All of you who have managed to snap up a ticket for MET Comedy on Saturday night are in for a treat! Here’s the suggested line up:
Stuart Goldsmith
Winner: "Spirit of the Festival Award", New Zealand International Comedy Festival, 2013
Winner: Malcolm Hardee "Cunning Stunt" Award, Edinburgh Fringe Festival, 2012
Stuart is internationally recognised for original, striking stand-up comedy; his last three solo shows making him an "expert standup" (Sunday Times), and a "consistent fringe must-see" (Broadway Baby). TV warm-up credits include 'Miranda', 'Coming Of Age', 'Wall of Fame', 'The Stephen K Amos Show' and many more.
Tim Clark
'An unsung hero of stand-up comedy - the current master of this underrated art' The Guardian
Comedian, writer and actor Tim Clark is one of the brightest lights on the national comedy scene and a familiar face on television. His regular appearances at live venues throughout the country and especially at The Comedy Store and Jongleurs keep his wit sharp and his material fresh. His striking looks, quick wit and affable nature has made sure that Tim makes an instant impact on his many TV
and radio appearances.
Tim has written three critically acclaimed shows at the Edinburgh festival. The second of these 'Talking to Ted' subsequently appeared on BBC Radio 4 in 2006 starring Les Dennis.
He was co-writer (with Barry Cryer) on the BBC's 'Stand-up Show'. He has also written material for many well-known personalities including; Jonathon Ross, Phill Jupitus and Mark Lamarr.
The Raymond and Mr Timpkins Revue
“Absolutely hilarious” - VIZ
An uncle/nephew combo, not jazz and not pop but comedy. It’s intended to entertain and boy does it do just that.
Musical puns, cheeky japes and slick sandal-based choreography abound to a backing track of increasing intensity, transporting even the meekest of reluctant comedy-goers to quivering, giggling seat-wetters.
With TV interest and a radio murder mystery simmering nicely on the back burner, Raymond and his sadistic though kindly uncle Mr ‘it’s all got to do with respect my boy’ Timpkins, still find time to jet about the globe, entertaining the troops of her Majesty as they go.
“A mad, anarchic triumph of stupidity over style. Not to be missed” – The Guardian Tickets for Saturday’s show are sold-out, but you can book ahead for other MET Comedy shows here. Please note the line up is subject to change and MET Comedy is recommended for ages 16+ only.
Wednesday, 21 October 2015
Wednesday, 14 October 2015
Jack and the Beanstalk - Cast Announcement
Rehearsals for Jack and the Beanstalk kick off in just over a month so we thought we'd better show you the incredible cast who will be rocking your socks off!
Craig Anderson – The Giant
Craig trained as an actor, singer, and musician at the Royal Scottish Academy of Music and Drama, and has worked in these mediums across live theatre and national tours, circus arts, television, and session musicianship.
He has most recently been working with the folk band They You Would Crew With. His theatre credits include: Jack and the Beanstalk (Theatre Clwyd), Chaplin's Circus (UK Tour), Carnaby Street the Musical (UK No1 Tour), Beauty and the Beast (Citizens Theatre), Little Johnny's Big Gay Wedding (National Theatre Scotland), A Midsummer Night’s Dream (Bard in the Botanics), Hot Mikado (Landor Theatre). His TV credits include: Tonight's The Night with John Barrowman (BBC Television) and Hedz (BBC Television).
Isobel Bates – Fairy Aubergine
Isobel trained at Mountview Academy of Theatre Arts, gaining an MA in Musical Theatre Performance, and made her professional theatre debut as Jill in Jack and the Beanstalk at Clwyd Theatr Cymru, Christmas 2014/2015. Other credits: Trumpeter in Kiss Me Quick (Nathan Sykes / Global) and Lead Soloist in the Magic of Broadway (DeHavilland Philharmonic).
Isobel is an experienced singer, actor musician, musical director, arranger, composer and accompanist.
Gregory Clarke – Fleshcreep
Panto fans may recognise Gregory from his previous performances as Primp in Beauty and the Beast, Mordred in Sleeping Beauty and Verruca in Cinderella last year. Gregory is happy to say he feels like “one of the family” at the Gatehouse.
He trained at the prestigious Mountview Academy of Theatre Arts.
West End: Louis/Conman in the original cast of Andrew Lloyd Webbers' The Woman in White (Palace Theatre), directed by Trevor Nunn, Guy Gisbourne in Hoods (Arts Theatre), directed by Craig Revel-Horwood.
