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“I don't think there's anything on this planet that more trumpets life than the sunflower…Wherever light is, no matter how weak, these flowers will find it. And that's such an admirable thing. And such a lesson in life." This sums up the very essence of Calendar Girls the Musical.

It deals with the everyday trials and tribulations of family life and getting older, from the politics of social groups and parenting teenagers to the unthinkable - the tragic, harsh reality of death and grief. But it is also a celebration of friendship and humour, and it always brings the focus back to the bright side of life. Much like the camera focused on the courageous WI ladies of Yorkshire when they posed naked for a charity calendar! Their goal was to raise money to buy a settee for their local hospital’s relatives' room in memory of one of their husbands – but they ended up with enough money to pay for a whole new wing. Which just goes to show what you can achieve when you look for the light.

Calendar Girls, based on the famous true story, started life as a movie before being adapted for the stage. Its third incarnation as a musical has been hailed the best adaptation yet – and you’d expect nothing less from the dream team of scriptwriter Tim Firth and songwriter Gary Barlow. The close collaboration of the supertalented childhood friends has resulted in a moving production, filled with beautifully timed music matched with highly observant lyrics that are both relatable and inspirational, raising this uplifting tale even higher.

Then there’s the Calendar Girls themselves. Their vocals are powerful in their delivery and in the sentiment behind the words, with stunning solos and lovely harmonies. They're playing "ordinary" women but they demonstrate there's nothing average about either them or the ladies who's story they tell. The show features some of our very best actresses, and whilst the cast members change during tours, based on the reviews, my own experience – and the standing ovation in Blackpool - every single one is a superb choice.

At the Opera House the audience said an especially delighted Hi-de-Hi! to Ruth Madoc in the role of retired teacher Jessie, underlining her well-earned status as a sitcom legend. Having been most familiar with Lisa Maxwell as tough cop Samantha Nixon in The Bill, her comic prowess as Celia, the buxom ex-air hostess with extra baggage allowance, i.e. she’s “had work done”, was particularly impressive. Sue Devaney added lots of oomph as single mum Cora, leaving just as lasting an impression as her recent short but sweet stint in Corrie. These three actresses were the icing on a cake made with the perfect ingredients, since each of the ladies excelled in bringing their individual character traits to life. In just two hours you felt like you knew them. The men and teenage children were equally well cast, stirring level-headed advice, rites of passage and a pinch of role reversal into the mix.

The Yorkshire country set with its bright skies and fluffy clouds is deftly transformed into a WI hall, then a hospital. Colourful props wheeled on and off include a maypole, a wheelbarrow packed with flowers and a trolley full of delicious-looking cakes. The opening scene showing the cast going about their daily business in ordinary clothes is comforting, yet brings the truth of the story close to home. It could be the village down the road, and you could be longing for the diversion of a routine trip to Tesco after a hospital visit, like Annie and her terminally ill husband (played with touching warmth and realism by Sarah Jane Buckley and Phil Corbitt). It’s these scenes and the accompanying songs that make you realise how special those everyday moments are, most poignantly when they’re gone.

Which takes us back to the plot, and the suggestion by Annie’s plucky friend Chris (portrayed with comic aplomb by Rebecca Storm) that they all strip off for a calendar. As expected, her proposal is initially met with disbelief, but once the seed of this seemingly outrageous idea has been planted it begins to take root, and Annie remembers something her late husband, the much-loved John "Clarkey” Clarke, said. That “the flowers of Yorkshire are like the women of Yorkshire. Every stage of their growth has its own beauty, but the last phase is always the most glorious.”

And glorious is the perfect word to describe this show and its hilarious final scene, where each lady dares to bare all, month by month, for a series of unlikely WI activity-inspired photographs. Glorious with a strategically-placed cherry on top.

If you’re able to catch it in Blackpool this weekend there are two more performances at the Opera House on Saturday 19th October, 2.30pm and 7.30pm.

Book tickets at https://www.wintergardensblackpool.co.uk/whats-on/calendar-girls-the-musical

Further tour dates here: https://www.calendargirlsthemusical.com/tour/

Edinburgh’s theatres seem to have had a theme going lately. Last week at the King’s, J B Priestley’s An Inspector Calls was partly set during World War II, while down the road the Lyceum was celebrating Scotland’s first LBGT bookshop in Love Song to Lavender Menace.

This week Hattie Naylor’s adaptation of Sarah Waters’ best-selling novel combines the two in a story of illicit love which takes the audience from 1947 back into war-torn London where passions run high.

I had high hopes from the author of Tipping the Velvet and Fingersmith, and the Night Watch has all the ingredients for a poignant love story. But, for me, it is a slow burner. Neither the sets nor the characters are well defined. For most part everything seems to be taking place outside – it is only during our second visit inside the prison (and what are the characters in prison for? Conscientious objection or homosexuality?), for example, that lighting creates a cell-like space, albeit beside a bomb site with a street lamp still intact, and there are no flashing lights when the biggest bomb goes off. While the two leading ‘lesbians’ looked so alike I couldn’t tell one from the other.

The story is almost subtle and surreal in its telling. It begins in slow motion with great significance being placed on moving chairs, and the acting is stilted. At times two scenes are confusingly played simultaneously, with the actors stepping through the other scene’s space.

The story surrounds Duncan, who is, I presume, gay, and lives with a mysterious ‘uncle’; his cell mate Robert, and Duncan’s sister Viv, who works for a dating agency. Then there’s Viv’s friend Helen, and Kay and Julia – a love triangle. They are survivors of the war but as the production progresses we go back in time to see what shaped them.

Things do hot up in the second act and I did love Florence Roberts’ scene as Helen pleading with her girlfriend Kay to stay with her; a comic moment. Lewis MacKinnon deserves credit too for his heart-rending scene when he discovers his friend has committed suicide, while Louise Coulthard is convincing as Viv. 

