DICK WHITTINGTON & HIS CAT

at the Royal Albert Hall......

December 4-9, 2007

Update: December 7, 2007 PM

John McEnroe has kept audiences entertained at the Royal Albert Hall this week as a series of foot stamping, racquet throwing and 'animated discussions' with the officials reminded the spectators of the legacy of one of the greatest heroes of modern tennis.

Love him or hate him, there is no doubt that he brings to an arena a sense of tension that few other athletes can replicate or even imagine.

Of course, his reputation precedes him and both his opponents and the audience expect the best and worst of McEnroe.... and he delivers.

As he moves onwards his half century he remains an icon of the game and his determination to win makes for dramatic entertainment.

A slow speed first set in a mere 70 minutes saw John beat off the almost equally popular Pat Cash 7:5.  McEnroe then went though to the quarters only to be trounced by the champion of the last two years, Paul Haarhuis.

Let's hope he will be back next year!

RESULTS – THURSDAY, 6th DECEMBER, 2007

Greg Rusedski d. Paul Haarhuis 6-4, 1-6, 10-6 (Champion’s tie break)
Wayne Ferreira d. Henri Leconte 6-4, 6-4
John McEnroe d. Pat Cash 7-5, 6-2
Guy Forget d. Sergi Bruguera 6-4, 7-6

Update: December 6, 2007 AM

The Seniors Tour is looking more like Wimbledon with dramatic tie-breaks and unexpected winners.

Jeremy Bates easily won against the two other players in his group Leconte and Ferreira and will slide into the quater finals giving the crowd a lift to know that a local boy is performing well.

McEnroe - another crowd pleaser - fought tooth-and-nail to beat Pioline, saving countless break points before going down 7-6, 6-7, 10-4 (Champions’ Tie-Break).

With Cash losing to Pioline on day one of the tournament, it means only the winner of the Cash vs. McEnroe match will advance to the quarterfinals.

"I really wanted to win badly because I knew that we were out there a long time and it’s a bummer not to win after all that effort. I played as hard as I could. I was playing well, I felt like there were a lot of great points and it wasn’t as if I lost it - he won it. The guy’s got a lot of talent and it’s annoying!” said McEnroe.

“Pat (Cash) and I are both sort of desperate now, admittedly. We know the scenario, that one of us goes to the quarters and the other goes home. We’ve played a lot of close matches over the years, both on the main tour and on the BlackRock Tour of Champions so I expect this one to be close too. Hopefully I can try to sneak one out or else it’s going to be a short trip. I’m hoping I’m going to hang in there because I love the Albert Hall. Pat was licking his wounds today but he’s had a day off so we’ll see. It’s tough to predict but that’s why sport is so great.”

Elsewhere, Sergi Bruguera started his campaign in dominant form, defeating Anders Jarryd 6-2, 6-4.

“When I’m playing with confidence I’m trying a lot of things and it’s going well and I’m having fun, so it’s good. Of course I want to win here because I’ve never won it and it would be the end of a fantastic season for me. Playing here in the Royal Albert Hall is very nice, with an unbelievable ambience because it’s always full. It’s fun to play here.”

Michael Stich kept his hopes of qualifying for the quarterfinals alive with a last-gasp victory over Greg Rusedski. The 1991 Wimbledon champion fought back from an 8-6 Champions’ Tie-Break deficit to prevail 6-2, 6-7, 11-9.

RESULTS – WEDNESDAY, DECEMBER 5, 2007

Sergi Bruguera d Anders Jarryd 6-2, 6-4
Cedric Pioline d. John McEnroe 7-6, 6-7, 10-4 (champion’s tie-break)
Michael Stich d. Greg Rusedski 6-2, 6-7, 11-9 (champion’s tie break)
Jeremy Bates d. Wayne Ferreira 6-4, 6-2

LATEST GROUP STANDINGS

GROUP A
Guy Forget 1-0 (2-0)
Sergi Bruguera 1-0 (2-0)
Anders Jarryd 0-2 (0-4)

GROUP B
Jeremy Bates 2-0 (4-0)
Wayne Ferreira 0-1 (0-2)
Henri Leconte 0-1 (0-2)

GROUP C
Cedric Pioline 2-0 (4-1)
John McEnroe 0-1 (1-2)
Pat Cash 0-1 (0-2)

GROUP D
Paul Haarhuis 1-0 (2-0)
Michael Stich 1-1 (2-3)
Greg Rusedski 0-1 (1-2)

HENMAN/EDBERG ROLL BACK THE YEARS

Tim Henman and Stefan Edberg rolled back the years in a special charity match at the BlackRock Masters Tennis on Tuesday to raise money for the Teenage Cancer Trust.

The two classic serve-and-volleyers battled it out in front of a capacity crowd at the Royal Albert Hall, with Henman winning a Pro-set 8-4.

Edberg, who retired ten years ago, turned 41 in January, but looked as fresh and fit as ever.  And Henman described his first memory of the superstar Swde: “I can remember it pretty clearly,” said Henman.  “I was about 15, maybe 16 at the time and we practised on the indoor courts at Queens which were incredibly fast. It was a great experience. Stefan had been my idol since I started playing and watching him and his style of play. There was a lot to be learnt from him. As I’ve always said, I think he was a big influence on my career.”

