Growing social network to share theatre news and reviews

October 1943, 7500 Jews fled from Denmark in fishermen's boats,
crossing the Oresound waterway to Sweden and to safety from the Nazi
occupation. To some this was a miracle rescue, to others the question remains:
how did thousands of Jews slip through the grasp of the most powerful war
machine ever assembled? Historians and researchers have debated facts or
'plausible impossibility' over the years in their quest to uncover the reality.


Playwright A Bodin Saphir said ''Rosenbaum's Rescue' is inspired by my grandparents'
story of escape from Nazi occupied Denmark. Although he rarely talked about it,
my grandfather was witness to a moment in history that contemporary historians
now believe to be an important piece in the puzzle to understand why the
'rescue' of the Danish Jews was so successful and who was responsible for
its success.'


Move forward to Chanukah 2001 (festival of lights) in the remote home of
Abraham and Sara on the snowy Danish coast. This is a time of political
tensions, where the far right Dansk Folkeparti has raised its ugly head in
Danish politics and there is a threat of the shift to the right in global
politics. Historian Lars, who is researching information for his book, and
Abraham, whose own family members were rescued by Lars's father from the tyranny, have not seen eye to eye for decades. Lars pursues relentlessly the
truth concerning the flight of the Danish Jews during World War II and the death of his own father, which
challenges Abraham's faith, patience and memories maintaining that those who
helped the exodus were heroes, despite any facts that may emerge.


Against this, old secrets surface, accusations fly and the very foundation of
their relationship is challenged. Fact blurs with fiction and the
shattered remains must be dealt with. Performances are convincing
with strength, energy and commitment by the cast of four: David Bamber
(Abraham), Neil McCaul) Lars, Julia Swift (Sara) and Dorothy Myer-Bennett
(Eva), each entirely credible in both thought and action.


Despite the seriousness of the core theme, and the many additional
strands, there are welcome points of levity, particularly in the familiar
asides of married couple,Sara and Abraham which offer a much needed relief
and allow the audience to settle  before the next highly charged
issue rears its head.

Directed by Kate Fahy and written by A Bodin Saphir, this is
an interesting play which will leave you in quiet contemplation and without closure. As
Bodin Saphir concluded in his interview, 'And so I leave it to you to decide
which questions you want to ask'.


Running time is 2 hrs 15 minutes with a short interval.


Photography Mark Douet
Photograph features David Bamber as Abraham (Abe) and Neil McCaul as Lars

ROSENBAUM’S RESCUE

World premier at:

Venue: Park 200, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP

Dates: Wed 9 Jan - Sat 9 Feb 2019

Age guidance 14+

Performances: Evenings Mon-Sat 7.30 pm, matinees Thurs & Sat 3 pm
Captioned: Wed 6 Feb 7.30pm 
Prices: Previews £18.50, Standard £18.50 - £32.50, Concessions
£16.50 - £23.50, Child (Under 16) £15 - £20*
Booking: www.parktheatre.co.uk /
020 7870 6876 *10% telephone booking fee, capped at £2.50 per ticket.

The Finborough Theatre’s Spring season features three stunning rediscoveries, all unseen in London for many years – a heart-breaking play set against the backdrop of apartheid South Africa by Athol Fugard; a hit British musical of the 1960s from the composer of Oliver!, Lionel Bart; and our third rediscovery from neglected Ulster playwright St John Ervine.

The season opens with the first UK production for 35 years of A Lesson from Aloes by Athol Fugard, a devastating story of betrayal and mistrust set against the backdrop of apartheid. Directed by actor, writer and director Janet Suzman and with lighting by the legendary Mannie Manim, A Lesson from Aloes plays 27 February–23 March 2019.

Our acclaimed ‘Celebrating British Music Theatre’ series returns with the first professional London production for more than 50 years of Lionel Bart and Alun Owen’s musical Maggie May, a celebration of working class life in 1960s Liverpool, full of classic Lionel Bart musical numbers. Directed by recent nominee for the OffWestEnd Award for Best Director Matthew Iliffe, Maggie May plays 27 March-20 April 2019.

The season culminates with the first London production for over 75 years of Jane Clegg by St John Ervine, a 1913 tale of one woman’s escape from an abusive relationship, originally compared by critics to A Doll’s House. Jane Clegg is the third rediscovery from St John Ervine at the Finborough Theatre, following the huge success of his play Mixed Marriage in 2011. Directed by renowned West End director David Gilmore, Jane Clegg plays 23 April-18 May 2019.

Alongside our season of rediscoveries, we also continue our profound commitment to new writing. Playwright Hannah Morley has just been announced as one of the six winners of the Channel 4 Playwrights’ Scheme to spend a year with us as Playwright in Residence. The Finborough Theatre is now the only unsubsidised theatre ever to be awarded the Channel 4 Playwrights Scheme bursary eleven times. And we are also delighted to announce this year’s ETPEP Award 2019, a playwriting prize for new UK playwrights who work in the theatre industry, run by the Experienced Theatre Practitioners Early Playwriting Trust (ETPEP) in association with the Finborough Theatre. The winner will receive a prize of £8,000, a development relationship with the Finborough Theatre, and a staged reading performance of the winning play as part of our acclaimed new writing festival, Vibrant - A Festival of Finborough Playwrights, celebrating its eleventh consecutive year in 2019. Full details are available on our website.

Finborough Theatre Artistic Director Neil McPherson says: “Our new season features rediscoveries from renowned playwrights from South Africa and Northern Ireland, alongside a classic 1960s British musical. We also continue our commitment to new writing with an opportunity for brand new writers currently working elsewhere in theatre to win an £8000 award for a new play. At the end of last year, the Finborough Arms, our pub home, was taken over by an entirely new management and extensively refurbished, and will also shortly offer a wide menu, with all food cooked on the premises. We look forward to welcoming you.” 

For full information, please visit https://www.finboroughtheatre.co.uk/

Yes you heard that right.Get tickets to see Santa’s New Sleigh and you could become a certified Master Sleigh Builder Oh and you also get to meet the big man himself. I caught up with the producer Sam Bradshaw to find out about this magical offer.

Right up until Christmas Eve, two troubled elves, Sprocket and Dibs, are calling on families to help them solve the very serious problem of Santa’s missing sleigh.

In the end there’s nothing else for it but to build a new one, and that’s where you, the audience, can help out, with lots of singing and laughter along the way.

This festive treat comes from Sam Bradshaw Productions, who are on tour again after sell-out seasons in Lichfield, Peterborough and the West End’s Arts Theatre.

