Barbican Theatre, London – until 7 March 2020

Reviewed by Antonia Hebbert

5*****

Multiple murders, dubious desires, a head in a box, and misuse of corpses – welcome to Thomas Middleton’s 1606 revenge drama. And benvenuto to this co-production by Cheek by Jowl and Piccolo Theatre of Milan, which is all in Italian (translation by Stefano Massini). It is much less daunting than you might think – the English text is shown in surtitles above the stage, and the stylised design and sharp characterisation make it gripping. As does the somewhat colourful plot…

The central character Vindice (meaning ‘revenger’) wants to avenge the death of his fiance, who was poisoned by an elderly duke. Vindice gets his opening when the duke’s oldest son employs him to help seduce a girl who turns out to be Vindice’s sister. The duke’s numerous sons and stepsons are jostling to succeed him, and his illegitimate son is having an affair with the duchess. Once the duke is dead, the scheming and counterscheming brothers turn on each other, and what with one thing and another, the bodycount by the end is quite high. The characters then all leap back into life to leave the stage as they began – in a dancing procession to a tune that will stick in your head, and also drills home the message that greed, corruption, ambition and revenge itself are a merry-go-round that goes on and on.

As Middleton gave his characters names such as Supervacuo and Ambitioso, it looks very much as though he was sending up revenge drama as well as revelling in its extremes. That’s the way it’s played in this production – it’s bright and funny as well as extremely gory. There is a particularly gruesome murder scene, involving a poisoned death’s head as seduction bait, and an excruciatingly comical tea-party, in which Vindice tests his mother’s moral fibre and much bread-and-jam is eaten. The set (designer Nick Ormerod) is a series of doors (blood red, naturally) which open to reveal huge back projections – a stained glass window, Renaissance paintings, and sometimes black-and-white film footage of the events on stage, which has a rather eerie effect.

It’s played in modern dress – all those brothers are wearing natty suits, but are very distinct characters thanks to their riveting physical acting and Declan Donnellan’s inventive direction. Fausto Cabra plays Vindice with tremendous energy; Pia Lanciotti does a notable double turn as both seductive duchess and the pious mother who is tempted to pimp her own daughter. The Italian is gorgeous to listen to, and quite soon you feel as if you really are understanding the words even if you’re actually reading them above the stage.

CHARLIE CONDOU, KAMARI ROMEO AND KIM TATUM STAR IN UK PREMIERE OF STRAIGHT WHITE MEN BY YOUNG JEAN LEE

Directed by Steven Kunis
Produced by David Adkin and Panorama Productions

Southwark Playhouse, The Little, 27 May to 20 June

STRAIGHT WHITE MEN by Korean American playwright Young Jean Lee is a hilarious and revealing play about the most unoppressed of this world’s peoples. 

They are feared, envied, occasionally attacked and derided. But pitied?  When personal identity is essential and privilege is a problem, what is a straight white man to do?   

Young Jean Lee – called ‘hands down, the most adventurous playwright of her generation’ by the New York Times – is a playwright whose work revels in subverting stereotypes.   STRAIGHT WHITE MEN takes place over the Christmas holidays, when three brothers assemble at the family home, to celebrate the season with their widowed father.  The youngest, Drew, is an award-winning fiction writer. The middle boy, Jake is a hotshot banker, but the oldest, Matt, PLAYED BY Charlie Condou, is burdened by student debt and an unexplained failure to thrive.

Games are played.   Chinese food is ordered.  Brotherly pranks and trashtalk distract them from the issue that threatens to ruin the testosterone-fuelled, boys-will-be-boys celebration.  In this raucous, surprising and fearless work, Lee takes an outside look at the traditional father/son narrative, shedding new light on that theatrical storyline we have come to know all too well. 

But, and here is the twist, the people in charge of proceedings are neither white, nor straight, nor male…

Charlie Condou is an actor, columnist and LGBTQ+ rights activist best known for playing Marcus Dent in the ITV soap opera Coronation Street and Ben Sherwood in the BBC hospital drama Holby City. Theatre credits include: The Crucible (Sell A Door), Next Fall (Southwark Playhouse), Dying for It (The Almeida Theatre), The Changeling (Southwark Playhouse), Shopping & F***ing (No 1. Tour), Cracked (Hampstead Theatre) and After The Rain (Gate Theatre).

