Backstage BETA

Panto Review: Robin Hood and his Merry Mam - York Theatre Royal ✭✭✭

2012-12-16T09:53:00.000Z

Robin Hood and his Merry Mam

Berwick Kaler as Hattie Hood
Photo by Kipper Matthews

York Theatre Royal

Review by James Eaglesfield

York Theatre Royal’s panto and Berwick Kaler, its veteran dame, have an impressive reputation that is the envy of theatres throughout the country. With this comes expectation and York audiences will be filling the theatre’s auditorium throughout the run to see whether Robin Hood And His Merry Mam hits the target.

In many ways this new production provides everything you would expect from a York panto and regular audience members are probably going to leave happy but not all is well in Hamalot.

This of course is a new version of the usual tale of the outlaw who robs from the rich to give to the poor and it has to be - everyone has come to see Kaler’s dame not a bloke in green tights. For this reason you could possibly excuse the self-indulgence of the character introductions. People are familiar with many of the faces in the cast and welcome them back like rarely seen family members, but this is at the expense of setting the shows pace and getting in to the plot.

Martin Barrass as Geoffrey Hood &
Jonathan Race as Sheriff Hutton
Photo by Kippa Matthews

Ah, the plot. There is no point going in to detail about the plot – most will know the basics anyway and the storyline is incidental to proceedings in some respects. In a way there is much more here than usual and that is a possible reason that it doesn’t quite click. It doesn’t flow well and lurches from one scene to another – shoehorning sections and characters in. At one point it seems that we are in the wrong panto altogether, as Babes In The Wood takes over. Robin Hood seems to be here to supply the with even his romance with Suzy Cooper’s Marian seeming of little real importance.

The key interaction between Kaler and his regular sidekick and onstage son Martin Barrass is not as strong as in previous years and they spend noticeably less time on stage together. The renowned slapstick routine does not reach previous standards as Barrass runs around randomly with Kaler watching on. The routines in general lack that certain spark that has been their trademark and are missing the levels of invention York audiences have come to expect.

The main problem lies with the show’s pace or lack of it. With a 3 hour running time this is a long slog – and that’s from an adult’s perspective, I would dread to think what it does for a fidgety five year old. It needs to speed up, lose some of the excess and at least 30 minutes. The woodland characters are cute but do we need the musings of a couple of slow hedgehogs that never seem to quite get to the action (a metaphor for the whole show perhaps)?

Suzy Cooper as Maid Marian
Photo by Kippa Matthews

As always, the Theatre Royal embraces video technology – this year in two sequences, which is one sequence too many. The second, which I will not spoil for you, is simply not needed. It is very well done, very amusing and will one day be a YouTube hit but that is where it belongs, not in a live theatrical event.

But this is not a terrible show and there are lots of positives. Not least the costume and set design which are fabulously colourful and joyous. These are supported by the exuberance of the chorus who all sing and dance with passion and gusto. Likewise the lighting is spot on and adds to the overall, slick and glamorous feel. The music is appropriately up tempo and the band exceptional, although there does seem to be more of a reliance on commercial rather than original numbers then has been the case before.

In the main cast, AJ Powell steals the show. His endless enthusiasm shines through and he puts in a virtuoso performance which is probably worth the entrance fee alone. His musical number with new Baddie Jonathan Race is certainly the highlight of the first act. Race’s baddie is played simply and straight, a truly professional performance. It is therefore a shame that he is given less interaction with the usual gang – there is no horseplay (though he does ride one) or teasing from the other characters as is customary, though this could develop should he be given the chance to return in future years.

I have no doubt that a week or so in to the run things will be vastly improved and the fat trimmed at which point it could merit an extra star and finish with a total of 4. At the Press Night performance, which surprisingly had an alarming number of empty seats, it was surely still work in progress.

York panto fans will still love the show and if you are a regular then this review will not put you off. However, if you are one of the few people in the York area who have yet to make the pilgrimage to the Theatre Royal at Christmas, this may not be the one to begin with as it falls sadly short of its own exceedingly high standards.

3 stars ✭✭✭

Robin Hood And His Merry Mam continues until Saturday 2 Feb 2013.
York Theatre Royal Box Office 01904 623568
http://www.yorktheatreroyal.co.uk

Stage version of GREAT EXPECTATIONS to move into the West End from February 2013

2012-12-15T11:49:00.000Z

FOLLOWING A SUCCESSFUL NATIONWIDE TOUR

THE NEW STAGE ADAPTATION OF

GREAT EXPECTATIONS

Photo by Alastair Muir

OPENS IN LONDON’S WEST END

AT THE VAUDEVILLE THEATRE

ON WEDNESDAY 6 FEBRUARY 2013

Following a highly successful national tour, a new stage adaptation of Charles Dickens’s Great Expectations will open in London’s West End at the Vaudeville Theatre on Wednesday 6 February 2013, following previews from 1 February. Although it is Dickens’s most popular novel (Guardian Poll 2012) and having previously had many incarnations, including as a film, a television drama and even a stage musical, this will be the first time there has ever been a production of GREAT EXPECTATIONS as a full-scale stage play in either the West End or on Broadway.

GREAT EXPECTATIONS, which was originally published between 1 December 1860 and 3 August 1861, has been adapted for the stage by Jo Clifford, who is one of Scotland's leading playwrights. She has been working in the theatre for over thirty years; she is the author of approximately 80 plays; her work has been translated into several languages and produced throughout the world. As John Clifford, his work with the Traverse Theatre in the eighties helped establish the international reputation of the Traverse, with plays including Losing Venice (Fringe First 1985), Lucy’s Play, Playing with Fire, Inés de Castro and Light in the Village. Since transitioning to Jo, she has continued writing, notably Faust Part One, Faust Part Two and Every One for Royal Lyceum Edinburgh. She has also adapted The Seagull and The Cherry Orchard for Theatre Alba (Edinburgh Fringe Festival 2010 and 2011).

Photo by Alastair Muir

The West End Première of GREAT EXPECTATIONS will star Jack Ellis as Jaggers, Chris Ellison as Magwitch and Paula Wilcox as Miss Havisham. The cast of 14 also includes Paul Nivison as Adult Pip, Grace Rowe as Estella and Taylor Jay-Davies as Young Pip.

GREAT EXPECTATIONS is directed by Graham McLaren, with set by Robin Peoples, costumes by Annie Gosney and Graham McLaren, lighting by Kai Fischer, original music by Simon Slater and sound by Matt McKenzie. Giovanni Bedin, Head Couturier for House of Worth, has worked with Annie Gosney on the creation of Estella’s couture gowns for the show. Charles Frederick Worth, the world’s first official couturier, was a contemporary of Charles Dickens.

The Dickens Legacy has been launched alongside the stage show to receive a royalty share of box office. Set up by the producer with Lucinda Dickens Hawksley (great, great, great grand-daughter of Charles Dickens), it will distribute funds to concerns dealing with issues Dickens was passionate about, for example, prison reform, adoption, literacy etc. The Dickens Legacy is also sponsoring Tuesday evening performances, when, for every full price adult ticket, a child under 16 goes free (subject to availability).

GREAT EXPECTATIONS is sponsored by House of Worth and Rocco Venezia. The new adaptation is published by Nick Hern Books (www.nickhernbooks.co.uk).

GREAT EXPECATIONS is produced by Bruce Athol MacKinnon on behalf of Beckman Unicorn Ltd & Satis House Productions Ltd.

LISTINGS INFORMATION

GREAT EXPECTATIONS

Vaudeville Theatre

404 Strand

London WC2R 0NH

Performances: Mon, Wed, Thurs, Fri, Sat Evenings 19:30

Tues Evening 19:00

Wed, Sat Matinees 15:00

Tickets: From £25:00

Box Office: 0844 412 4663

Website: www.greatexpectationstheplay.com

JESSIE J reschedules 2013 arena tour dates

2012-12-15T11:39:00.000Z

Jessie J

Due to extended recording commitments Jessie J’s sold-out March 2013 arena tour has now been rescheduled for the 15^th October – 11^th November 2013. All tickets will remain valid and all venues the same apart from Glasgow which has relocated from the SECC to the new Hydro Arena. Jessie apologises for any inconvenience this causes her fans.

“I would like to be the first to tell that you that my Nice To Meet You tour has been rescheduled to later next year. I am honestly truly sorry but I hope you all can understand that it’s just because I would like to take more time to finish my new album. I promise to make this tour my biggest and best ever and cannot wait for you all to hear my new songs.”

Full ticketing and rescheduling details are available from the point of purchase and www.jessiejofficial.com

The rescheduled dates are as follows:

Tuesday 15 Oct Belfast Odyssey from 17 March

Wednesday 16 Oct Dublin 02 Arena from 18 March

Friday 18 Oct Birmingham LG Arena from 1^st March

Saturday 19 Oct Sheffield Arena from 03 March

Monday 21 Oct Aberdeen AECC from 15 March

Tuesday 22 Oct Glasgow Hydro Arena from 14 March at the SECC

Thursday 24 Oct Nottingham Arena from 26 February

Friday 25 Oct Nottingham Arena from 21 March

Saturday 26 Oct Newcastle Arena from 12 March

Tuesday 29 Oct London 02 Arena from 09 March

Wednesday 30 Oct London 02 Arena from 10 March

Friday 01 Nov Manchester Arena from 20 March

Saturday 02 Nov Manchester Arena from 02 March

Monday 04 Nov Liverpool Echo Arena from 05 March

Wednesday 06 Nov Brighton Centre from 27 February

Sunday 10 Nov Bournemouth BIC from 07 March

Monday 11 Nov Cardiff Arena from 06 March

For further enquires please contact the ticket point of purchase.

