4**** Entering the theatre you are greeted with the sight of Patrick Connellans glorious set. The musty dusty academics office, filled with shelves upon shelves of books – some of which are hiding bottles of scotch. It is such a visual representation that it immediately draws you in and transports you to 1980’s Liverpool.
University Tutor Frank (Stephen Tompkinson) has taken on extra work from the Open University to help fund his alcohol habit. His first student is hairdresser Rita (Jessica Johnson). Really called Susan, she has changed her name to the more “glamorous” Rita. She wants to find herself before settling down to motherhood despite her husbands opposition to her learning.
Despite his obvious dissatisfaction with the situation, Frank agrees to teach Rita the classics and aid her in passing the exams, mainly because of her insatiable appetite to learn and her unconventional personality. Although their friendship blossoms initially, Frank becomes jealous of his protégé’s new found friends and lifestyle which he decreasingly has control over. He is left in solitude rueing life’s mistakes, while Rita dazzles with her intellect. What starts out as Frank the tutor and Rita the student, it becomes obvious that Rita is teaching Frank as much about life as he is teaching her about literature
Tompkinson gives a solid and committed performance as Frank, his portrayal of the often inebriated professor is well executed as he swings through states of subdued, melancholic thought to irate, persistent lecturing. He plays the role with an individuality which the softer and more intimate scenes require. Johnson’s Rita is colourful and comic; in her first meeting with Frank she confuses Yeats the poet with the Yates pub chain and whose solution to the challenge of staging Peer Gynt is to put it on the radio instead. Her ability to deliver Rita’s lines with genuine and unabashed honesty makes the character instantly likeable and instantly relatable. Undoubtedly, in a two-player performance such as Educating Rita, the chemistry between actors should sustain the play and audience and this does.
Willy Russel knows how to write strong women, be it Shirley Valentine, Mrs Johnston from Blood Brothers or Rita. All of them searching for happiness, with high hopes and ambition. Educating Rita has barely dated and is laugh out loud funny whilst providing social commentary on the class system. The central premise – that an education allows one to have choices in life – is as relevant now as it was in 1980.
FULL CAST AND TOUR VENUES ANNOUNCED FOR THE LOVELY BONES
The Birmingham Repertory Theatre, Royal and Derngate Northampton, Northern Stage co-production in association with Liverpool Everyman and Playhouse.
THE LOVELY BONES
by Alice Sebold
Adapted by Bryony Lavery
Director: Melly Still;Designer: Ana Inés Jabares-Pita; Composer: Dave Price
Lighting Designer: Matt Haskins; Sound Designer: Helen Skiera; Movement Director: Mike Ashcroft Assistant Director: Lucy Bird
On tour 6 September – 30 November
Following a hugely successful run last autumn, Birmingham Repertory Theatre in association with Lee Dean today announce the full cast and venues for their upcoming tour of The Lovely Bones. Melly Still directs Catrin Aaron (Abigail Salmon), Radhika Aggarwal (Heavenly Girl 2), Fanta Barrie (Lindsay Salmon), Charlotte Beaumont (Susie Salmon), Samuel Gosrani (Ray/Holliday), Leah Haile (Heavenly Girl 1), Avita Jay(Franny/Ruana), Andrew Joshi (Heavenly Girl 3), Nicholas Khan (Mr Harvey), Leigh Lothian (Ruth Connors), Huw Parmenter (Sam/Len), Lynda Rooke (Lyn), and Jack Sandle (Jack Salmon). The production opens at Birmingham Repertory Theatre on 10 September, with previews from 6 September, before embarking on a UK tour to Theatre Royal Nottingham, Exeter Northcott Theatre, Norwich Theatre Royal, The Lowry Salford, Rose Theatre Kingston, Hackney Empire, Cambridge Arts Theatre, Oxford Playhouse, Yvonne Arnaud Theatre, Guildford and Chichester Festival Theatre.
Susie Salmon is just like any other young girl. She wants to be beautiful, adores her charm bracelet and has a crush on a boy from school.
