THEGAYUK

Category: Theatre

  • THEATRE REVIEW | The Toxic Avenger The Musical, Arts Theatre, London

    ★★★★★ | The Toxic Avenger, The Musical

    THEATRE REVIEW | The Toxic Avenger The Musical, Arts Theatre, London

    There’s a monster loose at the Arts Theatre in London; it’s toxic, it smells, and it’s completely hilarious!

    It’s The Toxic Avenger, the show that was originally a movie (circa 1984) and just last year played at The Southwark Playhouse to rave reviews. Well, The Toxic Avenger is getting revenge by coming back to a much larger theatre, with a superb cast!

    In a nutshell, the show takes place in New Jersey. You know the place, people only pass through there to get to the bright lights and big city of New York. Well, New Jersey is where the denizens of Manhattan dispose of all of its waste – not just garbage but everything and anything that they don’t want, New Jersey, unfortunately, gets.

    But in a town called Tromaville, New Jersey, which gets the worst of the wasted, there is nerd and aspiring earth scientist Melvin Ferd the Third (Mark Anderson), his mom Ma Ferd (Natalie Hope), Sarah the blind librarian (Emma Salvo), and host of other characters played by Ché Francis and Oscar Conlon-Morray, named appropriately as black dude and white dude. But when Melvin decides to find out who is responsible for the vats of toxic waste in Tromaville, he plans to put a stop to it. His investigation leads to the Mayor (Hope again), but when she finds out Melvin is on her case, she gets her two goons to get rid of Melvin, and they throw him into a vat of toxic sludge. But Melvin does not get killed, he comes back bigger and better than ever – he’s been transformed into “The Toxic Avenger” (a/k/a Toxie)!

    Toxie attempts to get his revenge, but in the meantime, blind librarian Sarah has a thing for him because she thinks he’s French (though when Toxie was Melvin he had a huge crush on her but she rebuffed him). Meanwhile, the Mayor is still up to no good and vows to kill Toxie no matter what it takes. But hilarity (and lots of physical comedy) ensue; lots of running on and off the stage by the cast, Sarah doing everything she can to get with Toxie, and the brilliant Hope has a scene with herself as both the Mayor and Ms Ferd – and one time she’s on stage as both characters! It’s a tour de force performance! Will Sarah and Toxie find love with each other? Will the corrupt Mayor have her way and turn Tromaville into more of a toxic waste dump? Will the front row of the audience escape unscathed? You will have to find out and buy tickets to this must-see show. And did I mention that it’s a musical? Everything you want and more is this show! And the cast are brilliant!

    It’s hard to single out any one performer, but I’m going to. Of course, Hope gets the most exercise (and laughs) as both the Mayor and Melvin’s mother, but it’s Salvo’s performance that is most memorable because she’s playing a blind woman, and it’s so believable! And she’s so funny! Kudos to the cast, and production team, including director Benji Sperring, for bringing us a show that’s one not too miss. It’s got everything a musical should have; escapism, fantasy, great story, amazing performances, and some rocking songs. Buy tickets for this show now!

    From Joe DiPietro and David Bryan (original founding member and keyboardist/vocalist for Bon Jovi), the Tony Award-winning team behind the hit West End musical Memphis.

    The Toxic Avenger The Musical is now playing at The Arts Theatre in London until December 3, 2017

  • THEATRE REVIEW | The Band – Sheffield Theatres and National Tour

    THEATRE REVIEW | The Band – Sheffield Theatres and National Tour

    ★★★★★| The Band 

    In 1993, teenager Rachel and her best friends are obsessed with The Band, and sneak off behind their parents back’s to a concert where, on the way home, they discuss the future, make promises to each other and swear that they will be best friends for ever. But when something happens that shatters their world, the girls go their separate ways. 25 years later, The Band brings them back together, when Rachel wins a competition to see them in Prague, and decides to invite the group she had lost touch with. But with an awkward reunion on the cards, it’s going to be a trip they will never forget.

    Photo Credit – Matt Crockett

    Launched primarily off the back of a Saturday night TV talent show, The Band became the UK’s fastest selling theatre tour; but now that the TV show has ended and the hype has died down, the question is, is it actually any good? And the answer is a resounding “yes”.