Panto Review: Snow White and the Seven Dwarfs - New Wimbledon Theatre ✭✭✭

2012-12-15T11:32:00.000Z

Snow White and the Seven Dwarfs

New Wimbledon Theatre

Review by Charlotte Barrett

Mirror, mirror on the wall, where can I find the fairest panto of them all? Alas, not in Wimbledon! Argh, I'm sorry to start off so negative but one must be honest when writing.

Yep, another panto. I can't help it, I'm drawn to cheese, spangles and anywhere where I can shout stuff at strangers, and there is nothing like a propa' pantomime to get you in a Christmassy mood.

After the magnificent Aladdin at the O2, and after seeing the cast list, my expectations for Snow White and the Seven Dwarfs at New Wimbledon Theatre were high. The thought of Priscilla Presley, Warwick Davis and Jarred Christmas dressed to the nines in their best spandex was almost too much to bare.

I'm so so sad to report that unfortunately it didn't meet my expectations. I can't quite put my finger on the reason why, but some parts were painful to watch. If it wasn't the costumes, the sound of Priscilla's weak, and at times mimed performance, it was the flat notes coming from Snow Whites "redder than rose" lips. Yeah, I know I sound harsh but honestly the whole production had a terrible air of amateur dramatics about it.

I'd vote for less dialogue and more tunes. Which brings me to another point, I was expecting at least some original songs but instead, my ears were pricked with the opening act of "You don't know your beautiful" by One Direction. The show ended with Warwick Davies dressed as PSY belting out "Gangnam Style" *sigh* I've had Gangnam overload over the past few months; when will this madness stop!

Warwick Davis and the rest of the Severn Dwarves on the other hand were fab! As was Jarred Christmas who provided the light and infrequent adult jokes.

I'm afraid there isn't much to say other than that. It was perfectly average. You expect a panto with such big "names" to be able to give a better performance, and really their presence didn't really add much to the show. I feel I could've got the same performance from my local amateur dramatics down the road.

3 out of 5 stars, average, not the best and not as polished as I hoped. Give me Aladdin any day! ✭✭✭

Snow white and the Seven Dwarves runs at New Wimbledon Theatre until 13th January 2013

http://www.atgtickets.com/venues/new-wimbledon-theatre/

Panto Review: Aladdin - The Theatre at the O2, London ✭✭✭✭✭

2012-12-15T11:21:00.000Z

Aladdin

The Theatre at the O2, London

Review by Charlotte Barrett

It's December, and you know what that means.... its panto time! "Oh no it's not...." "Oh yes it is", ok now that I've got that out of my system I better get on with it.

Yes, if you haven't already guessed, I went to a panto this week. Not any panto though, THE London Panto of the season. This year we don our sequins sashes and polyester wigs in salute to Aladdin at the O2.

The nutty and salacious Widow Twanky is played by the one and only Lily Savage, Aladdin is played by SClub7's Jon Lee and Princess Jasmine by Marissa Dunlop. As a whole, the cast were fantastic, a total joy to watch. I was especially impressed by the quality of the ensemble; the dancing and singing was so professional, I would liken it to a long standing west end musical.

Set in old Peking on the street of a thousand scrubbers, we follow the story of the poor Aladdin and his launderette mother, Widow Twanky in a journey from rags to riches in an attempt to win the heart the heart the beautiful Princess Jasmine whilst fighting the evil Abanazer.

Aladdin is everything you'd expect from a Christmas musical, it was cheesy, sparkly, fun, full of giggles and songs. We heard modified songs from The King and I, Wicked, Nine and even Take That. Of course, what would a panto be, without a bit of blue humour which this had in abundance. Certain lines floated over the kids heads and tickled the adults. Lines such this one from The Slave of the Ring "Like the Internet, you'll get lots of hits, yes I'm like google but with bigger t....."

It was clear that the cast were having a blast. A few golden improvised moments by Lily Savage cracked me up and even PC Ping/Pong enjoyed a few unscripted giggles, and why not, it is panto after all.

The audience rallied at the end to join in song in an Aladdin version of "12 days of Christmas" complete with 5 toilet rolls, 4 pots and pans, 3 juggling balls, two football shirts, a bra that was made to fit three!

I was surprised with the level of production, it was so polished and featured a few magical effects which I'm sure caught the imagination of all the children in the audience. Robotic elephants and a giant puppeterred genie were some of the hidden gems. The highlight of the show was the end of the first act when we saw Aladdin fly off on his magic to find the Princess Jasmine. The magic flying carpet was brought to life and floated right into audience and over our heads with seemingly "nothing" holding it up. Was it magic or SFX? It's a mystery ;-)

As I said, Aladdin really was a joy and privilege to watch, Jon Lee and Marissa Dunlop belted out a few beautiful duos and rekindled my SClub teenage crush. It really was genuinely very funny!

I'm more than happy to give this a rousing 5/5, there was nothing I would change, nothing I would add too. Wonderful! Mulled wine anyone?

5 stars ✭✭✭✭✭

Listings Info

The Theatre at the O2

North Greenwich

London

Strictly limited 35 performances over the Christmas season 2012/13
Friday 7th December 2012 – Saturday 5th January 2013

Tickets available HERE

Theatre Review: Viva Forever - Piccadilly Theatre, London ✭✭

2012-12-15T11:05:00.000Z

Viva Forever

Piccadilly Theatre

Review by Emma Curry

As musicals go, I couldn’t have been more excited about this one. As a fan of Jennifer Saunders’ comedy writing, as well as being of an age to have experienced ‘girl power’ first hand in the late 1990s, my hopes were high for Viva Forever, the new musical based on the songs of the Spice Girls.

Unfortunately, at the end of the night I found myself a little disappointed at what was a rather pedestrian production that failed to capitalise upon the potential in its songs and plot.

The story is a satire of X-Factor, get-famous-quick culture. Viva is the name of the lead female character, a young singer who alongside her friends enters a TV talent show (complete with Simon Cowell and Sharon Osbourne-style caricature judges). She is persuaded to ditch her bandmates and become a solo singer, but over the course of the story comes to realise that her newfound fame and fortune have come at the expense of her friendships and family.

One of the most enjoyable parts of the musical (as in other jukebox musicals like Mamma Mia) was spotting how the songs would be fitted into the action, and often the links were hilariously tenuous. Surprisingly though, there was a fairly heavy emphasis on album tracks, and I have to confess I didn’t even recognise some of the songs. Naturally, a musical also makes much of each song’s lyrics, and unfortunately this highlighted the rather embarrassingly basic nature of words that are usually lost in loud backing tracks and flashy videos. The best moments were those that comically riffed on the potential simplicity of the rhyming couplets: for example, ‘2 become 1’ became the setting for an amusingly awkward sexual encounter between two of the older characters, whilst ‘Who Do You Think You Are’ was an angry rant between the ‘Simon Cowell’ and ‘Sharon Osbourne’ judges.

There were some excellent vocal performances from Hannah John-Kamen as Viva and Sally Ann Triplett as her ballsy, feminist mother, and the closing full-cast performance of ‘Spice Up Your Life’ was really energetic and visually spectacular. If it could have been like this all the way through the whole thing would have been great, but unfortunately up until that point it was rather patchy, with too much emphasis on the X-Factor spoof and not enough on the actual characters (at one point the plot took a random detour to Spain, seemingly for no reason other than to put some palm trees on the stage).

If you’re a die-hard Spice Girls fan, go along to enjoy the songs, but you might be better off watching your old Spice World video instead.

2 stars ✭✭

Listings Info

Piccadilly Theatre, Denman Street, London W1D 7DY

Booking period 27 November 2012 - 01 June 2013

Book tickets HERE

Prices

£52.50, £35.00, £20.00 – all performances until 10 December 2012

£67.50, £45.00, £20.00 – all performances from 11 December 2012

Parties of 6+ £57.50

Great rates for groups of 10+ and 40+

Performance times

Monday - Thursday at 7.30pm

Friday at 5.00pm and 8.30pm

Saturday at 3.00pm and 7.30pm

For further information please visit http://www.VivaForeverTheMusical.com/

Further tour dates announced for Agatha Christie's THE MOUSETRAP 60th Anniversary Tour

2012-12-15T10:53:00.000Z

THE MOUSETRAP

Due to extraordinary demand, extra performances have been added in Bath, Birmingham, Newcastle and Nottingham, in addition to the extra performances that have already played in Canterbury, Cardiff, Manchester, Southampton and Malvern.

The cast for the second leg of the tour includes: Steven France (Eastenders, The Bill) as Christopher Wren, Karl Howman (Brush Strokes) as Mr Paravicini, Bruno Langley (Coronation Street, Doctor Who) as Giles Ralston, Graham Seed (Yes, Prime Minister UK Tour, BBC Radio 4’s The Archers) as Major Metcalf and Jemma Walker (Family Affairs, Eastenders) as Mollie Ralston. Elizabeth Power (EastEnders) as Mrs Boyle and Clare Wilkie (Eastenders) will play Miss Casewell. Bob Saul will reprise his West End role as Sgt Trotter.