There’s one big difference though – Susie is dead.
Now she can only observe while her family manage their grief in their different ways. Her father Jack is obsessed with identifying the killer. Her mother Abigail is desperate to create a different life for herself. And her sister Lindsey is discovering the opposite sex with experiences that Susie will never know. Susie is desperate to help them and there might be a way of reaching them…
Alice Sebold’s novel The Lovely Bones is a unique coming-of-age tale that captured the hearts of readers throughout the world. With a talented cast, incredible set design and a soundtrack combining 70’s favourites with original music, this wonderfully creative production brings her vision to life in an exciting, emotional and uplifting theatrical experience.
Bryony Lavery’s theatre credits include The Midnight Gang (Chichester Festival Theatre), Swallows and Amazons (Storyhouse), Brighton Rock (Pilot Theatre), Frozen (Theatre Royal Haymarket), Balls (59E59 Theatre), Brideshead Revisited (York Theatre Royal / UK tour), Queen Coal (Sheffield Theatres), Treasure Island (National Theatre), Beautiful Burnout (National Theatre, Scotland) and Smoke (Young Vic).
Melly Still directs. Her previous theatre credits include My Brilliant Friend (Rose Theatre Kingston/ National Theatre), Captain Corelli’s Mandolin (Rose Theatre Kingston/UK tour/Harold Pinter Theatre), Cymbeline (RSC), The Haunting of Hill House (Liverpool Everyman and Playhouse), Life Raft (Bristol Old Vic), Coram Boy (National Theatre/Imperial Theater – nominated for a Tony Award nominee for Best Director), From Morning Till Midnight, Nation, The Revenger’s Tragedy (National Theatre), Rats’ Tales (Manchester Royal Exchange), Beasts and Beauties (Hampstead Theatre) and Tiger Bay the Musical (Wales Millennium Centre). Her opera directing work includes The Cunning Little Vixen, Rusalka (Glyndebourne) and Zaide (Sadler’s Wells).
Catrin Aaron plays Abigail Salmon. Previous theatre credits include Orpheus Descending (Menier Chocolate Factory/ Theatr Clwyd), The Wizard of Oz (Sheffield Theatres), As You Like, Hamlet (Shakespeare’s Globe), Henry V (Regent’s Park Open Air Theatre), The Forsythe Sisters (Gaggle Babble), Sex and the Three Day Week (Liverpool Playhouse) and What People Do and London: Let’s Get Visceral (Old Vic Tunnels). She is an Associate for Theatr Clwyd, where her work includes The Rise and Fall of Little Voice, Cat on a Hot Tin Roof, All My Sons, The Light of Heart, Aristocrats; Salt, Root and Roe; Humbug, God of Carnage, A Doll’s House, Roots, Taking Steps, Gaslight, Dancing at Lughnasa, A Small Family Business, Festen, Mary Stuart, Twilight Tales, Macbeth, A Toy Epic, Tales from Europe, The Timeless Myths of the Mabinogi, Of Mice and Men, The Grapes of Wrath, The Voyage, The Way It Was, Flights of Fancy, Hobson’s Choice, One Flew Over the Cuckoo’s Nest,Silas Marner and Orpheus Descending. For television, her work includes The Indian Doctor, The Bastard Executioner and First Ladies; and for film, Apostle.
Radhika Aggarwal plays Heavenly Girl 2. Her theatre credits include Satyagraha (Dorothy Chandler Pavilion), Engine Break (UK tour) and An Arrangement of Shoes (international tour). Film credits include The Children Act.
Fanta Barrie plays Lindsay Salmon. Her theatre credits include The Amber Trap (Theatre503), The Cereal Café (The Other Palace) and Songlines (Assembly, Roxy).
