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Tag: Theatre Tour

  • THEATRE REVIEW | Art

    ★★★ | Art, Sheffield Lyceum Theatre

    Art centres on a picture. A picture of some white lines. Some white lines on a white background. A picture which costs Serge £200,000. But is it art? His friend, Marc doesn’t think so, but Marc is a traditionalist and not a fan of modern art. Their friend, Yvan, is fairly indifferent, but is too busy focusing on his pending marriage and doesn’t want to offend either of them by agreeing or disagreeing. But over the course of an evening, the debate rages, and the three of them bicker, fall out and deliver some home truths; as the painting proves to me more of a talking point than they expected.

    Mark Thompson’s stage design is deceptively simple. The blank walls, the clean lines and the minimalist furniture all reflect the canvas in question, but looking closer, the set also reflects the three main characters, with three differently styled chairs reflecting each of their tastes.

    With so little on stage, Art heavily relies on its script and performances to hold the audience’s attention over the play’s 90-minute runtime. Yasmin Reza’s script (translated by Christopher Hampton) is wordy, fast-paced and remains sharp and witty, with some nice comedic elements and a satisfying pay off. Nigel Havers is well cast as Serge, carrying an air of superiority and condescension; Denis Lawson satisfies as Marc who favours the traditional over the modern; whilst Stephen Tompkinson upstages both of them, with a surprisingly impressive turn as Yvan, bringing laughter, pathos and emotion to the stage as the piggy-in-the-middle of the bickering group.

    Over 20 years since it landed in the West End, Art remains an enjoyable piece which in itself provokes debate as to whether its real intention is a serious point about the appreciation of art from an individual perspective, whether it is poking fun at the pretentiousness of the superiority that can accompany a highbrow point of view, or whether, Like Yvan, it sits somewhere in the middle.

    Art is at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until Saturday 21st April 2018 before continuing on its national tour. Visit www.arttheplay.com for full details.

  • THEATRE REVIEW | The Little Mermaid – Milton Keynes Theatre

    ★★★★| THEATRE REVIEW | The Little Mermaid – Milton Keynes Theatre

    THEATRE REVIEW | The Little Mermaid - Milton Keynes Theatre

    *This review was taken from the Leeds Grand Theatre review*

    Northern Ballet return with their third new ballet this year, The Little Mermaid. Based on the much loved fairy-tale, the ballet tells the story of Marilla, the little mermaid who dreams of life above the waves, and who falls in love with Prince Adir after she saves him from drowning. But her love is unrequited; as the Prince falls in love with another young woman who he mistakenly believes saved him. Exchanging her tail for legs, and with her voice lost, Marilla sets about trying to win his heart.

    David Nixon’s choreography is well conceived, and executed, with a keen eye for detail and a style that lends itself well to the underwater setting.  The nuances of the choreography are impressive, with a real fluidity of movement in the underwater setting, reflecting life beneath the ocean and the gentle swaying of the current. Nothing stays still underwater, whether it is the beautifully designed flowing costumes, the mermaids held aloft as they weave and bob across the stage, or the ever-active limbs of the ensemble cast, with the sequential movement of the dancers accurately depicting the ebb and flow of the tide. But perhaps the crowning glory to this is Nixon’s use of the ensemble cast at one entity – the sea – and using these multiple bodies as one to form the ocean into a character in itself.

    The original score, which has been composed by Sally Beamish, flits between the primarily light and playful to the romantic and finally to the dramatic, feeling cinematic and engaging. The costumes work very well, with long flowing skirts that accentuate the gesticulation and mobility of the cast. Joseph Taylor was engaging and charismatic as Prince Adair, whilst Abigail Prudames enchanted as the titular character and the delicate movements of the cast as a whole was technically well executed.

    The ballet itself appears deceptively simple.  The demarcation between land and sea seems to be little more than a lighting change, and two large concave structures are used to good effect to set each location; thrusting the narrative to the forefront and portraying that with ease and clarity.  The narrative is decidedly darker than the familiar saccharine Disney version, adhering more closely to the source material, but is all the better for it. What the audience is left with is a production which requires very little thought as a viewer, allowing you to simply be able to be swept away by the music and movement on stage.

    Visit Northern Ballet’s Website for details.

     

  • THEATRE REVIEW | The Little Mermaid – Edinburgh Festival Theatre

    ★★★★| The Little Mermaid – Edinburgh Festival Theatre

    THEATRE REVIEW | The Little Mermaid - Edinburgh Festival Theatre

    *This review was taken from the Leeds Grand Theatre review*

    Northern Ballet return with their third new ballet this year, The Little Mermaid. Based on the much loved fairy-tale, the ballet tells the story of Marilla, the little mermaid who dreams of life above the waves, and who falls in love with Prince Adir after she saves him from drowning. But her love is unrequited; as the Prince falls in love with another young woman who he mistakenly believes saved him. Exchanging her tail for legs, and with her voice lost, Marilla sets about trying to win his heart.