    What elevates The Band high above other jukebox musicals is the story written by Tim Firth. Firth successfully interweaves great characterisations with nostalgia, comedy and genuine emotion in a heartfelt story about friendship, self-belief, realising that it is never too late to achieve your ambitions and that life doesn’t always pan out how you planned.

    The back catalogue of Take That songs is ripe for the picking, and with plenty of hits spanning their 30 year career, including Relight My Fire, Greatest Day, Prey, Shine and Back For Good, the show primarily presents the musical numbers not as standalone songs, but almost as if it is the soundtrack to the character’s lives; and cleverly places them naturally into the story; meaning that they are there to support the narrative and not because the fans expect them to be shoehorned into the show somehow.

    In a cast which is fairly faultless and which works incredibly well together, Rachel Lumberg excels as Rachel, the bubbly woman whose love of The Band brings her friends back together; Alison Fitzjohn provides many of the laughs as the self-depreciating Claire and the young ensemble who play the teenage friends are brilliantly put together.

    As for the Let It Shine winners, they were everything you would expect; putting on a great performance as they belted their way through the musical numbers,  singing and dancing their hearts out with confidence and professionalism; and looking great to boot; meaning that it’s not surprising at all to hear that they are working on their first album.

    The presentation of the show, especially for a touring production, is big budget and incredibly well done, with inventive staging, immersive lighting, a solid sound design and direction which keeps the show moving along flawlessly. The production is incredibly slick and polished and barely stops for breath as it speeds along.

    The success of the show is how all of the individual elements are present and come together to produce the whole package; and in the audiences relatability to the story and characters. We have all had a band which we have obsessed over, we have all had songs which remind us of a particular time in our lives and we have all had friends who we lose touch with.

    The Band surpassed all expectations and is a crowd-pleasing, foot tapping, fun packed show crammed with genuine warmth and emotion at its heart.

    The Band is at Sheffield Lyceum until Saturday 14th October 2017 , before continuing on an extensive national tour until July 2018. Visit The Band Official Website for details.

     

  • THEATRE REVIEW | I Knew You, The Rep

    ★★★ | I Knew You, Birmingham Rep

    I Knew You, written by Steven Camden, aka Polar Bear – the renowned spoken-word artist, comes to The Door with a delicate yet powerful domestic tale.

    Growing up in a non-nuclear family is more custom in this generation, but what is not often seen, is the repercussions of a family break up. Through the stories of Angela (Lorna Laidlaw) the mother; Nathan (Brenton Hamilton) the son; Patrick (Roderick Smith) the father, we see the nucleus of the family drama.

    The writing is sublime with poetry ringing alongside the emotional speeches. Lorna showcased comedy and emotion very well, carrying the story – very good crescendo of emotions as the story progressed. Brenton did a great job with anger, but a little one-dimensional with the less climatic stuff. Roderick was a good choice for the sullen Patrick, giving the audience a good look-in to the other side of the argument, but a little lacklustre in the final speech. What was nice about the production was the feeling of provenance with actors hailing from Birmingham, with local accents adding to the comfort.

    The play was only fifty minutes long, and I am wondering if story beat opportunities were missed as the story appeared to be presented in chunks, in places, and the build-up of the drama was lost with a very sudden ending at Patrick arriving in the house.

     

  • THEATRE REVIEW | Le Grand Mort, Trafalgar Studios

    ★★  | Le Grand Mort

    THEATRE REVIEW | Le Grand Mort, Trafalgar Studios

    Acclaimed musical theatre writer Stephen Clark, who died last year, penned this two-hander play as a vehicle for uber camp legend Julian Clary. The play concerns ageing architect Michael (Julian Clary) who is cooking dinner for a younger man (James Nelson-Joyce) who’s he’s picked up in the pub. As he slices, boils and fries the food in a functional on-stage kitchen he shares his thoughts on sex and death. Naturally. Once Tim arrives it’s not clear whether it’s sex or death that’s on the menu and who is in charge of the situation.

    Let’s get some important things out of the way first. Yes, Julian Clary can cook. To be fair, it’s a simple recipe, though. Shirley Valentine had to fry chips and egg. He just chucks a few things in a pan and rustles up a pasta sauce. Can he act, though? Partially. He manages to deliver the tight monologue that forms the first part of the ninety-minute play but once the action heats up he flounders a little. His character’s uptight and rigid persona suits his physical presence and makes the job an easier one.

