London Showtime

01/05/2024

‘Come From Away’ the amazing Award Winning musical steered and landed onto the stage at the Grand Theatre in Leeds last night.

Within seconds the toe tapping music, amazing vocals and stunningly simplistic setting had you hooked and the standing ovation was truly well deserved.

‘Come From Away’ tells the 'unknown' remarkable true story of 7,000 Airline passengers stranded in the small town of Gander, Newfoundland during the 9/11 attacks.

We all know what horrific events happened on 9/11 - but what most of us didn't now about; was how this small community of people in Newfoundland, had their normal day to day life changed forever. The days following were extraordinary and astoundingly chaotic but full of hope, spirit and love.

They opened up their homes, lives and hearts to the stranded passengers who had 'Come From Away' and into their lives. As events panned out and relationships were formed, these strangers left with amazing friendships that remain to this day.

The writing of Irene Sankoff and David Hein brings this uplifting story to light - it flows seemlessly. There is no interval; it’s just 100 minutes of sheer brilliance.

Set on a simple stage set, all changes in the story are set out by wooden chairs and tables - aided by fabulous lighting and slight costume changes.

The 12 strong cast play a myriad of characters and their vocal harmonies were superb. I can't pick out a 'favourite' cast member, as they were all stunning and bring with them a realm of experience from Theatre & TV.

What we cannot deny is that the music is a joy to hear - the 'on stage' band were superb, I loved hearing the Irish flute & whistles, the fiddle and accordion - it drew you into what is a magical production

For 100 minutes you are transported to Gander and feel part of the community. You want to ‘kiss the fish’ so much! The script, score and cast draw you into the story so much, that you believe you are watching the events of that fateful day in 2001 all over again.

You will be tapping your feet one minute & wiping away a tear the next. It leaves you feeling great about what human kindness can do and the whole ensemble welcome you to ‘the rock’ and pay great homage to the community of Gander.

If you want to be whisked away to a fast paced, funny, heartwarming show with amazing music with a superb cast - then this is the show for you.

Running at the Grand Leeds until 11th May - wherever you are, Come From Away to see this show.

Tickets from www.leedsheritagetheatres.com

19/04/2024

I was so immersed in this production - I forgot I was sat in the theatre; but that's the effect Kay Mellors stage adaptation of the hit BBC Series The Syndicate had on me.

Premiering at the Grand in Leeds last night - Gaynor Faye has brought her mother's (the late great Kay Mellor) production to the stage.

It has a great star studded cast, featuring Samantha Giles (Emmerdale), Brooke Vincent (Coronation Street) and of course Gaynor Faye (who also directs).

For anyone who watched all 4 series of the hit TV show - you know that Kay's writing is second to none. It is based on the first series of the TV show and follows five supermarket employees whose lottery syndicate numbers come in, just as their jobs and livelihoods are under threat.

We watch as they share a win of a £24m jackpot prize - will it make all their dreams come true and will it change their lives, loves & relationships for the better?

The show is really personal and emotional, as you get to know each character and learn about their lives.

Benedict Shaw (Stuart), and his brother Jamie (Oliver Anthony) are at the centre of it all - the whirlwind of a story ensues, and both guys play their parts superbly.

Hats off to Oliver Anthony (Faye's son), as The Syndicate marks hit stage debut - and he plays this part with 'style'.

Add in the witty humour of Samantha Giles (Denise) and the 'princess/diva' Brooke Vincent (Amy) - and you have the most amazing story brought to life on stage by such a talented cast.

Bretta Gerecke's set design was imaginative and worked really well - fabulous seamless set changes.

Final credit has to go to Gaynor Faye, who has brought her late mother's vision to life. Kay was one of the most talented TV writers (Band of Gold, Playing the Field, Fat Friends & The Syndicate), giving characters depth & a backstory; Gaynor has lovingly protected the show and Directed it with passion and gusto. You could really sense the love over the footlights.

This is an amazing must see show - it brings you a warm feeling, and some giggles on the way.

