With the new CEO, Diana Jones (Kia Pope) now leading the Marketing company changes and job losses are inevitable as they want to make their mark on the company. Marketing managers Timothy Davies (John Goodrum) and Brian Stevens (David Martin) work together one last time to see which one of them will keep their job.

As It Comes! is a brand-new comedy farce set over three scenes, taking place over two working days in the office. Potentially it could be insight into the world of advertising marketing and the work that goes on behind the scenes of the catchy advertising slogans. I don’t have any experience in this industry to know whether it is or not.

Jilly Jenkins (Karen Henson) delivers the bad news to the pair via email and the managers aren’t sure what she means by “cutting the fat”. She’s not overly confident in the pair’s ability to deliver the last job. However, she is far too interested in chasing after Arun Anthony (Pavan Maru) in an attempt to go out for a drink to give the job too much thought.

Some of the farcical scenes reminded me of watching the scene in Fawlty Towers when they are desperately trying not to “mention the war” and fail miserably when Brian is attempting to convince Diana, very “badly” that is, that he is Timothy! Especially when a good redundancy package starts to be discussed by Diana.

Rumpus Theatre Company has created a good old-fashioned comedy farce. The style of play that you don’t see performed on smaller stages very often. Done correctly they are very entertaining and funny, which As It Comes! manages to live up to and the response from the audience confirmed this.

For more information on As It Comes and future productions at The Haymarket in Basingstoke please use the link below.

Three Stars.

https://www.anvilarts.org.uk/visit-us/how-to-get-here/the-haymarket

https://www.facebook.com/RumpusTheatreCo

Nine Moons is a wonderful creation by Nilgün Yusuf. Set in the house of a secondary school-age girl Sage played by Selma Alkaff with minimal stage props. You are given a window into the life of Sage and her long-standing friend Danni (Ella McCallum) and newbie Loukia (Sophia Andrea).  These three very likeable teenagers are on a psychological and physical journey through their teenage years and take the audience with them on an uncomfortable journey.

Sage meets the new school friend Loukia, who is quite different from Danni. Sage is badly struggling with her evolving body. And is at war with her constantly growing body hair. She is held in check by Danni, a social influence, who is very focused on her body and diet and exercise. Which we later discover is her way to control herself due family’s home life. With the new school friend, comes some fresh ideas about how your body should be and how to look.

Loukia introduces Sage to life through a different lens and is given time to explore different theories such as the “male gaze” and the book “The Female Eunuch” by Germaine Greer. This leads to Sage taking time for self-reflection and looking at different perspectives. However,  Danni is repulsed by Loukia and becomes even more obsessed with her exercise regime, healthy image and keeping up a good outside image. However, this regime of self-punishment helps her to keep the reality of her life hidden.

I found I laughed a lot alongside the characters, they are warm and relatable and I found myself going on the thinking process with them. Questioning the social expectations of women and their bodies. It questions periods and the stigma, which continues and how hidden they are. Loukia’s boldness is impressive and her level of sensibility as she helps her new friend release herself from the chains women carry. The audience could be left questioning the level of preening, hiding and censoring that takes place daily.

This wonderful play shines light on our lives as a woman and sees three young women beginning to navigate through life. All these ladies bring something different to the table due to their upbringings and informative years, the references made about Sage’s mother are hilarious and I really want to meet her.

I was left invested in these ladies’ lives and I wanted more of them seeing where life took them. Seeing their friendship develop and I look forward to the next instalment. Should that ever be written?

For more information about Nine Moons and future productions at Bridge House Theatre please use the link below.

Five Stars.

Reviewed for Theatre and Arts Reviews by Carla Norris.

Photo credit Jasmine de Silva.

Nine Moons

CAST:

Selma Alkaff SAGE

Sophia Andrea LOUKIA / BEARDED IRIS

Ella McCallum DANNI

CREATIVE TEAM:

PRODUCER Nilgün Yusuf

DIRECTOR Danäe Cambrook

SOUND DESIGNER Vanessa Garber

LIGHTING DESIGNER Alex Teixidó Blouna

PHOTOGRAPHER Jasmine de Silva

CONSULTANT Dr. Jazmina Cininas

Press Nights can be nerve-wracking for the cast and creatives of any production. However, tonight’s performance was delayed by about ten minutes as one of the main lead cast members Catherine Tyldesley was taken ill just before the curtain rose. Oonagh Cox stepped into her lead role of Blanche Barrow and gave a fantastic performance. There was nothing to suggest she had stepped into the role last minute.

