THEATRE REVIEW: Skedaddle: A Space Opera - Salford Arts Theatre, Salford.

Six inhabitants of the planet Midronedia - a planet not too dissimilar from our own; full of polution, toxic waste. wars, destruction, political upheaval, corrupt governments, pandemics, and all other things which threaten the continued survival of mankind - find themselves embroiled in a story of adventure, friendship, betrayal, and sacrifice, as a scientist and a rocket ship pilot plot to leave their planet forever with their humanoid robot, in search of a better life on planet Earth!

This is the plot of a story told in the form of a play with songs, from the Rocket Whip Productions team; although nowehere can I find the name of the writer. The music is by Patch Middleton. Rocket Whip productions is an LGBTQ company formed in 2020 in Manchester, and aims to give a chance to performers who, for whatever reason, have been and continue to be marginalised within the theatrical community; aiding amateurs and disadvantaged performers especially.

The premise of this show certainly has potential, it could have been prescient, sharp, keenly and wittily observed. The six cast tried hard and did their best. The show has its final performance this evening at Salford Arts Theatre.

Reviewer - Matthew Dougall
on - 29.7.22

THEATRE REVIEW: 13 - NWTAC Theatre, Moston. Manchester.

'13', is a new-to-me musical, featuring corny American teen humour and a whole load of teenage angst and sexual frustration. This is a new musical by Jason Robert Brown, which is basically a coming-of-age story with a bit of a difference. 

Evan Goldman (James Llewellyn Burke) is an almost 13-year-old Jewish boy from New York and getting ready to celebrate his Bar Mitzvah, when his mother (already separated from his father) ups sticks and moves herself and him to Appleton, Indiana - a small town in middle America just about as far removed from the Big Apple as it is possible to get. Determined to be liked, fit-in, and have a great Bar Mitzvah in any case, he goes to inordinate lengths to gain friendships and get along with everyone. Although this does have a downside, since this school and the pupils in it, are no different from most schools, where there are the (to use the Americanism relevant to this show) Jocks - the "cool" sporty kids who are not intellectuals; and then there are the other 'types' such as Geeks, Jerks, Goths, and other "socially unacceptable" groups - he finds it impossible to befriend them all and unite them all as one happy community. Things don't go well, there are mix-ups, misunderstandings, and mischief aplenty concerning the coolest guy in the school, Brett (Anthony Horrocks), the sexiest girl in the school that all the guys fancy, Kendra (Lois Ormerod), a likeable and sincere geek Patrice (Maria Collins), and a cripple on crutches, Archie (Solomon Asante-Owusu).

Of course it all works out right in the end, and Erin turns 13 a little wiser and a little happier. Yes, it is a  VERY predictable show - there are no surprises in it at all; and it is also very American too, but one can see the appeal such a show would have with our contemporary youth

In this production, produced and performed by NWTAC Theatre in Moston, both a training ground for children and teenagers as well as boasting a professional theatre company, they capitalised on what they had and used their youth here to perfection. In a show which is written for a cast of almost entirely 12 - 13 year olds, it meant that most of the cast (even the youth theatre students) were acting younger; but HUGE praise must go to adult actor Anthony Horrocks for convincingly portraying the rather stupid, truculent, and single-minded bully, head jock, Brett. The principals were, as always, very well chosen. Of course, Burke was a fine and aimiable lead, playing Evan with a singular, almost predetermined, air. Lois Ormerod as Kendra, as well Francesca Collinge as her best friend, Lucy, were impressive, and worked well together in their love/hate relationship revolving around which of the two of them succeeds in 'pulling' Brett! Brett's 'gang' were funny and, as they all created their own individual characters (with nice touches such as one of them continually eating - American snacks (congrats to the props department!),  but keeping a single unit despite this, they worked really well together, bringing some of the best humour to the show. Maria Collins was a hugely sympathetic and relatable Patrice, and captured the "misfit / geek" role excellently. However, for me, the highest praise must go to Asante-Owusu's portrayal of Archie. Keeping his character always just the right side of offensive, his self-deprecating humour and bonhomie was genuinely humbling. Suffering from a life-threatening muscle debilitation, he captured the gait and walk of his character perfectly, and one simply couldn't help being drawn to this comedic yet sympathetic and realistic portrayal. 

A couple of things didn't work quite so well this evening, not least of which were some rather distracting microphone crackles, which continued throughout. But I think for me at least, the fight scenes, and the kisses, required a little more work. They were too pantomimic and obviously false for this reviewer. Putting your hand on the other person's mouth before you go in for the kiss is all well and good, provided you don't show the audience that that is what you're doing! 

Since my last visit to the theatre, a lovely band pit - actually to the side of the stage not underneath - has been built, and the band - sounding superb under the direction of Beth Singh - were positioned there this evening.

This was a very high energy show, and it was clear that all on stage were enjoying their stage-time, and there was a real ensemble feel to the whole. Sensibly directed by Prab Singh, with hardly any set at all save a scant skyline of both NYC and Appleton, and a few larger set items brought on when necessary for each particular scene, which worked well. Highly enjoyable.

Shalom Aleichim and Mazel Tov!

