Tag: oxford

Image Credit: Johan Persson

REVIEW: Kinky Boots

Published on by ermcsorleyLeave a comment

Rating: 4 out of 5.

“A heartwarming story and a performance full of energy that will make everyone want to  search for a pair of kinky boots of their own.”

Kinky Boots, a musical by Harvey Fierstein based on the 2005 film, which itself is largely  based on true events, is the story of a struggling shoe factory that finds a new path to  success by manufacturing heels for drag queens. This production, directed by Nikolai  Foster, stars Dan Partridge as Charlie Price who has inherited the shoe factory from his  late father, with Newtion Matthews as Lola, the drag queen from the Angel club who  inspires Charlie to change the direction the factory is heading in. With music by Cyndi  Lauper, this is an energetic and fun-filled adaptation of the popular film that does a  great job to “raise you up”. 

Charlie and Lola both provided excellent performances that beautifully captured the  two characters, but in this production every character was fun to watch, with some  hilarious moments from the factory workers embracing their new jobs. Performances,  especially vocal performances, were excellent across the board. One small criticism  was the volume of the band compared to the vocals, making some parts difficult to  make out. This also provided quite an abrupt start to both acts, with myself and many  others being startled by the sudden music, though the adrenaline from the scare  quickly turned into joy at the great performances from the cast. 

The staging and costumes were something which I particularly enjoyed about this  performance as the glittering red outfits and smoke machine of the Angel club provided  a stark contrast to the greys and blues of the factory and its workers. Of course, the  iconic red boots took centre stage at many points of the show and I’m sure many in the  audience are now shopping for some bright red heeled boots of their own!  

Fans of the film may be worried that their favourite moments are lost with the change to  a musical but will quickly realise that all the memorable lines and heartfelt moments  are not only still present, but delivered well and have the same impact, only now to a  new type of audience. Although the music is new to these film fans, it manages to 

capture the same atmosphere as the songs used in the film, and is able to highlight  aspects of the story that were maybe not noticable before. For example, the use of the  child versions of Charlie and Lola really amplify the similarities in their stories – being  afraid of disappointing their fathers – while the fourth wall-breaking moments in the  Angel club make the audience feel involved with the spectacle in a way that doesn’t  have the same impact on screen. 

Behind this story of success for the characters is, importantly, a message on  acceptance, and particularly about how impactful acceptance of those in the LGBTQ+  community can be for everyone. In an interview about the role, Newtion Matthews  spoke about how audience members had been inspired by this production to open up  conversations with loved ones about their own identity. The energy of this production,  and the strength of this message was something which carried over to the audience, in  effect accepting those watching to clap along and join the characters as they lived out  their dreams, and hopefully encourage some to pursue dreams of their own.

Kinky Boots play at New Theatre Oxford until 26th July. Tickets are available here.

Credit to Ox In A box for image from Wild Goose Theatre

REVIEW: Much Ado About Nothing

Published on by jessicafrancis08Leave a comment

Rating: 3 out of 5.

It’s not the slickest Shakespeare you’ll ever see, but if you’re after a fun, feel-good evening in a stunning setting, this one’s worth your time.

On a beautiful, warm evening, there’s really no better setting for Shakespeare than at the Oxford Castle. The open-air atmosphere adds a certain magic, and even though the actors have to project more without microphones, the unique setup with the audience on three sides means they don’t have to worry too much about sight lines. That said, for the first twenty minutes of this production, Oscar Luckett, who played Claudio, faced upstage a bit too much, which made it hard to catch some of his lines from where I was sitting. So while the three-sided audience arrangement is awesome, the actors still need to make sure they turn and project to all sides.

The director, Paul Alex Nicholls, was very welcoming and made sure I had a great seat, which definitely helped me soak it all in and appreciate every detail.

The set was simple but effective, with just a central dais, some plants and a bar that transformed into Hero’s tomb later on. The actors made great use of the set, especially during those sneaky, secretive scenes where they had to hide or eavesdrop.

