UK Theatre Network

Thriller Live

At Milton Keynes Theatre

In a career that spanned 40 years Michael Jackson sold 750 million records worldwide and Thriller is the world’s best selling recording of all time. Presented by Flying Music in association with Adrian Grant, this show is a homage to Michael Jackson’s music, dance and fashion style, with a cast of singers, dancers and musicians performing songs from the Jackson 5 years, up to his solo performances. It demonstrates how Jackson’s music traversed different musical genres which started with Tamla Motown and the Jackson 5 and ventured into pop, rock and R&B during his solo years. It also illustrates how he has influenced other performers.

The set was designed by Jonathan Park with lighting by Nigel Catmur. At first glance it appeared quite rudimentary, just a mezzanine with a rail and two sets of steps. However when the show started the stage came alive, lit up by LED panels which were used to create various different effects.   The main screen effectively formed a pair of sliding doors beneath the mezzanine. On towers around the mezzanine were four smaller sets of double panels. Another octagonal panel was suspended and lowered to allow images when needed, which included a projection of a large disco mirror ball in red. Pyrotechnics were also used, some in an understated manner which was very effective.

Gary Lloyd’s choreography was superb and the dancers were very energetic and gave it their all, I found Becky Hicks particularly charismatic.  The acrobatics performed by some of the male dancers was also very good.

The costumes were excellent and were appropriate to the fashions of the different eras. A particularly nice touch was the outfits for the Smooth Criminal track which featured gangsters’ molls from the ‘30s forwards.  There were numerous costume changes that had to be executed quickly and this was brilliantly achieved.

There were several lead vocalists who didn’t look like Michael Jackson but this was intentional as it was a celebration of his music not a tribute act, although there were clear vocal similarities. It was good to remember how many great songs he recorded during his career.

There was an excellent band of accomplished musicians, with the guitarists being particularly good. The band was on stage at the rear and were obscured most of the time, hidden from view by LED panels in front of them. At other times these panels were opened to reveal the band.

This show was fast moving and energetic from start to finish and the audience loved it. This is a show not to be missed and involves some excellent audience participation, which always increases the feel good factor.

Thriller live plays Milton Keynes Theatre until Saturday 14^th May 2011.  Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee).

The tour then continues to His Majesty’s Theatre Aberdeen from Monday 16^th to Saturday 21^st May 2011.

www.miltonkeynestheatre.com www.thrillerlive.com http://uktheatre.tv

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 9^th May 2011.

Theatre Royal Bath Productions presents by arrangement with Primavera Productions

Robert Powell in

Jeffrey Bernard   IS UNWELL

By Keith Waterhouse

At Milton Keynes Theatre

This play is set in the bar of the Coach and Horses pub in Soho, in the wee small hours, in 1989.  It is a favourite haunt of journalist Jeffrey Bernard, who emerges from the toilets, where he has fallen asleep (or passed out) to find the pub is closed and he is locked in.  He helps himself to some vodka from the optic while he considers his position.

Bernard is a chronic alcoholic, womaniser and gambler who spent most of his life frequenting pubs and clubs in Soho, having been mesmerised since his early teens by its culture, colourful characters and Bohemian atmosphere. He was married four times, none of which lasted and his relationships are estimated at 500. Both his parents had died by the time he was 18 years old so he was free to run wild. He is a loveable rogue who existed for many years largely on the generosity of his friends. He worked for and was fired from several Fleet Street publications before he started his Low Life column for The Spectator in 1978. He also wrote the Colonel Mad column in Private Eye.

As he drinks his vodka Bernard reminisces.  Robert Powell is excellent in this role and talks comfortably to the audience, who immediately warm to him. From time to time people from his past come in and hilarious anecdotes are recalled. Some 55 roles are played by four other cast members who are; Mark Hadfield, Peter Bramhill, Amy Hall and Rebecca Lacey who all do a brilliant job in creating so many diverse characters.

Occasionally Bernard refills his glass, opening a fresh bottle of vodka when the one on the optic is empty and assures the audience he will put it on the slate, after all he is not a freeloader. He also phones Norman the pub landlord a few times but is unable to contact him.

