I feel the need to start this review with a rant, although the reason for it has absolutely nothing to do with the company but sadly everything to do with certain inconsiderate members of the audience, one of whom was unfortunately sitting at our table during this otherwise very enjoyable evening. There wasn’t a single one of the 24 numbers that we heard without the accompaniment of this person’s voice as she continually made loud comments to the people sitting either side of her, until in desperation my husband eventually said ‘sshh’. Not only did she continue talking, but at the end of the evening she accused him of being rude. What a sad reflection of our times that some people think it is perfectly acceptable to talk throughout a show or concert without the slightest attempt to lower their voices. Sorry madam, it wasn’t my husband who was being rude by asking you to be quiet but you yourself, showing absolutely no consideration for the performers or the people within earshot as you chatted away, presumably oblivious to the fact that you were spoiling things for the rest of us.

The Wizard of Oz

THERE’S no place like home, says Dorothy when she is trying to get back to Kansas from the land of Oz. Since this was the third night in a row that I had been out reviewing, those sentiments struck a chord with me – yet it would have broken my heart not to see this absolutely stunning production.

Secrets Every Smart Traveler Should Know

THESE days new theatre companies seem to be popping up all the time. Some thrive and are an asset to the local scene, others sink without trace. I do hope that this particular company is one of the former, because its debut performance was very impressive indeed.

The Ladykillers

IF the 1950s was a golden age for British cinema, one of the most brilliant jewels in that crown of gold was the Ealing comedy, The Ladykillers. Graham Linehan’s adaptation of the film into a stage play works so well because he has preserved the mainspring of the comedy: despite their profession, the villains are really rather likeable, and it is their amiability that makes them so bad at what they do that their scheme is easily, if unintentionally, thwarted by the little old lady who rents them the room in which they plan their heist.

The Hundred & One Dalmatians

WHEN as a child I read Dodie Smith’s wonderful book I had no problem believing in the idea that dogs could communicate through something called the Twilight Barking and that Pongo and Missis could manage to get from London’s Regent’s Park to Suffolk to rescue their puppies from the clutches of the evil Cruella de Vil before they are turned into fur coats; could I, as an adult, still be persuaded that it might be true as I watched this stage adaptation?  The answer, by and large, has to be a definite yes.

The Phantom Of The Opera

SURELY Andrew Lloyd Webber’s masterpiece ‘The Phantom Of The Opera’ needs no introduction. It has recently become the longest-running show on Broadway and has been running for over 25 years in London’s West End. It has also spawned a blockbuster movie version, and is one of the best known scores of our time.

Romeo and Juliet

THE last production of this classic love tragedy that I saw was an ENB version of the Tchaikovsky ballet several years ago, and - I'll be honest - I left that feeling a little cheated that the dialogue and story were absent.  Without wishing to appear over-critical, there were times during the last night's straight re-telling that I was worried that I would leave with a similar feeling - not because the words were absent this time, but because a number of the cast, in particular Romeo, had a tendency to deliver their lines so quickly that some of the words may as well not have been there.

The Ladykillers

THE original screenplay, by William Rose, of the 1955 Ealing comedy 'The Ladykillers' has been adapted by Graham Linehan (co-creator of 'Father Ted') into this stage play.  It premièred in Liverpool in 2011 with a cast which included Peter Capaldi, Ben Miller and James Fleet and moved to the London's Gielgud Theatre before touring (with a different cast) until the end of 2012.  It seems to be flavour of the month with amateur societies, as I see that Wimborne Drama are also due to perform it in a few days time.


CHESS is a funny show. After numerous rewrites and new versions, the show is still stodgy, slow-paced and really heavy-leaded, and I have never been a fan. However, there are some belting tunes, and, for usually operetta-based SOS, an opportunity to bring a full on traditional amdram type show, with a more modern twist.

Earthquakes In London

Having seen many fine Productions from the AUB Students in the past, though knowing nothing of this play I was keen to see what this current crop of students made of the opportunity to perform in the  Theatre at the Lighthouse rather than the much smaller Studio Theatre on campus.  As before, this was a collaborative Production from the AUB Acting, Costume and Performance Design and Make-up for Media and Performance BA Courses. 


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