Charlotte Beaumont returns to play Susie Salmon. Her theatre credits include Romeo and Juliet (Shakespeare’s Globe), Pebbles (Katzpace), No One Will Tell Me How To Start A Revolution (Hampstead Theatre), Jumpy (Theatre Clwyd), 3 Winters (National Theatre), Love Your Soldiers (Sheffield Theatres), Playhouse Creatures (Chichester Festival Theatre), Blue Heaven (Finborough Theatre), The Flooded Grave and 2,000 Feet Away (Bush Theatre). Television credits include as series regular Chloe Latimer in Broadchurch, and as series regular Kenzie Calhoun in Waterloo Road. Film credits include Sex, Drugs & Rock & Roll.
Samuel Gosrani plays Ray/Holliday. The Lovely Bones is his professional stage debut.
Leah Haile plays Heavenly Girl 1. Her previous theatre credits include Harry Potter and the Cursed Child (Palace Theatre) and The Crucible (Royal Exchange Manchester).
Avita Jay plays Franny/Ruana. Her previous theatre credits include Billionaire Boy (Nuffield Southampton Theatres/UK tour), The Secret Garden (York Theatre Royal), The Jungle Book,Bring on the Bollywood, The Merry Wives of Windsor (UK tour), Bottled Up (Lyric Hammersmith), We’re Stuck (Shoreditch Town Hall/UK tour), Rapunzel, Warde Street (Park Theatre), Pioneer (Sheffield Theatres/UK tour), Unsung (Wilton’s Music Hall) andSunday Morning at the Centre of the World (Southwark Playhouse). Her film credits include The Rezort, The East London Story: Slap or Die, London, Paris, New York and Twenty8K.
Andrew Joshi plays Heavenly Girl 3. Previous theatre credits include The Madness of King George (Nottingham Playhouse), It’s A Wonderful Life (East Riding Theatre), The Railway Children (UK tour), Breakfast At Tiffany’s (Curve, Leicester, Theatre Royal Haymarket, UK tour), Shiv, The Pereira’s Bakery at 76 Chapel Road (Curve, Leicester), The Letter (Wyndham’s Theatre/UK tour), Macbeth (Lyric Hammersmith) and The Excavation (Tristan Bates Theatre). Television credits include Giri/Haji.
Nicholas Khan plays Mr Harvey. His previous theatre credits include Approaching Empty (Kiln Theatre), Wonderland (Nottingham Playhouse), Our Town, Animal Crackers (Royal Exchange Manchester), A Tale of Two Cities (Regent’s Park Open Air Theatre), The Kite Runner (Nottingham Playhouse, UK tour, Playhouse Theatre), Love N Stuff (Theatre Royal Stratford East), The Beaux Stratagem, Dara (National Theatre), Nur Du (Barbican),Voyager (Arcola Theatre), The Resistible Rise of Arturo Ui (Liverpool Playhouse), Macbeth, Romeo and Juliet (Shakespeare’s Globe / international tour), Ramayana (Lyric Hammersmith / Bristol Old Vic), Who’s Afraid Of The Big Bad Book? (Soho Theatre), The Lion, The Witch and The Wardrobe, The Winter’s Tale, The Comedy of Errors, Henry V (RSC), Arabian Nights (Young Vic) and Maa! (Royal Court Theatre).
Leigh Lothian plays Ruth Connors. Her theatre credits include Beautiful – The Carole King Musical (Aldwych Theatre/UK tour), The Flouers O’Edinburgh (Finborough Theatre), Selkie (Southwark Playhouse), Chariots of Fire (Gielgud Theatre), Avenue Q (Gatehouse Theatre) and The Beautiful Game (Union Theatre).
Huw Parmenter plays Sam/Len. His theatre credits include The Mirror Crack’d (Wales Millennium Centre/Salisbury Playhouse), Anything is Possible (Pleasance Theatre), After Orlando (Vaults Theatre/Theatre Royal Stratford East), Desert Rats (Arts Theatre), The Late Wedding (Theatre Royal Stratford East), Dark Tourism (Park Theatre), Rebel Rebel (Theatre503) and Hearing The Song (Orange Tree Theatre).