The set is a realistic representation of a London pub, displaying that overall look and feel only found in the capital’s pubs.

Eventually the landlord arrives to unlock the door and Bernard can leave the pub.

This is a very amusing and enjoyable play providing a successful biopic of one of the more colourful characters in an area replete with unusual and interesting people. I found it well worth seeing and judging by the laughter from the audience I was not alone.

Jeffrey Bernard is Unwell plays Milton Keynes Theatre until Saturday 30^th April 2011. Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee)

The tour continues playing Malvern Theatres, Malvern from Monday 9^th to Saturday 14^th May 2011.

www.miltonkeynestheatre.com www.ambassadortickets.com http://uktheatre.tv

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 25^th April 2011.

Theatre Royal Bath Productions by arrangement with Kevin McCollum Robyn Goodman Jeffrey Seller Vineyard Theatre The New Group and Cameron Mackintosh present

Avenue Q

At Milton Keynes Theatre

This show is a musical featuring the inhabitants of Avenue Q played by a mixture of actors and actors with puppets.  Avenue Q is an affordable area of New York City to the east of Brooklyn and Queens.  The actors working the puppets are visible on stage as they carry the puppets and can be seen speaking. This looks a little odd at first and I found it hard to focus on the puppets but after a while I got used to it. The actors  interact with their own and other puppets, with some of the actors playing characters without puppets. Those actors controlling puppets sometimes work with more than one puppet and are not always supplying the voice for the puppet they are holding which is very cleverly done. The puppets remind me of Sesame Street and the Muppets but the adult humour in Avenue Q is not suitable for children.

The everyday lives and aspirations of the residents of Avenue Q, are portrayed with dialogue and songs. Whilst it is very amusing it is also poignant in places too. The puppets are excellent and the actors handling them do a good job in bringing them to life.  Issues such as graduate unemployment, racism, homophobia and internet porn are topics for songs and discussion amongst the characters. There is a strong sense of camaraderie amongst those living on Avenue Q. Most of the residents have dreams and ambitions and some have encountered disappointments.

The landlord is a representation of Gary Coleman (played by Matthew J Henry) from the TV series Different Strokes, a child star whose money was usurped by his parents and whose career did not progress with him to adulthood. He seems cheerful but clearly found it hard to deal with his career being over at 15years of age when most people haven’t even started theirs.

The newest resident is Princeton (Adam Pettigrew) a recent graduate with a degree in English whose new job falls through before his first day. Having been focused on graduation as a student there is often a sense of anti climax post graduation and if it is difficult to find employment the value of the degree can be doubted. Princeton is aware he needs to find a new purpose in life. Two nasty bears (Catherine Moraz Chris Thatcher) put in their first appearance and encourage him to spend what little money he has on beer.

Kate Monster (Rachel Jerram) has a dream to open a school for monsters. Kate and Princeton become friends, but there’s a romantic attraction too. During a night out they are led astray by the nasty bears who encourage them to binge drink. Kate and Princeton end up in bed which leads to Princeton cooling the relationship to pursue his purpose. Kate Monster is upset particularly when Lucy the Slut (Rachel Jerram) appears on the scene.

Then there’s the Trekkie Monster (Chris Thatcher) who’s quite obsessed with internet porn and sings a song on the topic.

Rod (Adam Pettigrew) is gay but lacks the courage to admit it although his friends are supportive and accept him for who he is.

A non puppet couple Brian (Edward Judge) and his Japanese wife Christmas Eve  (Jacqueline Tate)  are major characters in the Avenue.

The set is excellent with windows that open and shut and a clever use of lighting which enabled us to see both inside and outdoors of the building. Lighting was also used to good effect to transform Avenue Q to the bar. There were also special effects including pyrotechnics which added to the overall experience.

Avenue Q is a musical with a difference and I for one am glad I did not miss it. Given its interaction between actors and puppets and its use of humour to explore sensitive issues, it is not only funny but also makes you think. If this appeals to you then this is a show worth seeing.

Avenue Q plays Milton Keynes theatre until Saturday 23^rd April 2011. Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee).

