DANCE REVIEW: Message In A Bottle - The Peacock Theatre, London.

Raucous! Exhilarating!

'Message In A Bottle', choreographed by Kate Prince MBE and music by Sting, is an absolute delight. I have previously seen ‘Some Like It Hip Hop’ performed by Kate Prince’s Zoo-Nation troupe and loved it, so I was delighted to get the chance to see this new show. 'Message In A Bottle' had just arrived on the stage last year as we went into lockdown, so Wednesday 29 September 2021 was the first time it has been performed since then. We were on our feet, we were cheering, we were shouting, it was an amazing spectacle of contemporary dance at its finest.

I loved every minute. From the start with ‘Inshallah’ and ‘Desert Rose’ to the final ‘They Dance Alone’, Sting’s dulcet voice echoes around the theatre or there were some of the instantly recognisable toe tapping Police hits of yesteryear. Some of Sting’s music has been specially rearranged and a few familiar songs are sung by new artists. Although not a huge fan of Sting’s music, I have grown up with The Police and to hear these songs played in this context brings a newfound appeal.

This is a story of the despair of displacement, migration and escape. Still today, in the modern world we are seeing people leave war torn areas for a better life, this story shows the loss and survival of a family. This could be one of the millions of families that we see every day in the media arriving on foreign shores searching for a safer future. The music tells the story, the dance portrays the migration. The story begins in a village, in a faraway land where the villagers live a simple existence and are undeniably happy. Civil war erupts and forces the villagers to face up to losing their homes and families unless they flee. Our family embarks on a catastrophic journey. I will say no more than that.

Kate Prince has put together one of the most diverse and exciting team of dancers you are ever likely to see. Her belief in using new talent and inspiring dancers has gained her notoriety and an MBE. No wonder Sting was happy to collaborate with her. Prince admits that she was a Sting fan long before the idea of this production was born – so this was also a labour of love for her. Go and see this frenetic dance production. Break-dancing, spinning, flips – on and on for almost two hours. There is so much to see on the stage that you don’t know which dancer to watch. I am exhausted just watching from the auditorium seats. Deavion Brown is phenomenal, a real charismatic performer; oh, those moves! Nafisah Baba, elegant and poised; how she uses her body to tell her story is wonderful. Gavin Vincent, who can provide the breakdance move of repeatedly spinning on his head combined with body popping was fabulous. I could go on and on about the other performers, but their stage and TV credits would make this a very long review. The whole dance team were superb. Older children and teenagers would be mesmerised, and adults would just be in awe. I would see this production again and I am recommending it near and far to everyone.

Reviewer - Penny Curran
on - 29.9.21

THEATRE REVIEW: Sandy - The Salford Arts Theatre, Salford.

'Sandy' is a thoughtful and dense piece of writing by Anna Pellegrini, here produced by Peripeteia Theatre at Salford Arts Theatre as part of this year's Greater Manchester Fringe Festival.

Without any programme I am unable to credit the names of the two young actresses who performed this two-hander, nor do I know who directed it. In fact, I don't even know if I have completely understood the story correctly.

Advertised in an oblique manner, but already aware that Sandy is not human, we are presented with one of the actresses portraying a motionless seated girl who has a consciousness, is able to think and rationalise, realise she is different, but not able to function as a human. My thoughts travel through various rationales for this: robot, android, dystopian future-style sex worker, before realising that perhaps Sandy is nothing more sinister than an inflatable sex doll. Where this falls down however is with the writer giving a blow-up doll the ability to think and feel for herself, but not be able to move, it makes for a very static and visually unstimulating experience. Perhaps there are ways around this conundrum, but sadly the director of tonight's production didn't find them.

The opening of the play is stark. The play starts in blackout as a disembodied voice is speaking of dreams and imaginings. Most unfortunately we miss much of this wordy and novel-like monologue because the actress is seated facing away from the audience, and it isn't until she faces us that we can hear her every word. The second actress in this play (let's call her the wife), was sadly guilty of not projecting her voice sufficiently, and so once again, I missed much of what she said due to the quietness of her vocalisations. 

