Its inspiration comes from the Aarne index of folk tales, held in the British Library, which is a collection of thousands of ancient folk tales from all corners of the globe, with universal themes such as greed, love and magic that connect us all.

It opens and closes with the story of a murderously greedy cat, who eats not only its mistress but heaven, hell and mother earth herself. There follows what writer and director Suzanne Andrade describes as a ‘rag tag collection of folk jokes and stories’, all told with 1927’s inventive mix of Paul Barritt’s animation, performance and live music.

If you’ve seen the company before you will be familiar with Lillian Henley’s accompanying vaudeville style piano and song, which gives the production a feel of mixing mime with silent movie screenings. This time, a musician at either side of the stage plays a range of instruments – some instantly recognisable like a violin and glockenspiel while others add to the fascination of the overall quirkiness of the show, such as a donkey’s jaw, Peruvian prayer boxes and musical saws.

Recorded narration by friends and family, who are not trained actors, adds another layer – for example, The Luckless Man who is fated to be unlucky, is narrated by Nigel an ex steel worker turned councillor from North Talbot in Wales.

Over the course of an hour or so we hear of a king who puts his bride through many trials to test her fidelity; a man who shares his flat with poverty, and an unremarkable character who squanders wishes on meat pie and ale, with contemporary reference to the US presidency.

Each tale is told with a delicious dose of dark humour, giving us all the darkness of a fairy tale without the happy ending. Some, such as Two Fish, have a moral of sorts. It tells of a fishing family who catch three fish every day. One day the parents decide to drown their child so that they can eat more than one fish a day each. After the child’s death the pair only ever catch two fish a day.

The story ends here and for the most part there is no clear direction from the company of which way to think. This openness has both its up and downsides for the show. Its lack of an overarching narrative and structure mean it doesn’t have the same impact of the previous shows from 1927 we’ve seen at Home. But as a whimsical escape over the festive season, this alternative Christmas show is a winner.

Roots – stories from a simpler time from 1927 is at Home, Manchester from 11-30 December 2019.

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Commissioned by The Bolton Octagon this production of Robert Louis Stevenson’s 1883 novel is packed with original music, lyrics and choreography. As well as this, this adaptation manages to carefully tread the fine line of presenting a traditional story in a refreshing and inclusive way and does so without compromising its literary ethics.

The show starts with an instrumental seafaring shanti, this sets the scene and transports us back to 1762. Very quickly we’re introduced to the key characters of the piece: the drunken Billy Bones, who loses the treasure map that sparks the adventure; Jim Hawkins our frustrated protagonist of the performance; Hawkins’ mother who struggles to make ends meet at the Inn she runs; Squire Trelawney the bumbling expedition leader and the infamous Long John Silver the pirate hell bent on getting his hands on the map and ultimately the treasure it signifies.

Jim Hawkins (Ami Okumaru Jones) and Long John Silver (Jack Lord) are excellent counter points to one another. They have the most lines and stage time. They are both believable and engaging in equal measure. Okumaru Jones’ casting and performance is in keeping with the current zeitgeist – a female protagonist commanding a role traditionally given to males; we’re told her name is Jim. Jim Hawkins, if you blink, you’ll miss it; however, while the brain processes this information the plot races passed you.

Enter Jack Lord’s Long John Silver. Lord provides a solid weathered portrayal of an ageing pirate. He uses his skill and wits to try to stay one step ahead of everyone, this includes those he trusts and those he doesn’t. The cat and mouse game that ensues is well paced and provides ample opportunity for the songs of the piece to progress the plot.

Under Tim Jackson’s direction the remainder of the cast’s key players, Bauckham, Feare, Phoenix and Simon all play multiple parts. Spotting them post costume change is a game you can play should you be fortunate enough to see this production. The costumes change. Accents changes. Everything changes but the quality remains the same, the attention to detail here is impeccable.

The show also has three more secret weapons: the supporting child cast who are professional and deliver their lines (and songs) remarkably; the cast’s proficient use of instruments and the show’s clever humour. The references to ‘cheese’ and ‘treacle’ will leave you in stitches.

At this point, I would love to have laboured the fact that the songs and lyrics really worked but as they were original – I don’t know what they were called. What I can say is that the two that stood out for me were Long John Silver’s ‘Mind your Ps and Qs’ song; and Mrs Hawkins’ ‘Worse Things Happen at Sea’ – these are both catchy and funny.

