PIPE DREAM (Union Theatre) London Stage Premiere

Following the huge success of last year's all-male hit Pirates Of Penzance (winner of Best Off-West End Production) director Sasha Regan and choreographer Lizzi Gee have once again joined creative forces. This time for the London stage premiere of Pipe Dream - one of Rodgers and Hammerstein's most overlooked pieces, almost 60 years after it's American premiere the production finally makes it to the London stage at the Union Theatre for a strictly limited period from 31st July - 31st August 2013.

This is a rare opportunity to see the seventh musical by Rodgers and Hammerstein which premiered on Broadway on 30th November 1955 at the Shubert Theatre where it received the largest advance ticket sales in Broadway history at that point $1.2 million. The production was nominated for 9 Tony Awards. Nowadays productions of this musical are extremely rare in America and now for the first time London audiences can experience Pipe Dream.

Original Playbill for the 1955 Broadway production starring Helen Traubel, 

William Johnson and Judy Tyler.

Inspired by "Cannery Row" and "Sweet Thursday" - the novels of John Steinbeck, the drifters and layabouts of Cannery Row are brought to life in this unlikely story of romance and hope set against the backdrop of a recovering America following the Second World War. After the success of classics such as Oklahoma! and Carousel, Rodgers and Hammerstein struck a new tone with Pipe Dream focussing on the outcasts and less fortunate members of society in their quest for a sense of belonging, acceptance and above all else, love.

The role of Doc will be played by Kieran Brown who most recently played the title role in the UK Premiere of Maury Yeston's Phantom (Ye Olde Rose & Crown, London). Other credits include Elphaba's Father and understudy for the Wizard and Doctor Dillamond in Wicked (Apollo Victoria), understudy for Raoul in Love Never Dies (Adelphi Theatre), Les Misérables (Palace Theatre) Les Misérables 25th Anniversary Concert (O2 Arena). 

The role of Suzy will be played by Charlotte Scott who most recently understudied and played the part of Kathy Seldon in Singin In The Rain at the Palace Theatre. Other theatre credits include understudy Glinda in Wicked (Apollo Victoria), understudy for Janet in the UK tour of The Rocky Horror Show, understudy Serena, Lambchops and Mabel in Fame (UK Tour), understudy Ariel Moore and Wendy Jo in Footloose (UK Tour) and understudy for Jemima, Rumpleteazer and Jellylorum in Cats (UK and Italian Tours).

The production also stars Virge Gilhrist as Fauna.

The ensemble are David Hayden (Mack), Nick Martland (Hazel), Matt Parsons (Ray), Christopher Connor (Eddie), Shane Landers (Jim), Mitchell Jarvis (Johnny), John Hicks (Joe), Joshua Lovell (George), Georgie Burdett (Marjorie), Catherine Sagar (Mabel), Michaela Cartmell (Millicent), Rebecca Fennelly (Agnes), Clare Duffy (Girl) and Alexandra Lloyd-Hamilton (Emma). 

Find out more in the promotional video:


PIPE DREAM
Directed by Sasha Regan
Choreographed by Lizzi Gee
Musical Direction by Christopher Peake
Designed by Earl Rose Hughes
Lighting Design by Tim Deiling

Evening Performances: Tuesday - Saturday at 7:30pm 

Matinees: Saturday/Sunday at 2:30pm

Tickets are priced at £19.50 (£17.50 concessions). To book call the Union Theatre Box Office on 0207 261 9876 or click here to book online. 

JACK AND THE BEANSTALK (Swindon Wyvern Theatre) Pantomime Press Launch July 2013

The Wyvern Theatre, Swindon's number one entertainment venue announce Jack And The Beanstalk - the giant of all pantomimes as this year's festive spectacular from Qdos Pantomimes. Starring Dancing On Ice's TV favourite Keith Chegwin who returns for a third year after success in Cinderella and Aladdin - the theatre's two best selling pantomimes, wey hey!

"As with many theatres in the UK, the Wyvern has forged a strong connection with the pantomime's leading star," says Theatre Director Derek Aldridge. "We love Keith, the audience love Keith and it's therefore my pleasure to invite him back to the Wyvern!"

This year is Keith's third consecutive year in Swindon!