Santa’s New Sleigh was first created for The Curve in Leicester. Sam was playing Stinky Pete the Pirate in a production of Peter Pan in Shrewsbury when he was asked by the Dame, Brad Fitt he’d like to produce the children’s show with him. What first began as a 40-minute story featuring Jingle Bells has developed into an hour-long show with its own original songs.

With Sam directing, and the cast working collaboratively with writer Brad, the show has evolved naturally, resulting in what Sam describes as “a fast and funny, silly bit of business.”

He said; “It’s a family-friendly, full-on interactive story with a narrative that bridges the gap for little ones that aren’t quite old enough for the panto, and there’s some subtle adult humour in there too so it’s a lovely feel-good Christmas show for everyone.”

There’s plenty of audience participation, with children invited on to the stage to open the advent calendar doors and Dads plucked out to be reindeer pulling the sleigh. At the end there’s a meet and greet with Santa and every child gets a present.

Sam has plenty of experience knowing how to create engaging productions for kids as he first became a children’s entertainer at just 13. He can walk on stilts, ride a unicycle and juggle knives.

“My Dad asked me to do some tricks for my cousin’s party and after that I kept on performing magic shows,” he explained. “I have a good eye for what kids like, so it’s funny and not patronising. It’s what my passion is, it’s amazing to see their faces when they help build the sleigh.”

Sam loves his role of half-creative, half-businessman. In between productions he performs on cruise ships and runs a children’s entertainment business in London. Most exciting of all, though, is the news that he’s working on a David Walliams title. No wonder he’s good at juggling.

Santa’s New Sleigh is performed at the Winter Gardens’ recently refurbished Pavilion Theatre, which has been reopened after 20 years through a partnership between Selladoor Worldwide and Blackpool Entertainment Company. It’s the oldest venue
in the Winter Gardens complex and was part of the original 1878 build.

“It’s an honour to be the first show staged since the 70s at such a prestigious venue as the
Pavilion Theatre,” said Sam, “And Blackpool is such a fun place with lots going on. There’s a good offering here this Christmas and it’s fantastic to be part of it.”

Santa’s New Sleigh is ideal for kids of all ages, including their parents.

Book tickets here  https://www.ticketmaster.co.uk/venueartist/256254/5277083

Photographs courtesy of Sam Bradshaw Productions

Blackpool Opera House until 30th December

Never mind the rainbow, if you’re off to see the Wizar of Oz at Blackpool Opera House this Christmas you’ll soon be over the moon.

Rave reviews have been pouring in for Selladoor Worldwide’s festive musical offering and I’d like to add mine to the collection because this is a show you must not miss.

Adapted from the Royal Shakespeare Company’s stage version, this magical show combines a superb cast with spectacular set design.
The costumes are so authentic the fantasy characters are just as real as the country bumpkins they’re based on, and the make-up brings to life the familiar faces we all know and love from the original movie perfectly.

With one of the largest stages in Europe, Blackpool Opera House offers a pretty decent plot for the Texas farmland where Dorothy and Toto’s story begins, and for the imaginary world the tornado transports them to.

X Factor’s Holly Tandy is around the same age Judy Garland was when she played Dorothy, and despite the American legend being a hard act to follow, Holly steps confidently into her ruby slippers.

Thoroughly believable as the naïve but feisty young girl who discovers that her heart really does belong in deep, not-as-dull-as-she-thought Texas, she joins a crew of equally fantastic actors and keeps us enthralled throughout. Anyone who saw her on X Factor will already know how well she can sing, but this performance shows she has acting skills to match, and her accent is so good there isn’t even the slightest trace of Yorkshire.

Emmerdale star Kelvin Fletcher is a surprise as the Tin Man. He starts off true to type as a farmhand, but his transformation into the awkward character with a rusty gait and heart is clever and endearing. Scott Gallagher bounces in with his usual larger than life presence but mixed with the required timidity to create the Cowardly Lion.

But the best act for me came from Kieran McGinn as Scarecrow. His movements are gawky yet fluid, and, just as he described prior to the show, reminiscent of a deer learning to walk. He spins and falls as if he really is made of straw with no joints. He’s so likeable as the simple Scarecrow who’s searching for a brain I actually felt a bit distressed when bits of him got scattered across the stage.

The Wizard himself and the witches are all strong in their roles, the crows and trees are spookily good, the munchkins delightful as intended, and Toto proves a scene stealer right from the start, with someone behind me exclaiming “Ah it’s actually a real dog!”

Last but not least, this show has some impressive sound and light effects. Flashing arcs of white herald the arrival of the tornado, beams of light
create the yellow brick road, and there are plenty of noises designed to make you jump out of your seat.

This is one show that’s worth travelling to see even if you're not a local - but if you do live in Blackpool get your tickets booked here and find out why there’s no place like home.

Photographs courtesy
of Mark Dawson

Reviewed 12th December 2018

Qdos Entertainment have delivered a super panto package for MK this year. Plenty of traditional elements present – an abundance of laughs for all ages, bags of slapstick silliness, oodles of audience participation and sing-a-long moments.

Wait …there’s more …a huge T-Rex which lives in Sherwood Forest (yeah, go figure but it’s panto so who cares) and a 3D projection sequence which my 8 year old nephew, who had already seen the show, kept telling me was going to scare me. Well, actually some of the projection could be quite scary so parents of very young children and grown up scaredy-cats may well be on their guard here.

Hang on … there’s also REAL grown up magic from international illusionist Phil Hitchcock as Merlin. Add in the sumptuous sets and costumes and it’s obvious that this is an expensive production this year!

Shane Ritchie, as Robin Hood, is definitely the pulling power; on stage almost the whole time, very funny and kind with cast, grown-ups and children alike and unmistakably loved by the audience. He's such a twit - like a cheeky brother, or perhaps ‘loveable rogue’ is the correct term! Whatever. Obviously completely at home in this genre and is especially super with the children who go up on stage.

The interaction between Ritchie and sidekick Peter Piper (Friar Tuck) is hilarious and their infectious giggles really tickled the audience.

Add in Michael Quinn (Will Scarlett), Jamie Kenna (Little John) and The Acromaniacs as The Merry Men with their dynamic acrobatic sequence and there’s a sort of cheeky schoolboy gang mentality going on. I’m sure this is why my two young (male) companions were particularly taken with this panto.

