Priscilla, Queen of the Desert

 

The Spring DOS show is packed with camp glamour, a rocking soundtrack, stunning costumes and some of the best performances you’re likely to see anywhere on stage.

The story is of 3 drag artists, Tick (Ben Connor), Bernadette (Julian Cound) and Felicia (George Hurley) who trek across Australia to perform a show for Tick’s wife Marion (Kirsty Furness) at the Alice Springs Casino.  Tick, who also has a son to Marion whom he has not seen in years, is desperate to give fatherhood a try.  Bernadette, a slightly neurotic former Les Girl has just had her heart broken by the death of her love, Trumpet and sees the trip as an opportunity to escape the sadness. Felicia is a hedonistic party fiend, for whom the trip will give her the chance to fulfill a lifelong dream of climbing Ayres rock in full drag. 

Ben’s Tick is as close to watching Hugo Weaving as you’re ever likely to see; brilliant campy when needed, soft and vulnerable and with impeccable comedic timing.  His MacArthur Park routine will have you gasping for breath.  Julian, as the older, more mature Bernie makes for a very glamorous MILF; stone cold in his sarcastic put downs he anchors the two younger fly-by-nights.  George takes on the renegade role, the “can’t be stopped and to hell with the consequences” I’m going to poke this with a stick and see what happens.

Of course, the Australian outback isn’t the most of tolerant of differences and so their journey is met with a mixture of acceptance and appreciation coupled with bigoted scepticism and prejudice.  The story is as much about asking the audience to consider their own tolerance as it is about celebrating the glam and glitz which, without ever preaching, is rather apt in the current world.

Bringing the 1993 movie to the stage is a wonderful opportunity for cast and crew to big up the bling, the hair, the heels and the eye shadow and this version leaves nothing in the dressing room.  Scene changes are seamlessly accompanied by Miss Understanding (Eddie Taylor-Jones at his most flamboyant EmCee-esque best) and the Divas. Led by Jess Harrison with Jenny Poole and Claire Wilmer, they treat us to some of the biggest, campest pop songs including Go West, It’s Raining Men, Girls Just Wanna Have Fun and Venus. Brilliant costumes (fans of the film will be delighted to see some favourites) and a wonderful Priscilla make it impossible to turn your eyes away for even a moment.

Notable other mentions must also go to David Murray as Bob, the dusty outback gentleman who wins Bernadette’s broken heart and his mail order wife Cynthia, played by the irrepressible Natalie Robinson, following which I will never be able to watch table tennis or listen to M’s ‘Pop Music’ ever again.  Tick’s son Benji is played by either Noah Abbas or Alfie Webster – we saw Noah who was amazing, a great actor and no slouch in the singing.

The ensemble, as is customary with every DOS production, can turn their hands, feet and voices to a whole range of numbers; Cowboy hoedown, Kylie inspired 90’s pop, Outback seedy bar and of course 70’s disco are all given the DOS treatment with Director and Choreographer Joanne Hand once again creating phenomenal multi-layered routines which show off the cast’s talents perfectly.

All in, this is a perfect show for fun, laughs, sing-a-long, feel good and boy do we need some of this at the moment – I’d go so far as to say this is the best DOS show I’ve seen in over 10 years of reviewing.

Priscilla runs until Saturday 7th May - tickets available from

https://www.ticketsource.co.uk/darlingtonos/e-jvekxd

Gary in Punderland

 

A Pun - a joke exploiting the different possible meanings of a word or the fact that there are words which sound alike but have different meanings. A Pun Meister – an expert at telling puns, making people smile, aching their ribs and filling evenings with much laughter.  Gary Delaney – a Pun Meister General – one of the very best.

Playing in the round of Darlington Hippodrome’s Hullabaloo is a perfect venue for stand up – it is intimate, the act can clearly see the faces of the audience and the laughter is infectious.  By his own admission, this is what Gary has been missing, craving and his enjoyment of performing is matched by the audiences non-stop laughter.

Packed full of one liners, Gary’s very personable approach make this feel like a really good friend holding court at a family party – he begins by testing the levels to which the audience will allow his jokes to rise (or stoop) and with that, we’re off.  Cleverly breaking up the non-stop punning, we are treated to big screen examples of his spurious Amazon reviews, Wikipedia entries and hilarious observations of the everyday world.  For those of a certain age, there’s a lot of ‘That’s Life’s Doc Cox’ (and a little of Cox’s alter ego Ivor Biggun) combined with puns ranging from the ‘safe to repeat at work’ to the ‘wouldn’t dare in a month of Sundays’.  No topic is really off limits (albeit Jimmy Carr has probably closed the door on a few more by now) so it all makes for a deliciously naughty evening; a brilliant show for adults to kick back, relax and laugh without caring who knows what you find funny.

Supporting Gary on this tour is Steve Day – one 1/3 of the infamous ‘3 wise monkey’ comedy troupe.  Bringing his own unique take on comedy (Steve is the best deaf comic he’s never heard) this South London Brummie is very funny, lots of great anecdotes and someone who I’d love to see much more from.