The set design also deserves a mention – the bronze, rustic, offering cleverly transforms into an Inn, a Bristol port, the Hispaniola ship and the fated Treasure Island itself. In each incarnation the staging feels natural and you believe you’re actually there.

Treasure Island is a feel-good romp for all the family which delivers song, humour and buccaneering adventure for all kids no matter how old you are.

Treasure Island the Christmas show from Octagon Theatre, Bolton is at Premier Suite, University of Bolton Stadium from 5-28 December 2019.

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Who-ville is the fictional candy coloured town where even the inhabitants’ tights look like they’ve been pulled straight from a sweet jar. Indeed, it is so saccharine that the grumpy old Grinch can’t stomach watching the community celebrate another happy Christmas and sets about to destroy the fun by stealing the presents, the food and even the Christmas trees.

Why anyone would be so mean is beyond the imagination of the people of Who-ville. So, when little Cindy Lou finds him escaping up the chimney with their Christmas lights, she instantly believes his lie that he is trying to fix them. And here starts the melting of the Grinch’s icy cold heart and with it any bah humbug sentiments in the audience too.

The story is told through the eyes of Mr Grinch’s one trust old-pal – his dog, Max. Griff Rhys Jones plays the old dog recollecting Christmas past, while Matt Terry takes on the young enthusiastic pup who is reluctantly dragged along on Mr Grinch’s mean Christmas-ruining schemes.

John Lee Beatty’s cartoon-inspired sets are wonderful to look at, appearing straight off the pages of a Dr Seuss book. But there is a lot of scene-setting in the first act and the songs sounding quite samey do little to lift this. As my 7-year-old theatre buddy summed it up at the interval, ‘it’s almost good’.

What we needed was a share of the sugar high from our candy cane friends the Whos, and in the second act that is just what we get. Edward Baker-Duly is excellent as the mean old Grinch, but never does he shine more than in the scenes with young Isla Gie as Cindy Lou (one of four young actors to take on the role during the run).

The scenes that follow are both hilarious and truly heart-warming. After the slow-ish start we are now hooked so that when the Grinch’s heart finally grows he has the whole theatre with him shouting, ‘Merry Christmas’. Snow falls from the roof of the auditorium and it feels magical. The ‘almost good’ verdict from young Zach has turned to a top of the lungs cheer. Who loves Christmas at The Lowry – we do!

Dr Seuss’ How The Grinch Stole Christmas! The Musical is at The Lowry from 12 December to 5 January 2019.

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As if taking stage notes from one of the show’s more well-known numbers, Shaw keeps it happy, snappy and gay – it works a treat. His production grabs the audience by the funny bone and never lets go.

Even gags we’ve heard a million times before are welcomed as fresh, because when it comes to this kind of zany humour, it certainly is the way you tell ’em. And here the delivery comes with a huge dollop of physical silliness, at times so surreal it’s like watching a cartoon.

Max Bialystock and Leo Bloom are the hapless producers at the centre of the story. Well, Bialystock is a sleazy, failing, theatre producer and Bloom is his nervy accountant who, after hitting on a money-making scam, becomes enamoured with the idea of swapping his data-punching day job for the bright-lights of Broadway.

While working on the books, Bloom discovers it could be possible to make more money out of a flop than a hit. The plan is to produce a show so bad it closes after opening night leaving them with $1m of investors’ money to squander in Rio. So, Bialystock turns to his trusty investors – trading sexual favours for old widow’s cheques – and the pair set out to find the worst play ever written.

It’s more than 50 years since Mel Brooks told his story in an Oscar-winning screen play and the idea of a musical about Adolf Hitler is still in the worst possible taste. There is an irresistible edginess to the big number, ‘Springtime for Hitler’ – with all its sequins, tapping Jack boots, and giant swirling Swastika – that leaves you laughing in disbelief.

Julius D’Silva and Stuart Neal (bearing more than a slight resemblance to Matthew Broderick who created the role on Broadway) make a wonderful comedy pairing as Bialystock and Bloom. Despite his greasy comb-over and cardboard belt, D’Silva’s Bialystock is a likeable rogue.

