GASTRONOMY REVIEW: Sacro Lounge - Buxton

With about 30 minutes to spare before dashing to our appointment, and needing some sustainance beforehand, we happened upon this unprepossessing exterior on the main shopping street in central Buxton, and went inside. Sacro Lounge - a cafe bar - is a truly eclectic mix of styles all with that worn, uncared-for look which is supposed to make clients feel at home and welcome.

However, the warm and genuine smiles of the staff convinced us to stay, and so we sat at an airy table with worn faux-leather sofa chairs by the window. The interior of the cafe looked distinctly more dimly lit and uninviting, but there was also an upstairs which we did not see.

We ordered fish finger sandwiches with a side of fries. Not the most inspiring of meals you might think, but when I tell you that the fish fingers were no ordinary fish fingers, but were long chunks of white fish lightly battered with no potato in sight, generously filling either brown bread or, in my case, a brioche style muffin, with tartare sauce, they were actually most satisfying. Extremely tasty and simply the best fish finger sandwich I have yet to try! They were served with a portion of coleslaw. This too was delightful. A superb blend of raw vegetables and I if I had been presented with a bowl full of it, I would have happily and greedily downed the lot. Superb. 

We accompanied this with a coffee for my companion and a ginger beer for myself, and we were in and out of the cafe in our allocated 30 minutes. Yes, it was a flying visit; but the staff were more than accommodating; total service with a smile, and we felt unrushed and most welcome. 

Reviewer - Matthew Dougall

COMMUNITY THEATRE REVIEW: Sweeney Todd, The Demon Barber Of Fleet Street - The Opera House, Buxton.

Following in the successful wake of Paul Kerryson's past productions at Buxton's glorious Opera House, which cast their shows with local amateur talent from the Greater Buxton area, and with only 7 weekend rehearsals prior to the production weekend itself; this was a much darker and more thoughtful production of 'Sweeney Todd' than I have seen for a long while. 

Stephen Sondheim's music is never easy; never comfortable, and his scoring for what is for me, one of his seminal works, and along with 'Sunday In The Park With George', is perhaps the most indelibly and inextricably linked with the show, the story and the characters. Kerryson's macabre minimalist approach to the musical this evening, made it all the more terse. Musical Director, Richard Atkinson and his orchestra sounded at times superb, and yet there were other moments throughout where it sounded like a section was missing from the scoring, or perhaps another section was overpowering the melodic pulse. Make no mistake this is a score I know very well, and sometimes this evening the balance of instrumentation and orchestration did not sound right at all. This was never more obvious than when cast were making it obvious that they were struggling to find their notes; cast that were clearly grand opera trained and highly proficient singers. Strange.

The monochrome set was a composite one of corrugated sheets and scaffolding on two levels. Simple, bare, nondescript. Whilst blood-spattered white fly curtains were flown in and out at various times to allow for scene changes. [the table was never positioned correctly as the fly curtain always snagged].  The costuming again was both minimalist and nondescript; allowing the cast to wear clothes from any historic period giving no historical context to the show whatsoever. The costumes were majority blacks and greys too which, combined with the blackness of the set, made for a very dark and bleak (both actually and metaphorically) production.

James Rockey played a more than vengeful Sweeney Todd, his character bursting from the start with malevolent revenge; he was brooding, and yet direct. It was difficult though to sympathise with him, as he wasn't allowed to show his softer side until he realises he has despatched his ex-wife Lucy at the end. For me at least, this was too little too late to truly feel any sympathy towards Todd. Interestingly he was also directed to be not only aware of his imminent murder by Tobias, but to be quietly accepting of it. I haven't seen that interpretation before.

A too-young Jennifer Hague relished in her role as Mrs. Lovett, and her relationship with Sweeney and her philanthropic demeanor were nicely placed. A very easy-to-watch actress and strong singer who understood her role excellently and was obviously enjoying every gory minute of it! Rhydian Jenkins as Anthony and Lizzy Schroeder as Joanna, gave us the secondary plot of the musical, in which Sweeney Todd's sailor companion falls in love with his daughter (although that is overly simplifying the storyline). Both Jenkins and Schroeder had beautiful operatic voices, and their songs were easily the most melodious and aurally pleasing this evening. However, I did feel that Schroeder's voice was too mature for her to realistically play a 16 year old. 

Cara Coslett as The Beggar Woman and Jamie Formoy as Adolpho Pirelli brought a little light relief to the proceedings with skill. I enjoyed both peformances greatly, despite Coslett being obviously far too young. A rancorous pair of upstanding model citizens in the form of the wheedling Beadle (Tavis Hill), and malign Judge Turpin (Robbie Carnegie) worked nicely together, and Lucas Bailey made much of his part of Tobias. 

A couple of things I picked up on which are perhaps worth a mention. I would have appreciated ale in the jug not air, and pies on the table rather than miming them. It seemed odd that there was a mixture of using props and miming them them throughout. When principals stood in front of the main fly curtain at the front of the stage the lighting was odd, strange double shadows of them were cast onto the sheet. I doubt that was deliberate. I am uncertain as to why Mrs. Lovett was wearing a fur coat indoors for her pie shop scene at the beginning of the second act, and the shooting in the asylum was far more Marx Brothers than Sondheim. 

Act one was, and I say this as a lover of the show and Sondheim, a little long-winded this evening. Perhaps this was because it was opening night; perhaps because some of the music seemed to have been slowed down a tad; but I think mainly it was because there were few dynamic changes in this act. Kerryson had started with a strong single line of accusatory exposition, and although there were a few pits and troughs in the first half, the pace never really picked up and it was only in the second half, when it was much swifter (and much more bloody!), that the pace lifted, the performances lifted, and the dynamics truly worked. There is comedy in this show, but not as much as I have seen in previous versions; Kerryson took the tag-line for the show quite literally, "A Musical Thriller".

What was abundantly clear here however was that everyone on stage this evening was giving their alls to the show, they were fully committed, giving intense and thoroughly rounded performances, and enjoying every ghastly minute of it in the process. A most interesting interpretation of a classic Sondheim musical, which is definitely worth watching, performed by a group of extremely talented amateur and community players from the Buxton area. 

Reviewer - Matthew Dougall
on - 29.4.22

THEATRE REVIEW: The Empathy Experiment 2:0 - The Theatre, The Library, Oldham.

‘The Empathy Experiment 2.0’, a piece of spoken word by poet Rose Condo. A show reflecting on Rose’s evocative original piece ‘The Empathy Experiment’ winner of the Best Spoken Word Show at the 2019 Greater Manchester Fringe, I had the pleasure of seeing the original back when it was performed at the King's Arms Salford.

So much has changed since the pandemic and so have Rose’s feelings towards her own work, which this show took apart and examined, using humour and lots of audience interaction to make for an intimate and sensitive performance.