The tour continues playing Theatre Royal Nottingham from 26^th April to 30^th April 2011.

www.miltonkeynestheatre.com www.avenueqthemusical.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 18^th April 2011.

http://uktheatre.tv

National Theatre on tour present

Hamlet

By  William Shakespeare

At Milton Keynes Theatre

This modern adaptation of Shakespeare’s classic is directed by Nicholas Hytner with Olivier award winning actor Rory Kinnear taking the lead role of Hamlet which he performs brilliantly.

Still devastated by the death of his father, the King of Denmark, Hamlet’s fragile mental condition is not helped when his mother, the Queen Gertrude (played by Clare Higgins) remarries to his father’s brother only a month after his father died.  Hamlet’s uncle is now his stepfather King Claudius (Patrick Malahide). There are TV crews filming the newly married couple, portrayed in an American Presidential style.

The play, staying true to the original plot has been updated to include soldiers in fatigues with Kalashnikovs rather than spears. Another modern adaptation is the use by Ophelia of a portable stereo which allows Ruth Negga to demonstrate her excellent voice. Inside the castle of Elsinore the CIA style security men wear suits and earpieces and stand discreetly positioned to maintain a “big brother” style overview. No one is ever alone. Further adaptations include Ophelia in her madness becoming a bag lady complete with supermarket trolley and the use of lights and sound system by the players visiting the castle. The costumes throughout reflect current trends, smart suits, casual hoodies, tee shirts and jeans.

The set was fairly simple consisting of a series of connected panels, alternate ones containing doors with presidential style seals, which allowed rooms of various sizes to be formed and changed. This was augmented by the use of various pieces of furniture brought on by the actors as scenes changed and lighting effects particularly spotlights. The panels and doors were painted white which appeared to create an overall impression of blandness which I didn’t particularly like.

The acting throughout was excellent with particularly good performances from Rory Kinnear as Hamlet, who not only put his heart and soul into the performance, he seemed to have an uncanny insight into the many facets of the character. Giles Terera takes the role of Horatio, a part less obvious than some yet pivotal within the play.  Patrick Malahide was convincing in the role of Claudius King of Denmark as a treacherous assassin. Clare Higgins was a feisty Gertrude Queen of Denmark, a strong woman who liked a drink. David Calder effectively portrayed Polonius as a kindly old man who had power and influence in the court. He was a trusted chief counsellor to the King because he was his spymaster belying the image he presented. Ruth Negga gave a good performance of Polonius’s daughter Ophelia who at one time was courted by Hamlet and later was rejected as a distraction from his avowed path. Alex Lanipekun played Laertes, the son of Polonius who was particularly good in the duel with Hamlet.

I found this modern adaptation of Hamlet to be most enjoyable, although it is Shakespeare’s longest play it did not appear too long. I found the sight of Hamlet in a hoodie refreshingly different. Rory Kinnear’s portrayal of Hamlet makes this production a must see.

Hamlet plays Milton Keynes Theatre until Saturday 5^th March 2011. Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee)

The tour continues playing Theatre Royal Plymouth from Tuesday 8^th March to Saturday 12^th March 2011.

www.miltonkeynestheatre.com www.nationaltheatre.org.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 1^st March 2011.

Theatre Royal Bath Productions & Duncan C Weldon & Paul Elliott present

Noel Coward’s

Blithe Spirit

Directed by Thea Sharrock

At Milton Keynes Theatre

At the start of the play there is a very amusing scene involving the maid (Jodie Taibi) who is carrying a loaded tea tray which she appears to find too heavy and her efforts to place it on the table are hilarious. She also feels impelled to run everywhere, when not carrying a heavy tray but attempts to persuade her to slow down result in her moving too slowly.

In an attempt to research a character for his latest novel author Charles Condomine (Robert Bathurst) plans to host a dinner party which includes a séance. Charles has arranged for a medium, Madame Arcati, played by Alison Steadman to attend and hold the séance. Charles is very sceptical and is convinced that mediums do not have the ability to contact the afterlife, believing many of them to be charlatans and at best self deluded but this doesn’t concern him as he is only interested in discovering the phrases and tricks of the trade they use to give his character realism. Charles and his wife Ruth, portrayed brilliantly by Hermione Norris, have invited Dr Bradman (Bo Poraj) and his wife Mrs Bradman (Charlotte Thornton) for dinner followed by the séance.

