BOOK REVIEW: Mad Ferret by Matt Burgin

TITLE: Mad Ferret
AUTHOR; Matt Burgin
PUBLISHED BY; Independant Publisher

I really enjoy time travel novels and this one was exceptionally entertaining; I love the concept of the book which is what drew me to it. Readers who enjoyed ‘Back To The Future’ and music of the 1990s - aka Brit Pop - will be caught up with nostalgia for the time.

Struggling musician, Tim, time travels from 2015 back to 1989 through a traversable wormhole created by his mastermind-of-a-best-friend to watch a legendary Stone Roses' gig, but instead of returning as pre-arranged he remains in the past, inspired by the gig, and his love of the 1990s.

He then forms a band with his newfound friends, causing ripples in the developing Manchester music scene. But as the ripples grow, they threaten to create a tidal wave of change, washing away the bands that inspired him to pick up a guitar initially. He is torn, wanting fame and fortune for the price of his soul.

This nostalgic trip back to the 1990s will delight readers who lived through the era and have a passion for the period and the music of the time; the author’s love of the era shines through.

It is an innovative, well-written novel with an intriguing storyline which has humour and pathos, I admit to laughing out loud and also shedding a tear or two.

Cleverly written, there are some interesting time travel dilemmas which will keep readers guessing until the end and the premise of the book will instigate discussion and deliberation in readers familiar with the period and love of the culture of the time. 

I particularly enjoyed the layout of the novel, small chapters always delight me, as readers are able to dip in and out effortlessly and pick up where they left off with ease.

Nostalgia is key at the moment in almost everything; the Arts, culture, and literature, so this novel will prove to be a hit with readers especially those who will relish the opportunity of re-living their youth spent during the end of the '80s, beginning of the '90s.

I found this book a superb read which really enveloped me in the atmosphere of the times, even though the Swinging Sixties was my era; it is an easy read and one I enjoyed from start to finish.

Reviewer - Anne Pritchard

THEATRE REVIEW: Housewives On Holiday - The Garrick Playhouse, Altrincham. Greater Manchester.

The poster for ‘Housewives On Holiday’ shows three women having fun in a sunny holiday setting by the sea, suggesting a mainstream comedy play or maybe a farce. Arriving at the theatre to find only women above a certain age congregating in the bar and foyer led to concern that the play had been replaced by a Chippendales show but closer examination revealed there were one or two men around (although each one was coupled up). This was clearly not going to be just a run-of-the-mill comedy play!

A bright but simple set of a multi-coloured beach house set the scene as the premise was soon revealed that one of a trio of three female friends had won a prize on a tacky TV quiz show to take herself and two friends on a Spanish holiday. This was not going to be a Club 18-30 type experience but the girls were setting out to have fun, notwithstanding numerous jokes about middle-age hang-ups. What followed was a funny and witty exploration of the highs and lows of going on holiday from the un-attached, middle-aged female perspective.

Aside from the main plot, there were frequent diversions into what were effectively sketches as the girls imagined themselves in different situations from being in old age on an inter-planetary space holiday to depicting a less than luxurious forest camping trip. There were also great impersonations from the trio as wine-making monks (who sounded suspiciously Italian considering they were in Spain) to amorous Spanish hotel staff. The funniest was probably when each imagined themselves as over-sexed macho guys doing their best to impress.

The play was performed by Josephine Partridge, Maureen Nolan and Sarah Dearlove (stepping in for writer/actor Julie Coombe), making for a well-balanced and varied trio, each bringing a different angle to middle-aged femininity. Sarah Dearlove is a superb character actress, bringing over many funny observations of the ‘older woman’s perspective’, from trying on risque swimsuits to indulging in demanding physical exercise. Maureen Nolan represented the more reserved approach to life changes, remaining dignified without taking many risks nor perhaps surprisingly, any solo singing (considering all three were in the mood for dancing!). Josephine Partridge was the somewhat younger, up-for-anything type, whether tackling water sports or going on a date with a potentially lecherous local. Parker, aside from acting is also a physical trainer and nutritionist. The show gave her ample opportunity to display her trim figure through demonstrating demanding physical routines such as high-kicks on the trampette.

The constant flow of jokes, at times quite near the knuckle, were very much from a woman’s point of view and it was soon not difficult to see why the theatre was virtually devoid of men, as the enthusiastic audience lapped up the humour. There was a feminist slant to the show, which was well-observed whilst not having any hints of antagonism to males or complaints against forms of patriarchy. This is what made the show so funny; it was just pure observational comedy without any political or social agenda. The spirit of the show however was certainly assertive with the music being largely famous ‘girl-power’ songs by artists such as Madonna, The Spice Girls and Shania Twain.

‘Housewives On Holiday’ was a very funny show, combining music and physicality with observational comedy. It was a potentially scary place for men as might be expected in an audience comprised almost totally of excited women, but it was a show either sex could enjoy even if coming from different perspectives.

Reviewer - John Waterhoiuse

on - 28.6.22

THEATRE REVIEW: Cluedo - The Lowry Theatre, Salford.

Who remembers playing that wonderful board game where you have to deduce, through your own super-sleuthing, who the murderer was, in which room it happened, and with which murder weapon? 'Colonel Mustard, in the library with the lead pipng!'.. that sort of thing. It was certainly a staple in our household when I was young. That was just one of the reasons I was looking forward to seeing a live theatre adaptation of the game.

This evening's presentation at Salford's Lowry Theatre however was both surprising and interesting, although I use both words in a less than positive sense sadly. It is true that certain character names had been kept (albeit as pseudonyms), and it was true that the action took place in a large manor house, and there was a secret passageway from the conservatory to the lounge, but in all other respects, this play bore absolutely no resemblance whatsoever to the classic board game of my childhood. 

Director Mark Bell had utilised a strong cast of comedy performers whose timing and delivery were executed with split-second precision, and their physicality and stylised performances worthy of a contemporary circus troupe; however, what we were presented with was a style of acting which one was completely unable to sympathise with as these cardboard-cut-out caricatures did very silly things in a very silly manner whilst murdering half the cast along the way!

To give you some idea, if you were to somehow combine, Agatha Chrsitie's 'And Then There Were None' with 'The Play That Goes Wrong', an episode of 'Allo Allo', any Whitehall farce you care to name, a Frantic Assembly production, and have the whole directed by a choreographer, you may well end up with something like 'Cluedo'! Most unfortunately for this reviewer at least, I found that the plot is too ridiculous for us to care about, and the whole of the first act simply goes nowhere, finding the whole trite and simply unfunny. Sadly, despite the proficiency of the cast, they can do nothing to lift the mood and the whole is a lamentable monochrome of madness and mediocrity. The cast fail to inject humour into what is sometimes a very funny script, by their completely over-the-top exaggerated style of performance; this also means that there is no chemistry at all between any of the cast, and so we do not care for them or their situation. All the dynamics are the same, and we are heavily reliant on unrealistic sound effects to create 'tension'. Maybe the problem lies in the fact that the production team were trying to produce a British version of an American play, which was based on an American film, which in turn was actually based on the British board game. If they'd simply cut out all the middle-men here they may well have hit upon a success.

The funniest moment of the whole play was an actual, unscripted mistake, where the policeman's false moustache fell off mid-performance, and this caused genuine hilarity and some lovely ad-libbing from the cast. This proves that the cast are indeed consummate professionals and excellent actors, but sadly they have been directed in a way to make them appear ridiculous, in a production which relies heavily on cliched and platudinous over-exaggerated farcical miming and overblown charaterisation.

In all fairness, this evening's audience was split about half-and-half. Half, like myself, were wishing we were elsewhere, whilst the other half seemed to be enjoying it and laughing in all the right places. I guess it just goes to show you never can tell...! But if you go thinking there will be only one murder, and it will be a comedy thriller, then you're in for a surprise! 

