Saturday 29 January 2022

AMATEUR PANTOMIME REVIEW: Cinderella - The Art Theatre, New Mills.


Almost exactly two years since their last production, 'Hansel and Gretel', New Mills Art Theatre came to life with a bang via another Alan Frayn pantomime, Cinderella. Bucking the festive trend by staging their annual pantomime in February has been especially fortuitous this year, coming days after the government rescinded most of the restrictions imposed because of the latest surge in covid. This must have helped ensure a virtually full house with the annual panto at the Art Theatre being something of institution for the New Mill community.

As with previous works, Frayn had stuck to the traditional pantomime format, both in theme and characters, with some interesting and at times, very imaginative variations. This was perhaps inevitable, given that this was a community production with the large cast having variations in age up to fifty years and the generous stage area used to full advantage with a full complement of around thirty actors and dancers. 

‘Cinderella’ has to be one of the best-cast pantos in years at New Mills Theatre.

Alice Bowden had just the right persona in the title role with Seb Green providing a good balance between playing a love-struck servant and being the main link between cast and audience. Natalie Boden and Stewart Boden worked really well as the ugly sisters (could they be in some way related?) and Lisa Quinn had a certain regal aloofness as the Prince in contrast to ‘his’ jovial companion Dandini, played by Rebecca Towner-Yates. Also, Mhairi Jennings had a nice, light touch, playing Fairy G. Special credit must be paid to some very confident and competent performances by younger members of the cast, notably Alfie Hall as Leggett who alongside Isabel Fletcher Shaw, provided a virtual Laurel and Hardy style double act though out the show.

This was a bright cheerful production, relying to an extent with colourful backcloths but with enough use of staging to give the effect of full sets. The Art Theatre’s beautiful Royal boxes were used well as additional performance areas, often quite unexpectedly, and a good balance was achieved in creating various convincing scenes whilst providing enough space for sophisticated dance routines. This was just as well because the choreography was of a high standard.

As with previous pantos, the songs sung were taken from various genres and times rather than just relying on contemporary pop songs. Interestingly, the last panto at the theatre featured a Monty Python song and the Python’s ‘Liberty Bell’ theme music was used in this production of Cinderella. A highlight was the castle bedroom scene which took the usual panto ghost cliché to another level in ways which were funny, sophisticated and surprising. This was a really refreshing change to the old stalwart of the ghost scaring cast members off stage by a tap on the shoulder but to say more would be to give spoilers.

In terms of the ‘traditional elements’ of panto, everything you might expect was here from the ‘oh yes it is’ routines to an audience sing-a-long, plenty of weak puns plus a few jokes aimed more at adults. The usual characters were all present; Cinderella, Buttons, Prince Charming, Dandini and the two Ugly Sisters. However, there were some interesting twists; one of the sisters was quite unusually played by a woman and Dandini had a mini-apprentice. The costuming was excellent, although it took no small amount of suspended disbelief to imagine that Prince Charming was a man, with the actress in question wearing zip-up boots, flesh-coloured tights and a very high-cut top!

All the cast seemed to be enjoying themselves and this was reciprocated by a very enthusiastic audience. A very enjoyable evening all round.

Reviewer - John Waterhouse
on - 28.1.22

Tuesday 25 January 2022

STAND-UP COMEDY REVIEW: Beat The Frog - Frog And Bucket, Manchester.


Manchester's premiere comedy club, The Frog And Bucket, which has been the host and springboard for several well-known comedians, is now back up and fulling running once again after our covid closures. I went along to one of their regular events, held each Monday evening, which is known as 'Beat The Frog'. (no euphemism intended...!) This event is where aspiring or fledgling comedians can come to see if they can deliver a five-minute spot without being voted off by three members of the audience. Each Monday therefore is a completely different line-up - but you get to see 12 comedians giving the F+B a go at the very start of their careers, which is both exciting for us, and undoubtedly nerve-racking for them!

The evening is compered by Danny McLoughlin, who himself was once one of the competitors in this laugh-market, and his banter this evening was gained through finding people in the audience to chat with and having the quick-wittedness and repartee-arsenal to have a funny come-back for almost every situation he encountered. He came across as both sympathetic and empathetic to both his audience and fellow comedians, and held the whole together well. A personable comedian who knew his way around a heckle! 

Three audience members were chosen - and their role is simply to hold up the frog card during the comedians' acts if they are not finding them funny, or not entertaining the crowd sufficiently. Don't worry - all 12 comedians knew the score and knew that they might be "booed" off the stage - that was part of the 'game' this evening, and all were willing to try and beat the audience (ie, beat the frogs - hence the title).

This evening's 12 lambs-to-the-slaughter were Adam Brides, Ben Shevlin, Dustin Moore, Jimmy Shirley, Ben Robinson, Emman Idama, Danny Carine, Joshua Mason Wood, Andrew Michael Grogan, Matt Ashton, Sam Thurston, and Dan Martin. Surprisingly all 12 were the story-telling comedians, and as such, very few were able to elicit a laugh within the first 30 seconds, as they needed to start the story before getting to the funny parts, never mind the punchline. We had stories about (in comedian order): drugs and counselling; surviving a brain injury; being a new parent during lockdown; being a Scouser in Greece; applying to be on 'Naked Attraction'; racism from and to a Nigerian Dubliner; a baptism of fire doing stand-up for the very first time this evening; living on a boat and having a posh accent; being a very straight-talking no-nonsense gay, ginger, emo; French language puns; going into a strip club; and finally, stories of nationality from a Romanian living in Oldham.

