UK Theatre Network

The European Entertainment Corporation presents

The Chinese State Circus featuring the world famous Shaolin Wu-Shu Warriors

Reviewed at Milton Keynes Theatre on Tuesday 27^th January 2009.

The tour continues until the end of May 2009.

I really enjoyed this spectacular event which was performed to a high standard and was very entertaining. The performers were graceful and accomplished and sometimes made it look easy, although it clearly wasn’t. They all appeared to enjoy what they were doing. The Monkey King welcomed the audience, introduced the Artistes and wished us Goodbye at the end. The whole show was very upbeat, including the music.

The costumes were very colourful and attractive and added to the enjoyment of the spectacle. I particularly liked the spinning plates, I had not seen it done like this before. I also enjoyed the Shaolin Wu-Shu Warriors and the Young Shaolin. The Lion Dance before the interval was also very good.

The Monkey King welcomed us back after the interval and then it was the Sensational Chinese Bicycles which were excellent. They made some of their act look easier than it was. This was followed by the Two Monkeys. Then we had the Diabolos which was another of my favourites. Following this there was more from the excellent Shaolin Wu-Shu Warriors. Then there was another act I really liked, the Sensual Silks who had received a 2008 World Circus Awards nomination. After this there was the Hoop Diving, which was thoroughly enjoyable and some of it was sensational. There was then an Olympic Nation Finale.

I think this show is well worth seeing, for not only was it an excellent performance, it is not often that we get such an opportunity. I found this performance very energising and it lifted my spirits on a grey January evening. It was an excellent start to the Chinese New Year.

The Chinese State Circus played Milton Keynes Theatre from 27th January - Sunday 1^st February 2009. Milton Keynes Theatre Box Office 0870 060 6652 (bkg fee). www.miltonkeynestheatre.com.

The tour then continues with dates listed on the Chinese State Circus website until the end of May 2009. www.chinesestatecircus.com.

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 27^th January 2009.

Look Back In Anger

Northern Stage, Newcastle upon Tyne

More than half a century after making its debut on the West End stage, Look Back In Anger is being revived by Northern Stage but the play, which was extremely influential in the 50s, now seems stale and irrelevant.

Hailed as one of the first of the ‘kitchen sink dramas’ and, arguably, introducing theatre-goers to the concept of ‘the angry young man’, it was undoubtedly a trailblazer.

Today, though, audiences are more discerning. With the advent of television drama, soap opera’s in particular, we have been offered a multitude of gritty, hard-hitting plays and serials. This has enabled us to decide for ourselves which, we feel, reflects reality most successfully.

John Osborne’s play, although hugely influential in its own time, nowadays appears dated and plodding. The central character, Jimmy Porter, has no qualities which might encourage an audience to engage with him. He is bullying, belittling and boorish. That alone is bad enough, but director Erica Whyman has completely miscast the role with Coronation Street actor Bill Ward.

To begin with, Ward is the wrong age – Jimmy Porter is supposed to be a man in his twenties yet Ward is in his early forties. This does significantly diminish the possibility of audiences suspending disbelief and it also affects the success of the character, too. Ward does little to help himself, either. For some reason, his diction is strange and sometimes unintelligible.

Rob Storr, as lodger Cliff, was equally unsuccessful and delivered a performance that contained as much charisma as a slice of Ryvita crispbread. His lines were delivered in a dull, lifeless and monotone manner that made the dialogue seem even less pacey.

Nia Gwynne, as Alison, did manage to convey some emotional depth in her portrayal of Porter’s put-upon wife. It was only Laura Howard who added any real interest to the piece and she did her level best to breathe life into a dying beast of a play.

I, personally, would question the decision to revive such a depressing production in the midst of an economic recession and, perhaps, the fact that the theatre was fairly empty may be an endorsement of this. Not the most enjoyable three-and-a-quarter hours of my life, by any stretch of the imagination.

Steve Burbridge.

Look Back In Anger runs until Saturday 21^st March 2009

 

 

A View From The Foothills: An Evening with Chris Mullin MP

The Customs House, South Shields, Tyne & Wear

The diaries of Chris Mullin MP, Sunderland South, have already created a bit of controversy since they were serialised in The Daily Mail. However, the dissident Labour MP discussed the launch of his memoirs, A View From The Foothills, in front of an audience at The Customs House on Tuesday evening.

