Morgana Robinson’s The Agency ~ Episode Review

The first episode of Morgana Robinson’s The Agency burst onto BBC Two on Monday 26 September and it was television comedy gold. Robinson is a gem of a mimic and has selected a fabulous mixture of celebrities to put under Mann Management!

Morgana as Gregg Wallace

There’s Mel and Sue, who play Connect Four while Mel’s husband takes himself to bed! Miranda Hart is bouncing around the agent’s office, trying desperately to convey that she no longer does the ‘stuff’ that she became renowned for doing in her popular television series. The likeness to Adele is brilliantly pulled off as well as the voice, and Natalie Cassidy is probably one of my absolute favourites. The put upon Eastenders star spends much of the episode excited about the impending National Television Awards and the rest of it staying at home with her father while her sister takes her place! Then there’s Fearne Cotton, mannerisms and voice are spot on and the spiel about Fearne meeting her sixteen year old self and congratulating her was hilarious.

Programme Name: Morgana Robinson’s The Agency - TX: n/a - Episode: n/a (No. Episodics) - Picture Shows: Episodes 1, 2, 3, 4, 6 & 7 Adele (MORGANA ROBINSON) - (C) Happy Tramp - Photographer: Matt Leete

Not only is Robinson adept at impersonating current female celebrities, but she’s also having a crack at the males too! Gregg Wallace was an inspired choice and his scene was one of the highlight for me. Danny Dyer was not her strongest impersonation, but it’s still obvious who she’s supposed to be taking off and the storyline that’s used for him is inspired.

This laugh a minute comedy show is what has been missing from mainstream telly, it’s witty, well written and this lady’s abilities are seemingly endless. I can’t wait to see what else she has in store for us and I can’t wait for next week’s instalments. Thank you, BBC, more of the same, please!

Photo credits: BBC

Spotlight On… Star of Malvern Theatres’ Sleeping Beauty, Gillian Wright

Sleeping Beauty runs at Malvern Theatres from 15 December 2016 to 8 January 2017, for more information and to book your tickets for this fabulous family pantomime, follow this link:

The character of Carabosse is the equivalent of Maleficent in the pantomime version of Sleeping Beauty, produced by UK Productions. Would you believe that Eastenders’ very own Gillian Wright (Jean Slater) is stepping into the shoes of the wicked ‘fairy’? I think she’s going to be brilliant and I enjoyed a chat with the lady herself:

Hello Gillian, thank you for chatting to Break A Leg, so first of all tell me, have you played a baddie before and do you enjoy playing the baddie?

Yes, I have played the baddie before and I really enjoy playing the villain!

Do you prefer playing a wicked character?

I have played a few good fairies before, but I do prefer playing the baddie because you get more meatier stuff to do. Although I think playing both the good and bad roles are great to do, pantomime is special.

How does being in pantomime compare to other stage work such as How The Other Half Loves, which you’re currently appearing in?

Well, How The Other Half Loves is a comedy so there is a lot of laughter and it’s very rewarding to be in something where you get a good audience reaction. I’ve really been enjoying this and it’s not every day you get to do an Ayckbourn, which is rewarding in itself and requires you to be rigorous because the script is so tight. Pantomime is a particularly different style of work, but hopefully we’ll get a good amount of audience participation.

The cast of Sleeping Beauty are getting ready to take Malvern Theatres by storm!

Moving on to your career as a whole, what has been your absolute favourite role to date?

That is a difficult question, but I really like what I’m doing now (playing Mary Featherstone in How The Other Half Loves) she’s a very nervous character and she has quite a big journey in the play. I know I will love playing the baddie again, though and I’m looking forward to starting panto. Of course, I was very lucky with the writers in Eastenders, they wrote very well for my character and that was a privilege to play.

Of course, you were Jean Slater in Eastenders, how did you find that experience?

I had a lot of support, especially when I first went in originally all those years ago. Obviously you do your own research and your own homework, but I had support from somebody who suffers from Bipolar and he was always on the end of the phone for me. I needed him less and less as the role went on, but to begin with I needed his help to understand and he was very good at telling me what the darkness would be like.

I think that mental health issues now are a bit more openly discussed and it’s not quite something to be ashamed of quite so much anymore.

Finally, what would you say to encourage people to buy a ticket and come to see you and the rest of the cast in Sleeping Beauty?