    The main issue here is the play itself. It just doesn’t quite work and although mildly engaging it misses the mark more than it hits it. It’s a fairly relentless onslaught of thoughts about the death of celebrities. What should be sinister feels absurd and what should be absurd feels humdrum. What feels like a calculated move to shock comes across as tedious. It’s also, bafflingly, partly in rhyme and there’s a bizarrely intrusive soundtrack to the piece.

    On the plus side, the kitchen is stylish and attractive as is the young actor James Nelson-Joyce. Spoiler alert: expect full nudity. Julian Clary is an interesting spectacle and the faults of the piece aside it’s good to see him tackle something that’s different from his usual milieu.

     

    Le Grand Mort plays at Trafalgar Studios until 28th October 2017

  • THEATRE REVIEW | Holding the Man, Above the Stag Theatre London

    ★★★★★ | Holding the Man

    THEATRE REVIEW | Holding the Man, Above the Stag Theatre London

    Holding the Man is a show that will rip your heart out and reduce you to tears.

    Now playing at Above the Stag Theatre in Vauxhall, it’s true story of two Australian men, Timothy Conigrave and John Caleo, who fall in love in the late 1970’s, who have their ups and downs during the 1980’s, and who both are diagnosed with the HIV virus and must deal with not only death knocking on their door but also the shortened time they have to be together. The show is based on the 1995 book by Conigrave and was written by Tommy Murphy. Most of you might have already seen the excellent 2015 film, or previous London productions (including the 2010 production at Trafalgar Studios). The Above the Stage production is just as hard-hitting.

    It’s the storytelling and the extremely strong performances of the cast at the Above the Stag that rate this production five stars. Jamie Barnard is excellent as Conigrave while Ben Boskovic as Caleo eerily captures his quietness and reserve. Both actors bring to this production a strength and resolute to their roles that they are almost living out these characters lives right in front of us. From the beginning of the show, we can feel that these two men were meant to be together. But this being the early 80s, not much was known about HIV, so, unfortunately, and I’m not giving anything away here because it’s a well-known story, AIDS was to rear its ugly head directly at these two young, beautiful men.

    Holding the Man takes us on a heart-stopping and heartbreaking journey while we travel with them in their relationship with each other in life and in death. And it’s Barnard and Boskovic who take us on this remarkable journey. Joshua Cole as a best friend of the two men provide welcome comic relief in a show that’s very serious: he’s charming and has the best lines in the play. Faye Wilson adds some much-needed sparkle as another one of the boy’s friends, while Liam Burke, Annabel Pemberton, and Robert Thompson round out the ensemble in various roles as parents, friends and fellow students. One scene that includes the whole cast is a hilarious masturbation scene that’s cleverly done and something I’ve never seen on stage before.

    But’s is the relationship between these two men that is at the heart and soul of this show. Director Gene David Kirk keeps the drama up and running while designer David Shields provides an excellent minimalist backdrop so the audience can focus on the story, and acting unfolding right before our very eyes.

    Kudos to Above the Stag Theatre for producing a serious, dramatic and extremely well-acted show that’s a welcome relief from their previous camp and silly previous productions. Categorise Holding the Man as a must see!

    Holding The Man runs at the Above The Stag theatre until 21st October 2017

     

  • THEATRE REVIEW | Five Guys Name Moe, Marble Arch Theatre London

    ★★★★ | Five Guys Named Moe

    THEATRE REVIEW | Five Guys Name Moe, Marble Arch Theatre London

    There’s a new theatre in town, it’s fabulous, and the show now playing at this theatre is fabulous as well.

    The Marble Arch Theatre, which is an Underbelly production (the team that brings us the excellent shows in the Southbank), is cleverly located right next to the arch in Marble Arch, is the newest theatre to pop up in London. It’s a gorgeous 650 seater wooden structure that includes a very large bar and an auditorium with a stage that is semi-circle in the round, a design that reflects the 1940’s New Orleans Jazz bars. And theatregoers will be able to take their seats at the cabaret tables in the Funky Butt Club and have drinks served directly to their tables for an up-close and personal musical experience all around them. And the show at this new theatre is Five Guys Named Moe, which is a show about Five Guys Named Moe (Big, Little, Eat, Know and Four-Eyed) who give guidance, advice and support to Nomax, who is single, broke and lamenting about a broken relationship with a woman named Lorraine.

