Tag Archives: Ellen Cheshire

BEAUTY AND THE BEAST

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New Theatre Royal

BEAUTY AND THE BEAST

New Theatre Royal

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โ€œthis show will leave you smiling, laughing and thoroughly entertainedโ€

The New Theatre Royal Portsmouthโ€™s Beauty and the Beast is an enchanting pantomime that captures the magic of this cherished Christmas tradition. Created in association with Jordan Productions and directed by Hannah Boyce, it expertly blends humour, heartfelt moments and dazzling stagecraft, offering an unforgettable experience for the whole family.

Chris Jordanโ€™s witty script offers a refreshing twist on the classic tale. Instead of rushing to the cursed Beast, the story takes time to explore the vain, arrogant Prince, setting the stage for a more meaningful transformation. Bored with admiring his own reflection, the Prince ventures to a nearby village to find a bride as beautiful as himself. Confident his charm will suffice, heโ€™s stunned when Beauty shows no interest. Meanwhile, two others vie for his attention: the fabulous Dame Dotty, his housekeeper, who dreams of marrying him until she falls for a man in the front row (cue endless winks and double entendres) and the wicked enchantress Malevolent, who curses him into his beastly form when spurned.

Malevolent, with her wicked schemes, drives the conflict at the heart of the story. Sheโ€™s perfectly counterbalanced by Fairy Formidable, whose comically heavy French accent and rhyming couplet battles keep the plot on track amidst the pantoโ€™s many diversions. Supporting the story are Dame Dottyโ€™s hapless son, Potty Pierre and Beautyโ€™s father, Jean Jacques, whose blunder at the Beastโ€™s castle sets Beauty on her fateful journey.

The cast shines throughout. Breanna Bradshaw, in her stage debut, exudes charm and warmth as Beauty, anchoring the emotional heart of the story. Lewes Roberts skilfully portrays the Beastโ€™s journey, transforming from a preening Prince to a shambling creature and finally a dashing hero. Chris Aukettโ€™s Dame Dotty is a comedic powerhouse, with impeccable timing and audience interaction. Becky Vereโ€™s Fairy Formidable and Rachel Stanleyโ€™s Malevolent create a captivating dynamic, with Malevolentโ€™s campy villainy countered by Fairy Formidableโ€™s bubbly optimism. Brendan Hooper as Jean Jacques and Christian James as Potty Pierre round out the cast with slapstick charm and warm-hearted humour.

Dotty and Potty frequently steal the show with their comedic timing and cleverly crafted routines. Highlights include a plate-smashing sketch, a tongue-twisting number set to I Am the Very Model of a Modern Major-General and the ever-popular ghost routine, which had the audience gleefully shouting โ€œItโ€™s behind you!โ€ and singing along to Ghostbusters.

The French setting inspires playful musical nods: Dotty makes her grand entrance with I Love Paris, the Prince belts out a reworked Lady Marmalade and Dotty serenades her front-row amour with La Vie en Rose. Jean Jacquesโ€™s heartfelt rendition of Charles Aznavourโ€™s She is hilariously upstaged by Dotty and Pottyโ€™s antics, while Malevolent mocks Franceโ€™s military history before launching into Waterloo. This leads to a show-stopping ABBA medley, with Dotty and Potty donning flared lycra half-and-half costumes to represent both Agnetha and Anni-Frid.

Shelley Claridgeโ€™s costumes are a visual feast, especially Dame Dottyโ€™s outlandish ensembles, including a superhero costume, a breakfast table and a festive Christmas pudding. Beautyโ€™s gorgeous yellow-gold ballgown, reminiscent of Belleโ€™s iconic dress from the Disney film, is another highlight. The finale, with the cast in dazzling white and blue sparkles reminiscent of the Pompey FC strip, adds a local flourish to the magical conclusion.

Visually, the production is stunning. Andy Newellโ€™s vibrant backdrops and David Coullโ€™s sparkling lighting design transport the audience to an enchanted kingdom, while inventive stagecraft โ€“ including fireworks and wirework โ€“ enhances the spectacle. The ballroom dance between Beauty and the Beast, floating gracefully above the stage, is a breathtaking end of act one highlight that perfectly encapsulates the showโ€™s romance.

Adam Haighโ€™s choreography and Patrick Stockbridgeโ€™s musical direction are equally impressive. High-energy dance numbers and catchy songs keep the audience engaged, while the clever mix of classic tunes and cheeky panto parodies ensures something for everyone.

The New Theatre Royal Portsmouthโ€™s Beauty and the Beast is a shining example of pantomime at its best. With no celebrity names, the production relies on the immense talent of its cast, who give their all with skill and enthusiasm. Whether youโ€™re a lifelong panto fan or a first-time visitor, this show will leave you smiling, laughing and thoroughly entertained.



