REVIEW: AN EVENING WITH SU POLLARD @ Garrick Theatre, Altrincham

 

Anyone who has not seen the powerhouse that is Su Pollard is missing a force of nature.  Although best known for her sitcom characters - most specifically her early 1980s breakout turn as chalet maid Peggy in Hi-de-Hi! - she has become over the years a national treasure and one of our most original and dynamic stage performers.   

Having notched up an enviable CV of theatre and television appearances,  Su has now embarked on a national tour of her one woman show, which has been titled Oh..and another thing..  because that is how the serial chatterbox peppers her lengthy conversations.

As you enter the auditorium and witness the stage setting of glitter curtains and huge pair of pink specs that overshadow the evening, you know we are not in Kansas anymore.  Su has been called the Queen of Camp and she owns the title unashamedly.  She arrives in a haze of sequinned fabulousness, in great voice and accompanied expertly by Michael England on keyboards.   She starts by telling us how Covid stopped her in her tracks (as if anything could!) and then proceeds to give us a whistle stop tour through her beginnings in Nottingham,  working as a secretary,  her hippy fashion vibe and onto her first steps as a professional actress.  She tells of going to the same auditions as Elaine Paige (and what happens when their careers fuse) and of course onto snapshots of her career such as being in the chorus of The Desert Song,  being spotted in Godspell, meeting her mentors Jimmy Perry and David Croft and of course her surprise hit single, which shot to number 2 in the national charts (Damn that Diana Ross!)

Whilst apparently chaotic and an air of the adhoc pervades the evening,  it is in fact carefully crafted by director Roger Haines. The f-bomb is dropped casually throughout, as well as a few jokes which might have your elderly aunt all a fluster.   But trying to review such an energetic frenzy is like trying to describe the view from the eye of a hurricane. Pollard is hysterical throughout,  but also brings the air of vulnerability that her sitcom characters also possess.  A case in point is her rendition of the wistful ballad There Was Something About Mr. Henderson,  beautifully pointed and delicate, before we are off again into the mad storm of Su's comedy onslaught.  Pollard has the ability to connect directly with her audience,  we know she is one of us,  and in return her audience adore her right back.   Oh..and another thing.. needs to be available on the NHS, as the power of its star to lift us up and make us feel good about being alive is intoxicating.

In many ways the Q & A session in the second half is anti-climatic.  Sure the audience get to put their questions to Miss P, and we learn more of her career,  but it is the first half of the evening which gives the audience a warm glow as they leave the theatre.   

Throughout the evening Su neither looks nor acts like her 72 years,  she has earned her stripes (or her Yellowcoat) and delivers a comedy performance that frankly is a masterclass from a unique and brilliant lady at the peak of her powers. Miss her at your peril.

Rob Cope for Doctor Theatre

Photos courtesy of Glen Chavannes

REVIEW: THE DRIFTERS GIRL @ Garrick Theatre, London

 

Many years ago. when I was a young man in the 1980s,  Faye Treadwell sent me and a couple of mates on a spying mission.  Not for state secrets but to see if an ex-Drifter was performing The Drifters catalogue and billing himself as a Drifter now that he had gone solo. It's a long story which I won't bother with here, but was a memorable encounter with the Drifters girl herself, and proof she was a tough cookie where business was concerned.  Now a full blown West End musical pays homage to Faye Treadwell, and her pioneering fight for her intellectual property.

For those who might not be aware, The Drifters were pop sensations from the 1950s until their chart run ended in the 1970s. However, it wasn't plain sailing.  Contract and billing disputes meant that The Drifters were a revolving door of performers. Clyde McPhatter had started the original group in 1953, but then George Treadwell became their manager a couple of years later and when McPhatter demanded a larger share of the profits, there was a parting of the ways. McPhatter sold his share of the group to Treadwell and the group continued without him. Treadwell kept the group members on low money so they came and went with alarmingly regularity.  When he died, wife Faye became sole curator of The Drifters name and legacy.  Until Clyde McPhatter appeared back on the scene with his own version of The Drifters group.  Thats when the legal disputes started between the two which went on for many years. Faye fought tooth and nail to stop the breakway Drifters, and the fact that she was a black woman meant that few took her seriously in what was very much a mans world.  But there was steel in Faye and when the US hits dried up, she took the group to England where there were a whole new spate of Drifters chart hits recorded in the 1970s. Eventually, Faye did win a landmark court case giving her clear ownership of The Drifters name and paved the way for many other groups to be recognised as the legal owners of their brand.  