Performance-wise, I felt the men really stood out. Billy Morton as Benedick was fantastic, he nailed the comedic timing and brought out Benedick’s softer and more intense sides really well. Craig Finley, who juggled multiple roles, also made the Shakespearean lines feel natural and engaging, which is no easy feat.

On the flip side, I did feel the women’s performances were a bit stiff at times, which made some scenes harder to follow. Eliza Blackwell as Beatrice had a great grasp of the language, but some of her movements felt a bit distracting and unnatural, which took away from the immersion just a little bit.

The pacing had its ups and downs, and there were a few moments that dragged a bit, at one point in Act Two, there was some dead stage time that could have been tightened up but there were also some real highlights. The scene where Leonato, Don Pedro, and Claudio trick Benedick into believing Beatrice loves him was absolutely brilliant and had everyone laughing out loud.

The audience really seemed to enjoy the interactive elements, even if not everyone was thrilled about being pulled into the action and the 1940s setting was a really nice touch, with great costumes and a vintage vibe. The music and dancing added some nice breaks between scenes, even if some choices were a little unexpected.

In the end, if you’re looking for a fun, easygoing evening of Shakespeare in a gorgeous setting, this production is definitely worth checking out. It might not be the slickest, most professional performance out there, but you’ll still have a great time and leave with a smile.

REVIEW: Under Milk Wood

Published on by Tabitha JamesLeave a comment

Rating: 4 out of 5.

A rich, characterful performance by a seasoned storyteller full of charm.

I wasn’t quite sure what I was walking into with Under Milk Wood, but Guy Masterson’s one-man performance turned out to be an unexpectedly absorbing way to spend an evening. He’s been performing this piece for over 30 years, and that experience really comes through – not just in his command of the material but in the easy confidence with which he holds the stage.

For nearly two hours, with no set and no props, Masterson paints an entire Welsh village into existence. His shifts between characters are so quick and seamless you sometimes forget there’s only one person up there. From the soft-spoken to the slightly grotesque, each figure in Thomas’s dreamlike world is given distinct voice and personality. It’s impressive how he brings them all to life.

There were moments, though, where the pace sagged slightly or a few lines didn’t land as crisply as they might have. At times the articulation could have been a touch clearer, and there’s no denying that sustaining the energy for such a demanding solo piece takes its toll. To his credit, Masterson handled it with humour and charm, and the audience responded to that warmth. It never became an issue, just something gently noticeable here and there.

It’s a lot to take in – Thomas’s language is rich, poetic and often meandering – and while the performance is never dull, there were a few points where it felt just a little long. That said, it’s still quite something to keep a crowd engaged for that length of time with no help at all, and it speaks to both the strength of the material and Masterson’s connection to it.

What really stays with you is the sense of care and affection in the delivery. This isn’t just a recital of a famous text – it’s storytelling with soul. Masterson clearly knows every rhythm and beat of this play, and watching him share it is a real treat. Even with the odd stumble, it’s an impressive achievement, and you can’t help but admire the sheer stamina and memory it takes to pull off something like this.

Whether you’re a Dylan Thomas fan or just someone who enjoys a good tale told well, this is a performance full of colour, humour and heart. It’s a classic brought vividly to life by someone who knows it inside out.

REVIEW: Treasure Island

Published on by kizzydvdsnLeave a comment

Rating: 4.5 out of 5.

“Treasure Island” was certainly not your typical night out but boy was it entertaining. Full of belly laughter and absolute joy onstage the play was brilliant to watch”

“Physical Theatre Company “Le Navet Bete” have been operating for over 10 years and have won multiple awards for their UK touring productions. The journey began in 2003 where Al Dunn, Nick Bunt and Matt Freeman met at the University of Plymouth all with a passion for clowning and comedy  who then went on to create the company in 2008. “Treasure Island” was first performed in 2019/2020. Due to its success Le Navet Bete took the show on tour again around the UK in 2024. Although there were a few hiccups on opening night, this only added more joy and hysteria to the performance.  