The Night Watch is at the King’s Theatre, Edinburgh until Oct 19.
Box Office: 0131 529 6000
capitaltheatres.com
It then continues touring:
Oct 21-26: Warwick Arts Centre, Coventry
Nov 5-9: Richmond Theatre, Richmond
Nov 11-16: Salisbury Playhouse
Nov 18-23: Ashcroft Playhouse, Fairfield Hall, Croydon
Image: Mark Douet

Fifty years after the LGBT community in New York fought for acceptance in the Stonewall riots, the Lyceum has been paying homage to Edinburgh’s own pioneering spirit with the restaging of James Ley’s heartfelt story of Scotland’s first gay and lesbian bookshop.

The Lavender Menace, in Forth Street, served the LGBT community for 15 years, until the 1990s, and Ley’s production, sensitively directed by Ros Philips, charts the history of the shop and some of its customers as assistant Lewis packs up the books for the very last time.

Love Song to Lavender Menace is a concise chronicle of what life was like for homosexuals in the Eighties. Fire Island, a gay disco on Princes Street, and now, ironically, the home of Waterstone’s Bookshop, was the hub, but for those afraid of being seen to be gay, the Lavender Menace was a ‘safe space’, being that it was in a basement up a side street off Broughton Street.

The production is driven by Pierce Reid as Lewis and Matthew McVarish as his friend Glen. Both are engaging characters as they reminisce, and flirt with each other, but they also have their work cut out, playing a whole myriad of roles, from the sad married father of two who emerges occasionally from the shadows, to ‘Lothian’s finest’, a strapping policeman who discovers his sexuality in Fire Island. The pace is fast and there is a rapport between the two, while designer Mamoru Iriguchi's bookshelves, at first looking like chalk board drawings, are a nice touch when the books are backlit and then slowly disappear as Lewis continues his packing.

There are lots of references known only to locals but the story is universal. It’s presented in a very entertaining way, with music and lots of humour; a fun way of dealing with a serious subject, and something which has to be and is being told, from its beginnings in the Lyceum’s rehearsal studio, through the Fringe and onto New York, and now it’s being made into a film – it will be good to see all the characters played in this two-hander come to life.

Image: Aly Wright

Anna Russell-Martin is a true champion. For not only does she put in a stonking good performance as a new kind of heroine, she has also been playing this, at times, violent role with her right arm in plaster after an earlier injury.

Russell-Martin is Anais, a 15-year-old serial offender who has been let down by adults throughout her whole life. Tagged and covered in blood, she finds herself in a panopticon, a unit for chronic young offenders where the cells surround a central well from which the inmates can be observed at all times.

Anais suspects everyone in authority, regards herself as part of an experiment, and fights against the system with a shed load of attitude, powerfully executed by Russell-Martin, who also shows Anais’s vulnerable side as she forms bonds with her fellow prisoners to such an extent that when one of them commits suicide she howls like an animal, completely distraught; a heart rending performance.

The largely young and versatile members of the company play a variety of colourful characters: Kyle Gardiner, making his National Theatre of Scotland debut, alternates between being a childlike offender complete with Teddy bear to laying down the law as a policeman; Laura Lovemore’s characters include a lesbian lover, a priest and a police officer, while Gail Watson’s main role is as a social worker but she also packs a punch as a TV news reporter, sex worker and the chairman of a children’s panel meeting.

Max Johns’ set, a semi-circular wall which opens to reveal individual cells, is slick and imaginative, while Mark Melville’s sound and Lewis den Hertog’s video backdrops literally blow your mind. The actors don’t hold back, either, especially when they are showing their characters’ anger and frustration at ‘the system’, which is often and quite harrowing, and yet there is also a good balance of humour.                                                          
One of the most moving performances comes from Paul Tinto as Anais’s social worker, Angus. Surprisingly, seeing as he sports a green Mohican haircut, Angus genuinely cares about his charge and is completely on her side, and Tinto’s portrayal is truly heart-warming.

The Panopticon is Jenni Fagan’s debut novel. She adapted it for the stage and is now writing the screenplay. From the programme notes it sounds like she wrote this heart-breaking story from experience and, in the hands of  Debbie Hannan and the National Theatre of Scotland, it is gritty and, like most of their productions, truly memorable.

The Panopticon is at the Traverse Theatre, Edinburgh until Oct 19.Box Office: 0131 228 1404Traverse.co.uknationaltheatrescotland.com
Image: Mihaela Bodlovic

The cast of Up Pompei at London's Shaw Theatre: photo KimJones

Ooooh, no, please!  Home to a sparkling new audio recording of the late great Frankie Howerd classic Up Pompeii was the Shaw Theatre in Euston, London.With an all star cast which included David Benson, Frazer Hines, Cleo Rocos, Tim Brooke-Taylor, Jack Lane, Madeline Smith, Camille Coduri, Rosa Coduri, Jilly Breeze, Ben Perkins and (Producer/Director) Barnaby Eaton-Jones, what better way to escape the doldrums of current day UK and escape to bygone Italy. To mark the 50th anniversary of its first broadcast on BBC's 'Comedy Playhouse' this new feature length audio recording by Spiteful Puppet Entertainment Ltd, adapted by Barnaby Eaton-Jones from the successful spin off stage play, will soon be available and trust me it will be an absolute treat.

Those of us of a certain age will remember with fondness the huge TV hit of Frankie Howerd which drew in a 12 million strong loyal following. Breaking the fourth wall, he took his audience into his confidence with a non-stop barrage of double entendres and risque gags, all of which were unheard by the other characters. We loved that, sharing a secret and being one up on the cast themselves. Well, this production was loyal to that design and succeeded gloriously.

