ILLUSIONIST DARCY OAKE ANNOUNCES LONDON HALLOWEEN SHOW
LEICESTER SQUARE THEATRE
31st October 2019
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It began with an innocent card trick at the age of seven. Who could have imagined it would lead to Darcy Oake reappearing on our TV screens on Saturday night on ITV’s Britain’s Got Talent – The Champions. Today, he also announces his London show this Halloween at the Leicester Square Theatre on 31st October 2019.
Darcy will be taking London by storm to deliver a magical extravaganza that promises to be an evening of breath-taking, logic-bending illusions in the grand old tradition of stage magic, fused with his very own modern twist. Darcy’s show is a blend of stunning illusions, audience interaction and death defying escapes.
Darcy said: “I am so thrilled to be coming back to the UK and performing at the Leicester Square Theatre this October. Always on the edge of logic and danger this show is like no other. I will be delivering magic that will literately blow your mind. It will be a Halloween the audience will never forget!”
That electrifying 2014 breakthrough performance on Britain’s Got Talent – which has been watched by more than 200 million people worldwide – catapulted Darcy’s career to stratospheric heights. Not only proving the impossible is possible but demonstrating magic is young, fresh and dare devilish.
Making such an impact on the UK show the US beckoned and in 2016 he made a guest appearance on America’s Got Talent leaving the judges once again in awe of his talent. Darcy was further honoured to be a part of Queen Elizabeth’s 90th birthday celebration where he performed before the Royal Family at a private dinner.
Since then Darcy has been delighting audiences worldwide performing jaw dropping magic with finesse, intensity and his unique style. In 2018, Darcy headlined 10 shows at the world famous Calgary Stampede in his home country of Canada, in front of over 20,000 per night.
Darcy’s electrifying magic extravaganza is set to hit London this Halloween on 31st October at the Leicester Square Theatre. Darcy’s spine tingling tricks, illusions and death defying escapes will astonish, amaze and have you undoubtedly on the edge of your seats. Be prepared to have your mind blown!
What critics have said about Darcy Oake:
“A magician who specialises in sleight of hand and illusions – and blowing our minds”
Daily Mirror
“We are witnessing the birth of a star”
Simon Cowell
“No-one will be let down by the sheer brilliance of this bona fide star”
TO TOUR THE UK FROM 2020Following a highly acclaimed tour in 2018, The Original Theatre Company and The Anthology Group in association with Peter Stickney and York Theatre Royal’s production of Alan Bennett’s THE HABIT OF ART will return and tour the UK in 2020. Directed by Philip Franks and starring Matthew Kelly as Fitz (W. H. Auden) and David Yelland as Henry (Benjamin Britten). The tour begins on 18 March 2020 at Devonshire Park Theatre, Eastbourne.
THE HABIT OF ART explores friendship, rivalry and heartache, the joy, pain and emotional cost of creativity. It is centred on a fictional meeting between poet W. H. Auden and composer Benjamin Britten. Bennett wrote it as a play-within-a-play – actors Fitz, Henry, Tim and Donald are rehearsing a play called Caliban’s Day under the direction of stage manager, Kay, and in the presence of the playwright, Neil. In Caliban’s Day, a fictitious meeting occurs in 1973 in Auden’s (Fitz) rooms at Oxford not long before he dies. Britten (Henry) has been auditioning boys nearby for his opera Death in Venice, and arrives unexpectedly – their first meeting in 25 years after falling out over the failure of their opera Paul Bunyan.
Matthew Kelly is currently appearing in BIG The Musical, (Dominion Theatre). His other West End credits include Waiting For Godot with Ian McKellan and Roger Rees, Tim Firth’s play Sign of the Times, the musical Lend Me A Tenor! and Lennie in the Birmingham Repertory Theatre’s production of Of Mice and Men at the Savoy Theatre, for which he won the Olivier Award for Best Actor. Other recent theatre includes Rodgers & Hammerstein’s Carousel: A Concert (Cadogan Hall), The Box of Delights (Wilton’s Music Hal), Desire Under The Elms (Sheffield Crucible), Pride & Prejudice (Regent’s Park Open Air Theatre & UK Tour), The Jew Of Malta, Volpone and Love’s Sacrifice for the RSC, and Toast (Park Theatre & 59E59 in New York). Matthew’s television work includes the award-winning thriller Cold Blood, Benidorm and Bleak House, though he is probably best known for presenting You Bet! and Stars in their Eyes.