This classic murder mystery play is now in its 60th year in London’s West End. On 18 November 2012 to celebrate this milestone, a star-studded gala performance took place at St. Martin’s Theatre. Directed by Phyllida Lloyd, the cast for this staged reading was Hugh Bonneville (Giles Ralston), Nicholas Farrell (Major Metcalf), Iain Glen (Sgt Trotter) Tamsin Greig (Mollie Ralston), Miranda Hart (Miss Casewell), Harry Lloyd (Christopher Wren), Patrick Stewart (Mr Paravicini) and Julie Walters (Mrs Boyle).

Agatha Christie’s grandson, Mathew Prichard welcomed the audience for this diamond jubilee celebratory evening, which was also the 25,000th performance. All of the proceeds from the night were donated to Mousetrap Theatre Projects, the leading theatre education charity seed-funded by the play.

Mousetrap Productions has licensed 60 productions of The Mousetrap world-wide to mark the 60th year. During this period the world’s longest running show will be seen in every continent, with professional productions scheduled for Australia, China, Korea, Turkey, South Africa, Russia, Czech Republic, Hungary, France, Germany, Holland, Italy, Poland, Spain, Scandinavia, Venezuela, and across the United States and Canada.

The Mousetrap continues at St. Martin’s Theatre, London.

http://mousetrapontour.com

TOUR DATES

Bath Theatre Royal
Jan 21- 26 | 01225448844
www.theatreroyal.org.uk

Southend Cliffs Pavilion
Jan 28- Feb 2 | 01702 351135
www.southendtheatres.org.uk/Online

Birmingham Alexandra Theatre
Feb 4- 9 | 08448713011
www.atgtickets.com/venues/new-alexandra-theatre-birmingham

Newcastle Theatre Royal
Feb 11-16 | 08448112121
www.theatreroyal.co.uk

Stoke Regent Theatre
Feb 18-23 | 0844 871 7649
www.atgtickets.com/venues/regent-theatre

Aberdeen His Majesty’s Theatre
Feb 25-2 March | 01224641122
www.boxofficeaberdeen.com

Sheffield Lyceum Theatre
Mar 4-9 | 01142496000
www.sheffieldtheatres.co.uk

Leeds Grand Theatre
Mar 11-16 | 08448482700
www.leedsgrandtheatre.com/Online

Northampton Derngate
Mar 18-23 | 01604 624811
www.royalandderngate.co.uk

Llandudno Venue Cymru
Mar 25-30 | 01492 872000
https://tickets.venuecymru.co.uk

Liverpool Empire Theatre
Apr 2-6 | 08448713017
www.atgtickets.com/venues/liverpool-empire

Aylesbury Waterside Theatre
Apr 8-13 | 0844 871 7607
www.atgtickets.com/venues/aylesbury-waterside-theatre

Brighton Theatre Royal
Apr 15-20 | 0844 871 7650
www.atgtickets.com/venues/theatre-royal-brighton

Norwich Theatre Royal
Apr 22-27 | 01603 630000
www.theatreroyalnorwich.co.uk

Bristol Hippodrome
Apr 29-May 4 | 0844 871 3012
www.atgtickets.com/venues/bristol-hippodrome

York Grand Opera House
May 6-11 | 0844 871 3024
www.atgtickets.com/venues/grand-opera-house-york

Nottingham Theatre Royal
May 13-18 | 0115 989 5555
www.trch.co.uk/index.aspx?articleid=14727

Truro, Hall for Cornwall
May 20-25 | 01872 262466
www.hallforcornwall.co.uk

Wolverhampton Grand Theatre
May 27-June 01 | 01902 429212
www.grandtheatre.info

Swansea Grand Theatre
Jun 03-08 | 01792 475 715
www.swansea.gov.uk/index.cfm?articleid=50094

Darlington Civic Theatre
Jun 10-15 | 01325 486 555
www.darlington.gov.uk/NewCulture/EventsDetails.htm?EventID=160065

Derry Millennium Forum
Jun 17-22 | 02871 264455
http://www.millenniumforum.co.uk

Dublin Bord Gáis Energy Theatre
Jun 24 -28 | 0844 847 2455
www.bordgaisenergytheatre.ie

Eastbourne Congress Theatre
Sep 09-14 | 01323 412 000
www.eastbournetheatres.co.uk/About_Us/Congress.asp

Cambridge Corn Exchange
Sep 16-21 | 01223 357 851
http://www.cornex.co.uk/ccm/portal

Guildford G-Live
Sep 30-Oct 5 | 0844 7701 797
https://glive.co.uk

Oxford New Theatre
Oct 7-12 | 01865 320 760
www.atgtickets.com/venues/new-theatre-oxford

Sunderland Empire Theatre
Oct 15-19 | 0844 871 3022
www.atgtickets.com/venues/sunderland-empire

Grimsby Auditorium
Oct 21-26 | 01472 311 300
www.atgtickets.com/venues/grimsby-auditorium

Rhyl Pavilion Theatre
Oct 28-Nov 2 | 01745 330000
www.rhylpavilion.co.uk

Coventry Belgrade Theatre
Nov 4-9 | 024 7655 3055
www.belgrade.co.uk

Leicester de Montfort Hall
Nov 11-16 | 0116 233 3111
www.demontforthall.co.uk

Buxton Opera House
Nov 18-23 | 0845 127 2190
www.buxtonoperahouse.org.uk

Blackpool Grand Theatre
Nov 25-30 | 01253 290 190
www.blackpoolgrand.co.uk

The Mousetrap continues at

St. Martin’s Theatre

West Street

London

WC2H 9NZ

Box Office 08444 99 1515

www.the-mousetrap.co.uk

Performances

Monday to Saturday at 7.30pm

Matinee performances at 3.00pm on Tuesday and 4.00pm on Saturday

Theatre Review: A Christmas Carol - Lamb & Lion, York ✭✭✭✭✭

2012-12-15T10:43:00.000Z

A Christmas Carol

John Holt-Roberts as Jacob Marley
Ed Wren as Ebenezer Scrooge
Photo by Dublinstones Photography

The Flanagan Collective

Lamb & Lion - York

Written by Alexander Wright

Directed by Tom Bellerby

Review by James Eaglesfield

A noted scholar once said “I wish it could be Christmas everyday” and if this is what Christmas brings then I tend to agree. The Flanagan Collective’s re-interpretation of Dickens’ A Christmas Carol is not so much a piece of the theatre than it is an heart-warming event.

If you want to get in to the Christmas spirit but don’t fancy battling with the hoards of children at the panto or if you struggle to get your other half to leave the pub then this is for you. The magic of Christmas is here in abundance, but not in a saccharine sweet way, and best of all it is performed in York’s Lamb & Lion public house where you are kept both fed and watered.

Setting this famous tale in a pub is completely appropriate as it is a story featuring two kinds of spirits – the ethereal spirits and the high spirits of Christmas. Here those are joined by a few more in the optics.

From the moment we meet Ebenezer Scrooge at the front door of his home (yes, the action starts in the streets of York) we do not find a character that we have any ill feelings toward – we pity him and are here to help. We, a small group of around 20, are here to celebrate Christmas with the festivities led by Scrooge’s ex-partner Jacob Marley (deceased) and we want the old miser to join us.

Stripped back to the essentials, the action is carried out by just two actors – John Holt Roberts as Marley and Ed Wren as Scrooge. Once indoors, the audience is kept snug in the Upper Parlour of the Lamb & Lion which is, for tonight, Scrooge’s front room. The room lends its own character to proceedings, creating the perfect atmosphere for what unfurls through the best part of 2 hours, especially as the spiced scent of mulled wine fills the air. There is no fancy lighting, no pyrotechnics and Marley does not have a single touch of grey make-up to symbolise his deathly state. It is the simplicity of it all that creates the magic; the true feeling of Christmas.

John Holt-Roberts as Jacob Marley

Ed Wren as Ebenezer Scrooge

Photo by Dublinstones Photography

Both Holt Roberts and Wren are exceptional. They keep the action going, improvise as required and really connect with both the story and the audience. Their skills bring us in to the heart of Scrooge’s parlour and to the heart of Christmas, with a number of laughs along the way.

The audience are a key part of events, here to help Marley defrost Scrooge’s frozen, withered heart. And the best way to do that? Singing of course. Following a few failed attempts to raise the spirits by a couple of carols and Marley showing Scrooge his past, it is time for Christmas present to kick in. It is at this point that food is served and mulled wine is poured by our begrudging host, Ebenezer. The food is simple but tasty. Served on platters rather than individual plates, the audience are invited to move around the room, socialise with each other and generally have a good time.

More singing ensues followed by quick game of Victorian Who Am I?. Marley leads proceedings as Scrooge begins to join in, looking like a child discovering a pure joy (mixed with a little bit of Mr Bean). Audience involvement is essential but it is carried out in a gentle way; you do not have to do anything you don’t want to. But as the strumming of the guitar gets stronger, you can’t help but clap along, stamp your feet and let your lungs have a work out.

This is not a traditional presentation by any means - the songs you sing include Walking In The Air played at high tempo with a slight style Flamenco riff – but at its core are all the values of the original story and Scrooge does wear a night shirt of course.

This production deserves its 5 stars simply for the feeling you take with you as you head back home. You’ve haven’t just seen a show, you’ve spent a few hours with some friends and had a great time. If you go alone you will be welcomed in to the circle of new friends, but if you can share this wonderful experience with someone special then even better. Ideally take a group of friends and family with you. I could think of few things nicer than to get a group of 20 close friends and family together and spend a couple of hours in the company of Marley and Scrooge.

