Note: This review of The Cat and the Canary is for the 2021 UK tour.
“Twenty years after the death of Mr. West, his descendants gather to learn who will inherit his vast wealth and the hidden family jewels. Within moments, the heritage hunters turn into prey. Walls crack open, shadows loom, and dark secrets are revealed.”
On a suitably dark and rainy Monday evening, we sat down at the Alexandra Theatre to watch the latest show from The Classic Thriller Theatre Company with their production of 1920s murder mystery The Cat and the Canary.
The original play, written by John Willard, opened on Broadway almost a century ago and has since spawned three movie adaptations. The plot utilises that classic whodunnit setup and setting; assembling an ensemble cast in an ancestral mansion on a dark, stormy night, just in time for things to start going awry when a homicidal maniac escapes from a nearby asylum. Adapted for a modern audience by Carl Grose, and directed by Roy Marsden, the play offers up all the twists and turns you would expect from the genre, along with some tongue-in-cheek humour and, of course, plenty of scares!
“Look what happens when the trendy lefties move in!”
Adapted and translated by Jeremy Sams from Matthieu Delaporte and Alexandre de La Patellière’s hugely successful ‘Le Prénom,’ ‘What’s In a Name?’ made its UK debut in Birmingham in 2017 and has now embarked on a UK tour. Continue reading →
Last night The Bloke and I were invited to watch the hilarious Peter Pan Goes Wrong at the Alexandra Theatre.
Co-written by the wonderfully funny Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry Shields, Peter Pan Goes Wrong is described as ‘a highly physical comedy packed with finely-tuned farce and Buster Keaton inspired slapstick, delivered with split-second timing and ambitious daring.’ It has definitely been on my ‘to watch’ list. Continue reading →
Last night The Bloke and I were invited to see Ghost Stories at The Alexandra Theatre.
Created by Andy Nyman and Jeremy Dyson, Ghost Stories has arrived at The Alexandra Theatre for its first ever UK Tour following a sell-out West End and international stage performances and a smash hit film starring Martin Freeman.
Described as the ultimate twisted love-letter to horror, a supernatural edge-of-your-seat theatrical experience like no other, the show comes with an age restriction of 15, a warning that GhostStories contains moments of extreme shock and tension and advises that those of a nervous disposition should think very seriously before attending. In my naivety I took this with a pinch of salt. Surely it wouldn’t be that frightening?
Last night The Bloke and I were invited to watch a production of The House on Cold Hill at the Alexandra Theatre.
Adapted from the best-selling 2015 novel of multi-million selling author Peter James and based on his own experiences of a haunted house, the play is a ghostly thriller that tells the story of the Harcourt family – Ollie, Caro and daughter Jade – as they move from Brighton into their dream house in the country that has stood empty for the last forty years. As they begin to sense that they aren’t the only residents at Cold Hill, their new residence quickly turns into the stuff of nightmares… Continue reading →
From up-and-coming Midlands writer and director Thomas Moran and his company presentabsence Theatre comes “a new LGBTQ+ and deaf play.” NOISE follows the lives of five first-year university students in their shared flat, in particular Evan (Nicolas Ancelin) who is deaf. The play sees the development of Evan’s relationship with flatmate Harry (Dominic Holmes) and how they both deal with his impairment.
Despite their young ages and small number, the cast light up the stage of The Old REP, bringing energy and authenticity to their characters. The group work well as an ensemble, being totally believable as housemates and friends, but this is perhaps better shown through the several examples of physical theatre and montages in which all of the cast have co-ordinated their movements to fit with one another, avoiding any slip-ups (not an easy task on The Old REP’s small stage) whilst still managing to create dynamic sequences. Continue reading →