Share |
Nov 19th

Our Country’s Good at the Theatre Royal Windsor

By Clare Brotherwood

country-24apr14-006.jpg

Today I am jubilant! I spent last evening in a theatre full of young people watching an extraordinary play which extols the virtues of… theatre.

There can be no better way of attracting new audiences than this production of Timberlake Wertenbaker’s play, based on the true story of convicts staging George Farquhar’s The Recruiting Officer in Australia in 1788.

Co-produced by Out of Joint and the Octagon Theatre Bolton, it is directed by Out of Joint’s artistic director Max Stafford-Clark, who commissioned the play for the Royal Court Theatre 25 years ago after reading Thomas Keneally’s novel The Playmaker.

You can tell this production has been put together with the care and love Stafford-Clark must have for his ‘baby’. He’s nurtured it well, and his theatre company gives it the respect this modern classic deserves.

What hits the audience immediately is Tim Shortall’s simple but stunning staging: set against an ever-changing skyscape with backcloths rigged up as sails, the action takes place on a large raft in front of which is the outline of the Sydney coastline looking as if it were a beach meeting the sea. The effect is more than augmented by Johanna Town’s atmospheric lighting and Katy Morison’s sound effects.

The cast first appear as in a tableau, but the stillness is quickly shattered by the off-stage flogging of a convict, his perpetrator running backwards and forwards with bloodied hands – for this is at times graphic, with violence, sex and offensive language playing a large part.

country-24apr14-054.jpg


Pictures by courtesy of the Theatre Royal Windsor

But it is Captain Arthur Phillip’s liberal treatment of the convicts which is the kernel of the story. The First Governor of New South Wales, who sees theatre as ‘an expression of civilisation’, assigns the sensitive Lieutenant Ralph Clark to direct the convicts and, by treating them as human beings, we see astonishing transformations, not only among the prisoners who work through their petty differences and jealousies, but also the officers. As the programme notes state: ‘In 1988 the play and the production were hailed as a celebration of the humanising force of theatre… Just as Danny Boyle’s Olympic opening ceremony was a paean of appreciation of the NHS, so this is of the theatre’.

Most of the cast members play multiple parts (and genders) and, to be honest, the women playing the convicts are the stronger characters and performers, though Simon Darwen is memorable for his entertaining role as East End pickpocket John Wisehammer rather than that of Captain Phillip. As Liz Morden, who is about to be hanged for theft, Kathryn O’Reilly spits venom (oh, yes, a lot of spitting actually goes on!). With scowling face she positively fizzes with aggression and attitude. Victoria Gee, on the other hand, is likeable but loud and coarse as Dabby Bryant, while acting completely transforms the mouse-like Mary Brenham, as played by Jessica Tomchak.

Nathan Ives-Moiba shows the weaker side to an officer as Ralph Clark and, among the other officers, Sam Graham as Harry Brewer is a colourful character.

Our Country’s Good is an important piece of theatre. Based on true facts, it shows how people can forget their own misfortunes through acting while the rest of us can sit back and wonder at the magical powers of storytelling.

Our Country’s Good is at the Theatre Royal Windsor until Nov 22.

Box Office: 01753 853888

www.theatreroyalwindsor.co.uk

Nov 13th

Vienna Festival Ballet in Swan Lake at the Theatre Royal Windsor

By Clare Brotherwood

DSC00162b.jpg

Like all little girls of my era I wanted to be a ballerina, and spent hours reading stories about them and drawing tutus and ballet shoes.

Half a decade later the magic is still there, and it is thanks to small companies like the Vienna Festival Ballet that classical favourites such as Giselle, Coppelia and The Nutcracker can be seen by a wide audience everywhere.

The company, founded by Austrian dancer and artistic director Peter Mallek in 1980, tours for seven months of the year with a repertoire of six ballets.

Their latest offering at Windsor is probably the greatest and most popular of all ballets, combining a good story with Tchaikovsky’s spellbinding music, but on the Theatre Royal’s small stage the love story which is overshadowed by the evil Baron Rothbart becomes an almost intimate experience.

It’s a pity the programme doesn’t give the names of the leading dancers as I would like to mention in particular the flamboyant and highly entertaining jester and the prima ballerina who dances the part of the Queen of the Swans. She has an almost ethereal presence and her pas de deux with Prince Siegfried is exquisite.
Odette Prince - Swan Lake.jpg 

The corps de ballet also portray the swans seamlessly, but in the palace scenes were, on the night I saw them, a little untidy and not always in time.

