Reviews

‘Imaginative, accomplished small-scale panto’ ★★★★ In general I prefer these small-scale low budget pantomimes to the big glitzy ones. It means that the production really has to rely on good writing and acting rather than it all getting blurred by special effects and amplified singing. And Luke Adamson, artistic director of Bridge House Theatre, who wrote and directed this show is an accomplished writer (The Girl in the Green Room, One Last Waltz etc) and actor. He multi-roles in this entertaining four hander. It’s a slightly different take on the traditional Sleeping Beauty story with the most imaginative reworking of the spinning wheel scene I’ve seen yet. No spoilers but it involves Pink Floyd on vinyl. And when the princess (Georgina May Hayley) falls into her long sleep she is actually in Carabosse’s castle so there’s a stronghold for the rescue party to quest their way into. And the prince emerges from an unexpected place – the joys of working with a very small dramatis personae in a limited space and just four actors. Brendan Matthew is very good as Dame Dirty Girtie, flirting with the audience, making a joke out of over acting and looking suitably ridiculous (his costumes are by Amanda Beauchamp) especially in his yoga scene. Stefani Ariza is strong as Carabosse, black-clad and twitchy and proves herself a talented puppeteer with Sheryl the Crow as her familiar – the double voicing works a treat. Haley is delicate, with cod French accent as Fairy Nice and turns Princess Bella into a very believable irritated and irritable teenager desperate to experience some real life as her eighteenth birthday approaches. She is quite a singer too. Adamson is richly versatile, presenting a king who speaks RP, a fairy who uses an exaggerated version of the actor’s native Yorkshire and Willy who talks in south London vernacular. And this is pantomime, which – as always – is partly a send up of theatre and there’s a hilarious moment when Adamson charges off stage, pulling off his costume, in order to reappear almost immediately as another character. Other high spots include a high speed tongue twister sequence (vessel with the pestle, chalice with the palace and more), a pretty messy slosh scene using real flour, eggs and milk, a clever time warp sequence involving tardis and a terrific rendering of a UK version of Geoff Mack’s 1959 song “I’ve Been Everywhere” taken at prestissimo. Of course there’s no room (or budget) for fancy scenery at the Bridge House so this whole show operates round a single multi-purpose bench with video scenes projected on the back wall – another feat of imaginative flair. SLEEPING BEAUTY Written and directed by Luke Adamson Bridge House Theatre, Penge 17 – 30 December Box Office CAST Brendan Matthew Dame Dirty Gertie Georgina May Haley Princess Bella / Fairy Nice Luke Adamson Willy Wetlettuce Stefani Ariza Carabosse Presented by JLA Productions Choreographed by Brendan Matthew Designed by Luke Adamson and JLA Productions Photography JLA Productions

'This is one show you won't want to miss!' ★★★★ 1/2 Following the rambunctious success of Diana: The Untold Untrue Story, Linus Karp and Joseph Martin have cooked up another delightfully silly musical centered on the infamous 2016 ski incident at Deer Valley Resort. Yes, the one that sparked headlines and even inspired a West End musical! This production dives into the collision between Hollywood’s most famous “nepobaby” and retired septuagenarian optometrist Terry Sanderson, whose claims of “permanent traumatic brain injury” (or should we say "gwinjury"?) fuel a hilarious narrative filled with sharp one-liners, in her defence that she lost "half a day of skiing". Karp and Martin are here for a good time, and you should be too! Karp takes on the role of the gwiconic Gwyneth Paltrow, portrayed as serene, hopeful, and curiously Scandinavian (Karp himself is Swedish). Whether she’s a hero or a figure shrouded in ambiguity is left up to the audience’s interpretation. Martin embodies Terry Sanderson, the proud Utah optometrist who claims to be the victim of the ski mishap. Their contrasting lives play out on stage, juxtaposing Sanderson’s “sad” existence with Paltrow’s glamorous, privileged world. The incident unfolds in a delightful, high-camp fashion reminiscent of Laurel and Hardy, showcasing the undeniable chemistry and joy that both actors exude on stage—a true pleasure to witness. The energy in the audience mirrored that of a lively drag show, filled with cheers and boisterous support, elevating the performance to a spectacle of its own. The script is packed with clever jokes (I won’t spoil the fun, but there’s a memorable cameo involving Gwyneth and Chris Martin’s daughter, Apple Martin). A particularly hilarious sequence chronicles the events from the 2016 incident to the 2023 trial, leaving me in stitches