Driven by an all-consuming passion to complete his life’s opus, a horror enthusiast ventures back to a haunted cinema, only to find his own sanity unravelling as chilling memories stir from their slumber. Amidst this turmoil, something far more sinister awaits him.

The curtains rise on Shock Horror at The Churchill Theatre, Bromley, on Wednesday, September 27, 2023. The ensemble cast includes the talents of Alex Moran (known for ‘War Horse’ at the National Theatre and ‘Quality Street’ UK Tour with Northern Broadsides) portraying Herbert, Chloe Proctor (recognised from ‘Emmerdale’ and ‘Doctors’) as Norma, Joseph Carter as Jack (‘Hollyoaks’, ‘Yizkor’ at New Vic Theatre, and ‘100 Years On’ at Everyman Theatre), and Chris Blackwood as Karras (‘Miss Julie’ at Gulbenkian Arts Centre and ‘The Little Mermaid’ at Kings Theatre).

Penned by the skilled Yorkshire-based playwright and filmmaker, Ryan Simons (whose credits include television soap operas ‘Eastenders’ and ‘Emmerdale’), ‘Shock Horror’ emerges as a masterwork.

Alex Moran, producer and actor comments, “The show has a much bigger team on board after last year’s success. Specialists in lighting, sound, and illusion; and a fantastic new set. It has evolved deliciously… more jumps, more scares, and more stand-out moments. I can’t wait to get started again.”

Ryan Simons, writer and director comments, “‘Shock Horror’ was inspired by a desire to create the next horror classic by bringing together our love of scary films and stage horror. We wanted a ghost show that had broad appeal, something that resonated with both teenagers and adults to entice the next generation into the theatre. We’ve created a unique experience for a horror show by incorporating a cinema screen within the set design, films are carefully woven into the live action to create a blended performance that makes the play visual, captivating, and terrifying!”

More information and booking details.

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Either side of an interval, all of the action takes place in real time in the living room of Laurence and Beverly’s neat and modern detached house. They have invited over new neighbours Angela and Tony, who are a little younger and own a smaller and less well-furnished house on the same street. They also ask Susan to join them. She’s a slightly older and more sensible neighbour, but her teenage daughter Abigail is having a raging party at her house and doesn’t want her fusty old mum interfering. The residual thumping bass of the music is a constant reminder of life going on elsewhere. Within the cosy microcosm of Beverly and Laurence’s living room, the 1970s suburban dream is held up to ruthless satire. The end result is devastating in its precision and killingly funny.

This production of ‘Abigail’s Party’ maintains the original 1970s setting, which is a good idea as it wouldn’t work now as anything other than a period piece. This gives set and costume designer Bek Palmer free rein to incorporate the most standout fashions of the day. Every detail from the costumes to the loud wallpaper and furnishings scream 1970s, brilliantly evoking the decade of dubious taste. This enables audiences to be transported back in time almost half a century.

Rebecca Birch convinces as your hostess Beverly from the opening moments when she has the stage to herself. She sexily dances in her swishing red dress as she sets up for the soirée. When husband and breadwinner Laurence (Tom Richardson) arrives home, briefcase in hand, he brings with him a cloud of anxiety and work-related stress that demolishes the walls of Beverly’s carefully-constructed fantasy. Over the course of the next two hours, and especially once the drinks start to flow, the character flaws of husband and wife, and every one of their marital weaknesses come to excruciating light.

Neighbour Angela (Alice De-Warrenne) and her husband Tony (George Readshaw) fare no better. With her irritating nasally voice, dull, unconnected stories and complete obliviousness to Beverly’s condescension, ‘Ange’ has even less social awareness than Beverly. She often speaks on behalf of her taciturn husband Tony, a frustrated ex-footballer turned computer operator. Sue (Jo Castleton) is the more refined guest who must wonder what madhouse she has walked into. Nevertheless, the lonely divorcee becomes a victim of Beverly’s impeccable hostessing skills as she is plied with cigarettes, nibbles and booze, despite her many protestations.

