I did take a handful of my own, but a mobile phone really can’t compare to a big professional setup at all. *grin*

King John continues at the Union Theatre through February 11. Tickets are available, but going fast because the show has been getting very good notices. How good? I’ve compiled all the King John reviews so far and will continue updating them as I find more.

Reviews for King John are coming in after the opening weekend, and it’s all good so far.

Here’s the full list of reviews, updated as they come out. Emphasis – where added – is mine.

✰✰✰✰ One Stop Arts: “Director Phil Willmott…has uncovered the farcical comedy of the fight for the English throne in this energetic production…a thoroughly entertaining night which sets the bar for future productions” Tom Oakley at One Stop Arts

✰✰✰✰ Time Out London: “a rip-roaringly fun production” Andrzej Lukowski in Time Out

✰✰✰✰ Exeunt Magazine: “Superb…It would take a better scholar than I to explain King John’s long fall from grace – but there could be no better production than this to argue for its return.” Sarah Perry on Exeunt

✰✰✰✰ Remotegoat.co.uk: “brings the text and the meanings within to the forefront with consideration and precision.” And of course I have to include this comment: “Lighting is appropriate, getting darker and moodier as dark times loom.” Read the full Remotegoat review

✰✰✰✰ Londontheatre.co.uk: “it is the sheer quality of this production that makes Shakespeare’s work shine.”
Peter Brown on Londontheatre.co.uk

✰✰✰ The Guardian: “a revival that is simple and direct, and keeps a firm narrative grip on proceedings…there is pleasure to be had from seeing a Shakespearean play that isn’t over-familiar because of repetition” Lyn Gardener in the Guardian

✰✰✰ The Evening Standard: an “uncluttered, sure-footed take with impressive verse speaking, and…a few cherishable flourishes.” Fiona Mountford in the Evening Standard

✰✰✰The Public Reviews: “a perfect example of how a very well-judged production can illuminate material of any quality.” Ian Foster on TPR (Ian also writes as thereoughttobeclowns)

The Stage: “thoroughly engaging as a vivid anatomy of power and politics in not-so distant times.” Michael Coveney on the Stage

LondonSE1: “bursts at the seams with passion, humour and drama… an evening of memorable and accomplished performances” Read the full SE1 review

British Theatre Guide: “This production breathes new life into the play and makes it for today…Get a ticket while you can. ” Howard Loxton on BTG

Reviewsgate: “energetically enterprising revival…” Full writeup on Reviewsgate

…and a blog post I fund on Notes of an idealist: “Well done to the Union Theatre for putting on something different and worthwhile, and for making a good job of it!” read it all

There’s also production photos to come shortly…

Produced by The Steam Industry and directed by Phil Wilmott, we have reassembled much of the production group behind last year’s hugely popular production of Shakespeare’s “lost” play Double Falsehood.

From the press release: “Combining the sweep of Henry V, the pitch black humour of Richard III, and all the court intrigue of Elsinore, King John is the story of a desperate monarch who will stop at nothing – lies, murder, even outright war – to strengthen his weakening grip on the kingdoms of England and France.”

Although the authenticity of King John is not in doubt (as was the case with Double Falsehood), King John is a decidedly neglected part of the Shakespearean canon, and it will be a unique chance to see “a powerful, fast moving study of a monarchy in meltdown,” which hasn’t been performed in London since the RSC production over a decade ago.

Performances run Tuesday through Sunday, January 17 to February 11, 2012.
Tickets are available now from the Union theatre box office by calling 020 7261 9876 or online via ticketsource.

Many of you also know Mathew Swift, who in his Beardy Challenge hasn’t shaved since January 1, 2011, raising funds for the Willow Wood Hospice which has been supporting his wife Joan as she fights cancers of her own.

I’m going to now give you a chance to support both causes at once.

I’m essentially offering a matching grant: For every pound donated to my Movember campaign between now and the end of the month, I will match that amount as a donation to Mat and Joan. So whatever you donate – £5 or £10 or £50 – to my Movember campaign, I will in turn donate that same amount to the Beardy Challenge*.

Ready? Go!

[*up to a total sum donation of...eh, let's say, £500. If you've already contributed to my Movember campaign, your donation will be included. I'll donate a lump sum in the first few days of December.]

Press night went well, the first weekend is done, and the first reviews are starting to appear on the web.

I’ll update this post as I find more.

✰✰✰from Whatsonstage.com: “there is a genuine sentiment behind this play that makes it touching.”

(I do note the “average reader rating” is a rather more enthusiastic five stars ✰✰✰✰✰ … from a comment describing the play as “cleverly done, hysterical but also very moving.”)  Read the full review

✰✰✰from Exeunt Magazine: “Joe Fredericks’ production excels is in its sense of fun and in its sympathetic portrayal of a relationship that doesn’t quite fit social boxes” Read the full review

British Theatre Guide calls it “a well crafted study of what true friendship means” Read the full review

The Stage seems to be underwhelmed. Not an unfriendly review, but not a rave either, though does speak of “a pleasant blend of humour and sentiment.” Read the full review

Over on his blog, PaulinLondon calls it “a reflective evening at the theatre…[and] an opportunity to catch two excellent performances and some new writing in the West End.” Bit sad he didn’t do one of his audioboo reviews, but still glad he came! Read the full review

Extra! Extra! references “a strong creative team, taut, assured writing and compelling performances” in a lengthy and very positive writeup, touching on loads of detail and nuance, with some excellent analysis that suggests the writer really connected with the show. That’s really nice to see. Have a read.

