New Alexandra Theatre, Birmingham - Spamalot - 02.02.15 - 07.02.15

The New Alexandra Theatre, Birmingham

Presents

Monty Python’s

Spamalot

What a night! Spamalot is a whirlwind of silliness and delight.

It tells the tale of King Arthur and his Knight of the round table in the only way Monty Python knows how to do it - with style, daft 1 liners and comical songs.

The set was simple but extremely effective with great use of bright colours. The angles made it look like a pop up greetings card and it could be used for the whole performance without any lengthy scene changes.

Joe Pasquale was a fun King Arthur with all the bounciness and jollity that this show needs. 

Sarah Earnshaw as The Lady of the Lake was outstanding. Her voice was clear, crisp and powerful. Her facial expressions and gestures gave some great moments within the action of the performance. One of my favourite songs has to be ‘The Diva’s Lament’ and the divarish behaviour was wonderfully executed.

I saw Todd Carty as Patsy at the Alexandra Theatre back in 2012 and yet again he gave a great performance as King Arthurs, horse trotting, luggage carrying companion. His rendition of 'Always look on the Bright Side of Life' was lovely.

There was not a weak link within the cast and the pace was fast and furious which a comedy needs. You could really see that the cast were having just as much fun on stage as we were in the audience with little asides out to us and making each other laugh on stage.

Have you ever seen a killer white rabbit? Well if not you will during this performance as the Enchanter 'Tim' introduces us to it - this fluffy little thing becomes a blood thirsty killer and beheads a knight - be very afraid of your fluffy white balls of joy in future!!!!!

Christopher Luscombe directed the show with vibrancy and fluidity which enabled the audience to bounce from one joke to another with ease and joy.

We had audience participation in the search for the Holy Grail and with a rendition of ‘Always Look on the Bright Side of Life’ at the end. 

At the end of the show we were informed that Spamalot always supports a local charity and that this year it was Acorns. What a wonderful thing to do. Apparently they have raised over sixty thousand so far for charity.

You leave the theatre with a wonderful feel good feeling, a spring in your step and a huge smile on your face.

The performance runs at the Alexandra Theatre until Saturday 7th February 2015.

New Alexandra Theatre, Birmingham - Return of the Forbidden Planet - 26.01.15 - 31.01.15

The New Alexandra Theatre, Birmingham

Presents

25th Anniversary Tour

by Playwright Bob Carleton

Monday 26 to Friday 31 January 2015

And so, another jukebox musical comes to Birmingham's Alexandra Theatre, I find myself skeptical of these as often the storyline can be weak, however Return To The Forbidden Planet is based on Shakespeare's, The Tempest, and weak is definitely not a word that springs to mind. The production started with Bubble Theatre Company and its first version took off at The Everyman theatre in Liverpool before its final version in 1989 in London's west end, the piece then went on to land two Olivier awards for best musical. While fusing Shakespeare's language, the 1950s B-side sci-fi movie, Forbidden Planet, and rock 'n' roll classics from the 50s and 60s, Bob Carlton, writer and creator, formed a new cult success that has been revived time after time, keeping audience's toes-tapping for generations. 

A crew under the command of Captain Tempest are conducting a routine survey flight, until it is caught in a meteor storm, in which their female science officer abandons ship in their only shuttle craft, the ship is forced to land on an unfamiliar planet called D'lllyria, where they meet scientist Doctor Prospero, his daughter Miranda and their robot, Ariel. The doctor and his infant daughter were banished to the planet years ago by his wife, Gloria, who double crossed him for his top secret, mind enhancing formula. Miranda's astronomical beauty captures the hearts of two of the ships members, Cookie, a naive and sweet natured dogsbody who mistakes Miranda's friendship for love, and Captain Tempest, a man's man that try's to fight his urges for fear that Miranda is just a teenager. This forbidden love sends the doctor into a fit of rage and after taking the elusive 'X factor' drug, the ship is attacked by a giant green monster, sprouting tentacles through the air lock, the crew set their phasers to kill and battle on. Will the crew ever escape planet D'lllyria? Is winged Cupid painted blind, or will the course of try love not run smooth for Miranda and Captain Tempest? 