This year's launch was held at Roves Farm - one of Swindon's top family attractions with the Wyvern's annual pantomime being another, "I am delighted that we are bringing these two fine institutions together," said Derek Aldridge. "It was an absolute thrill to see Daisy the cow (not to mention Cheggers) meet the animals at Roves!"

Jack and the Beanstalk is the most agricultural of pantomimes and tells the story of Jack (Samuel Parker) who sells his cow Daisy in order for his mother, Dame Trot (David Ashley) to make ends meet. Jack sells the cow for magic beans which with the help of a Fairy (Jennifer Greenwood) grows to become the biggest beanstalk in the land, with a GIANT surprise at the top!

Keith Chegwin, Jennifer Greenwood, Samuel Parker & David Ashley

Samuel Parker who plays Jack recently graduated from Arts Educational Schools, London. His theatre credits include Peter Pan in Peter Pan, Dancer/Understudy Carabosse in Sleeping Beauty (both at The Beck Theatre), Buddy in Steel Pier (The Union Theatre) and Christmas in New York (The Prince Of Wales).

Like Keith, David Ashley is also making his third Swindon pantomime appearance. Having been an Ugly Sister in Cinderella and Abanazar in Aladdin, Swindon can look forward to seeing him as Dame Trot. David's extensive theatre career includes Blood Brothers (Phoenix Theatre), Les Misérables (Palace Theatre), Cats (New London Theatre/UK Tour) and Starlight Express (Apollo Victoria Theatre) to name but a few.

Jennifer Greenwood will be making her pantomime debut in Swindon this year. The pantomime will be directed by Guy Unsworth and will feature an ensemble of dancers from Laine Theatre Arts.

David Ashley & Keith Chegwin

"This year's pantomime will be the Wyvern's biggest one yet!" said producer Daryl Back. "I'm thrilled to be working with Keith Chegwin and David Ashley once more - I can guarantee GIANT laughs when they take to the stage this year as mother and son!" Almost 10,000 tickets have already been sold and there are ticket prices to suit all pockets - so you won't have to sell the family cow to enjoy the biggest pantomime in Swindon! Don't delay in booking here! Jack and the Beanstalk runs from Saturday 7th December 2013 - Sunday 5th January 2014.

In the first of four podcasts from the Wyvern Theatre Samuel Parker talks about his pantomime memories and being part of creating the memories for a new generation of children! Listen below. 

In the second podcast David Ashley talks about his first panto at the Wyvern Theatre in 1986 and coming back year after year!

Jennifer Greenwood talks about the traditions of Pantomime and experiencing Swindon first hand!

Singing, playing the ukelele and tap dancing - all in a days work for Keith Chegwin, the final podcast reveals!

Click here for SwindonWeb's video coverage of the day and interview with Keith! 

★ Praise for ALADDIN 2012/13 ★

The highest of production standards including exquisite costumes, sparkling sets and impressive special effects, this is one panto you shouldn't miss! A top notch production.

BRITISH THEATRE GUIDE

Any production around this time of year should be full of glitter, dance, slapstick comedy and the odd innuendo thrown in for fun - and that's certainly what you get!

TOTAL SWINDON

An enjoyable collaboration between prodigious pantomime producer Qdos Entertainment and the small but beautifully formed One From The Heart.

THE STAGE

The dancing and songs were pretty damn good! The ensemble used in the production were total quality throughout!

THE OCELOT

Click here to visit the website and book for Jack And The Beanstalk now!

Alternatively, visit the theatre in person or 

call the Box Office on 01793 524 481

A MURDER HAS BEEN ARRANGED (UK Tour) Review July 2013

The final instalment in the Ian Dickens summer play season at the Wolverhampton Grand Theatre is another classic example of traditional rep. A Murder Has Been Arranged was performed first in 1930 at the Strand Theatre (now the Novello) in London.  

The play takes place on the stage of London's St. James' Theatre (to be clear, this isn't a play within a play like so many that are doing the rounds) and the current set is used as the venue for Sir Charles Jasper's 40th birthday party (changed to 50th in this production, presumably much closer to the real age of the actor). Sir Charles is due to inherit £2m at 11 o'clock that evening which otherwise would have be given to his only living relative Maurice Mullins. Who should turn up that evening is perhaps not too difficult to guess and given the title of the play Sir Charles' murder has most definitely been arranged. 

