• Ulster American at the Traverse Theatre, Edinburgh
    Ulster American is an extraordinary piece of theatre.

    At the entrance to the auditorium we are warned that the production contains graphic violence and extreme language and yet, while writer David Ireland’s script deals with so much that is wrong in today’s world, it is the funniest hour and a half I have spent for a long time!

    I say this without feeling perverted or guilty. Yes, the humour is dark, but so wonderfully written and acted that, while at times I sat open-mouthed at what was happening, mostly I was guffawing with the rest of the audience. It’s like Quentin Tarantino crossed with Victoria Wood.

    In the hands of RSC and National Theatre regular Darrell D’Silva, Robert Jack and Lucianne McEvoy, award-winning writer David Ireland’s masterpiece is an assault on the senses.

    The action takes place in director Leigh Carver’s London flat where he is joined by Oscar-winning actor Jay Conway and writer Ruth Davenport to discuss a new play which connects Conway with his Irish roots.

    Both Carver and Davenport are somewhat in awe of the actor but when Conway starts questioning the script, boundaries are crossed and the heated discussion leads to a violent climax – though, through the beauty of the writing, the final line is priceless and has us going home laughing!

    D’Silva should indeed win an Oscar for his gripping portrayal of the American actor. He is like a chameleon, yet throughout even the worst scenarios still makes us laugh. His is a strong character, in sharp contrast to Jack’s Carver, at first in awe of Conway and frightened of crossing him. You can imagine him having a limp, wet handshake!

    Then, into the mix comes McEvoy, who is a force of nature as the fiery playwright, again in awe of Conway until her script is compromised and that’s when the fireworks start exploding. It’s wonderful to watch these three bouncing off each other, and director Gareth Nicholls should be proud of what they have all achieved.

    Confrontational yet brutally funny, this is a satisfying must-see.
    Ulster American is at the Traverse Theatre, Edinburgh until March 2.
    Box Office: 0131 228 1404
    www.traverse.co.uk
  • Octopus Soup, Blackpool Grand Theatre
    Not to put too fine a tentacle on it, Octopus Soup is a breath of fresh air. With a cast of five, six including Terry the Octopus, there’s never a dull moment and lots of laughs.

    I    n the manner of a true British farce the plot is both daft and inspired. Where else would you see the victim of a burglary conduct a SWOT analysis for the perpetrator, before being roped into an insurance fraud plot under the watchful eyes of an octopus? 

    Nick Hancock (Room 101, They Think It’s All Over) stars as sensible Seymour, an insurance consultant whose last-ditch attempt at salvaging his career is ruined by bungling burglar Marvin, played by Paul Bradley (EastEnders, Holby City).

    Seymour’s actress wife Gloria (Carolyn Backhouse) over-acts perfectly as she makes a dramatic entrance, not to save her husband from the criminal’s clutches but to mistakenly welcome the intruder as a guest. Despite his best efforts, Seymour becomes an unwilling partner in crime with Marvin as they present a fraudulent pitch to GIT (Global Insurance Transmedia) boss Virginia (Gillian Bevan) based on Marvin’s dodgy ideas wrapped up in Seymour’s apparently genius algorithms.

    A dinner party is held to seal the deal with Marvin’s boss, played Godfather-style by TV cop turned villain Eric Richard (The Bill’s Desk Sergeant Bob Cryer). Then just as it reaches murderous proportions, Terry, aided by a Le Creuset casserole pot, saves the day. Personal favourites included Gloria’s hysterical portrayal of a Geordie police inspector and Seymour and Marvin’s periodic wrestling.

    All of the action takes place in the dining room, with conference calls between cast members and Virginia cleverly orchestrated via a TV screen attached to the back wall. This simple set is all that’s needed as the focus is firmly on fine acting, excellent comic timing and a fast-paced plot. The hilarity on press night was heightened by an unscripted slip-up involving safety-conscious Seymour’s two belts, always a welcome treat in a good old Brit comedy.

    My SWOT analysis on Octopus Soup is as follows: 

    Strengths: The splendid comic acting

    Weaknesses: Terry didn’t take a bow

    Opportunities: This would make an excellent sitcom

    Threats: The algorithm scam could catch on

    Hats off to the cast, Simon Fielder and Belgrade Theatre Coventry – for me this was reminiscent of the legendary sitcoms of the 70s.


    Book to see it at the Blackpool Grand Theatre until Saturday 23rd February: www.blackpoolgrand.co.uk/event/octopus-soup

    Further tour details here. www.simonfielder.com/octopus-soup
  • Jersey Boys at the Edinburgh Playhouse
    0h what a night! It was a night of highs, and lows, both in the story of one of the US’s most successful bands and in the telling of it.

    I’ve said it before and I’m sorry to have to say it again, but the sound quality at the Playhouse isn’t always what it should be. In such a big space it often reverberates and the dialogue, especially spoken in a nasal American accent, isn’t always audible, so I had to guess at some of the (many) events in the lives of The Four Seasons.

    Thankfully, when it came to the music I have no complaints. Michael Watson as lead singer Frankie Valli is superb, hitting just the right falsetto notes which made the band from New Jersey so distinctive. For me it took about 45 minutes, until the singing of Sherry, Big Girls Don’t Cry and Walk Like a Man, before the show really got going, and by the reaction of the audience they were in agreement. But after that, Watson, Simon Bailey as Tommy Devito, Declan Egan as Bob Gaudio and Lewis Griffiths as Nick Massi took me right back to the days when, as a young schoolgirl, I couldn’t get enough of The Four Seasons’ music. The choreography is a bit strange, however, with the boys moving like automatons…very regimented.

    So, the show is musically very satisfying, but the backstory is worth a production all on its own. So much happened to these guys from the wrong side of the tracks: they were mixed up in petty crime, and then the Mafia, their private lives were a bit of a mess, and professionally they had more than their fair share of hardship. Nevertheless they had sold 175 million records before the age of 30 and, apart from The Beach Boys, were the only US band to survive the British invasion of the likes of The Beatles.

    There is a lot packed into this show, and the delivery includes lots of humour and pathos too, when you can understand the lines!

    The Jersey Boys are at the Edinburgh Playhouse until March 2.
    Box Office: 0844 8713 014
    The tour then continues:
    March 6-16: Dublin Bord Gais Energy Theatre
    March 19-30: Southampton Mayflower
  • The Lady Vanishes at the King's Theatre, Edinburgh
    I love living in Edinburgh. The close proximity of so many theatres, the arts festivals, and being able to offer a home from home for touring actors makes it the perfect place. We were made for each other.

    But the King’s latest production has rendered me homesick. Until my move 400 miles north my second home for 30 years was the Theatre Royal Windsor. It’s where I interviewed countless actors and reviewed innumerable productions.

    The reason I feel like this is that the company performing this week is Bill Kenwright’s The Classic Thriller Theatre Company, which began life in Windsor and where it still starts its national tours. It’s where I often bumped into the prolific West End impresario, who took on the theatre in 1997, and where I looked forward to talking to the lovely Roy Marsden (remember TV’s Insp Adam Dalgleish?) who directs this production.

    There is always something familiar about these plays. They hark back to bygone days when everything had a quality feel, from the writing and the presentation to the characters and the way they spoke, dressed and behaved.

    So this classic is easy on the eye. I love Morgan Large’s backdrop of a station (somewhere near Austria). Together with Charlie Morgan Jones’ lighting and Dan Samson’s sound, it sets the scene perfectly for a good, old-fashioned mystery thriller.