The set designer, Rodney Ford and visual effects designer, Daniel Crew collaborate well together to submerge the audience in this intergalactic world, the stage reveals a stereotypical image of a spaceship, metallic surfaces covered in technical gadgets, lights and buttons. While both live and pre recorded projection takes us elsewhere, acting as a window out of the ship or as a way to view the past. One aspect that made Return To The Forbidden Planet so groundbreaking at the time of its release was the actors also being the band, every cast members was able to act, sing, play an instrument and perform the choreography all at the same time, and this is just an impressive now! The production incorporates an array of songs, to name but a few, 'It's a man's world' James Brown, 'Great balls of fire' Jerry Lee Lewis, 'A teenager in love' Dion and the Belmonts, 'Young Girl' Gary Puckett and the Union Gap, 'Go Now' Bessie Banks, and 'Born to be wild' Steppenwolf. 

The multi talented cast astounded audiences with their fabulous voices and solid ability to play various instruments, with the help of their musical director Greg Last, who also played the navigation officer. Sean Needham leads the crew as the Captain, setting the standards high in the from the get go. Mark Newman's rendition of The Zombies 1964, 'She's not there' exceeded all expectations, his lengthy electric guitar solo blew the roof off of the Alex and the use of live projection looked as if it had jumped out of a live rock concert. Joseph Mann is a superb Ariel, the loyal robot that also plays trombone, keyboard, drums, electric and bass guitar, unfortunately not all at the same time but still a very amusing sight. Sarah Scowen portrayed the innocent daughter, Miranda, with grace while showing the progression into her characters independence from her father. The entire ensemble supported one another well and every character made their mark, from all round good guy, Steve Simmonds as Bosun Arras, mysterious, strong willed science officer, Christine Holam as Gloria and mad scientist, Jonathan Markwood as Dr Prospero, who's intention are good. Even Brian May makes a guest appearance, through pre recorded projection, as the chorus to clarify the storyline, as Shakespeare can be difficult for many to follow, especially with the distraction of flashing light, rock 'n' roll and aliens!

The audience were on their feet, applauding by the end, except for one man a few rows ahead that just bellowed "More!!" at the top of his voice until the cast appeared for an encore. I thoroughly enjoyed this piece and would highly recommend it to anyone in search of a fun night out in a galaxy far, far away. 

Review by Ellie Scandrett

Productions Notes:

25 years after Captain Tempest and his crew first journeyed into hyperspace, and 14 years after the last UK tour, Olivier Award-winning rock spectacular Return to the Forbidden Planet is back and exploding onto stage in a major new 25th Anniversary production, playing at Birmingham's New Alexandra Theatre from Monday 26 to Friday 31 January 2015.

Inspired by Shakespeare’s The Tempest and packed with rock n’ roll classics including Great Balls of Fire, This is a Man’s World, Don’t Let Me Be Misunderstood, Who’s Sorry Now, Teenager in Love, Young Girl, Heard It Through the Grapevine, Johnny B. Goode and Born To Be Wild, Return to the Forbidden Planet is a musical of meteoric proportions that will be remembered for light years to come. With stunning special effects, a brilliant cast of actor-musicians, a mad scientist, a huge green-tentacled monster and a rock ’n’ roller-skating robot, your in-flight entertainment is guaranteed! So fasten your seatbelts, set your ray guns to stun and prepare for blast off!

“Deliriously addictive”

DAILY TELEGRAPH

“Irresistible”

THE TIMES

Founding member of Queen and a world-renowned guitarist Brian May will appear via video projection as the Newscaster. Over four decades, Queen amassed a staggering list of awards and to this day remain the most successful albums act in UK chart history. Brian penned 22 Queen top 20 hit singles including We Will Rock You, namesake to the Queen/Ben Elton hit musical which enjoyed an unprecedented 12 year run at London’s Dominion Theatre. More recently, Brian has enjoyed writing and touring with Kerry Ellis, as well as returning to Queen in 2012 with guest vocalist Adam Lambert. A highly anticipated 2014 North American tour followed with further dates announced to encompass 21 European cities in 2015.

The cast features Steve Simmonds as Bosun, Sean Needham as Captain Tempest, Christine Holman as Science Officer, Greg Last, as Navigation Officer, Mark Newnham as Cookie, Jonathan Markwood as Prospero, Frido Ruth as Ariel, Sarah Scowen as Miranda, Georgina Field as Anne Droid, Callum Hughes as Phil McCavity, Joseph Mann as Ewan Watami and Hannah Howcroft as Young Miranda.

