IN MY role as a theatrical reviewer I am lucky to attend productions several times a week in some of the Midlands finest theatres.

‘The Attic’ in Stratford-upon-Avon is the probably the smallest venue I cover – it is also the one that offers some of the finest and most unique theatre you’ll get to see and always offers the warmest of welcomes.

This visit was no exception – a very powerful piece by Frank McGuinness entitled ‘Someone Who’ll Watch Over Me’ (from the song of the same name).

Picture by Andrew Maguire. s

It’s about an Englishman, an Irishman and an American which I know sounds like the start of a joke.  Far from it I’m afraid, as the ‘three’ are hostages chained to a wall somewhere in a dark cellar in Lebanon, back in the 1980s when hostage taking was fashionable.

That was pre 9/11 and pre-ISIS where hostages were prizes to be bartered – not heads on poles to display to the world.

The set by designer Zoe Rolph is intensely claustrophobic – comprising wall and floor of dirty, dank, grease-splattered concrete, to which the hostages are already chained via floor bolts and heavy shackles as we enter.

It is almost voyeuristic to wait for them to wake from their slumber as they lay on filthy mattresses.

To be chained and imprisoned like this, not knowing whether it is night or day, what is happening in the outside world as one day merges into another, days into weeks into months into years and those in there must turn to seeking comfort in insanity. This theme is at the heart of this compelling piece as the three men take turns to be the cheerleaders in keeping them all sound.

Picture by Andrew Maguire. s

Pete Meredith is the hapless captured American Adam who works out constantly by jogging on the spot whilst holding his chains, then pole-axing to the floor to do as many press ups as his body will take. Meredith perfectly captures the poor man’s battle for self-survival – it’s a fearless performance from an actor who transcends from craft to believability.

He is not alone in this transcending, Phil Leach as Michael  – the stiff upper lip Englishman – beautifully shows us the ups and downs of his journey where he discovers things about himself that he hadn’t dared to voice in his ‘outside the cell’ former life.

John-Robert Partridge is one of a handful of actors who can do little wrong for me and once again he reeled me to believing I was watching a wild eyed, bushy haired brutish, brash Irishman called Edward, not an actor playing him.

Director Jonathan Legg has painted his production with the finest of brushes – every word, movement and pause has its purpose. We already care about the three prisoners but Legg takes us deep into their personas to expose their vulnerabilities as well as their individual strengths and how they compliment each other, taking up the baton like a relay team.

In fairness I felt it could do with some pruning and being contained to one act as so intense is the feeling of confinement for the audience, that to escape between acts was somehow wrong.

Picture by Andrew Maguire. s

Don’t let that put you off, or believe that the subject matter is too depressing – yes there is sadness but also moments of joy and laugh-out-loud times so that you leave uplifted.

I cannot bang the drum for ‘Tread the Boards’ loudly enough.

Try and get along before it finishes on Sunday, if that’s not possible book tickets for their next show.

Click here for times, tickets and more information.

Review by Euan Rose.

WHEN a young Carlos Acosta began his dance training in Cuba back in the 1970s, he could not have imagined the stellar career that would follow.

The struggles he overcame to fulfil his dream are well-documented and he has become an inspiration to dancers across the globe.

On retiring as principal dancer with The Royal Ballet in 2016, Acosta formed his own company ACOSTA DANZA with the mission of harnessing and nurturing young creative dance talent emerging from his homeland.

Since then Acosta Danza has toured the world to critical acclaim.

The company’s arrival in Birmingham was something of a home-coming for Acosta as, in an extraordinary coup for the city, he will be taking the helm as artistic director at Birmingham Royal Ballet in January 2020.

The evening opened with the extraordinary SATORI by Raúl Reinoso – a member of the Acosta Danza company and mentored by Acosta himself.

Set to specially-composed music by Pepe Gavilondo, the piece explores the search for spiritual illumination.

Picture by Manuel Vason. S

The costumes become part of the set, billowing and changing shape as the dancers move, eventually shedding like a skin as they reach the moment of knowledge.

The sheer physicality of movement is simply stunning – precision is key to making the shared ‘costume’ work, whilst maintaining fluidity and grace – performed faultlessly and seemingly effortlessly by the company.

Principal dancer Zeleidy Crespo is mesmerising – her unbelievably long limbs and ability to make such incredible shapes with her body is jaw-dropping as she transitions from classical pointe to raw contemporary in one movement.

