Darlington Hippodrome – until 5 January 2020

4****

Darlington Hippodrome proves its “Strictly Got Talent “with its pantomime this year with Shirley Ballas and George Sampson leading the cast in Jack and the Beanstalk.

Qdos Pantomimes can be relied upon to provide a good show and this years production does not disappoint.  Alan McHugh has written a decent script full of jokes and tongue twisters and all the fun you expect to see at a panto.  The basic story is that Giant Blunderbore is causing havoc by raising the rent in a small village and driving the villagers into poverty. Life is so bad that Dame Trot (Iain Stuart Robinson) is going to have to sell her cow to try and make ends meet and support her two sons, Jack (George Sampson) and Simple Simon (Phil Walker). Jack is upset about selling the cow but he is also distracted as he has met and fallen in love with the beautiful Princess Apricot (Lauren Hall). Unfortunately, the giant wants to eat the princess and his evil henchman Fleshcreep (Daniel Taylor) has taken her and Dame Trot’s cow Moomoo, off to Cloudland where Giant Blunderbore lives. With the help of his family and Mother Nature (Shirley Ballas) Jack sets off on his quest to rescue Apricot, the cow and the village from the grip of the evil giant.

Mother Nature is Strictly Come Dancing’s chief judge Shirley Ballas not only fantastic on her feet, but she also gets stuck in with the acting and singing too. Ballas commands the stage and recites her poetic lines with perfect comedic timing and with the grace and poise of the beautiful dancer that she is. Daniel Taylor is on fine form as the ferocious Fleshcreep, the audience just love to lap up his antics and share their excitement with boos aplenty

George Sampson’s Jack was just right as the young, handsome hero,  a nicely judged characterisation, combining that essential childlike innocence and simplicity but with fabulous footwork.  Whilst Sampson is a swashbuckling Jack – Lauren Hall was a sadly under used Princess Apricot. However she did have some excellent vocals when she got the chance.

Iain Stuart Robertson was everything a pantomime dame should be. Horrendous make-up, over the top dresses and a completely OTT performance. Putting Robertson and Simple Simon, Phil Walker, together on stage was a spark of genius as they really work as a double act. Outrageously trying to make each other corpse and delivering some of the worst puns in the history of Christmas cracker jokes, this is a pairing that just works beautifully.

Obviously this was a very dance orientated production with Ballas and Sampson showing us what they were made of but a highly entertaining “dance off” with Phil Walker joining in was fun too.  Gerry Zuccarello’s choreography was spot on with the 6 ensemble members (Jessica Carrick, Annabelle Clappison, Abbi-Mae Neilson, Connor Parkinson, Callum Rayment and Crischaela Vallender) and the glorious children from the Joanne Banks Dancers.  I especially enjoyed the baby sheep.

This was only the second night of the run, so some things might have gone a bit wrong, but the sheer joy of panto is that no one cares when mistakes are made – in fact it can add to the hilarity of the show.  All the traditional elements are there and the humour is pitched just right for the age range of the audience. There is plenty of audience participation, Jack and the Beanstalk is well worth a visit.

Stephen Joseph Theatre, Scarboroug – until 29 December 2019

Reviewed by Sara Garner

4****

A brand-new adaptation of the Robert Louis Stevenson classic Treasure Island by Nick Lane. The adventure begins in Scarborough and takes us to Treasure Island where we join the crew aboard the Hispaniola in search of Captain Flints’ buried gold and hopefully back home in time for Christmas. Nick Lane’s adaptation promises songs, swords, talking vegetables and a giant mechanic crab called Susan and swashbuckling a plenty.

The story begins the inn that belongs to Jim Hawkin’s parents. A mysterious stranger called Billy Bones, rents a room at the inn, warns Jim to keep a look out for a ‘one legged man’. One day, Billy is visited by a beggar called ‘Blind Pew’ who gives him the ‘black spot’ which is the mark of imminent death among pirate crews. This is adapted cleverly in the play to a fight with the “Black Dog” which had the audience laughing out loud. Jim and his mother find a treasure map which Jim takes to Squire Trelawney and Doctor Livesey who realise that it shows where Captain Flint, an evil and heartless pirate, has buried his stolen treasure. The Squire and the Doctor decide to go and find the treasure and invite Jim to come along. They hire a crew led by the respected Captain Smollet. The ship’s cook is a one-legged man called Long John Silver whom everyone admires.