Return to the Forbidden Planet opened at the West End’s Cambridge Theatre in September 1989, where it ran for over 1500 performances and won the 1990 Olivier Award for Best Musical (sorry Miss Saigon, spaceships trump helicopters!).

The original design team return to recreate their award-winning original production, helmed by creator Bob Carton, who directed the West End production and now returns to direct this highly anticipated 25th Anniversary tour, his final production as artistic director of the Queen’s Theatre, Hornchurch.

Bob Carlton said: “It was an incredible time when Return to the Forbidden Planet landed in West End, in what was a vintage year alongside shows such as Miss Saigon and Buddy. And it’s thanks to the audiences, who took it to their hearts and rocked out every night, that it became such a cult success. I can’t wait to bring it back 25 years later, to introduce it to a whole new generation and to reunite with original fans of the show. I’m thrilled to be able to return to the Forbidden Planet, along with the original design team, and get reacquainted with Captain Tempest and his crew once more!

Return to the Forbidden Planet is directed by Bob Carlton and choreographed by Frederick ‘Frido’ Ruth, with musical direction by Greg Last. It is designed by Rodney Ford with lighting design by Mark Dymock and sound design by Ben Harrison.

www.ForbiddenPlanetReturns.com

Twitter @FPReturns

Facebook.com/ForbiddenPlanetReturns

PERFORMANCE DETAILS

Return To The Forbidden Planet

New Alexandra Theatre

Station Street

Birmingham

From Monday 26 to Friday 31 January 2015

For tickets call the Box Office on 0844 871 3011 or book online at www.atgtickets.com/Birmingham (fees apply) For Group bookings of 10 plus call 0844 871 3031.

East is East - New Alexandra Theatre, Birmingham - 13.01.15 - 17.01.15

New Alexandra Theatre

Birmingham

Presents:

The three week UK tour of AYUB KHAN DIN’S critically acclaimed

East is East

Tuesday 13 January – Saturday 17 January 2015

 STARRING THE MULTI AWARD-WINNING ACTRESS JANE HORROCKS

& CO-STARRING THE WRITER AYUB KHAN DIN

You may have seen the film, but did you know that ‘East is East’ started as a play, first created when Ayub Khan Din was 21 and wrote several sketches which he then work shopped and had premiered  at the Birmingham Rep  on 8^th October 1996.

Gosh how time flies but the storyline is still poignant today in many areas.

It is set in 1971 in a working-class area of Salford where chip shop owner George Khan (Ayub Khan Din) lives with his English wife Ella (Jane Horrocks) and their 6 children. They do have 7 children but 1 left the clan to become a hairdresser!!

This play is full of comedy but with a dark, underlying storyline of the struggle between Pakistani Immigrant beliefs and the new era of young Muslims in Britain - can a Father really impose his decisions and beliefs on his family in a multi-cultural society?

The play shows a real community feel within Salford at this time and the set, designed by Tom Scutt is a wonderful depiction of how life was like in those days. It enabled us to believe the cramped living quarters where families had to share rooms and beds and also allowed us to see the real intimacy between neighbours and families.

The set also allowed for the scene changes to be make quickly and without lengthy pauses, with the cast carrying them out themselves and making it part of the action of the performance.

Each character has been perfectly defined within the script and they are executed well by the talented cast. Each individual has their own beliefs and ways of coping with society, religion, family and the struggle of growing up.

Sally Bankes as Auntie Annie brings some wonderful comic relief during some of the tense moments and her happy, lively performance was a joy to behold as she made the stage her own.

Sam Yates direction gives some great levels in the performance and his use of the stage brings interest and tension within the family to a tense conclusion, leaving the audience with many questions and things to think about.

The show runs at the New Alexandra Theatre, Birmingham until Saturday 17th January before heading on to the Richmond Theatre - 19th - 24th January and then Opera House Manchester - 26th - 31st January

PERFORMANCE DETAILS

East is East

NEW ALEXANDRA THEATRE BIRMINGHAM

Tuesday 13 to Saturday 17 January 2015

Tickets on 0844 871 3011* or www.atgtickets.com/birmingham *

*Booking fees apply

Notes Regarding the Show

Ayub Khan Din’s critically acclaimed play East is East is part of Jamie Lloyd’s second Trafalgar Transformed season at Trafalgar Studios. Following a successful stint in the West End the show now embarks on a three week UK tour starting in Birmingham at the New Alexandra Theatre from Tuesday 13 to Saturday 17 January 2015, before touring at Richmond Theatre and the Manchester Opera House.