I therefore iterate, 'if I have understood the story correctly', the play shows us two opposing viewpoints of the same man. They share similar thoughts about their own situations, but express them differently. However, since one of them is an inanimate object (?) they never share a conversation, but instead we, the audience, listen to two seperate internal monologues throughout. We learn that the wife still loves the man, although the man seems to be more enamoured with the sex doll. The sex doll (Sandy) expriences 'the fire' inside her and yet cannot retaliate or respond; and they come to an impasse, taking the wife more and more away from her husband (?) and bringing her more and more 'in love' with Sandy herself. Whether this be out of jealousy, or spite, or be a genuine attraction to the doll, I was unable to answer.

The whole play, lasting just over 70 minutes, was all acted on the same dynamic. It was slow-moving, pensive and wordy, without much movement. It was therefore a rather difficult watch, as one's concentration kept wandering and waiting for a change of dynamic to bring it back again. It was nevertheless a rather unconventional and interesting story, and quite a brave choice of production for two young females (whom I am assuming are still in their training stage) to perform.

Reviewer - Matthew Dougall

on - 29.9.21

NEWS: Goldilocks And The Three Bears comes to St. Helen's for Christmas, and it's just right!

REGAL ENTERTAINMENTS LAUNCH CHRISTMAS PANTO

GOLDILOCKS WITH FULL CAST ANNOUNCED

 

Show will run 10 December 2021 to 9 January 2022 at St Helens Theatre Royal

 __________________________________________________________________________­­­______________________

 

St Helens Theatre Royal’s brand-new Christmas panto has been officially launched with a full cast announcement.

 

Leading panto producers Regal Entertainments recently revealed its festive show is Goldilocks And The Three Bears with Hollyoaks actor David Tag leading the cast.

 

The spectacular seasonal production promises St Helens audiences a fantastic festive treat complete with madcap comedy capers and all the fun of the circus – including circus skills and stunts performed by cast members.

 

The full cast were revealed today (Wednesday 29 September) at a special media launch event at Liverpool’s Shankly Hotel.

 

Goldilocks and her friends were given special access to the hotel’s Garden Of Eden Suite to meet Press and photographers, which was also complete with three beds – in keeping with the family favourite tale.

 

Goldilocks And The Three Bears will run at St Helens Theatre Royal from Friday 10 December 2021 to Sunday 9 January 2022. Tickets are on sale now starting from £16.

 

The theatre’s Christmas pantomimes have become a real highlight of the festive season year after year, and Goldilocks audiences are being guaranteed “the greatest show on earth”.

 

The circus comes to town this Christmas in Regal Entertainment’s magical pantomime, Goldilocks And The Three Bears. It promises to be just right with its mix of unbelievable circus tricks, madcap comedy capers, Regal’s high production values, and a smash-hit selection of chart hits to sing and dance along to.

 

Audiences are invited to join Goldilocks this festive season who, with the help of the Three Bears, tries to save her Big Top from a rival circus owner!

 

St Helens Theatre Royal has been granted the use of the Society Of London Theatre & UK Theatre’s ‘See It Safely’ mark. This certifies that the venue is complying with Government and industry Covid-19 guidelines to ensure the safety of staff, performers, and audiences.

 

Goldilocks And The Three Bears features a host of St Helens’ favourites cast members, who have are training for six months ahead of the show to master a number of circus skills and stunts which will feature in the show, including aerial skills and hoops.

 

The Ringmaster is played by David Tag, best known for playing Sylvester ‘Sylver’ McQueen in award-winning Channel 4 soap Hollyoaks, where his character has been involved in a number of key storylines. The Manchester-born actor has also appeared in Emmerdale; the 2020 coming of age drama S.A.M, which has been a hit at a host of British film festivals; and can be seen as Prince Charming in a new short film.

 

David Tag is joined by Timothy Lucas as Baron Von Vippemall, Olivia Sloyan as Goldilocks, David Phipps-Davis as Dame Gertie, Scott Gallagher as Silly Billy, Jenna Sian O’Hara as Baby Bear, Harry Moore as Daddy Bear, and Chantal Amber Rose as Mummy Bear.

 

The creative team includes director and producer Chantelle Nolan, musical supervisor Callum Clarke, choreography by Nazene Langfield, and written by Reece Sibbald.