When everyone has dined the séance takes place which leads to the manifestation of the ghost of Charles’s first wife Elvira (Ruthie Henshall) who had died several years ago. It is particularly amusing that she is only seen and heard by Charles and the audience. The other participants believe nothing was achieved. As the play progresses it is amusing to watch Charles being nagged by two wives, at least one of whom is a ghost.

A major part of the plot of this play is the interplay between Charles’s beautiful but rather empty headed first wife and his brilliant but somewhat plain second wife and this is handled very well by both actors. I also think Alison Steadman did a wonderful job of capturing the essence of a medium, totally believable, eccentric without being ‘over the top’.

The set is very plausible as the comfortable lounge area of Charles and Ruth’s luxurious 1930’s home. The costumes were excellent and reflected the era. Lighting and sound were used to good effect to create atmosphere and there is a final sequence of effects which is superb.

 Robert Bathurst was comfortable in the role of Charles. I have enjoyed watching Hermione Norris’s TV roles as Ros in Spooks and more recently Stella in Outcasts and her performance in Blithe Spirit   achieved her usual high standard. Alison Steadman took on the role of Madame Arcati with gusto and delivered the accomplished performance I expected of her. Ruthie Henshall was excellent as the ghost of first wife Elvira, delivering the high standard performance I was hoping for. As I’ve already said Jodie Taibi was hilarious as the maid and if the rest of the cast were not such accomplished actors she would have been a show stealer.

Blithe Spirit plays Milton Keynes Theatre until Saturday 19^th February 2011. Milton Keynes Theatre Box Office 0844 8717852 (bkg fee)

The tour continues playing Richmond Theatre from Monday 21^st February to Saturday 28^th February 2011.

Apollo Theatre London from Thursday 3^rd March 2011.

www.miltonkeynestheatre.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 14^th February 2011.

Robinsons and First Family Entertainment present

Dick Whittington

At Milton Keynes Theatre

Yes it’s that time of the year again, oh no it isn’t, oh yes it is and Dick Whittington at Milton Keynes Theatre is a must see. It is panto at its best and was enjoyed by   children and adults in the audience, with humour accessible to all. This production is Directed by Christopher Dunham and written by Eric Potts.

Joanna Page (Gavin & Stacey) was excellent as the lovely Alice Fitzwarren and Dirk Benedict (The A Team) was very good as the nasty King Rat (Hiss, Boo). Stavros Flatley (Britain’s Got Talent) appeared as the Cypriot Royal Family with the same sort of routine they performed on the TV show and went down a storm with the audience.

Tucker was very amusing as Idle Jack and kept us laughing throughout. I loved Graham Hoadly’s portrayal of Sarah the Cook   which was reminiscent of the character Mrs Slocombe from TV’s Are You Being Served? Dick Whittington was played by Joel Montague who was convincing in the role. Fairy Bowbells was taken by Shona Lindsay, who was an excellent fairy with a really good voice. I liked Phil Snowdon’s portrayal of Alderman Fitzwarren, particularly when he was running from the rats. I mustn’t forget Tommy the cat who was adorable and played very well by Kayleigh Wilson.

The audience were drawn in to participating throughout the show in a manner which made you part of the show without making you feel that you were the show. At several points through the show there were “hitches” which were so well acted I still cannot decide whether any of them were genuine or all were staged. A sketch with a gorilla gave the audience the opportunity to shout the much loved line “it’s behind you” and there were of course, other scenes which involved the essential banter of “oh no it isn’t....”

There is an ensemble of excellent dancers, with choreography by Leon Maurice-Jones, whose performance would not have been amiss in theatre where the focus was pure dance.

The scenery was superb and I liked the use of seasonal glitter. The costumes were lavish and colourful. Lighting was used to good effect. Pyrotechnics were used throughout the show.

