Chichester Festival Theatre announces 60th anniversary opening productions and SOUTH PACIFIC transfer

CHICHESTER FESTIVAL THEATRE ANNOUNCES

OPENING PRODUCTIONS OF 60TH ANNIVERSARY SEASON

SOUTH PACIFIC TO PLAY IN LONDON AND ON UK TOUR

New plays by KATE MOSSE and ALECKY BLYTHE open Festival 2022, Chichester’s 60th Anniversary season

  • Chichester’s internationally best-selling author Kate Mosse’s new play, THE TAXIDERMIST’S DAUGHTER, premieres in the Festival Theatre in April 2022, directed by Róisín McBrinn
  • Alecky Blythe’s OUR GENERATION, a co-production with the National Theatre, is directed by Daniel Evans, opening the Minerva Theatre season
  • Festival 2022 will also include Stephen Beresford’s new play THE SOUTHBURY CHILD, directed by Nicholas Hytner with a cast led by Alex Jennings, a co-production with The Bridge Theatre, opening at Chichester in June before its London run

Rodgers & Hammerstein’s SOUTH PACIFIC transfers to Sadler’s Wells in July 2022:

  • Daniel Evans’s exhilarating Festival 2021 production will open in Manchester before its London run at Sadler’s Wells, where Julian Ovenden and Gina Beck will lead the cast; after which it tours to Dublin, Newcastle, Birmingham, Glasgow, Cardiff, Nottingham, Edinburgh, Leeds and Canterbury

Artistic Director Daniel Evans and Executive Director Kathy Bourne said

‘The prospect of Chichester Festival Theatre’s 60th anniversary season is a truly joyous one. This Theatre, built by the community, for the community, has been at the heart of West Sussex cultural life since its inception. It was here, in 1962, that Laurence Olivier established the nucleus of the National Theatre company that opened at the Old Vic the following year; so it’s especially appropriate that, 60 years on, we begin our Minerva season with a co-production with the National. We are thrilled to be introducing Alecky Blythe’s engrossing verbatim work to Chichester audiences with her new play, Our Generation.

‘And what could be more appropriate for our 60th anniversary curtain raiser in the Festival Theatre than a new play by an internationally best-selling writer with Chichester in her very bones? Not only has Kate Mosse been intimately connected with CFT since childhood, her thrilling and timely play The Taxidermist’s Daughter is set in historic Chichester itself. We are equally delighted that Róisín McBrinn makes her directorial debut here.

‘The importance of forging new partnerships has been given greater impetus by the vicissitudes of the pandemic, so we relish the opportunity for Chichester audiences to see the world premiere of Stephen Beresford’s new play The Southbury Child, which brings Nicholas Hytner and Alex Jennings back to Chichester for the first time since the mid-1980s, in a co-production with The Bridge Theatre.

‘We are always delighted to be able to share work made in Chichester beyond the borders of Sussex, and we’re proud to be working with our friends at Sadler’s Wells and many other

regional theatres to bring Rodgers & Hammerstein’s beloved musical South Pacific to wider audiences across the country.

‘The full Festival 2022 season will be announced next February, along with a roster of special digital and community events to mark a momentous year for our Theatre and city.’

THE TAXIDERMIST’S DAUGHTER

Adapted for the stage by Kate Mosse

A new play based on her novel

Directed by Róisín McBrinn

8 – 30 April, Festival Theatre

1912. In the isolated Blackthorn House on Sussex’s Fishbourne Marshes, Connie Gifford lives with her father. His Museum of Avian Taxidermy was once legendary, but since its closure Gifford has become a broken man, taking refuge in the bottle.

Robbed of her childhood memories by a mysterious accident, Connie is haunted by fitful glimpses of her past. A strange woman has been seen in the graveyard; and at Chichester’s Graylingwell Asylum, two female patients have, inexplicably, disappeared.

As a major storm hits the Sussex landscape, old wounds are about to be opened as one woman, intent on revenge, attempts to liberate another from the horrifying crimes of the past.

A story of retribution and justice, The Taxidermist’s Daughter is a thrilling Gothic mystery set in and around historic Chichester. This world premiere is written by Cicestrian Kate Mosse, based on her No 1 internationally best-selling novel.