and momentarily embarrassed as I laughed too loudly beside the couple next to me. Karp and Martin cleverly involve the audience as supportive characters, including Paltrow’s future husband and Sanderson’s girlfriend. Their efforts are seamlessly coordinated by stagehand Ciara Pidgeon, who shines both offstage and on. At two hours, the show flies by, thanks to the inventive storytelling that bounces with surprises and delights. A special treat is the audio contributions from Darren Criss (of Glee fame) and Catherine Cohen, who provide the singing voices for Sanderson and Paltrow, respectively. Visually, Trixie Mattel (of RuPaul fame) makes a memorable appearance as Gwyneth’s mother. This production truly deserves all the attention it’s receiving. With its stellar cast, sharp writing, and a generous sprinkle of snowy frivolity, it’s a festive delight just in time for Christmas. This is one show you won’t want to miss! Gwyneth Goes Skiing Created by Awkward Productions Pleasance Theatre 11th December to 21st December From £24 https://www.pleasance.co.uk/event/gwyneth-goes-skiing Photography by Jonny Ruff

‘A Winning Combination’ ★★★★ So much of Christmas is about tradition. The turkey. The carol concert. The satsuma in the stocking. The Christmas Day watching of Mrs Brown’s Boys (actually, maybe not). And to that we should add the ‘trip to Brockley to the Jack Studio Theatre to see its Christmas show’. Alas, traditions and repeat visits / viewings can sometimes let us down or disappoint - but not in South East London. Actor and writer Luke Adamson showed he can write a Christmas show with last year’s OH NO IT ISN’T! at the same venue and elements of that effort cast a shadow across Montague’s Millions. Here, at Christmas, a be-hatted stranger hands each of three disparate individual’s envelopes instructing them to board the sleeper train to Penzance and get themselves to the mysterious Montague Manor by 8am to hear the reading of the last will and testament of the aforementioned Montague. The three must tell no one, trust no one and they know nothing more than these basic instructions. So, we see the upright and slightly uptight Dr Gordon Henderson (Adam Elliott), the obviously posh Lady Penelope Cunningham (Julia Pagett) and rough-round-the-edges dock worker James MacDonald (Tice Oakfield) all thrown together, eyeing each other with suspicion whilst also being naturally concerned about the time on a typically delayed train (this is 1934 by the way, but could also be 2024 with my experiences with Great Western trains). We also find out that all three have financial problems and thus the possibility of a wedge of cash from a will reading could lead them to indulge in treachery and deceit … The audience knows there’s a deadline that needs to be met and that there will ultimately be a reveal. There are clues sprinkled throughout the 90 minute running time - some subtle whilst others are a bit obvious and a tad heavy handed. The journey undertaken by the unlikely trio gets a bit ‘Planes, Trains and Automobiles’ - albeit with the plane replaced by other modes of transport - and the slightly meandering script (the show is maybe 10 minutes too long) doesn’t offer enough laughs to wholly sustain. (I should say here there is one absolute laugh out loud moment which breaks the fourth wall and the whole sold out audience loved it). But Adamson can absolutely write plot and character and, in combination with the Jack’s crack team of Kate Bannister (direction) and Karl Swinyard (set), the show comes across as a mix of The 39 Steps and Emma Rice’s Brief Encounter - it’s a winning triumvirate. The lighting and sound gives a clear and smart sense of time and place, Swinyard gets his prop door out again for Christmas and the cast sweetly play multiple roles and use bits of kit in multiple ways. I’ve said before that what this little pub theatre achieves is remarkable and here it’s primarily down to those 3 key elements - the writing, the direction and the set design. There’s also much credit to a hard working and engaging cast although perhaps a slightly tighter script would have helped make their interactions sharper and more natural. But, as the good doctor, Adam Elliott offers the audience plenty of ‘nudge nudge wink wink’ storytelling and shows a full range with his secondary characters. Julia Pagett’s Lady Penelope is rather ‘one note’ but she offers heart and soul and place to the story. There is much joy in the return to the Jack of the great Tice Oakfield as James MacDonald, this time sporting a neat little moustache, a variety of accents but with his usual twinkle and pathos. Another super performance. The ending is Christmassy and sweet and touching. My 13 year old daughter loved it. I loved it. Indeed, it’s a lovely show - about finally coming together despite life’s turmoil - by a lovely