THE FESTIVAL, The Catastrophe Trilogy, Lone Twin Theatre, Barbican Theatre 2-13 March
By Nicola Hollinshead
Lone Twin Theatre play with types of narrative forms and structures, space and spacial relationships. The devising process they use for their work includes music, song and dance; some of the performers are more adept at than others, but all of them have an energy and commitment to this style of working that is palpable.
In THE FESTIVAL the action centres around a chance meeting of a man and a woman at an annual music festival that coincides with the yearly viewing of the humpback whale at this particular costal town in Australia.
The company use a Brechtian style of storytelling, which sets a tone of objectivity around the themes of relationships, friendships and family bonds. The effect, especially as the main female character of the piece appears to have a Danish accent, is a slightly off-the-wall Nordic feel, as if the characters are part of an IKEA ad. This, added to the space they work in, a simple traverse staging, and the use of the functional looking set - simple tables and chairs set at either end of the traverse, add to the sparseness of the storytelling and delivery.
Expressions of inner feelings and other emotions are shown through repetitive movements and dance steps which are both oddly moving and comical to watch. The group sing accapella to popular pop songs such as 'Everybody's Got a Hungry Heart' to express the universal longing of human beings towards seeking relationships. Both the characters feel an attraction when they meet and vow to meet again the same weekend the following year, but when they do, they both want different things; the male character wants the reunion to initiate a potential relationship and the female character doesn't and decides her life, her relationship with her mother, her colleagues and her friends is enough for her. What we don't feel however is any real investment in them as characters as they are not presented to in a way for us to care about them or get to know much about them. We are presented with 'information' and acted out scenes of their lives with their respective circles of contacts, but they are, like the set, purely functional.
The use of group singing is also both comical and poignant because of their commitment to it and to the message of the song more so than being 'note perfect', even though they can almost all hold a tune well. It is the intensity they feel for the songs they sing together that touches us and how they unselfconciously physicalise each nuance of the song. We laugh as we recognise ourselves dancing alone in our bedrooms to our favourite tunes or playing air-guitar to a favourite rock song.
Whether the subject of this episode of the Trilogy can really be defined a 'catastrophe' is questionable, but the approach and style of work which is compelling. The actors Antoine Fraval, Guy Dartnell, Molly Haslund, Nina Tecklenburg and Paul Gazzola are totally committed to the work and style of perfomance and it shows, and once we adapt to the style, we quickly accept the theatrical conventions they use for their storytelling. The lightness of touch and playfulness of the piece leave you feeling uplifted and intrigued.
2010
The Catastrophe Trilogy:
Alice Bell, Daniel Hit By A Train, The Festival
Three pieces shown either on consecutive
nights or back-to-back.
Please check websites for details.
1st - 13th March
Barbican, London
www.barbican.org.uk
16th, 17th, 18th March
Lawrence Batley Theatre, Huddersfield
www.thelbt.org
20th March
The Point, Eastleigh
www.thepointeastleigh.co.uk
22nd, 23rd, 24th April
The Studio, Royal Exchange Theatre, Manchester
www.royalexchange.co.uk
26th April
Aberystwyth Arts Centre / Canolfan Y Celfyddydau
www.aber.ac.uk/artscentre
1st May
Studio 1, Dartington
www.dartington.org/arts
8th May
Nuffield Theatre, Lancaster
www.nuffieldtheatre.com
18th - 22nd May
Kunstenfestivaldesarts, Brussels
www.kfda.be
27th - 29th May
Festival Ad Werf, Utrecht
www.huisaandewerf.nl
The Festival
27th March
ICIA, University of Bath
www.bath.ac.uk/icia
28th April
Theatre 1, Roland Levinsky Building, University of Plymouth
www.peninsula-arts.co.uk
3rd May
Colcester Arts Centre
www.colchesterartscentre.com
6th May
The Civic, Barnsley
www.barnsleycivic.co.uk
11th May
Corn Exchange, Brighton
www.brightonfestival.org
The Hare and the Tortoise. Queen's Theatre, Hornchurch.
By kelly potterVicky Ireland's adaptation of The Hare and the Tortoise at the Queen's Theatre forms part of the Theatre for Young Minds programme which is run by the Theatre's Education and Outreach Department. The scheme will be taking the production to schools and children's venues around Essex and East London, aiming to introduce young children to live performance.
