UK Theatre Network

This unusual and riveting piece of theatre, written and directed by Peter Scott-Presland is a labour of love. As such the plot (such as it is) elaborates on composer Kurt Weill's time in America, with many enjoyable excursions into the musical world(s) he created whilst there.
The acting is consistently impressive, with a cast who share in common sensitivity of expression and lungs of iron. Despite having few characters per se (other than Kurt himself played by Gary Hughes) they manage the difficult task of engaging the audience in the emotional landscapes created by the music, and in some ways each song is a miniature play in itself.

With showstoppers like I don't Give A Damn, How Long, Oh God? and Mr Right giving some idea of the breadth of Weill's talent--director and writer Scott-Presland talks of his virtuosity, "Wherever he went after he left Germany, he fitted in, musically."

An enjoyable introduction to Weill's work for those who have yet to hear it, with excellent choreography by Cecilia Darker and exceptionally strong acting by the cast: Titus Rowe, Johannah Jolson, Hughes and Mychelle Colleary.

As Scott-Presland notes, it was Weill's eternal struggle to fit into the musical landscape of America, and on this evidence he certainly seems to have done so. However, the songs that will stay with you are the ones he wrote about the heartache of being alone. As the eternal immigrant he would have felt the loss of home, and with his serially unfaithful wife, perhaps the loneliness of this state was what drove him to be the most patriotic of American citizens. Whatever the reason, Weill's music still has the power to move, and with such able performers you will be hard pressed not to be haunted by Weill's work.  


Rosemary Branch theatre, 2 Shepperton Road, London N1 3DT, Tel: 02077046665, July 7-26, Tues-Sat 7:45, £12/£10 concs, www.homopromos.co.uk/shows/hereillstay

 

The Winslow Boy by Terence Rattigan
Reviewed on Monday 6th July 2009 at Milton Keynes Theatre


Stating the bare bones of the plot of the Winslow Boy it might appear rather dry. Based on a true incident, a thirteen year old naval cadet, Ronnie Winslow, is expelled from college for stealing a five-shilling postal order. His father, Arthur Winslow, convinced of his innocence, engages the services of the distinguished lawyer Sir Robert Morton, and enters into a protracted and costly case that ulitmately affects everyone connected with it.
In the real life story, which created an enormous amount of public interest, the case was pursued for purely political reasons but Rattigan developed this fundamental point in his writing so that both Arthur Winslow and Sir Robert Morton are fighting passionately and personally to 'Let right be done', a phrase which is repeated several times throughout the play.
Given the subject matter there are a great number of laughs, even in the darkest moments.

The superb Timothy West as Arthur Winslow has most of the best lines. He is full of scathing wit and sharp retorts that belie his quiet strength and determination to prove his son's innocence. His relationship with his daughter Catherine, a suffragette, who drives him on in the pursuit of the case and is his strongest ally at home, is an interesting bond.  Claire Cox plays this strong and practical, yet young and feminine woman brilliantly.



Other support comes in the form of the superb Diane Fletcher as protective mother Grace Winslow, Thomas Howes, as the rather hapless yet utterly charming eldest boy, Dickie Winslow, Sarah Flind as the rather unruly housekeeper, Violet, John Sackville, as Catherine's ultimately unchivalrous fiance, and Roger May as Desmond Curry, the once brilliant cricketer who is deeply in love with Catherine.
It is Adrian Lukis though, in the showcase role of Sir Robert Morton, who is outstanding, striking just the right balance between arrogance and superciliousness and ethical conscience and determination. The cross examination scene between him and Ronne Winslow, played convincingly by Hugh Wyld, is positively frightening. Yet at the very end we see Morton as a fragile, vulnerable man. A stunning perfomance.

Director Stephen Unwin has created a top class production. Simon Higlett's set which remains the same throughout save for clever, effective lighting changes to create different times and atmospheres is elegant.
The triumph though is Rattigan's dialogue, intelligent, sharp, witty and beautifully crafted. This, coupled with the classy and finely detailed performances from all on stage make this a must see production.

The Winslow Boy is at Milton Keynes Theatre until 11^th July.