Playing at the Grand Leeds until Sunday 28th April

Book your winning tickets now at www.leedsheritagetheatres.com or call Box Office 0113 243 0808

Bringing together Leeds Grand Theatre, City Varieties Music Hall and Hyde Park Picture House - three unique, historic venues hosting live performance and film

28/01/2024

Congratulations to Mansfield Hospitals Theatre Troupe - MHTT who have raised so much money for charities over the years - they truly deserve this years OUTSTANDING ACHIEVEMENT AWARD

28/01/2024

It was a joy to be invited along to Mansfield Hospitals Theatre Troupe - MHTT for their annual pantomime ROBIN HOOD.

It's always a joy to see this group as like many others they spend months preparing for a pantomime that raises money for local charities. Robin Hood seemed very fitting with Nottingham on their doorstep - it was a slight shame that the script didn't play on that locality more. There were some local jabs and references, but there could be so many more plucked out.

The show was as usual full of enthusiastic members, a bright bubbly ensemble and full of smiles juvenile team. The scenery was nice and bright and the lighting plot was great. I have to say the band (led by MD Peter Smythe) was in great sound this year and full credit to Nathan Fox on Drums and Ryan Wilson on Lead Guitar. However, the song choices were a little random in places and some were a little longer than needed to be.

Costumes were nice throughout; but I'd have preferred to see more of a wedding finale (Robin and Marian were getting married) rather than a splash of green, which we had had throughout the show.

I thought Adam Brownley was a wonderful Robin Hood, full of charisma, character and a nice voice. He didn't really get to show off his range with the numbers he was given, but what he did present was worthy of the stage. Selina Payne was in fine voice as Maid Marian, Leanne Aram was a sweet Juliet with a little bit of feistiness about her. Alice Apark gave a subtle Alan A Dale, but came into her own in the sing a long. Neil Brownley was cheeky as always in his comic role as Little John, Simon Roebuck gave us a nice round character in his Friar Tuck and Chloe Thistlethwaite was a high pitched delight as Mystic M.

Martin Killick gave a good stab at the Sheriff of Nottingham, but I wanted more from him. I wanted him to be really evil. His costume throughout was fairly dull and drab and needed some evil glitz; after all this man does have money. I think some attack to the character, with force and direction would really make him shine and get the boo's louder and thicker.

There were some nice cameos from Brett Maynard as Denchman, Jasmin Partridge-McGibbon as King Richard and Sharin Allsop as Leafworm.

My two stand out performances were from Trevor Brownley as Dame Dora - he had his work cut out to keep all the comedy coming throughout. He didn't have much lib to work with so you could see he was being creative throughout with some ad-libs and trying to get the audience on side at every opportunity. His costumes throughout were delightful but I personally felt it fell short in his finale outfit - it would have been nice for some of that fullness and grandeur from the rest of the show to flow through to the end.

The second star was Rachel Best as Will Scarlett - this lady attacked at 100mph from the start and never let it slow down. She looked stunning in her red costume, she connected with the audience from the get-go and had them on her side. He commanded the stage every time she entered and you could not take your eyes off her. This is a principal boy / girl if ever I saw one - and also the perfect fairy godmother or character that you need to drive plot. Superb - well done Rachel!

Overall this group gave a great afternoons entertainment, just a couple of tweaks to easily fixed things will take it up a notch. Pace and rhythm will bring the show some fluidity and a little care to characterisation will make them pop and carry out across the footlights even further - but apart from that, a fun way to spend your miserable January blues - and raising money for charity at the same time.

Keep up the good work MHTT you are all stars!

Grab your tickets from here https://www.mansfield.gov.uk/palacetheatre/whats/robin-hood-2

26/01/2024

This years SPECIAL RECOGNITION AWARD goes to NATASHA GRAY - stepping into a role with hours notice, giving a stellar performance and for her service to theatre and pantomime! Well done!! Jordan Productions Gordon Craig Theatre

26/01/2024

Our final MAIN AWARD #20 is for OVERALL PANTOMIME OF THE YEAR - well done to all 2023 pantomimes that invited me and thank you once again. Our BIG winner for this year goes to SLEEPING BEAUTY at Gordon Craig Theatre from Jordan Productions

26/01/2024

Award #19 is our final actor award - its DAME of the YEAR - there were some wonderful joyful dames this year. A huge well done to CHRIS CLARKSON from New Theatre Royal and Aladdin!

