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May 21st

Chichester's Festival of Theatre for Under 25s

By Cameron Lowe


Anyone aged 16 to 25 can now buy £8.50 tickets to some of the summer's biggest and best productions at Chichester Festival Theatre. 

These £8.50 tickets are released for sale just one month before each production opens, often making them the only seats available for the hottest shows.

So this summer you can get your hands on exclusive tickets for our large scale, feel-good musicals A Damsel in Distress and Mack & Mabel, as well as for sold out drama Educating Rita and the theatrical event of the year, our Young Chekhov season. You might even catch a famous face or two!

Don't miss out on seeing some of the biggest and best productions on the South Coast and sign up to our 16 to 25 mailing list for the latest news and ticket releases.

The first of big musical of the Festival Season opens this month. With a stellar cast featuring Richard Fleeshman and Summer Strallen, £8.50 tickets are already going fast.


Arguably the hottest ticket of the Festival 2015 season, £8.50 tickets are currently the only remaining seats for this classic Willy Russell two-hander with Lenny Henry and Lashana Lynch.


Following on from the success of Gypsy last year, we're pleased to present another dazzling Broadway musical as Michael Ball returns to Chichester in Mack & Mabel. £8.50 tickets go on sale Friday 12 June.


Don't miss this unique theatrical event and see Chekhov’s early plays performed together for the first time. Enjoy all three over different days or as one intense theatrical experience on trilogy days.

May 19th


By Cameron Lowe

By Lucy Komisar in New York

Dael Orlandersmith, photo Joan Marcus. Production Credits: Neel Keller (Director)

Dael Orlandersmith, photo Joan Marcus.

Dael Orlandersmith’s “Forever” is a powerful blend of fact and fiction about this talented writer/performer’s growing up as the daughter of an abusive, alcoholic mother in Harlem. And her discovery of the roots she chooses to adopt after a visit to the Père Lachaise cemetery in Paris where great artists, writers, musicians, are buried.

Orlandersmith has done fine autobiographical works in the past, among them “Yellowman,” about a dark, over-weight black woman falling in love with a light-skinned black man. So one knew that this production would be dark in the psychological sense. But the story takes one by surprise.

With long reddish-brown cornrow braids and a billowy black sack dress with a heavy silver pendant, at a set which has only a folding table and two spindle-back chairs, she relates the story of her life.

Dael Orlandersmith, photo Joan Marcus. Production Credits: Neel Keller (Director)

Dael Orlandersmith, photo Joan Marcus.

She is as good an actor as writer, pulling one into her story. She is compelling. And director Neel Keller keeps this story honest instead of melodramatic.

The main reality is that her mother was a drunk. Orlandersmith was born by Caesarian section and thinks that after that her mother hated her. Subtly, she suggests that she was disliked for being fat. The billowy dress shows that she still is. It’s a part of her life she only alludes to, but one thinks it underlies her sense of self. At least till that “self” became a successful playwright.

Orlandersmith had seen a documentary where a character views the Père Lachaise cemetery, the people buried there, the visitors. So she imagines her visit to the cemetery, paying homage to Balzac, Richard Wright, Modigliani, Chopin, Edith Piaf, Jim Morrison.

That is fiction, which replaces the truth, because the story of her growing up is pretty awful. The people in the cemetery will stand in for her mother, will be her ancestors. On a turntable, she plays “The Doors,” her cultural connection, especially to singer Jim Morrison.

Dael Orlandersmith, photo Joan Marcus. Production Credits: Neel Keller (Director)

Dael Orlandersmith, photo Joan Marcus.

The young woman lived in a dangerous neighborhood. Her best friend also had a mother who drank and was violent. In a horrific scene, Orlandersmith is a teenager raped by her mother’s friend. The only kind person she recalls of that incident is the Irish cop who took her testimony. No one was arrested. That is rather curious, since it appears that the attacker was in the apartment at a party given by her mother.