After a charming introduction by Eaton-Jones, known for his love of golden oldies revivals, the cast took to their seats.This would be a straight through recording with no stops or cuts en route. No, it would be the task of our Director to play through the recordings of the two sessions and to make the necessary changes.

Playing the role of Lurcio was David Benson,known for his brilliant portrayals of Kenneth Williams and Noel Coward, who was phenomenal in his stage presence, holding the entire production together with his perfected portrayal of the wily slave made famous by the great Frankie Howerd. Clearly a labour of love, he relished every moment with his ooh and aah intonations, facial grimaces, subtle mannerisms, interaction and gestures. Yes, this was Lurcio/Howerd as I remember him and I am sure that Howerd, sitting on his fluffy cloud, would be delighted with the performance.

Nay, nay and thrice nay but this is delightfully a story of supreme daftness with cheeky exploits, farcical goings on, goofy innuendo and characters with gloriously suggestive names of Ludicrus Sextus, Nausius, Erotica, Voluptua, Treacherus, Kretinus and Suspenda  to name but a few. What's not to like! With no hope of uttering his proooo-logue, Benson was a treat and led us through the complications of the plot, which actually does not matter a jot, as it is the whole baloney and resigned acceptance of this cheeky chap that thrills. Received lovingly by the audience, the fabulous cast gave it their all. Were we tittering? Nay, we were guffawing. Such saucy stuff and such fun.
 
With much studied accuracy, the cast were having a ball playing their characters. Well done to Cleo Rocos in her role of Suspenda on maintaining her crazy, shrillish laughter. How does she do it. The result, high jinx which, after the editing that will surely follow, will allow for a great double CD.
 
With all good wishes to Barnaby Eaton-Jones and Spiteful Puppet Entertainment Ltd in their drive to revive the much loved Up Pompei despite any sinister rumbles from nearby Vesuvius.

As the man himself said: 'I will quote from the last words of Cleopatra to Mark Antony. If you liked it, tell your friends. Salute!'

To order a copy https://spitefulpuppet.com/product/up-pompeii-a-50th-anniversary-audio-revival-2-disc-set/ before its release date in late November where it will be available on CD or download via Amazon and iTunes.
   

Simon Lipkin as Professor Goodman: photo Chris Payne

When I invited my husband to accompany me to the review of Ghost Stories, his reaction was one of utter disbelief. Terrified by the hype that had accompanied this production in past reviews, he was incredulous that anybody would willingly put themselves in the position of being spooked. Laughingly I told him he was a wimp and that he needed to toughen up. Nope, was his reply - no way!

So, with a gulp in my throat and a shaky spring in my step, I braved it alone. Reading the press release which states 'there is something dark lurking in the theatre. Enter a nightmarish world, full of thrilling twists and turns, where all your deepest fears and most disturbing thoughts are imagined live on stage' and hearkening to the echo of my other half's words I bravely, albeit nervously, took my pen and writing pad to spend 85 minutes at London's Ambassador Theatre to see Nyman and Dyson's much hyped (and much loved) Ghost Stories.

There is no way I am going to give the game away, after all we were kindly asked not to spoil the enjoyment of others by telling all. But needless to say, this was scary stuff. Sure, as a theatre goer you will undoubtedly bring with you experiences of past fears and excess of imagination. Film and television have implanted the seeds of scaredom into our psyche and coupled with the hi-tech effects and brilliant staging of this production, our tensions are compounded. To the sounds of rumbles, screeches and whines in an auditorium which holds a foreboding darkness, occasionally lit up by the startling glare of a torch, or car headlights, we are manipulated into an audience hysteria. When all around are losing their sense of reality, it is hard not to join the throng and yell.

With all this is the fact that we are a willing prey to all that is going on around us. It is ok to remind yourself that after all, this is theatre and nothing is as it seems. We have seen the tricks of the trade and live use of well known film effects. We saw them in 'Woman in Black', we shivered and squealed in the delicious 'Ghostbusters' and so we should be quite attuned. But no, we simply don't want to be. Our inner ghoulish delight of terror is ignited and despite telling myself that none of this is real, even laughing at key points, I certainly left the theatre with senses heightened, aware of each echoing footstep behind me and each street light casting its eerie glow.
 
Performances are excellent in the three stories presented which build to a dramatic climax. To begin, the genial Professor Goodman, played endearingly by Simon Lipkin, creates an initial sense of calm, lulling us into his reassurances of things that supposedly go bump in the night. He fooled us! Be warned, this is not for the faint hearted. But it is fabulous fun.

So high five to Garry Cooper as the Night Watchman Tony Matthews, Preston Nyman as Simon Rifkind, Richard Sutton as Mike Priddle and of course Simon Lipkin, all of whom were (too) convincing in their roles which were directed and led by a strong creative team comprising Jeremy Dyson, Andy Nyman and Sean Holms. With their creative genius and the support of Jon Bausor's fabulous set design, James Farncombe's atmospheric lighting, Nick Manning's menacing sound and the macabre effects of Scott Penrose, this is a production that makes for a wonderful evening out and achieves a prominent impact. It is certain to enjoy success long into the future and will undoubtedly play to full houses.

Now, where did I put my proton pack!

Running time 85 minutes,no interval


Listings

Ghost Stories,The Ambassadors Theatre, West Street, London WC2H 9ND    

Tickets  Box Office 020 7395 5405 or www.atgtickets.com/venues/ambassadors-theatre/
Ticket prices start from £18.25

Dates Running until Saturday 4 January 2020: Monday-Thursday 7.30 pm,Friday 7 pm and 9.30 pm. Saturday 7 pm and 9.30 pm.

