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Jan 20th

Dead Simple at The Mill at Sonning

By Clare Brotherwood


It’s taken me a while to get down to writing this review because, there are so many elements to The Mill’s latest production, I don’t know where to start.

I wish I could just stay with… it’s outrageously entertaining. Words fail me (which isn’t a good thing for a writer!). It’s a storyline which is so jam-packed full of completely unexpected surprises, all I can say is, how one man can think up such a plot is beyond my wildest imagination. It’s one of the best I’ve seen in a lifetime of theatregoing, and gave me huge enjoyment. I don’t think I’ve ever reacted so much. It left me open mouthed, gasping with surprise and incredulity and, at one point, I was even stuffing my fist into my mouth. Best-selling author Peter James, whose book Shaun McKenna’s stage version is based on, is a genius!

It begins with the run-up to Michael Harrison’s wedding. His business partner is arranging a stag night but when armed men turn up at his flat, kidnap him, bury him alive in a coffin in the middle of a forest and then go off and get killed in a head-on crash, the question on everyone’s lips is, will he get out alive?

That remains unanswered for most of the play, but in the meantime all sorts of sub-plots keep us literally on the edge of our seats, as psychopaths and even the supernatural abound.

It’s a hugely complicated and technical production for all actors involved, and my huge thanks to them and to director Keith Myers for presenting us with such thrilling entertainment. I don’t really want to single out anyone as I can’t say why without giving some of the game away, but Louise Stewart as Michael’s fiancée; Martyn Stanbridge as her gloriously camp uncle; Lewis Collier, who has to go through physical torture as Michael, and Matt Milburn as Michael’s emotional business partner, are the protagonists, together with a seriously disturbed young man, magnificently portrayed by Daniel Buckley.

If you like a cracking good story that is likely to scare the hell out of you, this is a must-see!

Dead Simple is at The Mill at Sonning until March 11

Box Office: 0118 969 8000

Jan 12th

A Judgement in Stone at the Theatre Royal Windsor

By Clare Brotherwood

If the opening night audience was anything to go by, Windsor theatregoers are ready to shake off the panto season and embrace the Theatre Royal’s programme for 2017.

A packed auditorium heralded the first of this year’s productions which celebrates the 10th anniversary of The Classic Thriller Theatre Company with a tour of, so far, 29 theatres, which will keep the cast in work until at least September. Some marathon!

That cast includes familiar favourites such as Mark Wynter, a pop star in another life who gets to sing in this play; star of classic films such as Saturday Night and Sunday Morning, The Entertainer and Alfie, Shirley Anne Field; Andrew Lancel who won the Villain of the Year in the British Soap Awards for his role of Frank Foster in Coronation Street; Deborah Grant, best known for A Bouquet of Barbed Wire and Another Bouquet, and Sophie Ward, who has numerous film and TV credits.

A Judgement in Stone is considered to be one of Ruth Rendell’s greatest works, but unlike the queen of crime novelists Agatha Christie she is more concerned with the psychological sources of a murderer’s actions.

So we don’t have a whodunnit here, rather a whydunnit, and how did it come about.

The play alternates between real time and the months leading up to the murder of a wealthy family of four. We know where we are because of Malcolm Rippeth’s atmospheric lighting - warm and homely for when the family is still alive, and cold and stark for the time after the murders when the police are investigating the crime and questioning various suspects. It’s an intricate business. At the flick of a switch the scene changes and, last night, characters sometimes didn’t get on or off stage in time for the next scene. But it was, after all, opening night, and under Roy Marsden’s skilled direction I’m sure the production will be tightened up in no time.

It is beautifully set, in an oak panelled room with large leaded windows looking out onto a garden, so top marks to designer Julie Godfrey who makes the whole thing look so realistic.

There are surprising performances from some of the actors. Sophie Ward plays Eunice Parchman, the housekeeper whose attempts to keep her illiteracy secret lead to the tragic deaths of her employers. As such she is wonderfully withdrawn but with a very dark side, quite the opposite of Eunice’s only friend Joan Smith, the village postmistress. She’s not at all like you’d expect a postmistress or Deborah Grant, for that matter, to be. I love Grant’s performance as a bleached blonde, mini-skirted common ex-prostitute who has found God. Way over the top and hilarious with it, the funniest scene is when she is dancing on the table.

I wouldn’t have expected Shirley Anne Field to be playing an embittered cleaner, either, but that’s showbiz!

