Posts with the label rewrite this story
Showing posts with label rewrite this story. Show all posts
Showing posts with label rewrite this story. Show all posts
Monday 3 August 2020
A Stagey Guide to Singing... Rachel Tucker | Interview
Hello stagey people! Light seems to be shining at the end of the tunnel but there's still a distinct lack of theatre in our lives; so I thought today I would bring you a mini Q&A from the Rewrite This Story vaults. A while back I chatted to Rachel Tucker and asked her a few vocal technique related questions...
What are your go to warm ups?
I have a great warm up that a friend from New York introduced to me. A slow long warm up that slowly builds and is quite a classical warm up and it gets my break from my chest voice to head voice really smoothed out and warm.
You are the Queen of belting, do you have any tips? Do you change vowel shapes or anything like that?
It shouldn't really be the vowels you change it's the back of the throat. You can still sing the same vowel bright and belted with just some adjustment of the throat. It depends but I wouldn't really because it's nothing to do with the vowel shape, you should be able to belt any vowel or consonant. It's about the shape at the back of your throat. Space, space, space!
What are your tips for keeping your body and voice healthy?
Oh definitely to consume more water than you think is physically possible. Don't underestimate how much talking tires your voice, if you have a big sing just go on vocal rest, text friends and write things down.
And steaming after a big sing for sure- about 45 minutes with a facial steamer with a mouth piece and it'll bring down any swelling in your throat down, it should be for 30 minutes... at least!
And steaming after a big sing for sure- about 45 minutes with a facial steamer with a mouth piece and it'll bring down any swelling in your throat down, it should be for 30 minutes... at least!
Thanks so much to Rachel for answering these questions way back when! Stay safe and stay stagey!
-Olivia
Editor of Rewrite This Story
Wednesday 5 February 2020
Matthew Bourne's The Red Shoes (UK Tour), New Victoria Theatre | Review
The Red Shoes (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 4th February 2020 by Olivia Mitchell
★★★★
Originally a dark fairy tale by Hans Christian Andersen, The Red Shoes was adapted for the big screen by Michael Powell and Emeric Pressburger in 1948. It follows a dance company as they tour the world; and the story of two men's obsession with Victoria Page, a dancer who longs to be a star and becomes possessed by her red ballet shoes.
With multiple locations, sometimes indistinguishable characters and intricate meta-narratives, The Red Shoes isn't the easiest of ballets to follow, but Matthew Bourne's production somehow provides a perfect introduction to the art form and takes you on a journey that you don't want to end, as the continuous flow and incredible emotion keep you on the edge of your seat throughout.
What really elevates this show is the way the story forms a distinction between creating and performing art. We see the process of the dressers and choreographers bringing a vision to life in a structured and unified way; whilst, the performers are intensely frenzied and intense. These opposites come together to create a beautifully enchanting show. Just like the real world of theatre, what we see on stage is the graceful swan above the water, but what we miss is the underwater kicking of intense rehearsals, quick changes and personal drama. If anything, The Red Shoes is a fantastic reminder and celebration of the hard work, creativity and energy that goes into putting on a great piece of theatre.
Before the show even begins, magic is created thanks to Lez Brotherson's exceptional design. A luxe red curtain drapes the stage and reveals the varying worlds of The Red Shoes. From monochrome moments to full colour clubs and beaches, every moment feel luxurious and perfectly designed. The costumes are timely and tailored to perfection, with a divine attention to detail that is understated enough to be effective, but not in your face. When Victoria first dances in her red ballet shoes, she wears a flawless costume that highlights the red and welcomes her as a prima. During act two however, the mental and physical toils she faces are mirrored through the demise of her costume which is shredded and faded. These details are effective beyond belief and make this whole production feel superior.
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.
Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing. This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.
The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.