Halloween Performances: 7.30 pm and 9.30 pm. 

Christmas Eve: 2.30 pm. Boxing Day 7.30 pm. NO performance Christmas Day

Social Media

www.ghoststorieslive.co.uk


Facebook: @ghoststories


Twitter: @ghoststoriesUK

Instagram: @ghoststoriesLDN

   

A gaggle of schoolboys took up a large part of the auditorium at the King’s last night – but as soon as the curtain went up there was complete silence.

J B Priestley’s classic thriller is now a popular part of the GCSE curriculum, but back in 1992 when he first directed it, Stephen Daldry’s production was ground-breaking, making it as famous as the author himself.

His multi-award winning interpretation led to a critical reappraisal of Priestley as a politically engaged playwright, and this week, with Daldry still at the helm, a huge tour of the UK began in Edinburgh after playing to millions of theatregoers in London’s West End and on Broadway, and with Scots actor Liam Brennan’s commanding presence in the title role.

Stephen Warbeck’s dramatic music and Ian MacNeil’s powerful set against an angry skyscape has the audience engaged even before anyone utters a syllable.

Sebastian Frost’s haunting wartime sirens fill the theatre as children scrabble about on a bomb site in World War II, and then the emphasis and the time changes. We’re in 1912 and within what looks almost like a dolls’ house on stilts, comes the sound of laughter as the well-do-do Birling family celebrate the engagement of their daughter.

However, the arrival of ‘the inspector’ through the auditorium reminded me of The Woman in Black. She too walks silently through the rows of seats, creating a similar atmosphere – which is, of course, appropriate as it turns out in the final scene that Inspector Goole (or ghoul) is not who he says he is, but may be a ghost or a manifestation of the guilt all of us carry.

For this is a play damning capitalism and middle-class hypocrisy, and it is perhaps even more relevant today than it was when it was written in 1945.

The inspector’s investigation into the suicide of a young working girl implicates each member of the Birling family as well as their daughter’s fiancé. The inspector forces them to look at themselves, and to hopefully learn from their mistakes. Politicians today, and social groups too, could well take note of his parting words: ‘We don’t live alone. We are members of one society. And the time will soon come, if we don’t learn that lesson then we will be taught it in fire and blood.’

The characters are clearly drawn and perfectly played: the puffed-up northern magnate Arthur Birling, performed with just the right cockiness by Jeffrey Harmer; Christine Kavanagh’s brittle, heartless wife Sybil; Chloe Orrock as their self-centred daughter Sheila and Ryan Saunders, who plays a blinder as the over-excited Hooray Henry, as does Alasdair Buchan as Sheila’s overwrought fiancé Gerald – a riveting performance during which he shows Gerald does have a heart, and a conscience – all held together by the servant Edna (Linda Beckett), who keeps everyone supplied with cups of tea!

This production not only shut up a load of school kids; it will give them, and the rest of us, food for thought for a very long time.

An Inspector Calls is at the King’s Theatre, Edinburgh until Oct 12.
Booking Office: 0131 529 6000
capitaltheatres.com
It then continues touring:
Oct 15-19: Oxford Playhouse
Oct 22-26: Newcastle Theatre Royal
Nov 5-9: Malvern Theatres
Nov 12-16: Birmingham Repertory Theatre
Nov 19-23: Buxton Opera House
Nov 26-30: New Wimbledon Theatre
Jan 14-18: The Lowry, Salford
Jan 21-15: Milton Keynes Theatre
Jan 29-Feb 1: Bradford Theatres
Feb 4-8: Liverpool Playhouse Theatre
Feb 11-15: Theatre Royal, Nottingham
Feb 25-29: Theatre Royal, Brighton
Mar 3-7: Theatre Royal, Plymouth
Mar 10-14: Cardiff New Theatre
Mar 17-21: Cambridge Arts Theatre
Mar 24-28: Theatre Royal, Glasgow
Mar 31-Apr 4: Yvonne Arnaud Theatre, Guildford
Apr 14-18: Sheffield Theatres
Apr 21-25: Sunderland Empire
Apr 28-May 2: Belgrade Theatre, Coventry
May 5-9: Gaiety Theatre, Dublin
May 12-16: The Orchard Theatre, Dartford
May 19-23: Leicester Curve
Photo: Tristam Kenton

Moronke Akinola as Zoe and Janie Dee as Janine: photo Ali Wright

A confrontation is taking place. Not on a street corner or in a gang fight but in the comfortable office of university History professor Janine, mentor to student Zoe. The former, respectful, experienced,somewhat patronising and resigned to the pendulum of politics; the latter aggressive, antagonistic and singular minded in her anger. In this two hander, the impact can be achieved only by the performance as the set, complete with pictures of revolutionaries on the wall (to include the telling portrait of George Washington), is static and because it is faced on three sides by the audience dictates that the two protagonists encircle in their sparring, not only for the effect of their argument but also for their accessibility to the audience.

This being said, the responsibility is placed firmly on the heads of acclaimed actor Janie Dee (Janine) and Moronke Akinola, who is making her professional debut in this European premier of Eleanor Burgess's The Niceties which was performed in Boston 2018 before transferring to New York and then across the pond to London's Finborough Theatre. Directed by Matthew Iliffe with the setting by Rachel Stone, this production plays here for a limited four week run.

Set during the final year of Obama's presidency in the US, the story features an ambitious black student, Zoe, who is meeting with the established white professor to discuss her paper on the American Revolution, with its focus on Black American slavery. Ferociously keen on her subject matter and believing passionately that it is deserving of merit because of its authenticity, she has submitted her first draft in the belief that it will be received positively by Janine. What begins as a polite conversation on syntax and accuracy develops into a political discussion and morphs into a heated accusatory debate, led in bullying fashion by the student herself. Zoe is bound to her beliefs and cannot accept the guidance of her tutor. She is often involved in campus protests and is keen to stir up radical revolution and blame, particularly against the complacent and sedate white liberal middle class of whom Janine is a part.