    There is also quality in the casting. Juliet Mills, member of the acting dynasty which includes sister Hayley and included father Sir John, is joined by another kind of royalty…TV soap stars Lorna Fitzgerald, who played Abi Branning in EastEnders, and Philip Lowrie, long-time resident of Coronation Street.

    The 1938 film, which was the making of its director Alfred Hitchcock, was voted 31st of the Best British films Ever in 2017, but I wouldn’t include Antony Lampard’s adaptation in a similar category. The plot, surrounding an elderly governess who vanishes on a train travelling to Paris and London in the late 30s, is somewhat convoluted by today’s standards though I like to think of it as a glorious romp featuring plenty of gunfire, a sword-wielding magician, a high-heeled-wearing nun and the mummified patient of a brain surgeon – and that’s just for starters!

    Fitzgerald successfully shakes off her East End roots to play Iris, a somewhat air-headed girl who is travelling home to marry a lord when she is accidentally struck on the head and is befriended by Miss Froy (Mills), who subsequently disappears. Strangely, the other passengers then deny having ever seen her as Iris sets out, sometimes rather hysterically, to find her.

    As can happen on any train, there is a mixed bag of characters, all played with aplomb, though they need to be on the same page when it comes to movement as if in motion on a train! Lowrie is a grumpy, bumbling lawyer afraid of being discovered with his mistress; Maxwell Caulfield (still memorable from the 80s Dynasty  spin-off The Colbys, and also Juliet Mills’ husband of 39 years) is a Viennese brain surgeon, and Joe Reisig is a menacing presence as a Nazi official. For a bit of light relief, though there are many laughable moments, Robert Duncan and Ben Nealon make a wonderful double act as upper-class cricket-mad Englishmen trying to get back home for the Test Match, while Mark Carlisle shows his versatility as an Austrian-type station master and a Cockney porter but goes a little over the top as Italian magician Signor Doppo.

    The most spirited performance, however, comes from Matt Barber as Max (an engineer who is also writing a book about folk dances, as you do) who starts out as a pompous, sarcastic character but wins the day by helping Iris solve the mystery of the vanishing lady.

    Photo: Paul Coltas

    Edinburgh Kings Theatre, 18-23 February
    New Brighton Floral Pavilion Theatre, 25 February-2 March
    Blackpool Grand Theatre, 4-9 March
    Richmond Theatre, 11-16 March
    Malvern Festival Theatre, 19-23 March
    Bromley Churchill Theatre, 25-30 March
    Chesterfield Pomegranate Theatre, 1-6 April
    Stoke Regent Theatre, 8-13 April
    Inverness Eden Court Theatre, 15-20 April
    Barnstaple Queen’s Theatre, 23-27 April
    Doncaster Cast Theatre, 3-8 June
    Llandudno Venue Cymru, 10-15 June
    Lichfield Garrick Theatre, 17-22 June
    Aberdeen His Majesty’s Theatre, 24-29 June
    Glasgow Theatre Royal, 1-6 July
    Crewe Lyceum Theatre, 8-13 July
    Cardiff New Theatre, 15-20 July
    Leeds Grand Theatre, 22-27 July.
  • La Voix @ The Waterside Theatre, Aylesbury (atgtickets.com)
    La Voix’s show, Live, Loud and Fabulous, couldn’t be
    more aptly named as, to quote the film she starred in with Jennifer Saunders
    and Joanna Lumley,  she is simply ‘Absolutely Fabulous Dah-ling!’

    Having seen La Voix
    in panto at The Waterside for the past 4 years and loved her voice, warmth and professionalism,
    it was an absolute joy to see her cabaret show and experience her considerable
    wit, good humour and vocal talents as an impersonator.  Try and imagine Judy Garland performing an
    Adele song?  Surely that wouldn’t
    work?  Oh but it does and she’s so clever
    with her perfect mannerisms vocally and physically.  How about a 72 year old Lisa Minnelli
    performing a song from Cabaret,
    having had a hip replacement or two? 
    Hysterical!  A medley of Cher
    songs and of course Shirley Bassey  also
    both perfectly matched  their unique
    styles and intonations.

    La Voix came to the public’s attention when she reached the
    semi-finals of Britain’s Got Talent
    in 2014, losing out to Pudsey the Dog! La
    Voix     has an incredible vocal range with a powerful belt and singing the song
    from Dreamgirls’, ‘And I am Telling You I’m Not Going’,
    brought the house down.

    The evening is all about the comedy though and her stand up
    is second to none.  I’ve always said that
    great comedy requires great wit and too often ‘comedians’ rely on foul language
    to get laughs because they’re just not clever enough.  La Voix’s
    language is clean and she interacts with the audience, taking the Mickey out of
    people without ever being cruel or offending. 
    That to me is the mark of someone really clever, witty and
    intelligent.  I laughed all the way
    through as did the rest of the audience.

    The costumes are dazzling and glamorous and I have no idea
    how she managed to walk on those huge platform sequined shoes without tripping
    over.  Supported on stage by her band,
    they must have had a difficult job knowing quite when she was going to do the
    next song as a spontaneous thought changed the direction of the show, but  you could see they loved it as much as we did.

    The theatre was packed and after the show, La Voix, went into the foyer to chat to
    the audience or have selfies taken with them. 
    I can honestly say that I’ve never seen the area so crowded with people queuing
    patiently, which shows how much they’d enjoyed the show and wanted to meet
    her.  It really is the most fabulous
    evening and it’s great to see a fantastic cabaret evening filling the theatre.

    For more info and future tour dates go to https://lavoix.co.uk/

    Reviewed by:

    Yvonne Delahaye

    15.2.19

    @yvonnedelahaye
  • Americat: A Love Story ... Really | Shows | Tristan Bates Theatre (tristanbatestheatre.co.uk)
    Ok so this was very much a fringe production, staged in a very intimate venue The Tristan Bates Theatre in Covent Garden.
    Americat is a love story of sorts; Earnest American Scott meets angst ridden Brit Ashley (or is it Amy?) and the story of their doomed romance is told by director Jeff and host of supporting cast.
    Its a short piece (only and hour long) and while it was certainly enjoyable to watch it felt like watching a section something longer rather than a finished product, I particularly felt that the main characters needed to be given more of a back story in order to make the play hang together. For example we meet Scott and Amy after they wake up in bed together, but its not clear how they actually met? Why Scott is then so keen to pursue her or even how he came to be in the UK in the first place? Amy alludes to the fact she is struggling to rebuild her life following the break up of marriage but I think if this element was explained in a bit more depth it would make her a more sympathetic character, as it is she just come off a bit aloof.
    Also worth mentioning is the fact the play is partially narrated by director Jeff who steps in at various points to remind the actors that they are in fact characters in a play, its the kind of plot device that works well the first time, but constantly breaking the 4th wall starts to loose its impact after a while and further convolutes the storyline.
    However this is still a fun play to watch with some excellent comedic moments and fantastic cameos from the supporting cast.
    Overall I would say this a work in progress, right now I'll give it 3 stars, but I bet if you caught it next year when it's come back from Edinburgh it'll be a blinder

    Tristan Bates Theatre
    12-16th Feb
    Tickets £10 
    click Link to book


    CAST
    Kid Scott Kettner
    Ashley Amy Elliot
    Jeff Amin Ali
    Teacher 1,2,3,4 George Eggay
    Chuck AJ Jeremiah
    Buff Guy/Scott Christian Alifoe
    Richard/Gary Rory Grant 

     CREATIVE
    Produced by 1912 Productions
    Assistant Producer Amin Ali
    Directed by Scott Kettner & Company (cast) 
  • Art at the King’s Theatre, Edinburgh
    Take just three actors and a white canvas and what have you got? Not much, you may be thinking.