    The Moes sing and dance their way throughout this two-hour very lively extravaganza, while Nomax (played by Edward Baruwa) takes it all in. Songs, featuring the hits of original jazz king Louis Jordan, include “Early in the Morning,” “I Like ‘em Like That,” “Safe, Sane and Single,” and “Ain’t Nobody Here But Us Chickens” are sung by the Moes in such a fun and unique style. And there is also quite a bit of audience participation. One member of the audience who was chosen to recite some sentences on the night I saw it, and it was none other than stage and movie star Freddie Fox. The audience also gets to outdo each other, with the help of the Moes, in a sing-a-long that provides raucous laughter. It’s the oldest trick in the book to include the audience in the show to make sure they are having a great time, and the Moes use it to their advantage.

    Five Guys Named Moe is based on a musical of the same name by Jordan in 1943, and has been around since it’s 1990 UK debut (and a 2010 UK revival). With a book by Clarke Peters, it feels like this show has never left London. But if you’ve already seen it, seeing it again at the new Marble Arch Theatre will be a whole new experience, and perhaps more of an enjoyable one in a setting that matches the fun and frivolity of the show. Kudos to all the Moes who make it a fun night out (Ian Carlyle, Idriss Kargbo, Dex Lee, Horace Oliver and Emile Ruddock) and to Underbelly for copying their successful formula to Marble Arch, and to the production team for pulling it off and producing one big party.

    Five Guys Named Moe plays at the Marble Arch Theatre until 17 February 2018

  • THEATRE REVIEW | Dirty Dancing, Liverpool Empire

    ★★★ | Dirty Dancing, Liverpool Empire

    Set in the 1960’s, Frances “Baby” Houseman goes to Kellerman’s holiday camp with her family. She befriends the staff of the camp and develops a crush on charismatic dance teacher, Johnny Castle. When Johnny’s dance partner cannot perform at a show at a local hotel, Baby steps in to ensure that they do not lose their jobs. But as Johnny and Baby rehearse, they fall in love and learn more from each other than just the dance moves.

    Based on the hugely popular film of the same name, Dirty Dancing hits the stage with a show which follows the story of the film very closely, with the bulk of the script being comfortingly recognisable from the film. There are some additional scenes thrown in, which mainly expand on the political changes in the 60’s and some which flesh out the relationship between Baby and Johnny; whilst the show’s music came from a combination of both live and pre-recorded tracks, including “Hungry Eyes”, “Love Man” and “(I’ve Had) The Time of My Life”

    Katie Eccles and Robert Colvin took the lead roles of Baby and Johnny, and had some chemistry between them; and they were supported by a broadly competent cast of singers, dancers and musicians. Unsurprisingly, the dancing was better than the acting, but given that the show’s main focus is the musical numbers it doesn’t cause too much of a problem.

    The show has been given a major overhaul and is all the better for it. This production has a vibrant lighting design and has ushered in a luxurious, well designed and thoroughly detailed set which transform smoothly without ever interrupting the story; whilst the show has been sexed up a little with a few more bare chests and muscular arms on display. Overall, the production values here are very high and very impressive.

    But where the show really succeeds is in its ability to bring the movie to life and recreating it on stage. All of the familiar lines, plot points, dance routines and songs are there and there is something very comforting about watching such a faithful recreation of the movie. For those who have not seen the film, the show is a good introduction to the world of Kellerman’s. For established fans of the film, the show will be hard to beat.

    Dirty Dancing is playing at the Liverpool Empire until 18th September 2017

    • Review taken from the Sheffield Theatre production

  • THEATRE REVIEW | Footloose, Peacock Theatre London

    ★★★★ | Footloose

    THEATRE REVIEW | Footloose, Peacock Theatre London

    Kevin Bacon became a worldwide star in the 1984 hit film. And while there have been lots of stage versions produced after this, “Footloose,” no matter how many times you’ve seen it or have hummed the title song, will always bring a smile to your face.

    Another revival, now at the Peacock Theatre near Aldwych, and arriving into London right after a UK tour, keeps the toe-tapping alive with the show about a small town that has banned dancing, and the young out-of-towner who plans to shake things up.