East is East stars the multi award-winning stage and screen star Jane Horrocks (Young Vic’s Annie Get Your Gun, Sunshine on Leith, The Rise And Fall Of Little Voice, Absolutely Fabulous) as Ella and the award-winning playwright Ayub Khan Din himself, as her husband George.

Jamie Lloyd, Artistic Director of Trafalgar Transformed, said “Following the success of the tour of The Pride, I am excited that another production from the season, East Is East, can reach many more new audiences within the UK. It is a timely and hilarious play, and it is great that the original cast will be playing in these three venues early in 2015."

Pakistani chip-shop owner George Khan - "Genghis" to his kids - is determined to give his children a strict Muslim upbringing against the unforgiving backdrop of 1970s Salford. Household tension reaches breaking point as their long-suffering English mother, Ella, gets caught in the cross fire - her loyalties divided between her marriage and the free will of her children. 

East is East, Ayub Khan Din’s semi-autobiographical account of British Asian life in the 1970s and the clash of cultures between a multi-cultural family growing up in Salford, is a play that continues to resonate and provoke discussion. The play will be directed by acclaimed director Sam Yates, in his West End directorial debut, following Richard III (starring Martin Freeman), as part of Artistic Director Jamie Lloyd’s exciting second season for Trafalgar Transformed. Design is by Tom Scutt, lighting by Richard Howell, with sound and music by Alex Baranowski.

Amit Shah (Abdul Khan), Ashley Kumar (Tariq Khan), Darren Kuppan (Maneer Khan), Nathan Clarke (Saleem Khan), Taj Atwal (Meenah Khan) and Michael Karim (Sajit Khan) complete the casting of the Khan family, and are joined by Sally Bankes (Auntie Annie), Rani Moorthy (Mrs. Shah) and Hassani Shapi (Mr Shah/Doctor) to complete the cast.

East is East, was Ayub Khan Din’s first play, following an initial career as an actor. It was staged at the Royal Court in 1997 and, subsequently, Ayub adapted the play into a hugely successful feature film, starring Om Puri and Linda Bassett.  For his screenplay, Ayub won a British Independent Film Award and a London Critics’ Circle Film Award, and was nominated for two BAFTAs for Best Adapted Screenplay and the Carl Foreman Award for Most Promising Newcomer, and a European Film Award for Best Screenwriter. Ayub was last seen on stage in May 2013, when he appeared in the title role of Bunty Berman Presents, under the wing of The New Group at the Acorn Theatre, Off-Broadway.

The musical was co-authored by Ayub and Grammy and Emmy Award winner Paul Bogaev. He made his film debut in My Beautiful Laundrette, but is perhaps best known for the role of Sammy in Hanif Kureishi'sSammy and Rosie Get Laid – both directed by Stephen Frears. His TV credits include Coronation Street, London Bridge, The Chief, Dangerfield, Boon, The Bill and Poirot. Additional writing credits include Last Dance at Dum Dum, Notes on Falling Leaves, All the Way Home, Rafta Rafta, which won a Laurence Olivier Award for Best New Comedy and ran at the National Theatre, West is West, All in Good Time, an adaptation ofTo Sir With Love, which recently completed a national tour, and Bunty Berman Presents.

Jane Horrocks’ stage credits include Annie Get Your Gun and The Good Soul of Szechuan, both at the Young Vic, Aunt Dan and Lemon at the Royal Court, Absurd Person Singular at the Garrick Theatre and Cabaretat the Donmar Warehouse.  She is renowned on stage for The Rise and Fall of Little Voice, which Jim Cartwright wrote for her after hearing her impression of artists including Shirley Bassey and Judy Garland. The production ran at the National Theatre and the Aldwych Theatre, and earned her an Olivier nomination for Best Actress. It was then adapted into a film, Little Voice, and Jane’s performance in the film resulted in nominations for a Golden Globe for Best Actress, BAFTA for Best Actress in a leading role, Screen Actors Guild Award for Outstanding Performance by an Actor in a leading role and a BIFA for Best Actress. She also recorded a CD, Further Adventures of Little Voice, which included duets with Ewan McGregor, Robbie Williams and Dean Martin. On television Jane’s credits include Trollied, The Cruise, This is Jinsy, Coming Up: A Kind of Magic, Gracie, Absolutely Fabulous, Linda Green, Jericho and Never Mind the Horrocks. Her film credits include Sunshine on Leith, Corpse Bride, Chicken Run, Little Voice, Life is Sweet, Memphis Belle, The Witches, The Wolves of Willoughby Chase and The Dress Maker.