Today, Edberg lives with his wife and two children in Sweden, and runs an investment company with his friends. He still plays tennis and squash regularly, but relishes the quieter life he now enjoys. Staying in a hotel this week, he said, was quite a novelty. “It’s actually quite a treat because most of the time I spend at home in Sweden. I live a pretty regular life these days so it’s actually really nice to come here and stay in a hotel. Your breakfast is all served for you, so it’s not bad!”

In sharp contrast, Henman who only retired a couple of months ago, seemed content with his golf. "I’ve loved getting away from the structure and the stresses and strains that go with playing professionally,” said Henman.“I’m sure I will start to play a little bit more in the future but I haven’t really missed many aspects of my tennis life up to now. I’ve been playing plenty of golf instead!”

After the match, Edberg and Henman raised more than £50,000 for the Teenage Cancer Trust.  A three horse-race of bidders for an exclusive day out at Wimbledon 2008 with access to the BBC output was firecely fought.    Eventually, Tim Henman made an executive decision and offered the three bidders tickets for each of them and a guest for a bargain basement price of £10,000.   A good night out for all!

The BlackRock Tour of Champions which includes a series of round-robin groups; and some entertaining doubles is also the platform for a Tim Henman fundraiser.

Henman will also take on two-time Wimbledon champion Stefan Edberg at the Royal Albert Hall on December 4, 2007 to raise money for his Kids at Heart Charity.  It will be his first match since he retired from the professional circuit in glorious fashion in Britain’s Davis Cup victory over Croatia at Wimbledon last month.  (Better than the football!)

The return of Bjorn Borg to the London stage was a much anticipated event this year; but the hero of Swedish tennis was forced to withdraw from the ranks of the 'seniors" at the Royal Albert Hall in London.

The five-time Wimbledon champion will not be making his first appearance at the BlackRock Tour of Champions.

But as a welcome addition, Greg Rusedski will make his first appearance on the BlackRock Tour of Champions after being drafted into the London field to replace the injured Goran Ivanisevic.

The Briton, who reached the US Open final in 1997, will form part of the ŒGroup of Death¹ with defending champion Paul Haarhuis and 1991 Wimbledon winner Michael Stich in the round-robin stages. Ivanisevic has failed to recover from a left hamstring pull suffered in Frankfurt last month.

The action gets underway tomorrow, with the No.2 player in the South African Airways Champions Tour Rankings, Henri Leconte up against Britain¹s Jeremy Bates.

The 2001 champion Guy Forget will then face Belfast winner Anders Jarryd, and then in the evening session, Pat Cash meets Cedric Pioline and Stich faces Haarhuis.

John McEnroe and current No.1 Sergi Bruguera will begin their campaigns on Wednesday. McEnroe will face Pioline, while Bruguera takes on Jarryd.

Also on Tuesday, Tim Henman will meet Stefan Edberg in a charity match to raise money for the Teenage Cancer Trust.

See below for ticket information

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ROUND-ROBIN GROUPS

Group A Bruguera Jarryd Forget

Group B Leconte Ferreira Bates

Group C Pioline McEnroe Cash

Group D Haarhuis Stich Rusedski

SCHEDULE (revised)

Tuesday afternoon session

Starting at 1pm
1. Jeremy Bates v Henri Leconte
2. Bahrami/Wilkinson v McNamara/Nystrom
3. Guy Forget vs. Anders Jarryd

Tuesday evening session

Starting at 7.30pm
1. Pat Cash v Cedric Pioline
2. Stefan Edberg v Tim Henman
3. Paul Haarhuis v Michael Stich

Wednesday afternoon session

1. Sergi Bruguera vs. Anders Jarryd
2 Bahrami/Nystrom v Pernfors/McNamara
3 John McEnroe v Cedric Pioline

Wednesday evening session

1. Greg Rusedski v Michael Stich
2. Bahrami/Wilkinson v Gullikson/McNamara
3. Jeremy Bates v Wayne Ferreira

Thursday afternoon session

1. Paul Haarhuis v Greg Rusedski
2. Bahrami/Wilkinson v Pernfors/Nystrom
3. Wayne Ferreira v Henri Leconte

Thursday evening session

1. Pat Cash v John McEnroe
2. Bahrami/Pernfors v Gullikson/McNamara
3. Sergi Bruguera v Guy Forget

* please note, the order of play is subject to change

SOUTH AFRICAN AIRWAYS 2007 TOUR OF CHAMPIONS RANKINGS (after 11 events)

Players positions, points and number of matches played

1. Sergi Bruguera 2880   8
2. Henri Leconte 1125      8
3. Cedric Pioline 990       7
4. Thomas Muster 915    8
5. Paul Haarhuis 850      3
(WC)
6. Anders Jarryd 810       4
7. Michael Stich 785          4

8. John McEnroe 715 6
9. Fernando Meligeni (WC) 500 2
10. Magnus Gustafsson (WC) 460 2
11. Wayne Ferreira (WC) 450 2
12. Goran Ivanisevic 405 3
13. Pat Cash 345 2
14. Guy Forget 310 2