The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour
Friday 10 January 2020
Once (UK Tour), Fairfield Halls | Review
Once (UK Tour)
Fairfield Halls
Reviewed on Thursday 9th January 2020 by Olivia Mitchell
★★★★★
Embarking on a UK tour, Once tells the story of Girl meeting Guy. He, is a Dublin busker on the brink of walking away from music after having his heart broken and feeling unheard in a bustling world; whilst, she is a force for change who exudes positivity from the moment their worlds collide. In the space of a few days, their lives become beautifully connected and changed forever. The musical is an evocative piece, which slowly creeps up on you to warm, break and soothe your heart in equal measures. It's a love letter to music and identity that deserves to be seen and heard.
Emma Lucia is a certified star as Girl, as she gives an assured performance, filled with warmth, vulnerability, encouragement and love. Girl is married to an unseen man who walked out on her, and has a daughter who has her heart. Lucia's incredibly truthful performance is outstanding from start to finish, as are her vocals which ring out with a clarity and strength that utterly absorbs the audience. Alongside her, Daniel Healy is perfect as Guy. His angst fuelled performance of Leave opens the show with the grit, intensity and honesty which courses through it until the end. Healy's musical performances are highly impressive as he shows exceptional vocal control.
The music is just beautiful, with so many breathtaking moments. Much of Glen Hansard and Markéta Irglová's music does not in fact move the plot along, but each piece perfectly evokes the feelings and emotions of the Dublin setting and the characters living there. The musical synchronicity between the entire cast is second to none, with every member completely connecting to one another as they tell a story about music and humanity. The exceptional ensemble work is showcased throughout, but is especially striking during the reprisal of Gold, where every breath, pause and inflection feels as though they're coming from a single body as opposed to a group of individuals. This is just one of many magical moments which make this musical so special and affecting.
Libby Watson's set almost looks like a painting when we first see it. Staying as a pub throughout, small items are brought on to signal when the action changes location. A tool desk for the hoover shop, a microphone for the recording studio and a bed for the bedroom are just some of these details. The whole thing feels cosy, like a tale that's been handed down through generations is being told over a drink- a real hug of a show. It's really incredible how Peter Rowe has directed a production that feels so intimate despite the size of the theatre it's housed in.
Amongst the vast deep moments of the plot, there are also some extremely humourous aspects which evoke the highs and lows of everyday life excellently. Girl and Guy's friends scatter the story with moments of reality. There's Reza, confidently played by Ellen Chivers: trouser ripping Svec, (Lloyd Gorman) who is hilarious; Andrej who is the embodiment of optimism accompanied by the divine voice of James William-Pattison; and Dan Bottomley as the music shop owner who longs to feel needed. The supporting characters bring some of the most profound moments through their reactions to Guy and Girl's music. Both the bank manager (Samuel Martin) and recording engineer Eamon (Matthew Burns) start out nonchalant but are so transformed by what they hear that they completely change their views and become wholly invested. The power of music is obviously evident in every fibre of Once and it's joyous to see.
The music is just beautiful, with so many breathtaking moments. Much of Glen Hansard and Markéta Irglová's music does not in fact move the plot along, but each piece perfectly evokes the feelings and emotions of the Dublin setting and the characters living there. The musical synchronicity between the entire cast is second to none, with every member completely connecting to one another as they tell a story about music and humanity. The exceptional ensemble work is showcased throughout, but is especially striking during the reprisal of Gold, where every breath, pause and inflection feels as though they're coming from a single body as opposed to a group of individuals. This is just one of many magical moments which make this musical so special and affecting.
Libby Watson's set almost looks like a painting when we first see it. Staying as a pub throughout, small items are brought on to signal when the action changes location. A tool desk for the hoover shop, a microphone for the recording studio and a bed for the bedroom are just some of these details. The whole thing feels cosy, like a tale that's been handed down through generations is being told over a drink- a real hug of a show. It's really incredible how Peter Rowe has directed a production that feels so intimate despite the size of the theatre it's housed in.
Amongst the vast deep moments of the plot, there are also some extremely humourous aspects which evoke the highs and lows of everyday life excellently. Girl and Guy's friends scatter the story with moments of reality. There's Reza, confidently played by Ellen Chivers: trouser ripping Svec, (Lloyd Gorman) who is hilarious; Andrej who is the embodiment of optimism accompanied by the divine voice of James William-Pattison; and Dan Bottomley as the music shop owner who longs to feel needed. The supporting characters bring some of the most profound moments through their reactions to Guy and Girl's music. Both the bank manager (Samuel Martin) and recording engineer Eamon (Matthew Burns) start out nonchalant but are so transformed by what they hear that they completely change their views and become wholly invested. The power of music is obviously evident in every fibre of Once and it's joyous to see.