 

Only now are Faye Treadwell's achievements becoming recognised.  And this corker of a musical demonstrates the highs and lows of her journey.  There is a core cast of five performers who bring all the characters to life,  plus a younger cast member who plays Treadwell's sometimes overlooked daughter Tina (one of the producers of the show).  Top billing goes to the amazing Beverley Knight, whose voice could stop the traffic in Piccadilly Circus. But she is more than just a big voice, her acting skills are spot on with an accent that gives her portrayal much credibility. She is a star turn in every sense.  But so are the four guys she is sharing a stage with. Adam J. Bernard, Tarinn Callender, Matt Henry (MBE) and Tosh Wanogho-Maud are a sensation. Each play key Drifters personnel and all the characters they encounter on the way.  They also possess stunning voices, which blended together produce that unique Drifters vocal sound.  The show is wall to wall hits:  Under The Boardwalk,  Kissin' In The Back Row Of The Movies,  Save The Last Dance For Me,  You're More Than A Number In My Little Red Book... the list just goes on and on.  You'll be humming the songs long after you have left the theatre.  Beverley's Harlem Child  is a highlight but it seems churlish to pick out individuals when the singing is as strong as this.  However, Wanogho-Maud's portrayal of tragic closet homosexual Rudy Lewis is a an example of the fine characterisation at work in this show.  Dara Ajagbe played young Tina at the performance I attended,  and she was excellent but you get the feeling that perhaps she had more to offer if she had been allowed to.

It has to be said, the show is a bit light on plot.  Drifters come and go, George dies, Faye goes to England just about sums it up.  But when the performances are as good as this,  then all other matters can be forgiven.  And lets not forget Musical Director Will Stuart and his band of eight killer musicians who bring the soul sound of the records to a thrilling live setting.  Director Joanthan Church and choreographer Karen Bruce immerse us in the entertainment scene of the 1950s onwards and the slickly choreographed routines of The Drifters themselves are replicated superbly.

Jukebox musicals have always worried me because they can be so hit and miss,  but this one is here to stay I should think.  Quality will out and this has it in spades.  It will clearly be Drifting for years to come.

Rob Cope for Doctor Theatre

Afterthought:

I was a little worried because of I read horror reports of the behaviour of audience members at the Garrick Theatre, and there were signs warning of anti social behaviour enterting the auditorium.  Then when the row in front turned up with wine glasses and a carraffe of prosecco I was on red alert.  They were not too distracting but still very much in my eyeline jigging about. If the theatre allows alcohol in the auditorium like some northern working mans club, then they are going to attract unreasonable behaviour. And the rest of us can stay away. It's up to the theatre owners.

Further details on the show can be found at THE DRIFTERS GIRL WEBSITE

 

REVIEW: SCHOOL OF ROCK (UK Tour) @ Palace Theatre, Manchester

 

 

Theatre goers have been playing a game of cat and mouse for too long.  Tickets can be booked but then its a case of will the show get cancelled because of Covid?  So many times I have had the rug pulled from under my feet with cancelled productions,  nobody's fault but just the way it is.  Thank goodness then,  that a capacity crowd at the Manchester Palace Theatre were able to let their hair down with the touring production of Andrew Lloyd Webber's School Of Rock.

Based of course on the ever popular 2003 Jack Black movie,  which sees unemployable slob Dewey Finn ousted from his rock band No Vacancy.  As an act of desperation he masquerades as his friend Ned Schneebly to get the position of a supply teacher at Horace Green prep school,  a very starchy educational facility presided over by the equally starchy principal Rosalie Mullins.  When Dewey finds out his class of swots can play music,  he educates them into the ways of rock and enters them into the Battle Of The Bands competition.  And thus the scene is set for laughter and outrageous antics from the ensemble.

As in the movie, the show rides and falls on the comedic skills of the actor playing Dewey.  On this tour the production has hit pay dirt with Lichfield's own Jake Sharp who channels Jack Black's interpretation and adds a sprinkle of his own magic.  Sharp is never off the stage throughout the two hour plus duration, and his levels of energy leap across the footlights to beat the audience into submission.  The roar of approval at the end of the evening for him is well deserved.   