But why does this only happen at Christmas? Hopefully our new friends, the Flanagan Collective, will invite us around for a BBQ, theatre and songs sometime in the summer.

5 stars ✭✭✭✭✭

Listings Information
15th-30th Dec - The Lamb & Lion York

Interview with... Flanagan Collective's Creative Director Alexander Wright

2012-12-15T10:32:00.000Z

A Christmas Carol

Lamb & Lion - York

Interview by James Eaglesfield

It’s been an exciting year of contrasts for the Flanagan Collective’s Creative Director Alexander Wright. As we both try to ignore the wet, wintery weather outside, the subjects of the past, present and future come up in a way appropriate to his production of A Christmas Carol which is soon to open in York’s Lamb and Lion pub.

Set up with ambitions no loftier than “just the intention of making some stuff”, the Flanagan Collective have had a successful couple of years, even though Alex claims that it has “been about going to places we like going, places we enjoy and playing lots of drinking songs afterwards.”

“We’ve made a bunch of stuff, a whole range of stuff: shows, musicals, festivals and had a great time. It’s been brilliant actually. We’ve made two new musicals, Some Small Love Story and then Beulah, we’ve played The Little Festival Of Everything (two of them in Coxwold and others elsewhere), did A Christmas Carol last year, went to Australia at the beginning of this year to take two stories there for the Adelaide Fringe Festival, and done a few commissions for other people as well.”

A busy time indeed but one that hardly tells the whole story. Their 2-hander folk musical, Beulah made an impressive impression at the Edinburgh Fringe garnering a clutch of five star reviews, award nominations and packing the people in. Simultaneously, Alex was an Associate Director for the York Mystery Plays 2012 which involved a cast of around 500 people and many more volunteers working in other departments.

“Over summer, it was funny yo-yoing between Edinburgh and York. I got used to being in a rehearsal room with a hundred people and just me, being part of organising a show that would have 500 people on stage and would be watched by over 30,000 people and then heading back to Edinburgh to work on a two hander where you could fit just 40 people in the audience.

“It was very humbling to do both of those things. Working on something intimate, delicate and beautiful, and then working on something so massive, a brilliant spectacle with the whole story and which had been invested in by so many people. “

After such a seemingly manic year it maybe is not a surprise that the present sees Alexander spending some time in the pub, though he is still working.

“We were talking in the Lamb and Lion, probably trying to figure out how we could spend more time in the pub and call it work. We were talking about food, drinking, socialising and storytelling. People still go to a pub to spend time and but in a theatre you don’t just spend some time; you are there to see a show. The psychology of the two is quite different. I think it is nice that people will be able to come to a pub to spend some time and see a show as well.”

From there the idea of producing a play in a pub was born – and then they added a meal in to the bargain. Does the element of a meal cause any problems or will people be more worried about their peas than the play?

“The room we’re doing A Christmas Carol in is called the Top Parlour which you can fit about 20 people in and that is it. So with 20 people and 2 actors there’s not any way to escape from the story. You can’t help but be a part of it and the audience have a role and a job to do. It’s not really audience participation; they’re a part of the world of the play. Marley charges them with the task of restoring the joy of Christmas to Scrooge’s withered, frozen heart.“

“We’ve kind of done away with the ghosts of Christmas past, present and yet to come, Marley is the conduit of those things instead. It all still happens but without someone going off and coming back in a different costume. The ghost of Christmas present in the book is Scrooge experiencing other people’s joy of Christmas, he sees the brilliant time that all these families and friends are having. The way we are doing that is by having a big dinner with each other and having some drinks. And that’s act two of the play. So some food with arrive and we’ll spend half an hour eating, drinking and playing games and Scrooge and Marley will be a part of that.”

“You don’t get your own little plate of food, it will all be brought in on platters and the audience will have to share, get each other’s drinks and pass the pork pies. After the show hopefully people will stick around and have a few drinks with new friends.”

“The story’s still Dickensian and hasn’t been updated at all, but the audience will always be a 2012 audience though don’t think people mind being a little old fashioned at Christmas. They quite happily reel themselves back a few hundred years and believe that it’s snowing and they are by a fireside some hot mulled drink to keep them happy. The production style isn’t a traditional presentation though, it probably breaks the odd rule, but in a very gentle and kind way - and Scrooge will be in a smashing night shirt!”

So that’s the past and present covered what about the future?

“In 2011, Some Small Love Story, a contemporary musical, did very well, got very good critical acclaim and award nominations. That was picked up theatre producers Hartshorn-Hook and in the spring Some Small Love Story and Beulah are going out as a double bill on a national tour. Some Small Love Story is quite different from Beulah but still very much about people and relationships.”

Add to that a series of children’s shows that will be initially produced by Polka Theatre before touring York schools, writing a couple of new shows and a number of other projects and it is fair to say that the future is bright for Alex and the Flanagan Collective – once they’ve got out of the pub that is!

A Christmas Carol
15th - 30th Dec - The Lamb & Lion York

CHESS THE MUSICAL makes moves at The Union Theatre in London

2012-12-10T14:43:00.000Z

Chess The Musical

Music by Benny Andersson and Björn Ulvaeus

Lyrics by Sir Tim Rice

Co directed and staged by Chris Howell and Steven Harris

Musical Direction by Christopher Peake

Fight Direction by Andre Ashenden and Annie Diggan

Produced by Sasha Regan for The Union Theatre

The Union Theatre is proud to present the world premier of a new version of Chess, the Musical. The shows lyricist, Sir Tim Rice, has given the production team exclusive access to the concert version presented at the Royal Albert Hall in May 2008 to mount the first fully staged production, of what he calls the definitive version, of this epic musical.

Chess involves a romantic love triangle between two players in a World Chess Championship, and the woman who manages one and falls in love with the other.

Chess the musical will feature an experienced cast of 16 performers from the West End and Broadway Theatre.

Cast includes: Florence - Sarah Galbraith (Phantom, Steel Pier), Anatoly - Nadim Naaman (Phantom, Marguerite), Freddie - Tim Oxbrow (Jesus Christ superstar), Svetlana - Natasha J Barnes (Spring awakening, Lend me a tenor), Molokov - Gillian Kirkpatrick (Sweeney Todd, Billy Elliott), Arbiter - Craig Rhys Barlow and Walter - Neil Stewart.

Listings info

Previews Wednesday 13^th & Thursday 14^th February 2012 @ 7.30pm

Opens: Friday 15^th February @ 7pm

Run: 13^th February – March 16^th

Time: Tuesday to Saturday @ 7.30pm

Sunday 2.30pm & 7pm

Prices: Week One ALL SEATS £15

Tickets £18 with £16 concessions.

Executive Chef LESLEY WATERS to cook up a storm on 2013 UK tour of READY STEADY COOK LIVE!

2012-12-10T14:32:00.000Z

Ready Steady Cook Live Limited and Endemol present

READY STEADY COOK LIVE!

TOURING THE UK FROM SEPTEMBER 2013

FEATURING EXECUTIVE CHEF LESLEY WATERS

READY STEADY COOK LIVE!, the long-awaited tour of one of the UK’s most successful TV cookery shows, will hit the road, travelling the length and breadth of the UK from September 2013.

Executive Chef Lesley Waters, who appeared in over 500 editions of the programme, will head up the cast. This brand new stage version will feature many top TV chefs – plus a selection of Celebrity Hosts – and will include all the best moments from the TV series, such as the famous ‘Quickie Bag’.

Following the legendary TV format, guest chefs will work against the clock to prepare a meal, backed up by the classic competing Red Tomato/Green Pepper kitchens. As the chefs work furiously, the audience is offered the chance to vote for their favourite. Members of the public join in with the fun, competing at each tour date, with the winner bringing their very own ‘Quickie Bag’ on-stage. During the show the audience can get tips from the chefs, enjoy some insider gossip on making the TV series and will have the chance to ask the chefs ‘burning’ questions on preparing better meals.

Details of the celebrity guest hosts and chefs will be released in the New Year.

FOR INFORMATION ON DATES AND VENUES, PLEASE SEE:
www.readysteadycooklive.com

Twitter @RSCookLive

Facebook.com/RSCookLive

BRUCE SPRINGSTEEN, LADY GAGA and THE BLACK KEYS to join THE ROLLING STONES on stage in New Jersey

2012-12-10T13:25:00.000Z

BRUCE SPRINGSTEEN, LADY GAGA

AND THE BLACK KEYS

TO JOIN

THE ROLLING STONES

ON STAGE IN NEW JERSEY

THE CONCERT WILL BE TELEVISED ON SKY PAY-PER-VIEW

WATCH LIVE AT 2AM ON SUNDAY 16 DECEMBER 2012 (UK)

OR FOR UP TO 7 DAYS ON SKY ‘ON DEMAND’

London, 10 December 2012: The Rolling Stones have announced that Bruce Springsteen, Lady Gaga and The Black Keys will join the band on stage for their final “50 and Counting” concert at The Prudential Center in Newark, New Jersey on Saturday 15 December 2012. This once in a lifetime concert will be televised live via Sky pay-per-view at 2am on Sunday 16 December 2012. Alternatively you can watch the show on Sky ‘On Demand’ for up to 7 days after show date.