The ship sets sail and we immediately begin to doubt the trustworthiness of this crew. However, the night before they reach Treasure Island Jim overhears Silver and other members of the crew plotting to kill them all. He realises that Long John Silver and most of the crew are pirates and were once members of Captain Flint’s crew. Jim warns the Doctor, the Squire and the Captain about the crew’s evil plans. Will they be saved and home in time for Christmas?

The cast of 5 fearsome pirates (Alice Blundell, Niall Ransome, Ben Tolley, Marcquelle Ward and Scarlet Wilderink) engaged with the children in the audience prior to the show putting them at ease. At the beginning of the play I did wonder how 5 actors where going to deliver a panto, but they did not disappoint as they took on multiple roles throughout the play. They acted, sung, danced and played musical instruments during the performance to tell us the elements of this story which was delivered with high energy from start to finish.

Favourite parts for us where the meeting of Ben Gunn who was abandoned years ago – (this song will stick in your head for the rest of the Christmas period), flashback scene and the leadership contest.

Children and adults of all ages will love this swashbuckling somewhat bonkers slightly, Monty Pythonesque reinvention of a classic story.

Lyric Theatre – until 5 January 2020

Reviewed by Donna Easton

5*****

Well, what a Saturday afternoon treat Oi Frog was for my little girl and I. 

The much loved books by Kes Grey and Jim Field are a firm favourite in our house so it was wonderful to see the story brought to life in such a compelling and vibrant way. 

The action takes place in Sittingbottom School where the rules state that the animals have to sit on something that rhymes with their names but new boy, Frog doesn’t want to sit on an uncomfortable log so decides to change to rules. Frog seems to like being in charge although his rise to power not only goes to his head (I loved the maniacal laughter) but seems to cause more problems than it resolves. 

The puppetry and character work are glorious with incredibly accomplished actors who have mastered the physicality of their animals beautifully. Whilst I was admiring the skill, my little girl was transfixed with no mention of the people in control of the animals, just an acceptance of the animal characters on stage. Magical! 

In consultation with my 4 year old little girl, some highlights for us were Frog getting a splinter in his bottom, the Cheetah serving fajitas, we loved witnessing the demise of eight of Stunt Cat’s nine lives and adored the bit when the elephant (searching for a mouse) came out into the audience and squirted water into the crowd. 

Catchy tunes, total silliness, audience participation and pitch perfect puppetry. 

What a joy of an afternoon and the perfect way to introduce young people to the magic of theatre. Thank you Oi Frog team. It was superb! 

The Lowry, Salford – until Sunday 12 January 2020

Reviewed by Angharad Crabtree

4****

The Gruffalo’s Child is a heartwarming performance which is suitable and entertaining for all ages. The skilful animation of the cast kept the audience constantly engaged, as well as the elements of interactivity which were cleverly woven into the story line.

The level of humour stimulated both young and older audiences, adding in some references that were only to appeal to the adults in the audience. The cast were very talented, undertaking multiple roles and adapting seamlessly. It was hard to see them as human beings and not cartoon animals at times, as they fully immersed the audience in their characters.

Despite the story line being simple, to cater for the youthful audience, it was well thought through and incorporated some resounding messages about bravery, friendship and misconception. The set was smartly navigated, as it was made of a few simple parts that were rearranged to give a new environment for each different scenario. The use of lighting also added to the dramatisation of certain scenes, whilst the use of song was both well performed and well received. There were many catchy, joyful numbers which incorporated rhyme and repeated patterns, allowing the audience to recognise familiar themes and feel more involved with the characters.

Wilton’s Music Hall – until 4 January 2020

Reviewed by Molly Stannard

4****

This rendition of Charles Dickens classic book brings a new twist to the modern audience. Piers Torday brings an interesting take on Scrooge’s character, shining a light on the struggles women had to endure during the 19th century. Following Jacob Marley’s inevitable demise, Fan Scrooge, his widow is forced to take over his company in order to survive. Gaining an ever-growing anger towards men’s attitude to women, fuelled by a childhood living in fear of her father’s drinking and gambling habits after losing his wife and her mother and then being left destitute as he was put in a debtor’s prison.

The seven strong cast played multiple rolls and included 3 puppets but was very well-executed. They brought an emotional yet comedic performance to the stage, taking the audience along the thrilling journey Scrooge endures.

The modern twist highlights the plight of women then and now, bringing it right up to date through a distant descendant by an ingeniously spooky spirit of Christmas future. It shows the struggle continues despite changing attitudes. Although a controversial subject it was laced with well-timed humour

This adaptation was rousing and will take you on an emotional roller coaster and leave you feeling Christmassy.