However, her thesis is based on conjecture and opinion and lacks firm evidence. For the sake of assessment it must be rewritten and researched more closely from texts, not Google, to assure authenticity. And this is where Zoe loudly and angrily objects, after all it is the narrowness of the predominately white establishment which dictates these boundaries. Arguably Zoe has breached the acceptable and formed her own boundaries by claiming that Janine and her ilk are racists, because they will not accept her thesis.

Political debate is dangerous and comprises mainly speculation and personal bias. On the one hand there is Janine whose family arrived in the United States from Poland and who believes in the democracy of this great nation. On the other hand there is Zoe who feels personally bruised and violated by the casually accepted racism that she has experienced in her short life. History is misguided and offers unfaithful depictions of Black slavery and this has impacted heavily on the African Americans. As we all know in our own political problems in the UK, there is rarely a meeting of minds, particularly when voices are raised and violence occurs. Rather than convince, such behaviour alienates. And this was so with Zoe.

Whilst we recognise that the young will rebel against the conventions of the older generation, Zoe's protest was too aggressive to be accepted. Too often she resorted to ad hominem in her willful and disparaging attempt to discredit the character profile of Janine.She went too far. Janine does enjoy the privilege of her class and undoubtedly holds a position of power, but the character assassination was exaggerated and this is where I found the arguments to be irritating,despite some reasonable points raised. The effect was alienation rather than empathy.

Both actors literally fill the stage with their presence. Akinola is forceful and performs with commitment and energy. Dee, complete with her Hilary Clinton mug, is entirely credible as the professor whose life is dedicated to her subject and whose reputation hinges on the balance. Whilst at times both infuriate, their performances are captivating and the audience is held to their interaction throughout.

Listings

The Finborough Theatre, 118 Finborough Road, London SW10 9ED
Dates: Tuesday 1 October- Saturday 26 October 2019
No performances on 4, 5, 25 October.
Evenings 7.30 pm, matinees 3 pm on Wed and Sat with additional matinees on Thurs 3 and 24 October.
Box Office: 01223 357851
www.finboroughtheatre.co.uk
Twitter: @NicetiesPlay 

     

 

     

Illness prevented me from attending the first night last week of the King’s latest offering.

But its stellar cast, with no less than Shakespeare’s Globe’s former artistic director Dominic Dromgoole at the helm, was certainly not something I wanted to miss and so, though still not up to par, I bought a ticket and caught its last night in Edinburgh.

I’m so glad I did! What a tonic! This magnificent production restored me to good health almost immediately.

A product of Dromgoole’s relatively new Classic Spring Theatre Company, A Woman of No Importance exudes quality, from Jonathan Fensom’s sumptuous sets and exquisite costumes to Oscar Wilde’s sparkling wit, impeccably delivered by the likes of Isla Blair, Liza Goddard, Roy Hudd, Katy Stephens, Emma Amos and John Bett.

The play opens with a party of aristocrats idly gossiping on the terrace of a realistic country house. 

Dominating the gathering is Lady Caroline, whose constant bullying of her husband is a highlight of the play in the hands of Isla Blair - her delivery of Wilde’s scathing put downs undoubtedly puts her on an equal footing with Maggie Smith’s Dowager Duchess of Grantham!  In complete contrast, Liza Goddard’s host Lady Hunstanton is a bright, wide-eyed people pleaser – the ying to Lady Caroline’s yang.

Though Wilde’s ‘gossip’ is anything but idle, it is not until the end of Act II that the action really begins, with widow Mrs Arbuthnot making an entrance and objecting to her son Gerald’s recent appointment as private secretary to notorious flirt Lord Illingworth.

It transpires that Gerald is the product of an affair she had with the Lord 20 years before, unbeknown to him, and Katy Stephens turns in a riveting performance as a passionate woman watching her ‘scandalous’ past unfurling in front of society – and a real eye-opening situation for today’s younger generations. How times have changed!

There are lots of well-rounded characters in this lavish production: John Bett is wonderful as Lady Caroline’s long-suffering husband; Mark Meadows’s Lord Illingworth is certainly someone ladies should keep at a distance, while Paul Rider’s Kelvil, at times both stuffy and lecherous, steals a scene when he drunkenly tries to sit on the arm of a chair. Will Kelly as Lord Alfred (well, there has to be one in a Wilde play) also plays a jolly good drunk, while Georgia Landers makes her mark as an outspoken young American who reminds me more than a little of Megan Markle.

This is a first-class production, but what makes it stand out even more is completely unexpected. I did think of not mentioning it at all, and letting those of you who have yet to see this enjoy the surprise, but it is such a treat I couldn’t not write about it.

Until now I have omitted to acknowledge the legend that is Roy Hudd: comedian, actor, presenter and author whose series The News Huddlines was the longest running comedy series on radio. At 83 he is still touring and he injects his own inimitable personality into his role as the Archdeacon (was there ever an archdeacon so enjoyably expressive?).

He is, of course, also a... sorry, THE recognised authority on the British Music Hall, and that is where A Woman of No Importance becomes even more special, if not a little off the wall. For during the scene changes we are treated to a wholly (and certainly not holy!) different show as, accompanied by members of the cast on various musical instruments, the irrepressible Mr Hudd, complete in clerical robes, performs a couple of music hall songs and a monologue. It couldn’t get any better!