    David Nixon’s choreography is well conceived, and executed, with a keen eye for detail and a style that lends itself well to the underwater setting.  The nuances of the choreography are impressive, with a real fluidity of movement in the underwater setting, reflecting life beneath the ocean and the gentle swaying of the current. Nothing stays still underwater, whether it is the beautifully designed flowing costumes, the mermaids held aloft as they weave and bob across the stage, or the ever-active limbs of the ensemble cast, with the sequential movement of the dancers accurately depicting the ebb and flow of the tide. But perhaps the crowning glory to this is Nixon’s use of the ensemble cast at one entity – the sea – and using these multiple bodies as one to form the ocean into a character in itself.

    The original score, which has been composed by Sally Beamish, flits between the primarily light and playful to the romantic and finally to the dramatic, feeling cinematic and engaging. The costumes work very well, with long flowing skirts that accentuate the gesticulation and mobility of the cast. Joseph Taylor was engaging and charismatic as Prince Adair, whilst Abigail Prudames enchanted as the titular character and the delicate movements of the cast as a whole was technically well executed.

    The ballet itself appears deceptively simple.  The demarcation between land and sea seems to be little more than a lighting change, and two large concave structures are used to good effect to set each location; thrusting the narrative to the forefront and portraying that with ease and clarity.  The narrative is decidedly darker than the familiar saccharine Disney version, adhering more closely to the source material, but is all the better for it. What the audience is left with is a production which requires very little thought as a viewer, allowing you to simply be able to be swept away by the music and movement on stage.

    Visit Northern Ballet’s Website for details.

     

  • THEATRE REVIEW | Quartet – National Tour

    THEATRE REVIEW | Quartet – National Tour

    ★★☆☆☆  | Quartet – National Tour

    Cecily, Wilfred and Reggie are three ageing opera singers, happily spending their twilight years in a retirement home for ageing artists, but their days reminiscing on their time in the spotlight are abruptly interrupted by the sudden and unexpected arrival of Jean, a former collaborator, a fading star and the ex-wife of Reggie. With an opportunity to reform the quartet for one final performance at the home’s annual gala, will old rivalries, old feelings and old friendships stand in the way of their last performance?

    Paul Nicholas’ stands out from the cast with a confident and rather polished performance as the somewhat frisky Wilfred, a character simultaneously brimming with bravado and with insecurities; whilst Sue Holderness plays the somewhat crestfallen soprano, Jean, with an air of believability. Jeff Rawle’s passive to aggressive character transformations are well handled, and Wendi Peters gives a sly wink and a knowing nod to the audience with her portrayal of the slightly eccentric Cecily which stays on the right side of caricature.

    Production wise, the play is set in the confines of a music room at the retirement home; with the wooden panelled walls encasing the sturdy and detailed box-set; which was accompanied by a lighting and sound design which were befitting and perfectly functional. The narrative is based around whether the four singers will perform together, but delve a little deeper and you will find themes of both holding on to, and letting go of, the past; and about moving on from past mistakes.

    This is a very gentile and steady play, with little more to offer its audience than some competent performances and a wordy, and at times, wandering script. Given the setting and the characters, there is little in the way of visual stimulation or on stage movement to engage the audience, and therefore the writing is left to carry the piece; which it does with varying degrees of success. A few moments of comedy were set against some rather dry passages in the script, and the melancholy themes of growing old and facing your own mortality were intermingled with some quick-witted put-downs and comedic one-liners; alongside some subtle and not so subtle humour.

    Quartet is a bittersweet play which is not for everyone. It’s slowly paced and rather sedate, and may well reward the patient audience member, but requires a sharp focus on the script rather than a reliance on the visuals.

    Quartet is currently on national tour

  • THEATRE REVIEW | Strangers on a Train, Sheffield Lyceum

    Strangers on a Train | ★★☆☆☆

    During a chance encounter on a whiskey-soaked train journey, two strangers, Guy Haines, a respected architect and Charles Bruno, a drunken playboy, jokingly plot to commit a murder to assist the other in moving on in their lives. Bruno proposes that Haines kill Bruno’s overbearing father, whilst Bruno himself will kill Haines’ adulterous wife. But what starts out as a drunken joke becomes something more sinister, as Bruno keeps up his end of the bargain and expects Haines to do the same.