TV credits include: ‘Holby City’, ‘Unforgotten’, ‘Apocalype Slough’, ‘Coronation Street’, ‘The Impressionists’ and ‘Nathan Barley’ amongst others.Film credits include: ‘Good’, ‘Fred Claus’, ‘Charlotte Gray’, ‘Dead Babies’, ‘Sideswipe’, ‘Judge Dredd’, ’La Bas’ and ‘To Kill A Priest’.

Charlie says: “I’m really pleased to be working on the fantastic “Straight White Men”. I feel like masculinity is in a bit of a crisis at the moment and this play explores the effects of white male privilege in a beautifully delicate way”.

Also in the cast are Kamari Romeo and Kim Tatum. Kamari Romeo has worked extensively in immersive and experimental theatre. He made his screen debut in ‘Silent Witness’this year and his recent theatre credits include: Summer In London (Theatre Royal Stratford East), The Bear/The Proposal (Young Vic) and Elemental (Bush Theatre). Kim Tatum is the director and founder of Mzz Kimberley’s Life, highlighting trans performers. Her recent theatre credits include: Closets The Musical (Hope Mill Theatre) and Summer in London (Theatre Royal Stratford East). She has also appeared in EastEnders and Cold Feet. She is a regular on the main stage for London Gay Pride and is Patron of CliniQ.

Young Jean Lee has been hailed as ‘one of the best experimental playwrights in America’ by Time Out New York. She has written and directed nine shows in New York and has toured her work to over thirty cities around the world. Lee is currently under commission from Plan B/Paramount Pictures, Lincoln Center Theater, Playwrights Horizons, and Oregon Shakespeare Festival. Lee is the recipient of two OBIE Awards, the Festival Prize of the Zürcher Theater Spektakel, a 2010 Prize in Literature from the American Academy of Arts & Letters, a 2011 Guggenheim Fellowship and a Doris Duke Award.

Steven Kunis is Greek-American director for theatre and opera, currently based in London. He is the founding artistic director of Panorama Productions, a new company committed to international collaboration through the arts of theatre and music. His credits include: Refugee Orchestra Project UK Launch (LSO St Luke’s); Afterglow (Waterloo East Theatre); #Mr Simon Said (Tristan Bates Theatre) and The Demon (Cutler Majestic Theatre, Boston). Steven has received several recognitions for his theatrical work, including a nomination for Best Director at the Off West End Theatre Awards.

Choreography is by Annie-Lunnette Deakin-Foster whose recent work includes: 

The Bee in Me by Ronald Schimmelpfennig dir. by Rachel Bagshaw; You Stupid Darkness by Sam Steiner dir. James Grieve at Southwark Playhouse; The Last Noel by Chris Bush dir. by Jonathan Humphries; Pavilion by Emily White dir. by Tamara Harvey at Theatr Clwyd and Chiaroscuro by Jackie Kay dir. by Lynette Linton at The Bush.

Set and costume design is by Suzu Sakai. Recent productions include: Bakersfield Mist (New Century Theater); Metamorphoses (Smith College); Alexander’s Feast (Harvard Early Music Society); The Imperial Express (Beijing Millennium Monument) and productions at the Fresh Fruits Festival and the Thespis Theater Festival. 

Lighting Design is by Jose Tevar who has recently designed The High Table and Chiaroscuro (The Bush Theatre). Other work includes productions for National Dance Company Wales, Middle Child and Lost in Translation Circus.

Casting is by Lucy Casson. Further casting will be announced shortly.

