THEATRE REVIEW: Dirty Dusting - The Arena, Middleton, Manchester.

Have you ever wondered what might happen if sex chat lines were the province of elderly women, not twenty-somethings, attending to the aural needs of sex-craved and yes, even depraved, men? Well, if you want to find out, this play is most definitely for you!

Three elderly (and over the European Required Retirement Age) cleaners at an office which seems to have come straight out of the 1980s - with the cleaners' costumes (and glasses) coming from a couple of decades even earlier! - have been given their notice. Younger cleaners from an agency are to replace them on Monday morning. In defiance, and through a strange quirk of fate when they receive a wrong-number telpehone call - they decide to set up their own telephone sex chat line service over the weekend, which as one might imagine, has hilarious results. 

I mention the set and the costumes simply because the dialogue clearly puts the action in the 21st century; but sadly the set and costumes did not bely this at all, as well as using the type of telephone which had a number dial and a corded receiver (as pictured in the poster above). What office is using phones like that in the 21st century?! And I therefore found the play most confusing since I did not know in which decade the play was set. 

The script is full of sexual innuendo, reference, and hilarity. If it's classical drama you're after you've come to the wrong show buddy! But here the comedy play soon turns farcical, and with an audience comprised mostly of middle-aged women, the laughter was non-stop, and they lapped it all up eagerly. Sometimes bawdy, soetimes overt, but all inoffensive; the play had a very TV sitcom feel to it, both in the writing and the production. The cast had even been directed to look passed the fourth wall every now and then giving the impression they were speaking or performing directly to us.

The set, ideal for a mid-scale tour, consisted of a set of flats and a couple of desks and remained constant throughout the four scenes, whilst a cast of four is also a plus for such a touring production. 

The three elderly cleaners with their money-making sex-chat were played in this production by Vicky Entwistle, Leah Bell, and Vicki Michelle. The three had a good rapport with each other, and their individual back-stories and characterisations were brought out well over the course of the play. The fourth cast member was Andrew Green, a mother-loving singleton with a love of vacuum cleaners, trying hard to be the hard-nosed boss of the girls, but deliberately ineffectual in that regard. His moment came towards the end of the second act, where he truly came out of his shell. 

One other thing I should mention is the venue itself. Middelton Arena has been since its opening in 1988, a receiving house for many of the country's finest music tribute acts and comedians, but one so rarely has the opportunity of watching a play there, that that in itself was a huge treat. Producers please take note and add this to your venue list!

A fun night out.

Reviewer - Matthew Dougall

on - 30/10/21

AMATEUR THEATRE REVIEW: A Funny Thing Happened On The Way To The Forum - Derby Theatre, Derby.

This is a musical comedy which can truly said to have to stood the test of time, having first been performed almost sixty years ago. It is remarkable how the script is still incredibly funny and yet doesn’t seem dated; think how many 1960’s and '70’s TV comedies now have either content warnings or simply don’t get shown at all. It's also notable how the comedy contains constant sexual undertones and yet is family friendly, non-sexist and never seems coarse or cutting.

This is a big show in every way, starting with a cast of 17 and needing a large, two level set. The music is essentially the American Big Band sound and so requires a lot of musicians to be done justice. It is also a show which asks a lot of the actors, requiring the fourth wall to be frequently broken whilst building up to a complete farce with a fast-pace and considerable choreographed movement. In short, ‘A Funny Thing Happened On The Way To The Forum’ is a not a show for the faint-hearted to produce. Present Company met this challenge with distinction.

It was pleasing to see how well cast this production was. David Partridge as main character Pseudolus The Slave, opened the show front of curtain and quickly established a rapport with the audience before the curtain raised to show the full cast with the memorable number ‘Comedy Tonight’. Craig Arme as Hero, and Amanda Bonsall as Philia, were perfect as the innocent, virginal young couple set against a backdrop of debauchery and trickery with Steve Dunning playing a memorable Lycus, trader in courtesans and David Lovell amusing as the put-upon slave Hysterium. Joe Woffingham had the right stature and countenance as the arrogant warrior Miles Gloriosus. Simon Theobald as Senex gave a funny portrait of a middle-aged man trying to have some fun, well complimented by Judith Hanson as Domina, his overpowering wife. Philip de Voil as Erronius, a befuddled neighbour, was something of a show-stealer with regular brief but funny entrances. The main characters were well supported by both the chorus and ‘the Proteans’, an all-purpose trio of bit players.

The sixteen-piece band were excellent, with some musicians playing up three different instruments and changing for example particular types of saxophone in mid-song. This gave full and varied justice to what are for the most part, a memorable collection of songs and even well after the curtain fell, the band continued on with full gusto. With all the cast mic'd-up, there was never any conflict with the singing and the music and the overall effect was a joy to listen to, with the general quality of singing excellent, including the chorus (particularly during the funeral scene).

One area which could have been improved on (and at little cost), was the set. Structurally, it was ideal, based on three houses, each with an upper room with one having a balcony. The problem was that it simply did not look very Roman with one house having a red-brick wall next to a stone wall, both of which looked very English, as did a Georgian-panelled door. A coat of paint could easily have given a white washed effect with the door simply being covered with hardboard. It also seemed a mistake to have a silver glitter curtain over one house but fortunately this was quickly removed. All that said, the set was perfectly functionally, ably meeting all the needs of the plot and the actions.

This was a worthy rendition of a challenging but very enjoyable show and the audience certainly seemed to agree with this sentiment. Well done, Present Company.

Reviewer - John Waterhouse
on - 29.10.21

BOOK REVIEW: The Witching Hour

TITLE: The Withching Hour
AUTHOR: Riku Frydryk
PUBLISHED BY: Pegasus Elliot MacKenzie

This is a story about a young prince who escapes from his castle at night to discover that the hour of midnight doesn't have to be frightening; at the same time it aims to teach children not to be afraid of the dark. It is an adventure story for young readers about what happens when the sun goes down and witches and a library fly. A great-great-great-grandfather clock which sits on the top of the library chimes as The Witching Hour (midnight) begins.

