Tag: tour

REVIEW: When Mountains Meet

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Rating: 3 out of 5.

An enjoyable celebration of two beautiful cultures.

When Mountains Meet tells the story of Scottish musician Anne Wood, and her turbulent journey to South-Asia to become reacquainted with her long-lost father. The production combines traditional music, storytelling and striking visuals, to create a unique, immersive and colourful experience that brings together the mountains of the Scottish Highlands and the Himalayas. The production was written, composed and musical directed by Anne herself, and she appears in the show, heading the band on the violin.

Rather than a more traditional theatre set-up, the audience were seated at round tables, with Anne and the band on a small, raised platform, and the storytellers on the floor and moving through the audience. I thought that this served the production well as it created immersion and made the performance quite intimate. The tables were all beautifully set with Pakistani kahwa tea, and pieces of laddoo, which we were invited to try at certain points of the show. I thought that this was a really lovely touch which worked well to further our immersion into the South-Asian culture that the show was celebrating.

The medium of storytelling, having a younger Anne playing the protagonist in the story, and present-day Anne leading the band and offering sprinklings of hindsight throughout the show, was very effective. It really felt like we were seeing Anne’s story through her eyes, and the two versions worked well to connect the actors on the floor and the musicians on the stage. 

The star of the show is undoubtably the music. Highland music and Gaelic-language songs blended seamlessly with South-Asian influences, creating a unique, interesting and quite spectacular score. Anne is a really great performer, and you could feel the music coming from her heart as she played. The other members of the band are also excellent.

While the show had moments of visual and musical brilliance, I felt that the story itself could have had more depth to it. It did take us on a lovely journey, exploring the connections between people and places, pondering what it means to belong somewhere, and highlighting cultural differences, but the narrative felt, at times, rather surface level, mechanical and like it was telling rather than showing. I just kept finding myself wanting a bit more. However, the show’s running time was not long over one hour, and I understand that a running time this short creates limitations on how much can be achieved. Perhaps the story would work better in a longer show.

In saying that, the production does deserve to be commended for taking us on a full-circle journey, showcasing some great music, incorporating unique moments of audience involvement, and overall, being an enjoyable celebration of two beautiful cultures. It definitely had its charm, and I understand why it would appeal to many people. 

You can catch this production on its upcoming Scottish tour, with performances in Shetland, Aberdeen, Ullapool, Stirling, Crieff, Glasgow, Castle Douglas, Melrose and Paisley.

REVIEW: The Wizard of Oz

Published on by justinemsjonesLeave a comment

Rating: 4 out of 5.

This new production is a sheer delight and honours the legacy of the timeless charm of the 1939 film.

The yellow brick road winds its way into Manchester with the new London Palladium production of “The Wizard of Oz” arriving at the Palace Theatre. While the timeless charm of the 1939 fantasy film remains cherished in our hearts, this new production promises to honour its legacy while seamlessly integrating modern effects, ensuring a stellar theatrical experience.

Creatively transported to a farm in Kansas, the audience is introduced to Dorothy (Aviva Tulley) and her dog, Toto (Abigail Matthews). The foreshadowing of the characters we know and love is delivered with an excellent opening number. Throughout the performance, the ensemble captivates with their energy and compelling storytelling. Tulley takes the audience over the rainbow as she captivates them, evoking more than a few heartfelt tears.

When fantasy meets reality, Dorothy is transported to a world of Munchkins, Witches, and Wizards as she embarks on a journey to meet the Wizard of Oz (Allan Stewart) and vanquish the Wicked Witch of the West (The Vivienne). Along the way, she encounters the Scarecrow (Benjamin Yates), who delivers a perfect performance throughout, fully embracing the comedic joy the role offers. The Tin Man (Aston Merrygold) joins the troupe with mesmerizing moves, leaving audiences in awe. It is undeniable that Salford’s own Cowardly Lion (Jason Manford) receives a raw-some applause throughout from the local audience, stunning with his solo number.