BEAUTY AND THE BEAST

New Theatre Royal

Reviewed on 15th December 2024

by Ellen Cheshire

Photography by Martin at Origin8 Design

 

 

 


 

 

 

 

 

More reviews by Ellen:

REDLANDS | โ˜…โ˜…โ˜…โ˜… | CHICHESTER FESTIVAL THEATRE | September 2024
BARISTA THE MUSICAL | โ˜…โ˜…โ˜… | CAPITOL THEATRE | September 2024
THE BELT | โ˜…โ˜…โ˜…โ˜…โ˜… | THE CORONET THEATRE | September 2024
THE WEYARD SISTERS | โ˜…โ˜… | RIVERSIDE STUDIOS | August 2024

BEAUTY AND THE BEAST

BEAUTY AND THE BEAST

BEAUTY AND THE BEAST

 

Weโ€™re now on BLUESKY โ€“ click to visit and follow

REDLANDS

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Chichester Festival Theatre

REDLANDS at the Chichester Festival Theatre

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โ€œJustin Audibertโ€™s direction infuses the production with energy, enhancing the psychedelic ambience of the timeโ€

Redlands, a new play by Charlotte Jones, deliciously delivers an enthralling portrayal of a pivotal moment in cultural history. This fictionalised account of the infamous 1967 trial of Mick Jagger and Keith Richards in the quiet Sussex city of Chichester explores generational conflict and societal change, highlighting the tension between The Establishment and the emerging rock and roll aristocracy.

In the summer of 1967, Keith Richards hosted a party at Redlands, his country house in West Wittering, near Chichester. Their revelry is abruptly interrupted by a police raid, leading to Mick and Keithโ€™s arrest on drug charges. Jones deftly captures the clash between the youthful idealism of figures like Mick and Keith and the entrenched authority represented by Michael Havers, the leading QC defending them. This is no straightforward courtroom drama; it masterfully blends history and fiction, capturing the spirit of an era while examining the generational rifts that define it.

Central to the narrative is 17-year-old Nigel Havers, son of The Rolling Stonesโ€™ lawyer and an aspiring actor. Serving as a meta, fourth-wall-breaking narrator, he bridges the old guard and the new generation. Here, Nigel develops a relationship with Marianne Faithfull, whose portrayal in the tabloid press after the raid prompts her to re-evaluate her career and relationships. Their shared background of family and societal expectations, along with noble titles, adds emotional depth, highlighting the personal stakes amidst the public spectacle of the trial.

The show transcends the typical courtroom or coming-of-age drama. It examines the class system of late sixties UK, the reliability of the press and justice system, and the nature of fandom and fame. With ten songs from the Rolling Stones and Marianne Faithfullโ€™s back catalogue performed live by cast members and an on-stage band, the play captures the exuberance of the era. Jasper Talbot (Mick Jagger) and Brenock Oโ€™Connor (Keith Richards) excel in their roles, skilfully channelling the unique moves and charisma of their real-life counterparts, particularly in musical numbers featuring classics like โ€œRuby Tuesday,โ€ โ€œJumpinโ€™ Jack Flash,โ€ and โ€œI Canโ€™t Get No Satisfaction.โ€ Emer McDaid conveys the complex emotions of Marianne Faithfull, transitioning from the wild atmosphere of the party to moments of vulnerability in her relationship with Nigel.

In addition to father and son Michael Havers QC (Anthony Calf) and Nigel (Louis Landau), we also meet Michaelโ€™s father, Cecil โ€œBongoโ€ Havers (Clive Francis). Despite being a prestigious lawyer and judge, Cecil is depicted as having more in common with his grandson than with his stuffy son. This trio adds both emotional depth and humour to the narrative as they navigate the weight of generational expectations.

Justin Audibertโ€™s direction infuses the production with energy, enhancing the psychedelic ambience of the time. The vibrant set (Joanna Scotcher) and evocative lighting (Matt Daw) immerse everyone in the chaos and excitement of the era, creating a truly dynamic experience. Chichesterโ€™s thrust stage brings the action close to the audience, enhanced by direct interactions between performers and audience. Actors dance in the aisles, and two small platform stages above the exits serve as additional performance spaces during the musical numbers, as well as for commentary by journalists and witness boxes during the trial. The hardworking ensemble cast take on multiple roles, from comedic police officers to legal staff to journalists, bringing their characters to life with charisma and depth. Standouts include Adam Young, who plays both the drug dealer sent to Redlands and the News of the World journalist believed to have sent him there, as well as Haversโ€™ other son, Philip. Akshay Sharan shines as Michael Haversโ€™s legal colleague, who is smitten with Jagger.

Redlands cleverly juxtaposes the liberated spirit of the โ€™60s with the conservative values of an older generation, creating a dynamic commentary on the cultural upheaval of the time, alongside contemporary themes of youth culture and the struggle against societal norms. This celebration of rock and roll rebellion serves as a timely reminder that the clash of ideals continues to shape our world. The audience in Chichester was more than satisfied, despite the city and its residents being the butt of many jokes.


REDLANDS at the Chichester Festival Theatre

Reviewed on 29th September 2024

by Ellen Cheshire

Photography by Ikin Yum

 

 

 

 

 

 

Previously reviewed by Ellen:

BARISTA THE MUSICAL | โ˜…โ˜…โ˜… | CAPITOL THEATRE | September 2024
THE BELT | โ˜…โ˜…โ˜…โ˜…โ˜… | THE CORONET THEATRE | September 2024
THE WEYARD SISTERS | โ˜…โ˜… | RIVERSIDE STUDIOS | August 2024

REDLANDS

REDLANDS

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