“We’re excited these extraordinary artists, Bruce Springsteen, Lady Gaga and The Black Keys, have agreed to help celebrate our 50th Anniversary as we share the night live with our fans all over the world. Now the fun begins of trying to figure out the best songs to perform together,” said The Rolling Stones.

The Rolling Stones in concert from the Prudential Center is available on Sky pay-per-view from 16 December; purchase on Sky Showcase for up to 72 hours straight after the concert. You can also view the show on Sky ‘On Demand’ for up to 7 days after the show, giving fans around the world the best seat in the house. The pay-per-view is entitled “One More Shot” and will be distributed by WWE. Ken Ehrlich will produce.

www.rollingstones.com

http://www.facebook.com/therollingstones

www.twitter.com/rollingstones

MATT CARDLE announces 'Unplugged' UK and Ireland 2013 tour

2012-12-10T12:37:00.000Z

MATT CARDLE

‘UNPLUGGED’

UK TOUR APRIL & MAY 2013

THE NEW SINGLE ‘ANYONE ELSE’ RELEASED 31^ST DECEMBER

TAKEN FROM THE TOP 10 ALBUM ‘THE FIRE’

Monday 10^th December – Following a sold-out 23 date tour with his band earlier this year, Matt Cardle will hit the road in a different guise in 2013 – ‘unplugged’. Cardle will be performing acoustic versions of songs from his two Top 10 albums in some beautiful, more intimate venues, including London’s stunning Union Chapel. Matt Cardle tickets go on-sale 9am on Wednesday 12^th December.

The follow-up to 2011’s platinum-selling debut ‘Letters’, Cardle’s new album ‘The Fire’ recently entered the UK albums chart at No.8, giving Cardle his second Top 10 album in a year. ‘The Fire’ also entered the Independent Albums Chart at No.1, an incredible start for newly formed label So What? Recordings. The label is part of Silva Screen Music Group, to whom Cardle licensed the album to for the world earlier this year.

‘The Fire’ was written and recorded in London, Toronto and Los Angeles, and mastered at Abbey Road Studios, with Cardle handling production duties and playing the majority of the instruments himself.

New single ‘Anyone Else’ released 31^st December

MATT CARDLE UNPLUGGED

Wed 24th April Dublin Whelans

Thurs 25th April Belfast Empire Music Hall

Sat 27th April Glasgow Oran Mor

Sun 28th April Warwick Arts Centre Theatre

Mon 29th April Manchester Lowry Theatre

Wed 1st May Cambridge Junction

Thurs 2nd May London Union Chapel

www.mattcardlemusic.com

http://www.facebook.com/mattcardlemusic

http://twitter.com/matt_cardle_uk

http://www.sorecordings.com/

Matt Cardle tickets go on-sale 9am on Wednesday 12^th December priced at £20 Belfast, €22 Dublin, £22.50 regionally and £25 for London (subject to booking fee)

Theatre Review: Sinderella 2: The Honeymoon - Etcetera Theatre, Camden

2012-12-08T18:25:00.000Z

Sinderella 2: The Honeymoon

Etcetera Theatre

Oh dear. I’m not usually one to give a bad review, and in most productions I find there’s always something, however small, to enjoy or appreciate. But by the end of Sinderella 2, an ‘adult pantomime’ currently playing at the Etcetera theatre in Camden, my co-reviewer and I just stared at each other in horrified disbelief, appalled that something this bad was actually allowed to be performed.

Obviously a pantomime is meant to bend the rules to some extent, and we presumed that the ‘adult’ element would involve slightly saucier content. One of the real amusements of a regular panto is the proliferation of double-entendre jokes that the grown-ups find amusing but that go over the heads of the children. In this production, that subtlety was removed; instead we had 70 minutes of cast members trying to outdo each other in how outrageous or vulgar they could be. The subjects of these ‘jokes’ included rape and Parkinson’s disease, with charming touches of racism, sexism, misogyny and homophobia. They ranged from groan-inducing to downright offensive.

There was no set, the lighting seemed faulty, and the costumes were threadbare, mismatched and, in the case of Cinderella, pretty alarming. The cast kept making jokes about the size of the audience, but sadly there was quite clearly good reason for it being so poorly attended. I’ve seen a lot of fringe theatre in tiny venues on miniscule budgets, and none of these things have to lessen your enjoyment if there’s a degree of creativity on display. But this was lazy, laboured and clichéd –made without an ounce of joy or enthusiasm or care for what they were doing. It had a frantic, sub-school play, ‘this’ll do’ quality to it, as if everyone involved just couldn’t be bothered.

It pains me to be so damning but I really couldn’t find anything to enjoy here, and I’d advise you to give it a miss. Whoever wrote the script should be, quite frankly, ashamed of themselves. Let’s hope there aren’t any more sequels.

No stars!

Theatre Review: Seussical - Arts Theatre, London ✭✭✭✭

2012-12-07T14:53:00.000Z

Seussical

Arts Theatre, London

Sell A Door Theatre have brought to life a wonderful production here based on the works of Dr. Seuss 'The Cat in the Hat'.

The music, singing, acting and staging had me enthralled from the word go, with Joe Morrow a rather splendid all singing all dancing Cat in the Hat. With Seussical, some of the best stories and characters from the Seuss Menagerie are brought to life, including a wonderful David Hunter as Horton the Elephant who hears a who?

All the cast do a stunning job of telling the tales on stage with great energy, top notch vocals, harmonies, and an array of costumes from feathered birds to, well, non feathered birds such as Gertrude McFuzz played brilliantly by Kirsty Marie Ayers.

With a musical score of all genres kicking in, it gives this ensemble a chance to shine. And shine they do indeed. The audience were well and truly captured throughout this 80 minute piece, with everyone smiling at the end singing the songs - I know I did.

Seussical - a musical for all ages which is a definite must-see.

4 stars ✭✭✭✭

Buy tickets HERE

LISTINGS INFO

Seussical

Theatre for Young Audiences Version

Music by STEPHEN FLAHERTY

Lyrics by LYNN AHRENS

Book by LYNN AHRENS and STEPHEN FLAHERTY

Co-conceived by ERIC IDLE

Based on the works of DR. SEUSS

This production is presented by arrangement with Josef Weinberger Ltd.,

on behalf of Music Theatre International of New York

Director Phillip Rowntree

Musical Director Joe Morrow

Choreographer Cressida Carrè

Designer Richard Evans

Lighting Designer Alexander Ridgers

Arts Theatre

Great Newport Street

LONDON WC2H 7JB

Tuesday 4 December – Sunday 6 January

Tuesday 4 December - Sunday 9 December at 10.30am

Thursday 6,Saturday 8 & Sunday 9 December at 1.00pm

Tuesday 11 December - Sunday 16 December at 10.30am

Saturday 15 & Sunday 16 December at 1.00pm

Tuesday 18 December - Friday 21 December at 10.30am

Saturday 22 & Sunday 23 December at 10.30am & 1.00pm

Thursday 3 January - Sunday 6 January at 10.30am & 1.00pm

Press Performance: Thursday 6 December at 1.00pm

Tickets: All seats £17.50

Running time: 80 minutes no interval

www.seussical-london.com

Theatre Review: The Bodyguard - Adelphi Theatre, London ✭✭✭✭

2012-12-07T14:31:00.000Z

The Bodyguard

Adelphi Theatre

Another screen to stage adaption hits London’s West End, this time in the form of The Bodyguard.

With the well-known hits of Whitney Houston being awaited by an eager audience of fans, whoever played the role of starlet Rachel Marron, needed a powerful set of lungs and diva attitude.

Heather Headley was certainly no disappointment in playing the lead, showcasing powerful vocals of incredible range and emotion. Her portrayal of Rachel as a headstrong woman certainly came across yet there was an air of vulnerability that added to the story.

Lloyd Owen played a dishy Frank Farmer the Bodyguard, although it is a shame that this role does not allow him to play to his true potential.

The supporting roles were vocally strong, particularly Debbie Kurup (Nicki Marron) and her soulful interpretation of Saving All My Love. It was wonderful for a performer of this calibre to play a role that is more prominent than in the film. When herself and Heather Headley joined together for Run To You there was vocal magic and a performance that won’t be easily forgotten.

Tim Hatley’s design makes the most of the stage and the shutter-effect between scenes gave a cinematic quality, reminding us of the movie’s influence. Credit must be given to the band and the trumpeter must be recognised for his brassy gymnastics in the energetic and colourful finale, I Wanna Dance With Somebody.

Go and buy tickets for this performance at The Adelphi Theatre herefor a night of musical delight.

