AMATEUR THEATRE REVIEW: The Rise And Fall Of Little Voice - The Little Theatre, Altrincham. Greater Manchester.

It was a pleasure to return to the Little Theatre for the first time since the pandemic struck. It is a small but intimate venue and you are close to the action wherever you are sitting. Thank you to the volunteers for their help and welcome. Sale And Altrincham Musical Theatre Company [SAMT] is an established and well respected local amateur company, so it is great to see that they have restarted performing after an understandably lengthy hiatus.

I was most impressed with the set design – a dingy rented flat in an unnamed northern England town, in the mid 1990s – with its two levels: a living room/kitchen with steps which led to the bedroom occupied by the title character. Little Voice, or LV as she is often referred to even by her own mother – was sensitively played by Kate Darlington. She handled the musical aspects of the piece really well – more of that later – and most certainly engendered the sympathy of the audience. LV is haunted by the death of her father, only finding some solace thanks to his extensive LP collection, primarily consisting of old style female vocalists. She barely communicates with her erratic and unpredictable mother Mari (Vikki Bullar). Mari seems to just have one friend, the hilariously dippy Sadie (Janice Rendel).

At the beginning of the play, Mari flirts with the two engineers who are installing a telephone, one of whom is painfully shy Billy (Mark Rendel). Billy meets LV and finds a kindred spirit. The highlight of promiscuous and alcoholic Mari's life are her visits to the club owned by the comically unfunny Mr Boo (Stuart Sephton). There she meets and starts an affair with Ray Say (Bob Etherington). Ray Say manages third rate acts and artistes and is always on the lookout for a talent who will make his fortune. Unsurprisingly, when he and Mr Boo hear the fabulous impersonations of female songstresses by LV, they spy their chance and easily persuade Mari to let LV perform at the club. Her initial attempt to sing in public doesn't go well and she retreats to the sanctuary of her bedroom. I won't spoil things by saying any more about the plot, other than it is a good mixture of poignancy, sadness, humour and hope.

I am fairly familiar with the (perhaps much more famous) film which starred Jane Horrocks, Michael Caine, Brenda Blethyn and Jim Broadbent. However, I've not seen the play version performed before. To be truthful, I only have two minor criticisms of this particular production. Firstly, I really struggled to hear and understand Mari in the opening scene although, as a counterpoint to this, her character is immediately shown to the audience and she definitely relaxed into the role as the play wore on. Secondly, and this may be a directorial choice, I felt that Ray Say was somewhat underplayed. I had expected to see a much nastier and more unpleasant man, someone who would make you cringe every time he appeared. All the actors looked the part though, thanks to good and appropriate costume choices.

Kate Darlington has a fine singing voice which everyone present enjoyed hearing. Whilst LV was undoubtedly the star of the show, I also really liked the portrayal of Billy and Sadie in particular.

The scene changes between the flat and the club were slickly handled; the stage hands made light work of any required adjustments and kept the action flowing at a good pace. The lighting and sound effects were also well constructed and effective. 

In conclusion, I can recommend the production which runs nightly until Saturday April the 2nd, starting at 7:30pm.

Reviewer - David Swift
on - 30.3.22

THEATRE REVIEW: Sheila's Island - The Lowry Theatre, Salford.

'Sheila’s Island' is a new piece of writing by Tim Firth. It is funny, entertaining, and extremely well written. The original script was written by Firth in 1992 and featured and all male cast. 'Neville’s Island' was initially commissioned for the Stephen Joseph Theatre by Alan Ayckbourn and following critical acclaim, it successfully transferred to the West End in 1994, with an Olivier Award nomination to cement its achievements. The play has been appropriately revived and is now played by four strong females in the reformatted version ‘Sheila’s Island’.

It's bonfire night in the lakes – Keswick, Rampsholme Island to be precise, and this is the Pennine Mineral Water LTDs annual team-building weekend. Sheila, elected captain, is responsible for ensuring that this all-female team of middle management employees follow their not-so-cryptic clues and make it to the debrief dinner, in one piece. Our story begins with the ladies unwittingly stranded on the smallest of the four main islands on Derwentwater. As hunger, fear, cold and desperation set in, the girls find themselves in full survival mode. The foursome must now navigate their way back to shore, but questions are raised as to what of each of them will survive when they return to dry land.

There were no weak links in the casting. Each character has been well developed and lines were delivered with pace, style, and excellent comic timing. The title role ‘Sheila’ is for me the most difficult role. There is little to be said about Sheila, and we find out very little as to her character. For this reason, I felt that Judy Flynn did well to play to the character’s strengths, acting almost as the narrator, allowing the drama to unfold around her, co-ordinating the ensemble.

Sara Crowe was excellently eccentric as the slightly unhinged ‘Fay’. Her timing was first-rate, particularly in the early scenes where she tries to inoffensively point out the mistakes of her captain. Sara had some particularly sensitive scenes covering mental health issues which were well handled, and she moved the audience as she spoke of her loss and subsequent breakdown. The audience were with her right to the end, and her eccentricity came through with a surprising turn of events at the end of the play. A top rate performance.

The standout pair were undoubtedly ‘Julie’ (Rina Fontana) and ‘Denise’ (Abigail Thaw). Diametrically opposite in every way these two both fed and played off each other skilfully. Thaw’s Denise was cutting throughout, every remark thrown out like a ‘grenade’ and each hit it’s mark. These comments were expertly delivered, making the audience titter and giggle, but also then left us feeling uncomfortable for almost condoning such clear attempts to humiliate and criticise her fellow islanders. The development of Rina’s ‘Julie’ was expertly practised. Initially I found her too loud, too gaudy, and quite annoying. I actually found myself sympathising with Denise and agreeing with her snide remarks. As Julie’s story is revealed, her whiny tones reveal her vulnerabilities, and her brashness exposed Julie’s need to feel wanted and loved. This allowed for a real contrast and the audience can really see and feel for her, thus making Denise’s comments even more insensitive and unacceptable. As Julie comes into her own towards the end of the play, we see a real juxtaposition between how she and Denise began when we first encountered them in the opening scenes. Credit here must also be given to the director, Joanna Read, for such foresight.

The set was simple in design but spanned the width of the stage and featured clever little nooks and crannies to allow for different levels of staging. There was also clever use of a screen, which opened and closed for Fay’s scenes on the ‘look-out’ point. I was also impressed with the use of water. Lighting was also well considered and used effectively to support the actors. Costumes were also simple but appropriate, however I would’ve liked to have seen the girls somewhat muckier - after all, this is a muddy, bloody fight for survival!

Reviewer - Jen O'Beirne
on - 29.3.22

THEATRE REVIEW: Rice - HOME, Manchester.

It is a well-kept secret that Australia has some sterling playwrights whose work should be seen a lot more in Britain. And thankfully, Actors Touring Company is committed to bringing international plays to the United Kingdom. Michele Lee’s “Rice”, a pared-back, austere two-hander for two female actors of strong technical skill, is currently at HOME, Manchester, by a co-production of Actors Touring Company, Orange Tree Theatre and Theatre Royal Plymouth.

Michele Lee had been originally inspired to write the script to combat the narrow range of roles available to actors of East Asian and South Asian descent – an issue found in both Australia and the United Kingdom. Her cast of two between them played a very wide range of characters – this reviewer lost count, but is estimating around ten – and they included women, men, cocky youthful ones, life-beaten older ones, draggled office cleaners, swaggering executives, and people of Australian / American / Chinese / Indian / Russian background. A very special mention to accent coach Catherine Weate: her skills were essential to bringing this story of capitalism and geopolitics to life.