David Yelland’s theatre credits include Witness for the Prosecution (London County Hall), All Our Children (Jermyn Street Theatre), A Winter’s Tale (Shakespeare’s Globe), Taken at Midnight (Chichester Festival Theatre and Theatre Royal Haymarket). West End credits include Deathtrap (Garrick), The Deep Blue Sea (Haymarket), The Prime of Miss Jean Brodie (Strand), Richard III (Savoy – for which he won the Clarence Derwent Award), Life x3 (Savoy) and Man and Boy (Duchess). His television credits include the title role in David Copperfield, Nick Rumpole in Rumpole of the Bailey, George in Agatha Christie’s Poirot, EastEnders, The Crown and Endeavour. Film credits include Happy End (directed by Michael Haneke), Hunter Killer, Coriolanus (directed by Ralph Fiennes), Field Marshal Haig in Michael Morpurgo’s Private Peaceful (directed by Pat O’Connor) and The Prince of Wales in Chariots of Fire.Veronica Roberts plays the role of Kay, the Stage Manager. Her recent theatre credits include Mrs Gascoyne in The Daughter-in-Law (Arcola), Joy Bray in 49 Donkeys Hanged (Plymouth), and Marina in Uncle Vanya (Theatr Clywd/Sheffield Crucible). She is perhaps best known for playing Dorothy Bennett in the BBC Drama Tenko and Laura Elliot in ITVS’s Peak Practice. She has recently starred as Mrs Bookham in BBC’s Scarborough.
Robert Mountford plays the Author, Neil. His one man show Vagbonds – My Phil Lynott Odyssey played between 2015 and 2019 to sell-out audiences in Edinburgh, London and Dublin. In 2017 Robert was nominated for Best Supporting Actor at the UK Theatre Awards for House & Garden (Newbury Watermill). His other theatre credits include: Parolles in All’s Well That Ends Well (GSC/Jermyn Street Theatre), The Omission of the Family Coleman (Ustinov Studio, Theatre Royal Bath), Harold Pinter’s Betrayal (Salisbury Playhouse) and Anita and Me for Birmingham Rep. Robert has toured extensively with the Royal Shakespeare Company.John Wark plays Donald (Humphrey Carpenter). His theatre work includes Dead Sheep (UK Tour & Park Theatre), Toast (UK Tour, 59E59 New York & Park Theatre), The Cocktail Party (The Print Room), Keepers of Infinite Space (Park Theatre), Thark (Park Theatre), and The Fear of Breathing (Finborough Theatre).
Jessica Dennis plays the role of George, the Assistant Stage Manager. Her recent theatre credits include Henry V and The Tempest (Shakespeare’s Rose, York), The Wind In the Willows (Polka Theatre), Meet Me in the Ruins (Belgrade Theatre, Coventry), Romeo and Juliet (Orange Tree Theatre) and Offside (Futures Theatre, National Tour). She is also a regular performer for the award-winning Wireless Theatre Company and Audible.
Benjamin Chandler will play Tim (Stuart). His previous credits include The Passing Of The Third Floor Back (Finborough Theatre) and Three Sisters (The Union Theatre).
Alan Bennett’s THE HABIT OF ART premiered at the National Theatre in November 2009, directed by Nicholas Hytner and starring Richard Griffiths, Alex Jennings and Frances de la Tour. The National then toured the production in Autumn 2010 with a new cast led by Desmond Barrit, Malcolm Sinclair and Selina Caddell.The 2020 UK Tour of THE HABIT OF ART will be directed by Philip Franks and designed by Adrian Linford, with lighting by Johanna Town, sound by Max Pappenheim and casting by Joyce Nettles.
Bill Kenwright Ltd, Swansea Grand and Alex Turner Productions present the Swansea Grand Production of
A Prayer for Wings
30 October – 23 November 2019, King’s Head Theatre
ACCLAIMED WELSH DIRECTOR AND PLAYWRIGHT SEAN MATHIAS DIRECTS AN ALL-WELSH CAST IN A REVIVAL OF HIS AWARD-WINNING PLAY, A PRAYER FOR WINGS
Bill Kenwright Ltd, Swansea Grand and Alex Turner Productions present the London transfer of A PRAYER FOR WINGS, the award-winning play by internationally acclaimed Welsh-born director Sean Mathias.
