New Alexandra Theatre, Birmingham - New Season Unveiled

Dazzling new season unveiled at New Alexandra Theatre

Bring it On, The Sound of Music and Strangers On a Train, are just some of the hit productions coming to Birmingham’s New Alexandra Theatre as part of its Autumn Season, announced today.

Also on the bill is Monty Python’s Spamalot, This is Elvis, and Fay Mellor’s brand new production of Fat Friends.

Must-see family favourites include Miracle on 34^th Street The Musical, David Walliam’s Awful Auntie and the acclaimed Shrek The Musical.

After a nationwide search for its leading lady, the much anticipated Cilla The Musical also makes its debut, followed by the followed by the return of the West End smash Jersey Boys as the venue’s Christmas Show.

Eastenders favourite Jessie Wallace will also come to the venue in Deathtrap, Joanne Clifton in Flashdance The Musical, and Vincent and Flavia return in Tango Moderno.

Inspired by the hit film, Broadway’s Tony Award nominated Bring It On The Musical somersaults into Birmingham from Monday 25 to Saturday 30 September 2017 as part of its first ever UK Tour.

The coming of age story, which is penned by the famed Hamilton writer Lin Manuel Miranda, promises a high-octane thrill ride in the cut-throat world of competitive cheerleading, where high school politics meets teenage romance.

One of the greatest musicals of all time, The Sound of Music, returns to the stage in January 2018. Based onBarnoness Maria Von Trapp’s 1949 autobiography, this wonderfully lavish new staging of The Sound Of Music tells the true story of the world-famous singing family, from their romantic beginnings and search for happiness, to their thrilling escape to freedom as their beloved Austria becomes part of the Third Reich at the start of World War Two.

The Bill Kenwright Production runs from Tuesday 16 to Saturday 20 January 2018.

Meanwhile, from the team behind Gaslight, comes the masterful thriller Strangers On a Train. Based on the world-renowned 1950 novel by Patricia Highsmith this spine-chilling tale is set to delight with its dark wit, whilst having everyone on the edge of their seats from the start.

Running from Monday 29 January to Saturday 3 February 2018 the show tells of a fateful encounter between two men in the dining carriage of a train crossing America, which sets in motion a chain of events that changes their lives forever.

Iconic British classic Monty Python’s Spamalot returns from Tuesday 3 to Saturday 7 October. Lovingly ripped off from the hugely successful 1975 film, Monty Python and The Holy Grail, this brand new tour is a riotous comedy full of misfit knights, killer rabbits, dancing nuns and ferocious Frenchmen.

The electrifying musical This is Elvis, has also been announced, and will play from Monday 19 to Saturday 24 March 2018.

The production, which is presented by Bill Kenwright and Laurie Mansfield, recreates all the drama leading to the musical event of the year in 1968, which was the first live TV special for Elvis Presley. It features all of his greatest hits, including Trouble, Blue Suede Shoes, Hound Dog, All Shook Up, It’s Now or Never andHeartBreak Hotel.

And the weight is over for one of TV’s best loved programmes to make its stage debut. Kay Mellor’s Fat Friends The Musical arrives at The Alex from Tuesday 3 to Saturday 7 April 2017, with a stellar cast including Andrew “Freddie” Flintoff, Jodie Prenger and Natalie Anderson.

Packed full of warmth, life and weight loss, this new stage show reunites out favourite foodie friends in an eagerly anticipated musical brimming with hope, humour and heart.

One of the most popular films of all time, Miracle on 34^th Street, hits the stage in a fun-filled Christmas treat from Tuesday 14 to Saturday 18 November 2017. Birmingham Musical and Operatic Society (BMOS), bring this family favourite to the stage, which follows single mother Doris, her daughter Susan and their neighbour Fred on a magical journey of love and romance to discover if Macy’s Department Store Kris Kringle really is Santa Claus.

Packed with holiday favourites such as It’s Beginning To Look A Lot Like Christmas and Her Love, its sure to be a festive hit.

After the sell-out success of Gangsta Granny. Birmingham Stage Company return with their next David Walliam’s adaption, Awful Auntie.

This amazing tale of frights, fights and friendships comes to the theatre from Wednesday 22 to Sunday 26 November and features an owl, a small ghost and a very awful auntie!

Everyone’s favourite ogre Shrek arrives for Feb 2018 half-term, running from Wednesday 14 to Saturday 25 February.