Theatre includes: Al in Carnaby Street the Musical (UK No.1 Tour), White Bishop/1st cover Molokov in Chess (UK No.1 tour/Italy/Princess of Wales Theater, Toronto), Raymond Neff in The Witches of Eastwick (UK No.1 tour), Narrator in The Barchester Chronicles (Chichester Festival Theatre), 6 Rock'n'Roll pantos by Peter Rowe (New Wolsey, Ipswich and Stafford Gatehouse), Twelfth Night, Robin Hood (Nuffield, Southampton)
Most recently Gregory appeared in the World premiere production of Bob Eatons' Roll Over Beethoven (Queens Theatre Hornchurch)
As a guitarist, Gregory plays regularly with many different act s- including his acoustic duo show with Matthew Quinn- and has also worked with The Runaround Kids, The Experience, Songbird-The Music of Eva Cassidy, Hold Tight It's 60's Night, The Elvis Years, The Bluejays, Hot Stuff the musical (at Queens Theatre Hornchurch) and Many more.
Josh Haberfield – Axeman
Josh trained at Mountview Academy of Theatre Arts. Theatre credits include; The Picture House (Playpen Productions). The Curse of Elizabeth Faulkner (Charing Cross Theatre), The Blonde Bombshells of 1943 (Ovation Theatres Ltd) The Hound of the Baskervilles (Jellicoe Theatre Productions)
TJ Holmes – Dame Dolly Dumplings
This will be TJ’s third rock ‘n’ roll panto at Stafford Gatehouse Theatre after appearing in Dick Whittington (2011) and Beauty and the Beast (2012) TJ trained at Central School of Speech and Drama. His theatre credits include: The BFG and I Was A Rat (Birmingham Rep), What To Do When You Find A Dinosaur (Oxford Playhouse), The Threepenny Opera (Graeae), Cinderella (Unicorn Theatre), Hansel and Gretel (Kneehigh), Spend Spend Spend! and Some Like It Hotter (Watermill), As You Like It (Curve Theatre), and Cider with Rosie and Merchant of Venice (Theatre Royal, Bury St Edmunds). On screen he has appeared in Doc Martin (ITV), A Rogue & A Patriot (Channel 5), and Harry Hill’s Christmas Burp (Channel 4). TJ has also worked as a writer and composer, most recently for a Christmas show in Penzance, the town where he grew up.
Joshua Meredith – Squire Snuffbox
Joshua trained at the Liverpool Institute for Performing Arts.
His credits include: Austen -the Musical (East Riding Theatre), Services No Longer Required (BBC Philharmonic & Imperial War Museum North), Loot (Hull Truck Theatre), Funny Turns (Hull Truck Theatre), The Sam Wanamaker Festival (Globe Theatre), Monologue Slam UK – Winner (Joshua Brooks), Departure Lounge (InStep Theatre). Joshua also appeared in The Inbetweeners Movie (Young Bwark Productions).
Josh is “delighted” to be returning to the Gatehouse Theatre after making his panto debut as Hernia in Cinderella last year.
Katie Pritchard – Gemima
Katie attained a First Class BA (Hons) degree at Buckinghamshire New University. Her theatre Credits include: Dandini in Cinderella (Key Theatre, Peterborough), Principal Performer on Showtime! (SpaTheatre, Bridlington), Carnaby Street (UK Tour), Swing on Dreamboats and Petticoats (The Playhouse, London); Swing on Dreamboats and Petticoats (UK Tour); Servants Chorus in My Fair Lady (Cambridge Arts Theatre), Featured Ensemble / Musician Call Me Madam (Upstairs at The Gatehouse), Molly's Brother / Musician in The Unsinkable Molly Brown (The Landor), Joanne's Mum /Musician in Rent (Broadway Theatre).
Other Credits include: Various Characters in 'TNUC', Written, Directed and Produced by Katie Pritchard for Everycloud Productions (Parody advert, winner of the Idea's Tap Short Parody Award 2014), Katie in 'Even The Little Ones', Written, Directed and Performed by Katie Pritchard (Solo Musical Comedy Show, Canal Cafe Theatre, 2015), All Characters in 'Literally Comedy', Created by Katie Pritchard for Jemm Three (Radio Sketch Show and Podcast).
Katie is also a Guitarist and Vocalist in all-girl Rock'n'Roll band, The Daisy Chains, Winner of the London Vintage Awards 2014.
Ned Rudkins-Stow – Jack
Ned graduated from Rose Bruford in 2015. His theatre credits whilst training include: Man 1 in Songs For A New World, Morton Gross in The Water Engine and Orgilus in The Broken Heart. Ned is a graduate of the Actor Musicianship programme and his musical skills include: double bass, guitar, drums and piano. Ned's musical influences have predominantly been blues and jazz throughout his childhood, which fueled his passion for the guitar. He is “delighted” to be a member of the cast of Jack and the Beanstalk and is “looking forward” to appearing in his first pantomime.
Laura Sillett – Jill
Laura trained at The Guildford School of Acting.