Members of Cut to the Chase welcomed the audience into the small village, children could sit in the middle to enjoy the action from all sides. I was shown to my seat by Earnest the Tortoise, the unlikely hero, whilst Gussy Spike, the melodic hedgehog sang us a song and the other characters played us in with a guitar and an accordion.
The evil, fiddle toting Rhoda Skunk informs us, "I'm a business skunk," as she reveals her plans to turn the whole countryside into tarmac, leaving Earnest and his friends homeless in the process. Earnest and Gussy intend to fight Rhoda and Judge Fairweather decides that the matter will be resolved in a race around the town. Harold Bigfeet, the Hare who performs cartwheels and ballet style leaps, will represent the fast team and Earnest, the methodical and thoughtful tortoise, will race for the slow team.
Harold plays many tricks on the honest Ernest including switching road signs, but the audience (eventually) inform Earnest of this. Suddenly the story takes a twist when aliens appear from another world and abduct the racers, leaving the fate of planet Earth in their hands.
Important issues were touched on, such as the need to slow down our fast paced lives and the danger of roads was nicely included during the Green Cross Code song. All sound effects and musical accompaniment were provided by the ever resourceful cast.
Never work with children and animals? Well, the animals in this production were extremely well trained and the children were quiet as mice, sometimes too quiet, but judging by the looks of awe on their faces at the singing and dancing characters, they were highly entertained.
Listings Information
Sat 6 Mar | 11am
Sat 13 Mar | 11am | 2pm
Sat 20 March |11am | 2pm
The Hare and Tortoise
The Queen’s Theatre Foyer, Billet Lane, Hornchurch RM11 1QT
Tube: Hornchurch
Tickets: £5
Box Office: 01708 443333
Website: www.queens-theatre.co.uk
The Hare and the Tortoise stars cut to the chase… members
Sarah-Lee Dicks
Rew Lowe
Lucy Rivers
Adrian Salmon
Joe West
Directed by Patrick O’Sullivan
Design by Rodney Ford
Music by Steven Markwick
Choreography by Emily Parker.
MATRYOSHKA by Tomas Hirst at the Landor Theatre
By Carolin Kopplin
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
Chitty Chitty Bang Bang
By Louise WinterReviewed 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
Liverpool Empire 29 Jun – 17 JulShakespeare’s Globe on Film
By TREMAYNE MillerShakespeare 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’s Globe’s 2010 Theatre Season
By TREMAYNE MillerSHAKESPEARE 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.
Mercury Fur by Philip Ridley
By Katherine HayesDirected 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.
Dreamboats and Petticoats Milton Keynes Theatre
By Louise WinterDreamboats and Petticoats at Milton Keynes Theatre
Reviewed 15th February 2010 Directed by Bob Tomson; Musical Supervision by Keith Strachan; Choreography by Carole Todd; Designed by Sean Cavanagh; Lighting Designed by Mark Howett; Sound Designed by Ben Harrison; Executive Producer Brian Berg.
A hardworking cast who are determined to please the audience are the central strength of this (and indeed any) production. Here, this very young cast are energetic, charming, bright and generally convincing. They truly look as if they are having the time of their lives.
The story by Laurence Marks and Maurice Gran strangely came after the hit compilation album of the same title. Cashing in on this has resulted in a fairly thin story, one of teenage crushes, songwriting competitions, and growing up. It is mostly set in St Mungo’s youth club with an excursion to Southend thrown in.
This production really is an excuse to cram in as many hits from the early sixties as possible and there can’t ever be more than three or four minutes of dialogue before another of the 43(!) songs is squeezed in. Clearly this formula is working though as there is a London show running as the same time as this tour so obviously a demand.
It is really a production for those who were young during this era and clearly an enjoyable trip down memory lane for them. The majority of the audience greeted the evening with plenty of enthusiasm, swaying and singing away to all the musical numbers. That is not to say it is not enjoyable for anyone who does not have direct experience of this era as most of the music is familiar and includes enjoyable hits such as ‘Let’s dance’, ‘The Wanderer’, ‘Runaround Sue’, ‘Bobby’s girl’, ‘Dream Lover’ and the list goes on and on.
Performances are strong, particularly Josh Capper as Bobby, who has only been out of theatre school for three years. 
Awarded most promising graduate in 2006 he was definitely one of the stand out performances of the evening. He looks the part, has a great voice for the most part, although the Roy Orbison number did cause a couple of problems, and comedic talent. He is very endearing as an dreamy awkward teenager.