The audience can't hep but be attentive throughout as Once has the magical ability to completely wrap them up and take them on a journey that is pure and delicate. Of course this a show about music, but what's even more magical is how spectacularly the entire team make the most out of silence. Each pause feels completely natural but intentional at once as an atmosphere like no other is formed. This is a complete delight of a musical that must be experienced. It's not jazz hands and drama, but instead, is melancholic, unashamedly romantic and wholeheartedly wonderful.
Details about the Once Tour can be found here
photo credit: Mark Senior
Details about the Once Tour can be found here
photo credit: Mark Senior
Thursday 28 November 2019
Rigoletto, New Victoria Theatre (Glyndebourne Tour 2019) | Review
Rigoletto
New Victoria Theatre
Reviewed on Wednesday 27th November 2019 by Olivia Mitchell
★★★★
Surprisingly this is the first time Rigoletto has been part of Glyndebourne's rep but Christiane Lutz's radical rewrite definitely proves a welcome addition. Verdi's dramatic revenge tragedy based on Victor Hugo's play is full of emotion and provides great opportunities for stand out performances.
Rigoletto, the hunchbacked jester, seeks revenge on his employer, the Duke of Mantua for generally being a bit of a jerk, but mainly for kidnapping and seducing his daughter, whom he has protected and kept hidden for most of her life. There are disguises, storms and in the end it's Rigoletto who loses the most.
In Lutz's production, the plot has been transferred from 16th-century Mantua to 1930s Hollywood, where a hunchback-less Rigoletto has become Charlie Chaplin and his vicious employer the Duke, is a movie director. In this version the opening scene features courtier Monterone's daughter committing suicide seemingly due to the way the Duke (encouraged by Rigoletto) took advantage of her and then tossed her aside. She leaves behind a baby daughter Gilda whom Rigoletto adopts, but not before both he and the Duke are cursed by the distraught courtier. What follows in a 17 year gap and an incestuous relationship (neither the Duke or Gilda ever find out they are in fact father and daughter), envisaged by neither Hugo or Verdi.
Overall the changes are mostly effective but the plots feels much more complicated than necessary and it's hard to follow the various relationships, with the end of act one leaving many audience members scratching their heads. The whole added dynamic of Gilda and the Duke proves less compelling and more confusing. That's not to say this production doesn't work and the modernised setting is very effective, but some of the changes feel too dramatic to have not been resolved by the end of the opera.
However, the singers are top notch and this is an opera worth visiting purely for the drama and intensity of the score. At this performance, Nikoloz Lagvilava was unwell so the role of Rigoletto was sung by Michael Druiett and walked on stage by Jofre Carabén van der Meer. Duiett gave an outstanding vocal performance which resonated beautifully and conveyed every emotion exceptionally. Having the role acted separately was actually extremely effective, with Jofre almost taking on the role of a silent movie star against the film set background from Christian Tabakoff. This added a new element to the opera and in a way, let Gilda shine throughout.
As Gilda, Vuvu Mpofu achieves great success in her vulnerable performance and her top register soars elegantly. Matteo Lippi's resilient Duke is surprisingly charismatic despite his flawed personality and is entertaining throughout.
Despite being somewhat hard to follow, this is a strong production with great theatrical elements, that are entertaining and superbly performed.
Tuesday 26 November 2019
White Christmas the Musical, Dominion Theatre | Review
White Christmas the Musical
Dominion Theatre
Reviewed on Monday 25th November 2019 by Olivia Mitchell
★★★★
Seen last Christmas at the Leicester Curve Theatre, Nikolai Foster's exceptionally staged and completely charismatic production of White Christmas has taken it's place in the West End for a Christmas of festivities and theatrical joy.