Based on the story and characters from the Oscar-winning Dreamworks animation film, this hilarious and spectacular production turns the world of fairy-tales upside down in an all-singing, all-dancing, must see musical comedy.

Following the success of the blockbusting film the show is a chance to join the unlikely hero and his loyal steed Donkey, as they set off on a quest to rescue the beautiful Princess Fiona from her tower.

Cilla The Musical is a spectacular and heart-warming musical adaptation of the critically acclaimed ITV mini-series by Jeff Pope, based on the early life of Cilla Black.

The musical score is the ultimate soundtrack to the 60s including Cilla’s greatest hits Anyone Who Had A Heart, Alfie, and Something Tells Me, alongside a backdrop of the legendary Liverpool Sound.

Kara Lily Hayworth takes the title role after fighting off thousands of hopefuls in nationwide auditions.

Eastenders’ favourites Jessie Wallace and Paul Bradley lead the cast of Deathtrap, a satisfying spine chiller that is guaranteed to keep audiences on the edge of their seat.

The show, which tours at the New Alex from Tuesday 7 to Saturday 11 November tells the tale of Sidney Bruhl, a once successful writer of stage thrillers who is in the grip of chronic writers block when young playwright Clifford Anderson sends him a brilliant whodunit.

This wickedly enjoyable production promises to keep audiences on the edge of their seats.

And all the iconic hits such as Maniac, Gloria and What A Feeling are back in Flashdance The Musical,which stars Strictly Come Dancing’s Joanne Clifton and A1 heart-throb Ben Adams.

The musical spectacle comes to the theatre from Monday 4 to Saturday 9 December 2017 and promises phenomenal choreography and an iconic score.

After a sell-out run in 2014, West End and Broadway phenomenon Jersey Boys is also back for Christmas 2017, running from Saturday 16 December to Saturday 6 January 2018.

After wrapping up in the West End the brand new regional tour will open in Birmingham and is truly not to be missed.

Featuring hit after hit including Beggin, Can’t Take My Eyes Off You and Walk Like A Man, Jersey Boys, which tells the story of Franki Valli and The Four Seasons, is a story full of heart, humour and sheer razamatazz.

There are also a host of excellent one night shows at the venue to cater for everyone.

Direct from its sell-out London run Derren Brown: Underground is the latest show from the multi-award winning master of psychological illusion and runs from Monday 24 to Wednesday 26 July 2017. Bringing together a selection of the very best of Derren’s previous stage work, Underground is a spell-binding experience of showmanship and magical genius.

An audience with Katie Price comes to the theatre on Wednesday November 1, where Katie will perform her brand new single I Got U and talk about her life stories.

And Mitchell Brunings, lead of the sell-out musical One Love, comes to Birmingham on Sunday 22 andMonday 23 October 2017 to perform one off special Marley Reprised, bringing a full evening of Bob Marley’s greatest hits to the stage.

For more information on all of the shows and to buy tickets go to atgtickets.com/birmingham* or ring 0844 871 3011*. 

*Booking fees apply

New Alexandra Theatre - Amazing things to do

Five amazing things to do at The Alex –

which don’t involve theatre!

The New Alexandra Theatre is not just known for its blockbusting shows, although there are plenty of them!

More than ever before the venue is getting involved in a host of community projects, including The Big Sleuth, Birmingham Cocktail Weekend, and hosting in-house entertainment via Birmingham Jazz Festival.

Here’s five fantastic things you can do at The Alex, which don’t involve watching a show…

·         I aint’ afraid of no bear! Have you grabbed a selfie with Alexandra yet? The Alex’s very own bear on the Big Sleuth Trail? The beauty, who dons a Ghostbusters outfit takes pride of place at the end of John Bright Street, not far from the theatre.

Alexandra is just one of 100 stunning bear sculptures who are taking over the city as part of The Big Sleuth Trail. Each have been designed by artists and have their own story to tell, and have laid their paw prints all over the city – and beyond – to bring a colourful trail of creativity, imagination and fun

An additional 137 bear cubs have been created by local school children as part of The Big Sleuth Learning Programme. Together they form a fantastic, free public art trail that will lead you to parts of the city and wider region that you may never have visited before.

With Alexandra’s prominent position just outside New Street Station, she could be one of the first bears you visit!

And the added bonus is that once you scan her code on The Big Sleuth app, you can also visit The Alex Box Office and pick up a free goodie bag full of treats!