When partnered with Neal’s constantly sweating and slightly slouched Bloom, we never believe they have enough wit between them to outsmart anyone – not even the old nymphomaniacs who Bialystock likes to think he’s charmed. And as for their new Swedish secretary, Ulla (Emily-Mae) she may be tidying-up the drooping roses but we sense she’s no fool. In Mae’s confident portrayal there is no #MeToo casting couch in this office.

While D’Silva and Neal’s manic energy drives the show, there is strong support from the rest of the cast, particularly Charles Brunton as cross-dressing director, Roger De Bris, whose comedy at times is so physically expressive he could be made of rubber. His flamboyant rendition of the narcissistic, ‘Heil Myself’ has the house in uproar.

Choreographer, Alistair David has done wonders to create a big musical feel in the intimate space of the Exchange’s in-the-round theatre. It’s outrageous, hilarious and ultimately harmless. And for Christmas, while it might not be a traditionally festive choice, this musical comedy provides some much needed fizz.

The Producers is at The Royal Exchange Theatre, Manchester from 30 November 2018 to 2 February 2019.

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Can you tell us about the show?

Släpstick is indeed a series of musical (as in “with music”, not “Musical”) sketches, with a loose to non-existent narrative. There are plenty of recurring characters and themes, and a general 1920’s/1930’s fairground feel to the whole thing.

What do you think is the timeless appeal of slapstick comedy?

I suppose the fact that many of the great slapstick acts are textless makes them instantly relatable to all, since language barriers are irrelevant. It’s also truly a craft – the greats worked on their timing and precision the way a concert pianist practices scales, or a world class athlete prepares for a competition. That level of dedication is universally appreciated. That, and a man with a tiny moustache, falling off a ladder, will never not be funny. That’s just a fact.

How do you become a slapstick comic?

If you’re like us, then you were always the one at the music school trying to balance a trombone on his chin while your peers were diligently studying their etudes. I suppose it’s a natural progression. If you have that innate silliness, the diligence to work on your craft in great detail, and the willingness to fling your body around the stage, you’re well on your way.

How does Släpstick fit with the history of clowning? Do you consider yourself to be a clown?

Two branches of the same tree, I guess? Or maybe a square and rectangle kind of thing? All slapstick artists are clowns, but not all clowns are not slapstick artists? The Swiss clown, Grok is a great example of a clown and slapstick artist in one. I don’t know if we consider ourselves to be clowns, but we use a lot of elements from clowning in our acts.

How long did it take you to learn to fall over convincingly without getting hurt?

Oh, we still get hurt! But it’s all about damage control. I’m not sure how long it took us, but we were coached by several different people from various disciplines: clowning, acrobats, dancers and stuntmen.

What makes you laugh?

Everything, just about. YouTube Cat Videos. Buster Keaton falling down a hillside. South Park. Pretentious classical musicians. The A-Team and Chuck Norris movies. The way Charlie Chaplin’s eyebrows take over an entire scene. Monty Python. Kenny G album covers from the 80’s. Groucho Marx seducing a rich blonde, etc. etc…

Which slapstick comedians inspire you?

The Marx Brothers were my father’s favourite and will always have a place on the slapstick pedestal for me. Obviously, Charlie Chaplin. His craftsmanship is second to none, an absolute master of timing and physicality, and a brilliant musician as well. Buster Keaton has to be up there too, for his moxie and absolute daring! The man must have been completely fearless!

If you could ask your hero any question about his work, what would it be?

I think I’d ask Buster Keaton how many bones he’s broken over the course of his career!

What is your favourite ever slapstick sketch?

I’d have to say it’d be the scene from the Marx Brother’s “A Night At The Opera”, where Chico Marx is playing the piano for a small crowd of children. What he’s playing is absurdly virtuosic, yet he still manages to throw in his little finger gags, silly subtle movements, and make faces at the kids. It’s perhaps a bit less “slapstick-y” than Buster Keaton jumping off the roof, or Charlie Chaplin getting tossed through the giant gears of the factory in Modern times, but it captures golden combination of silly and melancholy that makes slapstick so endearing.

Have you incorporated any of this routine into the show?

Not that one, no. If we had to incorporate something from every slapstick scene we love, the show would be about 10 hours long!

What can audiences expect from the show? Is there any audience interaction?