A Woman of No Importance continues touring:
Oct 8-12: Arts Theatre, Cambridge
Oct 22-26: Perth Theatre, Perth
Oct 29-Nov 2: Yvonne Arnaud Theatre, Guildford
Nov 5-9: Theatre Royal, Norwich
Image: Robert Day

Is life brighter six inches off the ground? You can bet your RRREEEDDD boots it is, and Blackpool has been on a high ever since the Kinky Boots tour hit the resort this week. The award-winning show creates a huge buzz of happiness wherever it goes, resulting in reviews packed full of superlatives such as glorious, dazzling, hilarious...and Digital Spy nailing the point as neatly as a newly-made stiletto heel by calling it "a hell of a lot of fun”.

The tour hashtag #raisingyouup captures its spirit well. Kinky Boots, based on real-life events, struts its way out of brogues and into thigh-high red boots, from the grit of a Northampton shoe factory to the glamorous catwalks of Milan. Charlie Price (Joel Harper-Jackson) rescues the family business with the help of a London drag queen, the sensational performer Lola (Kayi Ushe). They find acceptance, of themselves and each other, and this sentimentality catches on - even with he-man Don (brilliantly played by Demitri Lampra), the grumpy but eventually gentle giant who rounds up support to save the day.

Who would have thought an ordinary bloke called Charlie and his down-trodden group of factory workers would team up with Lola and her sparkling entourage of dancing Angels to make a high-fashion range of stiletto boots, in men's sizes. This is the most entertaining example of how teamwork really does make the dream work, and the excellent casting of Kinky Boots is a key factor in bringing the tale to life, with such likeable characters that you’re rooting for them all the way. Every single one stands out as an individual, coming together to form a fantastic ensemble operating an ingenious set. There’s so much going on but it’s executed so sleekly you can only marvel at the cast's expertise and Jerry Mitchell’s sophisticated direction and choreography. Watch out for the conveyor belt scene, one of the best routines I’ve ever seen.

Cyndi Lauper’s music & lyrics were as much of an “adventure and a privilege” to experience as the pop icon has described it was to write them. She has composed a heartwarming blend of 80s rock, pop, soul and power ballads, infused with fun and underlined by that decade’s signature feelgood factor.

Costumes are of course spectacular, and I am still stunned by the Angels’ ability to perform high-energy dance routines so perfectly in high heels.The show is must-see for their scenes alone.

There have been well-earned rave reviews for Kayi Ushe as Lola. Every aspect of his performance is both exceptional and believable, from his incredible vocals throughout (I couldn’t pick a favourite song) to his portrayals of the vulnerable Simon from Clacton and his equally lovable but larger-than-life alter ego Lola. Joel Harper-Jackson pulls off a different kind of challenge, making the ordinary character of Charlie extraordinary, especially when he reveals just how powerful his voice is in Soul of a Man. It’s great to see Paula Lane in a totally different role after playing Kylie Platt’s harrowing final scenes in Coronation Street. She shows a true talent for comedy and musical theatre, highlighted by a belting rendition of The History of Wrong Guys.

There is so much more to say about this fabulous production and its cast and crew but suffice to say it is not to be missed. I can’t imagine anyone leaving without a smile on their face and a firm belief in the Kinky Boots mantra: #youchangetheworldwhenyouchangeyourmind

On until Sat 12 Oct 2019. Book tickets here: https://www.ticketmaster.co.uk/venueartist/254002/5268628

Read more about the real-life events that inspired the story here: https://www.wintergardensblackpool.co.uk/stories/the-real-roots-of-kinky-boots

Further tour dates here: http://www.kinkybootsthemusical.co.uk/uk-tour/tour-dates-venues.php


Kinky Boots UK is produced by Daryl Roth and Hal Luftig and Playful Productions, in association with Cameron Mackintosh.

The Winter Gardens is Ready to Razzle Dazzle

In the 1920s Chicago became infamous for a string of homicides committed by women - crimes of passion set against the backdrop of changing times and views of women in the Jazz age.

Journalist Maurine Dallas Watkins covered some of these crimes for the Chicago Tribune, and wrote a play based on real life events she reported on. Chicago was adapted as a musical in 1977, becoming a Broadway and West End smash hit and an Academy award-winner for the 2002 movie version. Velma Kelly, Billy Flynn and Roxie Hart have become instantly recognisable as the lead roles in Chicago, written by John Kander & Fred Ebb (The Prolific Broadway writers who wrote ‘Cabaret’) and the legendary Bob Fosse. Now Chicago is coming to the Winter Gardens Blackpool with the ENSEMBLE Theatre Company in April 2020.

Ever since Andy Vitolo, Ensemble Theatre's Artistic Director, can remember, he had a dream to have a theatre company based at the world famous Winter Gardens...and now that dream is a reality.

Andy has directed and performed in many musicals in the States and all over the UK. As part of a successful song-writing partnership he's had hits in Europe and been televised numerous times for Eurovision. His songs have received plaudits from industry greats including Dolly Parton’s management.

Within a year, ENSEMBLE Theatre has smashed box office records and been critically acclaimed (⭐️⭐️⭐️⭐️ “Absolutely Brilliant “, “Sounded Spectacular”) with its hit productions of Broadway musicals including Oliver!, The Sound of Music and The Addams Family.


CHICAGO
Saturday 4 April 2020 2.30pm & 7.30pm
Opera House Blackpool
TICKETS ON SALE NOW

https://www.wintergardensblackpool.co.uk/whats-on/chicago

0844 856 1111

Matthew Kellett as Dulcamara: photo Bill Knight

If you want an evening of fun and merriment, look no further. Islington's King's Head Theatre in conjunction with Opera'r Ddraig are offering a veritable treat. Chris Harris and David Eaton's new English version of Donizetti's The Elixir of Love or L'Elisir d'Amore, directed by Hannah Noone, is playing in the delightful intimate theatre space and from start to finish it is an absolute hoot.