But this is not a one man show.  Rebecca Lock as Miss Mullins,  the sour faced prinicpal who eventually reveals her rock obsessed youth is a winner.  She possesses a fine voice be in in her solo ballad 'Where Did The Rock Go?' or belting out the high notes in Mozart's 'Queen Of The Night'.  Matthew Rowland as Ned, Dewey's landlord and former bandmate in Maggot Death tries desperately to keep his girlfriend Patti (Nadia Violet Johnson) from evicting Dewey.  Both performances are of a high standard and push the comedy along.  Bravo to the entire ensemble too for bringing to life parents and teaching staff so slickly.

I wish I could praise the kids who had appeared at the show but sadly the lack of a cast board in the foyer means I simply do not know which children were on at this performance.  Suffice to say they were all brilliant.  From keyboard playing nerd Lawrence,  big voiced Tomika,  guitar god Zack and the many others that populate the stage.  All the kids play their instruments for real.  They are of course backed up by a **** hot grown up band of seven musicans who really know how to rock the joint.

Andrew Lloyd Webber's score has combined melodic riffs from his hit 1978 fusion album Variations with some on point lyrics by Glenn Slater.  There are a few nods to the music from the film, most prominently the finale "Teachers Pet" but its mostly Lloyd Webber's famous earworms that you leave the theatre humming.  It was been held together with an book adaptation from Julian 'Downton Abbey' Fellowes.  Director Laurence Connor has clearly known when not to mess with brilliance and transposed the core of movie, whilst giving it a very noticeable theatrical polish. 

Lloyd Webber was lacking a bona fide hit musical for some years when School Of Rock came along, and its easy to see why audiences have been so swept away with this show.  The melodies, the virtuoso performances by the kids, top notch comedy and above all it is a show with a heart.  With a capcity audience on its feet yelling for more, this is the best antidote to the Covid blues that you can get.  In the words of the song,  "there's no way you can stop the school of rock..."

Rob Cope for Doctor Theatre 

 

REVIEW: THE WIZ @ Hope Mill Theatre, Manchester

 

While the work is never done, Theatreland is finally starting to be more inclusive in the kinds of stories being told and performers that are being spotlighted. Currently in the West End one could take in, ‘Tina, The Tina Turner Musical’, ‘Get Up Stand Up! The Bob Marley Musical’, ‘The Drifters Girl’, ‘The Prince of Egypt’ or ‘Hamilton: An American Musical’. These shows have predominantly non-white casts and/or creative teams. That producer Ken Harper managed to mount an all-Black version of ‘The Wizard of Oz’ in 1975 and have it play Broadway for four years, is near miraculous.

The Wiz or to give it it’s full title “The Wiz: The Super Soul Musical "Wonderful Wizard of Oz" has music and lyrics by Charlie Smalls with a book by William F. Brown, the original run made a star out of Stephanie Mills and spawned a film adaptation directed by Sidney Lumet. The ‘Network’ director made few but significant changes to the show including changing Dorothy’s home from Kansas to Harlem. Matthew Xia’s new staging for Hope Mill takes this cue from the cinematic version, implying Dorothy resides in a tower block against an industrial landscape as opposed to fields of corn. There is footage of Black Lives Matter marches looping on a TV in the corner, suggesting a weariness to Cherelle Williams’ Dorothy and a longing for escape to more vibrant surroundings…

 

Part of the joy of this production is getting to see how Xia reinterprets the familiar trappings of Oz. Tarik Frimpong’s Scarecrow gamely flops about, Llewellyn Graham pops and locks as Tinman, while Jonathan Andre hilariously swishes as the Cowardly Lion. The travelling nature of the story makes it difficult to single out a particular performance, everybody makes an impact with relatively short stage-time; from Cameron Bernard-Jones’ flamboyant Wiz, to Ashh Blackwood’s hilarious Evillene, to Bree Smith’s gorgeous Glinda. Where the script occasionally shows it’s age, with its hepcat 70s slang, the cast give the material new life.