    Rem McCormack (Joshua Dowen) and his mom Ethel (Lindsay Goodhand) move from their hometown of Chicago to the very small town of Bomont after Rem’s father left the family home to go ‘find himself.’ Rem integrates into his new school, filled with all sorts of people (though none of them, curiously, are black). His fellow students include Willard (Gareth Gates, who gets star billing) and the minister’s daughter Ariel (Hannah Price). It comes to light that the powerful minister, the Reverend Shaw (Reuven Gershon), has banned dancing in town because five years ago his young son and three others were killed in a car crash, no doubt, according to the minister, caused by the kid’s night out of having too much fun and possibly drinking.

    But Rem wants to have fun, but at the same time can’t seem to hold down a job due to his motto of trying to do the right thing, and he’s gotten off on the wrong foot with Ariel’s boyfriend Chuck (Connor Going – who strangely disappears during the middle of the show but returns for the finale). The other kids end up getting Rem to speak up for them at the city council meeting to denounce the dancing ban while it’s no surprise that Rem and Ariel have the hots for each other. It’s lots of loose feet, catchy tunes, a hot and sexy cast and way too many crotch jokes that make this version of Footloose a slight winner.

    Gareth Gates looking super hot in the London Production

    The music and the talented cast make the show very entertaining, but the show as a whole could be better. While all the film’s hits are included (“Footloose” of course, “Let’s Hear it for the Boy,” as well as “Holding Out for a Hero”), with some of the arrangements of these songs a bit different than what we’re used to, some of the other songs make a very big thud, including the dismal “Heaven Help Me” sung by Gershon. However, “Somebody’s Eyes” is beautifully sung by most of the cast in a very memorable scene. So while there are more ups than downs, the cast at the end of show work very very hard to get their standing ovation, practically repeating, in very shortened versions, almost every catchy and lively song from the show. And even though Gates gets top billing (and he even takes his top off to reveal an absolutely stunning body), both Dowen and Price are the true stars of the show. Their chemistry on stage is very real – both very good looking with all-American looks. Director Racky Plews and Choreographer Matthew Cole have, almost, done Kevin Bacon proud.

     

    Footloose plays at the Peacock Theatre London

  • THEATRE REVIEW | Outlaws to In-Laws, King’s Head Theatre, London

    ★★★★ | Outlaws to In-Laws

    THEATRE REVIEW | Outlaws to In-Laws, King's Head Theatre, London

    London is very fortunate to have a theatre like the King’s Head because of its repertoire of gay-themed shows. And now it’s in the middle of presenting its LGBT Festival with the showcase of a new play called Outlaws to In-Laws.

    Outlaws to In-Laws attempts, successfully, to depict the experiences of gay men over the last seven decades. And while it’s a subject that would be daunting for any theatre, or playwright, involved, the seven playwrights who wrote the seven shows that cover seven decades of gay life do their darnedest to both entertain and educate the audience. Here are some of the highlights:

    Happy and Glorious – by Philip Meeks – is set in the 1950s on the day of Queen Elizabeth’s coronation where two men fall into a tryst and both their lives change forever.

    Mister Tuesday – by Jonathan Harvey (Beautiful Thing) – Peter and Jimmy have sex, on Tuesdays, but we soon realize that Jimmy is married with children while Peter threatens to blackmail him just so that he can keep the trysts, and possibly more, ongoing.

    Reward – by Jonathan Harvey – a riveting story where a rough and tough skinhead and a young black man meet at a bus stop and fall into a relationship, but it’s illicit one where both of them could be in real danger. Both actors, Jack Bence and Michael Duke, are excellent.

    1984 – by Patrick Wilde – where two men have an encounter, and one of them, a politico for Thatcher, realizes that all that he stands for is soon to change.

    Brothas – by Topher Campbell – where two black men, Dwayne and Remi, have fun cruising on a black dating site, slighting the unattractive ones while favouring the more ‘looking and acting straight’ ones. But it’s Dwayne who’s in it for more than just the sex.

    While most of the stories are very good, what is best about this production are the performances. All seven actors give it their best, but it’s a few of them who really stand out. Bence, as previously mentioned, is highly memorable as the skinhead in Reward and as Peter in Mister Tuesday – both roles require high stakes drama and passion, and Bence delivers, while both Myles Devonté and Duke look very comfortable in their roles in Brothas – they are both naturals in front of the audience.