Each of the five-strong cast performs with energy, wit and gusto. Voices soar, eyes roll and jokes abound. It is a performance of wit which will have you laughing out loud. Seated on three sides of the staging, the audience is immersed and involved. The pace never slackens and by the time the production finished, my face ached with laughter.

Moving the setting from the 18th century Basque region of Spain to 1982 Barry Island in Wales (home to Gavin and Stacey) life moves at a gentle pace, relatively unscathed by the Falklands conflict. That is until now! Things are about to change.

The beautiful Adina (Caroline Taylor), love interest of the hesitant, lovesick and tongue-tied Nicky (David Powton) is tidying the gingham covered tables in her bistro/cafe whilst he sits forlornly, sipping his nth cup of coffee just to remain in sight of her. How might he win her heart? Enter the dastardly, crooked Dulcamara (Matthew Kellett) and his case full of tonics and 'scientifically tested' potions. Yes, with the aid of his 'elixir of love' spray (actually consisting of animal urine - but enough of that), the gullible Nicky will gain the 'swagger of Jagger' and win Adina's love. But of course, all goes awry and chaos ensues. Returning from his tour of duty is past love to Adina, Captain Brandon (Theo Perry), resplendent in his uniform to claim the hand of Adina before he has to return to the Falklands.

Who will be the victor? Who will win the race? Ah,but that would be telling. No spoilers here, I'm afraid.

The talent of the cast is boundless. Their voices soar and, accompanied on his piano by Musical Director David Eaton, are clear and audible. If like me you are not well versed in opera, dispel your fears. This is totally accessible and there were no moments of confusion with what was being sung

The cast listing varies at each performance. On the night of this review I must offer sincere congratulations for their glorious performance to Caroline Taylor, David Powton, Matthew Kellett, Theo Perry and Shana Moron-Caravel. They won our hearts, without any potions from the unscrupulous Dulcamara..

I urge you, no, implore you to go and see it. You will not be disappointed and are sure to leave the theatre tra la la-ing with the best of them. Playing for a short period only, this two Act opera is not to be missed.

 Listings

The Elixir of Love: Wednesday 25 September - Saturday 26 October 2019 at the King's Head Theatre, 115 Upper Street, Islington N1 1QN

Performances  Mon-Sat 7 pm, Sat 3 pm.
Running Time 90 minutes with a short interval
Ticket Prices Fri/Sat evening: premium £35, weekday premium £28.50
Standard tickets £24.50 with concessions available.
Social Media
Twitter: @KingsHeadThtr  @operarDdraig#ElixirOfLoveKHT
Website: www.kingsheadtheatre.com
Telephone: 0207 226 8561

Tracy-Ann Oberman as Brenda Kapowitz - photo Bronwen Sharp

Menorah candles, a symbol of the Jewish festival of light (Chanukah) - a time to rejoice. But this year, 1998, there is no levity in the Kapowitz household. The lives of single mother Brenda, younger son Jason and 17 year old Matthew are about to change forever.Once a happy family unit living a 'normal' life, normality will no longer be the name of the game. And the reason? Matthew has for some inexplicable and irrational reason stepped out of character as a gentle, gangly 17 year old teenage son and fun older brother. He has raped three girls in one night and now is under house arrest awaiting sentence.Of course the entire family will be sentenced alongside him by society. Brenda will forever be branded as the 'mother of him', blamed for poor parenting and their past behaviours analysed;innocent schoolboy Jason will bear the stigma and be prey to bullies in his future.

1998 was a period where technology was becoming more prevalent but where the social media had not yet taken off. As such the source of news was via newspapers and journalists were voracious in their appetite for juicy, newsworthy stories that would sell their publications. Here in this leafy Toronto suburb is a Jewish family whose cultural traditions have been torn apart. This will make a great editorial and the media will sacrifice the whole family in their coverage.

How will Brenda cope with leaving the grey, austere confines of her home to face the daily onslaught of the jackals at her door? How will Jason manage the flashing cameras as he leaves for school? And it is no easier indoors. The phone rings incessantly with threatening calls and mail drops continually through the letter box, with messages of hate and condemnation. Advised by her friend and legal advisor, Robert Rosenberg, she must ignore them and not react.

Despite all this Brenda will do all she can to protect her sons. Jason must not be scarred and Matthew must receive the best legal advice and representation she can offer. But of course he is guilty and like other families who have endured this trauma, so will she. I am brought to mind of Eva and Kevin in Shriver's novel. Life is changed indelibly. So, how far can unconditional love stretch? Can resentment and anger towards her older son be re-directed?

Watching Brenda as she lights the menorah candles and sings the blessing with her sons, there is anguish and suffering etched on her face. Where and why did this all go wrong?

With strong performances by Tracy-Ann Oberman as Brenda, Hari Aggraval as Jason and Scott Folan as Matthew, Evan Placey's Mother of Him' offers an intelligent insight inspired by a true story. Directed by Max Lindsay and with a fully committed cast, we are drawn into the awfulness of their situation. We ride the waves with Brenda as she berates herself and teeters on the edge,somehow pulling herself back to move forward. We understand the reaction of little Jason as he storms against his mother, powerless to do anything else and somehow we feel pain for Matthew, knowing that he has ruined his life.

A sombre set, a sombre story which resonates and compounds that we should not take life for granted, but value it. As Brenda says, 'All you can do is stand by. Watch them fly, or watch them fall, but be there.' This 2 hour production (including a short interval) pulls no punches and is strong viewing which offers no answers as such but raises plenty of questions.