The audience was greeted by Condo on stage, hard at work on her laptop, a projector screen behind her informing the audience they could engage by sending her a tweet with word suggestions. The show then began with Condo addressing the audience through her laptop, projected onto the screen above her, as though on a Zoom call. Eventually Condo turned from camera to audience and there was the palpable relief of not interacting through a screen, which was addressed throughout the performance.

There was a heavy amount of reference to the original piece ‘The Empathy Experiment’, had an audience member been unaware of the original work, I wonder if their level of engagement with this show would have been inhibited. I personally remembered the evocative effect of having my mobile taken from me, sealed in a small white envelope and taken up onto the stage in a basket with everyone else’s mobiles. During the original there was the frustration of trying to stay tuned to Condo’s fast paced delivery of spoken word while worrying about the safety of my device. Though 2.0 delivered the same enjoyable style of spoken word from Condo, I missed the emotional challenge the previous performance had played with.  

Condo is a master of interacting with her audience, very controlled, in that she had the audience send her tweets with words that she sporadically used throughout the show, a power-point that we could interact with through our smart phones and clapping and mouth noises.

Though I enjoyed the spoken word and interactive nature of the 2.0 show, I spent a lot of time during and after the show reminiscing about how much more I had enjoyed the original, the evocative effect of a stranger taking my mobile and me complicitly handing it over and then sitting there trying to enjoy her performance, whilst seething that I had been separated from my device like a school student.

This was the final performance of 2.0, a reflection of what most of us performers have been through in the past two years, plans that had taken years to align were dashed by the horrendous global pandemic we all endured. Those that were personally affected maybe not feeling the same about their creative processes or past works anymore, there will be a plethora of works about the pandemic and the ongoing affect it will have on the art scene and ‘The Empathy Experiment 2.0’ was a very poignant moment to reflect with a very gentle delivery by the wonderful Rose Condo.   

Reviewer - Kerry Ely
on - 28.4.22

BOOK REVIEW: When The Hugs Came - Joe Fisher

TITLE: When The Hugs Came
AUTHOR: Joe Fisher
PUBLISHED BY: Independently published

This is a beautifully presented book using high quality glossy paper with amazing illustrations which children will become absorbed in as they help to portray the story so well; it is well suited for children of all ages.

The basis for the story is the COVID pandemic and lockdown; children are depicted self-testing and wearing masks and relating how they were stuck at home, not able to visit grandparents or friends.  They couldn’t go to the local playgrounds or go swimming and worst of all, they weren’t allowed to touch friends and family or give them a hug.

The story tells how the children are missing their father who is away serving in the army in a foreign country and they are all longing for him to be back home. Then something wonderful happens, a vaccine is found and everyone is able to visit each other again. The children’s father returns home and they have a big celebration with hugs and kisses. The story focuses on him returning home and reuniting with extended family.

Not only is this a delightful book to read, it has masses of potential for using as an aid to talk to children about the way the world has changed due to the pandemic; it will certainly ignite lots of questions and conversations about lockdown as depicted in the marvellous illustrations.

There is also a useful resource at the back of the book for children to complete, recalling the memories they have about not being able to hug during lockdown, which can be used by parents and teachers in school to bring to mind the importance of physical contact with family and friends.

This book will help children come to terms with and understand that they were not the only ones feeling sad because they had to live by a new set of rules and couldn't go out or see their family and friends during lockdown, as it was happening all over the world.

It is a poignant story for right now told in a humorous and engaging manner; the content is spot on describing all of the shared experiences of lockdown.

Beautifully written in rhyme accompanied by stunning illustrations, this is a wonderful book which isn’t just a relevant one for now but also for the future, enabling readers to look back on and remember the pandemic and how it changed everyone’s lives.

Wonderfully illustrated by Andy S. Gray

Reviewer - Anne Pritchard

GASTRONOMY REVIEW: Aytan's Cafe, Sale Moor. Manchester.

A little too early arriving at our destination, and so a cup of coffee / tea was called for. We chanced upon Ayton's Cafe and Restaurant in the village of Sale Moor, just outside of Sale, Greater Manchester to be greeted by a friendly, chatty, and most amenable lady who obviously loved her job and was more than happy to help us.

They had run out of tea-cakes (a put-me-on favourite of ours), and so we tried a slice of Red Velvet cake instead. There was much hilarity had in trying to guess exactly what the ingredients of this cake were.

However, the establishment was extremely clean - their toilets were spotless and offered tissues rather than those horrid air-blast hand driers - and the service was prompt and with a genuine smile. The seating area was airy, and the tables nicely spaced; whilst some much-appreciated classical music made the perfect background whilst we watched the world pass by.

If we are ever in the area again then we would definitely patronise the cafe for lunch. They had an extensive menu, all freshly prepared, and it all seemed like excellent value for money.

Reviewer - Matthew Dougall

GASTRONOMY REVIEW: Linguine Italian Restaurant, Sale, Manchester.

Perhaps quite ill-advisedly taking our cue from Google's search engine and TripAdvisor, myself and my companion opted for pre-theatre dining at Sale's Linguine Restaurant this evening.

From the outside, the restaurant looked inviting; however, once inside it was a different story. Arriving just after the restaurant opened, and with only a single diner already in the establishment the restaurant was empty; however, we were asked to sit on a table next to this single diner which none of us particularly liked. The dining area is small enough in any case, and the tables are simply too close together for comfort and privacy, with one of the tables so close to the main door that anyone seated there will be banged on the back of the chair each time the door is opened. 

The dining area was at least very clean, and the tables correctly set; even if we had different waiters / waitresses attending to us during our visit, and had them approach us in quick succession to ask us the same questions. One server per table is more than adequate one feels. But it was the head waiter this evening who irritated us the most. Brusque and offhand to the point of rudeness on more than one occasion, and didn't seem in the habit of listening to his customers' but would rather tell his customers what they would be having to eat, how much they were going to pay, and even when to leave. 

As for the food, it was mostly acceptable, but not of a very high quality on any count. Our starters were a mix of the delightful (mushrooms), and the awful (goats cheese). The cheese itself was lovely, but was not through-cooked meaning that the further into the interior of the cheese you went the colder it became with the centre being hardly cooked at all. Whilst the salad garnish was presented in a soup of dressing, liberally sprinkled with balsamic vinegar. The mixture of sweet dressing and balsamic vinegar was most distasteful. The main courses fared little better. Both the pork and the veal were nicely cooked and tasty. However, the sauce in which they were cooked was greasy, and for my companion left a rather unpleasant taste in her mouth for several hours afterwards. The onions, carrots and broccoli were less than al dente... they were raw (and cold); but the sauteed potatoes were piping hot and delicious.  We finished with tiramisu - homemade and speciality of the house. We both agreed that Aldi's were much nicer! The very thick layer of chocolate powder on the top was catching in the throat and the consistency of the dessert varied the further down the glass you ventured. A Bailey's liqueur coffee came only half full.