Special mention to lighting designer Fabiana Piccioli for her atmospheric and pin-point accurate lighting.

PAYSAGE, SOUDAIN, LA NUIT by Swedish choreographer Pontus Lidberg takes traditional Cuban music as a starting point through which to explore Cuba’s young people.

This is a joyful, optimistic piece, both an homage to Cuba’s past and nod to its future potential.

The set of tall grasses was beautifully simple, emphasising the feeling of warmth and care-free summers of youth and echoed by the laconic movements of the dancers.

Zeleidy Crespo was joined by Carlos Luis Blanco for choreographer Sidi Larbi Cherkauoi’s FAUN – an interpretation of Claude Debussy’s famous piece ‘L’ Apres Midi D’un Faun’ with additional music by Nitin Sawhney.

This was the most intimate of pas de deux – at times you were unsure who’s limbs were whose, they became so intertwined, brilliantly matched by the fusion of Debussy with Sawhney’s evocative multi-cultural score.

The visceral physicality and strength of the two dancers was simply stunning and drew audible gasps from the audience.

The programme finished with ROOSTER – a piece by legendary choreographer Christopher Bruce, set to music by The Rolling Stones. I first saw ‘Rooster’ in the 90s – back then it was ground-breaking, provocative and raw  –  however this revival, following as it did such jaw-dropping performances, felt a little staid and under-stated, perhaps a mark of how far contemporary dance has come in the intervening years.

It was fun nonetheless and what a privilege to see the master Carlos Acosta himself literally strutting his stuff.

The cheers and lengthy standing ovation from the capacity audience at the end of the evening must’ve been music to Acosta’s ears – he is assured of a very warm welcome when he arrives to take up his new post in January and I for one can’t wait to see what he does with Birmingham Royal Ballet.

If you missed Acosta Danza this time, the company will be back in 2020 – invest in a ticket!

*****

Birmingham Royal Ballet 2020/21 Season from Birmingham Royal Ballet on Vimeo.

Review by Johannah Dyer

For Euan Rose Reviews

‘A STREETCAR Named Desire’ was first produced in 1947 and so physically and literally intense is this Tennessee Williams classic that it should still pack a powerful punch today.

Blanche Dubois (Annie Swift) a schoolteacher from small town Laurel, Mississippi, arrives via the said streetcar to the sparse New Orleans home of her sister, Stella Kowalski (Beth Gilbert) intent on staying for an indeterminable amount of time despite the sisters having lost touch.

Picture by Graeme Braidwood. s

Blanche tells Stella she has lost the ancestral home ‘Belle Reve’ following the deaths of all their remaining family. She also tells her she is on an extended leave of absence from her teaching position due to her bad nerves.

The genius of Williams’ words is that he gives us a host of clues – ‘Belle Reve’ translates to ‘beautiful dream’. This is the first indication that all is not what is seems with prim and proper Blanche – with her attraction to the bourbon bottle being a close second.

Swift makes a good job of capturing many of the multitude of layers that go to make up the complexity of Blanche and is at her best in act two when the blurred lines between reality and the world she creates to protect herself, finally flip. It is, in fairness, one of the most dangerous roles in theatre and she follows many a famous footstep well.

Picture by Graeme Braidwood. s

Gilbert has an easier role as the far less complex Stella, but she perfectly captures every available nuance of the character. She is utterly believable as a woman who has happily turned her back on privilege and swapped it for a role of sexually-fuelled subservience.

Stella is dominated by her Polish husband Stanley (Ollie Jones) – a man of little subtlety who can sees no relationships between men and women other than mutual physical pleasure – for all intents and purposes his brain seems located in his groin.

Jones offers a one-dimensional approach to portraying Stanley, who in fairness is a character that has little to offer in the terms of a light and shade.

Joe Palmer scores well as Stanley’s buddy Harold (Mitch) Mitchell who falls for Blanche’s advances as she sees him as easy prey.

Nicole Poole and James Browning make quality ‘Hubbels’ while Eduardo White, Destiny Sond, Katie Somers and Patrick Shannon succeed in all their supporting roles.

Picture by Graeme Braidwood. s

The cast accents are all perfectly drilled and executed so a shout-out for a good job to dialect coach Jaz Davidson and to the talented Phil Parsons for building a set from the Keith Harris design team that works perfectly in the studio space.

