Goldilocks and the Three Bears
Newcastle Theatre Royal
Until Sunday 20th January 2019
Goldilocks and the Three Bears is one of those pantomimes you tend not to see very often, it’s certainly not one of the top 5 most performed shows. Don’t let that put you off; in fact I think it’s one of the strong points of this year’s offerings from The Theatre Royal.
The story of Goldilocks is a simple one about a girl who happens upon a house in the woods. She sits on three chairs, she eats three bowls of porridge and sleeps in three beds. Finally she meets three bears. So how does this work as a pantomime. Michael Harrison and Alan McHugh have written a pantomime that keeps those traditional elements but incorporates many new elements. The traditional part of the story is told expertly through song with Goldilocks, Dame Rita and the Three Bears. The rest of the story takes place in two rival circus’, Dame Rita (Chris Hayward) Rington’s Circus and Baron Von Vinklebottom’s (Steve Arnott) circus.
Danny Adams, now in his 14th year at The Theatre Royal, said at the end of the show, “We try every year to make it better.” I’d say they have succeeded in creating their best pantomime EVER! Danny Adams and Clive Webb are often seen as the big draw for the Theatre Royal but this is so much more than the double acts show. They are undoubtedly phenomenal, hard-working and hilarious performers but this is a pantomime family which relies on the dynamic of every performer. Chris Hayward’s Dame Rita is a glamorous, fabulous and saucy dame. With 12 costume changes and 4 musical numbers she is rarely off the stage and provides much hilarity and a touch of class.
Steve Arnott, in his 10th appearance as baddie, is nothing short of phenomenal. He is an absolute master class in how to be a panto villain. His costume and make up are perfect. His accent as Von Vinklebottom is flawless and when he is in disguise and uses a Geordie accent it’s only then you realise just how good it is! He’s imposing, got great charisma and the audience love to hate him. His circus number in act 2 was a particular highlight for me! Wayne Smith is likable as the ‘star of the show’ Starbuck and works well with Danny Adams. Laura Evans was a big hit with the young girls in the audience as the adorable Goldilocks and had a great singing voice.
The Three Bears can often be the difficult parts to pull off in this show but that is not the case here. Thankfully we can see the actors faces who play the Geordie Bears that can talk. Peter Peverley, Christina Berriman Dawson and Reece Sibbald play these bears with great energy and they’re a welcome addition.
My special mention goes to Michael Potts as the circus idiot. Every time he comes on stage I was in hysterics. He is a comic genius!
There are many highlights in this show: The Circus Car Routine, Danny and Clive’s Magic Sequence, Danny, Starbucks, and Dame Rita’s Shoe Shine Routine, The ‘Alexa’ Song Routine and the audience participation Romeo & Juliet routine. In fact there is very little to be critical of. The only thing I picked up on and it’s a personal preference, is The Circus Acts slowed the pace of the show down. The Skating Mendini, The Berserk Riders and The Great Juggling Alfino all have solo spots within the show. That said they had younger members of the audience whooping and gasping.
I must also mention the lighting designer, Ben Cracknell who has excelled in lighting this show, spectacular!
This is a tour de force of Pantomime and Circus fusion. This is bigger than pantomime, this is an absolutely spectacular show worthy of the West End. It has everything you could possibly want from a night at the theatre. It has magic, music, mayhem and even motorbikes! It’s slick, exciting, thrilling and hilarious! This is an epic pantomime that Newcastle can be very proud of!
Review by Stephen Sullivan on behalf of The North East Theatre Guide.
Goldilocks plays Tuesday 27thNovember 2018 – Sunday 20th January 2019
Tickets can be purchased from the Theatre Royal Box Office on 08448 11 21 21 (Calls cost 7ppm plus your phone company’s access charge) or book online at www.theatreroyal.co.uk.
Over 2500 tickets now sold as Oddsocks Productions revolt with Robin this winter at the Queen’s Hall Arts Centre, Hexham with a new, comic adaptation of the legendary Robin Hood.
Robin Hood & the Revolting Peasants
Hexham Queen’s Hall Arts Centre,
Thursday 13 December - Saturday 29 December 2018
Theatre Company Oddsocks Productions is fast approaching their 30th anniversary year as they prepare to tour the UK from December. The team known for bringing classic tales to life with a difference will be adding their inimitable trademark humour, live music and audience interaction the iconic tale of Robin Hood in Andy Barrow’s brand-new piece “Robin Hood and The Revolting Peasants” at the Queen’s Hall Arts Centre, Hexham this Christmas!