Proper baddie Sheriff of Nottingham is excellently played by Pete Gallagher who really goads the audience into hissing and booing him at every opportunity. Gina Murray (The Spirit of Sherwood) has a belting voice, Zoe George is sweet, of course, as Maid Marion.

Milton Keynes Theatre Orchestra, led by Michael Bradley, keep the show zipping along and our young local future stars from Dancebox Studios must be having the time of their lives.

Here we have a top-notch panto. A very inclusive and generous production with an outstandingly enthusiastic and energetic cast who are working their shiny tights off to give the best entertainment to the audience. Very high production values and well worth the ticket money this year in laughs and treats.

Robin Hood plays MK Theatre almost daily until Sunday 13 January. Evening performances at either 6pm or 7pm. Matinees at 1pm, 2pm or 2.30pm – check the theatre's website for times. 0844 871 7652 (booking fees apply) or visit www.atgtickets.com/miltonkeynes to book.


 

Ladies, gentlemen, and those who have yet to make up their minds, Kinky Boots is for you all!

Inspiring, sassy and just fabulous, Harvey Fierstein’s uplifting musical, based on the 2005 film, marked Cyndi Lauper’s first foray into song writing for Broadway and has since gone on to win six Tonys and three Oliviers.

It’s easy to see why. It’s not just a huge entertainment with memorable songs, choreography and characters. It is a true story people in all walks of life can identify with, dealing with hard times, when there doesn’t seem to be a solution, and highlighting what people want out of life, which isn’t always the right thing. But mostly it deals with prejudice. It’s a celebration of, among other things, sexuality. The message is loud and clear: accept someone for who they are!

When Charlie inherits his father’s failing shoe factory he sees no other way but to close it down – until he rescues drag queen Lola from a couple of thugs and devises a way of making women’s boots for men. With Lola’s designs, she and her Angels go on to proudly strut their stuff while Charlie’s factory is saved.

Taking centre stage is, of course, Lola, being played until December 15 by Callum Francis. His performance is phenomenal, not just as the in-yer-face, convincing drag queen Lola – looking beautiful and with a voice to match (he could give Shirley Bassey or Diana Ross a run for their money) – but as the vulnerable, insecure Simon, whose father has disowned him. Not My Father’s Son, the duet he sings with Charlie, is heart-breaking.

Kinky Boots is as much Charlie’s story as it is Lola’s and Joel Harper-Jackson rises to the challenge, starting off as a wimpy boss’s son and ending up in ‘kinky boots’ in Milan! Along the way he and Lola discover they are not that different and their growing friendship is heart-warming.

Poor Helen Ternent. As Nicola, Charlie’s materialistic girlfriend, she has nothing going for her and it’s all credit to her that we dislike her whingeing, whining character. Lauren, on the other hand, is everybody’s favourite, hardworking and eager to please. It’s no wonder she’s also very funny and stands out from the crowd as she’s played by Paula Lane, formerly Kylie Platt in Coronation Street!

Adam Price as factory manager George and Demitri Lampra as heavyweight Don also make their mark as well-rounded characters adding to the humour. And as for the Angels… if I had ever looked anything near as beautiful, if my legs had ever been that long and my waist that tiny, I wouldn’t be writing about people, people would be writing about me, especially if could also do the splits, back flip and cartwheels, and in heels! All credit, then, to casting director Jill Green and head of hair and make-up Rebecca Kempton! And to the entire cast, especially the men, for managing so capably to dance on six-inch heels in the finale.

Kinky Boots is at the Edinburgh Playhouse until Jan 5
www.atgtickets.com/edinburgh
Jan 14-26: Marlowe Theatre, Canterbury
Jan 29-Feb 9: Regent Theatre, Stoke-on-Trent
Feb 11-16: Venue Cymru, Llandudno
Feb 18-23: New Theatre, Oxford
Feb 25-Mar 9: Bristol Hippodrome
Mar 11-23: Birmingham Hippodrome
Mar 26-Apr 6: Liverpool Empire
Apr 9-20: Leeds Grand
Apr 23-May 4: His Majesty's Theatre, Aberdeen
May 7-18: King's Theatre, Glasgow
May 27-Jun 8: Theatre Royal, Nottingham
Jun 11-22: Lyceum Theatre, Sheffield
Jun 25-Jul 6: Sunderland Empire
Jul 9-20: Theatre Royal, Plymouth
Jul 22-Aug 3: Wales Millennium Centre, Cardiff
Aug 19-31: Bord Gais Energy Theatre, Dublin
Sept 3-14: Mayflower Theatre, Southampton
Sept 17-28: Theatre Royal, Norwich
Oct 1-12: Opera House, Blackpool
Oct 15-26: Alhambra Theatre, Bradford
Oct 28-Nov 9: Milton Keynes Theatre
Nov 12-23: Hull New Theatre

The Grand Theatre Blackpool, until 6th January 2019

The Blackpool Grand plus panto equals a double dose of glitz
and entertainment and this year’s show does not disappoint. Featuring a superb
cast of local celebrities, stage and soap stars, Beauty & The Beast is
clearly an absolute delight for all ages judging by the audience reaction.

All generations of "shark" willingly stand up to
play their part in the Baby Shark Dance at the request of Louis La Plonk, aka
radio presenter and comedian Steve Royle. Audience participation is always the
best bit and he orchestrates this brilliantly, whether it’s poking fun at the
adults with a French accent, or teasing the kids with a Chorley one.

UK Productions’ larger than life characters create an expert
blend of fun and drama. Nick Wilton is endearing as the Dame, Polly La Plonk;
radio presenter Hayley Kay shines as Fairy Bon Bon singing The Great Showman’s
This is Me; EastEnders star Danny Walters shows his sensitive side and
fantastic vocals as The Beast; and Amelia Adams-Pearce proves her musical
theatre prowess with a plucky manner and powerful voice as Belle. Taking full
advantage of the strong female role, she fobs off the foppish French Hugo
Pompidou (portrayed with ding-dong aplomb by Ben Harlow), takes care of her father
Clement (played by the highly likeable Marcus Knibbs), and swoons but keeps her
cool as The Beast woos her.

The set and costumes are just gorgeous, from the sparkling
purple drapes in the dramatic Beast scenes, to Belle’s famously exquisite
yellow ballgown. The talented dancers from the Barbara Jackson Theatre Arts
Centre do choreographer Katie Hill’s routines real justice, with ballerinas fluttering
daintily beneath towering forest backdrops.