Gary’s tour continues throughout 2022 with North East dates in Helmsley, Sunderland, Newcastle, Carlisle and Alnwick (and potentially more dates being added).  Check out his website for full details - https://www.garydelaney.com/live/

80's Mania Show at Darlington Hippodrome

 

Big hair, big shoulders and even bigger stars, the 80’s was THE decade which for so many people defined pop music.  Coming to Darlington Hippodrome on Saturday 5th March is the ultimate of 80’s tribute shows – 80’s Mania.  With 28 chart topping hits performed by brilliant tributes and backed by the Legs and Co dance troupe, this promises to be a night of nostalgia and fun all played out to the soundtrack of a generation.

Bringing their unique jukebox to the stage, the 80’s Mania team ensure that all your favourite artists are represented in all their 80’s glory;  Adam Ant, Madonna, Kim Wilde, Frankie Goes to Hollywood, Soft Cell, Erasure, Madness, Boy George, Bananarama and many more.  Hit songs that collectively have sold over 100 million singles, this will be the ultimate mix tape, all played live.

Dig out your spandex, roll on your leg warmers and back comb your hair because this promises to be the step back in time that will leave you singing into your hairbrush and dancing in the mirror all over again.  80’s Radio 1 DJ Mike Read raved “it’s like Live Aid meets Top of The Pops”.

YouTube - https://youtu.be/IPjFAHfb6qw

No better way to spend a Saturday evening, tickets are on sale now and selling fast so don’t delay – booking and further details https://bit.ly/3KXQRDH

Cinderella at Darlington Hippodrome

One of the most eagerly awaited shows of the year opened at Darlington Hippodrome, the annual pantomime, and once again the families of Darlington are in for a treat.  Cinderella by Crossroads Pantomime Productions (who also have Snow White on at the Theatre Royal Newcastle) brings all the expected glitz, glamour and family fun – the perfect ingredients for an enjoyable few hours and a lovely way to begin the season's festivities.

Cinderella (Tanisha Butterfield making her debut) is desperate to escape her oppressive step family and dreams of meeting Mr Right, Prince Charming (Jacob Leeson) who in turn feels that his title is the only thing would-be brides are attracted by.  Swapping places with his valet, Dandini ( Spin) he befriends Cinders without her realising he is royalty and thus the scene is set for the most famous premise in all of storyland “Cinders, you shall go to the ball”.

Star billing as the fairy godmother goes to Faye Tozer, super pop star with Steps and as a solo artist. Not only can Faye sing (which we all know) but she’s a great actor too, very relaxed and natural and clearly enjoying the role.  Her Steps medley to close the show had everyone on their feet and not surprisingly most still know the dance routines.   Playing opposite Faye as Buttons is Patrick Monahan – brilliantly funny although at times his natural wit is somewhat curtailed by the safe writing – there’s no too much double entendres for the adults but plenty of child focussed toilet humour.

Sadly, missing from this story is an evil entity – there is no wicked step mother to whom the audience can direct their boos and hisses.  The ugly sisters (Peter Peverley and Phil Corbitt) try and bring some Geordie styled badness but traditionally they were always meant to be selfish and spiteful, not nasty and wicked.

Being honest, in the region there are funnier pantos (Danny Adams,  Clive Webb and Mick Potts in Snow White, Theatre Royal Newcastle), there is more originality (Nutcracker Re-Miced at Durham Gala)  and there is the best villain in the land (Neil Armstrong in Robin Hood, Durham Gala) so whilst in comparison this is somewhat underwhelming, what this Cinderella gives you is a wonderfully safe, family friendly show to which you can confidently take young children who will enjoy a traditional production.

Rock of Ages

 For those about to rock, and those who did so in the 80’s, we salute you.

Rock of Ages is a modern day musical theatre phenomenon; it ran for a record breaking 2328 performances on Broadway, has toured in more than 30 countries and spawned a 2012 movie.  Now it is back on UK stages, opened at Darlington Hippodrome, and guarantees to rock you in, and out of your seats.

Packed full of iconic rock songs, this is the musical equivalent to time travelling for anyone who was around in the 80’s (or anyone younger who just loves great rock anthems).  The story is a classic Boy Meets Girl, Falls in Love, Boy Loses Girl due to his pig headedness , Boy has an epiphany and wins her back.  Running in the background is the threat of big business developing the Sunset Strip and demolishing the iconic bars and music halls and the 80’s counter culture of resistance and proletariat. So far pretty formulaic, however what sets this one aside from so many other pop musicals is its total abandonment of the expected norm – Rock of Ages may be serious about the music, but it certainly doesn’t take itself serious at all.

Constantly breaking the 4^th wall the cast ensure that the audience are as much a part of the story as the choice of songs – they regularly display acute existentialism by referencing themselves as being actors in a musical, making for a collective sense of us all being ‘in on the joke’, together at a jam session or perhaps harking back to sitting in a friends bedroom playing records.