The Big Sleuth kicked off this week and runs throughout the Summer holidays. More details here http://thebigsleuth.co.uk/

·         If you’ve never sampled one of the Alex’s amazing cocktails, then July is certainly the best time!  This weekend the venue is proudly taking part in Birmingham Cocktail Weekend once again, which is now bigger and better than ever before.

Running from Fri 14 to Sun 16 July this exciting event is a weekend dedicated to sampling the best of Birmingham’s cocktail scene! And The Alex’s offering is a unique cocktail based on the history of the venue – the Salberg 75!

The Charlie Bates Trio will also be performing in the beautiful Piano Bar throughout the weekend to entertain drinkers.

Even more enticing is the opportunity to take part in another one of the unique Cocktail Masterclasses.

Lasting for one hour and hosted in the luxurious Ambassador Lounge, participants will learn how to make the Salberg 75. Then they can create their very own cocktail themed on a show from the upcoming season.

Places can be booked here:

https://new-www.atgtickets.com/venues/new-alexandra-theatre-birmingham/shows/cocktail-masterclass-(2)

·         Free Jazz in the theatre’s stunning Piano bar you say? Bar open until 11pm? What’s not to like? This month the theatre will take part in the city wide Birmingham, Solihull and Sandwell Jazz Festival for the very first time, with renowned band C-Jam set to delight listeners in the Piano bar on Friday 21 July.  

C-Jam’s repertoire is large and varied, ranging from cool jazz sounds to stomping blues/R&B and soul favourites. The experienced line-up includes three ex-members of the Steve Gibbons Band, including Brain Badhams (keyboards and vocals), who is currently with Elkie Brooks.

Brian Wilson (lead guitar/vocals) spent many years with the Gibbons Band, touring the USA supporting The Who, and worked with the Ruby Turner Band for a number of years.

Drummer Brendan Day’s 12 years with the Gibbons Band have been followed by work with the Dylan Project and Fairport Convention among many others.

Meanwhile bassist Frank Walker’s colourful music career includes working with Glenn Tipton in the Flying Hat Band and appearing with Alvin Stardust, whilst saxophonist Sam Rogers first came to notice with the Walsall Jazz Orchestra.

C-Jam will perform in the Piano Bar from 8pm, with the bar open from 6.30pm.

The jazz festival runs from July 14 to July 23 and more details are available herehttp://www.birminghamjazzfestival.com/

 

·         Friday afternoons at the Alex have also become a little bit special, with the addition of Coffee, Cake and Cadenzas.

The series of free monthly Chamber Concerts sees students from Birmingham's Conservatoire of Music presenting beautiful programmes at 1pm on the first Friday of every month in the theatre’s Piano Bar.

Coffee, cake and an assortment of other treats are on sale at every single event, which are also available to watch on Facebook Live.

The concerts are a great opportunity for everyone to come along to the theatre and listen to some outstanding live music for free, whilst enjoying a cuppa in the beautiful surroundings of the Piano Bar.

After a spectacular series of concerts, the talented students are taking a well deserved break, but will back to entertain from Friday 3rd November.

·         Ever wondered what goes on behind the scenes of the Alex? There are regular backstage theatre tours available which all provide a unique look behind the scenes.

Each tour offers a unique insight into one of the most historic theatres in the West Midlands.

The tours are a chance to see the dressing rooms that have housed the stars, visit the backstage areas that are the workhouse of theatre life and finally step onstage at the Alex and in doing so join with some of the greats of English theatre. After a tour participants can relax with a free hot drink and biscuits in the bar.

More details on the tours are available at www.atgtickets.com

Touch and Go - The Grange Players - 13-22.07.17

The Grange Players

Presents

Touch and Go

13^th – 22^nd July 2017

Just about every actor and director I have met have told me that farces are among the most challenging of productions to successfully stage, not least because on the surface, the exaggerated and rather implausible situations have to appear as impromptu and believable.  It is also challenging for Companies to take on these plays because the genre, with its humour seemingly firmly set in the 1970’s and 1980’s, can seem out-dated to modern audiences.  There is, therefore, a marginal difference between a production that has the audience rolling with laughter or squirming with embarrassment.  So, it is always with a sense of trepidation I approach these as an audience member.