I was immediately drawn to this book by the brightly coloured illustrations which bring the story to life.  They are emotive and have vibrant colours and lots of detail which really catch the eye and tell the story very well.  Each page is a different colour with imaginative graphics.

The book’s compact size makes it manageable for a child with small hands to hold. Plus, it has easy to slide pages which make it easier for small hands eagerly wanting to turn over to the next part of the story to handle. An additional advantage is that it has wipe-clean front and back covers, a bonus for parents reading the storybook to children with sticky fingers.

With a feel-good ending, which brings the story to a satisfying conclusion there are several messages the young author wants to communicate to young readers especially those afraid of the dark. He wants them to think differently about what might be in the dark which they can’t see. Additionally, he wants them to understand that there is nothing to be afraid of, even in the darkest hour at midnight and that something good can come out of what appears to be, at first, scary. Through the story, he portrays the powerful side of imagination introducing the reader to the world of magic.

The author is a ten year old boy who has a passion for writing, which started at an early age; this is his first publication.

Reviewer - Anne Pritchard

THEATRE REVIEW: Vinegar Tom - The Maltings Arts Centre, St.Albans.

Caryl Churchill’s 1976 play brings a feminist perspective to one of the darkest chapters in the English Civil War. During the 1640s. The emergence of self-appointed ‘witchfinders’ like the notorious Matthew Hopkins, flourished to the extent that witchfinding became a profitable industry and led to the deaths of over 300 women. For the jealous, the envious or the generally disaffected, the appeal was obvious: simply accuse your neighbour of witchcraft if they put your nose out of joint or your crops fail, and you can have them conveniently removed.

This is the plight of Mother Joan Noakes, a poor elderly widow from the Fen Country who lives in penury with her daughter and her cat (the ‘Vinegar Tom’ of the title), until an altercation with her farmer neighbours leads them to suspect that she is responsible for their crop failures and the sickness of their cattle. But Joan is not the only one with problems .... Betty, the virginal daughter of a local plutocrat, refuses to marry the man selected for her by her parents and, in consequence, is confined to her room and tortured under the same suspicion; and a local (female) apothecary falls under the same opprobrium for helping a local woman abort an unwanted child. The arrival of Packer the Witchfinder - the worst imaginable kind of spiritual quack - ensures that the innocent suffer while the guilty go unpunished.

Matthew Parker’s production for OVO Theatre Company makes excellent use of the Maltings Studio Theatre, with minimal set (three raised daises and a passion!) but period costumes courtesy of Alice McNicholas. The real innovation here though, is the creation of a rock score (by Maria Haik Escudero) to accompany Churchill’s lyrics - originally envisaged to be sung by one character, but here reimagined for the entire company, who prove proficient on guitar, percussion, bass and keyboards. Interpolating a dramatic text with music can be fraught with danger (I recall a rather awful production of Much Ado About Nothing featuring Gershwin songs, where I’d have been happy to have ditched the play and kept the songs), but not in this case. The programme describes how inspiration was taken from the likes of P J Harvey, First Aid Kit and Fleetwood Mac; but to my ears, it was more reminiscent of Gang Of Four, particularly with reference to Jon Bonner’s non-retro psychedelic guitar lines.

In a generally strong cast, performance honours go to Jill Priest as the persecuted Mother Joan, Alan Howell as a farmer who feels his manhood has been (literally) stolen by Joan’s daughter Alice (Emilia Harrild) and Bonner in the dual roles of Alice’s demonic lover and the appalling Packer. Cathy Conneff also makes an impression as the hysterical farmer’s wife. This is a semi-in-the-round staging (audience enclosing acting space on three sides) and the ensemble projects well - considerably better than in another studio production I saw recently where the actors, despite being mic'd up, still contrived not to be intelligible. Occasionally, a couple of sentences didn’t register but that might be down to getting to know the space.

This enterprising company should be commended for undertaking something so ambitious at a time when theatres and companies are tempted to fall back on the easy and over-familiar.

Reviewer - Paul Ashcroft
on - 29.10.21

MUSIC REVIEW: Anything For Love - The Middleton Arena, Manchester.

A rock concert with a difference: this is 'Anything For Love' - a 3 hour extravaganza of back-to-back hits by Jim Steinman, by long-time Meatloaf impersonator and singer Steve Steinman (no relation) and Lorraine Crosby, with full backing band and vocals. 

The stage was set: a large skull-headed bat taking pride of place centre stage along with a motorbike, whilst the guitarists, drummer, keyboard player and backing vocalists took positions on podia surrounding them. There were pyrotechnics, smoke, and more lighting effects than imaginable throughout the show, and there were some lovely costume changes too.

Steve Steinman - famous for being Meatloaf on TV's 'Stars In Their Eyes', has made a career out of singing the Jim Steinman songbook, especially those associated with Meatloaf, and he even made a cameo appearance this evening as Meatloaf to sing a duet with Lorraine Crosby (who was the original female singer on Meatloaf's hit 'I Would Do Anything For Love'). Steinman owned the stage this evening, being something of a stand-up comedian, compere, and lead singer all rolled into one. At times he was crude and cursing; but the audience didn't seem to mind, lapping it all up as part of the whole act.

Among some lesser known songs, many hits were showcased this evening including, 'Anything For Love', 'Two Out Of Three Aint Bad', 'Dead Ringer For Love', 'For Crying Out Loud', and two of my personal favourites, 'Total Eclipse Of The Heart' and 'You Took The Words Right Out Of My Mouth'. Crosby sang the Celine Dion hit, 'It's All Coming Back To Me Now', and Steinman started the second half with a lovely tribute to Jim Steinman who passed away in 2021, with another of his more famous songs, 'Heaven Can Wait'.

The two female backing singers however deserve much of the credit. They never stopped! Singing harmonies, dancing continually, moving small set items, and basically giving their all to the show. Well done Trixabelle Bold and Emily Clark.

