Preview: ‘5 Soldiers at Newcastle Dance City

Rosie Kay Dance Company presents

‘5 Soldiers: The Body Is The Frontline’ 2015 Tour

Newcastle Dance City

Thursday 14^th& Saturday 16^th May 

Dancers Shelley Eva Haden, Chester Hayes,

Sean Marcs, Duncan Anderson,

Oliver Russell – Photo: Tim Cross

Rosie Kay Dance Company, the international award-winning dance theatre company headed by artistic director and choreographer Rosie Kay, will tour its thought-provoking and extremely moving 5 Soldiers: The Body Is The Frontline from 23 April to 13 June visiting Dance City in Newcastle on both 14^thand 16^th May 2015.

With the commemorations of WWI in the news, 5 Soldiers shows how the human body is still central to all conflict, the impact and injuries lasting long after the headlines fade.

Dancers Shelley Eva Haden, Chester Hayes,

Sean Marcs, Duncan Anderson,

Oliver Russell – Photo: Tim Cross

The tour, the first of its kind in the UK, will see the company working in partnership with theatres, military bases and the Army Welfare Service. This unique style of intensive tour model comprises of two months of community outreach work in each location, leading to a weekend of events, community performances, the professional shows and post-show talks with Kay, the cast and a local Commanding Officer.

Dancers Shelley Eva Haden, Chester Hayes,

Sean Marcs, Duncan Anderson,

Oliver Russell – Photo: Tim Cross

The tour will engage with local theatre and non-theatre venues, including building theatres in drill halls and in Officers’ Clubs, to develop a relationship between military bases and the local arts community through a huge community engagement programme working with communities, service personnel and their families, young people and veterans. In advance of the full show, a 20-minute version of the piece will be performed in the town centre by the professional company.

No-holds-barred, 5 Soldiers delivers Kay’s trademark style of intense physical and athletic dance theatre. The work received audience and critical acclaim in 2010 and 2011, and has been endorsed as ‘getting it’ by its military audiences.

Dancers Shelley Eva Haden, Chester Hayes,

Sean Marcs, Duncan Anderson,

Oliver Russell – Photo: Tim Cross

Says General Sir Nick Parker, KCB, CBE: “Rosie Kay’s use of dance to help create a complex and nuanced picture of conflict is one of the most innovative and compelling initiatives that I have experienced in the aftermath of Iraq and Afghanistan. It demonstrates how art can be used as a powerful tool in the healing process, how it can touch the extended family of those who have been caught in the horror of battle and how it can send a universal message about the soldier. It is an extraordinary achievement which will make a difference to many people.”

Supported by Arts Council England and Army Benevolent Fund, The Soldiers’ Charity, the 5 Soldiers tour will open at Birmingham REP on 23 April, marking five years to the day since the work received its world premiere at International Dance Festival Birmingham 2010.

Dancers Shelley Eva Haden, Chester Hayes,

Sean Marcs, Duncan Anderson,

Oliver Russell – Photo: Tim Cross

5 Soldiers is a moving, dramatic and unique work that looks at how the human body remains essential to war, even in the 21st century.

A visceral ‘tour de force’ of the senses, 5 Soldiers provides an intimate view of the training that prepares our soldiers for the sheer physicality of combat, for the possibility of injury, and the impact conflict has on the bodies and minds of everyone it reaches. The piece has a powerful physicality, moments of humour and is full of honesty, all inspired by input from serving and former soldiers.  

Kay’s moving exploration of war was made following an intense period of field research when she joined The 4th Battalion The Rifles for two weeks and experienced full battle exercises on Dartmoorand Salisbury Plain. Kay then visited the military rehabilitation centre, Headley Court, to see the effects of conflict and training on the soldiers’ bodies.

The 2015 tour sees Kay re-work 5 Soldiers. Says Rosie Kay, artistic director of Rosie Kay Dance Company: “This tour is so exciting for the company- we really want more people to see the work, and experience the power of the message.  Despite advances in technologies of war and the treatment of war injuries, so many people are going to be dealing with the impact of our long stretch of operations.  This affects not just soldiers, but their families, their friends and it affects us as a society.  We have a responsibility to understand what it is we ask our soldiers to do, and how it affects them.

Dancers Shelley Eva Haden, Chester Hayes,

Sean Marcs, Duncan Anderson,

Oliver Russell – Photo: Tim Cross

We know 5 Soldiers really resonates with serving and former soldiers, and so we are widening our tour to include performances, talks, a symposium and an incredible outreach programme across the whole of UK.  It’s an ambitious programme for us as a company, and combines all our years of experience from making outdoor work, site-specific work, community engagement, high quality touring work and professional training and development.

