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By midlandsmovies, Nov 1 2017 04:46PM

BAFTA Award winning director comes to Birmingham

Debbie Isitt, the BAFTA-award winning Director of the Nativity! films, and Director of Nativity! The Musical at The REP in Birmingham, will be coming to Midlands this month to discuss her work as part of a Q & A evening.

The acclaimed director will be in conversation about her prolific career with Roger Shannon, Film Professor and former Head of Production at the BFI on 9th November.

Birmingham-born Debbie grew up in nearby Coventry and so is Midlands through and through, but it’s also a great chance to listen and speak to a successful director for local budding filmmakers.

The REP (or to give it its full title, The Birmingham Repertory Theatre) is based in the centre of Birmingham on Broad street and is a leading producer of quality theatre works alongside a whole host of arts-centred partnerships.

With a mission to help the audience “make their own special 'moments' memorable”, the theatre has been going since 1913 when the elegant 464-seat Repertory Theatre in Station Street was built (now known as The Old Rep).

The theatre rapidly became home to one of most exciting repertory theatre companies in the country, helping to launch the careers of an array of great British actors, including Ralph Richardson, Edith Evans and Laurence Olivier.

In 1971 the company moved to Broad Street to a newly built theatre with a stage of epic proportions and an auditorium with no balconies, pillars or boxes. More recently, from 2011 to 2013, the theatre underwent redevelopment as part of the Library of Birmingham project.

Tickets for the night are from just £5.00 and include a glass of wine and Debbie will be talking about her two Christmas comedy films Nativity! and Nativity 2: Danger in the Manger as well as the musical spin-off. Her other works include a Bafta award winning teleplay The Illustrated Mum, the stage play The Woman Who Cooked Her Husband and the feature films Nasty Neighbours and Confetti.

Nativity! was Isitt's third feature film and starred Martin Freeman and became the most successful British independent film of the year. The sequel, and her fourth film, Nativity 2: Danger in the Manger, starred David Tennant, and was an instant box office hit, making twice the amount at the UK box office as the original film. Isitt has now completed the trilogy with Nativity 3: Dude, Where's My Donkey?.

For tickets and further info please click here: https://www.birmingham-rep.co.uk/whats-on/spotlight-on-debbie-isitt.html#event-datesTimes

And for more information on all the events at The Rep please check their official site here:


Birmingham Repertory Theatre, Centenary Square, Broad Street, Birmingham B1 2EP

By midlandsmovies, Sep 29 2017 11:18AM

Lights! Camera! Action! With The Shawshank Redemption, The Graduate and Grease, Leicester’s Curve Theatre is already a regional hub for brilliantly realised stage versions of some of the world’s most classic films. And tonight was no exception as Andrew Lloyd Webber’s infamous 1993 musical Sunset Boulevard (itself based around Billy Wilder’s 1950 Oscar winning noir classic) debuted in Leicester.

The musical matches the film’s narrative closely where struggling Hollywood screenwriter Joe Gillis (Hollyoaks and Strictly Come Dancing star Danny Mac) escapes his debtors and winds up re-writing the atrocious script of faded silent-movie star Norma Desmond. Desmond is played by Welsh West End stage star Ria Jones and boy does she deserve her own star on the Hollywood Walk of Fame.

The show opens with a bang as a full chorus explodes onto the stage with "Let's Have Lunch" which immediately whisks us into the old glamour of a bygone movie era from The Paramount production company archway to sleazy journalists, loud-mouth directors and Hollywood hopefuls.

Mac is superb as the witty writer, doing what he has to do to survive and his American style delivery is boastful yet classic at once. However, much like Norma herself, the show centres around Ria Jones but unlike the deluded and self-absorbed house-bound harridan, this starlet shines bright every time she takes the stage.

The times she is not front and centre, the play still fully delivers with the wry clothes-swapping "The Lady's Paying" being a comedy delight whilst Molly Lynch as Betty Schaefer holds her own as the lovelorn film company script-reader. Her note perfect high-pitched duet on “Girl Meets Boy” played softly against the harsher dynamics of Joe and Norma’s tempestuous turns.

The technical playing of the musical’s tunes was the show’s biggest-kept secret accomplishment. Once the curtain fell an eager Leicester crowd gathered near the orchestral pit to give specific congratulations to the fantastic (and unsung) players of the night and fully deserved it was too with the sweeping score moving from bombastic to gentle without fault.