The cast clearly enjoy the show as much as the audience, none more so than Luke Walsh (Drew) and Rhiannon Chesterman (Sherrie), the story’s love struck leads who brilliantly toy with the perils of LA stardom and sleaze  - think Brad and Janet from Rocky Horror.  Both find themselves at the Bourbon Room, a rock club on the Sunset Strip ran by Dennis Dupree (Ross Dawes); Drew bussing tables and writing music, Sherrie as a wide eyed innocent looking to become an actor.  Both of them end up betraying their dreams for a dose of LA reality (Drew joins a boy band and Sherrie becomes a stripper) while Dupree tries to fight off the German developers and protect his club.

Guiding the audience through the story is the narrator and Dupree’s assistant Lonny, played by the mercurial Joe Gash – Gash gives Lonny all the sexual tension of Russell Brand crossed with the over the top flamboyance of Timothy Claypole (from Rentaghost).  Impish, mischievous and just deliciously naughty, Gash plays up to, and with the audience, like an adult pantomime dame, filling scene changes with surreal humour and adding in plenty of on the edge devilishness.

There are standout performances by Jenny Fitzpatrick as Justice (showing her prowess as a powerful soul singer) and Strictly star Kevin Clifton as the aging rock god Stacee Jaxx proving it’s not just dancing he excels at.

The playlist should be filed under ‘definition of jukebox musical’; it feels like the writer, Chris D’Arienzo, wanted to make a mix tape of his favourite 80’s songs and then make up a story to tell by using them.  Every tune sits as a chapter heading to progress the story; there is little subtlety in which tune fits where but that is fine, we’re not here for high brow, deep thinking culture, we’re here for Rock and Roll. 

Backed by a brilliant ensemble, some rather risqué costumes and a rocking live band, this is not so much a love letter to rock as it is a wild Friday night of abandonment and worry about the consequences later.  So, if you like comedy, if you enjoy live music and if you love 80’s rock then this is the perfect way to reminisce about, or reacquaint yourself with, classic songs,  but be warned, you may feel the need to dig out your tasselled leather jacket and big up your hair.

Songs include:  

Any Way You Want It

Can't Fight This Feeling

Cum On Feel The Noize
Don't Stop Believin'
Every Rose Has Its Thorn
Final Countdown
Here I Go Again
Hit Me With Your Best Shot
I Hate Myself For Loving You
I Wanna Rock
I Want To Know What Love Is
Keep On Loving You
More Than Words
Nothin' But A Good Time
The Search Is Over
Shadows Of The Night
To Be With You
Too Much Time On My Hands
Waiting For A Girl Like You
Wanted Dead Or Alive
We Built This City
We're Not Gonna Take It

The Legend of Sleepy Hollow

 

Perhaps more confusing than scary, there's probably a good story hidden in there.

Over the years The Legend of Sleepy Hollow has been everything from a Disney short to a Tim Burton macabre thriller.  Based on the story by 18th century writer Washington Irving, it tells the tale of Ichabod Crane, a Bostonian teacher who winds up in the hamlet of Sleepy Hollow, a tightly knit community who have dark secrets and even darker pasts.

The reason for Crane's visit is not immediately clear, he states it is to bring his teaching to a new town, but as the villagers attempt to bring him into their ways it is clear that neither he nor they are being entirely honest with each other.  The annual tradition of Hallowmas, the retelling of the legend and the apparent ritualistic acceptance of fate lead to a sense of uncertainty, but sadly for a ghost story, no real feeling of fear.

The 1st act remains quite true to the original story; out of towner trying to ingratiate himself with the locals, they being wary of anyone new.  Sam Jackson as Crane paints a believable image of a city teacher finding himself in a hamlet unchanged since the original settlers.  His 'rival', local Brom (Lewis Cope) is clearly threatened by Crane, both for the affections of Katrina (Rose Quentin) and as a destablising influence on the traditional way of life.  This could have been developed more into a love triangle, were it not for the fact that the only real chemistry was between the two male leads.  Quentin seems to favour shouting as her method for portraying intensity which weakens the menace of her character in the finale.   Other members of the cast try hard with their parts (most play multiple roles) but some are odd and others just baffling.  Bill Ward as the patriarch Baltus Van Tassel seems a little lost as to whether he is drunk, insane, a bully or just in the wrong place.  Wendi Peters as the Widow Papenfuss (an original character written for this production) however is the one true solid character - she toes a fine line between age old confidante and dangerous harpy, never letting the audience settle into deciding to like or fear her.

The 2nd act tries to introduce more folklore; Wendigo, Wraiths, and a sea devil to name but a few, the legendary Headless Horseman makes a brief appearance but sadly the writing prevents any chance to build tension towards the climax.  It takes a few moments to adjust to the recounting of both the legend and Crane's past life before you realise what is being played out and even then the relevance to the main plot is not entirely clear.

There are some very clever uses of smoke and lighting (credit Amy Watts & Jason Addison) and some unique scene changes using interpretative dance but these can't redeem some poor direction - all too often the blocking meant dialogue was being delivered to the rear of the stage with the lead standing with their back to the audience and as such it was nigh on impossible to hear everything being said.