The creative direction and embrace of technology throughout are the most tasteful attempts seen on a recent stage. Colin Richmond’s set perfectly combines screens with traditional sets, bringing depth to the delivery with the right amount of sparkle you would expect from the wonderful world of Oz. The new songs brought by Andrew Lloyd Webber and Tim Rice weave magic into the production, with notes of nostalgic wonder.

This new production is a sheer delight. While the pacing of the first act compared to the second seems almost opposite, the delivery on stage is something to marvel at. Slip on your ruby slippers and head on a journey to Oz at the Palace Theatre until Sunday 5th May and across the UK this year.

REVIEW: Bonnie and Clyde: The Musical

Published on by omarydawnLeave a comment

Rating: 5 out of 5.

A blend of suspense, romance, and comedy where incredible staging and powerhouse performances bring America’s most notorious outlaws to life like never before!

“Bonnie and Clyde: The Musical” UK production takes audiences on a gripping journey through one of history’s most infamous criminal duos. From the moment the curtains rise, it’s clear that this production is something special. With an incredible use of original source material and innovative staging techniques, the audience is immediately transported to the heart of the action.

The show’s ability to captivate from the very start is unparalleled. From the opening scene, I found myself completely engrossed, unable to look away from the stage. Every moment was meticulously crafted to keep the audience on the edge of their seats, eagerly awaiting what would happen next. There were so many moments the entire theatre was silent, and I felt chills at certain points in the performance.

What truly sets this production apart is the outstanding acting and professionalism displayed by the cast. Each member of the ensemble brings their character to life with such authenticity and depth that it’s hard to believe they’re not the real characters themselves. Their chemistry on stage is electric, drawing the audience deeper into the tangled web of romance, suspense, drama, and comedy that unfolds before them.

Speaking of which, the blend of genres in this production is nothing short of masterful. One moment, you’re holding your breath during a tense standoff with the law, and the next, you’re laughing out loud at the witty banter between the characters. It’s this seamless transition between moments of high tension, lighthearted humor and mundane moments that keeps the audience fully engaged from start to finish.

As someone who has seen their fair share of theatrical productions, I can confidently say that “Bonnie and Clyde: The Musical” ranks among the best. Not only does it entertain, but it also does justice to the true story behind the legend. The creative team behind this production has succeeded in capturing the essence of Bonnie and Clyde while adding their own unique spin.

And let’s not forget the standing ovation that this show rightfully deserves. As the final notes of the last song faded away, the audience erupted into applause, a testament to the impact that this production had on everyone in attendance. It’s not often that a show leaves such a lasting impression, but “Bonnie and Clyde: The Musical” is truly something special.

In conclusion, if you have the chance to see “Bonnie and Clyde: The Musical”, don’t hesitate. It’s an experience you won’t soon forget, filled with incredible performances, captivating storytelling, and enough twists and turns to keep you guessing until the very end even for those who are aware of the story.

FEATURE: John Robb announces special guests joining him at venues across the country

Published on by Tabitha JamesLeave a comment

Ahead of his upcoming UK tour – JOHN ROBB – is very pleased to announce some of the special guests who will be joining him at venues across the country.

Illustrating the journalistic skills that have made him a household name, Robb will be interviewing a stellar cast of renowned musicians, journalists, authors, and industry veterans as part of his upcoming ‘Do You Believe In The Power Of Rock N Roll’ tour.

Confirming the first wave of names today, special guests will include Sisters of Mercy founder Gary Marx, The Farm frontman Peter Hooton, The Lovely Eggs legend Holly Ross, former Fall stalwart Paul Hanley, Wire maestro Colin Newman, Wild Swans man turned writer Paul Simpson, Evil Blizzard’s own Filthy Dirty, Therapy? axeman/vocalist Andy Cairns, esteemed author and The Guardian / Uncut music critic Dave Simpson, Mancunian people’s poet Tony Walsh, plus tour manager to The Clash and John Cooper Clarke: Johnny Green.