This definitely rates as one of the best pantomimes I’ve
seen in a while. It strikes a lovely balance of hilarity that's not over the
top with tender moments that aren’t too deep. The Beast's transformation into
Belle's handsome Prince really does make you go "Ahhh" and the laughs
really do make your belly ache.

Beauty & The Beast brings five-star Christmas cheer to
Blackpool. Book your tickets here
www.blackpoolgrand.co.uk/event/beauty-and-the-beast-pantomime.

And if you don’t know the Baby Shark dance already, make
sure you learn it before you go.

Directed by Jonathan O'Boyle, Danien Tracey Productions in association with Park Theatre and Julie Clare Productions present their 2018 update of the classic JM Barrie play 'Peter Pan' at London's Park Theatre. With few alterations to the original concept, apart from a few 21st century expletives, mobile phones and trendy dress, this is a pretty faithful production. The familiar ingredients are there with the swash buckling Captain Hook, the flights across the stage of Peter Pan and the Darling children, the tick tick tocking of the crocodile and, let's not forget, Nana the Dog, this time in the form of a  puppet comprising autumnal leaves manipulated effectively by Alfie Webster.

On a relatively small stage area, flights and fighting are well managed, albeit a little slow in pace. Lighting too is effective, with its sinister darkness of greens and swirling mists, present in both the mossy interior of the nursery and in the swamps of Neverland. At this point I might suggest that for the very young viewers, this proved to be a little unnerving. Furthermore this is a two hour production and, apart from moments of levity, demands tight focus and a strong suspension of reality. A difficult ask of very young children and I would think those below the age of 7 might find some aspects a little confusing.  

So, back to the play. This is a world of make believe, where games are played and pretence is vital. A world where lost children, desperate to be loved, play at happy families whose mothers will care for them and read them stories, whilst fathers will provide for them. Here Peter Pan, Michael and John can play at being pirates and have 'awfully big adventures' but Wendy must provide safety and comfort. Of course, the play was written in 1904 in a world where gender roles and expectations were specific and where allegiance to King and country were the norm.

To begin, we meet Wendy (Rosemary Boyle), Michael (Adam Buchanan) and John (Jason Kajdi) in their nursery which has a strong semblance to woodland, with fallen leaves and green moss.The set is dark and mysterious with swirling mists and a sinister ambiance. Neverland retains this effect and, despite the lighter moments, suggests a darker side.

The cast of eight play their roles with enthusiasm and an obvious sense of enjoyment. Alexander Vlahos's Captain Hook is a genial character, (think Adam Ant meets Kenny Everett) and Nickolla King-N'Da's portrayal of Peter Pan is charismatic. He is a young boy seeking eternal adventure but with a caring and vulnerable side to his character. He may want to remain a boy forever but recognises the need to protect.

Well received by its audience, this is a charming Christmas production. Suspend belief, focus on the complexities and have some fun. Do we believe in fairies? Oh yes, clap, clap, clap.

Listings:

Photography: Chris Gardner

Peter Pan: Park 200, Park Theatre, Clifton Terrace, Finsbury Park, N$ 3JP

Dates: 5 December 2018 - 5 January 2019

Age guidance: 5+ (please see my caveat above)

Performances: Tue-Sat evenings, 7.30 pm, Thu & Sat matinees 3 pm. Relaxed Fri 21 December 1.30 pm. Audio described: Sat 4 Jan 3 pm.

Prices: Previews £18.50, standard £18.50 - £32.50. Concessions £16.50 - £23.50. Children unde 16 £15 - £20.

Booking:  www.parktheatre.co.uk /020 7870 6876 (10% telephone booking fee capped at £2.50 per ticket) 
  

While theatres throughout the land are serving up seasonal fayre, the Traverse’s Christmas offering is a million miles from fairy tales and fun…which makes it all the more important at this time of the year.

For not everyone is in a position to enjoy the festivities, and while we are remembering the homeless, for instance, there are those who may have a roof over their heads but, for whatever reason, find themselves in a living hell.

The characters in Kieran Hurley’s new play are two such people. Seventeen-year-old Declan comes from an abusive home and has anger issues but finds peace up on Edinburgh’s Salisbury Crags, drawing pictures. At 46, Libby ‘used to be’ a writer but now feels obsolete and unwanted and is about to jump off the cliff – except that Declan saves her.

Featuring extraordinary performances from Lorn Macdonald and Neve McIntosh, what follows is a harrowing, alarming story of how the two connect through an awkward friendship and Libby’s desire to tell Declan’s story. It ends with his life/her play being produced at the Traverse, but as Declan says, ‘There’s never really an end, whatever happens. Stories just don’t end where you say they do'.

Directed by the Traverse’s outgoing artistic director Orla O’Loughlin, Hurley’s play hits the spot on so many levels, and includes expected injections of humour. Interestingly presented at times almost as a masterclass in playwriting by Libby, it highlights the differences between class and culture and how well-meaning actions can have explosive results.

Libby, who frequents New Town cafes and art galleries, is going through a midlife crisis and McIntosh’s emotional portrayal of her, vulnerable and a little off-the-wall, tugs at the heartstrings. But, 18 hours after I left the Traverse, my eyes still fill up when I think of Macdonald’s powerful performance, exuding so much anger, hurt and anguish. I just hope he isn’t a follower of method acting! At one point I thought he was looking at me and I felt really intimidated and afraid.

These two certainly deserved the standing ovation they received!

Mouthpiece is at the Traverse Theatre, Edinburgh until Dec 22
Box Office: 0131 228 1404
www.traverse.co.uk

Panto used to be a child’s introduction to the theatre. Spark their imaginations well enough and you’ve got them for life.

So it was with me. I was only three or four-year-old when my parents took me to the long-gone Her Majesty’s Theatre in Carlisle and I was taken backstage to meet film star Phyllis Calvert who was, surprisingly, playing principal boy. I don’t know why I was given that privilege but that excitement has never left me. I’ve loved performances and performers ever since.

But reviewing countless pantos over the years has sometimes left me feeling a little jaded and, although the reputation of Scottish pantos had already filtered down to me into England, after a diet of celebrity casts for so many years, was a traditional panto going to be enough?

Absolutely! Nothing prepared me for this spectacular production, directed by Ed Curtis! At this moment I really can’t think of a better one. With Allan Stewart and Grant Stott at the helm, as they have been for 25 years, no wonder the King’s is the best-selling panto in Scotland and one of the three most popular in the UK. It was a privilege to be in the audience and see these two very funny men perform.

