UK Theatre Network

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.

 

 

Just Dance

The Waterside Theatre in Aylesbury is a brand new £42 million venue that will bring a new era of entertainment to the area and aims to attract around 300,000 people.

 The architectural design of the new theatre has been created by Arts Team, with the undulating roof reflecting the shape of the neighbouring Chiltern Hills and the use of timber columns is reminiscent of the surrounding woodland areas.   The foyer is light, airy and very spacious, modern and stylish.  The blocked timber used around the theatre and in the auditorium creates an ambience of natural warmth.  With the pretty blue, red and white lights dotted around the auditorium, plenty of leg room and very comfortable wide orange chairs, with trees stenciled into the base, the audience has a most enjoyable environment to prepare for a thrilling night of entertainment.

The official opening of the theatre is on Tuesday 12th October with the Northern Ballet’s production of Swan Lake.  Prior to this the theatre has given the local community the chance to perform there first and raise some monies for charities.  The first ever performance at the theatre took place on 28th September, when 140 local children and adults from 8 different dance schools took to the stage for a vibrant evening of tap, ballet, swing, jive and contemporary dance. 

The accomplished Compere for the night was Ian Brown, from 3 Counties Radio and Totally Theatre, who seamlessly linked all the acts.

First to perform were students from Beaconsfield High School who performed a medley of Michael Jackson hits.  It seems very appropriate that some of the former ‘King of Pop’s’ immortal songs ‘Billy Jean’, ‘Beat It’, ‘Man in the Mirror’ and ‘Thriller’ were the first to be performed at this amazing new venue.  The students put in an energetic performance and successfully emulated many of his famous dance moves.  I think ‘Thriller’ should have been the final song rather than in the middle, so that the whole cast would be on stage, as at the start of their routine.

Six students from The Kercher School of Dance elegantly performed a ballet to the beautiful ‘Love Theme’ from Cinema Paradiso by Ennio Morricone.  The rest of the school of 25 students danced to a fun song called the ‘Jellyfish Jive’. With some delightful tiny tots and very colourful costumes, it was a joy to watch and the audience loved it.

Rozelle School of Dancing had some lovely green costumes and hats for their tap dance ‘Girl in the Green Hat’ from the film ‘Mrs Henderson Presents’ sung by Will Young.  They also performed ‘Persuading Tommy’ and a ballet to ‘Sweet Heaven’ from the show Copacabana.

Musical Kidz Company confidently proved that ‘No Matter What/Children Rule the World’, by singing as well as dancing.  Their ages range from 3 to adults and their second piece, ‘Jellical Cats’ from Cats, had superb choreography and all the dancers moved with feline poise and style.

Susan Diane School of Dance gracefully performed their first dance of the evening, a masked ballet with a baroque feel, to ‘Preambule’ by Alexander Glazunov.

The Louise Austin School of Dance performed a charming tap routine with umbrellas to ‘Raindrops Keep Falling on My Head’.  The second group  of 4 older girls certainly looked like showgirls with their gorgeous feather headresses and tails for ‘Viva Las Vegas’  The routine was good and they danced very well, but girls, just remember the first rule of show dancing - ‘eyes and teeth, eyes and teeth’!

The only solo of the evening was performed by Stephanie Palmer of Sir Henry Floyd Grammer School.  In a stunning performance, she totally owned the vast stage and showed great maturity and confidence.  The two other pieces of contemporary dance were brilliantly choreographed and danced with energetic jumps and exuberance.

‘Footloose’ was an ensemble piece performed with gusto by Stage Plus School of Performing Arts.  They also sang as well as danced, but the singing was rather quiet and I don’t think would have projected to the back of the Circle or Balcony!

For the final number, Susan Diane School returned enthusiastically to a lively song from Hairspray called ‘You Can’t Stop the Beat’.  With some great 60s costumes, it provided a happy and colourful ending to a fabulous show.

The show could not have happened without the hard work and commitment of the parents, ferrying the children around and making the spectacular costumes.  How wonderful for the whole community to be involved in making history at the launch of a new theatre.  I wonder how the kids will remember their experiences in 20 years time?  Visit www.  ambassadortickets.com/aylesbury or BO 0844 871 7607 for details of the exciting new programme.