15= Bjorn Borg 280 4
15=. Carl-Uwe Steeb 280 4
17. Richard Krajicek 265 3
18. Jordi Arrese (WC) 250 1
19. Mats Wilander 200 1
20. Andres Gomez 185 2
21. Mikael Pernfors 125 1
22= Jeremy Bates (WC) 80 1
22= Renzo Furlan (WC) 80 1
22= Magnus Larsson 80 1
22= Karel Novacek (WC) 80 1
26= Mansour Bahrami (WC) 60 1
26= Boris Becker 60 1
26= Paolo Cane (WC) 60 1
26= Nuno Marques (WC) 60 1
26= Joao Cunha Silva (WC) 60 1
26= Guillermo Vilas 60 1

THE BLACKROCK TOUR OF CHAMPIONS CALENDAR 2007

BELFAST, Northern Ireland - February 22-25
(Winner: Anders Jarryd; Runner-up: Henri Leconte)
BARCELONA, Spain - April 19-22
(Winner: Sergi Bruguera; Runner-up: Jordi Arresi)
ROME, Italy - May 12-15
(Winner: Sergi Bruguera; Runner-up: Wayne Ferreira)
HAMBURG, Germany - May 17-20
(Winner: Sergi Bruguera; Runner-up: Thomas Muster)
ALGARVE, Portugal - August 7-10
(Winner: Sergi Bruguera; Runner-up: Fernando Meligeni)
GRAZ, Austria - August 14-18
(Winner: Michael Stich; Runner-up: Cedric Pioline)
PARIS, France - September 20-23
(Winner: Sergi Bruguera; Runner-up: Guy Forget)
EINDHOVEN, Netherlands October 4-7
(Winner: Sergi Bruguera; Runner-up: Paul Haarhuis)
LIEGE, Belgium November 8-11
(Winner: Magnus Gustafsson; Runner-up: Henri Leconte)
FRANKFURT, Germany - November 15-18
(Winner: Paul Haarhuis; Runner-up: Anders Jarryd)
SAO PAULO, Brazil – November 22-23
LONDON, UK - December 4-9

The Royal Albert hall

when

December 4-9, 2007

how

BOX OFFICE: +44 20 7589 8212
+44845 401 5003

hours

afternoon and evening sessions

how much

£7.00 (restricted view) to £95.00 (US$15 to US$200) depending on day

editor, december 2007

directed by Nigel Jamieson and choreographered by Garry Stewart is part of the Bite festival at Lond0n's Barbican

November 14-17, 2007

review:

Honour Bound is as different an audience experience as you can imagine if you compare it with the previous week's show at the Barbican.  Unlike The Michael Clark Company's Stravinsky Project which was visually stunning, beautifully conceived and a calming and melodic night out, Honour Bound challenges the senses on every level and as a dance/theatre performance it makes best use of multi-media.

The story opens with the very familiar prisoner orange outfits on the floor.  The dancers climb into their costumes and seamlessly rotate between captors and captives.

Gradually we are told the story of an Australian Caucasian who was taken to Guantanamo Bay and subjected to many of the torturous techniques that have been made familiar to us in the news in recent years.

The very acrobatic dancers act out their pain and humiliation in a startling fashion.  The choreography can only be described as 'bruising' and in some respects it almost becomes unbearable as layer and layer of brutality is thrown at the audience.

While the audience is drawn into the production particularly by some effective lighting techniques, they are also drawn into the story, as the parents of the prisoner David Hicks appear on large screens to describe their son's horrific experience.  The strong visual images of incarceration cast shadows over the stage and the relentless physicality of the performance makes for a a seductive and sometimes repulsive audience interaction.

Where the production falls down is in its subject matter.  In recent year's the UK audience has seen productions on the topic of Guantanamo Bay in all shapes and sizes, and whereas for the many the story has moved on, primarily due to the release of the British prisoners, David Hicks was only recently returned to his country to serve out the final few months of his 'sentence'.

Great choreography, stunning multi-media effects and exceptional performances make this a must; but bear in mind this is a well known story with an Aussie twist and its' relevance to a British audience is no more than a reminder of what we already know.

--------------------------------------------------------------------------------

Age guidance 16+
Contains nudity

Honour Bound won the Helpmann Award for Best Visual or Physical Theatre Production.

**************************

The Company

Honour Bound brings together two of Australia's leading theatre visionaries: director Nigel Jamieson and acclaimed Australian Dance Theatre choreographer Garry Stewart. Nigel Jamieson has directed some of the world's most enthralling large-scale productions, creating spectacular moments such as 400 Cambodian monks chanting in Angkor Wat and the Tin Symphony during the Opening Ceremony of the Sydney 2000 Olympics.

As Artistic Director of Australian Dance Theatre, Garry Stewart's choreography is renowned for the intense physicality of its style and its exploration of bodies pushed to physical and emotional extremes.

Conceived, co-designed and directed by Nigel Jamieson

Choreography by Garry Stewart

Created in consultation with Bev and Terry Hicks

Supported by the Australia Council for the Arts.