Anya Jaya-Murphy performed the core character of Nisha: a young Bengali-descended Australian executive who wants to put the fictional Australian rice company she works for, Golden Fields, on the map. As she attempted to deal with the procrastinating Indian government, her new American boss, her boyfriend’s issues with his food truck business, and her grandmother’s wanderings off due to dementia, Jaya-Murphy was taut and passionate and laser-sharp with focused ambition. Which was regularly turned against her: Nisha walking through a squidgy rice field in a new sari and bare feet, expensive shoes in one hand, was a lovely picture of undermined dignity.

Angela Yeoh, as core character Yvette and multiple others, stole every scene she was in. Yvette, an older Chinese-Australian migrant working as the cleaner for Nisha’s office, should have been invisible and inaudible. Instead she had plenty to say and, in Yeoh’s performance, had a mischievous edge and constant expressiveness that never left, even when she was at her most underdog. Yeoh shone at playing the other multiple characters as well, jumping effortlessly across race, gender and class, and provided most of the universe of the play just through her performances.

Designer Hyemi Shin created a sleek white office space that could be multiple locations, and had some rather ingenious furniture features that opened out from the desk. Jaya-Murphy’s lime-green suit and Yeoh’s sapphire-blue cleaning uniform never varied, regardless of which characters they inhabited. Lighting designer Bethany Gupwell gave a cool, corporate feel, with some flashing lifts and hot orange Indian sun. Composer and sound designer Lex Kosanke added a little cold synthesiser.

Director Matthew Xia enhanced the spikiness in Lee’s script: these were not women who lived to please others, and their developing awkward friendship was carefully measured. Underneath seemed to be a genuine anger that people’s lives in another country could be considered as just pawns in a petty Western executive’s game.

Reviewer - Thalia Terpsichore
on - 29.3.22

DANCE REVIEW: Phoenix Dance Theatre: Forty Years Of Dance - The Peacock Theatre, London.

What a wonderful celebration of 40 years!

The Phoenix Dance Company are celebrating 40 years of amazing theatrical dance creations. Originally formed in Leeds back in 1881 by David Hamilton MBE, Donald Edwards and Vilmore James. In the foyer there is a wonderful display of photos commemorating Phoenix’s diverse and talented dancers and their performances. So, looking at these images before the show makes the anticipation of watching today’s talented artists even more exciting.

Under the watchful eye of their new artistic director, Dane Hurst, who took on the role at the beginning of 2021, this arrangement of five dances thrills the senses. Dane Hurst has taken the lead with a fine arrangement of some of the best pieces of Phoenix’s work from the last forty years. Reworking some with a new context and keeping others as pure as the day they were first choreographed. It is not only a celebration of the artists but of the choreographers, musicians, costumes, and lighting.

Opening the show with 'Signal', which showcases the dancers in all their glory. Muscular, athletic, and gymnastic. These are strong performers in all senses of the word. The rhythmic Japanese Taiko Drumming underpins this dance. The drumming vibrates through your body as you watch the movements, you cannot take your eyes off the dancers. With three live fire-bowls on stage, alongside the dancers, the stage is really glowing. The speed and pace of the running makes you gasp. It is exhausting to watch, and you could clearly see all the muscles and lines of the bodies as the performers moved. They danced in perfect affinity, and it was glorious.

Then, 'Harmonica Breakdown', a dance devised by Jane Dudley back in 1938 in New York depicting an African American woman of the time. Dr S. Ama Wray, professor of dance at the University of California is custodian of this dance and it is under her guidance that it has been performed at Phoenix by the divine creature Yuma Sylla. She is mesmerising. Her innate talent brings this dance to life. I simply loved it.

The third sequence was, 'Family'. A colourful dance revolving around a sofa which we all find central in our own family homes. Diving, jumping, and writhing around on and over the sofa, each dancer representing a member of the family. It was designed to underline the imperfections and differences in all the people within that family circle.

The fourth performance, 'Pave Up Paradise', and my personal favourite, was based on the story of Adam and Eve. It was sensual and beautiful to watch with some amusing twists. Accompanied by an acoustic guitar and singer, Andrew Burke. The amazing Yuma Sylla danced this, again, and the beautiful Shawn Willis. This was unusual in that Yuma and Shawn had actual speaking parts.

Finally, we had 'Heart Of Chaos', staged around a boxing ring with the African American boxer Jack Johnson, known as the ‘Galveston Giant’ at its core. At a time when mixed inter-racial marriages were frowned upon. Lots of 1920's Charleston and choreographed boxing. It was a delight. The flapper costumes were also fabulous and fitting for that era. Ending with Louis Armstrong’s 'Skid-Dat-De-Dat'. I felt honoured to be at this show. It truly highlighted some of Phoenix’s best dances and dancers. Lead dancers in this performance were Aaron Chaplin with the rippled body of a boxer and Melina Sofocleous as one of his three wives.

I must mention here, the other amazing dancers who I haven’t already named; without whom the evening would not have been complete and the dances certainly not as enjoyable. Alana Cowie, Alabama Seymour with her wonderful strength and gymnastic ability, Matthew Topliss – dancer, boxer with pure physical strength, Megan Lumsden and Charlie Naylor.

The audience was made up of many aspiring dancers, and this was a spectacle for them to behold and to use as a goal to reach, in their own personal journey.

Dane Hurst is leading a fantastic troupe, and this show is a credit to his team, his eye for style and his choice of dances. This is a must-see show for anyone interested in contemporary dance and I am sure that Phoenix Dance Theatre will gain even more fans and followers. Here’s to the next forty years!

Reviewer - Penny Curran

on - 29.3.22

THEATRE REVIEW: Joseph And The Amazing Technicolor™ Dreamcoat - The Opera House, Manchester.

The latest touring version of perennial favourite, 'Joseph And The Amazing Technicolor™ Dreamcoat'  is currently at Manchester's Opera House.

There is much to admire about this incarnation, not least of which is a heavily pregnant Alexandra Burke's winning smile and personality shining through, and showing us all exactly why she is where she is with her singing throughout, but especially in 'A Pharaoh Story'; and some very cute and talented children. The children were superb all evening and in some instances simply put the adults to shame! The set for the second act, when we are in Egypt, also worked nicely.

However, there are some things which didn't really work as well as they should have done. The first thing I should mention is that Alexandra Burke was playing the Narrator. She therefore should have been playing only the narrator. Having her double-up, no matter how comedically as Jacob and Mrs. Potipher, was nothing short of a cost-cutting exercise, and felt wrong. Further, if one is paying good money to see a professional adult touring show - yes, we know there is a children's chorus in this show, it's part of the show's charm and appeal; however when these very small preteens are given leading roles - four of the brothers, the butcher, the baker, and even Potipher - one can only see this as yet again, another cost-cutting exercise. If we'd have wanted to have seen children play these roles we'd have gone to a youth theatre or school production of it... not to a Number 1 UK tour! And the idea of Alexandra Burke being the wife of a ten-year old Potipher didn't sit well.