Only six of the 12 survived their five minutes. These six were then invited back up onto the stage in police line-up format, as we were invited to clap for the one who we thought the funniest of the evening. And this evening's winner was Emman Idama.

The evening started at 8pm and finished around the 10:20pm mark, with two short breaks in between the comedians. The evening is unrushed and laid-back, and with a licensed bar and pizzas available throughout the night with doors to the club opening at 6:45pm (table service), the majority twenty-somethings audence made an evening of the show, lapping the whole atmosphere up with slightly inebriated bonhomie. I would say from an older person's perspective that the disco lights and loud techno music prior to the start of the evening were most unwelcome - but maybe I'm just being a grumpy old so-and-so here!  

Reviewer - Alastair Zyggu
on - 24.1.22

Monday 24 January 2022

NEWS: A fun way of introducing children to opera comes to a north west venue near you this half-term!


HURRAH! FOR THE PIRATE KING CHILDREN’S SHOW TOURS VENUES DURING FEBRUARY HALF TERM

 

A FUN-FILLED INTRODUCTION TO THE WORLD OF OPERA

 

PRODUCTION VISITS SOUTHPORT, WIGAN, BIRMINGHAM, HALIFAX, SADDLEWORTH AND LIVERPOOL

______________________________________________________________________________

 

Bill Elms Productions and Absolute Children’s Opera have collaborated to develop a fun-filled show which introduces children of all ages to the world of Opera.

 

Hurrah! For The Pirate King will entertain young and old on a mini tour in February 2022 during the school half-term, visiting The Atkinson, Southport (Fri 18 Feb), The Old Courts, Wigan (Sun 20 Feb), The Old Rep, Birmingham (Wed 23 Feb), Square Chapel Arts Centre, Halifax (Thu 24 Feb), Millgate Arts Centre, Saddleworth (Fri 25 Feb) and Epstein Theatre, Liverpool (Sun 27 Feb). Tickets are now on sale!

 

Follow the great Pirate King's swashbuckling adventure, as he takes us on a FIVE STAR, critically acclaimed, magical musical journey to find a treasure beyond gold and jewels.

 

On his journey, mysterious creatures shall ye see from the Queen of Cats, to the beautiful, bedazzling singing Mermaid, but can the Pirate King defeat the evil Colonel Crab and win the legendary Unicorn Diamond?

 

Experience an operatic singing adventure created especially for children, wrigglers, fidgeters and music lovers from 0-99 in a fun and inclusive way.”

 

Hurrah! For The Pirate King is co-produced by Bill Elms Productions (Epstein – The Man Who Made The Beatles, Jerry Springer The Opera, Swan Song, Something About Simon) and Absolute Opera (Music Of The Night and Opera Under The Stars)The show is performed by leading musical and operatic stars including Roy Locke, Leigh Rhianon Coggins and Craig Price.

Producer Bill Elms commented: “This show is fun, it's silly and it's beautifully sung by world-class professional singers and kids and families will love it, the show is filled with songs everyone knows and can sing along to. I am delighted to be developing the show along with Absolute Opera to tour the show, which started off on the festival circuit and building to a full-scale production. It’s the perfect half-term treat.”

Absolute Childrens Opera added: "We created Hurrah! for the Pirate King! as a fun and engaging way to introduce children and families to the magical world of Opera. We realize that children are unique and that every child will interact and enjoy our show in a different way, thus our show has been designed to be as inclusive as possible. For us, that means your children are free to wriggle, fidget, bounce, sing or clap their way through our show. If you put opera, pantomime and world-class singing into a blender; you would get a PIRATE KING SMOOTHIE!"

Join Hurrah! For The Pirate King for the perfect, fun-filled, half-term treat! A family show like no other, specially created for young, Wriggly families! Squirming, fidgeting, singing, dressing-up and clapping are highly encouraged in this unique take on a family Pantomime.

Facebook:       / AbsoluteOpera

Twitter:           /@AbsoluteOpera

Instagram:       /absoluteoperauk /absolute_childrens_opera

Website:          www.absoluteopera.com


Friday 18th February at 2.30pm

The Atkinson – Southport

Call 01704 533 333| Online www.theatkinson.co.uk

 

Sunday 20th February at 2pm

The Old Courts – Wigan

Call 0343 2086015| Online www.theoldcourts.com

 

Wednesday 23rd February at 2.30pm

Birmingham Old Rep

Call 0121 359 9444| Online www.oldreptheatre.com

 

Thursday 24th February at 2pm

Square Chapel Arts Centre – Halifax

Call 0343 2086016 | Online www.squarechapel.co.uk

 

Friday 25th February at 2.30pm

Millgate Arts Centre – Saddleworth

Call 01457 874644 | Online www.millgateartscentre.co.uk

 

Sunday 27th February at 2.30pm

Epstein Theatre – Liverpool

Call 0844 888 9991 |Online www.epsteintheatre.co.uk

NEWS: Michelle Collins to star in UK tour of 'Cleudo' - coming to Salford's Lowry Theatre at the end of June


Michelle Collins to star as Miss Scarlet in UK tour of new play Cluedo

        

From Mon 27 June 2022 - Sat 2 July 2022.

