Menier Chocolate Factory – until 16 November 2024

Reviewed by Claire Roderick

5*****

Nancy Carrroll’s brilliant adaptation of Arthur Wing Pinero’s Victorian farce is a sublimely silly and salient show.

The Right Hon Sir Julian Twombley (Nicholas Rowe) is under pressure as his spendthrift family’s extravagant lifestyle has led to questions about his acceptance of gifts. As he contemplates jumping before he is pushed, and a future growing his own vegetables in a country cottage, his wife Kitty (Nancy Carroll) gets deeper and deeper in debt to the social climbing Lacklustre siblings (the wonderful Phoebe Fildes and Laurence Ubong Williams) in acts titled Debt, Difficulties, Disaster, and Dancing.

The Twombley’s son, Brooke (Joe Edgar) is as bad with money as his mother, while daughter Imogen’s (Rosalind Ford) season, and her aunt Dora’s (Sara Crowe) marital plans for her, are disrupted by the return of old family friend Valentine (George Blagden). The modern parallels are obvious but never overdone and highlight how little British society has really changed. Great fun is had from the hypocrisy of the gentry on their uppers and making dubious choices looking down their noses at the lower classes, even when those people are funding their lifestyle.

As romantic and financial complications mount, the entrances and exits (and ludicrous attempts at hiding on Janet Bird’s gorgeous set) are perfectly timed. The script is jam-packed with dry wit, daftness and double entendres, all delivered with wonderful energy by the stellar cast. While Nicholas Rowe’s calm head of the family, weighed down by his career troubles is the placid body of the swan, Nancy Carroll’s Kitty is his perfect foil – the legs frantically flapping underwater. Her demeanour changes from manically bemoaning the tragedy of her circumstances to business like matriarch in the blink of an eye, and her mounting panic as things get increasingly out of her control is a masterclass in comedy. Sara Crowe’s magnificent meddling sister-in-law thinks she’s hit the jackpot marrying off Imogen to Sir Colin Macphail (Matthew Woodyatt), and the presence of the dour Scots onstage is always a delight as Dillie Keane steals the show as Lady Macphail – always ready to declare her distaste for the south, and launching into passionate descriptions of their ancestral home that become increasingly florid and Shakespearean as Colin struggles to string even a few words together.

Director Paul Foster directs with a deft touch, and the decision to have each act punctuated by the cast playing instruments provides even more light-hearted energy – and many opportunities for fiddling jokes. Fast, funny and full of brilliant performances, The Cabinet Minister is an absolute triumph.

Curve Theatre Leicester – until 5th October 2024

Reviewed by Amarjeet Singh

5*****

The Mountaintop is a thought-provoking and enthralling piece of theatre. Katori Hall’s drama revolves around an imaginary meeting between Dr Martin Luther King Jr and a maid delivering room service, on the eve of his assassination in a Memphis motel in 1968.

King is riding a wave of both highs and lows having just delivered his ‘I’ve been to The Mountaintop’ speech. Elated, triumphant, yet paranoid and anxious about what’s to come, he arrives at the motel and awaits a friend’s arrival with cigarettes. Alone with his thoughts, he drives himself into a frenzy, and starts tearing the room apart looking for recording devices, all the while we hear the relentless rain pour, the thunder peel and the lightening crash. Then in walks Camae.

Sunshine yellow uniform, amidst the storms she immediately changes the atmosphere Bringing King’s coffee, she is not your traditional motel maid. Lighting cigarettes, pulling out mini bottles of whiskey, our suspicions, along with King’s, are peaked. The night reaches its climax when Camae reveals her true intentions for walking into King’s motel room that night.

First staged in 2010, earning itself an Olivier award, this current Made at Curve rendition of The Mountaintop started as a script reading. But in the hands of dedicated director Nathan Powell, it was clear this was destined to be so much more. There is a wealth of magic in this 90-minute piece. It’s a mystery, but we know who dies and why. It tells of senseless and shocking atrocities, but we are given meaning and hope. We are reduced to tears and called to action but there is warmth and plenty of laughter. We are being told a story about a specific moment in time yet this moment transcends its time. The dynamicism in the tale is matched in the direction as we have physical dreamlike sequences blurring the lines between fantasy and reality.

