A brilliant comedy with a clear freshness of performance
Written by world-renowned playwright, Oscar Wilde, in 1894, The Importance Of Being Earnest was written as 'A Trivial Comedy for Serious People' and, with its farcical exuberance, has graced the world's stages ever since. Wilde proffered a satirical take on Victorian practices such as marriage and the preoccupation with manners, and this legendary masterpiece is brought to the Lichfield Garrick stage by Original Theatre Company who ensure its journey continues with a clear freshness of performance.
In an attempt to escape the mundanity of Victorian life, and its extraordinary social conventions, affluent gentlemen Jack Worthing (Peter Sandys-Clarke) and Algernon Moncrieff (Thomas Howes) create imaginary friends and alternative personas. The play's protagonist, Jack, is known as Jack in the country and Ernest in the city. Jack's best friend Algernon, the charming, idle bachelor and nephew of Lady Bracknell has invented a fictional friend, Bunbury, whose frequent sudden sicknesses allow Algernon to wriggle out of dull social duties in order to visit. When Jack and Algernon's lives intertwine with their fictitious alter-egos, affairs of the heart become rather complicated and result in a comedy of errors involving love interests Gwendolen and Cecily.
The responsible, respectable Jack Worthing is played perfectly by Peter Sandys-Clarke who has an impressive resume of theatrical, TV and film credits to his name, as does Thomas Howes who is as brilliant as he is witty with his portrayal of Algernon delighting the audience with his insatiable, and reckless, consumption of muffins.
Gwen Taylor stars as Lady Bracknell. BAFTA Award nominated actress, Gwen has appeared in a long list of British TV favourites including Coronation Street, Heartbeat, Holby City and Casualty and has too a wealth of theatrical experience which she brings assuredly to the Garrick stage. Cunning and authoritarian, she is possibly the most quotable character in the play as she enters the room with frozen stares, demonstrates her methodical mercenariness by itemising Jack's assets in a notebook and shows her disapproval at the discovery of Jack's birthplace.
The pretentiously sophisticated Hon. Gwendolen Fairfax is played beautifully by Hannah Louise Howell, whose theatre credits include roles in Romeo and Juliet, Mermaid and Much Ado About Nothing. Gwendolen is fixated on the name Ernest, saying she will not marry a man without that name. Louise Coulthard, who plays Cecily Cardew with vigor and confidence, is also enamored with the name Ernest. She has imaginatively fallen in love with Jack’s brother Ernest and diarizes a fictional romance between them. Cecily's governess, Miss Prism, is played hilariously by Susan Penhaligon, whose many TV credits include Upstairs Downstairs, Tales Of The Unexpected, Bergerac, Casualty and Dr Who, and her role is paramount to the plot as we later discover her part in the disappearance of baby Jack.
Dr. Chasuble, played smoothly by actor, writer and former comedian, Geoff Aymer, is the rector on Jack’s estate. Chasuble agrees to baptize both Jack and Algernon in the new name of Ernest. Chasuble entertains secret romantic feelings for Miss Prism and vice versa, Chasuble concealing his romantic signals to Miss Prism beneath scholarly figures of speech and Miss Prism later returning with her famous metaphoric fruits line. Simon Shakleton (Lane/Merriman) and Judith Rae (Moulton) confidently complete the cast line up and light up the stage with their charming characterisations and comedy moments.
With a warm and inviting set this three act play directed by Alastair Whatley and designed by Gabriella Slade was well received by a full house on opening night, three acts ensuring just enough time for two ice creams as we indulged and submerged ourselves in this brilliantly written piece of theatre.
Runs to 31 March. (contains smoking on stage)
Direct from numerous sell-out seasons in London’s West End and on tour over the last two decades, this Olivier-nominated show returns to Birmingham. Devised, directed and choreographed by Mitch Sebastian, this show could not be in finer shape. Frank, Sammy and Dean are back in town and sounding as superb as ever.
Garett Philips is sensational as the legendary Frank Sinatra. His voice and persona matches this icon down to a T and is by far one of the best and most accurate tributes to any artist I have heard. From his opener Luck Be A Lady to the final encore My Way, he is simply on a level above the rest and his performance is larger than life. With a catalogue of songs that make you want to sing along, we are happy to resist and purely listen to Philips belt out these famous tunes in the extraordinary way that he does.