    Based on the novel by Particia Highsmith, the narrative of the piece starts promisingly enough, with sufficient threads of the story put forward to generate interest, but the early promise simply isn’t sustained, as the play draws itself out into something over long and turgid, leading to an incredibly dry second act which never even begins to gather momentum.

    Feeding into the dryness of the piece are the performances from the cast which were truly terrible across the board. Jack Ashton is suitably dashing and fares best of the bunch with a rather flat portrayal of Haines, but never comes close to depicting a man whose life is in turmoil as a result of the relentless harassment by Bruno, the murder of his wife or his harboured dark secrets. Chris Harper is just plain irritating rather than menacing, with a pantomime-villain portrayal of Bruno, being more akin to an annoying drunken work colleague at the office party than a scheming manipulator and calculating killer; and Helen Anderson’s over the top histrionics as Elsie Bruno were sharply juxtaposed with the stiff, wooden delivery of Hannah Toiton as Haines’ new wife.

    Anthony Banks’ direction is sadly lacking, and manages to produce a play with no drama, no tension, no menace and no pace. The set, comprising of a series of sliding panels, projections and micro-sets looked lavish and generally worked well, which was the saving grace of the production; but sadly a flashy set design is not enough to prevent this thrill-less thriller from coming off the rails.

    Strangers On A Train is currently at Sheffield Lyceum before continuing on its national tour until 31 March 2018; calling in at Glasgow, Birmingham, Manchester, Woking, Richmond, Cambridge, York, Aylesbury and Cardiff.

  • THEATRE REVIEW | The Nutcracker, St Petersberg Ballet, Sheffield Lyceum

    ★★★☆☆ The Nutcracker | Sheffield Lyceum

    Formed in 1996, the St Petersberg Classic Ballet brings the classic ballet, The Nutcracker, to life with this traditional presentation. The ballet, set to the instantly recognisable score of Tchaikovsky, tells the tale of Clara as she is whisked off to a magical land by a nutcracker prince to celebrate the defeat of the Rat King.

    If you want to extend your Christmas by seeing this traditional festive treat, then this production is very much rooted in the archetypal school of ballet, with tutu’s and tights aplenty; a static set of rather plain backdrops with a virtually non-existent use of props and a dance space which allowed for an impressively performed display of the type of technically competent dancing you would expect from a Russian ballet company.

    As a whole, the company’s performance was enjoyable and well executed. There were some aspects which were handled very well, including the snowflake scene at the conclusion of the first act, with a very full stage of dancers in a flurry of mesmerising rhythmic and tightly controlled waves of movement, an energetic Dimitriy Popov standing out as The Mouse King and a tremendously hypnotic performance by Kana Fujise as the Eastern Dancer, swathed in an almost dreamlike vision of swirling, vivid orange robes.

    There were some creative choices which didn’t sit easily, primarily the addition of four male dancers to the pas de deux between the Prince and Clara, which seemed to detract from the characters relationship; and the very limited set didn’t assist in setting the scene, especially during the second act. The show did lack some of the narrative flair that I have seen in other productions of this ballet, and at times the emotions of the characters did not come across subtly, primarily due to the fixed smiles of the dancers who appeared so focussed on their dancing that the conveyance of the characters personalities seemed to be forgotten.

    Quibbles aside, the show provided a pleasant evening at the theatre. Undemanding, enjoyable, relaxing and easy to watch. There was nothing innovative in this production which brought anything new, dynamic or particularly different to the ballet itself;  but if you are seeking a very traditionally performed, accessible ballet in the classic style, then the St Petersburg Classic Ballet could well be just what you are looking for.

    The company is performing The Nutcracker at Sheffield Lyceum until the 13th January 2017 (see www.sheffieldtheatres.co.uk for details) before visiting a number of venues around the country with their trio of ballet’s, The Nutcracker, Giselle and Swan Lake, until the end of February 2018. Visit www.pmbpresentations.com for details.

  • THEATRE REVIEW | The Little Mermaid – Leeds Grand Theatre

    ★★★★| The Little Mermaid – Leeds Grand Theatre

    THEATRE REVIEW | The Little Mermaid - Leeds Grand Theatre

    Northern Ballet return with their third new ballet this year, The Little Mermaid. Based on the much loved fairy-tale, the ballet tells the story of Marilla, the little mermaid who dreams of life above the waves, and who falls in love with Prince Adir after she saves him from drowning. But her love is unrequited; as the Prince falls in love with another young woman who he mistakenly believes saved him. Exchanging her tail for legs, and with her voice lost, Marilla sets about trying to win his heart.