Kate Mosse’s novels include The Languedoc Trilogy (Labyrinth, Sepulchre and Citadel), The Winter Ghosts and her new historical series, The Burning Chambers and The City of Tears; non-fiction includes An Extra Pair of Hands. She is Founder Director of the Women’s Prize for Fiction, Founder of the global Woman in History campaign and Visiting Professor in Contemporary Fiction & Creative Writing at the University of Chichester.

Róisín McBrinn is currently Joint Artistic Director of Clean Break; elsewhere she has directed many productions for theatres including The Abbey and Gate Theatres (Dublin), Leeds Playhouse, Sheffield Theatres, Donmar Warehouse, Bush Theatre and Sherman Theatre.

The Taxidermist’s Daughter will be designed by Paul Wills, with casting by Charlotte Sutton.

The production is sponsored by Seaward Properties

OUR GENERATION

A new play by Alecky Blythe

Directed by Daniel Evans

A co-production with the National Theatre

22 April – 14 May, Minerva Theatre

Alecky Blythe’s engrossing new verbatim play tells the stories of a generation. Created from five years of interviews with 12 young people from all four corners of the UK, Our Generation is a captivating portrait of their teenage years as they journey into adulthood.

Often too extraordinary to be fiction, this funny and moving play is for anyone who is – or has ever been – a teenager.

Daniel Evans directs this co-production with the National Theatre, which runs at the Minerva Theatre immediately following its London premiere.

The cast is Dee Ahluwalia, Joe Bolland, Anna Burnett, Anushka Chakravarti, Debbie Chazen, Gavi Singh Chera, Rachelle Diedericks, Hasan Dixon, Hélder Fernandes, Sarita Gabony, Conor Gormally, Alex Jarrett, Callum Mardy, Poppy Shepherd and Stephanie Street, who returns to Chichester where she played Diana Ingram in Quiz in 2017.

Alecky Blythe’s acclaimed verbatim musical London Road premiered at the National Theatre in 2011 and she later adapted it for the 2015 feature film. Her other work includes Little Revolution (Almeida Theatre) and The Riots: In Their Own Words for BBC2.

Our Generation will be Daniel Evans’s directorial debut at the National Theatre; as an actor, his work there included Cardiff East, Peter Pan, Troilus and Cressida, Candide and The Merchant of Venice. His Chichester productions include South Pacific, This Is My Family, Quiz and Fiddler on the Roof.

Our Generation will have set design by Vicki Mortimer, costume design by Kinnetia Isidore, video design by Akhila Krishnan, lighting design by Zoe Spurr, sound design by Paul Arditti, movement direction by Carrie-Anne Ingrouille, music composition, production & direction by DJ Walde, dramaturgy by Sebastian Born and casting by Charlotte Sutton.

THE SOUTHBURY CHILD

A new play by Stephen Beresford

Directed by Nicholas Hytner

A co-production with The Bridge Theatre

13 – 25 June, Festival Theatre

Raffish, urbane and frequently drunk, David Highland has kept a grip on his remote coastal parish through a combination of disordered charm and high-handed determination.

But when his faith impels him to take a hard line with a bereaved parishioner, he finds himself dangerously isolated from public opinion. As his own family begins to fracture and his marriage falls apart, David must face a future that threatens to extinguish not only his position in the town, but everything he stands for.

Stephen Beresford’s darkly comic new play is an exploration of family and community, the savage divisions of contemporary society and the rituals that punctuate our lives. His work includes The Last of the Haussmans at the National Theatre, an adaptation of Bergman’s Fanny & Alexander for The Old Vic and the BAFTA-winning film Pride.

Triple Olivier Award-winner Alex Jennings returns to Chichester to lead the cast. The Southbury Child reunites him with Nicholas Hytner who has previously directed him in Hymn and Cocktail Sticks, Collaborators, The Habit of Art, The Alchemist and The Winter’s Tale (all at the National Theatre) amongst others. His many other credits range from My Fair Lady to Stuff Happens and Hansard at the NT, as well as Hamlet for the RSC. His screen work includes The Crown, The Lady in the Van, The Queen, Victoria, A Very English Scandal and Small Axe: Mangrove.

Nicholas Hytner also makes a welcome return to Chichester, where he previously directed The Scarlet Pimpernel (with a cast including Alex Jennings) in 1985. Director of the National

Theatre from 2003-215, he is Co-Founder of the Bridge Theatre where his recent work includes A Midsummer Night’s Dream, Beat The Devil, Bach & Sons and the forthcoming The Book of Dust – La Belle Sauvage and Straight Line Crazy.