    That’s where you’d be wrong.

    For this is Art, an 80-minute study of male friendship, which launched Yasmina Reza almost overnight into the English-speaking theatre more than 20 years ago and has since won just about every award going.

    It’s been said before but there is no other word for it: it’s a phenomenon, and in the hands of three of our most popular actors it’s a no-brainer. It’s a must-see.

    Nigel Havers, Stephen Tomkinson and Denis Lawson have been playing up their off-stage camaraderie and liking for Martinis in the media, but there is nothing frivolous about their performances.

    With a minimalist set and no plot to speak of this is all about words and their delivery and, boy, does this trio deliver. It’s sheer poetry… or should I say, a work of art (yes, I know. I’m not the first critic to have used that phrase!).

    When Serge buys a painting for £200,000 he obviously wants his best friends’ approval. But as the canvas is just plain white (well, with a bit of texture), he doesn’t get the response he is looking for and the men’s 25-year-long friendship is in danger of crashing.

    But though the three run the gamut of emotions this is a first-class comedy, so much so that some of the lines were missed on the first night because of the laughter coming from the audience. The humour is not only in the dialogue but in the body language and facial expressions of its stars.

    Whether or not they are the best friends they purport to be off-stage, on-stage the rapport between them is palpable. They make their closeness look so easy. At times I wondered if their gales of laughter were off-script. It certainly didn’t sound forced.

    Art is not new to Havers, nor to me. I saw it a lifetime ago when he shared the bill with Roger Lloyd-Pack and Barry Foster, and I got to interview them in the West End where they were taking over from, among others, Ken Campbell.

    Havers has certainly not lost any of that famous cheeky charm. As Serge, the owner of the painting, he is endearingly naïve and the perfect foil to Lawson’s explosive performance as acerbic Marc and Stephen Tomkinson’s masterful portrayal of the downtrodden Yvan – a type he does so well. His several-minute rant about his forthcoming marriage and his mother’s concern over invitations received a well-deserved round of applause.

    Translated by Christopher Hampton and directed by Ellie Jones, this is a slick production which should ensure Art’s continued reputation as a phenomenon.

    Edinburgh King’s Theatre
    11 – 16 February 
    Guildford Yvonne Arnaud
    18 – 23 February
    Malvern Theatre
    25 February – 2 March 
    Richmond Theatre
    4 – 9 March 
    Cheltenham Everyman Theatre
    11 – 16 March 
    Theatre Severn
    18 – 23 March 2
    Aberdeen His Majesty’s Theatre
    25 – 30 March 
    photo Matt Crockett
  • Flight Paths
    The Goze (blind performers) travelled the length of medieval Japan, making their living from telling stories, making music and sharing great tales. Flight Paths, which was presented at the Stratford Circus Arts Centre on Friday 8th February 2019 by Exant and Yellow Earth was directed by Maria Oshodi and Kumiko Mendl inspired by the traditional Goze. Working with arial silks, blind performers Amelia Cavallo and Sarah Houbolt present a multi-media performance combining “movement, music, narrative and creative audio description using new sound technology” allowing the piece to be inclusive and engage multiple senses. The performance combined many different elements, from the storyline of the onstage performers, to the characters that they engaged with via the creative sound design, which sometimes became a little tangled within each other. The performance was an official event of the Japan-UK Season of Culture 2019-20, and is touring until March. More details can be found at http://www.extant.org.uk/flightpaths/programme/tour
  • Blake: Movies & Musicals @ The Waterside Theatre, Aylesbury (blakeofficial.com)
    One enchanted evening in February spent in the presence of vocal
    harmony group Blake, provided the
    perfect escape from winter’s bitter chill and the woes of the world.  Since forming in 2007, Blake have had
    enormous success throughout the world selling over 1 million albums with No. 1
    hits in ten countries and nearly 150 TV appearances around the globe.  The trio are Ollie Baines, Stephen Bowman and
    Humphrey Berney, who perform a mix of Classical, Opera, Pop and Musical Theatre
    songs with perfect vocal harmonies, which has enabled them to work with
    industry legends Katherine Jenkins and Dame Shirley Bassey.

     Their latest album, Anniversary Album( their 7th), has gone straight to No 1
    confirming their place as one of Britain’s best loved vocal harmony
    groups.  This new concert tour is entitled
    Movies and Musicals and for
    simplicity the first half is dedicated to Movies and the second to Musicals.

    The Movies half features some of
    the most popular songs including Somewhere
    Over the Rainbow, She, Hallelujah, Moon River and You Raise Me Up.      Blake were accompanied throughout by the
    exceptionally talented pianist, Dominic Ferris, who had an opportunity to show
    his incredible skills particularly in his solo spot playing Autumn Leaves.

     There’s a natural warmth and charm to the trio
    who chat with the audience and interact, but without it being forced or
    intrusive.  I found the first half
    extremely calming and soothing, with the relaxed and comfortable banter
    between them showing how their friendship has grown since childhood.

    The Musicals half kicked off with
    a couple of songs from West Side Story,
    Maria     and the beautiful Somewhere.
     Of course the two spine-tingling songs
    from Les Miserables had to be
    included, the haunting Bring Him Home and
    I Dreamed a Dream.  A song made famous by Katie Melua, which I’d
    always thought she’d written but it was actually Mike Batt, The Closest Thing to Crazy had been part
    of an unsuccessful musical called Men Who
    March Away    .   The second half
    finished with You’ll Never Walk Alone,
    with the audience on its feet applauding and cheering loudly.

    The whole evening was captivating
    with delightful music, beautifully sung and I left feeling calm and tranquil.  For more information on tour dates visit
    their website https://www.blakeofficial.com/

    Reviewed by:

    Yvonne Delahaye

    9.2.19

    @yvonnedelahaye
  • What's Love Got To Do With It?
    Brand
    new show celebrating Tina Turner heads out on 50-plus date debut UK tour.
    A brand new show celebrating the music of Tina
    Turner is set to tour the UK with more than 50 dates already secured.

    The massive debut tour of What’s Love Got To Do
    With It?     launches in February 2019 promising to be the ultimate tribute
    show.

    The tour previews at the Hazlitt Theatre in Maidstone
    on Wednesday February 13, and has its premiere at Liverpool Empire Theatre on Tuesday, February 19.

    Tickets
    on sale now from     www.cuffeandtaylor.com

    Brought to you by the award-winning
    producers behind the hugely successful Whitney - Queen Of The Night, What’s
    Love Got To Do With It?      pays homage to one of the most iconic and
    much loved musical artists of the 20    th Century.

    In this brand-new touring theatre show, audiences can
    expect a night of high energy, feel-good rock-and-roll featuring Tina's
    greatest hits performed by the amazing
    vocal talent of Elesha     Paul Moses (Whitney - Queen Of The Night, The Voice,
    X Factor) supported by     a full 10-piece
    live band.
    Speaking about playing Tina Turner, Elesha said: “I
    am absolutely thrilled to be touring the UK with What’s Love Got To Do With It?
    This is going to be a magnificent show and one that truly celebrates the
    incredible music and career of Tina Turner.