Milton Keynes Theatre Box Office: 0844 871 7652 (bkg fee) www.ambassadortickets.com/miltonkeynes.
and then on tour from 13th to 18th July Churchill Theatre, Bromley. 20th to 25th July Theatre Royal, Brighton.
Reviewed by Louise Winter on behalf of Catherine Brian

‘Arina’-The reluctant tyrant in question, a poor servant girl, who marries into a family a class above her. Who then works tirelessly, to build a property and land empire, ruling her new family with a ‘velvet-glove’ that only a true matriarch can.

 

Spawning three sons, Steven, Peter and Paul, and expanding her empire, at the expense of all else, including her own salvation. The death of the prodigal son-Steven, makes Arina rethink her life and relinquishes her power, divides up the empire, to her remaining sons and moves out to seek a better life.

 

The ensuing collapse, deaths and hopelessness’ of her family to carry on the family empire, see Arina once again return to the head of the family, to save what is left.  The final scene of the play is Arina’s; played by Marie Mullen, Tour de force performance, and had me quaking in my boots.

 

Inspired by a 19^th Century novel – The Golovlyov family by Mikhail Saltykov-Shehedrin it emphasises the futility of greed and religious insincerity. Using the dramatic effect of playwrights such as Anton Chekhov, the long speeches and the characters physicality, help develop the underlying tension, and unsaid thoughts and dreams of all on stage.

 

The play set over a 10 year period, includes a large ensemble cast who all play their parts well. This all helps to establish an epic Brechtian feel to the piece.

 

Steven-played by Darragh Kelly gives a wonderfully extravagant performance, as the long-lost son, who has been living the life of excess for many years. The other two brothers; Peter played by Declan Conlon, develops a sinister and pious character, whilst Paul played by Frank McCusker as the under-valued son both play their parts well. One other fine performance, was from Anna played by Janice Byrne, a joy to behold on stage.

 

The play has a ‘Groundhog day’ feel, with events continually repeating them selves. Tom Murphy’s writing is epic, which makes the show nearly 3 hours long.

 

Tom Piper’s set, with large planks of wood towering over the stage, creates a very masculine back-drop, where only the strongest survive. These multi-layered sets have been seen in other productions lately namely: Solemn Mass for a Full Moon and Jason Byrne’s The Comedy of Errors. This helps to use the space to great effect, allowing the family ghost to re-appear as if to prick the conscious of the remaining characters. The lightening too, by Ben Ormerod, works magically to transform the stage from one scene to another.

 

Overall the show is an enthusiastically played piece, leaving you breathless at the end. The epic nature of the writing and acting, builds to a magnificent climax, where only the reluctant tyrant could survive.

Location:  The Abbey Theatre

Dates : 27 May – 11 July

Time: 7:30

Tickets: From €15-€35

Bookings: +353 878 7222

 

 

 

Eyes down for a full house, everyone!  It’s festival time here in Manchester, and to give visitors an authentic taste of life Up North the Royal Exchange Theatre has been transformed into a bingo hall for the duration.  With plastic chairs, dirty carpets, tea in polystyrene cups and flashing scoreboards around the auditorium, you almost believe you’re at the Gorton Mecca or Salford Gala.

Writer-director Neil Bartlett re-creates the full-on bingo experience with a cast of twenty actors who play the few remaining customers and skeleton staff of a run-down establishment which is on the brink of closing.  The regulars are a raggle-taggle crew who remain loyal, not to the hall, but to the ongoing hope of having a life-changing win - or even a win that will buy them a weekend away, clear their credit cards, pay for their wedding, or just feed and clothe their kids. 

The evening is an amazing hybrid of traditional scripted drama, verbatim theatre and site-specific installation, encompassing audience participation, Greek choruses and musical numbers.  Knowing full well that the usual Exchange audience will never have set foot inside a bingo hall, Neil Bartlett gives us a practical lesson in housey-housey, with clip-boards, game cards and “dabbers” (pens) under every seat, and the chance to play along in the second half for £200 of cash prizes every night.

Ian Puleston-Davies is the “caller” Frank, comparatively glamorous in his frilly dress shirt and bow tie, but after twenty-odd years he’s too old and jaded to enjoy the attention any more.

Sally Lindsay as Linda, the struggling manager, shows us exactly how she puts on a brave performance for the benefit of staff and customers to try and keep the old place alive.

Linda’s insubordinate staff members are Warren Sollars as sex-obsessed Joe, Amanda Henderson as gobby Joy and Emily Alexander as disdainful Debbie - all still young and full of life, they sizzle in a series of slick musical routines.