This was a full-scale touring concert for fans of not just Meatloaf but of the whole Jim Steinman ouevre, and his music was lovingly showcased. The only (rather large) problem both my companion and I were having throughout the concert was the sound level. Even despite it being a rock concert, the sound levels were set simply too high - Steinman's banter and compere information was lost, muffled and blurred because of it, and there was occasional feedback during a couple of the songs too. 

The whole evening finished with (of course) a huge 'Bat Out Of Hell'! Thrilling, loud, and faithful!

Reviewer - Matthew Dougall

on - 28.10.21

THEATRE REVIEW: Bedknobs And Broomsticks - The Lyceum Theatre, Sheffield.

I’m always somewhat nervous when a favourite film - especially one from my childhood- gets a stage adaptation. It can be a massive disappointment (Charlie And The Chocolate Factory, The Worst Witch for example) or satisfyingly brilliant whilst capturing the magic of the film or book such as the Malory Towers's stage adaptation. So to say my nerves were on tenterhooks before the show started is a major understatement!

It’s hard to believe the film is 50 years' old - but this stage adaptation makes the musical feel new and fresh again, and will most probably prompt a rush in sales of the film DVD.

The story is set at the start of World War Two during the Blitz, and the production starts with the three Rawlins children - Charlie, Carrie and Paul - being put to bed by their father. Moments later disaster strikes as bombs drop and the children are tragically orphaned and sent to live in fictional Pepperinge Eye, near the Dorset coast, where they are placed in the reluctant care of Miss Eglantine Price (Dianne Pilkington). The magic starts right from the first scene as we see the Rawlins's home destroyed in the Blitz. I’m not giving any spoilers away on this part but those first few minutes of the show gave the audience an insight as to what a wonderfully spellbinding production they were about to witness.

Having made it perfectly clear to Mrs Hobday (Jacqui Dubois) - who has the difficult task of finding evacuees suitable safe homes, that she will only take the Rawlins's children in until another home can be found, Charlie, the eldest of the three (Conor O’Hara making his professional debut having graduated from Mountview in 2020), Carrie, and youngest sibling Paul decide to run away - but when the witness trainee witch, Miss Price, attempting to fly on her recently delivery of a broomstick, they decide to stay, having bribed her to get their own way so they keep her witch training a secret.

Paul brings with him a pop-up storybook about a fictional land of Nopeepo (“no people” - although in the film version the magical land is called Naboombu) and after going on a mission to “Portobello Road” (one of the original songs from the film, with new songs added for the stage adaptation) to find the missing half of the spell book which holds the final part of the last spell she’s to perfect, (“Substitutiary Locomotion”), they discover that the final part of the spell is inscribed on a medallion worn by the King of Nopeepo. Using the bed shared by the children, Miss Price uses magic to transport them to Nopeepo. The special effects had wowed me already but the flying bed literally took my breath away. Now I’m not going to put any spoilers but in other shows I’ve managed to see exactly how they’re making objects appear to fly - from the glass elevator at the end of the West End production of 'Charlie And The Chocolate Factory' to Elphaba flying in 'Wicked', I’ve known exactly what to look for and where to see how the object “flies” - but no matter how hard I looked for the usual methods on this bed - I couldn’t see how it was being done - which made it even more magical for me.  I was speechless.

For those familiar with the film, the land of Nopeepo is a cartoon as all the animals are living under the sea - no people, so I was curious to see how this part (a large section of the story) would be done. I’m usually not a huge fan of puppets (other than Avenue Q) but these puppets were something else! From the rabbit that Eglantine transforms various people into, to the fish, and the King of Nopeepo (a lion), it really brings the film to life whilst still capturing the magic beautifully.

The costumes (and wigs) are fantastic too - from the typical 1940's knits and tweeds worn by the children to the stunning purple skirt suit and bright copper curls worn by Miss Price to the sparkling outfits worn during the dance competition at the Beautiful Briny Ballroom. Dianne Pilkington did not disappoint in the role of Eglantine Price - both vocally and acting she was truly spellbinding to watch.  Tonight we had Sam Lupton (who I had the pleasure of seeing several times during his time as Boq in the West End production of Wicked) standing in for Charles Brunton in the role of Emelius Browne (“Browne with an “E” - Emelius - a line that made me laugh out loud as that’s exactly what I say when spelling out my own surname - hey - I get you Emelius - we totally earned that “E”) who again didn’t disappoint as the fraudster behind the so-called witch apprentice training scheme, who ends up joining Eglantine and the children on their mission to find the final part of the spell. The younger two of the children (Carrie and Paul) are played by different people depending on date and venue - I haven’t been able to find out who we had this evening but feel like they deserve a mention - “Carrie” in particular had a pitch-perfect voice when singing solo parts and was an utter joy to watch.

There’s honestly very little I can fault with this adaptation - definitely worth “bobbing along” to see - it’s truly spellbinding.  Just what’s needed to put the magic back into the looming Christmas after last year's depressing lockdown and restriction-filled Christmas and the perfect winter warmer as the nights get colder and darker. I could go and see every performance of the long-touring production and it would still feel as magic three months later.

Reviewer - Lottie Davis-Browne
on - 27.10.21

THEATRE REVIEW: Sunny Side Up - The New Vic Theatre, Newcastle-Under-Lyme

Somewhere on Yorkshire’s East Coast, right at the end of the line, two trains and a bus ride from anywhere, the resort of Sunnyside was recently voted the worst seaside town in the country by the readers of a major national newspaper. It is here that we meet straight-talking Barney (John Godber), probably the most unlikely proprietor of a seaside B&B since a certain Mr. Fawlty set up in Torquay almost five decades ago. Run with the help of his wife Tina (Jane Thornton, Godber’s real-life wife) and daughter Cath (Martha Godber, one of his real-life daughters) this establishment is gearing up for an increase in the number of “staycationers” – a horrible word, according to Barney – as pandemic restrictions subside.