The production will have set designs by Mark Thompson and costume by Yvonne Milnes, with lighting by Max Narula, sound by George Dennis and casting by Robert Sterne.

Rodgers & Hammerstein’s

SOUTH PACIFIC

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Book by Oscar Hammerstein II and Joshua Logan

Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by James A. Michener

Daniel Evans’s exhilarating, critically-acclaimed Festival 2021 production of Rodgers & Hammerstein’s South Pacific will open at Manchester Opera House (16 – 23 July) before a strictly limited London season at Sadler’s Wells from 27 July – 28 August (press night: 4 August). Julian Ovenden and Gina Beck lead the cast in Manchester and at Sadler’s Wells, recreating their roles as Emile de Becque and Nellie Forbush.

The production will then tour to Dublin, Newcastle, Birmingham, Glasgow, Cardiff, Nottingham, Edinburgh, Leeds and Canterbury, with Gina Beck as Nellie and further casting to be announced.

This much-loved Tony and Pulitzer Prize-winning musical, set on a South Pacific island during World War ll, boasts one of Rodgers & Hammerstein’s most memorable scores, including songs such as Some Enchanted Evening, I’m Gonna Wash That Man Right Outa My Hair and Bali Ha’i.

The set and costume designer is Peter McKintosh, and the choreographer and movement director, Ann Yee. Musical supervision is by Nigel Lilley, with musical direction by Cat Beveridge, new orchestration by David Cullen, original Broadway orchestration by Robert Russell Bennett, lighting design by Howard Harrison, sound design by Paul Groothuis, video design by Gillian Tan, additional arrangements and Happy Talk orchestrations by Theo Jamieson, casting by Charlotte Sutton CDG and additional children’s casting by Verity Naughton CDG.

South Pacific is presented by Jamie Wilson, Jonathan Church Theatre Productions, and Gavin Kalin.

For full tour details, visit southpacificshow.com

Acclaimed Production of Rodgers & Hammerstein’s SOUTH PACIFIC To Open at Manchester Opera House Before Season at Sadler’s Wells followed by UK and Ireland Tour

JAMIE WILSON, JONATHAN CHURCH THEATRE PRODUCTIONS AND GAVIN KALIN

PRESENT

THE CHICHESTER FESTIVAL THEATRE PRODUCTION OF

RODGERS & HAMMERSTEIN’S

SOUTH PACIFIC

STARRING JULIAN OVENDEN

AND GINA BECK

TO OPEN AT THE MANCHESTER OPERA HOUSE

ON 16 JULY 2022

AHEAD OF A SEASON AT

SADLER’S WELLS, LONDON

FROM

27 JULY – 28 AUGUST 2022

BEFORE EMBARKING ON A UK AND IRELAND TOUR

Jamie Wilson, Jonathan Church Theatre Productions and Gavin Kalin are delighted to announce the critically acclaimed, landmark Chichester Festival Theatre production of RODGERS & HAMMERSTEIN’S SOUTH PACIFIC will open at Manchester Opera House on 16 July 2022 ahead of a season at Sadler’s Wells, London from 27 July to 28 August 2022 (with a press night on 4 August 2022), before embarking on a UK and Ireland Tour visiting Dublin, Newcastle, Birmingham, Glasgow, Cardiff, Nottingham, Edinburgh, Leeds and Canterbury. Reprising their roles as ‘Emile de Becque’ and ‘Ensign Nellie Forbush’ in Manchester and at Sadler’s Wells will be West End, Broadway and screen star Julian Ovenden and West End leading lady Gina Beck. Further casting to be announced. www.southpacificshow.com

Credit: Johan Persson

Following its critically acclaimed sell-out run at Chichester Festival Theatre this summer, Jamie Wilson and Jonathan Church said, “After experiencing the buzz of the auditorium in Chichester, along with the rapturous applause and standing-ovations, we knew that this production of SOUTH PACIFIC just had to have a further life so that the magic of it could be enjoyed by everyone.”

Daniel Evans and Kathy Bourne, Artistic and Executive Directors of Chichester Festival Theatre respectively, added: ‘We are always delighted to be able to share work made in Chichester beyond the borders of Sussex, and we’re proud to be working with our friends at Sadler’s Wells and many other regional theatres to bring Rodgers & Hammerstein’s beloved musical to wider audiences across the country.’