Her theatre credits include: Muriel u/s Sue & Donna in Dreamboats & Miniskirts (UK tour), Snow Queen in The Snow Queen (UAE tour), Donna in Dreamboats & Petticoats (UK tour), Briar Rose in Sleeping Beauty (Emporium Theatre, Brighton), Soloist/Ensemble in Marvin Hamlisch Concert (St James Theatre) and Ensemble in There’ll Always Be An England (Brick Lane Music Hall).
Robert Wade – Billy
Robert studied at the Rose Bruford College, graduating with a BA (Hons) in Acting Musicianship. An accomplished musician, Robert’s main instrument is the Clarinet. Since graduating, Robert has played Jemmy in The Carlton Colliers (Badapple Theatre Company) and Little John in a Summer Tour of Robin Hood (Cambridge Touring Theatre). Robert is “delighted” to be making his Panto debut playing Billy in Jack and the Beanstalk for Stafford Gatehouse.
 |
| Craig Anderson |
Craig trained as an actor, singer, and musician at the Royal Scottish Academy of Music and Drama, and has worked in these mediums across live theatre and national tours, circus arts, television, and session musicianship.
He has most recently been working with the folk band They You Would Crew With. His theatre credits include: Jack and the Beanstalk (Theatre Clwyd), Chaplin's Circus (UK Tour), Carnaby Street the Musical (UK No1 Tour), Beauty and the Beast (Citizens Theatre), Little Johnny's Big Gay Wedding (National Theatre Scotland), A Midsummer Night’s Dream (Bard in the Botanics), Hot Mikado (Landor Theatre). His TV credits include: Tonight's The Night with John Barrowman (BBC Television) and Hedz (BBC Television).
 |
| Isobel Bates |
Isobel Bates – Fairy Aubergine
Isobel trained at Mountview Academy of Theatre Arts, gaining an MA in Musical Theatre Performance, and made her professional theatre debut as Jill in Jack and the Beanstalk at Clwyd Theatr Cymru, Christmas 2014/2015. Other credits: Trumpeter in Kiss Me Quick (Nathan Sykes / Global) and Lead Soloist in the Magic of Broadway (DeHavilland Philharmonic).
Isobel is an experienced singer, actor musician, musical director, arranger, composer and accompanist.
Gregory Clarke – Fleshcreep
 |
| Gregory Clarke |
Panto fans may recognise Gregory from his previous performances as Primp in Beauty and the Beast, Mordred in Sleeping Beauty and Verruca in Cinderella last year. Gregory is happy to say he feels like “one of the family” at the Gatehouse.
He trained at the prestigious Mountview Academy of Theatre Arts.
West End: Louis/Conman in the original cast of Andrew Lloyd Webbers' The Woman in White (Palace Theatre), directed by Trevor Nunn, Guy Gisbourne in Hoods (Arts Theatre), directed by Craig Revel-Horwood.
Theatre includes: Al in Carnaby Street the Musical (UK No.1 Tour), White Bishop/1st cover Molokov in Chess (UK No.1 tour/Italy/Princess of Wales Theater, Toronto), Raymond Neff in The Witches of Eastwick (UK No.1 tour), Narrator in The Barchester Chronicles (Chichester Festival Theatre), 6 Rock'n'Roll pantos by Peter Rowe (New Wolsey, Ipswich and Stafford Gatehouse), Twelfth Night, Robin Hood (Nuffield, Southampton)
Most recently Gregory appeared in the World premiere production of Bob Eatons' Roll Over Beethoven (Queens Theatre Hornchurch)
As a guitarist, Gregory plays regularly with many different act s- including his acoustic duo show with Matthew Quinn- and has also worked with The Runaround Kids, The Experience, Songbird-The Music of Eva Cassidy, Hold Tight It's 60's Night, The Elvis Years, The Bluejays, Hot Stuff the musical (at Queens Theatre Hornchurch) and Many more.
 |
| Josh Haberfield |
Josh Haberfield – Axeman
Josh trained at Mountview Academy of Theatre Arts. Theatre credits include; The Picture House (Playpen Productions). The Curse of Elizabeth Faulkner (Charing Cross Theatre), The Blonde Bombshells of 1943 (Ovation Theatres Ltd) The Hound of the Baskervilles (Jellicoe Theatre Productions)
TJ Holmes – Dame Dolly Dumplings
 |
| TJ Holmes |
This will be TJ’s third rock ‘n’ roll panto at Stafford Gatehouse Theatre after appearing in Dick Whittington (2011) and Beauty and the Beast (2012) TJ trained at Central School of Speech and Drama. His theatre credits include: The BFG and I Was A Rat (Birmingham Rep), What To Do When You Find A Dinosaur (Oxford Playhouse), The Threepenny Opera (Graeae), Cinderella (Unicorn Theatre), Hansel and Gretel (Kneehigh), Spend Spend Spend! and Some Like It Hotter (Watermill), As You Like It (Curve Theatre), and Cider with Rosie and Merchant of Venice (Theatre Royal, Bury St Edmunds). On screen he has appeared in Doc Martin (ITV), A Rogue & A Patriot (Channel 5), and Harry Hill’s Christmas Burp (Channel 4). TJ has also worked as a writer and composer, most recently for a Christmas show in Penzance, the town where he grew up.
