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Cabaret started life on the stage before it was turned into
a major film in the 1970s. There are a few significant changes between the two
however, in our opinion, the stage show is much better than film. Indeed, THIS
particular production of Cabaret is well worth seeing as it manages to control
two central themes, against a background of political upheaval in Germany,
without confusing the audience. But Cabaret is much more than that as a
consistently remarkable cast put on a real show at the Sunderland Empire.
Not everyone has seen the film. So, let’s start with the
The tale begins on New Year’s Eve, in Berlin, as 1930 is
turning into 1931.American author Cliff
Bradshaw (Charles Hagerty) has just arrived and he is in need of somewhere to
stay in order to write his new book. Lucky for him he bumps into Ernst (Nick
Tizzard) at passport control who seems to be smuggling perfume in order to make
a bit of money on the side.Ernst recommends
taking lodgings at Fraulein Schneider’s residence. He also suggests that they
meet up later at the Kit Kat Klub. Schneider (Anita Harris) offers him a room
and Cliff quickly meets up with the other characters at the house including fruit
seller Herr Schultz (James Paterson) and Fraulein Kost (Basienka Blake) who
seems to have lots of sailors popping by.
The Kit Kat Club may a dark, bawdy and shameless venue which
aims to entertain. Emcee, performed by the enigmatic John Partridge, leads the
opening number Wilkommen and he is supported by a very tight dancing ensemble.
In fact, the clubs scenes all benefit from, at times sensual, but always very
dramatic, dance and catchy memorable songs. The Emcee really cuts it by
breaking the 4th wall with the Sunderland crowd on occasion, but not too much. Adding
to the ambience is a live band, under musical director Phil Cornwell, sat
behind in raised position who did not put a note wrong all night.
It is at the club that Cliff meets English entertainer
Sally Bowles (Kara Lily Hayworth) who is sacked and decides to move in with Cliff.
The story then looks at this couples relationship whilst, at the same time,
moving the action back to the club to see the bigger picture, including the
political turmoil of German in the early 1930s.
Cabaret’s design helps to set the atmosphere. Lighting (Tim
Oliver) picks out action but also keeps some stuff deliberately in the
shadows.Sound (Dan Samson) too is sometimes
changed to reflect the setting/venue. Having some of the set pushed on meant
its arrival was sometimes choreographed (Javier De Frutos) into the action too.
The Fraulein Schneider lodging house scenes felt more
separate from the club scenes and that clarity helped make this a better experience
than the much-loved movie in my opinion. The issues around Fraulein Schneider were
well captured and Anita Harris has a stunning voice. Charles Hagerty’s Cliff
Bradshaw seemed less pathetic and naive than in the movie too. Likewise, Kara
Lily Haworth’s Sally captured the free spirit of the time. James Paterson conveys
the confidence that everything will be alright as the Jewish Herr Schultz,
despite the various warning signs.
There is some nudity in the show, but it is not on stage
for an excessive time.Indeed, used to
make a statement at the end.
The undercurrent of impending political change is not
laboured but hangs in the air from the start.The sequence of historical events flows organically across the piece. The
later stages of the show are less of a shock as the political themes overlap with
the residents of Fraulein Schneider’s house.
Cabaret is well worth seeing. It has plenty to offer as a
piece of theatre. There is no ‘mega mix’ to get everyone standing at the end
(unlike a lot of modern musicals) but Sunderland still gave it a well-deserved
standing ovation. The ensemble worked so
hard to entertain in this five- star performance.
NB: Officially the show is marketed as “Recommended
13yrs+ Please note this show contains nudity, strong language and adult themes.”
Yes, there is both male and female nudity. Parents will know best if it is
suitable for their children.
GUY: A New
Musical to tour across the North East this February
The award-winning modern-day gay love story
for everybody tours the North East, in a new version with more bopsthan ever
A New Musical premiered in 2018 at Hope Mill Theatre and The Bunker, and was the winner, of Best Show at the Birmingham Fringe
Festival 2018 and winner of Buxton Fringe
Award for Best New Writing 2018.
years later, GUY is touring the North East, sharing the story of a fat, gay,
nerdy man looking for love. Combining electronic, pop and musical theatre, GUY
is Queer As Folk meets Bridget Jones with a catfishing musical
twist, leo&hyde’s award-winning GUY gives you 12 heart-pounding electronic
pop anthems and witty, heartfelt story about modern dating through a diverse
cross-section of gay men. GUY is a reminder that the only person you should be
is yourself: #nofilter.
leo&hyde is a multi-award-winning musical theatre partnership,
based in Manchester. They use current music to tell stories about modern life, technology and social media. Our work has been performed at The Lowry, Hope Mill
Theatre, The Arcola, The Everyman, The Other Palace and The King’s Head
Theatre, amongst other venues.