From the moment he steps on stage David Hayes is an uplifting bundle of energy that brings life into the show as Sammy Davies Jr. Not only can he move well, but he is a great singer and a mischievous comic. The audience gasped with excitement as he introduced the legendary song Mr Bojangles by which he brilliantly matched those expectations with one of the most wonderful covers I’ve seen, and later bought the same spine-tingling effect with What Kind of Fool Am I.
Nigel Casey oozes charm as Dean Martin. He is charismatic, a brilliant crooner and brings humour as he progressively becomes intoxicated throughout the night by the act two opener When You’re Drinkin’. Also his interaction with The Burelli Sisters (played by Amelia Adams-Pearce, Laura Darton and Joanna Walters) is a delightful treat during That’s Amore, Good Evening Mr Martin and Sway. Throughout the rest of the show, the sisters sing and dance as a gorgeous, terrific trio that constantly light up the stage.
Individually this Rat Pack are stunning vocalists and performers. But together their light-hearted banter and shared presence is on point, filled with witty one-liners about sex, alcohol and alleged organised crime while constantly downing drinks with cigarettes in hand. Whenever they’re together we are rocking in our seats with laughter, as if we are watching this famous trio comeback for real.
For this tour, the show features an appearance to celebrate the centenary of Ella Fitzgerald, played by Nicola Emmanuelle, who is glorious in both her presence and performance. Her voice is marvellous and commands the stage during her solo number Night and Day along with her duets with Frank and Sammy; The Lady is a Tramp, S’Wonderful and for a personal favourite of mine during the encore Mack The Knife.
The real star of this show however is the incredible big band led by pianist Matthew Freeman and made up of a quartet of saxophonists, a five-piece brass section and a drummer. Hearing this excellent band with these fantastic performers restores faith in live music from the golden age of swing, jazz and crooning. The production is an absolute must for anyone who enjoys the nostalgia of 40’s and 50’s music, but above all terrific entertainment.
The Rat Pack: Live From Las Vegas runs at the New Alexandra Theatre, Birmingham until Saturday 31st March.
A sheer delight...the best of Thomas Hardy's Wessex brought to life in Birmingham.
What a pleasure it was to watch the stage adaptation of Thomas Hardy's fourth literary work Far From The Madding Crowd, brought so authentically to the stage at Hall Green Little Theatre, as the talented cast and crew entertained with this tale of unrequited love, tragedy, fate and difficult relationships set against the backdrop of rural Wessex.
As usual with this group, the simple set and props lent themselves well to a pacey, quick moving production, as is required of something the length of this Victorian blockbuster. The scene changes were seamless and smooth, thus enhancing the themes and plot line so authentically delivered by the cast. The production opened with a pleasing song performed by Christine Bland.
The story is set in Hardy's fictional county of Wessex, and as with all Hardy's works, there is a generous smattering of independent women, love sick men and isolated individuals on the periphery of society. Religion, marriage, fate, class and the harsh realities of farming life in Victorian England are the backdrop for the life of Bathsheba Everdene, played superbly by Samantha Michaela Lawson. She was everybody's image of the vain, selfish, independent but ultimately endearing Hardy heroine, and she portrayed the character with complete conviction. Daniel Robert Beaton was utterly compelling as the faithful Gabriel Oak, and the journey of their relationship was a delight to behold; the chemistry between the two characters was clear to see from the start of the play.
The role of Sergeant Troy is a somewhat difficult one to navigate; whilst he does not plummet quite to the depths of someone like George Wickham in Pride and Prejudice, he is nevertheless a flawed, profligate and impulsive person, who is later redeemed in the audience's eyes when he shows that he really is capable of loyalty in love. Troy was played with complete authority by Al McCaughey, who captured his rakish nature beautifully early on, then showed us his more selfish and wayward side, and finally portrayed his more tender nature later in the production. All facets of this character were played with equal conviction by McCaughey, and deserve special mention from a strong line of principals.
A student of English Literature will tell you that all Hardy's characters, whether big or small, have importance, and help develop the many themes which appear in his books. Farmer Boldwood and Fanny Robin were excellent in providing the two characters in this particular novel who did not have a happy end to their stories. Farmer Boldwood's awkwardness was captured beautifully by Andrew Cooley, and the audience had complete empathy with him as he in turn seemingly ignored, then wooed to obsession, Bathsheba. The difference in nature between the socially awkward bachelor and the wilful Bathsheba really came to life in their scenes. Rachael Louise Pickard was a totally believable Fanny Robin, and brought convincing pathos and tragedy to the character. Her vulnerability came through from her very first scene, and remained persuasive to the end.