The fifteen actors who comprise the customers play their well-defined roles with impressive naturalism, but also slip easily into the stylised choric sequences, murmuring their hidden hopes like prayers.  The unity which the musical director Simon Deacon and movement director Struan Leslie achieve with this chorus is extraordinary.

Everybody Loves a Winner doesn’t really have a story or come to any profound conclusions (other than “you’ve got to be in it to win it” or “it could be you”), but it does provide the audience with an entertaining, involving and unique theatrical experience.

 

Everybody Loves a Winner is on until Saturday 1 August 2009

Prices: £8.50-£29.00

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

Matinees: Wed @ 2.30, Sat @ 4pm

Box Office: 0161 833 9833

www.royalexchange.co.uk

www.mif.co.uk

“Waiting for Godot” – Beckett on the uselessness of expecting God to save us from misery

By Lucy Komisar

For me the mystery of Samuel Beckett’s play about two down-at-the-heels hobos who watch an overbearing “master” abuse a pathetic slave is the division of the audience into those who laugh and those who don’t.

I noticed this years ago when I first saw the play Off Broadway. There it was again at the current Roundabout Theatre production. When I commented about it to my seatmate at intermission, a lady in the row in front of us (in her 60s) turned around and nodded emphatically.

Is this an age thing? Are the chucklers people brought up on TV laugh tracks who think that if they don’t understand something the proper response is to guffaw?”

It’s not as if they are laughing at pratfalls. Beckett’s austere landscape of white rocks and a bare tree (sets by Santo Loquasto) backdrops two raggedy old men who have been together 30 years and don’t find much to enjoy about life.

Gogo/Estragon (Nathan Lane) is distraught, snooty. Didi/Vladimir (Bill Irwin) is mild calm and understanding. They wonder, “We lost our rights.” Didi makes that clearer: “We got rid of them.” (Estragon, by the way, is French for the herb tarragon.)

Most pathetic is the drooling slave Lucky (John Glover) in stringy white hair, puffing and panting as he is driven by the fat Pozzo (John Goodman). Lucky carries Pozzo’s baggage, a satchel and 3-legged stool.

John Glover, Bill Irwin, Nathan Lane, John Goodman, photo by Joan Marcus

They are mankind, the oppressor and the oppressed. And a couple of onlookers only barely better off.

Didi says, “It’s a scandal to treat a human being that way.”

Gogo: “Why doesn’t he put down his bags? It is pathetic.” Much of the audience laughs.

The characters race and pace, half run/walk around the stage. From the stage, “The air is full of our cries, but habit is a great deafener.” So is the laughter of the masses.

For me then, the wonder of the play is not just its ability to evoke cruelty, but the unthinking odd laughter that it provokes.

Director Anthony Page has created a fantasy slice of life that bursts vividly out of the bubble of the viewer’s imagination.

Nathan Lane is too over-the-top for my tastes; he seems to be playing vaudeville. Bill Irwin is subtle and moving. My favorite of the cast is John Glover as Lucky; he exudes misery to the point where it seems an artistic trait. John Goodman never persuaded me that he was the slave-driving Pozzo.

And, yes, after all these years we have now learned that it is GOD-oh, with the emphasis on the first syllable. But Beckett’s point is that in the face of misery and brutality, God never shows up.

“Waiting for Godot.”
Written by Samuel Beckett; directed by Anthony Page.
Produced By Roundabout Theatre Company.
Studio 54, 254 West 54th Street.
212-719-1300.
Opened April 30, 2009; closes July 12, 2009.
Reviewed May 2, 2009.
http://www.roundabouttheatre.org/

In this update

- UK FILM NETWORK
- REVIEWERS WANTED
- HAPPY BIRTHDAY
- UK RADIO BLOG
- SKYNEWS.COM
- APOLOGIA AT THE BUSH
- FRY AND LEY
- YOU REALLY COULDN'T MAKE IT UP
- THRILLER LIVE
- OPERA - PUCINI
- EVITA
- POOLS PARADISE

Morning

There was no newsletter last week as I was one of the latest victims of the very strong flu bug that's been going around. It knocked me for six and I'm still trying to get rid of the last remaining symptoms.