Initially, Mr Mullin seemed awkward and ill-at-ease as he fumbled and fidgeted with his notes at the lectern, but he soon began to relax.

The MP, who has represented Sunderland South since May 1987, has decided to stand down at the next General Election and concentrate on “other projects.” Before he goes, though, he has a few parting shots.

In his talk on life at Westminster, Mullin captivated the audience with his observations – some wry, some humorous, some profound and others downright scathing.

He found John Prescott to be “hopeless at delegating, but a fundamentally decent human being” during his time at the Department for the Environment, Transport and the Regions. His boss at the Department for International Development, Clare Short, was a “brilliant Secretary of State” and “a role model.” Jack Straw, he said, is “a professional right down to his fingertips.”

Mullin, the only person to have been appointed to the government who voted against the Iraq War, said that “the belief of British Prime Ministers to ‘keep-in’ with the US at any cost is wrong.” He was scathing of the relationship that Tony Blair shared with George W. Bush, whom he referred to as “the worst American President in living memory.”

Although Mullin thought Blair was “mistaken” in his involvement with the War in Iraq, he said that he is “not a liar.” Moreover, he considers Blair to be one of the most “outstanding political leaders of my lifetime.”

Despite the fact that most of what Chris Mullin has to say is fascinating and insightful, he did tend to waffle during the question and answer session.

Overall, though, the evening was really rather informative.

 

Steve Burbridge.

In this edition:

Roaming in Rome
Reviewers Required 
Upcoming Events
Forum
Reviews

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Roaming In Rome

I was in Rome last weekend. What a place. Until you’re there you have no idea of the scale of their incredible architecture. Stunning. I took my video camera and ended up filming the opening scene for my latest documentary, when by chance the Pope popped out of his balcony at St Peter’s and blessed tens of thousands of people in the square. It was a great start to filming. I can’t tell you what it’s about nor what the name of it is, but I’ve given a code name of The Time Project and you can join the group on Facebook if you want to follow the journey of the film.

http://www.facebook.com/group.php?gid=47590808842&ref=ts

I’m off to Glasgow this weekend, so it’s another early newsletter. It’s the Rangers v Celtic Cup Final at Hampden and I’ve organised some hospitality for the day with some friends and family. Really looking forward to it. Hope you have a good weekend planned.


Douglas McFarlane
Editor, UK Theatre Network

http://www.uktheatre.tv – Social networking for actors, directors, producers and all lovers of theatre

http://www.nevisradio.co.uk – Doug’s Radio Blog Streaming online every Saturday lunchtime



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Reviewers: New York and Edinburgh

A UKTheatre reviewer is a voluntary role and suits those who are truly passionate about theatre. Attending press nights, fringe, musicals and touring productions, they share their experience of the performance in a blog at UKTheatre.TV which gets millions of hits every year. The reviews are also submitted in a weekly newsletter which is distributed extensively on a variety of social networks and email distribution lists. 

We are now looking to compliment our teams in Edinburgh and New York with those with the right drive, enthusiasm and experience. Most of our reviewers are theatre actors, directors and journalists. If this interests you, then please send an email introducing yourself and experience to editor@uktheatre.net


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UPCOMING EVENTS - http://www.uktheatre.tv/events.html

A SENSE OF DELICACY
Howie the Rookie
Free 3 day acting workshop (Swansea)
Musicalifragilistic
ROBERTO ZUCCO

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FORUM - http://www.uktheatre.tv/forum.html

Casting and Audition Notices
Topical Theatre Issues
Links to Official Productions


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Sweeney Todd Demon Barber of Fleet Street

The Queen’s Theatre Hornchurch

Review by Kelly Potter

After the success of Tim Burton’s film, I was expecting an all singing all dancing spectacular, and was more than pleasantly surprised as the experience proved to be quite different. Not a song in earshot. 

http://www.uktheatre.tv/magazine/read/sweeney-todd-demon-barber-of-fleet-street_60.html

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The Caretaker at Bolton Octagon

Review by Caroline May

This slightly surreal three-hander is a stage version of scissors-paper-stone, as a trio of oddly-assorted characters vie for supremacy in a seedy bedsit.