I need not have worried.  The Grange Players have put on a very-well directed, fast-paced, slick and hugely enjoyable evening’s entertainment, where I soon immersed myself in the humour, forgot about how improbable it all was, and remembered that the art of the double–entendre has its place, as long as it is well-delivered.

Of course, there is a great deal of hard work that goes into staging a play that looks effortless and, in the case of a farce, many pitfalls to avoid.  A good production needs a strong script, a talented cast and a skilled director.  To start with the script: with, perhaps, the exception of the Master of Farce, Ray Cooney, few have manged to draw an audience in so that the absurd seems plausible.  With Touch and Go Derek Benfield produces the usual mix of sex, adultery, lies, deception, improbable situations and arrangements going wrong, in a clever script written with economy and fluidity, which compensates for the formulaic approach.  The characters are well-drawn, at least to those of us who remember the early 1980s.  Lovers of the double-entendre will of course enjoy this play, although I must say even in 1982, when the play was written, the ‘coq-au-vin’ pun would have been barely funny, even if used just the once.  Mr Benfield obviously thought this line funny enough to use over and again.

All of this counts for nothing if the cast don’t understand the rules of farce.  In this production the cast work hard to make the characters believable and to ensure the comedy emerges from the situation, rather than exaggerating characteristics or looking for cheap laughs.  The script is delivered with pace and precision, and the second Act in particular draws us in and speeds along like a train, with a nice little twist at the end.  It should also be pointed out that the cast demonstrated a great deal of stamina, which was needed not only to sustain the pace and physicality, but also to endure what must have been one of the hottest and most humid evenings of the summer. 

We first meet the colourful, playful, and ever-hopeful of finding love, Wendy, just about the most innocent of the characters in this play.  Dressed for a night of thrills, Naomi Millard plays the character with innocence and bewilderment as the action unfolds around her.  Keith Hayes eases into his role as Brian, general cad and rather unlikely love interest of Wendy, well.  This role, of all of them, needed to avoid the trap of over-playing, and Keith delivers a suitably restrained and believable performance.  Liz Webster plays Hilary as a seemingly rather calculating character.  She has lovely timing and manages that most difficult task for actors, getting drunk on stage, in a believable and controlled manner.  Rod Bissett shines in his role as George.  One feels as if he has somehow been reeled in by Hilary, and although far from innocent, brings a lot of pathos to the role, in particular when he is exposed in his Y-fronts and shirt.  Finally, Suzy Donnelly as fashion designer Jessica, returning a day early from a work trip to New York, appears completely taken in by the web of lies and deceit woven around her. Suzy adds real depth to the character, and one is never sure if she has really been taken in by the events.  Events at the end suggest perhaps she wasn’t as innocent after all.  All in all, this strong cast brings both range and depth to their characterisation, which is rare in farces.

The Director, Louise Farmer, has put on a polished production.  She understands the genre and has got the best out of a strong cast, allowing them to develop clear characters while maintaining the necessary constraints required by a farce.  Louise also designed the set, which is split to represent the two apartments where the action takes place, with a lighting design that reflects this.  Simple and effective it ensures the pace never drops and the action is continuous.

The audience at this sold out evening at The Grange clearly enjoyed this play.  If you can get a ticket, and enjoy humour circa 1982, you should go and see it.

On until the 22^nd July

The Grange Players - Heroes - 18.05.17 - 27.05.17

The Grange Players

Presents

Heroes

By Gerald Sibleyras

Translated and Adapted by Tom Stoppard

Directed by Dexter Whitehead and Rosemary Manjunath

18th - 27th May 2017

Heroes is set in 1959 on the terrace of a home for veterans in France. It follows the antics of World War one veterans Henri (Paul Viles), Gustave (Andrew Tomllinson) and Philippe (Robert Onions).

The play was originally called 'The Wind in The Poplars' and was translated and renamed by Tom Stoppard. It was first performed in 2005 at the Wyndham's Theatre.


This was a gentle play, with the characters spending their time discussing the nuns that run the home, the other residents and planning a journey to 'escape' and see the poplar trees that they could see in the distance from their terrace.

Each character had its own sadness. Henri had a gammy leg, Gustave suffered from agoraphobia and Philippe kept passing out due to having a piece of shrapnel lodged in his brain. This however, did not make it a sad tale. We had fun and laughter throughout with extremely funny lines and situations. It was beautifully written to make the audience aware of the hard reality of war but not getting bogged down by the grim details, so you left feeling entertained, uplifted at how resilient human being are, and with a grin on your face.