The choreography was high energy and fun; the singing was, on the whole good, and the emphasis from director Laurence Connor clearly being on the tongue-in-cheek - some of which worked beter than others. I truly loved the little kid (there's a joke for you... a child playing a young goat.. the kid was a kid!); but the can-can routine was unfunny and didn't really work. Some of the songs seemed to lack the correct 'feel'. The calypso wasn't a calypso, the French chanson wasn't a French chanson, and 'The Song Of The King', despite being performed by Jason Donovan, wasn't particularly rock n' roll either. In fact, Donovan chose to stray completely from the usual interpretation of this role, and despite having "The King" written on his cloak, the golden guitars magically appearing on the statues, and a shiny Las Vegas sign being flown down from above, his characterisation was very effete, homosexual, aged, and just about as far removed from Elvis Presley it's possible to get. Very strange.

The opening to both acts were extremely weak. Taken from the film version, I had never seen these performed on a stage version before, and they don't really work. They weaken the story and the show, adding nothing but time to this musical. In fact, the musical really ought to be performed as a single act non-stop romp, it would work much better.

Joseph, performed by Jac Yarrow made little impression on me sadly, and his 'Close Every Door To Me' solo showed a tired and slightly flat voice. This is a pity, as he did seem to have the ability to do much more, but was being held back (?)

There were moments of marvellousness; such as the spectacle created for The Procession Of The King on Pharaoh's first entrance, and the female singer in 'One More Angel In Heaven'; but to finish the show with Joseph pleading everyone to 'Give me my coloured coat, my amazing coloured coat', and he is not given it, and to take his curtain call without it, is unforgivable. Forget the mega-mix and added bows at the end.. that isn't part of the show.. the show is already over!

Reviewer - Chris Benchley
on - 29.3.22  

DANCE REVIEW: Verve: A Triple Bill - The New Adelphi Theatre, Salford.

Verve is the professional touring company of post graduate students of the National School Of Dance, and consists of 14 unbelieveably flexible and tireless dancers. In this their latest offering, they perform three 20-minute pieces with a short break between them. 

Sadly without a programme or even any information on their website, I am at a complete loss to be able to mention anything more than I shall do over the course of this review. For a company as renowned and talented as this, and to take the tour to 11 UK venues over the course of 4 months, there should be much more information on the dancers and dances readily available. All I know is that one of the three pieces was titled, 'Vertical Road' and choreographed by Akram Khan, whilst the titles of the other two are unkown they were choreographed by Sita Ostheimer and Alesandra Seutin.

The three dances were all contemporary dance, a genre of modern 'ballet' which has become extremely popular over the last few years. The dances tell a story, although often, as was definitely the case with these pieces, the interpretation of that story is up to the individual. For me, the three pieces were linked as we saw dances from three mythical or imaginary otherwordly people: The Undead, ghosts and Gods.

In the first I was watching the undead dance in the dark and semi-light, whilst as soon as it became light they scurried off and didn't return until the lights had dimmed again. Dressed in colourful tops this effect was reinforced when we finally did get enough light on stage to see them in any real and meaningful way. The internal rhythm of the dancers was most impressive as for the majority of this piece the only 'music' they were given was a single low-pitched drone which varied in volume. Great fluidity of movement and unison work throughout, and some of the shapes created, despite the dimness of the stage, were clever and pleasing. The central section which was much more in the style of Hofesh Schechter, where we hear tribal drum rhythms, there is more light, the dancers have more movement to do, using folk dance movements where the pace becomes more and more frenetic, even perhaps murderous, was the most successful part of this piece for me.

In the second piece, the connecting theme was continued, as here we saw ghosts. Shadows of war victims or asylum inmates. All dressed in clinical whites with bandages, most having their eyes completely covered or in shadow. A voice-over speaks about feelings, being in love, whilst one of the dancers uses a microphone to speak unintelligible French and sing something which again was sadly not understandable. We couldn't make out the words - nothing was distinct enough. The dancers used voiced breath and guttural ejaculations to great effect during the piece. These ghosts tell their story, and it becomes a ritualistic celebration which ends in a jazz piano sashay where they take their 'masks' off as the lines from the jazz singer (prerecorded) sing about what it means to be free.

The final piece was for me the most exciting, the easiest to interprest, and by far the most visually satisfying. The theme for me continued as here I clearly saw Gods on Mount Olympus. Safe and secure in their phalanx, as they cast out one of their Gods who despite him trying to re-enter the group, they go to extraordinary lengths to mischievously tease him, before abondoning him completely. Even one young goddess who obviously had feelings for him, leaves him alone at the end too. In this piece the music, sound, costuming, lighting (very creative), the pictures, the images, the use of space, and indeed the actual dance steps themselves, all came together for a thrilling and exciting piece of contemporary choreography. 

The 14 young dancers involved gave their absolute all to these pieces, and their skills should not be underestimated. It was such a shame that we had no idea what the pieces were or indeed what they were supposed to represent. 

Reviewer - Matthew Dougall

on - 29.3.22

AMATEUR OPERA REVIEW: Le Nozze Di Figaro - The RNCM, Manchester.

'Le Nozze Di Figaro', or to give it it's English title, 'The Marriage Of Figaro', is one of the most performed and best-loved operas worldwide. Written in 1786 by Wolfgang Amadeus Mozart with a libretto by Lorenzo Da Ponte, this 4-act frivolity is set over the course of only one day.

It tells the story (or at least continues the story) of Figaro. We last saw Figaro in Seville (as a barber, in an opera by Paisiello - Rossini had yet to write the more famous version!), but now he has moved to the estate of Count Almaviva to be in his employ. He is desperately in love with one of the counts serving maidens, Susanna, and they plan to marry. Rosina, another character from the Paisiello opera, is now the Countess, and there is much humour to be found in this (providing one is aware of the background to these two characters and their relationship in the first opera). However, the Count is now wanting to exercise the ancient right of being able to sleep with the maiden before her wedding night [Doigt-Du-Seigneur], and tries every trick in the book to delay the wedding in order to do this. His scheming is to become undone however when the rest of his household conspire plots to thwart him at every turn. 

Written in the style of the time, this opera is very much an "Opera Buffe"; a genre of opera which could easily be equated with the theatrical styles of pantomime or farce; and the opera should be light and frothy, and above all, funny. 

This was the fourth time of my seeing this opera now, but in this production Jonathan Cocker's direction however seemed to want to turn the story into Grand Opera, and ignore most if not all of the comedy. No froth. I am uncertain as to why he chose to do this, for the opera certainly doesn't lend itself to such a dramatic and serious approach. Moments which should have been silly, unrealistic and totally farcical were portrayed as dark and sinister, and we even saw Figaro in his opening aria in act 1 draw a cut-throat razor (a throw-back to his former profession), and Sweeney Todd-like gesture cutting a throat with sincere malevolence. The pace of the opera wan't helped by choreographed scene changes for the four acts. Using the same four "walls", they were placed in different configurations by the opera chorus in full view of the audience as part of the production. This added nothing to the opera except time, and to return to our seats after the interval to listen to the entr'acte and THEN to watch the scene change take place on stage in silence before the opera recommenced was tiresome and bizarre. The style of Cocker's directing was also continued to some extent in the orchestra pit. The configuration of the orchestra was correct, but the playing, under Peter Whelan's direction, was not as ebullient and 'airy' as it could have been. Again, no froth. The recitatives were scored for fortepiano with the help of a solo cello, and this worked nicely. 