In all, this felt like a compilation of Hammer House of Horror tv shows; lots of individual components but no golden thread to tie them all into a comprehensible story.

Strictly Musicals 3 - THE Greatest Show

"Everything you've missed over the past 18 months, all condensed into one amazing night performed by truly amazing people"

The Darlington Operatic Society (DOS) Autumn Spectacular Strictly Musicals 3 - The Greatest Show opened last night and once again they delivered a show full of passion, humour and talent.  From the opening refrain of the Greatest Showman (from the smoldering Michael Hirst), right through to the confetti explosion at the end of the very apt for the times Spread the Love Around (led by the ever youthful Sam Morrison and Rhiannon Walker), the cast, crew and orchestra never missed a beat, a harmony or a step.

It's well known that DOS has a rich pedigree for bringing together great talent with ambitious choreography and stunning costumes; recent shows include Jekyll and Hyde, Priscilla Queen of the Desert and Chitty Chitty Bang Bang.  This production not only showcases even more brilliant voices, they open up some new shows which many may have not yet seen in the UK.  It is testament to the whole company that they are confident to mix classic with contemporary and do so whilst raising their already high bar even higher.

Hits from current smash shows like award winning Six , Dear Evan Hansen (the movie version premiers this week), Something Rotten (which has yet to open in the UK), The Wiz (just about to commence touring again), The Book of Mormon and current West End darling Cinderella gave the Darlington Hippodrome audience a taste of West End and Broadway well before most people have had the chance to see the full productions.  

The DOS 'treatment' (40+ voices in perfect harmony) is given to Les Mis, The Greatest Showman and Cinderella medleys, while solo stars have the audience holding their breath in Bodyguard (Jessica Harrison, Katie Blythe, Claire Willmer, Rhiannon Walker, Kate Williams), The Witches of Eastwick (Zoe Kent, Sam Morrison, Sarah Harland) and La Cage Aux Follies (Julian Cound).  

This year, more than ever, sees many powerful, beautiful female voices, each one would deservedly be a leading lady in their own right, but through the brilliant musical direction of Steven Hood they become a collective force majeure.  

Just as impressive as the singing is the dancing; the company are able to switch seamlessly from ballroom to hip hop, from ragtime to ballet, with the grace and precision one would normally only expect from professional troupes. Most shows will have 2 or 3 main dance numbers, here there are 13 (complete with costume changes in between) and yet the synchronisation and coordination is flawless.

Director and Choreographer Joanne Hand has ensured that the running order brings variety to the pace and tone; company ensembles are followed by intimate solos, powerful ballads play against comedic romps (It's a Musical from Something Rotten is a riot, playing on the brilliant natural comedy talents of Leighton and Eddie Taylor-Jones).  With so many numbers to choose from and a cast who can literally perform ANYTHING, Joanne probably has the hardest job right at the beginning of production in deciding what NOT to include.  As mentioned before, the choices for SM3 will undoubtedly open peoples' eyes and ears to new shows as much as help them fall back in love with old ones.

Looking back at previous Strictly Musicals which were great jukeboxes of musical hits, this production feels more mature, more complex and, if at all possible, even more professional - if you love musical theatre, if you want to sit in awe for an evening and marvel at the local talent or if you just want a great night out then I cannot recommend anything better than DOS Strictly Musicals 3 - it is THE Greatest Show.

Details, tickets and times are available at 

https://www.darlingtonoperaticsociety.org.uk/productions/current-show/

Being Mr Wickham

More Pride than Prejudice

Reprising his role as Mr George Wickham, the man who polarises opinion in Jane Austin’s masterpiece Pride & Prejudice, star of the 1995 BBC dramatisation Adrian Lukis brings us a ‘what happened next’ insight into life after Darcy, Lydia and the Bennets.  

Written and performed by Lukis and Catherine Curzon, this one man show (Directed by Guy Unsworth for original theatre Company) reimagines how Wickham would have continued to live, expanding on his somewhat younger loutish behaviour and following him right through to his 60s.

It is clear that Lukis feels very passionate about continuing Wickham’s story, indeed, his attention to detail, his immersion in Wickham’s progress and his consideration for not letting him be only remembered as a cad and a scoundrel makes this a wonderful epilogue to the Austin tale.  

We are given more understanding about why he was as he was, his relationship with the more popular Darcy and how, over time he would surely have mellowed, allowing his sensibilities to mature and become more rounded (although he will never completely lose that roguish charm).

The second act affords the audience an opportunity to question Adrian, an open floor Q&A in which he will (try) and field any questions and explore other ideas and theories.  

Witty, informed and very insightful, Being Mr Wickham is heartily recommended for fans of the original production and one which I am sure Ms Austen would have certainly approved.

Strictly Musicals 3 - The Greatest Show

Let the Good Times Return

"A wonderful opportunity to see hits from the biggest shows in musical theatre all on one night"

The past 18 months have for most of us seen a unique change to life; lockdowns, working from home, unsettling news and in worst cases, illness and loss. At times like this it is human nature to look back, before the pandemic and seek out times when things seemed happier, more settled and enjoyable. It is difficult to look ahead and see such times returning anytime soon and yet, on the near horizon is something which, for thousands of people, will give them an escape, a feeling of normality and something to look forward to and enjoy. 