Lynda Rooke plays Lyn. Her previous theatre credits include Jane Eyre (National Theatre/UK tour), Martha, Josie and the Chinese Elvis (Hull Truck Theatre), Piaf, Can’t Pay? Won’t Pay!, Queen of the North (Octagon Theatre, Bolton), Touched (Salisbury Playhouse), Beauty and the Beast (Sherman Theatre), A Taste of Honey and The Last Yankee (Bristol Old Vic). Television credits include as series regular Mrs Osborne in Hollyoaks, Bad Move, InspectorLewis – What Lies Tangled, Chickens, Identity, Foyle’s War, Heartbeat, Von Trapped, Bad Move, My Fragile Heart, Peak Practice, This is Personal, Back Up, The Biz and The Sculptress. Film credits include The Arbor.
Jack Sandle returns to play Jack Salmon. His theatre credits include Monogamy (Park Theatre/UK tour), Running Wild (Chichester Festival Theatre/UK tour), War Horse (New London Theatre), The Astronaut’s Chair (Theatre Royal Plymouth), Macbeth (Octagon Theatre Bolton), Far From The Madding Crowd (UK tour), Pains of Youth (Belgrade Theatre), The Late Henry Moss (Southwark Playhouse), Hay Fever (York Theatre Royal), The Conquering Hero, The Company Man, Summer Again, The Marrying of Ann Leete and Adam Bede (Orange Tree Theatre) and Two Noble Kinsmen (Bristol Old Vic).
Agonisingly relevant, Pulitzer Prize finalist Dael Orlandersmith’s ‘Until the Flood’ takes on the destructive nature of race relations in the USA today.
Poised in front of a memorial to the black teenager, Michael Brown, the main impetus for the play, we watch a parade of speakers provide their views. Each is carefully and wonderfully rendered by Orlandersmith; she performs as a horrified young black man, fearing a similar fate, a tremulous white woman, unable to understand the difficulties of reconciliation, a hissing, raging, racist. Her impressions are suggestions rather than caricatures, the voices flow through her without altering her posture or gait. Throughout this procession, Orlandersmith asks us to observe the legacy of such violence that has played out again and again.
‘Until the Flood’ is not interested in apathy, but rather it provides sensitive understanding of the warring ideas and histories that underpin debates around race and gun violence in the States today. There is rage in some of Orlandersmith’s characterisations, but it is tempered by a deep, moving compassion – change is desperately needed but seems absent from a bleak, Trump-owned horizon; yet underneath the intricate political knots lie many types of human.
The play is based upon interviews Orlandersmith conducted in St Louis after the shooting of Michael Brown, by white policeman Darren Wilson. The situation is murky. Like in many similar tragedies, including the El Paso and Dayton, Ohio shootings over the weekend, politics and opinion cloud the facts. Two things are known for certain; Michael Brown was unarmed, and Darren Wilson was not indicted for his role in Brown’s death. The event is motivational but not the subject. Rather, Orlandersmith asks, what do we do with the fallout?
‘Until the Flood’ reminds us that the avoidance of justice for Michael Brown, and individuals like him, takes a moral toll on all citizens, not just those directly affected by the tragedy. Orlandersmith’s play stands, with striking grace, to remind us all that healing begins with authentic change
Cerebral, witty, thrumming with energy – ‘If Mouth Could Speak’ is a play ostensibly about one man’s quest for death, but performs as a powerful celebration of life in the big city, in all its suffering glory.
A young immigrant, Danny, is lost and suicidal in the strange tides of London. There is no set, no props, yet we sense the ranging energy of a conflicted individual. One moment he sits by the Southbank, the next by London Bridge, then Peckham and beyond. Exquisitely written and performed by Timotei Cobeanu, the imagery is that of isolation, yet it brims with humanity.
The music, written by director Michael Crean, was a particular highlight, able to follow the changing energy of Danny’s deteriorating state. There is not a static moment, the poetry and music is relentless, a rhythmic reflection of a moving city. At points, Cobeanu slips into a grime rap-like flow, accompanied by Crean’s shifting beats, at others sirens, voices and doctors accompany his words, plaintive and scattered.