Joshua Meredith – Squire Snuffbox
 |
| Joshua Meredith |
Joshua trained at the Liverpool Institute for Performing Arts.
His credits include: Austen -the Musical (East Riding Theatre), Services No Longer Required (BBC Philharmonic & Imperial War Museum North), Loot (Hull Truck Theatre), Funny Turns (Hull Truck Theatre), The Sam Wanamaker Festival (Globe Theatre), Monologue Slam UK – Winner (Joshua Brooks), Departure Lounge (InStep Theatre). Joshua also appeared in The Inbetweeners Movie (Young Bwark Productions).
Josh is “delighted” to be returning to the Gatehouse Theatre after making his panto debut as Hernia in Cinderella last year.
 |
| Katie Pritchard |
Katie Pritchard – Gemima
Katie attained a First Class BA (Hons) degree at Buckinghamshire New University. Her theatre Credits include: Dandini in Cinderella (Key Theatre, Peterborough), Principal Performer on Showtime! (SpaTheatre, Bridlington), Carnaby Street (UK Tour), Swing on Dreamboats and Petticoats (The Playhouse, London); Swing on Dreamboats and Petticoats (UK Tour); Servants Chorus in My Fair Lady (Cambridge Arts Theatre), Featured Ensemble / Musician Call Me Madam (Upstairs at The Gatehouse), Molly's Brother / Musician in The Unsinkable Molly Brown (The Landor), Joanne's Mum /Musician in Rent (Broadway Theatre).
Other Credits include: Various Characters in 'TNUC', Written, Directed and Produced by Katie Pritchard for Everycloud Productions (Parody advert, winner of the Idea's Tap Short Parody Award 2014), Katie in 'Even The Little Ones', Written, Directed and Performed by Katie Pritchard (Solo Musical Comedy Show, Canal Cafe Theatre, 2015), All Characters in 'Literally Comedy', Created by Katie Pritchard for Jemm Three (Radio Sketch Show and Podcast).
Katie is also a Guitarist and Vocalist in all-girl Rock'n'Roll band, The Daisy Chains, Winner of the London Vintage Awards 2014.
 |
| Ned Rudkins-Stow |
Ned graduated from Rose Bruford in 2015. His theatre credits whilst training include: Man 1 in Songs For A New World, Morton Gross in The Water Engine and Orgilus in The Broken Heart. Ned is a graduate of the Actor Musicianship programme and his musical skills include: double bass, guitar, drums and piano. Ned's musical influences have predominantly been blues and jazz throughout his childhood, which fueled his passion for the guitar. He is “delighted” to be a member of the cast of Jack and the Beanstalk and is “looking forward” to appearing in his first pantomime.
 |
| Laura Sillett |
Laura trained at The Guildford School of Acting.
Her theatre credits include: Muriel u/s Sue & Donna in Dreamboats & Miniskirts (UK tour), Snow Queen in The Snow Queen (UAE tour), Donna in Dreamboats & Petticoats (UK tour), Briar Rose in Sleeping Beauty (Emporium Theatre, Brighton), Soloist/Ensemble in Marvin Hamlisch Concert (St James Theatre) and Ensemble in There’ll Always Be An England (Brick Lane Music Hall).
 |
| Robert Wade |
Robert Wade – Billy
Robert studied at the Rose Bruford College, graduating with a BA (Hons) in Acting Musicianship. An accomplished musician, Robert’s main instrument is the Clarinet. Since graduating, Robert has played Jemmy in The Carlton Colliers (Badapple Theatre Company) and Little John in a Summer Tour of Robin Hood (Cambridge Touring Theatre). Robert is “delighted” to be making his Panto debut playing Billy in Jack and the Beanstalk for Stafford Gatehouse.
Jack and the Beanstalk opens on Thursday 10th December 2015 until Sunday 11th January 2016. You can book your tickets by calling us on 01785 619080 or by clicking here
Thursday, 8 October 2015
Get ready for a cabaret and burlesque extravaganza!
Nothing gets us more excited than our cabaret and burlesque night Très Très Cabaret and it is back with a bang in just over two weeks!
The first performer to be announced for our October 23rd show is the amazing Elliot Mason! Absurdly astute, Elliot performs self-penned hilarious songs that have a uniquely bonkers take of life's humdrum nature. Utterly charming, often bewildering and endlessly amusing, he is a skilled musician and talented comic with inimitable wit and awesome hair.
