PREVIEW Nutcracker and the Mouse King, Unicorn Theatre

IT must be hard to think about Christmas in the middle of a heatwave but that is exactly what Ellen McDougall had to do this summer.

The Brixton director was tasked with staging the Unicorn Theatre's Christmas show which this year is The Nutcracker And The Mouse King.

Written by Annie Siddons, it is a re-imagining of ETA Hoffmann’s original masterpiece, The Nutcracker and The Mouse King, a version of which has in recent years been delighting ballet audiences.

The story is set on Christmas Eve and seven year-old Marie finds the sad and broken Nutcracker from under the Christmas tree and promises to look after him.

But on the stroke of midnight he comes alive, and after enlisting Marie’s help in his battle with the evil seven-headed Mouse King, they journey together through strange and fantastical stories until they finally arrive in a secret land made of nothing but candy.

Combining music and song, and a bit of dancing, this new adaptation of the story features themes of fear, courage, compassion and wonder - not to mention the mischievous mice.

It is a welcome return to the Unicorn for Ellen - who was responsible for the theatre's recent modern version of Henry V and The Man with the Disturbingly Smelly Foot - and she says audiences can expect plenty of Christmas magic as they follow Marie's journey.

"It's a beautiful story and I suppose the thing that drew me to Annie's script was that it's about trusting your imagination," she says.

"It's a real tribute to Marie's imagination which takes her to amazing places and is an opportunity for her to see a world around her in bright, beautiful colours and plenty of magic."

Although based on Hoffman's classic tale, the Unicorn's version features a somewhat less privileged family to that which perhaps most people are familiar.

Ellen adds the story is more complex and more in depth but still features all the magical elements to make it come alive.

"We had very solid script from Annie who had a strong sense of what works for young audiences," she says.

"She has drawn out the dynamic of the family Christmas and she has written a beautiful journey for Marie.

"It's got all the elements you would expect with puppets, dancing, though not ballet, singing and some acting," she jokes.

"However, Marie and her family are a very ordinary one. They are poorer than the family in the ballet version and have to deal with more everyday household issues.

"There are some parts of the original story that feel of their time and although we have kept the essence of that, we have worked hard to draw out the contemporary relevance of it."

The show, which has just opened at the Tooley Street theatre features a cast of nine, the majority of whom Ellen says double up on roles.

"It's a massive show partly because there are a lot of characters in it," she laughs. "And in terms of the technical process it's been quite a challenge.

"It's actually a huge production for the Unicorn and has been the biggest show I've done but it's been amazing and so enjoyable - although to be thinking about designing a Christmas show with all the magic and gingerbread in the middle of this summer's heatwave was a bit of an odd thing to do!" she says cheerfully.

Despite this Ellen says she has loved being back at the theatre after her past successes there.

"The priorities of this theatre are so clear - to support children's imaginations - and so it's an inspiring and thrilling place to work," she says.

"Purni Morell [artistic director] has an insightful and skilful way of putting work together and there is always lots going on here that's so interesting.

"It's great to get up in the morning and come to work knowing you are creating something for an age group which is so honest in its reactions.

"And now this show is all coming to life on the stage and we have had some audience reaction it feels great and exciting. It really feels as though Christmas is on its way - it's lovely!

The Nutcracker And The Mouse King is on at the Unicorn Theatre, Tooley Street until Sunday, January 4. Tickets cost from £15. Visit www.unicorntheatre.com or call the box office on 020 7645 0560.

PREVIEW Sleeping Beauty, Churchill Theatre, Bromley

HE may be known to millions as killer Rob Donavan in ITV's Coronation Street but Marc Baylis is hoping people won't be booing him when he makes his panto debut this week.

The 37-year-old has left Rob behind and will be taking on the role of the Prince in Bromley's Churchill Theatre's production of Sleeping Beauty which opens on Friday for a five-week run.

And despite the understandable nerves about being a panto first timer he says he's looking forward to the challenge.

"I've done theatre before but this is my first panto and I'm really up for it," he says cheerfully.