London herself makes an appearance; twisted, ancient, toothless, lustful. The personification of ‘London’ as a wild woman made sense to me, she is a city without boundaries, after all, and her sudden appearances animated the performance with a crooning vivacity. One quibble – ‘London’ is given a breathy, high-pitched voice that didn’t quite match the comparison of “Amy Winehouse” as offered by the script. Something more authentically seductive might have worked better, rather than a humorous mimicry of charged femininity.
Overall it is a moving hour, an intense journey into one man’s anguish, adorations and eventual destruction in the most populated of cities. I’d highly recommend.
Acclaimed playwright Alex Gwyther takes on the daunting subject of male rape in ‘Ripped’, a searing one-man play that strikes at the heart of toxic masculinity, violence, and emotional trauma.
Jack (Gwyther) wishes to conceal his agony, and so reinvents himself into a twisted imitation of ‘true masculinity’. But can we ever truly escape our past?
The play is moving. Gwyther imbues Jack with a subtle tenderness, despite his obvious anguish. Jack, ultimately, is a man searching for refuge, reinventing his identity after it has been obliterated, and Gwyther’s performance reflects this new need for affirmation underneath his overwhelming rage.
The play is not perfect. Wounded masculinity does not always manifest in violence, and although Gwyther’s performance is direct the nuance of the wider situation is sometimes lost, and there’s no real sense of a true solution. “Boys don’t cry and real men don’t die, they just reload!” argues Jack, but what should replace these antiquated, militaristic styles of behaviour? It sometimes feels unclear.
Around 12,000 men report rape every year. The total number is much higher – men tend not go to the authorities, fearing stigma, disbelief, even ridicule. Laws regarding rape victims have been gender neutral since
2003, yet sexual violence against men is rarely discussed and even more rarely prosecuted. It is not a comfortable watch, but ‘Ripped’ reveals the consequences of the mandatory stoicism required by the cultural elements of masculinity. Jack admires Sylvester Stallone’s all-powerful Rambo, but the world of the traditional man’s man ultimately holds no solace for him.
Overall, Gwyther takes on the stigma of the harrowing reality of male rape, and asks us to engage with society’s mistrust of male vulnerability. A valuable and worthy watch
Rebecca Jayne-Davies and Ryan Bennett will star in The Barn Theatre’s (Best Fringe Theatre – The Stage Awards 2019) upcoming production of Daddy Long Legs, the theatre’s first musical production of 2019.
The award winning musical with music and lyrics by Paul Gordon and a book by John Caird, isbased on the classic novel by Jean Webster that inspired the 1955 film starring Fred Astaire. The production is directed by Kirstie Davis, with design by Gregor Donnelly, musical direction by Charlie Ingles and runs from 2 October – 2 November 2019.
Daddy Long Legs is set in turn-of-the-century New England and tells the story of orphan Jerusha Abbott and her mysterious benefactor who agrees to send her to college, who she dubs ‘Daddy Long Legs’ after seeing his elongated shadow.
With a score of stunning musical numbers, Daddy Long Legs is the tale of two lives colliding and unfolding through Jerusha’s letters addressing her Daddy Long Legs, working as an insight into her innermost thoughts of the world. Daddy Long Legs is an uplifting piece of theatre that questions identity whilst highlighting the importance of education, imagination and love.
Daddy Long Legs is part of The Barn’s 2019 season of in-house productions. The season includes four other productions: a brand new production of the comic thriller, The 39 Steps, which runs until 10 August 2019; a reimagining of Charles Dickens’ festive masterpiece, A Christmas Carol, which opens from 27 November – 4 January; and Michael Morpurgo’s The Butterfly Lion and William Shakespeare’s classic history, Henry V, which completed their runs earlier this year.
