Cambridge Arts Theatre has announced its autumn programme, promising its usual array of shows of the highest calibre. Getting things off to a spiffing start is Perfect Nonsense, the spectacularly successful stage tribute to P G Wodehouse’s immortal characters, Jeeves and Wooster. It comes direct from the West End, starring James Lance (I’m Alan Partridge, Teachers) as the blundering Bertie Wooster and John Gordon Sinclair (Gregory’s Girl) as his trusty gentleman’s gentleman, Jeeves. Look out for our interview in October’s Cambridge Edition. It’s here 6-11 October (7.45pm, 2.30pm Thurs and Sat; £15-£35).
Another crowd-pleasing cert, The Full Monty runs from 13 to 18 October, featuring larger-than-life characters and stonking songs from Donna Summer, Hot Chocolate and Tom Jones. You’ve seen the film – six down-on-their-luck She ffield steelworkers decide to face their fears and put on a male strip show – now catch the real thing live on stage! The critics loved it, with the Sunday Times writing: ‘TERRIFIC – Simon Beaufoy’s rip-roaring adaptation of his classic film opened to rave reviews’ (7.30pm, and 2.30pm Thurs and Sat; £15-£35).
After the long-awaited Python reunion this summer you’d think John Cleese might have earned a cup of tea and a sit down. Not so! He’s getting straight back out there with An Evening With John Cleese, coming to the Arts Theatre on 19 October. Self-described as ‘the most senile member of Monty Python’, Cleese will be chatting about his life, career and his new book, So, Anyway (7.45pm; £25).
One of the most iconic literary masterpieces of the 20th century, George Orwell’s 1984 is re-examined in this radical new stage play, 21-25 October. The Guardian hailed it as a ‘superbly handled multimedia exploration that never lets the audience off the hook’ and it’s had five-star reviews across the board (7.45pm, and 2.30pm Thurs and Sat; £15-£27).
Treat yourself to a triple helping of quality opera as ETO brings a trio of sumptuous productions our way. It starts on 21 October with the Ann Murray Gala (8pm; £25-£50), then see Haydn’s spirited Life on the Moon on 22 October (7.30pm; £12-£36) followed by Handel’s heady, romantic Ottone on 23 and 24 October (7.30pm; £12-£36).
The Birmingham Stage Company’s Horrible Histories continue to delight audiences of all ages, and they’re back with a bang, squelch and an ‘off with their heads!’ from 28 October to 1 November. In Barmy Britain, take an interactive journey back in time to meet some of history’s grizzliest characters, from Boudicca to Dick Turpin (times online; tickets £12.50-£17.50).
There’s more costumed larks to be had in English Touring Theatre’s Twelfth Night, showing 4-8 November. When a shipwreck separates twins Viola and Sebastian, a drama of disguise and misplaced a ffections ensues (£15-£27).
Our highlight of the season, however, is the award-winning adaptation of Harper Lee’s enchanting To Kill A Mockingbird, 17-22 November. Transporting us to America’s hot, fractious Deep South in the 1930s, as seen through the eyes of six year-old Scout, it’s a story of prejudice, justice, courage and integrity. It comes direct from London’s Regent Park Theatre (7.30pm, and 2.30pm on Thurs and Sat; £15-£30).
Go west next for Rodgers and Hammerstein’s Oklahoma!, in town 25- 29 November. The Cambridge Operatic Society’s big winter showstopper, it features toe-tappin’ songs such as Oh What a Beautiful Morning, People Will Say We’re In Love and Oklahoma! (7.30pm, and 2.30pm Thurs and Sat; £15-£25).
Then round o ff the year with the Arts Theatre’s traditional pantomime, always a glittering, grandiose a ffair. This year the usual cast are reuniting for Aladdin, a story of genies, evil sorcerers – and the immortal Widow Twankey. It runs 4 December until 11 January; see online for tickets and times.