Matching Josh in the comedy stakes is Wayne Smith as Ray who looks like a young Danny Kay and is as funny in places! 
Again, great voice, convincing and a charming way about him. Bound to see more of these two in the future.
Daniella Bowen (Laura) and Carolynne Good (Sue, above) are both bright and chirpy as knowing, teenage girls with more experience than the boys. Strongest female performance is Bethany Compson-Bradford as the sweet fifteen year old with the songwriting talent and beautiful voice. She is rather wonderful.
Weakest link is Jonathan Bremner as Norman who whilst a pretty boy – he certainly raised a few eyebrows – and whilst having a pleasant enough voice does not bring a convincing performance to the stage. According to the publicity material he is ‘widely recognised from taking part on ITV’s X Factor where he reached the final seven in Sharon Osbourne’s group.’ Really? He’s not. Four years ago is a very long time ago in this day of immediate (and short lived) fame. He seems to have done a lot of celebrity party/charity gigs and is perhaps a decent enough entertainer. He is an adequate singer but not an actor and it shows amongst this cast.
Anthony Clegg (Phil/Older Bobby) and Simon Nock (Frank/Slugger/Compere) are the very experienced and more mature cast members and their confidence and ease on stage shines through.
All members of the cast deserve a mention really, particularly as the majority of them play the music live on stage throughout. That certainly says something about todays wealth of talent.
An enjoyable singalong evening of a trawl through the hits of the sixties with the tiniest thread of a story to hold it all together is the sum of this productions parts.
Dreamboats and Petticoats plays MK Theatre until Saturday 20th Feb
0844 871 7652(bkg fee). www.ambassadortickets.com/miltonkeynes
then continuing on an extensive tour
22-27 Feb Opera House, Manchester
1-6 March, New Victoria Theatre, Woking
8-13 March, Liverpool Empire Theatre, Liverpool
15-20 March, Grand Theatre, Leeds
For full tour dates visit www.kenwright.com
Dancing in the Streets (15 – 20 Feb 2010, Kings Theatre, Glasgow)
By Cameron Lowe
The sound of Motown is transported to Glasgow this week as the stars of the 60s take to the stage in this first class tribute concert.
There are a number of ways to bring the hits of the past to a stage show. The success of the ABBA based hit, Mamma Mia!, has seen a resurgence of productions with a fresh story to tell weaving old songs around the drama. But this is difficult to do well and easy to do badly. Dancing in the Streets takes the simpler route by delivering a straight forward tribute concert (similar to Rat Pack – Live from Las Vegas) … and delivering it with some style.
The first thing to consider when conceiving a production like this has to be the theme. In “Motown”, Director and Musical Supervisor, Keith Strachan, has tapped possibly the richest vein of musical hits in history! With artists from Gladys Knight and the Pips to Diana Ross and the Supremes, Marvin Gaye, Stevie Wonder, The Four Tops, The Temptations, (the list goes on) … the hardest decisions must have been what to leave out of the show! But you can be sure that the numbers in the show will be hits that everyone has a specific memory of.
And that’s what the audience pay their money for … memories. They want to be transported to the time and place that each song meant the most to them. Time travel isn’t just for Doctor Who, you know. It was certainly a reality for the majority of the audience in Glasgow last night! The reason the “Dancing in the Streets” time machine works so effectively is in the delivery of those Motown hits. The first class cast sounded (and often looked) like the original artists. Dance moves were faithfully reproduced, backup singers swayed and clicked and clapped and ‘shooped’ just like their 60s counterparts and the band faithfully reproduced the Motown sound on every track. Overall production values were excellent, too, with a classically styled static set incorporating the live band, excellent lighting effects (probably far superior to the 60s originals but effective and atmospheric nonetheless) and more costume changes than London Fashion Week!
Transport yourself to Hitsville, USA in the 60s for £25.50 (or less) - bargain!
Listings Info:
King's Theatre Glasgow: Mon 15 Feb – Sat 20 Feb
Mon – Sat at 7.30pm
Sat mat – 2.30pm
Tickets: £12 - £25.50
Box Office 08448 717 648 (Bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)
UK Theatre Network - Happy Valentine's Day
By Douglas McFarlane
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Have you heard the story of the Johnstone twins? If not, you have missed what has become a classic of British musical theatre and now is your chance to hear the tale! Willy Russell’s Blood Brothers is on tour - follow a trail of tears and snotty handkerchiefs all the way to the King’s Theatre, Glasgow until 13 February 2010.
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