Thomas Hardy's works are famous for their rustic nature, and the farm workers, musicians, village people and servants were played with potency by Kathryn Fisher (Liddy), Ros Davies (Mary Ann), Richard Woodward (Jan Coggan), Michael Parker (Joseph Poorgrass), Alfie Redmond (Cainy Ball), Steve Fisher (Matthew Moon), Geddes Cureton, Roy Palmer, Esther Roden, Ellie Holly, Paul Holtom and Julia Roden. They brought humour, sauciness and important conveyance of the plot lines with perfect comic timing and serious delivery in equal measure and were strong supporters to a fine line of principals.
Credit must go to Director Jean Wilde for her thoughtful interpretation of the text and the excellent set and costumes, all of which added to the enjoyment and authenticity of the production.
Far From The Madding Crowd runs until 31st March 2018 at Hall Green Little Theatre, Pemberley Road, Hall Green, Birmingham B27 7RY.
Performing this big, brash Broadway musical with a cast of only 10 in the intimate confines of the Blue Orange Theatre was always going to be a creative challenge. But it was met gamely by the energetic cast of MAMT students who largely succeeded in this enjoyable production.
CiCi Howell’s lively choreography was delivered crisply by the entire cast, many doubling 2 or 3 roles as well as chorus, and used the confines of the theatre well. The opening of the show is, unusually for a big musical, a solo, and Emma J Farrell delivers Not for the life of Me with confidence and lets us know we’re in safe hands for the evening. Possessing a strong voice with a good range, I would have liked a little more dynamic contrast in some moments, and some of Farrell’s acting choices were too hard for my liking, but it was a committed performance that held the show together well. As her best friend Miss Dorothy, Jade McGovern has a pleasing soprano and a good line in comedy, particularly when supported by the solid (a compliment, for this character!) George Hargrave as Trevor Graydon; their duet I’m Falling in love with Someone was a particular highlight. However some jokes didn’t land due to poor timing; after Dorothy and Trevor have sung this duet for 2 minutes (with everyone else on stage frozen) Millie “wakes up” and utters the wonderful “Have you two met?”. Sadly that number was delivered during the applause for the song, and therefore missed by the majority of the audience.
Linden Iliffe is a very likeable Jimmy, and does well with his big act 1 number, whilst Mirren Howarth’s Mrs Meers feels a little rushed in much of her dialogue, preventing her character from developing enough menace.
There is delightful support from Will Wheeler and Danielle Myles as the loveable (and reluctant) Chinese henchmen, and Minnie Sami and Rachel Wells lend excellent support in a number of cameos.
For me the performance of the evening came from Melissa Huband. She has a beautiful relaxed power to her voice, perfectly suited to Muzzy’s cabaret songs, and her dialogue was effortlessly characterful and classy.
One small thing bugged me all evening, and I believe if you are training students for the business these little points matter. In the first office scene the manager Miss Flannery upbraids Millie for being too modern, particularly in the amount of Rouge she was wearing. But this Millie didn’t appear to be wearing Rouge at all, but rather her cheeks were emblazoned with a very modern looking (no pun intended) silvery shine.
MD Dan Tomkinson led a live 7 piece band, no easy task in quite an unforgiving acoustic. The sound balance was mostly good, but all credit to the college for being committed to live music for their shows rather than the cheaper option of recordings.
Overall a very likeable production, making the best of a limited venue, with some really delightful episodes.
BOA Musical Theatre don’t shy away from some of the biggest and best musicals out there and this year is no exception. Sister Act is most closely associated with the 1992 film featuring Whoopi Goldberg, a feel-good musical comedy that’s guaranteed to get your toes tapping. When Alan Menken and Glenn Slater collaborated together to write a fresh score and bring this brilliant film to the stage, there was no denying they had a challenge on their hands. However, the musical is just as glorious and tonight BOA MT delivered a performance with great aplomb.
As with many of BOA’s shows, they double cast some of the leading roles, which really goes to show the range of talent they possess. It was also great to see some fresh interpretation thrown in for good measure, having seen the show a number of times, these minor, yet effective tweaks don’t go unnoticed. For me, this was particularly apparent in the confrontation near the end, when Curtis finds Deloris in the convent and the nuns performed a rousing reprise of Sister Act. Ordinarily this is sang as a solo, but turning it into a choral number was a stroke of genius.