We aim to make an impact with this tour and make people see conflict and the repercussions of war in a new way.”

New to the company are five outstanding dancers – Duncan Anderson, Chester Hayes, Sean Marcs, Oliver Russell and Shelley Eva Haden – during the intense six-week rehearsal period they will participate in a weeklong military exercise with The 4^thBattalion The Rifles on the Salisbury Plain.

Dancers Shelley Eva Haden, Chester Hayes,

Sean Marcs, Duncan Anderson,

Oliver Russell – Photo: Tim Cross

5 Soldiers brings together an exciting mix of collaborators: designer Louis Price, composer Annie Mahtani, Dramaturg Ben Payne, lighting designer Mike Gunning and visual artist David Cotterell.

Kay is one the world’s leading female choreographers with a reputation for making strong, intelligent work that tackles interesting subjects with exciting collaborations. In 2012 the company was nominated as Best Independent Dance Company by the National Dance Awards, Critics Circle. Kay choreographed the 2013 feature film Sunshine on Leith, directed by Dexter Fletcher, with songs by The Proclaimers. In 2013, Kay was the first choreographer to be appointed the Leverhulme Artist in Residence at the School of Anthropologyand Museum Ethnography, University of Oxford.

On The Web:

Website: www.5soldiers.co.uk

Twitter: twitter.com/rosiekaydanceco

Facebook: www.facebook.com/events/614462912022029/

www.facebook.com/RosieKayDanceCompany

Trailer: www.youtube.com/watch?v=ZHbUMQL0z9Q 

5* Review in The Guardian: www.theguardian.com/stage

 

5 SOLDIERS: THE BODY IS THE FRONTLINE – 2015 tour dates

23-25 April // BIRMINGHAM, Repertory Theatre, Broad Street, B1 2EP                         

Tickets: www.birmingham-rep.co.uk // 0121 236 4455

2 & 3 May // OXFORD, Wolfson College in partnership with Defence Studies Department, King’s College London at the UK Defence Academy and Swindon Dance Tickets: www.5soldiers.co.uk // 0333 577 5700

7-9 May // LONDON, The Rifles Officers’ Club, 56 Davies Street, London, W1K 5HR      

Tickets: www.5soldiers.co.uk // 0333 577 5700

Dancers Shelley Eva Haden, Chester Hayes,

Sean Marcs, Duncan Anderson,

Oliver Russell – Photo: Tim Cross

14 & 16 May // NEWCASTLE, Dance City, Temple Street, NE1 4BR                       

Tickets: www.dancecity.co.uk // 0191 261 0505

23 & 24 May // BLANDFORD The Semaphore Arms, Blandford Camp, Dorset DT11 8RH, in partnership with Pavilion Dance South West  www.pdsw.org.uk // 01202 203630

29 & 30 May // MANCHESTER, Home & Rusholme Army Reserve Centre, Norman Road, Manchester M14 5LH  // Tickets: www.homemcr.org // 0161 200 1500

5 & 6 June // YORK, Theatre Royal & Imphal Barracks, enter via Holland Road, York  YO10 4JT   Tickets: www.yorktheatreroyal.co.uk // 01904 623568

12 & 13 June // BRECON, Theatr Brycheiniog, Canal Wharf, Brecon, Powys LD3 7EW    Tickets: www.brycheiniog.co.uk // 01874 611622

5 SOLDIERS: THE BODY IS THE FRONTLINE - Age Guidance is PG - Running Time is 60 minutes

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Preview: Peter Pan Goes Wrong at Newcastle Theatre Royal

AWARD WINNING MISCHIEF-MAKERS BRING NEVERLAND TO NEWCASTLE

Peter Pan Goes Wrong

Newcastle Theatre Royal

Wednesday 1 to Saturday 4 July 2015

West End stormers and multiple award winners Mischief Theatre Company are set to bring their riotous new show Peter Pan Goes Wrong to Newcastle Theatre Royal in July.  Expect lashings of slapstick and mayhem galore, oh, and a crocodile that ticks! From Wednesday 1 to Saturday 4 July 2015

Mischief Theatre exploded onto the West End stage with phenomenal success last year with The Play That Goes Wrong, the first of their ‘Goes Wrong’ hit shows. Now after winning the Whatsonstage Award for Best New Comedy  2014 and Oliver Award for Best New Comedy 2015, the company is flying high and promises a barrel-full of laughs with its new show.