Reviewer - Matthew Dougall
on - 27.6.22

GASTRONOMY REVIEW: Istanbul Grill Restaurant, Prestwich, Manchester.

With my afternoon event running late, and my evening work looming ever closer, thus time being of the essence, a chance find on the main road through Prestwich, turned out to be the jewel in the crown of the day. Arriving about 5:30pm on a Sunday without a booking, a table was promptly found for us, and after telling the staff that we had only one hour in which to dine before we had to leave, they were more than happy to accommodate, and indeed the main meals were served to us within 15 minutes of ordering. 

Spotlessly clean and well appointed, this restaurant seemed somehow out of place on the urban main street through an unprepossessing Prestwich town centre. The menu was not extensive, but all the dishes were authentic Turkish or eastern Mediterranean cuisine, and the staff were all friendly, polite, and more than happy to help.

Simply because we were pushed for time, we ordered only a main course and a drink; but the food servings were extremely generous and so this was more than sufficient for our needs at the time. I ordered sea bass, and my companion lamb chops; both of which were served with salad and rice. As I have already stated, the potions were extremely generous, and both lamb and sea bass were cooked to absolute perfection. 

This is certainly a restaurant that we will return to when we have more time to relax, enjoy the food properly, and try their starters and desserts too!

Reviewer - Matthew Dougall

AMATEUR THEATRE REVIEW: Stepping Out - PADOS Studio Theatre, Prestwich. Manchester.

This was my first visit to PADOS's own studio theatre in Prestwich. PADOS - that's Prestwich Amateur Dramatic and Operatic Society - normally present their larger scale shows at The Met Theatre in Bury, but their plays (of which this is the first I have seen), are performed at their home base in the centre of the town which bears their name! It's a very small building, unprepossessing, on the corner of two residential streets, it doesn't look anything like a theatre from the outside, in fact one even wonders if the building is large enough to accommodate one at all. But we all know that appearances can be deceiving, and once inside, there is not only a reasonably sized stage with backstage area, a comfortable auditorium with raised seating, but there is also a small bar too. It's a bit like the tardis! 

The set was exellent. 'Stepping Out' is set in a hired-out Community Centre hall, which, for one evening a week, is the domain of an adult tap dancing class. Here then, we were shown a typical paint-peeling-at-the-edges kind of weariness to the set, whilst a piano was set at one side, and the changing areas off to the wings. 

The tap dancing, despite being an important part of the play, and fournishes us with the play's finale; isn't actually the main focus. This disparate group of women - and one man, Geoffrey - all have their own reasons for coming to the tap class, and all have their stories to tell. It is the dynamics of revealing these characters and their stories which takes talent. Director Alexander Cohen brought most of these out nicely, not giving away too much to begin with, and building the characters up as their stories became fuller. One thing I didn't quite understand though was the decision to delocate the play from London. Despite a couple of the cast doing well with their London vowels, and a reference or two to 'Pineapple' (a dance studio and dancewear outfitters in London); there were also more than a couple northerners in the play, and a distinct reference to Alderley Edge. This simply didn't make sense. 

Cohen's decision to keep the play firmly set in the 1980s however was a sensible one, as much of the dialogue is very contemporaneous and wouldn't be appropriate today without much rewriting. Much of the comedy is derived from racial stereotyping and body-image, which simply wouldn't fly if written today. 

Susan Glover plays the nicer-than-nice failed professional dancer Mavis who takes these classes, and her backstory is revealed with skill in the middle of the play, giving the group a new way to assess their teacher. The pianist, Glenda Fraser, was played this evening by Shirley Harrison, who displayed a incredible skill in comedy timing, hitting her character firmly on its head. The group of 8 adults who take this tap class, all very adept in bringing out their characters and their relationships / dynamics within the group, were excellently observed. Moments of hilarious comedy were nicely juxtaposed with a more serious piece of pathos, all sensibly portrayed. I especially enjoyed Lucy Michaliszyn's underplaying of the quiet and reserved Andy, and her interplay with Geoffrey. Also of note was Sara Brockway's Sylvia, whose character could quite easily have entered the realms of grotesque, chav, and OTT, but in Brockway's hands it remained focused, real, and very funny. 

The play and story is all about the characters, and these were secure and grounded at all times by all, with the comedy being brought out nicely. However, the tap dancing went from appalling (deliberately so) to performance standard in the blink of an eye. I feel there should have been at least a hint of a gradual progression of not only gaining confidence in the steps but the actual ability of performing them. Even with seconds before the performance, the group were still dancing as if they had never worn tap shoes in their lives before. And it was also a little confusing to find that the actual show performance dance was not the same choreography and music that the group had been practising throughout the weeks and months prior to it. Again, this didn't really make any sense to me. The end tap dance was, nevertheless, nicely choreographed and enjoyable.

Criticisms notwithstanding, this was a highly enjoyable production, intelligently performed with craft and zeal by 10 skilled amateur actors, and the play runs until Saturday 2nd July.

Reviewer - Matthew Dougall
on - 26.6.22

CLASSICAL MUSIC REVIEW: Wild Swans - The Bridgewater Hall, Manchester.

A Sunday afternoon concert performed by The Halle Orchestra, under the direction of Stephen Bell, with their main piece of the concert being a modern cantata which was sung by the 87 members of The Halle Children's Choir? Yes please.

The first half of this afternoon's concert was orchestral music; all with a similar thread. That being that these pieces were all musical narratives. Music that tells a story. Music which has been taken from literature which has been made into a film, and then the film has required music to ameliorate that story. 

The six pieces were 'Disney Classics Overture' (arr by Bruce Healey), in which we heard 11 tunes from Disney films from classic favourites to more modern melodies; 'How To Train Your Dragon: This Is Berk' (John Powell), which started dark and dramatically, with a low-scored menacing march, which then mutated into a lyrical passage for solo violin becoming a Celtic-inspired string melody, beautiful and lyrical to finish. Following this was 'Tom's Midnight Garden: Main Theme' (Debbie Wiseman), a piano-led lyrical moderto passage with a pleasing melody line; 'The Chronicles Of Narnia: Suite' (Harry Gregson-Williams), a short selection of some of the themes from the Narnia films; 'Harry Potter: Hedwig's Theme' (John Williams), which started on the solo celeste, with violins creating a wind effect, before the theme is taken up by the woodwind section; this was instantly recognisable, and is a fantastic piece of scoring. The final piece in this half of the concert was a medley of music celebrating the late, great Judy Garland. Titled 'Wizard Of Oz Medley', this was much more than that, as it in fact was only two tunes form that film musical, whilst the central section of the piece played three further tunes from films that starred Judy Garland and she is famous for singing.  

It really doesn't matter what style of orchestra or playing is called for: in this instance this afternoon we needed Swing Band, Big Band, symphony orchestra, and goodness knows what else; but whatever they get thrown at them, they are ready and able to create or recreate the correct sound superbly. You really do need to go a very long way to find an orchestra so accomplished. And under Stephen Bell's enigmatic, energetic, and precise conducting, every single player comes alive, and the music shines and resonates. 

After the interval it was the turn of The Halle Children's Choir to shine. The stage had been completely reconfigured with a much reduced orchestra in front of a raised platform for the youngsters to line up in formation. Not only this but Lin Marsh's cantata, 'Wild Swans' required 3 actors / performers too. These three were all this year's graduates from The Manchester School Of Theatre, and were Catherine Attwood, Mark Emmons, and Maia Perry. 

'Wild Swans' is a musical retelling of a Hans Christian Andersen fairytale. Marsh's music is tuneful, lyrical, tonal, melodic, and the jolly rhythms make it ideal for a children's choir to sing and enjoy. But that doesn't mean to say the music isn't also dramatic and emotive, because it is also these things too. The Children's Choir coped amazingly with this work, each chorus gaining them applause from the audience. Their diction clear, and especially the part singing, clever and interesting. Sarah Day-Smith also needs congratulating, as her movement direction with the choir was excellent. It has become something of a Halle Children's Choir trademark over the years for the children to do certain movements during their performances, and some have worked much better than others. Here Day-Smith's was the best I have seen the choir do. It was imaginative, clear, and aided the storytelling. The choir were dressed in black trousers with either a green, blue or white t-shirt. This effect I am assuming was create the idea of a natural landscape from which the swans appear and disappear. Quite effective. 