Starring an all-Welsh cast, comprising Llinos Daniel, Alis Wyn Davies and Luke Rhodri, London audiences will now have a rare chance to see Sean Mathias direct his own work. This compelling production plays at the King’s Head Theatre for a strictly limited season from 30 October to 23 November 2019. A national press night will be held on Friday 1 November.
A PRAYER FOR WINGS tells the story of a mother and daughter, Mam and Rita, who have no other family and live in a disused church in central Swansea. Mam suffers from multiple sclerosis (MS) and Rita is her daughter, minder and keeper. She’s been caring for her mother since she was ten years old. Weary of the responsibility, Rita dreams of a better life, with a wonderful man, in another country, so she sells sexual favours for cash. Alarmingly relevant, Sean Mathias’ debut play explores the conflict and burden of caring responsibilities, interdependence and family, set against an individual’s hopes and dreams.
Sean Mathias said of the revival: “I am thrilled to bring A PRAYER FOR WINGS to this special London venue which so passionately supported me at the start of my career as an emerging artist. The King’s Head Theatre has been a hugely iconic venue on the UK theatre scene for many years and I am so happy to return here before it takes up residence in its important new home. This revival of A PRAYER FOR WINGS premiered in Swansea, where it is set, and after 35 years it was joyous to finally bring it home for the very first time.”
This revival production was first performed in summer 2019 at Volcano Theatre, Swansea as one of three plays co-produced by Swansea Grand Theatre to commemorate the 50th anniversary of Swansea achieving city status.
A PRAYER FOR WINGS has set and costume design by Lee Newby, lighting design by Robbie Butler, and sound design composition by Adam Cork.
Under the direction of Joan Plowright, A PRAYER FOR WINGS won a Fringe First Award for its world premiere in Edinburgh in 1985 and earned Mathias a nomination for Most Promising Playwright. At the time, the Daily Mail raved:
“This is a work with all the marks of a mature and major writer. Compassion, humour, wit and truth … a magnificent tale of female heroism.”
Mathias has since gone on to become an award-winning director of international repute. During his tenure as Artistic Director of Theatre Royal Haymarket, his legendary production of Samuel Beckett’s Waiting for Godot played two seasons at the theatre, as well as touring the UK and internationally. His acclaimed production of Harold Pinter’s No Man’s Land, starring Sir Ian McKellen and Sir Patrick Stewart, was the highest grossing play in the history of Wyndham’s Theatre.
Most recently, Mathias has directed Ian McKellen On Stage, a celebration of Sir Ian’s 80th Birthday on an extensive national tour and currently at the Pinter Theatre, which has raised more than three million pounds for theatre charities.
Lisa D’Amour’s Southern Gothic fable is described as a ghost story for three bodies with three voices. The three actors sit on a concrete plinth – perhaps the footprint of a trailer home – and play with tuning forks against a seemingly random collection of junk around their chairs as the audience file in, and the mystical tone of the play is laid out in Irene’s first lines: “When you are alive in one space for such a long time, the things that you remember mix with the things that are happening now, and the things you dream about.” The unreliable narrators are Irene (Beverly Rudd), a 25-year-old single mother who never leaves the trailer home, her 10-year-old daughter Annabella (Gabrielle Brooks) and Anna Bella Eema (Natasha Cottriall), the little girl Annabella makes out of mud.
Irene licks stamps for a living and tells tales of vampires and werewolves coming to visit as Annabella tries in vain to make her acknowledge the realities of life outside her home as the rest of the community move out to make way for the new Interstate. It is obviously not going to end well for the family, but the mind-bending ride that director Jessica Lazar takes you on before the inevitable happens is spectacular. With mysticism from different cultures – Anna Bella Eema has shades of Golem, animal spirits of the land and mischievous sprites all tumbling playfully around in her being – jumbled up with soap opera/reality TV situations, the narrative loops around, races towards dead ends and scatters to the winds, but never loses its grip on the audience. The tuning forks the cast play with are used along with the junk as musical instruments as they switch between gloriously lyrical speech and song, creating a magical soundscape with Tom Foskett-Barnes’s stunning sound design and Chris Sidorfsky’s original score. The cast react in animalistic ways to almost every sound, making a production that mostly takes place on three chairs unbelievably dynamic.