Director Nikolai Foster kept the play moving fast and choreographer Lee Proud mixed show tune flamboyancy with tiny touches (the movement of a wine bottle past almost unnoticed between three separate characters in seconds) and that level of detail is why the 2-hour plus performance flew by joyously.

With the amazing music and Jones’ impeccable delivery, the theatre was alight with talent and the props and their unique usage became key to understanding the show’s Los Angeles locations. The staircase in Desmond’s mansion became the focus of a power-dynamic with her dominating presence looming over Mac’s Joe Gillis. As she descends her ‘stairway to Hollywood heaven’, Desmond comes back to earth with the faintest glimpses of reality peeking in behind her foolish belief of a successful return to the screen.

But finally, with all the components working perfectly with each other, Jones delivered the film’s infamous “I’m ready for my close-up” line and along with her note-holding final song, the theatre erupted into a more than deserved standing ovation. Far from a silent success, this new take on Sunset Boulevard should be sung from the Hollywood hills with its beautiful gift of glamour and glitz.

Midlands Movies Mike

By midlandsmovies, Jun 1 2017 08:52AM

The Graduate (2017)

The Curve Theatre in Leicester

Adapted by Terry Johnson, this new stage production of the famous 1963 novel (and the infamous 1967 film) comes to Leicester’s Curve theatre on the movie’s 50th anniversary.

Charles Webb’s novel is used as the basis alongside the adapted screenplay by Calder Willingham and Buck Henry which is all the more amazing knowing it’s been organised by special arrangement with Studio Canal.

Catherine McCormack (Braveheart, The Land Girls, 28 Weeks Later) is the play’s iconic cougar Mrs. Robinson (made famous by Anne Bancroft in the movie) and she is supported by Jack Monaghan as Benjamin as he fills the shoes of Dustin Hoffman’s film incarnation.

Immediately the talented director Lucy Bailey plays up the dark humour with hilarious lines delivered in quick succession warming the audience to the protagonists. Chuckles turned into belly laughs later on as the cast showed an amazing comedic talent especially including a brief but memorable role by Tom Hodgkins as Benjamin’s father Mr Braddock.

The stage design from Mike Britton was fantastic as we moved from home settings and hotels to elevators and wedding chapels. Large projected back-lit screens have the feel of 1960’s Super-8 film but this also allowed the production to utilise these in dream-like sequences to penetrate into the mind of Benjamin. This ingenious use of adaptation from the novel got the audience far more emotionally involved and broke up the scenes into understandable narrative chunks.

The music was sparse and came in the form of a few acoustic tracks but the lack of the iconic Simon and Garfunkel tunes was disappointing but understandable given the copyright issues no doubt. However, these sounds of silence were overcome by an engaging atmosphere created by the actors themselves and the background noise effects.

The lighting especially was first rate as it created a space on the stage for the drama and comedy to play out. Finally, the crew should be applauded again for the simple, yet effective, use of curtains. As well as a symbol of privacy and hidden secrets, the half-drawn fabrics created rooms and windows as well as a hazy visions of the society Benjamin fights against.

With the stage illusions complete, the funny gags continued and we see Monaghan’s Benjamin create his own worst world with his infamous liaisons with Mrs Robinson before his self destructive nature homes in on her daughter – a delightful Emma Curtis as put-upon Elaine.

Some adult nudity and arguments are handled with sensitivity and the actors have such great chemistry you are certainly with them every step of the way. Emotions eventually climax as the disillusioned souls come together and the illicit relationships are laid bare. Richard Clothier’s natural talent should also be singled out as the confident, then broken, Mr. Robinson as he plays a husband shattered by the forbidden revelations.

Catherine McCormack’s drunken antics were a joy to watch throughout whilst she infused the role with an eroticism that any male would desire and Monaghan equally steps up his talent to match. His performance is one of great depth as he has to give Benjamin both tender and pathetic qualities yet does so with ease.

With so many parts working together there was an audible silence at the play’s conclusion, the likes of which I had never witnessed in a theatre and whilst it riffs on the film, the ending relies far more on the novel.

The Graduate is such a quality production that to pick minor faults would do such a high class show a disservice. With audience engagement at a high and with charming performances and the remarkable technical qualities so well executed this is one affair you won’t ever want to end.

Catch The Graduate at Curve Leicester from 1st to 10th June 2017.