We learn that the family has deep roots in Sunnyside. As Cath puts it, “Me great grandad came here for the railways, met me nan, knocked her up and that were it”. It isn’t an easy place to live, rife with drug abuse and unemployment; even the coast itself is crumbling away faster than it is anywhere else. All three are committed to it though. They love it, in their own way, even if Barney’s assertion that “if they don’t like it they shouldn’t come” won’t be featuring in any PR industry awards list any time soon. And we soon come to love them: they are quick-witted and bounce off each other as they intersperse their family banter with their stories.

The main story they tell is of the visit of Tina’s brother Graham and his wife Sue. Graham – played by Godber as a much more complex character than Barney – grew up in Sunnyside but moved away to follow a career in education. Success in that field led to a middle-class lifestyle and a rather affected one at that; whilst on the one hand the couple proclaim themselves vegan they still enjoy their eggs “sunny side up”. Graham’s politics are ostensibly Left-wing but his disdain for Tina and her family (particularly when he learns that Barney did some prison time many years ago) shows that he has forgotten his roots.

Sunny Side Up was the Godber family’s “Lockdown Project” and originally appeared as an hour-long one-act play. It has been developed since then into a full-length play with an interval just long enough to allow for a pint of the New Vic’s beautiful Lymestone beer and a catch-up with a friend. It’s after this interval that we get to the real message of the play.

Graham gets chatting with Kelly (Martha Godber), a local woman who is staying at the B&B. Her life has been neither easy nor fulfilled, having drifted from one dead-end job to the next in a town with nothing to do beyond karaoke night at the Jolly Jack and offering very little prospect of a better future. As Graham suggests that education might offer her a route out of this rut he merely ends up digging himself a hole in which it becomes clear that for all his knowledge and qualifications he has very little understanding of how people like Kelly have to survive in the real world. As she puts it, “this country’s divided in two between them what’s got and them what’s not”.

There is some evidence that Graham “gets it” and after this exchange the tone lightens again as he begins to recognise the beauty of the area and reconnect with his roots.

One of the things I love about theatre is the way in which, in the right hands, the simplest of sets and a few props can be transformed into numerous settings. Here a square of floorcovering, a few chairs and a section of fencing become a B&B patio, Graham and Sue’s garden, the attic room, the coast at Gipton Crags and even – with the help of some blue lighting – a rockpool. The short musical interludes between the scenes were very effective; judging by the number of people joining in they were very popular too. Production design was by Graham Kirk with Elizabeth Godber as Stage Manager. The Assistant Director was Neil Sissons.

Sunny Side Up is a funny play – a very funny play – with a deadly serious message. North Staffordshire might be a long way from the coast, but Godber’s portrayal of a “left behind” town will certainly have resonated here. The audience’s warm applause at the end was well deserved.

Reviewer - Ian Simpson
on - 26.10.21

AMATEUR THEATRE REVIEW: The Little Mermaid - The Garrick Playhouse, Altrincham.

Altrincham's Garrick Playhouse is this week producing the Northern Premiere of Alan Menken's Disney version of 'The Little Mermaid'. It's school half-term, it's a family favourite, and with production values this high, and a professional production team, there should be absolutely no excuse for not being there!

We all know the story don't we? The youngest daughter to King Triton, Ariel, falls in love with a mortal and dreams of being able to have legs and walk on land, as well as (obviously), marrying the man of her dreams, a chap by the rather unglorious name of Prince Eric. She trades her voice for legs with a spell from her wicked aunt Ursula, and with the help of Sebastian (a crab), and Flounder (a....flounder!) her wishes are eventually granted and the Prince and her fall in love. 

The score is filled with well-known hits such as "Under The Sea", "Part Of Your World", and "Kiss The Girl", and with a 9-piece live band and some superb voices and harmonies from the cast, all under the direction of Mark Goggins, the show sounded wonderful. [my only criticism being that the sound levels were too high this evening, and occasionally this gave us a little unwanted buzz or feedback, and hurt our ears!]

The choreography (Koda Holland-Smith) was slick, imaginative, and used both the cast and the space to their best advantage, and the directing (Joseph Meighan) was tight, clear, and told the story without fuss, using a very cleverly thought-out set design of little more than 3 long blue pieces of material as a base upon which to work their magic. The design was by Barry Purves, Joseph Meighan, Vicky Hughes, Mandy Cooke, and Paul Simpson, making full use of the stage with different levels and perspectives which worked superbly. Add to this a whole array of colourful and imaginative costumes (with the merfolk dashing around the stage on roller shoes - the kind with a small wheel inside the heel... ingenious!), and creative lighting, and all we're missing is the actual cast...

...who were sensational! It really is so hard to believe that this production was an amateur one, the standard was just so high. Little wonder they are privileged enough to be able to stage the northern premiere of a Disney show! All the cast simply gave everything they had to their roles, and this paid dividend a hundred fold; however, let me just give a special mention to a few of my personal favourites:
First, the two Moray Eels known as Flotsam and Jetsam, played by Myles Ryan and Connor Ryan. as secondary antagonists, they could easily have been overlooked, however, their togetherness, and insidious presence was impressive, as was their singing. Second, (although he was actually my favourite character), is Scuttle, the gull. (Sean Duvall). With a brilliant costume and long glove puppet (puppetry designed and constructed by Barbara Biddulph), he was comedic and entertaining adding a different dynamic to the main characters. 

And my favourite song / dance from the show simply had to be the one sung by Ariel's sisters along with Flounder (Ryan Coxon), "She's In Love". [pictured above].

Of course, it must go without saying that the lead role of Ariel, our renegade long red-haired mermaid with a love of all things human was just amazing! Emily Leeland performed this role with seeming accustomed ease, and her singing voice was just wonderful. 

I was watching a couple of very young girls with their mother sitting in front of me during the show, and they did start to get a bit bored towards the end of the first act (perhaps it was just a little long for their target audience), but they were absolutely delighted by the whole production and despite their tiredness (the show finishes at 9:45pm), they were smiling and giggling at having thoroughly enjoyed the experience. I have to admit, I also enjoyed the show immensely and would wholeheartedly recommend anyone and eveyone to witness this family-oriented, feel-good Musical.