The three actors / actresses were used to tell the story. Part narrator, part character, these three came in front of the orchestra and gave a semi-performed rendition of the text. For me, this was the weakest link in an otherwise extremely strong chain. First, the three performers were mic'd and therefore much louder than necessary; whilst I was, at times, struggling to hear the children above the noise of the orchestra. Therefore the sound balancing was not equal at all. Moreover, they played more than one role each, and so it was perhaps a little difficult to understand the story. It would have made things more easily and readily understandable if they had had a semblance of costume for each character, or had more performers to take each role as required. It worked well when single members of The Children's Choir came forward to sing a short solo (these were lovely), and when the 11 white swan brothers were used effectively too; but on their own, it needed further clarification, and less amplification. 

Reviewer - Matthew Dougall
on - 26.6.22

AMATEUR THEATRE REVIEW: A Night At The Cavern Club - NWTAC Theatre, Moston. Manchester.

NWTAC Theatre in Moston, North Manchester, had been made to resemble the famous Cavern Club in Liverpool as much as possible by creating a false brick arch at the rear of their already low-ceilinged and somewhat claustrophobic acting area, upon which they had scribbled the names of all the famous bands and artistes who have at some time or another graced the hallowed stage.

A three-piece band was on the perimeter (keyboards, drum kit, and guitar), and the lights and atmosphere ready for an evening of nostalgia for those old enough to remember, and for those who weren't, an evening reminding today's youngsters that "pop" music wasn't always dreadful and 'basically just loud noise to a beat'! This evening, I am more than happy to report, the sound levels were just perfect.

My music knowledge and interests have never truly been in the popular contemporaneous domain, and so I recognised some of the songs (but by no means all of them), and once Cilla Black and The Beatles had finished, was struggling to supply the names of any of the other bands / singers... except of course, there was a surprise entry in the second half of  'Crazy Little Thing Called Love', by Queen, who I had no idea until then that they had ever graced The Cavern Club's stage. 

Headlining the evening was Beth Singh as Cilla Black. This was a young Cilla, in her 1960's heyday, despite her repertoire covering many of her later hits and covers too. Singh was actually very impressive as Cilla; it wasn't an exact impersonation but it was damned close! And we all believed she was the real deal, delivering a truly enjoyable set. Her a-capella close harmony with husband Prab (drums), and MD Ross (keyboards) during 'Yesterday' was just lovely!

All the other performers on stage this evening were taken from NWTAC Youth Theatre, and there was singing from James Burke, Alfie Cook, Georgia Anderson, Lilly Ife, Amelia Zatorska, Erin Carty, Maria Collins, Harry Gardner, and Poppy Evans. My personal favourites from this smorgasbord of talent were an original female-take on Gerry And The Pacemakers's, 'I Like It', Dusty Springfield's, 'Wishin' And Hopin'', and 'Isn't She Lovely' (and the only artiste I can pin this on is Stevie Wonder...did he ever play The Cavern Club??)

We also had backing dancers - four young ladies who truly got into the sixties' spirit with their cool and groovy moves, baby! These were Lilly Taylor, Isabelle Collins, Ese Umudi, and Stephanie Cannavan. I enjoyed this idea greatly, it really helped to ameliorate the songs, the mood, and the Cavern atmosphere.

There was a compere / announcer too, and so, when not singing himself, James Burke, gave us some interesting history and background snippets of the famous club, which also worked nicely. 

The evening was set off superbly with some fantastic and psychedelic 1960's costuming and hair styles. We should definitely bring back the clothes, but maybe consign the hairstyles to history....!

The first half finished with a full company (and audience participation) 'Hey Jude', whilst we were sent home at the end of the evening in true Liverpool fashion, as it was not just a hit for Gerry And The Pacemakers, but was also (and perhaps still is) used as Liverpool Football Club's unofficial anthem too, as fans sang from the terraces in raucous, passion-fuelled voices..."You'll Never Walk Alone". 

Reviewer - Matthew Dougall
on - 25.6.22

BOOK REVIEW: Clover Caste by Matt Burgin

TITLE: Clover Caste
AUTHOR: Matt Burgin
PUBLISHED BY: Independent publisher

The premise of this book interested me from the start and once I started reading, I was immediately hooked. 

The author ponders that one in ten thousand clovers have four leaves instead of three and nobody knows why; a somatic mutation changing the DNA sequence of the plant is one explanation. He then goes on to ask, what if a similar DNA mutation occurred in human beings, but instead of having four leaves they had four lives. And, what if these lives were to run consecutively with the soul transmigrated from the old to the new body? It is an interesting idea and it then begs the question, what advantages would there be to a person having four lifetimes of experience and knowledge embedded into their memory record rather than just having the one.

Furthermore, what if these people formed a secret supra-society, one that would function as an organic whole, which ensured all money and possessions were passed down through each life? Maybe these people are living amongst us; we ‘Normals’ will never know.

This really is a mind-blowing concept, the answer to which, will appeal to many readers, as it did to me.

Protagonist, Jack Marwood discovers he has four lives and is certain of three things; one, he was brutally murdered in his first life, two, he is in grave danger in his second life and three, he cannot trust anybody, especially his friends. But there is one thing he has yet to figure out, which is, are his extra lives a gift or a curse?

This is an intriguing and technically brilliant must-read; it is challenging and rewarding; a conundrum wrapped in a dilemma. It is an incredible hypothesis but one I can almost buy into and believe to be true. This innovative science fiction story immediately gets the grey matter working; it will hold the attention of its readers as it is quirky and well-written. I was intrigued from the start and couldn’t put it down. It is evident that the author has spent a lot of time researching the concept and gives clear and concise explanations of his intriguing notion. Cleverly written and interweaving fact and fiction, such as the murder of John Lennon, whilst dropping other well-known musicians into the plot, such as Bob Dylan, Pete Townsend and The Beatles, adds to the fascination of the storyline which becomes more believable as the plot unravels. Moreover, short chapters in novels are always appealing to me as readers are able to dip in and out effortlessly and pick up where they left off with ease. It is a sci-fi story which is intriguing and credible, an almost horrific and frightening concept which will appeal to many. It is an outstanding novel and a superb read; readers will enjoy the unique aspect with the down-to-earth plot and the scientific explanations.

Reviewer - Anne Pritchard

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

Since my last visit to this restaurant on the banks of the river Weaver in Acton Bridge, and my more than positive comments about the establishment, things have changed somewhat I fear.

The stay started well enough; trying a new-to-me ginger beer which was excellent, and enjoying a half hour in the sunshine on their waterside terrace. We are in England however, and so, after the blazing sun, came rain, and so we ventured inside to eat. Myself and my companion both ordered different starters, and these were both delightful. The salt and pepper calamari were cooked to perfection, whilst a duck, truffle, and red onion marmalade terrine (a rather odd but actually flavoursome combination) was delicious. This came served with toasted bruschetta and red onion chutney; sadly the pea shoot salad which also should have accompanied this dish was conspicuous in its absence. 

But that was where things went a little more awry. It became patently obvious that this restaurant does not employ a chef. The menu is unalterable. We wanted to swap and change an ingredient or not have a particular sauce etc with our main courses... but it was explained to us that these dishes are bought ready-to-go, and they cannot be altered. I have a cartoon-like image therefore of the kitchen being simply a row of microwaves with someone standing by placing the food in them for the required number of minutes waiting for the 'pings'! Both of us therefore had to make do with our second choices of main. My companion ordered 'Duo of chicken and beef' [Roasted chicken supreme in a chicken gravy and slow-cooked British beef, shredded and pressed with caramelised onions, in a beef dripping and Merlot gravy. With buttery mash and seasonal greens], whilst I opted for a mixed grill. 