Newer additions also include IDLES’ own Adam Devonshire, The Stranglers’ veteran Baz Warne, legendary Yorkshire promoter Michael Ainsworth, and legendary drummer from ‘XTC live in Swindon’ Terry Chambers.

PLUS, don’t miss BBC 6 Music staple Steve Lamacq, Goth-pop rising star Freya Beer, and Pop Will Eat Itself legend Adam Mol – all of whom will be popping-up at select venues across the nation.

Each guest will be personally interviewed by John Robb about their extraordinary lives and careers in music as part of his brand new show. The details of which guests will be appearing where, is indicated below. Further names to be announced in due course…

Alongside the interviews, Robb’s autobiographical ‘Do You Believe In The Power Of Rock N Roll’ will see him opening up about own remarkable life in music. Discussing everything from his recently released book ‘The Art Of Darkness – The History of Goth’ to his experience being the first person to interview Nirvana, his coining of the term ‘Britpop’ and his adventures on the post-punk frontline, the 23 date tour kicks-off in Selby next week (22 March). Remaining tickets for all shows are on sale now.

We’ll be covering the 9th May at Voodoo Rooms where he has Paul Simpson (Wild Swans / author) joining him – but check out this link for all 23 guest artists.

REVIEW: Macbeth

Published on by huetfrancoisLeave a comment

Rating: 4 out of 5.

Murder, cameras, and boogie


Richard Twyman’s adaptation of Macbeth is a bold and innovative reimagining of the classic tale, pushing the boundaries of tradition with unconventional creative elements. Co-produced with the English Touring Theatre, the production presents a mix of ideas that challenge and engage the audience in equal measure.

One of the standout features of this production is the clever utilization of cameras and sound, which effectively cultivates a haunting atmosphere that mirrors the gradual descent of the Macbeths into madness. Twyman’s modern interpretation begins with a departure from Shakespeare’s original opening, replacing it with an imagined witch trial set within the Macbeths’ home adorned with retro decor. This departure serves to underscore the pervasive fear of the supernatural prevalent in Shakespearean society, and sets the tone for a production that is unafraid to take risks.

Embracing modernity, the production incorporates cameras, music, television, and pop songs to craft a visceral and unique experience for the audience. The witches, portrayed unconventionally through various mediums like movie footage and wigged zombies, add a contemporary twist to the narrative that is both intriguing and unsettling. Particularly memorable is the banquet scene, transformed into a Burns night dinner, where the audience is invited to participate and interact with the characters, heightening the intensity of the performance.

Mike Noble’s portrayal of Macbeth is captivating, especially during intimate moments where audience members are brought close to the action. Noble’s performance is nuanced and complex, capturing the internal conflict and eventual descent into madness of the titular character. Laura Elsworthy complements Noble’s performance with her portrayal of Lady Macbeth, creating a dynamic duo that anchors the show. Elsworthy’s Lady Macbeth is fierce and determined, yet vulnerable and ultimately tragic.

While the production is brimming with innovative ideas, it occasionally falters due to an excess of elements introduced fleetingly without substantial significance. Some creative choices, such as the use of a breast pump and the frankly jarring singing of “Yes Sir, I Can Boogie,” feel out of place and detract from the overall coherence of the production. However, the use of technology is well-executed, enhancing the storytelling and contributing to an atmosphere of psychological horror.

Overall, Twyman’s modern rendition of Macbeth offers a fresh perspective on the classic tale, showcasing the enduring relevance of Shakespeare’s work while pushing theatrical boundaries. Though not without flaws, the production’s creative approach breathes new life into the timeless narrative, ensuring that the Scottish Play continues to captivate audiences for generations to come. With standout performances from Noble and Elsworthy, and a haunting atmosphere that lingers long after the curtain falls, this production is a must-see for fans of innovative theatre.