However, the overall experience was enchanting, if not a little spoiled by a fellow reviewer sitting in front of me taking notes on her (bright) tablet.

I know we live in a technological age, and I embrace it – to a certain extent. But the theatre is one place where we should be allowed to be transported into another world, and while the hard working young members of the Vienna Festival Ballet were giving their all, I found it distracting and disrespectful that someone should be using a tablet and then, obviously having made enough notes, left at the interval.

Vienna Festival Ballet’s production of Swan Lake continues at the Theatre Royal Windsor until Nov 15.

Box Office: 01753 853888

www.theatreroyalwindsor.co.uk

www.viennafestivalballet.com

Oct 28th

But First This: A Musical Homage to Radio 4 at The Watermill West Berkshire Playhouse

By Clare Brotherwood

But First This - Image.jpg

I was so relieved to hear the Radio 4 pips this morning because, in radio announcer Kathy Clugston’s scintillating new musical, Selina Badminton, the new controller of Britain’s flagship station, reduces their number, as well as axing Woman’s Hour.

Believe me, the Today programme will never be the same again as Kathy takes us behind the scenes in a somewhat fictionalised studio setting where John Humphrys, forever looking pleased with himself, starts the first of a few cheeky numbers by singing the weather forecast, news reader Anna complains about people with long names, while kindly, dishevelled Jim Naughtie moans the demise of Woman’s Hour before going off to hunt down the missing Greenwich Time Signal pips.

You don’t have to be a Radio 4 aficionado to enjoy this production. Anyone who appreciates a cleverly written and very funny script, superbly acted by a versatile and charismatic cast, will be hugely entertained, but knowing the in jokes and the programmes whose titles pepper the dialogue makes it even more enjoyable. The audience at last night’s press night were obviously fans, becoming almost part of the show.

The evening didn’t start well. When I looked down onto the huge car park which was the M4 and knew I had to endure a 70-mile round trip to the theatre, I thought that even a musical based on my constant daytime companion couldn’t be worth the hassle.

It was!

From start to finish I was often aware of how broadly I was smiling, when I wasn’t whooping and laughing out (very) loudly. This is the funniest play I have seen since The Play That Goes Wrong, which I saw long before it went into the West End - where this production certainly belongs.

As Selina, Louise Plowright has huge presence, seeming almost like Cruella Deville as she relishes in her evil character. She is every bit as scary as the head of the pronunciation department; this time appearing like a black coated Dracula. How she must enjoy playing those parts.
Louise Plowright.jpg 

As John Humphrys, Michael Fenton Stevens also looks as if he is having a ball – unlike the real John Humphrys! And yet he manages to capture him so well that I had to tell myself he wasn’t the real thing.
 Michael Fenton Stevens.jpg

Having met Jim Naughtie I am able to confirm that Jonathan Dryden Taylor’s genial portrayal too, is spot on, while Helena Blackman as the news reader and Neil Ditt as the weather forecaster provide strong support and, like the rest of the cast, show their versatility when playing countless other characters. There are also off-stage cameo roles played by announcer Alice Arnold and Radio 1 DJ Scott Mills, whose original Edinburgh Festival show gave Kathy the idea for But First This.

Among those who appear on Radio 4 is Libby Purves, who happened to be in the audience last night, reviewing for her website theatrecat.com. She too is mentioned in the show, along with ‘appearances’ from Nicholas Parsons, Kirsty Young and Stephen Fry, and was delighted about it. She told me the announcers have such a great sense of humour but always have to keep it hidden, never showing it in their voices, so not only is But First This is celebration of Radio 4 but an explosion of hidden humour.

There are so many highlights: the three men singing how Woman’s Hour will make you one hell of a man; scenes from The Archers spoken as if by characters from Tennessee Williams’ novels, while concerns over Jim’s death as he rows in a storm from Lundy (Kirsty Young’s desert island) across the Bristol Channel looking for the missing pips reduced me to tears, only to find myself laughing again as the others tell Jim: ‘We thought you were dead!’ His reply: ‘Really? In a comedy?’

I hope Radio 4 never dies, and that But First This also has a long and happy life!

But First This: A Musical Homage to Radio 4 continues at The Watermill West Berkshire Playhouse until November 8.