Camae is a wonderfully written character, a full-bodied tour de force. She hoodwinks us all into believing she is one thing and then seamlessly shifts into another leading us all on a wonderful journey. She equals and in someways surpasses King’s ideological exchanges, much to his surprise, as she adds unheard voices, those of strong, savvy, working class black women. Played magnificently by Justina Kehinde, Camae not only spellbinds King but she captivates us too. Nailing the Memphis drawl, she annunciates every word clearly, so we never miss any of Hall’s amazing lines. She fully embodies the role, like honey dripping off a knife, she is simply thrilling to watch.

Ray Strasser-King’s portrayal of Dr Martin Luther King Jr is outstanding. He is not imitating nor mimicking Dr King, but rather channelling every aspect of how King would present himself if he would ever find himself in this situation, grappling with a myriad of emotions, juggling the martyr and the man and coming face to face with his own mortality. His rendition is raw and rousing, a portrayal that stays with you for a long time.

The dramatic intrigue between the two characters is delicious. Hall’s writing is engaging and relevant. Whilst we may think of this as a period piece and even that of it being American and not British, the themes are as relatable this side of the pond as they are over there, we may be slightly more reserved talking about them. Divides are still ongoing. Lulu Tam’s beguiling set design is an exact replication of the motel room King stayed in the night before his assassination but it keeps its own secrets. When paired with Jack Baxter’s sublime soundscapes they elevate Hall’s  tall tales.

Hall weaves biographical and historical details into her writing. She alludes to his suspected sexual indiscretions and other matters which highlight King as a flawed human being. He is not a “perfect man”, and the play highlights that we are all flawed and therefor we all have the power to pick and pass on the baton.

The play comes to an end with powerful speeches and images which will leave you speechless and unable to look away. They make us appreciate the progress we’ve made thus far and see just how much more there is left to do. The Mountaintop is an extraordinarily well-crafted and incredibly moving piece of theatre. Relevant, relatable and riveting, this needs to be seen.

Leeds Grand Theatre – On Tour until 2025

Reviewed by Dawn Smallwood

4****

Opera North’s new Season is underway with its first performance of The Magic Flute at the Leeds Grand Theatre. Mozart’s The Magic Flute is based on Emanuel Schikaneder’s libretto. It first premiered in 1791 in Vienna. The Magic Flute is about one exploring one’s way in the world amid challenges and tests.

The story is about Tamino (Egor Zhuravskii), a lost prince, who escapes danger by being saved by three mysterious ladies (Charlie Drummond, Katie Sharpe and Hazel Croft). The ladies inform Tamino about Pamina (Claire Lees) who he falls in love with. The Queen (Anna Dennis) herself tells Tamino that Pamina been captured by Sarastro (Msimelelo Mbali) and is held captive in his authoritative kingdom and asks Tamino to rescue and return her. Tamino is then compelled to rescue Pamina with support of the magic flute and magic bells, gifted to him, and assistance from Papageno (Pasquale Orchard), the bird catcher.

The Magic Flute is diversely unique, It is known as a singspiel, sung play in English, with spoken dialogue as well as the singing. It’s a popular opera known for its varying melodies and arias which showcases Mozart’s ingenuity, conducted by Christoph Koncz. This contemporary production specifically emphasises on the visuals and projections on stage that drives the narrative and characters to the changing fantastical realms in which the plot is set to. The staging certainly captivates the ambience, and the moods of themes depicted in this opera. This all done effectively by Colin Richmond, Chris Davey and Douglas O’Connell.

Under the direction of James Brining and the choreography of Tim Claydon, the cast excellently delivers and thoroughly portrays the characters. In particular, Zhuravskii as Tomino, Jones as the entertaining and charismatic Papageno and Mbali as the authoritative Sarastro The stood out and memorable aria must be Anna Dennis’ Queen of the Night aria in Act II, a pivotal moment, which leads to fateful developments in the story.