This production has an age guidance of 14+ and contains some nudity.

Tickets can be purchased from the Official Ticket Office at 0116 242 3595 with discounts for under 16s, over 60s, under 18s school groups, members and more.

By midlandsmovies, Dec 13 2016 10:43AM

Grease at The Curve catches lightning in a bottle

Let’s put this straight out there – Grease is my favourite musical. The combination of catchy 50s-influenced pop hits together with a classic tale of boyfriend and girlfriend from opposite sides of the track is as fantastic now as it was when the film version was released in 1978.

In this version Nikolai Foster directs a new production of Warren Casey and Jim Jacobs' 1971 musical and takes many cues from the original version rather than the film adaptation. Here the T-Birds we know from the motion picture revert to the original Burger Boys gang, but the same saga of Summer Lovin’ returning to high school is still the story’s driving force.

This version also includes songs the movie omitted but film-fans shouldn’t be dismayed as solo performances of Grease’s unforgettable classics including “Look at Me, I’m Sandra Dee”, by the amazing Djalenga Scott as a raw Rizzo and "Hopelessly Devoted to You" from Jessica Paul as Sandy showed the talent of the cast and why the latter was nominated for an Academy Award for Best Original Song.

The story remains mostly the same with popular gang rebel Danny Zuko (played with assured confidence by Dex Lee) meeting goodie two-shoes Sandy during summer only for them to be re-united once school reconvenes. The subsequent clash between their romantic liaison and friends’ peer pressure see the two try to rekindle their whirlwind romance at Rydell High.

Sitting alongside 1950s high school classics like American Graffiti (and even Back to the Future) the film delivered the showtunes by two of the most popular stars at the time; John Travolta and Olivia Newton-John. But those big shoes are excellently filled by the two leads here as well as a high quality support cast who get equally as many funny lines and songs as the protagonists.

Faithful stage recreations of the hand-jive dance off, the burger joint and various school locations are brilliantly rendered with steps doubling up as tiered bleachers and household stairs whilst benches, pummel horses and gym equipment resonate from the period. Designer Colin Richmond should be commended on this innovative use of identifiable school symbols as well as descending Teen Angels, flying Grease Lightning cars and 50s neon signs that evoke the period and help showcase the talents of the cast.

Choreographer Nick Winston brings updated moves and sporty boogies to the athletic stage jiving and twists the audience’s knowledge of the film version’s style with brand new takes on Travolta’s hip shaking gyrations and the gang’s ‘wella-wella’ thrusts.

The music was spot-on with not a note misplaced and included some excellent guitar solos. Particular highlights included the extended (and reprised) ‘Born to Hand Jive’ and the frankly amazing acoustic rendition of ‘Those Magic Changes’. This version goes from chord structure to cast choir in a melodic minute of well-performed music and dialogue.

‘Beauty School Drop Out’ could have done with the crooner-style of Frankie Avalon rather than the modern Glee-ish delivery we were treated to but this was more of a personal preference. However, some mature experience was brought by Darren Bennett whose Vince Fontaine was a comedy cameo of such hilarious quality he nearly stole the show with a pantomime performance of high kicks and sweaty dance twirls.

The whole production of Grease uses its perfect technical and creative attributes alongside the already infamous songs to create an incredible stage show, Daddy-O. Either as a newcomer or Grease enthusiast, this new version at Leicester’s Curve encapsulates the joy of the film whilst music and cast go together like rama lama lama ka dinga da dinga dong!

Midlands Movies Mike

By midlandsmovies, Oct 4 2016 08:41AM

On the 22nd anniversary of the nation’s favourite movie comes this new stage adaptation of the classic film The Shawshank Redemption at the Curve Theatre in Leicester, itself a re-working of Stephen King’s novella.

This new production uses the 1994 movie, which has been often voted Britain’s favourite ever movie, as a jumping off point to look at themes of optimism, friendship and trust.

The original film starred Tim Robbins and Morgan Freeman and was nominated for seven Oscars and this version takes some of the ideas from the film (Red not being an Irishman) but mixes in much more from the short story too.

Ex-Eastender Paul Nicholls plays Andy Dufresne who despite protests of his innocence, is convicted of the brutal murder of his wife and her lover. Nichols takes the character in a different direction to the understated style of Robbins by infusing Andy with a simmering rage. In this version I really believed that Andy could have even been the murderer. It was an interesting twist but may upset those in love with the original movie.