Everyone deserves praise: Andrew Lancel is suitably authoritative as DS Vetch, up from London to head the investigation, while Ben Nealon adds a homely touch as the local DS. As master and mistress of the house, Mark Wynter and Rosie Thomson are full of bonhomie and pretty smug, and I also like the performances of their children. Although not the biggest parts Joshua Price makes his mark as the moody Giles, as does Jennifer Sims as the friendly, lovable Melinda, while Antony Costa as the wayward gardener may seem just a nice country lad, but he does show his hidden depths.


A Judgement in Stone is at the Theatre Royal Windsor until January 21

It then continues to tour:

Jan 23-28: Richmond Theatre

Jan 30-Feb 4: Yvonne Arnaud Theatre, Guildford

Feb 13-18: Kings Theatre, Edinburgh

Feb 20-25: New Alexandra Theatre, Birmingham

Feb 27-Mar 4: Eastbourne Devonshire Park

Mar 6-11: Hall for Cornwall, Truro

Mar 13-18: Buxton Opera House

Mar 27-Apr 1: Northampton Theatre Royal

Apr 4-8: Cardiff New Theatre

Apr 10-15: The Playhouse, Weston-Super-Mare

Apr 18-22: Bromley Churchill Theatre

Apr 24-29: Leeds Grand Theatre

May 2-6: Malvern Festival Theatre

May 8-13: Cheltenham Everyman Theatre

May 15-20: Assembly Hall, Tunbridge Wells

May 22-27: Crawley The Hawth Theatre

May 30-Jun 3: Waterside Theatre, Aylesbury

Jun 5-10: Southend Palace Theatre

Jun 12-17 Derby Theatre

Jun 19-24; Glasgow Theatre Royal

Jun 26-Jul 1: New Victoria Theatre, Woking

Jul 3-8: Wolverhampton Grand Theatre

Jul 10-15: Harrogate Theatre

Jul 17-22: Stoke Regent Theatre

Jul 24-29: Milton Keynes Theatre

Jul 31-Aug 5: Newcastle Theatre Royal

Aug 19-23: Belgrade Theatre, Coventry

Sept 25-30: Orchard Theatre, Dartford.


Box Office: 01753 853888

Jan 12th

The Kite Runner at Wyndham's Theatre

By Clare Brotherwood

Films and plays based on books are usually a disappointment. So I didn’t hold much hope for Khaled Hosseini’s best seller’s transference to the stage.

But here is a production which is true to the book. And how they manage to transfer an enraptured audience to the Afghanistan of childhood friends Amir and Hassan with a minimal set and a dozen actors is down to the genius of adapter Matthew Spangler and director Giles Croft.

It’s a simple format: Amir, now married and living in San Francisco, looks back on his life from his childhood days in a relatively peaceful Kabul when kite flying was a competitive sport. It begins with him narrating his story, but it’s not long before Ben Turner, as Amir, becomes more than a mere narrator. Taking on the cloak of the child he once was, the former Casualty nurse transports us back in time, becoming that child in mannerisms, speech and attitude.

It’s an extraordinary performance, for not only does Turner become child, adolescent and adult, he also runs the gamut of emotions from childish wonder and fear to adult love, to guilt and despair as he carries with him a secret which fractured his friendship with his constant companion, his servant, and kite runner, Hassan.

Hassan is totally loyal to Amir and defends him whenever he needs him, never wavering, and Andrei Costin’s portrayal is most moving. I also like Emilio Doorgasingh’s emotional Baba and Nicholas Karimi certainly struts his stuff as the bullying Assef.

Alongside Amir’s story is that of Afghanistan, from the communist coup in 1978, the Soviet invasion in 1979 and the rise of the Taliban. Together, Hosseini and Spangler make the situation real and personal, giving the play an extra dimension, while Hanif Khan adds an extra treat, playing the tabla beautifully at the side of the stage. And it’s not without its humour. Christopher Biggins’ loud laughter from the first night auditorium truly endorsed that!


The Kite Runner is at Wyndham’s Theatre until March 11.

Box office: 0844 482 5120

Dec 16th

Robin Hood at The Egg Theatre, Bath

By Clare Brotherwood

If Wikipedia is to be believed, the legend of Robin Hood has been around since 1377.

Greg Banks’ version, however, is bang up-to-date, opening with rough sleepers prowling the stage as one of them recalls the man who robbed the rich to feed the poor.