"I'm not worried about being booed to begin with - and I'm sure some of the gags will reference the Prince killing someone - but I hope I'll be able to win the audience round so they'll be cheering me on!"

Although he's most well known for his stint on Corrie, Marc has numerous other TV credits including Misfits, Sirens, Law and Order, The Bill, Eastenders, Doctors, My Uncle Silas, Battlefields, and Hollyoaks.

But his background is theatre and he's starred in a variety of productions including Mark Rylance's Jerusalem at the Apollo Theatre and The Belle's Stratagem at the Southwark Playhouse.

Indeed it was a trip to the theatre as a child to see a panto that inspired him to become an actor.

"I went to the Birmingham Hippodrome and loved it from the off," he says. "There's so much energy and atmosphere - it was just fabulous and that was it for me.

"It's one of the reasons I became an actor really - and I love it because in every job you can always be someone different.

“I've done a lot of theatre although not for a while as I've been in Corrie so it will be nice to be back on the boards though this will be a whole new challenge," he laughs.

"We've got a great cast and a fantastic script but what I'm most looking forward to is the fact panto is so lighthearted which will be great after what has been a serious storyline in Corrie!

"There are no restrictions or boundaries with panto so it will be pretty awesome.

"It's spontaneous and you never know who's going to play a prank on you - plus you get so much more audience participation which I'm really looking forward to - so bring it on!

He will be joined on stage by a plethora of stars including Forest Hill actress and former Pop Idol finalist Zoe Birkett who stars as Carabosse the Bad Fairy.

The 29-year-old who has made a name for herself in the West End and most recently on Channel 5's Big Brother, says she's looking forward to the show, not least because she can unleash her "darker side".

"I'm a real girly girl and I normally play the princess so to be taking on the role of the wicked queen is going to be a lovely change - though I'm not sure how I'm going to feel about all the booing," she laughs.

"Although I'm a bit nervous, I can't wait and am really excited especially as I get to bring out my darker side.

"My costume is great too - I'll be wafting black feathers all over the place and I'm going to put fairy lights in the dressing room!" she chuckles.

Like Matt, Zoe got the acting bug when she went to see a production of Peter Pan in Newcastle when she was a child.

"Peter Pan was my first panto and got me hooked," she says. "I used to go every year with my dad and loved it. It inspired me to do lots of musical theatre as a kid and that was it.

"Panto is very different to other stage shows though. It brings the whole family together and everyone has a great time.

"It is the whole theatrical nature of it that is so brilliant. You have to take it a bit seriously - although it's not like Shakespeare let's face it - but it's a chance for the cast, crew, musicians and the audience to relax and have some fun.

"It is scripted of course but what I love is the whole audience participation which makes it so enjoyable.

And Zoe promises there will be "tonnes" of fun in this show.

"There are some great songs of course, fab costumes and loads of opportunities for the kids to interact with the characters at all our silly jokes. It's going to be fantastic!"

Sleeping Beauty is on at the Churchill Theatre, Bromley, until Sunday, January 4. Tickets from £15 to £26.50. Visit www.atgtickets.com/Bromley or call the box office on 0844 871 7620.  

REVIEW Jack and the Beanstalk, Greenwich Theatre

FIVE STARS

TEN years ago Andrew Pollard was drafted in to write Greenwich Theatre’s panto. It was a partnership that has grown more successful every year since with the result that the Crooms Hill theatre’s Christmas show is widely and rightly regarded as one of the best in the business.

This year Andrew is back once more and has chosen to revisit Jack And The Beanstalk – a show he wrote for the theatre seven years ago – and, not to beat about the bush, it’s brilliant.

Using a small cast led by Andrew as Dame Trott, puppets, magic, music and song, not to mention bringing a certain giant back to life, he has created one of the funniest shows.

Jack and his mum Dame Trott are on their uppers. The giant and his henchman Nightshade are demanding ever higher taxes which the villagers can no longer afford. It’s up to Fairy Fullobeans, Jack, Jill, Daisy the cow and the magic beans to save the day.

As ever, the attention to detail is spot on. Andrew’s script is pacy and razor sharp with gags galore and the comic timing between the cast is superb – in particular the afternoon tea sequence involving an ever deflating sofa and the broken mirror scene were so brilliantly executed the audience was crying with laughter.

