Tyne Daly to star as Maria Callas in MASTER CLASS at the Vaudeville Theatre

FULL CASTING ANNOUNCED FOR WEST END TRANSFER OF TERRENCE MCNALLY’S 

MASTER CLASS

Stephen Wadsworth’s new production of Terrence McNally’s Master Class starring Tyne Daly as the legendary opera soprano Maria Callas is to transfer to the Vaudeville Theatre following its critically acclaimed, sell-out run on Broadway. Joining Daly are Gerard Carey (Stagehand), Jeremy Cohen (Emmanuel Weinstock), Naomi O’Connell (Sharon Graham), Dianne Pilkington (Sophie De Palma) and Garrett Sorenson (Anthony Candolino).

Master Class, produced in the West End by Max Cooper, Maberry Theatricals, the Marks-Moore-Turnbull Group, Ted Snowdon and Sonia Friedman Productions in association with Morris Berchard, Scott M. Delman, Susan Dietz, Scott & Brian Zeilinger/The Broadway Consortium and the Manhattan Theatre Club, will run at the Vaudeville Theatre for 14 weeks only from 21 January to 28 April. Set design is by Thomas Lynch, costume design by Martin Pakledinaz, lighting by David Lander, sound by Jon Gottlieb and wigs by Paul Huntley.

Terrence McNally’s play about Maria Callas takes audiences to one of her famous master classes, where, late in her own career, she dares the next generation to make the same sacrifices and rise to the same heights that made her the most celebrated, the most reviled and the most controversial singer of her time.

Multi award-winning Tyne Daly plays Maria Callas. She is best known on television for her portrayal of Detective Mary Beth Lacey in Cagney and Lacey, for which she received four Emmy Awards. For her roles as Maxine Gray in Judging Amy and Alice Henderson in Christy she received two Emmy Awards for Outstanding Supporting Actress in a Drama. For the former she also won a Golden Globe Award. Her many Broadway credits include Rose in Gypsy for which she won the Tony Award for Best Leading Actress in a Musical, Mme. Arkadina in The Seagull and Rabbit Hole. Daly’s film credits include The Enforcer, Dirty Harry, John and Mary and Telefon.

Dianne Pilkington will play Sophie De Palma. Her theatre credits include She Loves Me for Chichester Festival Theatre, The 39 Steps at the Criterion Theatre, Glinda in Wicked at Apollo Victoria and Grizabelle in Cats and Belle in Beauty and the Beast on tour nationally. Pilkington played opposite Benecio Del Toro in the film The Wolf Man.

Naomi O’Connell will play the role of Sharon Graham. Having released a solo album at the age of sixteen entitled Christmas with Naomi she went on to train at the Royal Irish Academy of Music and the Juilliard School in New York. Her operatic roles at Juilliard include Transformations, Conception and Monteverdi's Ottavia. O’Connell was the 2011 First Prize winner of the Concert Artists Guild Competition and the Altamura/Caruso International Voice Competition. She will make her UK professional operatic debut playing the title role in La Périchole for Garsington Opera in June next year.

Garrett Sorenson will play the role of Anthony Candolino. An acclaimed opera singer who has appeared at the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago and Houston Grand Opera, Sorenson has performed with the San Francisco Symphony Orchestra and the Cleveland Orchestra, as well as the New York Philharmonic. He made his Boston Symphony Orchestra debut in 2009 in a concert performance of Verdi's Simon Boccanegra. His other recent opera credits include Beethoven’s Ninth Symphony at the Tanglewood Festival, Verdi’s Requiem at the Houston Symphony and Salome at the San Francisco Opera.

Gerard Carey will play the role of Stagehand. His previous theatre credits include The Invisible Man for the Menier Chocolate Factory, Spamalot at the Palace Theatre and The Taming of the Shrew and A Midsummer Night’s Dream for the Open Air Theatre, Regent’s Park. His television credits include Torchwood and Love Soup.

Jeremy Cohen will make his West End debut reprising the role of Emmanuel Weinstock which he played in the Broadway production. In the US he has worked with the Roundabout Theatre Company, The Kennedy Center, Atlanta’s Alliance Theatre, Milwaukee Repertory Theatre, Delaware Theatre Company and the New York Musical Theatre Festival. As a Musical Director and Arranger, he composed the music for The Bowery Boys.

Writer Terrence McNally has won four Tony Awards for his plays Love! Valour! Compassion! and Master Class and his musical books for Kiss of the Spiderwoman and Ragtime. More recent Broadway revivals of his plays include The Ritz and Frankie and Johnny in the Clair de Lune. His other plays include A Perfect Ganesh, Corpus Christi, Lips Together and It’s Only a Play. His most recent play, Golden Age, was featured in the Kennedy Center celebration of his work year. For the musical theatre his other librettos include Catch Me if You Can, The Full Monty, The Rink, The Visit, A Man of No Importance and the opera Dead Man Walking. McNally has also written a number of television scripts including Andre's Mother for which he won an Emmy Award.

Theatre and Opera director Stephen Wadsworth has worked for Metropolitan Opera, Teatro alla Scala, Royal Opera Covent Garden, Vienna Staatsoper, Edinburgh Festival, Nederlandse Opera, Seattle Opera and in San Francisco, Los Angeles, Toronto and Santa Fe. Wadsworth is the Head of Dramatic Studies at the Metropolitan Opera’s Lindemann Young Artist Development Program, the James S. Marcus Faculty Fellow and Director of Opera Studies at The Juilliard School, an artist in residence at the Aspen Institute, and a Chevalier de l’Ordre des Arts et des Lettres.

Jeremy Cohen and Garrett Sorenson are appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange programme between American Equity and UK Equity.

Master Class runs at the Vaudeville Theatre from 21 January - 28 April. Tickets £12.50-£52.50 from www.masterclasstheplay.com

Review: Christmas with The Rat Pack - Wyndhams Theatre, London

CHRISTMAS WITH

THE RAT PACK

LIVE FROM LAS VEGAS

A festive treat was in store last night at the Wyndhams Theatre in the heart of the West End.
Christmas with The Rat Pack is back in town, and boy does it deliver!

Quite possibly the best imitations of Frank Sinatra, Sammy Davis Jnr. and Dean Martin in the business, you are transported back to The Sands in Las Vegas along with a huge Christmas tree, and what has to be one of the best bands I have heard in a long time, led by Musical Director Matthew Freeman. The band's arrangements are tight, incredibly well played and every instrument can be heard beautifully, with some lovely work by the sound department not to overpower the vocals.

Stephen Triffit's Frank Sinatra is great, his singing is lovely to listen to, sounding like ole blue eyes himself,  and doing a range of well known numbers like Come Fly With Me, I've Got You Under My Skin and New York. New York.
Giles Terera is outstanding as Sammy Davis Jnr, it is like he is actually there in the room with you, and he does a mighty fine interpretation of Mr Bojangles.
Mark Adams' Dean Martin is also in fine form, adding a touch of comedy about his drinking ways, and again the vocals are top notch in Volare and Mambo Italiano.

A lovely addition are The Burelli Sisters, with very Christmassy costumes, gorgeous voices and harmonies, and a delight to watch.

This show has it all, great singing, lovely arrangements and a fantastic night out so you can forget all your troubles and enjoy the talent on show.