Director James David Knapp has knitted together the strengths of his talented cast and has created a smooth flowing production, which succeeds in telling the story.

There is no doubt Knapp knows how to paint the canvas, but to me he punches with soft body blows rather than the powerful Tennessee Williams haymakers that are on offer.

The darker moments should be darker, the physical theatre more intense and prolonged and Blanche’s descent into insanity, bleaker.

It’s always difficult to tackle a classic and this production achieves much of the journey.

Streetcar runs at The Crescent’s studio until Saturday.

Click here for times, tickets and more information.

***

Review by Euan Rose.

CURTAINS has the legend ‘A Musical Whodunnit’ underscored on its title, which is an intriguing concept.

Although new to the UK, and touring now prior to a West End opening, it has been around in the USA since 2006 and has even won a treasured Tony on Broadway.

It is a musical in the old traditional sense of big cast, high kicking chorus, love interest, memorable numbers with dialogue in-between them as opposed to the modern all singing – little or no dialogue offerings.

The writer of the original book Peter Stone unfortunately died before it made the stage and Rupert Holmes took over and finished it. Two theatrical giants added the music and lyrics; John Kander and the late Fred Ebb. These two gave us both ‘Cabaret’ and ‘Chicago’ and musicals don’t come much bigger or better than those.

In fairness ‘Curtains’ isn’t quite in the same league as those two classics but it is funny, refreshingly dated in it’s style and has some jolly numbers.

The show opens on the first night at a Boston theatre where  ‘Robbin’ Hood’ a Wild West musical version of Robin of Sherwood is just ending. The leading lady, film star Jessica Cranshaw (Nia Jermin) murders her part and then gets literally murdered in the curtain call by person or persons unknown.

Next morning, there is another assassination – this time of the show by the critics. Reading the reviews and sharing mutual depression we meet the song-writing duo Aaron Fox Andy Coxon) and Georgina Hendricks (Carley Stenson) along with the show’s producer Carmen Bernstein (Rebecca Lock) and her money man Oscar Shapiro (Martin Callaghan).

Enter Lieutenant Frank Cioffi played by the popular stand-up comedian Jason Manford who engages right from his first entrance. He develops the Cioffi character with more than a nod to the famous Peter Falk’s rain coated inspector Colombo..

He’s everybody’s friend, a cop with a heart as well as a sharp brain – but unlike Colombo, Cioffi is a keen amateur actor – and now he is an actor in Wonderland!

Cioffi confines cast and crew to the backstage of the theatre whilst he carries out his investigations and redirects the ‘Robbin’ Hood cast in their musical action.

There are more murders and attempted murders on the way to whodunit that of course I shall not give away in this review.

The humour is bawdy – the thin plot far-fetched but fun and there are plenty of exciting dance routines and witty lyrics in between the detection.

In addition to Manford who successfully makes the cross from stand-up to actor – Rebecca Lock is compelling and complete – both in song and acting.

My stand-out performance though is by Samuel Holmes as Director Christopher Belling – his delivery of acid sarcasm was perfect and left us begging for more.

There is also some delightful dancing and posing from Emma Cafrey as Bambi the producers daughter.

‘Curtains’ is a good nights entertainment and a big show that is still growing – I am sure by the time it hits the West End it will have shed ten minutes as it gathers pace.

Also like the Mel Brooks musical ‘The Producers’ It’s destined to be taken up by musical theatre companies all over the country when in time it gets an amateur release.

It’s a show that will send you home happy and whistling.

Curtains runs at the Alex until November 9.

Click here for tickets, times and more information.

****

Review by Euan Rose

FOR anyone new to Opera this WNO Carmen is the perfect introduction.

Bizet wrote a masterpiece in ‘Carmen’ and this Welsh National Opera version is a master class in accessibility.

The music is, of course, more recognisable than most other operas and with the staging updated to some undefined Latin American country where bandits mingle with bullfighters – it combines for the perfect operatic evening.

Under the baton of its flamboyant conductor Tomáš Hanus, the WNO orchestra is full of thrills and excitement, echoing the action director Jo Davies achieves on stage and complimenting magical movement direction by Denni Sayers and powerful fight direction from Lisa Connell.

The Set by Designer Leslie Travers is a wall-to-wall half crescent housing four stage levels, which transform perfectly to the four locations of each of the four acts.

It towers impressively, yet allows for intimate scenes to be played out in various places on this honeycombed labyrinth.