The play introduces ‘The Cornley Polytechnic Drama Society’ who are attempting to stage J.M. Barrie’s classic tale of Peter Pan, but as the title suggests, everything that can go wrong… does, as the accident prone thesps embark on a thrilling adventure to Neverland with hilariously disastrous results. A highly physical comedy packed with finely-tuned mayhem and Buster Keaton inspired slapstick, Peter Pan Goes Wrong delivers a fast-paced show with split-second timing and ambitious daring.

Mischief Theatre Company started at the Old Red Lion in London, then transferred their first show to the West End where it enjoyed two successive runs at the Trafalgar Studios, whipping critics, audiences and celebrity fans into a frenzy of delight. Producers Kenny Wax (of Top Hat fame) and Stage Presence Ltd picked up the show and produced a two-act version of the play, which enjoyed a sell-out UK tour and swiftly followed with a West End transfer to the Duchess Theatre, where it is currently playing to packed houses. The company have just announced an extension through until September 2015 in the West End. Peter Pan Goes Wrong first premiered with a small-scale production at The Pleasance London in December 2013. This new 2014/5 production has been developed and redesigned for a number one UK tour.

Triple Olivier award-winning producer Kenny Wax says: “We took a huge gamble in transferring The Play That Goes Wrong into the West End; a new comedy starring 'no one famous' by unknown writers. And yet our sold out show is delighting packed houses night after night. Marketeers will tell you that there is only one thing that can create such a 'hit' and that is great word of mouth. I have no doubt that Peter Pan Goes Wrong will be met with the same tremendous reaction.”

Mischief Theatre was founded in 2008 by a group of graduates of The London Academy of Music and Dramatic Art (LAMDA) and began as an improvised comedy group. The recent success of The Play That Goes Wrong has put Mischief firmly in the spotlight, attracting critical acclaim and international attention from theatre producers worldwide. The company is led by Artistic Director Henry Lewis and Company Director Jonathan Sayer.

Co-written by Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry Shields, Peter Pan Goes Wrong is directed by Adam Meggido, with set designs by Simon Scullion, costume designs by Roberto Surace, lighting design by Matt Haskins and sound design by Ella Wahlstrom. The production will be performed by an ensemble cast of ten, featuring: Laurence Pears, Cornelius Booth, Alex Bartram, James Marlowe, Chris Leask, Leonie Hill, Naomi Sheldon, Matt Cavendish, Harry Kershaw and Rosie Abraham. The company will be casting local children at each venue to play ‘the Lost Boys’.

Peter Pan Goes Wrong is produced by Kenny Wax Ltd and Stage Presence Ltd. A donation from every ticket sold is given to Great Ormond Street Hospital.

Jowheretogo saw this brilliant show earlier in the tour – see our review here

Jowheretogo rated Mischief Theatre’s previous production The Play That Goes Wrong as one of the funniest shows of 2014 – read the review here

Tickets:

Peter Pan Goes Wrong is at Newcastle Theatre Royal from Wednesday 1^st until Saturday 4^th July 2015. Tickets are available from £11 (save 50p per ticket by booking online) and can be purchased from the Theatre Royal Box Office on 08448 11 21 21 or select your own seat and book online at www.theatreroyal.co.uk

Opening Night £15 Ticket Offer! (Partial View Seats remain at £11 on Opening Night)

 

 

Review: Carrie: The Musical at Southwark Playhouse

There’s No Musical Like It

Carrie: The Musical

Southwark Playhouse

Until Saturday 30^th May 2015.

The musical that had wreaked havoc in 1988 returns in a slimmed down and hungrier form and it wants revenge. The end result is an amazing study on bullying and consequences.

Carrie was Stephen King’s first major novel in 1974. Four years later Lawrence D Cohen wrote his first screenplay for the cult hit movie that ensured everyone would know Carrie’s name.

Fast forward to 1981 and Cohen and Michael Gore are inspired enough by a performance of Alban Berg's opera Lulu at the Metropolitan Opera House to begin work on a musical based on the Stephen King novel. Gore had award winning success with Fameand soon his Fame collaborator Dean Pitchford, fresh from success from Footloosewas on board.  The final piece of the jigsaw was that the Royal Shakespeare Company, looking for a sequel to Les Miserable, agreed to produce the show. With that track record what could go wrong?