The characters may have been made homeless by Prince John but there are many today who are just like them, living on the streets and begging for food, while instead of Robin Hood we have charities such as Crisis and Shelter.

This production is far from downbeat, however. Yes, it’s got a heart. It’s a story with substance and some robust characters, but it is also rollicking, good entertainment, with a live band, songs, dancing and some audience participation. Banks, who also directs, is to be praised for fitting so many elements into 1 hr 50 mins, while the cast of four are to be applauded for their energy, physicality and all-round versatility.

Much of the fun is down to Thomas Johnson’s music, and lyrics co-written by him and Banks. It’s a mix of reggae, rap, Madness and The Proclaimers, with the cast belting out songs such as Liberation Day to rousing accompaniment from Amy Sergeant on guitar, Julie Walkington on double bass and Rhian Williams on drums. The fact that they perform these songs with hand-held mics and sometimes wear Blues Brothers-type sunglasses makes them extra-cool and identifiable to today’s young audiences

All four play a myriad of characters, only going to the side of the stage to instantly turn round transformed into a goodie or a baddie. But they each have major roles.

Peter Edwards is your archetypal hero, leaping from tree trunk to tree trunk firing imaginary arrows and being an all-round good egg (pun not intended). He’s brave but when he and Marion fall in love he is as soppy as you can get.

Although she gives in to the Sheriff of Nottingham to save her father, the character of Maid Marion is a lot more spirited, and her bravery, loyalty and love makes her a perfect role model for girls of today. It would be a better message to send out  if Robin had fallen in love with her because of her bravery rather than her beauty but, whichever, audiences will fall in love with Rebecca Killick (who also plays Much, an adolescent member of Robin’s Merry Men), a cracking little actress who has huge presence and even makes turning cartwheels look easy.

Nik Howden and Stephen Leask are at opposite ends of the scale. As the Sheriff of Nottingham, Howden is perfect as a thin, black-leathered, streak of evil, while Leask shows his comedic skills, playing Prince John as a figure of fun.

Performed in the round with Hannah Wolfe’s set of a clump of frosted tree trunks presenting challenges to the actors, this production for six-year-olds upwards is a real Christmas cracker, while The Egg, built specifically for use by young people inside a Grade II listed Victorian building, is a star in its own right.

Robin Hood is at The Egg Theatre, Bath, until January 15.

Box office: 01225 448844

Dec 5th

The Elves and the Shoemaker at Norden Farm Centre for the Arts, Maidenhead

By Clare Brotherwood

For many youngsters, Norden Farm’s Christmas show is their first experience of theatre, and this year’s production from the Stuff and Nonsense Theatre Company should ensure that they come back for more.

Excited chatter turns to squeals of delight as two little green men set about helping hapless shoemaker Sam Lacey make magic shoes in artistic director Niki McCretton’s adaptation of Vera Southgate’s all time favourite.

Stuff and Nonsense’s claim of making ‘energetic, mischievous and inspiring theatre’ is spot on.

The fun starts when Sam’s neighbour Belinda bustles through the audience, chatting animatedly to all and sundry, making the little ones feel part of the production.

Her enthusiasm continues throughout the show, not only for life but for Sam and his good fortune. She’s desperate to make friends, and Chloe Conquest’s lively performance endears her to all.

Sam spends the entire time in his pyjamas, which may be a clue to the fact that he is a bit slow and sleepy. Certainly, his ideas of making shoes out of bricks and bread show that he is not the brightest, and Graham Elwell portrays his ineptitude in such a way that he has his audience screaming with laughter and offering plenty of support when the elves appear to shouts of that Christmas anthem ‘Look behind you!’

The elves, looking like distant cousins of Kermit the Frog, are also the subject of great hilarity and excitement as they turn up when least expected and from all sorts of hidden places, keeping little minds engaged. Sarah Moody’s quirky music, which sounds like a collection of kitchen utensils banging together, also adds to the mix.

There is, of course, a feel good factor, a message about helping each other and making friends, but most of all it’s an entertaining 55 minutes which will hopefully nurture future theatre audiences.


The Elves and The Shoemaker is at Norden Farm Centre for the Arts, Maidenhead until December 30.

Box office: 01628 788997

Nov 30th

High Society at The Mill at Sonning

By Clare Brotherwood

Think of High Society, and Cole Porter classics such as Who Wants to be a Millionaire, True Love, Just One of Those Things, and Samantha, come to mind, sung by original cast members Bing Crosby, Grace Kelly and Frank Sinatra.