Christmas with The Rat Pack Live From Las Vegas runs at the Wyndhams Theatre, London until 8th January.
The Rat Pack Live From Las Vegas runs 9th January - 21st January.

http://theratpacklivefromlasvegas.com/

THE JEZABELS Announce UK & European Tour

THE JEZABELS

Following their announcement last week of their headline NME Awards Show slot and their recent sold out show at Heaven in London, The Jezabels are pleased to announce a UK & European tour, on sale now, starting on 22nd February.

The Australian four-piece have spent 2011 honing their genre-defying craft. They have taken their very own brand of emotionally charged, adrenaline fuelled classic rock/pop out of their native land and cast it like some malevolent spell across the oceans, a territory at a time.
Singer Hayley Mary is nothing short of mesmerising, combining all the prowess of some of rock’s finest front women. Comparisons have been made between her and Stevie Nicks, Siouxsie Sioux, Karen O, Cyndi Lauper, Kate Bush, Florence Welch; the list goes on.

Together with Samuel Lockwood on guitar bringing a touch of organic country-folk to the band’s energy, the classically trained pianist Heather Shannon on keys and sticks-man Nik Kaloper described as a perpetual ball of rhythm, The Jezabels have created an album that is a journey through wild and savage lands. The Jezabels are one of the most unpredictably volatile and visceral new bands to emerge this year, and a live act not to be missed.

The Jezabels return to the UK ahead of their debut album Prisoner, released on Play It Again Sam Recordings on Monday 5th March 2012.

UK Tour Dates

Wednesday 22nd February - London (NME Awards Show) - Koko
Thursday 23rd February - Temple Institute - Birmingham
Friday 24th February - Sheffield - Leadmill
Sunday 26th February - Glasgow - Oran Mor
Monday 27th February - Edinburgh - Electric Circus
Tuesday 28th February - Newcastle - Cluny
Thursday 1st March - Leeds - Wardrobe
Friday 2nd March - Manchester - Ruby Lounge
Saturday 3rd March - Brighton - Audio

European Tour Dates

Saturday 10th March – Berlin, Germany – Postbahnof
Sunday 11th March – Frankfurt, Germany – Das Bett
Monday 12th March – Munich, Germany – Hansa 39
Wednesday 14th March – Zurich, Switzerland – Hafenkneipe
Thursday 15th March – Luxembourg – Kulturfabrik
Friday 16th March – Paris, France – Point FMR
Sunday 18th March – Koln, Germany – Luxor
Monday 19th March – Hamburg, Germany – Knust
Wednesday 21st March – Copenhagen, Denmark – Beta
Thursday 22nd March – Stockholm, Sweden – Lilla Hotellbaren
Friday 23rd March – Oslo, Norway – Parkteatret
Sunday 25th March – Amsterdam, Holland – Paradiso Upstairs
Monday 26th March – Nijmegen, Holland – Merleyn
Wednesday 28th March – Brussels, Belgium – AB

Review: Cover Drive - IndigO2, London (supporting Dappy)

COVER DRIVE

London IndigO2 - 19th December

With their Caribbean infused pop, hip swinging dancing and a variety of numbers, Cover Drive are a new band on the block.

Supporting Dappy last night at London's IndigO2, they warmed to the sell out crowd, and delivered five tracks with plenty of appeal ranging from a cover  of 'Love Controller', to their new single which is out on 22nd January - 'Twilight'.

But just who are Cover Drive? Amanda, the band’s lead vocalist is quick to explain:

“I compare us to a pack of Starburst,” laughs the 20 year old Bajan lass, “Okay, I know it’s odd, but if you were to take every flavour of Starburst and put one of each in your mouth, that sort of sums up our music. The red is our sassiness, the pink our sweetness, the orange our quirkiness and the yellow our zestiness.”

Typically, the singer is only halfway through her analogy when her eye-rolling band mates try to intervene. 18 year old bassist Jamar and 22 year old guitarist Barry jokingly object to their songs being likened to sweets. Only drummer T-Ray, 17, approves – and possibly only because Amanda used to be his babysitter.

Starburst-style or not, Cover Drive are as fresh and fun a band as you’ll hear. Based in Barbados, but in the process of moving to London since being signed to Polydor here this year, the quartet blend their Caribbean sunshine-drenched musical roots with infectious pop hooks honed with A-list writer/producers such as Wayne Hector, Steve Mac, Ina Wroldsen, J.R. Rotem and Future Cut. Cover Drive’s sound is brisk and bright. Aimed as much as the beach and high street as dancefloors. The band likes to refer to it as “sunshine-y, feel-good music.”

Their name may come from their homeland’s love of cricket, but it was the covers the quartet posted online that instantly attracted major label attention. Dubbed The Fedora Sessions (because they wore fedoras – hat-obsessive T-Ray has a collection of 20 plus) and filmed in T-Ray’s basement, their funky, Caribbean-flavoured re-workings of Hey Soul Sister, B.o.B.’s Airplanes and Ke$ha’s Tik Tok first earned them an offer from Sony in the States. They were considering signing when Polydor stepped in. One showcase of four Cover Drive originals at their mentor Eddy Grant’s house in Barbados later and the quartet had inked a deal and agreed to move to Britain.

“We were persuaded that the UK would be more appreciative of our differences,” explains Jamar. “We may be young, but we knew exactly how we wanted our songs to sound. We were happy to work with experienced writer/producers, but we didn’t want to lose the energy we had when it was just the four of us.”

Indeed, six months spent travelling back and forth from Barbados to London, L.A., New York and, um, Surrey (“It was, er, way too quiet there for us,” sighs Barry) to write and record their debut album and it was complete.

Listen to their music and quickly, you realise why they are creating a buzz. ‘Twilight’ will be a track to watch out for I reckon, and Cover Drive will make a mark over here in the UK.

www.wearecoverdrive.com

Review: THE SATURDAYS – ALL FIRED UP at Wembley Arena

THE SATURDAYS: ALL FIRED UP

Wembley Arena

As a glittering cage containing Frankie Sandford, Rochelle Wiseman, Vanessa White, Una Healy and Mollie King descends, a huge roar goes up across Wembley Arena on this, The Saturdays’ third headliner, but first arena, tour. Wearing white blouses, black skirts and spectacles, reminiscent of the Notorious music video, our expectations are high and, for the most part, the quintet don’t disappoint.

A good mix of songs, taken from their four albums, provide a catchy soundtrack to a visual delight. The girls, wearing a dazzling array of skimpy sparkles and killer heels, perform their often saucy choreography with ease, with even the 6 months pregnant Una only sitting out one song. The lighting design on this show is fantastic, and the sound mix superb; the screen projections are used well and the stage is set with just enough moving parts to keep it interesting without being overcomplicated.

The vocals are strong with nice tight harmonies. I mistakenly assumed this would be 90% pre-recorded, so I was pleasantly surprised to hear the girls singing live. Vanessa is particularly strong vocally, although I found my eyes following another band member most of the time. Frankie has always captivated me. From her 11/12 year old days in S Club Juniors (later S Club 8) right up to the present, she has always held that je ne sais quoi that defines a star. But each of the girls had their chance to shine tonight, and shine they all did.

During the first costume change (if we don’t count the secretary outfits being ripped off after the second number), we are introduced to the five male dancers, with each one showing off his talent as the screen shows their name. These are another visual treat, performing their excellently choreographed routines flawlessly and attracting plenty of excitement from the mainly teenage-girl crowd. As a random point of interest, I noticed one of them was Aaron Renfree, who was also a member of S Club Juniors with Frankie and Rochelle.