4 stars ✭✭✭✭

Review by Philippa Stubbs

Christmas Performance Schedule

Monday 24December 2012 – no performance

Tuesday 25December 2012 – no performance

Wednesday 26December 2012 – 7.30pm

Thursday 27 December 2012 – 3pm & 7.30pm

Friday 28December 2012 – 3pm & 7.30pm

Saturday 29December 2012 – 3pm & 7.30pm

Sunday 30December 2012 – no performance

Monday 31December 2012 – 7.30pm

Tuesday 1January 2013 – 7.30pm

Wednesday 2January 2013 – 3pm & 7.30pm

Thursday 3January 2013 – 3pm & 7.30pm

Friday 4January 2013 – 7.30pm

Saturday 5January 2013 - 3pm & 7.30pm

Sunday 6January 2013 – no performance

LISTINGS INFORMATION

Dates 6 November 2012 – 27 April 2013 (first booking period)

Address Adelphi Theatre, Strand, London WC2

Performance schedule Monday – Saturday at 7.30pm

Wednesday and Saturday matinees at 3pm

Post opening, on Wednesday matinee performances the role of Rachel Marron will be played by Gloria Onitiri

Box Office 0844579 0094 (no booking fee)

Ticket prices in previews £20 - £57.50 including £1 theatre restoration levy

then £20 - £67-50 including £1 theatre restoration levy

No booking fee for tickets purchased directly from the Adelphi Theatre

Day seats A limited number of £25 day seats will go on sale from the Box Office at 10am on the day of the performance

Website thebodyguardmusical.com

Theatre Review: Dirty Dancing - Edinburgh Playhouse ✭✭✭✭✭

2012-12-07T09:31:00.000Z

Our evening started with a delicious dinner at 'The Boards', Edinburgh Playhouse's newly renovated restaurant. It has a calm, relaxing atmosphere, in contrast to the bustling city street outside. You could just hear the murmurings of excitement from the audience as they arrived into the beautifully decorated Playhouse foyer, complete with pink Christmas tree decorations, pink bulbs in the chandeliers and the front of house staff in pink ties for the occasion.

Dirty Dancing begins with Baby (Jill Winternitz) reflecting on the summer of 1963, where her family spent a vacation at Kellerman's. As Baby looks onto the impressive group of dancers, it offers a glimpse into the delights the evening has in store.

Right from the beginning, the audience were in awe of the cast’s amazing dancing talent, especially Penny Johnson (Nicky Griffiths) and Johnny Castle (Paul-Michael Jones). They performed every routine flawlessly, along with entire cast who injected energy into every step.

The show bares more than a resemblance to its namesake film, with each character fitting their role. Jones oozes confidence with a Swayze style swagger. Winternitz captures Baby's innocence when she arrives at Kellerman’s and conveys the close relationship with her Father, Dr Jake Houseman (James Coombes). Neil Kellerman (Stefan Menaul), Lisa Houseman (Emilia Williams), Mr Schumacher (Tony Stansfield) provide slightly more comical characters that keep the piece light.

Winternitz and Jones work wonderfully together and kept the audience entertained as their relationship developed, especially during Cry to Me. The scene was met with cheers and whistles from the audience, who were left on the edge of their seats as the scene ended with Baby and Johnny, scantily glad, disappearing off stage.

The creative scenery with its revolving floor and digital videos projecting backdrops of fields and the lake works really well and allows for seamless set changes. It also offers a bit of humour during Wipe Out as Johnny attempts to teach Baby the routine, including the iconic lift. The unquestionable highlight of the show for the audience was when Johnny returned and delivered the unmistakable line “No-one puts Baby in the corner” and perfectly performs the dance routine with Baby to Time of your Life.

Not only is Dirty Dancing a love story filled with traditional and risqué dance routines, it also explores issues such as class, race and family values which were prevalent at the time and highlighted throughout the show.

The show exceeded expectations and was well received with cheers, wolf whistles and applauses. No doubt this audience is one of many who will be having the time of their lives at the Edinburgh Playhouse this winter.

Review by Mhairi Greer

Dirty Dancing is at the Edinburgh Playhouse until 12th January 2013. For tickets and information visit www.atgtickets.com/Edinburgh

Theatre Review: Green Day's American Idiot - Hammersmith Apollo ✭✭✭

2012-12-06T11:40:00.000Z

Green Day's American Idiot

Hammersmith Apollo

Right - American Idiot, The Musical, where to begin?

The story depicts three guys trying to "make it in the world" however end up either, a love stricken drug addict, a young dead beat father or joining the army getting a leg blown off. These guys are obviously meant to be the American Idiots, what with the drugs and getting people pregnant and stuff, however, I wouldn't class anyone in the American Army as an idiot. Had I have been in the army (trust me I'd be awesome!) I'd be quite offended.

Overall, I'm sad to say I didn't enjoy it. It killed some time and that was good but like I said, it didn't turn me on as much as I hoped it would. I only gave it a 3 out of 5 and there's several reasons for that.

1- Health and Safety

There was an awful lot of head banging and extreme head nodding. On one occasion a girl was being hung upside down whilst nodding away making a slight resemblance to a twitching chicken before slaughter. Ok, that last bit perhaps maybe was exaggerated but, hey! On the flip side, it was good to see so much enthusiasm and passion in their head thrusting. I just pray they have good neck braces and headache pills.

2- Music

It was such a massive, massive, massive shame that the sound quality was so bad. We could see the singers mouths move; but all my ears could register were screaming overprojected lyrics. Having said that, the acoustic numbers and the finale "Hope you had the time of your life" were fantastic. It was just the singer and guitar and this finally gave the cast a chance to show off. One particular female singer; Alyssa DiPalma killed a rendition of "21 guns" and somehow managed to project her voice through the bad PA system. I strongly recommend the production team rectify this problem, purely because its over shadowing the talent of the cast. Perhaps if I were a fan of Green Day and actually knew the lyrics of the songs, it would've been different.

3- Lighting

One point here. The strobes. I'm not epileptic or anything but the level of strobing did seem a tad excessive in some parts. I found myself squinting and averting my eyes just so my retinas weren't burnt out! Another point is that only the back two thirds of the stage were used. One poor lonely bit of stage could've been used to bring the cast closer to the audience, alas no. I did however like the use of the multiple tv screens in the set.

4- The Structure

I know it's a Rock Opera and the whole point is to tell the story through song; but I couldn't help feeling a little dialogue could've tied the songs or the story together. It seemed very disjointed and jumpy. Perhaps if the sound hadn't been so bad, we might have been able to hear the lyrics and it would've made more sense.

So yeah, a solid 3 out of 5. The production let the cast down, who are obviously very talented but didn't get the chance to really show their worth. It was fantastically average in my opinion but several people stood and applauded and I've no doubt that avid Green Day fans would've had a field day, not I alas.

One final note; if you do decided to go, take a coat, it gets cold in their and also, look out for the slutty genie in the opening song of the second act and join me in a giggle!

3 stars ✭✭✭

Review by Charlotte Barrett

American Idiot runs until 16th December at Hammersmith Apollo

Adult Panto SINDERELLA 2 THE HONEYMOON plays at The Etcetera Theatre this week

2012-12-03T18:13:00.000Z

SINDERELLA 2 THE HONEYMOON

ADULT PANTO THIS WEEK ONLY

THE ETCETERA THEATRE CAMDEN

Ever wondered what happen to Sinderella after she married Prince Charming? Did they really live happily ever after? With audience participation, sing-a-longs and risqué humour, prepare for a brand new big adult panto! Venture Wolf productions returns to the Etcetera Theatre with their rude and wild production Sinderella 2: The Honeymoon

Sing-a-long, laugh, cheer and boo at what promises to be one of the most fun nights out you can have this December.

Sweet, beautiful and dumb, poor Sinders has a problem; a year after her dream wedding she still hasn?t been on honeymoon! Worse still, her husband, Prince Charming seems to be more interested in looking at himself than his new bride! Buttons her best friend has always fancied her; with her marriage in trouble is this his big chance to finally get laid? The raucous and riotous Ugly Sisters are determined to exploit all the misery and steal the Prince for themselves. As the sharp tongued Fairy is still in rehab it?s up to the Prince?s Mum to save the day as they all pack their bags and head off on the Honeymoon of a lifetime!

With a sexually confused Buttons, lesbian Fairy, vicious Ugly Sisters and a sex mad Prince; join Sinders and the Gang as they pack their bags and all head off to sunny Spain in a wild drunken dash for fun and fortune! After last year?s production was praised by the critics as ?laughs throughout?, this Christmas, why not treat yourself to a naughty bit more?

Sinderella 2 is performed at THE ETCETERA THEATRE, Camden High Street, NW4, 4th to 9th December. Performances start at 7:30pm, Sunday show starts 6:30pm.

Since opening in 1986, The Etcetera Theatre has cemented its reputation as one of London?s most exciting and vibrant fringe venues. Situated above The Oxford Arms on Camden High Street, the Etcetera is only 75 meters from Camden Town tube station in the heart of one of the city?s busiest and most vibrant areas.

Sinderella 2: The Honeymoon Written by Paul Vitty at The Etcetera Theatre Camden,

Tickets £12,For tickets call 02074824857 or visit www.etceteratheatre.com

Running time 1hr 10mins

Gig Review: The Overtones plus support Jessica Clemmons - Hammersmith Apollo ✭✭✭✭

2012-12-03T15:51:00.000Z

The Overtones

support - Jessica Clemmons

I'm going to be honest from the start, this was a bit of an odd gig for me. Nothing to do with the singing and performances, which were really good, but ultimately the support act didn't really fit the genre of the evening.

Jessica Clemmons, hailing from Texas has a very strong voice with great tonal quality. But standing on the Apollo stage to backing tracks does let the evening down. With a mixture of songs from her albums, and the odd Motown medley thrown in for a bit hand clapping, Jessica really needs a band to provide her backing, especially on a stage as big as the Apollo.

The Overtones however did have a band, and the fans were out in force dancing away the evening to a myriad of hits such as Sh-Boom, Perfect, Runaround Sue and For The Longest Time. The hits kept a-coming and the crowd kept a-dancing... But for me it lacked the intimacy of last years Palladium gig and the sound just wasn't loud enough to fill the space.