UK FILM NETWORK

I've been getting great feedback from my report to BAFTA about Social Networking and they'll be investing more in this area and looking for further guidance throughout the year. I'm also in the process of setting up a monthly film night, working with Elliot Grove at Raindance and a local cinema in London to bring the best of independent film to life. If it works well, I'm hoping to clone it around the UK.

In the meantime, here's an article I wrote for Film and Festivals Magazine:-

http://www.ukfilm.tv/magazine/read/social-networking---a-snapshot_39.html

UK THEATRE REVIEWERS

I'm currently looking to build a new team in Edinburgh, as the local team seem to be getting poached by the local magazine. It's good news for them and just shows the quality of the reviewers that we have at UKTN.  It's coming up to Fringe time, so it's going to be busy, so the more the merrier in terms of applications. Reply to editor@uktheatre.net with "UK Theatre Reviewers" in the subject.

Have a great week in the world of theatre and film where you are.

Douglas McFarlane

editor@uktheatre.net

http://www.uktheatre.net

>>>>>> 

HAPPY BIRTHDAY UK THEATRE NETWORK

Yes it's true. On July 1st 2001, the UK Theatre Network was launched as a social network for theatre lovers around the UK.  To celebrate, I've got FIVE DVD's of CHESS THE MUSICAL to give away in advance of the UK release in September.  All you have to do is name the two leading ladies who had a hit with the song "I KNOW HIM SO WELL" in 1985.  Send your entries to editor@uktheatre.net and mark the subject "CHESS THE MUSICAL".   Five winners will be chosen at random from the entries at the end of the July.

>>>>>> 

UK Radio Blog

The new UK Radio Blog has got off the ground and is now streaming live 365. This new service allows me to publish adverts for theatre and film productions, and I can also create voiceover ads for websites and blogs which will be broadcast to a global audience. I'm looking forward to creating my own jingles for the show too.

You can link to it here at anytime:-

http://www.live365.com/ukradioblog

The latest show is also broadcast from 12-2pm every Saturday around the West of Scotland:-

http://www.nevisradio.co.uk

>>>>>> 

SKYNEWS.COM

I was scheduled to be live on Sky last Friday, when I got a phone call saying that Michael Jackson's death will be taking over my slot. So I've been rescheduled to this Tuesday 7th of the 7th at 7 !

In the meantime, here's last month's stories.

http://news.sky.com/skynews/Home/video/Wikipedias-Scientology-Fact-Fight-Among-Top-Stories-Moving-Up-Across-The-Web/Video/200905415291671?lid=VIDEO_15291671_WikipediasScientologyFactFightAmongTopStoriesMovingUpAcrossTheWeb&lpos=searchresults

>>>>>> 

Apologia at The Bush Theatre

Published by: Saskia Green on Sunday 28th June 2009 03:06pm

The word ‘Apologia’ we are told by the sharp, acerbic character Kritsen, is a defence, a justification of a belief; it is also the title of her memoir, which incidentally bears no mention of her two sons.

http://www.uktheatre.tv/magazine/read/apologia-at-the-bush-theatre_221.html

>>>>>> 

FRY AND LEY - A Double-Bill

Published by: OLIVER VALENTINE on Tuesday 30th June 2009 02:06pm

FRY AND LEY – A Double Bill            COCK TAVERN THEATRE

Latin was written by Fry whilst still at Cambridge and remains his only play to date. It won him an Edinburgh Fringe First, and led to his collaboration with Hugh Laurie. Set at Chatham Preparatory School for Boys, it is a witty spoof of the traditional boys boarding schools so often immortalised in fiction.

http://www.uktheatre.tv/magazine/read/fry-and-ley---a-double-bill_222.html

>>>>>> 

You Really Couldn't Make It Up

Published by: Steve Burbridge on Tuesday 30th June 2009 03:06pm

Live Theatre, Newcastle upon Tyne

FOLLOWING on from their recent success with ‘You Couldn’t Make It Up’, father and son writing partnership, Michael and Tom Chaplin once again attempt to shed some light over the events both on the pitch and behind the scenes at Newcastle United Football Club during the most dramatic and disastrous season in its history.

http://www.uktheatre.tv/magazine/read/you-really-couldnand39;t-make-it-up_223.html

>>>>>> 

Thriller Live (King's Theatre, Glasgow 29 Jun – 4 Jul 2009)