Walking off the cold, wet street and into the theatre really was like entering a magical world. Thanks to lighting designer Matt Clutterham, the auditorium was bathed in lovely warm pink 'bubbles' and the atmosphere was equally as glowing. A theatre has never felt so welcoming.

And that was even before the fun began!

Apparently, Beauty and the Beast hasn’t been performed at the King’s for over 70 years, but this production is bang up-to-date with appropriately tweaked songs from The Greatest Showman and the Flash, Bank, Wallop song from Half a Sixpence now declaring ‘What a selfie…!’

The King’s pantomime comes from the Qdos Entertainment stable, the world’s biggest pantomime producer, and it shows. No expense is spared. One of the special effects is even better than the helicopter in the London production of Miss Saigon!

But while Qdos’s 31 other pantos, including at the London Palladium, feature such star names as Dawn French, Robert Lindsay, Shane Ritchie and Brian Conley, to a Sassenach like me, King’s regulars Allan Stewart and Grant Stott didn’t mean that much – until now!

Stewart, as the lovable, cheeky old wifie (sorry, dame. He’s so convincing and has lovely legs!) Mrs Potty, and Stott (broadcaster and Captain Freeman in the TV series Outlander), as the hard man, Flash Boaby, are an absolute joy, bouncing off each other with consummate skill and camaraderie, dishing out Stewart’s jokes (he co-wrote the script with Qdos’s MD Michael Harrison!) with perfect (although not always word perfect, but then that made it all the more enjoyable) timing. Just the two of them would have been enough to entertain us, but there was the added bonus of a sterling cast including Jacqueline Hughes as The Enchantress (who has a spellbinding voice), Daniel Cullen as the lovable geeky Dougal, and star of stage and screen Gillian Parkhouse who, as Belle, performs a very impressive tongue twister in a scene which, in the hands of any other performers, might be deemed too long but here just grew in momentum. While Chris Cowley looked every inch the part as The Beast.

As Belle says to The Beast, 'true beauty lies within'. In this production it’s on the outside too, and if this is your children’s first experience of the theatre they can’t fail to be hooked – like me all those years ago!

Beauty and the Beast is at the King’s Theatre, Edinburgh until Jan 20
Box Office: 0131 529 6000
capitaltheatres.com

An awfully big adventure faces audiences at the Lyceum this Christmas season.

Even before curtain up, the cast has a whale of a time playing various instruments, singing and dancing in the foyer before award-winning writer Ella Hickson’s adaptation of JM Barrie’s famous story takes us on a whirlwind journey through a magical playground filled with naughty children doing things other children should never try at home - like fighting and flying high into the auditorium!

The imaginations of Hickson, director Eleanor Rhode and designer Max Johns seemingly knew no bounds when they were putting together this explosion of fun.

The first night audience certainly felt the effects of fairy dust as they whooped, cheered and laughed at the antics of uptight Michael and Mummy’s boy John Darling (played convincingly by Cristian Ortega and George Naylor), the Lost Boys and the rest of the characters as they strived to overthrow the dastardly Captain Hook. It’s a high energy production. Mayhem and pandemonium were words which came to mind as the actors put their hearts and souls into doing what children love to do best – run riot in a world of make-believe.

But there is one element of this show which JM Barrie didn’t create – girl power. The clue is in the title! In Wendy and Peter Pan, Wendy takes centre stage as the force behind the search for her lost brother Tom (sympathetically played by Keiran Gallacher), and Isobel McArthur is a little powerhouse as the sometimes bossy, sometimes needy big sister. In complete contrast, Peter Pan is portrayed as a hapless, selfish boy, and Ziggy Heath, though tall in stature, hits the spot with his childlike and childish interpretation.

Strong female roles continue with a sassy, streetwise Tink, dressed in sequinned leggings, Doc Martens and tatty wings, and played with great panache by Sally Reid. Then there’s Bonnie Baddoo, making a memorable professional debut as the feral and very physical Tiger Lily one minute while transforming into the mature, sensible and loving Mrs Darling the next.

Making just as big a transformation is Gyuri Sarossy, who plays both Mr Darling and Captain Hook. As a father and husband he is refined and upstanding but he also shows a softer side when playing with his children. As Captain Hook, however, he is every inch a psychopath, an East End thug, complete with piercings and a permanent sneer. The audience loved to boo him, but not so his right-hand man, Smee. With his cheery smile and lovable nature Dorian Simpson proved to be a firm favourite.

This is family entertainment on a whole different level. Don’t’ miss it!

Wendy and Peter Pan is at the Royal Lyceum Theatre, Edinburgh until Jan 5.
Box Office: 0131 248 4848
lyceum.org.

image: Mihaela Bodlovic

When the curtain rose on a medley of soul music, I thought Motown the Musical was going to be just a compilation of the hits songs which made the likes of Diana Ross and the Supremes, Smokey Robinson, Stevie Wonder, Marvin Gaye, and a host of others, famous.

But though an energetic and hardworking cast perform more than 60 songs during a show which lasts almost three hours (the time just flew by), this production is so much more.

Written by Berry Gordy, who founded Motown Records at the end of the Fifties, it is an enlightening, inspirational and emotive story of his life, from the time he created Motown with the help of a loan from his family, through the highs and lows of his career as a record executive and producer, songwriter, film and television producer, to Motown’s 25th anniversary.

It takes us from his first faltering steps, through race riots, the assassinations of President Kennedy and Martin Luther King, a move from Detroit to Los Angeles and virtual bankruptcy to the time when white people couldn't get enough of black music and his discoveries have all flown the nest to pastures new.

Original footage helps to tell the story, and new songs have been written alongside such favourites as Baby Love, I Heard It Through The Grapevine, Reach Out and I’ll Be There, Stop In The Name Of Love, Where Did Our Love Go and You’ve Really Got A Hold On Me – most of which are relevant to Gordy’s personal  journey.

Gordy began developing the show in 2011 and it made its American debut in 2013 before coming to London’s West End in 2016.

It’s a fast-paced, energetic evening which has the audience cheering at their favourite songs performed by a handful of stars including Karis Anderson, Nathan Lewis and Shak Gabbidon-Williams, who really do the business when it comes to emulating Diana Ross, Smokey Robinson and Marvin Gaye. Not to mention pint-sized Keiran Edwards who wins everyone’s heart as the young Michael Jackson. Boy, can he move! He gives it his all!

But it is Edward Baruwa, whose strong voice and passionate performance as Berry Gordy, really holds the audience in the palm of his hand.