       

Was it Miss Scarlett, with the revolver, in the dining room……?


Actress Michelle Collins, star of EastEnders, Coronation Street and 2000 Acres of Sky, is to star as the iconic Miss Scarlett in the UK Tour of the new play Cluedo.


Based on the classic Hasbro detective board game loved by generations and the hit 1985 Paramount film CLUE, the brand new comedy thriller opens tours to The Lowry from Mon 27 June until Sat 2 July 2022.


Michelle Collins says:

“I’m thrilled to be joining the cast of Cluedo. It’s such an iconic game and I remember how much I loved playing it with my cousins when we were younger.  I’m delighted that it’s being brought to the stage – and having really enjoyed reading the script, I’m sure audiences across the UK will love it.”


When Miss Scarlett, Professor Plum, Mrs Peacock, Reverend Green, Mrs. White and Colonel Mustard arrive at a country house one dark and stormy evening, they are surprised to find they have all received the same intriguing invitation from Lord Boddy. It soon becomes clear that they all have something to hide as the mystery and hysteria grows and the inhabitants and guests of Boddy Manor are killed off one by one, with a variety of familiar weapons, leaving everyone to wonder, who will be next!


This UK premiere production is directed by Mark Bell, director of the award winning The Play That Goes Wrong and A Comedy About A Bank Robbery and just like the game, it promises audiences of all ages a nostalgic, fun and thrilling evening of entertainment. Based on the screenplay by Jonathan Lynn, the play is written by Sandy Rustin with additional materials by Hunter Foster and Eric Price and for the UK production, Mark Bell.


Producer Josh Andrews added:


“We wanted an iconic actress to play such an iconic character and we could not be happier to have Michelle starring as Miss Scarlett in Cluedo. Both the game and Clue the movie, are much loved by all ages, so it’s a privilege to bring this new play of Cluedo to the UK stage and it could not be in more suitable hands than our director, Mark Bell. He certainly knows how to deliver a night full of great fun and entertainment!”


The tour is produced by Josh Andrews and Stuart Galbraith of Kilimanjaro Theatricals, in collaboration with their US producing partners Work Light Productions, Lively McCabe Entertainment & The Araca Group.


This hilarious spoof of a thriller, will keep you guessing right up to the finale as both the guests and audience try to work out whodunnit…. with what… and where!

NEWS: World Premiere of 'Tom, Dick And Harry' to be staged by Staffordshire's New Vic Theatre.


A New Vic and Kenny Wax Ltd Co-Production

Tom, Dick and Harry

Written by Andrew Pollard, Michael Hugo and Theresa Heskins

Directed by Theresa Heskins

 

Friday 10 June – Saturday 9 July 2022

New Vic Theatre, Newcastle-under-Lyme

 

Then touring summer 2022.

 

Press Performance; Tuesday 14 June at 7.30pm, New Vic Theatre, Newcastle-under-Lyme

 

 

SENSATIONAL STORY ABOUT GREATEST ESCAPE IN WORLD WAR HISTORY

 TO RECEIVE WORLD PREMIERE STAGE PRODUCTION

                                                                                                         

·       Tom, Dick and Harry to be brought to the stage by the team behind the smash hit Around The World in 80 Days, directed by New Vic Artistic Director Theresa Heskins (Olivier Award-winning The Worst Witch)

·       Based on the true story behind the escape from Stalag Luft III; with a script inspired by classified documents 

·       Production opens in Staffordshire in June, then tours to Southampton and London

 

The New Vic Theatre and Kenny Wax Ltd to co-produce brand new stage play Tom, Dick and Harry this summer.

 

The play, an original script co-written by Andrew Pollard, Michael Hugo and Theresa Heskins inspired by top secret information that was classified in the war archives until 1972, will debunk the myths, honour the people involved and tell the true story of one of the most daring escape attempts in World War history. An incredible tale about solidarity across nations, and of an unbreakable spirit to achieve the impossible, Tom, Dick and Harry is filled with dynamic drama, humour and breathtaking theatricality.

 

New Vic Artistic Director Theresa Heskins, who will direct the play, said: “It’s such an inspiring story of spirit and determination. We’ll tell it as a really dynamic, vibrant piece of theatre that celebrates the ingenuity and spirit of the escapees. The story is comic, and tragic, and an adventure, and quite thoughtful at times. I think audiences will be fascinated to learn what we discovered in the archives, which honours the memory of those involved at the same time as offering some surprising insights. And of course, we’re making it as theatre-in-the-round, which is such an engaging way to make and see a play:  audiences feel so much a part of the action, which makes for a spirit of togetherness that is very much in keeping with this story about how much can be achieved when people work together.”

 

Co-producer Kenny Wax said: “Having worked with Theresa, Andy and Mike on ‘80 Days’ and loving the unique physicality that they brought to that fictional novel, I didn’t hesitate to jump on board when offered the opportunity to partner in the re-telling of this extraordinary true story”.

 

Tom, Dick and Harry will open at the New Vic from Friday 10 June to Saturday 9 July 2022, before embarking on a national tour. For more information visit newvictheatre.org.uk.