 Darlington Operatic Society’s Strictly Musicals 3 – The Greatest Show.

Darlington Operatic Society has been the premier amateur musical theatre company in the North East for many years, providing twice yearly shows and giving members and theatre-goers fantastic opportunities to enjoy the very best of musical theatre. Back in 2013 they ran an Autumn spectacular, ‘Strictly Musicals’ which showcased some of the most popular musical numbers from shows such as Evita, Les Mis, Sunset Boulevard, Phantom and Wicked. Met with both critical and public acclaim, it was a gatehouse for many to shows they would not normally have chosen and widened appreciation for musicals (resulting in a marked upturn in ticket sales for future musical productions).

A second ‘Strictly’ followed in 2017 and again this proved to be a smash hit, allowing cast and crew to explore Mamma Mia, We Will Rock You, Miss Saigon, Top Hat to name but a few. Led by the company Director and choreographer Joanne Hand and Musical Director Steven Hood, the numbers featured stunning dancing, wonderful choreography and impressive sets, all performed by 40+ cast members whose talents rival any professional production company.

Now, in 2021, (having had to postpone the initial run), Strictly Musicals 3 is about to land and it looks like the pedigree of the previous 2 shows is even stronger. Taking numbers from West End and Broadway mega-hits Hamilton, The Greatest Showman, The Book of Mormon, The Bodyguard, Cabaret, Les Miserables, Sister Act and many more, this guarantees to be 2 hours of high octane, fun-filled song and dance.

With powerful leads channelling Whitney Houston & George Hearn, 40 strong ensemble dance routines and a 12 piece orchestra, this really will be The Greatest Show seen at Darlington Hippodrome. 

 Opening on Wednesday 20th October and running until Saturday 30th tickets are still available, but selling very fast – visit here for more details and to book shorturl.at/tOP25

Al Murray - The man behind the man behind the bar

 An interview with Al Murray

In between his very hectic schedule of tour dates, writing, rehearsing for a gig and podcasting, Al Murray very kindly agreed to a quick chat.

We have followed your career with great enjoyment since the early days of comedy with Harry Hill.  Stand up aside though, your historical recall, associations and repositioning are quite unique.  Have you always had the ability to weave such narratives?  (Al has a history degree from Oxford University)

AM - Yes, when I studied history at University I was not able to focus on the history that interested me, in fact I really couldn’t bear a lot of it, so when I could return to it later on I was able to choose exactly what I liked.   I am fascinated by the Second World War and I think understanding it, and History in general, is really important.  History and exploring world events and how they impacted people is a cultural phenomenon;  it affects everyone differently so being able to use facts to retell stories which prompt people to then question what they think is amazing.

 

Many people know you best as The Pub Landlord – over the past 10 years, you have more than dabbled in music, politics, theatre, writing and presenting – does the Landlord persona ‘get in the way’ at all?

AM - Not at all, in fact I use him and me to show two sides of the same coin.  In my recent series “Why Does Everyone Hate the English’”  I was able to have The Pub Landlord character make his rather over the top observations and then I, as Al Murray, was able to explain in a more measured way the facts behind the headlines.

 

You did a battlefield tour with James Holland at Arnhem and Nijmegen, have you any others planned and which would you most like to do next?

AM - My tours and subsequent podcast with James (”We Have ways of Making You Talk”) have been amazing for me.  I thought I was very knowledgeable about the Second World War (ed. He is VERY knowledgeable) but as James and I talked through the series I realised just how much more there is to know.  I think knowing and understanding the Second World War is very important; we can learn so much about who we are now by looking back on where we were then. 

Looking ahead, the plan is that with international travel available next year we will be having more tours across other battle sites and hopefully another series of the podcasts.

 The Pub Landlord character is very open in celebrating Britishness; since the Brexit referendum, do you think audiences have changed in declaring their English/British nationality?  

AM - No, not all all. In 2016 the Brexit referendum was a single question asked of people on a topic, the EU, that would normally rank about 7^th or 8^th in their list of important things to think about.  They voted and then went back to their lives and allowed the politicians to begin fighting about the details.  It didn’t change how we felt about ourselves and didn’t really feature in our everyday conversations until very recently, so how British we felt then is still pretty much the same now.

The Covid pandemic, however, has been very different – that has come into everyone’s homes, lives, thoughts and as such there is a much more specific reaction to what is happening.   Looking back on a previous question, in a way, Covid has been much more like the Second World War in it has affected everyone immediately, far more than Brexit.

 

Have you managed to get back to drumming with a live band since restrictions have been eased ? 