This production of ‘Abigail’s Party’ captures the mood and pacing of the original play. Be prepared to cringe with embarrassment at Beverly’s total lack of self-awareness. Everyone who is aware of Mike Leigh’s play will have their favourite moments. But what the show highlights well is that Laurence’s capacity to mortify his guests is no less impressive than his wife’s, and credit must go to actor Tom Richardson for finding inventive ways to reveal this. The only difference is that it tends to reveal itself in Laurence’s frustrated attempts to demonstrate his appreciation of culture and the finer things in life, which succeed only in revealing his ignorance. His final act of defiance is to replace his wife’s popular music LP with Beethoven’s Fifth Symphony; a gesture every bit as futile as his marriage.

The ensemble is excellent, each actor having moments to shine. We love how Jo Castleton portrays fear in Sue’s eyes every time Beverly offers her a drink, or Angela tries to make her comfortable in the armchair. The audience laughed a lot, consistently and often protractedly. We were in hysterics over Beverly’s seductive drunken dancing around Tony (especially once George Readshaw’s eye contact with Rebecca Birch switched from panic to wondering how far he might take it). No less funny was Angela’s ability to drink her gin with Hoola-Hoop crisps around her fingers. But it’s something of a cathartic experience witnessing the unravelling of the characters in ‘Abigail’s Party’. The play is pointedly disparaging about aspirational, suburban, middle-class families: precisely the kind of people you find in theatre audiences. The secret to the success and the enduring appeal of ‘Abigail’s Party’ is that everybody knows somebody just like one or more of the characters. And for a really honest interval conversation: ask your partner which character they see most of in themselves (I’m 100% a Laurence, for full disclosure). This can be as mortifyingly embarrassing as the play itself.

The show won’t be for everybody, as it can make for uncomfortable viewing. But this production ably reminds audiences why ‘Abigail’s Party’ is considered a modern classic. It paved the way for the likes of ‘The Office’, which similarly holds up a mirror and invites us to laugh at all of our pretensions and faults. In aligning itself so closely to the original TV play, the production also risks not quite emerging from its shadow. However, the night we caught, which is nearly half way through its national tour, revealed a show that is well-oiled, competent, and succeeding through actors who are firmly embedded in their characters. We also spotted enough fresh takes on the text to consider the play in a new light. Recommended.

Cast: Rebecca Birch, Tom Richardson, Alice De-Warrenne, George Readshaw, Jo Castleton Director: Michael Cabot Writer: Mike Leigh Theatre: The Churchill, Bromley Running time: 130 mins Performance dates: 19th-22nd April 2023 Book ‘Abigail’s Party’

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Following the traditional fairytale story, Jack Trot (Anton Du Beke), his girlfriend Princess Jill (Rhiane Drummond), brother Silly Simon (Lloyd Hollett) and mother Dame Trot (Darren Machin) fall upon hard times and have to sell their beloved animals at the market fair, including prize-winning cow Daisy (“Aaaaaaaaaah!”). When Jack is swindled by the machinations of the evil Mrs Blunderbore (Rachel Izen), he has only a handful of beans to show for it. But when a magic beanstalk grows outside their house, it provides a route up to Cloudland where our heroes can rescue the kidnapped Princess and face the terrible giant.

In keeping with time-honoured pantomimic tradition, the plot matters not one jot, and the production is really a showcase of highly entertaining set-pieces that play to the performers’ strengths. With the considerable talent on offer, there’s plenty to dazzle the audience. Whilst this is only Anton Du Beke’s second pantomime season, he’s already found his feet, especially in the dance routines he performs with quick steps and his trademark beaming smile. Where his singing and conviction on the lines is sometimes wanting, Du Beke more than makes up for it with an innocent, likeable personality and a mixture of quick wit and good grace when things go wrong. Having said that, pantomime is the medium where wobbles are forgiven, and most trained actors would struggle to deliver some of the devilishly difficult tongue-twisters in this script.

Although Du Beke will draw in the crowds and put bums on seats, it’s Lloyd Hollett as his brother Silly Simon who steals the show. He’s the one tasked with interacting with the audience by providing adults with innuendo whilst keeping the children’s attention on what’s happening on the stage. That takes consummate skill, and Hollett meets this requirement and then some. Outrageously funny is the best way to describe him, with a verbal dexterity that is truly breathtaking in parts. His rapid delivery of convoluted songs, throwing jokes and impressions into the mix (including – and this made my night – Leonard Rossiter as Rigsby), Hollett is a tornado of energy and infectious humour. It’s worth seeing the show for Hollett alone. His banter with the kids who came onto the stage to sing the final song nearly brought the house down.