Next to be added to the stellar line up was Sophia St.Villier - the flame haired burlesque artist with the looks of a Golden Age Hollywood Star and the body of a pinup goddess!
Originally from New Zealand, Sophia moved to London after falling in love with the London Cabaret scene. Her vintage acts and exquisite, bespoke costumes means that she now regularly headlines at burlesque shows throughout the United Kingdom and Europe. Sophia has performed for the likes of Will.i.am and Professor Green, for Sky Atlantic at the Boardwalk Empire launch, at Greg Yaitanes' wedding in France (director of House and Lost director) Don’t miss your chance to watch this spell-bindingly elegant glamazon in action, and see for yourself why she is known as the real life Jessica Rabbit!
The brilliant Rod Laver and Alexandra Hofgartner will be returning to the MET after stunning audiences at the launch of Très Très Cabaret in 2013. Described by Venue Magazine as “one of Europe’s funniest and most innovative jugglers”, Rod Laver’s act has to be seen to be believed! With his astonishing, hilarious and totally unique oral ping pong juggling act, he is very much in demand; achieving world records, awards, medals and standing ovations for appearances on TV, cabaret and circus worldwide. The incredibly talented Alexandra Hofgartner trained at a prestigious contemporary circus school, specialising in aerial hoop and physical theatre. With flawless feminine éclat, she creates sophisticated and beautiful performances which evoke the excitement of new beginnings, the exhilaration of change and the magic of metamorphosis.
But that’s not all folks...Rod and Alex have created a double act which is incredibly funny, inexplicably sexy, and absolutely unforgettable. An utterly unique combination of the glamorous burlesque elegance of Alexandra Hofgartner and gentlemanly finesse of Rod Laver; this show-stopping performance harks back to the magical world of 1930's Berlin. You’ll soon discover why this phenomenal act is much in demand at cabaret and burlesque events throughout Europe.
This incredible event is produced by its resident host and singer, the hilarious Stage Door Johnny. A flirtatious, lyrical lothario and seasoned comic raconteur with razor-sharp wit, he'll have you grinning, giggling and eating from the palm of his hand - sometimes literally. He can be heard singing everything from Shirley Bassey to Guns ‘n’ Roses as well as ridiculous self-penned medleys to surprise and delight you!
Tickets for Très Très Cabaret are £15 and can be booked by calling us on 01785 619080 or by clicking here. The show is strictly for over 18s only. If you're still not sure if Très Très Cabaret is for you check out the gorgeous photos below...
The first performer to be announced for our October 23rd show is the amazing Elliot Mason! Absurdly astute, Elliot performs self-penned hilarious songs that have a uniquely bonkers take of life's humdrum nature. Utterly charming, often bewildering and endlessly amusing, he is a skilled musician and talented comic with inimitable wit and awesome hair.
Next to be added to the stellar line up was Sophia St.Villier - the flame haired burlesque artist with the looks of a Golden Age Hollywood Star and the body of a pinup goddess!
Originally from New Zealand, Sophia moved to London after falling in love with the London Cabaret scene. Her vintage acts and exquisite, bespoke costumes means that she now regularly headlines at burlesque shows throughout the United Kingdom and Europe. Sophia has performed for the likes of Will.i.am and Professor Green, for Sky Atlantic at the Boardwalk Empire launch, at Greg Yaitanes' wedding in France (director of House and Lost director) Don’t miss your chance to watch this spell-bindingly elegant glamazon in action, and see for yourself why she is known as the real life Jessica Rabbit!
The brilliant Rod Laver and Alexandra Hofgartner will be returning to the MET after stunning audiences at the launch of Très Très Cabaret in 2013. Described by Venue Magazine as “one of Europe’s funniest and most innovative jugglers”, Rod Laver’s act has to be seen to be believed! With his astonishing, hilarious and totally unique oral ping pong juggling act, he is very much in demand; achieving world records, awards, medals and standing ovations for appearances on TV, cabaret and circus worldwide. The incredibly talented Alexandra Hofgartner trained at a prestigious contemporary circus school, specialising in aerial hoop and physical theatre. With flawless feminine éclat, she creates sophisticated and beautiful performances which evoke the excitement of new beginnings, the exhilaration of change and the magic of metamorphosis.
But that’s not all folks...Rod and Alex have created a double act which is incredibly funny, inexplicably sexy, and absolutely unforgettable. An utterly unique combination of the glamorous burlesque elegance of Alexandra Hofgartner and gentlemanly finesse of Rod Laver; this show-stopping performance harks back to the magical world of 1930's Berlin. You’ll soon discover why this phenomenal act is much in demand at cabaret and burlesque events throughout Europe.
This incredible event is produced by its resident host and singer, the hilarious Stage Door Johnny. A flirtatious, lyrical lothario and seasoned comic raconteur with razor-sharp wit, he'll have you grinning, giggling and eating from the palm of his hand - sometimes literally. He can be heard singing everything from Shirley Bassey to Guns ‘n’ Roses as well as ridiculous self-penned medleys to surprise and delight you!