As the cast take on different characters in each other’s dreams and memories, their versatility shines and all three excel in their hauntingly comic performances. Anna Bella Eema is bizarre and beautifully poetic – a must-see show.
Hope Mill Theatre, Manchester – until 21 September 2019
Reviewed by Joseph Everton
5*****
Rob Ward’s Gypsy Queen is a hard-hitting sparring match between sexuality and sport. The story of two men from the macho world of boxing, known for ring girls, knock out punches and toxic masculinity, Gypsy Queen explores the difficulty of coming out and being openly gay in a world where the very idea remains unspoken.
Set in front of changing room benches, under the cold ring lights, Gypsy Queen showcases the talents of two men. One, playwright and actor Rob Ward as bare-knuckle fighter and traveller George O’Connell. The second, John Askew as gay boxer Dane ‘The Pain’ Samson, a future world title contender and son of a boxing legend who is desperate to keep his son’s sexuality under wraps.
Using verse to tell the story of their glory in the ring, heart wrenching stories of rejection and violence to paint a picture of their childhoods and a flurry of humour to help the audience through a series of dark scenes, Gypsy Queen is well written and masterfully produced. The story moves at pace and characters become familiar and likeable, played deftly by Ward and Askew who slip and weave between nine characters in total; including a comedy Irish mother, a Scouse bit on the side and the ex-pro father who cannot come to terms with his son’s sexuality.
An ambitious clash of homosexuality, sport, religion and bigotry, Gypsy Queen is a heavyweight piece of theatre that is as thought-provoking as it is entertaining. As a love story, it is believable and, when the tale ends with a heart-wrenching tragedy, it is deeply moving.
Priscilla Queen of the Desert is a wonderful fiesta of glitz, gloss and gaudy glamorous fun that makes your brain explode with colourful chaos! Strictly star, Joe McFadden, who plays Mitzi / Tick and the shows other two dazzling divas, Miles Western (Bernadette) and Nick Hayes (Felicia / Adam) bring the Australian outback to Bradford but not in the way you’d expect to see it – because this bush is studded with diamonds and pearls!
The show opens with a highly energetic performance delivered with great gusto and pizzazz which sets the pace for the whole musical – that being a non-stop hit parade of disco favourites. Innuendo loaded with acid-tongued jibes, Priscilla Queen of the Desert breaks all taboos and crosses the boundaries of sex, gender and age in a light and hilarious way.
The story unfolds in an area of Oz that is dominated by red-necked white Australians, who collide with our flamboyant female impersonators in various bars and clubs. This quirky trio take us on an outrageous journey of rollicking recklessness that is laced with wit but also challenges views and stereotypes – all done dressed in satin and sequins – what’s not to love? Flawless performances are given by each of the gang and are brilliantly bright and lewd but also tender and heart-warming – just at the right moment. The plot is given intrigue by each character having their own mission to face: Mitzi to explore a family secret, Bernadette to mourn the loss of her husband and Felicia to find adventure and fun!
The other spectacular trio of queens (backed by a fabulous ensemble) in this musical were Rosie Glossop, Claudia Kariuki and Aiesha Pease who gave spellbinding and spine tingling vocal performances throughout the show. They got the audience singing and dancing along immediately and hit all the right notes, in all of the right places, and all at the right times! Kudos must also be given to the amazing band, directed by Sean Green, brilliant choreography by Tom Jackson Greaves and it was all excellently directed by Ian Talbot.
If you want an evening of pure escapism – to have some unbounded frivolous fun – then go and see this musical because it really will make you feel like you’ve just been to the best party in town!
Theatre Royal Nottingham – untilSaturday 21 September 2019
Reviewed by Louise Ford
4****
Everybody Conga, the Doctor will see you now!
The story of Gloria (Philippa Stefani )and Emilio (George Ioannides) Estefan’s rise to fame has a slow start but at the end has the audience up on their feet dancing in the aisles, the rhythm is gonna get you in the end. Everyone on your feet!
The stage set (designed by David Rockwell ) is quite minimal with simple shutter sets moving around to create the various rooms and scenes. The lighting,and fireworks at one point, providing the light and shade for the dance routines and the songs. The dance routines (choreographed by Sergio Trujillo) are energetic and enthusiastic with lots of costume changes for both the ensemble and for Gloria.
