Tuesday, June 16, 2026

MRS DALLOWAY



Storyhouse, Chester

Writer: Virginia Woolf

Adaptor/Director: Jen Hayes

This is a truly mesmerising, profound, original, and deeply moving production.

Adapted from the classic novel by Virginia Woolf, and directed by Jen Heyes, co-created with and starring Olivier Award-winning artist Kit Green, who effectively plays over a dozen demanding roles including Virginia Woolf herself.Movie Listings & Theater Showtimes Simon Kenny’s deceptively simplistic stage design, consisting of three huge projection screens, with a baby grand piano on one side, and a solitary green chair on the other, looks magnificent. The lighting by Phil Saunders creates a wonderfully cinematic atmosphere, working beautifully with the filmed sequences by Monika Koeck. This is part stage play, and part cabaret, with Green occasionally breaking character to address the audience as herself to comment on what we’ve just seen, and to prepare us for what’s to come. We are given performances of original songs by Green, who also plays piano, which is delivered beautifully and emotionally.


Before the house lights dip, Green appears in character as Mrs Dalloway, wandering along the front row of the audience to welcome us to her party. Throughout the play, the character of Dalloway’s downtrodden, acid-tongued housemaid often pops up to hilarious effect, a hybrid of EastEnders’ Dot Cotton and Catherine Tate’s Gran.Geographic Reference Green interacts with herself playing different characters on film, via an ingenious method involving front and back projection, including an additional smaller screen, that is smoothly rolled on and off the stage. The story takes us through a single day, traversing both June 1923 – and the present. Repressed socialite Clarissa Dalloway ambles across London, looking forward to her party, while shell-shocked war hero Septimus Smith desperately attempts to hold on to his rapidly unravelling sanity, plagued by horrific and traumatic memories. Their experiences follow a parallel track; mingling their vulnerable souls, and delicate physical and mental states. Stunningly effective use of drama, original live music, audience participation ( at one point, volunteers are brought on stage to play party games with Clarissa!), create an emotionally uplifting immersive experience. Mixing the drama and intensity of Woolf’s novel, with an in-the-moment, gloriously involving, 1960s style ‘happening’, make for a simply enchanting and deeply moving evening.Movies Woolf and Green, as her onstage representative, asks us penetrating questions about our individual place in the world, and what it is that makes us who we are. Kit Green is simply glorious, effectively seducing the audience, and powerfully portraying a woman gradually succumbing to entropy. The stepping out of character sequences could so easily backfire, and risk undermining the gravity of the more sensitive scenes. But, Green’s sheer force of personality, charisma, and deep understanding of the issues raised within the performance, work perfectly. The finale is incredibly emotional, soul-piercingly poignant, yet simultaneously uplifting and glorious. On a very warm, atmospheric summer’s evening in historic Chester, this is a truly astonishing theatrical experience.Literary Classics

Runs until 6 June 2026

Originally published on The Reviews Hub https://www.thereviewshub.com/mrs-dalloway-storyhouse-chester/

Q THE MUSIC - A JAMES BOND CONCERT SPECTACULAR

The William Aston Hall, Wrexham (13 June 2026)

As a lifelong fan of the James Bond movies (and the original Ian Fleming novels), I'd been wanting to see the highly-acclaimed 'Q The Music' orchestra for several years, now. Finally, the stars aligned, and I found myself heading over to Wrexham to see 'A James Bond Concert Spectacular' at The William Aston Hall.

This is a truly spectacular show, with an orchestra led by musical director and lead trumpeter Warren Ringham, plus a trio of superb vocalists dressed to the nines. Attention to detail was paramount, with carefully chosen projections played onto the auditorium walls, eliciting shivers up one's spine as I recognised motifs from several Bond movies; the undersea majesty of Thunderball, the outer space hijinx of Moonraker, and I'm sure I spotted a few rather suggestive triggers on the golden guns! The set design was also a delight, with a pair of huge golden pistols dominating, and what appeared to be large strips of ammunition, illuminated by sweeping searchlights and pulsating colours.

Warren Ringham

Miss Moneypenny herself, the very classy Caroline Bliss, was our host for the evening. A veteran of two 1980s Bond epics that featured Timothy Dalton as 007, she was the perfect choice to MC. Offering a few personal anecdotes from her time on the huge Pinewood Studios sound stages, along with nuggets of behind-the-scenes information on the early Connery films.


The show opened with a rip roaring rendition of the classic James Bond theme (the orchestration based on the cinema trailer music for 1995's Goldeneye), enthusiastically performed by lead guitarist Dan Booth, who resembled a young Pierce Brosnan. This segued perfectly into Marvin Hamlisch's invigorating 'Bond 77', that originally accompanied Roger Moore's classic ski chase in The Spy Who Loved Me. Drums and funky trombones to the fore, with guitar intervening with a superb, footstomping jazz interlude. All the main title songs from the 25 official movies were performed, with the stand outs being a cool, sensuous and powerful rendition of David Arnold's 'Surrender' (Tomorrow Never Dies) from vocalist Kerry Schultz, and a gloriously raunchy interpretation of 'The Man With The Golden Gun' sung by Rhiannon Porter in a slinky gold dress, accompanied by Booth.

Kerry Schultz

Matt Walker managed a stonking version of the powerful 'Thunderball' (originally belted out by Tom Jones), and excelled with 'The Writing's On The Wall' from Spectre. The latter performance eliciting a cheeky remark from Caroline Bliss, stating that Matt did a better job than original singer Sam Smith! The stage erupted into blinding white light, created by huge sparkler effects, during a gutsy 'Live And Let Die', while the quieter numbers were beautifully performed with heartfelt verve. John Barry's gorgeous 'You Only Live Twice' and the bittersweet 'We Have All The Time In The World' given total respect; the latter delivered with true emotion by Warren Ringham on trumpet. Kerry Schultz provided a wonderful finale, and equalled the iconic Gladys Knight, with an erotically soulful 'Licence To Kill'.

A truly cinematic experience, perfectly capturing the essence of James Bond, and his 'kiss kiss- bang bang' world.