Reviewer - Matthew Dougall
on - 28.7.22

ps......ADDENDUM. The programme was in the form of a Broadway Playbill - another American touch, which added to the overall feel.. nice!

THEATRE REVIEW: Waitess - The Alhambra Theatre, Bradford.

Right off the bat, this might just be one of the most unexpected shows I've ever seen – and I've seen a few.

After a last minute change of plans I found myself sauntering into the Alhambra on a miserable Tuesday evening to see a show I knew very little about and had almost no expectations of. I'd heard good things, but as this wasn't particularly a must-see show for me, I decided to keep myself in the dark and throw myself into it with an open mind.

And boy, oh boy was I surprised.

'Waitress' follows young pie-making extraordinaire Jenna as she navigates a particularly difficult period in her life – becoming a mother in the midst of an abusive marriage, falling in love with an unavailable man and trying to build herself a life where she can be happy…not just 'happy enough'.

Despite having no prior knowledge of the show – the background, the story and the songs were all completely new to me – everything I had heard had been nothing but positive, so I expected it to be good, but this was nothing short of extraordinary. I’ve been an avid theatre fan for the best part of 15 years and never before have I heard a cast this strong, and who fit together just perfectly.

Chelsea Halfpenny is an absolute powerhouse as Jenna – right from the very first note, I couldn’t wait to hear more from her. It’s not often you come across a voice so strong and powerful and yet so beautifully soft in a way that conveys every emotion just so. Her rendition of 'She Used To Be Mine' was a complete tearjerker, filled with raw emotion and passion that it's so rare to find. She played the part beautifully and had incredible chemistry with the entire cast – particularly with David Hunter as Dr Pomatter. He was an absolute tour-de-force; charming, clumsy and awkwardly funny in a way that made you feel like you could almost forgive him the whole cheating-on-his-lovely-wife thing.

The characters, and the talented bunch playing them, was really what made this show for me – it's a believable true-to-life story about real people making real mistakes, and the flaws are what makes the characters so much easier to relate to. It's also a great jumping off point for the show's incredible humour; for a production with some darker and slightly more taboo elements (domestic abuse and adultery are key themes for the leading lady) it really knows how to keep things light. It broaches these complex, difficult situations in such a gentle manner that the juxtaposition between these tense moments and the bright, colourful hustle and bustle of the rest of the show makes the moments that hit hard, hit even harder. Tamlyn Henderson played Jenna's husband, Earl, absolutely remarkably and he really made you hate the guy – although we didn't see too much of him, he definitely made an impact. Playing the self-centred and emotionally desperate abusive husband can't be an easy job, but his emotional portrayal was right on the mark. Although we never see Earl hit Jenna, the moments of intense anger, the emotional outbursts and the tense, long moments where you're never quite sure just how far he's going to take it were handled beautifully.

Evelyn Hoskins as the lovably eccentric Dawn and George Crawford as her adoring Ogie were a laugh riot and had me crying with laughter on more than one occasion, as did the sassy back-and-forth between Becky (Wendy Me Brown) and restaurant manager Cal (Christopher D. Hunt)

'Waitress' really was a complete underdog for me, but it's skyrocketed right to the top of my list of all-time favourites. The songs are absolute earworms I just can't get enough of, I've recommended it to anyone who will listen (and even some who won't) and I'm already planning to see it again. I've got nothing but praise for this incredibly talented cast, and if you see anything at all in the theatre this year, make it a big juicy slice of 'Waitress'!

Reviewer - Hazel Kaye
on - 26.7.22

THEATRE REVIEW: Jersey Boys - The Grand Theatre, Leeds.

Oh, what a night!

Whilst sitting in the auditorium there was a faint speaker playing various Frankie Valli songs, people humming along, and a general buzz of excitement, as there often is minutes before a live show begins. Then we popped into life with a lively rendition of ‘Oh What A Night (December 63)’ but in French, as explained, it reached No. 1 in France in march 2000, where it stayed for 15 weeks!

We’re walked and talked through the story of The Four Lovers, wait, no, The Variatones - who knows?, and  after several failed attempts to break the music scene, friend to the group, Joe Pesci (George Salmon), yes, that Joe Pesci, introduces them to Bob Gaudio (Blair Gibson). Neither party seems really interested until a young Frankie Castelluccio (Michael Pickering) slid into his mesmerising falsetto, and the rest is history. The Four Seasons were born. We follow their epic rise to superstardom, the highs and the lows of life on the road, family troubles, friendships on edge, the ever-present need for more hits until the realisation that guitarist Tommy Devito (Dalton Wood) is three quarters of a million dollars in debt using band funds, after some shady deals and an all-too-familiar celebrities' allergy to paying taxes. The band vow to pay off Tommy’s debts, as he gets whisked off to Las Vegas for ‘safety’, bass player Nick Massi (Lewis Griffiths) quits the band, leaving Franky and Bobby left to clear up the mess. Working every waking moment, Frankie eventually digs the band out of the million-dollar hole, and we end the show in 1990, just as the band get inducted to the Rock and Roll 'Hall of Fame'.