If it hadn’t been so cold, this Edinburgh audience would certainly have been Dancing in the Street!

Motown the Musical is at the Edinburgh Playhouse until December 8.
www.atgtickets.com/edinburgh
It then continues touring:
Jan 10-Feb 2: Bristol Hippodrome
Feb 5-23: Bord Gais Energy Theatre, Dublin
Feb 26-Mar 23: Opera House, Manchester
Mar 26-Apr 6: Wales Millennium Centre, Cardiff
Apr 9-20: Alhambra, Bradford
Apr 23-May 4: Theatre Royal Nottingham
May 21-Jun 1: Regent Theatre, Stoke-on-Trent
Jun 4-22: Newcastle Theatre Royal
Jul 23-Aug 3: Milton Keynes Theatre
Aug 27-31: Winter Gardens, Blackpool
Sept 3-14: Marlowe Theatre, Canterbury
Oct 1-12: Mayflower Theatre, Southampton

It’s very rare to see a production
that touches your heart making you laugh and cry at the same time, but  that’s exactly what Finding Joy does in this extraordinary play.  It’s based on a real-life story of how one
young man connected with his grandmother who suffered from dementia and cared
for her for two years.

The show was developed in 2010 as a
co-production between Vamos Theatre and The Courtyard Theatre, Hereford about
people living with dementia. Finding Joy
has performed to audiences across the UK and Europe and has been praised for
its consummate full mask skills, engaging storytelling, physical dexterity and
emotional insight. 

The actors introduce themselves before
putting on their masks and taking on a variety of characters.  Russell Dean has done an incredible job of
creating masks that are somehow able to speak volumes and give an insight into
the individual’s personality.  Without words
or facial expressions, the actors communicate the story and you quickly become
involved in Joy’s struggles.

Bidi Iredale plays 83 year old Joy, who is suffering from dementia and
vividly recalls moments from her childhood, meeting her husband and starting
their new life together, but struggles with the present day.  James Greaves plays the teenage grandson Danny, who builds an incredible
relationship with Joy, delighting in
her world, dancing with her, making her laugh and accepting who she is from
moment to moment.  The genuine love, care
and compassion shown by Danny is very
moving as you see the deep connection the two share. Louise Mellor and Sarah
Nelson complete the cast, taking on a variety of roles, including Joy’s daughter and Joy at 8 and 25, nurses  and
her husband Walter.

This production was part of The
Waterside’s 8th birthday celebrations, championed by Aylesbury Town
Council and Buckinghamshire Clinical Commissioning Group to make theatre
accessible for all.  The production of Finding Joy is
hoped to increase personal awareness and understanding of the types of issues those
living with dementia face and how each and every individual in the community
can help; because small changes can make a big difference.

The dreadful disease of dementia will
touch everyone’s lives at some point, even if not directly within your own
family.  This play helps to understand
the person behind the illness, it’s never sentimental , it’s very real,
insightful, funny and touching and is one of the most beautiful theatrical
experiences you’ll ever see.

The current tour of Finding Joy ends on 29th
November, before touring Europe.  For
more information about the company and other shows, go to www.vamostheatre.co.uk


Reviewed by:

Yvonne Delahaye

19/11/18

@yvonnedelahaye

From Sydney Florence and Emma Cains’ sumptuous costumes to Paddy Cunneen’s authentic music and Ayse Tashkiran’s formal dances, this production shouts quality!

And with many of the actors and the creative team having strong connections with the Royal Shakespeare Company, it’s no wonder.

This co-production between the Theatre Royal Bath and Eleanor Lloyd Productions is a feast for ears and eyes. Marc Norman and Tom Stoppard’s screenplay of the 1998 Oscar-winning film has been adapted for the stage by Lee Hall, and is directed by Phillip Breen at a cracking pace; it’s a vigorous, riotous entertainment, and something of a spectacle.

Everyone plays their part to the full; the production is full of well-rounded characters who provide us with plenty of laughs. At times it seems there are too many people on the revolving stage, but it’s because the space is bursting with big personalities, colour and movement.

If I have to single out any performances they are Bill Ward as the swaggering Lord Wessex and Rowan Polonski as the flamboyant Ned Alleyn. And though I can’t quite put my finger on why, Ian Hughes held my complete attention every time he came on stage as Henslowe.

A fictitious story about William Shakespeare’s love life, when he leaves his wife and twins in Stratford to find fame and fortune in London, Pierro Niel-Mer’s portrayal of the Bard is, as it should be, unsympathetic. The hapless Will has writer’s block and uses the capable and loyal Kit Marlowe’s (Edmund Kingsley) suggestions to further his own ends, both on paper and in his pursuit for Viola (played with passion and versatility by Imogen Daines), whose wish to be an actor has her cross dressing and involving mistaken identity so common in Shakespeare.

This production has everything – moments of great beauty through music and song to complete farce.

This play certainly is the thing!

Shakespeare in Love is at the King’s Theatre, Edinburgh until Nov 17.
Box Office: 0131 529 6000
capitaltheatres.com
It then continues touring:
Nov 20-24: Chichester Festival Theatre
Feb 25-Mar 2 2019: Theatre Royal, Newcastle-upon-Tyne

Being a huge fan of the movie upon which this production is based, I was more than a
little excited to be experiencing this as a live performance.  Could this
stage version live up to my expectations?  I need not have worried as,
without a doubt, ‘Nativity! The Musical’ was a sure-fire hit.  I was
particularly grateful that this production included the hit songs from the
movie “Sparkle and Shine, “Nazareth”, “One Night, One Moment” and “She’s The
Brightest Star”.

From the moment Mr Poppy, played by the wonderfully talented Simon Lipkin, bounds
onto the stage the audience were gripped.  Mr Poppy introduces us to the
three main characters, Mr Maddens, Jennifer Lore and Mr Shakespeare. 
Acting as narrator he explains the back story of a childhood friendship that
turns slightly sour as two of the characters (Jennifer and Mr Maddens) become
romantically involved.  With their early dalliance on stage becoming a
fading memory, Mr Maddens and Mr Shakespeare take up the role of primary school
teachers while Jennifer flies off to Hollywood to try and carve out a
career.  Her untimely departure around the festive season ensures that Mr
Maddens finds it impossible to ever celebrate Christmas again.  This
becomes something of a conundrum for him as he is tasked with directing the
school nativity play.    Meanwhile, Mr Shakespeare is thriving
at a very astute school.  Instilling his previous love of performance in
his pupils, he ensures that his school productions receive rave reviews. 
The arrival of Mr Poppy to assist Mr Maddens ensures that chaos prevails. 
As with all feel good musicals, a happy ending is guaranteed.  Although,
not without a few bumps along the way.  The Nativity is a success and a
previously failing school rises from the ashes thanks to the perseverance of Mr
Poppy and Mr Maddens.