The lighting by Oliver Fenwick is equally impressive – none more so than in the final scenes when a whole bar of light rises silently from floor to ceiling making a breath-taking visual statement on the action it illuminates.

Stand out performances for me were Philip Rhodes who positively exhumes charisma as the toreador Escamillo, Ross Ramgobin as the love besotted soldier turned bandit Moralès and Anita Watson is perfect as his spurned lover Micaëla.

Virginie Verrez stuns us as the feisty femme-fatale Carmen.

She fights like an alley cat, seduces like the fabled cat woman and sings about as powerfully passionately as it gets – she is just purr- fect.

The chorus work – including that of the children – is of the highest standard and gloriously underpins the solo artists.

Click here for times, tickets and more information.

****

Review By Euan Rose

‘NATIVITY’ has been around as a movie for many few years now (I think we are at ‘Nativity 4’ in the film franchise) but as a musical for just two, I had the pleasure of reviewing the world premiere at the Birmingham REP and loved it.

Now this barnstorming blockbuster of a feelgood show has grown to even more dazzling heights.

For anyone that isn’t familiar with the story, it’s set in nearby Coventry where three friends grow up and dream of becoming stars. They all went to drama school together to further that dream.

Then two became – teachers! Aka Mr Maddens – delightfully broody performance from Scott Garnham and the chip the size of a house on his shoulder Mr Shakespeare –captured masterfully by Charles Brunton.

The third chum Jennifer Lore – a doey- eyed Ashleigh Gray – goes off on an internship to Hollywood where everyone back home believes she is a big shot movie director whilst in fact she’s a secretary!

Mr Madden teaches at local catholic primary school, ‘St. Bernadette’s’ which has lost its pride and is in dreaded ‘special measures;’

It is however going to polish up its tarnished tinsel by staging a Nativity play for the first time in five years.

The last time they attempted one it was given minus two stars by dreaded local critic Patrick Burns – a delightfully dastardly performance from Jamie Chapman.

Burns has however given annual five star reviews to the rival posh school ‘Oakmoor’ and their teacher Mr Shakespeare – who has grown-up to be nastiness personified…

The St Bernadette’s Nativity comeback happens because the enthusiasm of new teaching assistant Mr Poppy – a simply huge and totally engaging performance by Scott Paige – who reignites the sparks of pride in the students, Mr Maddens and beleaguered headteacher Mrs Bevan – a faithfully full-on performance by Penelope Woodman which many a head will no doubt identify with.

Along the way to the Bernadette’s Bethlehem, a white lie that ‘Hollywood’ is coming to Coventry to see their nativity sets off a chain of events of which dreams are made. Hollywood does indeed arrive – by helicopter and in the form of Hollywood icon Polly Parker – Love Island’s Dani Dyer.

The ‘Nativity,’ staged spectacularly in Coventry Cathedral is almost a separate show in itself, where the talented kids shine awesomely.

The effects are dazzling, the music and dancing feverish and the atmosphere magical.

One special moment when a spiteful Shakespeare pulls the plug on the lights and the audience is asked to light the stage via the lights of their mobiles is inspired. The three tiers of the Grand Theatre looked like a twinkling starry night.

Picture by Oliver Rosser. S

Huge congratulations to writer, director and composer Debbie Isitt for bringing back this gem bigger and better to the stage for new audiences to enjoy.

Congratulations also to Andrew Wright the choreographer, Dan Glover the musical director and David Woodhead the set and costume designer – plus of course to the Grand Theatre for staging so well this first leg of this national tour.

It is sumptuous and joyous early Christmas outing which kick-starts the season beautifully.

Nativity is at the Wolverhampton Grand until Saturday.

Click here for times, tickets and more information.

****

Review by Euan Rose

SIX’ started out in 2017 as a simple idea to take to the Edinburgh Fringe by two Cambridge university students, Toby Marlow and Lucy Moss.

They had little stage writing experience to speak of, but simply wanted to address the gender balance and get more female toes on the still male-dominated stage.

It has of course, in a very short space of time, become an international phenomenon.

It is currently smashing it in the West End – the hottest ticket on Broadway and is now set to woo the provinces on its first national tour.

If this first night at Malvern is anything to go by, the triumph continues unabated – never have I witnessed such excitement nor seen such huge hordes of adoring fans besieging the stage door after the show.