REVIEW: Come From Away

Published on by Juliet PoneLeave a comment

Rating: 5 out of 5.

A story of love, of the great care and compassion of the people of Gander, of love found for some and lost for others, Come From Away doesn’t shy from difficult topics.

My parents always said that everyone old enough to be aware of it can remember exactly where they were and what they were doing when the planes hit the twin towers on the 11th September, 2001. That’s exactly how Come From Away begins, with the residents of Gander, Newfoundland, recounting what they were doing when the news came through and 38 diverted planes started queuing up to land in their small town. The hit musical, written by Irene Sankoff and David Hein, began as a student performance at Sheridan College, but has since travelled the world to critical and public acclaim, becoming one of the most loved shows of all time. After seeing it for the first time on opening night at the Liverpool Empire Theatre, once again directed by Christopher Ashley who brought it such success on Broadway, I understand why. 

With an ensemble cast of twelve performers all playing more than one role, I was a bit concerned there wouldn’t be enough space to allow each character to shine or be developed as an individual. Sometimes all it took for an actor to change character was to put on a hat, such as Jamal Zulfiqar switching between Kevin and Ali, but the whole cast pulled it off remarkably, each managing multiple diverse accents, and I was amazed at how much individuality there was to each of the more than twenty-four characters, and with how much compassion they were all treated.

The set was no more than a backdrop of bare planks of wood and some tall trees stage right, calling back to the sparsely populated woodlands and logging communities of Newfoundland. Chairs moved around by the actors on set, often while singing and dancing, transformed the stage from a Tim Hortons, to a local pub, to the aisle of an airplane, to a school packed full of ‘guests’ with remarkable smoothness. The production is fast-paced and told almost entirely through song, with a runtime of 1 hour 40 minutes with no interval, but it neither felt rushed nor too long, largely thanks to the expert choreography of Kelly Devine and Richard J. Hinds that allowed for seamless character and set transitions. 

Naturally with any musical the songs have to be showstoppers, and Come From Away certainly delivered. The power of twelve voices singing at once cannot be underestimated, and worked perfectly for the energetic but sometimes haunting flute-and-fiddle folk songs that told the story of how the residents of Gander opened their homes and hearts to more than 7,000 people who were stranded for five days. Having a live band on stage really made the whole production shine, and all the cast sang as well as they acted. The booming voice of Nicholas Pound as Claude and others was a standout for me, with Sara Poyzer also impressing with several long narrative solos as Beverley Bass, the first female American Airlines captain, and a few more light-hearted solos as Annette, a Gander local who swoons over the new men in town. Bree Smith’s ‘I Am Here’ as Hannah, a mother travelling alone and desperately searching for news of her son, was poignantly heartfelt and had me tearing up.

While it is ultimately a story of love, of the great care and compassion of the people of Gander, of love found for some and lost for others, Come From Away doesn’t shy from difficult topics; Ali, a Muslim man inspired by many real passengers including world famous chef Vikram Garg, faces discrimination based on his ethnicity and religion, with many of the other passengers and airport security alike suspicious of him. The gay couple Kevin and Kevin, and black passenger Bob, fear for their safety in this remote town, and Jewish and Muslim passengers struggle to find suitable food, but all form lasting bonds and leave an impression on the community. The ‘Prayer’ song, sung in multiple different languages as passengers from different religions pray, was a real standout moment for me. Even animal passengers weren’t forgotten, with devoted animal lover Bonnie, played by Rosie Glossop, taking care of cats, dogs, and a few rare Bonobo chimps. I laughed, I cried, and at the final bow the whole theatre was on its feet with rapturous applause. Come From Away has it all, and I think part of what makes it so universally touching is the care with which it tells real stories, always guiding us to think of the stranded passengers who still keep in touch with the residents of Gander today.

REVIEW: Scottish Opera Highlights

Published on by ayoungishperspective1Leave a comment

Rating: 5 out of 5.