She gets over it, goes to Greenwich Village clubs, to alternative music places, and to theater at the University of the Streets in the East Village. She moves to that free neighborhood. She goes to college to graduate in 1976. She’d now be 55. It’s taken decades to open up to this past.

Orlandersmith speaks the story sorrowfully. When he mother dies, she curses her dead body, but then, surprisingly, learns her mother had been a dancer. She wonders about her mother’s own sorrows, her connection to art, music and poetry. Her mother once said if she’d only gone to Paris. Did her mother feel blocked by regrets? Does her daughter now forgive her? Now the billowing dress seems to cover a lot of the past.

“Forever”. Written and performed by Dael Orlandersmith, directed by Neel Keller. New York Theatre Workshop, 79 East 4th Street, New York City. (212) 279–4200. Opened May 4, 2015; closes May 31, 2015. 5/18/15.

Lucy Komisar is a New York journalist and theatre critic.  Her web site is The Komisar Scoop.

May 18th

NEW YORK REVIEW: Street Singer

By Cameron Lowe

By Lucy Komisar in New York

The very fine Broadway and cabaret singer Christine Andreas channels Edith Piaf in an elegant, sharp, charming dance production choreographed by Pascal Rioult, a former Martha Graham Dance Company principal dancer.

The space is a cabaret/dinner theater space at the 42West Nightclub. Tables are set around a center runway and look at a proscenium stage.

Christine Andreas, photo Paul B. Goode.

Christine Andreas, photo Paul B. Goode.

Andreas in gamine hairdo, black glittery silk dress, looks (a bit) and sounds like Piaf, her trills and tremors.

Drew Scott Harris wrote the story that takes Piaf from the dance halls of Pigalle, the seedy neighborhood in Montmartre, in the north of Paris, to her triumph as a French icon.

It opens with her signature Je ne regrette rien.

Non, Rien de rien
(No, nothing of nothing)
Non, Je ne regrette rien
(No, I regret nothing)

Ni le bien qu’on m’a fait
(Not the good things that have been done to me)
Ni le mal tout ça m’est bien égal
(Nor the bad things, it’s all the same to me)

Andreas pulls you into the dark story. Piaf’s character is a fille de joie, a prostitute. The famous Milord, which she sang on the Ed Sullivan show (did they really understand the text?), says:

Allez, venez, Milord
Vous asseoir à ma table
Il fait si froid, dehors
Ici c’est confortable
……Je vous connais, Milord
Vous n’m’avez jamais vue
Je ne suis qu’une fille du port
Qu’une ombre de la rue.

“Come on M’lord, sit down at my table,
It’s cold outside. It’s comfortable here….
I know you very well, but you never saw me……
I’m just a girl in the harbor, a shadow in the street.”

Dance hall dancers, photo Paul B. Goode.

Dance hall dancers, photo Paul B. Goode.

The dancers fill out the story. Cartoonish wiggles and turns represent the Can Can. We learn that performing at a Nazi camp, Piaf helped some prisoners escape; she dressed and smuggled them out as troop members.

The drama of couples separated by war is expressed by “La vie en rose.” And a stunning pas de deux of a man physically abusing his lover is realistic, not sexist. In one piece, dancers are dressed in white to represent the pills Piaf took.

Rioult has built his vivid fluid ballet theater on elegant Martha Graham inspired dance. Rioult makes an appearance with Andreas as an anonymous guy, maybe Piaf’s lover.

But our views are caught by the elegant movements on stage, the story dances that makes us feel Piaf’s life.

The central catwalk should be higher for the sake of people at the back tables who, blocked by those seated in front of them, miss the full aspect of the dancers. The mediocre sound system doesn’t do justice.

Still, I was very glad to have the chance to see the Rioult troop which has performed in New York City for about twenty years. This production should have run longer.