This eureka of an idea was to do a new take on one of the oldest and most done-to-death historical tales – that of the six wives of Henry VIII.

Here though for the first time the main man is missing – yes in the words of the legendary Joe Brown: “That right old man name of Henry” is relegated off-stage.

The stars instead are his six much abused wives who appear as an all girl pop group to tell their tale in just 75 minutes of pure theatrical dynamite.

Divorced, beheaded, died, divorced, beheaded, survived was how I was taught to remember them – well, not any more! They are now Aragon, Boleyn, Seymour, Cleves, Howard and Parr as in ‘SIX’ the group.

The stellar cast (with full character names) comprise Lauren Drew as Catherine of Aragon, Maddison Bulleyment as Anne Boleyn, Lauren Byrne as Jane Seymour, Shekinah McFarlane as Anne of Cleves, Jodie Steele as Katherine Howard and Athena Collins as Catherine Parr.

They all rock and share the acting, singing and dancing talents in equal measure. No doubt folks will have their favourite Queen, me – I just loved them all!

I cannot emphasise enough how clever this show is – it’s a fusion of a rock concert, a musical and the most exciting history lesson imaginable.

The band – or ‘Ladies in Waiting’ – are a high-energy roof-raising four piece under the musical direction and magical keys of Arlene McNaught.

In another move to make this musical accessible to young ears, each of the Queens has a programme-listed ‘Queenspiration’ –  for example, Katherine Howard’s are Ariana Grande and Britney Spears.

Writer Lucy Moss is also a co-director alongside Jamie Armitage,  there is tight and effective choreography from Carrie-Anne Ingrouille, stunning frocks from Gabriella Slade and an all-electric neon 21st century set befitting the 16th century Queens.

SIX is the third all female cast show I have by chance seen in succession; namely ‘Pride and Prejudice (sort of)’  and ‘Jack the Ripper – The Victims’ and all three are quasi historical pieces adapted for the stage in very different ways. The winner by several lengths is SIX.

I’m sure there will be musical theatre purists who do not approve but for me if this introduces new, young audiences then its doing a great job. Marlow and Moss could no doubt retire from the royalties pouring in but I hope this is just the start of lots more from this new British theatrical writing royalty.

These Queens are set to reign for a long, long time.

https://www.youtube.com/watch?v=uRY_zEYslWc

SIX runs until Saturday, November 2. Click here for times, tickets and more information.

*****

Review by Euan Rose.

TO BE honest I’ve never really been excited by the literary works of Jane Austen.

I tried watching her ‘Sanditon’ currently showing on television but gave up halfway through the first episode.

Picture by Mihaela Bodlovic. s

I know ‘Pride and Prejudice’ is regarded as one of Britain’s best-loved books and I’ve tried to read it – honestly! – Because I felt I should, at least once a decade for the past 50 years but never completed the mission.

I have however seen the 2005 film version starring Keira Knightly and Mathew Macfadyen  so I know the story is about Mr Bennett’s five little girls who can’t inherit the estate because they’re not chaps!

They must therefore: ‘marry well’.

I don’t know what I was expecting from this co-production between ‘The Royal Lyceum’,’Tron Theatre’, ‘Blood of the Young’, ‘Birmingham REP’, ‘Bristol Old Vic’, ‘Leeds Playhouse’, ‘Northern Stage’, ‘Nuffield Southampton’ and ‘Oxford Playhouse’ (phew!) but with such a list of theatrical royalty it had to be something special – and indeed it was!

Picture by Mihaela Bodlovic. s

Writer and adapter Isobel McArthur gripped me with her version where Jane Austen failed.

The ‘sort of’ in the title is all embracing really.

It’s ‘sort of’ the original story – I was told by eminent Austen aficionados that nothing is left out – ‘sort of’ a musical – but not really, more a ‘sort of’ clever karaoke, ‘sort of’ an upstairs-downstairs comedy bordering on farce and yes, ‘sort-of’ a period drama brought bang up to date.

McArthur also appears as one of the magnificent cast of six women who multi-task and gender to create an evening of pure magic with a little madness and much mayhem. She is joined by Tori Burgess, Felixe Forde, Christina Gordon, Hannah Jarrett-Scott and Meghan Tyler – all of them offering up an equal amount of talent, energy and pure cheek with a Scottish accent.

Picture by Mihaela Bodlovic. s

Paul Brotherston obviously enjoyed directing this wondrous romp – there are so many clever moments, so much humour and – where  necessary – poignancy.