Scottish Opera’s ‘Highlights Concert’ was a truly magical evening of opera and we’re already looking forward to the company’s next visit to Mid-Argyll.

Mid Argyll Arts Association were delighted to welcome Scottish Opera’s touring company to Ardrishaig last weekend.  The last time Scottish Opera visited Ardrishaig was 1991 and such was the enthusiasm for this ‘Highlights’ Concert that tickets were sold out weeks ago. MAAA were then asking people to put their names on their waiting list!  The audience was varied: a young 11-year old experiencing opera for the first time, along with regular followers of Scottish Opera.  

Appearing were 2023/24 Associate Artist, mezzo-soprano, Lea Shaw, along with three of Scottish Opera’s Emerging Artists, the tenor, Shengzhi Ren, soprano, Inna Husieva and baritone, Ross Cumming. The touring production’s accompaniment was provided by their Music Director, James Longford on piano. 

Most of the programme was sung in the original language, the excellent acting skills of the singers allowing the audience to understand the drama of these operatic tales. Skilful set- design by Ana Inés Jabares-Pita must be mentioned too. 

The scene is a wedding. Four singers portray the characters, staff and guests. The story is then told through a musical programme, devised by Derek Clark with script by Laura Attridge, of operatic delights. The music is drawn from over three centuries of opera, ranging from Mozart’s ‘The Magic Flute’ to Gilbert and Sullivan’s ‘HMS Pinafore’ and then to a contemporary 2023 work composed specially for Scottish Opera’s touring company by Emma Jenkins and Toby Hession. ‘In flagrante’ opened the second half of the evening. Three government ministers find themselves in a ‘morning after the night before’ situation. The spin-doctor arrives . . .  Through a variety of arias, duets, trios and quartets the antics of the wedding guests are revealed!

’The Saga of Jenny’ from Gershwin’s ‘Lady in the Dark’ brought the evening to a close. Long and enthusiastic applause from the audience ensured a further treat from the singers in their encore. This was “Wrong Note Rag” by Bernstein and brought the concert to a perfect end!

‘Brilliant’, ‘fantastic’, ‘What voices!’ were just some of the responses to this wonderful evening.  Perhaps the most telling, ‘When are they coming back?’

Spring 2024 Tour: 11 February – 23 March 

Touring to Greenock, Dunlop, Stirling, Ardrishaig, Blairgowrie, Peterhead, Aboyne, Strathpeffer, Tongue, Stornoway, Poolewe, Dornie, Ballachulish, Tobermory, Johnstone, Middleton, Duns, St Andrews, and Largs.

Guest Reviewer: Fiona Toner

REVIEW: Austentatious on Tour

Published on by Tabitha JamesLeave a comment

Rating: 4 out of 5.

Masterful improv entertains audiences from start to finish in a boisterous lost Jane Austen spectacle

The Regency comedy improvisation show, made famous at the Edinburgh Fringe, is on tour! Every single show promises to deliver a brand new ‘lost’ Jane Austen play based only on audience suggestions. The performers are all talented improvisers with a confidence that rivals the proud Mr Darcy and a stubborn doggedness that Elizabeth Bennett would be jealous of. Performed in period costume with a wonderful live musical accompaniment, this was a rambunctious evening full of laughter from every corner of the audience.

The concept was introduced by a learned scholar with the audience spitballing multiple titles such as Death with Dignity and F*nnying About before the cast settled on ‘Alice in Spinsterland’. I was a little disappointed that they didn’t leverage the Halloween theme (the show was on the 29th) and was a bit concerned that the references to Alice in Wonderland would become a bit monotonous. The cast managed it well but I did find there was heavy allusions to the Lewis Caroll book and unfortunately for my companion from Canada they weren’t well versed with the story so it meant some humour was lost in translation.