The Royal Exchange Theatre, Manchester – until 25 January 2020

Reviewed by Joseph Everton

4****

After years of being the second best sister, craving her mother’s attention, Louise, or Gypsy Rose Lee, burst onto American stages, emerging from the shadows to become a legendary performer in Burlesque. Jo Davies’ production, which tells the story of Louise’s childhood, brings together a strong cast, some clever staging and dazzling lighting by Colin Grenfell.

Reminiscent of American reality TV dross, Dance Moms, Rose (Ria Jones) is the ultimate pushy parent. Utterly determined for her favourite daughter June to achieve fame, Rose drags the family across the country, performing the same routine, with June thrust to the fore, in an attempt to make a life for her daughters that she was never able to obtain. Rose is a steely, unrelenting character who is sometimes difficult to like. However, Ria Jones’ Rose is more warm than some of her predecessors with much made of of the bond between her daughters and her. She is also adored by Herbie (Dale Rapley), who overlooks her personality flaws in a patient wait for the chance to marry her.

Melissa James as Louise is almost a figure of fun. Overshadowed by her sister’s talent, often forced to play one half of a cow, her character and charisma is hidden behind a meek yet likeable exterior, and a baggy and uninspiring wardrobe. Aside from a delicate performance of Little Lamb, James did a wonderful job of being thoroughly a underwhelming understudy to her sister. However, when she burst into life, finding a release in Burlesque, she was breathtaking.

Ria Jones earned rapturous applause for her passionate performance of Rose’s Turn which brought an excellent show to a close. The Royal Exchange seemed the perfect venue for a show that was a treat for the eyes and the ears. It is a must see

ACTING FOR OTHERS ANNOUNCE OVER £90,000 HAS BEEN RAISED AT THIS YEAR’S ONE NIGHT ONLY AT THE IVY

Theatrical charity Acting for Others announces that over £90,000 has been raised at this year’s One Night Only at The Ivy.

Stars of the stage and screen swapped their costumes for aprons, and served diners for a one-off sitting at The Ivy. Hostesses welcoming guests included Tracie Bennett, David Mitchell and Shelia Hancock, whilsthusband and wife duos Imelda Staunton and Jim Carter, and Dame Emma Thompson and Greg Wise were Maitre d’s for the evening. Behind the bar serving drinks and mixing up cocktails for guests was Phyllis Logan, Harriet Thorpe, Ginny Holder and Jodie Prenger, whilst unfaltering service was executed by a wait staff including Annette Badland, Laura Carmichael, Janie Dee, Michael C. Fox, Cassidy Janson, George Layton, Caroline Quentin, Jemma Redgrave and Hannah Waddingham.

Sir Derek Jacobi, Sir Ian McKellen and Dame Penelope Wilton were also in attendance at the Dame and Knights table.

The evening also included an auction taking place after dinner, led by Carl Mullaney, with prizes including the chance to win a meal prepared exclusively for 10 guests in their own home by The Ivy team, and dinner at The Ivy with Sir Derek Jacobi and Samantha Bond before going on to see Mary Poppins, with a walk on part in Phantom of the Opera going for the highest amount at £13,000.

Sir Stephen Waley-Cohen, co-chair of Acting for Others said, “What a brilliant year, once again we must thank all the actors who turned their hands to service at The Ivy on Sunday evening, as well as those who donated auction prizes and those who won them and gave so generously. Together they were able to raise over £90,000 for Acting for Others to help us continue to support all theatre-workers in need.”

Director of The Ivy, Fernando Peire added, “Acting for Others once more pulled out all the stops on Sunday night. The Ivy in Theatreland hosted another memorable evening filled with famous faces from stage and screen, much laughter and merriment and, most importantly, abundant generosity from The Ivy’s patrons.”

FINAL FEW TICKETS REMAIN FOR THE HIT
NEW MUSICAL

Laura Elmes Productions and Theatre Deli present a Fat Rascal Theatre production
Unfortunate: The Untold Story of Ursula the Sea Witch
A Musical Parody   

Disney villain. Octo-woman. Plus-size icon. But who is the woman behind the tentacles? Following a complete sell-out run at the 2019 Edinburgh Fringe Festival and from the multi-award winning Fat Rascal Theatre, Unfortunate: the untold story of Ursula the Sea Witch comes to Birmingham Hippodrome’s Patrick Studio from Monday 16 – Sunday 22 December 2019.

Audiences have been going guppy for this hilarious new musical, with a number of performances now sold-out – act fast for a chance to get your tentacles on tickets.