“Street Singer.” Concept and choreography by Pascal Rioult. Written and directed by Drew Scott Harris. Musical Director Don Rebic. Featuring Christine Andreas. Rioult Dance New York at 42West Nightclub, 514 W. 42nd Street, New York City. May 13-16, 2015. Drinks at the club bar and small plates and snacks provided via the Ktchn restaurant at the Out NYC Hotel next door. 5/17/15.

 Lucy Komisar is a New York journalist and theatre critic.  Her web site is The Komisar Scoop.

May 2nd

Shrek the Musical at The King's Theatre, Glasgow

By Cameron Lowe

Music is a very powerful tool when it comes to rekindling fond memories.  It can remind us of good times past in a way that no other medium can.  And now musicals can transport us to yesteryear as Broadway and West End producers endeavour, with remarkable success rates, to recreate movie classics from our past like Ghost, Willy Wonka, Matilda, The Bodyguard ... and Shrek.  Shrek takes me back to a time when my son was very young.  A family favourite movie that could be played at home again and again and never failed to bring great big belly laughs – not just from the children, but from the adults, too.  So the producers of Shrek the Musical had some very high expectations to fulfil.


Shrek the Musical


Shrek the Musical is an ugly, green, odious, odorous, bad tempered, overweight, rip roaring success!   


Our favourite characters from the movie are brought to colourful three dimensional life, retelling the tale of the original movie to a broadly original score of catchy characteristic tunes.


In case you didn’t know, Shrek (Dean Chisnall) is a large green ogre who lives alone in a swamp close to the mythical town of Duloc.  His peace is shattered as a host of Fairy Tale refugees descend upon his home having been evicted by Lord Farquaad (Gerard Carey) – the evil, pint sized (yet ambitious) ruler of Duloc.  Farquaad doesn't  want these ‘freaks’ littering the streets of his perfect town as he seeks to climb the social ladder by winning the hand of a Princess.  Shrek visits Duloc with his somewhat unwelcome companion, Donkey (Idriss Kargbo) to have a short (and likely violent) conversation with Farquaad but is, instead, persuaded to rescue Princess Fiona (played in this case by understudy, Nikki Bentley) from a tower surrounded by a lake of molten lava and guarded by a fire breathing dragon in exchange for the deeds to his swamp.  Shrek and Donkey set off on their quest blissfully unaware that Princess Fiona hides a terrible secret and that the dragon is not the only creature in that tower with a fiery temper!

 Image by Helen Maybanks

Image by Helen Maybanks


The story translates well to stage as the road trip / buddy story transforms nicely to blossoming romance once Shrek and Donkey rescue the Princess.  The musical score from Jeanine Tesori compliments the well known characters and lyrics from David Lindsay-Abaire add a great deal of humour that can be appreciated by audience members of all ages.  Technically, the show astonishes with smooth scene transitions, a dazzling light show and an awesome dragon brought to life by the combined talents of 3 puppeteers and the vocal skills of Candace Furbert.

Dean Chisnall impressed as Shrek striking the right balance of cantankerous ogre and likeable hulk with an admirable singing voice (albeit with an accent which strayed a little south of the border from time to time).  Idriss Kargbo’s Donkey was wonderfully energetic and demonstrated his dancing skills well.  Nikki Bentley was wonderful as Princess Fiona – a self confessed sufferer of bi-polar disorder at the same time sweet, regal, feminine, flatulent and spoiled.  However, the show was well and truly stolen by Gerard Carey as Farquaad.  I don’t want to spoil too much by describing exactly WHY he was so fabulous but it is fair to say that this was the best demonstration of physical humour I have ever witnessed on stage.  Almost “Frank N Furter” esque in delivery he was the villain that we wanted to see again and again.  Perfect.

Image by Helen Maybanks

Image by Helen Maybanks

Look out for a cameo appearance from Puss in Boots and sing along to “I’m a Believer” at the end!

Beg steal or borrow a ticket to see this amazing production on tour.  It’s ridiculously entertaining!