The cast of this show were all excellent singers, which seems like it would be a given, a show about a boy band, but its not always the case. The four principals all blended together wonderfully and had that classic '60’s doo-wap sound that I was hoping for. Not only that, when it came to the acting side of the gig, they all were first rate, being able to switch on a dime, from global superstar to husband in trouble with the wife, or being a tough guy switching to play ‘um-chucks’ on a guitar whilst singing about loving you, it was all so seamlessly done. Pickering’s falsetto was brilliant, if not a tad piercing at points, but that is to be expected from the style of the music. The supporting cast were all strong in their roles, most of which played several characters during the performance.

Sergio Trujillo. Take a bow. The choreography was stunning. Which is a sentence I didn’t expect to be writing from this show, but my word. I was blown away. The moves were sharp, they were well executed, they were over the top, and they were so tight that it was flawless. All while singing, miming an instrument, and performing to camera at points. Brilliant, brilliant work.

The costume department had quite an amount of work to do, but the changes weren’t really full changes, as my wife pointed out, the principals kept the same trousers on, and just switched shirts and blazers (roughly) 50 times during the show. In fact, the rest of the cast did have a lot of changes, so I imagine the costume department will have an articulated lorry just for themselves on this tour, there were so many.

The band. This is an interesting one, as unlike most shows, most of the band were actually in the wings, as they made several cameo appearances throughout the show, as The Four Seasons's backing band, but the drummer, Stephen Fawbert, was onstage for the whole show, set up on a remote-controlled plinth, he was guided around the stage, and featured at the back of every scene, song and piece of action, only being hidden by a drop-in tab when he wasn’t in a scene. I think there was only 2 minutes where he wasn’t on stage during the show, and that’s when his drum kit was the scene of a conversation between Gaudio and Valli. Then he came flying back out to accompany the following song, so a highly worthy mention to him. Bravo.

The lighting was generally befitting of a group of low lives, huddled around a street lamp (which didn’t have a bulb in it) mostly dark and dingy lighting, except when we were backstage at a Four Seasons's gig, and we were all woken up by the blinders at the back of the stage. And then for the rest of the show there wasn't anything nothing spectacular. The sound was great, a good mix between band and singers, and every word of dialect was crystal clear.

This tour is fabulous. If you get the opportunity to see this show as it travels the country, I would strongly encourage you to make every effort to get yourself into a theatre and watch it as you will be entertained greatly for a couple of hours and you’ll leave the theatre with so many tunes whizzing around your head that you’ll end up (much like I did) making your own Four Seasons mega-mix on the journey home. The work that director Des McAnuff and team have done is spectacular and you’ll be a fool to miss it!

Reviewer - Simon Oliver
on - 27.6.22

GASTRONOMY REVIEW: Emperor Chinese Restaurant, Llandudno.

Occupying the small first floor of a busy main road (Mostyn Street) in the centre of Llandudno town, is this enigma of a restaurant. A Chinese all-you-can-eat buffet, which is truly a mixture of the good, bad, and utterly bizarre.

The 'buffet', so it turns out, is not just what can be taken from a series of hot plates on one side of the room, but also includes table-service soup for starter, and table-service main course dishes (as many as you like and can eat!). In fact, the whole menu could easily be made into a sturdy 5-course meal, even if you only had one item each time: soup / aromatic duck and pancakes / buffet bar / main dish / dessert.

The buffet bar however is where the strangeness began. Some, but by no means all of the food on offer here is Chinese. Veggie samosas, chicken nuggets, chips, slices of pork in BBQ sauce, and various other foods from either India or America were mixed with spring rolls, prawns etc. And there was nothing Chinese about the desserts either... lemon meringue pie, chessecake, fresh fruit salad, lemon cake, etc..

It also was not perticulatly clear on what the buffet included, and it was very easy to over-face yourself with buffet items, not realising you also had a main course dish to wade through too. And wade through you must, otherwise they will levy a £5 surcharge on your bill for "excessive waste". The pricing of the buffet was reasonable at £14.99 per head Sunday to Thursday [£2 extra Friday and Saturday]; however, we were caught out by not reading or noticing that on school holidays, the higher price is charged regardless of the day!

This was the first time I have ever been into a Chinese restaurant and not seen any evidence of Chinese staff. This one was staffed almost entirely by West Africans [which again, didn't go with the Indian style food on offer....!]

The place is clean, and the service is prompt and polite, but the food leaves much to be desired. 

Reviewer - Matthew Dougall

THEATRE REVIEW: Chicago - Venue Cymru, Llandudno.

What does a popular seaside resort in North Wales have in common with the largest city in Illinois?.....Chicago! Kander and Ebb's ever-popular Vaudeville-style musical based on true events in the decadent 1920s of 'Gangsterland', is currently being performed at The Venue Cymru theatre in Llandudno, and it is most definitely worth watching.

Having never been to this theatre before, I was uncertain of what to expect; however a genuinely warm welcome from all the theatre staff, and a large and airy auditorium awaited; and it was a real pleasure to visit.

A black stage with a gold false prosc. arch and a single spotlit chair was how we were greeted as we took our seats, and when the stage revealed a large central tiered square for the band - a space which was used creatively and superbly throughout - and their first few notes sounded I knew this was going to be a most worthy production.