Reviewer - Matthew Dougall

on - 27.10.21

THEATRE REVIEW: Fred - The King's Arms, Salford.

‘Different people have different ideas about what normal is.’

A new play from Fine Wine Theatre Company; ‘Fred’ shows us the lives of middle aged couple Trish and Danny as they seek to meet with their regular counsellor to announce that they have decided on a divorce. Now all they must do is decide who gets Fred? However, whilst they do that, their councillors seem to have their own problems that need to be dealt with.

Upon entering the theatre I found a cabaret style seating plan, with tables and chairs all angled towards the stage. This is not the first time I have come across this seating style in the King’s Arms and it works well in the context of the space, with it being a functioning public house as well as a theatre. Just as the play was about to begin, the cast were almost upstaged by the venue’s resident cat as he attempted to reside amongst the furniture and props. Thankfully he was removed without force, and the play could then begin! 

With a 90 minute running time, this comedy/drama, written and directed by Helen Connolly, began much like a kitchen sink drama with a bickering couple that I am sure the audience could relate to, and then gradually escalated into a dark and gritty drama that would be well placed on channel 4, full of humorous twists and revelations.

The play’s opening was strong as the dialogue was fast paced and engaging. Karen Allen and Steve Connolly portrayed a long term couple believably, arguing from the outset. Although there seemed to be a few opening night nerves from one or two of the cast members, all of the cast must be commended on a superb ensemble performance. Connolly had great stage presence, he was natural and at ease in his character. I have witnessed Connolly in a few plays previously and it must be said that this is always the case. Allen portrayed Trish, the wife, with a tiredness and slight vulnerability, despite her character calling the shots on the divorce, which allowed the audience to engage with her on a human level.

The two councillors, played by John Mackie and Louise Wilson both came across as confident in their characters. Wilson brought a great depth and gave us a great character journey as Ellie becomes gradually more unhinged throughout the counselling session, at one point even threatening a stuffed animal with a pair of scissors. Mackie portrays Mark, the couple’s original counsellor impressively. His acting is natural and commanding.

A particularly strong scene within the production in my eyes was the dialogue between Steve Connolly as Danny and John Mackie as Mark. The chemistry between the two characters and their seeming hatred for one another was enjoyable to watch played out on the stage. The two actors worked well together, really bringing the scene to life.

Helen Connolly’s layered writing focused on themes of infidelity, marriage and children. She has successfully written a humorous play full of real moments of joy and shock and filled with poignant messages. However, not once did I feel as though I was being forced to seriously consider these matters, which I am sure is a mark of a great writer.

This was also Helen Connolly’s first time directing. Her directorial style was naturalistic and again much like a kitchen sink drama. There were some really great moments in her direction, such as when the power shifted and different characters found themselves sitting in the counsellor’s chair and commanding the narrative, whilst the other characters sat on the sofa intended for clients.

A wonderful new production with a cast and crew deserving of praise.

Reviewer - Megan Relph
on - 26.10.21

THEATRE REVIEW: The Good Life - The Lowry Theatre, Salford.

'The Good Life' was a British sitcom of the 1970s. It was much loved and yet, surprisingly only ran for three years (1975 - 1978), and starred, who were then the doyens/nnes of British light entertainment theatre: Richard Briers, Penelope Keith, Felicity Kendal, and Paul Eddington. At that time the script was funny, the pace was light and quick, and the cast completely in sync with each other.

Cut to 2021 and a UK touring show which tries to lovingly recreate the first two episodes of that sitcom. This theatre tour takes and reworks the initial two episodes in which we understand the meaning of 'the good life', as respectable couple number 1 renounces work, bills, modern exisistence, and turn their suburban home into a fully self-sufficient eco-farm, whilst respectable couple number 2 and their immediate neighbours look on in a mixture of disgust and envy; but find themselves happy to lend a hand to try to save the runt of the litter, when faced with a tiny piglet's imminent death.

The script should have sparkled; the cast should have been fighting off the laughter, the energy should have been palpable, and the chemistry between the cast should have been electric. What we were presented with in actuality however was nothing more than a damp squib. Not even superb comedy actor Rufus Hound could save this one. It seemed to take forever to even receive the first titter from the audience, which only really started to liven up once we were introduced to the goat! The script seemed very dated, the jokes weak, and the acting tired and laboured. 

The set, which tried to resemble the TV set as near as possible, looked authentic, and I liked the idea of a cleverly designed triangular revolve (yes, I know that doesn't really make sense, but you need to see it to understand what I mean), and the lighting and sound were both sensibly designed and worked well. Although having cast members enter from underneath a black curtain at the side of the stage for one scene was less than amatuerish I'm afraid. 

It wasn't even really a fault of the acting: the four main characters (played by Rufus Hound, Preeya Kalidas, Dominic Rowan, and Sally Tatum), all brought their own respective talents to the table, and tried to meld them with the characters they were playing, making them recognisable without resorting to obvious caricature, and they all managed this balance well - it was just that there was little or no chemistry between them, the pace was unbearably slow, and the lines they had been given to say simply were no longer funny; or at least those that were funny, were too far apart from each other with a lot of 'filler' in between. 

Two other cast members made up the ensemble, and it was these two who actually made the evening funny. Tessa Churchyard and Nigel Betts were called upon to play every other cameo character that appeared in this production, sometimes with a rather quick change. Of course, much more could have been made of this as a running joke, but what they did was still funnier in most places than the main storyline. 

All-in-all, this is a period piece which simply did not translate onto the contemporary stage, and something which is only ever likely to appeal to die-hard fans of the original TV sitcom. A time capsule which perhaps should have stayed firmly buried.

Reviewer - Matthew Dougall

on - 26.10.21

THEATRE REVIEW: The Lemon Table - The Crucible Theatre, Sheffield.

I don’t know whether it’s of any advantage to have read Julian Barnes’ 2004 short story collection The Lemon Table before seeing this, but I can’t say I felt I was missing out for the omission.