It’s time to take the plunge as Fat Rascal Theatre reveal what really happened under the sea, in a tell-all tale of sex, sorcery and suckers. When Disney released ‘The Little Mermaid’ in 1989, they had no idea they were also giving birth to an icon. Despite having just one song and only a handful of scenes, Ursula the Sea Witch quickly took her place as the queen of Disney villains: a bad bitch, a pop culture legend, and an endless source of quotes, memes, and merchandise. She’s the toast of the film, and yet she’s woefully underused.

So who better to take us on a scorching trip through the problematic minefield that is Disney? Much of what makes Ursula a ‘villain’ is also what makes her a feminist badass. She’s loud. She’s clever. She’s a ruthless businesswoman, and oh boy is she sexy. Sexy, and unapologetically fat. Even now, in 2019, where posters still demand that we are ‘beach body ready’ and plus-size models remain a controversial topic; where young women are raised on a diet of lithe and limby princesses, fairies and (yes) mermaids; where disproportionately sized heads and miniature waists are the animated norm… a woman like Ursula is needed more than ever. She’s not defined by slipper-sized feet, or enchanted blonde hair, or snow white skin. Ursula is plump, purple and proud.

With her character design based on the outlandish drag queen Divine, and brought to life by gay lyricist Howard Ashman, Ursula has become a major icon for the LGBTQ+ community, too. A community still woefully underrepresented by Disney, thrown only the occasional veiled hint or (most recently, in Beauty and the Beast) a two second scrap of dancing. But, once again, there stands Ursula, defiant against her creator and with a message for all us ‘poor unfortunate souls’: love the skin you’re in, value your voice over your body, and don’t be afraid to be a little bit nasty.

Fat Rascal Theatre are a creative team packed to the brim with the plus size, the gay and the fabulous: and they’re ready to give Ursula the story she deserves. In this parody remix of the classic tale, Ursula spills the ink and tells audiences what really happened beneath the waves. We’ll see how she dealt with the embodiment of toxic masculinity that is King Triton, and tried to teach his airhead daughter, Ariel, to treasure her voice. Our hero is rude, she’s opinionated, and she’s got no time for faint-hearted Disney darlings. Think Wicked, but wider and wetter. And definitely not for kids.

Chris Sudworth, Director of Artistic Programme at Birmingham Hippodrome said; “The moment I saw Fat Rascal’s hilarious production at this year’s Edinburgh Fringe I knew that we had to bring the show to Birmingham.

“The ideal adults-only outing for Christmas, this inventive and one-of-a-kind show is sure to be the must-see of the festive season and continues Birmingham Hippodrome’s commitment to showcasing fresh, new musicals.”

Unfortunate: the untold story of Ursula the Sea Witch plays at The Patrick Studio, Birmingham Hippodrome from Monday 16 – Sunday 22 December 2019. To book visit birminghamhippodrome.com or call 0844 338 5000 (4.5p per minute plus your phone company’s access charge). 

Wales Millennium Centre & KAITE O’REILLY’S THE BEAUTY PARADE fuses deaf and hearing artforms to tell an extraordinary WORLD WAR II story

Wales Millennium Centre has announced a brand new and innovative, female-led theatre show made by Deaf and hearing artists. Inspired by true events, The Beauty Parade honours the unsung heroes of one of the most unique operations of the Second World War…

It’s the 1940s, deep in wartime. Men are fighting on the front line. Women don’t engage in armed combat; they keep the fires burning, the factories going, and the children fed at home. Or so we were told.  

The Geneva Convention forbade women from engaging in combatant duties, so the Special Operations Executive set about recruiting a top-secret army of civilians including young, French-speaking women from Wales and England. These women were given just a few weeks’ training before being set to work with the Resistance, preparing, in Churchill’s words, ‘to set Europe ablaze’.

Award-winning writer Kaite O’Reilly, composer Rebecca Applin and performer and visual language expert Sophie Stone have created this new production that follows a group of ordinary women plucked from obscurity and parachuted behind enemy lines, who became extraordinary saboteurs and silent killers, sworn to secrecy yet tasked with some of the most dangerous missions of the war.

The Beauty Parade incorporates live music, evocative songs, dialogue and visual language and works inclusively between D/deaf and hearing cultures to give a multi-sensory interpretation of this incredible true story. It will be performed at the Centre’s Weston Studio 5-14 March 2020. Tickets are on sale now.

Writer Kaite O’Reilly said: “It’s a privilege and a pleasure to be our interpretation of how these extraordinary ‘ordinary’ women achieved so much, working clandestinely and subversively with the Resistance in the months and years leading to the D-Day landings. It is also a great privilege to work between Deaf and hearing cultures on a collaboration interweaving visual, projected, spoken, sung and musical languages. The work is unusual – but then, so were the women who’ve inspired it.”