Box office: 01635 46044 www.watermill.org.uk

Oct 9th

A Party to Murder at The Mill at Sonning

By Clare Brotherwood

 DSC_9985.jpg

Credit: Craig Sugden

I like nothing better than to have a really good laugh. I also like to be scared out of my wits.

And this comedy thriller by Marcia Kash and Doug Hughes delivers both - in spades. It’s an absolute delight from beginning to end, and I can’t recommend it highly enough, especially on Hallowe’en.

Set in a lone house on an island in the North American lakes, where writer Charles Prince has invited six people for a Hallowe’en murder mystery party, there are enough bodies, blood and things that go bump in the night, as well as secret passages and the obligatory thunder and lightning, to make this fast moving full-on entertainment go with a bang.

The 18th century mill lends itself to hosting an eerie spine chiller and audiences are given a taste of what is to come during their pre-performance dinner when the restaurant’s lights are dimmed and a ghostly voice can be heard.

That is all I am going to tell you, however, as to give away just a smidgen of the plot would spoil every delicious moment of surprise - and, believe me, there are plenty of them. They come thick and fast, delivered with great gusto by a stellar cast under the direction of Ian Masters.

As always, the Mill’s set is worthy of mention, an on this occasion Michael Holt should be particularly congratulated for creating a secret passage.

A Party to Murder is at The Mill at Sonning until November 22

Box Office: 0118 969 8000

www.millatsonning.com
Oct 8th

The Small Hand at the Theatre Royal Windsor

By Clare Brotherwood

The Small Hand - cast.jpg


Even before the curtain went up we were shaking in our seats - literally - as the whole theatre throbbed with the first of Dan Samson’s many thrilling sound effects.

Susan Hill’s latest tale of terror to be adapted for the stage has been greatly anticipated, and it doesn’t disappoint.

For me, nothing can match the sheer horror that is The Woman in Black (the stage version not the film!) but The Small Hand has a lot to commend it.

Presented in a similar way to The Woman in Black, with the actors narrating in between scenes, this adaptation by the hugely talented Clive Francis tells the story of an art dealer who is drawn to a dilapidated Edwardian house where the sensation of being gripped by a small hand begins a nightmarish tale which I won’t divulge so as not to spoil the fun.

As the art dealer Adam Snow, Andrew Lancel is a far cry from British Soap Awards’ Villain of the Year as Carla Connor’s violent boyfriend Frank Foster in Coronation Street. His fear is palpable and his anguish had me filling up with emotion.

Lancel is very well supported by Diane Keen and Robert Duncan in a variety of roles, showcasing their versatility, with Keen playing everything from an American art dealer to a Scottish housekeeper, and Duncan drawing us in as Snow’s troubled brother while also playing an assortment of eccentrics. Though, on the first night of this national tour, he may have been trying a little too hard as his expressive voice rose and fell to such an extent that we couldn’t always hear what he was saying. As the Scottish laird he also ought to lose the shotgun. He wasn’t dressed for shooting and I doubt he would bring a shotgun into his drawing room and place it on his highly polished table. It serves no purpose but to give the scene authenticity, which it doesn’t

Inevitably, there is a ghost and I do worry for six-year-old Charlie Ward who plays him. With such eerie sound effects, Gary Hickeson’s atmospheric music and Lancel’s harrowing performance, I wonder he isn’t traumatised, and yet he played his part perfectly, with a stillness which must be so alien to one so young!

As in The Woman in Black, the set is sparse, but Nina Dunn’s back projection is stunning. The way one scene washes over the next and windows expand and contract is almost nightmarish in itself and adds a lot to the atmosphere.

Roy Marsden’s direction keeps the tension bubbling below the surface throughout the evening and once the production settles in I’m sure it will be even more enjoyable.


The Small Hand continues at the Theatre Royal Windsor until Oct 18 and then tours:

Oct 20-25: Yvonne Arnaud Theatre, Guildford

Oct 27-Nov 1: Grand Opera House, York

Nov 3-8 Theatre Royal, Brighton

Nov 10-15: Devonshire Park Theatre, Eastbourne

Nov 17-22: Pomegranate Theatre, Chesterfield

www.theatreroyalwindsor.co.uk

www.kenwright.com
Sep 24th

Double Death at the Theatre Royal Windsor

By Clare Brotherwood

DL007006 - Double Death.jpg

Brian Capron and Kim Tiddy

Claps of thunder and flashes of lightning are staple ingredients for setting the scene in thrillers, especially ones set in creepy Cornish country houses. And the sound and lighting effects herald this thriller particularly well.