The show starts with the on stage band blasting out the rhythms with energy and Cuban rhythms . It moves through the early years of a shy Gloritta, the daughter of Cuban immigrants, who writes songs but does not crave to be centre stage. Her meeting with the handsome, short wearing, Emilio her debut with his band and the success with the Miami Sound Machine. Through to her terrible accident and her grit and determination to not only walk but also to perform at the American Music Awards.
The story (Directed by Jerry Mitchell) is at heart a love story; the love of a people for the country they have left behind, the love of music and rhythm, the love of a family for each other and, of course, the love story of Gloria and Emilio.
Twined with a classical ‘rags to riches’ story of Gloria and Emilio’s rise to fame and challenging on the way the prejudices of their record executives who want them to continue singing in Spanish and not move away from their Latin fan base.
Whilst Gloria is, undoubtedly, the energetic star of the show the outstanding performances were those of Consuel (Karen Mann), Gloria’s strong and sassy grandmother and Gloria Fajardo (Madalena Alberto) Gloria’s estranged mother whose own singing career was poignantly thwarted at an early age.
The energy of the dancers is infectious the Cuban rhythms mixing with the disco beat of Gloria’s Miami Sound Machine. It all makes for a splendid finale, are you ready to party?
StoryHouse Live! Chester – until Saturday 21 September 2019
Reviewed by Julie Noller
5*****
It’s astounding, time is fleeting, madness takes it’s toll. But listen closely; yes it’s the opening lines to perhaps one of the most iconic songs and much loved dances to grace many a wedding reception since it’s beginnings back in 1973. There is a feeling that like it’s author, director and original star Richard O’Brien it never dates or becomes tiresome. It’s roots are firmly set in B movie kitschness, it’s delightful and delicious. Prepare yourself if you’ve never seen this must see, tick it off the list stage extravaganza, it is far superior to the film. You may be asked if you don’t glam up if you are a virgin (theatre show first timer nothing sinister)… glitter and sequins are the norm, dare to be bold. Find a friend and share a photo opportunity. It’s couragously camp, naughty in a childish way that has you giggling. Prepare for the hard core fans who know when to shout out those one liners in an attempt to put off the actors on stage. It’s a show for any occasion if you’re lucky enough to be celebrating from Hen Party to this weekends Chester Pride you are on for a riotous time, perhaps the best night out this year.
Not one actor upon the stage had a poor night, each and everyone performed magnificantly. High notes and low notes were all reached. Brad and Janet our lovable kids starting off as all young lovers in innocence. Played by James Darch and Joanne Clifton, they summise the nerd within all of us, wanting yet not knowing what. Joanne better known to us from BBCs Strictly. I have to say I was mega impressed I expected dancing and suppleness but I was genuinely surprised and impressed by a great voice too. Stephen Webb as Frank N Furter, the old devil on the shoulder encouraging roguish behaviour. A huge cheer was always on the cards before that very first appearance through the doors, he loved every minute as did we. Callum Evans as Rocky is an accomplished gymnast having won the Welsh Championships; a talent that shined through on stage. We must just mention what a body. Philip Franks is superb as Narrator he is quick witted and razor sharp to answer those brave enough to shout out from the audience. With his big red book reminiscent of Eamonn Andrews in This is Your Life (one for the older readers).
All the usual songs were included There’s a Light, bring a glow stick optional but looked fantastic, Sweet Transvestite and Touch Me both iconic and of course Time Warp, don’t sit down… Jump to your feet and feel free to follow Frank N Furters example and release your inner inhibitions. In fact through out the entire show, there were times audience members felt compelled to jump up, dance, clap, cheer and just enjoy the ride. Don’t be the only one sitting for you will regret it.
I have to say that amongst the entire cast of both males and females there wasn’t one bad pair of legs, if only I could don suspenders and look that sexy. The Rocky Horror Show must single handedly boost sales of fishnets and basques within the UK market indeed where ever the show is performed. The danceathon of musical numbers after the expected standing ovation was one of my most enjoyed theatre moments. I have always loved the film for it’s fun poking but you actually get that full on immersive experience with the theatre show, you decide how immersive you want that to be. Just go along and enjoy a fantastic performance, remember those one liners for the next show you go to see… for there will be another jump to the left and then a step to the right.