The waitresses knew nothing about table serving and etiquette, and we were even given a glass of white wine when we asked for rosé. If you do visit this restaurant in the late afternoon, they have an 'Early Bird' offer for two or three courses at set prices; but be warned, it is not all the menu, and it sometimes isn't too clear which parts of the menu this applies to. 

This is not a restaurant to loiter or spend time in; they operate a conveyor belt system, and all their food is "fast food" presented to look like haute cuisine. 

Reviewer - Matthew Dougall

AMATEUR THEATRE REVIEW: Kinky Boots - Waterside, Sale. Manchester.

What does a failing shoe factory in Nothampton have to do with a 'fabulous' drag queen in London? The answer is simple... kinky boots! Based on real events, and turned into a high-kicking feel-good musical by Harvey Fierstein and Cyndi Lauper, this musical is fast becoming something of a cult show, and it isn't hard to see why.

Just as 'La Cage Aux Folles' created a sensation in the 1970s and 1980s (again written by Fierstein!), this show is the modern equivalent in many ways. Both sides of the sexuality spectrum meet, and after the occasional face-off and misgivings, find that there is actually very little difference between them and the show ends with love, understanding, and respect for all. 

Played on a base set of the shoe factory interior with only a few further set pieces to bring on and off for other locations, the musical was swift and slick, and the stage and set were used imaginatively and creatively throughout. I enjoyed the moving of the ladders to a second level door, and the drag queens' entrance on the conveyor belt. The music (directed by Tom Guest) was offstage and unseen, but aurally very pleasing and producing the right 'feel' for the show; whilst Laura Floyd excelled in her wonderful choreography. The routines were all appropriate and showed great imagination in utilising each cast members' individual talents but creating truly ensemble routines, and always with a lovely picture ending. Dave Moreton's directing was never over-the-top, always grounded, and I loved the much smaller, almost imperceptible little gestures or vocal intonations given to certain characters which ameliorated their roles and made them all-the-more human and believable. 

Mike Miller was our protagonist; a fourth generation Price, Charlie, the now owner of a shoe business that was quite literally, on its heels, vowing to turn the company round by any means possible. I felt Miller struggled a little vocally with the higher rock-voice parts of Lauper's score, but his sensitivity and sincerity as a performer won us all over. John Dean's Lola / Simon role was easily the most demanding, and Dean proved beyond doubt this evening that not only was he a most proficient and excellent dancer but a jolly decent triple threat. As Drag Queen Lola he was quite obviously completely in his element and enjoying every fab-u-lous moment dahlink (!); whilst as Simon, he was uncomfortable and insecure showing real vulnerability, and his fully-rounded and intense performance this evening was superbly measured. 

Charlie's fiancee Nicola, was played with frustrated patience (if that isn't too much of an oxymoron) by Lorna Shakespeare-Smyth, whilst on the other end of the spectrum completely, giving a larger-than-life and highly comedic turn as factory-girl-in-love-with-the-boss Lauren, was Phil Shellard, providing us with much of the comedy in the show with accomplished skill. 

Two other cast members who absolutely deserve a special mention are Factory Foreman, Don (Ian Moore), and Factory Manager, George (Arthur Hulse). Both Moore and Hulse brought gravitas and realism to a show which could have otherwise been seen as frivolity and fantasy. Both were utterly believable in their respective roles, and I loved Hulse's super bass voice!

In this production of 'Kinky Boots', Lola was aided and abetted by 6 drag queen, collectively known as her 'Angels'. Their role in the show is predominently as dancers, but are also our Milan Fashion Show models too. Sale NOMADS should be rightly proud of and joyful with these six cross-dressing queens strutting their stuff this evening: Stuart Angus, Michael Colclough, Tom Farnworth, Adam Garnett, and Craig Hanson. 

The costuming was spot on all evening; but it is such a shame that the same cannot be said about the lighting. There were some routines which were crying out for more glitz and specials, and they never came; whilst the spotlights failed to light the principals' faces at times, or, as was the case in two songs, the light was positioned in completely the wrong place meaning the soloist was singing in the dark, with a pool of light on the wrong side of the stage. However, if the only negative comment I can make about this show is about the lighting, then it is a sure-fire success. The entire cast gave their absolute everything to this production, and it showed. There was a palpable feeling of joy transfusing into the audience throughout. It was abundantly clear that a lot of thought, time, and effort had gone in to creating this spectacle, and it is certainly one of the best productions I have ever seen this society produce; and I left the theatre on a high!

Reviewer - Matthew Dougall
on - 28.4.22

THEATRE REVIEW: Electric Rosary - The Royal Exchange Theatre, Manchester.

Tim Foley is a Manchester-based playwright whose credits already included the 2016 OffWestEnd Most Promising New Playwright Award for his play ‘Dogs Of War’ before going on to win the 2017 Bruntwood Prize for ‘Electric Rosary’ which is now being premiered at Manchester's Royal Exchange. ‘Electric Rosary’ is interesting and engaging, taking a premise used many times in the movies down the years but not so much on the stage: what if there was a robot which looks and sounds just a human which could be placed to live and work amongst us? However, Foley has taken this premise quite a lot further by engaging the spiritual dimension!

‘Bladerunner’,‘Terminator 2,’ and ‘Bicentenial Man’, are just a few of a great many Hollywood blockbusters based around the concept of robots superficially indistinguishable from people where typically the machine has a learning capacity which makes them become more human. In ‘Electric Rosary’, the change is held back well with Mary the robot-nun continuing to act like a machine well into the play. This is explored particularly in relation to logic and feeling and yet the other characters find themselves actually confiding in the machine even to the point of physically embracing it (with the machine amusingly replicating a hug and then trying to analyse its purpose).

Breffni Holahan succeeds in convincing the audience that we are watching a machine inter-relating with people as the other characters increasingly find themselves finding it hard to remember that it is not actually a fellow person in their midst. The transitions are handled very well with Saroja Lily Ratnavel as Theresa touchingly teaching the robot to pray, with the surprising result that it is actually Mary who receives a vision. Olwen May as Constance strives hardest in refusing the robot as a colleague but this story has many clever and surprising twists in store.

‘Electric Rosary’ is very funny with the comedy often coming from juxtapositions of the small group of very different characters in how they try to relate (or not) to the robot but there are other issues, notably whether the Sisters will travel to Equador which is represented as a kind of Mecca. This of course raises the question as to whether the robot could go with them, and as the play progresses we learn something of the nun’s backstories, giving the play added depth as humanity, spirituality and very human conflicts are all explored. There is also a lot of fun in watching how the robot behaves and speaks and there is more to this than might be immediately apparent. The mega-popular Swedish crime drama ‘The Bridge’ centres round a very autistic policewoman whose extreme lateral perceptions bring her into frequent conflict with others whilst ultimately making the character more endearing to the audience. Perhaps we are meant to see in the robot some of the ways our own actions and words are often misunderstood by others.