26/01/2024

Award #18 is PRINCIPAL BOY of the YEAR - another great strong category this year - please do check out the nominations but our Valiant winner is Glenn Adamson from Gordon Craig Theatre Sleeping Beauty from Jordan Productions

26/01/2024

Award #17 and its time for PRINCIPAL GIRL of the YEAR - this years worthy winner is Rhiannon Sarah Chesterman from Waterside Theatre and Snow White from UK Productions Ltd

26/01/2024

Award #16 COMIC OF THE YEAR - this was such a strong category this year and please take note of the nominations. It was so tough but the winner is Danny Adams from Pinocchio at Newcastle Theatre Royal from Crossroads Live

25/01/2024

6 Final awards to come tomorrow Principal Boy / Principal Girl / Dame / Comic / Overall Pantomime of the Year and Special Recognition Award.....stayed tuned!

25/01/2024

Award #15 GOODIE OF THE YEAR goes to Nina Wadia from York Theatre Royal Jack & the Beanstalk from

25/01/2024

Award #14 VILLAIN OF THE YEAR goes to Wayne Smith from Pinocchio at Newcastle Theatre Royal from Crossroads Live

25/01/2024

Award #13 JOUVENILLE TEAM OF THE YEAR goes to THE GREEN TEAM for Sleeping Beauty Gordon Craig Theatre from Jordan Productions Well done!

25/01/2024

Award #12 Outstanding Ensemble Member of the Year goes to Jacob Smith from Cinderella New Wimbledon Theatre from Crossroads Live

25/01/2024

Award #11 goes out to ENSEMBLE TEAM of the Year - well done to all Ensemble from Cinderella New Wimbledon Theatre from Crossroads Live

23/01/2024

Award #9 MOST WELCOMING THEATRE goes to The Elgiva - 2nd year running WELL DONE!

23/01/2024

10 Awards given out 11 still to come - stay tuned tomorrow!!

23/01/2024

Award #10 BEST MARKETING TEAM of the Year goes to New Theatre Royal for ALADDIN - well done!

23/01/2024

Award #8 CHOREOGRAPHER OF THE YEAR is James Bennett from SLEEPING BEAUTY Gordon Craig Theatre from Jordan Productions

23/01/2024

Award #7 SCRIPT OF THE YEAR goes to SLEEPING BEAUTY Gordan Craig Theatre Stevenage from Jordan Productions

23/01/2024

Award #6 Best MUSIC Plot goes to Jack & the Beanstalk York Theatre Royal from Evolution Pantomimes

23/01/2024

Award #5 COSTUME DESIGN - the winner is CINDERELLA at New Wimbledon Theatre from Crossroads Live

23/01/2024

Award #4 is SET DESIGN and the winner is SNOW WHITE at Waterside Theatre for UK Productions Ltd

23/01/2024

Todays Panto award #3 is for LIGHTING DESIGNER of the year - congrats to Ben Cracknell for his lighting of PInocchio at Newcastle Theatre Royal for Crossroads Live

22/01/2024

Our second award for 2024 is SOUND DESIGN of the Year. Congratulations to Chris Whybows for New Wimbledon Theatre Cinderella from Crossroads Live

22/01/2024

First out of the bag - today's first PANTO AWARD goes to 'BEST SKIN' well done Anna Soden at York Theatre Royal Jack & the Beanstalk from Evolution Pantomimes

21/01/2024

So that was the pro 2024 pantomime award roadtrip - thanks to ALL venues that have welcomed me and my team. It has been a great joy to see all the efforts put into making pantomime shine - remember my views are my own, but I appreciate and respect every one of you for the hard work that you put into the yearly tradition.

Awards start dropping this week - keep your eyes peeled!!!