Bonnie and Clyde lived fast and died young. The musical doesn’t glamourise their lives together it gives an insight into how Clyde Barrow had watched his father treated by the people he worked for and had been moved on and lost everything. Clyde didn’t want to risk being treated the same and embarked on a short-lived life of violent crime, which finds him serving time behind bars.

After breaking out of prison Clyde Barrow (Alex James-Hatton) meets damsel in distress Bonnie Parker (Katie Tonkinson) whose car engine is having another episode of losing oil. Clyde offers to lend a hand as long as she will drive him to another county. The spark between them ignites almost immediately between them as they fall in love.

The onstage chemistry between James-Hatton and Tonkinson is electric. Their romance appears to naturally blossom and on a couple of occasions, James-Hatton gives Tonkinson a loving gaze that appears to be real. Chemistry as strong and natural as these two is wonderful to watch. Adding another depth to the couple’s on-stage dynamics as the infamous couple.

The singing throughout the musical is outstanding.  The duet performance with Bonnie and Blanche is one of the highlights of the production. The clarity and strength of their voices led to a loud round of applause.

Nick Winston has directed a superb touring production of the West End hit musical Bonnie and Clyde. Along with also being the musical’s choreographer. Combined with the fantastic set where one minute you are behind the prison bars and the next you are in the house of God. The changes take place effortlessly. Full credit to set and costume designer Philip Witcomb.

For more information about Bonnie and Clyde and future productions at New Victoria Theatre in Woking please use the link below.

Photo credit Grahame Larter

Four Stars.

https://www.atgtickets.com/venues/new-victoria-theatre/

Home

Tuesday 23rd April-Saturday 27th April 2024 at Woking, New Victoria Theatre.

CAST
Catherine Tyldesley as Blanche
Danny Hatchard as Clyde
Katie Tonkinson as Bonnie
Sam Ferriday as Buck
AJ Lewis as Preacher

GATSBY is a brand new Theatrical adaptation of the novel and production of The Great Gatsby. Set in the 1920s during the prohibition in the United States of America. Alcohol might be illegal yet the well-to-do seem to have plenty in abundance and openly enjoy the illegal wares.

An immersive entrance awaits the audience as you arrive. Welcomed to the “party” and chatted to as a long lost friend or in my case a member of the “New York Times” who are now progressive and let ladies write for them (in the 1920s that is).

Ryan Moss takes on the role of Nick Carraway. Cousin of Daisy Buchanan (April Singley) whose large house that she shares with his ex-sportsman husband Tom Buchanan ( Peter McChronon) is situated across the lake to the modest bungalow Nick has rented for the summer while he looks for work.

The story of GATSBY is narrated by Nick Carraway accounting for the events that lead up to the fatal end of the Gatsby story. Ryan Moss offers a strong and reliable narrative. His body language and facial expressions speak louder than words when confronted with situations that his principles disagree with. I wouldn’t hesitate to believe his version of what took place during that summer.

GATSBY (Joseph Scatley) Nick’s incredibly wealthy and elusive neighbour is infamous for throwing star-studded parties and filling his mansion with dancing, laughter, and drinking long into the night. Carraway is delighted when he is invited to one of the parties. However, nothing is quite as it seems and Gatsby has other intentions to wanting to get to know Carraway.

Tom Buchanan is a serial womaniser and there are scenes of domestic violence as he exerts his dominance and control of the women in his life. McCrohon delivers an uncomfortable believable performance and when he shouts I found I jumped as well.

Choreographer Julie Faye creates a party atmosphere on the stage with the ensemble dancing to the audience in the style of 1920s hired party entertainment. Complete with a selection of stunning 1920s-style dresses and suits.

The storyline is clear and easy to follow. It wasn’t one I was too familiar with and I am not going to spoil it for anyone else who hasn’t seen it before either. Casting choices bring the storyline to life with believable characters who take you back to the affluent society members back in 1920s America.

For more information and performance dates on GATSBY and future productions at Groundlings Theatre please use the link below. I would highly recommend this production.

Four Stars.

https://www.groundlings.co.uk/

There’s such an inviting charm each time I visit The Mill at Sonning. Nestled next to the river just outside Reading. The Mill offers a different Theatre experience as each ticket includes the price of a two-course meal beforehand in their restaurant.