http://www.uktheatre.tv/magazine/read/the-caretaker-at-bolton-octagon_59.html

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Bobby Pattinson and Friends
The Customs House, South Shields, Tyne & Wear
Review by Steve Burbridge
Bobby, a tireless charity fund-raiser, is a spritely seventy-five year old with the gift of the gab and a mischievous twinkle in his eye. His gigs are always popular with audiences who revel in the type of entertainment that was once the staple of Clubland for decades, but is now, sadly, all too rare.
http://www.uktheatre.tv/magazine/read/bobby-pattinson-and-friends_57.html

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The Duchess of Malfi

The White Bear Theatre Club

Review by Samuel Miller

This Duchess is a naïve, spoilt royal, unaccustomed to taking responsibility and ignorant of consequences. Ferdinand and the Cardinal – monsters though they may be – are genuinely wronged by their sister’s betrayal, and this is the first time I have seen a production that examines this.

http://www.uktheatre.tv/magazine/read/the-duchess-of-malfi_56.html

The Queen’s Theatre Hornchurch

Chris Bond, writer of Sweeney Todd, The Demon Barber of Fleet Street, the play that inspired Stephen Sondheim’s musical, directs the play for the first time at the Queen’s Theatre Hornchurch.

After the success of Tim Burton’s film, I was expecting an all singing all dancing spectacular, and was more than pleasantly surprised as the experience proved to be quite different. Not a song in earshot. 

Originally a character from a Thomas Peckett Prest serial “The String of Pearls”, based on a French story about a Murderous barber, Sweeney Todd appeared in Victorian penny dreadful newspapers and was later dramatised by George Dibdin Pitt in the form of a melodrama. Chris Bond developed the character of Sweeney Todd, giving him a reason other than money to embark on his murdering spree.

Benjamin Barker the barber (Shaun Hennessy) is arrested and sent to an Australian prison on false charges by the corrupt Judge Turpin (Stuart Organ), who is determined to take his wife, Lucy (Lindsay Ashworth) away from him. After sending Barker away, Judge Turpin subjects Lucy to violence and rape. It is rumoured thereafter (mainly by Mrs Lovett) that Lucy gives poison to their baby daughter, then takes her own life. The daughter, Johanna (Lucy Thackeray) survives. Years later Barker returns, renaming himself Sweeney Todd and after learning the fate of his wife and daughter, who is now a ward of Judge Turpin, he concocts a horrific revenge plot. Resuming his place in the Barbershop, above the excitable Mrs Lovett who vies for his love and attention, they form a terrifyingly calm and seemingly normal partnership.

The atmosphere is strikingly created by Mark Walters' dark visions of Victorian London and scenery that slides with ease between the crooked houses of the dull streets to the upstairs, downstairs view of Todd’s barber shop and Mrs Lovett’s pie shop. The subtle lighting casts sinister shadows onto the cellar where you can almost smell the bloody stench that rises in a fog from down below. Todd tilts his victims cleverly from his barber chair down a chute into the underground graveyard. But the most captivating effect of this production has to be Carol Sloman’s violin. She stands as an onlooker, subtly reacting to her surroundings as she plays chilling music during the eeriest moments. She is joined in turn by many of the characters on the piano, forming an excellent accompaniment and sound effects.

Gregor Henderson-Begg injects an element of pantomime as Tobias Ragg, the unwitting, high-strung orphan who bursts with infectious energy onto the stage as the con man, Adolfo Pirelli’s assistant, entertaining the audience with his well-choreographed clumsiness. After Pirelli’s sudden disappearance- he recognises Todd and tries to blackmail him- Tobias becomes Mrs Lovett’s assistant, always grateful for one of her gorgeous pies as payment for selling them.

Diana Croft’s Mrs Lovett is an endearing, thigh slapping good old cockney character in spite of her stomach-churning plan to use Todd’s victims as pie fillings. It really is hard to dislike these characters, I felt the need to be more appalled by the subdued Todd (Shaun Hennessy), but as he sliced his way through the throats of the men responsible for his misery, arcs of blood pumping into the air, I found myself siding with the audience, who clapped and cheered him, delighted with his performance.

Stuart Organ's performance as Judge Turpin is disturbing, as he foams at the mouth, whipping himself in disgust at his own actions, although ultimately failing to repent, intent on taking Johanna as his wife. You almost want to watch this with one eye covered. He mainly appears with his ally, Beadle (Julian Littman) who corroborates in his corruption.

Lindsay Ashworth is the beggar woman who passes through the streets almost ignored but is a heartbreakingly solitary figure at the piano; she most definitely hides a deep sorrow under her rags.