It’s a frothy, funny, feel good show you’d think would only be at home in Hollywood movies or on the West End stage. But, to quote Mr Porter, you’ll be ridin’ high if you join in the swell party this is at The Mill at Sonning.

Just how this ‘big’ musical fits so comfortably in The Mill’s small space must be an illusion. The audience is certainly not short changed by the intimacy of its surroundings, nor the calibre of the performers. It’s full-on, fast-paced, all-singing, all-dancing entertainment, yet it isn’t in your face - and we must thank director and choreographer Joseph Pitcher, who has been resident director on the RSC’s West End production of Matilda for the past two-and-a-half years, for striking the perfect balance.

Perfect is an adjective I think I shall be using more than once in this review.

High Society is set on Long Island in 1938 and charts the events leading up to the wedding of the fabulously wealthy Tracy Samantha Lord to the humourless George Ketteridge. Enter Tracy’s ex-husband, a couple of undercover reporters wanting to dig the dirt on Tracy’s erring father, and a lot of Champagne, and things don’t always go according to plan.

From the outset, Kirsty Ingram proves she is a star in the making as Tracy’s kid sister Dinah. Although aged 22 and only in her second professional production, she sparkles throughout her perfectly portrayed role as a petulant child, bossy and cheeky, but with a vulnerability, especially in scenes with Tracy’s ex, on whom she obviously has a crush.

At the other end of the scale, David Delve is an old hand at musicals, both in the West End and on tour, and although his larger than life performance as Tracy’s Uncle Willie would satisfy audiences in big theatres, it is not over the top in this smaller venue. The big expressions, flashing eyes, swivelling hips (and wandering hands) all make for a great deal of hilarity.

All 11 members of the cast must be congratulated on their fine contributions to this perfect way to celebrate the festive season, not to mention musical director Charlie Ingles’ hard-working band, Callum White on percussion, Pete Hutchinson on double bass and the impressive Joe Atkin-Reeves on clarinet, sax and flute.

As Tracy’s mother, Elizabeth Elvin, a regular at The Mill, fits right in with a cast whose background is in musical theatre rather than as actors who sing. Bethan Nash has an amazing voice and sings and dances her way through the role of Tracy Lord with fluidity, pose and an endearing sense of fun, but among my favourite scenes are those between Rachel Moran as Polly the maid, and Grant Neal as Chester the butler. Every time the stiff, poker-faced servants launched into a wild, abandoned song and dance routine the audience erupted. A swell party indeed!


High Society is at The Mill at Sonning until January 14. Box office 0118 969 8000

Nov 3rd

Pierre Bensusan at Norden Farm Centre for the Arts, Maidenhead

By Clare Brotherwood

Occasionally, when I find myself moved so much by a performance other than acting, a review about music finds its way onto this website.

Last night was such an occasion. Pierre Bensusan is recognised as one of the premier musicians of our time. Winner of the Independent Music Award and voted Best World Music Guitar Player in 2008, his humility is touching as he tells his audience he is privileged to be playing for us. But let us tell you, Monsieur Bensusan, the privilege is all ours.

I had gone along to the theatre disgruntled - by too many things happening in my life. By the start of the second half I was in a state of quiet euphoria, totally at peace with the world. I was even moved to the odd tear. Music at its best is like that, isn’t it? It’s magical; it can make a difference, and Pierre Bensusan makes a difference.

Not that his music is an easy ride. He is famous for using the Dadgad method of tuning which isn’t always melodic, but it does wake up your senses, and makes you aware of the complexities of the guitar. You wonder, are there really only six strings on this instrument which seems a living extension of this gentle yet passionate performer? His music is both soothing and invigorating, and his songs, which he and his wife, Doatea, compose, can be moving or amusing. It doesn’t seem to matter that they are in French. Infact, that adds to the appeal.

Bensusan may be known as The Mozart of the Guitar and, as such, is worthy of the title, but he takes after no-one. He is unique.