They can expect first and foremost top-class musicianship. Music is our background after all, and as clown-esque as we may be, the music is always at the forefront! Otherwise they’ll get a rowdy and raucous night, filled with lots of gags, nostalgia, mild stuntman-ship and original and exciting music! And yes, there’s lots of audience participation – prizes to be won, ladies to be romanced, and glory to be had! And no, you’re not safe even all the way in the last row!

Is your show suitable for all ages?

Absolutely! The gags range from erudite classical music references, to trouser-dropping, violin throwing silliness, and everything in between. There really is something for everyone here, and I don’t say that flippantly! The music genres cover everything from Balkan to Jazz to Classical to Rock to Prince to Michael Jackson to Peruvian Folk and back. There is physical humour, subtle nuances, and even some touching moments. Hope to see you there, people of Manchester!

Släpstick is at HOME from 13- 22 December 2018 visit homemcr.org for details.

Visit Jon’s website to find out more about his work. 

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The popular story was first a picture book, then an animated film, and has been adapted for the stage by the imaginative Scamp Theatre.

A cast of three actors bring the tale vibrantly to life with a mix of music, songs, comedy and puppetry. Axel Scheffler’s wide-eyed illustration has been recreated in puppet form, whose emotions take exaggerated human form in the flexible and funny, Mathew Hamper. He winces when chewed by a dog; pinches his nose when pecked by a swan; holds his breath with puffed cheeks when thrown into the river by a girl; and holds his head and shouts when used as a bat on the beach.

Lara Cowin who plays his ‘Stick Lady Love’ also takes on numerous other roles as a ninja-loving girl, a dog, a beach lover, a swan and Santa’s trusty reindeer, Rudolph. Each one she takes on with a range of rubber-faced expressions and the dynamic energy needed for a family show. Her dog chasing and beach-ball throwing antics bring the whole theatre into story and make for some ear-splitting audience interaction.

The multi-talented Robert Wade takes on a variety of roles as well as creating the music and sound effects for the show. He plays the ukulele, saxophone, and his energetic percussion playing is like a form of dance.

There is never a dull moment in this hour-long show. All the characters are larger-than-life, and sometimes camped-up in a jolly hockey sticks kind of way. Still the little ones don’t notice the actors’ tongue-in-cheek sending up of themselves. The youngsters are too busy following the story, finding the dog, leaping for the ball, singing, and of course shouting at the top of their lungs to wake-up and save Stick Man.

Thanks to his young friends in the audience, the adventure ends happily with a magical sleigh-ride, gifts from Father Christmas, a flurry of snow, and Stick Man safely  home in the family tree.

★ ★ ★ ★

Stick Man from Scamp Theatre is at The Lowry, Salford Quays from 1 December 2018 – 6 January 2019. Visit website for full tour details.

Read our interview with Lara Cowin.

Read our interview with Julia Donaldson.

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Mark Williams must have been off sick when the caution to ‘never work with children or animals’ was flagged up. From playing Mr Weasley in the Harry Potter films, which were teeming with kids, he has now signed up to do six months on the road with all manner of crazy creatures as Doctor Dolittle. Frying pan to fire? Not a bit of it.

“I have always wanted to do a musical but the timings just never worked out,” he tells me, explaining how he had been invited to make his musical theatre debut in a number of productions, including taking over from Bertie Carvel as Miss Trunchbull in Matilda.

“I nearly did My Fair Lady recently. I got so close to it, but there were problems with American Equity and it fell though, so when Doctor Dolittle came along I said yes, definitely YES!”

Part of the 50th anniversary celebrations of the original movie starring the late Rex Harrison, there were other elements that piqued Mark’s particular interest in the project too.

“It was a combination of things really, but using puppets that can dance, sing and move in a completely different way adds a whole other layer that fascinates me. In the film it was real animals and then on stage it was animatronics, but this time around it is completely different.

“It also seemed like the right time to do Dolittle again. I don’t think – with all due respect to other productions – that he’s been done justice to, and I think it’s the right time to talk about taking care of animals. Leslie [Bricusse – book, music and lyrics] was really interested in looking again at a new adaptation and we now have the chance to interact in a much more dramatic way. And that superhero skill of talking to the animals really interested me because it opens up a whole other universe.”

I suggest that perhaps looking for a new universe was author, Hugh Lofting’s inspiration when he wrote the original stories from the fetid trenches of the First World War. Mark nods his agreement.