    “Tina is a great persona to emulate on stage. I have
    performed as her many times over the years so to now be the lead in a show that
    will travel all over the UK and celebrate everything about her is an amazing
    opportunity and one I’m really looking forward to.”
    In a breath-taking career spanning more than 50
    years, audiences can look forward to hearing stunning musical arrangements of
    Tina's most-loved classic hits including Private Dancer, What's Love Got To Do
    With It?, Proud Mary, River Deep, Nutbush City Limits, Simply The Best and many
    more. This not-to-be missed musical experience is a stunning celebration of one
    of the greatest female singers of our time.

    TOUR DATES 2019

    February
    Wed
    13th MAIDSTONE, THE HAZLITT THEATRE
    Tue
    19th LIVERPOOL, EMPIRE THEATRE
    Sat
    23rd BUXTON, OPERA HOUSE
    Tue
    26th SOUTHEND, CLIFFS PAVILION
    Wed
    27th EDINBURGH, USHER HALL  

    Thu
    28th GLASGOW, KING'S THEATRE
    March
      

    Fri 1st ABERDEEN, MUSIC HALL

    Sat 16th
    DARLINGTON, HIPPODROME

    Thu
    21st BRADFORD, ST GEORGES HALL
    Wed
    27th PORTSMOUTH, GUILDHALL
    Fri
    29th HULL, CITY HALL
    April
      

    Thu
    18th SHEFFIELD, CITY HALL
    May   

    Wed 1st
    COVENTRY, BELGRADE THEATRE
    Fri
    31st DARTFORD, ORCHARD THEATRE

    June
       

    Sat 1st
    HODDESDON, THE SPOTLIGHT
    Sat 8th
    HUDDERSFIELD, TOWN HALL  

    Thu
    13th MALVERN, FORUM THEATRE
    Sat
    15th BASINGSTOKE, THE ANVIL
    Sun
    16th CANTERBURY, MARLOWE THEATRE
    Sat
    22nd TORQUAY, PRINCESS THEATRE

    Thu
    27th NEW BRIGHTON, FLORAL PAVILION THEATRE
    Fri
    28th CARLISLE, THE SANDS CENTRE

    Sat
    29th NOTTINGHAM, ROYAL CONCERT HALL
    July

    Thurs
    11th HORNCHURCH, QUEENS THEATRE

    Sat 20th BLACKPOOL, OPERA HOUSE


    Sun
    21st SUNDERLAND, EMPIRE THEATRE
    Sun
    28th CROYDON, ASHCROFT THEATRE
    September

    Fri
    13th CARDIFF, ST DAVIDS HALL
    Fri
    20th MANCHESTER, BRIDGEWATER HALL
    Sat
    28th BRIDLINGTON, BRIDLINGTON SPA
    October
       

    Wed 2nd
    LEICESTER, DE MONTFORT HALL
    Thu 3rd
    HORSHAM, CAPITOL THEATRE
    Fri 4th
    BOURNEMOUTH, PAVILION THEATRE

    Sat 5th
    LLANELLI, Y FFWRNES
    Fri
    11th DONCASTER, THE DOME

    Thur
    17th DERBY, DERBY ARENA
    Fri
    18th BATH, THE FORUM

    Sat
    19th SALISBURY, CITY HALL
    November
       

    Fri 8th
    DUDLEY, TOWN HALL

    Sat 9th
    HIGH WYCOMBE, WYCOMBE SWAN

    Sun 10th RICHMOND, RICHMOND THEATRE

    Fri
    15th HARROGATE, ROYAL HALL
    Thu
    28th MARGATE, WINTER GARDENS
    Fri
    29th CAMBRIDGE, CORN EXCHANGE

    December    

    Wed 4th
    SWANSEA, GRAND THEATRE
    Sat
    14th WORTHING, ASSEMBLY HALL

     

    TOUR
    DATES 2020

    January

    Sun 12th SOUTHAMPTON, MAYFLOWER THEATRE

    March


    Fri 13th WARRINGTON, PYRAMID & PARR HALL

    Thurs 19th BIRMINGHAM, BIRMINGHAM ARENA

    Sat 21st NEWCASTLE, CITY HALL
  • BROADWAY AT THE LEICESTER SQUARE THEATRE An evening with Judy Kuhn hosted by Set...
    Judy Kuhn truly is a musical theatre star, and it was an honour to see her in conversation and perform with Seth Rudetsky in Broadway at the Leicester Square Theatre on Sunday 3rdFebruary. A last minute ticket grab, I went in with very little idea of what to expect, but came out with a very full heart. Seth Rudetsky hosted the evening with ease, using his comedic wit and personal relationship with Kuhn to develop a rapport that was inclusive with the audience, allowing us a truly exclusive insight into her incredible career. Starting at Oberlin Conservatory (where they both studied), Rudetsky sculpts the journey through Kuhn’s career chronologically, encouraging anecdotes (often dishing the dirt on other stars), illuminating highlights and paying tribute to others. Hilariously human, we also heard about the flops, the mistakes (cough * Rags Tony performance 1987 * cough) and the divas!A split stage was very effectively used to create the two different aspects of the show; stage left held two comfortable, living room style seats which created an easy, informal setting for the conversation, while a stunning glossy black grand, red roses and a single microphone stand stage right created an intimate concert setting. Kuhn was unfortunately suffering from illness, and apologised to the audience as she wasn’t “sure what [would] come out” when she sang, however the songs, specially chosen to compliment the chronological interview, were glorious, and you could truly hear her passion and talent. Among many others, Judy performed a number from Fun Home, a musical that she was involved in from the workshopping, and Colours of the Wind from Pocahontas, which she is the singing voice of in the original Disney movie. An audience full of the stagiest people in London sat with awe as the Broadway legends told tale after tale of luck, talent and stagey stardom, and shared the career of a truly wonderful woman.  
  • Rocky Horror Show (atgtickets.com)
    The Rocky Horror Show

    Milton Keynes Theatre

    Reviewed by Alison Smith

    Well, The Rocky Horror Show is a ‘mind flip’ to beat all mind flips, and the MK Theatre audience certainly flipped tonight!  Many in the audience were sexily clad in stilettos and suspenders, boas and basques to rival the on-stage guests at Frank N Furter’s party; the audience even had the dance moves and kept The Narrator (Dom Joly) on his toes with their heckling (dealt with by Joly with skilful aplomb and topical repartée,
    although at times looking slightly embarrassed).

     In 1973, Richard O’Brian’s Rocky Horror Show challenged audiences with its portrayal of sexual fluidity; now over 40 years later transgender issues have become mainstream and this spectacular musical entertains more than shocks.  And it entertains impressively because of its enduring mixture of Sci-Fi, horror and rock and roll. The show is visually stunning - a great set, atmospheric lighting, spectacular choreography, weird
    and wonderful costumes; it is raunchy and surreal, but mostly just hilarious.

    The plot itself is weak. Brad (Ben Adams) and his fiancée Janet (Joanna Clifton), clean college kids, seek help at the mansion of Frank N Furter, a crazy, cross-dressing scientist. That evening he is hosting a party to unveil
    his new creation, gold booted, skimpily dressed, Rocky Horror (Callum Evans), a man to surpass all men, if only physically. And into Frank’s alternative sexual world come the naïve, geeky pair, who are both quickly seduced by Frank and enticed into his alien, ghoul filled universe, rather like a pantomime for consenting adults.