,

The Barbican

when

November 14-17, 2007
Post Show Talk on November 15, 2007

how

BOX OFFICE: +4420 7638 8891 (9am-8pm daily)

hours

7.45pm: running time: 70 mins/no interval

how much

£7.00 to £26.00 (US$15 to US$55)

editor, november 2007

at RICHMOND THEATRE

October 31, 2007 November 3, 2007

review:

Faustus is a wickedly acerbic take on modern art and in particular the likes of the British 'Brit Pack' who claim that they are doing much to set new standards of art against the very creative backdrop of new millennium London.

When Christopher Marlowe wrote Dr Faustus in the 16th Century, he told the story of a man who had lost faith in the world around him and sought a lifelong contract with the Devil.   In exchange for all worldly pleasures, he sold his soul and in the final stages of both the original and modern interpretation of the play, went to hell.

Compare Dr Faustus' disregard for religion, science, and morality with the Chapman Brothers and their work of art 'Hell' and their desire to paint over the classical works of Goya, and it is easy to see how they too may be seen as 'selling their soul to the devil'.

Whether this lack of 'respect' for history and the establishment is genius or vanity is difficult to say, but Faustus certainly raises the questions.

The performance seamlessly moves from past to present and is only really punctuated once with sentimentality when the camerawoman who is filming their 'painting over' describes the act as something as sacrilegious as the murder of her bother in war torn Eastern Europe.

In doing this she provokes doubt in the mind of one of the Chapman brothers who momentarily feels remorse that he is about to ruin Goya's masterpieces; but doubt is fleeting and the Chapman Brothers achieve their objective to shock.

Are they equal to the fallen Dr Faustus?  It is hard to tell; and in part is dependent on your view of modern versus classical art.  But the performances (particularly Faustus); staging; and fast paced dialogue makes the production memorable.  You leave with more questions unanswered than answered as you see the audience quickly return to live out their own  perronal value syste:  by driving home in their big cars; going to dine in an expensive restaurant or planning their Christmas shopping.  Human nature is so fickle!

**************************

Headlong Theatre (previously Oxford Stage Company) bring their critically acclaimed production of Faustus to Richmond Theatre in a bold retelling of the 16th Century masterpiece, which interweaves the story of Christopher Marlowe's anti-hero with a provocative contemporary narrative.

Two worlds overlap in this subversive modern fable. In medieval Germany, John Faustus embraces the dark arts: in 21st Century London, contemporary artists Jake and Dinos Chapman prepare a controversial new work. As Faustus seals his pact with the devil, the Chapman brothers prepare to "rectify" a priceless set of Goya etchings and all are forced to confront the power of the irrevocable act.

Rupert Goold's bold production of Faustus was originally created at The Royal Theatre, Northampton in 2004. It visited Hampstead Theatre, London in 2006 and following exceptional critical and audience acclaim is recreated for this UK tour.

The cast in this new version by Rupert Goold and Ben Power includes: Jason Baughan, Andrew Bridgmont, Gus Brown and Claire Lams. 
Original Direction by Rupert Goold
Directed by Steve Marmion
Design by Laura Hopkins
Lighting Design by Malcolm Rippeth
Composer and Sound Designer Adam Cork
Video and Projection
Design Lorna Heavey.
,

Jake and Dinos Chapman make iconoclastic sculpture, prints and installations that examine, with searing wit and energy, contemporary politics, religion and morality. Working together since their graduation from the Royal College of Art in 1990, the Chapmans first received critical acclaim in 1991 for a diorama sculpture created out of remodelled plastic figurines enacting scenes from Goya's 'Disasters of War' etchings. Arguably their most ambitious work was Hell (1999), an immense tabletop tableau that was destroyed by fire in 2004. The work was peopled with over 30,000 remodelled, 2-inch-high figures, many in Nazi uniform and performing egregious acts of cruelty. The work combined historical, religious and mythic narratives to present an apocalyptic snapshot of the twentieth-century. They have exhibited extensively, including solo shows at Tate Liverpool (2006) Kunsthaus Bregenz (2005). Group exhibitions include the Turner Prize, Tate Britain (2003) and PS1 Contemporary Art Center, New York (2000).

RICHMOND THEATRE , Richmond Green

when

October 31 to November 3, 2007

how

BOX OFFICE 0870 060 6651 (transaction fee applies)

hours

Wed-Sat eves 7.45pm
Sat mat 2.30pm

how much

£12.00 to £24.00 (US$25 to US$50)

editor, october 2007

Tintin

at RICHMOND THEATRE

October 23 - 27, 2007

review:

Between the laughter, last night the Richmond Theatre was full of whispering voices of children excitedly asking their parents exactly what was going on, on stage, as Tintin, Snowy and Captain Haddock return to the UK to entertain and delight adults and kids of all ages.

The storyline is simple.   Tintin hears in his dreams the cries of his best friend lost in the mountains of Nepal.  Convinced he is alive, the courageous threesome set about on a dangerous 'operation rescue' and take on the challenges of snow storms and a very friendly Yeti.