Vocally, this afternoon's cast were superb. In fact, to all intents and purposes, I was watching and listening to, a professional cast. James Karal's Figaro was sincere and centred, and his bass voice was delightful. Pasquale Orchard was this afternoon's Susanna [there are two casts during the run], and she was forever trying her best to elict some comedy out of her role; desperatly trying to be the character that she ought to have been, full of mischief, fun, and pantomime; but always having to reign it in due to Cocker's strict no-comedy direction. Melissa Gregory (in the "breeches role") as Cherubino was also trying her best to make her role comedic, but again, not being given much opportunity sadly. Emyr Jones as Count Almaviva, and his wife Georgia Malcolm both impressed as indeed did Conrad Chatterton (Bartolo), and Lila Chrisp (Marcellina). In fact, it was a full company of performers who were just a hair's breadth away from earning money from their art. I truly enjoyed the students and their performances. It was such a pity that I was unable to enjoy the opera as a whole, since it really did not feel like I was watching Mozart's work, but felt much more like Wagner!

English subtitles were supplied at both sides of the stage, however, they were very minimalist, and unreliable too sadly. Set and costume design was by Bob Bailey, whilst Paul Botham's lighting design was simple but effective. I enjoyed the light streaming through the window in the third act, and the shadows in the final act. 

Reviewer - Matthew Dougall
on - 27.3.22

THEATRE REVIEW: Animal Farm - The Lowry Theatre, Salford.

George Orwell’s 'Animal Farm' has been brought to the stage by The Children’s Theatre Partnership in association with Birmingham Rep, and it stopped at The Lowry in Salford from Tue 22 – Sat 26 March 2022! This world-famous fable tells the story of a revolution and its aftermath. This show is a dynamic, daring and contemporary take on a timeless story. 

The play follows a farm of animals getting fed-up with their master, Farmer Jones (Jonathan Dryden Taylor) so they take control and kick their master out. Once they are free, their quality of life on the farm really improves and they are in hope of a future with less work, better education and more food. However, trouble begins as the pigs, Napoleon and Snowball, fight for the hearts and minds of the other animals on the farm. Napoleon seizes power by force and ends up exploiting the animals just as Farmer Jones had done. Will they ever get the Animal Farm they dreamed of? 

As the show opens, you are instantly drawn in to the incredible life-size puppets that grace the stage. The show is brought to life by 14 puppeteers, who create realistic movements by use of physical theatre, small gestures and mouth movements of the farm animals. The animals also sniffle, whimper and snort between their lines, bringing depth and realism to them. It is clear just how talented these puppeteers are, they keep the pace moving. There is actually only one human character in this show!   

The standout scenes for me were the battles; where miniature puppets were used to show chases around the farm yard, slow-motion movement was used to show detail within fast-paced action, and the sound and lighting effects really lifted the scenes to create a really exciting atmosphere.  

I was not familiar with the story of 'Animal Farm' before I headed to The Lowry to watch this show, so I enjoyed watching it with no pre-knowledge. However, I think the beginning of the play would have really benefited from showing the struggle the animals were going through for longer, giving more meaning to the fights and battles to follow for the next 80 minutes. 

Humour is peppered throughout this show, especially by the 9 incredible off-stage voice actors. The birds and cat really amused the audience, getting laughs every time they were on stage! This show is directed by Robert Icke, aimed at children from 11 upwards, so this comedy would certainly be welcome for this young audience between the darker scenes.  

Animal Farm is touring the UK throughout 2022! - https://animalfarmonstage.co.uk/  

Reviewer - Nicky Jones

on - 26.3.22

AMATEUR THEATRE REVIEW: Matilda Jr. - St Joseph's High School, Horwich, Bolton.

The popularity of 'Matilda' seems to be unwavering. From a story by Roald Dahl, to a full-scale West End show with music by Tim Minchin, it is now available as a one-hour schools' / junior version - something I didn't know until this evening, and have never seen this shorter edited version before. However, Curtain Up Theatre Productions, headed by the indefatigable Dawn Parker, have done it and themselves proud. 

One thing was absolutely certain right from the off, the performers in this evening's show were enjoying every single second of it. Their enjoyment and excitement was palpable, and reflected back from us to them in return. 

A lot of thought, time, and energy had been expended in order to bring this show to fruition, but this paid dividend. A sensible, unfussy lighting design, good sound quality (a couple of the mics gave a bit of feedback at times, but that's understandable and forgivable), and great costumes all helped to give context and ameliorate the production. The set design however was sadly not optimal. Having stagehands enter between every scene and alter the configuration or bring extra set pieces onto the stage was rather clumsy and pedestrian, and it also slowed the show down quite considerably too. Perhaps finding a simple, single, composite set which could utilise different stage areas for different scenes, and have the younger children move a couple of things around themselves as part of the show if that was deemed necessary, would have worked much better, and the pace would not have been lost between each scene then. I would also have preferred to have seen water in the jug; the "drinking" mime would have worked better with real liquid. 

However, none of that diminished the talent and performances of the young cast. Two different age groups had cleverly been mixed, and this worked very well indeed. Older teenagers took the roles of the adults, and in some cases doubling as ensemble chorus; whilst the children in the show were played by - naturally - children! No-one was mis-cast, and all had a wonderful grasp of their character, the part their character plays within the whole, and all worked together excellently. None of them ever lost their sense of fun or storytelling either, which was admirable. I've seen professional adult actors fail at that particular hurdle!

Emily Taylor was our protagonist, Matilda, and she played this role with gusto. Her matter-of-fact righteousness never becoming twee or self-important, and her moment hugging Miss Honey felt very real indeed. A great voice and a very confident young actress. 

Taylor was supported by many other talented and proficient youths and youngsters. Her bevvy of schoolfriends included eight who had a little more to do than sing and dance. These were Maya Marimbe (Bruce) - whose innate sense of comedy timing was a real pleasure to watch, with some lovely facial expressions to boot; Mya Collings (Lavender), who made me smile at her line "Remember she's MY best friend!"; and Kent Hayward (Eric), Matthew Chen (Nigel), Isobel Murray (Amanda), Lily Doyle (Hortensia), Pipps Stokes (Alice), and Gerda Martynova (Tommy), all adding their own particular characteristics to their roles with ease.

Lucas Haywood and Eve Blackmore played Matilda's parents, Mr and Mrs Wormwood. Their cod London accents, and underhand dodgy dealings and liaisons handled well and comedically. And Sam Banton's Rudolpho was hilarious! Whilst Matilda's myopic younger brother, Michael (Aaliyah Watson), was quite rightly "backwards". Simi Adebanjo portrayed a very timid but sincere Miss Honey, whilst her opposite and nemesis, Miss Trunchbull was played with powerful authority and calculated malevolence by Sade Adebanjo. Both had an easy stage presence and lovely singing voices (Sade's proved to be extremely powerful), but I felt that Simi could have been a little louder at times, as her voice tended to fall off towards the end of each sentence; whilst Sade needed a little pace in her performance, there was a tendency to "milk" each pause for all it was worth and more. 

The singing and dancing (Amy Wilson - music, Jo Swaby - choroegraphy), was of a high standard and enjoyable. The dances were imaginative, used the space well, and were all appropriate for the age and ability of the performers. Solo singing was excellent, it was just in the children's choruses that a little more attention to enunciation would have been the cherry on the top of the cake. Many of the faster melodies are very wordy, and sometimes the words were lost in the melee. The talented and enthusiastic youngsters revelling in every moment of their stage-time.