The play was a hilarious interpretation of the classic tale “Treasure Island” written and directed by the brilliant John Nicholson. The cast consisted of 4 talented actors who had flawless multirole skills. This was assisted by the intricately designed costumes reflecting each character effortlessly. Matt Freeman worked flat out throughout the whole show changing costumes, characters and performing with excellent comedic timing even if it did mean tripping up the stage as the infamous Ben Gunn wearing a flip flop and a welly boot. Nick Bunt performed as 14 year old Jim Hawkins with grit, determination and with “the musical talented of a poo hitting a drum”. The jokes were witty and a great balance between mature and suitable for a younger audience.

The set design had a similar resemble to the Mamma Mia musical set that was really interesting and visually pleasing. The set for “Treasure Island” had palm trees and trapdoors and ladders onto top deck which was very effective. The set was lit by Marcus Bartlett and Alex Best, who captured the essence of a deserted island extremely well and showcased the acting perfectly. There was lots of audience interaction, including bringing an audience member on stage to help play a game of higher or lower. The play had well known songs that the audience bopped along to, especially played by Long John Silver’s bird “Alexa”. The opening night mishaps made the audience shriek with laughter and giggles as it was covered well by the actors and successfully continued the scenes if something went wrong. A very talented cast!

“Treasure Island” was certainly not your typical night out but boy was it entertaining. Full of belly laughter and absolute joy onstage the play was brilliant to watch. Making such funny writing into a full-scale play is big feat and the company achieved it in leaps and bounds! Hats off to Abi Jones who stepped in last minute as stage manager on the show and doing an excellent job. The performance of the show on the 5th July at the Oxford Playhouse was an awesome watch and I highly recommend any theatre goers of any age to see this fabulous show on the next leg of its journey in Wakefield in September.

REVIEW: Songs of the Bulbul

Published on by clemencx1 Comment

Rating: 4.5 out of 5.

A hypnotic dance of light and shadow, Songs of the Bulbul soars close to transcendence; just shy of perfect, but utterly unforgettable.

From the moment Aakash Odedra steps into a circle of candlelight, cloaked in white and surrounded by petals and falling branches, you sense you’re about to witness something rare. 

Songs of the Bulbul is not just a dance piece, it’s a spiritual invocation and a one-man epic that unfolds like a myth retold through movement. Inspired by the symbol of the nightingale, the bulbul, whose song grows sweeter in captivity, Odedra invokes a world where beauty, suffering and transcendence intertwine together in a hypnotic hour-long journey that floods the stage and the audience with emotion.

A semi-circle of electric candles surrounds a floor scattered with red petals, while suspended branches evoke a wooded otherworld. It is both earthly and otherworldly, an abstracted cage where the myth of the bulbul plays out. The bird, symbol of divine longing in Persian and Sufi culture, becomes a vessel for the artist’s own journey: the burden and ecstasy of creation, the pain of loss and the ephemeral nature of beauty.

Odedra steps onto the stage dressed in white, part hatchling and part spirit. His movements switch between bird-like flutterings and grounded steps. His arms carve through the air and his spins feel both meditative and full of urgency. At times, he seems caught between worlds, torn between freedom and restraint. Rushil Ranjan’s score is just as central to the experience; the layers of strings and voices rise and falls alongside the dancing, from gentle, almost sacred melodies, to rich crescendos. 

The performance opens with the gentle light of dawn before transitioning into a charged and introspective journey. Odedra’s vigorous and rhythmic movements convey a tension between revelation and despair. In the restrained final act, the theme of the artist’s gradual diminishment is rendered as the bulbul’s final song emerges as a metaphor for the transient nature of art, life and love.