Whilst both the chicken and the beef were good, and the two separate types of gravy (chicken gravy, and beef dripping and merlot gravy) came in separate pots, the mixed grill did not sail through with flying colours sadly. After asking for the rump steak to be well done it arrived medium-to-well-done, whilst the lamb chop was rare and basically inedible. The gammon steak and pork chop were both undercooked, and the plate was swimming with meat juices. This meant that the chips were soggy (even before being served to me) and the meal was a complete combination of variations of cooked meats from almost raw to nearly-but-not-quite well done. Bizarre and not at all tasty. The peppercorn sauce for the steak (for which one had to pay extra), was the vilest and most unflavoursome peppercorn sauce I have ever tasted. 

Ordering a cup of tea at the end of the meal was also something a little like a 'Carry On' film without the humour! The service was unbearably slow (and it was a very quiet time in the restaurant too!), and we also had at least three waiters / waitreses attending to us at different times. We would ask something of one, or place an order, they would go and never return... and we would have to find someone else to request the same of. This happened on two occasions during our visit. The waitress forgetting about my tea milk completely....!

We returned here after our more than pleasant meal experience the time before, and we were looking forward to our meal here once again. However, if this is now the new norm there, I feel we should give it a wide berth.

Reviewer - Matthew Dougall

STUDENT MUSIC REVIEW: The RNCM Wind Orchestra with Christian Lindberg - The RNCM, Manchester.

The students at the Royal Northern College of Music who make up the institution’s Wind Orchestra were given the opportunity to perform under the direction of, and on two of the evening’s five pieces, alongside the accompaniment of the Swedish trombonist, composer, and conductor, Christian Lindberg.

As Lindberg himself remarked during his opening gambit, the five compositions which were presented in the concert all had some link to Scandinavia - either through direct composition or through the arrangement of an established work, as was the case with the opening performance: Verdi’s ‘La Forza Del Destino Overture’ which featured an arrangement by the Scandinavian composer Anders Hogstedt. The overture is a popular opening piece for concerts and it was readily apparent why - the piece opens with a big blast of trumpets and progresses through exciting runs of flutes, oboes, and clarinets, with percussion from the timpani thundering along. The overture’s most famous excerpt (familiar to those who have seen the television adverts for the Stella Artois lager), showcasing the flutes and oboes, offered a moment of tranquillity before the overture headed towards its thrilling climax. Throughout the piece, Lindberg’s incredibly idiosyncratic and enthusiastic conducting style was on display, with him directing and gesticulating wildly and passionately throughout (looking, as one audience member remarked during the interval, “like a benign Emperor Palpatine” from the Star Wars film, except that instead of shooting out lightning, he was shooting out musical direction).

The second performance of the evening was ‘Seamounts’ by Swedish composer Andrea Tarrodi, composed in 2019. Opening with a crashing wave of timpani and a very large drum - clearly representing the crashing of waves in the sea - the work proceeded to present a very ‘cinematic’ style journey in music into the depths of a sea, with trombones creating ‘waves’ of sound over the crashing sound of the percussionists as the piece built up. Indeed, throughout the work, the percussionists provided solid rhythm as the rest of the orchestra swept up and over their work with their contributions. Tarrodi’s work did feel very much like it could have been a film score (certain sections certainly brought to the mind the epic orchestral works of John Williams in many of the blockbuster films from the 1970s onwards). As the work moved onwards, there came a very tricky section for the trumpets as they were used to generate a low, bass heavy humming sound which must have presented a challenge for the players, but one which they successfully handled. As ‘Seamounts’ came to its conclusion, a gong, several drums, and the timpani brought things full circle, by returning us to the crashing waves of the opening. All in all, Tarrodi’s piece was a hugely thrilling, exciting work, and an excellent choice to include in the programme.

The third piece was a composition by Lindberg himself, “Mandrake In The Corner”. This performance featured Lindberg taking the lead on the trombone, alongside a student from the RNCM, Oliver Bartlett. As a result, this piece was conducted by a student from the RNCM, Yi Wei. Wei did an excellent job of conducting, although his style was certainly more ‘conventional’ than that of Lindberg’s! The piece was inspired by the comic strip character Mandrake the Magician (often cited as one of the first ‘super heroes’ to appear in comics) and this inspiration seeped through into the music, feeling at times as though it was lifted from the soundtrack of a blockbuster film about the character, full of sweeping trills from the two trombonists. As a trombonist, Lindberg was as energetic as he was when conducting and his piece allowed him to demonstrate why he has the reputation as being one of the world’s leading trombone players.

Following an interval, the orchestra resumed the evening’s programme with a piece by Brahms, “Academic Festival Overture” (again, arranged by Hogstedt) - for this, Lindberg was back on the conductor’s podium. Brahms’ work, commissioned for an academic ceremony in which the composer was awarded an honorary degree from the University of Breslau and which rather cheekily on Brahms’ part, took inspiration from the drinking songs of students he had heard in the taverns in Germany, was a very playful, light and joyous work and the orchestra certainly embraced this aspect within their performances (although, one suspects that’s Lindberg’s energetic conducting stye also played a part in this). The climax of the piece featured a charming intervention from, of all things, the triangle, alongside a blast of cymbal work.

The final performance of the evening was Hogstedt’s composition, “A Tribute To Jussi Bjorling”, a work which paid tribute to the Swedish tenor opera singer. For this piece, Lindberg once again took up lead trombone spot alongside another RNCM student, Andrew Challinor. Both trombonists really gave it their all in this piece, indeed, Lindberg’s performance on this work surpassed his already skillful playing on his own work earlier in the evening. RNCM conducting student Leon Frantzen guided the orchestra through the work and did a highly competent job. From the work’s big percussion-loaded opening onwards, the performance of the orchestra was highly impressive, although this performance in particular did highlight the one minor flaw in the concert: the power of the percussion and wind instruments meant that the harpist could barely be heard and that none of the pieces gave the harp much of a spotlight to shine, no matter how briefly. That aside, the performance from the orchestra was of as high a quality as the rest of the evening’s had been, and credit must go to both Lindberg and Challinor on trombone as both gave hugely impressive performances at the climax of the piece.

The concert was a hugely enjoyable success story for all involved, but perhaps obviously, it was really Lindberg’s night - with his skill as trombonist, conductor, and composer were all given a chance to shine. Should Lindberg ever return to the UK to conduct or perform, then the opportunity should be given to see him in action - he truly was a powerhouse, whether as conductor or performer.

Reviewer - Andrew Marsden

on - 24.6.22

AMATEUR THEATRE REVIEW: The Tempest - Royden Park, Birkenhead, Wirral.

This was my first ever visit to Royden Park and also the first production I've seen presented by Hillbark Players, who are a very long-established and well-respected amateur theatre company. The performance space is just a short walk through the woods from the large car park (which is free of charge after 6:30pm). Rows of raked and numbered seats had been placed around three sides of the performance space, so you are quite close to the action wherever you sit. The seating is also covered, so you won't get wet should the weather turn inclement as it briefly did when I watched.

Thank you to the volunteers for their welcome and help. There is a temporary bar area plus an outlet to purchase non-alcoholic drinks and snacks. The seating is quite comfortable but you might want to take a cushion as the play is fairly long and a blanket to keep yourself warm as the sun goes down.

The set design was very effective – a raised central platform, another platform at the side where there were no seats and a large mock tree which doubled as a cave at its bottom and a vantage point at its apex. One of the most striking aspects of the show was the fabulous costumes which really helped to enhance the plot, establish who the characters were and their status. The sound and lighting effects were put together well, but my friend and I did struggle to hear some of the dialogue when accompanied by music, which, whilst very fitting for the action, was a little loud. The props used were also good and appropriate to what unfolded.