Based on the 1954 film starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera Ellen, the musical follows the stories of two former World War II American soldiers who became a famous musical duo. The pair use their fame to join forces with Judy and Betty to save a holiday inn from financial ruin and spread cheer all around.
The embodiment of glamour from start to finish, this musical whisks you away and takes you to a wintery wonderland where lullabies and tap dances reign supreme. The audience are enthralled thanks to the intimate feeling which is somehow created in the vast cavern of the Dominion Theatre.
The story is nothing special and there's really very little of it but there's a level of characterisation which runs deep throughout and makes the audience really care about the action and people on stage and brings a contemporary feel to an otherwise un-relatable musical. For example, Martha, Judy and Betty sing 'Falling Out of Love Can Be Fun' which highlights their desire to not being completely reliant on men. In another vein, the vulnerability of Bob (Danny Mac) is shown thoughtfully and delicately. Whilst at first he appears distant and uncaring, it soon becomes clear that he is struggling to rejoin civilian life. These human characteristics are realistically brought to stage with great effect.
The cast of all round triple threats provide enough energetic festive cheer to power all the Christmas lights in London. Clare Halse is a theatrical treasure as she draws the eye every moment she's on stage and is the epitome of Hollywood glamour. Her performance is faultless as she glides around and radiates excellence. Halse also gives a dazzling tap performance of 'I Love a Piano' alongside Dan Burton and the ensemble. Burton as Phil is equal measures charm and sleaze as well as giving top top top notch vocals and choreographic quality. Danny Mac once again gives a faultless performance and has a great love/hate chemistry with Danielle Hope as Betty. Their blossoming romance is lovely to watch just another level of sweetness in this candy-cane-sugary musical.
Michael Brandon is commanding but vulnerable as General Henry Waverly, whilst, Brenda Edwards is a compelling force of comedic nature as Martha and provides a real show stopping moment with 'Let Me Sing and I'm Happy'. The ensemble are unanimously joyous and captivating throughout, with Aimée Hodnett and Kayleigh Thadani giving stand out performances as the ditzy, amorous Rhoda and Rita.
This is a visually exquisite musical which is the embodiment of production value. Diego Pitarch's sumptuous costumes not only look beautiful on their own, but float and flow divinely as part of Stephen Mear's choreography which is elegance and style wrapped up with a bow. The post-war era is brought to life glitteringly, as is the music of Irving Berlin which soars and fills the Dominion.
It's not about the story and of course there are faults as with many classic films but this is an utterly lavish production which will fill even the Grinch's heart with Christmas cheer.
photo credit: Johan Persson
Saturday 2 November 2019
Shook, Southwark Playhouse | Review
Shook
Southwark Playhouse
Reviewed on Friday 1st November 2019 by Shaun Dicks
★★★★★
Now in it’s tenth year, the Papatango writing prize is back. Last year’s winner, The Funeral Director, was a rousing success and ended up going on a national tour. After a record 1,406 entries for this year’s prize, the winner is Shook by Samuel Bailey. One of the prizes, a month’s run at the famous Southwark Playhouse.
We found ourselves in prison to follow the stories of Jonjo (Josef Davies), Cain (Josh Finan) and Riyad (Ivan Oyik), three inmates who all have young children and are taking a childcare class run by Grace (Andrea Hall). Throughout we stay in the classroom where we learn all about the three men, find out why they’re in there, see who they are as people and watch them train to be fathers. But as Cain points out, ‘You can’t teach anyone to be a parent.’
There are many things that make this show great. One of them is the humour. The jokes within this script from Bailey are a laugh riot. ‘What does MBE mean? Massive bellend.’ and ‘Have you grown up in a cupboard?’ are particular highlights delivered by the outrageously loud mouthed but hilarious Cain.
But what makes the humour so brilliant is the sucker punches that are handed out by Bailey later. They are brutally honest and cutting, like when they are talking about their children and Cain proclaims that ‘They’ll be in here too soon.’ and when Jonjo finally opens up about his dad leaving his family and Cain replies ‘Fair enough, your old man fucked off. That’s normal.’.