A reported $8million later the show was shut down just 5 shows after opening night and the musical entered musical history as one of the most expensive flops. Mistakes included the RSC going for a Greece theme (with togas) rather than a Grease theme. That, for most flops, would have been the end of it but the birth of the internet kept Carrie’s flame alight. Books get written about it and interest continues. The big question was: if the mistakes were rectified – could Carrie work as a musical?

In 2010 the original team of Cohen, Gore and Pitchford announce that they would resurrect Carrie for an off-Broadway revival. These shows had much more positive reviews and lead to a cast recording. The resultant CD has, along with Urinetown, been on heavy rotation at Jowheretogo towers. We said if Carrie headed back across the Atlantic that we’d be there. We had to find out what the fuss was about.

Southwark Playhouse is a well formed theatre, that was worth seeking out, a short walk from the Elephant & Castle tube station. I am surprised that none of the signage at the tube station flags up the direction to the areas nearest theatre as just about everything else was. The “large” space is incredibly intimate with just a few rows of seats on 3 of the sides of the extended performance space. The seats are tiered nicely to ensure a great view of the action.

A discordant sound, as the audience enters the auditorium builds up the tension like the opening theme on a 70s horror film. A single chair is in the centre of a grimy spartan set which is about as far removed from the brilliant white box set of the ’88 production as you can get.

The new version of Carrie begins with Sue Snell (Sarah McNicholas) being interrogated by unseen investigators. This is used as a narration tool throughout the story. Reports of the ’88 show stated how the story was baffling to anyone unfamiliar with either the book or the film. The addition of short interrogation scenes add sufficient exposition to help the story make sense. “We were just kids” says Sue as the ensemble enter the stage to sing the opening number “In” which highlights the uncertainties of acceptance and teenage life. From the start the singing is impressive and balanced. The unseen band, led by Mark Crossland, don’t put a note wrong and reflect the mood perfectly.

A gym lesson introduces us to Carrie, an outsider whose upbringing makes her socially awkward. Matters quickly get worse when, at the age of 17, she starts her first period in the shower afterwards. She thinks she is bleeding to death and asks her classmates for help and they respond cruelly and bully her. This is the point in which the updated book by Lawrence D Cohen enters the 21^stcentury as a classmate films the episode on her mobile phone and uploads it to the internet.

Gym teacher Miss Gardner (Jodie Jacobs) tries to show some compassion but doesn’t, upon reflection, handle the situation in the best way. Carrie is sent home to recover which sets her up for more taunting by bullies as she leaves the building. In response she bursts into her signature tune “Carrie”.  This is an opportunity for Evelyn Hoskins to show off her perfectly tuned voice which is perfect for the massive number.

When poor Carrie gets home her mother is busy earning her keep doing clothing alterations for others whilst singing along to a religious programme on the radio. Kim Criswell has a superb voice and when she duets with Evelyn Hoskins their voices couple in perfect harmony. But it is not just their voices which are melded together as they have onstage stage chemistry which reflects a loving mother daughter relationship. When Carrie tells her mother about the shocking events at school she doesn’t get sympathy. “And Eve Was Weak” is a powerful number which quickly demonstrates the nature of this unusual maternal relationship. Ultimately Carrie is pushed through a trapdoor and told to pray for forgiveness for her sins.

Back at school Sue has second thoughts about how the bullying but her best friend Chris (Gabriella Williams) is unrepentant. “The World According To Chris” works well as a number to set up Chris as a teenager for whom offence is the best form of defence.

When her boyfriend Tommy (Greg Miller-Burns) suggests that Sue apologises he quickly finds that instead of inviting Sue to the prom, he is going to ask the initially reluctant Carrie instead.  Chris, who by this point has been banned from the school prom, decides to wreak revenge on Carrie and so the stage is set for the night no one will forget.

Carrie The Musical is as much study of the problems of teenage relationships as it is a look into a fanatical religious upbringing. The major difference from ’88 is that the story now makes sense – Sue adds important narration and Carrie’s telekinesis is given a chance to be explored rather than suddenly be unleashed in the final scene without explanation.

The singing is very strong and lacks any weak links in any of the harmonies. The acting was also a pleasure to watch. The mother daughter relationship feels believable.  Sue and her boyfriend Tommy come across as well-meaning whilst Chris and her boyfriend Billy (Dex Nolan) are suitably repugnant without being over the top. In short Carrie is finally a production which is as least as good as the original novel.