An unexpected choice at the start of Songs of the Bulbul was the use of a pre-recorded explanation that laid out the narrative and symbolism of the three acts. While the idea that the piece reflects the artist’s gradual loss of self with each creation is both striking and relatable, presenting it so explicitly upfront risks limiting the audience’s engagement and restricting alternative interpretations. The revelation in the third act, that the bird loses its sight, elicited a gasp from the audience, but might have carried greater impact if discovered through the performance itself. In providing the plot and themes in advance, the production felt less like a journey and more like reading the SparkNotes before the novel: informative, but depriving the audience of the emotional journey that makes art truly resonant. Still, Songs of the Bulbul remains a rich and moving experience, visually striking, emotionally raw and spiritually resonant. Aakash Odedra proves that the body, when guided by truth and tradition, can become a vessel for something far greater than itself.

REVIEW: Hejira at Oxford Playhouse

Published on by Joshua VartyLeave a comment

Rating: 4 out of 5.

Hauntingly beautiful lyrics and scintillating jazz form

If you want the Californian music experience, then Hejira (named after the album) was the place to be! This is not just because the show happened during a heat wave. Hejira breathe new life into the lyrics of Joni Mitchell with their own musical arrangements that showcase just how well Mitchell’s lyrics marry with a free jazz form. The audience was clear mix of people new to the band and others that know them well, along with their production company ‘The Spin’. Overall, I would say I felt like we were as much invited to come listen to the band with open arms as we were patrons to the night.

The band were spectacular, with some excellent procession and drums that conjured up images of Ginger Baker and John Bonham and some excellent ‘Samba’ beats. The saxophonist brought the cool that only a saxophone can bring, mixing up his instruments throughout to find the perfect sound for each song. We were taken on a journey of jazz styles, marrying well with some of the more ‘Country’ styles of songs like ‘Coyote’. The guitar, bass and keyboard brought an interesting flavour to the sound, with some points enjoying some hard ‘Blues’ rhythms gave reminisces to ‘John Lee Hooker’, guitar solos that aped ‘Gary Moore’ and at other points journeying into a more ‘Prog Rock’ style. A particular favourite moment for me and my die-hard love for bass, was when the bassist employed the use of a loop peddle to build multiple lines on top of each other, slowly melding together a funky and excellent arrangement. All this displayed the range of talent of the musicians. Safe to say the band explored the full spectrum that jazz bleeds into, along with some joyous dips into Latin rhythms all topped with the hauntingly beautiful singing of Hattie Whitehead.

Despite the heat, we all had a wonderful night. If you were in the audience, though you couldn’t be physically you could at least mentally ‘Be Cool’.

This is a band to see, not only for their tribute to the powerful songs of Joni, but to see how they play off each other, build their sound together and brining in some excellent harmonies.

Image Credit: Simon Vail

IN CONVERSATION WITH: Guy Grimsley and Andy Blagrove

Published on by Tabitha JamesLeave a comment

Oxford Operatic Society (OXOPS) is thrilled to bring Tim Rice and Andrew Lloyd Webber’s iconic rock opera, Jesus Christ Superstar to The Playhouse stage. Audiences will be transported into the climactic final days of Jesus of Nazareth, reimagined through electrifying music and captivating performances. We sat down with Guy Grimslet and Andy Blagrove to talk about their roles and working together.

Guy, as someone who’s previously portrayed darker roles, how are you approaching the challenge of finding the humanity in Jesus for this production?

Jesus is a daunting character to play! He is a figure that everybody has an opinion about, but we know very little about him personally, what he actually thought, felt, what we he really like? I want to make sure that his humanity comes through really strongly – the stakes at the time the show is set are biblically (!) high and he experiences a complex set of emotions – joy, sorrow, fear, anger, confusion – frequently bundled together at the same time!

I had the privilege of playing Judas twice when I was at university, and I think finding the humanity in Jesus is to some extent the mirror image of Judas’. Jesus’ destiny is unavoidably the source of the trauma Judas goes through.

This betrayal has to be a key part of the human story. It is brutal and I want to show Jesus’ conflict with knowing that his best friend has to suffer and betray him so that he can fulfil his own destiny to die as the Son of God. Andy’s one of my closet mates, so playing opposite him should make finding all the right feelings in this betrayal really powerful. Friends betraying friends, classic tragedy!