writer in a lovely pub theatre. As the characters in Montague’s Millions like to say - ‘even in the middle of nowhere is somewhere’ and whilst Brockley Road isn’t exactly ‘nowhere’, the Jack Theatre continues to be a big old ‘somewhere’. Merry Christmas. Photography: Davor @ The Ocular Creative. MONTAGUE’S MILLIONS by Luke Adamson at Jack Studio Theatre 10 December 2024 - 4 January 2025 Box Office https://brockleyjack.co.uk/jackstudio-entry/montagues-millions/ CAST Adam Elliott, Tice Oakfield, Julia Pagett CREATIVES Written by Luke Adamson Directed by Kate Bannister Set Design: Karl Swinyard & Kate Bannister Lighting Design: Laurel Marks Sound Design: Matt Karmios & El Theodorou Costume Design: Martin J Robinson Produced by Jack Studio Theatre

‘a vulnerable and cathartic play that pushes towards hope and happiness.’ ★★★ ½ ‘Spring & Other Things’ brims with anxiety: about global warming, war, mental health, humanity…and post-theatrically, about expressing all of these ideas through a play. Chloe Yates, both writer and performer, nervously announces that she’s going to tell us a story. Because sharing stories is important, whether they are difficult to recount or not. And while this story leans more towards prose than it does drama, it is a brave, semi-autobiographical tale that provides a rich insight into the brains and bodies cooped up in an adolescent psychiatric ward. As she counts down to her 18th birthday, Chloe tells us how she went from rock bottom – fantasising about suicide and coping with borderline personality disorder – to leaving her psychiatric unit and standing up for her beliefs. The play begins and ends with the same scene: Chloe preparing for a protest in Camden Market, talking to a statue of Amy Winehouse, finding the energy to fight for the planet because there are things that she loves about being alive. In between, the play builds to her 18th birthday, after which she must leave the adolescent ward she has come to love and move to an adult ward, forced to start again. Suicidal ideation is a challenging subject to stage, and it must be said that Yates treats it with a subtle care and deep understanding. Scenes are punctuated with moments of joy as she remembers what she loves about being alive, and the script never feels overly expositional or convoluted. The direction, by Georgia Leanne Harris, is neatly dramaturgical and makes great use of the black box space in the Old Red Lion Theatre. However, Spring & Other Things feels like the predecessor of a larger play, as it tells a personal story but also comments significantly on selfishness, capitalism and a broken care system. “Maybe a breakdown is a perfectly reasonable response to the world that you have created for us,” Chloe argues to her psychiatrists and the doctor with three houses who shows up once a month in a Land Rover to check on his surplus of anxious patients. I would have liked to meet these other characters, these villains that command great swathes of Chloe’s brain. Yates’s performance is delivered at the speed of a psychiatric patient’s mind and therefore we don’t sit with other characters for any length of time. She regularly reminds her audience that she hates public speaking, and therefore it would be interesting to see how this play might improve its drama and conflicts with other bodies on stage. As the show reaches its conclusion, audience members are invited to share what they love about being alive, and then we sing together. Yates has created a vulnerable and cathartic play that pushes towards hope and happiness. It certainly has potential, and I would be interested to see it break out of monologue and into something bigger. Photography: Tricia Wey Spring & Other Things by Chloe Yates Old Red Lion Pub Theatre 3rd-7th & 10th-14th December 2024 Box office: https://www.oldredliontheatre.co.uk/spring-other-things.html Written and performed by Chloe Yates Directed by Georgia Leanne Harris Produced by LJ Hope Productions

‘Every character fizzes with delight and charisma’ ★★★★★ Nestled just beyond the steps of the new Kings Head Theatre is a delightful retelling of Cinderella, marking the venue’s first-ever family pantomime to close out what has been a stellar year. And what a spectacular show it is! This is truly a magnificent production, which follows the folktale about doting step-sisters and a handsome prince, but in between there are endearing musical numbers and incredibly funny gags. ‘What do all women love?’, says Prince Charming (Joseph Lakehurst). ‘Equality!’ replies Dandini (the brilliant Verity Kirk). ‘No, balls… Dancing Balls’. There are many of these rib-tickling moments, none more than from the riotous pair of the ugly stepsisters Dalston (Harry Curley) and Peckham (Ella Vaday/Nick Collier). Whilst I thought would be a little bit unbalanced as a duo initially, they really found their feet, especially during physical comedy moments in the hot tub and the river ball’s buffet, peppered with clever quips. The story follows Cinderella (Maddy Erzan-Essien) who after her step-mother (voiced by Miriam Margolyes) jets off to Turkey for a touch up, or two… or three…. she left to the guardianship of her wicked step-sisters. When fate strikes she meets the Prince, and with the help of her Fairy Codmother (Lucia Vinyard) is whisked to the river ball. There is so much for children, and equally a show that almost felt was written for adults, bruisingly blue in its double entendres and sharp references. I can’t, of course, forget about Buttons (Robert Rees) who was a lynchpin for the story and was a great presence on stage oozing out bundles of optimistic energy and endearing innocence. The high-energy pop covers and glorious arrangements are infectious and sung beautifully. Amid the riotousness, there is heart and soul. The magnetic Fairy Codmother (whose wand was created by world-renowned sculptor Andrew Logan MBE) gave moments that were big and deserving of a party. Whereas Cinderella (who has a wonderful singing voice) is tender and sung with heart, fit for the drama of the moment. The production finds a winning script, stuffed full of gags, one-liners, and side splitting sequences in writer-director Andrew Pollard, whose zingy story jumps straight off the page- the set and costume designer Gregor Donnelly creates costumes that are as glamorous as they are playful, set against one of the most impressive sets I've ever seen in this former pub theatre. Just as was written in the production notes this pantomime truly is in the spirit of collaboration. Little Angel Theatre associate offering an impressive cameo of the puppet of Quackers the duck which was crafted so elegantly. What this show has accomplished is remarkable. It could easily grace the stage of any major theatre across the country and draw packed audiences. Each character brims with charisma and charm, making it all the more impressive that this magic unfolds in one of the smallest venues currently hosting a pantomime. If this is indeed North London's inaugural traditional family pantomime, it sets a high bar for future productions. It is utterly uplifting, a festive celebration that the entire family can enjoy! Cinderella Written & Directed by Andrew Pollard Kings Head Theatre 30th November to 5th January From £10 to £40 https://kingsheadtheatre.com/whats-on/cinderella

‘a thrilling rollercoaster of comedy.’ ★★★★ Over the course of an hour, Knocked Conscious (pleasantly) knocked you in the face with a string of witty, entertaining, and laugh-out-loud sketches that left you doubled over with laughter. The show flew by—a testament to the talent in the writing and the humorous performances. The constant variety meant the sketches kept you engaged throughout the show. Time flew when you were having fun-ny people performing! The sheer variety of sketches was incredible. Whether it was pop culture references, musical parodies, gags, cheeky double entendres, absurd "what if" scenarios, or killer punchlines, the show’s versatility was highly impressive. The parody songs, in particular, were an absolute riot—expertly written, brimming with sharp wit, and performed with infectious energy. The range of the cast—Mungo Russell, Gayaneh Lara, Henrie Allen, Calum Maclean, and Jack Firoozan—was as brilliant as the comedy they covered. They nailed everything from accents and singing to physical comedy. You could feel their synergy bouncing off one another, with all the cast members equally committing to a strong energy and dedication to their performances. Every performer shone, embracing their roles with an enthusiasm that was as contagious as their humour. The clever structure of the show was another highlight. Sketches flowed seamlessly, keeping the audience on their toes, and the returning sketches were pure genius. My favourite was a recurring bit in which a member of a quartet tragically died each time we returned to the sketch. This left us with a hilariously awkward rendition of ‘Lollipop’ performed by a lone survivor—a comedic crescendo I won’t soon forget. You could feel the actors’ enjoyment in the writing and performance (a few times breaking character to hide their sniggers), and you could definitely hear the audience’s enjoyment in their frequent laughs and applause. What made the show even more entertaining and commendable was how the cast made so much out of so little. Minimal props gave their performances the freedom to take centre stage. Their clever use of gestures and expressions pulled the audience into every scene, proving that imagination could be the best prop of all. The transitions were quick and seamless, keeping the momentum going and the laughter rolling. The costuming, consisting of simple