‘Electric Rosary’ never moves out of the cloistered life of the nuns and this image of church life is well handled which using minimal staging. Ecclesiastical symbols are situated around the gallery of which the characters remain conscious, regularly praying before a large crucifix. We never see the nuns out of their habits with the exception of the robot who arrives in utility clothing prior to receiving nun’s clothing. There are also authentic cappellas sung by the nuns. However, this is a very human play and the characters all come over as real people whose lives are rooted in our world despite their strong religious beliefs.

This is an engaging play that manages to blend comedy with pathos whilst maintaining a consistent pace during a running time of over two hours. An enjoyable but thought-provoking show which was certainly very well received.

Reviewer - John Waterhouse
on - 28.4.22

AMATEUR THEATRE REVIEW: Sweeney Todd, The Demon Barber Of Fleet Street - The Carriageworks, Leeds.

What a treat on Fleet Street. 'Sweeney Todd' hits The Carriageworks Theatre, Leeds, running until the 30th of April and it didn’t disappoint. This ensemble piece provided a fresh and efficient take on a Sondheim classic, it’s really not one to miss.

This production by the Leeds Gilbert & Sullivan Society can only be seen as a roaring success, headed  by Artistic Director Anita Adams. It showcased the work of these actors brilliantly in this heavily ensemble-based adaptation of The Demon Barber of Fleet Street. Adams has a wealth of experience in community theatre having directed and choreographed over 50 musicals and 20 operettas. The show was slick, well thought out and detailed both in delivery and production. The ensemble where used fantastically, assuming a body of psychological patients that knit the piece together at every woven turn. Patients would maintain this eerie persona until they were donned with a simple piece of costume and began to assume the part they were playing, before seamlessly bedding themselves back into the creepy group. The stage was almost constantly flooded with white clinical gowns and gruesome makeup. This was the case so often that in the moments they weren’t there, we were really drawn in. I personally loved how engrossed they all were in their characters constantly giving us something to watch. Really good work!

It would be easy to assume Sweeney Todd as the ‘lead’ in this show but there are really two main protagonists that we follow, and boy, did both actors deliver. Kristen Cleworth in the part of Anthony did such a fantastic job with arguably one of the most challenging roles Sondheim ever wrote both musically and in character. Cleworth excels in this part. We see him exude fresh youthfulness and uncensored love against the unrelenting dark undercurrent of this world but stays strong in his morals and values. We backed him from start to finish.

Jason Weightman who plays the demon barber himself delivered nicely and brought a sense of vulnerability and volatility to this role which is often very hard to do. This was a nice contrast to the overriding evilness of the character. Weightman struggled vocally in the lower regions of Sondheim’s musical demands but that is not to take away from his control and dexterity with the text, managing to show character and emotion through lets face it; a lot of very fast paced lyrics!

The other two mammoth parts in this piece are Mrs Lovett, played by the instinctive and hilarious Jasmine Caine, and Joanna, played gorgeously by Anna Halliday. Caine used all of her experience to give us a lovely well rounded & nuanced character. She really squeezes all the juice out of Mrs Lovett that there is to give, and wowed both musically and in character. Halliday did such a fantastic job, with relatively less experience than her cast mates she really stood her own as Joanna, flexing her muscles musically with some super high soprano parts. Excellent work!

Musically the show was a complete success. With 'Sweeney...' it has to be quite frankly, it has to be. With so many harsh and jarring harmonies both vocally and with the band, the cast and musicians worked seamlessly together to accentuate this dark and twisted world with its dark and twisted score. This is largely down to the work of Adam Boniface, the Musical Director. Using all his years of experience both with and without the baton in his hand I was blown away with how effective and provoking the music was. Not just the individual songs that we have come to love and know over the years, but the underscoring of scene changes and dialogue that knit the piece together. The band were faultless and that really set the tone for the actors on stage.

All in all it was a lovely night out at The Carriageworks. Everything from the front of house staff to the details on stage, with flickering old TV’s, bathtubs & ancient ovens that won't have been easy to find or make. The time, effort and care put in to this project is plain for the eye to see, I’ll definitely be visiting again! Though it is fair to say I won't be coming for a shave any time soon!

Reviewer - Jack Wagman
on - 27.4.22

THEATRE REVIEW: If This Is Normal - 53Two, Manchester.

 

By sheer chance, brother and sister – Madani and Maryam – move house and start at their new primary school on the same day as anxious young Amy does the same. Despite his best efforts as the newly appointed ‘man of the house’, Madani doesn’t manage to appease his sister’s nerves. In fact, it’s the guileless Alex who jumps to protect Maryam and an instant trio is formed. The development of the friends’ relationship takes up the first portion of the play, offering some lovely chances to establish their stories as children and teens – leading us inexorably to Madani and Alex’s secret romance. The youth and innocence in this part of the piece is delivered with relish through moderations of voice and beautiful physical details, which makes the awkward and shame-filled moments in the latter half all the more powerful.

Alex is much less sure of her place in the world than the intelligent, political-activist Maryam. She wonders if it is still acceptable now, to want marriage and a home. She is a romantic, innocent long after her peers. Aoife Smyth as Alex is faultless; her development from 8 to 18 clearly portrayed; her performance was enthralling. Madani, played with just the right amount of awkwardness by Isambard Rawbone, is trying hard to be a modern man. He feels the need to protect his sister and friend but with no dad at home, isn’t sure what is expected of him. Zarima McDermott plays Maryam, who is idealistic and well-informed but ultimately may be just as naïve in her own way as the other two. Her black and white views on morals and behaviour leave her stranded when Alex and Madani’s relationship lurches.

Ultimately, this is a play about sexual consent. Smyth and Rawbone excel as their inner monologues are outwardly delivered. Alex’s doubts about her own worth, her lack of sexual desire, her desire not to displease are achingly familiar. She is not, and should not try to be Maryam – but with a best friend so confident and liberated, who can she ask for support? Madani’s internet research leaves him more confused as to how to treat a woman in bed – he reaches out to his male role-model (his boxing coach) and is met with embarrassed mumbles about condoms… and against this backdrop the two of them decide to have sex for the first time.  What results is to turn everyone’s world upside down.

Writen by Lucy Danser for Chatback Theatre, she provided us with a piece of funny and emotional theatre that nevertheless asks the vital and thorny questions about sexual consent, communication and expectations. In turn, I felt sorry for all three characters as they tried to find their way through the mire of anger, disappointment and sadness that cloaked the final moments of the play. Their personal truths were sad to hear and knowing their real thoughts made watching them try to communicate with each other much the harder.

Eloquently directed by Helena Jackson, who made the most effective use of 3 simple chairs I’ve seen in a long time, this was a thought-provoking piece of theatre. Its power came from its simplicity and its raw truth. These are not complicated, convoluted characters and are so subtly drawn by the actors and director. These are people we all know; they are people we all are or have been in our time. Many audience members will surely have their memories and emotions left a little tender by this play. Don’t let that stop you booking a ticket though – this was marvellous!