LISTINGS INFORMATION

Southwark Playhouse, 77-85 Newington Causeway, London, SE1 6BD

Dates: 27 May to 20 June

Performance Schedule:

Monday – Saturday 20:00, matinees Tuesdays and Saturdays at 15:30

Previews from Wednesday 27 May

Ticket info:

£14 previews / £22 standard / £18 concessions / £7-£12 PAYG members

Bookings:www.southwarkplayhouse.co.uk

FORTUNATELY WITH FI & JANE

LIVE AT STORYHOUSE THIS SPRING

Experience smash-hit podcast with live performance

Make a date on Wednesday 25 March 2020

Smash-hit BBC Radio 4 podcast Fortunately comes to Storyhouse this Spring for a live performance from the broadcasters behind the show.

Broadcasters Jane Garvey and Fi Glover’s smash-hit podcast has a loyal cult following owing to its frank, razor sharp style and wit.

Now fans can enjoy the experience first-hand with Fortunately…With Fi And Jane: Live – the live show spin-off experience they no one knew they wanted, until now.

Fortunately…With Fi And Jane: Live comes to Storyhouse for one night only on Wednesday 25 March 2020. Tickets are on sale now.

Each week, Jane and Fi share musings on their lives, from pet deaths and garden hose repairs, to the trouble with HRT patches. It was once described as “surprisingly successful” by a BBC middle management figure in ankle-swinging chinos.

With 238 years of broadcasting experience between them, Fi and Jane guarantee you an evening of behind-the-scenes revelations and inconsequential, but strangely compelling, chat about living some of their lives behind the microphone.

The indistinguishable pair will be joined by a very special guest at each venue, and together they promise to take mid-life by its elasticated waist and give it a brisk going over with a stiff brush.

At a time of uncertainty, what you need is the wisdom and experience of two women who haven’t got a clue what’s happening either. If they can find their way to the theatre, it promises to be an evening of mildly entertaining stuff.

Please note: This event may be recorded for archival and promotional purposes.

Tickets for Fortunately…With Fi And Jane: Live are priced from £26.50. Each ticket is subject to a £1.50 booking fee.

LISTING INFORMATION

FORTUNATELY…WITH FI AND JANE: LIVE

Wednesday 25 March 2020

Tickets from £26.50 – each ticket is subject to a £1.50 booking fee

STORYHOUSE

Hunter Street, Chester, CH1 2AR

HOW TO BOOK

Online:            Visit www.storyhouse.com

By Phone:       Call 01244 409 113

In person:       Visit the Ticket Kiosks at Storyhouse, Hunter Street, Chester, CH1 2AR

Website:         www.storyhouse.com

Facebook:       www.facebook.com/storyhouselive/

Twitter:           @StoryhouseLive

Finn Anderson announced as ‘The Cameron Mackintosh Resident Composer’ 

Musical Theatre Network, Mercury Musical Developments, The Lowry, & Hope Mill Theatre are delighted to announce that Finn Anderson will be The Cameron Mackintosh Resident Composer for a co-hosted residency at The Lowry and Hope Mill Theatre, commencing April 2020.

Mercury Musical Developments and Musical Theatre Network run the Cameron Mackintosh Resident Composer scheme, which is made possible by funding from the Cameron Mackintosh Foundation. Through this scheme musical theatre composers are paired with a theatre venue (or in this case two, co-hosting the residency), and given the opportunity to be involved in a range of work which could include underscoring plays, setting text to music or creating their own new work. Recent venues have included the Royal Shakespeare Company, Dundee Rep, Lyric Hammersmith, Leeds Playhouse, Curve, and New Wolsey Theatre. Finn Anderson is the second of five placements that MTN and MMD will be facilitating over 2018-21. 

Claire Symonds, Senior Producer: Artist Development at The Lowry, said:  “We are excited to be working with Finn Anderson through this new partnership. The Lowry is delighted to come together with Hope Mill Theatre to support a Cameron Macintosh Resident Composer and it demonstrates the spirit of collaboration and innovation that we hold dear in Greater Manchester. With Hope Mill Theatre’s flair for producing and reimagining musicals and our passion for artist development and new British musical theatre, we look forward to offering Finn an extraordinary opportunity to develop.” 

Finn Anderson is a Scottish musical theatre writer, composer and singer-songwriter working throughout the UK and internationally. 