Tickets for Très Très Cabaret are £15 and can be booked by calling us on 01785 619080 or by clicking here. The show is strictly for over 18s only. If you're still not sure if Très Très Cabaret is for you check out the gorgeous photos below...
 |
| Elliot Mason |
 |
| Sophia St. Villier by Life Is Yours Photography |
 |
| Sophia St. Villier by Life Is Yours Photography |
 |
| Rod Laver and Alexandra Hofgartner by Andrew Nash |
 |
| Rod Laver and Alexandra Hofgartner by Andrew Nash |
 |
| Stage Door Johnny by Cherry Bomb Rock Photography |
 |
| Stage Door Johnny by Cherry Bomb Rock Photography |
Thursday, 1 October 2015
La Traviata: First Reviews
The Russian State Ballet and Opera House return on Friday 9th October with the stunning La Traviata and have already received rave reviews for their show. You can see some of the highlights below:
The Stage
“They are offering a valuable contribution to touring opera in this country.”
Violetta – Olga Georgieva on first night – captivating as the demimondaine
who, though a hedonist at heart, sacrifices her lifestyle and possessions to be with Alfredo. She brings a wide range of vocal colouring and sings tirelessly. On the stage she is the dramatic glue that sets the performance. There’s a firm anchor in the pit, too, with fine orchestral playing from the 30-piece orchestra, and well-judged conducting from the young Azat Maksutov, who moves seamlessly between the fleet-footed dance music on the one hand, and moments of unexaggerated dramatic intensity on the other.
A boon to opera in regional theatres, this traditional staging boasts a striking heroine and orchestral playing of distinction
Stage Talk Magazine
La Traviata is perhaps the most dramatic (in the sense of it being like a play) of all operas – intimate, intense, domestic even. It basically has only three characters and takes place in three rooms. Consequently the burden of performance sits heavily on the principal singers. Much of opera demands a suspension of belief which is as important as wearing your diamond tiara and sipping a glass of champagne in the interval, but Traviata is all fairly believable stuff.
We were treated to three excellent performances. I am no expert but I suspect that Violetta is one of the most demanding soprano roles in all of opera, both in singing and acting. Olga Georgieva shone as the dying heroine. She looked good, acted well and sang beautifully throughout. Ivan Snigirev made a sympathetic and convincing Alfredo, but out of the two male principals, for me, it was Andrei Kovalev as Giorgio Germont, Alfredo’s father and, initially, the wellmeaning villain of the piece, who dominated. Giorgio’s Pura siccome un angelo at the beginning of Act II and the duet with Violetta that follows, Dite alla giovine sì bella e pura, were probably my favourite moments of a very satisfying evening.
The thirty-piece orchestra under the baton of Azat Maksutov handled the boisterous party scenes with vigour and the quiet passages with great sensitivity. It is nice to have a live, decent size orchestra when so many opera/ballet companies nowadays depend on a recorded soundtrack.
As I have said before on these pages, Alexej’s company is the best of the Russian
opera/ballet companies touring the UK and present a popular, accessible repertoire
which is a rare treat in the provinces.
Scarborough News
Everybody knows that if a woman’s name appears in the title of an opera she’ll be a goner by the end of Act 4. The heroine of La Traviata, then, might think she is safe, but a rough translation of La Traviata is ‘The Transgressor’. You don’t need me to tell you the fate of female transgressors in Nineteenth Century art.
Oksana Klipka (soprano) acts splendidly as the doomed Violetta. Her voice sparkles but, as the action moved to its inevitable conclusion, the lightness of her lyric soprano darkened and the later arias and the death scene were highly affecting.
At the curtain, the audience reserved one of the biggest cheers for Andrei Kovalev (baritone) as Germont. His internal conflict - conventional morality and family honour ranged against the lovers’ obvious devotion - was beautifully realised. Verdi’s writing for this role is exceptional and this was a dignified performance.
The chorus (choirmaster - Nataliya Masanova) provided entertaining by-play and excellent support.The set, by Yuri Samodurov, featured clocks as a motif and arterial red as a keynote.The drama of these slashes of scarlet, suggestive of Violetta’ s burgeoning TB, was established in the overture as she lay on a bed, tended by Doctor Grenuil (Yuri Balabaev).
According to the Operabase website, La Traviata is currently the most performed of all operas worldwide. Not to be missed.
A feast for the eyes as well as the ears.
Theatre South East
The tragic story (am I giving too much away here?) is described as one of Verdi’s greatest and you can see why, not only was there scandal and high drama but the music was glorious.