    Frank is portrayed convincingly by Steven Webb. Webb is
    wonderful as Frank. He has a powerful voice with a great range, sharp comic timing, and his movements and gestures are outrageously camp but throughout the musical he also manages to maintain an undercurrent of malevolence. His entourage are also exceptional, Riff Raff, the swaggering servant (Kristina Lavercombe) and Columbia (Miracle Chance) are both weird and wonderful.  All the cast throw themselves into their
    roles with enthusiasm and energy and convey the idea that to be different from mainstream society is perfectly acceptable.

    This musical, produced by Christopher Luscombe, is a real theatrical experience.  Long may it continue to entertain.

    The Rocky Horror Show is at Milton Keynes Theatre until Saturday 9th February

    www.atgtickets.com

    0844 871 7652

    Booking fee applies
  • Paul Thomas | UK Theatre Network reviews Tom Stoppard's Rough Crossing at t... (uktheatrenetwork.com)
    ALARMINGLY funny and chaotically comedic, Tom Stoppard's raucous Rough Crossing is currently jamming them in at the Theatre Royal, Windsor, writes Paul Thomas.
    Set sail on some serious comedy as Britain's most prolific impresario, Bill Kenwright, brings this wonderful new adaptation of Stoppard's 1985 classic to his own stage in the shadow of Windsor Castle.
    And it's a right royal romp down at the 'Royal' as some of the best stage actors make this a night to remember for an appreciative house as hapless playwrights and wannabes create mayhem and misunderstanding on a luxury transatlantic liner.
    It's the 1930s, when Hungarian playwrights Sandor Turai and Alex Gal board the SS Italian Castle, from Cherbourg to New York, where their musical comedy, The Cruise of the Dodo will be debuted. French composer, Adam Adam, a former actor with a strange speech impediment caused by his awful mother, is with them.
    However, all goes terribly overboard as one of the star actors, Iver Fish, is accidentally overheard declaring unparalleled love for fellow thespian, Natasha Navratilova which bounces her latest love Adam into apoplexy.
    What starts out quite innocently diminishes into fabled farce as Turai, Natasha, and Ivor, along with a cabin steward and the devilishly 'I can do anything' Dvornichek, try to convince the suicidal Adam that what he heard was actually a rehearsal for a new ending to the play.
    From there on in, it's all hands on deck as one misunderstanding leads to another, including ­- no spoilers here - believing the ship is going down, an hilarious attempt at going overboard and the final involvement of the piano-playing Dvornichek in the musical comedy.
    This is Stoppard at his best - but it needs a truly brilliant cast to set it afloat and it's bravo Bill Kenwright for bringing this cracking crew before the mast.
    John Partridge (EastEnders) is sublimely and adoringly subtle in his chortlingly cheesy portrayal of Turai.
    Rob Ostlere (Holby City, Doctors) as Adam brings an encourageable eagerness to the lovelorn Adam and is a great foil to Simon Dutton's (Endeavour, Midsummer Murders) irritatingly irrational and inescapably irascible Ivor.
    Issy Van Randwyck (Spooks, The Danish Girl) is delightfully demure in her appreciation of this comedy. Like her companions, she doesn't overplay this. The audience is treated to a wonderfully gentle volcanic eruption of continuous control as the laughter lava flows from start to finish.
    However, the stand-outs of what can only be described as a voyage of hilarious voyeurism are Matthew Cottle as Gal and the rising star in our theatrical firmament, Charlie Stemp as Dvornichek .
    Cottle (Murder on the Blackpool Express, Citizen Khan) is at his absolute best with comedic timing so in touch with his fellow cast it leaves you coming up for air.
    The whole crew is delightful in this first class ferryboat of fun.
    Stemp (Half a Sixpence, New York's Hello Dolly beside Bette Midler, for which he received the 2018 Theatre World Award for Outstanding Broadway Debut) underlines his growing credentials - at a tender 25 - as a great entertainer. He told me dancing and singing are his 'first love' and it shows, but branching out for more acting and his brilliance at comedy timing were a delight to watch.
    Stemp has stamped his mark on yet another theatrical genre.
    The decadent art deco look of the liner sets off the scenic beauty of this production.
    Rachel Kavanaugh's direction is tight, slick, subtle and dynamic with a delicate, delicious touch of irony.
    And with music by Andre Previn and lyrics by Stoppard himself in this freely adapted version of Molnar's Play at the Castle, what more would keep you on dry land.
    Go on, wade out into a sea of laughter.
    Don't be a plank, ditch the tellybox and walk onboard the 'Royal' as you cast-off for comedy genius.
    Rough Crossing, Theatre Royal Windsor, until Saturday, February 9. Box office: 01753 853888 or theatreroyalwindsor.co.uk.

    We review theatre around the UK.
  • Beast On The Moon - Finborough Theatre

    Stop reading and book tickets now if you like thought-provoking period drama which will keep you captivated, with continuous surprises and plot twists from the beginning to the very end.



    Set between 1921 and 1933, the plot follows the marriage of Seta, a fifteen year old Armenian orphan and refugee mail-order bride to Aram an Armenian American. 

    Before the performance my erudite companion told me he hoped this play would be relevant and vital and wondered what must we know about Armenia now?  The answer it turned out, was what we need to know now not just about Armenia or Armenian people but about all refugees.  He was not disappointed about relevance either.  

    Kalinoski’s sensitive three-hander script poses questions about ethnic cleansing and the aftermath for survivors, the struggle for displaced people to retain their ethnic identity and gender politics, all of which remain as relevant today as in Armenia almost a century ago. 

    Jelena Budimir’s powerful production for Finborough partner All Ignite Theatre is a joy to behold with strong performances from each of the cast.  

    Zarima McDermott’s portrayal of the main character, Seta, is particularly enchanting. 

    Beast On The Moon is at the Finborough Theatre until 23rd February with performances Tuesday to Saturday at 7.30pm and matinee performances on Saturdays and Sundays at 3pm. (Saturday matinee performances from 9th February only) .

    The Finborough Theatre is at 118 Finborough Road SW10 9ED. 

    https://www.finboroughtheatre.co.uk/productions/2018/beast-on-the-moon.php

    admin@finboroughtheatre.co.uk
  • Matthew Bourne's Swan Lake at Milton Keynes Theatre (miltonkeynestheatre)
    Matthew Bourne’s Swan Lake

    Reviewed by Alison Smith 30th January 2019

    Matthew Bourne’s Swan Lake, is far removed from
    traditional performances of this world famous ballet. The modern yet dateless
    décor and costumes – a mobile phone rings but the settings are redolent of
    trappings of passé courtly distinctions – underline the theme that broken
    beings are universal, that tragedy strikes universally. In this society, the
    Queen has power and privilege, the young men are dashing, the young women
    beautiful and independent. And yet one young man is   very troubled. The Prince, the main
    protagonist (Liam Mower) suffers. The Queen, his mother (Katrina Lyndon) is
    cold and uncaring and rejects any physical contact with him – although she has
    no such qualms about being touched by, or touching. other young men. His goofy
    girlfriend (Carrie Willis) is shallow and materialistic. Is it then surprising
    that the Prince looks for contact from another being? His mental turmoil leads
    him to drink and despair and ultimately into the arms of The Swan, a powerful,
    dominating creature whose tragic death leads that of the broken-hearted Prince.