Shrek the Musical

King’s Theatre, Glasgow

Until 17 May

Tickets £15 - £60



Book tickets:


Mar 31st

Bugsy Malone Open Auditions, Glasgow

By Cameron Lowe

Bugsy Malone Open Auditions









For the first time Glasgow Theatres’ Creative Learning team is producing Stage Experience, an opportunity for aspiring performers aged 9-18 years to act, dance and sing on the prestigious Theatre Royal stage and gain an insight into the process of staging top class musical Bugsy Malone. Based on the hit 1976 film with pint-sized, pinstriped gangsters, Bugsy Malone is the ideal title to showcase young local talent.


Set in 1929 in New York’s criminal underworld, Mob boss Fat Sam is under threat from Dapper Dan’s new gang and their latest weapon – the dreaded splurge gun!  His only hope is Bugsy Malone, a washed up but well meaning boxer who is thrust into the gangster limelight.  With twists, turns, gangsters, showgirls and splurge fights galore the plot unfolds leading to a spectacular showdown at Fat Sam's Grand Slam! 


Aged 9-18 years? Want to be part of the Bugsy Malone company or work behind the scenes?  Open auditions take place on Saturday 25 April in the new purpose built education rooms at the Theatre Royal Glasgow. For more information and to register to take part please call 0141 240 1309/10 or email Registration closes Monday 20 April. No experience is needed, just a love of musical theatre and lots of enthusiasm. Please wear clothes suitable for dancing and trainers or dance shoes.

Following the auditions, places will be offered on the Stage Experience two week course (fees apply), from Monday 20 July until Saturday 1 August. Led by industry professionals, these rehearsals will culminate in three live performances of Bugsy Malone on the Theatre Royal stage.

Funny, riotous and irresistibly charming, Alan Parker’s joyous musical, with words and music by Paul Williams, is fun-packed and bursting with songs you’ll love including Bad Guys, My Name Is Tallulah and You Give a Little Love. Bugsy Malone is an amateur production by arrangement with Warner/Chappell Music Limited administered by Boosey & Hawkes.

Mar 12th

Saturday Night Fever, Bradford Alhambra Theatre

By Cameron Lowe

Review by Graham Clark

There have been popular stage adaptations of movie musicals such as Grease in the past, so it no surprise that Saturday Night Fever has proved to be a great success since it's original 1998 West End run.


Director Ryan McBryde has managed to bring the energy and magic of the 1977 film version to this high octane show.


Saturday Night FeverSet in Brooklyn in the late 70s, Tony Manero (Danny Bayne) is trying to escape his boring life and day job working in a paint store. The fuel crisis is in full swing and times are hard. The only light in his life is dancing at the local disco, "2001 Odyssey".


A dance competition is being held at the disco but Manero turns down one of his fans, Annette(Bethany Linsdell) in favour of social climber and girl about town Stephanie (Naomi Slights).


Of course it is the Bee Gees songs which make the show so special with the lyrics of the songs providing the narrative. A recurring theme is the lyric "Life going nowhere, somebody help me" with the lines being sung countless times throughout the evening.


The talented cast sing, dance and act as well as playing musical instruments; their brass section bringing the full force of the Bee Gees' songs to the fore. Without a star name in the musical the cast work hard to bring the film to life.


CiCi Howells plays the club singer at the disco.  She has a fine voice; always there in the background, reminding me of the narrator in Blood Brothers. She slows down the tracks at times turning them into a jazzy late night version of the original.


Unlike the film version ,the cast perform the Bee Gees hit, Tragedy, which actually was recorded and released 2 years after the film was released in 1977; but the words of the song work well within the context of the musical.


As is often the case in live theatre, the cast feed off the audience.  I saw the show at Blackpool a few weeks ago where the audience were much older and less enthusiastic than the Bradford crowd. The cast seemed to perform better and put more into their delivery than the previous version I witnessed.


There are a few loose ends to tie up at the end and some parts felt rushed but, other than that, this is an appealing show.  Disco Dynamite, no less.