INTERVIEW: A chat with Loveday Ingram, director of the stage adaptation of 'Fatal Attraction' currently on UK tour and coming to Manchester in February.


When Fatal Attraction opened in cinemas in 1987 it captivated and terrified filmgoers, garnered multiple Oscar nominations and became that year’s biggest global hit, raking in more than $320 million against a $14 million budget.

            More than three decades later the chilling and provocative tale of an extra-marital affair gone horribly wrong is coming to the stage for the first-time ever, with director Loveday Ingram promising: “Audiences will go away having had an invigorating, stimulating evening that shocks and surprises as well as making them question choices they have made in the past or could make in the future. It’s gripping and thrilling and it’s a real emotional rollercoaster.”

            With Kym Marsh and Oliver Farnworth heading the cast, the play remains true to the core story of New York lawyer Dan Gallagher whose fling with book editor Alex Forrest starts out casual but soon escalates into a reign of terror when she refuses to accept it’s over.

            But there are surprises in store for fans of the film who think they know all the twists and turns. “It isn’t exactly the same as the film,” the director teases, “and the outcome resolves in a different way.”

            Ingram (who has worked extensively in the West End and around the UK) also believes Alex’s behaviour will be viewed differently now than it was in the 80s. “Our attitudes towards mental health have changed so much since 1987, as they have towards emotional support. It’s inevitable that people will look at the character of Alex in a different light.”

            Writer James Dearden penned the Oscar-nominated screenplay (which was in turn based on his 1980 short film Diversion) and the movie also scored Oscar nominations for Best Picture, Best Director for Adrian Lyne, Best Actress for Glenn Close, Best Supporting Actress for Anne Archer and Best Editing, with Michael Douglas omitted from the list but winning that year’s Academy Award for Best Actor in Wall Street.

            It inspired other psychosexual thrillers like the hugely successful Basic Instinct and the critically-panned Sliver but Fatal Attraction remains the genre’s most enduring classic, with Loveday noting: The play, like the film, asks questions, challenges, surprises and shocks, and if we get it right every person in the audience will be going Oh my God, that could happen to me if I made the wrong choice at the wrong time’.”

            With Dearden also adapting the film for the stage, Fatal Attraction is the latest edge-of-the-seat thriller from Smith and Brant Theatricals and Ambassador Theatre Group Productions after their acclaimed tours of Gaslight and Strangers on a Train.

            “And James’s adaptation is stunning,” the director enthuses. “It’s slick and engaging. The dialogue is electrifying and bites to the core of the story. He’s taken the heart of the film, stripped it back and put it on stage to great effect.”

            Set in the present day, the stage version features contemporary technology like mobile phones with projections of video calls.One of the things that drew me to it is that its about consent and people stepping into the danger zone,” Loveday says. “Its about responsibility and trust and crossing the line. To bring that to life in a way that works for contemporary audiences, we’ve shifted it more towards the technology that we all use to communicate every day. Stalking and social media intrusion are all part of that.”

            Do we still get the infamous bunny boiling scene? She laughs. “Now that would be giving it away, wouldn’t it?”

            Kym Marsh, who came to fame in the pop band Hear’Say before doing a 14-year stint as Michelle Connor on Coronation Street, is relishing the chance to explore Alex Forrest through a contemporary lens.

            “She’s quite a complex character and playing her in this day and age is more interesting, I think,” says the Merseyside-born performer. “I’ve read a lot of articles that Glenn Close did about the character of Alex and even then, back in the 80s, she was thinking that there’s more to Alex, she’s not just this psychotic woman. She’s got real issues and you can tell that she’s gone through something awful in her life. For me it’s interesting to dig around in that and look at the vulnerabilities in her.”

            Marsh agrees Alex’s behaviour would be viewed very differently now. “I think there’d be another conversation around it for sure. We’ve come a long way in terms of how we view mental health since then.”

            Is she daunted about following in Glenn Close’s shoes? “Well, no-one can fill those shoes, can they? All I can do is my best with it and not copy her, but the script of the play is slightly different. It’s not exactly the same, it’s not scene-by-scene and word-for-word. There are subtle differences and you hear more from Alex about where she’s been. It’s hard to talk about without giving too much away but you get more of a sense of who Alex is and what her journey may have been.”

            Kym left Coronation Street in 2019 and has since juggled stage work with presenting such BBC shows as Morning Live and For Love Or Money. She hasn’t toured since playing Jovie in Elf The Musical in 2019 and says: “I’m excited about getting back out there and testing myself in front of a live audience. I’ve no doubt I’ll be nervous when I first go out on that stage but I’m hoping those nerves will dissipate.”

            Starring opposite her as Dan Gallagher is Oliver Farnworth, whose last tour (The Girl on the Train) was also in 2019. Hailing from Halifax, Oliver has been in Hollyoaks and Coronation Street as well as working extensively in theatre in such shows as Beautiful Thing, Merchant of Venice and Under Milk Wood and he sees being back on tour as  “like putting on an old pair of shoes”.

            Oliver views Dan as an alpha male who’s at the top of his game at work. “He’s kind of a lion who says what he means and gets what he wants but even though he presents as the wholesome American family guy he has resentments and flaws. He’s entering middle age and feels like he’s losing his youth, and his life in New York is gradually slipping away from him as he’s moving out to the suburbs. He’s not quite ready for that and he’s led astray by temptation.”