21/01/2024

Todays final panto offering in the Showtime Pantomime Awards 2024 is from Bradford Theatres and Cinderella.

The usual spectacle that we come to expect from Crossroads Live and The Alhambra Theatre are all here again - bells, whistles and flashes galore; but we are still faced with the same jokes and songs from leader Billy Pearce. Nothing has changed since I last saw a pantomime here six years ago. How many times has he now snapped a dog off a lampost? How many times do we hear what a 'mad cow' sounds like? - it's time for a change.

Harry Michaels script was lack lustre full of routines we've seen and heard before - and its a staple to Crossroads formula for just putting a sprinkle of plot around routines framed for the comic and guest artist. In this case Billy Pearce and magician Phil Hitchcock who they tried to pass of as 'Baron Hardup'. A very young looking father for Cinderella.

The magic was decent, nothing special and wasn't needed - or if it was going to be incorporated into the story use Phil as the Faerie Godfather who can create magic and not split TV Bake Off and Strictly fame as a split with Godfather and Dandini.

The whole set up at the opening seemed to squeeze as much plot into one song - but the problem came because Richard Bookers sound plot was so poor. You could not hear a word at the back of the stalls from anyone - the music was far too overpowering.

John Whaite was decent as the Faerie Godfather but overplayed the campness making him fit for a drag show rather than a family pantomime. Samantha Giles from Emmerdale fame was poor as the Wicked Stepmother - she wasn't wicked enough and compared to everyone else looked dowdy and poorly dressed.

Dale Mathurin was pleasing as Prince Charming - he made the best of a badly written role and had a good singing voice. Sarah Pearson gave us a nerdy, feisty and demanding Cinderella, resembling someone who's just stepped out of an episode of 'Ackley Bridge'. The whole retake on a modern twist meant that this Cinderella was not going to live in the palace she was going to go travelling with the Prince so he could 'discover' himself and she could complete her studies. Rather odd.

The Ugly sisters played by Wendy Somerville and Larissa Alexandrovnia were wasted - they were useless parts because the story didn't cater for them. It should have been traditional Ugly roles to make an impact - but they fell flat.

The ensemble were great and really worked well throughout and brought the choreography of Stillie Dee to life. The sunbeams from Sara Packham Theatre School Noticeboard were fabulous - full of energy, life and enthusiasm.

Teresa Nalton had a fabulous costume design throughout for the ensemble, Prince and Sunbeams - but seemed to leave Cinderella, Stepmother and Sisters behind.

James Maciver designed Cinderella's transformation costume - and I am sure it would make a huge impact - but the ex*****on of the transformation let it down and we didn't get a good look at it.

The music plot from James McCullagh was decent - the Queen song 'Somebody to love' was used too much but the rest were fairly pleasing - except for the opening 'Downtown' being far too loud.

Lots of great flashes and bangs throughout and a good lighting plot from Rory Beaton. Ian Westbrooks set design was fairy standard throughout and not much to write about but the finale walkdown palace was a delight.

I was disappointed and confused with the finale act one - the magic (if you can call it that) started and we were given a beautiful coach drawn by two gorgeous Shetland ponies. A scene stealer - if they were allowed to take it - but they were whisked on and off in 16 bars of music - then we were given a smaller coach with plastic horses to be able to fly over the audience for the impact. Lets have one or the other - I'd have preferred the ponies as at least you could see them. You couldn't see the fake horses for a mountain of snow pouring from the roof and an extremely dim lighting plot.

Billy Pearce worked his socks off as usual - and he is great at his craft. He can work an audience, he can command a stage and he can lead a company. He never seems to be out of breath, he never shows any sign of sweat and he really is a pantomime legend - I just wish his material was updated and gave us something new. With him being billed for 'Pinocchio' next year lets hope this new pantomime allows the new material.

Now, all this being said - the whole pantomime packed a punch with lighting, sound, special effects and lots of glitter. It just lacked plot, characterisation, fluidity and pantomime magic for me.

It's a 3 out of 5 for this years Bradford offering.