    David Nixon’s choreography is well conceived, and executed, with a keen eye for detail and a style that lends itself well to the underwater setting.  The nuances of the choreography are impressive, with a real fluidity of movement in the underwater setting, reflecting life beneath the ocean and the gentle swaying of the current. Nothing stays still underwater, whether it is the beautifully designed flowing costumes, the mermaids held aloft as they weave and bob across the stage, or the ever-active limbs of the ensemble cast, with the sequential movement of the dancers accurately depicting the ebb and flow of the tide. But perhaps the crowning glory to this is Nixon’s use of the ensemble cast at one entity – the sea – and using these multiple bodies as one to form the ocean into a character in itself.

    The original score, which has been composed by Sally Beamish, flits between the primarily light and playful to the romantic and finally to the dramatic, feeling cinematic and engaging. The costumes work very well, with long flowing skirts that accentuate the gesticulation and mobility of the cast. Joseph Taylor was engaging and charismatic as Prince Adair, whilst Abigail Prudames enchanted as the titular character and the delicate movements of the cast as a whole was technically well executed.

    The ballet itself appears deceptively simple.  The demarcation between land and sea seems to be little more than a lighting change, and two large concave structures are used to good effect to set each location; thrusting the narrative to the forefront and portraying that with ease and clarity.  The narrative is decidedly darker than the familiar saccharine Disney version, adhering more closely to the source material, but is all the better for it. What the audience is left with is a production which requires very little thought as a viewer, allowing you to simply be able to be swept away by the music and movement on stage.

    The Little Mermaid is at Leeds Grand Theatre until 17th December 2017, before moving on to Edinburgh, Milton Keynes and Leicester in the New Year. In 2018, Northern Ballet will be touring with a Mixed Programme, Jayne Eyre, The Three Musketeers and The Nutcracker. Visit Northern Ballet’s Website for details.

     

  • THEATRE REVIEW | Legally Blonde – Sheffield Theatres and National Tour

    ★★★ | Legally Blonde – Sheffield Theatres and National Tour

    With a penchant for pink, an encyclopaedic knowledge of fashion and an excitable outlook on life, sorority sister Elle thinks she is about to get engaged to her sweetheart and live out a life of pink, fashion-filled happiness. But instead of proposing, he dumps her for not being serious enough, and she decides that the best way to win him back is to follow him to Harvard and graduate in law. Despite not being the average Harvard student, she soon surpasses everyone’s expectations and earns a place on her law professor’s internship, where she helps to represent a famous fitness guru who is charged with murder. But can Elle prove her worth in the courtroom, or will she forever be perceived as being Legally Blonde.

    Based on the hit 2001 film, this show has all of the usual musical elements present and correct. From cheerleading sorority sisters to the sleazy law professor; this feel-good musical has a will they/won’t they love story, an underlying moral message about being true to yourself and plenty of fun to be had along the way.

    Lucie Jones (X-Factor) is surprisingly impressive as Elle Woods, performing the lead role with a fine voice and a natural and affable stage presence. Rita Simons (Eastenders) provides strong support as Pauline, Elle’s hairdressing friend, and plays the part with just enough of a tongue-in-cheek feeling to pull off the role; and the ensemble cast give it their all whilst constantly looking like they’re having fun

    Unlike many musicals, Legally Blonde has a stronger second act and doesn’t sag in the middle, meaning that whilst the show doesn’t endear itself to you from the outset, the writing, pace and momentum keep building until you do eventually fall for its charms. At times, the show is not too far away from a sing-through musical; with a barrage of songs which are catchy, if ultimately forgettable, and that progress the narrative nicely. The musical numbers are varied, fun, colourful and broadly energetic with musical highlights including a courtroom witness dilemma and trying to decide Is He Gay or European, an eighties style workout number in Whipped Into Shape and a cheerleader ensemble in What You Want.

    Legally Blonde is a fairly shallow piece of fluff, which has an abundance of bubble-gum pink and giggly sorority sisters, but also has with it an infectious feel; a vibrant energy, good-natured humour, plenty of colour and, most importantly, lots of fun. The production is bold, brash, camp and loud, and whilst this is not life changing theatre (and it never pretends to be), it serves its role as a rather enjoyable couple of hours of escapism.

    Legally Blonde is currently playing at Sheffield Theatres until the 4th November 2017 before continuing on its national tour through to June 2018.

  • THEATRE REVIEW | Cabaret – Leeds Grand Theatre and National Tour

    ★★★★ | On New Year’s Eve in 1938, American writer Clifford Bradshaw arrives in Berlin, and finds his way to the Kit Kat Club, a burlesque club hosted by the enigmatic Emcee, where the fluidity of sexuality, gender and sexual expression flow as freely as the gin. There he meets Sally Bowles, an excitable, if naïve, English woman, who performs at the club; and the two of them embark on an affair. But as the Nazi party rises to power, their friends both at the club and within the community find that their lifestyle places them all at risk as the nation starts to divide.