Sam Yates most recently directed Billy Liar by Keith Waterhouse at the Royal Exchange Theatre, Manchester and directed Ruth Wilson in The El Train at Hoxton Hall.  His other directing credits include Cornelius by J.B. Priestley at the Finborough Theatre and 59E59 Theatre, New York, and Mixed Marriage at the Finborough Theatre. He was Artistic Associate at Royal and Derngate Theatres from 2011-2013. He trained with directors Jamie Lloyd, Michael Grandage, Trevor Nunn, Josie Rourke and Phyllida Lloyd.

Trafalgar Transformed Artistic Director, Jamie Lloyd, curates another season of powerhouse plays in the reconfigured Trafalgar Studios. This is the second season of work produced by Jamie Lloyd Productions, a partnership between acclaimed director Jamie Lloyd and Ambassador Theatre Group. Richard III, starring Martin Freeman, and East is East, follow Jamie Lloyd’s dynamic first Trafalgar Transformed season, which launched with Macbeth starring James McAvoy, followed by The Hothouse, starring John Simm and Simon Russell Beale and The Pride, starring Hayley Atwell, Mathew Horne, Harry Hadden-Paton and Al Weaver.

The New Alexandra Theatre, Birmingham - Christmas with the Rat Pack - 04.12.14-06.12.14

The New Alexandra Theatre, Birmingham

Presents

Christmas with The Rat Pack Live from Las Vegas

Thursday 4th - Saturday 6th December 2014

What better way to celebrate the coming of Christmas than to be transported back to a magical era of cabaret, booze, girls and gambling!

I'm not sure there is anyone who hasn't heard of the Rat Pack - Frank Sinatra, Dean Martin and Sammy Davis Jr. But did you know that there were actually 4 members of the Rat Pack? No, well there were! The forth member of this famous group was actor Peter Lawford (JKF's brother-in-law) - I digress but it is always a good one to know in those pub quizzes!

Christmas with The Rat Pack concentrates on the 3 singers Sinatra, Martin and Davis Jr. We open to a live band on stage 'The Rat Pack Big Band' which sets the mood wonderfully. As they play you feel as if you are in Las Vegas waiting for the acts to arrive. The stage is smokey with stairs going up to the band. There are presents in the corners of the stage and a large Christmas tree sparkling away giving you that warm, Christmassy feeling.

The whole show is set in the famous Sands Hotel and runs exactly how their cabarets would have in the late 50's, early 60's. Sinatra (Tam Ward), Davis Jr. (Jay Marsh) and Martin (Phil Barley) all do a few numbers and there is a lot of banter between the 3 on stage. We also have the Burelli Sisters, played by Leanne Howell, Chelsea Labadini & Emily Thomas who are poised, elegant, muli-talented with absolutely beautiful outfits.

Act 1 ends on a high with a wonderful rendition of New York, New York which really gets your toes tapping and looking forward Act 2 which does not disappoint with  some great Christmas medleys and more hilarious banter.

The performers are all pitch perfect and draw you into the atmosphere of the evening. Musical Director Matthew Freeman is masterful in her performance and quite rightly gets several mentions during the performance.

One of my favourite numbers has to be Jay Marsh's rendition of Mr Bojangles which was full of character, mood and reflection but with 38 songs all sang to perfection and with great style the audience were spoilt for choice.

This is a great watch and makes you leave the theatre with a warm, Christmassy feeling inside - a great show for a wintery night.

Review by Jayne Lunn

New Alexandra Theatre, Birmingham - To Kill a Mockingbird - 26.11.14 - 29.11.14

New Alexandra Theatre, Birmingham

To Kill a Mockingbird

26th - 29th November 2015

Harper Lee’s ‘To Kill a Mockingbird’ comes to the New Alexandra Theatre, Birmingham this week.