The stand out performance of the night has to be awarded to Simon Lipkin (Mr
Poppy).  His comedic timing was second to none.  The experienced
theatre performer did not put a foot wrong.  Hysterically funny, he
captivated the audience with his stage presence and physicality.  Whether
the add-libs were intentionally there or not, his ability to have an audience
roaring with laughter has to be applauded.    In contrast, there
was a very poignant moment between himself and a pupil showing his more
vulnerable side.  A truly fantastic performance.

Scott Garnham (Mr Maddens) played his downtrodden, disheartened part with ease. 
He captured the mood of a heartbroken individual struggling to cope with the
stresses which, no doubt, every teacher in the land understands.  His
apparent aversion to Mr Poppy’s arrival and their eventual and slightly strange
friendship was a joy to watch.  RSAMD trained Garnham delivers a very
polished performance.

Experienced performer Ashleigh Gray (Jennifer Lore) gives us a flawless delivery. 
With great vocals she was excellently matched as the on/off/on love
interest.  Andy Brady (Mr Shakespeare) also gave us a hilarious
performance.  With a particular highlight being his starring role as Herod
in his own school production of Herod The Rock Opera.

Jemma Churchill (Mrs Bevan) and Jamie Chapman (Patrick Burns) also merit a mention
for their characterisations.  The ensemble cast were the perfect back up
to the principals.

A regular on our TV screens, Jane McCarry played the role of ‘The Hollywood
Producer’.  Most people will recognise (or not) McCarry for her hilarious
portrayal as ‘Isa’ in Still Game.  For me, the performance was a little
too pantomime and over the top but didn’t detract from my overall enjoyment of
the show.

I have to give special applause to the children.  Whether they were from
the very polished “Oakhill Primary School” or the rather rough round the edges
“St. Bernadette’s” no-one could fault the attack and outstanding talent of
these youngsters.  I have seen many a show with an adult cast who could
not come close to captivating an audience as these children did.  From
their dance moves, singing and acting (not to mention the flying) their commitment
was incredible. 

With a fantastic set and fast paced clever scene changes this show has really stolen my heart.  I have
never laughed quite as much as I did during this show.  This really is a
must-see production.  I would defy anyone to exit the theatre without
feeling they have just witnessed something spectacular.  Follow that star
to the King’s Theatre before 11th November!

Nativity! The Musical
King's Theatre, Glasgow
Wednesday 7th November – Sunday 11th
November 2018
https://www.atgtickets.com/shows/nativity-the-musical/kings-theatre/

Two ageing actors are on location, half way up an active volcano in Iceland!

The film is Vulcan VII: Return of the Titans - and it couldn’t be more aptly named. For the writers and stars of Vulcan 7 are titans of the comedy world, Adrian Edmondson and Nigel Planer.

The anarchic humour which was so prevalent in their iconic TV series The Young Ones in the eighties is still there. Some of the script is a little predictable but, nevertheless, a good deal of imagination has been needed to come up with this storyline with its little twists, not to mention its presentation. I’ve never seen an actor take a curtain call at a 45 degree slant before! Simon Higlett’s tilting trailer, as it threatens to fall into the centre of the earth is a triumph - as is a helicopter rescue!

Sarcasm is the order of the day as Hugh Delavois (Planer), an old school closet gay, lords it over his old sparring partner Gary Savage (Edmondson), whose hell-raising has turned him from a film star into a pink lycra monster with only one word to say.

When weather conditions trap them together inside Delavois’s trailer, they rake over the past, wrapped up as they are in over inflated egos, bitching about famous actors and their own missed opportunities (or lack of talent).

In sharp contrast, Lois Chimimba as Leela, the runner who tries to stop them from attacking each other, gets all our sympathy. She does a sterling job.

I was never a fan of The Young Ones, rather preferring Cliff Richard’s song of the same name! But I’ve loved lots of Ade Edmondson’s work since then, and during this production had enough laugh out loud moments to appreciate the respect fans have for these two performers.

Vulcan 7 is at the King’s Theatre, Edinburgh until Nov 10
Box Office: 0131 529 6000
capitaltheatres.com

Premiering at Park 90, a quasi studio space at London's Park Theatre which seats 90 guests, is Jesse Briton's 'A Pupil' directed by Jessica Daniels with music composed by Colin Sell. Performed in the round the setting is sparse, with a splattering of chaos consisting of discarded sheet music, violins suspended and random mess, mirroring the abandonment of hope and joy for Ye (Lucy Sheen) who at the height of her career as a successful and hugely talented violinist was injured in a car accident and now spends her days in her wheelchair, alone with suicidal thoughts.

In her life is her joyous landlady Mary (Melanie Marshall) who is a ray of sunshine in Ye's dark world. Forever hopeful and powered by her belief in a greater presence, she delights us with her renditions of Jesus Wants Me For A Sunbeam.

The play opens with dishevelled Ye attempting to swallow a cocktail of pills in her bid to escape her now meaningless existence. Like a broken violin, she is broken. It is then that 17 year old schoolgirl Simona (Flora Spencer-Longhurst) enters her life. A gifted violinist, self taught but undisciplined, she is required by her billionaire Russian father to audition for the Royal Conservatoire and has been sent to Ye to receive lessons to prepare for this. Simona is angry, defiant and friendless. Accompanying her is Phyllida (Carolyn Blackhouse), once a student with Ye and how a lead tutor at the Conservatoire. But has she abandoned her principles and love of music for an academic career?

And this is the gulf that exists for Ye. Greatness cannot and should not be taught or structured. It is inherent and must be given free rein and abandonment. She does not want to discipline the natural wonder of Simona but has she the right to deny her potential?

This is a complex psychological drama where relationships are formed, characters develop, bonds are created and self belief is demanded. The script can be ponderous at times and occasionally stilted but once we grow used to Simona's Russian accent and the brusqueness of Ye, we can immerse ourselves into this revealing production and the 90 minutes fly by.
 
There are some effects that will shock and shake you but there are also some delights, such as Marshall's singing and joyfulness and the exquisite violin performances of Spencer-Longhurst. Will you leave the theatre humming and skipping? No, but you will certainly have food for thought.
 