This powerful love story, set on a South Pacific Island during World War ll is brought thrillingly to life with a sensational cast of over thirty and a full orchestra in this epic new five-star production directed by Chichester Festival Theatre’s Artistic Director Daniel EvansSOUTH PACIFIC boasts one of Rodgers & Hammersteins most memorable scores, and this much-loved Tony and Pulitzer Prize-winning musical features songs such as Some Enchanted Evening”, “I’m Gonna Wash That Man Right Outa My Hair” and “Bali Ha’i”.

Julian Ovenden is perhaps best known for playing ‘Charles Blake’ in ITV’s Downton Abbey. He is also an international recording artist and has starred on Broadway and in the West End. His West End credits include All About Eve at the Noel Coward Theatre, Marguerite at the Theatre Royal Haymarket, The Treatment at the Almeida Theatre, and My Night With Reg, Merrily We Roll Along and Grand Hotel at the Donmar Warehouse. On Broadway he has been seen in Showboat with the New York Philharmonic at the Lincoln Centre and Butley at the Booth Theatre. He has also performed at several of the BBC Proms and played Captain Georg von Trapp in The Sound of Music Live on ITV.

Gina Beck’s many West End theatre credits include playing ‘Miss Honey’ in Matilda at the Cambridge Theatre, ‘Magnolia’ in Show Boat at the New London Theatre, ‘Glinda’ in Wicked at the Apollo Victoria, ‘Christine Daae’ in The Phantom of the Opera at Her Majesty’s Theatre and ‘Cosette’ in Les Misérables at the Queen’s Theatre. Her television credits include Doctors, The Return of Sherlock Holmes and The Crush. Her film credits include Les Misérables.

SOUTH PACIFIC is directed by Daniel Evans, with set and costume design by Peter McKintosh, and choreography and movement direction from Ann Yee. The Musical Supervisor is Nigel Lilley, Musical Director is Cat Beveridge and new orchestration is by David Cullen, with original Broadway orchestration by Robert Russell Bennett. The lighting designer is Howard Harrison, sound designer is Paul Groothuis, video designer is Gillian Tan, additional arrangements and Happy Talk orchestration is by Theo Jamieson, casting director is Charlotte Sutton CDG and additional children’s casting by Verity Naughton.

SOUTH PACIFIC is produced by Jamie Wilson, Jonathan Church Theatre Productions and Gavin Kalin.