            In the film Dan maybe comes across as the victim of Alex’s obsessions but, without giving spoilers, Farnworth feels the play redresses that because Alex is an independent single woman and it’s Dan who cheats on his wife and lies to cover up the affair. “And we’re looking at the potential impact of mental health, which is possibly an underlying feature of Alex’s character, and we’re looking at Dan’s flaws. It’s a more measured view.”

            The inclusion of mobile phones and other technology, the actor believes, adds to the suspense. “It’s harder to remain anonymous. Everyone knows what everyone else is doing and that ramps up the tension. It leads to a lot of tense moments and adds some new twists.”

            Dan’s wife Beth is played by Susie Amy, who became a household name as Chardonnay on Footballers’ Wives and who has appeared in Echo Beach and Hollyoaks on TV and Wait Until Dark and After Juliet on stage.

            Just as Dan in the film might be perceived as a victim, Beth struck some cinemagoers as too good to be true. “But she’s got some bite to her,” Susie notes of Beth in the play. “She’s not overly-forgiving and she’s not a pushover. She’s very caring towards Dan and their daughter Ellen but his betrayal is a step too far. She’s a lovely mum and wife but it’s a normal marriage and it isn’t all roses all the time, even before she learns of his affair.”

            Having also been in Rehearsal for Murder and Murder on the Nile, the Londoner thinks theatregoers love a good stage thriller because of the shared up-close experience. “And at the moment it’s just thrilling to go into a theatre after the last couple of years, let alone to watch something that’s such an edge-of-the-seat, thought-provoking night out. It shows how one bad decision can cause a real domino effect.”

            Coincidentally Susie was last on stage at the Edinburgh Festival in 2018 in The Marilyn Conspiracy opposite Oliver Farnworth, prior to which she toured in Ray Cooney’s Out of Order. “I just love being on tour,” she says. “I love going around the UK, spending times in different cities and seeing different audience reactions, and I think people are going to be really gripped by Fatal Attraction.”

            Kym Marsh agrees. “It’s a fantastic play. It’s dramatic and sexy and at times chilling. Plus it’ll be so nice to just get out there in front of a live audience.”

            She smiles. “Having theatre back again is just brilliant because I think everyone has really missed it. I remember walking through the West End and seeing tape across theatre doorways, and it really made me sad. I’m absolutely delighted to be getting back on stage and getting audiences back in.”

Interview: Syndicated

AMATEUR DANCE REVIEW: So You Think You Can Danceworks - The Lowry Theatre, Salford.


200 children and teenagers came together this weekend to perform together for the first time since the pandemic kicked in, and for many of the very young ones, it would undoubtedly have been their first tentative steps onto any stage. 

Danceworks is a private dance and theatre school based in Eccles, and once every two years (usually), the whole school comes together to showcase all the brilliant things that each class has been working on, not just for the parents and friends, but these are also public performances too - so if anyone is interested in dance pedagogy or talent-spotting, then you'd have to go quite a long way to find anything else on this level.

Hats off to all the teachers and helpers - this showcase showed us all just exactly how dedicated, talented, and enthusiastic the whole school were, working as a complete team and ensemble, supporting each other (very important), and performing some technically difficult routines with skill and elan. 

The showcase mixed the ages, levels and genres throughout, making it a veritable potpourri of non-stop wonderment. Starting with two numbers from the Musical, 'Hamilton' was the school's Musical Theatre Ensemble, whilst the whole show finalled with a raucous rock dance to 'Bat Out Of Hell'. In between all of this we were shown tap dances, commercial dances. contemporary ballet, classical ballet, jazz dances, songs, and small acting vignettes from Musicals. All of it noteworthy, all of it at a very high standard. Even the 4 year olds (a whole swarm of them!) were having a great time. [especially the one in the centre of the front row during the 'Angelina Ballerina' number... just brilliant... once I'd spotted her I couldn't stop watching her.... such fantastic co-ordination and understanding of the music in one so young!]. 

It was also incredibly heartening to see a group of Downs Syndrome children have their moment in the spotlight too. They performed a song in the first act, and a dance in the second, and amassed the loudest cheer of the whole show. 

The choreography was age and ability appropriate at all times, and good use of the stage's space was found. Some lovely ideas and great pictures. Technically, the lighting - and use of haze - worked mostly; although the star curtain was less effective with some of the sections. There were also one or two places where the principal was left either singing or dancing without a spotlight, which was a shame. The costumes were superb, and all fitted the style and genre of the piece being peformed, and hair and make-up correct for the classical ballet sections.

In a showcase that ran for three hours and had some 45 items to get through, I obviously had some favourites amongst them. That does not in any way diminish the ability of the others - these were just my own personal favourites - so please indulge me! In the first act they were "Wonderland" (the acrobatic cat was just amazing!); "You Are Not Alone", and "Blackbird" [I loved the Fosse-style opening]. The second act gave me the "Bend And Snap", "Bring On The Girls", and possibly my favourite dance of the show, "How To Burlesque". I also greatly enjoyed all the Musical Theatre items - since that is my forte and am trained as a MT performer myself. We had a few solo songs (all very good), as well as a full chorus showdown to end the first act. [I might mention just one of the singers here perhaps. She was in the second group of soloists and had long dark hair. She had a wonderfully mellow alto voice and would have loved to have heard more from her!].  