That said, all of the iconic chorus numbers: Raise Your Voice, Take Me To Heaven and Sunday Morning Fever were executed to sheer perfection. The harmonies were beautifully tight, with vocal precision throughout. This group of nuns were fierce. There were a couple of brief moments in the more physically demanding numbers where the harmonies teetered and the volume dropped, and some small bits of dialogue were inaudible, due to some sound balance issues - although these can be easily rectified. The only other slight issue was with the spot lighting, as there were times where actors were indistinguishable.
Nevertheless, this huge cast handled the show with a professionalism beyond their college years. There were some brilliant performances, including the quartet of baddies (Lewis Roberts, Fraser Howes, Nathan King and Harry Singh), Meg Aucott who was in great voice as she brought to life the hilariously wonderful Sister Mary Patrick, Katie Rowley was in fine form as Sister Mary Robert, with a practically flawless rendition of The Life I Never Led, Jack Christou made for an endearing Eddie Souther and Callum Maine was the perfectly camp Monsignor O’Hara.
But there were three performers, who in their own ways really did shine on that stage tonight. Firstly, Mariah Loizou, who took on the role of Sister Mary Lazarus (a part with a playing age of 50-70), but guess what, it didn’t matter in the slightest because Loizou was both convincing and hilarious in the role. Secondly, there was Jess Olford, who’s performance as the Mother Superior was unfaltering. Her voice soared in I Haven’t Got A Prayer and vocally it was one of the best performances I've heard of that song. Finally, Libby Simpkins. What a monumental task she had. The role of Deloris Van Cartier is no mean feat, yet Simpkins delivered a performance packed with humour, emotion and sassiness. Not only that, blimey can that girl sing. A real star in the making.
With great use of The Old Rep space, the production team of Daniel Summers (Musical Director), Dan Branch (Director) and Lee Crowley, George Miller and Stacy Hancock (Choreography) have created a sparkling show that the audience absolutely loved. Ending with a standing ovation, there is not much more you can say except ‘Fabulous, Baby’.
Sister Act plays at The Old Rep until 24 March.
I really do applaud any company brave enough to even attempt staging a big musical in a tiny space. And Stone Revellers earned a very warm round of applause from a very receptive audience after using every inch of the stage and auditorium in their production of Stephen Sondheim and Burt Shevelove’s 1962 musical farce A Funny Thing Happened on the Way to the Forum.
Shevelove’s book is one of the funniest ever written for a Broadway musical, and the jokes come thick and fast, requiring excellent timing from all members of the cast. At the centre of the deliberately convoluted plot the conniving slave Pseudolus is excellently played by Mark Norris, very well supported by Alec Voss as hysterical slave Hysterium and Vicky Webb as the courtesan Philia. The facial expressions of all three are wonderfully over the top. Voss was the willing supporting player in the evening’s best musical moment, “That dirty old man”, deliciously delivered by Helene Sandy. Special mention also to Bill Cole’s delightfully dotty Erronius; a delightful cameo.
The physical humour comes over very well in Mark Doran’s production, finding a lot of characterful work for the supporting Proteans and Courtesan dancers, and the simple three door set very effectively makes the best use possible of the limited space.
Sadly there were some technical issues I cannot ignore; the band seemed under rehearsed and unsure at several points in the score, and with Sondheim’s typically tricky rhythms to cope with the cast did amazingly well to keep several of the numbers going. But they performed at all times with real energy and commitment, and the final chase sequence, which seemed to go on for nearly 10 minutes, nevertheless kept the audience engaged and laughing throughout.
An impressive presentation in an interesting venue made this evening’s performance of Jesus Christ Superstar a memorable theatrical experience! From the start, the director Kirsteen Stafford transported us from the present day, through a whistle-stop tour of wars and dictators using innovative video projection, back to the Roman occupied Jerusalem. Then in Act II, we fast-forward to the modern day, demonstrating the continued relevance of the issues and messages in today’s world. A well-thought out concept.
Ian Page (Jesus) impressed the audience with his vocal range and passionate performance. His portrayal of Gethsemane is particularly poignant. He gave us many a spine-tingling moment with his impressive vocals. Equally powerful was Thom Stafford’s portrayal of Judas. Again, extremely challenging vocals were performed with ease and conviction. His cool and calm demeanour and excellence stage presence worked extremely well for this challenging role. The classic song I Don’t Know How to Love Him was full of emotion and Anya McCutcheon Wells put all she had into the role of Mary, working really well alongside Jesus, showing a deeper character than is sometimes seen in this role.