The other main performances are good: Rachel Izen provides boo-hiss villainy and a great range of withering facial expressions, whilst Rachel Spry’s earnestness as the fairy Mother Nature is a satisfying foil. Other aspects of the production also impress: the costumes are sensational and bright, especially those worn by Darren Machin as Dame Trot, whose creations become increasingly outlandish as the story progresses. A live band playing some well-loved rock songs (including Queen’s ‘Don’t Stop Me Now’) adds immeasurably to the thrill of live theatre. The ingenious 3D component becomes clear in the second act. Without too many spoilers, the packed auditorium filling with a crescendo of children screaming in part terror and part delight was a joy to behold. It’s those moments and Silly Simon’s jokes and fart gags that the kids will tell their friends and relatives about afterwards.

On the downsides, the production is still bedding in, but the cast is strong enough to reach an effortless rapport with one another once it has been tried out on just a few more live audiences. Rough edges are always forgiven in pantomime, but there were a couple of moments in the first act where the energy dropped and they should be ironed out. A few actors were a little off the pace and a touch slow on their cues, especially before the interval. The second act was stronger, except for when the curtain call took the audience by surprise as they were expecting a wedding scene. Our biggest regret is that the charming Rhiane Drummond is underused as Princess Jill, and deserves to have had a greater share of the action. All of this is more than made up for by a feel-good production that will tickle everyone’s funny bone. There are very few forms of entertainment remaining that are still willing to send itself up and gently mock wokery, so thank goodness for pantomime extending that invitation to laugh at life’s absurdities.

A few times in recent years we have left the panto with aching ribs, wiping away tears of laughter. This one isn’t quite up there with the very best of vintages, but it is nonetheless a solid and reliable table wine: big-hearted, deliciously funny and thoroughly entertaining. We laughed all the way through, and the young kids in the audience absolutely loved it. In the final analysis, their judgement is all that matters. If you’re craving more than mince pies and tinsel to get you in the Christmas spirit, catch ‘Jack and the Beanstalk’ at the Churchill Theatre before it closes on New Year’s Eve.

Cast: Anton du Beke, Lloyd Hollett, Rhiane Drummond, Rachel Spry, Rachel Izen, Darren Machin Director: Andrew Ryan Writer: Alan McHugh Theatre: The Churchill, Bromley Running time: 120 mins Performance dates: 4th to 31st December 2022 Buy tickets for ‘Jack and the Beanstalk‘

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This production, which evokes the period of the 1960s, finds a sedentary Miss Marple resting a sprained ankle at home. She is visited by Chief Inspector Craddock (Oliver Boot) who tells her about a recent unsolved murder. During a party hosted by famous Hollywood actress Marina Gregg (Sophie Ward), a seemingly unknown and insignificant woman, Heather Leigh (Jules Melvin), is poisoned and dies almost instantly. As Marina had swapped drinks with her guest, it looks as though the real target for murder has escaped. Inexorably, events unfold which ensure that the body count grows and nobody is above suspicion. Working with the police inspector, Miss Marple uses all of her powers of observation to unlock the secrets of the past that she believes hold the key to finding the murderer in the present.

‘The Mirror Crack’d’ is a classic Agatha Christie story. It is full of enjoyable red herrings and gives the audience plenty to play along with. It’s fun to guess the identity of the killer and pick up on the clues that are dropped into lines of dialogue. There’s plenty of scope for amateur sleuthing during the interval. Is it the husband? Did the butler do it? Why are two young women acting so strangely around the famous actress? With plenty of suspense, twists and turns, ‘The Mirror Crack’d’ provides a throughly entertaining evening of theatrical entertainment.

This production will especially appeal to those who love a good murder mystery and have already enjoyed the many other Agatha Christie tours of recent years. Inescapably, the construction of the story is mechanical, though in adapting it, Rachel Wagstaff deserves credit for bringing out a lot of humour, which last night’s audience appreciated. Love them or loathe them, an Agatha Christie play brings with it many preconceptions, and ‘The Mirror Crack’d’ lives up to them all.