Richmond Theatre, London – until Saturday 21 September 2019
Reviewed by Serena Norgren
3***
A Woman of No Importance by Oscar Wilde was first performed in 1893. In typical Wilde style, its essence is to satirize the English aristocracy and Victorian values. Women were, at that time, subordinate to men in every sense and reputation was everything. The play’s basic premise is the ruination of a good woman, Mrs Arbuthnot (Katy Stephens), by the caddish Lord Illingworth (Mark Meadows) with whom she had run off 20 years previously but who then had refused to marry her; she unexpectedly encounters him in a country home. To complicate matters further, he has just unknowingly offered their son Gerald (Tim Gibson) a job, which his mother is determined he should not take. Does she tell her son the truth and risk being judged? Or should she stay silent? The hypocrisy of the stigmatisation of the “fallen” woman and the celebration of the much admired aristocrat is what is at the core of this piece.
The play opens in the grand estate of Lady Hunstanton (Liza Goddard) where a collection of upper class caricatures have gathered. The first act is a pedestrian affair with various exchanges between the more minor characters including Gerald’s moralising American love interest, Miss Hester Worsley (Georgia Landers), lecturing on the flaws of the aristocracy. It is lumpy and awkward, only relieved from time to time by the waspish wit of Lady Caroline Pontefract (Isla Blair) with her comic one-liners mainly directed at her bumbling husband, Sir John (John Bett).
With the arrival of Mrs Arbuthnot in the second act, we move from fluff to melodrama as Mrs Arbuthnot and Lord Illingworth fight it out for the soul of Gerald. Although, Katy Stephens does a fine job of the tortured mother trying to protect her son at her own expense and Mark Meadows serves up a decent line in suave caddishness, the intense melodrama is verging on the ridiculous. This is unequivocally a play of two very distinct and different halves.
During the (lengthy) set changes, we are treated to entr’acte ballads performed by the cast with Roy Hudd as the Reverend Daubeny on vocals. With names like Polly Perkins from Paddington Green and The Dark Girl dressed in Blue, these felt contrived and at times, somehow offensive.
Director, Dominic Dromgoole’s earlier revival of this play seems to have been much feted, but this production is stilted and old fashioned. The sets are huge and heavy and the lighting was so dark at times it was difficult to see the actors’ expressions. However, it is not simply the production that fails to deliver. Despite Oscar Wilde’s reputation as a playwright, famed for his vicious wit satirizing the hypocrisy of the aristocracy and calling out the moral double standards, this piece simply does not resonate in the 21st Century. In the post Weinstein era, it takes a strong stomach to enjoy the piece although one could argue it does establish Wilde’s feminist credentials. It’s relevance today is however hard to see: the modern feminist debate is a much more nuanced and complex one. Of all the plays in all the world, it is hard to see why a producer would choose this one; of all the Wilde plays, again, why choose this one?
Jeannette Bayardelle’s Off-Broadway smash tells the story of Shida, who we first meet lighting up her crack pipe. Bayardelle then takes us back to Shida’s childhood and through her college years to show how she got in this sorry state. Shida’s story is familiar – a bright child, sexually abused and guilt-ridden over a teenage abortion finally giving up on her dreams of being a writer after watching her mother die of cancer and turning to drugs to dull her pain. But the musical is based on the true story of Bayardelle’s childhood friend, turning what could seem like a midweek TV movie plot into something more personal and emotional. The short running time means that the songs and interlinking scenes charge past with little chance to pause for breath (until Bayardelle halts the show for a water break but never loses her hold on the audience).
Bayardelle plays every female in Shida’s life with dynamism and sublime characterisation, from inspirational teacher Miss Smalls to blunt but faithful friend Jackie. The men are voiceless, their presence implicit in Shida’s reactions and expressions, making the portrayal of the first time Uncle Steve rapes Shida more harrowing. This still feels like a work in progress, with potential to become a full-scale musical with a whole cast of women exploring the roles and letting rip with some wonderful harmonies, but even in this current form, Shida is a show that packs a punch. Director Andy Sandberg keeps the fast pace from becoming repetitive, and the audience is swept along on the tidal wave of talent and energy from Bayardelle. Her vocal power and characterisation are simply sublime, in both the softer numbers and those that are belted out with stylish ferocity. After starring roles on Broadway, the chance to see Jeannette Bayardelle performing in such an intimate theatre is one not to miss. Grab a ticket while you can.