The large chorus were used effectively and there was some imaginative staging in some of the larger numbers, enhanced by the choreography of Corinne Keeber and Adam Swift. Add to this a well-designed lighting plot (Chris Lamb) and the effect is as good as in any theatre setting.
The large company meant that supporting roles were well cast from a wealth of talent within the group and special mention must go to Sam Cox (Simon) and Mark Shaun Walsh (Annas) for their strong performances. Louis Delaney (Peter) performed confidently an excellent duet (Could We Start Again Please) with Mary – one of the highlights of the evening for me. After seeing him play several comic roles, it was fantastic to see James Gough perform a commanding and austere Pilate.
Peter Farndon (Musical Director) had one of the toughest jobs of the evening, controlling a large band and an even larger cast in a very unusual space! Despite a few balance issues and timing discrepancies, this was an excellent achievement. On another note, I appreciated the short synopsis of each musical number to ensure a full understanding of this age-old story.
A wonderful audience reaction on this opening night demonstrates that SMASH Musical Theatre Group have a real success on their hands and should be proud of their fresh and innovative performance!
Jesus Christ Superstar runs at the Solihull Methodist Church until Saturday, 24th March.
Eva Perón is considered one of the most significant women in history. Her short life was filled with adventure, passion and scandal, ultimately ending with her death at the young age of 33. Andrew Lloyd Webber and Tim Rice’s smash hit musical Evita encapsulates this phenomenal woman and tells the tale of how she came to be known as the ‘Spiritual Leader of the Nation.’ Evita is well known for its slick and enduring touring productions and this one was no different.
A solemn start to the production presents the scene where the death of Eva herself is announced to the Argentinean population. The scenery is exquisite as we are drawn in to her state funeral which serves as the first and last striking image the audience witnesses in this glorious show.
With any musical sung straight through it requires great vocal stamina and every member of the cast really stood their own. A seasoned Eva (Madalena Alberta) burst onto the stage with Buenos Aires as a bright eyed 15-year-old with an obvious lust for life. Alberta takes us through Eva Peron’s life as an actress right through to major political figure alongside her husband Peron.
No review of Evita can be written without the mention of its signature song Don’t Cry for Me Argentina. Madalena’s voice soared across the auditorium as she belted the anthem out; her passionate vocals and diction were perfection. Other highlights were Rainbow High and You Must Love Me.
Jeremy Secomb provides a perfect partnership with Alberta as they take on the fearsome power couple. Secomb approaches the role with a cold outset and as the show progresses you see his character come to life. During the Rainbow Tour Perón is firm in how his wife is the success and on eventually learning of his wife’s imminent fate, he gives a stellar performance.
The star turn comes from Gian Marco Schiaretti as Che. From the outset, the narrator of the show excels as he takes us through Eva’s life. Having played the role numerous times around the world he encompasses the character perfectly. His charm and wit really shine through on stage. Highlights included High Flying Adored and And the Money Kept Rolling In. This show really enables Schiaretti to display his versatility and I could watch him perform forever.
Special mentions must be given to Oscar Balmaseda (Magaldi) who dazzled in On This Night of a Thousand Stars, he displayed the humour of bringing a young starry-eyed Eva to Buenos Aires, and having no choice in the matter, perfectly. Cristina Hoey played the Mistress – a small role in the show – who is eventually thrown out when Juan Perón invites Eva to live with him. This moment provides the vehicle for Another Suitcase in Another Hall a glimpse into this mysterious character and her life. Hoey performed the piece with such flawless ability, she had us captivated and wanting to know more.
This production is dazzling and thoroughly deserved the standing ovation it received. From start to finish it delivers high energy and keeps the audience entranced in the action.
Evita plays at Birmingham Hippodrome until 24 March.
No-one has plans on a Monday evening, so there really isn’t any excuse why you shouldn’t head down to Blue Orange Theatre and see some Toadally Free Comedy!
Improvised comedy group Box of Frogs warmly invite you to be part of their crazy, mischievous little family for one night. There is nothing that can prepare you for the evening ahead, even the members of the group have no idea what is going to happen after the audience is settled in. But the one thing that can be guaranteed is you’ll be laughing throughout.