Reviewer - Justine Sutcliffe
on - 27.4.22

BOOK REVIEW: When The Bugs Came

TITLE: When The Bugs Came
AUTHOR: Joe Fisher
PUBLISHED BY: Independant publisher

A book for a sign of the times with lockdown as its main inspiration and featuring the strangeness of the situation we have all been in whilst aiming to normalise family life for the children caught up in it; it recalls the process of lockdown and how it has affected us all.

Beautifully written in rhyme accompanied by stunning illustrations, this book will help children understand more about the pandemic and how to deal with it.

It is a charming picture book about a young family experiencing life in lockdown and incorporates information on hand washing, social distancing, clapping for heroes and home schooling.

With a reading age of three to six years it includes lots of humour whilst dealing with a difficult subject which is brought to life by the wonderful, colourful illustrations. New words which have come into everyone’s lives and vocabulary, such as 'isolation' and 'lockdown' are explained simply and the main theme of lockdown is portrayed in more than just the words as the layout of the text creates isolation and words are separated from people in the illustrations, whilst swirls of the words symbolise the virus in the air.

This book has certainly encapsulated the experience of COVID and its impact on society, warmly told in a positive way; it is a book to treasure and keep as a striking reminder of these current times so as to look back on in times to come; a stunning reminder of a year to remember.

It is such a wonderful book that is a joy to read; it is a truly simplistic way to explain the current events of the past year to children and future generations; it will be a poignant reminder of this strange time in years to come; it is well suited for children of all ages.

There is a useful resource at the back of the book for children to complete entitled ‘My Lockdown Memories’ which can be used by parents and teachers in school.

Cleverly illustrated by Andy S. Gray

Reviewer - Anne Pritchard

THEATRE REVIEW: The Homecoming - The Curve Theatre, Leicester.

Pinter’s 1965 drama has been claimed as his most ‘representative’ work - or, more accurately, the most representative work of his early period that began with 'The Room' in 1957 - though in several ways it anticipates the move into more obviously poetic drama of later plays such as 'No Man’s Land'. Characteristic Pinter themes - the intrusion of outsiders into an established situation, man as competitive animal, woman as enigma - are all present and correct, but there is a new spareness to the writing and we’re left to ponder, even more than before, whether any of his characters are telling any recognised version of ‘the truth’.

In Jamie Glover’s current touring production, the verdict would seem to be that they’re all fantasists. Matthew Horne’s spiv-ish Lenny, with his over-elaborate hand gestures, seems to infer that his tales of beating up pox-ridden hookers and pesky old ladies, are both of the shaggy dog variety; and it’s hard to believe that Keith Allen’s surprisingly frail Max - whose nippy first entrance belies his later struggles to stay upright - was once ‘one of the worst hated men in the West End of London'. Similarly, Sam Alexander’s Teddy, all glib expressions and ersatz politeness, is playing the role of the visiting academic rather than being the genuine article.

Although perfectly viable (‘How do we know they are what they say they are?’ Pinter once asked), this has the effect of reducing the play’s menace quotient, at times taking it dangerously close to sitcom territory as the penultimate scene, in which the family discuss setting their new daughter-in-law up as a prostitute, illustrates all too clearly. This was the scene that had early audiences walking out with cries of ‘Animals!’; the Leicester audience only giggled.

Rounding out the cast, Ian Bartholomew offers a credible portrayal of Sam, the taxi-driving uncle whose sexuality is the subject of some ribald speculation by his brother. Geoffrey Lumb’s Joey, the aspiring boxer who’s ‘in demotion in the daytime’ is more introvert than simpleton. As Ruth, Shanaya Rafaat is suitably enigmatic but not the dominating figure she needs to be to effectively reduce a whole family (literally) to its knees by the end.

Liz Ashcroft’s set, with its vertiginous staircase and acres of patterned blue wallpaper is both too big and too easy on the eye to match with the pre-gentrified North London setting, and Max Pappenheim’s sound design punctuates scenes with a synthesised subterranean gurgling, to no obvious purpose. Although The Homecoming remains a classic text, it can be a difficult one to pull off and, in this case, less than full justice has been done to it.

Reviewer - Paul Ashcroft
on - 27.4.22

AMATEUR THEATRE REVIEW: Calendar Girls - The Met Theatre, Bury.

Prestwich Amateur Dramatic And Operatic Society - PADOS for short - returned to their second home of Bury's Met Theatre this week to present their version of the popular Gary Barlow / Tim Firth musical, 'Calendar Girls'.  It is at this point I feel I should make a confession; I had never seen the musical before. I have never seen the stage play. I have never watched the film. I knew little to nothing about the show other than that a bunch of middle-aged women from a Yorkshire WI, decide to produce a nudie calendar and ostensibly "get their t*ts out!". The idea of the show, the whole shebang of the story, simply didn't grab me, and I felt it really was not for me and was not interested in it, and so, until this evening had managed to avoid it. One, I was utterly wrong in my preconceptions; and two, the musical had heart, depth, and I am now regretting not having had any contact with this show earlier. In short, I loved it!

PADOS has produced, what now for me will be, the bar upon which I will judge any future productions of this musical I see; and let me tell you straight away, that bar is extremely high! Superb casting and sincere acting meant that I was fully invested in the show right from the start. Normally, as a reviewer I manage to stay quite detached from the happenings on stage - a silent observer if you like. However, that simply was not possible this evening, and I was swept up in this tumultuous emotional rollercoaster all the way, laughing and crying, rooting for the good, and I left the theatre physically drained, but completed sated. 

Yes the story is set in Yorkshire, and yes it does concern the local WI, and yes, they do decide to produce a calendar, but there is much more to the story that just those bare bones, and the reasons for the women - all of whom have their own characters and situations - baring all is what makes this show. That, and the fact that the story is based on reality. And of course, when it came to the making of the calendar I had no idea really how this would be done; but it was just excellent, with each lady receiving her own individual and spontaneous applause from the audience. Tasteful, clever, poignant, and yet also highly humorous too. Masterly. 

Tracey Dawson played Annie; the lady who lost her husband to cancer, and thus became the catalyst for Chris (Jill Ratcliffe) to turn that thought into the idea of making a calendar [through the free calendars supplied by the Dutch company that supplied her florist business]. Dawson's solo songs, especially the two she has in the first act, were highly emotive and came from a very real place; I simply couldn't help myself from welling up. Her sincerity and conviction was nicely juxtaposed with the more comedic antics of ex-air hostess Celia (Elinor Hamilton), and vodka-loving Ruth (Dawn-Marie Nicholls). Loren Fagelman was the more frumpish - well she was the vicar's daughter! - Cora, underplaying her role to great effect; and the group was complete with Jessie, played with aplomb this evening by Shirley Harrison. Showing a great command of the stage and wonderful comedic timing, Harrison was, for me at least, one of the show's highlights. 