Simon Jessop’s Italian accent is as comically unconvincing but likeable as the con man Alfredo Pirelli himself.

Lucy Thackeray gives Johanna wide-eyed innocence as she flirts with the affable Anthony Hope (Sam Kordbaceh). Their story finishes as the only happy one.

The play stays true to its melodramatic form as it reaches its conclusion.  More killings take place, just at the point where you think there can be no one else to kill.  The poor Tobias discovers the true secrets to Mrs Lovett's recipes, appearing from the depths of the cellar, crazed and confused. Sweeney Todd learns the truth about his wife's life and Mrs Lovett's lies.


Cut to the Chase, The Queen’s Theatre’s resident company of actor-musicians demonstrate a passion and adaptability to slide in and out of a number of characters in this fun performance.

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6 – 28 March

Sweeney Todd: The Demon Barber of Fleet Street

By Chris Bond

 

 

Previews: Fri 6 Mar and Sat 7 Mar at 8pm

First Night: Mon 9 Mar at 7.30pm

Performances: Tue – Sat at 8pm

Captioned Performance: Wed 18 Mar at 8pm

Matinees: Thurs 19 Mar and Sat 28 Mar at 2.30pm

Signed Performance: Wed 25 Mar at 8pm

Audio Described: Sat 28 Mar at 2.30pm

 

The Queen’s Theatre, Billet Lane, Hornchurch RM11 1QT

Tube: Hornchurch

Tickets: £13.50 - £22

Box Office: 01708 443333

Website: www.queens-theatre.co.uk

 

The Caretaker

Octagon Theatre, Bolton

6 March 2009

Departing Octagon director Mark Babych is giving Bolton audiences a brief opportunity to see Harold Pinter’s early drama The Caretaker.  This slightly surreal three-hander is a stage version of scissors-paper-stone, as a trio of oddly-assorted characters vie for supremacy in a seedy bedsit.

The story, such as it is, begins when social misfit Aston invites a tramp, Davies, to share a squalid room in his brother’s derelict house.  At first Davies is all gratitude, and Aston contemplates turning the temporary stay into permanent tenure, offering his guest the position of caretaker.  However the atmosphere soon turns sour – and not just because of the tramp’s lack of personal hygiene - when Aston’s brother Mick turns up and begins playing his tenants off against each other. 

RSC veteran Paul Webster is superb as the revolting itinerant Davies.  There have been younger, more vigorous interpretations of this role where the tramp becomes as physically dangerous as Mick, but here his frailty explains why he needs to insinuate himself so carefully with the older brother.  There are moments of real comedy too – when Aston brings Davies some second-hand shoes the old man sticks his nose deep inside them and relishes their odour like a connoisseur savouring the complex bouquet of a vintage burgundy.  And his self-delusion is all too clear when he proudly struts around in a scarlet smoking jacket worn incongruously over a pair of dirty long-johns.

Jeff Hordley is the semi-psychopathic Mick, all leather-jacket, drainpipes and winkle-pickers.  This is a 360^o portrayal of a disturbing and sadistic character - even when he’s terrorising Davies you can detect the twinkle of enjoyment in his eye.

However the real stand-out performance comes from Matthew Rixon as Aston.  The Octagon’s costume department has done a fine job of establishing him as a Brylcreemed, jacket-and-tie-wearing archetype of Fifties respectability, so he seems not to belong to Pinter’s world at all but to come from a completely different fictional landscape – perhaps something by Barbara Pym or Iris Murdoch. 

It’s the actor himself though who creates a vulnerable and apparently placid character who has depth and stillness at the centre of his being.  Aston’s repeated actions, whether dressing or undressing or rolling a cigarette, are slow, deliberate and occasionally bemusing but always compelling to watch.  And the long monologue describing a traumatic incident in his earlier life, subtly emphasised by Brent Lees’s delicate lighting, is a drama in itself.

Richard Foxton’s thrust stage design is the ideal way to draw an audience into the play’s sordid atmosphere.  Aston’s clutter invades the whole playing area instead of being stuck at the back of a proscenium arch.  The front of the stage is piled with broken chairs, battered suitcases and piles of yellowing newspapers, and the attention to detail extends as far as the clouds of dust beaten from an old blanket.

