilfully and believably created by this cast.

Sara Poyzer was a perfect fit as Donna, whether worrying about her daughter, having fun with her friends or regretting lost love. Her performance of “Slipping Through My Fingers” was both beautiful and heartbreakingly poignant, the audience were absolutely still throughout. The full range of emotions were on show in “The Winner Takes It All”, we felt the passion and her pain and regret, surely this is how this song is meant to be sung. In total contrast Donna and the Dynamos and “Super Trouper” was full of fun and joy.

Helen Anker as Tanya and Nicky Swift as Rosie were fabulous, they really bounced off one another and their friendship was totally believable. They provided many of the laugh out loud moments with Tanya (Helen Anker) making mincemeat of Pepper (James Willoughby Moore) in her rendition of “Does Your Mother Know” and Rosie (Nicky Swift) delivering the come-on to Bill (Phil Corbitt) in “Take A Chance On Me”.

Richard Standing makes an excellent Sam and his relationships with Donna and Sophie are very believable as he tries to make sense of seeing Donna again and finding he may have a daughter. I loved his rendition of “Knowing Me, Knowing You” Daniel Crowder as Harry and Phil Corbitt as Bill provided excellent support and much laughter.

Jena Pandya was just right as Sophie, full of sweetness and of course the arrogance of youth. As things did not turn out as expected her distress and inability to see how to sort things out was plain to see. Her relationship with Sky (Toby Miles) was spot on. All of the younger members of cast were superb.

The full company pieces were fabulous, “Voulez-Vous” performed by the entire company was a stand out for me, providing the heat and frenzy of the night as they danced. Also, a total joy was the choreography as Sophie dreams and sings “Under Attack”, the costumes are totally inspired.

Mamma Mia needs a superb ensemble as well as its leading cast and this ensemble were indeed superb. There is not a cast member who did not fit perfectly into their role and in the encore, it is clear to see the joy the company get from performing in Mamma Mia.

The music is vital in any production of Mamma Mia and The Band led by Musical Director Carlton Edwards were outstanding.

Forget the film of Mamma Mia – it is good but this production is far superior. There are no beautiful Greek backdrops just the simplest of scenery but this extremely talented cast will make you believe you are on that Greek island watching the story unfold.

In the midst of a long winter Mamma Mia provided sunshine, light and joy and left us feeling so much better about life. With all that life has thrown at us recently never have these words been more apt “What would life be without a song or a dance, what are we?”. So, thank you for the music and the joy you brought us.

GIFFORDS CIRCUS IS BACK ON THE ROAD IN 2022 WITH BRAND NEW SHOW ¡CARPA! FOR BIGGEST EVER UK TOUR 

ACCLAIMED WRITER AND DIRECTOR CAL MCCRYSTAL RETURNS FOR HIS 11TH YEAR WITH THIS MEXICAN THEMED EXTRAVAGANZA

 ¡CARPA! OPENS AT FENNELLS FARM, STROUD ON 14 APRIL AND WILL TOUR UNTIL 2 OCTOBER

Acclaimed writer and director Cal McCrystal, returns to the helm for the eleventh year following the success of last year’s The Hooley, along with veteran Giffords  musical director James Keay and award winning set and costume designer takis, to faithfully continue circus co-founder and producer Nell Gifford’s extraordinary vision. 

Along with Tweedy the Clown, a host of international circus talent includes fellow clown personage Adriana Duch, juggler Gordon Marquez, vaulting and pas de deux act the Donnert Family, trapeze artiste Anna Rastova, aerial duo Isabella and Daniela Munoz Landestoy, The – knife throwing – Jasters and acrobats from the Havana Circus Company. Plus live music from the Giffords Circus band. 

The word ¡Carpa! originates from the Spanish word ‘tent’ and refers to a removable canvas roofed structure used for a travelling theatre, much like a circus. ¡Carpa! was a type of theatre that flourished in the 1920s and 1930s in Mexico and the southwestern states in America.

Cal McCrystal said “Our 2022 show will evoke the sights and sounds of rural Mexico. I have directed in that splendid country several times. It is a place that I greatly admire. Mexico’s incredible art, music, history, and people will be our inspiration. We are bringing Mexican performers over to join the troupe and with them we will create a show full of skill, humour, turmoil and excitement.” 

The UK tour opens at the Circus’s HQ in Stroud, Gloucestershire on 14th April 2022, Easter weekend, before touring the UK taking in all the favourite venues such as Bowood House & Gardens, Daylesford Organic, Sudeley Castle, Blenheim Palace, Chiswick House & Gardens, Stonor Park, Barrington, Minchinhampton Common, Marlborough Common and Stratton Meadows in Cirencester.

New for 2022 are Evenley Wood Gardens in Northamptonshire and Home Farm Live in Elstree, Hertfordshire and a welcome return to Frampton on Severn.

Established in 2000 by Nell and Toti Gifford, Giffords Circus is a magical village green circus that tours England throughout the summer. Combining dance, comedy, horses and live music in a beautiful white tent surrounded by vintage-style burgundy showman’s wagons, it has a broad and dedicated following of farmers, children, artistes, sports people, models, actors, rock stars, and royalty.