The show is also full of geographical and topical jokes, some gloriously funny and very cleverly reworked songs – Bohemian Rhapsody was genius - spontaneous and hilarious ad libs, and some fantastic costumes – not least for Dame Trott whose Dairy Air and the final creation brought the house down.

The cast was superb particularly Andrew's Dame Trott who was hilarious. Martin Johnston as Mayor Boris is a joy and with a belter of a voice and although Greenwich regular Paul Critoph is starring in the West End, he does make an appearance.

There were also fine performances from the rest of the cast including Melissa Keyes as Fairy Fullobeans, Sophie Ayers as Jill, Alim Jayda as a fabulous Nightshade and Tom Oakley as Jack.

In short Andrew has done it again – it’s a belter from start to finish and will have you laughing all the way through Christmas and into next year.

Jack And The Beanstalk is on at Greenwich Theatre, Crooms Hill until Sunday, January 11. Tickets cost £27 for adults and £13.50 for children. Visit www.greenwichtheatre.org.uk or call the box office on 020 8858 7755.

Interview with Linda Gray about Cinderella at New Wimbledon Theatre

IT'S a long way from the rich oil fields of Dallas, Texas to the the bright lights of the New Wimbledon Theatre but the journey between the two has been something of a fairytale for Linda Gray.

The legendary actress who helped make shoulder pads the fashion statement of the 80s thanks to her portrayal of alcoholic Sue Ellen Ewing in the American TV soap Dallas, is currently in town preparing for her panto debut.

That the 74-year-old is excited about taking part in the theatre's production of Cinderella is an understatement.

Indeed during our chat at the theatre her eyes were positively sparkling - and it was nothing to do with the copious amounts of glitter on her eyelids.

"We did some photos this morning and my lovely make up lady put lots of glitter and sparkle on my eyes," she smiles warmly.

"Have a look - isn't it fabulous?"

And indeed I can report that her eyes were indeed 'fabulous' and adorned in glitter. They have also lost none of their smokiness and sultriness that made Sue Ellen such a seductive force on the TV.

But it's her role as the Fairy Godmother in Cinderella, not Dallas that she is most keen to talk about.

"I am so excited to be here," she enthuses. "It's very exciting because I got my dress today and it's so fabulous! The crew and cast are great and this theatre is just beautiful. It's a fairytale for me."

By taking part in the panto, Linda is following in the footsteps of fellow Americans such as Jerry Hall and Priscilla Presley and although she says she's looking forward to taking on the role, she cheerfully admits she's "terrified".

"I got a call from my agent who said the theatre had asked if I would like to be part of the show," she says.

"He is from London and had grown up going to pantomimes. He told me all about them and the ones he had seen as a child and how I had to do this.

"When he told me what happened though I was like 'men playing female parts - are you joking?'

"Americans don't know much about it - in fact we don't understand panto at all.

"But I thought it sounded fabulous and I loved it so here I am - although I'm terrified!"

And despite having to adjust to the cold - she's from California - and the punishing 12 performances a week schedule awaiting her, she says she's enjoying the experience "very much" not least thanks to those who will be joining her on stage.

"It's such a great cast," says Linda. "They are amazing, really talented and fun and the dancers are fantastic, so it's been an absolute joy.

"Tim Vine who plays Buttons is very funny and has me laughing all the time. We have a scene together where I have a few words with him and during rehearsals I can't look at him because I just know I'll laugh.

"However, my job is to keep my character together. We are here to tell the story and entertain people and I have to be solid in my character."

To help her in her task, director Ian Talbot made her do a run through of her part on stage with the rest of the cast sitting as her audience.

"I've never done anything like this before so I've never had people yelling, applauding or talking throughout a performance," she says.

"So I had to do my run through with the rest of the actors and crew doing all of that and more. It was so distracting but he needed to know I would be OK and to show me what I can expect.

"I am used to a camera being very close to my face and all those small gestures so this was always going to be very different for me.