The book for this show is very clever; I loved the way it placed pathos between comedy, and pitched contemporary teenagers against their parents and grandparents. It all felt very real and relevant; the show pulled no punches at all, and yet one simply could not take offence at any of it. Barlow and Firth should rightly be extremely proud of this creation. (I do think that much of the content comes from more than just simple imagination though.... but that's another story!)

The new lady in town, boss of the WI, and snob, Marie was played with a certain relish by Angela Grady, and the subplot concerning the antics of her daughter, Jenny (Isobel Cunliffe) and Chris's son Danny (Ethan Neale) was excellently observed. The cast completed with the ladies' various husbands, the photographer and the tea ladies, all of whom brought much to their roles and the show.

The set was a very interesting idea, which should have worked perhaps better than it did. A full size screen covered the rear wall - upon which projections of location were shown, however, these were few and far between and most of the time it was just a single colour. Perhaps a few more location-pointers on the rear wall would have helped. Whilst a little downstage from this, two "walls" of drawers, cupboards, ledges, etc all compact and cleverly concealed, so that one moment the whole could be a hedgerow, and the next the interior of the church hall. Piano, cakes, tables and telephone all hidden within. However, the florist shop accoutrements was a separate item, as was the all-important sofa. I think with a little more thought in the design, all (save the wheelbarrow) should have come from these "walls". I found it a little distracting watching stage crew bring these other things on and off whilst the stage is fully lit and having plant pots or artificial flowers fall onto the stage, all be it by accident, and pull focus. It just felt a little clumsy. If the cast move the set some of the time.. why not all of the time.

Director Mark Rosenthal knew what he was doing here, and brought out the very best from all his cast, producing a relatable and powerful, not forgetting VERY humorous, piece of musical theatre with the help of Helen Wilkinson's choreography and Nick Sanders' and Gemma Price's solid and melodious musical direction. Profound, cogent, and completely from the heart. 

Reviewer - Matthew Dougall
on - 27.4.22

AMATEUR THEATRE REVIEW: One Big Blow - The Theatre, The Library, Oldham.

The Mineworkers' Championship in Blackpool... It doesn't get any bigger than this if you're in a colliery brass band in 1981. Wally, forty years in the pits, is a veteran on the cornet as well as the coalface. This year, alongside bandmates and brothers-in-coal Wack, Jock, Taff, Geordie and Stanley they're in with a shot. Unfortunately those four decades breathing coal dust might be about to scupper those plans in literal breathtaking fashion. Will Wally be able to play? What will they do if he can't? What will happen when the workers and management inevitable find themselves at odds?

'One Big Blow' kicks off with a quick bit of fourth-wall breaking exposition as Chris Grixti concisely brings us all up to speed with where we are and what's going on. Instantly setting the scene as well as the tone, an approach that could have been contrived is effortlessly charming and immediately makes the audience feel like they're part of the squad. Amongst a charismatic and effortlessly charming cast, Grixti deserves particular praise for the manner in which he lays the table. Skills that would put many a comedy host or compère to shame.

“To further confuse things... we all play multiple characters.” A frank confession that brought a surprisingly heavy sweat to your reviewer's brow.

Despite the light-hearted quip there was no confusion to be had at any point. In fact, 'One Big Blow' is a testimony to the creativity, ingenuity and sheer raw talent of every single person involved. A bare stage, no props beyond miners' helmets with lights, and no costumes beyond one change at the start and a minor change at the end. We effortlessly followed the band from the pit to the boardroom to the streets and even to Blackpool purely through their movement and some clever use of their own bodies as props.

Every member of the ensemble moved effortlessly between roles as the story unfolded, sometimes even swapping back and forth several times during a scene. Whether they were a group of lads hewing coal in the pit or the board of directors lounging in a sauna we were with them all the way. The chemistry between all six cast members was fantastic, providing as many laughs from their subtle interactions and occasional knocks on the fourth wall as the script. Equally when the time called for more serious tones these were handled magnificently. You really felt like you're part of their journey through good times and bad. In on the jokes and crushed by the hardships.

Written in 1981 by John Burrows, the script perfectly captures the mood of the time. The simmering tension between miners and management, particularly when it comes to the somewhat light-handed approach by supposed overseers the National Coal Board runs throughout. Funny without feeling like the humour is ever crowbarred in. Informative without ever feeling preachy. Shining a bright light on a subject that's often been driven underground, there's no doubt that folk will find themselves inspired to learn more once the play wraps up.

The music, written specifically for this play by former Flying Picket, Rick Lloyd, is the beating heart of the production. From the very outset the incredible songs and music, performed a capella in superb fashion by the cast, are an integral part of the story and the experience. Woven seamlessly into and between scenes they serve as narrator and soundtrack, once again bringing the audience along for the ride. Soulful in places, cheeky in others, frequently hilarious and never less than brilliant. My only complaint is that you'll likely find some of these songs popping into your heads unbidden for many weeks to come. There are certainly worse ear-worms to endure.

You may also find yourself wondering how the cast of a play about a brass band can perform as said band without a single actual brass instrument? The answer is, quite simply, brilliantly, and I'll say no more than that. The musical climax to 'One Big Blow' is a goosebumps moment that has to be experienced in person.

This was an amateur production, produced by Romiley Little Theatre, and the six ensemble cast members were: Chris Grixti, Simon Cove, Shaun Penton, Chesney Talbot, Adam Urey, Gareth Jones; and it was directed by Peter Wright.

Reviewer - Chris Brooker
on - 26.4.22

AMATEUR THEATRE REVIEW: Sister Act - The Forum Theatre, Romiley, Greater Manchester.

The Queen Of Angels Convent, or rather I should say, Romiley's Forum Theatre was the venue for East Cheshire Musical Theatre Company's production of 'Sister Act' this evening, and although I am itching to put a corny pun in my review somewhere, there'll be nun of it!

'Sister Act' tells the story of Delores Van Cartier, a Vegas-style singer in 1970's Philadelphia, who just happens to have a gangster boss boyfriend, and just happens to witness him murder one of his hoodlums for snitching to the police. She runs to the police herself, and a kindly sargeant whom she knows from high school, hides her away in a local convent until she can stand as witness at the gangster's trial. I think you know the story already don't you.....!

This was a high energy, all guns firing production, in which every single cast member pulled it out of the bag! The singing in general was of a very high standard, but the harmonies from the sisters were just lush. Characterisations were solid and there was a genuine ensemble feel to the whole show. I loved the costumes, and the live 10-piece band at the front of the stage sounded excellent; both costumes and music bringing about a wonderful 1970's vibe to the whole.

Of course the show centres around Delores (Karina Tomlinson), and for anyone wanting to step into Whoopi Goldberg's shoes this must have seemed quite a daunting undertaking at first. However, Tomlinson needn't have worried, as she created her own character superbly, and I enjoyed watching her slow transformation throughout the show. A charismatic performer with a great '70's belt voice to boot.