The event was a fundraiser for Florence Nightingale Hospice Charity www.fnhospice.org.uk
Reviewed by Yvonne Delahaye

Hairspray
Milton Keynes Theatre
Wednesday 22nd September 2010

I believe that Hairspray is one of the best book musicals of modern times.  It has everything – great story (for a musical), great songs, great set, great costumes and wigs.  And this production of Hairspray has all that, plus great production values.  It’s light-hearted, fun, take-me-away-from-it-all entertainment.  So why didn’t I enjoy it as much as the two times I saw it in the West End?

The biggest disappointment for me was that although Laurie Scarth is undoubtedly a good Tracey Turnblad and a good musical theatre performer, I was sitting at the side of the upper circle and Laurie doesn’t know that the auditorium goes higher than the first few rows of the dress circle.  Laurie, look up to the cheap seats once in a while.  Play to the house, dear, not just the people in the best seats.   Consequently, I might as well have been at home watching on the television during the first number, “Good Morning Baltimore” as not once was I played to or engaged by Laurie.  In fact, during the entire opening number, I believe it was only “the flasher next door” who took in the entire house and included me in his performance.

I’m sad to say, this was a common theme amongst the principals and most, but not all, of the company.  I am surprised at this from the more experienced members of the cast.  Also, I do not believe that Milton Keynes Theatre is in any way one of the larger theatres the tour is visiting.  Les Dennis and Brian Conley rarely looked to the top of the house – not even at the end when taking their bow did they acknowledge the applause from the dizzy heights of the third level.

I therefore remember the performances of Carl Sanderson and Danny Bayne the most, as they brilliantly played to everyone.  Sanderson plays a variety of characters – the flasher, the owner of the hairspray company, the male authority figure, to mention just three.   He is a very funny character performer and no one missed his gags as everyone saw them. 

Bayne plays Corny Collins – an integral but could be forgotten character.  Again, well performed - and he played to the entire house!  There was no forgetting him as he made sure everyone saw his performance.


I didn’t like Brian Conley in the role of Edna Turnblad. Of course, with Michael Ball’s God given  talent, it is hard for any performer to take over a role he has played, but Conley seemed to be playing it for laughs and as Brian Conley wearing in a dress, whereas, the truth of the character, is playing it for real, and is far funnier.

The last time I saw Les Dennis was in the hilarious Eurobeat not Eurovision, when Les was brilliant.  It was one of the funniest shows I have ever seen.  Sadly, Les didn’t shine for me in Hairspray as Wilbur Turnblad.  I don’t know why.  Is it because both Dennis and Conley are comedians and neither had a straight man?

A review of this production of Hairspray would not be complete without a mention of the fabulous Sandra Marvin who plays Motormouth Maybelle.  She is brilliant.  She has the vocals of a goddess.  More please.


A couple of local girls in the cast – Seliza Sebastian who hails from Wellingborough and played a good Inez, the negro wannabe and Motormouth’s daughter, and Shakira Akabusi who plays Pearl, one of the Dynamites.  Liam Doyle was also pleasing as Link Larkin.

As would be expected from a musical of this calibre Hairspray has great costumes, fabulous wigs, high production values, perfect set, lights, band and sound.  I just needed the cast to engage with me more.

If you’ve never seen it, go and see it.  It is a treat – if only because you will come away humming the tunes.  If you haven’t got a ticket, I believe the run at Milton Keynes is nearly sold out.  However, Hairspray moves to Oxford immediately following Milton Keynes, where I understand seats are still available.  Just make sure you’re not too high up!

Hairspray plays Milton Keynes Theatre until Saturday 9th October.   Box Office number: 0844 871 7652 (bkg fee).  www.miltonkeynestheatre.com.

It then plays The New Theatre, Oxford, from 12th October to 23rd October.   http://www.newtheatreoxford.org.uk/prod-productions_details.asp?VenueID=103&pid=2229.
 
The tour continues into 2011 with the part of Edna being played by Michael Ball and Michael Starke in various venues. More information can be found at www.hairspraythetour.com.

Reviewed by Catherine Brian on 22nd September 2010.

Songtime Productions present

The Wiz

An Amateur Production by Arrangement with Musicscope & Stage Musicals of New York

Lyrics by Charlie Smalls and book by William F. Brown.

At Milton Keynes Theatre.

 

The Wiz is based on L. Frank Baum’s the Wizard of Oz and features well known characters. Dorothy is played by Steph Fearon who appeared in the BBC’s Over the Rainbow, reaching the semi-finals and whilst she wasn’t chosen to be Dorothy in Andrew Lloyd Webber’s show, it led to this role in the Wiz.