As a young actor I’ve always been intrigued by the concept that Peter Shaffer’s Equus. The 2 act play follows Adolescent Psychiatrist Martin Dysart on his journey to understand the motivations behind the horrific crimes of a 17 year old boy, Alan Strang, as he seeks to unlock his psyche and delve into his troubled mind. I have seen Equus staged a couple of times before and I have always been a fan but I have to say, Trafalgar Studios production is by far the best performance of this masterpiece I have seen to date.
Zubin Varla gives an acting masterclass in his role as Dysart, with a calm and clinical command over his stage, yet with some subtle layers of the trouble the character feels within. His is by far the strongest performance of this role that I have seen. Ira Mandela Siobhan thrills as Nugget, fully embodying the horse to a level that I was amazed with, this was a performance that truly suspended your disbelief. Massive credit is due to the movement coach for this production – Shelley Maxwell – with her methods of getting people in and out of the horses really amazing me. However the highlight of the piece for me was Ethan Kai in the role of Alan Strang. The way Kai presented Strang with his constant bursts out and evil eyes was both massively unsettling and strangely endearing towards the character, as you wanted to see him get out of the pain he was so clearly in and get through his troubles. I honestly have massive respect for Kai delivering a performance of this quality in what is only his third theatre credit. Well done!
Overall, Equus is a show for the thinking theatregoer. If you are wanting a happy toe tapping show then this isn’t for you (and fairly so). But if you want to have two hours of truly thought provoking drama delivered by some of the best working actors in the industry right now then get yourself to the Trafalgar Studios and buy a ticket before they’re gone. I promise you you won’t regret it!
Artist selected for Hippodrome 120 sculpture commission
Pictured: Rachael Champion. Linked images of Rachael and her previous work.
Birmingham Hippodrome and Pangaea Sculptor’s Centre have announced Rachael Champion as the winner of the Hippodrome 120 Sculpture Commission, which is part of the celebrations to mark the iconic venue’s 120th year.
Rachael Champion’s work primarily manifests as site-specific installations and architectural sculptures that respond to places and their histories through contextually relevant forms and materials. For the special one-off commission, Champion will suspend organic forms adorned with architectural imagery to highlight the fascinating textures of the city of Birmingham and to reference the theatre’s many architectural and facade transformations over its lifetime.
“It is an honour to have been selected for the Hippodrome 120 Commission. The context is particularly special as I have been working in technical theatre to support my sculpture practice for many years. I am so excited to get to know Birmingham and its architecture to realise ‘Tower of Varieties’” said Rachael of the award.
Jonathon Harris, Visual Arts Producer at Birmingham Hippodrome commented: “The Hippodrome 120 Sculpture Commission is a signature project for the venue’s 120th birthday celebrations and an exciting moment for our new visual art programme that reinforces the Hippodrome’s commitment to artistic investment.
The technical and artistic expertise of Pangaea Sculptors’ Centre has madeit possible for us to commission and support the fabrication of new sculpture on this scale. With well over 500,000 visitors to our building each year, we look forward to this new, temporary public sculpture making a real statement and offering the public the opportunity to engage with high quality contemporary visual art” Jonathan concluded.
The final sculpture will be unveiled in October, as part of the month long celebrations for the Hippodrome’s 120th birthday.
Lucy Tomlins, Director, Pangaea Sculptors’ Centre added: “With a distinguished 120-year history, Birmingham Hippodrome is an organisation adept at taking risks with conceptual and material creativity in a way that speaks to a broad audience. We are delighted to be working with them on our first major public sculpture commission in the city.
“The sculpture will feature architecture that reflects the city’s personality and resonates with the people of Birmingham. Rachael is a unique talent in the field of contemporary art and we are delighted to have awarded her this exciting new commission.”
Rachael will be reaching out to the people of Birmingham on social media to make suggestions of the buildings and architecture of the City that resonate with them to be considered for inclusion. Follow @brumhippodrome and @pangaeacentre to share your favourite.