Christmas came early for much of the Wembley audience in the quite theatrical finale, with the dancers arranging Christmas gifts on stage wearing just Santa hats and trousers, and displaying an almost impossible amount of muscle, while the screen shows images of the girls as children at Christmas. Bursting out of the five largest boxes, dressed as five of the sexiest Santas I have ever seen, The Saturdays then perform a jazzy Winter Wonderland, with their impressive vocals shining through once again.

However, despite all this, there is something missing somewhere. I just didn’t feel wowed by the evening, and couldn’t help feeling that, even with several chart toppers under their belt, the girls still seem a bit.. well.. amateurish.

The girl group bar was set ridiculously high by the Spice Girls and then nudged up a notch by Girls Aloud. The Saturdays have still got some climbing to do before they reach it, but they’re giving it a good shot, and this evening was enough that I now definitely want to be there when they do reach it, because the potential is there for them to push it to a whole new level.

SETLIST

(Costume: Office Secretary dresses)

1. Notorious

2. Work

(Costume: Red, Black, Pink Coloured Leotards) 

3. Get Ready Get Set

4. Forever Is Over

5. Wish I Didn't Know

(Costume: Multi Coloured Dresses With Hoods) 

6. Faster

7. Ego

8. Do What You Want With Me

9. The Way You Watch Me

10. Issues

11. Just Can't Get Enough

(Costume: Silver Dresses)

12. Up (Wideboys Edit)

13. If This Is Love / Moves Like Jagger

14. For Myself

15. Last Call

16. Missing You

17. Promise Me

18. All Fired Up

(Costume: Santa Overcoats) 

19. Winter Wonderland

20. My Heart Takes Over

(Costume: Shorts, White Tops)

21. Higher

THE SATURDAYS have now completed their ALL FIRED UP tour, but keep an eye on www.thesaturdays.co.uk for upcoming announcements regarding future dates.

Chris Larner's AN INSTINCT FOR KINDNESS - Southbank dates and national tour

AN INSTINCT FOR KINDNESS

Written and Performed by Chris Larner

Directed by Hannah Eidinow

Last year, Chris Larner accompanied his chronically ill ex‐wife to Switzerland’s Dignitas clinic. He came home with an empty wheelchair and a story to tell.

This moving, bittersweet show reflects on the circumstances, morality and humanity surrounding the journey. Through a candid, poignant and sometimes comic performance, Chris explores both the profound personal implications and the wider ethical issues that surround the contentious topic.

Chris Larner is a writer, actor and director. His stage work includes Alice in Wonderland (RSC); Wind In The Willows (National Theatre); and on TV, Clingfilm in London’s Burning. He has written extensively for comedy legends The Right Size and many others. With David Gilbert he wrote The Laxian Key for BBC Radio. His Edinburgh shows include acclaimed musicals The Translucent Frogs of Quuup (Guardian Best Musical Award 2004) and On The Island of Aars (nominated for five MTM Awards, 2008).

Hannah Eidinow has directed five Fringe First Award winning plays – four of them documentary theatre pieces: An Instinct For Kindness (Edinburgh 2011), Lockerbie: Unfinished Business (Edinburgh 2010, 2011 & UK tour), What I Heard About Iraq (Edinburgh 2006, UK Tour & West End 2007), and Gone (Edinburgh & West End 2004). Hannah is Creative Development and Associate Director for Pleasance and an Associate Director of The Miniaturists, a writer‐led group dedicated to producing short plays. Recent directing credits include Mood Swing (Edinburgh and New York 2010); Memory Cells (Edinburgh 2010); The Lady From The Sea (Arcola); and A British Subject (Edinburgh, Broadway, and Arts Theatre, West End).

An Instinct For Kindness won critical acclaim and a Fringe First Award at its Edinburgh Fringe premiere in 2011. In Spring 2012, it tours the UK for the first time.

Tour Dates:

Thursday 26 January: Arena Theatre, Wolverhampton – www.arenatheatre.info
Friday 27 – Sunday 29 January: Southbank Centre, London – www.southbankcentre.co.uk
Friday 3 – Saturday 4 February: Hull Truck Theatre, Hull – www.hulltruck.co.uk
Thursday 9 February: Swindon Arts Centre, Swindon – www.wegottickets.com/swindonartscentre
Friday 10 February: Forest Arts, New Milton – www.forest‐arts.co.uk
Saturday 11 February: Hazlitt Arts Centre, Maidstone – www.hazlittartscentre.co.uk
Thursday 16 February: The Cornerstone, Didcot – www.cornerstone‐arts.org
Saturday 18 February: Underground Theatre, Eastbourne – www.undergroundtheatre.org.uk/
Thursday 23 February: The Lowry, Salford Quays – www.thelowry.com
Saturday 25 February: Haverhill Arts Centre, Haverhill – www.haverhillartscentre.co.uk/
Friday 2 March: Square Chapel Arts Centre, Halifax – www.squarechapel.co.uk
Friday 3 March: Selby Town Hall, Selby – www.selbytownhall.co.uk
Friday 9 March: The Old Town Hall, Hemel Hempstead – www.oldtownhall.co.uk
Friday 16 March: Island Arts Centre, Lisburn – www.islandartscentre.com
Saturday 17 March: Royal and Derngate, Northampton – www.royalandderngate.co.uk
Wednesday 21 March: Wales Millenium Centre, Cardiff – www.wmc.org.uk/
Thursday 22 – Friday 23 March: Curve Theatre, Leicester – www.curveonline.co.uk
Thursday 29 March: Arlington Arts Centre, Newbury – www.arlingtonarts.co.uk

Review: The Kooks - O2 Academy, Leeds

THE KOOKS

O2 Academy Leeds

18th December 2011 

"Thank you to everyone for coming, this is our last gig of 2011, so it means a lot to us!" - that was the message from Kooks lead singer Luke Pritchard after their sell-out gig at the Leeds O2 Academy last night.

The band graced the O2 stage in Leeds after the very vibrant support from ‘Scoundrels’. This was a much anticipated gig for the many of the hundreds, who came last night as it was a rescheduled gig from October, when Kooks front man Luke fell ill with a throat & lung infection.

There was a lot of pressure for the Brighton boys to really pull out all the stops to win this crowd over - and that they certainly did! The band - best known for their singles "Naive" and "Ooh La" opened their set with, what was a surprise to the fans, “Is It Me” (their second single from their latest album) “Junk of the Heart (2011)”, followed by “Always Where I Need To Be” their first single from their second album “Konk” (2008).

Then the fans went crazy for their incredible infectious hit “She Moves In Her Own Way”, taken from the multi-million selling first album “Inside In/Inside Out” (2006).
The boys put on an electrifying set of what was a very eclectic mix of their old favourites such as ‘Eddies Gun’, ‘Tick Of Time’, ‘Sofa Song’ to some of their most newer tracks, ‘Rosie’, ‘Eskimo Kiss’ and ‘Saboteur’ that really blew the hundreds of diehard Kooks fans away!

Luke interacted with the audience on all levels and put on a brilliant lead man performance! Many highlights of the night included a solo acoustic performance by Mr. Pritchard of "Seaside" which is a prelude to the first album “Inside In/Inside Out” which went down a real treat at the Academy!

The band played through the whole set with a mere 4 minutes rest, closing their last UK gig with their new single “Junk of the Heart” – from the very anticipated new album “Junk of the Heart” (2011), followed by a truly hair raising performance of their most popular hit “Naive”, which had the Leeds crowds in the arms of the boys!