The first act doesn’t exactly kick up a storm, however - until you realise that it’s a slow build up to a surprising and stunning climax.

The plot is certainly novel:  the combustible relationship between twin brothers has already led to attempted murder - or what it an accident? - and when the now paranoid paraplegic victim of that incident returns home from hospital, a game of cat and mouse ensues - with tragic consequences.

Described as ‘volatile and schizophrenic’, wheelchair-bound Ashley seems rather mild-mannered  as played by Tom Butcher; while as Ashley’s twin, Max, he is not particularly threatening. Playing two roles must be difficult, however, and hard work in such an eventful storyline, and I gather Tom joined the cast at a late stage. Certainly he doesn’t miss a cue as he swaps between the roles, mostly by disappearing into a working lift - whose light as it descends adds to the creepiness. It must have been a logistical nightmare for director and designer Philip Stewart, but the lift and an intercom are valuable props, unlike the playing back of a childhood home movie whose dialogue was too muffled to be heard.

Brian Capron who, after more than 10 years, is still remembered as Coronation Street murderer Richard Hillman, is on the other side of the law this time, convincing as a local policeman (complete with accent) with limited intuition, while Kim Tiddy as Ashley’s nurse has something of  Nurse Ratched about her. It is Judy Buxton as the twins’ indulgent aunt who makes the most impression. Her spirited performance adds colour and not a little humour to the proceedings.

Written by the Windsor-born actor Simon Williams, who starred as the twins at this very theatre several years ago, Double Death certainly has plenty of thrills and spills but it is sometimes a little lacklustre. Perhaps a bolt of lightning may help!


Double Death is at the Theatre Royal Windsor until Sept 27 and then continues touring:

Sept 29-Oct 1: Civic Theatre, Darlington

Oct 6-8: Marina Theatre, Lowestoft

Oct 15-18: Haymarket, Basingstoke

www.theatreroyalwindsor.co.uk

www.talking-scarlet.co.uk
Sep 19th

Sweeney Todd: The Demon Barber of Fleet Street at the Twickenham Theatre

By Clare Brotherwood

SWEENY_1-1001_2.jpg

Preview pictures of next year’s production of Sweeney Todd at London’s Coliseum, where tickets will cost as much as £125, make Emma Thompson look like Mary Poppins and Bryn Terfel one of The Wurzels.

If you really want to experience this gory tale in all its glory however, for just  £15 you can see top West End performers up close and intimate and, at the same time, help the new Twickenham Theatre onto its feet.

For its inaugural production, this 60-seater above the London Road Pub (conveniently just one minutes’ walk from the station) is on to a winner.

To put it mildly, it’s a bloody good night as the demon barber scans the audience for victims and blood spurts freely in what becomes a claustrophobic but exciting space.

Did I say space? That there is not a lot of and yet in several scenes the cast of nine manage to create it as they act out their roles without falling over each other!

Don’t take this personally David Bedella but, the first time I saw you as the erring husband in Putting It Together at St James’ Theatre, I thought you looked like the Devil. I was right. One of your most famous roles, for which you won the 2004 Laurence Olivier Award for Best Actor in a Musical, was as Satan in Jerry Springer – The Opera. So you’re made for the role of the demon barber!

But let’s not get as personal as the space in this tiny theatre…

As the wronged husband who returns to London to seek revenge for his wife’s death and to reclaim his daughter, Bedella runs the gamut of emotions. Haunted by the past, the pain and anguish in his face is heart-breaking, but as madness prevails it’s a wonder the blood that spurts from his victims doesn’t curdle.

Bedella, whose voice at times sounds like Anthony Newley, while at others sounding as if it was coming from the very bowels of the earth, more than meets his match in Sarah Ingram as Mrs Lovett. She may be the maker of those famous pies, and at times there are moments of pure madness, but mostly she comes across as an east ender (who won’t be out of place on Albert Square, to be honest) with a huge heart and a sense of humour just looking for love. It is her scenes which get the most laughs and the most applause.

Seeing as this is Stephen Sondheim’s musical version of the Victorian melodrama, the emphasis is on the music, and this production is strong on voices, expertly directed by Benjamin Holder. Special mention should be made of Genevieve Kingsford, making her professional debut as Sweeney Todd’s long lost daughter Johanna: though looking suitably waif-like, her voice is high, pure and memorable.