You can feel the skilled hand of a craftmaster at work gently sewing together the ideas and talents of this inclusive and collective all-female company.

Being in the audience was almost like being invited to a private party where everyone’s got interesting stories to tell – there is even one point when we are asked: “Are we all OK for drinks?”

Jane Austen was a spirited lady – I’m sure she would approve of McArthur’s hilarious 21st century take.

Picture by Mihaela Bodlovic. s

Despite all the humour the voices are strong and cleverly turn the tables on historic male dominance, with a nod to feminism whilst offering a big shout out to equality.

This ‘Pride & Prejudice’ is not ‘sort of’ but definitely bold, innovative and infectiously entertaining.

Pride & Prejudice* (*Sort Of) runs at the Birmingham Rep until November 2.

Click here for times, tickets and more information.

****

Review by Euan Rose.

ROLLING back the years – in this case all the way to 1903 – the circus is in town folks and what a splendid family night out it is!

Circus was what first thrilled audiences at the Birmingham Hippodrome when it opened at the turn of the 20th century, so it is more than fitting that they should choose this artistic medium to celebrate their 120th anniversary.

Of course, back then the show arrived into town on a specially-built circus train to house everything from bearded ladies to the kings and queens of the jungle animal world.

Now it arrives in a convoy of stretched lorries; there are no longer lions, tigers and horses – the Queen of the jungle and offspring are still included, however.

Stunning African Elephant puppets designed and built by the clever creators of Warhorse, Mervyn Millar and Tracy Waller and operated by a team of puppeteers headed by Mikey Brett and James Donovan are utterly believable and totally endearing.

There are jaw-dropping performances by exotically-named tumblers, jugglers, acrobats and contortionists from all over the world plus a non-stop cavalcade of mirth, mayhem and magic all under the leadership of ringmaster Willy Whipsnade aka David Williamson from the US of A.

Willy is there to entertain with close up magic before the show, bring delighted children to the stage to help him throughout and truly set the scene for a fabulous night under the big top stage.

He is quite simply ‘The Original Showman’.

The excitement of children of all ages chattering approval of an awesome nights entertainment radiated warmth as we exited 1903 and rejoined a cold night in the modern world of bustling Birmingham.

This highly recommended show runs at the Hippodrome until November 2.

Click here for times, tickets and more information.

****

Review by Euan Rose.

THE BLUE Orange Theatre is a small, fringe theatre on Constitution Hill in Birmingham where you can usually find well-performed, interesting theatre on offer.

This version of Jack the Ripper, told from the viewpoint of the five victims comprises an excellent, all female company – namely Gina George, Elise Evans, Sarah Jane Rose, Kaz Luckins and Asleigh Aston who play the hapless deceased Ripper victims, Polly Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes and Mary Kelly respectively, plus a myriad of other cross-gender roles.

I would happily watch these fine actresses again in other roles as they worked together so well, supporting each other and never dominating. It was obvious that they had put a great deal of thought and collaboration into this production in harmony with their drector Oliver Hume.

My problem is with the script by Mark Webster, which I feel is more of a book of many words than a play with pauses for thought.

There is so much ‘said’ that we are not really given time to think about what we are listening to or watching.

It suffers from repetition which makes it difficult to follow who’s who and the best clues were the  costumes by Simon Ravenhill.

When we get to the murders themselves having given the gory details once about what Jack carved up and where he put it, with the audience taking a collective intake of breath at the thought, the senses become dulled as this is then repeated for every corpse.

In the actual story telling there was too many slapped hands for slapped faces as a substitute for physical theatre.

Constantly using this technique dulls the impact, theatre should always be about surprise not expectation.

I recently reviewed ‘Pride and Prejudice –well sort of’ showing at the REP where an all female cast also act out a classic story. The ladies of the Blue Orange Company are their acting equals but have unequal material to work with.

It may be there is a good play here but a scythe needs to be taken to the script then what remains rewritten making it into an intense one act plus, dare I say, add some lighter moments.

Finally in the walkdown – ladies, please come out of character and smile – the play is over so let us show our appreciation of your hard work to the living not the deceased.

Running until November 2, it is worth going to see this show – for the talented cast.

Jack the Ripper – The Victims runs at the Blue Orange Theatre until November 2.

for times, tickets and more information.

***Review by Euan Rose.