For those people who have never seen a panto before, it’s such a British tradition and it’s one of those things that’s on your Christmas list of things to do. I’ve got a really good feeling, especially now I’ve met some of the cast, today, and I’ve performed with Quinn Patrick (playing Nurse Nelly) last year and we had so much fun together. For those who have seen panto, it’s got everything in it, this should exhilarate you, have you laughing, hopefully some of the little ones will be scared because I think it’s equally important for them to be scared of me. Then there’s the romance of the story and the wishes, hopes and dreams. I also think that seeing a panto is part of Christmas and as important as Christmas dinner!

I’d like to thank Gillian for chatting to me at Malvern Theatres on 30 August, it was a real pleasure to meet her and I look forward to booing and hissing her in December!








Spotlight On… Star and Writer of Kissing The Shotgun Goodnight, Christopher Brett Bailey

Kissing The Shotgun Goodnight runs from 6 – 11 October 2016 at The Ovalhouse Theatre, for more information and to book tickets, visit this link:


I interviewed actor and writer, Christopher Brett Bailey, here’s what he had to say…

Thank you for chatting to Break A Leg. Tell me about the piece and your inspiration for it

The piece is an avant-garde rock concert & experimental text collage in response to the worship of life and fetishisation of death. It’s a poem on the topic of self-destruction, a portrait of a mind ravelling and unravelling ad nauseum, and a sonic journey of beautiful music and ear shattering noise.

Was it easy to translate from page to stage?


Did you have any ideas about what you wanted to bring to the role(s)?

I will be appearing onstage as myself, so there’s little in the way of acting preparation… Usually when I am onstage as myself I am simply pretending as though I’m not nervous. and I usually try to make my accent a little stronger.

How does the space lend itself to the piece?

This piece has been designed for the Ovalhouse stage and has a lengthy installation process, which is a sick sick luxury I’ve not had before. If you’re reading this and live in one of the other towns we will be touring to… I’m sure it will look great in your town too!

What would you say to encourage people to buy a ticket?

I would say “if you like the look of it and think it might be for you and are free on the date please do come along. If you absolutely hate it I may not be allowed to refund you the money but I promise to apologise profusely, take your address and post you a gift of equivalent value!”

Finally, any advice for budding writers / performers?

Oh man, I am definitely still in the budding phase myself! If you have any advice please do send it my way! Uhh hang on, I do have one bit of advice actually… don’t take a writing class, ever. They’re a waste of money. Especially if I am teaching.

Thanks to Christopher for a great interview, wishing every success for the production!

Spotlight On… Star of Dead Sheep, Carol Royle

Carol Royle is currently starring as Elspeth Howe in Dead Sheep at Birmingham Repertory Theatre, until Saturday 1 October 2016 and then continuing on a UK tour.

I chatted to Carol and found out all about the show, her character and what it’s like to play opposite a man dressed as Margaret Thatcher.

Thank you for talking to Break A Leg, Carol, first of all tell me about your character, Elspeth and what you thought of the script when you first saw it.

The Director, Ian Talbot, asked me to do this, earlier on in the year and I wanted to work with Ian again, we’d done Midsummer Night’s Dream together at Regent’s Park when he was running the Park and he was also playing Bottom. That was back in 1986 and when he asked me to return to the Park again, for one reason or another I wasn’t able to so when Ian came to me and asked to do this I probably would have done it without reading the script, to be quite frank. Of course, one needed to see the script and to know the character. When I read it and saw that Elspeth was what one might call a character part I jumped at the opportunity and was thrilled. Elspeth Howe is not essentially like me and these are the kind of roles that these days, I am very attracted to, I’ve always been attracted to them actually, but you’re not always given the opportunity to change your appearance or your personality. When you’re younger, for example you’re cast in the way that people perceive you to be. To play a character like Elspeth which is a real life character, I’m finding very interesting to do.

I did a lot of research on Elspeth, there’s a lot of photographs of her but there are no clips to give any indication of what she sounds like. I was lucky enough to speak to someone who knows her, a relative of her’s and he was able to tell me about how lovely she was and how down to earth she was, which gave me a little clue of what she was like, you didn’t have to make her into Boadicea. Obviously there is a certain perception of her because she was a strong woman, but she was a strong woman because of what she’d come up against and not necessarily because that was what she was like, nobody is completely one dimensional. Speaking to her relative gave me a few dimensions to base my character on.

With regards to the way she spoke, I knew that she came from a fairly aristocratic background, although I am a Yorkshire woman and a scot by blood, I was brought up with an RP accent, so that’s not difficult. I also know that she is related to Camilla Parker-Bowles, so I thought that in this case, rightly or wrongly, I’m going to give her a little bit more of an RP, a tiny little bit more RP than I am, to give that flavour of her being of that ilk.