The family-run theatre company has been creating innovative and hilarious adaptations of classic texts since 1989 and their latest production promises to be no exception.
Robin Hood is one of the most enduring folk legends and the subject of many ballads, books and films. Over the course of seven hundred years, the ‘romantic folklore hero’, ‘depraved outlaw’ and ‘prince of thieves’ has emerged as a versatile classic, tackled by everyone from Howard Pyle to Walt Disney, and even by Kevin Costner at Sycamore Gap!!
On why the company has chosen to adapt Robin Hood for their current tour, artistic director and writer of the show Andy Barrow says “We wanted to create a Robin Hood that speaks to a modern audience. We like to produce work for a reason, to have a message, for us. Robin Hood is about empowering people. In a crisis, co-operation and teamwork produces far better results than acting as an individual and if you persist within your efforts, eventually you do make a difference”.
He continues “When it comes to classic tales, there aren’t many that contain inspirational, significant female roles. Women tend to be underrepresented in history and so to incorporate strong female characters is important to us too. We feel a duty to send a message to our young audience that women can be just as brave as Robin; not afraid to stand up for what they believe in. I want our Robin Hood and the Revolting Peasants to be equally inspiring for girls and boys alike. I also think Robin Hood is very appropriate for present times. It’s a story that people recognise and we are looking forward to telling it in a fun, interactive and entertaining way. It certainly has something for everyone: action, love, laughter with an abundance of live music and mischief!”
Robin Hood & the Revolting Peasants is at the Queen’s Hall Arts Centre, Hexham from Thursday 13 December until Saturday 29 December. Tickets are £14.00 - £16.50 and are available from the Queen’s Hall Box Office 01434 652477 or online at www.queenshall.co.uk
6 – 23 February 2019
CAST INCLUDES SCOTT MILLER AS ALBERT AND THE RETURN OF WEST END SONGPERSON and NEWCASTLE BORN BEN MURRAY
War Horse will return to Sunderland Empire from 6 – 23 February 2019 as part of its 10th Anniversary UK Tour, after previously visiting the venue for a sell out three week run in 2014.
The 34 strong cast for its acclaimed production of War Horse, which begins its major tour across the globe on 15 January 2019 in Glasgow, includes Scott Miller as Albert and Newcastle born, Ben Murray as Songperson.
|Photo: Cameron Slater|
Scott Miller, who recently graduated from the London Academy of Music and Dramatic Art, will play the central role of Albert Narracott alongside Jo Castleton who reprises her role as Rose Narracott from the recent 10th Anniversary UK Tour. Musician Ben Murray returns from the West End run as Songperson.
War Horse, which has been seen by nearly eight million people worldwide, finished its record-breaking eight year London run at the New London Theatre in March 2016 and will complete its 10th Anniversary UK tour at the National Theatre in January 2019. It has won 25 awards including the Tony Award for Best Play on Broadway.
War Horse received its world premiere on 9 October 2007 at the National Theatre, where it played for two seasons before opening at the New London Theatre in March 2009. Since then, the production has been seen in 97 cities in 10 countries, including productions on Broadway, in Toronto and Berlin, with touring productions in the UK and Ireland, North America, the Netherlands, Belgium and China.
War Horse is directed by Marianne Elliott and Tom Morris, designed by Rae Smith, with puppet direction, design and fabrication by Basil Jones and Adrian Kohler for Handspring Puppet Company, lighting by Paule Constable, and movement and horse choreography by Toby Sedgwick, with video design by Leo Warner and Mark Grimmer for 59 Productions, music by Adrian Sutton, songmaker John Tams, and sound by Christopher Shutt.