I’ve had the pleasure of seeing the show before in Edinburgh and can verify that this performance was indeed completely different – there’s no tropes (bar those of the Jane Austen influence) that were trotted out or rehearsed scenes that they desperately wanted to slot in. It’s truly organic, spontaneous and impressive improvisation that keeps the pace throughout. A small criticism would be the use of ‘flashbacks’ and ‘flashforwards’ – something I have witnessed before at amdram improv when I was at university, but to an unexperienced audience member it can feel a bit chaotic and disorientating if you’re not fully up to speed with improv etiquette.

At 1hr45 it was a fast paced ride and was engaging throughout. Best enjoyed with a glass of wine or sparkling appletister it’s a decadent rollercoaster of twisting turns and quick thinking. The ending was a little rushed as the cast realised the time but the show’s resolution was still incredibly clever – hard to believe it was thought of on the spot (but I promise it was!). True improv relies on the cast knowing each other well and being able to run with ideas and bounce off each other, fully trusting each other’s instincts. By this point, the cast of Austentatious are truly seasoned professionals so for a masterclass in improv and guaranteed giggles, find it at a venue near you!

REVIEW: Saturday Night Fever (on tour)

Published on by Tabitha JamesLeave a comment

Rating: 3 out of 5.

Impressive cast bring a huge amount of energy and skill to a very outdated script, resulting in a glitzy production that glosses over some dark situations.

Coming straight from the West End, Bill Kenwright’s production of Saturday Night Fever sets off on tour this September and we caught it at the Oxford Playhouse. Saturday Night Fever follows the story of Tony Manero, as he embarks on a reckless yet thrilling road to dancing success set to the Bee Gees hits.

Jack Wilcox leads the cast in the role of Tony Manero joined by Rebekah Bryant as his
dance partner (Stephanie) accompanied by the onstage presence of the Bee Gees, played by Drew Ferry, Oliver Thomson and AJ Jenks.

From the moment the curtain rose in Act 1 the energy was high, the lighting dazzling and the music loud. The cast, from main characters to ensemble, brought a level of enthusiasm throughout the production that kept the audience engaged and in the disco mood throughout (most of) the production. Harry Goodson-Bevan (Bobby C) and Billie Hardy (Annette) stood out with their slightly more developed character stories and solos. I was, however, very disappointed that the music was slightly too loud and drowned out their voices – Goodson-Bevan, in particular, was fighting hard against the backing music whilst Hardy was hard to hear throughout.

The set and lighting were extremely professional and versatile at conjuring different locations and states quickly and effectively. Of particular note was the lighting strip around the stage, that transformed the set into different locations, whether by the Verrazzano-Narrows Bridge or in an American diner. Also the use of the disco balls to envelop the audience in disco sparkles in particular songs was a particularly immersive touch.

The choreography by Bill Deamer was slick and non-stop – the cast gave it their all and the audience was often bopping along in their seats to the music. However, that brings us back to the music. The Bee Gees on stage were incredibly talented and the songs are undeniable hits, however Saturday Night Fever does come across as a musical written to be a tribute. Each song requires the full cast to dance to the full length of the song and it often felt like the script was shoehorned around the songs, rather than the songs complementing character development or the story being told. This is a common issue with musicals focusing on providing a tribute to popular songs and one of the downfalls of this type of plot focus.

The actual musical script was incredibly sexist – I understand it was based in the 70s, written in 1990’s and is indicative of the times, but some of the jokes felt a step too far in modern times. In the interval I had felt able to look over this – instead choosing to focus on the feel-good factor of the music, the disco moves and the talented cast. However, after Act 2, I was left with a really sour taste in my mouth. I was appalled that there were no trigger warnings for some fairly graphic depictions of suicide and rape/sexual assault. The direction of these incidents could also have been slightly more sensitive without requiring an alteration to the script – prolonging the time Tony consoles the woman who’s been assaulted, or even leaving his jacket with her as a comfort device. Instead as it is, the rape/sexual assault in particular are quickly glossed over and moved on from in the production to focus on Tony’s rushed anticlimactic character development as he moves away from the toxic environment to be close to a woman he’s arguably harassed in a few scenes prior.