In case any of the readers are unfamiliar with the play, I will not say too much about the plot in order not to spoil it, other than to set the context and describe part of the opening scene. The rightful Duke of Milan, Prospero (Carl Howard), has been banished twelve years earlier by Antonio (Jason Gallantry) to an island along with his daughter Miranda (Sarah Randle). Miranda was played well, if a little understated for my liking. Accompanying them is the spirit Ariel (Millie Bryant) who is, or can be, invisible to all who visit the island. Prospero weaves his magic and causes a ship containing his enemies to run aground. We see the mariners struggling to pull the wrecked ship to safety and are introduced to Gonzalo (Vince Perry), who put in a sterling effort throughout.

Following that, we witness a lengthy and emotional scene involving Prospero and Miranda; she was a girl when arriving on the island but is now in her late teens or early 20s. Whilst this was generally well played out, there were two issues which I feel I must mention. First, I would have liked closer chemistry between father and daughter as it is implied that Miranda's mother is dead. Secondly, there was a rather unfortunate point where Prospero forgot his lines and had to briefly go off stage. To his credit, he recovered quickly and delivered a performance worthy of this meaty role thereafter. One of the shipwrecked party is handsome Ferdinand (nicely played by Conor Medlock) whom Prospero captures. Perhaps unsurprisingly, virginal maiden Miranda and Ferdinand are immediately smitten with each other.

I enjoyed almost all aspects of this production and it was definitely well received by the audience. I had forgotten that there is quite a bit of music in this play and this added a lot to the atmosphere, especially when the spirits and nymphs came on stage. The ensemble handled their roles with vigour as did Ariel, who made full use of the whole stage and the platforms, bounding and leaping around in a skin-tight turquoise leotard!

The only other minor issue was that some of the cast needed to strengthen their projection as my friend and I couldn't catch all of the words when actors were facing away from us. Charles Riley was superb as the scary and somewhat crazed Caliban, and I particularly want to congratulate the following on their delivery and characterisation: Sebastienne (Bethany Culshaw), Trinculo (Pauline Garland), Stephano (Simon Garland) and Alonso (Mark Prescott). There is a temptation to rush through a five act play such as this but the pace was nicely managed. In conclusion, I can certainly recommend the show it which runs nightly until Saturday June the 25th, starting at 7:30pm.

Reviewer - David Swift
on - 23.6.22

SCHOOL THEATRE REVIEW: The Railway Children - The Grange Theatre, Hartford. Northwich.

The Grange School is one of the luckiest schools in the area.. it has to be, if only for the fact that they have a superb, adaptable, and fully-equipped professional theatre within their grounds which they can call their own! I would have given my right arm for such a theatre when I was at school!

Not only that, but as a patron you are always ensured of a friendly and warm welcome, and (an added bonus for those travelling long distances like me), there is a large, free car park too!

However, let's get back to the play. 'The Railway Children' by E. Nesbit, tells the story of (in a nutshell) three London-educated well-to-do children and their mother, who due to circumstances - mostly because their father is absent - having to leave their comfortable existence and travel to the "wilds" of Yorkshire to a small cottage. Life is very different here for the children, but they make friends easily and become the 'do-gooders' of the neighbourhood. They are fascinated by the steam trains and spend much time on the station platforms waving at the passengers (well, one passenger in particular), and that is where the story becomes much more of a politcial mystery thriller, so I'll stop there!

Performed by a mammoth cast of 59 school students from the Lower School (11 - 15 year olds I have been told), this would have been a daunting task for even the most hardened of professionals to tackle, but two of the school's drama teachers, Jacqueline Hardy-Kinsella and Bethan McCormick, took gauntlet in hand, managing somehow to make the play flow seamlessly, and allow every student who wanted to speak the opportunity of doing so. They did this by sensibly creating four separate parts to the story, allowing many more of the young cast to play principal roles by casting each part with different children. I thought this might have been a little confusing, especially for an "outsider" like myself, but actually it worked excellently, and all credit to the whole team, since we never for one moment needed to ask who was who!

Perhaps even more impressive was the staging and technical aspects of the show. A split-level stage, with projections of a Victorian railway station and platform, as well as an authentic Victorian Pillar Box, road sign and railway point controls formed the basis, whilst projections of the tunnel and light / sound for the oncoming train was both imaginative and realistic. The 'Three Chimneys' interior was a pull-out section of the central flats. 

In all other aspects bar the directing, this was a student-led production, with prompt, backstage crew, and even FOH staff being the students too. What a brilliant start in life these youngsters are enjoying! It seems inevitable I suppose, and I know I really oughtn't contrast and compare with my own schoolhood, simply because there isn't any comparison! These fortunate youngsters are learning many important skills which will last them their lifetimes in a professional environment. [no, I am not jealous.......!! a-hem!]

'The Railway Children', in this adaptation by Dave Simpson, is a two-hour drama. Keeping the original settings, it is a wordy, Victorian story, which must have seemed a million light years away from the students' own contemporary lifestyles. Dressed in contemporaneous garb, and having to act and speak in a very different way from the way children act and speak nowadays, was a tall order I imagine. Not only that, but there had to be a marked difference between the RP speech of the Waterburys and the Yorkshire brogue of the locals.

It would be absolutely impossible to try and mention anyone of the cast by name here.. suffice to say that it was abundantly clear that everyone on stage was giving 100% to their roles; they all had a very clear understanding of their roles and how they fit in to the story in general, and they were all enjoying every second of it too. As I have previoiusly mentioned, this is not an easy play to pull off - not by anyone, let alone young teenagers - and I was extremely impressed by the standard, the commitment, and the overall experience.

I do have one criticism however. Sadly I missed a lot of the dialogue, as did my companion and others seated around me. Mostly this was due to microphones not being set high enough I should imagine, but it was a real shame. Fortunately I knew the storyline and was able to follow it easily, but hopefully this minor detail can be rectified for future performances. 

Reviewer - Matthew Dougall
on - 23.6.22

THEATRE REVIEW: Dreamgirls - The Grand Theatre, Leeds

Dreamgirls has arrived in the bustling hub of West Yorkshire and is transporting its audiences back to 1960’s Detroit, and tells the story of a small black record label and its star singers, whose success crosses from the R&B charts, to the mainstream pop charts. Loosely based on Diana Ross & The Supremes, we follow how girl groups changed American music forever.

The show opens up at a talent show, where we meet a car-salesman-cum-artist-manager, Curtis Taylor Jr. (Dom Hartley-Harris), who manages to talk our ‘Dreamettes’ into singing back-up for Superstar, James ‘Thunder’ Early (Brandon Lee Sears) following the resignation of his last remaining support, despite the concerns for her own future of Dreamettes, lead singer, Effie White (Nicole Raquel Dennis). Hartley-Harris’s character then convinces the girls to make him their manager, and the second they agree, their lives change forever.

The story goes on to show the rise and fall of characters, and really focuses on the ‘biz’ part of Show-Biz, as a lot of people forget that the music industry is a cut-throat world, where you may well need to remove your biggest asset, in order to succeed peacefully, but, as we find out in this show, all Curtis is doing is cutting off his nose, to eventually spite his face. It really is a wild ride, that whisks us through a 10-year career in 2 hours, showing the good, the bad, and the ugly of the music industry in the 1960s, albeit a fictional story.

The music in this show is stunning. There is such a wide variety of styles, from Motown, doo-wap, R&B, soul, disco, pop and outrageous power ballads, taking us from almighty highs then spinning on a dime to bring the audience to tears. And this is what makes the show such a wonderful way to spend an evening. Musical Director, Simona Budd, who starts the show off with a 2 bar cowbell solo, guides us musically on the most enjoyable ride with her stunning orchestra, which featured world-class playing and impeccable knowledge of the genres to pull off some appropriate and stylistically accurate solo breaks throughout the score. A particular highlight would be the driving beats from drummer Dan Hayward lifting the show and giving us a real sense of energy.