AM - Yes, we have started rehearsals a few weeks ago and have a gig planned for later in September.  It’s been a great relief to get back playing live with the band. (ed. It is clear Al is very excited about performing again)

 

What can we expect of this current tour (Al Murray; Landlord of Hope and Glory)

AM – The Pub Landlord will be back doing what he does best, tackling current issues head on, enjoying the ‘banter’ with the audience and hopefully making people feel good.  There has been a lot of things happen since the last tour so we have a lot of new ground to cover.

 

What do you think the Pub Landlord makes of the recent influx of craft gins ?  is it just a fad ?

AM - Al laughs – the huge range of new drinks is great, it gives people choice and with choice comes happiness.  I think the Pub Landlord, however would still think the traditional white wine/fruit based drinks should be a staple go to option.

 

My granddaughter (5) would like to know, if you were a potato, how would you like to be cooked?

AM - Baked, every time.

Al Murray - Landlord of Hope and Glory tour is on now, tickets and dates from https://thepublandlord.com/ 

Al's Podcasts - We Have Ways of Making You Talk 

Al's unique look at our history - Why Does Everyone Hate the English (on HistoryPlay & Amazon)

The Cat and The Canary

Suspense and intrigue returned to Darlington Hippodrome last night and it was a solid 3 star show.

Continuing to build on the long success of The Agatha Christie Theatre Company, Bill Kenwright’s Classic Thriller Theatre Company (Rehearsal For Murder, Judgement in Stone and The Lady Vanishes), returns with their latest chilling whodunit, the creepy comedy thriller The Cat and the Canary, written by John Willard and Directed by Roy Marsden.

Set in an old mansion, it is the tale of estranged family members brought together 20 years after the patriarch’s death to hear the reading of his will, and more importantly to them, find out who will inherit the vast fortune he left behind.

Of course, when there’s money involved initial bon amie turns to greed and we watch as plots are written, schemes concocted and true feelings uncovered.  There’s no shortage of shocks, as well as some laugh out loud moments, all played in a wonderful set which becomes more claustrophobic as the night continues.

Heading up the cast is silver screen and Bond-girl legend Britt Ekland, playing Mrs Pleasant, the housekeeper. Mrs Pleasant has lived alone in the house since the former owners demise and is now as part of the fabric of the building as the bookcases and creaking stairs. Britt is a perfect balance of seldom being centre stage yet ominously ever present and oozes Hollywood style.

Starring alongside Ms Ekland is singer-songwriter, actor and former member of 00’s boy band Blue, Antony Costa who has wonderful comedic timing and plays the apparent hapless vet, Paul, perfectly.

Tracy Shaw, best known for her long-running role as Maxine Peacock in Coronation Street is the debonair author Annabelle and the story’s heroine.  Her performance commands attention, shining out through the auditorium with star appeal and at times carrying the plot on her own.

They are joined by West End leading lady Marti Webb (Evita and Tell Me on A Sunday) as Aunt Susan; Gary Webster, (Family Affairs and Ray Daley opposite George Cole in ITV’s Minder) as Harry; Classic Thriller Theatre Company veteran Ben Nealon (Soldier Soldier) as actor Charlie, and Eric Carte (Bouquet of Barbed Wire) as Crosby, the Lawyer and family solicitor.

As a horror/drama/comedy this is a great opening to the Hippodrome’s Autumn season, very entertaining and a lovely return to live theatre.

Tickets are on sale https://www.darlingtonhippodrome.co.uk/whats-on/The-Cat-and-the-Canary#booking

Rumours of Fleetwood Mac 2021

Back again after a postponed date, this newest Rumours tour is definitely worth the wait.

Anyone who loves music from the past 40 years will have no doubt enjoyed at least a handful of Fleetwood Mac's songs; from their first hit Albatross right through to the 80's smashes Big Love and Little Lies. Likewise their albums have always managed to deliver on every occasion but the history books will show that it was their eponymous 'Rumours' album that does, and will continue to, stand the test of time as a true classic.  

The songs are masterpieces in their own right but when the story surrounding the band (the in-fighting, love triangles and months of silence) are added there is more than a frisson of extra edge and pathos to the words.  Rumours, and the original live tour to accompany the album, was used by some band members to sarcastically remind others of their infidelities, betrayal and disdain.  I can't see the current crop of 'pop stars' ever having the mastery of English to be able to write such cutting sentiment into such catchy songs.

The musical prowess of all on stage is simply mesmerising whilst the vocals and  harmonies are pitch perfect to the originals.  Jess Harwood as Stevie Nicks and Emily Gervers as Christine McVie have all the power, sex appeal & vulnerabilities of the original female band members.  The boys, James Harrison as Lyndsey Buckingham, Etienne Girard as John McVie and the uncannily accurate Allan Cosgrove as Mick Fleetwood are note and inflection perfect.

A poignant addition to this tour play list is recognition of Peter Green, founder and soul of Fleetwood Mac who passed away in 2020.  His legacy is one which generations will be for ever grateful.  Dave Goldberg continues to defy the laws of nature and produce a performance of Green that, eyes closed, you'd swear there was a ghost up on stage.