Anderson has co-created four award-nominated musicals as a composer, lyricist and bookwriter. Musical theatre work includes Islander (Paines Plough Roundabout/Southwark Playhouse, Musical Theatre Review ‘Best Musical’ Winner), City of Dreams (Royal Conservatoire of Scotland/American Music Theatre Project), Come Hell or High Water (Citizens Theatre), Streets (Hackney Empire/The Cockpit, ‘Best New Musial’ nominee, Off West End Awards), Alba (Edinburgh Fringe, MTN Award nominee), Wolf (Tristan Bates). Finn is currently developing The Bow Maker in collaboration with acclaimed Brazilian folk musician Siba. Supported by National Theatre of Scotland, Dundee Rep and British Council, The Bow Maker was presented at BEAM 2018. He was a finalist in the Stiles & Drewe Best New Song Prize 2019, and is currently undertaking a writing residency at the American Music Theatre Project in Chicago. 

Music for theatre and performance includes A Christmas Carol (Barn Theatre), Catch Me (Upswing), A Night To Remember, One More Sleep ’til Christmas (Citizens Theatre), Look Up, Moonfall (Hikapee Circus Theatre/Jacksons Lane), Jellyfish (Intrepid/International Youth Arts Festival), Buckets, The Birds and Southside Stories (Citizens Young Co/Chrysalis Festival), Fandom and Now or Never (BYMT), Forbidden (Scottish Youth Theatre), Cat Loud’s Big Night In (Edinburgh Fringe/UK Tour), The Iguanodon Queen (Bush Theatre), Slingshot (Park Theatre), Foreplay (The Cockpit).

Finn’s debut full-length album ‘Until The Light’ was released in June 2019. He has worked with some of the country’s top folk and jazz musicians, and toured throughout the UK and USA. He is part of LGBT+ Scottish folk music collective Bogha-Frois, performing at Glasgow Royal Concert Hall for Celtic Connections Festival 2019 and 2020.

Finn Anderson, Composer, said: “I feel so privileged to have been selected for this year’s Cameron Mackintosh Resident Composer Scheme, and to work with two of Manchester’s most vibrant venues over the next year on a diverse range of projects and opportunities. It is such an exciting time for new musicals in the UK and both of these venues show a strong commitment to the art form, so I’m certain I’ll learn a huge amount during my time as Resident Composer and will leave with new skills, networks and understanding of how to progress in my musical theatre career. I am very grateful to The Lowry, Hope Mill Theatre, Mercury Musial Developments and Musical Theatre Network for this fantastic opportunity and for their confidence in my work.”  

Adam Blanshay Productions and Nicolas Talar present
The Birmingham Repertory Theatre Production of

WHAT’S IN A NAME?

BY MATTHEW DELAPORTE & ALEXANDRE DE LA PATELLIÈRE
ADAPTED & DIRECTED BY JEREMY SAMS

• WHAT’S IN A NAME? ANNOUNCES FULL UK TOUR CAST AHEAD OF OPENING IN BIRMINGHAM

• EMMA CARTER JOINS JOE THOMAS, BO PORAJ, LOUISE MARWOOD AND ALEX GAUMOND TO STAR IN THE FEROCIOUS COMEDY, ADAPTED AND DIRECTED BY JEREMY SAMS

• INTERNATIONALLY ACCLAIMED BIRMINGHAM REPERTORY THEATRE PRODUCTION OPENS AT THE ALEXANDRA THEATRE ON 11 MARCH 2020, THEN VISITS LEICESTER, BATH, POOLE, BRADFORD, BRIGHTON AND BROMLEY

Adam Blanshay Productions is pleased to announce that Emma Carter (Temple) will complete the cast of the UK Tour of international hit comedy What’s In A Name?, adapted and directed by Jeremy Sams from the award-winning French film and stage sensation, Le Prènom, by Matthew Delaporte and Alexandre de La Patellière.