The production is crammed full all the best ingredients for a family show.  While the adults smile to themselves at some of the more grown-up references, everyone cannot help but take joy in the fact that an actor playing the part of Snowy the dog is really giving us a true insight into the thinking and behaviour of our four-legged friends.

Snowy displays a number of human characteristics which include a shared interest in whisky alongside Captain Haddock, and a real sense of man's best friend behaviour as he frequently declares 'I love you, I love you, I love you" to his owner, Tintin.  Despite his almost human frailties -   odd moments when his loyalty to Tintin waver particularly during the most dangerous 'mission manoeuvers', it is Snowy that brings all the characters together in this two-hour production.

As sets dissolve into one another with spectacular simplicity, the story with a happy-ever-after ending succeeds where most family entertainment fails.  It engages the audience with colorful characters, an exciting but never too scary plot, loads of jokes and a strong message that persistence will be rewarded.

A must for all the family!

,

The first UK stage adaptation of Hergé's legendary cartoon hero Tintin, which originally played the Barbican over Christmas 2005 to full houses and great acclaim, is coming to Richmond Theatre with amazing sets, fast-paced choreography, live music, larger than life characters and plenty of humour for adults and children alike!

Based on the book 'Tintin in Tibet', Hergé's Adventures Of Tintin follows the eponymous hero, his loyal dog Snowy and the curmudgeonly Captain Haddock in an engaging and charming plot as they battle to rescue their friend Chang lost in a plane crash in the high Himalayas. With time running out, and rumours of the Abominable Snowman prowling the peaks, this will be the most testing adventure yet for our fearless young reporter and his friends.

Prior to a season in London’s West End and coming to Richmond: Tintin, the world’s most famous boy reporter began his first adventure in 1929, in the comic strip Le Petit Vingtième. Created by illustrator Georges Remi, known to the world as Hergé, Tintin has become a modern day icon with his trademark crested quiff, plus-four trousers and his faithful dog Snowy. Each year more than 3 million copies of Tintin’s adventures are sold across 50 countries in 40 different languages. Tintin has a lasting appeal which has transcended time, culture and language.

The tour comes as Tintin is on the threshold of superstardom as a 3D, digitally enhanced movie star. Steven Spielberg and The Lord of the Rings director Peter Jackson have announced a three-film deal, with the first installment due in 2009. Following the huge success of Vernon God Little, Cabaret and Festen, director Rufus Norris leads an award-winning creative team bringing Tintin to life on the stage. Adapted by David Greig & Rufus Norris, Hergé's Adventures of Tintin has set design by Ian MacNeil (Billy Elliot), costumes by Joan Wadge, lighting by Rick Fisher, sound by Paul Arditti, music by Orlando Gough, choreography by Toby Sedgwick and casting by Julia Hora

About Hergé
There is something about Tintin that defies time, language and culture. How is it that this boyish reporter thought up one fine day at the end of the 1920s by an unassuming Belgian, should still be going strong at the start of the next millennium?

Tintin’s universal appeal, stretching from his birthplace in Brussels to corners of the world far more obscure than those he reached in his globetrotting adventures, has a rock solid foundation in reality, enabling him to transcend fashion, age and nationality.

Georges Remi was a highly gifted illustrator with a vivid, childlike imagination and deep curiosity about the world around him. He may have aspired to be a dashing foreign correspondent when he started on Le XXe Siecle, a Belgian Catholic daily, as a general dogsbody. But very soon his talent as an illustrator became apparent. He was put to work drawing for different parts of the newspaper until he was asked to produce a supplement for children that would come out weekly on Thursdays. It first appeared on November 1, 1928. To fill the supplement he decided – inspired by the American example still unfamiliar in Europe – to create a cartoon strip where, as he put it, “words would come directly out of the characters’ mouth.” And so, on January 10, 1928, the pages of Le Petit Vingtième saw the début of a reporter called Tintin, bound for Moscow to expose the evils of Bolshevism.

The broad appeal of Tintin’s subsequent adventures was down to more than high quality drawing and compelling narrative. As in the best fiction, the stories were anchored firmly in fact. There was additionally a topicality of subject which somehow did not date and there was Hergé’s remarkable ability to anticipate world events, whether Pearl Harbour or the first manned landing on the Moon.

The extraordinarily accurate detail of every story, the result of painstaking research and Hergé’s constantly swelling archive files, was a key ingredient of the successful formula. Every motorcar was an exact model; revolvers were copied from arms manufacturers’ catalogues, cameras from a Leica brochure and so on. Hergé was almost obsessive about keeping material that he could draw on in the future – a nod to Tintin’s boy scout nature.

RICHMOND THEATRE , Richmond Green

when

23 October to 27 October

how

BOX OFFICE 0870 060 6651 (transaction fee applies)

hours

Tues-Sat eves 7.00pm
Wed, Thurs & (Sat audio described perfromance) mats 2.30pm

how much

£17.00 to £19.00 (US$35 to US$40)
plus various concessions 

editor, october 2007

By Dan Gordon

at RICHMOND THEATRE

October 15 - 20, 2007

review:

It is very rare that a play can be accused of having 'too much of the bedroom' - but this touring production of Terms of Endearment unwittingly achieves that objective.