Incarcerated at the notorious Shawshank facility, Andy quickly learns however that no one can survive on their own and forms a friendship with Ellis ‘Red’ Redding played brilliantly by Ben Onwukwe. Again, influenced but not bound by Freeman’s iconic take, the actor gives a more sarcastic tone to his performance which contrasted with Nichols’ role.

However, the overall tone throughout was unfortunately one of the weaker parts. With the movie loved the world over, there’s a general upbeat glow on screen (despite the some of the prison horrors) whereas this interpretation went to the extremes – with much more violence and swearing but also an increase in comedy. This would be fine in certain sections but stuck out in others. A scene where librarian Brooksie cannot face life on the outside and threatens to set fire to himself had unfortunate lines of awkward dialogue to ‘lighten’ the mood but felt misplaced and lessened the drama.

That said, this production by producer Bill Kenwright had spectacular stage design with spotlights, flashlights and subtle colour changes in scenes to show the heightened emotions of the inmates and their fractured relationships with the guards and each other.

Special mention should also go to Jack Ellis’ pitch perfect Warden Stammas who, for a film fan like myself, channelled the cinematic version flawlessly. As the character exploits Andy’s accountancy skills, Ellis’ nasty evangelist torments the prisoners with bible passages and remonstrations. Ellis snakes his way through a superb performance of unpleasantness in a classic villain role he’s echoed from the film.

This stage adaptation is by Owen O’Neill and Dave Johns and directed by David Esbjornson and together they have produced a show that’s overall more surprising than striking. Fans of both the book and film will find good things in the adaptation but if you prefer one over the other then the criss-crossing of styles may irk the respective audiences.

However, this is a new interpretation and being “faithful” to another media is not equal to quality and with a cast of dramatic actors bringing new things to a well-worn tale, the stage production gives fresh life to the story. The Shawshank Redemption then is an impressive show which has enough of the old and the new that you won’t want to escape the auditorium during its marvellous set pieces and exciting reworking of hope in the face of adversity.

Midlands Movies Mike

The Shawshank Redemption is on at The Curve in Leicester from Monday 3rd October to Saturday 8th October as well as further dates around the UK.

Performance times:

Mon 3 Oct 7:30pm

Tue 4 Oct 7:30pm

Wed 5 Oct 2:15pm & 7:30pm

Thu 6 Oct 7:30pm

Fri 7 Oct 7:30pm

Sat 8 Oct 2:15pm & 7:30pm

£32.50 – £14.50 - Book tickets: http://www.curveonline.co.uk/whats-on/shows/shawshank-redemption

By midlandsmovies, Aug 26 2016 09:10AM

A splurge of talent comes to Leicester in gangster film musical Bugsy Malone

Released in the summer of 1976, Alan Parker’s Bugsy Malone is a musical gangster film set in New York in the 1920s with a cast of only child actors and this new Curve Community Production brings that Jazz age vibe to the Leicester theatre stage.

Directed and choreographed by Nick Winston, the show takes the music of songwriter Paul Williams and tells the story of washed up boxing promoter Bugsy Malone as he flirts with aspiring singer Blousey Brown amidst a backdrop of a city-wide gang rivalry between Fat Sam and newcomer Dandy Dan and his hoods.

The original 70’s film was Parker's feature-length directorial debut and introduced actor Scott Baio (later of Happy Days fame) as well as a 13-year old Jodie Foster as Tallulah. At the time of filming, all of the cast were under 17 years old.

For this local production, director Nick Winston has brought along his unique choreography previously used in other film-related shows such as Legally Blonde and Grease to design a fantastic piece which showcases Leicester’s brightest young talent. Taking on everything from “Fat Sam's Grand Slam" speakeasy showtune to upbeat "So You Wanna Be a Boxer?" the adolescent actors encapsulated the music and prohibition vibe in all its glory.

In a whirl of gangsters and guns - for the uninitiated, the splurge guns fire kid-friendly whipped cream – the community cast and orchestra undersold their talents as an ‘amateur’ company and delivered the goods in all the important areas. The modern Smooth Criminal-influenced speakeasy dance number complimented the Charleston bopping as showgirls danced on tables whilst the acting of Alfie Bright (Dandy Dan) and Joel Fossard-Jones as the hero Bugsy Malone were particular standouts.