Scott Miller, Jo Castleton and Ben Murray are joined by: Kofi Aidoo-Appiah (Topthorn head), Rianna Ash (Joey head), Huw Blainey (Geordie), Matthew Booth (Allan/Brandt/Manfred), Jonathan Cobb (Goose/Schnabel), Colin Connor (Ted), Ben Cutler (Nicholls), Khalid Daley (David/Baby Joey), Zoe Halliday (Topthorn hind), Danny Hendrix (Billy/Heine/Klebb), Alex Hooper (Joey heart), Lewis Howard (Joey/Topthorn heart), William Ilkley (Arthur), Michael Jean-Marain (Topthorn heart), Andrew Keay (Joey/Topthorn hind), Clive Keene (Greig/ Sergeant Fine), Natalie Kimmerling (Emilie), Kiran Landa (Paulette/Baby Joey), Mark Matthews (Joey hind), Katherine Moraz (Annie Gilbert), Christopher Naylor (Friedrich/Priest), Samuel Parker (Joey/Topthorn hind), Tom Quinn (Joey/Topthorn head), Gareth Radcliffe (Carter/Strauss), Domonic Ramsden (Joey/Topthorn heart), Jack Simpson (Klausen), Tom Stacy (Joey/Topthorn head), Elizabeth Stretton (Matron Callaghan/Baby Joey), Kenton Thomas (Bone/Schweyk/Vet Martin), Charlie Tighe (Stewart/Heine/Ludwig) and Matthew Trevannion (Sergeant Thunder).
Katie Henry is the UK & International Tour Director and Craig Leo is the Associate Puppetry Director. Charlotte Peters is the Associate Director and Matthew Forbes is the Associate Puppetry Director. They are joined by Resident Director, Charlie Kenber and Resident Puppetry Director, Gareth Aled.
War Horse is produced on tour by the National Theatre.
Tickets: Tickets now on sale:
FILL THE CUSTOMS HOUSE WITH LOVE THIS PANTO SEASON
Bosses at South Tyneside’s premier arts venue have two reasons to celebrate this panto season.
The opening night of Beauty and the Beast at The Customs House in South Shields also sees the launch of its 25th anniversary celebrations. A year-long programme of events has been drawn up, including the return of the plays Tom and Catherine and When the Boat Comes In to the Mill Dam theatre.
The Customs House has also announced that next year’s panto will be Snow White, which was the first panto to be performed at the venue in 1994. And the sequel to When the Boat Comes In – When the Boat Comes In: The Hungry Years – will hit the stage in September.
A fundraising campaign has also been launched to give people the chance to show their love for The Customs House by sponsoring a heart. The hearts will be displayed in the box office area at first before spreading throughout the building to commemorate its 25 years as an arts venue. Each heart will contain a small message, so people can dedicate it to someone or add something to signify their precious memories of The Customs House. The hearts are available in four sizes and prices start at £25.
Ray Spencer MBE, Executive Director of The Customs House, said: “We often call ourselves The Little Panto with the Big Heart, but we would like to think that we are right at the heart of our community. For 25 years we have made magic, supported good causes and given a lot of special memories. Now we launch an appeal for people to show their love of The Customs House and place their heart in the heart of our building and give us the foundation to continue serving our audiences and wider community for another 25 years.”
Great North Run
People can also get involved in the 25th anniversary celebrations by snapping up one of 25 places The Customs House has secured for The Great North Run.
Panto stars Dame Bella and Arbuthnot – aka Ray Spencer and David John Hopper – will be among the runners taking part in the half-marathon from Newcastle to South Shields on Sunday, September 8, 2019.
To join them, runners must raise a minimum of £250 in sponsorship for The Customs House Trust. For more information, contact Kelly Anders on (0191) 427 8199 or e-mail .
Beauty and the Beast runs from Tuesday, November 27, to Saturday, January 5. Performance times vary and ticket prices start at £9.99. For more information, contact the box office on (0191) 454 1234 or visit www.customshouse.co.uk.
This December, ARC invites you to meet the most unusual duckling the pond has ever seen!
Tuesday 4 and Sunday 23 December 2018
Following the success of last year’s Christmas show, Pinocchio, December 2018 sees ARC bring a magical new show to Stockton as Tutti Frutti Theatre Company perform a new adaptation of Hans Christian Andersen’s much-loved tale – Ugly Duckling.
|Image by Jessica Knight|
In their nest at the edge of a pond, the baby ducklings wait impatiently for Mummy’s enormous egg to hatch. But their new brother doesn’t look like everyone else. He doesn’t even quack like a proper duckling!
Teased and called Ugly by his siblings, our hero goes on an adventure in search of a place to fit in. As the woodland trees change from dark weathered branches to silver sticks of frost, the lost and lonely fledgling hides in brushwood and stares skyward at the migrating swans, yearning to belong and marvelling at their beauty; but where does he really belong?