The sculpture commission is part of the venue’s wider visual arts programme. From September a new ‘Hidden Stories’ season of exhibitions will launch, with highlights including ‘Pre-Windrush to the Present Day: A History of Black Performance on Stage at Birmingham Hippodrome’ in collaboration with Blackstory Partnership. To see the full visual arts programme visit www.birmighamhippodrome.com
Tyne Theatre & Opera House are excited to announce a Halloween screening of cult classic, The Rocky Horror Picture Show, which will be showing Thursday 31st October 2019. Fancy dress is encouraged for this fun film event that will be raising money for the Tyne Theatre & Opera House Preservation Trust – with all profits from ticket sales going to the Trust.
The Trust continues to work on refurbishing, restoring and preserving the Grade 1 Listed building – with a focus on the auditorium and Victorian stage machinery – to ensure it can be enjoyed by future generations.
Tickets for The Rocky Horror Picture Show screening are on sale now and are priced at £15 adults, £12.50 concessions, £10 students with a vaild ID & groups of 10 or more.
The Rocky Horror Picture Show screening is the latest addition to the theatre’s jam-packed Autumn/Winter programme, with something for everyone to enjoy. As the go-to venue for stand-up in Newcastle upon Tyne, in the coming months the theatre will welcome some of the biggest names in comedy, with James Acaster returning for his third completely sold out Tyne Theatre date of 2019. Other comedy favourites coming to the theatre include Josh Widdicombe, Daniel Sloss, Ben Elton, Ardal O’Hanlon and more.
Upcoming music acts span a whole range of genres from folk to funk, including the hugely influential Average White Band, indie-pop legend Lloyd Cole, folk stalwart Al Stewart, much-loved local sibling duo Cattle & Cane – and Classical music fans can enjoy K&K Philharmonic performing ‘Salzburg Mozart Gala’ as part of their first ever visit to the UK.
The Tyne Theatre firmly believe that a trip to the theatre should be enjoyed by the whole family, and they round up 2019 with Julia Donaldson and Axel Scheffler’s Tabby McTat and Starlight Theatre’s rollicking production of The Wind in the Willows. Of course, Enchanted Entertainment return with this year’s Christmas panto Aladdin, starring local favorite Charlie Richmond and with talented X-Factor star, Marcus Collins, announced to play the Genie. More stars will be announced very soon.
Also showing over the festive period, the Russian State Ballet return to Tyne Theatre for one night only with their production of Swan Lake. Their 2017 performance of the same ballet was a complete sell-out, so early booking is recommended to avoid missing out!
Theatre Director Joanne Johnson says: “Tyne Theatre & Opera House is on track for another record year in 2019, with October, November and December set to be our busiest months. We have some wonderful shows and I’m very proud of our programme – just by coming to see a show here, customers are helping to keep our beautiful theatre alive.”
For tickets or information on any of the above listed shows, or to view the rest of the Tyne Theatre programme, see the Tyne Theatre & Opera House website: https://tynetheatreandoperahouse.uk/
I can’t imagine there are many people with a love of musicals, whether film or stage, that do not know the story of The Wizard of Oz. The tale of a young girl named Dorothy who, after a tornado hits her Kansas farm finds herself in the weird and wonderful land of Oz with her beloved dog Toto. On her quest to get back home Dorothy meets many eccentric characters along the famous yellow brick road that join in and have their own wishes to be granted by the Wizard. Despite the best efforts of the Wicked Witch they reach the Wizard who requests and item belonging to the Wicked Witch before any wishes will be granted. The next wacky chapter of the adventure begins and with the help help of her new friends will Dorothy ever get home to her family in Kansas?
This Stage 65 theatre and Jigsaw Youth dance Company production really blew me away. They have added a contemporary element whilst still following the original concept that we all love. The costumes are extremely well thought out and designed, picking up on American iconic styles such as football players and greasers. The set is simple but beautiful and the clever use of props add all the right elements to put you into Oz with its yellow brick road and the Emerald City glowing bright green.
The whole cast were outstanding, a truly talented bunch who sang perfectly, had comedic timing that some high balling TV regulars dream of and you could see the enjoyment of being on stage beaming from their faces. An all round enjoyable family friendly production. A cast of rising stars.