office-style attire, added another layer of comedy and imagination, as it hilariously contrasted with the absurd scenarios being acted out. It felt like watching a group of coworkers with a knack for mischief letting their creativity run riot. You could sense the potential for the show to grow. A few sketches felt like some cast members had yet to solidify their delivery in terms of lines, character portrayals, and timing. This occasionally caused jokes to fall flat or miss their full potential. The slight inconsistency in the comedy slowed the otherwise relentless momentum of humour and fun that was building. However, these were minor stumbles in what was otherwise a thrilling rollercoaster of comedy. In short, Knocked Conscious was a joyous, laugh-out-loud spectacle that took sketch comedy to impressive heights. It was clever, unpredictable, and packed with unforgettable moments. If you were looking for a show that left your sides aching as you tried to decide which sketch was your favourite, this is the one. Reviewer @olivia_tallulah Knocked Conscious @ the Drayton Arms Theatre from 3rd – 7th December 2024 Cast MUNGO RUSSELL GAYANEH LARA HENRIE ALLEN CALUM MACLEAN JACK FIROOZAN

‘Good in parts’ ★★★  It’s a show with strengths and weaknesses. Susie McKenna (who also directs) provides a sparky, original script which is, in places, genuinely funny – a witty summary of the progress from spinning wheels to Amazon, for example. And if a bird dropping lands on your head and you choose to ignore it you are, of course, undeterred. (Think about it). Moreover, you don’t go to panto expecting plot twists but there a couple of interesting ones in this show. Why shouldn’t the Prince (Durone Stokes - good) meet monsters in the forest he has to hack down? And of course, in 2024 it makes no sense that the princess (Roshani Abbey – of whom more shortly) will come out of her coma to find a man she’s never seen before and instantly agree to marry him. McKenna’s is cheer-worthy feminist reworking. On the other hand, the script is absolutely larded with overtly leftish political digs. I am a Lewisham resident and know that our council is 100% Labour. There is no opposition in this borough, so the panto is playing to local allegiances. Nonetheless, all this preaching/pandering to the converted gets tiresomely wearing. The show’s strengths include Justin Brett as Dame Nanny Nora which he lays for laughs, obviously, but is never grotesque and there isn’t a single joke about bodily functions which is a welcome change. He has moreover strikingly beautiful diction, isn’t afraid to use RP and good at giving jokes time to settle. Lisa Davina Phillip has glittering purple stage presence as Carabosse and sings commandingly. The decision for her to speak in a very broad Jamaican accent, however, again might do down well locally but at times it blurs the clarity and audibility. Natasha Lewis is dependable as Willowsnap, the good fairy who eventually has to facilitate the downfall of Carabosse – although here, it’s about redemption rather than destruction. Roshani Abbey, though, is the real star of this show. She packs Princess Thalia with feisty confidence and grace and her singing voice is outstanding. I was not surprised to learn afterwards that she trained at Royal Academy of Music. The five piece band in the pit, directed by Ben Goddard-Young does a fine job too and I don’t think I’ve ever heard a harp (Morwenna Brown) worked into a panto score before. Its effect is delightful. So it’s generally a pleasing show despite some weak links in the casting. SLEEPING BEAUTY at Broadway Theatre, Catford 4 – 31 December Box Office https://www.broadwaytheatre.org.uk/events/sleeping-beauty/

 ‘Who could fail to enjoy themselves?’ ★★★★★ As those of us who grew up loving panto know, Napoleon keeps his armies up his sleevies. But this Napoleon (Matthew Kellett) has someone else’s arm up there as well – Lord Nelson’s, shot off at Trafalgar (Historical Accuracy in the person of a Pedantic Professor is also shot off at this exuberant show’s pell mell opening) and, because of the Madness of King George III, it’s Nelson’s palm print alone that will open the vaults to England’s national treasure. So off set King George (Elliot Broadfoot), the Duke of Wellington (Jennie Jacobs) and the King’s daughter Georgina (Amy J. Payne), artfully dressed as a boy of course, to retrieve the Admiral’s arm and foil the dastardly French. Yup, it’s a suitably bonkers pantomime plot that’ll have panto fans yelling ‘Oh, Yes It Is’, and panto Naysayers wringing their hands and wondering what’s to become of us all. Jermyn Street last year tackled the Odyssey in panto form and did it with gusto. This year it’s the world’s most famous Corsican military genius who’s about to find himself cross-dressing and being booed and belting out an Abba closing