However, all get to shine in their different ways. Riyad is intelligent and full of confidence and he is looking to get his Maths GCSE. His confidence is on full display when he says, ‘I’m going to make Equilateral Triangles my bitch.’ Jonjo is new to the prison and is a very shy man. He takes his time to open up to the others and as he does, you warm up to him. As soon as you do, he hits you with the sucker punch of how he got to where he is. And Grace is a wonderful anchor for the entire show, giving the other characters someone to bounce off throughout.
What really stands out in this show is the cohesion between the performers. There is an outstanding rapport between all four actors. The bounce back of dialogue between all is seamless and brilliant. A testament to director George Turvey, who clearly worked his performers hard to get that level of cohesion.
Papatango and the Southwark Playhouse have met and superseded all expectations. The whole package is simply superb, from the writing to the performances. This. Play. Is. Phenomenal. It affects you and that is the sign of excellent theatre. Shook will take you and you will not return the same.
Shook runs at the Southwark Playhouse until 23rd November 2019
photo credit: The Other Richard
High Fidelity, Turbine Theatre | Review
High Fidelity
Turbine Theatre
Reviewed on Thursday 31st October 2019 by Olivia Mitchell
★★★★
Nick Hornby's High Fidelity, a book about love and music set in a run-down North London record shop has crossed mediums being made into both a film and a musical, with a TV series on the way in 2020. The location for the film and the shows opening on Broadway was America but in this UK premiere, it's been transported back to its roots and is firmly rooted in London. As the Turbine Theatre's second production, its wonderful to see a musical which brings to life some of the excellence of this city.
High Fidelity tells the story of Rob who owns a record shop which is barely surviving, and his on-again, off-again relationship with Laura, a lawyer who he loves but struggles to maintain a mature, long lasting relationship with. In the shop are also Barry and Dick, two misfits who started as part-timers and ended up sticking around and creating lives amongst the records. The lonely characters are portrayed wonderfully and despite being somewhat heartbreaking to watch, it's lovely to be reminded that there's a place for everyone.
The whole story is told from Rob's perspective as he addresses the audience and tells them what's going on both in his physical world and in his head. Rob chronicles many of his life's moments into 'Top Five' lists which are not only entertaining but an insight into how his brain works. On stage for pretty much the entirety of the show, Oliver Ormson is charming as Rob. Despite playing a character who it's often hard to empathise with, Ormson brings a warmth and sincerity which makes the audience side with him even when his decisions are rash or morally dubious. Ormson's voice is strong and he maintains an energy which fizzles throughout and really powers the show. Opposite him, Shanay Holmes is exquisite as Laura who is continually conflicted by her feelings for Rob. Holmes' voice is absolutely exceptional and she manages to shine in both the bold, booming moments and the simple, toned down times.
The entirety of the cast give excellent performances. Joshua Dever is vocally excellent and earnest until the very end; Eleanor Kane is outstanding as Marie. Her voice fills the Turbine Theatre as she envelops the audience with her delightful Brandi Carlile-esque tones and gives a performance to remember. Robert Tripolino gives a show stealing performance as the wacky Ian, a spiritualist who is all about the good vibes and natural healing. Tripolino is hilarious in pretty much every moment of his stage time and a real stand out. Mention must go to Rosie Fletcher who shines out from start to finish and gives vocals for not just days, but months.
Tom Jackson Greaves directs with a brilliant ease and fluency so the entire production feels relatable. Perhaps not in terms of the story itself but through the truthful self-reflection and humour of it all. Whilst there's not an overwhelming amount of choreography, what's there is phenomenal. The small stage is used to it's full capabilities as the cast often move around as if inside Rob's brain. Particularly wonderful is the balloon choreography which is ingenious and incredibly sleek. David Shields' set is simplistic and effective. Record sleeves scatter the theatre and the stage is transformed by small changes which work perfectly to signal the varying locations.
The plot is by no means the best thing in the world and some of the songs feel too much like fillers but the performances and the Great British Bake Off meets Bat Out of Hell vibes of the whole thing make High Fidelity a throughly enjoyable night out. The Turbine Theatre team are showing us bit by bit what they're made of and we can only wait to see what will come next in this new London hub.