“Like most people he had an appalling time and witnessed man’s appalling capacity for self-destruction and cruelty. In a way Doctor Dolittle is his antidote to that. It’s not just about the animals; it’s about being kind to each other, which is a really basic thing that children naturally understand but that we seem to forget as adults. We become selfish in oh so many ways. But Doctor Dolittle has a philosophy and he’s on a mission, although sometimes he is misunderstood.”

If you’re new to the tale of the charmingly eccentric Doctor Dolittle, in the musical version his challenge is to track down none other than the Giant Pink Sea Snail, a creature that holds the secret of life and makes the world a happier place. By way of stupendous song, dance, puppetry and pageantry, the underlying message urges us not just to attempt conversation with animals, but to listen and learn from them too.

Describing himself as an animal lover (“I am not an animal person to the exclusion of people but I am an animal lover”), Mark says he’s enthralled by animal behaviour.

“We know so very little really. With transmitter technology we have only just found out, for example, what puffins do when they’re not nesting. We have a lot to learn yet.”
But, he promises, there is lots of fun on offer for all the family; from little ones to great-grandparents and everyone in between.

“There are lots of things that kids especially will find hilarious. After all, what’s not funny about a naughty monkey?

“And the great thing is that it is all LIVE! Going to the theatre for the first time for kids is like having only ever watched football on the telly and then going to a match. It happens right in front of you,” he says, stressing that live theatre is a completely different experience to watching, say, a movie.

“This is the real deal and with all the puppetry it will be really exciting,” he adds.
Praise indeed from a man whose career has included some of the highest grossing films of all time and performances at some of our most distinguished theatres. One of our best-loved actors, from leading roles at the Royal Shakespeare Company, the Royal National Theatre and Birmingham Rep, Mark has also been on TV presenting documentary series on both Britain’s Industrial Heritage and Explosives, has hosted two series of the quiz show, The Link, and has written and performed in the hugely popular The Fast Show. Familiar worldwide as GK Chesterton’s Father Brown in the hit BBC TV series of the same name, in movies he has starred in 101 Dalmatians, The Borrowers, Shakespeare In Love and, of course, as the Ministry of Magic’s Head of the Misuse of Muggle Artefacts and proud papa of Ron, Fred, George, Ginny, et al in seven of the eight Harry Potter films. With such a cool and credible CV he has plenty to swank about, but that simply isn’t Mark’s style. Funny, warm and amiable, imagining him as the delightfully dotty Doctor Dolittle doesn’t require any leap of imagination.

As for the prospect of the tour and of life on the road he is upbeat – enthusiastic even.
“I was touring way back and have worked away all my life, so it’s normal to me,” he says with a grin. “Besides, it makes home all the sweeter.”

With no need of local guidebooks, he is also familiar with almost all the towns on the tour schedule.

“I have been to everywhere pretty much, either as an actor or through making documentaries or just visiting for pleasure. I love getting out and about; getting the bus and exploring towns. It’s the best thing about touring.”

The perfect pick-me-up and an absolute tonic, I’d advise booking in with this particular ‘Doctor’ without delay.

Doctor Dolittle is at The Lowry, Salford Quays from 11 December 2018 –  5 January 2019. Visit website for full tour details.

The post Mark Williams makes his musical debut in Doctor Dolittle at The Lowry appeared first on Quays Life.

The new stage production is part of the 50th anniversary celebrations of the original film starring Rex Harrison.

The musical, with book, music and lyrics by double Academy Award-winner, Leslie Bricusse, tells the story of an eccentric doctor who embarks on an extraordinary adventure to find the Giant Pink Sea Snail that he’s told holds the secret of life and makes the world a happier place.

Helped by his human companions and an exotic menagerie of animal friends, including the Pushmi-Pullyu and trusty sidekick, Polynesia the Parrot, the larger-than-life Doctor Dolittle teaches us not only to talk to the animals but to listen to them as well.

This new production is headed-up with a star-studded cast, including Mark Williams as Dolittle, Brian Capron and Vicky Entwistle.

And from this early glimpse of the life-sized animal puppets we have no doubt the incredibly cute pig, monkey and dog will be big stars too before the end of the run.

Doctor Dolittle is at The Lowry, Salford Quays from 11 December 2018 to 5 January 2019.

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