The staging of this production was lovely with lots of detail. You had a light, bright terrace with 3 chairs. It was elegant and didn't take over from the action on stage.

Paul Viles was a wonderful Henri. He limped across the stage and tried to keep order throughout. His facial expressions and tone created great comic moments.

Robert Onions gave a gentle, poignant portrayal of Philippe. He had a lovely, touching moment where he was talking about how he wanted to be a pianist before the war. Not wanting to dampen the audiences mood, you then had him saying that after the war he couldn't follow his dream as it would be difficult to be a pianist when he kept passing out.

Andrew Tomlison needs to have a special mention as Gustave. He took over the part only a few weeks before the start of the show due to the original cast member having to pull out.  He portrayed the character with the brash confidence of a war veteran and really made the character his own.

The three of them together gave a first class performance but we shouldn't forget the forth member of the cast - the stone dog, who was there throughout the performance. He sat upright and Philippe would often think that he moved. He was often included in the conversations and was even going to go with the three veterans on their journey to the Poplar trees!

This performance of Heroes was extremely well directed by Dexter Whitehead and Rosemary Manjunath and is well worth a watch as it leaves you feeling proud of what people went through to make our County the best in the World - We should never forget what could have been!

The play runs until 27th May 2017

The Grange
Broadway North
Walsall
West Midlands
WS1 2QB
Box Office: 07909 036 835
Theatre: 01922 625 100
Website: www.grangeplayers.co.uk

The Grange Players - Holmes for the Holidays - 11.01.17 - 21.01.17

 The Grange Players

Present:

Holmes for the Holidays

11.01.17 - 21.01.17

The trepidation awaiting a critic’s review can be a daunting prospect. As an actor myself, I empathise with any cast or production team member who would echo the play’s line ‘She was ruthless. She was evil! She was a theatre-critic for God’s sake!’ Be reassured. The ‘Holmes for the Holidays’ team should have no such anxieties: there is much to praise in this show.

Attending The Grange theatre for the first time, any trace of apprehensions I might have held were soon dispersed. This is a space of welcome, a place of shared experience where theatre is enjoyed. The warmth and efficiency of the gentleman manning the ticket desk thawed me as I stepped beyond the reach of the cold, snowy night outside. The auditorium’s rake of comfortable seating was soon filled almost to capacity - no mean feat for any theatre on a night in mid-January. In the half-lit atmosphere of this intimate proscenium venue, an expectancy of enjoyment pervaded before curtain-up.

The venue is pertinent, for this play of two acts, set in the Christmas period of 1936, would not sit half so well in a pared-down, black-box space. It provides a seamless complement to the masterfully tailored set, which supplies both period aesthetic and functionality for essential stage-business.

In many theatre pieces of this nature, the technicals shine when appropriate and effective without being intrusive, and for this very reason can often be overlooked. On this criteria, the show’s sound and lighting design, intrinsic to the play’s telling, were impeccable. Costume and properties were made well to purpose and would serve a several-month run.

‘Holmes for the Holidays’ is the pen-work of ‘the purveyor of light comedy to middle America’ (show programme, citing The Times, 2006) Ken Ludwig, and the director and cast do well to present the piece to a British audience and maintain its distinctive US flavour throughout. A rapid East coast patter between William Gillette (Robert Meehan) and his houseguests is supported by all the cast with fluent accent, manner and interaction. Whilst at times the first act feels a little expositional, by the interval this ensemble immerse the audience thoroughly in the small 1930s world of egos, friendships, insecurities and trusts between actors who strut the stage. The wonderfully executed slapstick, delivered without excess by characters Daria Chase, Felix Gisel and William Gillette (Liz Webster, Sam Evans, Robert Meehan), adds to the humour and harkens back subtly to 1930s comedy styles.

Act two witnesses the Sherlock actor Gillette don his robes and pit his wits to the challenge of solving the case, and here the energy changes: there’s a murderer at large, and the drawing-room banter and revelations are superseded by purposeful activity. This, together with the introduction of Inspector Goring, adeptly played by Suzy Donnelly, lends more of the familiar territory of the who-dunnit and drives the pace to the final scenes.