    THEATRE REVIEW | Cabaret - Leeds Grand Theatre and National Tour

    Starring Will Young and Louise Redknapp, this classic musical written by Kander and Ebb, needs very little introduction. Including the songs “Money Makes The World Go Around”, “Maybe This Time”, “Tomorrow Belongs To Me” and “Cabaret”, the show contrasts the bright lights of the carefree club with a story which has a surprisingly dark streak to it.

    The first act is awash with exuberant musical numbers, performed in a classic burlesque style; with the stage glowing in gold and orange lighting, and with an abundance of scantily clad and ridiculously attractive dancers, showing off a plethora of muscular pecs, torsos and biceps. The indulgence and pleasure of the Kit Kat Club then yields in the second act to a darker and more emotional story as the rise of fascism takes hold, impacting on the free-living community of the club.

    Will Young excels in his portrayal of Emcee; making his performance seem effortless and natural and injecting the role with just the right balance of humour, ambiguity and campness to be charismatic and alluring. His performance of the shows musical numbers is excellent, especially in opening the show with “Wilkomen” and in a haunting rendition of “I Don’t Care Much”. Louise Redknapp has her moments as Sally Bowles, and to her credit can belt out the show’s tunes, but her acting ability does not shine through and any stage presence that she may have gets lost amongst the charismatic cast; whereas Charles Hagerty provides solid and tuneful support in the role of Clifford Bradshaw

    The show is well staged, with a beautiful cast, thoughtful and interesting choreography and an impressive lighting design. The set is relatively stripped back giving the whole production a feel which is not too dissimilar to Kander and Ebb’s other musical, Chicago. It is beautiful to look at and Rufus Norris’ direction keeps the show moving along nicely.

    The revival of this production is timely, to say the least. With the recent resurgence in far-right political parties, the treatment of the gay community in Chechnya and with homophobic hate crimes reported to be on the rise, the show maintains a strong message about the impact of passivity and naivety to these issues on the gay community; a message which continues to resonate with audiences many years after the show was first performed.

    Cabaret is currently playing at Leeds Grand Theatre until Saturday 28th October 2017, before continuing on its national tour, calling at Milton Keynes, Manchester, Edinburgh, Bromely, Dublin and Brighton. Visit the tour’s website for details and tickets.

  • THEATRE REVIEW | The Kite Runner, Sheffield Theatres

    ★★★ | The Kite Runner 

    THEATRE REVIEW | The Kite Runner, Sheffield Theatres

    Set against the historical backdrop of social and political change in Afghanistan, The Kite Runner tells the story of Amir and Hassan, who are best friends despite their difference in religion, class and social standing. The pair are inseparable, until Amir stands by as a shocking event tears apart their world and their friendship. But as the years pass, Amir has the opportunity to redeem himself and redress his guilt in a way which he would have never imagined possible.

    The play is based on the best-selling book by Khaled Hosseini and is a heart-breaking tale of friendship, betrayal, divided loyalties, family acceptance and social pressure. It also touches on themes of culture, religion, terrorism and of the life experienced by a country faced with invasion, dictatorship and war. Whilst the central the themes are numerous and remain relevant, the staging is stripped back and straightforward; and the whole show is presented with no fuss or spectacle, which allows the writing, script and narrative to shine through. The play’s strength lies in its flowing language which reflects the source material and, as you listen to the actors, you feel like you are reading a book. The addition of traditional Afghan instruments providing an atmospheric, minimalist soundtrack which enhances the uncluttered approach and provides a real atmosphere to the proceedings.

    In terms of performances, David Ahmad was broadly engaging in his performance as the narrator and protagonist, Amir, although never fully convinced in terms of his emotions; whilst Jo Ben Ayed provided a subtle turn as the meek and withdrawn Hassan. Standing out from the ensemble cast was Emilio Doorgasingh as Baba, Amir’s father, with a commanding and intimidating stage presence befitting of his character.

    It is an ambitious play which encompasses many themes and many key aspects of the character’s lives over a number of years, meaning that there is a lot to get through, and the second act does feel slightly crammed and borders on being a little overlong towards the end; but the story overall remains absorbing and holds the attention.

    The Kite Runner is a visually restrained production which provides for a thought-provoking, relevant and touching story which carries with it a lot of emotion.

    The Kite Runner is at Sheffield Theatres until 21st October 2017 before continuing on its national tour.

  • 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.