    The performance is not bleak. There is much wit and
    humour – the girlfriend’s gaffes, the corgi, the dancing in the Swank Bar, the
    desperate antics of the Queen, the caricature that is the Private Secretary
    (Jordon Packer). But it is the dancing which is intoxicating and above all else
    that of The Swan and his human form, the Stranger (Max Westwell). Westwell’s
    technical skill and athleticism are remarkable. As The Swan he swoops, stomps
    and hisses; as the Stranger in Act 3 he oozes virility and aggression; he
    stalks and disrupts, an attitude which ultimately results in tragedy. His flock
    are of his ilk – menacing and vicious. In the final act they are rat-like in
    their appearance from under the bed, inside the bed and from the wings - their
    ferality frightening and tragic.

    Bourne’s
    Swan Lake is thrilling and mesmerising. The dancing is both beautiful and

    sinister; the representation of love and its possible
    aftermath is heartfelt. It is an inspirational, powerful, passionate ballet. It
    is a must-see.

     

    At MK Theatre until Saturday 2nd February

     
  • Counting sheep (countingsheeprevolution.com)
    Counting sheep


    Counting sheep an award winning immersive Ukrainian folk opera which triumphed at Edinburgh in 2016 before joining forces with the Belarus Free Theatre and touring the world, it now makes its London debut as part of this years VAULT festival.
    Counting Sheep tells the story of The 2014 Kiev uprising (A series of violent clashes between protesters, riot police, and armed forces which culminated in the ousting of corrupt pro Russian president President, Viktor Yanukovych, and the overthrow of the Ukrainian Government.) Through the eyes of people who witnessed it.


    On the night I am due to review this production the weather is absolutely arctic, having found the venue I wait in a line of hunched figures in coats, the wind and snow blowing onto the screens of our phones heightens the immersive vibe making me feel like I am already in the depth of a Soviet winter, so I am very glad when we are ushered through security and into the building, once inside theatre space we are seated around what appears to be a banquet table made out of wooden blocks.
    Presently an earnest young Canadian man stands up and starts to tell us about his gap year in Eastern Europe exploring his Ukrainian heritage, as he reminisces about his grandmothers cooking, trays of soviet style canapés are passed along the rows for us to sample. ‘Well this is cute,’ I thought as I helped myself to a pickled gherkin. 
    But then the music started, beginning with a drum beat then suddenly a troupe of dancers and musicians emerge from the corners of the room encouraging us to get up and leave our seats, we clap and stamp our feet in time to time to traditional Ukrainian folk tunes, the show has come to life and before long we are building barricades and brandishing riot shields as the story of the 2014 Kiev uprising are played out before us. 
    In the background snippets of news coverage of the event mixed with live footage from the actors’ phones are projected onto roughly hewn sacking, further adding to the illusion that you are right there with the protestors on the front line.
    But despite the carnage we also witness kindness, courage and a real life love story as the shows creators, classical pianist Marichaka and Canadian tourist Mark are brought together amid the chaos and united by their desire to help those around them.
    An emotionally charged rollercoaster of a production, by far the most engaging piece of immersive theatre I’ve ever witnessed - Counting sheep will run from Jan 27th - March 17th at the Vaults theatre,  https://vaultfestival.com/whats-on/counting-sheep/?spektrix_bounce=true Catch it while you can, you won’t be disappointed!
  • Touching the Void at the Lyceum Theatre, Edinburgh
    When actors audition for a part they are often asked if they have any special skills such as horse riding, stage fighting or singing. 

    The skills needed for this production, however, are beyond anything most stage actors have to endure. Cue an ability to withstand heights, and intense physicality under stage lighting while dressed in climbing gear designed to be worn in the coldest of temperatures. 

    Climbing a sheer wall up the side of the proscenium arch is just one feat Fiona Hampton has to accomplish night after night, while Josh Williams and Edward Hayter have to manoeuvre a complex construction of metal and paper high above the stage (without a safety net!). Williams also hangs at the end of a rope, again high above the stage, while in his final scene, as Joe, he has to move as if with broken bones, slowly and tortuously towards his death. Such is the quality of his acting that I could feel Joe’s (and probably Williams’) pain. Movement director Sasha Milavic Davies certainly had her work but out, while Chris Davey's lighting and Jon Nicholls' sound add to the authenticy.

    Never mind about the story, which is an agonising, heart-rending tale of human survival, my heart was in my mouth seeing just what the actors have to go through to, basically, entertain their audiences. No green screen for them; this is acting for real, so huge congratulations to the cast and to Tom Morris for his direction. This is a collective tour de force where each actor has to rely completely on the other for his or her safety and have complete confidence in Ti Green’s set and the people who built it. 

    Touching the Void is, of course, based on the true story of Joe Simpson who, with Simon Yates, set out to reach the summit of Siula Grande in the Andes in 1985. When Simpson broke his leg in a fall Yates tried to get him down the mountain but eventually had to make the decision of cutting the rope. David Greig’s adaption of Simpson’s best-selling book (which was also made into a film) looks at how the experience affected not only Yates but Simpson’s sister Sarah, who can’t understand why climbers want so much to scale mountains just because they are there – until she agrees to experience it for herself. And, of course, it charts just how Simpson fought to stay alive and what was going on in his head during that time. 

    Acted out through a series of dream sequences and time lapses, it is riveting stuff from start to finish, punctuated with much needed humour from Patrick McNamee as Richard, a guy on his gap year who meets up with Joe and Simon in a pub and agrees to look after their equipment at base camp. Reminding me of Declan Donnelly with his hint of a Geordie accent and an unassuming nature (and not a little physical likeness), McNamee is full of a disarming charm and innocence, not to mention his brilliant delivery of Richard’s many gaffs!
    Photo: Geraint Lewis

    Touching the Void at the Lyceum Theatre, Edinburgh until Feb 16
    www.lyceum.org.uk 
    Box Office: 0131 248 4848 
    It then continues touring: 
    Feb 21-Mar 2: Hong Kong Arts Festival 
    Mar 6-9: Perth Theatre 
    Mar 14-16: Eden Court Theatre, Inverness
  • Rock of Ages at The King’s Theatre, Glasgow
    Rock of Ages rolled into Glasgow this week and blew the roof off of the King's Theatre.



    The jukebox musical has been a staple of live entertainment for decades. Elvis made movies in this format back in the 50s and live audiences have enjoyed fresh presentations of their favourite hits since Buddy and Return to the Forbidden Planet mastered the genre 30 years ago. But never in the history of the jukebox musical have a cast, writer and audience had so much FUN!



    The story is broadly predictable while the presentation and dialogue will have you rolling in the aisles! Sherrie (Jodie Steele) is a small town girl who travels to LA for fame and fortune. Drew (Luke Walsh) is a city boy trying to turn his bar job at the Bourbon Club on the Strip into a rock career. There is instant chemistry but Drew gets caught in the "friend zone". Meanwhile, corporate big wigs (other wigs feature heavily in this 80s themed storyline) with German accents have dastardly plans to turn LA's famous Strip into a shopping mall. The club recruits rock god, Stacee Jaxx (Kevin Clifton), to perform and save the Strip. But Stacee is a famous womaniser and (you guessed it) Sherrie catches his ever roaming eye ...