Under the assured direction of Philip Franks, a solid and high-profile cast brings the play to life. Susie Blake is endearing as Miss Marple, and makes no attempt to portray her in the same manner as any of the many screen versions. She’s impressively rock-solid on huge chunks of dialogue, rattling them off as if they are thoughts freshly popping into her head. Her chemistry with Oliver Boot as Chief Inspector Craddock is excellent, and their rapport is emotionally engaging. Joe McFadden is enjoyably showy as the actress’s brash husband and hotshot film producer, and Jules Melvin’s clear diction and sound comic timing ensure that poor Heather Leigh is a memorable murder victim. It’s Mara Allen as Miss Marple’s honest, Croydon-based home help Cherry Baker who rightly wins the lion’s share of the laughs. But it’s Sophie Ward who steals the show. It would be easy to stereotype a leading film actress as someone precocious and divorced from reality, but Ward’s intelligent portrayal ensures that she is humanised. At times, you feel genuinely sorry for her.

There are a couple of criticisms. Telling aspects of the story through flashbacks that play out in front of Miss Marple as she remains seated in the background is an original approach. Although a brave departure from linear storytelling, it doesn’t quite satisfy in the final analysis. Perhaps because it leaves our intrepid sleuth outside of the main narrative for a long period of time instead of doing what she does best: poking her nose into other people’s business from the start. Some actors were clearer on their dialogue than others too, which meant a few lines were missed towards the back of the auditorium. Finally, occasional musical interludes proved a touch intrusive, especially when adding atmosphere over dialogue.

In the final analysis, this production of ‘The Mirror Crack’d’ assembles a great cast and delivers a solidly-entertaining whodunnit. It does so with rounded performances and humour in the right places. If you love Agatha Christie mysteries, you’ll want to catch this one at a theatre near you.

Cast: Susie Blake, Sophie Ward, Joe McFadden, Mara Allen, Oliver Boot, Sarah Lawrie, Lorenzo Martelli, Jules Melvin Director: Philip Franks Writer: Rachel Wagstaff adapting Agatha Christie Theatre: The Churchill, Bromley Running time: 140 mins Performance dates: 22nd to 26th November 2022 Buy tickets for ‘The Mirror Crack’d’

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Once you’re drawn into the crazy, surreal, fast-paced world, you realise how little the imaginative yet tenuous plot matters. The premise is that, some time in the 1950s, newly-engaged couple Janet (Joanne Clifton) and Brad (Ben Adams) break down and head to a nearby castle to telephone for help. Yet the residents, from manservant Riff Raff (Kristian Lavercombe) to master of the house Frank N Furter (Stephen Webb), are up to nefarious misdeeds involving human experimentation. Little wonder a Nazi called Dr Scott (Ross Chisari) is living there. But they do at least conjure into being a specimen of male perfection known as Rocky (Callum Evans), as the sexually voracious Frank N Furter sets about seducing the newcomers. If you can’t quite follow all of that, fear not; the narrator (Philip Franks) is on hand to set the scene.

The audacious plot unfolds as a piece of musical theatre. Usherette (Laura Harrison) establishes the homage to 1950s B-movies in the opening song Science-Fiction/Double Feature, referencing actors of the period such as Leo G Carroll. The period setting is later belied by songs like the undisputed classic, The Time Warp (plenty of time to get up on your feet for that one at the encore). Other great songs include Frank N Furter’s magnificent entrance, Sweet Transvestite, and Brad and Janet’s soulful lament, Super Heroes.

The cast is terrific. Joanne Clifton, formerly of BBC’s Strictly Come Dancing, of course stands out in the dance routines, but she has a cracking voice and breathes plenty of life into the ditzy Janet. She is well-paired with Ben Adams, who is similarly comfortable with singing and performance as the geeky yet loveable Brad. Philip Franks commands authority as the narrator, but his quick wit and delightful turn of phrase make his saucy interjections a joy to behold. An especially naughty ad lib about Ann Widdecombe brought the house down! Earning a large share of the laughs is Kristian Lavercombe as Riff Raff, and Callum Evans meets the duel requirements of giving a good performance as Rocky and being physically perfect: he’s also confident enough to wear nothing but leopard print pants. The show, however, belongs to Frank N Furter, and in that role, Stephen Webb is perfectly cast – strutting every corner of the stage like a cross between Dracula and Freddie Mercury. Commanding stuff.