LISTINGS

www.southpacificshow.com

SATURDAY 16 JULY – SATURDAY 23 JULY 2022

Manchester Opera House

www.atgtickets.com/venues/opera-house-manchester

ON SALE 12 NOVEMBER 2021

Julian Ovenden will play Emile de Becque

Gina Beck will play Ensign Nellie Forbush

WEDNESDAY 27 JULY – SUNDAY 28 AUGUST 2022

Sadler’s Wells, London

www.sadlerswells.com

ON SALE 29 NOVEMBER 2021

Julian Ovenden will play Emile de Becque

Gina Beck will play Ensign Nellie Forbush

TUESDAY 13 SEPTEMBER – SATURDAY 17 SEPTEMBER 2022

Bord Gais Theatre, Dublin

www.bordgaisenergytheatre.ie

ON SALE 24 NOVEMBER 2021

Gina Beck will play Ensign Nellie Forbush

TUESDAY 20 SEPTEMBER – SATURDAY 24 SEPTEMBER 2022

Newcastle Theatre Royal

www.theatreroyal.co.uk

ON SALE 9 DECEMBER 2021

Gina Beck will play Ensign Nellie Forbush

TUESDAY 27 SEPTEMBER – SATURDAY  1 OCTOBER 2022

The Alexandra, Birmingham

https://www.atgtickets.com/venues/the-alexandra-theatre-birmingham

ON SALE 12 NOVEMBER 2021

Gina Beck will play Ensign Nellie Forbush

TUESDAY 4 OCTOBER – SATURDAY 8 OCTOBER 2022

Theatre Royal Glasgow

https://www.atgtickets.com/venues/theatre-royal-glasgow

ON SALE 12 NOVEMBER 2021

Gina Beck will play Ensign Nellie Forbush

TUESDAY 11 OCTOBER – SATURDAY 15 OCTOBER 2022

Wales Millennium Centre, Cardiff

www.wmc.org.uk

ON SALE 19 NOVEMBER 2021

Gina Beck will play Ensign Nellie Forbush

TUESDAY 18 OCTOBER – SATURDAY 22 OCTOBER 2022

Theatre Royal and Royal Concert Hall Nottingham

www.trch.co.uk

ON SALE 18 NOVEMBER 2021

Gina Beck will play Ensign Nellie Forbush

TUESDAY 25 OCTOBER – SATURDAY 29 OCTOBER 2022

Festival Theatre, Edinburgh

www.capitaltheatres.com

ON SALE NOW

Gina Beck will play Ensign Nellie Forbush

TUESDAY 1 NOVEMBER – SATURDAY 5 NOVEMBER 2022

Leeds Grand Theatre

www.leedsheritagetheatres.com

ON SALE SOON

Gina Beck will play Ensign Nellie Forbush

TUESDAY 15 NOVEMBER – SATURDAY 19 NOVEMBER 2022

The Marlow, Canterbury

www.marlowetheatre.com

ON SALE 29 NOVEMBER 2021

Gina Beck will play Ensign Nellie Forbush

What the Ladybird Heard Review

The Lyceum Theatre, Sheffield – until 12th November 2021

Reviewed by Sophie Dodworth

4****

Anticipation awaits with the young audience while sitting ready for the action to start on stage. The set is bright, youthful and almost smiles at you when walking into the auditorium. It is friendly – a colourful, inviting farmyard, with the sun beaming down over it.

This production follows a story based on the book by Julia Donaldson, illustrated by Lydia Monks. It’s a very sweet tale based around the farm and the ladybird, which they are struggling to find. There are also some ‘baddies’ on stage in the form of Lanky Len (James Mateo-Salt) and Hefty Hugh (Matthew McPherson), they hatch a plan to steal the prize cow. The apparent adding of a theatre usher to the stage is a nice touch and adds some comedy early on to the tale. Raymond (Mateo-Salt) the ‘usher’ is volunteered up and stays on until the very end.

The cast of 4 delivered the story with the energy the show required and were all able to connect with the children in the audience. The farmer (Roddy Lynch) has such a welcoming, fatherly feel to him! They all suited their roles and you really bought in to their characters. McPherson and Nikita Johal (Lily) really stood out; they had that extra sparkle and charisma, not to mention fantastic musical talents in the form of Nikitas voice and McPhersons guitar playing.

Music was played by all the cast in one way or another and was a great ingredient to the mix. It is so inspiring to see cast members so multi-faceted. The songs were catchy and well-written, leaving children singing as they left the theatre (and in the car on the way home!)

A solid 55 minutes of entertainment. It really is a fun packed, mesmerising show for the little people.

Scream Phone Review

Mill Studio, Guildford – 10th November 2021

Reviewed by Antonia Hebbert

4****

On a dank, dark November night, this show was a blast of bright, sunny colour. Three girls are on a sleepover, cue cute PJs, pillow fights and lots of talk about boys. But eek! There’s a sinister caller on the line, and things start to get, like, really weird. Not horribly weird though, because Scream Phone is a singing and dancing romp through 1980s music, with songs arranged by Martin Higgins, and performed with great energy and style by Natasha Granger, Kerrie Thomason and Alexandra Lewis as the three besties. They are respectively Melody, the ‘pretty’ one, Janice the dim would-be sex fiend, and Stacey, who wears specs and loves math. Yes, it’s full of cliches and daft jokes, and it’s lots of fun.

Written by Granger and Thomason, it’s based on the board game Dream Phone (which has passed me by, but involves secret admirers and a big phone), with a horror twist. It’s exceedingly silly and quite rude in places, and is the perfect show for an intimate space like the Mill Studio. And it’s just an hour long. The director is Tom Parry.

The Choir of Man review

Arts Theatre, London – until 13 February 2021

Reviewed by Alun Hood

3***

Curtain Call

Big burly men who sing like angels while dispensing free beer….what’s not to love, right?! It isn’t hard to fathom the appeal of The Choir Of Man, which has, pandemic notwithstanding, triumphed at festivals, and in the States and Australia, since it’s 2017 debut on the Edinburgh Fringe, but is only now making it’s West End debut: the term “crowd pleaser” was coined for shows such as this.

Since the economics of running a production with a cast of nine and a band of four presumably couldn’t be made to work in an actual pub, which is where this raucous melange of jollity, sentimentality, classic pop/rock numbers and audience participation truly belongs, the producers have alighted on the down-at-heel Arts Theatre. This does feel like the next most appropriate venue, with it’s sticky floors and rickety seating, and designer Oli Townsend has gone to town blurring the line between the fictional Jungle Pub of the show and the auditorium: photos, hung up coats and hats plus other pubby paraphernalia line the walls of the Stalls. If the rough-round-the-edges exuberance of Nick Doodson’s production sometimes feels a bit hemmed in on a traditional stage, the sheer talent and bonhomie of the cast of make up for it.