Andy, with 20 years of experience at OXOPS, what does playing such an iconic character like Judas mean to you at this stage in your career?

To play such a part is firstly an absolute privilege. I get to sing some of the most beloved songs from musical theatre, songs that actually transcend the genre; it is not often you get to do that.  It is easily the most challenging role I have had to date. Whilst I have been lucky enough to play many principle parts during my time with OXOPS this is easily the biggest and hardest one yet. I am really enjoying getting to grips with the range of singing and working out my own version of Judas’ complex character.  And getting to do this opposite one of my closest friends in Guy, is a bit of a dream!

For both of you, how do you balance the intensity and emotional weight of your characters with the joyful, rock opera energy of the music?

G: Being a fully sung through show comes with its own drawbacks and benefits. On the one hand you have no time to spend indulging in the emotional weight of a moment; if you do, you’ll immediately be a bar behind the music and trying to catch-up. On the other, the music is so fun to sing and so powerful that it guides you close to the right emotions whether you want to be or not!

A: I absolutely love the rock opera of the show. The energy that this type of singing creates is actually really helps to focus the character through the words. The lyrics are actually where the truth of the piece lies and we have all been working on that in the rehearsal room. It isn’t just about making the best ‘rock’ sound you can, but do so in way that shows genuine emotion. There are loads of recordings of JCS, no two have the same inflections in the singing so the piece gives you scope to find your own interpretation of it. That is what Guy and I in particular have tried to find, the truth in the relationship between the two men.  Both of whom need the other to fulfil their destiny. Hopefully the way we are telling ours will land well with audiences.

Guy, how has your understanding of Jesus evolved over the years through your performances, and how does this role feel different?

Mary and Judas both sing about how Jesus is ‘just a man’ and I think that’s really important. Clearly, we don’t think about him that way today, but approaching him as a flesh and blood human with hopes and fears should make the divine elements more interesting to play with. He can’t simply waft around the stage full of prophecy and divinity. For the audience to care about him he has to feel things, to want things – which means I have to actually act and not just pose! This is a big change from when I played Herod in the sixth form (thank you Mrs Stanley!) and Judas at university – I thought musicals were all about posing, singing and trying to look good while doing so – the idea that there could be real acting involved in a whole new perspective this time around, 20+ years later!

Andy, Judas is a complex and often misunderstood character – what are you most excited to explore in his portrayal during this production?

For me this has all been about exploring his motivations in doing what he does. We all know that he has to betray Jesus in order for Jesus to fulfil his destiny, but Judas doesn’t necessarily know that so why does he do what he does? Without spoiling it when the show starts to reach the climax Judas isn’t exactly enamoured with how things went. So trying to work out what he thought might happen to Jesus and the rest of the apostles, all of whom in reality were friends of his, has been really interesting. Mostly I want the audience to see Judas whilst maybe not a sympathetic character, one that has depth and isn’t just a villain. 

And for a fun one: If you had to pick a modern pop song to represent your character, which would it be and why?

A: Oh this is a tricky one!  In this show Judas sees changes in Jesus from where their journey began so maybe Somebody that I used to know by Gotye? 

G: Fun question! Not the most youth friendly pop choice, but the first track I thought of was Time by Hot Chip. I love the idea in the lyrics of running our of time, not knowing what is coming next, but facing it bravely with your friends. That’s very Jesus in JCS.

The other choice, though it’s a bit on the nose and maybe more retro than you’re after, is Personal Jesus by Depeche Mode. It’s a song I love, and references an accessible relationship with Jesus tinged with more critical thoughts about idolization.

Finally, can I stick a flag in Judas by Lady Gaga, mainly so Andy can’t say it?!

OXOPS Jesus Christ Superstar plays at the Oxford Playhouse 8 – 13th July and tickets are available here.

Creator: ANDREW WALMSLEY

REVIEW: The Three Musketeers

Published on by Joshua VartyLeave a comment

Rating: 4 out of 5.