This production is slick, sexy and outrageously good entertainment. Clever and adaptable design by Hugh Durrant, along with snappy direction by Christopher Luscombe ensure the whole thing is a feast for the eyes as well as incredibly pacy. There’s also something joyously liberating about a show from the 1970s, where Nazi salutes, cross-dressing, sexual innuendo and gay flamboyance can all be stirred in the same plot – and all for a laugh – free from fear of causing ‘offence’ and upsetting the PC brigade. The Rocky Horror Show is a terrific reminder of how much unfiltered fun artists used to have, offering the same in return to grateful audiences.

It wasn’t all plain-sailing last night. There were one or two technical glitches that briefly interrupted the action, but they only tickled an audience that was already firmly on side and up for a laugh. An over-enthusiastic smoke machine in the final scene simply added to a growing sense of hilarity. It’s been a long time since we’ve seen an audience so energetic and enthused, and the actors were clearly feeding off the buzz they could feel emanating their way from the stalls. For a theatrical experience, that’s what it’s all about.

Cast: Stephen Webb, Joanne Clifton, Ben Adams, Philip Franks, Kristian Lavercombe, Laura Harrison, Miracle Chance, Callum Evans, Ross Chisari Director: Christopher Luscombe Writer: Richard O’Brien Theatre: The Churchill Theatre, Bromley Running Time: 120 mins Dates: 15th – 20th April 2019 Tickets: Box Office

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The History Boys is all about those formative years at school where we all learn and adopt the standards that shape the rest of our lives. We can all relate to that. Not so relatable, perhaps, is the fact that the plot is about eight Oxbridge Grammar School hopefuls and three of their teachers guiding them through the exam process to get into those hallowed institutions. No matter – as the overriding theme is about how you approach life after childhood, about how to present yourself – truthfully or theatrically but ‘from the heart’, as embodied in the form of much loved anarchic teacher Hector. OR to be questioning the norms and look for fresh, sometimes controversial, perspectives as embodied by young supply teacher Irwin.

Hector (played magnificently by Richard Hope) has a great disdain for the syllabus and the curriculum and convention itself. He espouses liberty and self-expression and a theatrical sense of things being from the heart and a sense of ‘feeling’ (quite literally as things turn out!) It is curious in these zero tolerance days of Operation Yewtree that we view the pupil fondling Hector not as a predator (as indeed the boys do not) but more as a warm, funny eccentric unconventional valued gem of a teacher. He is a one off. We kind of love him and forgive and humour his pecadillo- as indeed do the boys themselves. Despite the pathetic fondlings of boys whilst on his motorbike (and this is as far as it goes) he really does seem to have the boys best interests at heart and they know this and this earns him their love.

Straight-down-the-line educator, Mrs Lintott (astutely played by Susan Twist) is the world weary‘observer’ and realistic ‘voice of reason’ of proceedings and is the polar opposite of Hector’s off-curriculum teaching ways. In contrast to both is the young supply teacher Irwin (the excellent Mark Field) who is specifically brought in at the last minute by the ambitious (“Twat”) of a headmaster to help the boys pass their Oxbridge exams and tries desperately to shake the boys from their competent but ‘dull’ views and opinions. To question, question question – and embrace new perspectives. The boys are therefore given very differing views on how to ‘get on’, leaving us to wonder where they will end up and where their lives will take them.

Alan Bennett’s cosy wit and insight is emasculated and given filthy socks and testosterone here in the form of the teenaged boys. That’s not to say that the characters are realistic- more emblematic of life and its challenges: Sex crazed heartthrob Dakin, the flamboyantly gay Posner, sports lover Rudge etc. They embody youthful sponge like learning and the perils and consequences of choosing their approach on the path of life. Indeed, Bennett illustrates with wit and insight is the long-term consequences of every action and decision – the path of History itself. Whether it is about war, Oxbridge exams or a ‘boy-fondling’ motorbike ride past the local charity shop in full view of the Headmasters wife.

We learn at the end that Hector’s boys do, mostly (aside from Posner who opts out into a sad life of isolation) go on to succeed in conventional careers. However we fear that like their essays for Irwin, they have become ‘dull’. Not only have they lost to ability to question, like Irwin would have wanted them to, they also seem have lost the poetry and feeling Hector meant them to keep. (“Pass the parcel. That’s sometimes all you can do. Take it, feel it, and pass it on. Not for me, not for you, but for someone, somewhere, one day. Pass it on, boys. That’s the game I want you to learn. Pass it on.”) The History Boys is an idealised world portraying stark opposite approaches to History (and life itself) as embodied by Hector and Irwin. Who was right? We don’t know- except that Alan Bennett has given you a new set of challenging questions by which to look back (and indeed forward) and think about your own life.