Anita Harris (The Cemetery Club) and Nicola Weeks (Haunted/The Final Test) are idyllic English ladies and are joined by Karen Ford (The Final Test) who is loveable as Mrs Wragg - the fearful maid. When dialogue gets perhaps a little heavy the play is completely shaken up by the estranged family member himself Maurice Mullins - ridiculously pompous and played most humorously by Coronation Street's Dr Carter - Oliver Mellor. It is Mellor who keeps the audience engagement through the plots twists and turns. Poppy Meadows does a spiffing job as the no nonsense Miss Groze. Mike Duran plays conductor Cavendish and Paul Lavers is the ill-fated Sir Charles Jasper. In an unusual instance the climax to this play is less of a whodunnit and more of a letsprovewhodunnit. 

It is only in the climax of the play where its age is all too apparent. Long-winded prophecy's playing out,  death and supernatural occurrences are received with titters and are at times cringeworthy - no fault of the cast but situations within the play are a little strange, less effective and hard to be believed. If you're a fan of eerie wind sound effects though you won't be disappointed here.

The plot moves along quickly enough and there is always a twist and turn to keep you interested. This is a nostalgic look back at when thrill depended on the less visual approach. Incredibly well acted by an experienced and charming cast. 

A Murder Has Been Arranged runs at the Wolverhampton Grand Theatre until Saturday 20th July. Book tickets here. 

RISING DAMP (UK Tour) Interviews with Steven Chapman and Paul Morse

In an unnamed northern university town, Rupert Rigsby, the landlord of the seediest, run-down boarding house and his tenants Ruth Jones, Alan and Philip make the transition from screen to stage in the UK touring production of Rising Damp. Directed by the TV series' own Philip - Don Warrington, Stephen Chapman leads as Rigsby, and Paul Morse plays student Alan.

STEPHEN CHAPMAN

"I'm thoroughly enjoying it. It's something I've always dreamt about doing - family and friends have always said that I look like Rigsby and by default I do Rigsby in life... I don't impersonate him though and I don't try to but as we've toured round we've come to realise what our audience are looking for and hopefully I can give it back to them in bucketloads. The lovely thing about live theatre is that your story progresses and the characters develop and you begin to understand what the audience enjoy. That's the one thing about doing comedy especially with shows like this, the tendency to expect laughter  is dangerous territory for actors. To say the line and think you're going to get a laugh and then it doesn't come you can think there's something wrong with show! There isn't of course. You just need one person in the audience to laugh, to break the ice and then everybody goes. I do it a lot, I'll go and see a show, love it, but I'll just titter to myself. So I don't judge the show's success on the laughter we get, for me I listen to audience feedback and they say it's a great show!"

"It was really interesting working with Don Warrington, who of course was in the television series. Don directed us and I imagine it was quite a challenge for Cornelius who plays Don's part of Philip, so to play the part of the guy who's now directing is always going to put a bit of pressure on you. For me though what Don did bring to it is that great comedy comes through truth. There's no point just walking out there and doing cheap mimics of the original characters - yes, to some degree I impersonate Rigsby but if I just went out there and pulled a funny face you'd say 'ooh this is getting boring!' whereas because this play comes at it through truth it keeps the relationship between everything that's happening on stage alive and that's what Don based it on."

"Rising Damp actually began its life as a stage play called Banana Box, then it became a TV series and Don Warrington was in both and Phillips character was who it was based around. Rigsby then was played by Wilfred Brambell who was in Steptoe and Son, then Leonard Rossiter came on board for the TV series and thats when it changed and his character became who it was about with the racist jokes and everything. We have to remember that this is very much of it's time, accept that it's from the 70's and the bigoted generation and completely of its period. I accept that then it was also iconic comedy, and Eric Chappell wrote three other exceptional comedies so even if you question what's it's relevance now it remains great comedy - lots of the spoken gags as well as the visual should appeal to anybody. It's a big challenge now for theatres to attract people to plays when there's all these exciting musicals out there, which are great, but I'd still say to anybody this is great value for money for all ages - my daughters who are 18, 15 and 10 all came and they thoroughly enjoyed it!" 