 

Theatre manager and show director and producer Chantelle Nolan commented: “Autumn has arrived, the dark evenings are starting to draw in, so it’s definitely time to reveal our exciting and wonderful cast for this year’s St Helens’ festive spectacular. Our pantomimes are a real Christmas highlight and we’re delighted to be back in full swing for 2021 – this is going to be the greatest show on earth!

 

“We’re really going for it with Goldilocks And The Three Bears – a classic story but given a new spin, packed with circus fun, comedy capers, and plenty of cracking songs our audiences can all sing-a-long too. It’s been magical bringing our amazing cast together and now really cannot wait to bring the show to life this festive season.”

 

St Helens Theatre Royal will ensure that any Government guidelines still required in December will be in place to ensure the safety of theatregoers, venue staff, cast and crew.

 

St Helens Theatre Royal has a range of Covid-secure measures in place. They include increased cleaning, hand sanitiser stations at points throughout the building, and a QR code phone app for audiences to order food and beverages to be delivered to them at their seats.

 

Customers are asked to continue to wear face coverings (unless exempt) as a courtesy to others, and are being encouraged to take a lateral flow test up to 48 hours before attending a show. People are asked not to visit the theatre if they have Covid symptoms. Meanwhile theatre staff are taking daily Covid tests.

 

St Helens Theatre Royal’s Autumn season brochure can be found online by visiting https://www.sthelenstheatreroyal.com/digital-brochure/

 

Follow St Helens Theatre Royal on social media channels:

Facebook: www.facebook.com/St-Helens-Theatre-Royal

Twitter: @TheatreRoyalStH

Instagram: @TheatreRoyalStH

 

REGAL ENTERTAINMENTS PRESENT GOLDILOCKS AND THE THREE BEARS

St Helens Theatre Royal

Friday 10 December 2021 – Sunday 9 December 2022

Tickets from £16*

*All prices are inclusive of a £1 per seat booking fee. Online bookings are subject to an additional 50p per seat online processing fee.

 

HOW TO BOOK

Book online: at www.sthelenstheatreroyal.com

In person: Monday to Saturday / 10am to 5pm

Telephone bookings: Call 01744756000

 

THEATRE ROYAL BOOKING DETAILS

Book in person at the St Helens Theatre Royal Box Office, Corporation Street, St. Helens, Merseyside WA10 1LQ (Monday to Friday, 10am to 5pm). Alternatively, call 01744 756000 or visit www.sthelenstheatreroyal.com

NEWS: 'Redcoat' premieres at Newcastle's Live Theatre this October.

 

Redcoat premieres at Live Theatre this October

‘Rule Number 1: You’re never fully dressed without a smile’

Meet Lewis. He’s a Redcoat. Living the dream and living it large in Bognor Regis. He likes to smile and show you a good time. But what happens when you’re having an ‘off day’? And you tell Barney the Dinosaur to p*ss off (in front of a load of kids)?

Redcoat the highly popular debut show, by theatre-maker and entertainer Lewis Jobson, returns to Live Theatre this October as part of their reopening season, Back to Live. This is an exciting collaboration between Newcastle based theatre company The Six Twenty and Lewis Jobson; presented in association with Live Theatre. Redcoat was the last show to be presented at Live Theatre before the pandemic closed the theatre and is returning with updated sparkle for 2021. Playing for a limited run from Wednesday 27 to Saturday 30 October 2021.

Written and performed by Lewis Jobson and directed and co-created by Melanie Rashbrooke, Redcoat is a fun, life-affirming and joy-filled show exploring happiness and our desire to entertain. Loosely inspired by Lewis’ experience as a Butlins Redcoat, this whirlwind of humour mixes storytelling, music and comedy. It’s a coming-of-adult story; about discovering the person you really want to be.

Expect classic holiday tunes, beach parties, dance routines, balloon modelling, karaoke sing-a-longs and that extra special bit of Redcoat sparkle.

First performed as a work-in-progress presentation, as part of Live Theatre’s Elevator Festival in March 2020, The Six Twenty brings you this glittery full length production as Redcoat returns for its larger than life premiere this October.

As writer and performer Lewis Jobson says: “We are back! We are extremely excited to be bringing Redcoat to Live Theatre for its Premiere. Live Theatre is like a second home to me so it's a great privilege to show the wonderful North East this pocket rocket of a show. Redcoat is about being happy, but a little bit about being sad. What it’s like (and how it feels) to never be fully dressed without a smile. It's about memories, it's about new friendships, it's about gagging over ‘The Slushy Guy’, it's about going out into the big bad world of children's entertainment and trying to not lose it in front of a load of kids (and their grown-up’s). And most importantly it's my story...and I can't wait to share it with you all.”