The story of 'Chicago' centres around two murderesses, Velma Kelly and Roxie Hart. Chicago at the time had become a gangster's paradise, with the city being run by mafia, and corruption was everywhere. It was also known that women were never given the death sentence, and so, some of them used their notoriety to great effect and became Vaudeville stars upon their release. However, when, after 47 years that precedent was broken, and Hunyak, a Hungarian with no English except "not guilty" is hanged, the jailbirds start to be a little more worried. Enter superstar lawyer Billy Flynn, whose reputation goes with his pay-packet, as he is hired by the girls, and along with a little extra-curricula help from a butch lesbian, head jail-keeper, Mama Morten, both Velma and Roxie finally are acquitted and join forces on a Vaudeville tour together.  

There is always an element of chance when casting 'star names' in shows which require them to do something other than simply be the person they are known for. ie: when they are not type-cast. Sometimes it works spectacularly well, and the performer is unrecognisable as their alter-ego, and we are fully immersed and completely invested in their role in the show, such as here with Faye Brookes's, Roxie Hart.  As a personal preference I would have liked the character to have taken a much bigger journey, with Roxie starting the show too strong, not leaving enough room for character development; but that is just a personal observation - her character and her role within the show were completely solid and believable, and I was fully invested in Brookes's Roxie. However, sometimes, such castings don't work as well as perhaps they ought to do; and this was also evidenced this evening with Sinitta Malone, best known as a Simon Cowell protege, in the role of Mama Morten. Unfortunatley, for me at least, Malone failed to find the character required for this part, being in fact, almost the exact opposite.

The rest of the principal cast mostly fell somewhere in between the two, with some beautifully nuanced moments juxtaposed with some rather clunky, far-too-obvious ones. Djalenga Scott as Velma Kelly failed to impress, as her character was presented as weak and ineffectual. Lee Mead's Billy Flynn was neither ruthless enough nor smoulderingly sexual enough to truly embody his role; and Jamie Baughan was an 'obvious' and 'noticeable' Amos Hart.. In other words, for this reviewer at least, he was too realistic and had a real character - which under normal circumstances would undoubtedly be a plus.. but sadly not for this role. And this led to the biggest faux-pas of the whole show, when he brashly and loudly asked for his exit music, and instead of eliciting 'ahs' and sympathy from the audience, he received loud laughter and a round of applause. Mary Sunshine (B E Wong), was excellent. Wong's delivery and characterisation spot on, and the big 'reveal', perfectly timed.  

'The Cell Block Tango' was good, and I enjoyed the different characterisations coming from the 6 murderesses, with their underscored dialogues being much more heavily pointed than they are normally, meaning they could really work on their characteristions and motivations. In fact the choroegraphy throughout was mostly excellent. Taking inspiration from Bob Fosse and the original style, the chorus dances were simply amazing. The solo dances less so. I must also congratulate the director's idea of incorporating and using the MD and conductor (Andrew Hilton) several times throughout the show too. I've never seen this happen in this musical before, and it was such a brilliant idea and worked superbly.

As a personal preference I would have preferred more costuming, and better signposting of the smaller roles and scenes. Everyone stayed in their same costumes throughout regardless of what character they were playing, and so we were faced with a policeman at the start of the show, but no-one knew he was  a policeman as he was dressed identically to his chorus dancer costume. Ditto the doctor in act 2.  Ditto Fred Casely etc... And the worst moment in this regard was when Hunyak is hanged and then seconds' later enters the stage as a chorus dancer. with no costume change whatsoever. For those who don't know the show, or the storyline, I feel they might well have had difficulty understanding all of this. Reporters' coats or homburg hats, a doctor's white coat, a policeman's helmet, etc would have been welcomed and had made the story much more understandable. 

Sound levels were perfect. [and that is something I rarely have the chance to say with big shows these days... finding normally that the sound department tend to go for volume over clarity and set the levels too high.... not here, thank you!]. Lighting was good and always on cue. In fact, technically this show was practically perfect, with one of the best on-stage bands I have heard for a very long time. 

A very enjoyable show, well worth taking the time out from a day's sightseeing in one of North Wales's most beautiful locations, to be transported to the 1920s and 'Chicago'. 

Reviewer - Matthew Dougall

on - 25.7.22

 

THEATRE REVIEW: The War Of The Worlds - The Rotunda, Buxton.

‘The War Of The Worlds’ has undergone two major film productions, a high-profile (and very woke) TV series and a big-stage musical adaptation, not forgetting Orson Welles's celebrated TV version. It's a story everyone feels they know, so it might be asked what more can a one-man stage version add? The answer is probably something to do with an observation of how we process events rather than simply performance storytelling.

The premise of Ross Ericson’s adaptation is that he is telling the whole story to a dead person, which his character feels is strangely appropriate, as if something has died within himself. Ross’s character certainly gets animated when giving various recollections, aided by a video back-screen and excellent sound effects, but for the most part he speaks in the measured tones of someone recollecting a long past event. This is realistic because recent traumas have the ability to seem both immediate and distant because of the shock to the system, which a Martian invasion is likely to have induced.