The ferocious comedy has garnered critical acclaim from across the country since first embarking in the autumn earlier this year, with praise in particular for the cast who will be returning in the new year; Joe Thomas (The Inbetweeners, Fresh Meat), Bo Poraj (Miranda, Musketeers),Louise Marwood (Emmerdale) and Alex Gaumond (Company, Dirty Rotten Scoundrels, Matilda).

What’s In A Name? hilariously captures a particularly awkward family dinner party. The witty and razor-sharpproduction will return to Birmingham, where audiences will have a second opportunity to catch the play after it first opened at the Birmingham Repertory Theatre in 2017. The extended tour kicks off again at The Alexandra Theatre in March 2020 and will then visit Leicester, Bath, Poole, Bradford, Brighton and Bromley. 

Father-to-be Vincent and his partner Anna are invited to dinner by his sister Elizabeth and her husband, Peter. They are joined by childhood friend Carl for a mature and sophisticated gathering.

The meal is lovingly prepared, and wine carefully selected. The friends are prepared for the usual humorous exchanges they’ve come to expect.

But tonight, a startling revelation about the name chosen for Vincent’s and Anna’s expected child becomes the catalyst for a destructive argument which spirals hysterically out of control. Tonight no one is holding back! Egos, childish resentment and unspoken feelings are relentlessly and hilariously exposed for the first time.

What’s In A Name? is written byMatthew Delaporte and Alexandre De La Patellière with adaptation, translation and direction by Jeremy Sams. Set design is by Francis O’Connor and lighting design is by Rick Fisher.

For tickets and more information please visit: whatsinanameplay.com

T: @WhatNamePlay | F: /WhatsInANamePlay| #WhatsInAName

The Alexandra Theatre, Birmingham
11 – 14 March
0870 607 7533 | www.atgtickets.com/venues/the-alexandra-theatre-birmingham/

Curve Studio, Leicester
16 – 21 March
0116 242 3595 | www.curveonline.co.uk/

Theatre Royal Bath
23 – 28 March
01225 448844 | www.theatreroyal.org.uk/

Lighthouse, Poole’s Centre for the Arts
31 March – 4 April
01202 280000 | www.lighthousepoole.co.uk/

The Alhambra Theatre, Bradford
7 – 11 April
0 1274 432000 | www.bradford-theatres.co.uk/venues/the-alhambra-theatre

Theatre Royal Brighton
15 – 18 April
0844 871 7650 | www.atgtickets.com/venues/theatre-royal-brighton/

Churchill Theatre, Bromley
21 – 25 April
020 3285 6000 | churchilltheatre.co.uk/

Chiswick Playhouse name three
exciting patrons and new producer
Chiswick Playhouse, 2 Bath Road, London W4 1LW

Wayne Glover-Stuart has been named as the new producer at Chiswick Playhouse. Having trained at Guildhall School of Music and Drama, he has since worked as a Creative Producer at the BBC, General Manager at Tramshed and the Artistic Lead at Shaw Theatre. He joins Chiswick Playhouse after its relaunch in late 2019 with the aim of fulfilling the big ambitions of this small space.

Glover-Stuart comments, I am privileged and honoured to join a small but mighty theatre at such an exciting time as it embarks on a new chapter. I am excited to lead Chiswick Playhouse as a local theatre, producing outstanding work of all genres, and become the breeding ground for the next generation of top creatives.

Mark Perry, Executive Director of Chiswick Playhouse, comments, As part of our rebrand and relaunch, we’re delighted to bring Wayne on board. He brings with him a great track record in producing and programming but also, crucially, how we can bring a West End experience to a local theatre. With Wayne joining, and our new patrons, we now have a great team in place to work on an exciting future for the Chiswick Playhouse.

Three exciting patrons will also support the ongoing work of Chiswick Playhouse. They are Torin Douglas who was the BBC’s media correspondent for 24 years, actor Kevin McNally who is perhaps best known for portraying Joshamee Gibbs in the Pirates of the Caribbean film series, and BAFTA Award-winning Phyllis Logan who graced our screens as Mrs Hughes in the much loved Downton Abbey.