The set in the first half of the play is dominated by a huge bed.  Acting as a distracting backdrop to all the scenes that follow, it unintentionally appears that the focus of the play is all about the leading man getting the leading lady into bed.

In reality, this well-known book/movie is much more about relationships and value systems than sex;  and the whole cast do a great job of developing the characters and making the best use of some wonderful lines that are liberally littered throughout the script.

Linda Gray (Aurora) and John Bowe ('the astronaut') exemplify the bitter-sweet nature of their roles; and Surname Jones (Emma) gets better and better as the play moves on.

Take this opportunity to see the production at Richmond before it seals a deal at a more expensive West End venue; and hope and pray that next time round the audience are given credit that if the set allows them to imagine the location of the scenes (rather than act as a distraction) they will not lose track of the plot.

Part way through the second half of the show the backdrop to a hospital is flown in.  It successfully hides the double bed and the following takes on 'a status' well suited to the very emotional final scenes.

The actors should be applauded for their performances; and as for the double bed........

,

Who can forget Londa Gray as the worn-down wife of J R Ewing inthe hit US TV sereies "Dallas"?

In sharp contrast, Gray performs in this new comedy drama.based on the novel and five-times Oscar-winning film.

Terms Of Endearment explores the tumultuous relationship between Aurora, devoted but opinionated mother, and her often pregnant and always headstrong daughter, Emma. As Aurora struggles to impose order on her daughter's chaotic life she finds her own taking an unexpectedly thrilling turn: she falls deeply in love for the first time in her life. Alas, Garrett seems to be as much a cad as her daughter's husband and only when tragedy strikes the family is he revealed as a man with a heart of gold.

Linda Gray says of the production: "The beautiful balance in the play is that it gives you a slice of life, it says here it is - life is funny, life is touching, life is moving, life is sad. For me it's important to touch people's hearts and I truly hope that will happen, that they'll come out laughing and crying and talking about it long after. That's what's missing from a lot of movies. You walk out and there's an emptiness - you go out with an empty bag of popcorn and an emptiness in your soul because nothing really happened, lots of special effects but nothing really touched you at all. I don't think anyone will go away feeling empty from this play. This script was a gift to me, so I hope we can touch somebody's heart."

Terms Of Endearment is written by Dan Gordon and is based on the novel by Larry McMurtry and the screenplay by James L. Brooks of the motion picture produced by Paramount Pictures Corporation. This new production is presented on tour by Lee Dean, Jenny Topper, Laurence Myers, Charles Diamond, Hilary Williams in association with GR8 Theatricals and York Theatre Royal.

Terms Of Endearment stars Golden Globe winner Linda Gray who won international fame and critical acclaim with her portrayal of Sue Ellen in the TV phenomenon Dallas. She most recently starred as Mrs Robinson in The Graduate both in the West End and on Broadway. She is joined by Suranne Jones as Emma and John Bowe as Garrett. Suranne is probably best known for her role of Karen McDonald in Coronation Street and she most recently appeared in the West End in A Few Good Men opposite Rob Lowe. John's work includes seasons with the RSC, and numerous TV drama roles including George Marlow in Prime Suspect. The cast also includes Robert Fitch and Katherine Heath.

The creative team is led by Director David Taylor with designs by Julie Godfrey and lighting by Oliver Fenwick.

RICHMOND THEATRE , Richmond Green

when

15 October to 20 October

how

BOX OFFICE 0870 060 6651 (transaction fee applies)

hours

Mon-Sat eves 7.45pm Wed & Sat mats 2.30pmhow much

how much

£14.00 (US$22) to (US$60)
plus various concessions 

editor, september 2007

it's such fun.........

ANTONY GORMLEY: BLIND LIGHT

through August 19, 2007

The Hayward, as part of the relaunch season of Southbank Centre

,Presenting the first major London showing of the work of Antony Gormley, the exhibition features a series of brand new monumental works specially conceived for The Hayward’s distinctive gallery spaces, which move Gormley’s work in a radical new direction.

It includes one of the largest ever urban public art commissions, Event Horizon, which features 31 sculptural casts of the artist’s body on rooftops and public walkways across central London, spanning outwards from the Southbank Centre, subtly punctuating the city skyline.

Awarded the Turner Prize in 1994 and the South Bank Prize for Visual Art in 1999, Antony Gormley is one of the most celebrated artists working in the UK today. Since the 1980s his work has focused consistently on the human figure, using his own body as the starting point, material, tool and subject. For this exhibition Gormley has created a series of newly commissioned works which take the human form as their starting point but then abstract the figure to the limits of readability.

Visitors to the exhibition are immediately confronted by Space Station (2007), a colossal six metre high steel mass, weighing 22 tonnes, which from various vantage points in the gallery reveals itself as a human form curled into a foetal pose. The work is lit solely by the glow from Blind Light (2007), a luminous glass room filled with a dense cloud of mist. On entering inside the chamber the visitor is immediately disorientated by the enveloping mist, which reduces visibility to around twofeet, whilst visitors catch a glimpse of the figures moving within. Whilst downstairs the gallery features these largescale installations, along with the monumental work Allotment II (1996), the lightfilled upper galleries provide a contrasting experience with one gallery filled with a spectacular series of suspended figures created in lightinfused webs of steel appear to float midair. The interactive experience continues with Hatch (2007), a room containing a threedimensional maze of projecting aluminium tubes which visitors can enter. From outside the room visitors can look through the hollow tube which creates a fractured, kaleidoscopic view of the interior.