Were you familiar with the political events of that decade?

It was there going on while I was in my thirties, although I was very preoccupied with my new child and work. Although I’ve always been politically minded, I didn’t watch News 24 all the time, so although I was aware of all that stuff I hadn’t studied it so it’s been quite good for me to go back and get into the fabric of what was going on.

It’s quite a current topic, considering that this was decades ago, isn’t it?

It’s quite extraordinary as the content of the play is the opposite to what’s happening now. We had a woman coming out of power and we were going into what was then known as the Common Market. Now we’ve got a woman who’s gone into power and we’re going to come out of what is now known as the EU. So it’s quite bizarre that it’s a parallel universe with this play.

What did you think when you knew that Steve Nallon was playing the role of Margaret Thatcher, were you familiar with his impersonation of her?

I had a lunch with Johnny Maitland, the writer, soon after Ian Talbot has asked me to play the part and he had told me about the decision to cast Steve. Funnily enough I used to watch Spitting Image a lot because I went to drama school with a guy called Enn Reitel, Enn used to be on Spitting Image and was a marvellous mimic and impersonator. He was and still remains a very good friend of mine, he spends most of his time in America now. When I met Steve, we had Enn in common.

Do you, like the audience, find it quite spooky how accurate Steve is when he plays the part and you’re playing opposite him?

I think that because it’s so good, you find that you’re not thinking about it, although the spooky bits occur when he/she is playing the venomous side of Margaret. I don’t think about the fact that it’s a man playing a woman at all, anymore.

What do you think the audience will take away from this piece?

It seems to be getting really good reactions, partly because the people that are coming to see it are interested in it and are therefore aware of the subject and because of their awareness they are getting the most out of it. Then we’ve had people coming to see it who weren’t even born during the period who I met after the show the other night and they really enjoyed it too which was good to hear. It was good to hear that people could enjoy it without necessarily knowing about the politics at the time. What our audiences will take away with them I hope is an evening that has been amusing and perhaps at moments slightly tear jerking. There’s also the knowledge of what it was like to be a human being like Geoffrey, he was clever and had everything that it took to be a high ranking politician without the dazzling element.

Finally, what would you say to encourage people to buy a ticket to see the play?

If you’re interested in the period or even if you’re not and you want to know more about it and you want to have an evening which encompasses laughter and tears, it’s an evening of tragicomedy.

I’d like to thank Carol for her time and wish her all the best with the rest of the tour! 





Spotlight On… Writer of Acedian Pirates, Jay Taylor

The Acedian Pirates will run at Theatre503, The Latchmere, 503 Battersea Park Road, London SW11 3BW  Wednesday 26th October – Saturday 19th November 2016 Press Night: Friday 28th October, 7.45pm. Click here for more information and to book tickets:

The Acedian Pirates is the debut play from Jay Taylor (Nell Gwyn, Wolf Hall, Bring up the Bodies) which challenges our understanding of mythology and forces us to ask vital questions about military occupation.
Jacob doesn’t know why he’s here. He’s been at war for six years but nobody will tell him why.  They get asked when they sign up what they want to do for the Capital State and they reply ‘Fight. Help. Assist. Do some good.’  But they’ve been helping for thousands of years and they’re still at war.
The Acedian Pirates looks at the struggles of a unit of soldiers who are desperate to return home but new arrivals puts this in jeopardy.  Where are they, who are they and why are they even fighting?
As loyalty and friendship conflict with the military necessity for obedience, this production challenges the humanity and logic of military occupation and the jingoism and bluster that defines the armed forces.

Here is my interview with writer, Jay Taylor…

Hi Jay, thank you for talking to Break A Leg. Tell me about The Acedian Pirates and your inspiration for it.

The Acedian Pirates is a black comedy about military occupation and the moral conundrum of armed intervention. It is centred around a fictional war and incorporates reinvented aspects of classical mythology such as the abduction of Helen of Troy.

It sounds crap when I say it like that, but (I hope) it will be dark, funny, moving and provocative!

Was it easy to put down on paper?

I started writing this play in 2012 and, even though I obviously haven’t been working on it that whole time, it has felt like a lot of work to get to this point.

The initial idea came out of a desire to investigate exactly when it is deemed morally appropriate to intervene in a conflict and why. The Arab Spring had left a lot of instability across the Middle East and Northern Africa, and I felt compelled to write about the ethical/moral case for war.