The production is directed by Matthew Chandler, founder and Principal of Songtime Theatre Arts   and Eddie Dredge who also plays the Wiz. Songtime is a unique theatre school which aims to train young people in a professional environment.

 A tornado blows Dorothy into Munchkin Land where she encounters Addaperle, the Good Witch of the North, played by Jessica Niles. Dorothy wants to get back home to Kansas and Addaperle suggests asking the Wiz for help. Steph Fearon is very plausible in the role of Dorothy and produces good vocals.

As Dorothy follows the Yellow Brick Road to Oz she meets the Scarecrow  who longs for a brain,  the Tinman  who wants a heart and the Lion  who lacks courage. Lee Thomas was a good Scarecrow, with a floppiness that one might expect from someone made of straw. Tinman Carl Spencer’s outfit was different to the usual silver foil or metal costume associated with this role, but it worked. I liked his vocals too. I thought the Lion, Billy Cullum, stole the show. Again his outfit was not the standard Lion suit, but a long leopard skin print coat worn over black tights, amazing face makeup and lion ears. He was very charismatic and was superb in the role. How a leopard skin print can work as a Lion costume I don’t know, but it did. They all agree to join Dorothy on her quest to see the Wiz hoping that he will give them what they lack. On their journey they encounter various dangers and are arrested by the Mice Squad, who were particularly good.

Eventually they reach the Emerald City and persuade the Gatekeeper (Alistair Lloyd) to let them in to see the Wiz. I liked Eddie Dredge’s Wiz on roller skates. The Wiz agrees to help them, but only if they kill the Wicked Witch of the West called Evillene. Having reluctantly agreed they arrive at the witch’s palace where they encounter Evillene (also played by Jessica Niles who is good in both roles). Killing her is easier than expected and they return to the Emerald City where they find the Wiz may not be all they hoped. Glinda the Good Witch of the South (Clare Auger) helps Dorothy by telling her how she can use her silver   shoes to get home. I don’t know why the shoes were not red.

The choreography was by Nina Jones and was well executed. There were eight girls who played Yellow Bricks, Poppies, Winkies, Monkeys, dancers in Tornado Ballet and Emerald City Ballet. Other roles were played by the ensemble which included; Munchkins, Winkies, Citizens of Oz, Mice, Crows and Kalidahs. Performers in the ensemble were from Stagecoach Theatre Arts School. I particularly liked the crows. All the children performed well and should feel pleased with their efforts.

The set was by Proscenium and there were several changes of scenery. I particularly liked the wood and Evillene’s Palace. The lighting was designed by Andy Vere and there were some good effects.

I liked the Wiz Orchestra who were; Phillip Shute (Musical Director & Piano) Rob Wicks (Keyboards) Nick Pinchbeck (Guitars) Oscar Goulding (Bass) and Mike Brazier (Drums). There were some very good guitar pieces.

It wasn’t without its little glitches, but this was an amateur production and  what it may have lacked in professionalism it more than made up for with enthusiasm. Overall it was an excellent performance and I would urge you to go and see it.

The Wiz plays Milton Keynes Theatre until Saturday 18^th September 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee)

www.miltonkeynestheatre.com www.songtime.co.uk

Reviewed at Milton Keynes Theatre by Sue Marks on Tuesday 14^th September 2010.

 

 

 

 

The all new Original Tribute to...

The Blues Brothers

At Milton Keynes Theatre

 

Following a short comedy routine this show explodes onto the stage and maintains it’s vibrancy throughout the performance. Directed by Brad Henshaw, he also took a starring role as one of the brothers, playing Jake Blues. Elwood Blues was played by Daniel Fletcher.

 For the uninitiated, the original Blues Brothers were characters created by Dan Ackroyd (Elwood) and John Belushi (Jake) and their band The Blues Brothers were featured on the US comedy show Saturday Night Live in 1978, as part of a comedy routine. This led to the creation of The Blues Brothers movie. John Belushi’s untimely death in 1982 was the end for the band.

Brad Henshaw and Daniel Fletcher were excellent in the roles of Jake and Elwood, I thought they resembled the original brothers both in looks and mannerisms. The banter between them and with the audience was also realistic as well as amusing. They both had excellent singing voices and Elwood’s rendition of Under the Boardwalk was superb. Jake was very charismatic and performed some amusing stunts with a lasso.

Their three backing singers, The Bluettes (Jocasta Almgill, Alexus Ruth and Vicky Goddard) were accomplished vocalists. I particularly liked Jocasta’s vocals.