Sit back as a whole host of games are played out in front of you, the best part being the performers are at your mercy. You, the audience, get to decide what type of action is about to unfold on stage.
Skilled in their craft, the performers are a joy to watch both for their comedic talent but also the anticipation you feel as a new game is about to start. The only thing that is carried through is the occasional nod to a hilarious moment in a previous game, other than that, expect every game to be uniquely different, as the imagination of the improvisors is boundless.
The divide between audience and performers melts away and you are welcomed as part of this dysfunctional comedic family, breathing fresh air on the normal constraints of traditional theatre. With no shushing from other audience members, and even occasional shouting permitted in some games, it is almost like letting your hair down – well not quite but you get the gist. It is good fun and a delightful comedy night.
Regardless of whether you are a seasoned improv comedy goer, or a newbie, a night filled with unexpected audience suggestions teamed with unpredictable interpretations from the performers, no two nights are the same, so give it a try. It will definitely be something you have not seen before.
Box of Frogs’ Toadally Free Comedy show will play at the Blue Orange Theatre one last time on Monday 16 April, before moving onto The Glee Club in Birmingham on Sunday 27 May.
Sutton Coldfield Musical Theatre Company
Thrilling, laugh-out-loud entertainment from an excellent musical theatre company that never disappoints
Having seen many SCMTC productions I knew this company would deliver the goods, and once again they have done it with conviction and gusto. The high standard of performance, direction, choreography and music is maintained throughout this fabulous production of The Full Monty which opens tonight at Sutton Coldfield Town Hall, ‘high standard’ being a trade mark for this long-established group who celebrate their 85th anniversary this year.
Based on the book by Terrence McNally, with score by David Yazbek, this Americanised musical stage version adapted from the 1997 movie sees its locale switch from Sheffield UK to Buffalo NY (having been performed on Broadway) and this high-energy version will not disappoint.
The story features six unemployed, penniless steelworkers who, after witnessing their wives enthusiasm for the Chippendales show, decide to present their own, unique strip act at a local club. Jerry (Phil Bourn) declares that their strip show, devised to raise quick cash, will excel the Chippendales as they will ‘go the full monty’ (avert your eyes ladies) and strip all the way. As they rehearse and prepare for the show they find strength in their friendships, overcoming fear and self-consciousness, proving that what’s on the inside is more important than what’s on the outside. Partner to the raucousness of the story is the tenderness - the possible saving of rocky marriages becoming a reality as the men’s emotional fears and self doubt are exposed for the better.
Hilarious and heart-warming performances from the principal male cast - Midlands’ favourite Phil Bourn perfectly captures the character of the feisty, loyal and adventurous Jerry Lukowski, alongside Rob Fusco (the motivated, vulnerable, romantic Harold Nichols), Ben Green (the self conscious, lovable, cuddly Dave Bukatinski), Fidel Lloyd (the unpredictable, cool, gentleman Noah ‘Horse’ T. Simmons), Patrick Jervis (the quiet, awkward, secret Malcolm Macgregor) and Ben Adams (the enthusiastic, dopey and funny Ethan Girard).
The girls also deliver the goods, with sassy dancing, powerful singing and big personalities - Sarah Clark (Joanie Lish), Kerrie Davies (Georgie Bukatinsky), Charlotte Middleton (Estelle Genovese), Paula Lumsden (Jeanette Burmeister), Leanne Bowkett (Pam Lukowski), Sally Midwinter (Vicki Nichols) and Emily Jenkinson (Susan Hershey) all give sterling performances. With a strong, supporting ensemble this show ensures quality from start to finish.
A special mention goes to SCMTC's young performer, Ethan Bowley (Nathan Lukowski) who plays Jerry’s son, bringing the essential sentiment to the story and playing the part with assurance.
With tremendous, full harmony vocal performances supported by a fantastic, off-stage live band directed by Sheila Pearson, the production team has clearly worked hard to bring the balance of energy, hilarity, sadness and camaraderie to the stage. Theatre stalwart, Paul Lumsden, directs with passion and experience. Choreographer, Jenny Morris, delights us with the essential dance routines that serve up enough sauce as required, ensuring the production keeps the spirit and momentum at a unflagging pace. With an impressive set and wardrobe, and a competent technical crew on board, the Full Monty has all the ingredients for a great show and a ticket is well-worth it if you want to witness 'The Goods'.
Runs to 24 March. Contains occasional strong language.
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