High Fidelity runs at the Turbine Theatre until 7th December 2019
photo credit: Mark Senior
Wednesday 30 October 2019
9 to 5 The Musical (UK Tour), Wales Millennium Centre | Review
9 to 5 (UK Tour)
Wales Millennium Centre
Reviewed on Tuesday 29th October 2019 by Elisha Harris
★★★★★
9 to 5 The Musical is a sensational representation of what women had to endure when it was believed to be a ‘man's world’. Something which still plagues the modern day but is fortunately diminishing.
There’s nothing like escaping from your 9 to 5 reality to witness a world-class musical, and this production is most definitely that! This show is so unpredictable from start to finish. and everything is perfection.
Amber Davies is impeccable, her comedic timing and powerhouse voice make for a perfect Judy. Amber presents the the purest transition from a reserved, meek housewife to a fearless, self assured business woman who will not take no for an answer.
The other two leading ladies, Caroline Sheen, who's temporarily moved from the West End production to the UK tour, and Georgina Castle blow the roof off the Millennium Centre. Between Caroline’s quick wit and gorgeous voice, and Georgina’s mesmerising vocal range, they compliment each other perfectly. I could listen to them sing all day long!
The standout performance of the evening is Sean Needham who plays the ballsy, know it all boss, Franklin Hart Jr. He portrays the dishonest, antagonistic boss excellently. Sean really brings the role to life, he is witty, insanely entertaining and his facial expressions are priceless. For a character you’re meant to hate, it's hard not to belly laugh at every line he says- a real comical genius!
Overall this production is not one to miss, the ensemble are brilliant, the sound design is excellent, you can hear every voice individually when needed yet the harmonies were perfect. If you want to spend 2 hours in side-splitting, ball crunching laughter, 9 to 5 is the show for you!
9 to 5 The Musical plays at the Wales Millennium Centre until 2nd November before continuing its tour
Friday 4 October 2019
Noises Off, Garrick Theatre | Review
Noises Off
Garrick Theatre
Reviewed on Thursday 3rd October 2019 by Olivia Mitchell
★★★★
If you're looking for a few hours of complete laugh out loud escapism, Noises Off is one hundred percent the show for you. It is a play about putting on a fated production; from a dramatic technical dress rehearsal to a dramatic performance mid run and a final disastrous show near the end of the run, it's clear that this show is destined for doom.
What's fantastic about this play, is that the real joke is rooted in the processes of theatre and those that perform it. Entrances, exits, line memorisation and personal issues are just some of the things that go into the mixture to create this crumbling production. Long before The Play That Goes Wrong, Michael Frayn had the idea for this farcical show after watching a performance of his own play The Two of Us from backstage at the Garrick Theatre. It's a production of controlled chaos which is entertaining from the front of house and backstage.
Max Jones' set is a wonderfully realistic and beautifully executed living room and upper landing that is exquisitely turned round for act two. The play begins as tiring director Lloyd (Lloyd Owen) is trying to push his company of actors through a final rehearsal for Nothing On. Making appearances in the stalls, boxes and circle as he tears his hair out, the audience are immediately immersed in the hilarity and action set to ensue. Whilst heightened, the panic and tension hits close to home for anyone who's been part of putting on a show.
The cast are exceptional in their performances as they stand out individually but also thrive as an ensemble. Each with razor sharp comedic timing, their organised chaos is perfectly carried out. Slamming doors, lost contact lenses and dropping trousers, there's something ever entertaining about slapstick comedy when it's carried out so well.
Within the uniformly stellar cast, there are three performances which stand out just a tad. Meera Syal plays Dotty, the poised but forgetful performer who is playing Mrs Clackett, an absent-minded housekeeper who can't seem to keep her sardines. Sarah Hadland is Belinda, the overly nice, girl next door who plays the flirty Flavia Brent. Daniel Rigby as Garry is is excellent and he transforms from doting to hating and gives a tiring but completely enthralling physical performance.
A blissfully laughable production, with a heart of gold reminder about professionalism in the arts, this is a must see production which will surely continue to have audiences gasping for air and slapping their thighs.
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