There are conventions and concepts within ‘Holmes for the Holidays’ that will be recognisable to many actors and, whilst it is not essential to appreciate these to enjoy a performance, it may be a service for any reviewer here to highlight them to a potential audience member. The first scene is brief in nature, and in the spirit of ‘in late/out early’ begins mid-action without preamble at the curtain-call of a particular Sherlock Holmes performance. The piece assumes a conventional linear plot structure from the start. An awareness of this may avoid some confusion.

The prevalence of characters (not actors) taking the limelight and declaiming in the piece may also initially startle. The quoting of famous dramatic pieces, the basking in the approval of peers, all this expression of talent or ego amongst Gillette’s guests seems the hallmark of actors in each others company, and it takes a skilled ensemble to pull this off well. We watch actors performing the roles of 1930s stage actors, and it is good to accept that what they do is credible and naturalistic.

Directed by Chris Waters, ‘Holmes for the Holidays’ runs from 11th through to 21st January 2017.

Review by Anthony Webster

The Grange Players - Bracken Moor - 16.11.16 - 26.11.16

Bracken Moor

The Grange Players 

The Grange Theatre, Walsall

16^th – 26^th November 2016

This is an excellent production of a gripping and ghostly tale set in the 1930s, with surprises, personal transformations and twists on the way, and which draws parallels with current world affairs.

The programme describes this play as “a drama that speaks to us all set against the economic crisis of the 1930’s”.  Set in a large austere Yorkshire house the play opens with mine owner Harold Pritchard (Adam Woodward) and collier John Bailey (Robert Onions) discussing the potential closure of a mine with the loss of 140 jobs.  Harold and his wife Elizabeth (Julie Lomas) then play hosts to their old friends the Averys from London. They haven’t met for ten years following the death of Pritchard’s son in terrible circumstances at the age of 12, after which Mrs Pritchard in a state of shock and grief withdrew from life.  All the memories resurface when Avery’s 22 year old son Terence (Rob Meehan), who was very close to Edgar, starts experiencing nightmares whilst sleeping in the dead son’s bedroom. 

Although set in the 1930s this is a modern play, first performed in 2013.  The Anglo-Greek playwright Alexis Kaye Campbell sets out an ambitious vision, and draws our attention to parallels between the events leading up to the Second World War and the current poor state of world affairs.  Campbell strives to do this by creating tensions in the plot concerning the rise of fascism, failures of capitalism, the gap between the political left and right, between mysticism and materialism and along the way touches on oppression, emancipation, feminism, male roles and expectations, and even throws in a bit of Freud for good measure.  There is a lot going on!  Underneath then, this is a deeply political play that is concerned that humanity should not repeat historical failures and looks at how this might be achieved.  Whether Campbell quite succeeds in his ambition is less certain.  Certainly there is plenty of personal awakening and transformation going on here.  Maybe, however, his ambition is too big and, without giving away any spoilers, the dramatic device the playwright uses to resolve the various tensions is unconvincing.  Campbell may have achieved a bit more by saying a bit less. 

Notwithstanding this, the Grange Players succeed in delivering an excellent production.  The writer has created characters which under less experienced hands could have been clichéd and Director Rachel Waters ensured that the characters remained restrained and drew out excellent performances throughout.  Julie Lomas particularly was superb as the grief stricken mother burdened by guilt and wishing only for death.  She played the role with delicious understatement which hinted at underlying madness.   Adam Woodward as her husband Harold managed the no-nonsense self-satisfied gruff northern persona well and overcame the challenge of playing an older character.  Rob Meehan as Terence Avery takes on a very difficult role with great aplomb, throwing himself whole-heartedly into this complex character.  He convinces us that this young, worldly, university drop-out has wisdom and idealism way beyond his years, and who can provide hope, albeit in a rather manipulative way.  He was at his best and shone in an excellent scene with Mrs Pritchard.  Samantha Allen played the role of Vanessa Avery with real conviction and moved between compassion and anger with brisk ease.  There was less scope for expression for Les Wilkes as antique dealer Geoffrey Avery, with a character who seemed a little baffled by the proceedings, but he was a well-judged foil to some of the hysteria going on around him.  Robert Onions as John Bailey was completely authentic as the left-wing and compassionate collier trying to save the jobs of his men.  Dr Gibbons, played by David Weller, was needed to add credence to the underlying premise of the play, and a bought a respectful perspective on the supernatural which allowed the plot to develop.  Leanne Brown as the maid added a suitably hysterical fear of God atmosphere to the proceedings.

