UK Theatre Network

There There is no happy love.

Writer Tomas Hirst and director Oliver Lyttelton return to the stage after their success of In Parallel at the Arcola Theatre to take a fresh look at the traditional courtroom drama. Matryoshka illustrates the brutal mechanism of a seemingly cold and aloof legal system and its effects on those caught up in it.

Sophie (Nanou Harry) and Alexander (Alex Walker) are locked in an increasingly ugly divorce battle. Their focus is not on dividing their considerable assets but on who will be given custody of their daughter Catherine. They hire two ambitious lawyers – Charlotte (Tara Hart) and Leo (John Sandeman) – to help resolve the impasse. Instead of reaching a solution, however, the warring pair drag their legal council into the fraying web of their relationship. 

At the same time, Luke (Stefan Doolan), the bipolar son of Charlotte’s cleaner Sue (Ruth Evans), decides to wean himself off his medication. With his state of mind unravelling his mother is given the choice of risking to be judged as an overbearing control-freak or remaining passive while her son is slipping into complete isolation from those around him.

The six characters desperately try to stay in control of their own lives but they find themselves merely fuelling the chaos. The divided couple and Sue are trying to do what is best for their children but their actions only seem to make matters worse.

There are fine performances by the entire ensemble. I was particularly impressed by Ruth Evans as the tormented mother and the cool aloofness of Alex Walker’s husband. Jean Apps convincingly portrays the judge who bears the responsibility for the fate of the child.

Feb. 23 to March 13, 2010 at 7.30 pm
Box Office: 0207 737 7276
Tickets: £ 10  Conc.: £ 8
Landor Theatre, 79 Landor Road, London SW9

Reviewed Wednesday 24 Feb 2010



This stage musical, based on Ian Fleming’s stories for his son and the 1968 film of the same name, hit the London Palladium in 2002 after years of planning and preparation. It became the longest running show there and enjoyed rave reviews, running for four years. It then toured the UK and is now back for another tour having undergone some changes.
The combination of a huge cast (including a large number of fluffy dogs), superb sets, outstanding special effects and a full orchestra brought together under the creative genius of director Adrian Noble and the production of Michael Rose Ltd all serve to make this a sensational show and wonderful evening of fun and feel-good family entertainment.

The original film was part of my childhood and it was great to take my six year old niece to this and watch her, mouth dropped open, enthralled at the sumptuous costumes, fantastic singing and dancing, and magical scenes with the quite incredible car – the most expensive stage prop ever. It was a joy to see her reaction. Oddly there were not that many children in the audience (perhaps as it was a school night) but this is a testament to the strength of this production. That all-adult parties feel they can go to a show that conjures up the nostalgia of childhood is a great recommendation.
The Sherman Brothers score including songs such as Toot Sweets, Truly Scrumptious, Hushabye Mountain, and the title song Chitty Chitty Bang Bang are all deeply memorable. I can testify to that because although I have not seen this film more than once or twice since childhood and I could singvalong to all of them (quietly I hope!).
David Morgan’s exciting and often quirky choreography and Anthony Ward’s imposing and imaginative sets and stunning special effects are a major part of making this a truly terrific show.
The cast were all fantastic and clearly are having great fun. There is the impression that the Potts family really have a genuine fondness for each other and this in turn makes the show all the more heartwarming. Darren Bennet (Caractacus Potts) is funny and affectionate. The children could easily be pretentious but are far from it. John Griffiths (Grandpa Potts) is entertaining as the eccentric explorer and Katy Ray (Truly Scrumptious) is sweet and will make a lovely stepmother! Nigel Garton and Richard Ashton, as spies Goran and Boris, are hilarious and do the Act English number with panache. Edward Peel (Baron Bomburst) and Kim Ismay (Baroness Bomburst) are brilliant. Ismay in particular has great comedic talent and her expressions are priceless. Their number Chu-Chi Face was hilarious. Dean Maynard is rather scary as the Child Catcher but is only on a couple of times and not for long.

This is an extraordinary production, magical and warming. I can’t recommend it highly enough. It doesn’t matter what your age, it will bring joy to your soul. I urge you to get tickets to this and if you have children who you want to introduce to musical theatre you won’t find a better show.