A hugely enjoyable, high energy, no-punches-pulled, fun show of which everyone involved should be rightly proud. 

Reviewer - Matthew Dougall
on - 26.3.22

MUSIC REVIEW: Mozart, Made In Manchester - The Stoller Hall, Manchester

Wolfgang Amadeus (or perhaps more accurately Amadé) Mozart (1756 - 1791) is not a composer that I would list amongst my favourites. I acknowledge his flair and talent, and happen to quite like a few of his melodies, but that's about all. Rightly or wrongly, Mozart has been, and continues to be, hailed as one of the greatest composers ever, studied at schools worldwide, and lauded as a genius. Why then, am I so seemingly negative about such an obvious prodigy? Perhaps there are many reasons. One being that his works are so full of his own self-importance and brilliance that for me, it is difficult to see past that, and enjoy the delightful tunes which appear, obfuscated by decoration. [perhaps Salieri was right...."too many notes!"]. Perhaps another reason is that much of his music has been 'done to death', and after a while it all - forgive me for saying this - sounds very samey!

However, here I was, at Manchester's Stoller Hall, to listen to The Manchester Camerata perform a whole evening of music dedicated to Mozart, and so I dediced that I should (paraphrasing Gabor Takacs-Nagy's introduction), "listen to it like it's the first time in my life and I've never heard the music before". I was, afterall, standing in this evening for my fellow reviewer who sadly couldn't make it himself. 

Gabor Takacs-Nagy is a wonderful conductor; I enjoy watching him. His passion, energy, and control over the instrumentalists is just lovely to watch; whilst he always addresses the audience beforehand to introduce the piece etc, and his information is always pertinent and somehow also slightly amusing too. Such an enthusiatic and generous conductor. Tonight's pianist for both piano concertos, was again, a soloist I have had the pleasure of seeing perform live before, and greatly enjoyed his playing and talent both then and again this evening. Jean-Efflam Bavouzet made some of the extended runs of passing notes and decoration in the pieces this evening feel effortless and easy. Always managing to keep the piano light, his effulgent and ebullient playing - and that's not to say there wasn't depth and passion there too, for there was in abundance - was very much in-keeping with the style and genre of the music, and one could almost imagine Mozart himself seated at the keyboard finishing every phrase with a satisfied flourish. 

The Camerata started with Mozart's overture to 'The Marriage Of Figaro', and this was then followed by the first of the two piano concertos this evening, Concerto no 24 (K491). After the interval, and before the final piece, Concerto no 25 (K503), we were treated to something a little bit special. We heard the overture to the theatre-piece, 'Erwin And Elmire', by German composer Duchess Anna Amalia von Sachsen-Weimar-Eisenach. Born a Princess in 1739, this music was composed in 1776, and this evening it was receiving it's UK Premiere! 

Mozart's piano concerto no 25 was a great choice to finish the concert. The concerto has been given the title "La Marseillaise" for good reason, as in the first movement, Mozart unabashedly uses the opening theme of this famous French national anthem, giving each orchestral part something to say about the melody. However, it is in the piano soloist's cadenza where it truly comes into its own, and this evening Bavouzet made no apology whatsoever when he created his own variation of the tune in the cadenza. Bravo! It must have been a firm favourite with Manchester Camerata too, as I have never heard them sound better. 

Reviewer - Matthew Dougall
on - 25.3.22

AMATEUR THEATRE REVIEW: Company - The Theatre, Manchester University Students' Union, Manchester.

The music of Stephen Sondheim is amongst the most well-known and celebrated in Musical Theatre, but be warned, it is also one of the hardest to intepret. The musical 'Company' from 1970, is just about as oblique as they get. First of all, it has no linear plot, but instead is a series of vignettes which focus on mid-life crisis, marriage, and all the 'baggage' that goes with it, through the eyes of a 35-year old single male. His friends, his colleagues, and even his own imaginations take wing, as we watch the formation and disintegration of married life in middle-class America at the time. More importantly however, is that the music has the beginnings of motifs, chord structures, passages and tonality for which Sondheim would later become famous and a master; this being his truly first 'great' show. Prior to this he had written the lyrics to 'West Side Story' and 'Gypsy', [so already established as a lyricist par excellence!], whilst composing only two musicals in his own right; 'A Funny Thing Happened On The Way To The Forum' and 'Evening Primrose'. These are not easy songs to sing; they don't fit comfortably on the singers' pallette the way a Richard Rodgers or Cole Porter song does; they need not only to be acted, performed, felt, but be also absolutely note and rhythm perfect too, otherwise they simply don't work. The second difficulty to overcome, is the fact that the majority of the characters in this musical are middle-aged, and all do come already with a lot of 'baggage' (to continue with that Americanism analogy). 

If I am honest, I don't think the cast this evening truly managed to carry this show off as well as it could have been. The age and experience of the cast for once did not work in their favour, and sadly, in some places in tonight's performance, it felt rather 'eggy' and underrehearsed. This was truly a shame, because the enthusiasm, dedication, and indeed talent within the company is obvious, but sometimes presenting a 'high energy', all-guns-firing blast of a show - like they did for their Harry Potter Musical, just isn't enough. 

The central character of Robert (Bobby) was Xavier Moras Spencer. He was Harry Potter too, and his characterisations for both parts were not dissimilar. I can certainly understand why he is a crowd-pleaser - with an audience composed of, by a vast majority, fellow university students; he is talented, self-deprecating, enigmatic, pleasing to watch, and has the ability to carry a show. Here he impressed with a tap routine, and some exellently placed sarcasm [the ending to 'Barcelona' was placed perfectly].

The absolute highlights of this evening's show were (in the order they were performed): 

1. "You Can Drive A Person Crazy" sung and danced with aplomb by Kathy (Esther Simkiss), April (Isobel Rust), and Marta (Casey Bell). This performance encapsulated perfectly the mood and feel of the original without it being copycat. The singing was secure and harmonies good, whilst the three different characters were able to impose their own characteristics onto their moments, and this, combined with wonderful choroegraphy, was supebly performed. 

2. "Getting Married Today" sung by Amy (Rosa Gatley), Paul (Rowan Wilson), and "choirgirl", whose name remains unknown to me. Normally during this song, Amy does not interact with the choirgirl at all, however, director Lauren Billingsley had ignored previous form and as the song progressed so the interaction between the two became more tactile and more frenetic - and thus all the more funny and powerful. The choirgirl had a lovely voice, and Gatley's enunciation was excellent. Very enjoyable.

3. "Side By Side"/"What Would We Do Without You". Full company, harmonies and dancing. Great opening to the second act with as already mentioned, some nice tap dancing from Spencer.

4. "Poor Baby", sung by the five married (or by now divorced) women friends of Robert. (Maya Blandy, Bella Finch, Ella Kendrick, Rosa Gatley, and Francesca Wolfin). The harmonies here were just stunning!

5. "The Ladies Who Lunch", performed by Francesca Wolfin. Forget what I mentioned esarlier about students in their early 20s not being able to age-up and perform middle-aged characters with any realism. Wolfin's studied performance in this whole vignette, but especially her song, was - and I wouldn't say this if I didn't mean it - one of the best interpretations of this song I have yet had the pleasure to witness. Utterly brilliant. 

