Artistic Director Paul Hart and the team at Newbury’s The Watermill Theatre are thrilled to announce that their summer season of outdoor performances of Camelot and The Hound of the Baskervilles has been extended, now booking until Sunday 6 September.
When tickets first went on sale in late July, following progress with the government’s phased roadmap towards theatres re-opening to the public, demand was so high that the entire season sold out within 24 hours. Audiences from far and wide have been enjoying performances from socially distanced tables, seating up to 4 people maximum, in the idyllic setting of The Watermill’s glorious gardens. Continue reading “News: casting for the Watermill’s summer season of Camelot and The Hound of the Baskervilles”
The Watermill Theatre’s 2017 production of Twelfth Night is revived to glorious effect in the atmospheric surroundings of Wilton’s Music Hall
“If music be the food of love, play on…”
I was absolutely blown away by the Watermill’s production of A Midsummer Night’s Dream back in May, and so the news that their similarly actor-muso Twelfth Night from last year would be being revived at Wilton’s Music Hall was most welcome. And if it doesn’t quite live up to the magic of that first time for me, it is still a most enchanting and unmistakably bold take on the play
Paul Hart’s production relocates Illyria to the 1920s, jazz is flourishing, prohibition is rife and the shadows of WWI haven’t quite yet dissipated. Katie Lias’ design concentrates the action in the Elephant Jazz Club and the historic atmosphere of Wilton’s proves perfect for this treatment. And without giving too much away, the dipping down into the audience is done brilliantly. Continue reading “Review: Twelfth Night, Wilton’s Music Hall”
Perfect for the ‘incurably romantic’, Emma Rice’s Brief Encounter is a glorious piece of theatre at the Empire Cinema Haymarket
“This is my whole world and it’s enough, or rather it was until a few weeks ago”
How we change over a decade. When Kneehigh’s Brief Encounter was first announced to take over the cinema on Haymarket, I went to maybe one play a month and was the proud owner of a Cineworld card, so was disgruntled that my West End film options were being curtailed. I did not see the show.
Fast forward 10 years, I can’t remember the last film I saw in a picturehouse, the cinema has been taken over by Empire, and director/adaptor Emma Rice has had quite the ride herself over the last few years. So who can blame her for returning to happier times, happier memories, in reviving this much-loved production. Continue reading “Review: Brief Encounter, Empire Cinema Haymarket”
“It’s high time, time that I awoke”
The Menier’s festive musical is always to look forward to and this year’s is no exception – a revival of the classic She Loves Me, based on Miklós László’s play Parfumerie which has been remade more than once as films The Shop Around The Corner, In The Good Old Summertime, and You’ve Got Mail. Recently seen on Broadway in a superlative rendition that was the first ever show to be live-streamed there, Joe Masterhoff’s book pits warring Budapest shop employees Georg Nowack and Amalia Balash against each other, little knowing that they are corresponding anonymously through a lonely hearts column – will they get together in the end? What do you think?
Matthew White’s production is as pretty as a picture, as a music box in fact, Paul Farnsworth’s luxe design emerging as an exceptional piece of work, using four mini revolves to great effect – the shop’s interior looks particularly stunning. And blessed with such cachet, and the strong possibility of a West End transfer, the venue once again attracts a top-notch cast. Mark Umbers and Scarlet Strallen alternately spar and swoon as the main lovers, real life couple Dominic Tighe and Katherine Kingsley play fellow amorous employees Ilona and Kodaly, even relatively minor roles like Ladislav get the likes of Alastair Brookshaw playing them. Continue reading “Review: She Loves Me, Menier Chocolate Factory”
“I love the theatre, but I never come late”
In some ways, this tale of the exploitation of unpaid interns working in a theatre could be considered a timely revival looking at the ethics of the industry. But though that is the pretext of Babes in Arms, it is a much more whimsical piece than that – a 1937 Broadway musical from Rodgers and Hart, frothily light in plot but musically superlative in places, brimming with standards like ‘The Lady is a Tramp’, ‘Johnny One Note’ and ‘My Funny Valentine’.
This production uses a revised book from 1959 by George Oppenheimer in which a team of bright young apprentices toil away at a struggling theatre, falling in and out of love with each other at the drop of a hat and secretly rehearsing a musical revue which they hope to put on. It’s undoubtedly a candy-floss ball of a plot but cheerfully and entertainingly staged in David Ball’s production with Sam Cable’s sharp 3-man band and splendidly enlivened by the interjections of Lizzi Gee’s suitcase-wielding and delightfully tap-heavy choreography. Continue reading “Review: Babes in Arms, Union Theatre”