An interesting touch is that in several sections, typically in recounting action events, the sounds Ross speaks over are continuous, whether a panicked crowd or Martian construction work, which give an added vitality as well as giving more credence to his quieter contemplations. Lighting is also used to good and varied effect, from full stage to just parts of Ross’s face illuminated by a small lamp in almost total darkness.

There is much that will be familiar, from the tunnel-building artillery man to the ship, ‘Thundercloud’; but there are several other anecdotes which are very human, having nothing to do with aliens and not to be found in the big screen versions. At times there is even contemplative science as Ross ponders how Martians seem to have evolved to the point that they virtually have no bodies, and wonders if this is the ultimate destiny of mankind.

This is a very thoughtful, and in many ways surprisingly gentle, take on a familiar story. The human quality of one man coming to terms with so much trauma and devastation coming from nowhere could apply as much to a rural farmer in present day Ukraine as to an Englishman in Victorian London during a world war. Ross's presentation is compelling, well thought-out and a compelling take on a familiar tale.

Reviewer - John Waterhouse

on - 24.7.22

THEATRE REVIEW: The Trials Of Galileo - The Rotunda, Buxton

‘The Trials Of Galileo’ is one of the most consummate one-man shows you are likely to see this year. Nic Young’s adaptation of his original TV script starts with Galileo outlining his scientific discoveries, taking us through his trials with the Catholic church, culminating with his reaction to his life’s work being placed in cold storage and contemplation on how he will spend his last years. It is a very human story but also an observation of the conflict between one man’s quest for truth and a great state power with different agendas, which resonates with us today.

Tim Hardy’s representation of Galileo really brings to life one of the greatest scientists. Hardy really looks the part, being the right age, with a full beard and wearing a great, realistic costume - but it is his skills as an actor that make the show so credible. We see Galileo go through a range of emotions as he attempts to reason with his inquisitors, coupled with Hardy providing alternate voices for lawyers against him. It is not surprising to learn that Hardy is on the staff of RADA in addition to having a varied television and film career.

Young’s script aims to bring over the human elements of the story rather a transcript of a courtroom drama. Accordingly, Galileo frequently uses modern phrases and even expletives. This is a device which can fall flat if badly handled but judicious blending of eloquent language and colloquial phrases help us to fully empathise with Galileo rather than see him locked away in another time zone. The telling of history is accurate but the situation is relevant for today. Remember the suicide of scientist David Kelly after his attempts to reveal the truth of government cover-ups?

For a one-man show, there is a generous amount of furniture and props including an impressive telescope and a document-strewn desk. Sound effects are used sparingly but the noise of running water and church bells are very effective. Curiously, a photo backscreen is used for exterior Vatican scenes (which works) but a white backdrop elsewhere. It might have been more consistent for another photo image to have been used for the main courtroom section but that is a minor point.

‘The Trials Of Galileo’ is both an acting masterclass and an interesting lesson from history, skilfully presented with pace and feeling.

Reviewer - John Waterhosue
on - 21.7.22

THEATRE REVIEW: A Spoonful Of Julie - The King's Arms Theatre, Salford.

'A Spoonful Of Julie' is actually much more of a one-woman cabaret than anything. Nicola Mills, trained operatic soprano with a love of Julie Andrews and the music she made famous, entertains us with those songs, accompanied on the piano by George, and tells a few snippets of interesting information and anecdotes about Julie's life and career in between.

The show, which Mills repeatedly kept reminding us, is normally much longer - she has had to "cut out all the good bits" for this shorter, but still considerably lengthy 80 minute show - started well enough with Mills entering from the back of the auditorium on a shrill and perfectly pitched "The" as she sang her way onto stage with ".....hills are alive with the sound of music". She sang songs from her film musicals [The Sound Of Music, Mary Poppins, Victor/Victoria], a TV live version of Rogers and Hammerstein's 'Cinderella', and her theatre roles [My Fair Lady, Camelot, The King And I], to name just a few. Mills was an excellent belt soprano, and loved finishing her songs on a high note fortissimo. She had more trouble however with the quieter, softer songs, and indeed some of the songs she did choose to sing simply did not suit her voice at all. Moreover, many of the songs were not actually Julie's songs at all, but just happened to have featured in the same film / Musical but were sung by other characters.

Despite the professionalism of the opening, things did get a little "sticky" as we went along. Her shoes were constantly sticking to the floor - [surely that would have happened in the dress run and been sorted before the performance?] - and she got stuck on the rear curtain a couple of times, as well as seemingly ad libbing much of the banter between songs, and getting a little lost in places. Mills is a down-to-earth, take-me-as-you-find-me true northern lass from Oldham, but this approach to her cabaret performance didn't sit well with the prim and terribly "upper" image we all have of Julie Andrews. The singing was good, but what happened in between wouldn't harm from a little perfecting. Her habit of commenting and interrupting herself mid song was offputting, whilst being constantly reminded that we were only getting a shorter and lesser version of the normal show, became irritating. 

The sound levels were generally too high. Why on earth she needed a head mic in such a small auditorium I have no idea. Just turn the volume down on the keyboard! And as for the lighting, this too was very distracting as it cut straight through a row of bunting strung high across the front of the stage, meaning that the shadows of said bunting were constantly in Mills's face.