As director and co-creator Melanie Rashbrooke adds: “Redcoat Lewis sets out to make the world a little bit better through his love of entertaining and showing people a good time. Featuring Redcoat Lewis’s trademark charisma and cheeky exuberance this is the show we really need right now.”

Redcoat has been created with, and commissioned by, Live Theatre Associate Company The Six Twenty. Based in Newcastle, The Six Twenty make fun and social creative projects that bring people together for a great night out. Interim Executive Producer of LiveTheatre Graeme Thompson adds: “It’s great to welcome Lewis Jobson and The Six Twenty back with Redcoat. This show is an unashamedly upbeat injection of wonderfulness that will transport you back to heady summer holidays in Bognor Regis. It’s a flash dance down memory lane with the perfect mix of humour and sun blushed nostalgia. Lewis transports you back to some of the best, but horrendously awkward moments of your life. And always with a smile!”

Movement direction is by Alicia Meehan, lighting design by Drummond Orr and sound design by Craig Spence. Suitable for ages 14+ This project was made possible thanks to funding from the National Lottery through Arts Council England.

NEWS: An evening with endurance athlete Nick Butter this October in Manchester

Enjoy an evening with endurance athlete & marathon runner Nick Butter

 

The world record holder has run a marathon in every country in the world and comes to Waterside in Sale, Trafford.

 

Nick Butter is best known for his global expedition - Running The World 196. In November 2019, Nick was crowned the first person to run a marathon in every country in the world. Along with this, he sets a number of world records and has a wild, eclectic story to tell. Tales of muggings, war zones, dog attacks, extreme exhaustion, and the sheer scale and diversity of our planet. His talk is accompanied with stunning photography and videography from around the world.

He is a British Endurance Athlete, writer, and speaker. From a small shy boy in the south of England, with a passion for sport - to a successful career in banking, to then becoming one of the most widely travelled athletes in the world. And all before the age of 30.

 

Nick says: “If I’m lucky enough to get to the point in life when I’m old and grey, chatting with my grandchildren I want to know I’ve explored every inch of the planet. I believe that it’s the crazy things, the things that no one is doing, and the things that we’re afraid to do… which are in fact exactly that which leaves a positive mark on the world.”

 

After setting a world-record for running a marathon in every country in the world, Nick Butter has now broken another record, the fastest circumnavigation around the coast of Britain on foot. Living in a van, running double marathon distances daily, something which has never been attempted before, led to Nick fracturing his shins, which resulted in crutches and a seven day postponement of the expedition.

 

Nick has had over 1200 local runners join him throughout his challenge, who have all had an impact on the expedition

“It turns out running two marathons a day isn’t just twice as hard as running one marathon a day… it’s far more brutal on the mind and body than I could have ever imagined. However, the incredibly kind and friendly support from fellow runners both in person and around the world has made it a little more bearable. Furthermore the coast of Britain in all its natural beauty has blown me away. Everyone should see more of Britain - I’d recommend the whole coast! We live on a beautiful island. Let’s look after it.”

 

An Evening with Nick Butter: Tales of an Extraordinary First Expedition, comes to Waterside in Sale, Trafford on Thu 14 Oct 19:30

Tickets £19.50

watersidearts.org/nickbutter

THEATRE REVIEW: Waitress - The Lyceum Theatre, Sheffield.

Finally, after being deprived of theatre for so long, it felt such a relief to be back in a packed-out theatre again. Having read so many five star reviews of a musical which had it's West End debut in 2019, with a groundbreaking female lead cast - Jenna, an expert pie-maker who dreams of some happiness in her life - (Lucie Jones - Legally Blonde, Rent, Waitress, Les Miserables, The Wedding Singer), and workmates Becky (Sandra Marvin - Emmerdale, Waitress, Showboat, Hairspray) and Dawn (Evelyn Hoskins - Waitress, The Sound of Music Live, Carrie), along with Matt Willis (Busted, Wicked) as the hot new doctor in town, I was keen to grab a slice of the action.