There were also three senior solo contemporary dancers, who all three could quite easily have been professional. In fact, the standard was so high from all concerned. I brought an actress friend along with me to see this show, and she had no idea what to expect, having no bar from which to gauge; and she absolutely loved it and would happily come along again. 

I could continue with my praise for ever, but probably I ought to stop now. An amazing show by super-talented young people doing what they quite obviously love. Simply brilliant and thank you for allowing me to come along! Here's to the next time! Slainte!

Reviewer - Matthew Dougall
on - 23.1.22 

PS. With it being only a couple of days since the death of Meatloaf, a nice idea might have been to have dedicated either 'Total Eclipse Of The Heart' or 'Bat Out Of Hell' to him. 

Friday 21 January 2022

ONLINE PUPPET THEATRE REVIEW: The Scaryglow - Little Angel Theatre


Once upon a time, there lived a young 8-year-old boy called George who lived on the edge of a forest. It's winter and the snow is deep all around, all the way to the foot of a large mountain at the other side of the forest. George likes adventure, and has heard of all the legends of a terrible and frightening huge beast that lives in the forest called the Scaryglow. That notwithstanding, when he hears a strange noise coming from the forest he simply has to go and investigate...

This is a lovely tale for youngsters about friendship, acceptance, and trust. Written, directed and puppets all by Peter Steele for Little Angel Theatre, this delightful 6 minute tale is available to watch on Youtube for free.

At first I thought that this might just be a little too scary for an audience of tots, since the scary, suspense element was excellently brought about through lighting and sound, but on reflection I don't think it would be too much for them. There's a lovely resolve with a big blue cuddly and friendly monster waiting for them at the end!

Performed all in rhyme, this clevery crafted cinematic puppet adventure is beautifully and lovingly created. My only perhaps negative thought would be that one or two of the words used would be very much above the understanding of the target audience; but overall, they would easily understand the story nevertheless.

Reviewer - Matthew Dougall
on - 21.1.22

Thursday 20 January 2022

NEWS: Manchester Camerata anounce their 50th Anniversary Programme


MANCHESTER CAMERATA CELEBRATES ITS 50th ANNIVERSARY WITH A YEAR OF COLLABORATIONS, PREMIERES AND A WIGMORE HALL DEBUT

·         The Camerata makes its Wigmore Hall debut alongside Resident Artist Jess Gillam

·         Mozart, Made in Manchester series continues with Music Director Gábor Takács-Nagy and pianist Jean-Efflam Bavouzet

·         World premiere performance of a new work by Alex Ho as part of the Royal Philharmonic Society Composer programme

·         A 16-piece Manchester Camerata orchestra accompanies a screening of Charlie Chaplin’s The Kid

·         Collaborations with cabaret star Le Gateau Chocolat as well as Manchester-based artists including music duo Space Afrika and composer, producer and DJ Afrodeutsche

·         40th anniversary of The Hacienda celebrated with performances of Hacienda Classical at the Royal Albert Hall and Castlefield Bowl

·         Continuing partnerships with Nevil Holt Opera, the Royal Northern College of Music, Opera Up Close and Joy Division’s Peter Hook

 

2022 marks the 50th anniversary of Manchester Camerata, an innovative orchestra which has continued to push boundaries and challenge traditions throughout its history. The Orchestra today reveals some of its plans for the anniversary year which sees them perform all across the UK with artists ranging from Jess Gillam and Jean-Efflam Bavouzet to DJ Afrodeutsche and Joy Division’s Peter Hook. This year also sees the Camerata continue its popular short film series UNTOLD as well as ground-breaking community projects such as Music in Mind and Hidden Histories.

Bob Riley, Chief Executive of Manchester Camerata, said“Our 50th anniversary is an opportunity to celebrate what has happened so far as well as our plans for the future. Everyone leaves a mark at the Camerata, be that a musical style, a way of thinking, or something else distinctive. We have countless anecdotes, recordings and community projects as part of our collective legacy. We want to invite our audience to join us as we reflect on our history and initiate new partnerships across the year to come.”

JESS GILLAM AND WIGMORE HALL DEBUT
Kicking off the year is a series of concerts with the Manchester Camerata’s Resident Artist Jess Gillam in Manchester’s Stoller Hall [11 March] and London’s Wigmore Hall [20 March], which will be the Orchestra’s debut at the iconic venue. Gillam will perform Alexander Glazunov’s Concerto in E-flat major in a programme that also includes 
Daniel Kidane’s Be Stilla work commissioned and premiered by Manchester Camerata last year. Jess returns to the stage with the Camerata in May for a performance at King George’s Hall, Blackburn [20 May] and The Coronation Hall in Ulverston [17 Sept].

Jess Gillam said: “It’s always an absolute pleasure and honour to work with the orchestra - the musicians and the whole wider team alike. The ethos and spirit of the organisation and their commitment to sharing the wonders of music with every part of society is extremely inspiring. I’m looking forward to joining them on stage in the new year as part of their anniversary celebrations - here’s to the next 50 years!”