The set was impressive and incorporated the backing band on the stage. The band consisted of; David Foster (Keys/Music Direction) David Mian (Trumpet) Ricky Mian (Saxophone) Rufus Ruffell (Guitar) Paul Burton (Trombone) Zane Maertens (Bass) and David Keech (Drums). These musicians are excellent and gave a fine performance.

The lighting (designed by Tjeerd Hendriks) is stunning and is an integral part of the show. It features some powerful spotlights. There was also a large mirror ball which reflected some of the lights. The costumes (styled by Jose Schenk) are striking and prolific. I loved the sequinned dresses worn by the Bluettes. It was well choreographed by Debbie Jenner.

The show features 28 songs so I won’t mention them all, but Everybody (needs somebody to love) and its reprise in the finale, Respect, Gimme some loving, Under the Boardwalk and Think are among my favourites. Special mention must be given to Luke Jasztal’s excellent performance of Minnie the Moocher.

There were encores, I’m not sure how many as by this time a large amount of the audience were standing up and dancing, having been encouraged to do so by the performers. However, all the songs that were done as encores were listed in the programme as part of the performance so they were part of the show and not done just because the audience clamoured for more. The audience were enjoying the show and clearly wanted more. I really enjoyed this show, although I found the last ten or 15 minutes less enjoyable as my view of the stage was obscured by people in front of me standing and dancing. I would have preferred to see the performers on stage dancing than audience members who aren’t very good at it. I’m sure the people sat in wheelchairs would have liked to see the finale too. I don’t object to people enjoying themselves unless it detracts from the enjoyment of others.

This is an excellent show and tribute to the Blues Brothers; don’t miss it.

The all new Original Tribute to The Blues Brothers plays Milton Keynes Theatre from Monday 6^th September to Saturday 11^th September 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing the Regent Theatre Stoke from Monday 13^th September to Saturday 18^th September 2010.

www.miltonkeynestheatre.com www.originaltributetothebluesbrothers.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 6^th September 2010.

 

 

 

Chris Moreno presents

Annie

At Milton Keynes Theatre

 

This show tells the story of Annie an eleven year old child who had been left on the steps of a New York orphanage ten years ago, with a note from her parents saying they would return for her one day. The orphanage was run by Miss Hannigan (Su Pollard) who appeared to dislike children immensely and subjected Annie and the other orphans to a life of drudgery, whilst she consumed numerous bottles of alcohol. The children were dressed in ragged clothes and were fed what they referred to as “mush.” Despite this Annie remained optimistic that her parents would return to collect her one day. I thought Su Pollard was excellent in this role, whilst her character was unpopular, she was very amusing.

Annie is given some respite from the orphanage when a very wealthy businessman called Oliver Warbucks (David McAlister) decides to invite an orphan to spend Christmas at his mansion. His assistant Grace Farrell (Simone Craddock) visits the orphanage and chooses Annie for this treat, much to the annoyance of Miss Hannigan. Mr Warbucks takes Annie under his wing, being moved by her plight and finding her optimism in her belief that she will be reunited with her parents one day impressive. He decides to help Annie find her parents and enlists the help of some of his contacts, in addition to offering a reward. If Annie’s parents can’t be found he wants to adopt her himself. Miss Hannigan and her nasty brother Rooster (Philip Andrew) have their own devious plot. I won’t reveal any more of the story, you will have to go and see the show if you want to know what happens.

David McAlister was totally believable as the mega rich Oliver Warbucks. Grace Farrell was equally suited to the role of his assistant. As I mentioned before, Su Pollard was hilarious as Miss Hannigan. Ashley Knight deserves special mention; he played the apple seller and also Drake where he stole the show as Mr Warbucks’ butler. His antics were very amusing. I also admired Audrey Leybourne’s two very different roles as the ‘Hour of Smiles’ Producer and Mrs Pugh at Oliver Warbucks’ mansion. Special mention should be given to all the children who took part and performed really well.

The scenery was magnificent, very lavish and the numerous scene changes were carried out effectively and discreetly. I particularly liked the staircase at Oliver Warbucks’ mansion. There was a variety of scenery used from the shabby orphanage to the opulence of The White House or Oliver Warbucks’ mansion. The costumes were also appropriate ranging from the orphans’ rags, the servants uniforms to the evening dresses.