Reviewer - Matthew Dougall
on - 23.7.22

THEATRE REVIEW: Bessie At Midnight Alone - Underground Venues -Buxton.

This one-woman show is essentially an observation of life from a particular prostitute’s perspective but the play engages in wider aspects of morality, particularly in relation to both the good and bad aspects of religion, without getting into the realms of theology. Inevitably, the play also looks at the choices given to women in society.

Bessie is a prostitute with a reasonable amount of self-esteem who views her job as a profession that is not too dissimilar to that of an actress and no less respectable; in effect, just another part of the entertainment industry. The play is not set in any particular time-period but the costume of the hooped-frame normally worn under a wide dress together with Bessie holding a small lantern and the existence of a police force seems to suggest a Victorian backdrop. This element certainly adds to the feeling of suspense, with images of Jack the Ripper murdering lone harlots on misty nights but this tale is certainly not set in Whitechapel but actually somewhere in the north of England. North of England humour is in fact one the hallmarks of the show.

The play constantly shifts between light and dark, with Bessie being something of both a raconteur and comedian. The delivery is often very reminiscent of Frankie Howerd with rhetorical questions asked and the actor then reacting as if the audience has somehow given answers. The humour however gives way to violence with the audience confronted with the dangerous aspects of life as a street harlot.

Janelle Thompson is wonderfully expressive throughout and her style matches the conversational style of the script. This includes several very credible impersonations of other people in Bessie’s life from a policeman to a nun to a client. There is no point in which the pace slacks except possibly towards the very end, where story gets overtaken by observation.

A very interesting theme in this play is the motivations behind certain religious actions. Two men who physically attack Bessie do so with seemingly ostensive objections to her ‘immoral’ lifestyle but the suggestion is that their actions are more a reaction to their own lack of any sexual experience. On the other hand, the nuns offer genuine Christian compassion with judgement, but behind this is the fact that a number of nuns have had plenty of sexual and relationship experience in former lives so they have genuine empathy for Bessie.

A thoughtful portrayal of an engaging character by a consummate actor with many interesting observations; well worth seeing.

Reviewer - John Waterhouse
on - 20.7.22

THEATRE REVIEW: South Pacific - The Opera House, Manchester.

Sometimes, for whatever reason, the revival of a "classic" musical feels somewhat flat and awkward in today's climate, with our modern progressive generations. However, with its 'ahead-of-its-time' commentary on racism, superbly brought to the fore in this production by director Daniel Evans, and a modern interpretation in design and realisation, it felt much more contemporary and relevant. Such a shame it didn't also promote an anti-war message too... but hey, you can't win 'em all!

This is Chichester Festival Theatre's very modern-looking production of the 1949 Broadway hit, 'South Pacific', which tells the story of nurse Ensign Nellie Forbush and an ex-pat French plantation owner, Emile de Becque and their mutual love, whilst a sub-plot shows another romance between Lt. Joseph Cable and Liat, Bloody Mary's daughter. Both romances seem doomed because both Nellie and Cable are unable or unwilling to cast aside their own racist prejudices - Nellie's disgust and repulsion that Emile had a local wife who bore him two half-caste children is excellently outlined in this production, (on it's first mention, bringing an audible gasp from the two men seated directly behind me this evening), whilst Cable's thoughts are brought to the fore with his second act solo, 'You've Got To Be Carefully Taught'. 

This production doesn't shy away from the second world war and the disruption and chaos, as well as mistrust and loss of life, the American presence in the South Pacific wrought. In fact, there were moments in this show which reminded me very strongly of 'Miss Saigon'. [it also had elements of 'The King And I' and 'The Sound Of Music' too...!]

Using a central revolve [sometimes overusing it], and a minimalist set, it is ideal for a touring production. Although for me the corrugated backdrop with the outlining of a south pacific mountain scape projected onto it, was a little too scant. I did enjoy De Becque's terrace and the variety show stage though. 

The casting was generally excellent. Gina Beck was every inch the glamorous 1940s all-American girl, whilst Julian Ovenden truly impressed with his very underplayed and sincere characterisation of Emile De Becque; and with his almost operatic mellow voice, I could have listened to him all night and not got bored. I have to admit to not warming to the character of Bloody Mary (Joanna Ampil) at first. It had been directed too much like a caricature. However, once she started to become a true part of the storyline, she beacme far more relatable and a real and sympathetic character blossomed. The comedy character of Luther Billis was performed this evening by underdstudy, Dougie McMeekin, and he pitched the role just right. The comedy was not overt, and he always kept on the right side of truthful and believable, giving a lovely ovation-worthy turn as 'Honey-Bun'. Rob Houchen was a very young Lt. Cable, and Sera Maehhara, Liat. My only one negative comment being that there was absolutely no chemistry between these two this evening; it was impossible to believe they were in love. 

With a powerful supporting cast, strong choreography, and solid musical direction, good sound levels throughout, this was a thoroughly enjoyable, yet much more thoughtful and intense version of the musical than one would normally expect. A truly superb production.

Reviewer - Matthew Dougall
on - 19.7.22

THEATRE REVIEW: Lizard Boy - Hope Mill Theatre, Manchester.