Barnes’ book is a series of disparate pieces, mostly on unrelated themes - the two exceptions, 'Vigilance' and 'The Silence' both concern themselves, albeit loosely, with the theme of music, and these form the content of the monologues presented by industry veteran Ian McDiarmid under the direction of former Donmar supremo Michael Grandage. Although related thematically, the two pieces are well-contrasted, the first being a mostly light-hearted portrait of a fussy concert-goer, the second a forensic portrayal of the composer Jean Sibelius as he contemplates death and his (never to be completed) Eight Symphony.

To start the (short) evening with 'The Vigilance' makes sense: Barnes’ protagonist is immediately amusing and engaging and clearly recognisable to anyone who’s ever attended a concert at the Festival Hall (or anywhere else, for that matter) - the person who insists on absolute silence and engagement from all those around him (and I do sympathise - I can remember an evening at the Barbican being partly ruined by the heavy breathing of the person sitting next to me). Talkers, whisperers, programme page-turners, sweet chewers and all other varieties of audience nuisance are the bane of this neurotic man’s life; and it isn’t too long before we begin to wonder if these quirks aren’t symptomatic of something else.

McDiarmid has always been a natural at conveying neuroticism and this role lies right at the centre of his range: from the gushing, over-aspirated speech to the body language suggesting latent aggression hamstrung by propriety, he owns the stage for thirty minutes, drawing us into the enclosed world of this frustrated, pitiable but, finally, endearing personality.

Then, with barely a moment’s pause, McDiarmid transforms himself into the aged composer Sibelius, an extinct volcano of creativity who famously wrote hardly anything of note in the last thirty years of his life. Supposedly, he is at work on an Eighth Symphony - even after three decades, people still expect it - but he knows it will never be completed, alcohol and good living (a pension from the Finnish government absolved him from the necessity of work) having dulled his creative urges. Yet he seems reconciled to his fate, and not unhappy with his lot as he recalls previous triumphs and a life marked by achievement rather than disappointment. Inevitably, a darker piece than the first one, this neatly sidesteps any risk of glumness thanks to McDiarmid’s splendidly animated performance, again rich in vocal texture and arresting physical quirks (the way he struggles to climb back onto his chair is a wonderful piece of physical acting).

At 65 minutes, no interval, this might seem like short measure on paper; but I’ve seen three hour full cast plays that contain less stimulation and food for thought. Performed on a plain set (just a table and a couple of chairs) and with a simple but effective lighting plot, The Lemon Table is an absorbing hour spent with interesting company.

Reviewer - Paul Ashcroft
on - 16.10.21

THEATRE REVIEW: The Cat And The Canary - The Opera House, Manchester

'The Cat And The Canary' is advertised as a comedy thriller and is something of a classic, having been written by John Willard in 1922 and has been made into a movie no less than three times – the most famous of which was probably the 1939 version starring Bob Hope and Paulette Goddard but others include a silent version from 1927 and a more modern version in the late 1970s.

The night started off with some very tense music which for some strange reason was booming out of the speakers so loudly that you could see audience members having to shout to their companions simply to be heard.  The music was a nice touch but could have easily been made into background noise without too much difficulty.

The play essentially revolves around a central character of Cyrus West who died exactly 20 years prior and has specifically arranged for all of his living heirs to be assembled together at midnight.  This was for the formal reading of the will and for the main benefactor to be revealed and played out on an old gramophone in the corner of the room.  This was something that was specifically requested by Cyrus prior to his death – he was well known as a real eccentric.

Almost all of the many characters were introduced to the audience during act 1.  The housekeeper Mrs Pleasant (Britt Ekland) and then all of the different relatives and therefore potential heirs in Annabelle West (Tracy Shaw), Susan (Marti Webb), Cicily (Priyasasha Kumari), Harry (Gary Webster), Paul (Antony Costa) and Charlie (Ben Nealon) – all neatly introducing themselves and their characters within the first few minutes of arriving on stage.  There was also Crosby (Eric Carte) who was the lawyer and executor of the will – he had been a friend of Cyrus and was very keen to carry out his wishes without exception.

It is hard to ignore many of the stereotypical elements that a traditional murder mystery contains – it was a dark and stormy night, crashes of thunder and flashes of lightning could be seen and heard with some real sense of sinister timing. The strange noises and creepy soundtrack continued throughout which added to the tension.

Act 1 took place solely in the library of the Devon Moor manor house and sets up the storyline very nicely with essentially all of the characters openly contemplating why they may or may not end up being the sole benefactor.  There is added tension between Harry and Charlie who openly dislike each other, Harry being the much more aggressive ex-boxer who cannot stand the actor Charlie and threatens to fight him on more than one occasion.

Moving into act 2 took us into Annabelle’s bedroom for the evening which became the epicentre of activity late into the night with almost all of the cast visiting her at some point during the evening. Hendricks (Martin Carroll) had previously entered the library to announce that there was an escaped lunatic from a nearby asylum and this became a key element to the storyline.

'The Cat And The Canary' has all of the facets for it to be a brilliant production. There is no doubt that the plot has much to offer and is very well written, but it somehow falls short in many areas. There are most definitely some real comedic lines but they get very little more than a small acknowledgement from the audience as it all feels a bit too stereotypical and a bit too contrite. The ending was unexpected and interesting but felt like it was rushed.

There are some fine acting performances, none more so than Antony Costa as the bumbling vet Paul. He plays the lovestruck fool wonderfully and for me may just steal the award for the best performance of the night. Britt Ekland is clearly the biggest star on show and it is hard to argue that Tracy Shaw does not do an excellent job as the heroine Annabelle. However, these really good acting performances are just not quite enough to rescue this production from feeling dated and old fashioned.

'The Cat And The Canary' was still an enjoyable watch and the actors did a fabulous job but I felt like it could have been so much more.

Reviewer - John Fish
on - 25.10.21

NEWS: Programme for 15th Outburst Queer Arts Festival announced.