Runs until Saturday 14 March, tickets from £25 available from:

Mar 6th

The Bodyguard (King's Theatre, Glasgow)

By Cameron Lowe

Alexandra Burke leads a fabulous cast in this spectacular production at The King’s Theatre, Glasgow!

Alexandra Burke in The Bodyguard (Photograph of West End production) - photo by Paul Coltas

Alexandra Burke in The Bodyguard (Photograph of West End production) - photo by Paul Coltas


Let’s be honest, musicals based on movies don’t have the best reputation on the UK touring circuit.  But, when that movie was the Hollywood debut of pop superstar, Whitney Houston, and it is packed with her greatest hits, there is certainly enough to pique the interest of even the hardest cynic.  

For those who have not experienced the 1992 movie … The Bodyguard tells the story of Rachel Marron, a pop diva making her big break into movies (sound familiar?).  Rachel is being threatened by a mysterious assassin and those who care for her hire a new Bodyguard.  Frank Farmer is a professional and makes changes that most of Ms Marron’s entourage dislike and that Ms Marron herself detests.  However, when Farmer is proved correct in his assessment of the danger, Ms Marron comes to appreciate him more.  But mixing business with pleasure does not sit well with The Bodyguard.  Has he put his client in danger?

Alexandra Burke in The Bodyguard (Photograph of West End production) - Photo by Paul Coltas

Alexandra Burke in The Bodyguard (Photograph of West End production) - Photo by Paul Coltas

Step forward Ms Alexandra Burke!  Alexandra doesn’t just “do” Whitney Houston … she is Whitney Houston for a new generation.  She has the power and, more importantly, the vocal finesse to deliver the full range of this amazing back catalogue of hits from the 80s and 90s.  Ms Burke went one stage further by generating a believable onstage chemistry with co-star Stuart Reid as Bodyguard, Frank Farmer.  Mr Reid had a difficult role as “the one who doesn’t sing” but he dazzled in other ways by balancing his sometimes ‘remote’ character with wit and comic timing.  In fact, both lead characters somehow manage to remain very likable despite their words and actions – very impressive.  Melissa James was delightful as downtrodden sister, Nicki.

Director, Thea Sharrock, delivered a pacey production without the tedious dramatic pauses evident in the West-End show.  The result was a lighter, more entertaining performance where the audience could appreciate the comedy sprinkled throughout the book by Alexander Dinelaris and delivered well by the supporting cast.  This show was an FX masterclass with real heat from flamethrowers felt on faces throughout the sizable auditorium of the King’s theatre.  Laser and light shows combined with breath-taking smoke effects and wonderfully cinematic wipe scene changes from Set Designer, Tim Hatley.  The set also delivered wonderful perspective effects giving the illusion of great depth; particularly in the mansion scenes.  The score features not only the best hits from the movie but the very best of the Whitney Houston catalogue prior to the movie too including “Queen of the Night”, “One Moment in Time”, “Greatest Love of All”, “I Wanna Dance with Somebody” and “I Will Always Love You”.

All in all, this is a breath-taking production which is well worth the ticket price.


4 – 14 March 2015

Mon - Sat 7.30pm

Wed, Thu & Sat 2.30pm

Tickets: £18.50 - £57.50

Box Office 08448 717 648 (Bkg fee) (bkg fee)

Feb 24th


By Cameron Lowe

By Lucy Komisar in New York

The back story of “Churchill,” the solo play finely adapted and performed by Ronald Keaton, is class politics. Though I’m not sure the author meant it that way. Winston Churchill was to the manor born. His grandfather was the Duke of Marlboro and Viceroy of Dublin, his father Henry Spencer-Churchill (Lord Randolph) was a Conservative member of parliament who hadn’t done well at Eaton. Winston couldn’t get into college and took the exam three times to finally get into Sandhurst, the British military academy. Privilege screams.

Keaton is very good as the middle aged Churchill, offering a view of the man that shows personal sensitivity as well as political astuteness. And director Kurt Johns, moving Churchill through time and the backdrop slides seen through large windows, makes you forget there is only one performer in the space.