THE BEAUTY PARADE – Cynhyrchiad canolfan mileniwm Cymru a Kaite O’Reilly, GYDAG artistiaid byddar a sy’n clywed – i adrodd STORI ANHYGOEL O’r Ail Ryfel Byd

Mae Canolfan Mileniwm Cymru wedi cyhoeddi sioe theatr newydd sbon ac arloesol sy’n cael ei harwain gan fenywod a’i chreu gan artistiaid Byddar ac artistiaid sy’n gallu clywed. Wedi’i hysbrydoli gan ddigwyddiadau go iawn, mae The Beauty Parade yn talu teyrnged i arwyr di-glod un o weithrediadau unigryw yr Ail Ryfel Byd.

Yr 1940au yw’r cyfnod, yng nghanol y rhyfel. Mae’r dynion yn ymladd ar flaen y gad. Dyw menywod ddim yn cymryd rhan yn y brwydro; nhw sy’n cadw’r  fflam i losgi ar yr aelwyd, yn cadw’r ffatrïoedd i fynd, ac yn bwydo’r plant yn y cartref. Neu dyna maen nhw’n ei ddweud wrthon ni, o leiaf. 

Roedd Cytundeb Geneva yn gwahardd menywod rhag cymryd rhan yn nyletswyddau ymladd.  Er mwyn osgoi hyn, aeth yr Adran Gweithrediadau Arbennig ati i recriwtio byddin gyfrinachol o sifiliaid, yn cynnwys menywod ifanc o Gymru a Lloegr a oedd yn siarad Ffrangeg. Cafodd y menywod ond ychydig wythnosau o hyfforddiant cyn cael eu gosod i weithio gyda’r Fyddin Gêl, yn paratoi , yng ngeiriau Churchill, ‘to set Europe ablaze’.

Daeth y dramodwr arloesol Kaite O’Reilly, y cyfansoddwr Rebecca Applin a’r perfformiwr ac arbenigwr iaith weledol Sophie Stone ynghŷd i greu’r cynhyrchiad newydd yma, sy’n dilyn grŵp o fenywod cyffredin a cafodd eu tynnu o’u bywydau dinod a’u parasiwtio y tu ôl i linellau’r gelyn. Daeth y menywod hyn yn sabotwyr ac yn llofruddion tawel, yn tyngu llw i gyfrinachedd ond yn gweithredu ar rai o genadaethau mwyaf peryglus y rhyfel.

Mae The Beauty Parade yn cyfuno cerddoriaeth fyw, caneuon atgofus, deialog ac iaith weledol ac yn gweithio’n gynhwysol rhwng diwylliannau pobl Byddar a phobl sy’n clywedol i roi dehongliad aml-synhwyrol o’r stori anhygoel yma. Bydd y cynhyrchiad yn cael ei berfformio yn Stiwdio Weston y Ganolfan rhwng 5-14 Mawrth 2020. Mae tocynnau ar werth nawr.

Dywed y dramodwr Kaite O’Reilly: “Mae’n bleser ac yn fraint cyflwyno ein dehongliad  o sut aeth y meywod ‘arferol’ yma ati i gyflawni cymaint o bethau anhygoel. Roeddent yn gweithio’n gudd ac yn ddirgel i wrthsefyll y gelyn – a hynny yn y blynyddoedd cyn glaniadau D-Day. Mae hefyd yn fraint gweithio rhwng diwylliannau pobl Byddar a phobl y’n clywed ar gydweithrediad sy’n dod â nifer o ieithoedd ynghyd: iaith weledol, tafluniadau, gair llafar, canu a cherddoriaeth. Mae’r gwaith yn anarferol – ond, wrth gwrs, roedd y menywod a ysbrydolodd y gwaith yn anarferol hefyd.”

Yn cyflwyno’r sioe, dywedodd Cyfarwyddwr Artistig y Ganolfan, Graeme Farrow: “Mae Canolfan Mileniwm Cymru yn falch iawn o gyd-gynhyrchu, ac yn gyffrous i rannu The Beauty Parade gyda chynulleidfaoedd ym mis Mawrth. Yn wir, dyma gynhyrchiad arloesol sydd wedi’i greu gan dîm o artistiaid benywaidd arweiniol, gyda phrofiad o adrodd straeon anhygoel mewn ffordd anhygoel. Mae’n ddifyr, ffeithiol, hygyrch ac yn torri tir newydd., ae’n argoeli i fod yn ychwanegiad gwefreiddiol i’n calendr o sioeau yn 2020.”