It is without a doubt that ‘The Kooks’ are back on the Indie/Pop scene with vengeance after this sensational third album. 2012 could be another big year for the Brighton Boys...

All photos by Rachel Henshaw

Reviewed by Rachel Henshaw

PAUL McCARTNEY Announces Brand New Album - Out February 6th 2012

Paul McCartney 

Paul’s Tribute To Personal Favourites & Two New Self Penned 

Compositions Out February 6^th 

While many a musician is often asked about the tunes that have influenced their songwriting, it is not a question Paul McCartney ordinarily gets to answer – until now. Paul is about to offer a glimpse into “the songs which inspired the songs” with the upcoming release of a brand new album of those standards he grew up listening to in his childhood—plus two brand new McCartney compositions: the album, which is currently untitled, will be released on Hear Music/Concord Records on February 6th 2012.

With the help of Grammy Award-winning producer Tommy LiPuma and Diana Krall and her band—as well as guest appearances from Eric Clapton and Stevie Wonder, McCartney’s new album is a deeply personal journey through classic American compositions that, in some cases, a young Paul first heard his father perform on piano at home. As authentic and daring a musical statement as he could make, this is the album Paul has been thinking about making for more than 20 years - and probably the last thing his fans are expecting. “In the end it was ‘Look, if I don’t do it now, I’ll never do it,” he says.

In short, Paul believes it is about time “the songs me and John based quite a few of our things on” received the recognition they deserve. Moreover, the record also features a couple of new original McCartney compositions in the spirit of those classics.

“When I kind of got into songwriting, I realised how well structured these songs were and I think I took a lot of my lessons from them,” Paul explains. “I always thought artists like Fred Astaire were very cool. Writers like Harold Arlen, Cole Porter, all of those guys - I just thought the songs were magical.  And then, as I got to be a songwriter I thought it’s beautiful, the way they made those song’.”

Determined to approach the record in a new and unique manner, Paul enlisted the help of LiPuma and Krall and her band—who delivered ultra-high quality musicianship and were completely in tune with Paul’s restraint and feel for the music. In the studio, the recording of this album was also a new challenge for Paul who, for the first time ever, performed exclusively in the vocal booth without an instrument – no guitar, no bass, no piano - which led to a vocal performance like no other in his career.

He adds, “It was very spontaneous, kind of organic, which then reminded me of the way we’d work with The Beatles. We’d bring a song in, kick it around, when we found a way to do it we’d say ‘Okay, let's do a take now’ and by the time everyone kind of had an idea of what they were doing, we’d learnt the song. So that’s what we did, we did the take live in the studio.”

“It was important for me to keep away from the more obvious song choices so, many of the classic standards will be unfamiliar to some people. I hope they are in for a pleasant surprise.”

The album was recorded at the legendary Capitol Studios in Los Angeles, New York and London throughout 2011. It also features guest musicians Eric Clapton and Stevie Wonder, respectively, on the original compositions  ‘My Valentine’ and ‘Only Our Hearts’.  

The track ‘My Valentine’ will be exclusively streamed on www.paulmccartney.com to premium members for 24 hours only, from 1400hrs (GMT) today (Monday 19^th December).

Full tracklisting to be announced soon.

www.paulmccartney.com 

DIANA VICKERS Announces February 2012 Manchester & London Shows

DIANA VICKERS

Diana Vickers gives fans a taster of new music with a free download, taken from sessions for her second album.
Diana is releasing the song for fans as a thank you for their patience and encouragement. The song also gives an indication of the new direction of the album.

The first track, Music To Make Boys Cry, is free to fans who sign up to Diana's newsletter on her website www.dianavickersmusic.com.
Music To Make Boys Cry was co-written by Diana and Simen Says from Norwegian pop group Donkeyboy. The single is taken from sessions for Diana's second album which will be released next year.

The independently-released album is the follow up to Diana's number one album, Songs From The Tainted Cherry Tree, which also included the number one single, Once.

Diana has also announced shows in February 2012:

Wed 08-Feb-2012 - Manchester Ruby Lounge - £12.50

Thu 09-Feb-2012 - London Cargo - £15.00

Tickets are available at www.gigsandtours.com / 0844 811 0051

Review: DICK WHITTINGTON, starring Dame Edna Everage - New Wimbledon Theatre

DICK WHITTINGTON
New Wimbledon Theatre

All the traditional panto elements are here, and in full force; plenty of local references, up-to-date topical humour, big musical numbers, bad jokes (many of them delivered to excellent comedic effect by Kev Orkian as Idle Jack), lively and energetic dance routines (choreographed by Sarah Dean), a delightfully sparkling set (designed by Terry Parsons) and lots of audience participation. Add to this mix a traditional panto dame and a couple of TV personalities, and there really is nothing truly missing.

A breakdancing and very acrobatic dwarf (Ben Goffe) adds to the magic and there is even a Finding Nemo inspired 3D section which, although adding very little to the story, delights the younger members of the audience (and, it must be said, me – although mainly for the chance to wear the fabulously camp Dame Edna style 3D glasses which are provided).

Musically, there is a delightful mix of new and old, and a hilarious physical interpretation of The Twelve Days of Christmas, which soon degenerates into traditional panto carnage. There is also an excellent and highly unusual segue from the Village People’s In the Navy into On the Good Ship Lollipop, something I have certainly not seen (or heard) before.

Dame Edna Everage, as the Fairy Edna, Saviour of London, looks resplendent in a variety of outrageous, but invariably sparkling, costumes (courtesy of Stephen Adnitt) as she flies across the auditorium. The International gigastar treated the audience to a delectable feast of her uniquely acerbic humour, although much of this may have been lost on some of the younger crowd. Her role could easily have been lost in the character she performs, but she is permitted enough stage time as herself to delight her fans, joking that this isn’t a genre she is used to (and that she is the first person to bring the word ‘genre’ into a pantomime).

Indeed, as hard as it is to believe, this is a first for the global gigastar who, let’s face it, was born to be the ultimate panto dame and, despite her protestations, she is a natural in this field. She manages to jump from character to self with ease – mocking the plot (even borrowing a programme from a member of the audience to remind herself of it), cursing the rhymes her character must speak in and wondering out loud how she has ended up hanging from the ceiling of the New Wimbledon Theatre in a pantomime. A particularly amusing section involves her mocking those in the “cheap seats”, telling them to hang on tight as she doesn’t wish the theatre to be full of plummeting paupers.

But the magnificent Edna is not the only Dame in this panto. Panto veteran Eric Potts’ Sarah the Cook is a magnificent creation, rivalling Edna in both humour and costume. In addition to designing the set, Terry Parsons has also done a fabulous job on costume design, with Sarah out-frocking Dame Edna in a glorious cupcake number that would put Lady Gaga to shame.

The evil villain of the piece, King Rat is played excellently by Richard Calkin, whipping the audience up into a frenzy of boos and hisses every time he appears. His army of rats, threatening to first take over Alderman Fitzwarren’s (Anthony Houghton) shop, then the world, is eventually defeated by Tommy the Cat (performed to athletic perfection by Omari Bernard, leaving King Rat to fight Dick Whittington.

Sam Attwater, as Dick, carries a definite sparkle that sets him perfectly as the male lead, but his voice lets him down somewhat in some of the musical numbers. Edna puts it perfectly, in her own unique style, when she mentions he is “famed for his courage, perhaps less for his singing and acting abilities”. Nevertheless, he plays a fine lead, which balances perfectly with Anna Williamson’s delightful Alice Fitzwarren.