Ronald Keaton as Winston Churchill at table, photo Jason Epperson.

Ronald Keaton as Winston Churchill at table, photo Jason Epperson.

Churchill starts out typical Brit upper upper. He recalls that he was closest to his nanny, and declares that, “She’d lived such an innocent and loving life in service to others that she had no fears at all and did not seem to mind very much. She’d been my dearest and most intimate companion for all of the first twenty years that I’d lived.”

What the upper class thinks of servants who don’t seem to mind very much that they have no lives of their own!!!

His own father apparently cared much less about him. He says he had five conversations with his father over his lifetime. He was sent to boarding school at 7 and recalls a sadistic headmaster who flogged students with a cane. When he was at Harrow, his father never visited, and he died at 45.

The inherited sickness of that upper class, the inbred cruelty, perhaps explains why Churchill despised socialism – a system that attempts to share wealth and opportunity, dominated by the very privileged, such as the Churchills, with the ordinary citizen.

The set is a table with a red cloth and a couple of black leather chairs. The back windows are used for slides of place.

Ronald Keaton as Winston Churchill making a point, photo Jason Epperson.

Ronald Keaton as Winston Churchill making a point, photo Jason Epperson.

Keaton as Churchill is a slightly rotund fellow. He is dressed in a striped suit and vest with gold watch chains. He doesn’t sound like Churchill, but that’s not important. He gives you the feeling of the man.

The play starts in March 1946 and much is in flashbacks. After being wartime PM in Britain, he is defeated for reelection by a Laborite, Clement Attlee. We see him before an easel at Blenheim Palace, home of his grandfather, the Duke of Marlboro.

It’s not explained why he was defeated. Well, the war was over, maybe Brits who had suffered a lot didn’t feel the need to suffer more at the hands of a conservative aristocrat who despised socialism.

So, flashbacks. He holds a cigar he picked up in Cuba where he went as a military office. Then he is assigned to India. He writes a best seller, then goes to Sudan and with influence – influence is always important — gets onto that commander’s staff. He sends columns to a newspaper. He makes money from a book on Sudan, resigns his commission and runs for parliament in 1898. What else could an upper class boy trained only in war do?

Ronald Keaton as Winston Churchill rolling up sleeves, photo Jason Epperson.

Ronald Keaton as Winston Churchill rolling up sleeves, photo Jason Epperson.

Churchill wins in 1900 and in 1901 enters the House of Commons as a member of the Conservative party. Then curiously he switches to the Liberals of Lloyd George, the son of a Welsh coal miner. The party supports legislation that FDR incorporates into the New Deal. Churchill says, “I was regarded as a traitor to my class.” Lloyd George makes him secretary of state, then First Lord of the Admiralty. He is prescient about World War I and fights in France. There’s no clear explanation of why Churchill changed his stripes.

Afterwards, the Liberal government is defeated by the Socialist Party, led by Ramsey MacDonald. Churchill attacks him as “a Calvinist. A pacifist. A teetotaler.”

Still, Churchill doesn’t have to scrounge for a job. At his Chartwell estate, he paints and keeps race horses. And switches back to the Conservative party.

He opposes the Munich deal of his fellow Conservative Neville Chamberlain, arguing, “You will get war.” Keaton has him say that, “All but one of Britain’s newspapers had supported Chamberlain” and “some even in my own cabinet wanted me to negotiate with the Nazis at home and even abroad. Like your own ambassador Joseph Kennedy, who predicted our defeat and counseled surrender.” Churchill is put in charge again and rouses Britain to commit their “blood, toil, tears and sweat.”

Ronald Keaton as Winston Churchill, Chartwell estate seen through window, photo Jason Epperson.

Ronald Keaton as Winston Churchill, Chartwell estate seen through window, photo Jason Epperson.

After the war, when there are calls for his retirement, he says, “I leave when the pub closes.”

