Ye Olde Rose & Crown

Ye Olde Rose & Crown

We’re proud to say our menu is packed with Great British pub food classics, including iconic dishes like our hand-battered fish and chips, pie and mash and succulent burgers

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Ye Olde Rose & Crown, Stafford | Our Pubs | Pubs | Joule's Brewery

Review analysis
food  

Ye Olde Rose & Crown sits snugly on Market Street just off the main market square between the Gatehouse Theatre and Stafford's fabulous central library.

These ancient cellars were part of the original Rose and Crown - 'Ye Olde Rose & Crown'.

The main front room has a lovely fireplace and we have revealed some original paneling, the floor has wide oak boards and our biggest ever mirror a re worked orginal design for Slumbering Monk.

The rear room also has a real fire and is just as cosy as the front room.

Our aim to be known for the best sandwich in Stafford!

Metropolis – Ye Olde Rose and Crown, London

Review analysis
ambience   quietness   food   staff   cleanliness  

Metropolis is one of those obscure lost musicals that, despite having had a run in the West End in the late 1980s, hasn’t seen much of the light of day since – certainly not in the UK and certainly not with a professional cast.

Set design by Justin Williams and Jonny Rust is also incredibly effective – sheets of plastic work well as futuristic computer panels and a projected video is great as a Big Brother Skype type thing.

Many musicals end up being adapted from films merely because of the popularity of the source material, Metropolis is one of those obscure lost musicals that, despite having had a run in the West End in the late 1980s, hasn’t seen much of the light of day since – certainly not in the UK and certainly not with a professional cast.

Set design by Justin Williams and Jonny Rust is also incredibly effective – sheets of plastic work well as futuristic computer panels and a projected video is great as a Big Brother Skype type thing.

Book and Lyrics: Joe Brooks and Dusty Hughes Director: Tim McArthur Reviewer: Deborah Parry Metropolis is one of those obscure lost musicals that, despite having had a run in the West End in the late 1980s, hasn't seen much of the light of day since – certainly not in the UK and certainly not with a professional cast.

Review: Metropolis (Ye Olde Rose and Crown Theatre ...

Review analysis
food  

The show's 1989 premiere featured a large cast and a towering Ralph Koltai set that astonishingly recreated the nightmarish subterranean industrial city of Lang's imagination – all pistons, funnels, giant cogs and wheels, walkways, lifts and platforms.

Kudos to director Tim McArthur for cleverly solving a number of the problems inherent in bringing such a huge show to a small stage: instead of bulky set pieces, McArthur and choreographer Ian Pyle have the cast rhythmically pushing and pulling each other around to simulate the movement of the machines: simple but appropriately propulsive and dynamic.

The children, so integral to the story, have been replaced by puppets manipulated and voiced by adult ensemble members, to surprisingly moving effect, and Warner, the inventor of hell-raising robot Futura, responsible for the demise of the city, has been transformed into a Geschwitz-like woman with a sapphic fixation on her evil creation.

The dual lead role of Maria/Futura (the workers' leader and the doppelgänger robot sent to replace her) is as challenging as any in musical theatre, requiring a massive vocal and emotional range.

Too unremittingly po-faced and wilfully eccentric to have ever been a mainstream hit, Metropolis is essentially a collectors piece but, thanks to Brooks' enthralling music and McArthur's inventive staging, it's still an enjoyable night out.

REVIEW: Metropolis, Ye Olde Rose And Crowne

Review analysis
food   ambience  

I saw it three times during its first production at the Piccadilly Theatre in the West End, and can tell you that audiences and critics then, especially the critics, and definitely also me, utterly failed to grasp its many beauties and strengths.

Director Tim McArthur (assisted by regular collaborator Jamie Birkett) and Musical Director Aaron Clingham have entirely rethought the show and come up with a brilliant strategy for making us join them on their path of rediscovery.

The presence of the original silent film by Fritz Lang (to a scenario by himself and his wife, Thea von Harbou) looms largest in the opening choreography, splendidly realised by Ian Pyle – another prodigy of this house, and in the opening clutch of costumes from another regular, Joana Dias, but thereafter slips away, leaving us to engage with the story as re-imagined by the writers of this show.

The object of his affections is the hypnotically fascinating Maria: Miiya Alexandra sings her soprano part with equally fine precision, and her duets with Herron, not least the big tune, ‘It’s Only Love’, are one of the highlights of the show; then, Maria morphs into the ruthless robot Futura, and Alexandra plays that Odette-Odile dualism for all its worth, and so does the production.

The singing is superb throughout, and features some excellently delivered choral ensembles, as well as rousing anthems, and a complex array of numbers of all shapes and sizes – embracing many popular, rock-based styles and telling the story in a near-continuous stream of music, where textures range from the most intimate, chamber-like passages, all the way up to barnstorming, stadium-sized showpieces.

BWW Review: METROPOLIS, Ye Olde Rose And Crown Theatre

Review analysis
food  

First performed in London in 1989 at the Piccadilly Theatre (with stars including the inimitable Brian Blessed), the musical version of Metropolis (by Joe Brooks and Dusty Hughes) has been revived for a short Off West End run at Ye Olde Rose and Crown in Walthamstow.

One day, Freeman's son Steven witnesses Worker Maria teaching some of the children about life above ground - he falls in love immediately and, against his father's express orders, he follows her to the lower levels.

When Freeman discovers what his son has been up to, he resolves to remove Maria from the Workers (and Steven) and replace her with a disruptive influence: a robot called Futura, created by scientist Warner, who is made to look exactly like Maria.

Justin Williams and Jonny Rust's set design immediately transports you to Metropolis' industrial world, and there is some good video projection work as Freeman gives orders to his minions.

Miiya Alexandra and Rob Herron have terrifically strong vocals, making Maria and Steven quite compelling to watch - even as the story gets progressively more bizarre.

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