Published by: Cameron Lowe on Tuesday 30th June 2009 05:06pm

This celebration of Michael Jackson’s music and unique dance style has become something of a tribute in light of his untimely death last week.  Topical issues aside, the quality of this performance is good enough to turn your socks white and blow one glove off your hand!

http://www.uktheatre.tv/magazine/read/thriller-live-(kingand39;s-theatre-glasgow-29-jun-%EF%BF%BD-4-jul-2009)_225.html

>>>>>> 

PUCCINI’S TURANDOT (AN OPERA IN THREE ACTS)

Published by: TREMAYNE (Potter) on Tuesday 30th June 2009 06:06pm

Ellen Kent & Amphitheatre Productions presents

PUCCINI’S TURANDOT (AN OPERA IN THREE ACTS)

 

Puccini

Puccini (1858-1924), last of the great Italian composers, continued to experiment with work right up until the time of his death.  Whilst composing the impressionistic Turandot, he was undergoing treatment for throat cancer but begged Toscanini for the opera not to be abandoned.  Sadly two scenes were left unwritten when Puccini died.

http://www.uktheatre.tv/magazine/read/puccini%EF%BF%BDs-turandot-(an-opera-in-three-acts)_228.html

>>>>>> 

Evita

Published by: Steve Burbridge on Wednesday 1st July 2009 07:07pm

 Theatre Royal, Newcastle

Having seen the show some fourteen years ago, when Marti Webb starred in the title role, I must confess that it became one of my favourite musicals right there and then. The 1996 film starring Madonna and Antonio Banderas further reinforced my opinion, so this new production had a lot to live up to.

http://www.uktheatre.tv/magazine/read/evita_229.html

>>>>>> 

Pools Paradise

Published by: Steve Burbridge on Wednesday 1st July 2009 11:07pm

 

Reviewed at Darlington Civic Theatre

Set in the sleepy village of Merton-cum-Middlewick, it seems that the vicar’s wife has come up trumps on the football pools with a sizeable win. The only trouble is her pious husband doesn’t know she’s been having a weekly flutter and staunchly disapproves of gambling. Already frowned upon by some of the more sanctimonious parishioners, particularly Miss Skillon, because of her background as an actress, poor Penelope Toop finds herself in a bit of a quandary.

http://www.uktheatre.tv/magazine/read/pools-paradise_230.html

Pools Paradise

Reviewed at Darlington Civic Theatre

Ian Dickens Productions’ tenth summer repertory season is being brought to a close with Philip King’s farce, ‘Pools Paradise.’

Set in the sleepy village of Merton-cum-Middlewick, it seems that the vicar’s wife has come up trumps on the football pools with a sizeable win. The only trouble is her pious husband doesn’t know she’s been having a weekly flutter and staunchly disapproves of gambling. Already frowned upon by some of the more sanctimonious parishioners, particularly Miss Skillon, because of her background as an actress, poor Penelope Toop finds herself in a bit of a quandary.

While she waits for the results to be officially confirmed via her simple-minded maid Ida and her doltish boyfriend Willie Briggs, Penelope tries to come up with a way of breaking the news to her husband.

In true farce tradition, nothing goes according to plan. The vicarage quickly becomes a scene of complete chaos as coupons are mistakenly switched and switched again, trousers are lost, and lots of madcap chases ensue.

David Callister gives a decent performance as the Reverend Lionel Toop, whilst Kathryn Dimery is a delight as the frazzled Penelope. Julia Main’s performance as Ida is anything but subtle and Helen Jeckells, as Miss Skillon, could never be accused of underacting. David Janson makes the most of the slightly thankless part of Reverend Humphrey, whilst Ben Roberts and Frankie Fitzgerald, as the Bishop of Lax and Willie Briggs respectively, do little to earn top billing in roles that are undemanding to say the least.

The play was written almost fifty years ago and, these days, has something of a sentimental nostalgia about it. When first performed, I suppose it would have been considered far more risqué. By today’s standards, the jokes and gags are tired and unfunny and the piece doesn’t really stand the test of time.

That said, the vast majority of the audience (who were senior citizens) seemed to be having a ball.

Steve Burbridge.

‘Pools Paradise’ runs at Darlington Civic Theatre until Saturday 4^th July 2009.