This production of The Magic Flute is contemporary with touches of symbolism and humanity set on overcoming evil and how humanity will prevail. Very parallel to the world today and how this resonates in many situations. The production is well delivered and will be part of this season’s repertoire.

Tanya Moiseiwitsch Playhouse, Sheffield – until Saturday 12 October 2024

Reviewed by Sharon Farley

4****

Step into the innate intimacy of the Sheffield Theatres Playhouse and you are greeted by the centrally positioned performance area. The colourful but minimal stage set of Dizzy belies the carefully crafted lighting that punctuates the piece. Its piercing force enhances the drama of the inner world the principal character, Qamar (Sera Mustafa), sinks into whenever the external world overwhelms her. The deceptively simple set allows Mustafa’s deft footwork to paint the scenery with her use of space, be it scaling the heights or laying out the aisles of a hardware store.

Qamar is a 15 year old maths genius struggling to come to terms with the death of her older brother, Yasin. Haunted by questions on the nature of Yasin’s final moments, Qamar’s grief is interrupted by the sudden appearance of Stax (Brendan Barclay), an infamous graffiti artist. Though they begin by crossing swords, it soon becomes apparent that Stax is able to lead Qamar to the secret world her brother had previously inhabited. Unbeknown to his family, graffiti had been a central part of Yasin’s lifestyle, and through Stax, Qamar ventures through its rites of passage and learns its underground language. The pair traverse a rocky course; they are not automatic allies and have to negotiate their differences to find a way to help each other reach their goals. Along the way, they touch on diverse themes of modern existence whilst also delivering a sprinkling of humour to illuminate the path.

Stax reveals he too has had to face the loss of someone close and guides Qamar through the healing process he drew upon, using his art to connect with those he lost and learning to equate the fragility and impermanence of life with the temporary nature of graffiti itself. Through this journey, Qamar not only learns to pay homage to her lost brother, but reconnects with him by delving into this unfamiliar world. Holding him closer in death than she had in life enables Qamar to find peace, and even some joy through creativity.

As well as telling a compelling story, Dizzy also uncovers the vernacular and deeper nature of graffiti culture that many might never have considered before, evidencing the thorough research done by the writer, Olivier nominated Mohamed-Zain Dada. This performance will easily cross the divide between audiences of all ages.

Soho Theatre, London – until 12 October 2024

Reviewed by Claire Roderick

4****

Ginger Johnson has achieved her dream of winning Drag Race UK, so what could be next for this self-proclaimed big shot? Her entrance on a mini motorbike and her spectacular Evel Knievel style outfit are huge hints in this gloriously daft show.

Ginger regales the audience with the story of her childhood inspiration – a circus performer who was shot from a cannon every night – and her new mission to be a daredevil. As a consummate professional, Ginger doesn’t attempt anything without the supervision of her Health and Safety consultant, Jen. Jen’s black overalls and hilariously resolute bored blank expression make her a wonderful silent foil for the bright and brash Ginger. Between crowd-pleasing 80s inspired bangers by Bourgeois and Maurice, Ginger ramps up the danger level in each stunt as she builds up to her huge finale.

The show has just the right amount of cheesy inspirational talk about facing your fears amongst the hilarious antics and Ginger works the audience brilliantly, clambering among them to find the bravest person in the room to assist her on stage, effortlessly carrying everyone along on a wave of manic charisma and camp silliness as we ooh and ahh on cue as she attempts her death defying farts and stunts.

A brilliantly bonkers show from one of the best in the business, Ginger Johnson Blows Off! is unmissable.