The company was set up in 2016, led by Cumbrian composer Stephen Hyde (shortlisted
for the Cameron Mackintosh Resident Composer 2018) and Mancunian writer /
producer Leo Mercer (a Stage One
and Leo commented: “We can't wait to
bring GUY: A New Musical to the North East. We were delighted to be chosen by these
six venues to bring GUY to the North East - we’re big believers that a gay love
story can speak to the entire world, and can’t wait to share this musical with
GUY starts a tour of the North East with a date atQueen’s Hall Arts Centre, Hexham on 3 February followed by Alnwick
Playhouse, Saltburn Community Centre, Arts Centre Washington, Barnard Castle,
The Witham, then finishes at Hartlepool Town Hall Theatre on the 8th
Powered - “This is a show
that has all the tools it needs to succeed… a beautiful score by Stephen Hyde
and a great book by Leoe Mercer”
Box - “Exceptional
cast… catchy [music]… a joy to watch”
✭✭✭✭✭Boyz - “A fabulous mix of electric, synth-pop,
punk, funk, rap, disco and high energy that will blow your socks off”
✭✭✭✭1/2 Manchester Theatre Awards - “Excellent… lean,
fast-moving and contemporary”
✭✭✭✭1/2 Reviews Hub - “[An] irresistible rom-com of the
highest order… The acting is first class, the singing is excellent and the
songs are very catchy. Hyde’s music [...] seems refreshingly contemporary...
there’s not one dud song in 90 minutes… Mercer’s lyrics are just as keenly
observed and are often very funny.. Slickly performed with [...] infectious
energy... leon&hyde are a formidable partnership... the show has the
potential to be very big indeed”
Ad: Tickets are now available from our affiliate Eventim UK Tickets. This means we receive a small share of the sale. Clicking on these links helps us to cover the costs of producing the North East Theatre Guide free of charge to both our readers and theatres.
first UK Tour of Friends The Musical Parody is coming to Newcastle’s Tyne Theatre
and Opera House Sunday 1st November 2020 at
6pm (Doors: 5pm)
The New York and Las
Vegas hit musical, Friends! The Musical Parody, is coming to Tyne Theatre &
Opera House on Sunday 1st November 2020.
Following huge success
in the US, Friends! The Musical Parody will be going on tour for the first time
in the UK and Ireland.
This hilarious musical lovingly
lampoons the hit TV sitcom which became a cultural institution with millions of
fans across the globe.
Like the original television series, it follows the lives of six wacky
20-somethings and goes back in time to celebrate and poke fun at some of their
most iconic moments as they navigate the pitfalls of work, life, and love in
Led by a talented cast who nail the quirks, the mannerisms
and the catchphrases of the TV Show characters.Ross, Chandler, Monica, Phoebe, Joey and Rachel, haven’t gone anywhere
and are singing and dancing their way back into our hearts in a delightful
musical parody that harnesses the nostalgia for the iconic TV show and takes it
to hilarious new places.
Theatre Director Joanne Johnson
said “We’re very excited to welcome the first UK tour of Friends – The
Musical Parody onto our stage. It’s had huge success in America and the TV
series still is a huge phenomenon to this day. Fans of the TV show won’t want
to miss out on this.”
This was panto show number 14 of the
season for us, and we were with the loudest audience. This crowd were really up
for a good time. Even over the loud pa system, the audience could be heard
yelling for Buttons when someone was going to steal his present or heard
laughing as the performers described what they’d do if they were not in panto.
SInderella is not a quiet panto. It is not for the faint hearted. And yes, it
is rude. I wouldn’t take my mother to it. But do you know what? We loved it.
As each actor appeared on stage, I realised that the bulk of the audience
were familiar with them, as each one, with a couple of exceptions, has appeared
on some television programme or other. By the reaction of the audience, they
feel that they already know them and love them and were excited to meet them
afterwards. As for me: well I don’t see that much TV do I? Having said that –
they all appeared comfortable with entertaining on stage with an audience that
they can hear giving them immediate feedback. Only one gave a vibe that they
are not entirely sure with is going on with this “panto” format, but that vulnerability
was charming as they reacted to the audience’s reaction to the script.
Stacy Layne Matthews, from season 3 of RuPaul’s Drag Race, appears first
as Fairy Henny who is armed with rhyming couplets on her she is going to sort
out Cinderella’s love life. She is met by another Rupaul favourite: Davina De
Campo as Baroness Divina Hardon who has married Baron Hardon and is moving into
Hardon Hall with her 2 ugly daughters. Davina is a wonderful performer that
works the Newcastle crowd well.