MOZART, MADE IN MANCHESTER
The Orchestra releases the sixth volume of its popular Mozart, Made in Manchester recording series on Chandos with Music Director Gábor Takács-Nagy and pianist Jean-Efflam Bavouzet [1 April]. The series also returns in concert form, with performances at Stoller Hall on 25 March and 23 September. Gábor Takács-Nagy will be featured in the Camerata’s next instalment of UNTOLD, its short film series which uses music to share personal stories. The episode will see Gábor talk about his monumental move from playing the violin to conducting, a pivotal moment in his career following 17 years leading the Takács Quartet. In this film set to a soundtrack chosen by Gábor, the Camerata explores the undeniable power of music and how music provided spiritual medicine for Gábor at a time most needed.

PREMIERES AND NEW COLLABORATIONS
Other highlights of the year include the world premiere of a new commission by composer Alex Ho as part of the Royal Philharmonic Society Composer programme, which will be part of an intergenerational performance by the people of Gorton, Manchester, where the Camerata is based [17 Nov].

The Camerata takes to the stage with Manchester-based music duo Space Afrika for a performance of Steve Reich’s Music for 18 musicians at Stoller Hall [14 May]. The Orchestra is also working with Manchester-based composer, producer and DJ Afrodeutsche on a new project and takes to the stage with cabaret star Le Gateau Chocolat on his show Pandora. Details about both projects will be announced soon.

Manchester Camerata continues to push boundaries with Unquiet, its new series focussing on the intersection between contemporary classical and electronic music culture. Curated by Robert Ames in partnership with NEWFORM Musicthe series will feature new commissions from cutting edge artists and composers.

OTHER HIGHLIGHTS
The Orchestra returns to Huddersfield Town Hall for a concert of Bach’s St John Passion with the Huddersfield Choral Society, conducted by Gregory Batsleer [2 April]. Audiences will also have the opportunity to watch a screening of Charlie Chaplin’s 1921 silent film The Kid with the Camerata performing the score live at HOME in Manchester [16 June]. December 2022 will see the return of the Manchester Camerata’s popular Festive Happening concert at Manchester’s Albert Hall and a performance of Handel’s Messiah at their home The Monastery in Gorton.

Other performances of the show are scheduled all across the UK throughout the year. The Orchestra also has performance plans with Opera Up CloseSalaam Festival and Orchestras Live in addition to other R&D projects, all of which will be announced in due course.

ONGOING PARTNERSHIPS
2022 also sees Manchester Camerata continue collaborations with various partners, including Nevill Holt Opera where the Orchestra performs Puccini’s La bohème [8-14 June] and a return the stage with Peter Hook for his The Sound of Joy Division Orchestrated shows at the 02 Apollo in Manchester and the London Palladium [14-15 Oct]. Peter Hook will be featured in the Camerata’s UNTOLD short film series later this year. Manchester Camerata present two big performances of Haçienda Classical at the Royal Albert Hall [13 May] and Castlefield Bowl [8 July] to mark the 40th anniversary of the series, which has seen the Orchestra perform at Glastonbury, Isle of Wight Festival and more.

EDUCATION AND COMMUNITY WORK
In addition to its performance work, Manchester Camerata also continues its ongoing partnership with the Royal Northern College of Music where it takes part in chamber music workshops, a conducting weekend and other opportunities for students. A number of musicians in the Camerata, including its leader Caroline Pether, were students at the College.

Following its move to The Monastery in Gorton East Manchester, Manchester Camerata continues to embed itself in the local communities there through its participant-led music-making programme.

The organisation continues its successful Music in Mind programme for people with dementia and their carers. Two new PhD studies will begin later in the year, continuing our decade-long partnership with the University of Manchester and its research teams, led by Professor John Keady. The Camerata will be working in partnership with other tech and dementia groups to further develop its Music in Mind: Remote training app and online resource for carers for wider impact across Greater Manchester.

In its younger people’s programme, Camerata is partnering with Gorton’s Hideout Youth Zone to continue their creative song-writing choir. A series of workshops in St Peters High School in Longsight will bring together students and multi-genre artists in grime and hip hop, such as artist LayFullStop, to help inspire the students in all aspects of musicianship. Composer Lavender Rodriguez leads the Camerata’s Hidden Histories schools project, which celebrates the works of underrepresented composers of the past.

Other schools’ work outside Greater Manchester includes projects with long-term partners Orchestras Live in the North East, The Entrust Partnership Stoke, Staffordshire and Telford, plus inspiration projects in Sefton and Knowsley.

ONLINE EVENT REVIEW: A Day Out In Shakespeare's Theatre - A Bit Lit.


Conducted over Zoom and lasting 2 hours, A Bit Lit came up with the antidote to boring and staid history programmes, aiming their banter at those who don't want to necessarily take history too seriously, but do like to have some knowledge up their sleeves.

Presented by Andy Kesson and Jimmy Tucker, with regular appearances from Willy Shakespeare (Ralph Bogard), we learnt much in this two hours about the Elizabethan period in general, but London, and theatre ettiqette, design, and performance structure, more specifically. If ever there were a more unlikely couple as Simon Russell-Beale and Emma John to pretend to be young lovers setting off from north of the river to attend an afternoon peformance of Hamlet in 1600's London, then I can't think of one.. but that was their premise, and we were given 'lessons', information, anecdotes, maps, etc from various experts in their respective fields as we made the journey.