A weaving web of conspiracy, comedy and catchy music

Alex Thomas’s new adaptation for Dumas’ ‘The Three Musketeers’ is in a word: joyful. We’ve had our share in the UK of gritty re-imaginings and block-buster productions. But here we have something with some real soul to it. We’re greeted into the theatre by a tavern scene, the actors playing the hubbub of a 17th-century inn, with patrons and trickles of live music to tantalise the awaiting audience.

The set (which remains throughout) is most certainly an impressive piece! You can see the love and craft that went into it and does well to keep you guessing where the next part of the action will take place or how it will be employed. Along with the costume, it all gave the piece a lovely flare of authenticity to the period.

We are guided through the tale of our eponymous heroes by a storyteller, deploying context and song with excellence throughout. The performers of Magdalen College School (MCS) certainly excel in this department, with some beautiful harmonies and stirring ballads that really pull you into the growing excitement and intrigue. There were some truly beautiful voices to listen to throughout, my only critique of this, was there were some singers that only had a short time to shine. This combined with the live band give these pieces a lovely interlude between scenes, though there were a few times that dialogue was lost to the underscore of the band which may simply have been an issue with mics.

Overall, the team built well into the story, with standout performances from Erin Alexander’s femme fatal ‘Milady de Winter’ and Michael Onobhayedo’s tragic ‘Athos’. But that is not to say the others were lacking. Performances from all were rich with energy and gusto. ‘D’Artagnan’ and the Musketeers gave a wonderful sense of brotherhood and the Cardinal, ‘Comte de Rochefort’ and his men oozed thinly veiled villainy that balanced well between comical and unnerving. The unabashed pratting of King Louis and his ignorance countered well with the growing plots and scheming that surrounds him.

The fights…. Oh, the fights. I could spend an entire review analysing each bind, flourish and cut. Mark Ruddick did well to choreograph so much action in what quickly becomes an extremely tight space when the Cardinal’s men face off with our heroes. The one-on-one fights were a pleasure to watch as the actors could range the space and display some delightful strikes, ripostes and disarms. The group fights were chaotic and brutal in all the good ways, though I could feel them working hard to keep distance in the melee. I also appreciate keeping the fights short and sweet, allowing them to blend with the rest of the elements in the performance and avoid ‘showboating’ the rest of the play.While technically no bucklers were swashed, this was indeed everything the show promised it would be. A excellent combination of song, storytelling, tense fights and a plot that keeps you engaged. It also gives a nice greying to what is often shown as clear heroes and villains. MCS have a right to be proud of this production and left me hoping they would explore more of Dumas’ work, if only so I could watch more rapier work.

REVIEW: Twelfth Night

Published on by kizzydvdsnLeave a comment

Rating: 4.5 out of 5.

It was funny, heartfelt and, most of all, a really impressive watch

Twelfth Night  by William Shakespeare was performed by BMH Productions at the Oxford Castle as part of Oxford’s Summer Shakespeare Festival. The play tells the comedic story of a pair of twins who get separated in a storm and Viola, dressed as Cesario, pretends to be brother in order to serve in Duke Orsino’s court. Meanwhile, she gets tangled in problematic situations where love and hidden disguises do not mix. The show was performed by a fairly small yet extremely talented cast of actors and actor-musicians.

The atmosphere was brought to life having been performed in an open-air theatre. It immersed its audience in the environment and allowed the actors to engage with the audience in a humorous and witty way. Overall, the projection of the cast was very good however some words were lost occasionally due to the wind. The blocking of the scenes was very successful and made the story easy to follow, which is always a key part of any Shakespearean play. Twelfth Night was directed by Kate O’Connor who had a clear vision of how the play would be interpreted by its cast. This included a slightly modern take including song and ukulele playing by the brilliant Nicola Jones with powerful vocals from Ed Blagrove. The set was simple and subtly hinted to Illyria and the waves of the sea.