The rather large cast, all had brilliant singing voices, evident by the standing ovation that Nicole Raquel Dennis received, at the end of the first half, following the triumph, that was, ‘And I Am Telling You I’m Not Going’. This was a first for me! The rest of the cast were also stunning, confident, and perfectly placed, showing excellent technique; as proven in the intricate harmonies that the songs required, no one seemed phased by the challenge of dancing (sometimes quite energetically) and acting whilst holding down an inner harmony or a difficult high harmony, so bravo to the cast for that! On the subject of casting, what a sterling job Natalie Gallacher did here. The Dreams, who consisted of Dennis’s Effie White, Deena Jones (Natalie Kassanga) and Lorrell Robinson (Paige Peddie) made for a wonderful principal cast, a power thriple, if you will, all bouncing off each other and supporting each other, much like 3 sisters would; their voices intertwining like the goddesses of '60’s girl bands, Add into this, baby brother, C.C. White, (Shem Omari James) Effie’s baby brother, and songwriter for The Dreams and Jimmy Early, who, ultimately becomes the demise of the power rampage that Curtis is on. The ensemble and dancers were all inch-perfect in their roles, no-one looked out of place, and the dancing was so perfectly in sync, that you couldn’t take your eyes off the stage for even a second, as you would miss something wonderful happening - all lead by dance captains Lukas Hunt and Brianna Ogunbawo in a truly inspiring manor.

You would think, that in a show about singers, there wouldn’t need to be an excessive amount of set, and you would be right. In terms of the set, we spent a lot of time looking at different stage layouts all configured by lit-up flats, which moved around and lit up in all sorts of configurations appropriate to the scene or setting, and different curtains that would drop in and out to create the scene, but other than that, there wasn’t really much on stage. The use of angles and perspective was really cleverly done in the blocking stage, as often the girls would head to the back of the stage, or a corner of the stage and act out as if they are performing their routines and numbers, while we focussed on what now was a backstage scene, we could see everything happening with the main attraction, but we were also watching business meetings, chats, shady deals or confrontations backstage which were happening at the same time, which was a brilliantly clever angle of the show.

Costumes! Costumes! Costumes! It wouldn’t be Harlem, Detroit or Chicago in the 1960s without the fabulous costumes that were on stage tonight. Each character must have had 30 changes in the show, which varied from little dresses to slim-fitting fish-tailed ball gowns, boring drab suits to glittering sequined showstopper suits, all awash with fabulous vibrant colour, which I found myself thinking, what a time to see this show, mid Pride Month, where the world is awash with colour as people go out of their way to express themselves, this show, really hit home with what confidence and colour can do for a person's image. Team all of this in with an unbelievable amount of wigs, and your wardrobe, [hair and make-up and wig departments] have their hands full, but once again, all without error, nothing seemed out of place, everything looked just right, and I would like to congratulate Tim Hatley on the triumph that was the set and costume design.

Casey Nicholaw’s direction and choreography has driven this juggernaut of a production right into the sweet spot of entertainment and must be immensely proud with the outcomes of their graft. Bravo.

If you are free this week, in travelling distance to Leeds, and you don’t go and see this show, then you are going to miss out on an utterly fabulous piece of musical theatre. I hope you go and see it. (And) I am telling you, you’re going to love it.

Reviewer - Simon Oliver
on - 22.6.22

THEATRE REVIEW: It's In The Air! - Hope Mill Theatre, Manchester

'Es Liegt In Der Luft!' is a famous, but somewhat dated and antiquated German Kabarett-Musical; with music by Mischa Spoliansky and book and lyrics by Marcellus Schiffer it was composed in 1928 in Berlin and is a contemporeanous study of life and ideology at that time. That time being the infamous Weimar Republic between the two world wars... a period of egocentricities, eccentricities, flamboyancies, extravangancies, and all without any real feeling of connectedness or belonging.  

Composed as a set of 24 interconnected musical vignettes to be performed in German Kabarett style, the show is set in a large Department Store [ostensibly on the Kurfürstendamm], and is used as a metaphor for the world of Berlin at that time; in what the original score called, "Ein Labyrinth des Lebens". All manner of characters both populate the store and walk through its doors during the show; not least of all a couple who manage to lose two of their babes-in-arms, and come back later on looking for them; a pair of shoplifters, a shopoholic, and a drunken lush. There's even a wedding half-way through!

This evening however, we were treated not to the full musical, and not even in German.. but instead, we were presented with just 9 of the songs in a new English translation and adaptation by Steven Edis. The idea being that this is a 'taster' of hopefully things to come. The company is dipping its collective foot into the pool to test the temperature of the water. 

On entering the auditorium, a five-piece live band had been set up at the rear of the stage, costumed quasi-authentically, and sitting in amidst what could possibly be meant to represent mannequins. These competent and talented instrumentalists, who could authentically recreate the wonderful sounds and rhythms of that era, were William Hearne, Pip Sayers, Emily Mason, Kieran Murphy, and Jay Carroll. Unfortunately they were want to get a little carried away at times thus overpowering the singing and action on stage.

On stage, four performers were utilised throughout to play all the parts necessary in order to give the audience a flavour of the complete show. These were Meriel Cunningham, Owen Clayton, Jessica Hope, and Enrico Voigt. I especially enjoyed the performances of the talented ladies, Cunningham and Hope.

I don't think the updating of the lyrics worked at times [references to Listerine and Nurofen for example jarred with the 1920's theme], but if a faithful recreation of the show were to be mounted, I feel it would be wonderful.

Reviewer - Matthew Dougall
on - 22.6.22

THEATRE REVIEW: Footloose - The Alhambra Theatre, Bradford.

Have you ever felt nostalgic for a decade you weren't even a part of?

Dean Pitchford and Walter Bobbie's high octane and full throttle theatrical reimagining of the '80's classic 'Footloose' creates an overwhelming sense of anemoia by creating a rebellious, fun-loving and first-love-filled world you can't help but crave being a part of.

Everyone knows the story – big city kid Ren who moves to a small rural town where Rock n Roll music has been outlawed and dancing is against the law. You can't help but root for the passionate kid who just wants to bring self-expression back to the town of Bomont for the kids who have known nothing about and no dancing for their entire lives.

Full of big numbers you just want to dance to (including the titular track and absolute classic) this show really packed a punch in terms of the sheer energy coming off the stage and it was almost infectious – Joshua Hawkin's portrayal of Ren was incredibly charming, and bounced perfectly off Jake Quickenden's hilarious portrayal of Willard; I try never to expect much from celebrities in touring casts so as not to be disappointed, but Quickenden never missed a beat and provided some of the best comedic relief I've seen, gelling perfectly with every cast member he interacted with. His adorable relationship with Rusty (Oonagh Cox) was heart-warming to see developing throughout the show (and their remarkable vocals were nothing to shake a stick at, either.) The entire cast worked together beautifully and vocally were one of the strongest I've seen; in particular the leading lady and pastor's daughter Ariel, played by Lucy Munden. An absolute powerhouse, supported beautifully by an incredibly talented ensemble cast. Her rendition of 'I Need A Hero' was absolutely stunning, while still being arguably one of the funniest songs of the show.

The only downside on the audio front, however, was a little bit of bad mixing – the vocals were somewhat hindered in the first half of the show due to being difficult to hear over the instruments, which did mean it hard to make out the lyrics in the majority of the songs. I appreciate that it can be difficult to get the levels spot on when you're working with a full cast playing live instruments there on stage, and this did seem to be rectified by the second act, so really nothing too much to worry about.

Sara Perks did an amazing job of recreating a stereotypical small town 1980s vibe, with gorgeous moveable sets that were so detailed and realistic there was nothing really left to the imagination – a very positive example of sensory overload clad in denim, lycra and neon lights, and you don’t get much more '80s than that.