The show itself is like a mash-up of Tap Dogs (the stage floor and many of the tables take a hell of a pounding, thanks to Freddie Huddleston’s rambunctious choreography) and Once (complete with onstage working bar but without the plot), with all of the nine male “choir” members having specific identities, although they are too sketchily introduced to make much impact. Lengthy poetic monologues, celebrating the camaraderie of pub life or mourning the loss of welcoming spaces for the whole populace to elitist urban re-development, are beautifully performed and penned by Ben Norris, but threaten to extend the novel evening beyond it’s natural length.

The singing and instrumental playing (Jack Blume is the musical supervisor, orchestrator and vocal arranger) are magnificent however, although the muddy sound design means that the lyrics are barely comprehensible most of the time. That said, most people will already know the words to ‘The Impossible Dream’, The Proclaimer’s ‘500 Miles’, Queen’s ‘Somebody To Love’ or Sia’s ‘Chandelier’ (the song stack is nothing if not eclectic).

Personally, I enjoyed the few lyrical moments the most: there’s a stunningly performed (by Miles Anthony Daley) and staged version of Adele’s ‘Hello’ which sees the pub loner contemplate a lost love while his oblivious mates react in slow-mo to a football match on TV (all while exquisitely delivering multiple part harmonies, because that’s how talented these blokes are).

The whole cast are a likeable, prodigiously talented, testosterone-fuelled bunch and, if all the male posturing gets a bit much at times, the virtuosity of the singing and energy of the performances are pretty hard to resist. The syrupy sentimentality and extensive audience baiting left me cold, but most of the crowd were loving every minute of it. This is also that rare West End show that feels as though it is aimed squarely at the cis straight male market. It’s going to be a massive hit. Don’t expect the Arts Theatre to be looking for a new tenant for at least three years.

Private Lives Review

 Richmond Theatre – until 13th November  2021

Reviewed by Carly Burlinge  

4**** 

Noel Cowards classic comedy Private Lives directed by Christopher Luscombe is the story of Elyot (Nigel Havers) and Amanda (Patricia Hodge) who find themselves both on their honeymoon with new partners but were once married to one another! They happen to end up in the same hotel on the French coast and when realisation hits them that only an adjoining balcony parts them, all panic starts to breaks loose. They begin to make up all different excuses to their new married partners Victor (Dugald Bruce-Lockhart) and Sibyl (Natalie Walter) to try and get the hell out of there. It seems any excuses but the truth is what arises in order to cause any sort of suspicion. Although this only backfire causing both new couples only to argue and be abrupt with one another, leaving Elyot and Amanda feeling frustrated and now sharing cocktails on their balcony wondering how they both got to this point in their lives and are they both really happy. They both start reminiscing after a piece of music sets them off and memories flood in. Have they really made the right decisions in life and what next steps will their journey entail? 

Nigel Havers – Elyot plays his part well playing it safe in his second marriage it’s just comfortable and easy but there’s not a lot of passion within his new relationship. Hes older so he can take charge have a somewhat easy life. He plays it with charm as well as flipping the coin and being outraged, wound up and unreasonable still he had the audience laughing on many occasions. 

Patricia Hodge – Amanda plays a woman of the world she certainly knows what she wants but also regrets many choices that she’s made. Shes thrilling to watch with a mix of sophistication against the need to be wanted. Together they had a fantastic connection on stage and gave a wonderful performance. 

The set was a beautiful French hotel very cleverly designed with adjoining balconies using the lighting to reflect as a sunny day looking over the French coast with the sounds of the sea lapping in the distance giving it a brilliant affect. 

Private Lives offers a little bit of everything an absorbed storyline, drama, romance, chemistry and how love can feel so real but if you take a harder look maybe everything is not always as it seems!!! 

The Play That Goes Wrong Review

Festival Theatre, Malvern – until 13th November 2021

Reviewed by Courie Amado Juneau

5*****

Not just a smash, a totally joyous car crash!