They are complemented by an excellent ensemble of Joanna Rennie, Lizzie Jay-Hughes, Lorna Bullivant, Simone Neumann, Gareth Andrews, Christopher Jeffers, Nicholas Munro-Clark and Carl Williams. Of these, and in no way deflecting attention from the others, Joanna Rennie and Gareth Andrews both stand out as excellent performers, and I look forward to seeing them in the feature roles they deserve.

The incredibly atmospheric lighting design, by Nick Ritchings, is a treat, highlighting every sparkle on (and often above) the stage and complementing each scene brilliantly. Sound design, by Orbital Sound Ltd, is also excellent, leaving no word or sound misheard throughout the piece.

As a pantomime, this production of Dick Whittington isn’t my favourite, but what it lacks in storyline and tightness of script, it more than makes up for in both design and casting. As she soars down from the rafters in a sparkly Union Jack dress that puts even Geri Halliwell’s to shame, tossing gladioli to the audience, Dame Edna Everage truly is the Saviour of London pantomime.

Dick Whittington plays at the New Wimbledon Theatre, The Broadway, Wimbledon, London SW19 1QG until 15 January. Tickets £15.25-£44 from www.atgtickets.com

Review: The York Family Robinson - York Theatre Royal

This show gets weirder by the second” declares Dame Berwick Kaler part way through the second act – and he is not wrong, but this show is weird in a brilliantly entertaining and inspired way!

Kaler has torn up and re-written the panto rule book countless times during his time at the Theatre Royal.  This time, rules of any sort do not apply as he steers away from the established panto stories to present an entirely original tale in a production which allows his fertile imagination to run riot with hilarious results.

Berwick Kaler
Photo courtesy of www.yorkpress.co.uk

 The plot is not important – though strangely this year it does seem to be more involved than is traditional here. This is all about great characters, wonderful set pieces and laughing from start to finish.  The action goes from one scenario to another, even across continents, and gives you everything you could ask for in a panto – from a wonderfully performed (though water free) slapstick scene to an ultra-violet dance routine and a fantastic group of young cast members with their own gags and songs.

This panto surely must be able to claim a few features unique amongst the many playing across the country.  Where else will you get ballet, multiple cases of cross dressing and Britannia (as in she who rules the waves) as a fairy?  They literally throw in the kitchen sink. Not to mention one very surreal moment featuring Savage the Dog that got me crying with laughter!

Photo courtesy of www.yorkpress.co.uk

The core team will be familiar to regular York panto goers; Martin Barrass and Suzy Cooper reprise their roles as the Dame’s two children, David Leonard is still one of the best baddies in pantoland, and then there is A J Powell as the Dames long lost Brummie son, Julie-Anna Castro as Man Friday and Sian Howard as Britannia.  Add to that a marvellous ensemble who not only sing and dance but also put in cameo acting performances to add depth to the show – especially Jamie Harris as the camp, but perfectly English, Jolly Roger.

It seems terrible to sum the cast up so briefly but, despite Dame Berwick being right at the centre of all things, this is a truly ensemble piece where everyone is superb and therefore the overall results are truly special.

And then there are the sets, costumes, lights and music.  The clever and inventive sets are impressive in their scale and colourfulness and, when coupled with an extensive range of wonderful costumes, mean there is never a dull moment visually.  This is underlined by lovely lightening design that will be noticed by all – not just theatre aficionados. Music of course plays a big part of any panto and here original music mixes seamlessly with more familiar songs and strikes the right balance.

This review could go on endlessly if I were to list all that I enjoyed about this exceptional show.  One of the true delights is that, as this is a new story, even adults can enjoy not knowing what will happen next and that really is magical.  In a show so full of ideas, it would be so easy for it to feel like a collection of separate thoughts but somehow it all seems to fit together and works perfectly.

This is a show for all – plenty of visual gags for the bairns and varied comedy (but never of the crass or smutty nature) for the adults. I simply cannot recommend The York Family Robinson any more highly.  Do yourself a big favour and get yourself a ticket one way or another to what must be one of the best pantos in the land!

The York Family Robinson runs until 4th February 2012

www.yorktheatreroyal.co.uk

Review by James Eaglesfield

Westlife: For the Last Time

Tonight on ITV at 9.05pm the beginning on the end of an era for Westlife fans continues with their last ever TV special featuring performances in front of a live audience as well as footage from the archive this is a must see for all fans and I've already set my DVR to record it.

As a Westlife fan since they first appeared in 1999 for me this programme is the opening salvo as we head into the inevitable march towards the finale of the Farewell Tour in 2012. I'm not a hardcore Westlife fan by any stretch of the imagination but somehow over the years I've accumulated all their albums, attended most of their concerts in Glasgow and I'll be there next June waving my glowsticks.

I know that some critics feel that this has been a very prolonged split up but for the fans it gives a chance to say goodbye to the band that's been a part of all our lives for the last 13 years but also for the band to go out on a high note. After all, no one wants to see a repeat of the Take That split when helplines were set up or even when Boyzone split which, let's be honest, left a sour taste in the mouth for fans and at least four of the five band members.

Westlife have definitely acquired a bit of a reputation for a penchant for stools and overuse of the key-change but if you've seen them sing live you'll know that these guys are fantastic entertainers with brilliant voices. It's very rare that you can go to a concert and hear the music performed live as well as the CD recording.

Performing show after show on tour it's undeniable that in addition to being great singers, this group are also great friends. Of all the concerts I have been to, only Bruce Springsteen & the E Street Band can top Westlife for on-stage camaraderie and banter which is not bad company to be in.

Over the coming months there will no doubt be increased speculation and commentary about the reasons behind the split, yes Daily Mail I’m looking at you, but for me I’ll be looking forward to dancing the night away at the Farewell Tour and enjoying what’s left of the last 14 years in a World of our Own. So grab the box of Kleenex, turn off your phone and get ready for a night of memories with the four Irish boys we’ve come to know and love.

Images Copyright © Lisa Davidson 2011. All rights reserved.

Review: Sleeping Beauty - King's Theatre, Glasgow

If you'd told me a week ago that I would be stalking the ATG Tickets website on the hunt for pantomime tickets, I would have honestly laughed. You see a week ago I was certain that I didn't like pantomimes well I was wrong. It turns out that I thought I didn't like pantomimes because I'd never seen a King's Theatre pantomime, well not since 1990 when there was a strike so we all ended up at Home Alone instead so that doesn't count.

Pantomime is a popular selling stalwart of the King's Theatre's annual programme and now I know why. Sleeping Beauty embraces the traditional standards of the classic pantomimes and does it beautifully. In doing so it creates a wonderful production that's hilarious, pays homage to current affairs and has the audience dancing and singing at the top of their voices when the cloot drops. Oh, and they still throw sweeties to the audience - what more do you want for the ideal family treat?!

Karen Dunbar is simply incredible as Nanny, she is perfect in the part and particularly shines because of the lack of the fourth wall. Her comedic timing makes her scene-stealing and her expressions are hilarious. How the rest of the cast manage to keep a straight face night after night is anyone's guess. As Henchman Hector, Tony Roper captures the audience's imagination while looking for his lost baby crow Corky, or COOOOOOOOORKYYYYYYYYYYY as the children in the audience shout, and is so lovable he easily embodies the role of misunderstood baddie. Roper and Dunbar are comic legends in their own right but on stage together they are a tour de force, particularly when Nanny has poor Hector hopping on one leg as she hangs onto his ankle.