PAUL MORSE

"Firstly, I'm really enjoying being in Rising Damp! It's been received quite well...! It's definitely a generational piece, most of the audiences remember it the first time round, not me, I've only seen YouTube clips, but it's quite old now but it definitely works. It was a play before it was a TV series, just under a different name so we know it works for the stage. I kept away from the TV series to be honest, I didn't want to copy Richard Beckinsale. If you come to the show you'll notice that we all have a nod at the originals and the accents and the wigs all help but what I think what's great about this is that it simply captures the essence of Rising Damp. There's enough there for the audience that do remember it because they've really come to see what they saw on the television and loved so much."

"I play Alan, the student who was played by Richard Beckinsale. I move into the flat and find out I'm sharing with Philip, who's a black man... Alan's never seen a black person before. We're thrown together and it's about our relationship, just trying to get on and having constant interruptions from Rigsby who's always popping in and out. There's a love triangle and everyone's going at each other... it's great!"

"The set is an absolute replica, it's brilliant! It's very grotty and it does stink! It's spot on. It's quite loyal to the original and not just visually - some audiences have said if they shut their eyes it's like listening to the original. If we did anything new with it we'd lose followers for sure - you can't reinvent the wheel."

"The great thing about it was working with Don Warrington. The first thing he said to us was don't copy the originals. You've got to have the mannerisms because that's what the audience want to see, but as a piece of writing it's all there anyway for us to make leap from the page. That took the pressure for me off. Don's got the authority to do that... and he knows the characters well enough to shape the piece whereas other directors might just say - copy! Being a stage actor too Don understands what changes have to be made so that we can reach the people sat at the back, it's not close-up camera work anymore!" 

"I think Rising Damp is just easy watching. Everyone can enjoy it... you don't have to really sit and think about it, it's not Chekhov. The producers know what they're doing now, they did Dinnerladies, the Hyacinth Bouquet thing... Keeping Up Appearances! They keep putting great sitcoms on stage and it's great nostalgia, giving new life to these shows - so come and see it!" 

Listen to audio clips here!

Review | THE LION KING (UK Tour) July 2013

“Nants ingonyama bagithi baba…!” There comes a lion, oh yes, it’s a lion – in Birmingham! Disney’s 1994 movie about lion cub Simba and his rise to the responsibilities of manhood opened to critical acclaim on Broadway in 1997, London in 1999 and now the 20^th staging of the show worldwide is a UK tour that arrived at Birmingham Hippodrome on Friday – playing for the next 13 weeks.

Gugwana Dlamini

Of any of the shows you will see, the opening to The Lion King – The Circle Of Life is sure to be the most overwhelming experience you will ever have in a theatre. From the moment Rafiki calls out the birth of a future king set against the rising of the African sun, even the grown men are reduced to excitable children as a procession of animals fills the auditorium. As are the lyrics “there is far too much to take in here…” it’s true, everywhere you look there is something different to see. The opening five minutes alone are a breathtaking spectacle concluded with the loudest applause.

That isn’t to say that the rest of the production fails to live up to that standard, that is just the beginning and what follows is pure delight. Gugwana Dlamini is Rafiki, (male in the movie, female in the musical) the shamaness Mandrill Baboon and she completely captures the eccentric nature of this all-knowing character. Guiding us wonderfully through the story with humour and speeches in the most complicated Zulu tongue Dlamini’s performance truly is captivating and one that she has had 10 years to perfect in London, on the US Tour and in Singapore. Cleveland Cathnott is a strong and powerful Mufasa both in vocal and in presence who not only has a commanding aura but also can switch easily to the gentle, fatherly side of the king. Mufasa’s majordomo Zazu (Meilyr Sion) is in this production from Glasgow and the Scottish references and strong accent perhaps doesn’t suit the character as well as the archetypal English Zazu in the movie. This said, Sion’s performance and puppet operation of the Hornbill is transfixing. On the subject of puppets, the one that steals the show more than any other is Timon. A design based on traditional Japanese Bunraku puppetry, Timon is operated and voiced by John Hasler who together with Mark Roper as Pumbaa (who’s voice is incredibly accurate to the movie character) provide much of the comedy and their costumes and operation are a particular visual treat. The same can be said of Daniel Norford, Gbemisola Ikumelo, Philip Oakland in the roles of the hyenas Banzai, Shenzi and Ed – not to mention the energy that operating the full-body costumes must require.