However, I was really impressed by the 3D experience in the second half of the show. We had been given 3D glasses as we entered to be used later in the performance. When the time came a large screen filled the stage and we were told to wear the 3D glasses. There followed an amazing 3D underwater experience which I enjoyed immensely.

There was an emphasis upon song much of which was modern pop, together with Cockney classics appropriate to this pantomime. The music was provided by an excellent orchestra.

For me this panto had everything I hoped would be there and more, the 3D section was a surprising bonus. This show has plenty for everyone, go and see for yourself.

Dick Whittington plays Milton Keynes Theatre until 16^th January 2011. Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee).

www.miltonkeynestheatre.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 13^th December 2010.

Howard Panter for the Ambassador Theatre Group Limited, Bill Kenwright and Robert G Bartner/Norman Tulchin present

Monty Python’s Spamalot

A new musical lovingly ripped off from Monty Python and the Holy Grail

By Eric Idle and John Du Prez

At Milton Keynes Theatre

I laughedalot at Spamalot as did most of the audience; it was the ideal show to take our minds off the freezing cold weather outside. The set was very colourful and the trees looked like they had sprung out of a pop up children’s book.

Matthew Kelly was excellent in the role of King Arthur who is travelling around the land with his servant Patsy (Todd Carty) trying to find suitable men to recruit as Knights of the Round Table. Todd Carty is competent in the role of Patsy who has a   basket strapped to his back loaded with goods and chattels and follows the King around banging two coconut shells together to create the sound of horse’s hooves as his master “rides” before him.

They encounter various people on their travels including Robin (Samuel Holmes) who is collecting deceased plague victims and Lance (Graham MacDuff) who is trying to dispose of Not Dead Fred, who, whilst not well, is not dead yet, although a well hefted shovel may well help him on his way.  Robin and Lance agree to become Knights of the Round Table thus becoming Sir Robin the Brave and Sir Lancelot.

Arthur meets a peasant called Dennis Galahad (Simon Lipkin) and his mother (played by Robin Armstrong and delivered in the style of Python’s Lettie Goosecreature). Following some political wrangling King Arthur calls upon the Lady of the Lake (Amy Nuttall) to prove to Dennis that she exists and just as she turned Arthur into a King, she turns Dennis into a Knight, Sir Galahad, another Knight of the Round Table. Amy Nuttall has an amazingly good voice and was excellent in the role. These Knights are joined by Sir Bedevere (Robin Armstrong) and they all assemble in Camelot, where they are contacted by God (who bears a striking resemblance to Eric Idle) and they are sent in search of the Holy Grail.

King Arthur sets off with his men into the forest, where some of them are separated and there are various encounters with other characters including the Knights who say “Ni” who insist that they are supplied with a shrubbery. Arthur thinks it unlikely that he will be able to meet their demands but is encouraged by Patsy and the song “Always Look on the Bright Side of Life.” (This song is repeated later in the show with a lyric sheet for the audience to join in). Just after this they happen to be in a position to acquire a shrubbery.

Sir Lancelot goes to the aid of what he believes is a damsel in distress but who turns out to be a young effeminate male called Prince Herbert (David Langham) who is trying to escape an arranged marriage. I thought David was particularly good in this role. Eventually King Arthur is reunited with his Knights but I will not reveal any more of the plot. If you want to find out how it ends you must go and see for yourself.

The seven musicians do a wonderful job, in the background (and at the rear of the set) most of the time but displayed to the audience in one or two scenes.

All those parts of Monty Python and the Holy Grail that you know and love are here, the Black Knight, the White Rabbit, the French Taunter, the Knights who say “Ni” together with such classics as the Fisch Schlapping Song and even a mention of wonderful plumage. The singing and dancing are excellent, the sets are bright and cheerful and this may well be the most “feel good” production I’ve seen this year.

Spamalot plays Milton Keynes Theatre until Saturday 4^th December 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour continues playing Alexandra Theatre Birmingham from Tuesday 7^th December 2010 to Saturday 1^st January 2011.

www.miltonkeynestheatre.com www.spamalotontour.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 29^th November 2010.