There were a few mic / sound / band issues this evening, where the playback / speakers were not behaving properly, which was a pity; and also a few instances where the lighting design seemed to be either on / off at the wrong time, or didn't truly fit with the scene being performed. 

However, all my niggles to one side, the cast, to their ultimate credit, put their all into this show, and the performances were energetic, consistent, and enjoyable. I hesitate at using the word 'raw', but in context and for certain performances this can be very much a positive. 

Reviewer - Matthew Dougall
on - 24.3.22

AMATEUR THEATRE REVIEW: Murder Ballad - The Forum Theatre, Romiley. Greater Manchester.

Described as, ‘a steamy exploration of the complications of love,’ 'Murder Ballard', a one act, through-sung musical for four actors by Juliana Nash and Julia Jordan, packs more punches in its 75 minutes than many shows twice its length. Since receiving its premiere 10 years ago, the musical has played to great success Off Broadway, across Europe, and enjoyed an acclaimed run at the Arts Theatre in London with a stellar cast including Kerry Ellis and Ramin Karimloo.

The musical’s title refers to a type of song that describes a murderers’ motif and the crime that is committed. The murder which takes place at the end of the musical is the result of a love triangle that spirals out of control. Without wishing to spoil the musical for those intending to see it, the identity of both the murder victim and murderer are a genuine surprise when revealed.

Musically, a cross between a chamber rock musical and a striped back version of 'Rent', 'Murder Ballard', set in New York, tells the story of Sara, a young musician who falls in love with Tom, a would-be actor and bartender who possesses a magnetic flair for danger. When the relationship with Tom breaks up Sara meets Michael, a clean cut PHD student whom she marries, has a child with, and leads a conventional and settled life. Missing Tom and the jeopardy that surrounds him, Sara secretly begins a passionate affair with him, but it’s not long before she wishes she were back in her comfortable life with Michael and her daughter.

Receiving its northern premiere at the Forum Theatre, the home of NK Theatre, 'Murder Ballard', brings together four of the region's most experienced and talented amateur musical theatre performers. Each is perfectly cast, combining pitch-perfect characterisation with spot-on musicality and dynamic vocals. In the role of the Narrator, Selina Adams is excellent weaving in and out of the narrative, orchestrating actions, and emotions like a silent assassin. The other performers, Heather Schofield as Sara, Matt Corrigan as Tom, and Nick Ward as Michael are all at the top of their game, giving performances that would proudly grace any professional production. This supremely talented quartet are outstanding and set new boundaries for what is possible in amateur musical theatre.

Director Paul Wilson, whose burning passion it has been to stage this musica,l turns the Forum Theatre into an immersive New York night club. Within this space the actors greet the audience, assume their characters, and tell the story. Assisted by Lucy Worthington, Wilson expertly directs the piece, using footage of New York and the stage and floor space to cleverly represent a wide range of settings including Central Park, and downtown New York. The on-stage band comprising of bass, drums, guitars, and keyboards brilliantly led by Ceri Graves, provide fantastic accompaniment throughout, none more so than when playing the musical's thrilling and pulsating finale.

Wilson says in a programme note that he’s not one for jazz hands and dance numbers, this terrific intimate and dramatically intense musical is a refreshing alternative to large, big budget spectaculars. A significant challenge to stage, this musical asks a lot of its performers and audience but the rewards as this fine production shows are huge and extremely worthwhile. With only two performances remaining, this production which runs until Saturday 26th March is highly recommended and a definite must-see.

Reviewer - Richard Hall
on - 24.3.22

THEATRE REVIEW: The Bone Sparrow - Belgrade Theatre, Coventry.

On the way over to Coventry for tonight’s performance at the Belgrade, I reflected upon it being the second anniversary of the start of the first Lockdown which inflicted such damage on the theatre industry and upon the arts and culture in general. It was great to be back in the theatre where I reviewed my first play for this site back in 2019, and I was thankful that it and so many others have survived everything the last two years have thrown at it.

Straight away on entering the theatre’s smaller B2 auditorium the stark metal bars, mesh and barbed wire of Miriam Nabarro’s harsh but versatile set suggested that this was to be a play which dealt with some tough issues. This isn’t a high-security prison for convicted murderers, but a “detention centre” for the dispossessed – refugees who have fled for their lives in the hope of finding safety in Australia. Miles from anywhere in the arid red dust of the Outback, it is a godforsaken place.

Screams from a tent announce that Maa (Kiran L. Dadlani) is about to give birth to her second child. She is a Rohingya Muslim who has escaped the genocide in Burma, an ongoing tragedy which the world seems to have forgotten as newer horrors unfold elsewhere. The baby is given the name DAR-1 by guard Beaver (Mackenzie Scott) as he is the first baby to have been born in the camp. This simple act of dehumanisation tells you all you need to know about how most (but thankfully not all) of the guards view their charges.

Of course Maa gives her baby a proper name – Subhi – and over the years he grows into a teenager without ever leaving the confines of the camp. We catch up with Subhi (Yaamin Chaudhury) and his Somali friend Eli (Elmi Rashid Elmi), running their small contraband operation, supplying the camp’s inmates with “luxuries” left by their Friends Outside – things like laundry powder and sanitary supplies. They take their “profit” in sheets of toilet paper, such is the deprivation within the camp.

Subhi loves stories. They are his only connection to the outside world and tales of the family’s previous life, of the forest, the sea, even their donkey, take on a dreamlike quality as they are intercalated into the narrative with the theatrical magic of lights and puppetry. Subhi draws the stories as he hears them, his spirit soaring above his dire surroundings.

One day whilst wandering near the perimeter fence he meets Jimmie (Mary Roubos). The Bone Sparrow which gives the play (and Zana Fraillon’s book from which it is adapted) its name is the necklace bequeathed to Jimmie by her late mother, a sort of talisman or good luck charm. Jimmie has heard that the camp’s inmates live in untold luxury at the taxpayer’s expense and come along to see if she can get in; once that lie is corrected the two become close friends and devise ingenious strategies for keeping in touch.

Things go from bad to worse at the camp, culminating in the tragic death of Eli, and rumours start going round that inmates are to be dispersed elsewhere, possibly even to other countries. The play ends on a note which is uncertain, but hopeful. A microcosm of the human condition perhaps: life is hard, but the human spirit can rise above almost anything.

The Bone Sparrow is a profound work, beautifully performed. There are a couple of minor niggles – some of the “Australian” accents sounded more South African to me, for instance – but on the whole the young cast of seven brought the story to life brilliantly.

We must not forget that this piece of theatre is shining a harsh spotlight on the treatment of real human beings, people with hopes and dreams and aspirations like all of us, happening right now in a supposedly civilised and developed country. Whole lives are being lived – perhaps existed would be a better word – in a stateless limbo, shorn of basic human dignity.

Our own country’s recent treatment of refugees and asylum seekers is not much better than this – and indeed some of the nastier elements within our government would like to see the Australian system adopted here.

Zana Fraillon wrote The Bone Sparrow for young people and it was heartening to see that around two-thirds of the audience was made up of school parties. Here is where the hope lies, that these young people will be sufficiently affected by their experience of this powerful piece of art to make better choices when it is their turn to make the policies that govern our society and to choose its leaders.