Photography by Simon Vail

Each of the actors had unique interpretations of their characters that elevated their performances because of their specific character choices. The costume design didn’t overpower the acting which was very effective. The fight choreography was excellently choreographed and executed well by the cast. It  created cool shapes that were exciting to watch. The cast had a solid grasp of the text which was brilliant as the comedy landed with the audience, especially Alistair Nunn who played Malvolio and made the audience crack up with laughter in his scene dressed up in yellow stockings.

Overall, it was a brilliant play and showcased some of the extraordinary talent we have here in Oxford. It was funny, heartfelt and most of all a really impressive watch. The show is being performed at the Oxford Castle until the 5th of July. It is not one to be missed!

IN CONVERSATION WITH:Nick Bunt

Published on by Ke MengLeave a comment

We sat down with Nick, who will play the part of Jim Lad in Treasure Island, as the multi-award-winning physical comedy company Le Navet Bete bring their smash-hit version of Robert Louis Stevenson’s legendary tale to Oxford Playhouse.

What inspired you to take on Treasure Island – and give it such a wild, hilarious twist?

Treasure Island was a title that had always been in our minds over the years. It’s such a classic adventure / coming of age story and we felt that our style of physical comedy could really work well with the pirates / high seas / double crossing nature of it. The opening scenes set in the Admiral Benbow Inn with Jim Hawkins, Billy Bones and Blind Man Pew are pretty close to the original story but then we’ve used our own artistic licence to create a parallel story full of twists and turns and hilarious surprises!

Physical comedy is at the heart of what Le Navet Bete do – how does that come to life in this production? Any key moments you can hint at?

Our work is has always centred on physical comedy and placing our bodies right at the heart of everything. It’s very slapstick in its nature and that really has such a broad appeal to all ages in the audience, influenced by some of the greats such as Charlie Chaplin and Buster Keaton to some of the people we grew up watching on TV like Rik Mayall and Ade Edmondson, French and Saunders, Monty Python. Matt plays a fantastic mermaid (not in the original book!) and there is a brilliant moment at the end of the first half where he has to get off stage! I’ve seen people in the audience crying with laughter!

here are only four of you in the cast – how on earth do you manage to play all the characters in this epic adventure?

There are only four actors in the show playing around 40 characters in total so it’s as mad backstage as it is on stage! The physicality and changes to our appearance (not just with costume and voice) are vital – and provides some moments of great comedy! We have a brilliant stage manager who works her socks off backstage (and sometimes on stage) to make it all happen. It’s total chaos on stage but, in reality, the show has been rehearsed to within an inch of its life so it’s like a well-oiled machine. Saying that, when things do go wrong it can often provide some brilliant interaction with the audience! 

What’s the secret to making such a well-known story feel totally fresh and unexpected?

I think half the fun is using the original source material, in this case the novel by Robert Louis Stevenson, and scouring it for fun and exciting narrative that we want to pull out and use. I mean, we’re doing a production of Treasure Island so it does need to be that, but we can always go off in different directions with the material. It keeps it super fun in the rehearsal room too. The nature of pirates is always exciting so there was already a lot to go with. But then a lot of the original text gets bogged down in quite serious story so to keep it fresh and unexpected we have thrown in lots of hilarious things to keep the audience on their toes – a catchy, popular game show, a beautiful mermaid, a certain white-bearded fish finger tycoon and a couple of 80s power ballads for good measure!

The show’s described as a “smash-hit comedy for all the family” – what can audiences of all ages expect when they climb aboard the Jolly Todger?

Audiences of all ages can expect a joyously silly, fast-paced adventure full of physical comedy, quick-fire costume changes and laugh-out-loud moments from start to finish. The show is packed with larger than life characters, ridiculous accents and brilliant set pieces. Whether you’re 5 or 95 you’ll find something to enjoy. It’s pure theatrical fun! 

A recent social media comment: “Amazing as usual. Clever, witty humour at many levels. Perfect for families…superb physical theatre too, the energy levels are fantastic…really connect with the audience…special shout out to the mermaid, worth the ticket price alone. Do not miss this show, you’re in for a real treat!”