"In fact every single thing has been different - for a start I'm speaking in rhymes - but it couldn't have gone better," she laughs.

What she won't be doing is making any ad libs.

"No, I will just wave my wand," she laughs. "I love my wand. Wouldn't it have been great to have had that wand for Sue Ellen? I could have made all her troubles disappear."

Which leads us neatly to her role in Dallas, the show which gripped the nation in the 1980s and which propelled her to stardom.

However, it turns out her character Sue Ellen, whose shoulder pads were as big as her vodka and tonics, was only supposed to be in a few episodes.

In fact it was her on screen chemistry with the late Larry Hagman as everyone's anti hero and arch villain JR Ewing which made the show such compulsive viewing and ensured Sue Ellen's permanent place in it.

"It was beyond my every expectation," she says warmly. "It's hard to describe. Here in the UK it was bigger than it was in America. You were massive fans!

"Originally it was Patrick and Victoria (Bobby and Pam) who were supposed to be the two main characters but Larry and I were at each other all the time - it was the juicy relationship and that was what CBS saw.

"When they decided they wanted more of us on screen I looked at Larry and realised I needed to know who would marry this guy.

"He is loud, obnoxious, disrespectful and really horrible to Sue Ellen. So why would she be attracted to him.

"So we created this back story - Larry wanted a trophy wife to show off and Sue Ellen was an ex Miss Texas and raised to marry the richest man in the state."

The partnership lasted over a decade and the cast revisited the show a few years ago before Larry died. It was, says Linda, a magical time in her life.

"It was quite ground breaking in many ways," she says. "It was a time when people who had any kind of problem, it was pushed under the rug and never spoken about.

"But here was this wealthy family who had a lot of problems - Sue Ellen was an alcoholic and suffered domestic abuse and Miss Ellie had a mastectomy.

"This woke up a lot of people because it was real and we really put it in peoples' faces. That's why it was so successful.

"The script was amazing too of course but it was the cast that made it a magical experience - much like it is here," she smiles.

"I have great memories of Dallas and it was a dream working with Larry - he was like a brother. It was a fairytale and I had the best time on that show and I'm having the best time here too.

"There was a magic there as there is here and when you feel it and know it, it's palpable.

"And I love Wimbledon - I came here a long time ago when I filmed Lovejoy - and so to be here now in such a fabulous show is a dream - a proper fairytale."

Cinderella is on at the New Wimbledon Theatre, The Broadway from Friday, December 5 until Sunday, January 11. Tickets cost from £11.90. Visit www.atgtickets.com/wimbledon or call the box office on 0844 871 7646.

Interview with Jeff Wayne about final tour of The War Of The Worlds

IN 1978 a musical version of HG Wells' classic sci fi novel, The War Of The Worlds was released.

It was written by Jeff Wayne, an American musician who had enjoyed a successful career as a composer writing work for fellow musicians as well as adverts, movies and TV.

Starring David Essex and with a cameo role from Richard Burton it was an immediate hit and over the years that followed developed into an all time classic.

Indeed in the nearly 40 years since it was released, it has sold more than 15 million records worldwide, has spent more than 330 weeks in the UK album charts and has won two UK Ivor Novello Awards.

Such was its popularity it spawned multiple versions of the album, video games, DVDs, and live tours.

And it is a final live tour of the show that Jeff is now in the middle of and which includes two performances at the O2 next Saturday.

Speaking to me from his home in Hertfordshire Jeff tells me he's both excited and sad to be bringing it back for one last time - though hints it will go in a new and exciting direction next year.

"Bringing The War Of The Worlds to life in many of the world's finest arenas has been the most amazing experience, both musically technologically," he enthuses.

"Every time we've done a tour we come to the O2 so I'm excited to be coming back to this amazing arena.

"However, the time is right to take the show in new directions after the 2014 tour so this will be the last time."

Conducted by Jeff, the production boasts an all star cast that includes Liam Neeson in 3D holography, Jason Donovan as Parson Nathaniel, Westlife’s Brian McFadden as The Sung Thoughts of The Journalist, X Factor winner Shayne Ward as the Artilleryman and actress Carrie Hope Fletcher as Beth.