I'm not able to comment on how closely the musical adaptation sticks to the original movie as it isn't one I've seen – I decided to keep myself in the dark for this one so I could enjoy it in its entirety, however it retains the well-loved soundtrack and works beautifully on the stage, so it isn't like you need to be a lifelong super fan to enjoy it. It's perfect for fans of the movie, fans of '80's music or just fans of having a bit of a boogie. 'Footloose' runs at the Bradford Alhambra until Saturday 25th June, so cut loose and get yourself over there for a good old fashioned dance – after all, dancing is not a crime!

Reviewer - Hazel Kaye
on - 20.6.22

AMATEUR THEATRE REVIEW: Kinky Boots - The Arena, Middleton. Manchester.

Presented by Heywood Amateur Operatic And Dramatic Society at Middleton's Arena, this was actually only the third time I have ever seen this musical. The musical - based on the film and inspired by true events - was written by Harvey Fierstein (book) and, surprisingly for me at least, Cyndi Lauper (music and lyrics), and has become a firm favourite with societies up and down the country, due to its themes and feel-good storyline.

'Kinky Boots' tells the story of Charlie Price, who, through circumstance and a humane conscience, finds himself heading a failing shoe-shop in Northampton. En route to disaster he chances upon Drag Queen, Lola, who is the springboard for his revolutionary idea to save the company and it's workers... thigh-high kinky boots for drag artistes. He loses and finds love along the way, and help, as well as friendships, come from the least likely of sources. 

Opening night this evening got off to a little shaky start, but once the cast found their stride, the show was pacey, emotive, humorous, and heartfelt. 

Jack Forrest was our protagonist, Charlie Price, and his characterisation was well-placed with good stage presence, and a highly sympathetic air. His onstage 'relationship' with Lola was excellently measured. Forrest's singing voice was very much in the style of the 'crooner', and was sweet and melodious when singing the more folky downbeat music, however, he would have benefitted greatly from some training when required to sing the rock styled music (for which Lauper herself was famous). Lola (aka Simon), was portayed this evening by Nick Angus. Pitching his characterisation just perfectly, he shone and impressed as both Lola, and his alter-ego, Simon. The role is a large and hugely demanding one, but Angus was on top form throughout, camping it up with the best when necessary, and in contrast, his scene with Charlie in the company toilets (!), when he sings, 'Not My Father's Son', gave me goosebumps and brought tears to my eyes. 

Katie Perkins impressed as Lauren, the rather ditzy factory worker who eventually captures Charlie's heart. It's a pity the score didn't give her more to do, as her solo, 'The History Of Wrong Guys', and her characterisation throughout was perfectly pitched. Highly humorous, but never OTT.  Another impressive actor and credit to the team, came in the form of Alfie Chesney as Don. His brusqueness and pseudo-macho manliness played to the hilt, whilst also showing he was capable of great tenderness and pathos too. I loved his bass voice... I wanted to hear more of that, but again, the score didn't allow.

These four were ameliorated, aided, and abetted by a large cast of smaller principal roles, cameos, six "fabulous" drag queens ('The Angels'), and a chorus. Fitting them all on stage for the large chorus numbers must have been a minor headache for the choreographer! All worked well and added greatly to the overall feel and thread of the story. Katie Fry (choreography), certainly had her work cut out, as there is a lot of dancing involved in the show, but she gave the team moves which were not only appropriate and worked well, but looked good too! Jo Weetman's direction was solid and clear, utilising her set and cast to their best advantages at all times. Musical Direction came from David Abenstern, conducting a 9-piece band at the front of the stage. They created a lovely sound, but a slight criticism that for some songs, especially the more ballad-style ones, and when underscoring dialogue, the sound was too loud. 

With a creative, but not crazy, lighting design, superb costuming, and a talented, enthusiatic, and high energy cast, this proved to be a most proficient and highly entertaining evening, proving that live theatre can be "the most beautiful thing in the world"; and the added extra in this show of course is the reminder to us all about the importance of acceptance. "Just be who you wanna be". 

Reviewer - Matthew Dougall
on - 21.6.22

GASTRONOMY REVIEW: The Old Roebuck, Altrincham. Greater Manchester

Starting life as a row of cottages, and being converted into an alehouse in the 19th century; this centrally located pub restaurant was a real 'find' for weary travellers yesterday. 

A rather quiet Monday afternoon, too late for the cafes to still be open, and actually too early for the restaurants and take-away joints, we chanced upon this snug pub / restaurant tucked away in a side street off the town square. The kitchen didn't start serving until 5:30pm, which, as we were in somewhat of a hurry, was a little late for us, but we ordered from the bar in good time, and it was served promptly and piping hot, as soon as the chef had prepared and cooked the dishes for us.

The food was actually delicious - and fresh! We had ordered two pies; lamb with cranberries and rosemary for myself, and steak and ale for my companion. These were freshly made - right down to the pastry - by the restaurant's chef (hence the wait); but they were absolutely worth the wait several times over. The pastry was thin and tasty, whilst inside was crammed full with plenty of meat, gravy and hardly any space to spare at all. Served with thickly cut "proper" chips and vegetables, it was not only a hefty meal, but extremely good value for money too [£11.95 each]. My only criticisms would be that the carrots were far too al dente for my liking, and since the chef obviously rushed a little to prepare our pies, the pastry was just a tad undercooked... but both are fogiveable.

An unhurried, pleasant, and most accommodating atmosphere; friendly and polite; with a beer garden to the rear. If we are ever in Altrincham again and in need of a meal, we'll try and make a little more time to return here and enjoy the food without rushing. 

Reviewer - Matthew Dougall

AMATEUR THEATRE REVIEW: Calendar Girls - The Garrick Playhouse, Altrincham, Greater Manchester.

'Calendar Girls', has become a firm favourite for companies up and down the country, as this Tim Firth / Gary Barlow collaboration is a very British Musical, celebrating the grit of the Yorkshire Lass, the sense of community; and is a beautifully written rollercoaster-ride of emotions taking us through love, loss, parents. children, families, and of course, how we all cope with whatever life deals us. Wholesome and poignant.

In this instance, the musical centres around Chris (Dawn Flint), and her quest to provide a settee for the hospital where the husband of her best friend, Annie (Sarah Kirk), died of cancer. To do this, she enlists the help of her fellow WI chums, and instead of the usual annual choice of images for their next calendar, [local churches being a favourite!], they allow themselves to be tastefully photographed naked around the accoutrements for which the WI is well known. It's a very real story, and the photographs and calendar "went viral" before that phrase was even a thing! As we see these women together and their relationships, not only with themselves but with their husbands, their children, and the wider community in general, the musical takes on a very tangible and close-to-home touch which even some plays on similar subjects fail to capture. You simply cannot help becoming emotionally involved in this show.

Altrincham Garrick's current production was showing a couple of first night wobbles this evening, but that is totally understandable and forgivable; but once the cast got into their stride, especially during the second act, the characters became more solid and the show lifted measurably. What was abundantly clear though was that everyone on stage was fully committed to the show and their roles within it, giving their absolute alls throughout. In fact the emotion from the protagonists was so raw this evening that it got in the way of their singing. 

Directed by Joseph Meighan, the storyline was signposted excellently - even down to the visual detail of John's deterioration. And the bare-bottomed 'tea' and 'coffee' was a superb "gag" which was not out of place at all, in fact, was excellently observed and extremely funny. Under Mark Goggins's musical direction, the band was excellent, just a little too overpowering at times, when underscoring dialogue. Costuming (especially the final scene) was very good, as was the use of props and the lighting design. The ensemble was nicely arranged and their choral singing was delightful.