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Madame Butterfly is choreographed by Artistic Director David Nixon OBE and is one of Northern Ballet’s most popular full-length productions. In this heartbreakingly tragic ballet, audiences will be transported to Japan where the doomed love affair between American Naval Lieutenant, Pinkerton, and his young Japanese bride, Butterfly, begins. Madly in love and prepared to sacrifice everything, Butterfly’s world falls apart when she is betrayed and forced into a dramatic climax. Recreated especially for the new tour, Madame Butterfly is a two-act ballet featuring all new sets and is performed to the famous Puccini score played live by Northern Ballet Sinfonia.

The programme also features Perpetuum Mobile, choreographed by Christopher Hampson, Artistic Director of Scottish Ballet. Performed to Bach’s Violin Concerto in E Major, the 17-minute long Perpetuum Mobile provides an excellent introduction to the technical and athletic talents of Northern Ballet’s dancers. The piece showcases the incredible strength and prowess of the Company to leave audiences breathless.

Tickets for Northern Ballet’s Madame Butterfly with Perpetuum Mobile are on sale now and can be booked online at atgtickets.com/bromley or by calling the box office on 0844 871 7620.

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The 2015 touring production runs with the success of its previous incarnations- except with more topical and crowd-pleasing geographical references woven in (Will Hawksworth’s Sir Robin wistfully acclaiming the “great land of Bromley” for example.) Added freshness is brought in by topical celeb references and ‘cameos’ from the likes of Mary Berry and Ant and Dec and so on. The sets are a bit overly cartoony and ‘sixth form school play’ but are unapologetically so and is intended to add to the Carry On Panto flavoured proceedings.

Mostly the show is very much a nostalgic homage to Monty Python in general and not just the film Month Python and The Holy Grail from which it was ‘Lovingly ripped’ off ‘. It is crammed with all the Python standards: the coconut clip clops from Patsy in lieu of riding ‘real’ horses, the Terry Jones-esque shrill housewife, The Black Knight who refuses to give up even when comically relieved of his very limbs, the Terry Gilliam inspired giant pointy hand appearing from stage heaven- and indeed Spam, Spam and more Spam . They are all in there. Of course it is hammed up here to the ‘nth’ degree alongside cheerfully sending up the notions of musicals themselves with musical numbers such as “You Won’t Succeed on Broadway” , “The Song That Goes Like This” and the conventional happy denoument of a “kiss and a wedding!” as the Lady of the Lake/ Gunivere insists must happen at the end.

The cast play it all in the spirit of silliness for which the show was intended. Todd Carty is clearly having the time of his life in the grinning, face-pulling sidekick role of Patsy. Joe Pasquale is a predictably squeaky and quirky King Arthur. Clearly he is not a natural singer or dancer but he gives it some welly in the spirit of great fun and this works very well. It’s clear too that he and Todd Carty, not to mention the ensemble cast, create fun for themselves by improvising and ad-libbing here and there, referencing their own performance and careers. Although this is high comedy – Sarah Earnshaw’s lady of the Lake/ Guinivere / Show Diva does steal the show with her amazing vocals, comedic timing and stage presence whilst bemoaning her useless agent and lack of time onstage (“Whatever Happened To My Part?”),

Best part by far was the very gay and fey Richard Kent’s Prince Herbert lamenting his arranged marriage and wishing for a Knight to rescue him. Cue Jamie Tyler’s ‘coming out’ as gay Sir Lancelot – a sparkly dance segment camper than a row of tents, culminating in a mutual sort of rescue and marriage between the two. As they parade out as a couple, Lancelot exclaims, “Just think – in a thousand years this will still be seen as controversial!” Brilliant stuff.

On the downside the proceedings borrow so heavily from well loved (if arguably well worn) Python comedic tradition that at times it almost feels like you are humouring your Dad and his peers by laughing along to please them. That said, if you are in the mood, Spamalot is a thigh slapping family friendly romp, delighting in and celebrating the oh so very British silliness in Python humour. Plus it has Hugh Bonneville as an impatient God and a cleverly written score. Come on, who can resist a funny singalong? Altogether now….. “ Always Look on the Bright Side of Life.. “!