It had beautifully haunting arias coupled with the lighthearted drinking song Libiamo ne’ licit calici which would be instantly recognisable to many and has stuck in my mind since. The production had a large cast and a live orchestra with over 30 musicians who together brought the splendour and gaiety of mid-19th century Parisian life to the Hawth. I was impressed with the sheer amount of singing that the leading lady had to accomplish during the opera never falling once. Her melodic voice will stay with me for a long time, as will the whole production.
It was my first visit to the opera but certainly won’t be my last.
Gateway FM
The performance was stunningly beautiful and most warmly received by the audience. I spoke to several of them afterwards and they were just overwhelmed by the experience. In fact, so much was the audience involved that it missed many opportunities to applaud individual arias.The result was a performance that flowed beautifully. Perhaps it was less rewarding for singers in that they would not have received the applause during the opera that their performances deserved, but they could have been in little doubt of the warmth of the audience's appreciation when it came to the curtain calls.
The Daily Post
The Russian State Ballet and Opera House enjoyed a well-deserved standing ovation for their performance of Giuseppe Verdi's opera.
It evokes a powerful sense of joy, elation and celebration of life so perfectly, I imagined spending the evening on a musical high, dancing to the rhythms of this genius masterpiece.
I didn’t know that this tale of one tuberculosis suffering, noble courtesan, was in fact a sweet, tragic story of love, and a touching account of sacrifice.
La Traviata – a ‘woman who strayed’ – could easily be a woman who found her way instead, as a great part of her story is one of repentance and complete transformation. From a girl made for pleasure and pointless folly, who lives only for joy and has no belief in love, to a woman deeply devoted to a young bourgeois who declares his feelings for her. Alfredo (tenor Damir Zakirov) takes Violetta (soprano Irina Bozhenko) away from the fast paced Parisienne lifestyle of dance, drink and gambling to lead a quiet life of love for another in a peaceful countryside retreat.
Inevitably, and despite Violetta leaving her old ways and past behind, Alfredo’s father Giorgio (a deep and impressively convincing baritone Dmitrii Karavaev) arrives to ask her to give up his son and leave, to safeguard the reputation and happiness of their family. Heartbroken, Violetta decides to sacrifice her love, her one hope of happiness, pledging a secret oath of silence to cover up the true reasons. Alfredo is confused as she departs, Love me Alfredo (Amami Alfredo) almost brought me to tears.The pair do reunite in the end, but too late, as death strikes.
Irina shines with effortless vocals which feel like gold spilling from her throat every time her lips part, especially so in the virtuoso aria Always Free (Sempre Libera). The couple’s duets of melting chocolate voices carry the unity and strength of their love beautifully, right from Alfredo’s loving proposal in Un di Felice.
The chorus were on form, with an endearing accent, which at times made me do a double take to check they were still singing in Italian! I loved this performance.
Russian State Ballet and Opera House were simply wonderful and the prolonged standing ovation at the end, with cheers and even some whistles, was truly just.
The Stage
“They are offering a valuable contribution to touring opera in this country.”
Violetta – Olga Georgieva on first night – captivating as the demimondaine
who, though a hedonist at heart, sacrifices her lifestyle and possessions to be with Alfredo. She brings a wide range of vocal colouring and sings tirelessly. On the stage she is the dramatic glue that sets the performance. There’s a firm anchor in the pit, too, with fine orchestral playing from the 30-piece orchestra, and well-judged conducting from the young Azat Maksutov, who moves seamlessly between the fleet-footed dance music on the one hand, and moments of unexaggerated dramatic intensity on the other.
A boon to opera in regional theatres, this traditional staging boasts a striking heroine and orchestral playing of distinction
Stage Talk Magazine
La Traviata is perhaps the most dramatic (in the sense of it being like a play) of all operas – intimate, intense, domestic even. It basically has only three characters and takes place in three rooms. Consequently the burden of performance sits heavily on the principal singers. Much of opera demands a suspension of belief which is as important as wearing your diamond tiara and sipping a glass of champagne in the interval, but Traviata is all fairly believable stuff.
We were treated to three excellent performances. I am no expert but I suspect that Violetta is one of the most demanding soprano roles in all of opera, both in singing and acting. Olga Georgieva shone as the dying heroine. She looked good, acted well and sang beautifully throughout. Ivan Snigirev made a sympathetic and convincing Alfredo, but out of the two male principals, for me, it was Andrei Kovalev as Giorgio Germont, Alfredo’s father and, initially, the wellmeaning villain of the piece, who dominated. Giorgio’s Pura siccome un angelo at the beginning of Act II and the duet with Violetta that follows, Dite alla giovine sì bella e pura, were probably my favourite moments of a very satisfying evening.
The thirty-piece orchestra under the baton of Azat Maksutov handled the boisterous party scenes with vigour and the quiet passages with great sensitivity. It is nice to have a live, decent size orchestra when so many opera/ballet companies nowadays depend on a recorded soundtrack.