 

Evita

Theatre Royal, Newcastle

The dramatic story of the life of Eva Peron is being brought dazzlingly to the stage of the Theatre Royal in Bill Kenwright’s production of the Andrew Lloyd-Webber and Tim Rice classic, ‘Evita.’

Having seen the show some fourteen years ago, when Marti Webb starred in the title role, I must confess that it became one of my favourite musicals right there and then. The 1996 film starring Madonna and Antonio Banderas further reinforced my opinion, so this new production had a lot to live up to.

Notices stating that the role of Eva would be played by understudy Natalie Hope caused me a little unnecessary concern prior to curtain-up, but from the minute Miss Hope set foot on stage she proved that she possessed the ‘star quality’ required to play Argentina’s most iconic first lady.

Seamus Cullen, a finalist from ‘Any Dream Will Do’, plays Che Guevara and, although he is vocally excellent, unfortunately, his performance lacks the cynicism and edginess that actually defines the role.

Mark Heenehan, as Peron, has a suitably imposing stage presence and an exquisitely clear voice which results in each and every one of Tim Rice’s lyrics being heard perfectly throughout the auditorium.

‘Evita’ features an array of show-stopping musical numbers, such as ‘Oh, What A Circus!’, ‘High Flying Adored’, ‘You Must Love Me’ and, of course, ‘Don’t Cry For Me Argentina’ and each and every one of them is delivered beautifully.

A particular highlight, though, is Carly Bawden’s rendition of ‘Another Suitcase In Another Hall’ which is performed with poignancy and tenderness.

The choreography is slick, stylish and executed with military precision. Indeed the entire production has a sophisticated tone that is evident from start to finish. The set is simple whilst also being elegant and functional and the costumes are indicative of the opulence of Eva’s lifestyle.

Overall, this production is a thrilling and spectacular revival of a musical masterpiece.

Steve Burbridge.

 

 'Evita' runs at the Theatre Royal, Newcastle until Saturday 4 July 2009.

 

‘Arina’-The reluctant tyrant in question, a poor servant girl, who marries into a family a class above her. Who then works tirelessly, to build a property and land empire, ruling her new family with a ‘velvet-glove’ that only a true matriarch can.

Spawning three sons, Steven, Peter and Paul, and expanding her empire, at the expense of all else, including her own salvation. The death of the prodigal son-Steven, makes Arina rethink her life and relinquishes her power, divides up the empire, to her remaining sons and moves out to seek a better life.

The ensuing collapse, deaths and hopelessness’ of her family to carry on the family empire, see Arina once again return to the head of the family, to save what is left.  The final scene of the play is Arina’s; played by Marie Mullen, Tour de force performance, and had me quaking in my boots.

Inspired by a 19^th Century novel – The Golovlyov family by Mikhail Saltykov-Shehedrin it emphasises the futility of greed and religious insincerity. Using the dramatic effect of playwrights such as Anton Chekhov, the long speeches and the characters physicality, help develop the underlying tension, and unsaid thoughts and dreams of all on stage.

The play set over a 10 year period, includes a large ensemble cast who all play their parts well. This all helps to establish an epic Brechtian feel to the piece.

Steven-played by Darragh Kelly gives a wonderfully extravagant performance, as the long-lost son, who has been living the life of excess for many years. The other two brothers; Peter played by Declan Conlon, develops a sinister and pious character, whilst Paul played by Frank McCusker as the under-valued son both play their parts well. One other fine performance, was from Anna played by Janice Byrne, a joy to behold on stage.

The play has a ‘Groundhog day’ feel, with events continually repeating them selves. Tom Murphy’s writing is epic, which makes the show nearly 3 hours long.

Tom Piper’s set, with large planks of wood towering over the stage, creates a very masculine back-drop, where only the strongest survive. These multi-layered sets have been seen in other productions lately namely: Solemn Mass for a Full Moon and Jason Byrne’s The Comedy of Errors. This helps to use the space to great effect, allowing the family ghost to re-appear as if to prick the conscious of the remaining characters. The lightening too, by Ben Ormerod, works magically to transform the stage from one scene to another.

Overall the show is an enthusiastically played piece, leaving you breathless at the end. The epic nature of the writing and acting, builds to a magnificent climax, where only the reluctant tyrant could survive

Location:  The Abbey Theatre, Dublin
Dates : 27 May – 11 July
Time: 7:30
Tickets: From €15-€35
Bookings: +353 878 7222