The boys do put on one hell of a show though, and the fans love it. They even come into the auditorium to have a sing amongst the crowd. The dancing is spot on, leg waves and arm shuffles all in sync with each other, and the harmonies are wonderful to listen to.

Overall an interesting evening with a vast difference of styles - it was just lacking something I can't quite put my finger on.

4 stars ✭✭✭✭

Remaining tour dates

DECEMBER 2012

Mon 03 Cardiff St Davids Hall 029 2087 8444

Tue 04 Guildford G Live 0844 7701 797

Wed 05 Ipswich Regent 01473 433 100

Fri 07 Brighton Dome 01273 709 709

Sat 08 Portsmouth Guildhall 023 9282 4355

Mon 10 Birmingham Symphony Hall 0121 780 3333

Tue 11 Nottingham Royal Concert Hall 0115 989 5555

Wed 12 Scunthorpe Baths Hall 01724 297 861

Fri 14 Liverpool Philharmonic Hall 0151 709 3789

Sat 15 Blackpool Opera House 0844 856 1111

Sun 16 Sheffield City Hall 0114 278 9789

Tue 18 Stoke Victoria Hall 0870 060 6649

Wed 19 Bristol Colston Hall 0117 922 3686

Thu 20 Plymouth Pavilions 0845 146 1460

Tickets Prices: £32.50/ £26.00 / £19.50 except London £35.00 / £27.50 / £19.50

CARRIE UNDERWOOD, LEANN RIMES and more to perform at UK's first Country Music Festival at London's O2 Arena 2013

2012-12-03T14:57:00.000Z

The O2 and SJM Concerts in association with the Country Music Association are excited to announce

THE UK’S FIRST COUNTRY MUSIC FESTIVAL

COUNTRY MUSIC SUPERSTARS TO PERFORM TOGETHER IN LONDON

C2C: COUNTRY TO COUNTRY

SATURDAY 16TH & SUNDAY 17TH MARCH 2013

THE O2LONDON

Featuring

Tim McGraw, Carrie Underwood, Darius Rucker, Vince Gill, Little Big Town, LeAnn Rimes, Kristian Bush, Brantley Gilbert and more…

Tickets On sale: Friday 7^th December at 9am

Country superstars are joining forces for the first time in London to create C2C: Country to Country. Some of the biggest names in the business are heading across the Atlantic for a huge two-day music festival extravaganza at The O2London in March 2013.

On Saturday 16^th and Sunday 17^th March 2013, C2C: Country to Country will see a line up of some of the leading country music artists in the world on stage together, including Tim McGraw, Carrie Underwood, Darius Rucker, Vince Gill, Little Big Town, Brantley Gilbert, Kristian Bush, LeAnn Rimes and others to be announced shortly.

The sound of Nashville at the world’s most popular venue marks a major milestone in the UK’s love of country, where major US artists sell out arenas around the country.

The likes of LeAnn Rimes and Carrie Underwood have had a massive effect on both the UK and US charts by appealing to modern day listeners while echoing the traditional sounds of the greatest country singers. Carrie Underwood’s sell out London performance last summer was the latest milestone and illustrated the UK’s huge appetite for the new sounds of country.

The O2 and SJM Concerts in association with the Country Music Association have established C2C with the intention of it becoming an annual event.

Jay Marciano, President and CEO of AEG Europe said: “As The O2 is the world’s most popular venue, the creation of C2C: Country to Country, will allow us to continue to maintain that position; our focus is to bring new and exciting events to UK music fans. SJM Concerts and The O2 have jointly created this festival which we anticipate will become a sought after annual event. C2C: Country to Country will cater to the thousands of country music fans in the UK who want to experience some of the biggest names in country music all in one place."

Headlining on Saturday 16^th is the multi-award winning Tim McGraw has had 11 consecutive albums that debuted at Number One on the Billboard albums charts. He is the winner of 3 Grammys, 14 Academy of Country Music awards, 11 Country Music Association (CMA) awards, 10 American Music Awards, and 3 People's Choice Awards - a true superstar and amazing headline to the opening day of C2C: Country to Country

Speaking about the forthcoming event, Tim said: "Our trip to the UK and playing The O2 is one of the things I'm looking forward to the most for next year," said McGraw. "I love being able to take my music to other countries, and I think there are a lot of new songs on TWO LANES OF FREEDOM that fans over there will really dig. It's going to be a blast!"

Headlining on Sunday 17^th will be Carrie Underwood, with 15 million album sales worldwide and five Grammy Awards. Carrie has transcended expectations and the country music genre like no other, and her musical vital statistics are astonishing.

Carrie, who sold out London’s Royal Albert Hall in record time this summer, said, "I love the idea of a country music festival in London and I'm so excited that so many amazing artists are coming together for Country to Country. I feel honored to help represent country music, and I know it's going to be a really fun weekend!"

As part of a new, recently launched initiative, CMA is investing in an international Country Music industry education and awareness strategy. CMA’s partnership with C2C: County to Country is an exciting platform to showcase some of the most popular artists in the format. CMA will bring the power of extensive assets to help promote the event worldwide. Website features with C2C: Country to Country artist interviews, social posts and digital content are just a few of the ways that Country Music Association’s fan base will be engaged.

Steve Moore, CEO of CMA said: “We at CMA are thrilled to be involved with the Country to Country music festival at The O2 arena. It will prove to be the beginning of an annual music tradition that Nashville artists can perform and build new fans throughout the UK and Europe."

BBC Radio 2 is the official radio partner, with Bob Harris, King of all things country, supporting the event and will be broadcasting highlights. Bob said: "It's fantastic to see such a great line-up of major Nashville talent performing in the UK. There's a very vibrant music scene in Nashville at the moment and it feels like a particularly exciting time for country music. I'm so pleased that British audiences are being given the opportunity to see some of country music's greatest stars performing live, and am personally thrilled to be able to reflect such a great weekend of music on my Radio 2 country show."

Taking place at The O2, the world’s leading music venue, C2C: Country to Country will be a festival platform to bring country music headliners together in one place, for one weekend.

Much more than just a music festival it will be a celebration of country style and culture and will see The O2 transformed into a mini Nashville.

Chris York, Director of SJM Concerts said “We are proud to be working with Jay and his team at The O2 to deliver an event of this caliber in the UK. The talent is fabulous and we look forward to growing C2C: Country to Country to be the place to see the best in US Country artists in the best venue setting.”

With more artists and stages to be announced for 60,000 music fans across the weekend C2C: Country to Country is not to be missed:

Saturday 16th March

Tim McGraw

Vince Gill

Little Big Town

Kristian Bush

Sunday 17^th March

Carrie Underwood

Darius Rucker

LeAnn Rimes

Brantley Gilbert

Tickets go on sale Friday 7^th December at 9am - www.gigsandtours.com / 0844 811 0051

OR theo2.co.uk / 0844 856 0202

For further information visit:

Website www.c2c-countrytocountry.com

Facebook www.facebook.com/Country2Country

Twitter https://twitter.com/C2Cofficial

Panto Review: Jack & The Beanstalk - Harrogate Theatre ✭✭✭✭

2012-12-03T14:49:00.000Z

Jack & The Beanstalk

Harrogate Theatre

Review by James Eaglesfield

Panto is a deceptive art form. Whilst it can all seem so simple, the best of pantomimes involve hard work and meticulous planning. It is all too easy to take a lazy approach, believing that a former soap ‘star’ topping the bill is enough, but when time, care and thought have been taken it really shows – and that is most certainly the case in Harrogate.

Jack & The Beanstalk is a fantastic production and everything a pantomime should be. With no ex-Coronation Street actor in sight, the energetic and engaging cast get on with providing good, fun family entertainment as they rattle through this familiar tale.

Whilst some productions are seemingly vehicles for one or two particular stars, this is not the case here as the company each get their own chance to shine and the audience love them all - though it has to be said that Tim Stedman, making his 13th Harrogate panto appearance, stands out as decidedly dippy Simple Simon.

Stedman’s infectious enthusiasm and perfect comic timing threaten to steel each scene but he reins it in just enough not to dominate either the other characters or the plot. He is equally happy alone on the stage or as part of an ensemble and engages expertly with the audience, both children and grown-ups alike. Even the most bah-humbugging of people would struggle not to raise a smile or two at his terrible jokes and slapstick antics. I certainly lost count of how many times I laughed out loud.

Chris Clarkson’s Dame Tilly Trott is of course overstated but not to the point of being absurdly overstated. The costumes are outrageous but not in a ridiculous, way over the top fashion and this is matched by the performance which is fun but well balanced. Bad guy Philip Stewart as Flesh Creep puts in an appropriately sly, devious and yes creepy performance. Looking like he has been sleeping in a back street near the theatre for the past month, he brings out the hisses and boos well from the audience as he strokes his rather rotund figure.

This is no unnecessarily-flashy show though which is perfectly demonstrated by Polly Lister’s Jolly Good Fairy of the Forest. There is an absence of pyrotechnics and bangs as she enters, instead a more straightforward, tell it how it is approach is taken. Lister is however cut loose a little more in the second act as she returns as Morag the Cook in a fantastically manic cameo performance.

Completing the cast are Katy Dean as Jack, Rachel Windsor as Princess Jill, and David Kendra as King Bumble. All have their individual moments and add depth and character to the production rather than just meekly supporting the rest of the cast. Each and every member of the company works well with the audience and there is a lot of interaction which carries the cast’s endless energy in to the auditorium. The young team of dancers are great and, if I have any criticism, the only downside is that they are not used more. Surely there is a place for them at the end of act one finale.

