Robert Powell to play KING CHARLES III at Birmingham Rep

120719Powell 1-2 Web

Robert Powell will take on the role of King Charles in the Olivier Award-winning production of King Charles III, which opens at Birmingham Repertory Theatre this autumn following sell-out runs at both the Almeida Theatre and in the West End in September. Mike Bartlett’s play explores the people underneath the crowns, the unwritten rules of our democracy, and the conscience of Britain’s most famous family.

THE BOY ON THE SWING at the Tobacco Factory


” . . . is the fourth and final production of this year’s Directors’ Cuts season from the Bristol Old Vic Theatre School . . . Harry Egan is wonderfully weird as receptionist Jim, and Karl Wilson delivers Donald’s sales patter with a powerful mix of warmth and menace. Most impressive of all is Dominic Allen as the dangerously unpredictable William. Director Laura Jasper has created a fast-moving, energetic production, and her actors do her proud. The 2015 Directors’ Cuts season has yet again shown that year on year the BOVTS produces graduates of the very highest quality.”


West Yorkshire Playhouse/Birmingham Rep production of
by Jim Cartwright
directed by James Brining

The performance of Nancy Sullivan as Little Voice, is worth the price of the ticket alone – she’s spectacular. An endearing, movingly powerful performance in a role that suited her down to her boots. A part with very little lines, she ensures there is a real openness to the audience, and lets us in to the mind of the reclusive character. Her versatile voice shines: with her rendition of Somewhere Over the Rainbow you could almost be mistaken for listening to Just Garland herself.

THE CAR MAN at Bristol Hippodrome


” . . . Since its first performances in 2000 The Car Man has become justly famous for its energetic and unrestrained sexuality, but there are also quieter and subtler scenes of tenderness and poignancy, particularly between Rita and Angelo, that are among the most memorable moments in the show. Katy Lowenhoff gives Rita a touching vulnerability, while Dominic North skillfully conveys Angelo’s transition from hapless victim to grim avenger. . . The Car Man is brilliant dance-theatre. Don’t miss it. ”

MERMAID at the Oxford Playhouse

Mermaid 1

“. . . The Disney LITTLE MERMAID can be seen as a romantic love story, where Ariel gives up her home for love, but finds freedom when she swaps her fins for feet. Instead, here the emphasis is on the fact that the mermaid must rely solely on her looks to get the Prince to fall in love with her. She sacrifices her voice, and destroys herself, when he is seemingly incapable of love anyway . . . Stunningly told, and visually arresting (the shipwreck scene where furniture is lost to the depths is brilliant), these parts of MERMAID are not to be missed . . . ”

OKLAHOMA at the Theatre Royal, Bath

The cast of the National tour of OKLAHOMA! credit Pamela Raith (2)

” . . . Anyone old enough to remember ‘Family Favourites’ on the BBC Light Programme will be familiar with most of the songs. The reason is simple: it is stuffed full of memorable tunes that were regularly requested by and for our lads overseas. As ‘feel good’ numbers go it doesn’t get much better than, ‘Oh What A Beautiful Mornin’, which opens the show . . . As a revival of the, ‘here’s one I made earlier and it’s perfect’ kind, this is a ‘whee ha!’ of a production that will have you coming up for air as the nostalgia washes over you.”

MAT RICARDO at Birmingham CABARET FESTIVAL at the Old Joint Stock

Mat Ricardo

“Even a cursory glance at Mat Ricardo’s online presence reveals his outstanding popularity. . . Showman is really rather excellent. It may not be for everyone, but I’d wager that it comes close . . . Ricardo is currently touring the UK with his one-man show. One is hard pressed to find fault in it. While the consummate professional and a mesmeric, accomplished performer, Ricardo still finds time to infuse his performance with warmth, humour and strength of character. . . “

FEMME FATIGUE at the Wardrobe, Bristol


“. . . The full forty minutes was read from a script, which the comedian had to keep looking and shuffling through – truthfully, this was pretty infuriating. There wasn’t exactly much in the way of feminism either. Yes, she talked about her breasts, and her distaste of middle-class white men, but as a thoroughly middle-class white woman herself Evans’ comedy strikes me as coming from an odd place. She was very funny at points; she was shocking, sharp and self-deprecating. . . “