The Bone Sparrow runs at the Belgrade Theatre, Coventry until 26^th March 2022 after which it continues on tour.

Reviewer - Ian Simpson
on - 23.3.22

AMATEUR THEATRE REVIEW: Little Shop Of Horrors - The Grange Theatre, Hartford. Northwich.

OK, I'm just going to come right out with it at the beginning: this was one one of the best school shows I think I have ever seen! 

'Little Shop Of Horrors' is a very popular musical, and I have seen it innumerable times over the years and so it is a show I know backwards! It has also been my privilege and pleasure to see many school productions too over the years, obviously some better than others. The production values of this version, currently at the school's own Grange Theatre in Hartford (just outside of Northwich), were on a professional level, and the quality and talent of the young, teenage cast was exceptional. 

This was now my third visit to The Grange Theatre, and each time I have seen the theatre used in a different configuration, such is the versatility and adaptability of their amazing and comfortable space. Here, a large forestage had been built out into the auditorium with the school band visible in the centre of a catwalk-like walkway around the three sides. The rear of this being an extension to their normal stage. And indeed, throughout Jacqueline Hardy-Kinsella's imaginative direction for this show, the entire theatre was utilised creatively with the main auditorium doors and gangways being used as entrances, and the balcony becoming a viewing gallery for The Ronettes to give commentary on the proceedings on stage [as indeed The Ronettes fulfil the same function in this musical as a Greek Chorus would have done a couple of thousand years' ago]. The main stage set being Mushnik's flower shop, and this was a delight; beautifully designed / decorated, and fit the stage perfectly. The use of main curtain and gauze helped in this show too. 

And if I can continue to write a little about the direction, Hardy-Kinsella put a few magic touches to this show, which, despite the number of times of my seeing it before, I had yet to witness, and they worked superbly. Too many to mention or even remember, but the computer-generated images of the plant arriving to earth at the beginning was inspired, and really helped those for whom the story was new; whilst the lighting change on "total eclipse of the sun" to put Seymour inside that eclipse was clever and enjoyable. [as indeed was his leprechaun-like dance jump out of it!]. Hardy-Kinsella also used the stage configuration cleverly, and this added layers to the story by the literal and visual separation of characters and therefore images. She also managed to capture the style and era of the show superbly. Written in the style of those 1950's B-movie horror films with music of the rock 'n' roll / Motown era in America, it can be a genre that is perhaps a little too foreign for contemporary teenagers to accurately reimagine. However, here the cast seemed to be able to 'pull it off' with ease and style!

Perfectly complementing the direction was Bethan McCormick's simple but hugely effective choreography; always on point, always apt, and always in the correct style. Very enjoyable. Whilst Steven Williams and his 11 students impressed with their musical skills throughout. Piano and percussion are my intruments (after the voice), and I could see the kit player, Isaac Short, from my seat, and so, naturally, my eyes strayed to his playing from time to time. In a word, excellent!

The story of  'Little Shop Of Horrors' follows the lives of the two employees of Mushnik's Flower Shop on Skid Row [an Americanism for a place that is run-down, semi-derelict and usually full of vagrants and homelessness], and how the extra-terrestrial arrival and intervention of a 'strange and unusual' plant alters the course of their lives forever. The lead role of Seymour this evening was taken by a hugely personable and very watchable young actor, Toby Holmes. A real triple-threat, I look forward to seeing him on the professional stage when he's a little older. Bibi Lodge, Frankie Robertson, and Max Hildred played Audrey, Mr. Mushnik, and Orin respectively. All three had, quite wisely, chosen not to perform cardboard-cut-out impersonations of their more famous film characters; but had instead found their own ways through the text and brought a completely new dimension to their roles and characters which worked well both for them and the show as a whole. Lodge was much more centred and sensible, losing the squeeky high-pitched voice and ditsy dumb-blonde characterisation that she is normally given. This made her dying wish all the more pathetic [in the word's correct theatrical usage]. She also had a lovely singing voice too, and I enjoyed her interpretation of 'Somewhere That's Green'. Robertson wisely cast away much of the overt Jewishness to his character, and instead concentrated on the business-like down-to-earthness, focussing especially on his brusqueness and offhandedness. Hildred, on the other hand played up to his ego as Orin, and rather than focussing on the sadistic vanity in a Hammer Horror-esque way, instead chose to be more 'Carry On' about it, and this brought a new dimension not only to his characterisation, but added a layer of comedy not nornally brought out in the show. 

The Ronettes - in this version doubled up as a sextet (great idea!) - were Jessica Baldry, Millie Peck, Charlotte Newbitt, Katie Preston, Lux Tilston, and Zara Williams-Pattison. Their singing (and harmonies) secure and enchanting, and their dance routines lovely. The plant, Audrey 2, is a role that often goes uncredited or even unnoticed. The fact that there is a huge, animate, all-singing plant on stage for most of the show, is, for most reviewers enough - the fact that someone has to not only voice the plant but manipulate it as well, is less important seemingly. In this production, that rather unenviable task fell to Edward Dobbs to perform; and perform it he did, with relish! He was so lively and animate in fact that we could clearly see his legs standing and walking away from the pot on several occasions... but that truly didn't matter.

There were a couple of instances within the show which didn't seem right however, and so in balance, I feel I should mention them. First, Seymour never wore any band-aids [plasters] at all, and when they are mentioned and so much an integral part of the plot, that felt - and looked - wrong. Also, Orin should never have taken Seymour's gun - Seymour needs to hold on to that throughout... it's only his baseball cap that is found, and he needs his gun to sing "Do it now...".

However, lighting, effects, sound, costumes and everything else I have failed to mention so far were all superb, especially some imaginative use of creative lighting. But most importantly the entire cast seemed to be enjoying every minute of their stage time, and that transfused from them to the audience, and ameliorated our enjoyment of the show. 

A high energy, cleverly realised, and very proficient production from a talented team. Bravo. I look forward to being able to come along and see whatever you have in store for us next!

Reviewer - Matthew Dougall
on - 23.3.22

BOOK REVIEW: Horseshoe Bay: A Legacy Of Loss And Laughter

TITLE: Horseshoe Bay: A legacy Of Loss And Laughter
AUTHOR: Winifred Rowland, with Wendy J. Woodcock
PUBLISHED BY: Neilsen Publishing

Autobiographies and biographies are a firm favourite of mine and this book made me feel as though I was living through the author’s own life with laughter and tears along the way.

This heartening saga introduces readers to ninety-three-year-old Winifred Rowland; her perceptive memories will certainly entertain readers young and old, starting from her humble Manchester upbringing in squalor to living on the lovely island of Guernsey. She brings alive her view of history through childhood memories of World War 2 evacuation to present-day Covid-19 lockdown.

After securing an education, despite chaotic hit-and-miss schooling she marries and settles down to a life with her husband on the small, scenic Channel Island where she enjoys life and brings up her children living an idyllic life in a sandy horseshoe bay with its magical moments and risky hazards.

She misses her family and can’t help comparing her past, energetic post-war city life, to the new quirky island traditions she has had to get used to. But soon, sunny days of summers she’s hardly known before and rich, colourful coastal activities overcome her home-sickness and she wonders if it’s possible to return the kind-heartedness and generosity of the islanders she has grown to know and build a bond with.