This coming of age story, set in the Deep South State of Alabama during the Great Depression, covers many themes including, racism, racial injustice, rape, loss of innocence, courage and compassion to name but a few.

I was excited to go and see this production after reading this novel many years ago and it becoming a firm favourite of mine.  I was intrigued at how this company were going to transfer this classic novel with its many themes from book to stage play, with the main narration being that of the character a young girl, Scout. I was not to be disappointed! Under Timothy Sheader’s skilful direction this production (adapted for stage by Christopher Sergel) was enthralling, charming, poignant and even tear- jerking in places.  

When the large cast of 16 entered up through the audience I knew that this was going to be a unique take on the novel and was excited of what the next couple of hours had in store for me.

The minimal, raised set with props set to the sides, a large tree just off centre with a tyre swing attached to it and a corrugated iron surround was captivating from the start. The drawing of the fictional town in chalk, by the cast, on the set only further drew the audience in to the action about to take place. 

Each adult character with their own copy of the novel took their part in the narration of the story. It was a great touch to see all the different copy types this novel has taken over the years and only goes to confirm what an effect this novel has had on many readers since its first publication.

The live music (written and performed by Phil King) was a great addition which only served to enhance the story telling and the atmosphere. Allowing the audiences auditory senses to be even further enhanced into the belief we were in the Deep South.

Bringing in children to take on three of the main characters within the story one may have thought would be challenging and could either make or break the performance as a whole. However, we as the audience were not let down. All three young actors were wonderful in their roles of Scout (Rosie Boore), Jem (Billy Price) and Dill (Milo Panni). They kept their audience captivated and the light and shade of their characters really shone through. The poignancy of Scout asking Jem about their deceased mother was done with such delicacy that it bought a tear to my eye.

The whole cast are to be commended on their performances, it’s not easy to be on stage for the whole of a production, remain in character, not disturbing the action when sat to the side,  but they did this effortlessly. Their characterisation, narration, movement on stage was just splendid. A special mention to Zackary Momon (Tom Robinson) and Victoria Bewick (Mayella Ewell) who I thought were captivating throughout their whole performances both in their narration, their movement and facial expressions and their characterisations in the courtroom scenes – outstanding!

The technical lighting and sound again added to making you feel transported to Alabama with the rhythm of the cicadas, the changing in light and shade to depict time of day really just topped off the whole production, making the whole story come alive.

With recent events in America concerning the case in Ferguson USA, one can’t help wonder how far we have come and the parallels that this story still can draw in today’s society.

A well-deserved standing ovation greeted the cast as they took their bows and I believe one that was  well deserved. Hats off to cast and crew… Bravo! Thank you for a fantastic night of theatre and for igniting my passion for this novel once again. 

Review by Faye Hatch

The Alexandra Theatre, Birmingham - The Perfect Murder - 10.11.14-15.11.14

The New Alexandra Theatre, Birmingham

Presents

Monday 10th - Saturday 15th November 2014

Peter James is one of the best and most treasured UK crime and thriller novelists and his books are sold worldwide. He has also branched out and is an established film producer and scriptwriter so 'The Perfect Murder' was set to be a roller coaster ride from the start.                                                                                                                                                                                         Adapted by Shaun McKenna, it was been wonderfully plucked from the pages of a book and set on stage. It is never easy to adapt a classic novel, but he has managed it with great success.

We have Victor Smiley, played by Robert Daws who is best known for his performances in The Royal and Outside Edge. He is a middle aged man who has grown tired of his 20 year marriage to Joan, played by Monarch of the Glen, Wild at Heart Actress Dawn Steele. He is obsessed by British crime and loves nothing better than a good Agatha Christie or Sherlock Holmes, he even gets himself a tattoo saying WWSD, which stands for 'What would Sherlock Do?'

Three times a week he attends The Kitten Parlour, a brothel, where he sees Croatian prostitute Kamila Wakak, played by Simona Armstrong. There he spills out his plans to murder his wife and collect the life insurance which he has had on her life for 6 years. We all think that this is going to be the 'Perfect Murder', but unbeknown to Victor, Joan has also grown bored of their marriage and has started an affair with hunky Taxi Driver Don Kirk, played by Gary O'Brien, Tony in Coronation Street. What will happen now? We do not wish to spoil the plot but I can tell you that it is full of twists, turns, fun, laughter, jumps, frights and high energy which is the perfect entertainment for any evening.