As the Wicked Fairy Carabosse, Clare Grogan laps up every boo and hiss that the audience throw her way. Grogan makes a particularly glamourous villain which is a little disarming at first but the audience were soon marking her every move with loud booing. She cut a striking figure in her sparkling outfit during 'Happy Birthday' which delighted the older audience members but I imagine the humour passed most of the children by. I'm sure the highlight for some of the female audience was Keith Jack shirtless imprisoned in Carabosse's lair, there was more than a few whistles! Steven McNicoll and Kath Howden as the King and Queen also make a delightful double act reminiscent of the Baron and Baronness in Chitty, Chitty Bang Bang.

This whole production is a shining example of how pantomimes should be and if there's any last minute Christmas shoppers reading this I suggest tickets for this will make the perfect festive treat for any family. From the very beginning until the cloot drops and the audience are competing against each other in the sing-off this show sparkles. Make sure you don't get caught napping and head to the King's before Sleeping Beauty's 100 years are up on 8th January.

BOOKING INFORMATION
Until Sun 8th January 2012
Box Office 08448 717 648 (Bkg fee)
www.ambassadortickets.com/Glasgow (bkg fee)
Tickets bought in person at the theatre box office do not carry a booking fee.

DRY THE RIVER Announce UK & Ireland Tour

Dry the River

UK & Ireland headline tour

Following the recent announcement of a headline show at London's Electric Ballroom in May 2012, Dry the River have confirmed details of a full U.K & Ireland headline tour. 

These shows follow a recent run of headline dates which culminated in a sold-out performance at London’s Scala. The band also supported Bombay Bicyle Club on their U.K tour and this summer saw them play some rapturously received festival gigs on both sides of the Atlantic, highlights being their shows at SxSW in Texas, Reading & Leeds, Glastonbury and most recently End of the Road and Bestival.

The band have additionally been announced to play a Q Now Session at XOYO in London on January 23rd 2012. Tickets for this show sold-out within days of going on sale.

JANUARY

23 - London - XOYO [SOLD OUT]

FEBRUARY

08 - Manchester - Ritz [XFM & HMV New Music Award Night]

APRIL

17 - Nottingham - Bodega

18 - Cardiff - Clwb Ifor Bach

19 - Manchester - Academy

21 - Aberdeen - Café Drummond

22 - Glasgow - King Tuts

23 - Belfast - Limelight

24 - Cork - Cyprus Avenue

25 - Dublin - Whelans

27 - Leeds - Brudenell Social Club

28 - Newcastle - The Cluny

30 - Bristol - Fleece

MAY

02 - London - Electric Ballroom

12 - Norwich - Arts Centre

Tickets for the headline shows are priced at £8 (£10 in London & £11 in Belfast) and are available via:

http://www.musicglue.net/drytheriver

Tickets for the Manchester HMV show are priced at £10.

The band have also recently announced details of the release of their debut album - 'Shallow Bed', which is released through RCA Victor on March 5th 2012. Next single 'The Chambers & The Valves', taken from the album, will be released on February 27th.

The 11-track album was produced by Peter Katis (The National / Interpol) at his Connecticut home-studio during the summer of 2011. 

Finally, the band have been confirmed as being one of 15 artists on the prestigious BBC Sound of 2012 shortlist. The top 5 will be announced in January 2012. For more info: http://www.bbc.co.uk/music/soundof/2012/artists/

Dry the River formed in spring 2009 and have lived together in the same shared house in Stratford east London since. Citing an esoteric list of influences - Leonard Cohen, At The Drive-In, Neil Young, Arlo Guthrie, Neutral Milk Hotel, Bruce Springsteen and Devendra Banhart – the band draw as much from their shared love of U.S. hardcore as they do from the classic songwriters they all admire.

Dry The River are: Peter Liddle (vocals / guitar), Matt Taylor (guitar), Scott Miller (bass), Will Harvey (violin) & Jon Warren (drums).

'Shallow Bed' can be pre-ordered from the following places - 

HMV: http://bit.ly/sKt7Nk

Play: http://bit.ly/rUWVdq

Amazon: http://amzn.to/vTCdMT

iTunes: http://bit.ly/sy8Svs

http://www.drytheriver.net

http://www.twitter.com/drytheriver

THE HITCHHIKER'S GUIDE TO THE GALAXY RADIO SHOW- LIVE! Heads to Edinburgh Playhouse in July 2012

Perfectly Normal Productions and The Entertainment Business

for

The Radio Theatre Company 

Present

The Original Cast - Reunited Live On Stage - in

THE HITCHHIKER'S GUIDE TO THE GALAXY RADIO SHOW- LIVE!

From the Saga that changed Life, The Universe And Everything -

The Hitchhiker's Guide To The Galaxy by DOUGLAS ADAMS

Starring

SIMON JONES as ARTHUR DENT   GEOFF McGIVERN as FORD PREFECT

SUSAN SHERIDAN as TRILLIAN      MARK WING-DAVEY as ZAPHOD BEEBLEBROX

and the voice of STEPHEN MOORE as MARVIN THE PARANOID ANDROID

Live Music Director PHILIP POPE

Based on the novels by DOUGLAS ADAMS

Adapted, written and Directed by DIRK MAGGS

You may think it's a long way down the street to the Chemist

But that's just peanuts to Space ...

THE HITCHHIKER'S GUIDE TO THE GALAXY became an instant and enduring classic on its launch as a radio series. Now Douglas Adams's immortal creation explodes back into life, re-born in a ground-breaking new stage production touring the UK next summer - a radio show like you never saw before - in surround sound, packed with laughter, robots, really wild sound effects and drinks with extremely silly names.

Members of the legendary Radio and TV casts are re-united for these live performances, led by Simon Jones as Arthur Dent, bringing to life the characters written for them in highlights from the entire Hitchhiker's Saga. They are joined on stage by a series of VIP Guest Voices Of The Book and supporting actors from Hitchhikers in all its Phases, and the 'radio' part of the show isn't a gimmick - each event will be recorded and available to download afterwards, becoming a genuine audio experience the audience can enjoy over and over again.

Directed by Dirk Maggs, Douglas Adams's choice to conclude the narrative in its original medium, THE HITCHHIKER'S GUIDE TO THE GALAXY RADIO SHOW - LIVE! is an adventure which will introduce newcomers of all ages to Vogons, Babel Fish, Marvin the Paranoid Android and allow them to explore the unique and hilarious Whole General Mish Mash According To Douglas Adams.

Arthur Dent is having a bad day.

His planet has been demolished.  He can't find a decent cup of tea.

And he's still wearing his dressing gown.

Douglas Adams's legendary comic sci-fi saga is packed with unique cultural and comedy 'firsts'. It spawned five Bestselling Novels, five award-winning BBC Radio Series, a Television Series and a Blockbuster Movie, not to mention a whole raft of expressions that have entered the English language. Translated into over 30 languages, it was voted Number One Audiobook Ever and the fourth Best Loved Book In Britain.  Its unique, irreverent and hilarious views on everything from Tea-making to Towels have won it an ever-growing band of devoted readers, listeners and viewers.

Whatever else you do in 2012, make sure you know where your towel is ...