CALENDAR GIRLS set in 1998/99 is the real-life story of the WI who pose naked and create a calendar to sell to raise money to buy a sofa for the cancer unit at their local hospital. Annie’s (Natalie Ogle) husband John (Andrew Ryan) loses his battle with cancer. After months of sitting on the battered stain-ridden sofa at the hospital, Annie decides she wants to raise funds to replace it. In honour of John’s memory.

Anyone who has attended a WI meeting or been a guest speaker will recognise the characters portrayed by the cast. From Marie (Elizabeth Elvin) in charge of the group who is a stickler to the rules to Jessie (Sarah Whitlock) the retired teacher who still has a sense of humour and a rebellious streak is something to aspire to.

Oscar Cleaver makes his debut Theatre performance as Lawrence and Liam in the story. Lawrence is the photographer of the calendar and Liam is the unscrupulous soap powder photographer who tries to exploit the ladies. Two very different characters who were both believable.

The production offers plenty of hope and laughter while raising awareness of Leukaemia. CALENDAR GIRLS was one of the first mainstream films to talk about cancer and the effects it has on everyday life and all those surrounding the person affected. These WI ladies never set out to be famous or to rock the foundations of the “stuffy” WI hierarchy they just wanted to raise some money and make a difference for their friends’ plight.

Director Sally Hughes captures the charm of the real-life events that took place creating the calendar. The scene where the ladies go up the hill to one of John’s favourite places to see his sunflowers in bloom was very moving. There are moments throughout the play which caught me off guard and I could feel myself “welling up”. My advice is to take some tissues just in case.

It’s nice to see that a groundbreaking story of its time is still making it onto the Stage and keeping the memories alive of the WI ladies who defied the odds and made a nude calendar which made a huge difference to the cancer unit and bringing other people together whose lives have also been devastated by the loss of their loved ones.

For more information on Calendar Girls and future productions coming to The Mill in Sonning please check out the link below.

Four Stars.

Photographer Andreas Lambis.

https://millatsonning.com/

CALENDAR GIRLS
by Tim Firth
Directed by Sally Hughes

The Mill at Sonning
11 April – 1 June

Cast:
Debbie Arnold (Cora)
Basienka Blake (Celia)
Oscar Cleaver (Lawrence/Liam)
Elizabeth Elvin (Marie)
Rachel Fielding (Chris)
Kitty Harris (Elaine)
Ciara Janson (Ruth)
Natalie Ogle (Annie)
Dawn Perllman (Brenda Hulse/Lady Cravenshire)
Steven Pinder (Rod)
Andrew Ryan (John)
Sarah Whitlock (Jessie)

Creative Team:
Director: Sally Hughes
Set Designer: Terry Parsons
Costume Designer: Natalie Titchener
Lighting Designer: Matthew Biss
Sound Design: Technical Team at The Mill at Sonning
Casting: Kate Plantin CDG

Banging Denmark is making its European premiere at Finborough Theatre in West Brompton for a four-week run starting on April 16th 2024.

Billed as a black comedy rom-com written by Finborough Theatre’s former Literary Manager Van Badham. There’s been an horrendous backlash on social media platforms towards Ishtar Madigan (Rebecca Blackstone) whose a staunch feminist academic and has been sued and lost to a misogynist male online guru.

After months of being stalked and harassed, she is forced to take up camp in the photocopier room at the University. Living on rations that can be hydrated with hot water from the kettle! Food deliveries come in by one of her ex-students Dr Denise Kim (Jodie Tyack) and her “close” friend Toby (James Jip).

Jake Newhouse (Tom Kay) leads a double life as a management consultant by day and a misogynistic online guru at night whose appalling one-line chat-up lines and reverse psychology behaviour apparently will have women falling at your feet! However, when he meets Danish Librarian Anne (Maja Simonsen) he realises that all of his advice and games do not affect her.

Newhouse’s performance as the misogynist is chillingly uncomfortable at times. With the likes of Andrew Tate in this world they are going to be men out there who still believe that this is the way to treat women and this is their preferred art of seduction!

Jake is undeterred by Anne’s rejection and decides to ask the destitute academic Ishtar to help in his quest to “woo her” by offering her an enormous amount of money. Apparently everyone has a price despite their deep rooted principles!