The music is “one of the best scores in years” and was written by Grammy Award-winning Sara Bareilles (Love Song, Brave) with a book by acclaimed screenwriter Jessie Nelson (I Am Sam) and direction by Tony Award-winner Diane Paulus (Pippin, Finding Neverland). All of this should be the recipe to something perfect, but like a pie, this musical takes time to heat up (metaphorically speaking). Whilst it’s a slow starter it definitely gets better as the storyline progresses, and definitely hits the spot by the second act.

Jenna, a talented pie maker, deals with tough situations by imagining them as pie ingredients, but what she doesn’t know as the story starts, is she’s about to face her toughest challenge yet. Having learnt all she knows about baking from her late mother, Jenna currently works as a pie creator and waitress at a Southern American diner, 'Joe’s Diner'. Stuck in an abusive marriage with drunken husband Earl (Tamlyn Henderson), her dream is to one day escape and set up her own pie business.

Her work colleagues also have their own issues to deal with. Becky is suddenly all mysterious and it doesn’t take long to find out what she’s been hiding from Dawn and Jenna. Dawn - a quiet geek and war reenactment fanatic, is unlucky in love but confesses to her colleagues that she’s set up an online dating profile and has a five minute date (so if he’s disappointing or vice versa it won’t be awkward as it’s been agreed as a five minute date). Ogie (George Crawford), however seems to be the missing ingredient in Dawn’s life (although she doesn’t see that at first) and sharing the same interests, the pair are made for each other, in the same way rhubarb and custard compliment each other.

When Jenna goes to the Doctors to confirm she’s pregnant after a drunken night with her husband, she meets Dr. Pomatter - a hot young doctor, replacing the now retired female doctor who delivered Jenna as a baby. Unsure at first if she wants him as her doctor, the pair soon bond over a pie she brought for her previous doctor.

Whilst 'Waitress' is indeed made of the finest ingredients - three strong female characters leading the storyline, music by a Grammy Award winner, a book and Indie film of the same name prior to the screen-to-stage adaptation, but like peanut butter and jelly (jam to us Brits), somethings don’t always go together despite what others might think. Waitress is a perfect example of this.

There’s a real mixture of drama, comedy and romance as well as touching on the sensitive topic of domestic abuse. It’s also very raunchy in places and should come with a health warning!

All the key ingredients are there: strong cast, award-winning musician etc, but mix it all together and it still feels like something is missing. I kept waiting for a “wow” moment - the same “wow” you’d get from the smallest bite of the best ever homemade apple pie - but what I actually got was something that looked amazing on the outside but left me feeling like that special ingredient was missing. The storyline itself was satisfying enough but it certainly didn’t leave me wanting more.

For me the most memorable performances come from the perfectly blended couple Ogie (George Crawford) and Dawn (Evelyn Hoskins). Dawn is bland and often monotonous which Evelyn just makes the role more comical with her facial expressions and particularly when trying to push Ogie away - until she realises he’s the cream to her pie and he wows her with another of his geeky hobbies - clog dancing! - and the pair later get adventurous in their joint interest in war reenactments. I wasn’t sure about Matt Willis as Dr. Pomatter at first - but he grew on me the more we got to know the character and you could really feel the heat in the two characters' affair - even from the back of the stalls; so steamy even my spectacles were steamed up!

Every single role I’ve seen Jones, Marvin and Hoskins perform in [at least three other big musicals each], they’ve been absolutely outstanding. 'Waitress' was no different only it left me feeling like “this isn’t giving the audience the best taste of their talents” and no matter how fresh their performance and portrayal of their characters, for me personally there’s just a magic ingredient missing in this particular musical. I kept waiting for some outstanding song; as heart-warming as Jones’s rendition of “She Used To Be Mine”, there was still something missing for me.

Overall it’s definitely worth seeing, I can’t fault the cast at all. Maybe it’s one of those that tastes better the more helpings you have? I certainly hope so.

Reviewer - Lottie Davis-Browne
on - 28.9.21

NEWS: Dark new comedy, Isla, to premiere at Mold's Theatr Clwyd.