I believe that every couple can relate to Victor and Joan, which makes this play extremely realistic in an 'over the top' way. The annoying humming, constant snoring, pretending to strangle one another behind their backs when they are being righteous - oh the list goes on and on!! You definitely got a lot of knowing nudges from wives to husbands during the action.

As the plot thickens we see the introduction of Detective Constable Roy Grace, played by Thomas Howes, best known for playing William in Downton Abbey. He is an up and coming detective who enlists the help of Prostitute Kamila to solve murders due to her ability to touch an object and be able to see what has happened to its owner. Can she help him solve the 'Murder' in the Smiley household?

The cast were flawless and each gave a believable, individual performance that drew us all deeper into the action.

Ian Talbot's direction was superb, with constant movement and fast pace. You were constantly moving your attention to different parts of the stage to keep you gripped and discover new pieces to the plot.

The set by Michael Holt was cleverly positioned on three levels. We had the Smiley's living room / kitchen, with upstairs bedroom and also Kimila's small room within the Brothel. It was not only a practical set but also full of intrigue and precision. The action could continue throughout without the interruption of scene changes.

The changes were masterfully created using lighting which faded up and down perfectly throughout the performance. I thought that Mark Howett's subtle lighting interactions were wonderfully executed, from the evening light coming through the windows to the spooky shadows coming from the doors. The depiction of the television going on and off was cleverly thought out, with subtle flickers hitting the back of the walls.

Sound was also an important part of this production and Martin Hodgson created a feeling of tension, intrigue, wonder and terror at just the right moments with lovely timed fading's up and down of music. The sound queues were perfectly timed with the ringing of house phones and mobiles.

Overall, this was a well rounded, well structured piece of theatre which has you on your toes, laughing out load and relating to it. A wonderful nights entertainment and a definite 'must see' production with a fabulous cast and crew.

The Perfect Murder runs until Saturday 15th November so grab your tickets now.

Book over the Phone: 0844 871 3011

Book Online:

http://www.atgtickets.com/shows/the-perfect-murder/new-alexandra-theatre-birmingham/#showinfotabs=showtimes

Review by Jayne Lunn

The Grange Players - Bette and Joan - 05.11.2014 - 15.11.2014

The Grange Players

Presents

Written by James Greaves and first appearing at 2011 Edinburgh fringe festival, director, Claire Armstrong-Mills has slightly adapted and extended the play to include her own vision and appear as an amateur stage production. Bette and Joan addresses the notorious feud between Bette Davis and Joan Crawford.

The 81 year old Davis is approaching her final days and to help guide her into the afterlife is her old nemesis and co-star Crawford, under the order of Hollywood gossip columnists and rivals, Louella Parsons and Hedda Hopper. While flitting between the present and past scenes between the two, as Bette's life flashes before her eyes, you understand that the Davis and Crawford feud crossed both professional and personal boundaries with stolen lovers to stolen limelight.

Those that are unfamiliar with the works of the duo should not expect to leave The Grange any more educated, the piece plays on the knowledge already available and does not give any more insight, although this does not dilute the entertainment factor of the production. The dialogue offers some very comical moments that are delivered with impeccable timing from Denise Phillips as the strong, independent and feisty Bette Davis as she makes her stabs at Susie May Lynch who plays the glamorous Joan Crawford who sees herself as a 'star', not an actress. I cannot stipulate more that the performances of the cast can not be faulted, Phillips, Lynch, Serafinas and Plumpton have obviously put everything into transforming into their characters, unfortunately this was let down by so much of the technical.

I always enjoy the use of pre-recorded material against the live action, it can be very effective, if used correctly, an example of this is snippets of Davis' acting work, which is a heartwarming contrast to the bitter Davis we see on stage. Sadly a lot of the time we found ourselves leaning in to listen more closely to the muffled sound effects and sometimes the projection was off focus, bounced around the stage or came in too soon or too late. It seems that the basic vision was there but it had not been followed through, missed or delayed cues, which led to long, awkward silences and actors not being fully lit. I would hope that these problems have been easily and quickly fixed, by doing this, the audiences can concentrate on the quality of the performances and direction rather than the hiccoughs.

Review by Ellie Scandrett