We learnt about both types of theatre design, the roundhouses such as the Globe, and also those which were built rectangular in structure, such as the Curtain Theatre (Shoreditch), which was heavily featured in this 'documentary'.

If you've ever wondered what it might have been like in 1600 in London, but didn't want to wade through academic material in book form or online, then this would have been the perfect place for you, especially if you were interested specifically in theatre and theatres of that time. We were given descriptions of how the theatres looked, who the audiences were, why people would go to the theatre, what would have happened, differences for men and women at that time etc...

There was Tudor TV giving regular news bulletins of the day along with weather reports. It was all a bit tongue-in-cheek, but we were treated to several gems such as, "We're receiving reports of a tempest in Stratford-Upon-Avon" - so you get an idea for the feel of this... Milton Jones meets Monty Python!

There were also some interactive sections too, as the audience were asked to bring along three food items: an orange, some rosemary, and some cumen. Another expert took us through the smells of London and why those three were important at the time. And as we came to the end of our journey across London and looked at various theatres etc, we arrived at the theatre in time for the perofrmance, which, since this was a comedy interactive experience, we, the audience, had a deal of imput into. A group of Shakespearean Improvisors were to perform the play for us live, and we needed to decide upon the genre (we chose Tragicomedy), the name of the leading actor (Small Ability), and the title of the play (The Parliament Of Bees). The improvisors then went ahead and performed our play for us.

This Zoom presentation combined corny puns, one-liners and comedy impro with actual historical fact and anecdote / academic supposition, making the two hours in the company A Bit Lit, a little like Not The Nine O'Clock News combined with Horrible Histories performed by Kate Williams!

The whole event was BSL interpreted, and subtitled for the hard of hearing.

Reviewer - Matthew Dougall
on - 19.1.22

BOOK REVIEW: Imagine This: Growing Up With My Brother John Lennon - Julia Baird


TITLE: Imagine Tjis: Growing Up With My Brother John Lennon
AUTHOR: Julia Baird
PUBLISHED BY: Hodder And Stoughton

This is an honest and revealing story of John Lennon's childhood by his sister Julia; it is a beautifully written, poignant memoire which takes readers back to Julia’s childhood years and the time she spent with her half-brother, John Lennon. It is an emotional journey transporting readers back to the 1940s and later, with personal memories and recollections of the time spent with her family and John.

The battle between two strong, self-willed women, John's mother and his Aunt Mimi, to have custody of John in his early years is detailed along with how John frequently returned home to spend time with his mother and half-sisters, Julia and Jackie; how he learnt to play guitar and inherited his love of music from his mother.

It is clear that Julia has been on a personal journey of her own, along with sister, Jackie, as they discovered they have a half-sister, Victoria, (later renamed Ingrid), the result of an affair their mother had while John’s dad was away at sea, who was adopted at birth; the half-sister they have never really known. Julia didn’t learn of Victoria’s existence until after John’s death; John never knew her.

Julia relates how the tragic death of their mother, knocked down outside Aunt Mimi's house by a speeding car when John was seventeen, meant that life for him and his sisters would never be the same again. Julia and Jackie weren’t told that their mother was dead until months after it had happened; they were never invited to her funeral and they had no idea where she was buried. It wasn’t until Julia’s daughter decided to look up her grandmother’s burial plot under the name of Julia Lennon that the girls were ever able to visit the gravesite

Touching and at times distressing this raw account of life as a youngster is lovingly written; I admit to shedding a tear at times as this emotive record of Julia and John’s young life unfolds and sheds new light and revelations which may account for his emotional fragility and musical genius.

This is a stark look into the life of Julia and John and their family from birth until the time of John’s death; it is about the person who was John Lennon before he became famous, a young boy struggling to understand why he didn’t live with his mother and at the same time, trying to make a success of his life. There is little about The Beatles although Paul, George and Ringo are mentioned along with Yoko Ono and Brian Epstein. The recollections are more about the humane side of John, the brother who Julia loved and later admired.

I thoroughly enjoyed reading the book and looking back to times I can relate to in Liverpool along with the descriptions of family life as it was in the 1950s; it vividly captures the time and place and the characters. Local places mentioned and experiences lived during Julia’s younger days were related with affection and transported me back to fond shared familiarities which I could relate to.

Julia’s family history is told with a mixture of affection and animosity plus a fondness for Liverpool and the places John frequented. She has had to bear the loss and tragedy within her family which most families have not had to endure and she relates her own personal struggles and how she has dealt with them. I’m sure writing this memoire has helped her lay to rest a lot of hostility and bitterness she may have experienced before managing to understand the reasons for many of her family members' actions and rationales. 

This memoire is one family's extraordinary story of how it dealt with life, tragedy beyond all imagining, and later with the fame one family member brought to it. It is a passionate read, poignant, interesting and revealing; it flowed excellently, I found it hard to put down. Who knew what had gone on behind the scenes of family life whilst we were watching John rise to fame in the most famous band there ever was? Beatles's fans, and those who are not, will enjoy and be interested in this family chronicle; it is both fascinating and engaging whilst offering an insight into a brilliant and complex man.

Although Julia’s book is about growing up with John Lennon, it is dedicated to their mother, Julia.

Reviewer - Anne Pritchard