For anyone not having seen any of the live shows by Mischief, nor the associated television series The Goes Wrong Show, this show is really a serious play attempting to be staged in earnest whilst a good old fashioned farce ensues “unintentionally” around it. The plot centres around the fictional Cornley Polytechnic Drama Society’s attempt to stage Murder At Haversham Manor but, predictably enough (as evidenced in the title), things start to unravel almost immediately (if not sooner) with hilarious consequences as the actors try to hold it all together with more (or frequently less) degrees of success.

Without giving too much away, the opening is not your traditional opening with lights dimmed and curtain raised. The audience are engaged as part of the action even before the on stage play has “officially” gotten underway, so my advice would be to arrive promptly so you don’t miss the actual start of the piece. I found myself laughing so hard that I could have done with an intermission to recover just from the introduction!

There is a great deal of audience participation throughout the evening, with the interplay between the company onstage (and off) and the audience being key to the ongoing joke. There also appeared to be some genuine improvisation from the cast following some rather pantoesque interjections from the audience at several points – something which the cast genuinely seemed to revel in.

Like all great comedy, they make it look easy but masterful comedic timing was displayed impeccably throughout, showing both a company which is very much in command of the material and also having obvious enormous fun amid the chaos. In fact, something so chaotic looking can only truly succeed by actors who have rehearsed the material to perfection since if they were truly as amateur as they are portraying, the jokes, asides and slapstick would not work anywhere near as well.

All of the cast had their moments to shine in this most ensemble of pieces, including the set which acts as an extra player for much of the time. Although all were brilliant, Max Bennett (who plays Cecil Haversham and Arthur the Gardener) deserves an extra special mention. He very much reminded me of a young Python era Michael Palin, especially in his mannerisms and cheeky smile. A tour de force of over acting!

This is a play that I could very happily see again and again and I am sure I would still find new things to savour that I had missed on previous visits due to being doubled over in laughter. Thick and fast doesn’t begin to cover the speed with which the jokes hit you (especially in the climactic scene) and it is all the better for it.

Just what the doctor ordered after the year we have endured. An absolute triumph!

The Offing Review

Live Theatre, Newcastle – until Saturday 27th November 2021

Reviewed by Abigail Searcaigh

5*****

offing

noun

1. the more distant part of the sea in view.

Shortly after World War Two young Robert Appleyard decides to set off from his home in Durham on an adventure to ‘see the sea’ – but it doesn’t take long for him to be waylaid by the eccentric and enigmatic Dolce Piper at her home in Robin Hood’s Bay. There he slowly unravels the mystery of Dolce’s past, as well as discovering his own hidden potential. Set in the Northeast of England during a period of continuing rations and fear; The Offing is a charming, sad and, occasionally, terrifying tale that deals with themes of friendship, love, loss, and intolerance.

All three of the actors were phenomenal in their roles and it was impossible to identify one alone as a ‘show stealer’. James Gladdon had you believing that he was the earnest and sweet 16-year-old Robert searching for adventure; Cate Hamer’s portrayal of Dolce was both heart-warming and heart-breaking; and Ingvild Lakou’s Romy, the brilliant and troubled poet, was simultaneously tragic and frightening – ethereal and painfully human.

The simple, rustic set really does feel like an old home near the sea, and the actors’ use of mime and props help transport you to other areas along the Yorkshire coast. The set and the lighting are skilfully utilised in such a way to provide some genuinely spooky moments that would have made this a great Halloween show. If you dislike horror, don’t worry, the ‘fearsome’ moments are short, and this play is much more uplifting than any synopsis would make it appear (despite its tear-jerking moments). Ultimately it is a play of joy and laughter, with moments of fear and sadness for both its characters and for you, the audience.

If you like historical tales with a supernatural edge then The Offing is the play for you, and even if that doesn’t sound up your street I’d still give it a shot; I’m certain it’ll win you over with it’s charm and sincerity.

The Good Life Review

Cambridge Arts Theatre, Cambridge – until November 13th 2021

Reviewed by Steph Lott

3***

When I was a child growing up in the 1970s, “The Good Life” was one of my favourite shows. As children, my brother and I loved Tom and Barbara, suburban eco warriors, and their pompous yet strangely endearing neighbours, Margot and Jerry Leadbetter. The gentle humour of the show had us in stitches all those years ago and so I was curious to know how it would translate to the stage and to a 2021 audience.

This production by Jeremy Sands is based on the classic television series by John Esmonde and Bob Larbey. Rufus Hound stars as Tom Good, with Sally Tatum as Barbara Good, his wife and Preeya Kalidas and Dominic Rowan as Margo and Jerry Leadbetter. They are supported by Nigel Betts and Tessa Churchard in various roles (more about them later!)