Gormley’s provocative engagement with our physical and perceptual space continues outside the gallery walls with a major new installation Event Horizon (2007). Viewed from the vantage point of The Hayward’s three sculpture terraces, the 31 lifesized figures are spread over a 1.5 sq km area, with some figures clearly visible and others sensed only as presences on the horizon. From daily commuters to tourists visiting London for the first time, Event Horizon encourages people to look afresh at the city and explores the way people view and interact with their everyday surroundings.

The exhibition has been chosen by Hayward Director, Ralph Rugoff and Curator, Jacky Klein, in consultation with Antony Gormley. As well as the compelling new works the selection includes a selection of earlier works including the vast installation of 300 concrete forms, Allotment II (1996) Mother’s Pride (1982), and reworking of the installation Drawn (2000/2007).

Blind Light at The Haywad ,
Southbank Centre, Belvedere Road, London, SE1

when

17 May and runs until 19 August.

how

tel: +4420 7921 0813

hours

opening hours for The Hayward: Open daily 10am-6pm:
Late nights Friday and Saturday until 10pm

how much

Advance tickets are available by calling +44871 663 2519, or in person at The Hayward ticket office.

Full Price £8.00 (US$16)
plus various concessions 

Editor, june 2007

HAVANA RAKATAN

at the Peacock Theatre

through June 23, 2007

If you have visited Cuba, it is easy to recognize some of the characteristics of the country and the people in the performance of the artists in HAVANA RAKATAN. 

Cuba - as a very poor country lacks sophistication and frills - in part due to the lack of funding.  This gives the Cubans a natural spontaneity and enthusiasm for all aspects of life and in particular music and dance.
Based on this assessment of Cuba, HAVANA RAKATANhas the same amount of genuine enthusiasm, and this gives it its charm.

There may be a lack of slickness and sophistication in the production, but this does not take away from the enjoyment.

It is certainly a fun show and the live music gives the whole performance a real sense of what you might see and hear if you were in Havana.  However, the show's shortcomings are more in the detail and less in the quality of the dancers. 

The stage at the Peacock at times lacks the intimacy which gives Cuban music its unique flavour.  The lighting  - which cleverly used can mark a change in mood and the end of one number and the start of the next - doesn't have the best design behind it.

No doubt better lighting would have given the show a much greater intimacy and a sense of moving through the history story of dance and music through the generations.

Instead, at times, the changeovers seemed almost awkward and this can only be explained by a lack of tehnical experience rather than a lack of skill on the part the performers.In fact, what gave HAVANA RAKATAN its unusual edge was the fact that it wasn't perfect.  Had the staging been just slightly better it would have given the show a quality of the nightclub rather than  the West End stage.

But if you love the music, the dance and the beautiful songs this is a great show and one that is likely unique to the London stage.

Nilda Guerra's acclaimed Cuban company Ballet Rakatan brings a slice of Havana flavour to London as high-octane Cuban dance combines with an awe-inspiring Cuban band in this spectacular new show direct from the world's most soulful city.

From the sexy, spontaneous rumba to the slick footwork of the cha-cha-cha, this is a show that's guaranteed to get heads nodding and feet tapping. Set to live Cuban music courtesy of Cuba's well-known son band Turquino, Havana Rakatan is a captivating journey through the dance and music of a truly unique country.

Beginning with the Cuban fusion of Spanish culture and African spiritual beliefs, choreographer Nilda Guerra takes us through a rich mix of flamenco, Yoruba and Afro-Haitian rhythms, before moving on to the modern forms of salsa that originated in the early twentieth century salon dances.

Jazz, mambo, bolero, son, cha-cha-cha, rumba and salsa all come alive in a dazzling dance display of Cuban passion.

And for the brave at heart ticket holders, after each Friday night show, the Peacock Theatre offers you a chance to put into practice a very tiny part of what you have seen on stage with free  introductory salsa classes under the instruction of leading Salsa teacher, Amanda Maitland.

And when the class is over, you can stay and enjoy more music with DJs including DJ Enrique (Salsa Explosion), DJ Leo (Cubashe), DJ Felicidad (Streetbeat Salsa), DJ Sol (Afro Cuba Pati), Dr Jim (Salsa Caribe), DJ Lazaro (Afrocubano), and DJ Javier (Salsa Tumbao).  

Available to Havana Rakatan ticketholders only.

where

Peacock Theatre
Portugal Street, Holborn WC2

when

Performance times:
Tue - Sat at 7.30pm
Sat Mat at 2.30
Sun at 4pm

how

Box office: +44844 412 4322

how much

Tickets £15 (USD30) - £38 (US$76)

Editor, May 2007

HIGH SOCIETY

Music and Lyrics by Cole Porter, Book by Arthur Kopit Directed by Ian Talbot, Designed by Paul Farnsworth

RICHMOND THEATRE, Richmond

May 14 - 19, 2007

As the cast warmed up during the first act of this delightful Cole Porter production, it became apparent why this is an unmissable show.  Exquisite sets and strong performances made it a night out to remember.