If you look in any music press listings you will find many tribute bands covering almost all the big name acts from the 60's and 70's - The Counterfeit Stones, The Bootleg Beatles, Abbaesque, the Pink Floyd Experience but I challenge any of them to be as good as Rumours; in fact I will go so far as to say they would rival the original Fleetwood Mac if someone could ever get them on the same stage together.

An Interview with Britt Ekland

Preview of Cat and the Canary

An interview with Britt Ekland

A chilling tale of murder, mystery and greed comes to Darlington with a stage adaptation of The Cat and The Canary starring Hollywood superstar Britt Ekland. The star of stage and screen tells us about her latest acting challenge.

 

Hi Britt. You’re starring in thriller The Cat and the Canary. What’s the play about?

It’s a story about a big, deserted mansion on the Bodmin Moor. The owner died 20 years earlier and he has instructed his solicitors to assemble all the possible heirs to go through the will. There’s an assortment of people from all over the world that come into this spooky house, and loads of surprises ensue from the start.

 

It is an interesting story with many twists and turns. It’s very much in the tradition of Agatha Christie and the type of thriller British audiences love. I think our audiences will get a big surprise and that’s all I’m going to say.

 

What made you want to be part of this production?

First, I’m always up for a challenge. I always have been. I have done almost everything you can think of in my career. This is definitely not a role I’m used to; this play is not a farce, for a start! It’s something a bit more challenging for me.

 

Fantastic. So, who are you playing?

I play the housekeeper. She has been in this house alone for 20 years before this midnight meeting with all the assembled heirs and the solicitor. She’s probably had quite a solitary life and had to find ways of surviving that solitude, the cold and the war. She hasn’t had any physical company, but she feels she has had spiritual company. She’s very stern. Her job is to guard this house until the heir takes it over and that’s what she’s done for 20 years.

 

What makes this such a challenge for you?

I haven’t been on stage since my last panto in 2013. And I was never a rep actor – I was a movie star. I finished school when I was 17 and went to drama school for two years, then toured with a variety show and did a film in Rome. The next thing I know, I have a contract with Twentieth Century Fox and I’m sent to London. That’s where I meet Peter Sellers and marry him. Although I wanted to be on stage, being a movie star didn’t hold the prestige of being a good stage actor – not in Sweden where I came from. I don’t have the background that most actors my age have, which is my main challenge on this tour.

 

You’ve been working for more than 60 years. How do you keep yourself fit enough to tour?

I’m very fortunate that I’ve always worked out. In March 2018, I did Strictly Come Dancing in Sweden as the oldest participant ever. But I don’t take anything for granted. You have to be alert and stay on top of everything. A lot of this is your own mental attitude to life as well, not just what you eat and how you move. You have to have a very mobile mental attitude.

 

That sounds like a fantastic philosophy.

As you get older and what you look like matters less, you’ve got to challenge yourself to stay relevant and continue working. I could just sit down with a cup of tea and biscuits and watch television… but I don’t do that!

 

The Cat and The Canary runs at Darlington Hippodrome from Tuesday 21 to Saturday 25 September.

 

For more information or to book call 01325 405405 or visit www.darlingtonhippodrome.co.uk

Come What May - the Moulin Rouge Tribute night

Come What May – an evening at The Moulin Rouge

Step into the decadence and hedonism of Paris in the 1890's and bask in the opulence, the glamour and the glitz of some of the best musical numbers from the worlds most loved shows. 

Produced by two of the best touring production companies, Sweeney Entertainments and Sisco Productions, Come What May is a brilliant evening of song and dance, humour and happiness and a large portion of sexiness.

This cabaret style show, complete with an MC channelling Tim Curry and Joel Grey, is a relentless delivery of brilliant show stoppers.  The pace never lets up as we are whisked through hits such as Lady Marmalade, The Greatest Show, Saturday Night’s alright (for fighting), Diamonds are a Girl’s Best Friend, the Love medley, Roxanne and one of the best, and most unexpected, La Vie en Rose.

The whole play list is a tribute to the best songs from modern musical film and theatre and is guaranteed to have everyone singing and dancing in the aisles.

The three leads each have power, poise and lots of purpose – they are a great blend, complimenting each other and the show in general – great casting and clearly something they love doing. Helen Hill is a sultry, sexy, beautiful and powerful lady – she shines as bright as the diamonds she sings of and carries tunes that usually are group songs on her own without losing any of the impact.  Steffan Lloyd-Evans is a great ‘Rocketman’ – his renditions of Elton John numbers had everyone rocking in their seats and, when duetting with Helen in the titular Come What May he brought a tenderness that stopped people in their seats.

Stealing the limelight, not least due to his very cheeky Emceeing was David Wyatt – as mentioned earlier he was a wonderful blend of Tim Curry and Joel Grey, camp and cute one moment, dangerous and controlling the next – his hits from Burlesque, his lead on the seedy Roxanne and an eye popping ‘Like a Virgin’ were complimented by some very snazzy boxer shorts.

The dancers were non-stop energy, their routines keenly honed to compliment the music and never far away from descending into the 1890’s absinthe induced psychedelia of spins, twists and some amazing acrobatics.  The stand out routine is most certainly the Can Can, a perfect rendition of the famous dance which put the Moulin Rouge firmly into the consciousness of a country.  By the end even the audience were breathing hard.