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This revival marks the first time the production has been staged in eight years. The leading characters created by Matthew Bourne for The Car Man are among his most challenging both physically and emotionally. For this revival a new generation of New Adventures’ stars will be making their debuts in these iconic roles.

The title role of Luca, The Car Man, will be played by Jonathan Ollivier and Chris Trenfield; both recently acclaimed as The Swan in Bourne’s Swan Lake. The role of Lana will be danced by Ashley Shaw (currently enjoying great success as Kim in Edward Scissorhands) and Zizi Strallen, who joins us direct from the West End production of Cats. Zizi was last seen with New Adventures in Cinderella in 2011. Rita, Lana’s older sister, will be performed by Katy Lowenhoff (also currently starring as Kim in Edward Scissorhands) and Kate Lyons (Bourne’s Sleeping Beauty, Early Adventures). The demanding role of Angelo will be shared by rising company star, Liam Mower, and one of New Adventures most popular leading men, Dominic North. Dominic and Liam have both been receiving rave reviews for their moving performances as the title character in New Adventures’ Edward Scissorhands on its current UK Tour.

The Car Man fans will be delighted to hear that the original Car Man, Alan Vincent, will be returning to the company to play Lana’s violent husband, Dino.

Loosely based on Bizet’s popular opera; it has one of the most thrilling and instantly recognisable scores in New Adventures’ repertory, featuring Schedrin’s powerful Carmen Suite and new arrangements of Bizet’s legendary score, by New Adventures Associate Artist, Terry Davies.

The familiar 19th Century Spanish cigarette factory becomes a greasy garage-diner in 1960’s America where the dreams and passions of a small-town are shattered by the arrival of a handsome stranger. Fuelled by heat and desire, the inhabitants are driven into an unstoppable spiral of greed, lust, betrayal and revenge.

The Car Man is directed and choreographed by Matthew Bourne, with music by Terry Davies and Rodion Shchedrin’s Carmen Suite (after Bizet’s Carmen).

Book now through ATG tickets.

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A story synopsis for Arcadia gives only a narrow view of what the play is about. It combines dramatic, scientific and artistic disciplines, exploring multiple ideas. This production gets off to a troubled start with a long scene between young savant Thomasina Coverly and her tutor Septimus Hodge, owing to an inaudible performance from Dakota Blue Richards as Thomasina. The acting profession is overcrowded, leaving many talented individuals underemployed. Thus there are no excuses for an actor to be on the stage without the skills or knowledge to make themselves heard. Unfortunately, Thomasina is a major supporting character, so Blue Richards’ performance leaves the show limping from the get-go. Wilf Scolding is excellent as Septimus, even though he’s effectively talking to himself for his scenes with Thomasina. Scolding brings to life the charming, confident, womanising Septimus who always lives on his wits.

The major success of this production is the pairing of Robert Cavanah and Flora Montgomery as the two sparring yet mutually respectful (most of the time) academics. Undoubtedly their solid, captivating performances raise the production to another level. Taken as a whole, Arcadia only falteringly comes to life, though always when Cavanah and Montgomery are on stage. Another notable performance is Kirsty Besterman, who goes the full Lady Bracknell as Lady Croom. Admittedly, she has many of the funniest lines, but she makes the most of them, and is never anything but delightfully entertaining.

It’s hard to say with certainty why large chunks of Arcadia sag. Partially, it’s the result of mixed performances (Larrington Walker doesn’t have a lot to do as Richard Noakes, and sadly sends up his performance to try to make the most of it), but it’s also down to the source material itself.

Anything Tom Stoppard writes will receive acclaim, and he is one of only a handful of playwrights who can get away with the outrageous excess of a cast of twelve and a run of nearly three hours. The play itself is undoubtedly smart. It’s full of zesty dialogue about metaphysics, mathematics, science and art. The jokes are nuanced and intellectual. Arcadia lends itself to audiences determined to show that they understand every word and appreciate the genius behind it. Much of the text any reasonably-educated person will follow, but it’s delivered through the medium of a playwright who keeps his pen in one hand and leaves the other free to pat himself on the back.