She recalls her travels to see relatives in Italy and Australia and remembers tragedy striking when she least expected it along with more happy times. It is an intimate insight into one woman’s engaging and interesting life; a remarkable story which will spike reader’s curiosity as she reveals how she was not always in control of her own destiny.

This will be a perfect read for those who recognise the places mentioned in the book, the places in Manchester where she lived and worked; memories will also flood back for many who know Manchester well, especially those who were there in the same era, perhaps World War 2 evacuees or those who lived through the same challenging times.

It is a beautifully written memoir, chronicling Roland’s life from wartime Manchester to her new life on the beautiful island of Guernsey; it is full of adventure and has many eventful twists and turns along the way, it’s no surprise her daughter persuaded her to write it all down and share it. It’s an enjoyable, addictive, and emotional rollercoaster ride containing the love, laughter, and sorrow of one person’s life; some moments had me laughing out loud whilst others had me reduced to tears. It was addictive and I couldn’t put it down, wanting to hear more of Winifred and her remarkable life.

It is a very well-crafted book of an amazing tale of wisdom, love, and humour; I was hooked from the start and truly couldn’t put it down as it is so heart-warming. Winifred and daughter Wendy have written an unexpected delight; it is an autobiography filled with kindness and joy, very thought provoking and uplifting.

Reviewer - Anne Pritchard

GASTRONOMY REVIEW: The Riverside Inn - Acton Bridge, Northwich.

When a pub / restaurant is busy during the times of the day which are not normally considered meal times, this has to be recommendation enough for the establishment. We arrived at this idyllically situated in the village of Acton Bridge establishment on the riverside (hence its name!), at about 4pm to find this large and airy spot busy with not just drinkers, but early diners and late lunchers too. 

The restaurant is large and open-plan with its own car park. Inside is light and roomy, whilst ambient and appropriate background music can be heard, but it is just that, background music, and adds rather than detracts from the atmosphere. 

The waiting staff were all friendly and accommodating, and all the augers were good.

Ordering from the Specials Board, the pork belly cooked with apricot was utter perfection, whilst the Red Velvet cheesecake was divine. The portions generous but not overfacing, professionally presented and correctly served. A desert fork was lacking for the cheesecake, but I can forgive them for that. 

Currently the Riverside have a 2 for 1 offer on all main courses, and so it is hardly likely to burn a hole in your wallet either. 

Highly recommended for both service and food; and am already looking forward to trying other dishes from the menu on my next visit.

Reviewer - Matthew Dougall

THEATRE REVIEW: Cluedo - The Grand Theatre, Leeds.

Is there a name for someone who’s obsessed with a particular board game? Growing up in the 1980s I was obsessed with the board game of the same name in a massive way. There was just something exciting about playing detective and my overactive imagination dragging me into the board game like a real life Jumanji type game. I honestly could picture each and every “room” in the game and see the characters' faces, the outline of the victim drawn in chalk. This set my love of for all things “Who Dunnit?” 

The game itself is manufactured by board game giants Waddington, and was invented during WW2 by a British musician, fire warden and munitions' factory worker Anthony Pratt in his home in Birmingham. The game takes place in 'fictional' Boddy Manor, actually a real house in Rottingham, East Sussex, which was as recently as 2021, on the market for a whopping £1 million! The game became so popular that it was turned into a movie “Clue” in 1985, and became a cult classic. I personally love the film just as much as I love the board game - it even features a cameo from The Go Go’s guitarist Jane Wiedlin as the signing telegram.

Hard to believe that it’s taken so long to make a stage adaptation of this classic 150 million+ selling game that’s had over 29 special editions made, ranging from Harry Potter to the Simpsons. So naturally I was absolutely ecstatic when I saw that at long last my wish to see a stage production came true. This new stage play has recently premiered in the U.K, beginning it's tour in Bromley in January earlier this year, and arrived at Leeds Grand Theatre this evening, after months of me waiting in excitement. The comedy spoof stage thriller (Cluedo in the U.K. and Clue in the US), based on the best seller board game, is written by Sandy Rustin, Hunter Foster and Eric Price, and directed by Mark Bell, of the award winning “The Play That Goes Wrong” and “The Comedy About A Bank Robbery” fame.

It all happens on a stormy night when our old friends Miss Scarlett (Michelle Collins - best known for appearing in popular soaps Eastenders and Coronation Street), Professor Plum (Daniel Casey - also know for Eastenders, Coronation Street, plus Emmerdale), Mrs. Peacock (Judith Amsenga) and the rest arrive at Boddy Manor following invitations from a mysterious host…Let’s just say there’ll be tears before bedtime.

The stage set is made up of grand manor house walls adorned with various pieces of artwork, and more doors than a Jehovah's Witness training centre; all leading to the various rooms as per the board game - from the grand hall to the billiard room, the conservatory and the dining room; which has some doors which magically revolve to reveal part of one of the many grand rooms in Boddy Manor. The guests have all been sent the same mysterious invites and made to take on a pseudonym for the evening to protect their identity. They all have secrets to hide and it’s a case of TRUST NOBODY.

Greeted by the eccentric Butler, Wadsworth (Jean-Luke Worrell), the guests are soon escorted to the Dining Room after the fastest cocktail happy hour known to mankind. As they take their places around the grandly-laid table in the spacious dining room, Wadsworth joins them, along with the “French” Cook, and tells them that name cards have been placed on the table instructing them where to sit. After a quick shuffle round and everyone in their correct space, the storm outside clashes loud thunder and it’s not long before the guests start to feel uncomfortable and start having terrifying visions of murder.  Once dinner is over, Wadsworth soon presents them all with gifts in aptly colour coded boxes (red for Miss Scarlett etc etc). In each box is a murder weapon - as Wadsworth goes on to explain that they’re all invited by the mystery host Mr Boddy (of Boddy Manor) as he has been blackmailing them all for different reasons and he warns them that nobody is safe. It doesn’t take long for disaster to strike and then they pair off as told my Wandsworth to stick to their partner “that way if one of you dies we’ll at least know who the murderer is”.

From start to finish the play is full of gags (particularly political ones), slapstick comedy, and nail-biting suspense. Was it Mrs. Peacock in the study with the revolver? Was Colonel Mustard looking for revenge with the lead piping in the billiard room? This new play feels like a fresh new idea yet somehow recreates the excitement and anticipation I got from playing the board game as a child. The stage set might appear simplistic at first glance but as the many doors are opened as the plot unravels, we are transported into a 1940's country manor house in all its splendour. A simple concept with few additional props needed, but the set and cast really did make you feel like you were in some historic countryside manor on a stormy night, helping them find the murderer.

The cast manage to time comical moments perfectly, with Worrell in particular having the audience in stitches throughout his performance. There’s no weak cast member - and whilst Collins and Casey are naturally entertaining to watch, it was Worrell who really had the audience captivated throughout the show. Definitely one to watch out for in future and I’d love to see him in other comedy roles - I think he’d make an excellent Frank in The Rocky Horror Picture Show. 

I can’t really say much else without giving anything away, although one thing I will say is that part of me suspects the culprit might be a different person depending on what day of the week the performance is. Because, just like the board game, there’s so many variations of possibilities (324 to be precise) that it would be more interesting if things did get mixed up a bit throughout the run. Tonight my childhood dream came true and I finally got to see the game played out live in front of me. It certainly did not disappoint and I was ready to start the game all over again by the end of the night.

Reviewer - Charlotte Davis-Browne
on - 22.3.22