The first draft came very quickly, I think I finished that in a couple of very intense days, but that version is unrecognisable from the version we are staging at Theatre 503. The drafting process has been exhausting and continues to be so…

Even though the rehearsal draft has now gone out to the actors, I am still writing new dialogue and making cuts and reserve then right to do so even on press night. They’re going to HATE me.

Is it translating well from stage to page?

Our rehearsals don’t start until October 3rd, so I am not sure how to answer this one!

We did a two-day workshop of this play at my drama school, which was a fascinating and brain-frying process. I felt emotionally drained at the end of each day! It was as if we’d spent all day trying to untangle a massive ball of string and by the end of the day, we had just about found the ends (in a good way). It was really the first time I’d ever heard those words aloud, and it was brilliant to see how specific and dynamic the writing has to be, in order to work. And a lot of it didn’t! But that’s the point of a workshop, I suppose.

How is the space lending itself to the piece?

Theatre 503 is a fantastic stage for new work. It’s a warm and intimate space, but there are obviously limitations to what you can achieve in a small theatre. That said, we have an incredible creative team.

Bobby Brook, Tara Finney and Helen Coyston (director, producer and designer, respectively) have collaborated in an amazing way to create a very ambitious staging with incredible imaginative flair. I think it’s going to be very cool and hopefully unlike anything that has been seen on the fringe for some years.

What do you hope the audience will take away from the piece?

I hope that the audience leave the theatre questioning the moral case for military intervention.

There are two cases that I often cite as being polar opposites and are therefore pertinent to my play, with the first being British decision to declare war on Germany in 1939 in order to defeat fascism. The second, by contrast, is the decision to wage an illegal and unsanctioned war in Iraq in 2003 and the subsequent uses of force in Libya, Syria and Afghanistan. Two very different outcomes, but essentially the same question at their core: should we use military aggression to protect those being persecuted in other countries?

The play is also about debunking the mythology of conflict, so I would hope that the audience will consider how much they actually know about the reality of invasion and occupation and how much of that knowledge is simply nostalgic propaganda that serves the cause of the military machine.

Any advice for budding writers?

My first piece of advice for budding writers (bearing in mind that I am still one myself) would be an old cliché that a writer friend said to me, when I told him I was having trouble getting past the 30-page mark. He said, ‘Don’t get it right, just get it written.’

Persevere with a project and attempt to get through to the end of the story rather than constantly refining the first few scenes. That way you will eventually have a lot of raw material, which is great for the drafting process. The alternative is that you have a cracking prologue, two more great scenes, one that’s ok and nothing else. So, my advice is just to try and get to the end.

My second piece of advice is write something every day; doesn’t matter if it’s a paragraph or a whole play. Try to get something down, even on days where you feel a bit uninspired. You never know what might happen.

Thanks Jay for an extremely informative interview, all the best with the production!



Dead Sheep ~ Birmingham Repertory Theatre

Dead Sheep is at until Saturday 1 October 2016 and continues to tour the UK afterwards, tour dates and more information can be found here:

Star rating: ****

A political play based around the Conservative party didn’t necessarily sound like my glass of Drambuie. However, with a stellar line-up which included Paul Bradley, Carol Royle, Graham Seed and Steve Nallon in the cast, amongst others was a more inviting prospect. The thought of the Iron Lady, Margaret Thatcher being played by a man sounded somewhat akin to Pantomime Dame, but I didn’t bank on the brilliance of Steve Nallon who is known for providing the voice of the late Baroness Thatcher. Therefore, this production came as a pleasant and indeed powerful surprise to me.

The story focuses on the relationship between Thatcher and Geoffrey Howe (Paul Bradley), Foreign Secretary, the influence of his wife Elspeth (Carol Royle) and the events which ultimately led to Howe’s resignation from the government. Jonathan Maitland who wrote the piece decided on the title Dead Sheep following a statement made by Denis Healey “being attacked by Geoffrey Howe is like being savaged by a dead sheep”. Howe’s charisma, or lack there of is certainly put under scrutiny as he blends in benignly and serves Thatcher obediently until they lock horns on the subject of Europe. His fate is sealed, as a change in the cabinet is instigated by the Prime Minister and Howe is relegated to Deputy Prime Minister. His wife, Elspeth remains at his side, her own principles unwavering as she campaigns for rights for women and the homeless. In fact, the play explores the relationship between Margaret and Elspeth, from their hand shake which the latter would not be ‘moved’ by, to Mrs Thatcher’s enquiries about her welfare, through clenched teeth, during interactions with Geoffrey.