I should also mention the musical numbers that are performed throughout the show, whilst I can’t list them all, well known songs such as ‘It’s the Hard Knock Life’ and ‘Tomorrow’ were well received.

This show has a real feel good factor and as there were numerous children in the audience it clearly has appeal as family entertainment. If this is your type of show then you should not miss this production.

Annie plays Milton Keynes Theatre from Tuesday 31^st August to Saturday 4^th September 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing the Hexagon Theatre Reading from Monday 6^th September to Saturday 11^th September 2010.

www.miltonkeynestheatre.com  www.theatre4u.co.uk/annie

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 31^st August 2010.

 

 

 

 

 

Matt Devitt’s production of Ladies Down Under revisits Amanda Whittington’s characters from Ladies Day, a play about four Northern lasses from a fish packing factory in Hull who win half a million pounds on an accumulator at Ascot.  The ladies are brought back together again as they embark on a soul searching trip to Australia with their winnings. The characters of Pearl, Jan, Linda and Shelley are easily bought into, as long as you buy the full set.  Together they are a dynamic, but as individual characters they would possibly fade.  The play relies heavily on stereotypes, particularly in its male characters, which gives it its humour.  Simon Jessop and Oliver Seymour-Marsh give a humorous presentation as camp flight attendants and go on to play an array of recognisable characters. Seymour-Marsh plays an enthusiastic surfer and a spiritual bushman traveller.  Jessop is an ageing, stoned British traveller and Joe, the boyfriend of Jan from the factory who is disillusioned with his trip of a lifetime to Australia which he began the year before.  In a colourful climax, two fantastically gregarious drag queens dominate the stage.  Jessop, slightly unsure on his heels performs beautifully executed poses as Koala Bare and Seymour-Marsh is just as at home in his thigh high boots performing gay anthems as Bondi Bitch as he is in his bush man boots giving lessons in life to all.

 Amanda Whittington has concentrated on taking the characters to a new place in this sequel. Thrown together in unfamiliar surroundings their personalities clash and truths are revealed, the ladies are forced to look deeper at themselves and into their lives back home.  One by one they are confronted with their faults and fears and each one follows an arc of discovery. Diana Croft sustains the negativity of the babbling, unconfident Jan, who complains constantly about her bowel problems and her lack of faith in anything, including her relationship with Joe.  Helen Watson is warm and compelling in her role as Pearl who, hiding a secret, looks for adventure and new experiences however small. Lucy Thackeray brings freshness to the character of Linda, a timid do-gooder who is happier giving her money to others rather than spending it on herself. Sarah Scowen begins slightly caricature as Shelley, overdressed in garish designer wear, desperate for fame and recognition, but softens as she opens up about her past, even if it is to a complete stranger in the bush.  The plot is laden with coincidences and flukes, but ultimately this is the play’s charm, making it easy to watch and accessible. All that is asked of the audience is to suspend their disbelief, sit back, relax and enjoy.

Matt Devitt  has chosen a minimalistic set designed by Claire Lyth, which enhances the emphasis of character rather than place. Quick scene changes take place smoothly in darkness with pictures of Surfers Paradise and Uluru projected onto the back wall to create a sense of location and an effective use of lighting creates atmosphere.   

Each character undergoes a transformation.  The overriding question of, can money make you happy, looms over the whole play but the conclusion that it gives is slightly confused.   It certainly seems to be an aiding factor in all their cases but I had the feeling that that wasn’t the aim.  The characters had to go on a trip which would give them the space to assess their lives and the outback was a perfect setting, but these characters would never have done this without their winnings. Ultimately this was a fun production with the underlying significance being friendship and humanity, which takes you from laughter to tears and back again... and again.

CAST

Jan Diana Croft
Joe Simon Jessop
Shelley Sarah Scowen
Tom Oliver Seymour-Marsh
Linda  Lucy Thackeray
Pearl Helen Watson

Director Matt Devitt
Designer Claire Lyth

 

DATES, TIMES AND PRICES
Fri 27 Aug | 8pm | Preview £14
Sat 28 Aug | 8pm | Preview £20 | £16.50 conc
Tue 31 Aug | 7.30pm | £20 | £16.50 conc
Mon - Thurs Perfs | 8pm | £20 | £16.50 conc
(7.30pm on Tue 31 Aug)
(no performance on Mon 30 Aug)
Fri - Sat Perfs | 8pm | £23
Matinees | Sat 4 Sep | Thurs 9 Sep | 2.30pm £14