Like the television series, it starts with Tom and Barbara’s decision to leave their old life behind and become self-sufficient. However, this is where the play, for me, started to go wrong. There was quite a bit of time in the first act explaining what led to this decision. We then jumped to them suddenly having abandoned their old life. The overall narrative arch and development of the story was absent in this adaptation. The audience were presented with a series of set pieces, which, whilst some were amusing, did not ultimately result in an entertaining comedy.

There was also an odd attempt to dive into deeper emotional issues, which I don’t believe the original tv series did (I do admit that I might have missed this having watched the series when I was 10!). Neither couple had children. Margot was glad about this. Barbara was broody. Jerry was concerned about his future employment. This was all a bit flat.

The best bits for me though were the cameos for supporting cast members Nigel Betts and Tessa Churchard. They both turned out excellent comic turns variously as a doctor, a pig man, a milkman, a cockney copper, and Jerry’s boss Sir and his wife. For me their performances were a comic highlight, along with Preeya Kalidas’ performance as Margo, and Dominic Rowan as Jerry, providing a lovely contrast as her husband. I also thought that set and costume designer Michael Taylor’s revolving scenery was ingenious and cleverly captured the contrast between the Goods’ blue country-style kitchen – complete with Aga and pine units – and the smarter floral wallpaper, expensive dining table and gleaming silver in the Leadbetter household. The cast have wonderful 70s gear: Margo’s in a wide-legged pantsuit and dangly earrings, Jerry sports a green velvet jacket and bow tie, Barbara wears dungarees and homemade green jumper, and Tom’s in jeans and a cap. I also noticed Barbara’s mittens, dungarees and boiler suits which I remembered fondly from the series.

I kept wondering what someone would think of this production if they hadn’t seen the original. I kept flicking to and fro between trying to experience this production as if I had never seen the tv series, and comparing it to the original series and characters which I loved so much as a child. It didn’t matter. Whichever way I tried to view it, I just didn’t warm to it.

9 to 5 The Musical Review

Empire Theatre, Sunderland – until 13th November 2021

Reviewed by Sandra Little

5*****

This production, which is an adaptation from the 1980s film of the same name, opened to a full house at Sunderland Empire.The music and lyrics were written by Dolly Parton and the show begins with Dolly appearing as narrator from the centre of a huge gold 9 to 5 clock. We are soon introduced to three of the main characters and they are Violet, played by Louise Redknapp, Judy, played by Vivian Panka and Doralee, played by Stephanie Chandos. The other main character is Franklin Hart Junior, played by Sean Needham

The musical is set in an office in the late 1970s where Franklin Hart’s behaviour towards female staff is sexist, egotistical and misogynist in the extreme! We learn that Violet is a single mum keen for a long promised promotion but is often overlooked. Judy is a new member of staff with no skills and no confidence. She has spent her life caring for her husband and family and her husband has recently left her for a much younger lady. Meanwhile Doralee is happily married but desperate to be friends with everyone and always keen to please. She frequently has to spurn the sexual advances of her boss Franklin Hart.

As is true of many musicals the plot is quite exaggerated in places and includes rat poison in the boss’s coffee and a scene where the boss is trussed up and suspended from the ceiling in his own bondage apparel! While he’s trussed up the three main female characters take charge and change the whole ethos of the office. They introduce a crèche, flexible working, hour long lunch breaks and rehab for one member of staff. Eventually the increased productivity is recognised by the Chairman of the Board and Violet is promoted to CEO. Meanwhile Franklin Hart is sent to work in Bolivia!

There are numerous elements of comedy throughout the show and several sexual references and innuendos.. Franklin Hart is played in the style of a pantomime villain for much of the show which makes these sexual references quite funny, rather than offensive. However intertwined with the comedy and fun and excitement of the high energy song and dance routines some more serious underlying feminist issues faced by women in the 1980s are raised. This musical is a production of its time and clearly celebrates the success of women however there are some issues raised, such as equal pay, which continue to have significance for some women today.

The set for this production is not lavish but does change quite frequently. Some of the women’s costumes captured perfectly the glamorous power dressing styles of the 80s. There were some great vocals in this production, particularly from Judy played by Vivian Panka and it’s definitely a fun, feel good experience which was given a standing ovation by much of the audience at Sunderland Empire.