Pierre Bensusan tours continuously worldwide, and his remaining dates in England and Scotland are:

Nov 5: Bristol Folk House

Nov 6: The King Arthur, Glastonbury

Nov 9: Liverpool Philharmonic Hall

Nov 10: Broadoak Hotel, Ashton-Under-Lyme

Nov 11: Crown and Mitre Hotel, Carlisle

Nov 12: Milngavie FC, Milngavie

Nov 14: Traverse Theatre, Edinburgh

Oct 12th

Steven Berkoff's Lunch and The Bow of Ulysses at the Trafalgar Studios

By Clare Brotherwood

The end of the pier show, Steven Berkoff’s double bill is not. These two short plays may be set on a pier, with a backdrop of the sea and sounds of a funfair and even donkeys braying (do they even still have donkey rides on beaches these days?) in the background, but there is nothing superficial about Lunch and The Bow of Ulysses.

In true Berkoff style the dialogue and the style of acting punches you in the face, and in the intimate space that is the Trafalgar Studios it is almost explosive.

Certainly, at times, Man’s character seems too big for the small space, and the energy that Shaun Dooley (currently in TV’s DCI Banks) puts into his performance made me glad I wasn’t sitting in the front row! Nigel Harman may be memorable as an actor in EastEnders and Downton Abbey, but he is now certainly making his mark as a director. He delivers, with a freshness, what Berkoff is about.

Lunch was written in 1983 and shows what happens when Man and Woman first meet, on a pier during their lunch break.

The exaggerated mannerisms, so typical of Berkoff, and Man’s awkwardness as he tries to chat up Woman, cause much amusement, and should be at odds with the beautiful, poetic dialogue. Instead, we gape in wonder as Dooley chews every word, savouring them or violently spitting them out.

Woman is the complete opposite - quietly leading Man on with very little expression, and Emily Bruni is beautifully controlled.

There are scenes which are uncomfortable to watch, and our perception of the characters change, but the exchange between them is sometimes electrifying.

The Bow of Ulysses was written in 2002 and is a sequel to Lunch. Now we find Man and Woman 20 years on and with an unhappy marriage behind them, blaming each other for their own inadequacies, soured and disappointed. It’s painful to watch, the only relief being that Woman’s delivery is so deadpan and cutting we can’t help but laugh. But is it a nervous laugh you make when you see how true to life - your life - it is.

Berkoff, in the capable hands of Harman, Dooley and Bruni, certainly hits home!


Steven Berkoff’s Lunch and The Bow of Ulysses is at the Trafalgar Studios until November 5

Oct 8th

Confessional at the Southwark Playhouse

By Clare Brotherwood


To be honest, the situation in which I found myself last night was one I would go to any lengths to avoid.

I was sitting in a dingy pub watching all hell break loose as a bunch of low life screamed and shouted at each other, at times becoming violent. I didn’t feel comfortable; I didn’t know which of my fellow drinkers would kick off next. But, sadly, it is all too common a part of life in the 21st century.

Only, I wasn’t in a real pub, the ‘low life’ were actors, and the play they were performing was written in 1970, originally set in the 50s, and written by none other than Tennessee Williams. Nevertheless, it is bang up-to-date, with a drunken, mini-skirted woman tottering about on high heels, and with sex, racism and homophobia in the mix.

The fact that it feels so real is down to some first class acting, the imagination of director Jack Silver and the vision of theatre company Tramp.

The only thing that isn’t real is that the carpet isn’t sticky!

It isn’t so much curtain up as opening time as the audience is allowed to drift into what is essentially a pub. You buy your drink, find a table and start socialising.

You have no idea what is going to happen. You are not given a programme until you leave so you don’t know who are the actors and who are the punters - which makes it all the more believable. And even though I’m telling you something of what to expect you still won’t know what’s going to happen. For although the words may be the same no one peformance is. The actors are allowed to make it up as they go along. They don’t even decide in advance whether they are going to laugh or cry - which makes this production even more of a masterpiece.

I don’t want to give away too much about the actors for fear of identifying them for future audiences, but Holby City fans can’t fail to notice Rob Ostlere who played Arthur Digby until his death from cancer earlier this year. In Confessional he plays a grubby looking, beer swilling chef with a propensity to belch, but that characterisation doesn’t sit as easily on him as does the rather timid man who wants to keep out of the way of trouble.

I can’t write an appreciation of this play, however, without mentioning Lizzie Stanton who plays Leona, a beautician who lives in a trailer, and who gets increasingly drunk and emotional as the 95-minute production goes on. From the quake in her voice as she begins to lose control to her hysterical screaming, the intensity of her feelings is hard to bear - and then she has us feeling sorry for her as she cries over the death of her younger brother. A true tour de force.