The cast in action

The cast are a delightful combined force, this is an ensemble piece, regardless of the dominance of The Prime Minister who could not have been played by anyone better than Nallon. His portrayal of her is quite disconcerting in the nicest possible way, from the steely glare to the familiar gait, plus the voice is perfectly mimicked. Paul Bradley is a fantastic choice for the role of Geoffrey, he has the ability to adapt the character depending on the scenario and seemed a natural in the role. Carol Royle was wonderfully dominant and supportive as Elspeth, she and Bradley formed a formidable duo and her interactions with Nallon were a work of art. One of Royle’s strengths is conveying so much without saying a word. Christopher Villiers took on a range of characters, including Bernard Ingham, who he particularly delighted the audience with his portrayal of. Graham Seed played each of his many roles brilliantly, he moved seamlessly between Ian Gow, Nigel Lawson and Minister 3 and at no point did I question which one he was. John Wark was similarly able and his performance as Brian Walden was a real highlight.

Ian Talbot OBE has directed an important piece of theatre, innovatively and creatively. The set design is quite something, too, it envelopes the piece and although it’s a fairly static backdrop, it lends itself to the various scenes.

Mrs Thatcher (Steve Nallon) looks on as Geoffrey Howe (Paul Bradley) makes his exit speech

There is a good deal of humour injected into the play, all of the cast have comic timing which matches the pace of the script. Despite the casting of a Spitting Image impersonator in an iconic role, the character is not exaggerated, and at no point did I consider that this was a man playing a woman, either. It’s worth noting that although It’s set in the 80’s, the topics raised are as current today as they were back then and that is one of the many strengths that Dead Sheep has to offer.



10 Interesting Facts About London’s West End

*** Guest Blog by ***

Quite apart from being one of the top tourist attractions in London, the West End is part of the fabric that holds the ‘Big Smoke’ together. For centuries the West End has held a pivotal cultural importance in the capital city and is soaked in the kind of history and symbolism that entrances millions of visitors every year. Such a heritage brings with it countless fascinating stories, and here are some of the most incredible facts about London’s West End.

  1. The Garrick Theatre on Charing Cross Road was opened in 1889, but its construction was delayed and became extremely complex after an underground river was discovered during excavation for the foundations of the building.
  2. Mousetrap is the longest running play in the West End. With over 26,000 performances the Agatha Christie murder mystery play has run continuously since 1952 when it opened at the Ambassadors Theatre. It is currently showing at the St Martin’s Theatre where it was first transferred in 1974.
  3. The longest running musical in the West End is Les Misérables, which opened in September 1985. It has run continuously ever since, overtaking Cats as the longest running production in 2006. It is currently staged at the Queen’s Theatre on Shaftesbury Avenue, where it celebrated its 30th anniversary in 2015.
  4. Another name for the West End is ‘Theatreland’ and the boundary of this is generally accepted as being from The Strand in the south, Oxford Street to the north, Regent Street to the west and Kingsway to the east. However, some landmark theatres are included within the ‘West End’ which lay outside of this boundary, such as the Apollo Victoria Theatre.
  5. Many famous West End theatres are thought to be haunted, but most stories surround the Royal Drury Lane Theatre, which is thought to be haunted by several ghosts. Most sightings surround the ghost of actor Charles Macklin, who is said to be a ‘tall, thin and ugly’ ghost with a bad temper.
  6. West End theatres come in all shapes and sizes, and many have been refurbished, rebuilt and extended many times. However, you could fit the entire 432-seater Fortune Theatre, opened in 1924, onto just the stage area of the Dominion Theatre.
  7. It is believed that the very first theatre in London was opened in 1576 and was simply named The Theatre. However, the first theatre in the area now known as the West End was the Theatre Royal, which was opened in 1663.
  8. Floods were not unusual in the 18th and 19th centuries, but did you know that the Dominion Theatre on Tottenham Court Road stands on the site of the Great Beer Flood of 1814? Eight people died when 570 tonnes of beer crashed through the walls of the Horse Shoe Brewery, and while injuries were sustained by the 15 foot waves created in the streets, it is believed some people were also crushed by the rush of people drinking free beer off the streets.
  9. The story of Peter Pan; or the boy who never grew up, has been adapted on to the West End stage several times at many different theatres, most recently the Adelphi theatre, but did you know that Great Ormond Street Hospital owns the copyright to the story, after author J.M. Barrie gifted the rights to the hospital in 1929, eight years before his death? Sales of the story in various formats have since earned the hospital millions in vital revenue.
  10. During the Second World War a total of 167 bombs were dropped on the area known as the West End.