TICKETS ON SALE FROM MONDAY 19 DECEMBER

Listing Information

The Edinburgh Playhouse

21^st July 2012

Tickets: £18 – £28.50

Box Office: 0844 871 3014

Website: www.atgtickets.com/edinburgh

World Première of Kit Hesketh Harvey's LA TRAVIATA in February

The Merry Opera Company presents

LA TRAVIATA

Translated, adapted and directed by Kit Hesketh-Harvey

In the cultural melting-pot of East London’s galleries, clubs and cafés, burlesque artiste Violetta is the reigning queen, adored by everyone from barristers to baristas. But she’s hiding a fearful secret. When she unexpectedly and unconditionally falls for young City trader Al, neither has any idea where it might lead. Especially since Al harbours a secret too...

Verdi’s La Traviata was first performed in 1853. It has since become immensely popular and is a staple of the standard operatic repertoire. It is second on the Operabase list of the most-performed operas worldwide, behind only The Magic Flute.

This updated version has been placed in the heart of East London’s galleries and burlesque clubs in 2012 with a multi cultural cast who themselves reflect the diversity of London today coming from Ireland, Poland, New Zealand, Sweden, Wales and England. They are talented young singers who have won prizes internationally and whose combined credits include leading roles for Opera Up-Close, Oyster Opera, Garsington Opera, Heritage Opera and Wexford Festival Opera.

Kit Hesketh-Harvey also directs. He is well known for being one half of cabaret duo Kit & The Widow and as a regular panellist on Radio 4’s Just A Minute, but he has been writing, adapting and translating musicals and opera since 1988 when he won the Vivian Ellis Award. His translation of The Bartered Bride for the Royal Opera House was Grammy nominated and his other work includes The Magic Flute and Die Fledermaus for Scottish Opera, The Turk in Italy and La Belle Helene for ENO and The Merry Widow for Opera North. His production of Troy Boy (La Belle Hélène) which he also directed for The Merry Opera Company last year attracted excellent reviews and audience feedback.

Kit is joined by Stephen Hose as Music Director with whom he enjoyed critical success for their production of Troy Boy last year at Upstairs at the Gatehouse and on tour. He is Music Director of OperaUK (tours of Cosi fan Tutte, The Barber of Seville, The Merry Widow, El Amor Brujo) and has worked with The Merry Opera Company on The Messiah (2010 and 2011) and Troy Boy. His productions for Unexpected Opera were Orpheus Down Under and The Barber of Savile Row. TV work has included Musical Director for ITV’s Christmas Glory, featuring stars from opera and pop including Sir James Galway, Charlotte Church, Montserrat Caballe, Robin Gibb and Bryn Terfel, the BBC’s People’s Passion featuring Jessye Norman and Sir Thomas Allen and a Channel 4 documentary, Titanic The Mission. Stephen was also Chorus Master for Jessye Norman’s concerts of Duke Ellington’s Sacred Songs (Barbican Theatre London and Epidavros, Greece).

They are joined by a number of familiar faces from the Troy Boy cast, and the same band – Nicholas Allen (cello), Neil McTaggart (violin), Mark Chivers (viola), Niall Webb (woodwind) and Stephen Hose (piano and accordion).

The Merry Opera Company was founded in Autumn 2010 by Matthew Quirk with the aim of widening the appeal of opera by staging professional shows in modern English that break the framework of tradition and can be appreciated by audiences accustomed to music theatre and pantomime, while staying true to the core of the original. For those who love opera, the shows bring fresh interpretations of classic works. For those new to opera, the shows are understandable, interesting and enjoyable. Its first major tour earlier this year of Troy Boy (Kit Hesketh-Harvey’s adaptation of La Belle Hélène) met with critical success and the current church tour of Handel’s Messiah has been attracting standing ovations. More information can be found on their website at www.merryopera.com

Director: Kit Hesketh Harvey

Music Director: Stephen Hose

Assistant Director: Preece Killick

Set Design: James Perkins

Costume Design: Fi Russell

Lighting Design: Derek Carlyle

Cast: Robin Bailey (Alfredo), Oliver Brignall (Gaston), Paloma Bruce (ensemble/Violetta cover), Claire Egan (Violetta), Kristin Finnigan (Flora), Marcin Gesla (Baron), Anna Jeruć-Kopeć (Violetta), Marcin Kopeć (Baron), Joe Morgan (Alfredo), Gemma Morsley (Flora), Matthew Quirk (Germont), Stephen John Svanholm (Germont) and Glenn Tweedie (Gaston)

La Traviata plays at Upstairs at the Gatehouse, The Gatehouse Pub, Highgate Village, London N6 4BD from 8 February to 3 March before going on tour. Tickets £12-£16 from www.upstairsatthegatehouse.com

Tour dates confirmed so far:

Wed 8 Feb to Sat 3 Mar Upstairs at the Gatehouse (London)

Wed 7 & Thu 8 Mar Rondo Theatre (Bath)

Sat 10 Mar Memorial Theatre (Broadstairs)

Sat 17 Mar West Road Concert Hall (Cambridge)

Sun 25 Mar Wetherspoon Opera House Pub (Tunbridge Wells)

Thurs 29 Mar The Theatre, (Chipping Norton)

Fri 30 Mar Kenton Theatre (Henley)

Sat 31 Mar The Playhouse (Norwich)

Wed 20, Thu 21 & Fri 22 Jun The Scoop (London)

Sat 23 Jun Wallingford Corn Exchange (Wallingford)

Thu 5 Jul Pentillie Castle (Plymouth)

Review: Joking Apart - Union Theatre, Southwark

 Having confessed to my friend that I was an Alan Ayckbourn virgin, so to speak, I wasn’t entirely sure what to expect as I found myself on the way to the theatre last night. Hosted by the Union Theatre – a delightful little space hidden away behind the most charming café near Southwark tube – this play tells the story of four couples. It captures them at four main events across a twelve-year period, giving a snapshot of how their lives and relationships develop.

The first thing that strikes me about Ayckbourn’s writing is how deeply human it is. Each character was believably written (and acted!) and each one could be related to someone whom you already know. The  ‘perfect’ couple, Richard and Anthea represent life’s ‘winners’ with the other characters presumably making up life’s ‘losers’. Without giving too much away in terms of plot, the central theme is to expose the fragile world of friendship, where behind the façade of social meet and greets lies a darker underworld of bitching, backstabbing and jealousy.

The acting is of the highest standard London has to offer, I could easily sing the praises of each actor in turn. Jamie Richards plays the delightfully timid yet wildcard vicar ‘Hugh’ that contrasts perfectly with Monica Bertel’s anxiously neurotic ‘Louise’. Claire Marlowe also holds her own as the likeable and empathetic ‘Anthea’. However it is Andrew Obeney’s ‘Sven’ who makes a lasting impression – A competitive ‘know it all’ with a desperate sense of ambition but yet is played with such a wonderful vulnerability that you can’t help but warm to him.

The lighting and use of set is highly imaginative. The beginning bonfire night scene is conducted exceptionally well and the tennis court scene is done to perfection. There are genuine laugh out loud moments and there is a sense that a lot of thought has gone into the production. The wardrobe alone deserves a round of applause, not only for the authentic flow of fashion through the 70s to early 80s but also for the most amazing Christmas jumpers known to man…

One of the best-written and most wonderful plays I have seen all year. Not a bad word to say against it and a great night out that is perfect for the Christmas period.