Another perhaps rather daunting role to play, due to it being played on screen by none other than Maggie Smith, is the role of Mother Superior. Once again Tina Spiers found her own way through this character and it was sincere and reverent, with a dash of wicked fun. A calming influence on the excitable nuns, but showing that she too could kick a leg and boogie-on-down when required to do so. Spiers had a beautifully mellow voice and showed great vocal control. Her solos were my personal show highlight.

The show features some lovely cameo characters, and a large chorus of all-singing, all-dancing nuns; but of course, the show wouldn't be the same without the three nuns who befriend Dolores more than the others (just as it is in the film). Nervous and reserved Postulant Sister Mary Roberts (Daisy Nicholson), giddy and over-excitable Sister Mary Patrick (Francesca Bowman),  and the more dour and sensible Sister Mary Lazarus (Alexandra Severn), all bringing their characters nicely to the fore and blending well with the ensemble. 

The show is female-heavy and female-led, but that doesn't mean there aren't any males in the show at all.. there are, and these smaller cameos were played with just the right amount of a) comedy [Kieran Mickey (Joey), Jonathan Cresswell (TJ), and Ash Mallen (Pablo)], b) malevolence [Steve Sheppard (Curtis) - I loved his solo 'When I Find My Baby' - showcasing Sheppard's lounge-crooner voice to great effect], and c) sincerity [Gareth Baddeley (Sweaty Eddie), and John Hilliard (Monsignor O'Hara)]. 

As I've already mentioned I loved the music, directed by Ed Nurse. The band was expertly conducted whilst the quality of the singing, especially the harmonies, were delightful. The choreography by Heidi Fletcher and Sally Hilliard was just sensational. The dances managed to showcase what was both best and worst of the era with some great comedy routines for the three stooges, whilst the nuns were given some rather intricate moves which they all managed with panache. I did feel that the directing (Thom Copestake) was a little weak at times though. Much more could have been made from certain scenes, whilst other scenes, which should have been highly comedic, fell a little flat. Entrances and exits were all a bit eggy too. Perhaps with this being Copestake's first time directing a full-scale musical, he would have benefitted from the help of an Assistant Director.

The set design didn't help Copestake sadly. The main set piece of the convent was excellent, but it was the constant changing of tabs in and out, stage-hands bringing set items on and off etc which was very distracting. Perhaps it would have been more advantageous to have played the shorter, more intimate scenes, in pools of light, without the need for scene changes? It didn't make any sense to me to utilise the entire stage for a scene which required only two actors and a chair. But the worst faux-pas of all I have to say is watching a dead body stand up and walk off stage at the end of the scene!  

The lighting was creative, but distracting. Some of the effects used simply didn't 'read', and I was uncertain as to why the spots needed to start in the audience and travel across the band before finding their marks on stage. Sound levels were generally good, but a couple of the mics could have done to have been turned up a little higher, especially for Sister Mary Roberts.

However, my misgivings aside, - this was opening night afterall - 'Sister Act' is a fun, hugely enjoyable, and proficiently produced show performed by a group of very talented and enthusiatic actors / actresses. This was the first time I have seen a show by East Cheshire Musical Theatre Company; and I was impressed by such a high calibre of performance. I look forward to seeing their 2023 production of Guys And Dolls!

Reviewer - Matthew Dougall
on - 26.4.22 

BOOK REVIEW: The Superhero In All Of Us

TITLE: The Superhero In All Of Us
AUTHOR: Zoe Wheeler
PUBLISHED BY: Olympia Publishing

This is a heart-warming story about a young boy, Joshua, wanting to be a Superhero as his fourth birthday approaches. Using a playful tale the author demonstrates the importance of being part of a blended family; Joshua has a mummy who he lives with part of the time and a daddy and step-mother who he lives with at other times. He has two houses to celebrate his birthday in, with two lots of family members and he loves each one equally.

I was initially drawn to the book by the brightly coloured illustrations which bring the story to life.  They are emotive and have movement with vibrant colours and lots of detail which really catch the eye and tell the story very well.

With a feel-good ending, which brings the story to a satisfying conclusion there are several messages which are included to raise awareness about normalising child custody arrangements and co-parenting in order to help children in those situations find comfort and a sense of normality.

With a reading age of 3 - 9 years, I liked the words and terminology used throughout the book; it is ideal as there are no lengthy words or words which young children might not understand.

The book is beautifully presented with superb attention to detail; colourful illustrations are on every other page, ideal for youngsters to become absorbed in whilst the story is being read to them. They will also help parents reading to young children explain the importance of being part of a blended family unit and the issues which may need addressing for those children who are part of such.

The book’s compact size makes it manageable for a child with small hands to hold. Plus, it has easy to slide pages which make it easier for small hands eagerly wanting to turn over to the next part of the story to handle. 

The wipe-clean front and back covers are an additional bonus, ideal for parents reading it to children with sticky fingers.

This is a beautiful story of strength, love, family, and how one little boy finds the power to be brave in this big wide modern world.

The book is skilfully illustrated by Catherine Stait-Gardner.

Reviewer - Anne Pritchard

THEATRE REVIEW: Habibti Driver - The Octagon Theatre, Bolton.

What happens when a well-established and quasi-westernised Egyptian Muslim family living in Wigan find themselves constantly having to question and compromise their faith and traditions with those of the country they are now living in? What happens when a somewhat lax middle-aged Muslim man marries a feisty English girl, have a child, the child grows up, he divorces the wife and travels back to Egypt to remarry in an arranged Muslim ceremony, whilst she becomes engaged to a local Wigan lad who is just about as far away from her Muslim heritage as it is possible to get? What happens when this same man's more traditional and more religious brother finds out? What happens when his new wife comes over to Wigan full of Asian promise and can't speak much English? Will their differences ever be reconciled? 

'Habibti Driver' is a new play by Shamia Chalabi and Sarah Henley which tries to show, through gentle comedy, that there are many divides between the two communities, which sometimes go beyond either culture or religion, but can, with love and understanding, be breached and obstacles overcome. 