The cast was supported by an excellent set by All Round Property Services which achieved the right 1930s austerity, as did the authentic costumes by Rosemary Manjunath.  The sound and light design, by Stan Vigurs and Colin Meers, was spot-on and made an important contribution to building the atmosphere and tension. 

Overall, there were few flaws in this excellent production of an interesting, challenging, haunting and thought provoking play.

The play runs until the 26^th November.

Reviewed by Martin Walker

Edith in the Dark - The Grange Players - 11.05.16-21.05.16

The Grange Players

Presents

Edith in the Dark

By Philip Meeks

May 11th - 21st 2016

 

We are greeted with a strikingly eerie set, dimmed lights and sinister music which sets the scene nicely for the events that are to unfold in this sometimes dark and sometimes humerous production.

 

The production was set in the house of author Edith Nesbitt who had escaped from her husbands Christmas Party and was entertaining a mysterious, handsome guest, Mr Guasto. He had gatecrashed the party to meet Edith and asked her to read to him from one of her stories. He particularly wanted to hear from The Railway Children or one of her children's tales, but Edith preferred to read from one of her early works, her horror stories.

 

These stories were filled with sadness and loss which disturbed the mysterious young man.

 

They were joined by the Housekeeper, Biddy who decided to join them in the ghostly stories armed with a jug of punch!

 

As the evening unfolded, the stories got darker and darker with each character taking on the characters within the stories until ending with the discovery of the mysterious Mr Guasto's identity.

 

The Grange Players set the piece perfectly. The set, Ediths attic writing room was dark and uninviting with cobwebs and dying flowers scattered around. The lighting created subtle shadows as if ghosts were watching over them and the sound was perfectly in time with the action and really gave the piece a sense of dispair and sorrow.

 

The actors, Samantha Allan (Edith), Rob Meehan (Mr Guasto) and Lynne Young (Biddy Thricefold) played their parts well and went in and out of their different characters within the horror stories well, which allowed the audience to distinguish between their real characters and the characters in the story.

 

Please do not be put off this production with the thought that it is completely full of darkness, as there are some extremely funny one liners which breaks the tension up nicely and is a great piece of theatre to go and watch.

 

The show is directed by Rachel Waters and runs until 21st May.

New Alexandra Theatre - Breakfast at Tiffany's - 18.04.16 - 23.04.16

MATT BARBER TO STAR AS FRED OPPOSITE PIXIE LOTT’S HOLLY IN TRUMAN CAPOTE’S BREAKFAST AT TIFFANY’S

ADAPTED BY RICHARD GREENBERG

2016 UK & IRELAND TOUR AND WEST END SEASON

FULL CAST ANNOUNCED

AT BIRMINGHAM’S NEW ALEXANDRA THEATRE FROM MONDAY 18th – SATURDAY 23rd APRIL

The full cast has been announced for the 2016 UK and Ireland Tour and the West End limited season of Truman Capote’sBreakfast at Tiffany’s, adapted by Richard Greenberg and directed by Nikolai Foster.

Matt Barber (Atticus Aldridge in Downton Abbey) will play Fred and Victor McGuire (the sit-coms Trollied and Bread) will play Joe Bell. They will be joined by Robert Calvert as Doc, Naomi Cranston as Mag, Charlie De Melo as José, Tim Frances as Rusty Trawler/Editor at 21, Andrew Joshi as Yunioshi, Melanie La Barrie as Mme Spanella, and Sevan Stephan as OJ Berman/Dr Goldman, with Katy Allen and Andy Watkins.

As previously announced, Pixie Lott will star as Holly Golightly for the UK and Ireland Tour, from 3 March to 30 April and 13 to 25 June, and at London’s Theatre Royal Haymarket from 30 June to 17 September.

Truman Capote’s classic novella has been adapted for the stage by Pulitzer Prize-winning Finalist and Tony and Olivier Award-winning playwright Richard Greenberg (Take Me Out, Three Days of Rain), and contains memorable songs from the era as well as original music by Grant Olding (One Man, Two Guvnors, RSC’s Don Quixote). 

Based on Truman Capote’s beloved masterwork, Breakfast at Tiffany’s is set in New York in 1943. Fred, a young writer from Louisiana, meets Holly Golightly, a charming, vivacious and utterly elusive good-time girl.  Everyone falls in love with Holly – including Fred.  However Fred is poor, and Holly’s other suitors include a playboy millionaire and the future president of Brazil.  As war rages on in Europe, Holly begins to fall in love with Fred – just as her past catches up with her.