Joking Apart runs until 14th January 2012

www.uniontheatre.biz

Review by Melissa Phillips

www.melphillipsmusic.com

www.twitter.com/lilmissphillips

COMPETITION: Your chance to win a pair of tickets to see the magical panto CINDERELLA at Richmond Theatre

CINDERELLA

RICHMOND THEATRE


Read our review HERE

There’s nothing more magical for you and your family than Cinderella at Richmond Theatre this Christmas! Opening on Friday 9 December, Jenny Eclair will be making her Richmond Theatre panto debut in Cinderella as the Fairy Godmother, alongside legendary star of stage and screen Gary Wilmot as Buttons, and Kellie Shirley as Cinderella. Romance and magical adventure lie at the heart of this perfect pantomime, and with stunning sets, glittering costumes, wonderful songs, dazzling dancing and hilarious family-friendly comedy, it is the ideal Christmas treat for all ages.

COMPETITION

Winner: P. Maycock

Review: Noises Off - The Old Vic, London

Michael Frayn's Noises Off has been revived at The Old Vic, and it is about time too.
One of the best comedies out there just gets better and better, with Lindsay Posner's cast doing everything right.

A farcical look at the goings on of a touring production of 'Nothing On', in the first act we are taken into the world of the final Tech/Dress rehearsal and Dotty Otley (the wonderful Celia Imrie) remembering the sardines, telephone and newspaper. We are introduced to the other actors, crew and director along the way, with various mishaps and comedy taking it's toll. Contact lenses being lost by Brooke (Amy Nuttall), lots of 'My Love', 'My Precious', 'My Dear' - all the stereotypical actor 'luvvie' talk you hear on stage!

The second act we are whizzed to four weeks into the tour, and are taken backstage while the show is on. Hiding bottles of whiskey from Selsdon (Karl Johnson), everyone in a panic as tempers and relationships take the strain while on a tour. The director knocking off the stage manager Poppy (Aisling Loftus) and Brooke, trying to keep both happy and failing.

I won't go into detail of other relationships going on, as you have to go and see this production to find out for yourselves. I don't want to spoil it for you.

Last act, we are shown the production on it's final legs... I mean leg of the tour... with even more things going wrong, lines being thrown in, props going wrong etc etc.

I am going to be completely honest here, I absolutely loved this production. It is laugh out loud funny, and gives you an insight to the working life of a show, all be it going wrong.

This is a must see, you will not regret it. Prepare yourself for a good night out and enjoy one of theatre's better comedy offerings.

Noises Off runs at The Old Vic until 10th March 2012
http://www.oldvictheatre.com/

Review: CINDERELLA – Theatre Royal Stratford East

CINDERELLA

Theatre Royal Stratford East,

Forget the Olympics and the giant shopping centre, Theatre Royal Stratford East is a gem in the middle of Stratford. It has an illustrious past and, from what I saw on Wednesday night, its future is guaranteed.

Cinderella by Trish Cooke and Robert Hyman is all that a panto should be and more. From the opening of Buttons (Stephen Lloyd) asking for audience participation to the packed house, the theatre-goer knows that there are not going to be any crying or fretful children, as their joyful shouts and giggles filled the theatre.

This Olivier-nominated production of Cinderella (with a twist) zips along more seamlessly than most Christmas fairytales. The characters instantly made an impression on even the smallest children present; for some, it must have been their first theatre experience.

Something that this theatre does well is to reflect the audience, and with its multi-ethnic cast, urban slang, modern cultural references and jokes that worked on everyone's level it was more inclusive than any panto I can remember seeing. There's no sagging, no protracted "he's behind you" although, of course, you are thanked when you do warn the impish heroine that someone's about to creep up on her. I'd not heard so many

children engage with a cast before, other than the standard boo and hiss. "You're mean!" one five year old yelled, drawing a wink from the evil baroness .

The first half sets the scene, with original music and a sparkling set, but it was but a warm up for the main event which really kicked off after the interval with giant glitter balloons surfing the crowd.

It's hard to single out any of the performers as they all shone. For me, the sight of Michael Bertenshaw rocking a red ballgown was a bonus, but I also loved Shelley Williams' Queen who couldn't wait to be free of her royal restrictions.

The singalong was fun, leading to all the loose ends being tied up for the rousing finale. There was a message too, for those who looked for one: be true to yourself, and don't follow the crowd.

If you live in the area, and even if you don't, and you have children, I suggest you show them a production that will stay in their memory for many years to come.

Cinderella plays at the Theatre Royal Stratford East, Gerry Raffles Square, Stratford, London E15 1BN until 21 January. Tickets £6-£22 from www.stratfordeast.com

Reviewed by Jude East

Review: Aladdin - Grand Opera House York

York and the festive period go hand in hand.  As outside, the busy shoppers enjoy the magic of Christmas, theatre-goers are offered a different brand of magic and a choice of two pantomimes in a city well renowned for its theatrical festive fare.

At the Grand Opera House this year is the classic tale of Aladdin with Steven Arnold, Coronation Street’s now deceased Ashley Peacock, taking the title role.  Surprisingly the television connection, which I am sure the theatre must be pinning a lot of their press work on, is only briefly mentioned on a couple of occasions.

All the key ingredients are present from the dim-witted Wishee Washie to Window Twankey and her interesting choice in wardrobe, a hissable baddie to a principal girl to steal the heart of Aladdin.  And, in general, they all come together to produce two and a quarter hours of family entertainment that will keep the children happy without too much pain for the grown-ups.

Arnold’s Aladdin is quite reserved and understated for a leading role and instead it is Aiden J Harvey as Wishee Washie who is left to drive the show.  He engages the audience well with his line in impersonations, appropriately cringe worthy jokes and audience participation.  It is noticeable how energy levels (both on stage and amongst the audience) seem to rise whenever he is present and in many ways he is the hero of this production.

Widow Twankey (Phil Randall), whilst no shrinking violet, is not as over-the-top or gimmicky as can sometimes befall a dame and is none the worse for this.  She (he?) works well with her two sons to good comic effect – though her attempted use of audience participation falls flat and should really be reconsidered. Dan Styles as Abanazar puts in a polished, solid performance but it would be nice to see him given a few better lines from a script that lacks any punch.  But a lack of punch is a common fault with the show. 

There are flat spots throughout where momentum seems to run out and the stage is left devoid of action or anything visually exciting, though the second act seems to settle more in to a rhythm and has a better pace.  Often it is left to the dance team to paper over the cracks – most noticeably at the end of Act 1 as a painfully overlong routine is used to cover a “quick” change for Aladdin.  Elsewhere, the slapstick scene lacks any imagination or spark and is lazily under developed.  It would be nice to think that these areas will tighten up as the run goes along.

On the plus side, Daniella Gibb as Princess Yasmin demonstrates her West End credentials with a couple of stunning solos that shine out amongst the mix of familiar songs that fill the show.  The dancers give it their all and the rest of the cast offer reasonable support to the main characters.

The set is fine, with the cave the stand out moment, and the band provide an accomplished soundtrack – though even they must get bored of playing “Hey Baby” so many times!

There is more than enough here to keep younger audiences happy – plus the genie of the lamp who offers eye candy to the mums (and, on the night I attended, girl guides) in the audience – but it falls a little short in the end.  A bit more attention to detail, a few more local references and some tighter direction would all be on my wish list.  Maybe I need my very own genie!

Aladdin runs until 1st January

Book tickets HERE

Review by James Eaglesfield