Carole Stennett and Nicholas Nkuna

Carole Stennett is most impressive as the adult Nala. Nala sings one of the show’s most powerful songs Shadowland and Stennett captures the lioness’s coming of age with incredible vocal strength and is equally strong in performance throughout. Nicholas Nkuna is an equal counterpart as the adult Simba. Stephen Carlile is deliciously sinister in the role of Scar – the villain of the show who was met with boos aplenty during the curtain call… for the right reason of course.

Stephen Carlile

The role Young Simba was played by Joshua Cameron and Young Nala, Donica Elliston, both of whom gave a cute, energetic and feisty performance. (Performers in these roles change nightly.)

The Lion King is the best example of getting simple imagery so perfect that metaphorically and theatrically speaks volumes. A silk sheet being pulled into a hole in the stage floor to represent drought is just one striking example.  More often than not it is in the simplicity where the show is at it’s best.  Percussionists in the boxes give the auditorium a real 'surround sound' effect. The Lion King is timeless, and fans of the movie or West End production will not be disappointed, neither will a new generation discovering it for the first time. Although set in a Disney fantasy part of Africa, perhaps unnecessary mentions of IKEA, The Proclaimers and DIY SOS are a little misplaced in the savanna!

The Lion King is unique. One of the most well known stories is completely rediscovered here with fresh perspective. Being familiar with the Disney movie in no way ruins the surprises of the musical - in fact I think that going with a good knowledge of the movie does much to enhance your experience. Part of the fascination of The Lion King is realizing how Julie Taymor recreates the seemingly impossible scenes with complete artistic genius. The show is testament to the hundreds of people that work  tirelessly backstage to ensure a perfect performance. Seeing families smiling and beaming at the sights, people turning around and pointing at an elephant as it walks through the isle is forever memorable and so joyous. The fact that theatre can do that proves what a phenomenal experience it can be. There will always be another generation that are going to love the Lion King for years to come and you must make the most of the chance to see it in your hometown whilst you can.

The Circle Of Life

Be prepared for no ordinary night at the theatre. Performances continue throughout the summer at Birmingham Hippodrome until 28^th September 2013. Book here – it is time!

Cast List: Stephen Carlile, Cleveland Cathnott, Gugwana Dlamini, Meilyr Sion, John Hasler, Mark Roper, Nicholas Nkuna, Carole Stennett, Daniel Norford, Gbemisola Ikumelo, Philip Oakland, Abigail Ayton, Jude Blake, Gabriel Cadogan, Joshua Cameron, Daniel Daszek-Green, Donica Elliston, Ella Marshall-Pinder, Adelaide Morgan, Phoenix Powell, Ciaran Stow, Maia Tamrakar, William Wright-Neblett, David Albury, Keisha Amponsa Banson, Tovah-Marie Bembridge, Magali Brito, Thembelihle Cele, Bethzy Charadan, Janique Charles, Sup Shanasunthorn, Teisha Duncan, Thibault Durand, Thaba Gwadiso, Iamnia Montalvo Hernadez, Kwesi Jeffers, Aiko Kato, Hope Maine, Nonhlanhla Makhathini, Mario Manzella, Giobanni Napoli, Anna Ella Neocel, Nosipho Nkonqa, Phindile Nyandeni, Mark Peachey, George Rae, Lloyd Rathebe, Jeffrey Richardson, Tarisha Rommick, Jean Salamao, Georgey Souchette, Alex Thomas, Tumelo Tokgwi, Thulisile Thusi, Jermaine Woods, Charlene Zijlstra, Bonga Zulu

STEAMING (UK Tour) Review July 2013

The 1981 winner of the Olivier Award for Best New Comedy is in Wolverhampton this week - the second play of four in the Ian Dickens Summer Play Season. 

Set in a steam room of a run down Turkish baths in East London the play explores a few weeks in the lives of five women that visit. Unfortunately there's little much else until well into the play the announcement of the business' closure sparks the ladies to fight and appeal the decision. 