Artistic Director of Curve, Nikolai Foster said, "It's a testament to the beauty of Capote's imagination, the extraordinary characters he created and Greenberg's faithful adaptation, that alongside Pixie and Matt, we have assembled such an accomplished company of actors to bring this dazzling play to life. We are thrilled to welcome the company to Curve and our audiences in Leicester and on tour in the UK. Every week of 2016 will see a Curve production on a UK stage and we are thrilledBreakfast at Tiffany’s will be part of this commitment to sharing work that has been made at Curve." 

Breakfast at Tiffany’s will be directed by Nikolai Foster, the Artistic Director of Curve, with production design by Matthew Wright, lighting design by Ben Cracknell, sound design by Mic Pool and wig design by Campbell Young.

Nikolai Foster is Artistic Director at Curve. Recent productions include Roald Dahl’s The Witches, Tennessee Williams’ A Streetcar Named Desire, Wertenbaker's Our Country's Good and Shakespeare’s Richard III (all Curve), Irving Berlin’s White Christmas (West Yorkshire Playhouse), the 20th anniversary production of Jonathan Harvey’s Beautiful Thing (Curve and Nottingham Playhouse), Calamity Jane (Watermill Theatre, Newbury & UK tour) and a major new production of the Broadway musical Annie (West Yorkshire Playhouse & UK tour).

Breakfast at Tiffany’s will begin performances at the Curve, Leicester on 3 March 2016, before embarking on a UK & Ireland Tour.  There will be a 12-week season at the Theatre Royal Haymarket in London’s West End from 30 June to 17 September 2016.

Breakfast at Tiffany’s is a co-production between the Curve and Colin Ingram, Peter Kane, William Sinclair and Michael Melnick & Finlay Gray. 

For more information, visit www.breakfastattiffanys.co.uk.

Facebook: www.facebook.com/tiffanysonstage

Twitter:  @Tiffanysonstage

TOUR SCHEDULE 2016

*3 – 12 March                          LEICESTER                                 0116 242 3595   

                                                    Curve                                           www.curveonline.co.uk               

                                                   

*15 – 19 March                        CANTERBURY                            01227 787787

                                                    Marlowe Theatre                        www.marlowetheatre.com           

                                                                                                       

*4 – 9 April                               LEEDS                                         0844 848 2700

                                                    Grand Theatre                            www.leedsgrandtheatre.com

*12 – 16 April                           SALFORD                                    0843 208 6000

                                                    Lowry Theatre                             www.thelowry.com

*18 – 23 April                          BIRMINGHAM                           0844 871 3011 

                                                 New Alexandra Theatre               www.atgtickets.com/birmingham

*25 – 30 April                          SOUTHAMPTON                       02380 711811

                                                    Mayflower Theatre                       www.mayflower.org.uk

2 – 7 May                                 ABERDEEN                                 01224 641122

                                                His Majesty’s                                www.aberdeenperformingarts.com

9 –14 May                                 NOTTINGHAM                          0115 989 5555   

                                                    Theatre Royal                              www.trch.co.uk                              

16 – 21 May                          BATH                                  01225 448844 (on sale spring 2016)          

                                                    Theatre Royal                              www.theatreroyal.org.uk      

                                                                                                       

23 – 28 May                                 GLASGOW                                  0844 871 7647

                                                    Theatre Royal                              www.atgtickets.com/glasgow

30 May – 4 June                          EDINBURGH                               0131 529 6000

                                                    King’s Theatre                             www.edtheatres.com

6 – 11 June                                 HIGH WYCOMBE                        01494 512 000

                                                    Wycombe Swan                           www.wycombeswan.co.uk

*13 – 18 June                              DUBLIN                                       0818 719 377       

                                                    Bord Gais Theatre                       www.bordgaisenergytheatre.ie

*20 – 25 June                              PLYMOUTH                                 01752 267222

                                                    Theatre Royal                              www.theatreroyal.com

*30 June – 17 September            LONDON                                     020 7930 8800

                                                    Theatre Royal Haymarket             www.trh.co.uk

*Pixie Lott Dates

Booking Information:

ON SALE NOW

Performances: Mon 18 – Sat 23 Apr

Box Office: 0844 871 3011 (bkg fee)

Groups 10+: 0844 871 3031

Online: www.atgtickets.com/birmingham (bkg fee)