If you love musical numbers, have enjoyed the recent revival of musical films celebrating great song and dance, and want an evening of escapism and unapologetic hedonism then treat yourself (and your lover) to tickets to this show.

Check out https://www.sweeneyentertainments.co.uk/shows/come-what-may/ for tour dates and links to book

Coming in April - Strictly Musicals 3

Rehearsals are hotting up for theatre show

Cast members of Strictly Musicals 3 - the latest offering from Darlington Operatic Society (DarlingtonOS) - are being put thorough their paces as musical numbers within the show start to take shape.

Strictly Musicals 3 is the third offering of a series of 'songs from the shows' style productions by DarlingtonOS, the first being back in 2013.

In this third edition audiences will be entertained with songs from classic shows such as The King and I, Mack & Mabel and Chicago alongside extracts from modern-day favourites such as Dear Evan Hansen, Hamilton and The Bodyguard. There will also be examples from some lesser-known shows such as Something Rotten, Bonnie & Clyde and Songs for a New World.

Julian Cound from DarlingtonOS said "This is one of the most exciting stages of the rehearsal period when we see the imagination of our director / choreographer Joanne Hand come to life as she pieces together her amazing, original choreography to go with the stunning vocals the company have been learning under the musical direction of Steven Hood."

"Putting a concert style production together is so much more difficult than working on a book show. From a blank piece of paper the production team have to create 2 hours of musical magic that offers something for everyone and with Strictly Musicals 3 I can guarantee audiences will not be disappointed."

Strictly Musicals 3 has a cast of 52 local, talented amateur performers who will be working flat out over the next 9 weeks to ensure the show is ready for opening night on Wednesday 22 April at Darlington Hippodrome.

Julian concluded "there is a massive appetite for musical theatre here in the North East and Strictly Musicals brings the best of the best together for two hours of magic. If you are a fan of musicals then you will simply love Strictly Musicals 3."

Strictly Musicals 3 runs at Darlington Hippodrome from Wednesday 22 April to Saturday 2 May. Thursday 30 April is a BSL Interpreted performance and both Friday performances will be audio described.

Tickets are available from the ticket hotline 01325 244659 or book online at www.darlingtonos.org.uk

The Croft at Darlington Hippodrome

The Croft by Ali Milles

A tale set across 3 time periods but very much of today.

Set solely in a small crofters cottage in the Scottish Highlands, and with minimal props, the immersive and at times claustrophobic feelings are testament to the small but brilliant cast and the tight direction by Philip Franks.

The opening scene presents the viewer with Suzanne and Laura, two modern urbanites who have escaped to the croft for a break away and to discover each other.  Laura (Lucy Doyle) is an early twenties modern woman, brash, confident and desperate to take life for what she wants.  The croft is actually her father’s and so this return after many years is a chance for her to reconnect with her past and hopefully bring in her future.

Suzanne is a mum of 2 teenage boys, her marriage on the rocks, who has found herself in the midst of an exciting and new relationship, both with Laura and more importantly, with herself.

Interspersed with the here and now story are two other timelines both of which also play out in the croft.  One is of Laura’s mum, Ruth, who loved to visit the croft and chose it as her final place to live while she succumbed to terminal cancer. She and Laura were as best friends during Laura's early childhood, swimming, hiking and spending time at the croft but sadly she became estranged with Laura’s vicar father, Tom (Simon Roberts) and found a friendship in the local gamekeeper David (Drew Cain).  Clearly Laura has some unresolved issues with how her mum finally died and was hoping that her visit to the croft would help her to understand and maybe make peace.

The other tale is set in the mid 19^th century of an old crofter, Enid (Gwen Taylor) who takes in a young village girl, Eilene (again played by Lucy Doyle) and the challenges of not only fighting the clearances, but also of the suspicion and fear that a single, old woman could breed in the small minded community.  Hounded as a witch and with aspersions cast on the nature of their relationship, Enid refuses to leave the croft despite the all pleading and threats.

Whilst this is billed as a thriller, I found it more to be a piece on social attitudes.  It may be set across 3 time periods but the underlying themes are very much of today, very ‘woke’, very #metoo.

All the female roles encounter some degree of prejudice from male counterparts and are forced to seek solace with other women which only seems to provoke more misogyny.  Suzanne with her estranged husband and teenage boys, Laura with her religious father whom she blames for her mother’s death, Ruth, whose once strong relationship with Laura is torn apart by her falling in love with David, Enid who is hounded by the ‘big house’ landowners for being different and Eilene who falls foul of a local boy and is left to seek help from the crofter.

Whether the intent by Milles was to write a social commentary on how some attitudes don’t seem to change, despite the passing of time, whether it was meant to be a play about the intertwining of 3 storylines, or whether it is a clever piece of veiled misandry, one thing is for sure, The Croft is a solid piece of theatre which will leave audiences contemplating their own moral compass.