London's Burning's Kim Taylforth is well suited to the 'Essex beauty parlour' type character Violet. Rachel Stanley not only shows off her capable acting ability but flaunts every inch of her naked body and there is more than a few full frontal flashings as Josie. Josie's love life and bedroom activity tends to make up much of the plot. Rebecca Wheatley is rather loveable in the role of Dawn. 

Perhaps this was better suited to the 80's, this production was acted incredibly well and moved along at a steady pace. It fizzled but never popped. The girls up there are clearly having lots of fun and Steaming has the potential to be great but it is a mediocre plot that holds it back. Perhaps a fun night out for the ladies.

Click here to book.

Cast List: Kim Taylforth, Martin Jason, Rachel Stanley, Patricia Franklin, Rebecca Wheatley, Katherine Heath, Michelle Morris.

EVITA (UK Tour) Interview with Marti Pellow

Marti Pellow, one of music's most respected artists stars as Che in the 2013 UK tour of Andrew Lloyd Webber and Tim Rice's Evita. In the musical, Che reflects the voice of the Argentine people; linked to Eva Peron by destiny he brings conflict to the story of Eva's rise to fame.

"It's great to be on tour again, we've just done Glasgow - my hometown and it was nice for them to be able to see me in this, Andrew and Tim's best... well, my favourite piece of theirs, by far. I'm looking forward to bringing the show to Wolverhampton, which is a fantastic theatre where I last did Witches Of Eastwick."

"Che is an interesting character... really he and Eva never met, he was just the catalyst and Tim and Andrew used him almost as a narrator for the musical and he's the voice of the Argentinian common man. It's funny because I just seem to get these types of roles, I just finished in Willy Russell's Blood Brothers as the Narrator and when they said do you fancy doing the role of Che in Evita it was a no brainer for me, I wanted to do that. I first came familiar with the score for Evita through David Essex's pop career and it was one of those musicals that crossed so many different genres and growing up I watched all the MG classics with my mummy on the couch but I was never really one for musical theatre and then I carved a career in pop music so I'm playing catch up here!"

"I've been doing musical theatre now for ten years, once that door was open from Kander & Ebb's Chicago I was like a kid in a candy store and this is one of the roles I'd always wanted to play. I think it's a great character and he's part of a great ensemble. I suppose most people with be familiar with the movie version with Antonio Banderas and Madonna which is a great version of it too, but for me the theatre is where it all happens - that's what it was written for after all."

"I don't really consider musical theatre a big departure really from what I've been used to in pop music with Wet Wet Wet and so on... When you're singing you're still telling a story. When you're singing any song people engage in the lyrics, hopefully, and listen to what you're trying to say and if it's beautifully written like Evita is - it's not rocket science. It's about engaging your imagination and putting a little piece of your heart into it so it's truthful and people are willing to go on that journey with you. So for me really, singing in theatre is no different, it's just another jacket you're putting on. Don't get me wrong though, it's like when you first experience Sondheim, you think whoah, where's this cat coming from! For me though, Sondheim as with all musical theatre really is like bringing a telescope into focus. At first you can't really see it and then suddenly it just goes 'click' and if you stay with it, you'll get there."

"I'm very blessed with some of the roles that I've been given, they're all big roles, Billy Flynn in Chicago - the dream, tick! Then I get to play recently Jekyll and Hyde for Leslie Bricusse, who I'd been a big fan of and he became a friend and I said to him I'd love to play Scrooge, that's what I had my eye on and then I ended up doing Jekyll and Hyde which I loved but I was a bit disappointed that I only got one wage... that's two characters right!? I love musical theatre though and I hope people come and see Evita, just don't expect me to dance... I don't do that. Actually one more thing, when I was in Chicago on Broadway and Ann Reinking came up to me whilst I was doing a wee dance routine and said 'Oh Marti, honey, your heart's in it... just a shame your feet aint!'" 

Listen to what Marti remembers about Wolverhampton Grand Theatre! 

You can book to see Marti Pellow in EVITA at the Wolverhampton Grand Theatre here. The show plays from 19 - 31 August 2013.