This is an excellent production of a modern classic with exemplary acting all round, but hurry up and book because you only have three weeks to catch it.

 

The Caretaker is on at Bolton Octagon until Saturday 28 March 2009

Tickets: from £9.00

Evenings: Mon-Sat at 7.30pm

Matinees: Wednesday 18 March and Saturday 28 March @ 2pm

Box Office: 01204 520661

www.octagonbolton.co.uk

Bobby Pattinson and Friends

The Customs House, South Shields, Tyne & Wear

Friday 6^th March 2009

The North East’s own comedy legend, Bobby Pattinson, made a triumphant return to The Customs House last night and confirmed his status as ‘The Godfather of Geordie Comedy’ with a sensational sell-out show.

Bobby, a tireless charity fund-raiser, is a spritely seventy-five year old with the gift of the gab and a mischievous twinkle in his eye. His gigs are always popular with audiences who revel in the type of entertainment that was once the staple of Clubland for decades, but is now, sadly, all too rare.

The evening was packed full of entertainment that included songs, impressions and cabaret. The first guest to join Bobby on stage was guitarist and singer Dave Black who, it was revealed, turned down an offer in the 80s to join a new band. Having spent many years on the road, Dave declined and recommended one of his music students. The student was John Taylor and the band became Duran Duran! That’s showbiz.

Black demonstrated his talents with performances including Fields of Gold, Abracadabra and Rockin’ All Over The World. The dance troupe, ‘The Dolly Rockers’ provided the ‘showgirls’ element with some fantastic choreographed routines.

Comedian and singer Paul Squire had the audience eating from his hand with his mix of jokes, impressions and ballads. His jokes about Geordies were particularly well-received, proving that, here in the North East, we don’t mind laughing at ourselves.

The final guest was Radio Newcastle presenter and comedian Alfie Joey and he was a huge hit with the audience. His impressions of Bruce Forsyth and Michael Crawford were only surpassed by his witty and satirical swipe at George Bush and Tony Blair’s ‘special relationship.’

The show was, quite simply, three hours of laughter and song performed by a group of great entertainers. However, as marvellous as his guests may have been, it was the slick septogenarian who really brought the house down. Long reign, King Bobby!

Steve Burbridge.

 

The Duchess of Malfi

Produced by Black Sun Theatre Company

Directed by Jemma Gross

The White Bear Theatre Club

Black Sun Theatre Company gives us a stark, modern Malfi, free of the omnipresent trappings of Fringe Jacobean drama. Gone are the inevitable cobbled together outfits and period costumes, and in their place we are treated to sharp suited nobles, prowling an economical but effective white space.

What stood out for me in this production was director Jemma Gross’s courage in approaching the text, and her refusal to adulterate the less popular themes of the play, instead remaining true to many of the original Jacobean viewpoints. This Duchess is a naïve, spoilt royal, unaccustomed to taking responsibility and ignorant of consequences. Ferdinand and the Cardinal – monsters though they may be – are genuinely wronged by their sister’s betrayal, and this is the first time I have seen a production that examines this. Gross is unafraid to embrace the darker aspects of the play, which is greatly to the production’s credit.

This is a tremendously committed, energetic and talented young cast. Trudy Hodgson’s Duchess and Bethany Audley’s Cariola exhibit terrific chemistry throughout the play, teasing Antonio and creating a true friendship. Henry Doulton’s foppish Antonio gives us the sense of a man swept up in events beyond his control, along with Sam Child’s likeable and excellently judged Delio. Alex Tanner brings a powerful, brooding Cardinal. Steven Rostance and Paul Mooney play a terrific comic double act as well as multiple characters, with Mooney’s Doctor a highlight. The excellent Jack Cole fills in the peripheral roles, and particularly excels in a gleeful portrayal of a demented lunatic. Rose Romain plays a wonderful Julia, strutting her way across the stage like a splash of blood.

However, the most watchable scenes for me were the ones between James Rose’s conflicted, tortured Bosola, and David Fensom’s brilliant Ferdinand. Bosola is a tremendously difficult character to play, and Rose tackles him perfectly, showing a man torn between his greed and his conscience. Fensom’s Ferdinand is a revelation – funny, sexually ambiguous, sadistic – and tremendously enjoyable to watch.