    The setting provides the perfect excuse to cram in more 80s rock classics than you could shake a stratocaster at! Classic hits from Foreigner, Starship, Bon Jovi, Journey, Europe, Whitesnake and more are rocked out and mashed up at a rate of knots! The 80s provides a rich vein of musical gold to be mined and this production digs up every last nugget. But it is the comedic approach to the entire show which really lifts this musical way above the plethora of competition. The dialogue from Chris D'Arienzo has the tongue so firmly in the cheek that what might have been cheezy becomes hilarious. Direction and Choreography from Nick Winston gives the cast plenty of freedom to have as much risqué fun as they dare! The choreography is outstanding and the physicality from the talented cast is delightfully OTT. If there was an Olivier for Comedy Choreography it would certainly be awarded to Mr Winston!



    The plaudits continue when it comes to performances from this outstanding cast. Luke Walsh was a likeable and able lead. Jodie Steele delivered vocals which ranged from powerful rock chic to soulful ballad mistress – remarkable from such a slight frame. But these two great performances had to compete with some OUTLANDISH characters for the affections of the audience; not least from Lucas Rush as Lonny who had the audience in stiches with a high energy camp performance combined with Bobby Ball (in a long wig) looks! Kevin Clifton impressed with rock vocals as Stacee Jaxx - self centred and narcisistic but perhaps a little too clean cut for the role. Zoe Birkett wowed us with her soulful songstress delivery as Justice. Bobby Windebank wins my “Ensemble Who Draws The Eye” award for his excellent dance moves and comic characters!



    This is a fantastic show. Funny, nostalgic, naughty and melt your face rockin' in equal measure! If you “wanna know what love is” … get yourself along to the King’s Theatre.





    KING’S THEATRE , GLASGOW

    Wed 23 – Sat 26 January 2019

    Wed - Sat eves 7.30pm

    Sat mats 2.30pm

    Tickets: £15 - £59

    www.ambassadortickets.com/glasgow (bkg fee)
  • Seance at The Vault Festival London Waterloo

    Last night I went to see, or should I say 'experience', the immersive production of Séance.  Séance is collaborated by Glen Neath and David Rosenberg, from the company Darkfield.

    Upon arrival, I was escorted into a shipping container which holds up to 20 people at a time, sat around a long table.  We were asked to put on headphones, the lights went out, the séance began...

    Séance is an intense, sometimes terrifying, piece of narrative theatre which keeps you hanging on to the edge of anxiety for a whole 20 minutes.  Without saying too much and spoiling it, the narrative is based around a manipulative medium who paces up and down the room, inviting spirits into the circle.  He entices the party to question their beliefs in death, superstition and the unknown.  All this is carried out through movement and binaural sound.

    I must say I was fantastically impressed by the sound design and was completely absorbed for the whole 20 minutes.  I literally felt physically exhausted at the end of the experience.  It really does take you on a rollercoaster of emotion, fear and outright terror.  This is not for the feint-hearted.  Anyone who is up for a new experience and enjoys a bit of a scare will love it, as I certainly did!

    Séance is currently running at The Vault Waterloo, Wednesdays - Sundays from now until 17th March.
    In 20 minute sessions from 18:00 - 22:20.

    Tickets are available at:
    https://vaultfestival.com/whats-on/seance/ 
  • The Glasgow Girls at the King's Theatre, Edinburgh
    As soon as I saw Cora Bissett was involved in this production I knew we were in for a treat! I’m still enthusing about her autobiographical play, What Girls Are Made Of, which was a Fringe First winner last year. And I can’t wait to see it again when it tours in the Spring.

    This immensely talented director, actor and songwriter is associate director of the show’s producers, Raw Material, and came up with the idea of this musical, for which she composer songs and also directed.

    And what an important piece of theatre it is. Although it is set in 2005, it is more relevant today than ever, personalising as it does the plight of asylum seekers.

    The Glasgow Girls is based on a true story… of a group of schoolgirls from Drumchapel (where Billy Connolly also grew up so it has a lot to be proud of!) who fought the State and won, when one of their number was threatened with deportation.

    This show can’t fail to inspire. What with Bissett’s astounding energy and insight and the girls’ own story, it’s not only a powerful tribute to friendship but, hopefully, it will bring home to many more people the horrors ordinary human beings like you and me have to face when they are forced to leave their homelands, usually because of war. I just hope a similar show about the homeless is in the offing!

    All the actors playing the girls have lots of experience and yet they look, and play, like schoolgirls, so all credit to their performances. This is an ensemble piece but I particularly like Stephanie McGregor’s cheeky, endearing Polish character Ewelina, and Patricia Panther’s smile lights up the stage, in sharp contrast to her role as an, albeit tuneful but chilling, UK Borders Agency immigration officer.

    A Glasgow-set piece, however harrowing, can never be without that city's particular brand of humour. I don’t know if it’s a tribute to the current trend of gender fluidity or having to keep the cost down of cast members, but Terry Neason’s portrayal of the headmaster is a hoot, though not nearly as funny as Noreen. A neighbour who keeps watch for the dawn raids which continuously threaten the refugees, she finds herself in a sad situation and yet Neason’s Glasgow wifie, addressing the audience directly about how she never wanted to be in a musical in the first place, is hilarious as well as heart-warming.

    The only negative I have is that I didn’t always hear the dialogue, but then that could be down to me being a Sassenach!

    I left the theatre with an overall picture of The Glasgow Girls as a huge, beautiful heart, bursting with love for fellow human beings. Oh, that it was true!

    As a footnote, I love the way Edinburgh’s three main theatres have come together for this production: Bissett has connections with the Traverse, David Greig, who wrote the book, is artistic director of the Lyceum, and it is being staged in the King’s!

    The Glasgow Girls is at the King’s Theatre, Edinburgh until Jan 26.
    The tour then continues:
    Jan 30-Feb 3: Perth Theatre
    Feb 7-9: Eden Court Theatre, Inverness
    Feb 13-16: Abbey Theatre, Dublin
  • Notre Dame de Paris at the London Coliseum 23/1/19 (londoncoliseum.org)
    The classic 1831 tale by Victor Hugo brought to life by Luc Plamondon’s lyircs and Richard Cocciante’s music, Notre Dame de Paris played last night, Wednesday 23rdJanuary 2019, at the London Coliseum to a well-deserved packed house. The original French production showed today twenty years after its Parisian debut, and having received international critical acclaim, this short London run will culminate in its 5000th performance, star studded with members of the current world tour and accompanied by the ever-stunning ENO Orchestra, conducted by Matthew Brind. 

    The narrative begins in Paris 1482, as told by the poet Gringoire, skilfully championed by Richard Charest, the multi-talented musician, writer and director, who tells of a “story of love and desire”, although this production shows to be far more than a love story. Charest works Gringoire’s character as the fated poet with dexterity, his silken tones working in harmony with his storytelling tendencies.     Angelo del Vecchio as the deformed Quasimodo and Hiba Tawaji as enchanting Esmerelda both captivate and enthral their audience as their intriguing relationship develops. With vocals that soar across the magnificent London Coliseum, it’s the perfect casting; Tawaji’s captivatingly pure performance of “Vivre” leaves the audience enthralled, whilst del Vecchio’s heart-wrenching “Donnez-la Moi” and “Danse mon Esmerelda” creates a stunning finale. Their turmoil is fuelled by Frollo, the archdeacon of the Notre Dame, played by the award-winning Daniel Lavoie, who’s love and lust for Esmerelda turns him to attempted murder. Martin Giroux as the dashing Phoebus, Jay as Clopin, the leader of the Court of Miracles and Alyzee Lalande as the beautiful Fleur-de-lys also give strong and distinguished performances, creating a diverse and contrasting selection of principal characters. 