Moving through all four seasons, Tutti Frutti and York Theatre Royal bring to life Hans Christian Andersen’s well-known tale. With a menagerie of mischievous animals, depicted through inventive performance, and live music that quacks and trills, this charming production plays with the importance of identity, self-worth and takes us on a journey to discover inner beauty.
Ugly Duckling’s writer, the Olivier Award winning, Emma Reeves, said: ‘Ugly Duckling is a classic story about families, identity and finding your place in the world. It’s funny, sad sometimes but ultimately uplifting. It’s great to be working with Tutti Frutti again, exploring such a timeless and joyful story.’
Ugly Duckling will be at ARC, Stockton between Tuesday 4 and Sunday 23 December.
Tickets are priced at £10 per person and £8 per person for groups of 6 or more. https://arconline.co.uk/whats-on/family/ugly-duckling
“Don’t Blame It On The Panto…”
Snow White and the Seven Dwarfs
Until 5th January 2019
The large Christmas Tree is already up at the Durham Gala which means it is time to start pantomime season…oh, yes it is!
Durham have been the first theatre to start its panto for the last few years. It sets a strong marker for the standards expected in each year. It is the fourth show to be written and directed by Neil Armstrong and Paul Hartley and it continues to go from strength to strength by getting the basics right: it is magical for the kids and funny for everyone.
Like in past years, they have taken a story that has been done by plenty of others but they’ve put it in the mixer and changed it to fit the Durham set up. This is no Disney reboot.
In silhouette the story is set up by Miranda the Mirror (Sarah Boulter). The Queen of Fairyhill gave birth to a baby girl. Before she could announce this to the townsfolk, Rupert von Rottenchops (Neil Armstrong) shot her accidently with a 30mm canon. The evil Rupert ditches the baby in a pizza delivery bag and she is brought up by Dame Dolly Doodle (Paul Dunn).
The show begins with Snow White (Lauren Waine) celebrating her 18th birthday and she is waiting for Chester the Jester (Paul Hartley) to arrive to start the entertainment. Instead, Rupert arrives to announce new punitive taxes which spoils the party. Ultimately he decides to send his henchmen Will the Woodsman (Jacob Anderton) and Corporal Crosby (Pip Chamberlin) to finish Snow White off to help prevent a change of power in the kingdom, and the rest is history…
So the evil Queen has been replaced with an evil male character in this tale but the change still leaves a very recognisable tale.
What helps make this a strong panto is that the story drives the action and is central to each scene, rather than been only occasionally mentioned inconveniently, as happens in other shows. There is a real effort with the storytelling and that makes it easier for the kids to relate to the action.
The elements of panto shows are there too. There is the take off scene with lots of screams of ‘its behind you’, the messy scene with custard, the community singing at the end and chances for the audience to get involved. Paul Dunn is the affable Dame who singles out a male adult from the audience but they get picked on a lot less than in past years – it is like they’ve been warned to cool it. Likewise, Paul Hartley is the friendly comic who pulls some kids on stage for some singing and gives us our first rendition of Baby Shark of the season (I know it won’t be the last). What Paul didn’t do was the whole ‘Hi gang, when I come on stage I will say this and you need to say that’ routine. Cutting it out helped cut down the often lengthy exposition than can make the start of a panto drag for those with short attention spans.
Another change from the standard format was releasing Sarah’s character Miranda from the mirror. To see the face in the mirror go off to help Snow White physically worked well. Her incredibly sparkly mirror outfit was a real eyecatcher.
Snow White needs to be delightful and princess like and Lauren handles the role perfectly, although this Snow White is no lightweight pushover. Likewise, Jacob and Pip may start the show as evil henchmen but they are not going to make the younger members of the group burst into tears. In the same way Neil skilfully manipulates the audience, they too elicit the right response from the Durham crowd.
Enough panto standards where kept in, along with some great songs and dance routines. The dwarfs are made up of two teams of children and calling one Keith Simpson was a masterstroke. Our team tonight put in performance which was greater in stature than their young age would normally suggest.
Snow White is a fast-paced panto that sticks to the script, remembers to be funny and looks great. A live band back some well sung songs and lively dance routines. The engaging cast remember it is a family show and there are no scary bits, which makes it suitable for the youngsters too. All in all, it is a great little panto.
Review by Stephen Oliver
Tickets: Find out by booking tickets online at www.galadurham.co.uk or calling the box office on 03000 266 600.