Photography: Meurig Marshall

A Pupil

Venue: Park 90 Theatre, Park theatre, Clifton Terrace, Finsbury Park, N4 3JP

Dates: 31 October - 24 November 2018

Performances: Mon-Sat evenings 7.45 pm and Sat Matinees 3.15 pm

Age Guidance: 14+

Access Performances: Dementia friendly performance Thu 15 Nov, 1 pm and Audio Described performance Friday 23 Nov 7.45 pm.

 Prices: Previews £14.50, Standard £18. Concessions £16.50 and under 16s £13. Young Patrons (to 7 Nov) £10. Groups, buy 10 tickets and get the 11th free.
 
Booking: www.parktheatre.co.uk or 020 7870 6876 (10% telephone booking fee capped at £2.50 per ticket)

 

I’ve survived several productions of The Woman in Black, Ghost Stories… and living close to Bray Studios where Hammer Horror films were made in the sixties! But nothing prepared me for this brand new version of the classic vampire thriller.

Billed as ‘A Live Multi-Sensory Trip of Terror’, I wondered just how many of our senses would be employed - would we be required to drink blood? Would we have vampires flapping round our ears? To tell you more would be to spoil the frightening fun. All I am saying is that Paul Ewing’s music and sound and Ben Cracknell’s lighting are spectacular. And you know it is going to be something special when an illusionist’s name appears in the creative team’s list, in this instance Ben Hart.

I may not be able to write anything about the presentation, but there’s nothing to stop me writing about the performances.

A Touring Consortium Theatre Company production, the cast is largely made up of young actors, and all credit to them, as well as to movement director Sara Green and fight director Kevin McCurdy. I was too far back in the dress circle to see Dracula’s fangs, but Glen Fox is suitably ghoulish in the title role, and I especially like Jessica Webber’s playful and passionate Lucy.

What does give the production gravitas, however, is the casting of Cheryl Campbell as Lady Renfield and Philip Bretherton as Professor Van Helsing.

It’s a while since I’ve seen Cheryl Campbell perform and it’s a joy to see her slip into different personas, chameleon-like, as a delightfully mad member of the asylum. Philip Bretherton too has great presence. From the moment he strides onto the stage to play the Dutch vampire hunter as authoritative but fallible, he grabs my attention, reminding me of Anthony Hopkins.

Jenny King’s adaptation could be tighter and some scenes would benefit from being shorter, but there is much to commend this production. If you like to be scared you should see it, but don’t get complacent. You never know when you’re going to jump out of your skin!

Bram Stoker’s Dracula is at the King’s Theatre, Edinburgh until Nov 3
Box Office: 0131 529 6000
It then continues touring:
Nov 6-10: Hippodrome Darlington Box Office 01325 405405
Nov 13-17: Grand Theatre Blackpool Box Office 01253 290 190
Nov 20-24: Grand Theatre Wolverhampton Box Office 01902 429 212
Nov 27-Dec 1: Alhambra Theatre Bradford Box Office 01274 432000

Let me begin my review of Tiny Fines in association with London's Park Theatre revival of Joanna Murray-Smith's 'Honour produced by Paul Robinson that this production features a stellar cast whose performances shine in this somewhat wordy drama about a marital break up.

Playing in the round in this intimate space, with minimum obstructive staging, every nuance and expression is captured and the audience, voyeurs to a sparring of words and baring of souls, is drawn in to the unfolding sequence of events which culminate in the brave emergence of Honor, the loyal and dependable wife of successful journalist George. 

Through their 32 years of comfortable marriage, Honor has fiercely supported her husband in his career whilst holding hers in abeyance as she raises their daughter. It is he who is given the space and independence to flourish. But is her loyalty the act of a martyr? Has she suffocated the excitement by allowing his self grandeur, which has contributed to his inflated ego and selfishness? 'Honour' questions the premise of love and marriage. Does fidelity rely on sacrifice? Is there true honour in loyalty?

Henry Goodman plays George, a journalist and TV interviewer in his early sixties. He is in a cosy marriage with Honor, played with strength and integrity by Imogen Stubbs. She was a talented writer and poet who has given up her promising career whilst George has blossomed in his. She shows no resentment, believing this to be the foundation of their successful union. 

The play opens with George being interviewed by feisty, intellectual Claudia (Katie Brayben) who is writing a book about George. Their sexual frisson in their meeting points towards an inevitable affair. George is besotted with her and in his somewhat late mid-life crisis believes himself to be suffocating, dying in his uneventful marriage with Honor. His cruelty to her as he reveals his boredom and declares the end of the life they share is powerful, and whilst it raises anger in his daughter Sophie (Natalie Simpson) and in the audience, the enforced separation ironically empowers Honor who emerges like a chrysalis to a future full of promise. 

Each of the four is entirely credible. Henry Goodman as George has bouts of anger and frustration but he is not the strong partner of this marriage. It is Honor, played by Imogen Stubbs whose performance is powerful and who takes us with her through the strong emotions of her shock at the dissolution of her 32 year safe, married life. Daughter Sophie and journalist Claudia express the insular views of the young. They will not sacrifice their lives for anyone and cannot envisage a partnership that has such expectations.

Liz Cooke's minimalist set is reminiscent of a boxing ring, where the actors circle one and in their sparring of words, delivered with punch and verve. There are no gimmicks, no scene changes, but two acts and a purity of theatre.

'Honour' is a strong play, highly charged through a dialogue which is well written and poignant.The acting is superb. Stubbs convinces as the shocked wife whose life seems to be over. How will she manage or face her future? She is defined by her marriage to her husband. Goodman is the perfect match, believing he has found new meaning to his relentless life but who in fact is reduced by this. Katie Brayben is convincing as the careerist Claudia and Natalie Simpson reacts strongly as a daughter betrayed.

This is not a 'bourgeois fairy tale' (Claudia) but a piece of excellent theatre and a master class in acting. It was a privilege to be there.

Photography: Alex Brenner

Honour

Venue: Park 200, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP
Dates: 25 October 2018 to 24 November 2018.
Age guidfance: 12+
Performances: Tues-Sat evennings 7.30 pm, Thurs & Sat matinees 3.00 pm
Captioned: Wed 21 Nov
Prices: Previews: £18.50  Standard £18.50 - £32.50
Concessions: £16.50 - £23.50. child (under 16) £15 - £20
Booking: www.parttheatre.co.uk/020 7870 6876*
*10% telephone booking fee capped at £2.50 per ticket

Running time: 2 hours with an interval