Listings

Dates 18 September to 26 October 2019
Venue Park200, Park200, Park Theatre, Clifton Terrace Finsbury Park, London N4 3JP
Times Mon-Sat 7.30 pm, matinees Thurs & Sat 3 pm
Prices £18.50 - £32.50 with concessions when available
Box Office 020 7870 6876 (10% fee capped at £2.50 per ticket)
Social Media
Website: www.parktheatre.co.uk
Twitter: @ParkTheatre
Facebook: @ParkTheatreLondon
Instagram: @ParkTheatreLondon
Suitable for ages 16+

   

The Cast of 'Cry Me Fury'  Olivia Kennett, Sasha Wilson, Mairi Hawthorn and Gracie Lai   photo: David Spence

Sasha Wilson with Out of the Forest Theatre and Hannah Hauer-King has brought to Islington's Hope Theatre the stunning Call Me Fury. Taking her inspiration from Miller's 'The Crucilble' and the Salem witch trials of the 17th century and using folk songs and back stories of the women featured, the all female ensemble gives voice to the atrocities of this piece of history and of others that befell some 50 000 women (and their families) tried and executed for the alleged crime of witchcraft.

Amongst those portrayed are the familiar figures of Tituba, a Central American slave who worked on the plantation of religious minister Samuel Parris before being taken to Salem where she was imprisoned for the crime of witchcraft; Catrina badly beaten and raped in prison allegedly by the devil and not the gaoler who smirked beside her; Abigail Williams, immature and frightened and prey to the hysteria and Sarah Good, maligned and despised. These are but four of the names in this strongly voiced play. Presented through monologue and supported by violin and song, we experience their helplessness and fear and are witness to their persecution, their trials, their deaths. Heavy stuff indeed! Wilson has accounted for this and relieves the awfulness through light hearted asides which shield strong messages beneath the banter.
 
These were ordinary women whose lives spiraled out of control, mainly due to fear, coercion, manipulation, superstition, freezing climate and hunger. Controlled through their physical weakness and dependence on their menfolk, their voices were silent, unheard, unless they articulated what those who controlled them wished to hear.

Devised and played by Mairi Hawthorn, Gracie Lai, Olivia Kennett and writer Sasha Wilson, the injustices are exposed. Whereas Miller gave prominence to the roles of men in his play, Wilson pays homage to the women. Here in this small, intimate studio space we hear their words and witness their terror. Helpless against their menfolk, they lost the will to fight. But we are urged by Wilson to take up their cause and fight the oppression that exists even today and to demand an equal place in society with men.
 
David Spence's set is fitting to the tone and time, with its stark wooden cross taking a prominent place on the stage. Covered in autumnal leaves and surrounded by bales of hay, this staging is in sharp contrast to Helen Stewart's pilgrim costuming of black and grey. Mother Nature has a voice here. In the cold of the harsh winter she is cruel but her autumn colours inject new life. With the crying of the violin and the sight of three women on stage, heads hanging awkwardly as if in death,the scene is set.

We might wonder why those women did not fight more. Why dd they submit? The message was clear. When weak through hunger, terrified of those around you, cold beyond bearing, then resolve is lost.Call Me Fury is a stimulating production that maintains a strong heartbeat throughout its 80 minutes and whose messages stay with you long after the evening ends.
 

Listings

Dates: 17 September - 5 October 2019
Times: Tues - Sat 7.45 pm
Telephone: 0333 666 3366 or directly online  https://www.ticketsource.co.uk/thehopetheatre/call-me-fury/e-dayjyr
Under 18s not allowed at this venue
Running time: 80 minutes with no interval

A Taste of Honey made history when it was first performed (by Joan Littlewood’s Theatre Workshop) in 1958. It was written by a 19-year-old, Shelagh Delaney, who wanted to the address social issues of being working class in post-war Britain, particularly the north of England. A year later it was in London’s West End and in 1961 it was made into a film starring Rita Tushingham and Dora Bryan.

Now the National Theatre is taking a new production on the road, and proving that this classic ‘kitchen sink’ drama not only made history back in the day but today serves as a history lesson for 21st century generations.

The play revolves around the fractious relationship between 17-year-old Jo and Helen, her uncaring mother. It opens with the pair moving into yet another shabby flat, and Hildegard Bechtler’s set is depressing and dingy, highlighting just how many poor people lived in the 50s. With Paul Anderson’s lighting it creates just the right atmosphere.

The only colour is provided by Jodie Prenger as Helen, a good time girl who marries a younger man for his money, leaving her daughter to fend for herself. Sounding like a Mancunian version of Brenda Blethyn’s TV character Vera, she portrays Helen as self-absorbed and whining, though black humour is never far away.

Gemma Dobson as Jo is much more spirited, impressively changing from a petulant child to a pregnant adult with ease.

Supported by a stellar cast, including Stuart Thompson as a particularly sympathetic Geoffrey, they really get under the skin of life back then, when all you had was a scruffy sofa and a dodgy gas stove, and both gays and black people were hounded.

Like Joan Littlewood’s original production, director Bijan Sheibani's offering features a three-piece band, on stage throughout, ready to accompany an actor as he or she bursts into song. I didn’t get it, and would have been happier within the distraction. Oh, and there were too many entrance and exit points, with actors sometimes taking a different route off-stage.

A Taste of Honey is at the King’s Theatre, Edinburgh Until Sept 28.
Box Office: 0131 529 6000 capitaltheatres.com
It then continues touring:
Oct 1-5: Marlowe Theatre Canterbury
Oct 7-12: Richmond Theatre
Oct 15-19: Grand Opera House, Belfast
Oct 22-26: Leicester Curve
Oct 28-Nov 2: Theatre Royal Bath
Nov 5-9: Grand Theatre Wolverhampton
Nov 12-16: Norwich Theatre Royal
Dec 5-Feb 29 2020: Trafalgar Studios London
Pic: Marc Brennan