Leah Kelly co-set designer has utilised all the stage space available at Finborough Theatre to create separate rooms for the characters to reside. From the cramped photocopier room to the empty pizza box-littered flat where Jake lives also known as a yacht!

In an hour and forty-five minutes it feels slightly drawn out at times. The concept is funny and there are plenty of laughs throughout despite the misogyny and unethical carrying on. Does he win the fair maiden, there’s only one way to find out.

For more information on Banging Denmark and future productions at Finborough Theatre please click on the link below.

Four Stars

Photo Credit Ali Wright

Our Season

Ten years on since USHERS first came to the stage and the first opportunity I’ve had to watch it. The Musical comedy is an inside view into how the front of house teams in a theatre might behave, although it is fair to say you wouldn’t want too many bosses like Robin (Daniel Paige).

Luke Bayer as Ben has a long-standing relationship with partner Gary (Cleve September). Gary has signed up to work in Austria for a year and the two are barely talking to one another after Gary delivered the news to Ben.

Star-obsessed Rosie (Bethany Amber Perrins) breaks every rule going as the tik tok “Theatre Ninja” posting videos online that are forbidden due to her job. However, the character’s ditzy attitude and love of the Leading Men have you rooting for her to come out on top no matter what she does.

Lucy (Danielle Rose) arrives for her first shift. Thrown into the world of USHERS which she doesn’t understand and quickly picks up the “slang” while trying to make sense of the chemistry reaction she is having with fellow worker Stephen (Christopher Foley).

However, the star of the show belongs to Theatre Manager Robin. Paige’s performance as the overbearing, lecherous, misogynist failed Opera Singer is outstanding. His over-the-top attitudes towards his staff are disgusting.  It takes a great actor to pull off playing such a dislikeable character while still loving the actor.

References to recent Theatre productions are thrown into conversations throughout the evening. Some are rather curt and met with laughter or gasps. There are several references made to the long-running musical Mumma Mia. Listen out to hear if your favourite gets a shout-out.

Director Max Reynold, alongside choreographer Adam Haigh, have brilliantly bought new life into USHERS since the now ten year old book by James Rottger first came to the stage.

USHERS is the performance before and after the main event that the Theatregoers never watch. Where the overpriced drinks and programmes are all that matters to those in charge. If they hit their targets there’s something to sing about. It’s an all-round funny and entertaining night at the Theatre where perhaps “Anything Goes”!

For more information about USHERS and future productions at The Other Palace please visit the link below.

Five Stars.

Photo credit Craig Fuller

Home

http://ushersmusical.com/

The Pinot Princess explores the role of Mary the Mother of Jesus through two actors performing a play within a play. Which in a forty-five-minute performance is quite a challenge considering the themes they are exploring.

Pamela Flanagan takes on the role of actor Pinot who is attempting to give a feminist voice to Mary, the Mother of Jesus while trying to find her way in a world where she’s struggling to fit in without the odd glass or five of Pinot.

The plot becomes slightly mixed up and attempts to take on several routes. There’s a brief interview about the plays performance with a social media Influencer which fails to go to plan, a staged unorthodox casting interview and the unravelling of Pinot Princess’s relationship with her Mother and God!

There are some thought-provoking ideas within the script. However, the main themes need to become central and with some editing, the plot could become clearer which would allow the audience to have a clearer understanding of what is taking place and the important issues they are raising.

For more information on this Pinot Princess and future productions at Omnibus Theatre please use the link below.

THE PINOT PRINCESS

Photo credit Samuel Brooks.

Three Stars.

Cast

Pamela Flanagan
Neal Craig
Lizzie Mounter

PRESENTED BY UNCLOUDED MOON PRODUCTIONS

WRITTEN BY LORRAINE MULLANEY

DIRECTED BY DEIRDRE DALY

Shirley Chisholm ran for the American Presidency in 1972. Chisholm was the first Black woman to be elected into Congress and decided to run for the top job and take on her white male contemporaries when the position of President became available. Chisholm wanted to give a voice to everyone who felt marginalised or unheard. From the black community to the drag artists a brave stand to take in the 1970’s.

Chisholm for President the musical is still an ongoing work in progress with the sights set on producing a full-length musical. From tonight’s performance, this has “legs” and could make for a fantastic powerful full-length musical which I believe would be positively received by a far wider audience it’s an important historical story that deserves to be heard and offers a powerful voice from the depths of the historical archives.