The acting was top notch across the board though as Arlo Mulligan-Vassel (Fizzy) delivered a brilliant solo rendition of “Tomorrow Never Comes” early in the show whilst Harvey Thorpe encapsulated a superb sleazy (Fat) Sam and Amica Kuroda (Lena) almost stole the show as a diminutive but strong loudmouth singer at an audition.

Special note should go to the stage design. A series of elevated train lines (Chicago’s infamous ‘L’ track) alongside a huge skyscraper-like video board allowed the audience to be whisked away to different parts of the city – even at times becoming a visual printing press for the narrative’s news style. As well as these impressive visual designs, the display was a practical prop too with some ‘screens’ opening up as windows and doors adding physicality to the stage as well. At times the smoky silhouettes of the dark city streets were straight from a film noir further enhancing the play’s dazzling cinematic quality.

This show’s success mirrors the film’s achievements where it gained award nominations including Best Motion Picture, Best Score and Best Song at the Golden Globes and an Oscar nomination for Best Original Song Score. Alan Parker received the BAFTA Award for Best Original Screenplay, and a nomination for Best Direction too.

Back to the stage though, Bugsy Malone is a phenomenal success – it being one of my favourite musicals may have made me slightly biased – but the costumes, music and especially the delivery of song and dance numbers by the whole cast made this a magical and marvellous “Malone” night to remember. Check it out while you still can.

Midlands Movies Mike

Bugsy Malone can be caught at The Curve from Friday 19th August — Sunday 28th August

By midlandsmovies, Aug 5 2016 09:25AM

East Midlands actress Shelley Draper speaks to Midlands Movies about her latest project with the Outward Film Network.

Shelley Draper has been acting professionally for nearly 12 years and has come a long way since her first foray into movie acting when she starred in corporate film back in 2011.

Now she’s set to appear in Junction 6, a new film written and directed by Matthew Simmonds from the Outward Film Network in the Midlands that explores the tight hold that pay day loans have on families.

Junction 6’s story follows protagonist Darren in an attempt to give his family all they could wish for, but finds himself locked into a meeting with those offering the financial aid.

Shelley describes her time on the set of this serious drama as having a very warm atmosphere with the director having a calm nature, which she says was needed when dealing with the film’s issues – as well as managing family dogs and drilling neighbours!

“Our day (to shoot) was a Sunday so the family whose house we were shooting in were present”, adds Shelley. “They were lovely though, and took the dogs out for a walk which gave us time & space, but the next-door neighbour decided to do some very loud intermittent drilling!”

With the sound lady being “fabulous” and Shelley sure they managed to get some clean shots, she also says that despite these location-based hiccups, she loves her work as an actress.

“I just love acting and the process of creating great work. Although, I do love work that makes people see things differently - from a different perspective than they may have done originally - and makes an audience think as well as feel. For example, theatre work I've done recently has highlighted topics such as conscientious objectors in WW2, monologues of Syrian refugees & some very abstract takes on relationships”.

As well as these themes, Shelley is also interested in being part of creating more films that feature women in key roles, but with the film not just being 'about' women. In addition, women actresses and directors play a large part in Shelley’s influences as well as a love for all things comedy.

“Julie Christie and Rita Tushingham are amazing in Doctor Zhivago and David Lean certainly knows how to do epic. E.T. is just so stunningly simple and real and I love comedy films such as 9 to 5 with Jane Fonda, Lily Tomlin and Dolly Parton as well as Dumb & Dumber, Wayne's World, Bridesmaids and any of Woody Allen’s films”.

“I'd love to do a really off-the-wall comedy myself sometime. Something nuts. Just plain nuts”.

As well as fun times, Shelley says that being in the industry for many years has helped her overcome hurdles that all actors and actresses have to deal with in their careers.

“In theatre, you have to get over audition nerves. They tend to be of a different intensity each time! You also have to handle the rejection when it's a 'no'. These are things that get a lot easier with time & experience though”.

“A particular time when this happened was during one evening shoot where I was driving around Canary Wharf. We couldn't start till late and didn't wrap until 5am, so that hurdle was delirium caused by lack of sleep - and we had to drive back from London up the M1 afterwards that very morning. Luckily there were two of us to stop each other falling asleep at the wheel!”

With all her hard work and experience, Shelley is proud of her achievements to date and splits herself between the theatre and cinematic worlds.