Throughout Act 2, there were several odd decisions made, by both direction and choreography, that prevented me from engaging with the characters, and arguably the characters from demonstrating any real emotional depth. As you may have guessed, Act 2 left me sorely wanting and was a true disappointment following the first Act’s lightness and gaiety. Thankfully there was a slight uplift in energy when the ending scenes were a full rendition of some of the rather impressive choreography against a mash-up of the more well-known Bee Gees songs. I would like to end however, with noting that the audience, generally individuals who could remember the disco era and the film, seemed to love the show and perhaps didn’t have the same reservations me and my companion did. It was undeniably a smooth production but there were several scratches that could do with a good polish before I’d see it again.

Saturday Night Fever’s tour continues with Regent Theatre in Stoke-on-Trent, The Playhouse in Edinburgh, The Alhambra in Bradford, Princess Theatre in Torquay and The Alexandra in Birmingham.

HIGHLIGHT: UK TOUR FOR AMY TRIGG’S REASONS YOU SHOULD(N’T) LOVE ME

Published on by Tabitha JamesLeave a comment

This week Paines Plough, in association with Women’s Prize for Playwriting, 45North and Kiln Theatre have announced that Amy Trigg’s critically acclaimed play REASONS YOU SHOULD(N’T) LOVE ME will tour the UK this Autumn from 7 September – 26 November. 

Amy Trigg’s REASONS YOU SHOULD(N’T) LOVE ME is a play about a woman with spina bifida navigating her twenties and was joint winner of the inaugural Women’s Prize for Playwriting 2020, an award established by Paines Plough and Ellie Keel Productions. 

Joint Artistic Directors at Paines Plough Charlotte Bennett and Katie Posner said: “We’re super proud to be bringing Amy Trigg’s play on tour around the UK and to the Kiln, following its sold out run last year. The story is filled to the brim with heart and humour, and we fell in love with it the very first time we read it for the Women’s Prize for Playwriting in 2020. We can’t wait to share Juno’s story with audiences around the country!”

Amy Trigg said: “I’m absolutely thrilled to be taking ‘Reasons You Should(n’t) Love Me’ on tour and to be returning to the Kiln, where it all began! To be able to revisit Juno’s story and reach a wider audience is an absolute treat – I can’t wait to see how different audiences respond to Juno’s tale of love, joy, and embarrassing moments. Also, I haven’t been on tour since 2020, so I’m really looking forward to revisiting some of my favourite theatres, and discovering new ones. And coffee shops! Hit me up with coffee shop recommendations. The best hot chocolate in town, please. Sorry, this probably isn’t what you wanted for this quote… See you on tour!”

The one woman show starring Amy Trigg will open in Newcastle on 7 September before touring the UK including Canterbury, Colchester, Brighton, Aldershot, Maidenhead, Barking, Lyme Regis, Bracknell, Norwich, Doncaster, Washington, Middlesbrough, Manchester, Tunbridge Wells, Havant and Luton. The tour will finish with a three-week run at the Kiln Theatre in London from 5 – 26 November, where the production had its world premiere in May 2021.

“For a long time I didn’t know how it’d work. Or what I’d be able to feel. People would ask me if I could have sex and I’d feign shock and act wildly offended whilst secretly wanting to grab them by the shoulders and be like “I don’t know,Janet!”

Juno was born with spina bifida and is now clumsily navigating her twenties amidst street healers, love, loneliness – and the feeling of being an unfinished project.

Amy Trigg is an actor and writer from Essex. She was the first wheelchair user to graduate from a performance course at Mountview Academy of Theatre Arts. Her acting credits include work with the Royal Shakespeare Company, Shakespeare’s Globe, Netflix, BBC and Universal.