Madeline Appiah performs the role of Shirley Chisholm. Appiah has an incredible stage presence and voice to match. She’s believable and passionate in the role and brings the late Congress member to life.


The concert tells the powerful true story of a Black woman’s struggle against the political machine and her trailblazing run for the Democratic US presidential nomination in 1972. By the end of the musical, it feels like you have been to a political rally. In a year of elections, both the UK and America could benefit from a strong candidate like Chisholm in the race to make much-needed changes.

The original play by Zodwa Nyoni has been set to music by writer and composer Testament. There are timescales when it’s a strain to hear Appiah over the Orchestra which balances against the plight Chisholm would have fought against to be heard. This could easily be rectified with the addition of screens to show the words so the audience can read what’s she saying.

For more information about Shirley Chisholm please check out the link below and read up on this amazing lady who stood up for what she believed in and changed the history of American Politics.

Born Shirley Anita St. Chisholm in 1924, to Bajan immigrants, she was the first Black woman to be elected to Congress in 1968. Chisholm was a founding member of the Congressional Black Caucus and the first African American to make a serious bid for the Presidency of the United States of America in 1972.

Photo Credit Derrmot Daly

https://www.womenshistory.org/education-resources/biographies/shirley-chisholm

GISELLE:REMIX features a collaborative mix of ballet, lip-syncing cabaret singing and dialogue. Giselle has been brought up through the era of Drew Barrymore and Julia Roberts, where romance led to happy ever after. However,  Giselle finds that his experiences with grindr, hook-ups and loveless liaisons don’t live up to his Hollywood dreams and expectations and leave Giselle questioning what’s going on and will the happy ever after be there.

Kit Green was our guest artist for press night. Giving a graceful and powerful performance.  The two other artists who will perform that part during the run are Johnny Woo and Lavinia Co op. Check out the Pleasance website to confirm their performance dates.

Jack Sears takes the lead as we the audience are taken on a journey through what you can experience when you fall in love followed by the emotional rollercoaster as the romantic dreams fail to live up to expectations. I certainly felt like I had been on a journey by the end of the seventy-five minute show.

The accompanying dance troupe give an outstanding performance throughout. You can see the collaboration with the Royal Opera House as their movement has the precision of professionally trained ballet dancers. I was completely in awe of some of the positions they effortlessly merged into.

Lighting design by Lucy Adams and the dramatic stage effects added a huge depth to the production. When the stage went dark and full of stage mist it was fascinating working out the shadows movement and an eerie dimension to the love story.

Described as “Giselle like you’ve never seen it before” is the best description this production can have and the photographer Ali Wright has brilliantly captured the essence of the production. For more information on GISELLE:REMIX or future productions at The Pleasance please use the link below.

https://www.pleasance.co.uk/event/giselle-remix

Three Stars

Photo Credit Ali Wright

All tickets for the 7pm performance on Saturday 20th April include entry to GISELLE: LATE, with tickets to just the LATE night curation available here.

GUEST STAR PERFORMERS
Kit Green (performing 10-13th April)
Jonny Woo (performing 17, 24 & 25th April)
Lavinia Co-op (performing 18-20, 26 & 27th April)

DANCE TROUPE CAST
Jack Sears (@jackqueers)
Harri Eiffert (@harrijames_eiffert)
Elle Fierce (@ellellle)
Spike King (@spikeking)
Marie Astrid Mence (@marie_astrid_mence)

CREATIVE TEAM
Created by Jack Sears and Hannah Grennell
Choreography by Hannah Grennell in collaboration with the Dance Troupe Cast
Produced by Molly McGeachin at The Project People
Executive Produced by Patrick Bone
Costume Design by Laura Rose Moran-Morris
Lighting Design By Lucy Adams
Consultant Set Design by Blythe Brett
Sound Design by Rhys Cook AKA Oberon White
Marketing Consultancy by Holly Adomah
PR by Kevin Wilson

GISELLE LATE produced by Patrick Bone
Photography by James Frederick Barrett

Supported using public funding by the National Lottery through Arts Council England.
Free Sheet available here.

ACCESSIBLE PERFORMANCES
Captioned Performance: Wed 17 Apr, 7pm

Captioning Type: Open Captions delivered by Claire Hill.

Seating: Captions will be raised above the stage. We recommend booking in the central area of the stalls or circle for the clearest view.

Access concessions available online.