Ashraf (Dana Haqjoo) is our taxi-driving protagonist. He is described in the programme as Egypt's answer to Del-Boy, and that isn't too far wrong. However, Ashraf has a conscience, and is shown as a flawed and totally relatable human being. Torn between family, tradition, Muslim community etc, and his own thoughts, feelings, and ultimately his love (and respect) for his daughter, his ex-wife, and interestingly even his current wife (who has a significant role to play in his life). His brother, Yusuf (Hemi Yeroham) owns the taxi firm, and he sees himself as not just his brother's boss, but his brother's moral and religious guide too. His daughter, Shazia (Shamia Chalabi), is more Wigan than Egypt, although her Muslim side does play a significant part in her life, whether she cares to admit that openly or not. This causes both humour and friction with her fiance, Chris, (Timothy O'Hara), who is your typical Wigan lad, who loves nowt better than a pie and a pint! Chris's heart is definitely in the right place, even if his mouth isn't always! Ashraf's ex-wife, Jean (Helen Sheals), is practical and pragmatic; down-to-earth, and just wants the best for all. Does she still hold a candle for Ashraf? Whilst Yasmin (Houda Echouafni), Ashraf's current wife is the crux of the whole situation; appearing to be the stereotypical good Muslim wife at first, she uses her feminine wiles and intuition to turn the whole situation round to everyone's satisfaction. "Yasmin is just as crazy as the rest of us". It is through both Yasmin and his daughter, that Ashraf comes to understand his past mistakes, and that he was "listening to and following the wrong people".

It's a very gentle comedy, with undulating dynamics rather than troughs and peaks; and would work nicely as  a TV sitcom. As a play, it just travels along on a country road in 3rd gear and we enjoy the scenery as it does so. Hugely predictable, and reliant on stock characters and stereotypes in order to make the play work; as well as some rather obvious and trite humour. Although hidden in the melee are some real gems; such as "In England, the pub is like the mosque".

Directed by Sepy Baghaei, there are moments of genius mixed with the more mediocre. Some very heart-felt and underplayed short scenes, which are juxtaposed with quasi-drama and traditional Egyptian music and dancing. But it did feel a little too long, as we already knew how it would end and there were no surprises along the way. The constant moving of car chairs between each scene was irritating and time-consuming, and some of the configurations simply didn't work. 

The play succinctly highlights some of the difficulties faced when two so very opposite communities come together, and offers solutions by way of compromise, love, respect, and understanding. It's a sincere comedy for a contemporary Britain with contemporary British Muslims with a feel-good happy end. 

Reviewer - Matthew Dougall
on - 25.4.22

NEWS: Pitlochry Festival Theatre celebrate the 40th anniversary of 'Noises Off' this Summer.

Pitlochry Festival Theatre celebrates the 40^th Anniversary of

Noises Off

By Michael Frayn

Directed by Ben Occhipinti

Designed by Liz Cooke

Lighting Design by Peter Fennell

Sound Design by Kevin Murray

Fight directed by Robin Hellier

Cast: Marc Small (Lloyd Dallas); Connor Going (Garry LeJeune); Rachael McAllister (Brooke Ashton); Keith Jack (Frederick Fellowes); Deirdre Davis (Dotty Otley); Keith Macpherson (Selsdon Mowbray); Meg Chaplin (Poppy Norton-Taylor); Richard Colvin (Tim Allgood) and Alyson Orr (Belinda Blair).

 

Dates: May 27 – 1 October, Pitlochry Festival

Press performances: Fri 3 June at 8pm and Sat 4 June at 2pm & 8pm

Auditorium, Pitlochry Festival Theatre

 

Pitlochry Festival Theatre to celebrate 40^th anniversary of the classic farce Noises Off - what could possibly go wrong?

 

Get ready for a riotous night out this summer as Pitlochry Festival Theatre celebrates the 40^th anniversary of Michael Frayn’s irresistible farce within a farce from 27 May-1 October.

 

Hailed as a celebrated modern classic, Noises Off chronicles the hilarious slapstick capers of a touring theatre company as they stumble their way, from rehearsals to opening night, through a farcical fictitious play called…Nothing On.  

 

With technical brilliance and split-second timing, Noises Off takes us behind the scenes with a company of actors, stage manager and a temperamental director in a hilarious and heartfelt tribute to the unpredictability of life in theatre.

 

Noises Off was previously performed at Pitlochry Festival Theatre in 1987 and 2010.

 

Playwright Michael Frayn said:

“Wonderful to see theatre gradually coming back to life after Covid.  And for me, the Pitlochry Festival is a particularly cheering milestone along the road to normality because they’re doing the first professional UK post-Covid production of Noises Off.  So, thank you, Pitlochry!  I send you my very best wishes for the production, and I hope it helps to spread a little cheerfulness around.”

 

Noises Off’s exciting cast will feature Marc Small (Barefoot in the Park, Pitlochry Festival Theatre); Connor Going (Wind in the Willows, Pitlochry Festival Theatre and The Choir of Man, Australia and USA tour); Rachael McAllister (A Christmas Carol, Pitlochry Festival Theatre); Keith Jack (Any Dream Will Do, BBC; Joseph and his Amazing Technicolour Dreamcoat and Fame, UK Tours); Deirdre Davis (Eileen Donachie in River City, BBC Scotland, Bold Girls, Citizens Theatre and Monarch of the Glen, Pitlochry Festival Theatre); Keith Macpherson (The Yellow Door, Lyceum/ Edinburgh International Book Festival; Waiting for Godot, Citizens Theatre and Stan and Ollie, BBC Films); Meg Chaplin (Arrival, imPOSSIBLE and The Midnight Child, UK Tour); Richard Colvin (Sunshine on Leith, UK Tour and A Christmas Carol, Bolton Octagon) and Alyson Orr (Cinderella, Pavilion Theatre Glasgow).

 

Noises Off is directed by Ben Occhipinti with set and costume design by Liz Cooke, lighting design by Peter Fennell and sound design by Kevin Murray.

 

Director and Pitlochry Festival Theatre Associate Director Ben Occhipinti said:

 

“It is a great privilege to be directing Michael Frayn’s Noises Off in its 40^th anniversary year. It probably goes without saying that this play is one of the greatest farce’s ever written and I am in no doubt that audiences will enjoy watching and laughing together this summer. Michael Frayn is such an exceptional dramatist that he’s been able to create such a brilliant story with many loveable characters whilst also making us belly laugh. With a brilliant company of actors, it is sure to bring the house down as they try to manage all the doors and sardines! The design is wondrous, so I also know audiences will love to enjoy the mise-en-scène which Noises Off has become infamous for over the years.”

 

The idea for Noises Off came to playwright Michael Frayn after watching from the wings a production of his 1970 farce The Two of Us with Richard Briers and Lynn Redgrave at the Garrick Theatre. He noted that seeing the actors dashing between the different doors backstage was all far funnier from behind than it was out front.

 

Frayn didn’t get around to working on anything until 1977, when he wrote a 15-minute version for a charity event. At the request of his associate, Michael Cordon, Frayn expanded this into what would become Noises Off.

 

The original production directed by Michael Blakemore opened to great acclaim at the Lyric Hammersmith Theatre in 1982 starring Patricia Routledge and Paul Eddington and went on to transfer to the Savoy Theatre where it won Best Comedy of the Year at the Olivier Awards. The iconic play has been performed worldwide and was made into a film in 1992 starring Michael Caine.

 

Noises Off runs from 27 May - 1 October. Tickets are available from the Box office on 01796 484626 or online at pitlochryfestivaltheatre.com