An Open Clasp and Live Theatre co-production, commissioned by Queen’s Hall Arts:
don’t forget the birds
Tour dates include:
20-24 November, Live Theatre, Newcastle
28 Nov-1 Dec, Battersea Arts Centre, London
Written by Catrina McHugh MBE
Directed by Laura Lindow
Set & Costume Designer Verity Quinn
Lighting Designer Ali Hunter
Sound Designer Mariam Rezaei
Movement Director Mona McCarthy
don’t forget the birds is another powerful production from Open Clasp who continue to create shows that empower both the women that they work with and those in the audience too. Never preachy, they transmit a message with emotion and precision. Yet don’t forget the birds is also thoroughly entertaining too and makes for a great night at the theatre – no wonder there was a genuine standing ovation at the end.
Writer Catrina McHugh interviewed mother and daughter Cheryl and Abigail Byron about their experiences about reuniting after mother Cheryl had spent 2 years at HMP Low Newton. Rather than using actors, the real life family group appear on stage to present their own story. This results in an amazing connection with the audience. The chemistry between them couldn’t be replicated by another pairing. The magical, probably unscripted, moments when they support each other through the hour long show added a unique dimension to the experience. Sometimes the mother’s reaction produced a laugh from the audience as we recognised the family dynamic. This is a unique, and rather special show.
The recollections begin on the day Cheryl left prison. The anticipation, from both sides, of the moment freedom is achieved. A trip for fast food quickly moves to the first visit to the Job Centre. This is a true story and the action of the person conducting the interview leaves a similar bad taste to the scenes in the recent movie I, Daniel Blake as the very system that should be there as a safety net fails.
Director Laura Lindow packs a lot in to the hour-long show. Previous relationships, abuse, working, prison life, upbringing and racism all feature in driving the narrative. But, riding above all of that, we have the close bond between a mother and her daughter. The discussion about cleaning the house is typical of the special chemistry that could not work if this was a pair of unrelated actors who had learnt a script. The fact that, occasionally, this real life family pair refer to the script adds to the charm rather than detract from the central theme.
don’t forget the birds is a solid example of why theatre is such an amazing artform and is particularly suited at conveying emotion. It shows why local companies like Open Clasp and local theatres, such as Queens Hall and Live Theatre are important in representing the region through new writing. Powerful, empathetic and entertaining, don’t forget the birds is well worth experiencing.
Review by Stephen Oliver
Photos: Keith Pattison
Photos: Keith Pattison
don’t forget the birds continues at Live Theatre Newcastle (20-24 November) https://www.live.org.uk/whats-on/dont-forget-birds,
before heading to Battersea Arts Centre (28 Nov – 1 Dec) https://www.bac.org.uk/content/45071/whats_on/whats_on/shows/dont_forget_the_birds.
For more information or to book tickets visit www.openclasp.org.uk.
Recommended age: 13+
Teamwork Makes The Dreams Come True
Starlight Theatre Productions present:
Chitty Chitty Bang Bang
Newcastle Tyne Theatre & Opera House
Until Saturday 24th November 2018
The amazing flying car won over the Tyne Theatre crowd as it flew into Tyneside for the first time in an amateur production. A strong cast deliver the classic magical tale with real enthusiasm. This is a real family treat.
Before setting off I was thinking – how long ago was it when I last saw the film? It must be at least 3 decades or more. Yet, at the time it was a regular on a wet Saturday afternoon on BBC 2. This musical is based upon the 1968 British film Chitty Chitty Bang Bang, directed by Ken Hughes, starring Dick Van Dyke and Sally Ann Howes, and written by Roald Dahl and Hughes. It was loosely based on Ian Fleming's 1964 novel Chitty-Chitty-Bang-Bang: The Magical Car. The musical numbers were written by Richard M. and Robert B. Sherman of Jungle Book and Mary Poppins fame.
The musical sticks to the film, as I remember it rather than the original novel, and it retains the music and lyrics written by Richard and Robert Sherman with a script by Jeremy Sams.