So, up to you to decide for yourself. Tickets still available via the Jermyn Street Theatre website or call the box office at 020 7287 2875

In a few short weeks I’ll be lighting a new play by David Kerby-Kendall entitled “The Moon is Halfway to Heaven,” playing at the Jermyn Street Theatre near Picadilly Circus.

The play follows Jamie and Paul over the course of an 80-year friendship. “Aged seven, they believe that grown-ups know everything – but as they navigate the trials and joys of adolescence, adulthood and old age they begin to see that we never really grow up.” (Quote from the flyer)

The script is a great read and I’m looking forward to seeing the relationship blossom on stage. I’m also very pleased to be working again with director Joe Fredericks and designer Paul Burgess, recreating the creative team from our successful 2008 and 2009 productions of A Christmas Carol at the King’s Head.

The Moon is Halfway to Heaven plays at the Jermyn Street Theatre
6 September – 1 October 2011
Tuesday – Saturday 7.30pm, Sat/Sun matinees 3.30pm
Tickets: £15.00 / £13.00 concessions.
Earlybird bookings! All tickets £12.00 if booked before 22nd August
To book tickets call 020 7287 2875 or book tickets online via ticketweb

See also:

• The Moon is Halfway to Heaven official website
• Jermyn Street Theatre
• Sally Humprhries Productions

The image links through to the full set.

The Stage – Mark Shenton ‘The Union is fast becoming the National Theatre of fringe musicals…ANOTHER FASCINATING REDISCOVERY…this cheerfully chaotic show about scrapes and japes in the Soho underworld has spit, spivs and spirit…Phil Willmott’s production, and especially Nick Winston’s SPARKY, VIBRANT CHOREOGRAPHY, harnesses its energy perfectly…PLENTY TO RELISH AND RAVISH THE EYE AND EAR’ Full review

✰✰✰ Time Out ‘A tap dance is exciting enough. But tap dancing and playing the spoons? That’s so intoxicating it should be banned…Phil Willmott’s revival refuses to shrink to fit the Union’s small dimensions. It’s got BIG NUMBERS, BIG PERFORMANCES and a pretty BIG HEART…Neil McCall is perfectly grizzled and taciturn as the out-of-time antihero, and Hannah-Jane Fox nails the brittle-but-resilient spirit of his doormat, Lil…FINGS AREN’T ALWAYS AS ENTERTAINING AS THIS’ Full review

✰✰✰✰ The Public Reviews ‘In Phil Willmott’s bright production the CONSISTENTENTLY TALENTED CAST and Elliot Davis‘s BOX-FRESH ARRANGEMENTS bring the songs to life with knuckle-duster punch…if you’re in the mood for a right-old Cockerney sing-song, get dahn the Union, knock twice and ask for Fred” Full review

Broadwayworld ‘Richard Foster-King, whose turn as Horace, the spectacularly camp interior decorator, IS WORTH THE ADMISSION ALONE…a perfect marriage of simple melodies and vernacular speech, told by a cast bubbling with energy, provides AN EVENING OF FEELGOOD FUN as fresh now as it was half a century ago’ Full review

✰✰✰✰ Remotegoat ‘Hannah-Jane Fox is splendid…choreography is excellent…JUST SEE IT. It is worth a few quid of anybody’s money!’ Full review

Extra Extra ‎’Many winning cameos from a MAGNIFICANTLY TALENTED CAST…comical, sentimental and great fun.’ Full review

London Theatre.co.uk ‘Richard Foster-King steals the show as the gangly, polari-speaking interior designer who gives Fred’s joint a fantabluosa makeover…with a VISUALLLY RAUCOUS PERFORMANCE that is QUITE MESMERISING.” Full review

✰✰✰ Exuent Magazine ‘UNIVERSALLY STRONG CAST…Oliver Townsend’s clever set and costumes smartly moves from 50s grey to 60s technicolor, and director Phil Willmott, aided by choreographer Nick Winston keeps the whole thing PACEY AND TIGHT’ Full review

The British Theatre Guide ‘BRILLIANT AUDITORIUM-ENCOMPASSING SET designed by Oliver Townsend, which, together with some risqué costumes, perfectly catch the period and locale…SUBLIME DANCE ROUTINES.’ Full review

Adam Redmore as Henrique

Adam Redmore as Henrique

Jessie Lilley as Violante and Gabriel Vick as Julio

From the press release: “An East End play with music,Fings Ain’t Wot They Used T’Be is about Fred, a loveable rogue, who comes out of prison to find he’s not quite the king of the manor he once was. The tale’s low-life characters include gamblers, spivs, prostitutes, Teddy boys and girls and some not-too-honest police.”

As with my earlier production of Double Falsehood this is produced by MokitaGrit and directed by Phil Wilmott. Choreography by Nick Winston, musical supervision and new arrangements by Elliot Davis, and rounding out the team will be Oliver Francis Townsend doing the set and costume designs.

We’re bringing a bit of lighthearted cockney fun to South London. Come see!

Tickets: £15 (no concessions) – available from the box office on 020 7261 9876 or at www.uniontheatre.biz

Times: Tuesday to Saturday at 7.30pm, Saturday and Sunday at 2pm (no matinee on Saturday, May 14).