Dark new comedy Isla to premier at Theatr Clwyd

Theatr Clwyd team up with the Royal Court to Co-Produce Isla, a dark new comedy. Written by award winning Welsh writer and Theatr Clwyd Board Member Tim Price. Isla explores the relationship we have with technology and digital assistants. The production will premiere on Saturday 16^th October in the Emlyn Williams Theatre.

The play introduces us to the very relatable and lonely Roger, who needs company during lockdown. When his daughter Erin buys him the latest Isla digital assistant, an unexpected relationship between man and technology emerges. But who’s really in control?

When asked about the characters in the play, Tim Price said:

I think sometimes we can be too keen to punish people for not having had the enlightening experiences we have had. I wanted to make a drama about having those difficult conversations with loved ones.

Directing this new piece is Theatr Clwyd’s Artistic Director Tamara Harvey, who described the show in a nutshell as:

A painfully funny look at our relationship with our parents, with our children and with the technology that’s supposed to make our lives easier.

Straight off Theatr Clwyd’s 4-star production Missing Julie, is Catrin Aaron (who appeared in Theatr Clwyd’s Orpheus Descending and The Rise and Fall of Little Voice) playing the role of Isla.

Lisa Zahra previously seen in Theatr Clwyd’s The Voyage, returns to the venue as Erin. And finally Mark Lambert (The Ferryman (Bernard B. Jacobs Theatre, Gielgud Theatre, Royal Court Theatre)) plays Roger.

Isla runs from 16 October to 6 November at Theatr Clwyd. Tickets are from £10. Booking available at Theatr Clwyd’s website theatrclwyd.com or by calling 01352 344101.

NEWS: HER productions continue their all-female shows with 'A Midsummer Night's Dream' at Manchester's Hope Mill Theatre

All-female version of Shakespeare favourite set for the stage after Covid delay

A hugely anticipated modern version of a William Shakespeare classic is set for a busy run in Manchester – with all the roles played by women.

The 21^st century interpretation of ‘A Midsummer Night’s Dream’ will be staged at the Hope Mill Theatre, from October 6-16, following on from two similar sold-out Shakespeare shows in 2018 and 2019.

In a twist on the plot of the original play – which revolves around the marriage of Theseus, Duke of Athens, to Hippolyta, the former queen of the Amazons – this reimagined version is set on Hipppolyta’s hen-do in a Manchester nightclub.

Billed as ‘Canal Street’s explosive imagination meets the instability of Love Island and the classiness of the Real Housewives of Cheshire’, the play has been produced by HER Productions in partnership with Girl Gang Manchester and directed by Kate Colgrave Pope

.

The play will showcase young and emerging local talent, with several graduates taking on starring roles in the play.

They will appear alongside well-known names including Karen Henthorn, who spent 18 months in Coronation Street as Teresa Bryant in the late 2000s.

NEWS: Comedian Arthur Smith comes to Manchester with his new show, Syd. - Waterside, Sale.

Arthur Smith : SYD

Appearing with Kirsty Newton at Waterside on Fri 15 October

 

The story of an ordinary man who lived through extraordinary times

Arthur Smith’s show SYD comes to following highly successful season at Soho Theatre and a sell-out and critical acclaimed run at the Edinburgh Fringe.

 

Packed with big gags, hilarious stories and poignant reflections about an ordinary man who lived through extraordinary times; Arthur, accompanied by the mellifluous Kirsty Newton tells the story of his own father. 

 

Syd Smith fought at El Alamein, became a P.O.W., and ended the war in the notorious Colditz Castle in Germany.  In the 1950s PC Syd patrolled London’s South Bank and met a gallery of characters, whom he tried his best not to arrest. 

 

Arthur tells this 20th century story with laughter and song and, quoting directly from his father’s hand-written journal, he splices time, memories and music with his own care-free youth.  The show features songs from Ray Davies, Leonard Cohen (of course), Peter Gabriel, David Bowie, Jerome Kern and Simon and Garfunkel as well as a less than stirring rendition of The Lambeth Walk.  

 

Arthur Smith was born in South London in 1954; went to grammar school and studied at the University of East Anglia with writer Malcolm Bradbury. He has also worked as a road sweeper, dustman, warehouse worker and teacher. Arthur started on the alternative comedy circuit in the 1980s and has since done stand up all over the world and been a regular performer at the Edinburgh festival.