Chitty Chitty Bang Bang plays MK Theatre for an extended run until 13 March.  www.ambassadortickets.com/miltonkeynes 0844 871 7652 (bkg fee)

Then to

New Wimbledon Theatre Tue 16 Mar - Sat 3 Apr 2010
The Mayflower, Southampton Tue 6 Apr - Sat 24 Apr 2010

Palace Theatre, Manchester Tue 27 Apr - Sat 15 May 2010

Edinburgh Playhouse 18 May – 5 Jun

SHAKESPEARE GLOBE PRESS RELEASE – 15 February 2010

WORLD PREMIERES

Published by: Tremayne

Shakespeare’s Globe and its 2010 theatre season host two world premieres, Howard Brenton’s new play – Anne Boleyn and Bedlam by first female playwright at the Globe, Nell Leyshon.

“…for years I’d wanted to write a tale about The Tudors.  …sex and religion at such a high level…”

(Howard Brenton).

Anne Boleyn is a dramatisation on aspects of her life and the legacy of her husband, Henry VIII,to whom she was second wife .  A sexually charged woman who took it upon herself to improve the state religion was in, and for the better.

“…anything Tudor-related is gold dust to us at the moment, think to T.V. adaptations…”

(Dominic Dromgoole – Globe Artistic Director).

Nell Leyshon’s writing is described by Dominic Dromgoole as ‘a still and beautiful incapsulation of that Somerset life that’s passing’.  Her new play Bedlam is a fictional take on a London hospital for the mentally insane and looks at the common link between art and insanity.

“…mental illness wasn’t understood, you were either high or low.”

(Nell Leyshon).

SHAKESPEARE’S GLOBE 2010 THEATRE DIARY:

Macbeth by William Shakespeare

23 April – 27 June

Directed by Lucy Bailey

Henry VIII by William Shakespeare

15 May – 21 August

Directed by Mark Rosenblatt

Henry IV Parts 1 and 2 by William Shakespeare

Part 1: 6 June – 2 October

Part 2: 3 July  - 3 October

Directed by Dominic Dromgoole

WORLD PREMIERE

Anne Boleyn by Howard Brenton

24 July – 21 August

Directed by John Dove

The Merry Wives of Windsor by William Shakespeare

14 August – 2 October

Directed by Christopher Luscombe

WORLD PREMIERE

Bedlam by Nell Leyshan

5 September – 1 October

Directed by Jessica Swale

Tickets are available through the box office:

020 7901 9919/020 7087 7398 or

Online: www.shakespeares-globe.org

Q&A SESSION

• The development of The Winter Theatre

“…we retain a shell.  We’ve built up an understanding of The Blackfriars, the indoor theatre in Shakespeare’s day, combined with some of our own designs…”

(Dominic Dromgoole)

•Writing for the Globe

“The Globe loves storytelling.  Being an experimental theatre, it is a psychological window where audience’s brains can open up”.

(Howard Brenton)

•Ticket prices

The Globe continue to sell stand-up tickets for just £5.

“We’ve got the most democratic mix of audience.  I doubt we’ll ever reach the equivalent to New York where a free theatre pass has been made available.

(Howard Brenton)

•Nell Leyshon – First Female Globe playwright

“I wanted to improve the complexity found within plays, which resulted in me writing harder.  For a penny, on a Sunday, during the 18^th century you could observe the mentally ill and poke them with a stick.  I didn’t want to write an historical account.  I wanted to have some fun and not be held by history”.

• Themes of the world premiere plays: religious turmoil from Howard Brenton vs. binge-dinking by Nell Leyshon:

“I’m very interested in religious conflicts.  You don’t set out to write a play with addressing the nation though.  Otherwise you’d go mad like Sir Bernard Shaw!”

(Howard Brenton)

“You couldn’t go to a West End Theatre for fear of being stabbed”, Nell Leyshon who makes a comparison between theatre back in the 18^th century and now.

•Sum-up by Artistic Director, Dominic Dromgoole

“The extraordinary story of the Globe goes on.  It’s little short of a miracle that it’s becoming reachable on your laptop from the top of The Himalayan Mountains”.

Shakespeare Globe Press Release – 15 February 2010

Published by: Tremayne

Shakespeare’s Globe presents plans for its 2010 theatre season: 23 April – 30 October 2010.