Glasgow’s Julie Hutchinson Alberts plays a pretty straight Cinderella
and the script lets the others around her say all of the naughty things that
makes show an adult panto. Cinder’s best friend is, of course, Buttons, and producer
Joe Purdy has played a blinder by recruiting the South Tyneside panto legend Davey
Hopper to the role. Naturally entertaining, this lad helped tie together the
various panto elements and remained comical throughout. He was clearly having
fun in the more adult role but that did not stop a few yells of “Arbuthnot”
from the crowd as some fans of his Customs House performances were in for this
Sometimes, in Cinderella, you end up with a fairly boring Prince and
side-kick. Thankfully that was not the case here. Britain’s Got Talent
semi-finalist Rob King seemed to fit in well into the action as he makes his theatre
debut as Prince Charming. He was a part of a great double-act, playing the
straight guy next to David Potts as Dandini. Potts was a vibrant character in
his own right rather than a subservient extra.
The Cinderella story also relies on two ugly sisters, and this show has
a right pair! Lapping up a number of opportunities to be as cruel and as crude
as they can get away with are Jamie Campbell and Troy Haris as Fifi and Frieda
Hardon. At least Jamie was someone that, as a theatre-goer, I was familiar with
as he is the actual Jamie in Everyone’s Talking About Jamie (which will be appearing
at the Theatre Royal from March 30th). These two uglies were happy
to interact with the audience and Baroness Divina, trading insults and getting
as many “ew”s as laughs as they were often disgusting and loving it.
The show is complete with four dancers (Ross McNally, Blake Wilson, Kris
Gazey and Steph Knight) that often added to adult theme with their routines.
This is a really funny show. Even though it over ran slightly and was
just under the 3 hour mark (with interval) – that was more down to the audience
than anything else. It looked like a proper panto and featured people know for TV,
but the jokes were definitely not for television and each one understood the
nature of the three-ringed circus that is live panto. It actually stuck to the
Cinderella narrative fairly closely but wasn’t afraid to point out how, for example,
Cinders should keep her mouth shut at times – or what was more likely to have
happened at the ball.
arrangement with Concord Theatricals on behalf of R and H Theatricals.
Newcastle Northern Stage
Until Saturday 25th January
Stage 2 is playing host this week to the venue’s debut by the
Oxi-Morons Theatre Company.
They have revived a musical that looks at the life’s of four New Yorkers over
the period of 24 hours. The powerful lyrics provide a rich tapestry of modern
life. Thanks to four engaging actors, accompanied by live music from Ray Taylor
on the piano, the audience was immersed in a potent tale.
The soundscape of a bustling city centre greets the
audience as they arrive. Car horns blare as you take in the set made up of
stalls, Virginia Woolf quotes and a crossword.
" A life that goes on changing is a life that goes
on living " Virginia Woolf.
It is September 11th 2008 and four people are
preparing for another day in the Big Apple. Gram Cummings is first to appear as
Warren who is house sitting for an artist who is currently incarcerated. He
tries to keep the work of the unnamed painter alive by giving out leaflets that
he has designed which are covered in quotes. Despite his outwardly confident
entrance, Gram manages to convey that sense of a fragile personality who
clearly has a detailed back story that has put him into this position.
Eilidh Talman then introduces Deb, who is trying to
graduate but has lost the book that contains all of her notes that she needs
for her thesis on Virginia Woolf. Her supervisor has clearly made it clear that
there are no excuses for a late submission and that stresses her out.
In the third flat are a couple that are moving to the next
stage in their relationship. Jamie Brown is Jason, a lad who is tired of
running backwards and forwards between the two locations and he is unpacking
his stuff in Claire’s apartment. Tension is building from the off as Claire is
less keen on moving her stuff out of the way. Melanie Carss is terrific as the
reluctant flatmate who doesn’t want to explain why she is keeping her yearbook
or a jumper that she never wears.
This show features over 20 songs that both convey feelings
and push the narrative along. There is no need for dull exposition when Adam
Gwon’s well chosen phrases for the lyrics tell the audience all that they need.
The bonus is that this propels the show along at a decent pace – which is also
helped by the omission of an interval, that also sustains the tension.
Yes, there is going to a link between the characters but it
isn’t as contrived as a television sit-com.Some of the back story to some of the characters will be revealed but the
audience is treated with intelligence and not everything is revealed or explained.
I found myself pondering over these well-formed individuals on the drive home.
And that is the magic of this production is that you care about these people.
Without that emotional attachment, the show fails. It is through the
performances that you form such a bond. Jamie Brown and Melanie Carss show that
a lack of communication can add to stress whilst Eilidh Talman shows the stress
of work deadlines that others don’t understand. Gram Cummings shows a fully
formed and complex character that has so much to offer.
For a show that is made up of many songs and is almost
entirely sung through, it does feel different for a musical. Light and nimble
rather than trying to force itself into a traditional format.
This is wonderful show that was a pleasure to watch.
2020 is proving to be a great year for theatre already!