 

He is also an accomplished playwright - An Evening with Gary Lineker (1994), My Summer with Des (1998), The Bed Show and his one man show Arthur Smith Sings Leonard Cohen. He has been on QI, Have I Got News For You and appears regularly on Radio 4 especially on Loose Ends He is a regular presenter on the Comedy club on Radio 4 Extra.

 

Appearing with Arthur is Kirsty Newton (Musical Director) - a multi-talented musician, singer, songwriter, musical director, comedy performer, musical improviser, compere and ‘human jukebox’.

 

Kirsty performs with Paul Merton’s Impro Chums, Whose Line Is It Anyway? and is a regular guest with The Comedy Store Players. She co-hosts London’s top musical comedy night The Distraction Club and her own hugely successful Kirsty's Poptastic Piano Singalong plays all around the UK. Last year she toured Japan with former Siskin band mate Galen Ayers. This year she is fronting festival favourites Massaoke at Adelaide Fringe.

watersidearts.org/SYD

INTERVIEW: We catch up with Michelle Collins, star of Beauty And The Beast panto at Lighthouse, Poole.

She may be best known to television audiences from her roles in EastEnders (superbaddie Cindy Beale) and Coronation Street (landlady Stella Price), but Michelle Collins isn’t one to rest on her laurels. Just the opposite in fact – she’s fully focused on the job in hand and what lies ahead.

“I am the sort of person that is constantly wanting to get better,” she says. “It is kind of hard to shake off the soap thing, but what do you do? It’s part of life – you have to move on and do as many things as you can. I produce now, I have my own company, and you have to be really proactive not reactive.

“I think that’s also part of being a woman of a certain age, an ex-soap star and working class – it’s tough. But you’ve just got to keep at it. I still love what I do. I’ll still be treading boards when I’m 80, I’ll be like McKellen – I can’t see a day when I don’t want to do this any more.”

The job in hand at the moment is pantomime at Lighthouse. She’s playing Nightshade the enchantress in Beauty and the Beast, a role that reunites her with Chris Jarvis, her Sleeping Beauty co-star from Swindon in 2019.

“I think Chris is a brilliant writer as well as a brilliant performer and we talked about working together again. Obviously, I didn’t do panto last year because of the pandemic, so this is the first opportunity we had and I jumped at the chance.

“I remember going to my first panto and how special it was. It is a particular art form and it’s the sort of thing that established actors really enjoy doing. I think there can be a bit of snobbery about it, but once you’ve done it you really love it. I mean, McKellen’s done it and you’ve got Dawn French doing it, Meera Syal doing it, Robert Lindsay doing it. I did panto with Mickey Rooney one year, in Bristol, and I did my very first panto with Bradley Walsh in about 1992 in Oxford, so I’ve done a fair amount.

“Years ago you’d be doing panto until the end of January, or even into February, but they’ve made them shorter so a lot more people are willing to do them.”

She doesn’t take the job lightly either – having this much fun is a serious business.

“For a lot of kids it’s the first time they’ve gone to the theatre and it’s great to see families and kids enjoying themselves on a big family day out. That means you have a responsibility – if your name’s on the poster you have to deliver.

“You can’t be seen to be winging it and not putting any effort into it when people have paid a lot of money to see the show so I put as much effort into panto as I do if I was doing a show in London – just because it’s panto doesn’t mean your energy levels are less, in fact they’re probably more.

“And I work really hard, I do. I’m certainly not out with the kids in the pub every night. I have to look after myself. It’s very physical and it’s exhausting doing two shows a day, but it’s fun. It’s a great camaraderie and that’s what Christmas is about.”

So, what plans does Michelle have for her Christmas in Poole?

“I don’t know; I have no idea. Last year was a pretty miserable Christmas, we couldn’t see family and had to be so careful, but nothing will ever be as bad as that again.

“So, I’m looking forward to working and being with nice people and being outside of London. We’ve all been through so much that you have to take each day as it comes, let’s just see what happens. I’m hoping my family and friends come down to see me and I love being by the sea so that will make a change.

“Everyone tells me that because it’s on the Jurassic Coast it doesn’t get that cold there at Christmas, but maybe they just told me that to entice me!”

Tickets available now at www.lighthousepoole.co.uk.

Interview: Syndicated.

NEWS: Liverpool-based Italian Synthwave artist, Gangalistics, releases new video single.