The special effects from Jeremy Chernick and Floyd Hughes add to, rather than detract from, the story. Sparks are not the only things to fly around the stage. The lighting design by Tim Oliver does a great job of picking out the action and setting the mood.

The only minor glitch is the programme. For £3 one would expect more than a list of the team. Why is there no context behind either the story or the production? Given that books have been written about “Carrie The Musical” surely someone from either the venue or production wanted to say a few words about the musical?

This is simply one of the best musicals I have seen.  It is Wicked for those who have grown up from the ‘Cbeebies’ tale currently in the West End. Gary Lloyd has directed an intelligent, powerful and entertaining study into teenage life and it is well worth seeking out. I hope it tours around the UK as it deserves much greater exposure. The cast and creatives should be proud as Carrie stands tall above the rest.

This review was written by Stephen Oliver for Jowheretogo PR (www.jowheretogo.com). Follow Jo on twitter @jowheretogo, Stephen @panic_c_button or like Jowheretogo on Facebook www.facebook.com/Jowheretogo

On The Web:

Twitter: https://twitter.com/CarrieMusicalUK

Facebook: https://www.facebook.com/CarrieTheMusicalUK

Tickets:

Paul Taylor-Mills Ltd by arrangement with Bill Kenwright Ltd presents Carrie - A musical based on the novel by Stephen King

Music by Michael Gore

Lyrics by Dean Pitchford

Book by Lawrence D. Cohen

Carrie The Musical appears at The Southwark Playhouse from 1st – 30th May 2015

Show Starts 7.30pm Matinee Starts Sat 3pm/Thu 2.30pm

Running Time 150 minutes including interval

Price £22 | £18 Concessions | All previews £12

Box Office: http://southwarkplayhouse.co.uk/the-large/carrie/

This production is recommended for those aged 16+.

Licensed by arrangement with R&H Theatricals Europe.

Special Event:                                      

THURSDAY 7 MAY – POST SHOW DISCUSSION with Mark Shenton, original cast members Sally Ann Triplett and Linzi Hatelely, Kim Criswell (Margaret), Evelyn Hoskins (Carrie), Gary Lloyd (director) and Paul Taylor Mills (producer).

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Review: Cyrano de Bergerac at Northern Stage

Who knows what the man with the nose knows?

A Royal & Derngate, Northampton and Northern Stage co-production

Cyrano de Bergerac

Based on the translation written by Anthony Burgess

of the play written by Edmond Rostand

Directed by Lorne Campbell

Northern Stage, Newcastle

Wednesday 29 April to Saturday 16 May 2015

                      

Northern Stage, in association with the Royal & Derngate in Northampton, have produced a fascinating study into the human condition. Their artistic director, Lorne Campbell, has directed an evenly paced production that both engaging and faithful to its original source material.

Rehearsal

Photo: Mark Savage

As the audience enter the auditorium, the ensemble are warming up and using the gym equipment on stage.  From the start Le Bret (John Paul Connolly) immediately assumes control of the action on the stage.  The setting of the show is a theatre in 1640 Paris. In the time of The Three Musketeers these theatres, rather resembling tennis courts, we are told, are used to stage plays such as this. The audience are soon given the treat of a quick rap song which produced a number of laughs and didn’t feel out of place.

Rehearsal

Photo: Mark Savage

Cyrano de Bergerac (Nigel Barrett) enters the stage and confidently assumes centre stage. The role of Cyrano, in Anthony Burgess’s translation, is a fabulous one with lyrically rich monologues reminiscent of a more modern Shakespeare. The self deprecating put downs regarding his unusual nose makes one realise how much the 1987 film, starring Steve Marti, borrows from this play. This play, however, moves away from the saccharine sweet sentimentality of the film as it explores the three way tussle between nice but dim Christian (Chris Jared), Cyrano and the target of their desire Roxanne (Cath Whitfield).  The smart lighting design, by Tim Lutkin, picks out Cyrano as he supplies the chat up lines that Christian uses on Roxanne.

Rehearsal

Photo: Mark Savage

As the action moves off to war the action still has its light moments, but such moments only act as temporary respite from the harsh realities of the predicament that the characters find themselves in. The poetical dialogue from Cyrano is cut in with the realities of a starving army that is struggling to survive. The juxtaposition makes the ending much more powerful.

Cyrano de Bergerac is an entertaining classic drama which seemingly flies by quicker than the 3 hour running time suggests.  The wonderful cast and intelligent design couple to make a remarkable theatrical experience.

