Full casting has been announced for the brand new stage adaptation of British comedy The Good Life which tours the UK this Autumn. The acclaimed cast will include actress and presenter Preeya Kalidas as ‘Margo Leadbetter’, Dominic Rowan as ‘Jerry Leadbetter’, and Sally Tatum as ‘Barbara Good’, joining the previously announced actor and comedian Rufus Hound as ‘Tom Good’. Also featured will be Nigel Betts and Tessa Churchard.
The new comedy by Jeremy Sams, is based on the classic television series by John Esmonde and Bob Larbey which entertained countless millions in the 1970s and which I have never seen an episode of. Directed by Jeremy Sams, this world premiere production will be the first time that the iconic characters of suburban neighbours the Goods and the Leadbetters will be seen on stage. The Good Life will open at Theatre Royal Bath on 7 October 2021, before dates at Cheltenham Everyman, Salford Lowry, Oxford Playhouse, Cambridge Arts Theatre, Malvern Theatres, Richmond Theatre and Chichester Festival Theatre. Continue reading “Early September theatre news”
There’s still a reason Mame hasn’t been seen in the UK for 50 years but this lavish Hope Mill Theatre production and a spectacular Tracie Bennett give it a damn good try
“Your special fascination’ll
prove to be inspirational
we think you’re just sensational”
In some ways you have to admire the ambition in reviving a show that hasn’t been seen professionally in the UK for 50 years. In others, you wouldn’t be blamed for blurting ‘what are you thinking’! The ever-adventurous folks at Manchester’s Hope Mill Theatre have done just that with this revival of Mame, hoping to find a glitzy neglected diamond in the rough. (And when oh when will they transfer their lovely take on Little Women to London like so many of their other shows.)
Director Nick Winston’s wisest decision is to mount it with a lavishly decadent production that you don’t often see on the fringe, especially with the likes of Tracie Bennett (so excellent in Follies recently) heading the cast. Getting to see a performer of the calibre of Bennett, with a voice like that, in such intimacy as this, is a rare treat and even singing a minor Jerry Herman score, is a genuine theatrical thrill.
Continue reading “Review: Mame, Hope Mill Theatre”
“You don’t have to worry about taking the perfect picture”
There’s much to enjoy about Idle Motion’s Shooting with Light, currently selling out night after night at the New Diorama ahead of a UK tour, not least in their exploration of the life and work of photojournalist Gerda Taro. A devised work, it blends its text with striking use of movement, multimedia projections and innovative design, to create an impassioned, time-jumping romance slash mystery that has some truly beguiling moments.
Fleeing the rising anti-Semitism of the 1930s, German Gerta Pohorylle and Hungarian Andre Friedmann met in a Parisian café and quickly bonding over a mutual love for each other and photography, reinvented themselves as the First Couple of photojournalism – Gerda Taro and Robert Capa. Initially just acting his agent, Taro’s own love for the lens saw her develop her own path, becoming the first female photojournalist to cover a war from the front line. And to die whilst doing so. Continue reading “Review: Shooting With Light, New Diorama”
“Did you come here for a pie sir?”
Tucked away in an unassuming side street in Tooting, Harrington’s Pie and Mash shop has incredibly been serving the locals for 106 years – a venerable local institution and now the location for a strikingly unique interpretation of Sondheim’s masterly Sweeney Todd. With room for just 32 inside, Bill Buckhurst’s production for Tooting Arts Club is shockingly intense, literally so given the constricted space and the predilection of the performers to jump up on the tables, get right in our faces or even rub a dab of some hair tonic in the case of one noted critic- this sure ain’t for the fainthearted.
As the company of eight command us to attend the tale of the demon barber of Fleet Street (well, Selkirk Road actually!), there’s no escaping the compact world that they create but it is hard to imagine that you’d want to. It’s like a concentrated shot of musical theatre perfection, the operatic scale of the show distilled into an almost personal experience and led by the magisterial, menacing presence of Jeremy Secomb’s Sweeney whose eyes bore unblinkingly into the very soul, the intelligence of this immersive production shines throughout.
Not only allowing Secomb to verbally and vocally accost us up close and personal, the intimacy of the venue also works perfectly in suggesting Todd’s delusions of grandeur. One perfectly realised moment sees him leap on to a table, dramatically uplit by Amy Mae Smith’s highly theatrical lighting for a grandstanding finale to a song, only for the mood to be brilliantly punctured by an unconvinced Mrs Lovett who is just the other side of the counter, sweeping up offcuts with a sceptical raised eyebrow. Siobhán McCarthy is just marvellous in the role, wryly comic and passionately forthright, she sounds like a (twisted) dream and looks stunning.
Continue reading “Review: Sweeney Todd, Harrington’s Pie and Mash Shop”