BRING IT ON THE MUSICAL

STARRING AMBER DAVIES AND LOUIS SMITH

ANNOUNCES FULL CASTING AND A LONDON SEASON

AT SOUTHBANK CENTRE’S

QUEEN ELIZABETH HALL

FROM

WEDNESDAY 9 DECEMBER 2020

TO

SUNDAY 10 JANUARY 2021

Selladoor Worldwide is delighted to announce BRING IT ON THE MUSICAL will play a London season the Southbank Centre’s Queen Elizabeth Hall from Wednesday 9 December 2020 to Sunday 10 January 2021, following a UK and Ireland Tour which opens at the Birmingham Hippodrome on 2 June 2020. Full tour dates in the listings below.

www.bringitonthemusicaluk.com

Vanessa Fisher will be playing the roleof ‘Danielle’, joining the previously announced Amber Davies as ‘Campell’ and Louis Smith as ‘Cameron’. The cast is completed by Alicia Belgarde as ‘Eva’,  Georgia Bradshaw as ‘Nautica’, Ayden Morgan as ‘La Cienega’, Samuel Wilson-Freeman as ‘Steven’, Chloe Pole as ‘Skylar’, Frances Dee as ‘Kylar’,  Marvyn Charles as ‘Twig’, and Roshani Abbey, Jack Dargan, Matthew Dawkins, Jordan Isaac, Katie Lee, Gareth Moran, Biancha Szynal, and Zinzile Tshuma.

Inspired by the 2000 film of the same name, BRING IT ON THE MUSICAL features an original score by the multi award winning creator of “Hamilton”, Lin-Manuel Miranda and Pulitzer Prize winning Tom Kitt, composer of “Next To Normal”. The book is written by the Tony Award winning writer of “Avenue Q”, Jeff Whitty and the lyrics are by both Lin-Manuel Miranda and writer of the stage adaptation of “High Fidelity”, Amanda Green.

BRING IT ON THE MUSICAL is directed by Guy Unsworth and choreographed by Fabian Aloise, with set design by Libby Watson, costume design by Susan Kulkarni, lighting design by Matt Daw, sound design by Ross Portway, music supervision by Mark Crossland and musical direction from Sarah Burrell. They will be joined by Danny MacDonald as acrobatic director and Aundrea Fudge as dialect coach.

BRING IT ON THE MUSICAL takes audiences on a high-flying, energy-fuelled journey which tackles friendship, jealousy, betrayal and forgiveness – wrapped up in explosive choreography and tricks.

Cheer-royalty and newly crowned Squad Captain, Campbell, should be embarking on her most cheertastic senior year at Truman High School. When she’s forced to move to the neighbouring hard-knock Jackson High, Campbell fears her life is over.  But an unlikely friendship catapults Campbell back into contention with a powerhouse squad and the fire to achieve the impossible.

BRING IT ON THE MUSICAL is produced by Selladoor Worldwide, has a libretto by Jeff Whitty, a score by Tom Kitt and Lin-Manuel Miranda lyrics by Amanda Green and Lin-Manuel Miranda. BRING IT ON THE MUSICAL is inspired by the motion picture Bring It On written by Jessica Bendinger. Performed by arrangement with Music Theatre International (Europe) Limited.

Malvern Theatres – until 7 March 2020

Reviewed by Vanessa Gibson

5*****

Stanley Yelnats (James Backway) – that’s Stanley spelt backwards, can’t catch a break. His family is cursed and he unfortunately is in the wrong place at the wrong time when a pair of expensive trainers literally falls into his hands. Accused of stealing the trainers he is offered the choice between prison and a labour camp. Imagining a fun filled summer camp he is in fact dispatched to a labour camp in a desert infested with poisonous critters. Here, he is told, his task is to dig a new hole, every day, in the sweltering heat. Stanley and his fellow prisoners are told this is to build their character- but is this true? Of does the very forceful and at times funny Warden (Rhona Croker) have an ulterior motive and if so what is it? And so the scene is set for a several stories which are beautifully interwoven to bring the past very much into the current day and help resolve Stanley’s seemingly hopeless situation.