Ballet Returns to Newcastle With a Stunning Seasonal Spectacular
Wednesday 12 - Saturday
15 February 2020
ever-popular Scottish Ballet make a dazzling return to Newcastle Theatre Royal
with a seasonal treat for the whole family. In celebration of Scottish Ballet’s
50th anniversary year, The
Snow Queen will be playing its only tour dates in England from Wednesday 12 – Saturday 15 February 2020.
Inspired by Hans Christian
Andersen’s much-loved tale, which was also the basis for Disney’s hit film Frozen,
Scottish Ballet’s The Snow Queen is a story of love and friendship that
will delight audiences of all ages. The action is driven by three central
female characters: the brave young Gerda on a quest to rescue her true love,
the enigmatic pickpocket Lexi at her side, and the powerful Snow Queen at the
centre of it all.
Created in collaboration with multi-award-winning designer Lez Brotherston, The
Snow Queen will take audiences from a bustling winter’s market, through a
fairytale forest, and into the icy realms of the Snow Queen’s palace. The
production will include a colourful cast of characters dressed in a total of
111 custom-made costumes, from a circus ringmaster and his troupe to dancing
snowflakes and, of course, the dazzling Snow Queen herself.
Set to the music of Russian composer Nicolai Rimsky-Korsakov, the specially
adapted score by Richard Honner will be performed live by the full Scottish
Ballet Orchestra. One highlight will be an on-stage violin solo, set to send
shivers down audiences’ spines as the choreography, design and music come
together for dramatic effect.
Christopher Hampson, CEO /
Artistic Director of Scottish Ballet, said:“It’s been an extraordinary year for Scottish Ballet, and I’m thrilled that we bring our 50th anniversary
celebrations to a close with the world premiere of The Snow Queen. Unpicking this fairytale to bring out its most
compelling characters and focusing on their journeys has been a rewarding
process. Working with the brilliant Lez Brotherston, we have reimagined the
story in a spectacular new world and I hope it will entertain and delight
audiences of all ages.”
The Snow Queen plays at Newcastle Theatre
Royal Wednesday 12 - Saturday 15 February 2020 playing evenings at 7.30pm and
matinees Thursday 2pm and Saturday 2.30pm.Tickets from £15.50 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.
Customs House Panto Star Swaps His Elf Uniform For PJs
Petula’s Slumberland Sing-Along
Armstrong’s Bar (Formally The Armstrong Hall)
Thursday 20th - Friday 21st February 2020
Customs House ‘Santa’s Naughty Elf’ star Wayne Miller celebrated eleven years of
bringing Santa’s Naughty Elf to life and last years The Elves & The Shoemaker saw him in his final Elf performance as
Elfluent the elf.
panto for little ones’ was devised by The Customs House Executive Director Ray
Spencer in 2009 to complement the main house panto, with
the aim to be more
accessible to children under seven and their families.Giving a more suitable first time theatre experience for the little
also wrote and directed the shows, said: “I always said
I wanted to get to the 10-year mark and I did, it was really special.
So I decided my eleventh year would be the time to
say goodbye to Elfluent and let the next generation of panto performers elevate
their little panto to the next level.”
“Santa’s Naughty Elf has meant so much to me as a performer, as a writer and as
a person. It became so
personal, getting to grow with our audiences
who came back year after year.” added Wayne
Audiences he hopes return to the growing panto universe of Peter Plank.
The actor and writer created the panto character two years ago, to entertain in
the none festive holidays for families. Over the past two years Peter has been
in many popular adventures. One of which was a Slumberland Sing-Along, which
was first seen at The Westovian Theatre in South Shields. The show Peter &
Petula’s Slumberland Sing-Along is back by popular demand this February.
Wayne says: “The first time we performed this show, we got such a
wonderful response with the audiences. They asked us when they could see it
again, so we decided to bring it back for a short run this February Half Term.
They really seemed to love seeing the hapless and hopeless Peter Plank as much
as I love playing him!”
The show tells the story of Peter and his sister Petula who decide to
have a sleep over, inviting everyone to join them in PJ’s and with teddy’s for
a night of song and dance. They bring to life weird and wonderful family
members and things that go bump in the night…bumps that are not too scary
though, as this is a mini pantomime for the mini ones.
“We wanted this show to follow in the same style as Santa’s Naughty Elf,
perfect for the mini ones. Not too long, interactive with plenty of silliness.
Something Wayne has become well known for” adds producer Stacy Walton.
Walton-Gunn Productions continue to produce perfect panto fun for North
East audiences and hope the return of Peter & Petula’s Slumberland
Sing-Along is a fun start to the first school holidays of 2020. There are only
three performances at Armstrong’s Bar ( Formally The Armstrong Hall) so grab
your tickets to the show from www.ticketsource.co.uk/walton-gunn .
Tickets are priced at £7 and £24 for a family ticket.