The production is the directing debut of Derek Anderson, who deserves his own round of applause, but there are just a couple of wrongs which ought to be righted. Mikaela Newton is utterly convincing as the young boy Tobias – except for her flowing blonde locks, which ought to be tucked away under her cap. And it was sometimes obvious that the actors were looking at the screen behind the audience where the musical director could be seen conducting – a bit off-putting.

Sweeney Todd: The Demon Barber of Fleet Street continues at the Twickenham Theatre until Oct 4.

Box office: 020 8787 5933

www.twickenhamtheatre.com

Sep 17th

Shakespeare’s Globe’s touring production of A Midsummer Night’s Dream

By Clare Brotherwood


20140905-142937.790_(165).jpg
Janie Dee and Aden Gillett

To be perfectly honest, it won’t matter if the audiences in the Globe’s current tour of the Far East and Russia don’t understand Shakespeare’s prose. For Dominic Dromgoole’s production is a visual feast, exquisitely choreographed and dressed, with shed loads of beautifully crafted comedy from The Mechanicals and X-rated passion from the fairy queen.

It was such a joy to watch that, having seen it at the Rose Theatre, Kingston, I insisted friends join me for a second helping at the stunning Waterside Theatre in Aylesbury before it set off on its international tour (first stop Shanghai).

It was far from being too long (at two hours, 45 minutes) for 11-year-old Amelia’s first taste of Shakespeare. In fact she was disappointed the second half was only to be an hour and said she wanted to see it again!

The tale of four lovers who wander into the midst of a dispute between the king and queen of the fairies is magical in every way.

The production bursts into action as Theseus, mythical king of Athens, conquers Hipployta and her Amazonian women in battle.

As the Amazonian queen, Janie Dee looks every inch the warrior, fierce, focussed, foreboding and not a little wild, a characteristic she builds on when she later appears as Titania, the fairy queen who, clothed in animal skins and smeared with mud, is almost feral.

Meanwhile, hapless lovers Helena, Hermia, Lysander and Demetrius (played with youthful vigour by Beatriz O’Hea, Lizzy Watts, Jamie Chandler and Philip Correia) are in love with the wrong partners, with or without the help of the bungling sprite Puck, who has been entrusted by the fairy king, jealous Oberon, to bewitch Titania so that she falls in love with the first persons she sees – the tradesman, Bottom, on whom Puck has transplanted an ass’s head.

As Oberon, Aden Gillett has tremendous presence as a somewhat malevolent character, in sharp contrast to Molly Logan who, as the playful Puck, is a little powerhouse of mischief and mayhem. Indeed her performance is so captivating that one of my friends likened her to a young Judi Dench!

20140905-145559.720_(251).jpg 
The Mechanicals 

For Shakespeare first-timers especially, The Mechanicals and the play they perform in the last act is greatly entertaining. I don’t remember laughing so much as I did this time round when the assorted group of tradesmen clattered on stage in proper northern wooden clogs. Their characters are evident from the start, especially bossy Bottom, played with gravitas by Geordie Trevor Fox; Steffan Donnelly, whose awkwardness as the young Flute is a tour de force; John Cummins as enthusiastic Snout, and Richard Bremmer who, as Snug, created a work of art as an almost wraith-like vision whose mournful expression is so sad and yet had us howling with laughter.

Staged as it would have been in Shakespeare’s Globe, complete with Claire van Kampen’s at times emotive music played on instruments of the time, this is a production Great Britain can be proud to export.

Shakespeare’s Globe’s production of A Midsummer Night’s Dream is now touring China, Taiwan, Hong Kong, Singapore and Russia until December.

Sep 4th

Dangerous Corner at the Theatre Royal Windsor

By Clare Brotherwood

A shot in the dark, followed by a scream, and the stage is set for the first of J B Priestley’s many plays.

Dangerous Corner

But the content is in stark contrast to the rich, warm tones of the Art Deco drawing room of the country house in which the play is set. For beneath the 1930s respectability of wealthy couple Robert and Freda Caplan, their friends and colleagues, lurks the darkest of secrets which are disclosed as the evening unfolds.

J B Priestley himself described the play as ‘pretty thin stuff when all is said and done’, but if it were a book it would be a real page-turner, and in the hands of director Michael Attenborough and his sterling cast it has its audience in suspense right up to the very last line as devastating revelation after devastating revelation is exposed.