Shakespeare’s Globe on Film

Three productions from Shakespeare’s Globe 2009 theatre season have been filmed. Special attention was made to how they were cut and assembled together, so that they could be screened and released onto DVD and Blu-ray in time for this Spring/Summer.  All part of the Globe’s new partnership with Opus Arte.

Screenings of Dominic Dromgoole’s production of Romeo & Juliet will be shown at Odeon, Vue and other selected independent cinemas throughout the UK in February.  Further screenings scheduled internationally in the months to come.

CINEMA

                                    Odeon*                                    Vue**

Love’s Labours Lost    12 Apr at 19:00                       26 and 27 Apr

As You Like It              14 Jun at 19:00                       11 and 12 Oct

*Participating Odeon cinemas include: Blackpool, Colchester, Guildford, Harrogate, Kettering, Lincoln, Manchester, Metrocentre, Taunton, Tunbridge Wells, Wimbledon.

**Participating Vue Cinemas include: Blackburn, Camberley, Cambridge, Carlisle, Cheshire Oaks, Dublin, Edinburgh Omni, Harrow, Hull, Plymouth, Portsmouth, Reading, Southport, Watford, Worcester.

DVD AND BLU-RAY

Romeo & Juliet                       1 April 2010

As You Like It                          1 May 2010

Love’s Labours Lost                1 August 2010

SHAKESPEARE GLOBE PRESS RELEASE – 15 February 2010

Shakespeare’s Globe’s 2010 Theatre Season

Published by: Tremayne

There will be small scale regional tours of The Comedy of Errors and A Midsummer Night’s Dream, which are scheduled to visit the UK and Europe.

Public booking opens on 15 February 2010.

Box office: 020 7401 9919 or visit the website www.shakespeares-globe.org

“There’s been a decline within other companies… …we’re managing to do without subsidies… …we won’t go into that!”

(Dominic Dromgoole)

This year’s theatre theme is Kings & Rogues, following the best box office year in 2009 where the highest attendance figures were held in the Globe’s 13 year history.

Henry IV Parts 1 & 2, described as ‘a waterfall of revelations’, to be shown ‘in isolation to detach from that long history cycle they’ve been attached to in the past.’

Lucy Bailey’s production of MacBeth will begin the theatre season, to be launched on Shakespeare’s birthday, 23 April.  This will star Elliot Couran who played in the Donmar’s award-winning A Streetcar Named Desire.

The Merry Wives of Windsor returns in 2010 after its triumph in 2008.  It echoes roots of a modern TV sitcom, including several the characters from Henry IV Parts 1 & 2.

Fatal Encounter

Darlington Civic Theatre

Francis Durbridge is one of the world’s most prolific thriller writers and his name is synonymous with intricately detailed and beautifully written ‘whodunits’.  Fatal Encounter is the fourth of Durbridge’s plays to be staged by theatre impresario Ian Dickens, and he has done a jolly good job of it to boot.

The story revolves around Joanna Mansfield, played by the wonderful Anita Harris, the wife of a successful publisher, Howard Mansfield (Michael Howe). For quite some time, Joanna has been acting rather strangely and her neurosis, paranoia and general jumpiness is beginning to cause Howard concern.

A series of bizarre events, including her handbag being stolen during a mugging then being left outside the couple’s front door with contents fully intact, lead up to Howard returning home one evening to find that Joanna has shot Perry Kingsley (Aaron Bixley), the husband of her best friend, Grace (Susan Skipper). In an effort to protect his fragile, vulnerable wife, Howard elects to take the rap for the shooting himself and, unwittingly, embroils himself in a world of international blackmail and conspiracy.

Anita Harris is on top form in the role of Joanna and her performance is so accomplished that, despite the skill and talent of her co-stars, she dominates the entire piece. That said, the performances given by Nicholas Ball, as the dogged detective Inspector Coldwell, Neil Stacy, as the soave, sophisticated art dealer Mark Adler, Susan Skipper, as the rather beautiful best friend, and Michael Howe, as the harassed husband, are entirely commendable. A supporting cast made up of Aaron Bixley, Michael Kirk, Miranda Magee and Michael Carrington serve the principals admirably.

Durbridge’s script crackles along at a rip-roaring pace and he throws plenty of red herrings into the mix, confounding even the most diligent of audience members. Ian Dickens’s direction is sharp and dynamic, keeping the momentum up throughout.