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Bill Kenwright by arrangement with Bob Swash presents Willy Russell’s

Blood Brothers

At Milton Keynes Theatre

Although Blood Brothers celebrates its 25^th anniversary, this is the first time I have seen it and I’m really glad I did.  The plot is built around twin boys who are separated at birth and are raised within different social classes and financial circumstances, thus examining the nature versus nurture issues in a non academic way. The final outcome is revealed at the start of the play, but this is no spoiler, it intensifies the emotional highs and lows which lead to its conclusion.

Niki Evans (X Factor) was outstanding in the role of Mrs Johnstone, the twins’ mother and her vocals were amazing. Her performance was so convincing there were many tears being wiped from eyes including her own and she stole the show.

Robbie Scotcher gave a strong performance as the narrator and his vocals were good. He had a certain presence which seemed to intensify the emotions being portrayed by the characters on stage.

Sean Jones played Mickey, the twin who grew up in poverty and was excellent in the role, portraying the character through various ages; as a seven year old, then a 14 year old to a young man. I loved the exuberance of the seven year old, his energy appearing limitless; he had a mischievousness that was quite endearing.

Paul Davies who took the role of Eddie, his twin brother who grew up with the middle class Lyons family, was also accomplished in the role, again taking the character from a seven year old playing with catapults through fourteen and boarding school, to a young man.

The neurotic Mrs Lyons was played by Tracy Spencer who was plausible as the middle class woman who had raised Eddie as her own. Tim Churchill was accomplished in the role of Mr Lyons who was kept busy running his company.

Kelly-Anne Gower took the part of Linda, Mickey’s school friend and she was also able to convincingly portray the character from a child to a young woman.

Daniel Taylor was Sammy, Mickey’s older brother who was sometimes in trouble with the authorities and perceived as a tearaway.

The set was fairly simple, but effective use of various backdrops and lighting produced some stunning effects.

The music (directed by Kevin Towse) was loud and effective; I thought the drums (Simon Pembery) were particularly good.  The musical numbers were excellent and well performed; I couldn’t fault anyone’s vocal ability.

This play invokes a range of emotions; it is funny, sad, horrific and shocking. At times I nearly jumped out of my skin. Its ability to provoke such an emotive response is extraordinary. At the end the cast received a standing ovation and I was among those standing. This cast is particularly good, do not miss it.

Blood Brothers plays Milton Keynes Theatre until Saturday 27^th November 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee)

The tour continues in 2011 playing the Lyceum Sheffield Jan 31^st – Feb 12 2011

Theatre Royal Newcastle – upon – Tyne Feb 28^th – Mar 12^th 2011

Broadway Peterborough from 4^th Apr – 9^th Apr 2011

www.miltonkeynestheatre.com www.kenwright.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 22^nd November 2010.

Glynis Henderson Productions Ltd and Yes/No Productions present

Stomp

Created and Directed by Luke Cresswell, Steve McNicholas

At Milton Keynes Theatre.

Stomp is a unique blend of percussion, dance and comedy that was created in Brighton in 1991 by Luke Cresswell and Steve McNicholas. It was the result of a ten year collaboration which began in 1981 when they were both members of the street band Pookiesnackenburger and the theatre group Cliff Hanger. These groups presented some street comedy musicals at the Edinburgh Festival during the early 1980s. There followed two albums, a UK TV series and European tours and Pookiesnackenberger produced the “bins” lager commercial. Since 1991 Stomp has toured the world and has featured in more TV commercials and other soundtracks and events.

Stomp is an amazing show I love the way they use everyday items as percussion instruments to create a variety of rhythms. They play an array of objects from brooms to the kitchen sink (which they are wearing, including the draining board) as well as oil drums and dustbin lids. The volume is generally loud which adds to the enjoyment but there was an excellent quiet episode where they were in darkness and just used lighters being flicked on and off to produce the rhythm and light effect. In another piece they used newspapers to create rhythm.

There is movement and dance throughout some of which could be described as acrobatics. The set and the clothes worn by the performers are indicative of urban street life, with a hint of light industrial, for example when they are using brooms they could be sweeping the street or the factory floor. There is also a tribal element particularly in some of the movements that involve sticks.