On a hot summer night (sorry Meatloaf), and birthday evening, where else is there to go to celebrate and indulge in a quality new musical with LGBTQ+ themes than Manchester's Hope Mill Theatre?

Tonight's offering (until 27th July) is new musical 'Lizard Boy', starring a cast of just three in the form of playwright and composer Justin Huertas (guitar, ukelele and cello) who also plays the lead character of Trevor (that's his middle name, he's actuallly called Jason Reyes), along with fellow musicians and epic talents William A. Williams (guitar, piano, xylophone and beatbox) as Cary, and Kirsten "Kiki" deHohr Helland as rock singer (piano, cazoo and melodica player and heel-stamper) and conspiracy theorist, Siren. The trio are incredible, clearly well-directed by Brandon Ivie. They are the original US cast (as featured on the official soundtrack on Spotify) and there is also a  'UK alternate cast'.

Now, there is a detailed synopsis online (lizardmusical.com/lizards-only-page) but here's the general gist...during a bizarre childhood accident in the playground when he was just 5 years old, Trevor was drenched head to toe in dragon’s blood (don't ask how), growing green and scaly skin leading him to withdraw from the world. Tonight, twenty years later, he meets a cute guy on a popular gay hook-up app, who has only recently moved into the flat the scene is set in (it's around Halloween time and it's also MonsterFest) and is deperate for sexual attenton, whilst trying to find his past love who suddenly disappeared without notice. On a first meet/date we see (and hear) their differences in expectation, Trevor's innocence and, after leaving initially, they build a bond and share a journey of trust, support, acceptance and acknowledgment as they piece together why Trevor is the Lizard Boy, has scales and why he has the dreams that he does. One dream is of Siren, whom he recognises from the cover of Stranger magazine. He attends her gig at The Crocodile and, after he sings her one of his own songs, she eventually realises who he is. She was one of the 6 children also in the playground accident which consequently gave them powers, her's being singing. She believes that the causes of the accident (I won't spoilt it) are due to return and that the world will end in the morning. The threesome embark on a battle of mythical proportions and we join them to discover whether good conquers evil (not crazy), as well as the moral that everyone has powers that make them feel like a freak but no-one is normal, we are all superheroes and shouldn't put ourselves down for being different.

The sheer talent and vocality, regardless of the direction, and on-point and in-sync execution, is second to none. This show is so polished and well-written and considered that it is firmly where is belongs...on a professional stage to be enjoyed by the masses. I was in awe of their versaitility and multitude of abilities and am honoured to have spent my birthday witnessing this gem of a show.

Billed as "equal parts comic-book lore and coming-of-age love story", there are elements of other musicals in this but it is, without a doubt, it's own piece, in a league of its own. Whilst we are forced to use our imagination, around the lack of green makeup that is referenced and the flipping between time periods (you'll hear the cue for these and they are Trevor's dreams/flachbacks and forwards), we are guided through and the physical elements that we have to imagine involving invisibility are clever.

In short, please please please make the effort to go and see this incredible spectacle and escape reality otherwise you'll regret it. It tells a highly-relatable story and is poignant yet funny, scary yet endearing. I can't find any record of where the show is going next but I hope it's somewhere equally as epic as the production itself as the team really deserve big things.

Thank you for a great night and well done.

The musical was inspired by works such as X-Men, Spider-Man and the 2006 musical Spring Awakening and premiered in 2015 at Seattle Reporatory Theatre before Divisionary Theatre in San Diego in 2016 and Mountain View Center for the Performing Arts in Silicon Valley in October 2021. Tonight's show was just over 60 minutes long, which suggets that it has been scaled back from its original form. Nonetheless it's no less entertaining.

Reviewer - John Kristof

on - 19.7.22

STAND-UP COMEDY REVIEW: Garry Starr: Greece Lightning - The King's Arms Theatre, Salford.

‘Greece Lighting’ is loosely based on Greek mythology, in this case the word ‘loosely’ applying in every sense! Garry Starr actually makes Freddie Starr look tame. This frantic 50 minutes of mad-cap mayhem feels like a much longer show because so much is packed into it and every time, it seems that the boundaries have been pushed to their limit, a fresh surprise is foisted on the audience.

In essence, the show comprises of Starr presenting himself as a Greek (despite having a suspiciously Australian accent) and undertaking a range of quick impersonations of characters from Greek mythology using a wide range of props and devised costumes. Music is frequently used to good dramatic effect and the presentations are generally very funny. What really sets the show apart is the level of audience involvement.

Right from the start, audience members are picked out to aid Zeus’s thunderbolts by raising ‘zap’ signs on cue (naturally enough to the sound of ‘Greased Lightning’) which is innocent enough and a reasonable devise to break the fourth wall and warm the audience up. From there on, things get progressively wilder as audience members are brought on stage to act, dance, box, throw projectiles or squirt water as the performance floor progressively becomes covered with debris. Think of one of the craziest TV game shows where the show host is a comedian and then add mayhem!