    Outlaws to In-laws is two hours of theatre that, while a bit cobbled together, is still a very good journey that takes us from decade to decade of gay life linked together very cleverly and showcasing the talent of the playwrights and especially the actors.

    Outlaws to In-Laws is now playing at The King’s Head Theatre until September 23.

    For details of The King’s Head’s other gay production, “Gypsy Queen,” please go here:

    https://kingsheadtheatre.ticketsolve.com/shows/873576764

  • THEATRE REVIEW | Doubt, a Parable, Southwark Playhouse, London

    ★★★★★ | Doubt, a Parable, Southwark Playhouse, London

    CREDIT: Paul Nicholas Dyke

    It’s Autumn 1964 and young priest Father Brendan Flynn doesn’t fit into the spartan and puritanical ideals of the school as run by sour faced Sister Aloysius. He’s all warmth and casual attitude, bouncing a basketball around with the boys. Her view of the school system is one where art is a frippery, the children should be contained and disciplined and pastoral care involves telling people to buck their ideas up. Her ever watchful gaze is centred on Flynn and when a young nun divulges her suspicions of inappropriate behaviour between Father Flynn and a pre-pubescent boy she appears to relish the chance to get rid of him and launches into decisive and cunning action.

    If you want big acting shoes to fill then look no further than ‘Doubt’. This 2005 Pulitzer Prize and Tony Award winning play was made into an astoundingly good film with Philip Seymour Hoffman and Meryl Streep as the warring priest and nun. This version has pulled together an accomplished cast with Stella Gonet as the terrifying yet eminently human Sister Aloysius. It;’s a dense, dialogue heavy play that’s an intense ninety minutes but one that passes in a flash and will set you cogitating as you consider the facets of the situation and the personalities concerned. Oh, as well as thinking about that little matter of the truth. Much like life, there aren’t any wholly good or bad or stupid or clever people only people on a spectrum constantly sliding somewhere between the two.

    The confined space of a fringe theatre like Southwark Playhouse suits this piece as you get to see every thought flit across each face and the intensity ramps up a notch or two. This is a rarity: an entertaining and rousing play that’s also intelligent and thought provoking. Go see it.

    Doubt, a Parable, plays at the Southwark Playhouse, London until 30th September 2017

  • THEATRE REVIEW | Dirty Dancing, New Victoria Theatre, Woking

    ★★★ | Dirty Dancing, New Victoria Theatre, Woking

    Set in the 1960’s, Frances “Baby” Houseman goes to Kellerman’s holiday camp with her family. She befriends the staff of the camp and develops a crush on charismatic dance teacher, Johnny Castle. When Johnny’s dance partner cannot perform at a show at a local hotel, Baby steps in to ensure that they do not lose their jobs. But as Johnny and Baby rehearse, they fall in love and learn more from each other than just the dance moves.

    Based on the hugely popular film of the same name, Dirty Dancing hits the stage with a show which follows the story of the film very closely, with the bulk of the script being comfortingly recognisable from the film. There are some additional scenes thrown in, which mainly expand on the political changes in the 60’s and some which flesh out the relationship between Baby and Johnny; whilst the show’s music came from a combination of both live and pre-recorded tracks, including “Hungry Eyes”, “Love Man” and “(I’ve Had) The Time of My Life”

    Katie Eccles and Robert Colvin took the lead roles of Baby and Johnny, and had some chemistry between them; and they were supported by a broadly competent cast of singers, dancers and musicians. Unsurprisingly, the dancing was better than the acting, but given that the show’s main focus is the musical numbers it doesn’t cause too much of a problem.

    The show has been given a major overhaul and is all the better for it. This production has a vibrant lighting design and has ushered in a luxurious, well designed and thoroughly detailed set which transform smoothly without ever interrupting the story; whilst the show has been sexed up a little with a few more bare chests and muscular arms on display. Overall, the production values here are very high and very impressive.

    But where the show really succeeds is in its ability to bring the movie to life and recreating it on stage. All of the familiar lines, plot points, dance routines and songs are there and there is something very comforting about watching such a faithful recreation of the movie. For those who have not seen the film, the show is a good introduction to the world of Kellerman’s. For established fans of the film, the show will be hard to beat.

    Dirty Dancing is playing at the New Victoria Theatre, Woking until 9th July 2017

    • Review taken from the Sheffield Theatre production