The action takes place in the home of Howard and Joanna Mansfield, at 28 Clifton Place in Holland Park, and the wonderful set is beautifully dressed. In fact, the only mystery that remained unsolved at the end of the performance was who should be given the credit for its design. I could find no credit in the programme notes.

This production of Fatal Encounter is a resounding success and comes highly recommended.

Steve Burbridge.

Runs at Darlington until Saturday 27^th February 2010, before touring to Tunbridge Wells and Plymouth

PEPPA PIG’S PARTY!

[Live on stage Wed 7^th & Thur 8^th April]

Click here for Peppa images

Peppa Pig is currently one of TV’s top-rated children’s shows and a BAFTA Award winner. Now, for the first time ever, she has her own live stage show. Peppa Pig’s Party opened on 30 September in Exeter and played to 7 venues in autumn 2009. Now in 2010 this extensive UK tour continues to 60 theatres across including the King's Theatre Glasgow.

Many creative talents have come together to assemble this exciting new production where the main characters are played by puppets with visible puppeteers.

Peppa Pig’s Party is produced by the team (Fiery Angel and Limelight Productions) behind the recent tours of LazyTown Live! and Roald Dahl’s The BFG.

Peppa is a playful little pig who lives with her little brother George, Mummy Pig and Daddy Pig. Through everyday adventures she plays games, makes new friends and enjoys her absolutely favourite activity – jumping up and down in muddy puddles! Today is a very special day. It’s Peppa Pig's birthday. Peppa Pig’s Party is a chance for all her young friends across the UK to join in the fun with Suzy Sheep, Danny Dog and Emily Elephant for her perfect party. This charming, original and imaginative show is full of brand new songs, muddy puddles, and oinks!

Peppa Pig © Astley Baker Davies Ltd / E1 Entertainment Ltd 2003.

Ends/

PRESS PERFORMANCE: WED 7^th April @1pm

Listings Info:

PEPPA PIG’S PARTY

Wed 7^th April @ 10am, 1pm and 4pm

Thur 8^th April @ 10am, 1pm and 4pm

Tickets: £13.50 – £15.50 Adult

          £11.50 - £13.50 Child

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

NOTES TO EDITORS:

1. Peppa Pig is currently one of the UK’s biggest pre-school properties with confirmed sales of over 2 million DVDs and over 50 licence agreements in the UK alone. Internationally the television programme has been sold into over 150 territories and licensing programmes have been established or are being planned in a number of territories including Europe, Asia and the Americas.

PEPPA PIG’S PARTY

www.peppapiglive.com

Contacts:

To set up interviews, request images or for further information please contact Mark Irwin on 0141 240 1305 or markirwin@theambassadors.com

To organise competitions or ticket giveaways please contact Laura Fitzpatrick on 0141 240 1302 or laurafitzpatrick@theambassadors.com

Mark Irwin
Press Officer
King's Theatre & Theatre Royal, Glasgow 
297 Bath Street
Glasgow G2 4JN
Direct Line: 0141 240 1305
Fax: 0141 240 1301

The Lady in the Van

The Gala Theatre, Durham

The Lady in the Van tells the true story of a bag lady who drove her battered old Bedford van into the garden of playwright Alan Bennett with the intention of parking there for three months, but who ended up staying for fifteen years.

It’s a strange piece which is constructed from a series of pivotal events rather than following a linear path. The wit is understated, the themes low-key, and sometimes the pace moves so slowly that you almost begin to believe that Miss Shepherd’s van might overtake it.

Nevertheless, the poignancy and perceptiveness of Bennett’s bittersweet observations are enough to subtly engage and, before you are aware of it, you are hooked by the curious relationship between the indomitable, cranky and completely batty old woman and the intellectual, introverted, mild-mannered playwright.

Rosalind Bailey, as Miss Shepherd, is a one-woman wonder and she nails the role with expert precision. Her performance is carefully crafted and hallmarked by spot-on comedy timing, convincing characterisation and an indisputable stage presence.

David Hedges, as the younger Bennett, and Hugh Osborne, as the elder, both successfully convey the mannerisms, voice and intonation of the playwright. However, there were moments when I felt that there was an element of competition between the actors as to who could do the best Bennett, and this resulted in Osborne occasionally sounding like a cross between Russell Harty and Melvyn Bragg.