It also promises some spectacular special effects including a three-tonne 35ft tall Martian Fighting Machine, a 100 ft wide animation wall, the incineration of a cast member in front of the audience's eyes and a ground breaking levitation effect.

And as if that wasn't enough, it will also feature the HG Wells himself who will be brought to life in sigh and sound.

"I'm very excited about this," says Jeff. "Every time we do a tour technology has moved on and so we always bring in new ingredients for the audience.

"With this one I decided it was high time that HG Wells, who was a charismatic character and very clever, should be given a chance to have his say - about why he wrote what has become known as the first science-fiction story ever written and its meaning to the real world we live in."

Wells will be seen and heard in three scenes within the show - aged 33, 53 and 79 - spanning the end of the 19th century and the two subsequent World Wars.

"He extends his hand to the audience so it's pretty special," says Jeff. "We worked with a company who do amazing prosthetics and make up for some of the biggest films. He has to age authentically and you need to believe it's the same person.

"So far the reaction has been fantastic and I think this tour really does top anything we have done before."

That the musical version of the story ever came to fruition in the first place is purely down to Jeff's determination though he admits it almost didn't happen.

"I was always a composer and during the 1970s as well doing stuff for movies and TV I also worked with David Essex as his producer," he said. "I toured with him for a few of years as his musical director.

"However I wasn't doing much composing for him so my dad said I should get back to what I was good at and passionate about.

"He reminded me I'd always wanted to write a musical story and that was the start of it."

Over the following year, Jeff said he read books of all shapes and sizes until the night before he was due to go on a tour when his father handed him a copy of The War Of The Worlds.

"There was no internet back then so I had plenty of time to read it and I fell in love with it," he says.

"It was quite an extraordinary story with amazing characters and in many respects ahead of its time.

"Wells was also taking a pop at the expanding British Empire saying that moving into another man’s territory was wrong, and that faith versus faith was wrong. His science and maths was quite visionary for the time."

What surprised Jeff though was that it wasn't written originally as a book but for a magazine.

"In those days writers were asked to pen stories that left the reader on a cliff hanger so they would buy the next edition of the magazine," he says.

"His were really succinct chapters and as I read the first one - the Eve of the War - I realised it read like an overture.

"Each chapter flowed on from that and so I followed the story in the same way he wrote it and followed the chronology."

Sold on the idea of adapting it to music, as soon as Jeff had finished the tour he was involved with he began the process of finding out if the book was in copyright and what he could do with it.

"I went to HG Wells's estate and told them I wanted to do a musical interpretation of the book. They didn't know much about me or my career but the thing that convinced them was that I was the first person who wanted to stay true to what he wrote."

His pitch worked and so, after having been given the nod by Wells' family, Jeff sank his life savings into the project and in January 1976 he booked a studio for May, a deadline he says was ambitious but necessary.

"It took over my life," he says cheerfully. "It cost £240,000 to produce, we ran out of money and everything was on the line but I knew I'd never get another chance to do this.

"It took six weeks to compose the first draft. My step mum adapted my notes and by mid February we had a cast of characters and the arrangements for the score.

"We were in the studio in May and had five weeks of band sessions and just did the album."

During the composition period Jeff realised the Journalist character was key and the thread which ran through the whole thing. He wanted a voice that would take the listener right inside the world that had been created.

"I wrote to Richard Burton and amazingly he said he loved the idea and came on board which was fantastic," says Jeff. "This time we have Liam Neeson which is equally special and I feel as though we've struck gold twice!

"Looking back I think it was a crazy way of living," he admits. "I am proud of it though, I'm proud of its life and the piece of work I have created.
"It was an incredible experience, though I never knew it would be the success it ended up being.

"I certainly never expected it to be such a huge show! It just grew.

"I hope it's reached people," he adds. "I don't know what HG Wells would have said but Frank his son and other members of his family said they felt he would have been very proud of it which makes me very happy."

The War Of The Worlds is on at the O2, Greenwich on Saturday, December 13. Tickets from £38.50. Visit www.thewaroftheworlds.com/tickets/ or www.livenation.co.uk/