medley that has to climax with, yes, that one about the history book on the shelf that’s always repeating itself. Panto success so often depends on tone – getting just right the mix between over-the-top knowingness and being professional enough to take things seriously, and John Savournin’s and Benji Sperring’s direction manages that in spades. We get the old favourites – terrible gags, songs, winks to the audience and a bit of audience participation when some cows need milking or when the mad monarch (Broadfoot’s a fabulous droll), needs our sympathy as he loses the plot. But we also get a fresh, funny script performed with real brio by a uniformly strong cast, historically knowing enough to dispense with any pretence at accuracy, confident enough to give us our evil dame in the shape of the grasping ghost of Marie Antoinette (Rosie Strobel). As so often, the Jermyn Street stage set is inventively and unexpectedly used, the backdrop providing plenty of surprising entry points for a visual gag or awful joke. And the show rattles along at speed with a score of largely cheesy 1980s rock tunes (strong Meat Loaf, Elton, Queen, movie soundtrack vibe here) given witty lyrical makeovers (Wellington singing about the beef he wants to wrap in pastry and so forth). As the curtain fell and we filed out of the Jermyn Street’s cosy confines, the couple ahead of me asked me who could fail to enjoy themselves at that. Whoever it is who would so fail, you’d have to feel sorry for them. Sheer joy. UN PETIT PANTOMIME by John Savournin Director: John Savournin and Benji Sperring Jermyn Street Theatre 21 November 2024 to 5 January 2025 Box Office: https://www.jermynstreettheatre.co.uk/show/napoleon-un-petit-pantomime/ Reviewer David Weir’s plays include Confessional (Oran Mor, Glasgow), Better Together (Jack Studio, London). Those and others performed across Scotland, Wales and England, and in Australia, Canada, South Korea, Switzerland and Belgium. Awards include Write Now Festival prize, Constance Cox award, SCDA best depiction of Scottish life, and twice Bruntwood longlisted.

‘intimate venues such as this bring a particular type of magic to storytelling for children’ ★★★★ The team at the Tabard have been a safe pair of hands over the last few years when it comes to family Christmas plays. An alternative to Pantomimes, classic children’s books are brought to life on the stage. Previous productions include Stig of the Dump and Five Children and It, and the successful formula is repeated this year, again with Louise Haddington adapting for stage and Simon Reilly directing. This time the source material is Hans Christian Andersen’s The Snow Queen. This classic story, or rather an echo of it, will be familiar to younger audiences through the Disney smash hit Frozen, which, for all its merits, alters the story beyond recognition. The original story is darker and haunting. A goblin constructs an enchanted mirror that distorts and brings out peoples’ bad and ugly aspects. But as the goblin takes the mirror up towards the angels it shatters and the shards scatter across the earth, directed by the Snow Queen, draining the humanity from people wherever they land. Gerda (Rosie Kahlon) and Kai (Cameron Chalmers) are playing in the snow when one of these shards lands in Kai’s eye, changing his personality. He is eventually lured to the Snow Queen’s (Freya Crompton) castle. This initiates a quest as Gerda searches for her friend, encountering a series of obstacles. Kahlon is superb as Gerda and is pretty much ever-present on stage. Maeve Elmore and Caitlin Wood provide strong support in a variety of roles and, in Wood’s case, as puppeteer too. The set design (Rob Miles) is imaginative, especially the icy hinterland occupied by the Snow Queen. The production is enjoyable and lives up to previous family productions at the Tabard, although the second act is perhaps a little too long for some younger members of the audience. It walks the line well in terms of being festive but not directly about Christmas. Moreover, intimate venues such as this bring a particular type of magic to storytelling for children. My two daughters, veteran children’s theatre reviewers for LPT, are now 10 and 12, and enjoyed The Snow Queen, especially the younger one, although the older one is reaching the age where such productions have less appeal. Despite Storm Darragh resulting in terrible weather in West London this weekend, The Snow Queen provides plenty of festive cheer, and the cast are very engaging in bringing this classic story to life. It is well worth a visit for all the family. Photography: Charlie Flint THE SNOW QUEEN based on the story by Hans Christian Andersen, adapted by Louise Haddington. Directed by Simon Reilly. Produced by Take Note Theatre Ltd Playing at Theatre at The Tabard 29 November - 4 January 2025 BOX OFFICE