But, one can appreciate the Sandhurst military man’s achievement in wartime without wanting the hater of socialism and the patronizer of his nanny to run the peace.

Back in Chartwell, Churchill gets an invitation from U.S. President Truman to speak in Fulton Mo. There, he gives his famous Iron Curtain speech: “From Stettin in the Baltic to Trieste in the Adriatic, an iron curtain has descended across the continent.” The speech announces the beginning of the Cold War.

Ronald Keaton’s very absorbing play is both a history lesson, of a statesman defending Britain, and a chronicle of class, of an aristocrat opposing the political influence of workers. Plaudits to Keaton if he meant it that way.

Churchill.” Adapted and performed by Ronald Keaton; directed by Kurt Johns. Based on the life and words of Winston Churchill and the teleplay “Winston Churchill” by James C. Humes. New World Stages, 340 West 50th Street, New York City. (212) 239-6222 or (800) 872-8997. Opened Feb 18th, 2015; tickets through May 31, 2015. 2/23/15.

 Lucy Komisar is a New York Journalist and Theatre Critic.  Her web site is The Komisar Scoop.

Feb 17th

NEW YORK REVIEW: Kill Me Like You Mean It

By Cameron Lowe

By Lucy Komisar in New York

A hokey funny spoof of film noir, the mood set by 1940s music, this play by the inventive Stolen Chair company mines every verbal and physical cliché in the book. And the ensemble, whose members have been together for a decade, do a superb job in bringing to life the characters, one of whom is soon to be dead. It was written by Kiran Rikhye and directed by Jon Stancato, who must have gotten bleary-eyed watching Humphrey Bogart as Sam Spade and Philip Marlowe.

Nathan Darrow as Ben Farrell and Natalie Hegg as Lydia Forsythe, photo Carrie Leonard.

Nathan Darrow as Ben Farrell and Natalie Hegg as Lydia Forsythe, photo Carrie Leonard.

Private eye Ben Farrell (Nathan Darrow) has the mystery of his career to solve. Crimes are happening after they are written about in a pulp mystery magazine, “Murder Monthly.”

When the publisher of the magazine, Lydia Forsythe (Natalie Hegg), hires him to find her most important writer, who has missed a meeting, she covers her desk with pie charts that show how important he is to circulation. Lydia Forsythe (Natalie Hegg) is good as the glamorous and 1940s assertive woman. Farrell takes the job. (Darrow is perfectly smooth and comically understated in the role.)

Sarah Skeist as Vivian Ballantine, photo Carrie Leonard.

Sarah Skeist as Vivian Ballantine, photo Carrie Leonard.

Meanwhile, a mysterious woman, Vivian Ballantine (Sarah Skeist), phones to ask him to come to see her. She hires him to find her brother. She does a good job as the femme fatale in a tight red dress. She is sultry, so is the music. She tells him, “I live for my jewelry and my gowns.” He says, “I like knowing what makes you tack.” She says, “You mean tick.”

Turns out her brother Tommy Dickie (David Skeist) is the mystery writer. Farrell finds him in a bathtub dressed in a red satin smoking jacket and black patent leather shoes. A tray across the tub holds Scotch. They walk around, stepping into and out of the bathtub. Dickie says have a seat. Farrell says I’ll stand, and he sits down.

Nathan Darrow as Ben Farrell and Jon Froehlich as Detective Jones, photo Carrie Leonard.

Nathan Darrow as Ben Farrell and Jon Froehlich as Detective Jones, photo Carrie Leonard.

But soon he discovers that the next story this crime raconteur is telling has him, the detective, dead.

A running gag is that whoever Farrell meets offers him a cigarette, which he sticks behind his ear, first throwing on the ground the one that’s already there. Soon the floor is littered with cigarettes.

In another shtick, he is confronted by Detective Jones (John Froehlich) who had turned him in for turning in some corrupt cops. The two do an antic à deux throwing their fedoras back and forth. And then trading noisy faked blows.