The whole production is colourful and fun. The costumes and set my not be the most lavish in panto-land this year but they are bright, bold and wonderfully creative. The giant in particular is a standout moment. There is something here for all age groups with the music a mix of recent hits and songs more familiar to the grown-ups, all well performed with strong vocals and choreography.

Harrogate Theatre’s panto is how it should be; a simple story told extremely well with a lot of laughs. You may see bigger, brasher pantos this year but you won’t see many better.

4 Stars ✭✭✭✭

Continues at Harrogate Theatre until 13 January 2013.
Box Office 01423 502 116
Website www.harrogatetheatre.co.uk

Interview with... York Theatre Royal Panto baddie Jonathan Race

2012-12-03T14:36:00.000Z

Robin Hood and his Merry Mam

Interview by James Eaglesfield

Passers-by in the streets of York may be forgiven for thinking that actor Jonathan Race has taken Movember to an extreme and is reluctant to let go. However, his strangely impressive facial hair, complete with pointy sideburns, is all in the name of art – well, panto – as he joins Berwick Kaler’s established team at York Theatre Royal for this year’s Robin Hood And His Merry Mam.

“For the last three years I’ve had facial hair around November. I do get looks from men who just have a regular moustache who think I’m just trying to outdo them and show off but I’ve got it for work! I grew a full beard and then on the first day of rehearsals I met with the designer and said ‘Right, what do you want to do with it?’. So this is the final incarnation.”

Photo by Edward Sunman

Despite having appeared at York Theatre Royal before, Jonathan understands that the slightly bemused looks may continue in to the theatre’s auditorium as he takes to the stage as the villain, replacing long term regular David Leonard who is currently appearing in the West End production of Matilda The Musical.

So how is the new boy fitting in with the gang?

“It was slightly odd being familiar with the building and some of the staff but being aware that I was the new boy in terms of the company. They’ve made me very welcome, very quickly. We’re all in the same boat at the end of the day because, as much as they have been together for years, it’s a new script and we’ve got to make it work freshly.”

“I said to Berwick before we started rehearsals ‘please make the most of me not being David Leonard’ but he’s very graciously made one reference to it relatively near the beginning and then left it alone and got on with it. I think he’s said that he found it quite difficult to write the villain for someone that he didn’t really know at all but he’s been really generous.”

“You are very aware of all of the traditions, and not just in the writing and in the relationship with the audience, but also the gags that go on with the crew and that sort of stuff but you just get on with it, get stuck in and join in with it all.”

Maybe the role of the Sherriff Hutton of Nottingham (a reference to a local village) was always destined for Jonathan. Along with the useful ability to grow a menacing beard, he currently lives in Nottingham and his family have links with the Northeast, giving him a head-start on understanding Kaler’s madcap Geordie Dame. Not that taking the part, and taking on the associated responsibility, was an easy decision.

Photo by Edward Sunman

“I’d been to meet my agent to have a chat about Christmas shows and was just about to get on the train when Damian (Co-Director Damian Cruden) rang me. He explained why David wasn’t doing it and I had to think long and hard for a good 2 or 3 weeks. But I’m glad that I decided to do it.”

“You can’t work at this theatre at any point of the year and not be aware of the significance of the panto. Having worked with Martin (Martin Barrass, Kaler’s annual slapstick sidekick) a lot, you hear stories about Berwick and you are aware of the madness that ensues. I was aware of its reputation, aware of Berwick and how fondly the city has ownership of it. That’s why it made it quite a difficult decision. I haven’t thought as hard about a job as I did when Damian asked me if I’d like to do it.”

Having decided to join the team in York though, Jonathan is relishing the role and the prospect of getting in front of a passionate York Panto audience.

“The panto baddie is a great part because it is always well written, and regardless of the character it is nice to have a well written part, so the villain as a whole tends to have some good scenes, some good set pieces. I love all those things like heckles, it’s one of the things I like about panto, that immediate relationship you have with an audience. I am steeling myself to be onstage with Berwick but enjoy that part of it all and I’m aware of what might happen.”

“I think enjoying it and caring about your audience makes all that possible. If you don’t care about your audience then that kind of ‘mucking about’, though you are doing it seriously but with a smile, gets very cringe worthy but if you care about your audience then those ad libs include them and that makes it enjoyable for both the performers and the audience.”

And, with what sounds like a break with tradition, Jonathan promises that this year’s script is full of plot as well as the usual array of gags and visual jokes.

“I’ve only seen one York panto and that was Humpty Dumpty so plot-wise I haven’t got a huge amount to compare this year’s to but I think the story and the plot this year is really strong. I’ve come in on a good one.”

“We’ve got a proper sword fight. It’s great. I haven’t done a proper sword fight before, they’ve tended to involve vegetables or other things that aren’t swords but this is a proper, old school swash buckling sword fight.“

So Jonathan’s second experience of a York Panto (on the last occasion he caught a much-prized Wagon Wheel whilst watching in the gallery) will be a bit different for both him and the audience alike as a new baddie is formed, relying less on racy, hip-thrusting moves of the usual incumbent but promising to be Racey none-the-less!

Robin Hood and his Merry Mam runs at York Theatre Royal from Thursday 13th Dec 2012 until Saturday 2nd February 2013

www.yorktheatreroyal.co.uk

LEE EVANS and SHEILA HANCOCK to star in BARKING IN ESSEX in London's Wyndhams Theatre from 16 Sept 2013

2012-11-30T09:31:00.000Z

BARKING IN ESSEX

STARRING

LEE EVANS & SHEILA HANCOCK

Photo by Shaun Webb

A WORLD PREMIERE BY CLIVE EXTON

TO OPEN IN LONDON’S WEST END

AT WYNDHAM’S THEATRE

ON MONDAY 16 SEPTEMBER 2013

FOR A STRICTLY LIMITED SEASON

Clive Exton’s new comedy, BARKING IN ESSEX, starring Lee Evans and Sheila Hancock, will premiere at Wyndham’s Theatre on Monday 16 September 2013, following previews from 6 September.

Freedom finally beckons for Algie Packer, Essex’s most notorious gangster. He’s done seven years inside and now he’s coming home to collect his booty - £3,672,000 in untraceable notes. But there’s something Algie’s family have forgotten to mention... The Packers are Essex’s lovable, but most dysfunctional family. Lee Evans (The Producers, Endgame, The Dumb Waiter) is hapless, dim-witted Darnley, the village idiot of the criminal underworld, and Sheila Hancock (The Last of the Duchess, Sister Act, The Birthday Party) is Emmie, his mother - the family’s Rottweiler with a hairdo. Witness the Packers as they desperately attempt to cover their tracks before Algie arrives to collect what is rightfully his.

BARKING IN ESSEX is a diabolically funny play by Clive Exton, the acclaimed writer of 10 Rillington Place, Poirot and Jeeves and Wooster, and is directed by Harry Burton (The Dumb Waiter, The Leisure Society) and casting is by Anne Vosser. It will be produced in London by Michael Edwards and Carole Winter for MJE Productions.

LISTINGS INFORMATION

BARKING IN ESSEX

Wyndham’s Theatre

Charing Cross Road

London WC2H 0DA

Performances: Monday-Saturday at 7.30pm*; Thursday and Saturday at 2.30pm**

*7.00pm on Monday 16 September; ** no matinee on Saturday 7 September

Christmas 2013 performances: no performances on Tuesday 24 and Wednesday 25 December; additional matinee on Tuesday 31 December

Tickets: 6-19 September: £22.50 - £42.50; from Friday 20 September: £22.50 - £52.50

N.B. The play contains bad language and is suitable for ages 16+

Box Office: 0844 482 5120

Website: www.barkinginessex.com

Twitter: www.twitter.com/BarkingInEssex

BRUCE SPRINGSTEEN & THE E STREET BAND add UK dates to 2013 'Wrecking Ball' World Tour

2012-11-29T15:43:00.000Z

BRUCE SPRINGSTEEN & THE E STREET BAND

ADD 2013 UK DATES TO

‘WRECKING BALL’ WORLD TOUR

Bruce Springsteen and the E Street Band have announced 17 additional dates and a return to the UK for the 2013 leg of the 'Wrecking Ball' World Tour.

In addition, Bruce Springsteen and the E Street Band's headlining performance at Rock in Rio (Sept 15, 2013, Rio de Janeiro, Brazil) has already been announced and other tour dates will be announced shortly.

Bruce Springsteen & The E Street Band tickets go on-sale 9am on Friday 7th December and are available from www.livenation.co.uk or www.ticketmaster.co.uk.

To date, the 'Wrecking Ball' World Tour has stopped in 17 countries for over 80 shows including several of the longest performances of Springsteen's career and earned universal acclaim being called "gigantic" (Rolling Stone), "the stuff of legend" (Irish Independent) and "the greatest live act in the world" (Evening Herald).

Bruce Springsteen's 'Wrecking Ball' (Columbia) was released in March 2012 and debuted at #1 in the U.S. and 15 other countries.

BRUCE SPRINGSTEEN & THE E STREET BAND

‘WRECKING BALL’ TOUR 2013

SATURDAY 15 JUNE WEMBLEY STADIUM

TUESDAY 18 JUNE HAMPDEN PARK, GLASGOW

THURSDAY 20 JUNE RICOH ARENA, COVENTRY

http://brucespringsteen.net/