Tour Dates:

Thu 17 Oct – Komedia, Bath

Sat 19 Oct – Northern Stage, Newcastle

Thu 24 Oct – Crescent Theatre, Birmingham

Fri 25 Oct – Sat 26 Oct – Norwich Playhouse

Sun 27 Oct – The Y Theatre, Leicester

Fri 1 Nov – Sherman Theatre, Cardiff

Sat 2 Nov – City Varieties Music Hall, Leeds

Sun 10 Nov – Old Fruitmarket, Glasgow

Wed 13 Nov – Liverpool Playhouse

Fri 15 Nov – Brighton Dome, Corn Exchange

Fri 22 Nov – HOME Manchester

Leeds Playhouse – 26th September 2024

Reviewed by Dawn Smallwood

The Lion, The Witch and The Wardrobe Exclusive Meet and Greet Event was organised by the Leeds Playhouse and Chris Harper Productions. It was an opportunity for one to be fully immersed and be acquainted for when The Lion, The Witch and The Wardrobe comes to Leeds Playhouse in November for the festive season ahead of a national tour in the new year. The UK tour is part of 75th anniversary of when C S Lewis’ novel was published.

All the invitees were invited to descend, step through the “wardrobe” and into the Kingdom of Narnia. Firstly, admiring close up the incredible characters’ costumes for the forthcoming production including the standout one belonging to the Cruellest White Witch.

Then the director, Michael Fentiman, and designer, Tom Paris, shared words about the planning and processing of the production and how this will manifest into narrating the story amidst a magical and spectacular setting. A performance was given from the original West End’s Mr Tumnus who was accompanied by a pianist and violinist. Puppetry will play a key role in the production with the welcome of Aslan, the legendary lion, making its grand presence at the latter stages of the event.

The Meet and Greet Event is a taste of what is to come at the end of the year. This production no doubt will be an immersive and spectacular theatrical treat and celebrating artistically and creatively in performance and production. A sweet ending to the event was that everyone being given a hot chocolate and a Turkish delight.

The Lion The Witch and The Wardrobe will run at the Playhouse from 18th November 2024 to 25th January 2025 before embarking on a national tour.

Dame Maggie Smith – Dimming of the Lights 

Following the sad news of the passing of legendary actress Dame Maggie Smith, West End theatres will dim their lights for 2 minutes at 7pm on Tuesday 1 October, in her memory. 

Smith was a six-time Olivier Award nominee and was the recipient of the 2010 Special Award.  

Hannah Essex, Co-CEO of the Society of London Theatre and UK Theatre, said: 

“Today the theatre world, and the nation, have lost an icon. Throughout her seventy-one years on stage and screen, Dame Maggie Smith was a magnificent talent and will be remembered as one of the most significant performers British theatre has ever seen. Our deepest condolences are with her family and loved ones, and we are proud to be able to honour her remarkable career in some small way.”

Darlington Hippodrome – until 28th July 2024

Review by Stee Leahy

5*****

If you’re a fan of the 90’s movie, Ghost the Musical will be a huge hit for you! A perfect night out.

Being back in the stunning Darlington Hippodrome theatre for ‘Ghost the Musical’ was yet again another great treat. After a slightly late start to the show we were introduced to the leading pair, Sam and a Molly – played to perfection by the incredibly talented Josh St. Clair and the mesmerising Rebekah Lowings. “Here Right Now” was the opening number and it really did set the tone for the shows lyrics and score. 

Both Lowings and St. Clair’s chemistry was magical from the get go, each bouncing off one another in a charming and adorably playful way, perfectly captivating the genuine love between the two characters. 

We didn’t have to wait long for our first instalment of the movie’s most iconic song – ‘Unchained Melody’ – performed here with a comical twist by Sam. 

When you think of ‘Ghost’, most likely you think of the classic pottery making scene – this was of-course included in this stage adaptation. You could practically feel the goosebumps throughout the theatre when Molly got to work on the clay. It was perfect. 

James Mateo-Salt brought the character of Carl to life, respectively. His crisp vocals during his number “More” were excellent. His character arc throughout the show is one to watch… in particular his scenes with Lowings are fantastic. 

Les Dennis made two cameo appearances, one in each act. His portrayal of the ‘Hospital Ghost’ in act one was a particularly sweet moment. It was a very pleasant surprise. 

Now, I need to take a moment to appreciate Jacqui Dubois. What a powerhouse of a comical performer. Dubois played Oda Mae Brown and brought the house down. Her comical timing was unmatched and her presence on stage was welcomed with open arms. Providing some much needed comic relief, Dubois stole the show. Bravo!