The Duchess of Malfi is a difficult play, and I’m always curious to see how theatre companies approach staging the trickier aspects of the piece. Jemma Gross deals with devices such as the wax corpses and copious violence with sensitivity, never allowing the production to swerve into Grand Guignol. This production is clever, well-played, intelligently directed, and certainly worth the trip to the White Bear.

                  


Seven Brides For Seven Brothers

UK National Tour

Reviewed at Darlington Civic Theatre

In her hit of 1959, Dinah Washington pondered What a Diff’rence a Day Makes. For the purposes of this review, I’m changing two words: ‘What a difference six months makes.’

I last reviewed Seven Brides For Seven Brothers back in September and was less than impressed. However, credit where credit is due, last night’s performance at Darlington Civic Theatre had a new energy and vigour that just about leapt from the stage and into the auditorium.

The plot revolves around Adam Pontipee, played by Steven Houghton, and his six brothers who are in desperate need of the care and attention of a good woman. Thus it is decided that Adam should venture into town at the earliest opportunity and return with a suitable bride.

In the town restaurant he encounters Milly, a local girl who isn’t afraid of hard work, can cook and is pretty, too. Adam quickly sweeps Milly, played by Susan McFadden, off her feet and proposes marriage, omitting to tell her that she will have to cook, clean and mend for seven men rather than just one.

Determined to build a home for herself and her new husband in which they can raise a family of their own, Milly sets out to reform Adam’s uncouth siblings into eligible bachelors in an attempt to get them paired up and married off.

Steven Houghton has a fine singing voice and looks every inch the macho American frontier farmer, with his strong and chiselled features. Susan McFadden’s Milly is charming, beautiful and as wholesome as apple pie and her voice is wonderful, too.

The musical numbers are delivered with gusto and enthusiasm and particular highlights are the chorus numbers involving the other six brothers and their prospective wives. These are further enhanced by inspirational and acrobatic dance routines choreographed by Chris Hocking and perfectly executed by a highly energetic ensemble.

The costumes, by Elizabeth Dennis, add a splash of riotous colour and the set, designed by Charles Camm looks extremely authentic and is utilised to maximum effect.

Sometimes it is worth giving something a second chance and, in the case of Seven Brides For Seven Brothers, I’m glad to say that the production didn’t disappoint in the least. Furthermore, the packed auditorium clapped, cheered and whooped their approval too.

Steve Burbridge.

Seven Brides For Seven Brothers is at Darlington Civic Theatre until Saturday 7th March 2009.

Macbeth

Royal Exchange Theatre, Manchester

2 March 2009

 

Matthew Dunster’s production of Macbeth is like the young, feral brother of the modern-dress Henry V seen at the Exchange a couple of years back.  Apart from contemporary uniforms and weaponry there’s a plethora of mobile phones, laptops, PDAs, iPods, playstations, and those all-important hand-held video cameras for capturing digital footage of the endless atrocities and war crimes.

The evening begins innocently enough as three little girls watch TV in their bedroom.  The party’s about to break up – “When shall we three meet again?” – when a gang of soldiers bursts in and rapes them. 

This is the start of the bloodiest night at the theatre I can remember, with the stage literally bathed in gore.  The little girls return as the abused and traumatised Weird Sisters who cajole and tempt Macbeth (one of the party of marauding soldiers) into a spiral of terrible slaughter.  Nicholas Gleaves’ “northern everyman” Macbeth is no match for them, not even in partnership with his ruthless Lady, the glamorous Hilary Maclean.

There are outbursts of music, dance, graphic violence (obviously), and live performance spliced with multimedia.  Paul Wills’ design is visually terrific and slick enough to stand the fast-paced scene changes, while Philip Gladwell’s atmospheric lighting plays a vital role in itself.  But sometimes the endless gimmicks get in the way of the action, and when the director “riffs” with the dialogue it becomes harder to understand, especially for anyone who is unfamiliar with the story.

Matthew Dunster has gone to great lengths to re-imagine Macbeth and make it relevant, creating the kind of young and funky show that students will love (anyone 25 or under gets in for £4 on Mondays). 

If you have a strong stomach this is a thought-provoking take on a classic.

 

Macbeth is on until Saturday 11 April 2009

Prices: £8.50-£29.00

Evenings: Mon-Fri @ 7.30pm, Sat @ 8pm

Matinees: Wed @ 2.30pm, Sat @ 4pm

Box Office: 0161 833 9833

www.royalexchange.co.uk