Liverpool-based Italian synthwave artist, Gangalistics releases new video-single

Italian synthwave artist, Gangalistics has released his new video-single, cinematically shot across Liverpool and North Wales.

Music producer, Gabriele Mario Ganga (aka Gangalistics) and Sardinian record label Nootempo continue to look to 'build bridges between different cultures' with their second music video shot in Liverpool, following the success of The Illuminator, which has chalked up over 10,000 views on YouTube.

The new single Crystal Bay was released on 9th September and has already reached over 3000 views in less than a week.

Gabriele was born on the island of Sardinia, and moved to Liverpool to study in 2017. His music career has already seen him perform at festivals and clubs across Italy as well as becoming Master DJ for the Sardinian rap duo, Malos Cantores.

The evocative new video was shot and directed by Samuel Alexander Mills and mixes three different timelines. Moving between the city of Liverpool and the Welsh landscapes of Snowdonia and Colwyn Bay, the narrative sees Gangalistics attempt to escape from a secret experimental facility controlled by an obscure agent, played by Gabriel's brother and fellow Italian music producer, Flub Lomax. On the way to 'Crystal Bay', the protagonist is helped by a mysterious driver played by actor James Tatt.

Gabriele said of the single "This new production proves how Sardinia and its most talented artists can produce musical innovation and build bridges (not walls) with other places beyond our sea. It's inspired by the sounds of the 80s, drawing from the cinematography of the Sci-fi, B movies and retro gaming culture; the song is definitely synthwave, synthpop and It resumes the narration of 'The Illuminator'".

Speaking about the video, he added "Through night lights, neons, rain and tight flashbacks, the entire production has a metaphorical meaning that combines the sound's atmospheres with the visuals, connecting the lyrics which often recall the current post-pandemic situation in our world.

"Crystal Bay" is a metaphor representing each individual's unique place in which we hide or simply feel safe in difficult times. It can be physical or imaginary; we all have one".

Crystal Bay is available to stream and download now across all digital stores.

THEATRE REVIEW: Dirty Dancing - The Palace Theatre, Manchester.

A perennial favourite, 'Dirty Dancing', the musical taken from the classic film from the 1980's, has come to Manchester again. Only this time, it is a new production from a new company. Ladies, do not fret however; this show still delivers everything you come for: A bare-chested Chippendale-esque hunk, a little sex and a lot of smooching, and a bare bottom. And the classic final dance to, '(I've Had) The Time Of My Life' including, of course, that lift, are still very much a part of this iconic denouement.

Other than that though, this is a bare-bones version of the show. The set - one of the most minimlist and unsuccessful sets I've ever seen for a Number 1 tour - doesn't inspire or indeed work. The scene changes are so swift (too quick actually), that the sets (and cast) intermingle with each other and we don't know which performer is in which location: indeed, unless you have seen the film or are very familiar with the story, you wouldn't have a clue what some of the locations were meant to be in the first place.

Where the film is a Romantic Drama (with a little comedy to ensure it doesn't get too heavy); this stage Musical is a Romantic Comedy. The main storyline, which is actually very serious and heart-wrenching, seemed to have been given little importance, and instead emphasised the comedic elements of cameo characters. In fact, despite having seen the film several times and seen various versions of the stage Musical, I was still having difficulty keeping up with the story in this show.

Furthermore, the LX and FX was a little erratic this evening too. Spotlights were late, didn't find their mark, and were too small; lighting cues changed too early, and the sound levels were too loud for much of the show too.

The highlights of this particular show for me were Kira Malou's interpretation of the lead role of Baby. She had just the right amount of upper-classness at the start, as well as made a rather convincing (if comedic) novice dancer, and her character arc from there to the end of the show was intelligently measured and extremely pleasing. Penny's (Carly Milner) dancing was superb, and I really enjoyed Samuel Bailey singing 'In The Still Of The Night' as his character, Billy. 

The audience absolutely loved the show this evening, shouting ad libs to the cast and whooping along to all the sexual bits; screaming with delight as Johnny (Michael O'Reilly) took his shirt off. If you don't want to think too hard and just be blown away by some great choreography, good singing, and lots of sexual gyrating, then this is most definitely the show for you!

Reviewer - Matthew Dougall

on - 28.9.21