Reviews

Mighty oaks from little acorns grow, and if the commitment of the cast in the first production by False Perspective is anything to go by, this tiny seedling certainly deserves to develop into a majestic tree. Upton Priory is home-grown, with a script written by Nikki Wilson. In case we didn’t get the titular pun, it opened with the theme music from Downton Abbey, and reflected many of the characters in the latter; for example, Karen Ward channelled her inner Maggie Smith as the Dowager Countess of Southbourne, while the daughters of the house, charmingly played by Amey Dawe and

As usual, this is a collaborative performance from a group of third-year students from the BA Acting, BA Costume and Performance Design and BA Make Up for Media and Performance courses at the Arts University. This is the last of the four group productions this term; in the others there has been plenty of action and movement, some brilliant set design and some exquisite work from the costume students. Now with this Christopher Marlowe classic, ‘highly edited’ into one 90-minute act, the emphasis is predominantly on the text, the demanding, lyrical and sometimes poetic text which has stood the test

‘Viva voce’ is commonly used in English to mean an oral as against a written test: appropriate, because this event was a test for the new choir called Viva Voce, being their first major public appearance and their first Christmas concert. The director of Viva Voce, Jean Chambers, ran the Poole & Parkstone Singers for years, leaving because she had, in her own words, ‘decided to form her own choir before she became too old!’ It was neither a secret nor a surprise that a considerable proportion of those who had sung under her direction wanted to move with her.

I’ve heard a lot about Our House and know and enjoy the music of Madness, but this is the first time that I’ve seen this musical and wasn’t sure what to expect. I needn’t have had any concerns, as this is a delightful treat to brighten up any damp and dreary December evening. Joe Casey, a 16-year-old boy, makes a somewhat dubious decision to break into a new building development in an attempt to impress his dream girl, Sarah; however, the police are hot on his trail. The story then splits into a Sliding Doors-type concept, where in one version

It’s a rare thing for a reviewer to be able to rave about a show, but this fabulous panto deserves the Full Rave not only from me but from my fellow-reviewers (husband and our five-year-old twins). I don’t suppose anyone needs to be reminded of the story of Aladdin and this version is pretty much traditional, but there are so many delightful deviations that the audience are captivated from the first circus scene (my son’s favourite) to the curtain calls. The music, though not noted in the programme, is (as is now traditional) a bit of something for everyone –

You have to hand it to the Maskers: they are up for anything, from Kafka’s Metamorphosis to home-grown Mistletoe Junction. The latest production at their tiny studio theatre in Shirley is witness to both their variety of material and their unfailing consistency of commitment. This production is unashamed Christmas fare. Even the tickets come with the lure of mince pies and mulled wine. Ushers dressed in ’fifties costume show the audience to small tables seating four or so, covered with Christmas paper and gently glowing candles. The auditorium has in fact been transformed in two ways. First, the audience are