Lucy Campbell has designed a stylish and atmospheric set, depicting Bennett’s study which looks out at Miss Shepherd’s battered old Bedford (and, at one point, a rusty old Robin Reliant, too!), against the backdrop of a silhouetted terraced street, punctuated by a solitary lamp-post.

Simon Stallworthy, directing his thirteenth in-house production for the Gala, demonstrates a complete understanding of the piece and handles it with reverence and responsibility.

The Lady in the Van may not be a piece that hurtles along at an all-action breakneck speed, but it is an astute study of human relationships, highlighting the fallibility and complexity of the species.

Steve Burbridge.

“The Lady in the Van” is at The Gala Theatre, Durham until 27^th February 2010.

Directed by Frances Loy

Theatre delicatessen’s first production in its new home at Picton Place is Philip Ridley’s Mercury Fur. A play told at full throttle, Ridley's world is a dark place, survivors on edge creating dark fantasies for those that will pay to play

Elliot (Matt Granados) and his brother Darren (Chris Urch) prepare places  for ‘parties’ where people can film their fantasies, Lola (Isaac Jones) helps them prepare for these events.

The play opens with Elliot and Darren finding an abandoned flat to hold the party, they encounter Naz, (Mikey Bharj) a squatter who quickly ingratiates  himself in the hope of cadging some drugs from Elliot and to avoid being alone.

The outfit is run by Spinx (Ben Wigzell), a man whose power is seemingly untouchable. The group await the arrival of the party guest, the client whose whims are catered for. Things do not go according to plan and the action moves swiftly to lead the characters to a horrifying and inevitable conclusion. 

Much symbolism is present in this work, links between the characters are hinted at but never fully explained.

There are some compelling performances in this production and Loy's confident direction has employed full use of the space to encourage the audience to feel they are in the moment with the characters.

Mercury Fur

3-4 Picton Place W1U 1BJ

Audience should note Strong language is throughout.

Lear
Lear and his daughters fight it out in the swinging sixties.

Bobby Fincher, the founder of Spadra Bus Theatre Company, transports King Lear into the swinging sixties as the youth rebellion begins. The 1960s were typified by a fraught division between the old and the young. Fincher sees this as a perfect backdrop for Lear and his daughters. When the play opens Lear is bestowing his kingdom on “younger strengths” but are they ready to take the world into their own hands? And is Lear ready to give it up? 

Fincher interprets the tale as a rebellion of youth against age and tradition and compares it with the rebellion and sexual revolution of the 1960s. Sadly, this idea does not quite work. It remains unclear what Fincher thought he could bring to the play by setting it in the 1960s. The actors wear sixties costumes and there is the occasional slide show depicting relevant events of the era such as the student rebellion, the deaths of Robert Kennedy and Martin Luther King jr. or the Vietnam War accompanied by music - mostly by the Beatles. Lear liberates his daughters from his paternal care and empowers Goneril and Regan by dividing his kingdom between them. True. But why is Goneril’s and Regan’s affair with Edmund compared to the sexual revolution of the 1960s? I don’t see the connection. These extramarital affairs had been going on for centuries. Interpreting their desire for Edmund as Goneril’s and Regan’s “sexual liberation” is stretching it somewhat. It does not help that the play was cut down to a length of less than two hours.

However, it was interesting to see two actors playing Lear. Robert Rowe portrays the king with quiet authority and stubbornness. Chris Bearne takes over when Lear is beginning to lose his mind giving a very intense and touching performance. The only character who truly took me back to the 1960s was Suzanne Kendall’s Foole. With her shrill excitement the Foole reminded me of Barbra Streisand in her best comic roles of that era. 

The production is presented by the Spadra Bus Theatre Company and was produced and co-directed by Suzanne Kendall and Hannah Mercer who also perform in the play. They received support from guest director Luke Dixon of Nomad Theatre.

16 to 24 February Tue – Fri 7.30 pm  Sat and Sun 3.00, 6.30 pm

Tickets: £ 12 / £ 10 (concessions)

BOX OFFICE: 020 7704 6665

The Rosemary Branch, 2 Shepperton Road, London N1 3DT