“I am proud of performing at Nottingham’s Playhouse and being cast in two feature films this year, both of which have been a highlight. I also performed at the Edinburgh Festival last year and won the best actress award at the British Horror film festival in 2014. I'm basically living my dream”.

Finally quitting her office job in 2000 and starting from scratch to become a professional actress, along with having a family, the busy Shelley is not resting on her laurels anytime soon though with an upcoming part in 'The Devil Outside', a feature film shooting in Nottinghamshire.

Finally she says that commitment and taking your time is a key skill to have in the industry.

“Remember, it's a marathon, not a sprint. Get as much experience as you can, wherever you can, learn from your experiences every time and just keep going”.

To follow the progress of Junction 6 please visit the Outward Film Network: http://outwardfilmnetwork.com/

For further information about Shelley Draper please visit her website here: http://www.shelleydraper.com

Midlands Movies Mike

By midlandsmovies, Jul 5 2016 10:51AM

Cult horror picture show is glorious and rocking

Heading down to Leicester’s Curve Theatre on a subdued Monday evening the promotional blurb for The Rocky Horror Picture Show warned tonight’s audience that “this show has rude parts” and there certainly were lots of nods to “parts”.

For the uninitiated like myself, The Rocky Horror Picture Show was a 1973 musical stage production that subsequently became a cult phenomenon when it was translated to film in 1975. Created by Crystal-Mazer Richard O'Brien, the film parodies science fiction and B-movie horrors with a huge splash of campy (and vampy!) sex in the mix. Other than a few cursory watches of the film and drunkenly attempting one of the film’s signature songs “The Time Warp” at many a wedding, I came with little knowledge of the production as a whole.

The rock ‘n’ roll musical started with a bang as a young couple, Janet and Brad (played by X-Factorer Diana Vickers and the impressive Richard Meek) break down in their car and head to a strange castle to seek help. Discovering mad scientist/alien transvestite Frank N. Furter, the couple get embroiled in an experiment to create a muscle-man in a laboratory before being seduced separately and eventually released.

Infamously, the film gained notoriety with re-showings in New York as fans rediscovered its unconventional charms by interacting with dialogue and attending screenings dressed as characters. This showing proved that legacy was still going strong as the large foyer of theatre contained a throng of made-up audience members. It’s been said the film’s costumes directly impacted the development of punk music fashion trends such as ripped fishnets and dyed hair and there were plenty of both in the stalls tonight.

This new 2016 tour has already smashed records across the UK and is anchored by a flamboyant and gaudy performance by Liam Tamne (from BBC’s The Voice) as Frank N. Furter. Channelling the film’s eccentric version honed by Tim Curry plus a whole lot more, his extravagant singing and dancing was a glitzy highlight. This theatrical production also allowed much more than just quoting along with the lines too. As fans shouted out responses to dialogue, the actors responded back with newly created and semi-improvised quips. The master of these was Norman Pace (of Hale & Pace fame) who played the narrator with gusto and kept things from going (too far) off the rails. Although by the end (spoiler) even he was wearing fishnets and suspenders!

The flashy stage visuals complimented the madness of the crazy characters with colourful neon and Day-Glo lighting plus plenty of added smoke to the seedy proceedings. The up-tempo music hits (such as Sweet Transvestite and Dammit Janet) were especially well-played by the production’s band and at the same time a chorus of supporting actors (including S Club 7’s Paul Cattermole) had equally perfect roles and sublime timing. The naughty content may be a bit crude for those with a prudish disposition but the outrageousness is definitely part of the show’s lurid appeal.

From the costumes (or lack of) to the pelvic thrusting, a particular highlight for me was the seduction of Janet and Brad by Frank N. Furter. With an upright bed prop forming a kitsch Punch-and-Judy-esque “booth”, the coarse humour reached its comical climax in more ways than one with under-the-sheets fondling and appropriate oral sound effects delivered by various actors’ mouths.

Historically, the famous film is full of fun, filth and flesh and this performance maintained that zaniness and then some. Ending with a full theatre dancing to the Time Warp (for a second time) the show is immensely entertaining and my smiles matched the actors as they gave their bows at the end. With endless naughty pleasures throughout, I’d recommend the stupendous show in all its garish glory.

Midlands Movies Mike

Catch the show from July 4th to July 9th and for further tour info check the official site: http://rockyhorror.co.uk/cast

Tickets: http://www.curveonline.co.uk/whats-on/shows/the-rocky-horror-show/

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