    The backbone of this production is certainly the dancers, who’s strength, versatility and skill is put to good use. They portray a wide range of characters as Martino Muller’s exceptional choreography changes style from scene to scene, matching the moods and nature of the moments. The dancer’s acrobatic and specialised dance skills are demonstrated throughout, as nineteenth century Paris meets modern day breakdancing to astonishing effect. Muller’s choreography is interwoven with Christian Ratz’s set design, with dancers often scaling the immense stone wall that commands the back of the stage, or dancing in and around modern style metal barriers, creating a relationship with the people of Paris. Carloline Van Assche’s costumes accentuate the moving figures, using a range of different colours, textures and shapes to demonstrate the unity but individualism of the asylum seekers of Paris, but contrasting this by taking away their individualism as they become prisoners. The stony colours of the prisoner’s costumes replicates the stoney set, alongside the lighting design by Alain Lortie to reflect the prison of the cathedral, with very regular use of a church window gobo reinforcing the cathedral’s presence within the story.

    The direction, by Giles Maheu, uses the dancers to create relationships between Quasimodo and the bells, as the giant metal domes swing from the flys with dancers hanging and performing within them. This is cleverly recreated as a finale with three Esmerelda duplicates find life again as they join the swinging bells, uniting Quasimodo’s two true loves, and giving Esmerelda a way to always be a part of the thriving Parisian lifestyle she has taken to be her own.     A story centuries away from modern climates, the direction cleverly gives nod to the current refugee situation, both through some modern costumes and set, and general direction. This subtle nod helps to bring this momentous tale of the world-famous cathedral to epic life, creating a relatable and relevant undertone. 

    This phenomenal production of Notre Dame de Paris is running at the London Coliseum until Sunday 27th January 2019.
  • Believe - Cher The Songbook (atgtickets.com)
    When
    Cher was asked to play Meryl Streep’s mother in the film Mamma Mia! Here We Go Again, she was rather bemused.  Cher is only 3 years older than Meryl and the
    irony wasn’t lost on her. Like everything in her life, she seized the
    opportunity, spawning her first album for five years, Dancing Queen, which has been a huge success for her. The album
    debuted at number one in the US Top Album Sales chart with 150,000 copies sold,
    making it her first number one album on that chart.  Dancing
    Queen     also entered the top five in another 9 countries and within the top
    ten in another 9 countries. 

    With
    a career now in her 6th decade, Cher at 72 shows no signs of
    retiring.  Her body of work and
    popularity is undiminished. As well as being a hugely successful singer, Cher
    won an Oscar for her role in Moonstruck
    in 1987 and earned critical acclaim for her roles in Silkwood, Mask and The Witches
    of Eastwick    .

    This
    tribute to Cher, known as the Goddess of
    Pop    , takes us through the decades with the songs, wigs and outrageous
    costumes that have made her so beloved by millions around the globe. Featuring
    Charlotte Talbot as Cher, Darren
    Jones as Sonny/guitars, Vocals (Dead
    Ringer for Love)/guitar/MD Tim Wedlake, Vocals/percussion/flute/sax Emily
    Westwood, Vocals/bass Linia Cascarino-Close, drums Paul Gill and keys/piano
    Martyn Cooper.

    Starting
    with the duo she formed with her husband, Sonny Bono, the show kicks off with I Got You Babe, probably one of the most
    popular songs sung in karaoke bars everywhere. This song propelled them into
    stardom, with a number of other hits helping to give them their own TV show in
    the early 70s.  They divorced in 1975 when
    Cher’s solo career really took off with a US number one single Gypsys, Tramps & Thieves. Other hits
    followed including Just Like
    Jesse James, If I Could Turn Back Time, Walking in Memphis and Strong Enough.

     The first half of the show has
    room for improvement, as too much emphasis was placed on a series of costume
    changes, leaving the band to riff and fill in whilst waiting for Cher’s next entrance.  When Tim, the MD finally came forward and
    started singing Dead  Ringer For Love, the
    show lifted and I felt the talented band could have filled in with tracks from
    each era themselves.  This would have
    given     Charlotte more time as well as being more enjoyable for the
    audience.  There were lots of songs from Cher’s
    earlier career I didn’t know and it may have been a good opportunity to present
    more popular songs? 

    Some of the costumes were
    unflattering and
    Charlotte looked uncomfortable in them, which made
    her movements and walk seem very stiff. 
    Vocally, she nailed it and that’s the most important element for any
    tribute artist, but Cher’s huge personality is  hard to emulate.

    Cher’s acting career really took
    off in the 1980s and in 1998 her musical comeback platinum selling album, Believe, sold 10 million copies worldwide putting her at the forefront of
    dance-pop music.

    Ending the show with a medley of songs from Dancing Queen, had the audience on

    their feet dancing, whooping and clapping along to all
    the songs they love. 

    For further details of dates and to book tickets visit https://www.atgtickets.com/shows/believe-the-cher-songbook/

     

    Reviewed by:

    Yvonne Delahaye

    17.1.19

    @yvonnedelahaye
  • ROSENBAUM'S RESCUE at London's Park Theatre
    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.
  • February - May Season Announced at the Finborough Theatre
    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/
  • Book here to be a Master Sleigh Builder for Santa
    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
  • The Wizard of Oz
    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
  • Robin Hood Panto at Milton Keynes Theatre

    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.


     





  • Kinky Boots at the Edinburgh Playhouse
    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



  • Peter Pan - Aylesbury Waterside Theatre - ATG Tickets (atgtickets.com)
    ‘He’s Behind You’...’oh
    no he isn’t’, ‘oh yes he is’, ‘oh no he isn’t’ 
    can
    only mean one thing, it’s PANTO TIME! 
    This year’s panto at the Waterside is Peter Pan, featuring the Lost
    Boys, Tiger Lily, Tinker Bell, the crocodile and Smee who set sail for
    Neverland to take on Captain Hook.

    Britain’s Got Talent’s La Voix (Mrs Smee) returns to the
    Waterside for the fourth time, looking extremely glamorous in some gorgeous
    costumes.  As always, she brings a warmth
    to the characters she plays and she has a lovely singing voice.

    Playing the lovable idot, Smee, Andy Collins is back at this
    favourite theatre and the audience love him. 
    Two little boys next to me were so excited when he came on and loved his
    silly jokes.

    John Michie played Karl Munro in Coronation Street, burning down
    the Rover Return before being hauled off to prison.  So playing villanous baddie Captain Hook in panto
    comes easy to him and the audience loved to boo him. He’s also known for Holby
    City, Our Girl and Taggart.

    Jessica Punch plays Peter Pan with a joy and innocence, engaging
    the children with her energy and acrobatics. 
    The flying scenes, especially around the audience are wonderful and she
    looked as though she was thoroughly enjoying herself.

    Rosie Needham plays Wendy, Natalie Hollingworth is Tiger
    Lily  and the Pirate Crew-Nitwit show
    their gymnastic skills in a scene with Smee attempting to join in, which
    everyone loved.

    The bright and colourful costumes are provided by UK  Productions who produce the show and all add
    to the joy of the production, as do the cleverly designed sets.

    Christmas really does start here and this really is a
    show for all the family, so don’t miss out and book your tickets now!  The show runs until Monday 31st
    December 2019.

    Reviewed by:

    Yvonne Delahaye

    11.12.18

    @yvonnedelahaye
  • Beauty & The Beast
    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.