Full of fun and classic Cole Porter melodies, the audience could be seen singing along quietly, as the very talented cast gave it their all.

Outstanding dance performances not only came from the legendary Mr Wayne Sleep; but also the equally talent and much taller Paul Robinson, who must be one of the best on the musical theatre circuit.

Leading ladies, Isla Carter and Sophie-Louise Dann rose to the occasion displaying their power house musical talent - so needed for a somewhat over-the-top musical. 

And as the cast seamlessly moved from song to song, the staging and choreography equally matched the grace and ease in which this production more than met its expectation at Richmond Theatre's opening/press night performance.  Once again, a perfect opportunity to see a top West End Show at bargain basement prices.

And let's not forget the outstanding performances of Mike Sterling as he outshone the competition in the charm stakes; and Brenda Moore in the 'cuteness' category..

Try and grab a last minute ticket for this short run at Richmond as part of a National Tour.

Richmond Theatre sends an exciting invite to the society wedding of the year, Cole Porter's greatest musical - High Society, starring Wayne Sleep. It is a classic musical that sparkles like a glass of vintage champagne! Following West End sell-out success and rave reviews, High Society is the perfect cocktail of glamour, romance and unforgettable songs.

Familiar to most from the classic 1950's film starring Grace Kelly, Bing Crosby and Frank Sinatra, this classic musical features 15 of Cole Porter's greatest and most memorable songs, including 'Who Wants To Be A Millionaire', 'True Love', 'You're Sensational' and 'Swell Party'.

Wayne Sleep appeared in over 50 major roles for the Royal Ballet, and his own choreographic works include David and Goliath for London Contemporary Dance and San Francisco Ballet, Savoy Suite for English National Ballet, A Soldier's Tale and the Hot Shoe Show for television and stage.

As an actor, Wayne has appeared as Ariel in The Tempest, Truffaldino in The Servant of Two Masters, the title role of Pinocchio, Oblio in the Point, Feste in Twelfth Night, Puck in A Midsummer Night's Dream for the Open Air Shakespeare Company and starred in the original productions of Sir Andrew Lloyd Webber's smash hits Cats and Song and Dance. He has also recently played the Child Catcher in Chitty Chitty Bang Bang at the London Palladium and played the Emcee in Gillian Lynn's production of Cabaret in the West End. He has topped the bill in 16 pantomimes, and devised and directed many productions and charity galas. Appointed an OBE in 1998, he recently endured a spell in I'm a Celebrity, Get me Out of Here! as well being a judge on BBC1's Strictly Dance Fever.

High Society guarantees a giddy blend of corking songs, fizzing one-liners and champagne-fuelled farce. The flowers have arrived; the champagne's on ice and the guests, press and paparazzi are assembling. All they need now is for the bride to choose the groom...

May 14 - 19, 2007
Mon-Sat eves 7.45pm
Wed & Sat mats 2.30pm
Tickets £12 (US$25) - £28 (US$60)

BOX OFFICE +44870 060 6651 (transaction fee applies)

Editor, April 2007

Sausage Night III:
The Revenge of the Sausage

30 March 2007

at BAC

for one night only

March 30, 2007

Who says fundraising can’t be hilarious fun? With no better time than the present, BAC’s legendary event is back.

This year Sausage Night brings you another meaty line-up of sizzling stand-up stars. One ticket gets you a mouth-watering sausage* and an evening of top-class entertainment, all in the name of raising money to help BAC continue developing the future of theatre.

Line up includes Simon Amstell (anchor man of BBC2’s Never Mind the Buzzcocks), Mark Thomas (star of BBC Radio 1’s The Mary Whitehouse Experience, and Channel 4’s The Mark Thomas Comedy Project), Stewart Lee (co-creator of Jerry Springer the Opera), Josie Long (winner of If.comeddie’s Best Newcomer Award 2006) and Scott Capurro (Perrier award winner, star of Channel 4’s The Truth About Gay Animals).

The evening will be compéred by the amazing Robin Ince (Chortle Best Compére nominee 2007), and will feature a special surprise guest to tickle your tonsils on what is set to be BAC’s greatest ever Sausage Night!

Previous Sausage Nights have featured Richard Herring, Kevin Eldon, Harry Hill, Catherine Tate and Richard Thomas among others.

Grand Hall, BAC Lavender Hill, Battersea, London SW11 5TN

how

Box Office: +$$20 7223 2223
Online at www.bac.org.uk

whenFriday March  30, 2007
Doors open at 7pm,
comedy from 8pm – 11pm,
bar open till late

how much

Tickets £25 (US$50)
Price includes a ticket to the show, a sausage and a £12.50 (US$25) donation towards BAC’s fundraising efforts.)

and

Don’t worry, veggie alternative available. We think of everything, here.

Editor, March, 2007