This story speeds along with a mix of song, dance, well timed humour and puppetry. We particularly enjoyed the fabulous shower scene which saw Stanley take a very self-conscious shower to the soundtrack of Rockwell’s ‘Somebody’s Watching Me’– brilliantly done this scene caused some gentle laughter within the very mixed audience. The speed and variety on stage really kept our interest, with rapid scene changes, flitting between the interwoven stories we weren’t quite sure what was coming next.

All cast members held up some very impressive and convincing American accents throughout the performance. In addition several cast members played multiple roles and were able to give each its own personality. The energy and enthusiasm of the cast was clear to see. Of note was the portrayal of Stanley’s friendship with Zero (Leona Allen) this relationship was central to the play and built wonderfully from initial mutual suspicion to a friendship which gave an unexpected conclusion to the play.

The production is a joint production with The Children’s Theatre Partnership and it was lovely to see so many young people at the performance enjoying such a varied, skilled and enthusiastic performance.

We would recommend Holes- but just look out for the snakes and yellow spotted lizards.

The Grand Theatre, Leeds – until Saturday 7 March 2020

Reviewed by Aimee Liddington

5*****

It is Berlin in the early 1930s. Germany is in the midst of political and economic turmoil and there is an overwhelming feeling of decadence and laissez-faire. With the country dancing on edge of the Nazi rise to power, the KitKat Club opens its doors and welcomes us into a world where moral boundaries are blurred and people frolic and fool around on the edge of society. In this club, anything goes and drugs, sex and American jazz is used to distract the nation from their fear and incertitude.

From the very beginning of the production John Partridge charms the audience with his cheeky and salacious portrayal of Emcee. As the (almost) omnipresent narrator, Partridge illustrates an unbridled sexual freedom and makes extreme sexuality and eroticism appealing. With his electrifying promiscuity and audacity, the audience can do nothing but embrace the thrilling awkwardness he creates. With his strong singing voice, convincing accents and ability to convey a variety of emotions, this EastEnders actor swaps the screen for the stage and he couldn’t seem more at ease.

By the same token, Kara Lily Hayworth sparkles and dazzles playing her dream role as the divinely decadent Sally Bowles. Hayworth manages to portray the light-hearted, coquettish lure of the character whilst also exposing her desperate sadness. Her powerful voice sends chills down your spine, particularly in numbers such as ‘Maybe This Time’ and the famous ‘Cabaret’.

Each of the members of the cast could be named individually for their efforts as they are all memorable in their performances and the creative team deserve to be applauded for bringing the talent together with their imagination and direction. Although I won’t give too much away, the direction of the finale scene is particularly powerful and really highlights the devastation of the Nazi treatment of the Jews among all the excitement and self-indulgence in the city of Berlin.

‘Cabaret’ is a tale of sex, love, debauchery and sadness – ‘What good is sitting, alone in your room? Come hear the music play! Life is a cabaret, old chum! Come to the cabaret!’

Lyttelton Theatre

MANOR

a new play by Moira Buffini

Playing from 7 April, final performance 15 July.

A violent storm sweeps the coast. Diana Stuckley and her daughter are struggling to keep the roof on their run-down manor house, when neighbours and strangers begin to appear on their doorstep, seeking shelter from the floods.

One of these unexpected arrivals is Ted Farrier, the charismatic leader of a right-wing organisation: he could be Diana’s saviour – or pull the fragile household to pieces.

Stranded together, this explosive mix of people must survive the weather, and each other.

Nancy Carroll plays Diana and Ben Daniels plays Ted in this thrilling, witty new play. Michele Austin, Peter Bray, Gillian Dean, David Hargreaves, Shaniqua Okwok and Eliot Salt also join the previously announced Amy Forrest and Edward Judge.

Writer Moira Buffini is reunited with director Fiona Buffini for the first time since the acclaimed DINNER.

Set and costume design by Lez Brotherston, lighting design by Paule Constable, composition and sound design by Jon Nicholls, video design by Andrzej Goulding and fight direction by Kate Waters.