As I have said before on these pages, Alexej’s company is the best of the Russian
opera/ballet companies touring the UK and present a popular, accessible repertoire
which is a rare treat in the provinces.
Scarborough News
Everybody knows that if a woman’s name appears in the title of an opera she’ll be a goner by the end of Act 4. The heroine of La Traviata, then, might think she is safe, but a rough translation of La Traviata is ‘The Transgressor’. You don’t need me to tell you the fate of female transgressors in Nineteenth Century art.
Oksana Klipka (soprano) acts splendidly as the doomed Violetta. Her voice sparkles but, as the action moved to its inevitable conclusion, the lightness of her lyric soprano darkened and the later arias and the death scene were highly affecting.
At the curtain, the audience reserved one of the biggest cheers for Andrei Kovalev (baritone) as Germont. His internal conflict - conventional morality and family honour ranged against the lovers’ obvious devotion - was beautifully realised. Verdi’s writing for this role is exceptional and this was a dignified performance.
The chorus (choirmaster - Nataliya Masanova) provided entertaining by-play and excellent support.The set, by Yuri Samodurov, featured clocks as a motif and arterial red as a keynote.The drama of these slashes of scarlet, suggestive of Violetta’ s burgeoning TB, was established in the overture as she lay on a bed, tended by Doctor Grenuil (Yuri Balabaev).
According to the Operabase website, La Traviata is currently the most performed of all operas worldwide. Not to be missed.
A feast for the eyes as well as the ears.
Theatre South East
The tragic story (am I giving too much away here?) is described as one of Verdi’s greatest and you can see why, not only was there scandal and high drama but the music was glorious.
It had beautifully haunting arias coupled with the lighthearted drinking song Libiamo ne’ licit calici which would be instantly recognisable to many and has stuck in my mind since. The production had a large cast and a live orchestra with over 30 musicians who together brought the splendour and gaiety of mid-19th century Parisian life to the Hawth. I was impressed with the sheer amount of singing that the leading lady had to accomplish during the opera never falling once. Her melodic voice will stay with me for a long time, as will the whole production.
It was my first visit to the opera but certainly won’t be my last.
Gateway FM
The performance was stunningly beautiful and most warmly received by the audience. I spoke to several of them afterwards and they were just overwhelmed by the experience. In fact, so much was the audience involved that it missed many opportunities to applaud individual arias.The result was a performance that flowed beautifully. Perhaps it was less rewarding for singers in that they would not have received the applause during the opera that their performances deserved, but they could have been in little doubt of the warmth of the audience's appreciation when it came to the curtain calls.
The Daily Post
The Russian State Ballet and Opera House enjoyed a well-deserved standing ovation for their performance of Giuseppe Verdi's opera.
It evokes a powerful sense of joy, elation and celebration of life so perfectly, I imagined spending the evening on a musical high, dancing to the rhythms of this genius masterpiece.
I didn’t know that this tale of one tuberculosis suffering, noble courtesan, was in fact a sweet, tragic story of love, and a touching account of sacrifice.
La Traviata – a ‘woman who strayed’ – could easily be a woman who found her way instead, as a great part of her story is one of repentance and complete transformation. From a girl made for pleasure and pointless folly, who lives only for joy and has no belief in love, to a woman deeply devoted to a young bourgeois who declares his feelings for her. Alfredo (tenor Damir Zakirov) takes Violetta (soprano Irina Bozhenko) away from the fast paced Parisienne lifestyle of dance, drink and gambling to lead a quiet life of love for another in a peaceful countryside retreat.
Inevitably, and despite Violetta leaving her old ways and past behind, Alfredo’s father Giorgio (a deep and impressively convincing baritone Dmitrii Karavaev) arrives to ask her to give up his son and leave, to safeguard the reputation and happiness of their family. Heartbroken, Violetta decides to sacrifice her love, her one hope of happiness, pledging a secret oath of silence to cover up the true reasons. Alfredo is confused as she departs, Love me Alfredo (Amami Alfredo) almost brought me to tears.The pair do reunite in the end, but too late, as death strikes.
Irina shines with effortless vocals which feel like gold spilling from her throat every time her lips part, especially so in the virtuoso aria Always Free (Sempre Libera). The couple’s duets of melting chocolate voices carry the unity and strength of their love beautifully, right from Alfredo’s loving proposal in Un di Felice.
The chorus were on form, with an endearing accent, which at times made me do a double take to check they were still singing in Italian! I loved this performance.
Russian State Ballet and Opera House were simply wonderful and the prolonged standing ovation at the end, with cheers and even some whistles, was truly just.
To book your tickets or for more information on La Traviata either click here or call us on 01785 619080. The opera is with us for one night only on Friday 9th October at 7.30pm.
Subscribe to:
Posts (Atom)