But while this is a platform for some superb acting, imaginatively presented, the fact that it appears so real is also its downfall. It’s an assault on the senses, and way too much like the reality of life we all try to avoid.


Confessional is at the Southwark Playhouse until October 29


Box Office: 020 7407 0234

Oct 4th

The Woman in Black at the Theatre Royal Windsor

By Clare Brotherwood

You would think that, after seeing The Woman in Black four times (three times when I was working for a newspaper and once when I took a friend to London for a birthday treat) I’d sit nonchanlantly through my latest visit, laughing at the reactions of the other audience members.

But such is the magic of this show that it still surprises me and the delicious tingling down my spine went all the way to my feet.

First timers do, of course, react differently, especially young audiences who have flocked to see Stephen Mallatratt’s adaptation of Susan Hill’s story since it was made into a film in 2012 (which, I have to say, wasn’t anywhere as good as the stage version). It’s good to see a theatre full of youngsters, and they are ideal fodder for such a tale. Their gasps and screams must be wonderful feedback for the performers on stage.

For those who have been living on the moon and don’t know the story, so he ‘can sleep at night’, retired solicitor Arthur Kipps hires an actor to help him tell the terrible story of a ghost who haunts Eel Marsh House, which stands alone at the end of NIne Lives Causeway in a remote part of Britain. When the owner dies, Kipps, then a young man, is sent to the house to sort out her affairs, and what follows is a tale of terror and tragedy.

With the help of Kipps, The Actor tells his story, but this turns out to have several layers, with the action flitting from story to stage in an instant, but at times becoming alarmingly entwined.

It is extraordinary that two men acting out a ghost story in ‘an empty theatre’ with just a suggestion of a set can hold the imagination of theatregoers for a whole evening, let alone for a 27-year run in London’s West End. And even more extraordinary is the fact that, from the outset, it has been directed by the same man. But Robin Herford keeps it fresh and helps it grow by changing the cast every nine months.

With his latest team he certainly has another winner.

Both David Acton and Matthew Spencer are expressive actors, making it easy for their audiences to imagine the various locations and even a dog. Acton is especially versatile as Kipps, growing from a timid, frightened old man to a passionate performer who helps to act out his story by playing a multitude of characters.

Since I first saw the play it has become even more horrifying. Thanks to the sound team’s effects you can’t get away from blood curdling screams - and more, but there are moments of extreme quiet as the tension builds, and, thankfully, some lighter moments so the audience can relax - but not for long! Of course, the lighting and Michael Holt’s special effects all add to what is a rollercoaster of an evening - and that’s without The Woman in Black!


The Woman in Black is at the Theatre Royal Windsor until Oct 8

Box Office: 01753 853888


It then tours:

Oct 10-15: Royal Derngate, Northampton

Oct 18-22:Regent Theatre, Stoke-on-Trent

Oct 24-29: West Yorkshire Playhouse, Leeds

Nov 1-5: Marlowe Theatre, Canterbury

Nov 7-12: Everyman & Playhouse, Liverpool

Nov 14-19: Northcott Theatre, Exeter

Nov 21-26: Theatre Royal, Bath

Nov 29-Dec 3: Waterside Theatre, Aylesbury

Jan 9-14: Palace Theatre, Westcliff-on-Sea

Jan 17-21: King’s Theatre, Glasgow

Jan 23-28: Everyman Theatre, Cheltenham

Jan 30-Feb 4: Curve, Leicester

Feb 6-11: Courtyard, Hereford

Feb 13-18: His Majesty’s Theatre, Aberdeen

Feb 20-25: Theatre Royal Concert Hall, Nottingham

Feb 27-Mar 4: Princess Theatre, Torquay

Mar 6-11: Grand Opera House, Belfast

Mar 13-18: Gaiety Theatre, Dublin

Mar 20-25: The Lowry, Salford

Mar 27-Apr 1: New Theatre Royal, Portsmouth

Apr 3-8: Churchill Theatre, Bromley

Apr 10-15: New Victoria Theatre, Woking

Apr 17-22: Theatre Royal, Norwich

Apr 24-29: Theatre Royal, Newcastle-upon-Tyne

May 1-6: Eden Court Theatre, Inverness

May 8-13: Cast, Doncaster

May 22-27: Grand Theatre, Wolverhampton

June 5-10: New Theatre, Cardiff