Programme for 15th Outburst Queer Art Festival Announced   Over 30 events including immersive orchestral performance, new commissions, live podcasts, art, screenings, talks and poetry showcasing local, national and international queer work in Belfast ·         The festival centrepiece is Conor Mitchell’s MASS, an epic new performance queer ritual by the award-winning composer at The Telegraph Building, featuring the Ulster Orchestra and soprano Giselle Allen ·         BORDER FAIRIES, Richard O’Leary’s intimate theatre exploration of queers and borders on the 100-year anniversary of the partition of Ireland ·         Artist in Residence: Poetry Ireland Chair Derry poet COLETTE BRYCE ·         Screenings of films and documentaries include Rebel Dykes, a collaboration with Queer Cinema for Palestine, and Belfast based trans director Caleb J. Roberts 12th – 20th November, various venues in Belfast and online

facebook.com/outburst.arts | T: @OutburstArts | Insta: @OutburstQueerArts | #OutburstFestival | outburstarts.com

From epic to intimate, live to online, local to international, the fifteenth annual Outburst Queer Art Festival has an incredible array of art and events showcasing queer talent. With a centrepiece of Conor Mitchell’s MASS, bringing together the 64 musicians of the Ulster Orchestra, acclaimed Irish soprano Giselle Allen and six international film makers, this year’s festival includes music, art, live performance, poetry, talks, film screenings and live podcasts in venues across the Northern Irish capital and online. Other highlights include Richard O’Leary’s true stories of queer northern life in Border Fairies, talks from one of the most influential queer writers, thinkers and activists of her generation Sarah Schulman, and a queer audio meditation on outdoor spaces Calling the Corners from Dominic Montague.

Following his Irish Times Irish Theatre Awards triumph with Abomination: A DUP Opera (Outburst 2019), Ivor Novello-nominated composer Conor Mitchell returns to the festival to present an epic evening that smashes together the sacred and profane in queer ceremony. In Belfast’s iconic Belfast Telegraph Building, MASS (17 – 18 Nov) takes the time-honoured ceremonies of Christian faith that have been performed over centuries, and creates a new place of connection and celebration where all are welcome. Part classical oratio, part rave, audiences will be able to walk freely around the space to view the central Ulster Orchestra and commissioned films from international filmmakers (Egypt, Brazil, Syria, USA, Jamaica, India) projected in cinematic scale onto the walls of the old newspaper building, visually responding to the movements of a mass through different queer lenses from around the globe.

Supported by the Share History Fund marking the 100^th anniversary of the partition of Ireland, Richard O’Leary’s Border Tales uses traditional Irish storytelling to recount stories of life with his partner Marvin, a Protestant Reverend with a parish across both sides of the divide. Other live performances include David Hoyle: Rebellion: the fireball of the cabaret apocalypse and the original performance avalanche and raging bona-fide performance legend.

For those who are still not venturing indoors, Calling the Corners is a specially commissioned queer walking meditation for people that don’t like meditation. Dominic Montague and musician Chris W. Ryan have created an audio piece that is best listened to in green spaces, but can be listened to anytime and anywhere. Also available to any location, many events are streaming online including poetry from landmark anthology Lifeboats: Queering the Green, and a special screening of Mondial 2010, shown in collaboration with Queer Cinema for Palestine, with very special guests Ghadir al Shafie and Sarah Schulman. Sarah Schulman, writer, thinker and activist, will also be in conversation with Monica Pearl, a fellow ACT UP New York veteran, about her acclaimed new book Let the Record Show on ACT UP, one of the most vital and successful activist movements of our time.

Both live and online, podcasts will include the debut live show from The Kate Brennan Harding Music podcast, Belfast based Fist City talking about queer country music, Dublin cabaret icon Veda Lady and HIV activist and academic Robbie Lawlor in Poz Vibe, and The State of Us: Art, Queers and the State Podcast.

Queer art features in many forms, including a queer art market, large-scale commissioned cartoon works by Helen Gomez which responds her experiences of becoming disabled due to long Covid. Isabella Anna Koban will be unveiling her new mural The Full Indian Rope Trick, a specially commissioned depiction of Artist in Residence Colette Bryce’s most powerful poems.

Collette Bryce will feature in other events in the festival, including a live in-conversation and a poetry masterclass. Joelle Taylor, who has just been shortlisted for the TS Eliot Prize for poetry, will also be delivering a masterclass.

Artistic Director Ruth McCarthy said, “We are so excited here at Outburst to have live-in-person events back. After a tough couple of years for artists, artist support continues to be our driving force. From daring new collaborations with Conor Mitchell and Ulster Orchestra to incredible works from emerging local and international artists, we hope this year’s festival will be a time of reconnection for LGBTQ+ community and an exciting space to get back to sharing the vital stories and brilliant ideas we need at this time.”

Chief executive of the Arts Council of Northern Ireland Roisín McDonough said, “As Outburst’s long-term principal funder, the Arts Council is delighted to see this year’s festival return live, in-person, and stronger than ever.  As the arts can finally begin to ease off the brakes, we can look forward to new commissions, new showcasing opportunities for young rising talent, new collaborations, and some truly unforgettable experiences, including that much-anticipated world premiere of MASS by Conor Mitchell, surely one of the most original and exciting composers to emerge from Northern Ireland. As we look to the future, what better symbol of hope and change than one of the world’s foremost LGBTQ+ arts festivals, right here on our doorstep?”

Outburst Queer Arts Festival is an annual explosion of queer art and performance in Belfast. It showcases great local and international queer work and support the development of queer arts at home and internationally. The 15th Annual Outburst will take place 12-20 November 2021, the full programme is available here.

Outburst Queer Arts Festival is a registered charity. It is supported by Arts Council of Northern Ireland, Paul Hamlyn Foundation, Belfast City Council, Department for Communities, British Council, Public Health Agency, Heritage Fund/ NIO and Film Hub NI.

NEWS: Liverpool's Homotopia Festival: Coming Out is almost on top of us.

Homotopia Festival 2021: Coming Out

Thursday 28 October – Sunday 14 November

 
After months of being stuck at home, this year’s Homotopia Festival theme is Coming Out.
 