Given that no words are spoken throughout the performance, the performers communicate very well with the audience and encourage them to participate by clapping or stamping at certain points. There is also a comedy element running through the show usually between some of the performers and the audience. Again this is communicated very well without speech.

These performers were; Philip Batchelor, Paul Bend, Nathaniel Conroy, Aideen Gallagher, Billy Hickling, Sarah Lasaki, Laetitia Lawrence, Cameron Newlin, Andrew Pang, Jeremy Price and Ian Vincent. The Lighting Design was by Steve McNicholas and the Sound Design by Mike Roberts.

The show went down a storm with the audience which ranged from children to pensioners and huge applause and shouts of more were heard before the encore. If you’ve seen Stomp before you will want to see this, if you haven’t don’t miss this opportunity.

Stomp plays Milton Keynes Theatre until Saturday 30^th October 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Glasgow Theatre Royal from 2nd November to 7^th November 2010.

www.miltonkeynestheatre.com www.stomp.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 12^th October 2010.

The Birmingham Stage Company presents

George’s Marvellous Medicine

 by Roald Dahl Adapted by David Wood

At Milton Keynes Theatre

This is an excellent production from the Birmingham Stage Company (founded by Actor/Manager Neal Foster) which, although supported by Birmingham City Council, relies on box office takings for 97% of its income.

The set was extremely well designed by Jacqueline Trousdale and consisted of a cross section of George’s farmhouse home with various rooms and doors on different levels. It also incorporates special effects which are revealed later in the play. There was also a shed and animal housing outside.

George, played by Clark Devlin, is on holiday from school and has been helping his parents with chores around the farm, although he really wants to sit down and read his book about a boy wizard. His mum, played by Alison Fitzjohn discovers that her mother is coming to stay with them and her arrival is imminent. Morgan Philpott plays George’s dad who is also not pleased by this news as his mother in law is grumpy and hard to please. Grandma, played brilliantly by Erika Poole, arrives and is just as bad as they remembered; she is given George’s room and is soon ringing the bell she brought to gain attention for her demands of tea and food. Of course the famous line of “George, where’s my medicine” is uttered several times.

George fantasizes how good it would be if his grandma was different, kind, jolly and fun to have around, in fact the opposite to how she is.  Inspired by her nagging about not forgetting her medicine, George decides to concoct his own medicine in the hope that he can change her behaviour. He takes a large pan and starts looking in the bathroom for ingredients. At this point he enlists the help of the audience (largely consisting of children) to shout out if he should include various ingredients. The children respond enthusiastically as items like toilet cleaner and nail varnish are added to the pan. George visits some other rooms collecting ingredients and also adds various medications for the farm animals. George heats the pan on the cooker and eventually administers his brew to his Grandma when she calls for her medicine. Shortly after drinking the potion Grandma grows a lot taller, with her head and arms breaking through the roof.

Some of the farm animals are given the medicine and there is a giant chicken, played by Jason O’Brien, running round the stage which is really hilarious. George’s dad wants to market the medicine to create larger animals to alleviate world food shortages; however there is no medicine left, so George enlists the help of the children in the audience to remind him of the ingredients. This new medicine did not have the same effect.

Throughout the play there were excellent puppets produced by puppet master Roman Stefanski, I particularly liked the regular sized chickens that appeared in many of the scenes. I also liked the small pigs.

There were incredible sound effects produced by sound designer Tom Lishman, these included the noises of the farmyard animals like mooing, bleating and grunting and also the excellent fizzing and gurgling sounds as George’s medicine ingredients were added to the pan. The lighting was designed by Jason Taylor and was very effective.

This is an excellent play which contains an element of pantomime with audience participation and a giant chicken running amok.  Children and adults all appeared to thoroughly enjoy this production which is one not to be missed.

George’s Marvellous Medicine plays Milton Keynes Theatre until Saturday 16^th October 2010.  Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Buxton Opera House from Tuesday 19^th October to Saturday 23^rd October 2010.

www.miltonkeynestheatre.com www.birminghamstage.com

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 12^th October 2010.