The story begins with a sad looking Chitty in the middle of Mr Coggins (Alan Tomkins) yard. It may have been the winner of the 1910 British Gran Prix but now it is a wreck being used as a plaything by Jeremy (Mac Toal) and Jemima (Katie Ellis). They use their imagination to suggest the car can still win races, as long as you’re polite to it and say please. Truly (Kim Wilde), the daughter of a local businessman, pulls up with her motorbike that needs attention and she gets talking to the children’s father Caractacus (Ian Cairns). As the bike is getting fixed, a scrapman (Andy Oliver) offers to buy Chitty for scrap. The children are saddened by this news so Mr Coggins says he’ll sell it to their father to fix up if he can match the scrapman’s evaluation. The only snag is that their Dad is struggling for money as none of inventions have been that successful. Fortunately his luck changes and the adventures with Chitty continue.
Meanwhile, over in Vulgaria, the Baroness (Katie Howes) is trying to get the Baron (Andrew Fearon) a present for his birthday. He wants Chitty as he remembers it winning races so Doris (Melanie King) and Goran (David Rawlings) are sent to locate and acquire it.
Director Bryan Watson has the show skipping along at a decent pace throughout. The 2 ½ hours (plus interval) quickly pass by in a blaze of colour thanks to the high quality set and costumes. As panto season approaches, parallels can be draw and this show has similar high production values that are comparable to the more expensive pantos that will be in town soon.
Choreographer Jenn Rouse has done a fine job building in some dance routines that fit the big production numbers. The numbers are accompanied by a 12 piece orchestra under the capable Andrew Soulsby. They didn’t put a foot wrong as they filled the Opera House with a wonderful sound of those Sherman & Sherman songs.
But in addition to the big ensemble pieces, like Toot Sweets, Teamwork and the eponymous Chitty Chitty Bang Bang, are a number of great spots involving soloists and smaller groups. Starting with You Two with the ever delightful Ian Cairns, Mac Toal and Katie Ellis; Alan Davison with Them Three and continuing with Ian again on Hushabye Mountain, it is obvious that this show has a capable cast.
The show has the lighter moments for both younger and older members of the audience. The Royal Family, the Toolmaker (Alan Tomkins) and Grandpa (Alan Davison) add the light side to the tale whilst the Childcatcher (Andy Oliver) summons the inner-Fleshcreep to court a reaction from the audience. Gauging by the reaction at the very end, Andy had hit the right spot with the younger members of the audience.
Chitty Chitty Bang Bang is a very pleasant magical musical adventure that entertains the family. The car literally takes off above the dry ice and raises this show above other amateur shows. The talented cast and crew pull off a charming evening’s entertainment.
Review by Stephen Oliver.
Tickets are from £16.50 and are available direct from the theatre Box office.
Tickets are also available online from our affiliate Eventim UK Tickets: http://bit.ly/CCBBatTyne.
We will laugh. We will cry.
We will sing and we will dance.
Drag Me To Love
Newcastle Alphabetti Theatre
Wednesday 28th - Friday 30th November 2018
Its golden stilettos, ripped fishnets, shoulder pads, and neon bobs. It’s Doncaster, 2009. Autobiographical, drag & storytelling.
So imagine this. You are 14 years old and you are a drag queen. Its golden stilettos, ripped fishnets, shoulder pads, and neon bobs. It’s expression. It’s glamour. It’s power. It’s Doncaster, 2009.
This autobiographical, three person show, combines drag performance with theatrical storytelling to build the world of Bonnie Love and The Bonnettes. Set against a backdrop of pop anthems and glitter we follow Cameron as he throws himself into a pair of 6-inch stilettos – meeting new people making both friends and foes. But not everything is as it seems and piece by piece the glamorous world of drag fades away.
It’s about being young, having that fire in your belly and seeing no limitations or rules. It’s the uncertainty of your own identity and the creation of a new one. It’s about finding a safe place between the two. Between boy and drag. It’s a reflection. An exorcism. A scrapbook.
Cast and Crew:
Created by Cameron Sharp, Hattie Eason, Becky Glendenning-Laycock, and Abbey Jones.
Performed by Cameron Sharp, Hattie Eason, and Becky Glendenning-Laycock.
Stage Manager/Technician: Sophie Teesdale
When: Wednesday 28th - Friday 30th November 2018
Show begins: 7.30pm
Tickets: £7 Full Price / £5 Concession (Student, OAP, Artist, Unwaged)
Age recommendation: 16+
Running Time: approx. 1 hour
Show begins: 7.30pm
Tickets: £7 Full Price / £5 Concession (Student, OAP, Artist, Unwaged)
Age recommendation: 16+
Running Time: approx. 1 hour