I would say the shows stand out moment was provided by Rebekah Lowings. Her rendition of “With You” was nothing short of theatrical perfection. I can confidently speak on behalf of the shows entire audience when I say it was pure magic. Her execution, precision and emotional thermometer were all so perfectly in tune with one another. It was without fault.

The 2nd rendition of ‘Unchained Melody’ came at the perfect moment. Not a dry eye was left in the house. Lowings and St. Clair pulled each and every member of the audience into their connection. It was perfect. 

The shows ensemble were brilliant, each playing their part to bring this 90’s classic to the stage. The vocals, choreography and direction were great! 

I can not recommend ‘Ghost the Musical’ enough, but take your tissues. Trust me – you’ll need them. 

Rose Theatre – until 12th October 2024

Reviewed by Carly Burlinge

5*****

The Rose Theatre brings you the production of never let me go based on the well-known novel by Kazuo Ishiguro adapted by Suzanne Heathcote and directed by Christopher Haydon. It tells the story of a group of students that have been cloned and reside at Hailsham boarding school, where their futures have already been decided! They are trained to take care of other doners before having to donate their own organs only leading to their death!

Kathy (Nell Barlow) who is one of the clones takes you through her story of being at Hailsham, her childhood there alongside the friends she’s made Ruth (Matilda Bailes)  Tommy (Angus Imrie) and others. Whilst going through her childhood antics it also hits on Kathy’s love for Tommy that gets pushed aside by her best friend, Ruth stepping in despite knowing the true feeling between the pair from the very start. This only causing a void that threatens their friendship making them split. But then coming back together years later, where the circumstances are very different, they are now faced with the reality that they always knew and was told would be coming! “You were brought into this world for a purpose. And your futures – all of them – have been decided.”

All the acting throughout this performance I felt was strong and powerful the connection that was delivered on stage was exceptional. I felt the emotion and even shed a tear at the end. The production was thought provoking making me think about what it really means to be a human!

The set was very simple but very skilfully managed with great lighting to dramatise certain scenes. Simple props were used to go back and forth to different times within the story very cleverly done, as well as some other backdrops and sounds that really gave the story some added feeling and emotion.

All in all, Never Let Me Go was a remarkable production with much feeling superb acting from a strong cast with a great story line well worth a watch. Definitely not one to be missed!!!

LIVERPOOL PLAYHOUSE – UNTIL 28th SEPTEMBER 2024

REVIEWED BY JEN HUGHES DALEY

5*****

An absolute eye opening and mind-blowing performance. Wonderboy, written by Ross Wilson and Directed by Sally Cookson takes you on a journey through the life experiences of Sonny, a 12 year old boy , navigating his life in foster care and through High School with a debilitating stammer.

Making his theatrical debut, Hilson Agbangbe, (Sonny) utterly blew me away with his insightful and accurate portrayal of a young person with a Special Educational Need and childhood trauma. Working with such children in my day job, the accuracy was profound. I felt every ounce of the frustration, shame and pain etched on his face and oozing from his stimming body.

Music, lights and dance at times gave the performance a thriller edge creating an unmissable atmosphere of tension and angst, catapulting me into what felt like empathetic Sonny emotional rollercoaster.

Captivating, emotional, heart wrenching and hilarious, the very small cast and the very minimal set props only added to the audience emphasis being on every powerful, painful and poignant word spoken and read. The wonderful relationship between Sonny and his teacher, Wainwright (Eva Scott) hit hard. Beautifully portrayed is a teacher who cared and who made a difference even when faces with the wrath of Sonny’s rage and frustration. The silences, the sounds, the facial expressions were sometimes more powerful than the spoken word.

In a juxtaposed, literary world of Comic Strips and Shakespeare, Roshi’s (Hilson Agbangbe) soliloquy synopsis of Hamlet, with a splattering of hilarious obscenities, had the audience in hysterics as did the regular appearance of the much misunderstood Ryvita. I would 100% recommend you go to see this phenomenal performance. Not only entertaining but educational in terms of life through the lens of a Young Person with significant challenges – which this play shone a much needed light on.