In one sense, the show belongs to those who are brave enough to bare - for without it, there would be no show. It can be seen as female empowerment, showing us that all bodies are beautiful and deserve respect; but that would be putting a too modern twist onto the story which wasn't there in the first place. This was for John, to raise money for cancer, and to give something back to their community - to fight for what they believed in. Meighan had assembled a company of protagonists who were all talented actors / actresses, and a credit to the company and the Garrick. I cannot mention them all, as this musical has a large cast; but perhaps I could make special mention that I really enjoyed Celia's (Annabelle Fox) interpretation of 'I've Had A Little Work Done', and Chris's (Dawn Flint) rendition of 'Sunflower' - indeed her whole characterisation. But they were simply two seeds in a whole and very complete sunflower!

Reviewer - Matthew Dougall
on - 20.6.22

THEATRE REVIEW: Something About George: The George Harrison Story - The Epstein Theatre, Liverpool.

This mini ‘Concert for George,’ highlighting the incredible talent of the late Beatle, George Harrison, written by Jon Fellowes, who co-produced the show alongside Liverpool-born singer songwriter Gary Edward Jones and theatre producer Bill Elms pays tribute to one of music’s most understated icons, who is often referred to as the “Quiet Beatle”.

It will be twenty years in November since much-loved, much-missed, George Harrison passed away at the age of 58. In his family’s words, the ‘quiet’ Beatle slipped away, “Conscious of God, fearless of death and at peace”, leaving a rich catalogue of music and an appeal for everyone to ‘Love one another’.

This accolade show takes the form of a biography woven together with quotes and music performed live on stage. Daniel Taylor takes centre-stage as narrator and vocalist, on lead guitar and vocals is Jon Fellows, Callum Macmillan is on drums and percussion and Jordan Alexander performs on keyboards and vocals. On acoustic guitar is Jonny Darnell, who stepped in at the last minute as vocalist Daniel had a mishap whist running prior to the opening night of the show and broke his shoulder, thus being unable to play guitar for the performance.

Daniel Taylor’s admiration for George is clear from the outset and he started by describing the ex-Beatle’s humble upbringing in Wavertree and then fast-forwarding to his final unsettled years with the Beatles and onto his solo career, his success with super-group, The Travelling Wilburys (Bob Dylan, Jeff Lynne, Roy Orbison, Tom Petty and George) and his eventual illness and passing.

Along the way, we hear of George’s marriages, his legal battles and his work in film production. Additionally, we hear about the music he produced post-Beatles along with the personal meanings behind particular songs and albums.

George’s haunting ‘My Sweet Lord’ and his most famous love song, ‘Something,’ plus favourites, ‘Here Comes The Sun’, and ‘While My Guitar Gently Weeps’ were enjoyed by those watching along with ‘All Those Years Ago’ plus ‘Give Me Love’ and ‘Bangladesh’ which are all included in the set along with others and yet I must admit unfortunately, I didn’t ‘feel’ George in those numbers whilst they were being performed.

There were also some other lesser-known numbers included, which, I imagine, many of the audience didn’t recognise such as ‘I’d Have You Any Time’ and ‘Wah-Wah’.

The staging was minimal, four musicians playing their instruments and the vocalist centre stage, sometimes playing a tambourine; images and videos were projected onto a backdrop behind the musicians but didn’t really add anything to the production. As the first half finished, I didn’t really feel a sense of fulfilment regarding the subject matter of the show; I was rather disappointed as I felt it fell rather flat and the audience’s reaction as they sauntered off to the bar, gave me the same impression.

The second half was definitely the more livelier part of the show with more upbeat numbers performed such as The Travelling Wilbury’s ‘I’ve Got My Mind Set On You’, ‘End Of The Line’ and ‘Handle With Care’ which had the audience clapping along.

It was evident that the audience had a deep sense of fondness and respect for George and were looking forward to enjoying the show and the music, but I must admit to feeling rather underwhelmed by the show and felt at times the audience agreed with me.

Taylor narrated the story, sometimes passionately and delivered the songs but it didn’t really hit the spot for me. His vocals didn’t start off well, sometimes not hitting the notes and struggling with some of the arrangements but it improved as the show went on. George was always my favourite Beatle and I went on to enjoy his ‘All Things Must Pass’ album and the two Travelling Wilburys albums he produced but I felt Taylor’s renditions of the songs from those albums were somewhat different arrangements to the originals and missed the mark at times. One of my favourite songs, ‘If Not For You’ was way off the mark.

All in all, the show has potential; the elements for a successful show are all there, but the content in this production is at times somewhat dull and predictable, hence I feel the presentation needs some fine-tuning.

George’s short life contained so much - there was world-wide adoration, first love and marriage, heartbreak, life-long friendships, rags-to-riches wealth, hedonism, low times leading to depression, religious enlightenment, songwriting, film-making, multiple successes, new-found love, shared spirituality, fatherhood, an unprovoked attack and a fatal illness leading to his passing - fabulous material for what could have been a super show, but sadly for me, it wasn’t.

'Something About George' is not a tribute show, it is one musician authentically honouring the music of another and relating a life story; I admire the sentiments of the performers and the producers of this show, but feel George deserved more than it delivers.

Reviewer - Anne Pritchard
on - 19.6.22

CLASSICAL MUSIC REVIEW: Kantos Chamber Choir: In Beauty May I Walk - The Stoller Hall, Manchester

Taking their inspiration from nature, and creating a programme of a-capella choral works which were meant to both inspire and challenge our perceptions of the natural world and our wanton destruction of it; The Kantos Chamber Choir performed their concert, 'In Beauty May I Walk', at Manchester's Stoller Hall this early evening.

The title of the concert taken directly from the title of their first song, the choir opened with polyphonic improvised bird song as they were strategically placed around the auditorium; and as the concert started they came together on stage still whistling / calling  the sounds of a dawn chorus. Their conductor, Ellie Slorach, then entered and explained that the two halves of the concert would be performed without a break, as the choir would keep improvising the sounds of nature in between each song to make it more holistic and naturally flowing. We should, she said, understand that despite our interference with nature, there is also much to rejoice about our natural world, and hopefully the concert will inspire us to care and do more for the future of our planet. She also asked us to withhold any applause until the end of each section.

The idea of nature and connecting to nature was also presented in their costuming choice for this evening's concert. The majority of the clothes worn were green with splashes of both brown and yellow, giving it a very summery meadow feel. This worked nicely; however I am uncertain as to the validity of some choir members in bare feet for a classical choir concert...(?!)

Without programmes or any announcing from the stage, I was at a loss to know what songs were being sung, who composed them, and sometimes even when one ended and another began. I have looked at the choir's website and found a list of the songs on there, but sadly, they are not in the order in which they were sung (at least not the first song!.. more than that, I really have no clue). However, the choir are a group of 18 (9 M / 9 F) young singers from the north of England, all of whom are either at the end of their training or the very start of their professional journey, and as a choir their harmonies and the quality of sound was simply divine. If I had to be a little picky (and I have to be), then the bass section at times could have done with a little more oomph. 

The repertoire was, at least in the first half, a little too similar, with all the songs sung being in roughly the same tempo (andante moderato). The other dynamics, espcecially the crescendos and diminuendos were handled superbly, and the improvised birdsong was very realistic too. I was much happier in the second half of the concert however when the choir sang something just a little more up-tempo, but it was very short lived, and would have loved to have heard the group break out into a jazz scherzo molto allegro.. they had the talent and capacity to do it, of that I am certain.

The choir had been professionally drilled in entrances / exits / positioning etc, which was refreshing too. So many choirs / ensembles / orchestras etc, just enter and exit willy-nilly, even waving and chatting to the audience whilst on stage, and this irritates, and so that was a huge plus in the choir's favour. 

A truly different choral experience was provided by this choir with this particular concert and repertoire. Their sound is full, balanced, and their diction (at least when singing in English), clear and understandable. If their idea is to challenge preconceptions and champion new choral works, then they certainly acheived both this evening with flying colours. A choir to look out for!

Reviewer - Matthew Dougall
on - 19.6.22