A knock on the door becomes a drum tattoo.

Can’t tell you how it ends, because even a shaggy dog mystery has secrets.

Bogart and Darrow as Farrell.

Humphrey Bogart circa 1942 and Nathan Darrow as Ben Farrell, photo Carrie Leonard.

“Kill Me Like You Mean It.” Written by Kiran Rikhye; directed by Jon Stancato. Stolen Chair at Fourth Street Theater, 83 East 4th Street, New York City. Opened Feb 16, 2015; closes March 8, 2015. 2/14/15.

Lucy Komisar is a New York journalist and theatre critic.  Her web site is The Komisar Scoop.

Feb 10th

Return to the Forbidden Planet at The King’s Theatre, Glasgow

By Cameron Lowe

Glasgow’s King’s Theatre celebrated the 25th Anniversary of Return to the Forbidden Planet in style last night as a stellar cast blasted the audience into orbit!

Return to the Forbidden Planet is a musical revival based on a 1956 B-movie which, in turn, was based on a play written in the 17th century.  Sorry?  I’m not selling it?  OK, I’ll reveal that the sci-fi B-movie in question was the worldwide cult classic “Forbidden Planet” (the movie which introduced us to Robby the Robot) and the play upon which it was based was “The Tempest” written by the most famous bard of them all, William Shakespeare.  I will also add that the musical score is based on the best music from the late 50s and early 60s including hits like Good Vibrations, Gloria, Great Balls of Fire, Johnny B Goode and many, many more!

Captain Tempest (Sean Needham) leads the crew of the Starship Albatross on a routine survey mission when their ship is mysteriously drawn to the surface of Planet D’Illyria where we are introduced to scientist castaway Dr. Prospero (Johnathan Markwood) and his eerily pretty daughter, Miranda (Sarah Scowen).  Miranda falls instantly head over heels for Captain Tempest; blatantly ignoring the affections of young Cookie (Mark Newnham).  Meanwhile we discover that Prospero has some significant “previous” with the ship’s Science Officer (Christine Holman).  With all these hormones flying around, something was bound to blow … and that “something” comes in the form of a deadly tentacled “green eyed” monster which attacks the ship just in time for an interval cliffhanger (neatly delivered by Narrator, Brian May, via video feed).

So, with the scene set on the sturdy bridge of the Albatross and characters poised for love, lust and jealousy, surely all that is required for a successful musical is to add a hilarious script, a first class rock ‘n’ roll soundtrack and a few dance moves?  Yes, yes and yes!  All of these are delivered in spades … but that is only HALF of the joy of this musical.  Into the mix comes some crazily complex handheld radio mic-ography, hilariously intelligent dialog which lampoons 17th Century prose, Sci-fi movies and everything in between, brilliantly delivered B-movie effects and a joyous sense of togetherness from the cast that tells the audience that every performance is special and fun! Oh, did I neglect to mention that all of the music is played live onstage by the cast themselves?  Yes indeed, if this production wasn’t impressive enough, each of the characters plays an average of FOUR instruments each!

Onstage we find that individual performances come together beautifully to form a great ensemble show.  Sean Needham plays the stoic Captain like an American Richard Hannay.  Jonathan Markwood is a great protagonist as Prospero, strutting the stage in Dr Who-like tartan trews. Christine Holeman and Sarah Scowen provide the sax appeal (in more ways than one) and vocals from Ms Scowen, in particular, were stratospheric.  Mark Newnham gave the audience a great comic character and a first class guitar solo while Joseph Mann (as robot, Ariel) gave a lovely physical comedy performance.

With the music covering genres from rock ‘n’ roll to country via a beautifully blended a cappella number, there is something here for everyone.  Book your tickets quickly before they vanish into a black hole!


Mon 9 – Sat 14 February

Mon - Sat eves 7.30pm

Wed & Sat mats 2.30pm

Tickets: £12.90 - £48.40

Box Office: 0870 060 6648 (bkg fee)  (bkg fee)