This review was written by Stephen Oliver for Jowheretogo PR (www.jowheretogo.com). Follow Jo on twitter @jowheretogo, Stephen @panic_c_button or like Jowheretogo on Facebook www.facebook.com/Jowheretogo

Read the original Jowheretogo Preview: http://nomorepanicbutton.blogspot.co.uk/2015/03/preview-cyrano-de-bergerac-at-newcastle.html

Photos: Mark Savage 

Rehearsal

Photo: Mark Savage

Creative Team:

Lorne Campbell Director

Jean Chan Designer

Tim Lutkin Lighting Designer

Alasdair Mcrae Sound Designer

Ros Steen Voice Director

Liv Lorent Movement Director

Rebecca Frecknall Assistant Director

Cast:

Nigel Barrett Cyrano de Bergerac

John Paul Connolly Le Bret/Ligniere

Chris Jared Christian

George Potts De Guiche/Rageneau

Cath Whitefield Roxane

Ensemble:

Sian Armstrong           Samantha Bell            Kylie Ann Ford

Sisley Henning             Matt Howdon             James Hunter

Tickets:

Cyrano de Bergerac can be seen at Northern Stage from Wednesday 29 to Saturday 16 May

Times: Evenings 7.30pm (except Monday 11 May 6pm)

Matinees – Saturday 2pm

No performances on Sundays

Tickets: £24, £19.50 & £14.50 / Students & U21s £12

Box Office: 0191 230 5151 or online at www.northernstage.co.uk

Review: The Car Man at Newcastle Theatre Royal

Matthew Bourne’s Return To Newcastle’s Theatre Royal

A return to our Theatre Blog... Victoria Ling, from 137 Imaging (www.facebook.com/137imaging)  is guest reviewer:

The Car Man

Newcastle Theatre Royal

until Saturday 9 May 2015.

Most of us know of the Opera Carmen, a woman who seduces many men in her path.  It is a tale of love and lust and Matthew Bourne’s production is no different except we are led through the story with pure dance…and it was my first time seeing a full on dance performance.  On hearing the rave reviews of The Car Man I had to see what the fuss was about.

It is best to arrive for the show and be in your seat early. Although lights were due to come down at 2pm for this matinee I took my seat 20mins prior and there was already movement on the stage. Enough to get you intrigued to what was to come.

So, this is The Car Man.  A clever play on words. We are taken to a setting of a garage and a café. Men sweating and ripped and the women ogling them.  From the start we are literally in the heat of the action. Sex is oozing from every dancer. You can feel the passion from your seat. The ensemble is seducing you! And not only through the dancing. Two words: shower scene.

In Bourne’s production we see drifter Luca (Chris Trenfeld) get a job at Dino’s garage (Dino is played by Jonny Ollivier) who is then seduced by his wife Lana (Zizi Strallen).  The other story is of Angelo (Dominic North) who forms a relationship with Lana’s sister Rita (Katy Lowenhoff).

The main focus is of Luca and Lana but what I found most gripping was the story of Angelo.  He is the outcast and is harassed by the other mechanics. He is the hired helper and is not ‘one of the boys’. But he does get the attention of Rita and we see a shy-dance between the two as things hot up between Luca and Lana. There’s something about ‘hot weather’.  It makes you do crazy things. Crazy enough for Luca to also get Angelo under his…bonnet!

In most cases adultery does catch up and consequences are to be had.  There is no difference here. The choreography is so powerful especially with what unfolds in Act II for Angelo.  I felt the emotion, especially the pain, in his dance. And with history catching up on Luca you were also feeling his nightmares.

I have always wanted to watch a ballet.  It was a bit different to what I pictured for my first one. There was so much blood and so much seduction.  Bourne’s production is ripped raw with emotion and the added music from Terry Davies, including a nod to the famous piece, gives Carman a whole different lease of life. Thank you Bourne and the cast of The Car Man for the hot performance that will take me a while to cool down from.

Read the original Jowheretogo preview here
 

Tickets:

The Car Man is at Newcastle Theatre Royal from Tue 28 April until Saturday 9 May 2015.

Tickets are available from £15.00 (Prices subject to change, a booking fee of 95p - £1.95 will apply to most tickets) and can be purchased from the Theatre Royal Box Office on 08448 11 21 21 or select your own seat and book online at www.theatreroyal.co.uk

This review was written by Victoria Ling  for Jowheretogo PR (www.jowheretogo.com). Follow Victoria on twitter @LilVik or follow her photography on Facebook (www.facebook.com/137imaging)