This article was written by Box Office Theatre Tickets – buy your London theatre tickets from today!

Casualty ‘Schoolboy Crush’ ~ Episode Review

Where do I start with this week’s episode? The fact that Duffy (Cath Shipton) is obviously making a subtle play for Charlie (Derek Thompson) (only it’s not that subtle to us viewers!). Two of the fantastic guest actresses in the form of Sheila Reid of Benidorm fame, playing  a character called Sheila, with a cat called Sheila, as well as Liza Goddard as Gloria, an old crush of Charlie’s. Or the fact that David (Jason Durr) and his slightly estranged son stood atop Holby City Hospital and shouted “I have Bipolar!”. Spoiled for choice with what to gush about first with this instalment.

I’ll start with the tale of Sheila and the cat called Sheila, who arrive together in the ED and run Alicia (Chelsea Halfpenny) and Ethan (George Rainsford) ragged. It paved the way for an important health issue to be raised, Toxoplasmosis in this case, very likely caused by Sheila’s feline namesake. However, it also showed allowed for a particularly caring side of Alicia’s nature to shine through as she offers her help to the stricken patient, and thus Ethan is enamoured once again!

Programme Name: Casualty 30 - Series 31 - TX: n/a - Episode: Casualty 30 6 (No. 6) - Picture Shows:  Charlie (DEREK THOMPSON), Gloria (LISA GODDARD), Lisa Duffin (CATHY SHIPTON) - (C) BBC - Photographer: Alistair Heap

Then there’s Charlie and Duffy’s relationship development which takes place at Charlie’s school reunion. It seems clear that Duffy is treating this as a date of sorts, and the appearance of Charlie’s old school crush, Gloria, is not a welcome sight for the returned character. It’s not exactly welcome to Charlie that Gloria is married to his old school bully, Allan Francis (Terrence Hillyer). Unexpectedly perhaps, Charlie is soon embroiled in ‘fisty cuffs’ and gaining the respect of his fellow ex-classmates. There are so many missed moments between our favourite nurses during these scenes, it’s almost painful to watch, but it’s also a pleasure to see because I have to hand it to both actors for playing this relationship out so naturally. They are a class act individually and a force, together.

More twists and turns are in store when Allan arrives in the ED and promptly has a stroke. Following his rapid recovery, Gloria declares that they should divorce and puts her business card into Charlie’s hot little mitt…. “don’t take it, Charlie!” I shouted at the telly. How fortunate that he heard me and binned it later on, as Duffy looked on with a mixture of emotions on her face, well played, Cath!

So we come to David, who’s son thought that the answer to his mother’s reaction to his texting his father was a little extreme and therefore did what every under age youth would do, drove her car to the hospital to see his dad. While there he casually set fire to it, in a fashion and David was forced to leap to his rescue in another of Casualty’s spectacular scenes. However, the over-riding message from the episode was that there should be no shame in mental health, and David’s bond with his son was sealed beautifully with David’s heart-felt, public admission that he suffers from Bipolar, which his son has ‘inherited’. So, we know more about David, we can piece together his character traits and a strong message went out to viewers, a winning combination if you ask me!

Photo credits: BBC



The Demon Barbers XL ~ Disco At The Tavern Tour ~ PRESS RELEASE


The Demon Barbers XL

 ‘Disco At The Tavern’ Tour

 Winners of ‘Best Live Act’ @ BBC Radio 2 Folk Awards

Part gig, part dance show, The Demon Barbers bring a new repertoire, extra band members and a modern twist to their multi-award winning Roadshow.

Since winning ‘Best Live Act’ at the BBC Radio 2 Folk Awards The Demon Barbers have been immersed in the development of their Folk & Hip Hop Dance Extravaganza ‘The Lock In’. Following a number of successful UK tours, including high profile shows at Glastonbury Festival and 5 star reviews for their 2 week run at Edinburgh Fringe, The Demon Barbers now bring some of the UK’s most exciting young Clog, Sword, Hip Hop & Break dancers onto the concert stage to create the live folk music & dance spectacular of the year!

The XL show features new material from their latest album ‘Disco At The Tavern’, a collaboration with Grammy & Emmy Award winners Donal Hodgson and Kipper, best known for their work with Sting.

This really is a mind blowing album with so much good stuff. It has to be an award-winner this time next year. R2 Magazine *****

Visit for more details and to book tickets.

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