 

Simon Kenny’s designs are minimal but efficient and work symbiotically with the enthusiastic ensemble in creating the world of Oz. Speaking of the enthusiastic ensemble, (many of them making their professional debut) they make the most out of Leah Hill’s impressive choreography. There are some truly jaw-dropping routines that are breathlessly dynamic. Musical Director Ehsaan Shivarani leads a funky eight-piece band, that jams through the score with enthusiasm. The arrangements strike a balance between the 70s soul of the original and peppering in modern beats, as in the ‘Poppies Ballet’ or when the foursome encounter the terrifying Kalidahs. I was also pleased to hear the reinstatement of Scarecrow’s ‘You Can’t Win’, a song pulled before the show ever made it to Broadway but then dusted off for Michael Jackson to sing in the movie.

Ultimately though, the success of any Oz-based tale falls on the shoulders of Dorothy. She is our entry point, the relatable figure amidst the craziness unfolding and to this end Cherelle Williams succeeds excellently, selling Dorothy’s fear but also her warmth, in drawing together and encouraging her band of misfits. Williams’ yearning ‘Home’ at the finale, is a poignant moment that would thaw the coldest of hearts. I have long since thought that the tunes from ‘The Wiz’ deserve far more acknowledgment in the musical theatre canon, it is after all impossible to stifle a massive grin as the cast jubilantly deliver the Luther Vandross-penned ‘Everybody Rejoice’. In this production Matthew Xia has refreshed and reminded us of a classic musical that is the very embodiment of feelgood. 

Phillip Beamon for Dr Theatre

The Wiz runs at Hope Mill Theatre until 16th January 2022

 

 

PODBITE - PUSSYCATS, BALLS & BAD BEHAVIOUR

 

REVIEW: Andrew Lloyd Webber's CINDERELLA @ Gillian Lynne Theatre, London

 

 

I was meant to have reviewed Cinderella,  Andrew Lloyd Webber's latest lockdown written musical, back in July.  But a Covid outbreak among the cast meant that a period of the show was cancelled and thus here we are several months later and finally,  I can take my seat at the Gillian Lynne Theatre.  In the meantime, the show has been honed and polished ready not only for West End audiences but with an eye on a Broadway transfer.

This completely new take on the story with book by Emerald Fennell and lyrics by David Zippel has been written seemingly with a younger audience in mind than peopled the matinee I attended. But no matter. The plays the thing as Mr. Shakespeare wrote.  

Carrie Hope Fletcher & Gloria Onitiri

 Ivano Turco

Belleville (France) has been awarded "Most Attractive Town" for the past 49 years.  Surely this year will be no different? Well think again. Someone has defaced the memorial statue of Prince Charming (missing in action) and the town loses out. Who can it be?  Well, Bad Cinderella as it turns out.  A Goth vision of rebellion, so now the whole town is against her.  But none more so than her Stepmother and sisters Marie and Adele.  And so the familiar story begins with a new twist, whereupon Prince Charming's younger brother Sebastian must choose a bride.  But he is in love with Cinderella, and vice versa. Cinders is holding out because she is not so much bad, as just a bit petulant. 

Andrew Lloyd Webber's melodies are as ever at the heart of the production,  and like him or loathe him he has an annoying habit of delivering earworms that stay with you long after you leave the theatre.  His speciality is composing six or seven musical motifs and having them all return throughout the evening patched up with varying arrangements. Cinderella is no different.  Andy has worked with some of the best lyrists in the world,  sadly David Zippel isn't amongst them.  His lyrics are serviceable but lack the wit and depth of his predecessors. One can only imagine the fun to be had with Tim Rice at the helm.  The sets and costumes by Gabriela Tylesova seem rather low key for the West End,  almost as if the Broadway transfer was expected to be The Broadway in Barking, not New York.  Director Laurence Connor has matched this with some plodding direction,  it's not bad Cinderella just average Cinderella.

Carrie Hope-Fletcher & Victoria Hamilton-Barritt 

 