Ultimately: is it dramatic? Arcadia has a strong first act, and a magnificent opening scene in the second act, after which there’s a further hour of the play petering out into coldness and irrelevance, much like the heat death of the universe evoked in the text. For a play that explores the possibilities of dramatising scientific ideas, Arcadia pales next to Michael Frayn’s under-performed Copenhagen. With algorithms, Fermat’s Last Theorem and the Second Law of Thermodynamics occupying dramatic space alongside the classical influences on landscape gardening and Byronic poetry – there are many ideas vying for our attention in the play. Stoppard throws enough at us that some things stick, but perhaps some restraint might have made for a more coherent and tighter play?

Perhaps an excellent production of Arcadia can reveal more of its hidden depths, but the few key weaknesses in this one leave it feeling like an exercise in self-indulgence. There are moments that resonate, and Cavanah and Montgomery are wonderful, but too much of the rest of it collapses under its own weight.

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Danielle Hope won BBC Television’s Over the Rainbow and made her professional debut as Dorothy in The Wizard of Oz at the London Palladium. Now, following a hugely successful year as Eponine in Les Misérables in London’s West End she will join the cast of Joseph as Narrator.

Matt Lapinskas will play Pharaoh in his first musical theatre role. Famed for playing Anthony Moon in EastEnders, Matt was also runner up in the penultimate series of Dancing on Ice.

The show is a colourful retelling of the biblical story about Joseph, his eleven brothers and the coat of many colours. Bill Kenwright’s production of Tim Rice and Andrew Lloyd Webber’s sparkling family musical has now sold an estimated 15 million tickets and is embarked a new tour. The musical comes to The Churchill Theatre Bromley Tue 23rd – Sat 27th September.

Tickets are available from ATG.

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Joe McGann (The Upper Hand) and Shobna Gulati (Dinnerladies) play Al and Bet, a couple married for almost three decades. The kids have flown the nest, leaving them rattling around with little to say to one another in a tiny new-build. Al, a frustrated painter, is unemployed and depressed, whilst Bet spends what little money she earns on treats for herself. Their luck seems to turn when Bet wins a competition for a day in Paris – but can they forget all their troubles and enjoy a brief trip away from home?

Godber’s observational humour is as acute as ever, and he uses April in Paris to say plenty about the limitations of possibilities for working class people, and the cruelty of rising expectations. Yet he does so in a very safe way, never allowing Al and Bet to be anything other than affable, and this works against its credibility.

There are plenty of moments to laugh out loud, and Godber’s wit is infectious. However, whilst the story has been updated for the twenty-first century, the humour hasn’t, and the style of relentless set-up followed by punch line feels dated now, like something out of an old sitcom. We were also not keen on the mechanical breaking of the fourth wall. When Godber left one character alone on stage he had no choice but to allow them to address the audience directly: but this comes out of nowhere and seems to be used for no better reason than that the writer has written himself into a corner.

Working in favour of the production is the casting. Shobna Gulati, a little quiet at first, is a natural choice for Bet, bringing her familiar ditzy persona to the part. Joe McGann is excellent as Al, capturing the frustration of a quick-witted, capable man facing the realisation his life hasn’t amounted to much. Gulati and McGann are the biggest selling point for the show – they maintain a natural banter and exude warmth from start to finish.

One problem besetting the production is that it takes a while to reach a canter. There are several scenes between Al and Bet (save for mime artist actors doubling as stage hands – the only performers) outside their house. Set design (Pip Leckenby) leaves the actors confined to a tight, drab and colourless space centre stage, whilst an ocean of backdrop has clouds projected onto it. Although the design succeeds in accentuating the stifling domestic condition of Al and Bet, it would work better on a smaller stage. For a big space like the Churchill, the design is too restrictive and, along with the steadily rotating clouds, lends an unfortunate sense of creeping ennui. There are scenes in which the design works, such as when it doubles for a ferry (some fantastic comedy dancing and nausea-acting from Gulati), where the lighting (Graham Kirk) helps to bring out a strong sense of place and movement. Mercifully, the stage opens up in the second half, and the colourful creation of Paris utilises the space far better and is easier on the audience’s eye.

With some reservations about the play itself and its execution in this touring production, the bittersweet world John Godber creates is an enjoyable one to visit for an evening. Despite other factors working against them, Shobna Gulati and Joe McGann shine, and are principally responsible for bringing April in Paris fully to life.

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