Some, such as affairs and homosexuality, probably wouldn’t turn a hair in today’s society, but in the mannered world of the 1930s, beautifully recreated by set and costume designer Gary McCann and lighting designer Tim Mitchell, what unfolds appears to be somewhat shocking when the stiff upper lip collapses - with tragic consequences.

As Robert Caplan, Colin Buchanan (remember Dalziel’s Pascoe?) is the perfect host for most of the evening but shows his passionate side in the closing scenes with a powerful explosion of emotions. Robert’s wife, however, shows her feelings more easily from the very beginning and Finty Williams portrays her as both fearful and feisty with a presence she has obviously inherited from her mother, Dame Judi Dench, who was in the audience.

Though Kim Thomson’s Olwen is gentle and almost wan, her presence is just as striking, as is Lauren Drummond’s Betty, for completely different reasons - a playful, shrieking child well suited to her gauche, lumbering husband (Matt Milne).

Though the most contained of all the characters, it is Charles Stanton’s lack of emotion which makes him the most menacing and Michael Praed’s performance is memorable for its steely coldness.

All in all, a class act to be savoured.

Dangerous Corner is at the Theatre Royal Windsor until September 13 and then tours:

Sept 15-20: Clwyd Theatr, Mold

Sept 29-Oct 4: Richmond Theatre

Oct 6-11: Devonshire Park Theatre, Eastbourne

Oct 13-18: Yvonne Arnaud Theatre, Guildford

Oct 27-Nov 1: Theatre Royal Glasgow

Nov 3-8: Birmingham Repertory Theatre

Nov 10-15: Malvern Theatre

Nov 17-22: Regent Theatre, Stoke-on-Trent

Nov 24-29: New Victoria Theatre, Woking

www.theatreroyalwindsor.co.uk

www.kenwright.com

Aug 19th

Agatha Christie’s Murder on Air at the Theatre Royal Windsor

By Clare Brotherwood

BKL-MOA-1001.jpg


This most original and unusual production is certainly among the most entertaining I’ve seen.

It’s classy, nostalgic, and features thrilling yarns with unexpected climaxes. It’s great fun and has a huge novelty factor but, most of all, it lifts the lid on just how complex performing a radio play can be.

Set in a studio, at a time when actors turned up in evening dress to perform on ‘the wireless’, three of Christie’s radio plays are read in the style of their original BBC broadcasts by members of The Agatha Christie Theatre Company.

Personal Call (circa 1954), surrounds phone calls a man is getting from his former wife - who died the previous year; The Yellow Iris (1937) features Hercule Poirot who gets a mysterious call to a nightclub to avert a crime, while Butter in a Lordly Dish (1948) concerns a KC and dedicated philanderer who, after another successful prosecution, arranges to meet his latest conquest. But he has a surprise in store.

All are superbly performed by a versatile and talented company, not least guest stars Jenny Seagrove and Tom Conti who, though reading the scripts as a radio actor would, hams up his performance by giving the audience knowing looks and appearing so relaxed that at one point on the opening night he seemingly missed one of his cues, much to the amusement of his fellow cast members.

BKL-MOA-1042.jpg

I love radio plays and this really opened my eyes as to how they are performed. At times though I had to close them and listen to the story. There is so much going on on stage that I was distracted… which makes me want to see it again so I can take in more.

Timing is of the essence, particularly when it comes to the sound effects, expertly provided by foley artist (one who creates sound effects) Alexander S Bermange, whose work was so fascinating I could watch on entire show centred on him alone. Adrian Metcalfe also deserves a special mention for his wonderful imitation of trains, while Elizabeth Payne proved she had a worthy extra string to her bow as a singer, ably accompanied by the aforementioned Alexander S Bermange.

A step back in the history of the BBC, a lesson in broadcasting, and hugely entertaining, this really is a must see!

Just one thing: why did dedicated animal lover Jenny Seagrove wander on stage at the beginning of the evening with an elderly dog who walked up to its own little microphone and then walk off? No-one seems to know!


Agatha Christie’s Murder on Air is at the Theatre Royal Windsor until August 23

Box Office: 01753 853888

www.theatreroyalwindsor

The tour then continues:

September 1-6: Theatre Royal Brighton

September 16-20: Salford Quays Theatre, Manchester

www.kenwright.com