Rebecca Trehearn

With much publicity around the haphazzard appearance of certain cast members, it came as a surprise to find the matinee contained the entire advertised A-Team in their roles.  Chief among these is Carrie Hope-Fletcher, social media expert and fan girl heroine, who takes up the titular role. Her crystal clear voice is note perfect, (the Phil Spector-esque 'I Know I Have A Heart' is among the best songs of the evening)  but she fails to find any fire in the character. Each scene is played pretty much like the last. Her counterpart Ivano Turco as Sebastian, in his West End debut, finds a little more intensity and, in what is the most high profile audtion for Thriller Live, suddenly turns into a body popping, crotch grabbing Michael Jackson in the final scene. He does though handle his big solo 'Only You, Lonely You' with aplomb.  The real star of the evening though is Victoria Hamilton-Barritt as The Stepmother.  She out Cruella's de Ville as she ramps up the Disney villain stakes, and the show is better for it.  Every gesture, every syllable is played to the hilt.  Her scene with The Queen (Rebecca Trehearn) as they spit out the confession that they know of each others less-than-artistocratic showgirl past is a highlight.  Pity though the marvellous Gloria Onitiri as The Godmother,  a back street plastic surgeon who will make Cinderella beautiful. The price is her dead mother's necklace, Cinderella's most precious possession.  Onitiri is wonderfully sinister as The Godmother, and delivers 'Beauty Has A Price' as the thrilling climax it should be,  but the character is given no background and disappears just as quickly as she came, save for one small moment in Act Two which feels like an after thought. Onitiri deserves better.  And so does the show.  Similarly the two sisters, Adele and Marie,  are given just lip service which must be frustrating for Laura Baldwin and Georgina Castle who need better material to be able to maul their half sister.

The ensemble pieces are for the most part enjoyable,  and then there is the trick of the audience on the revolve which gives the first few rows a unique view of the Ball.  it makes absolutely no difference to the show but is at least an attempt to liven up a scene which should be a showstopper but isn't.

This Cinderella is stuck between two poles.  It is neither the fairytale setting of versions of old but is neither the edgy,  modern take that the publicity would have us believe.  The odd swear word thrown in won't make Cinderella a modern woman capable of forging her own path.  In fact she is rather passive in the events.

It is frustrating for we audience because it is obvious there is a good show in there somewhere,  but it is trapped in this hybrid production that clearly should have had a lot more work before being plonked on a West End stage. Having paid over £100 for my ticket,  I feel I have the right to demand a more cohesive product.  The last half hour particularly needs re-working.  The appearance of the awol Prince Charming should be a denounement of sorts, but instead the show just plods on and on.  Lloyd Webber has a habit of tinkering with his shows, and he'll need to with this one. Ironic that one of the songs is called 'Ego Has A Price'.  Still at least Barking can look forward to a first night with confidence.

 

Rob Cope for Doctor Theatre 

 

Further information can be found via the OFFICIAL CINDERELLA WEBSITE

 

 

 

OPINION: GOING TO THE THEATRE IN 2021

 

It was somewhere in my third year of University, that I realised I was wired differently to my fellow performing arts students. Where my colleagues were, quite appropriately, eager to step into the limelight at any given opportunity, I was quietly formulating a critical voice. The truth about most actors is, they don’t really enjoy going to the theatre all that much and when they do, they usually sit there thinking how they would play it better. Most of my course-mates went to their fellow’s plays out of obligation, the secret agreement being that the favour would be returned when the other was in something. But I always tried to see everything, happily going on my own and airing opinions in those nascent days of social media. I’m a geek that obsesses over the minutiae, theatre can be expensive but to me it’s life affirming and necessary. In summary, I like to exercise my brain and engage with stuff.

This is to say the year of our Lord 2020 sucked. Of course it sucked for everyone and despite being prone to dramatics I do not wish to suggest my plight was all that debilitating and detract from real tragedy but nevertheless…2020 was a bereft time for this West End Wendy. When the first UK lockdown began in March we had no real conception of how long it would last, most venues postponed matters or issued tokens for cancellations. Smaller venues begged patrons not to request refunds and larger ambitious tours dropped off the calendar altogether. One such casualty was a UK tour of Andrew Lloyd Webber’s Love Never Dies, a show I’d enjoyed during the original 2010 London run and was eager to see Simon Phillips’ new staging; as of writing this hasn’t been rescheduled.

By the summer it became clear this pandemic business wasn’t going anywhere and venues started to get creative. As some restrictions eased, a few socially-distanced performances started cropping up. Mr Cope (also of this parish) and I booked for Hope Mill’s Rent in Manchester and Sunset Boulevard: In Concert at Curve Theatre in Leicester…surely our thrilling return to live theatre! Except as the UK COVID numbers began to rise, it became clear that we were headed for another lockdown in winter. Seeing these shows in-person became a naive dream but both venues offered an excellent pre-recorded version available online which offered some tonic.