Homotopia is coming out in support of queer arts and cultural venues, to be reunited with the LGBTQIA community and to share stories of queer joy.
 
And for those who aren’t ready to Come Out, they’ve got some fab digital content on offer too.
 
Highlights include:

Sat 30 Oct: Queer, As In Funny
After the last 18 months, we all need a good laugh. Join TV’s Rosie Jones and a gaggle of LGBTQIA comedians for a night of fun and laughter. Book here:https://www.homotopia.net/Festival%20/queer-as-in-funny/
 
Sun 31 Oct: Dietrich Live
Don’t miss the most glamous and camp night of the year, join drag artist Peter Groom for ‘Dietrich: Live in Liverpool’, a glittering, poignant and uplifting audience with icon, Marlene Dietrich, in the stunning setting of St George’s Hall. Book here: https://www.homotopia.net/Festival%20/dietrich-live/
 
Artist in Residence: Jade Anouka
Homotopia Festival is excited to introduce Jade Anouka as this year’s Artist In Residence. Join Jade for a series of events, performances and workshops during her residency in Liverpool and online. Find out more: https://www.homotopia.net/Festival%20/jade-anouka-homotopia-festival-artist-in-residence-2021/
 
See the full festival programme at: https://www.homotopia.net/festival/

NEWS: Casting announced for Jack And The Beanstalk at Scarborough's Stephen Joseph Theatre.

Casting announced for Jack and the Beanstalk at the Stephen Joseph Theatre, Scarborough 

 

3 to 31 December 2021

Jack and the Beanstalk

Adapted by Nick Lane from the story by Benjamin Tabart and others, with music and lyrics by Simon Slater

Director: Gemma Fairlie

Cast: Jacob Butler, Jessica Dennis, Sheri Lineham, Alicia McKenzie, Loris Scarpa 

Designer: Helen Coyston

Lighting Designer: Paul Stear

Casting Director: Sarah Hughes CDG

 

Casting has been announced for a festive new adaptation of the classic tale of Jack and the Beanstalk at Scarborough’s Stephen Joseph Theatre this Christmas.

 

Fee-fi-fo-fum – I smell the socks of a Scarborian!

There’s a rumour going round town. A scary rumour.  Want to hear it? Well…

They reckon a giant has built a castle above the coastal clouds of Scarborough. A terrible giant. Meaner than mean and nastier than nasty. 

He ate the Easter Bunny!
Used the Tooth Fairy as dental floss!
He’s going to kidnap Santa! 
He has to be stopped!

It’s all rubbish of course. Jack started the rumour by accident, but since he seems to know more about this monster than anyone else, he’s the obvious choice to head up that weird beanstalk he grew in his nan’s garden, above the clouds and destroy the beast!

No problem, thinks Jack. Go up the most unpopular kid in school; come down a hero. After all, it’s only a rumour. Isn’t it…? 

This Christmas the team that brought you The Snow Queen, Treasure Island, Alice in Wonderland and A (Scarborough) Christmas Carol invite you up the Beanstalk to discover the truth!

 

The SJT is returning to full capacity for most performances of Jack and the Beanstalk, but for the comfort of those who prefer it, nine performances – roughly two shows a week – will stay at social distance – full details can be found on the SJT website.

 

Jack and the Beanstalk can be seen in the Round at the SJT on from Friday 3 to Friday 31 December. 

 

Tickets, priced from £10, are available from the box office on 01723 370541 and online at www.sjt.uk.com

NEWS: Hear the Papatango Prize-winning plays for free at Mold's Theatr Clwyd

Papatango New Writing Prize Audio Plays Free at Theatr Clwyd

Papatango are an organisation that champion the next generation of brilliant playwrights, especially those who might otherwise lack pathways into theatre. Their opportunities are free, open to anyone and anonymously assessed.

Next month at Theatr Clwyd, the three winning plays (of the thirteenth Papatongo New Writing Prize) will be available to listen to, free of charge. In partnership with ETT (English Touring Theatre), the audio productions will play by scanning a QR code on your phone, with copies of the scripts including braille translations available.

The three winning productions are:

Some Of Us Exist In The Future written by Nkenna Akunna. Rasheka Christie-Carter directs the cast  babirye bukilwa (Neighbour/You), Florian Clare (Coe), Funmi James (Isata), Rachel Nwokoro (Chiamaka) and Oseloka Obi (Black Masc/Dad).

Chiamaka is new to all this. Fresh off the plane from the UK, she's new to Brooklyn and its extremes. She's new to queer dating, to the realities of being an immigrant. Most of all, she's new to the voices of the gods...

Utterly original, wryly funny and always gripping, Some Of Us Exist In The Future follows one woman’s journey to finding her place in a world that’s not all it seems.

Silence and The Noise written by Tom Powell. Artistic Director of Papatango, George Turvey directs the cast Aldous Ciokajlo-Squire (Ant) and Shakira Riddell-Morales (Daize).

Every teenager knows what it’s like to be stuck between things: childhood and maturity, innocence and experience, hope for the future and uncertainty about what that will be. But Daize is torn between even greater challenges: her love for her vulnerable mother and her dangerous friendship with Ant. An outsider with knockout trainers, Ant has just appeared on her doorstep, bringing with him a whole world of trouble.

The Silence and The Noise captures the story of two young people on the edge.

Ghost Stories from an Old Country written by Tajinder Singh Hayer, Jessica Lazar directs Rebecca Crankshaw (Paula), Raj Ghatak (Dal) and Shane Zaza (Amar).

Dalvir has always told a good ghost story, properly unsettling, dark tales to send a chill right through his younger brother Amar. But now Dalvir’s almost a ghost himself, cloistered and secretive. Amar desperately wants to reconnect with the only family he has left, but can he unravel Dalvir’s stories to find a way back to his brother?

Threaded through with captivating fables, Ghost Stories from an Old Country is a riveting and poignant exploration of the ties that bind us.

For more information, please visit the Theatr Clwyd website at www.theatrclwyd.com or www.papatango.co.uk/2021-prize-announcement/