For better or worse, during this time Andrew Lloyds Bank had become the unofficial spokesperson for the movement to reopen theatres. The main sticking point being that the government was allowing other activities to take place (i.e. going to restaurants, sporting events) so why not theatre? After all, when was the last time you saw someone getting lairy at a theatre, with the possible exception of Saturday night at Thriller Live? Unfortunately Lloyd Webber was the imperfect vessel for this cause, mainly because one can’t discern between altruistic intention and self-interest, also he’s more than prone to hyperbole. This year he warned the government “You'll have to arrest us to stop us reopening theatres”, such histrionics don’t particularly endear theatre-land to the general public. Anyone familiar with Lord Lloyd Webber’s history knows that he enjoys a good dramatic threat; famously marching to the orchestra pit, declaring “I withdraw my score!” and storming out of the theatre during a disastrous tech rehearsal for Phantom. The beginning of 2021 found him trying to launch his new show Cinderella at the Gillian Lynne Theatre, there were plenty of other shows with a similarly frustrating outlook but of course ALW’s voice was the loudest. Rob and I had tickets for Cinders in July but had our trip to the ball postponed, hopefully you’ll be able to read our verdict very soon. 

 

As the government roadmap was laid out in early 2021, West End shows started to go back on sale for the summer. This was a perilous endeavour for us Northerners though, creating many moving parts that could go wrong. Uncertainty over the exact date shows would open, exorbitant rail fares and a hotel booking. In all honesty it was a bit of a risk booking anything at this early stage but we’d been starved for a year now. Dr Theatre settled on the aforementioned ‘Cinderella’ and the “new” production of ‘Phantom of The Opera’. So was July 2021 our triumphant return to theatre? It was but with neither of those shows! Ultimately we landed last minute on ‘The Prince of Egypt’, a first choice for neither of us but it turned out to be a Biblical epic and continuing the theme of ancient Egypt, the encore engagement of the 2019 production of ‘Joseph and The Amazing Technicolour Dreamcoat’, heart-warming fun with the enthusiastic Alexandra Burke as The Narrator. I had such a good time I put up with my glasses steaming up above my face covering.

 

This momentous event, momentous for your two intrepid reviewers anyway, marked a change in fortunes for out theatre going. Since then we’ve collectively and individually enjoyed: 

 

·         ‘Rent’ Hope Mill, Manchester. Jonathan Larson's masterwork was given a new vitality. I'll always be impressed by what can be achieved in the relatively compact space at the former factory.

·         ‘Everybody’s Talking About Jamie’ The Lowry, Manchester. This testament to being true to yourself is joyous, camp fun with brilliantly drawn characters.

 

·         ‘The Mountaintop’ Royal Exchange, Manchester. Having seen Katori Hall’s work writing the book for ‘Tina’, it was thrilling to catch a new staging of one of her most lauded plays. Martin Luther King has a soul-searching and surprising conversation with a hotel maid the night before he dies. The themes of passing the baton and continuing the civil rights fight are extremely resonant today.

·         ‘What’s New Pussycat’ Birmingham Repertory. A groovy 60s-set musical, that boasts a clever book and a cast with boundless energy. Jukebox musicals are usually my kryptonite but I loved this. Deserving of a West End transfer.

 

·         ‘Tell Me On A Sunday’ The Lowry, Manchester. Don Black and ALW’s one woman song cycle is given a dusting off with Jodie Prenger in the lead. Some beautiful, enduring melodies underpin this story of a single woman, finding love in New York in the late seventies. 

·         ‘Bedknobs and Broomsticks’ Palace, Manchester. The Disney classic is given a quality stage adaptation. Big-budget, decent orchestra and oodles of heart. The fantastical elements are realised ingeniously. It could easily become a family friendly staple for year's to come.

·         ‘Harpy’ Buxton Pavilion Arts. A one woman show starring living legend Su Pollard, written for her by Philip Meeks, about an eccentric hoarder with a dark secret. Su was truly compelling, playing against type and going to some really interesting dramatic places. A marvel in her seventies!

And mercifully, there’s more to come. There is still no thrill like being in a theatre and the lights going down. Theatre can provide a fun break from our mundane lives or challenge us, encouraging us to question the world around us. Now obviously at Doctor Theatre we have quite a rich theatrical diet but if you’ve yet to return, I’d recommend seeing something before the year is out. The smell of the grease paint is life affirming and as the last year has proved, we’re worse off without it.

 

Editorial by Phillip Beamon