Perhaps Starr’s greatest ability is the extent to which he is able to turn unsuspecting audience members into enthusiastic performers. With his stall set out early on in the show, it is clear that nothing is going to be taken very seriously, although behind the buffoonery, Starr is a consummate showman, constantly assessing audience reactions and spotting comedic opportunities. He seemingly has the ability to bring out the extrovert in almost anyone. There is something of the Kenny Everett in his mannerisms and the way he somehow makes the absurd seem normal.

The language remains clean throughout but considering there is full-on close-up nudity, it is surprising there is no content warning on any show publicity but then in a curious way, there is something innocent even about the naked Garry Starr. Greece Lightning is unquestionably a highlight of the Fringe Festival, and it is not hard to see why it has so many awards at other festivals. It is an extremely funny show and one in which the whole audience is intimately involved, even for those just watching. It really is a show not to be missed.

Reviewer - John Waterhouse
on - 18.7.22

THEATRE REVIEW: Earwig - The Empty Space, Salford.

In classic 'Time And Again Theatre Company' fashion; their new play 'Earwig' evokes a vintage style and brings to life a time forgotten. In this case, we are taken back to the roaring 1920s, to the era of silent movies and flapper girls. Written by Laura Crow, 'Earwig' tells the tale of a deaf woman with a keen eye for classifying insects, living in an unhappy and overbearing marriage that frowns upon women doing such things. This play is about Marigold’s fight to be heard in a world that doesn’t understand her lack of hearing.

The use of projections was very clever and well designed by Laura Crow. The comical insights told via the projector were almost like another character, creating an instant relationship between audience and screen. And well done to the technician Tim Cooper for succeeding in making a complex array of sounds and slides fit so seamlessly into the 60-minute play.

Directed by Catherine Cowdrey and Samantha Vaughan, they utilised the small performance space and despite the staging being minimal, their use of movement and mime told Marigold’s story effectively and emotionally. It is no easy feat to successfully engage an audience and have them emotionally invested in the characters in such a short time frame, but Cowdrey and Vaughan, along with a superb cast, achieved this seemingly effortlessly.

The cast of three comprised of Laura Crow as Marigold Webb, Jessica Ayres as Mrs Meadows and Bryony Varden and Ben Hynes as Thomas Dollman and Nicholas Webb. The cast had a strong dynamic and complimented one another’s performances. Ayres and Hynes switched between their two characters seamlessly and with no confusion from the audience. All five characters were realistic and dynamic. A great first performance from Crow, Ayres and Hynes. A lot of work has gone into this new production, with some of the cast even learning sign language and displaying it with ease.

As this play continues at the Manchester Fringe and then moves on to the Edinburgh Fringe the cast alternates between the three mentioned above and a second set of actors (Robyn Greeves, Beth Nolan and Adam Martin-Brooks). I am almost compelled to view the play again with the alternate cast and enjoy some no doubt new and different elements that they will surely bring to the performances. A wonderful new play with a fabulous soundtrack, revealing very important insights into life as a deaf person in the 1920s. A joyous and emotional piece of theatre, not to be missed.

Reviewer - Megan Relph
on - 18.7.22

GASTRONOMY REVIEW: Ithaca Greek Restaurant, Buxton

Where do you go to eat in Buxton in between your full-on diary of theatre-going during their Fringe Festival? Well, I'd suggest practically anywhere but here... The Ithaca Greek Taverna, now in its new home on the Quadrant.

Both my companion and I are very fond of Greek cuisine, and so it looked like the ideal spot to spend the hour we had between shows. It was not very busy... in fact it was less than one third full, and there were three waiters, and so I have no idea at all why they took so long to come to our table and ask us if we would like a drink. In fact, had we not have "chivvied them up" in any way, we'd probably still be there now waiting for the food!

Two of the waiters were Greek, which I took to be a good sign. However, it was clear that their level of English took a little to be desired, and there was confusion over "fish" and "figs". Whilst the third waiter, who was clearly English, did not understand my ordering the meals in the Greek names of the dishes as listed on their menu!

And now to the food...it was awful! A starter of calamari rings was undercooked, rubbery, and served on a side plate completely alone, no garnish, no nothing! Whilst a cod fishcake contained so much cheese that it was both solid and dry, and I was unable to taste any fish in it at all, just cheese. 

There's little point in going on.. the food was simply not either tastefully presented or full of taste, and at the prices they were charging, you'd be better off with a McDonald's!

Reviewer - Matthew Dougall 

AMATEUR THEATRE REVIEW: The Chrysalids - Underground Venues Studio, Buxton.

The studio attached to Buxton Opera House is the idea festival venue, seating around people with a reasonable performance area and full theatre facilities. The production of ‘The Chrysalids’ by REC Youth Theatre’s Senior Company was very much a studio presentation with no sound effects, almost no music and just a couple of benches and a small table for staging. With just a black backcloth, the atmosphere was dependent upon the acting and this young cast went a long way to bringing over the tense post-apocalyptical world of John Wyndham’s novel.

The notion of a future world after some major calamity where an elite are intolerant of those not deemed worthy appears in many sci-fi orientated tales from ‘Judge Dredd’ to ‘Dune’ to ‘Logan’s Run’ but ‘The Chrysalids’ was published in 1955 making it something of a trailblazer. The story of course has echoes of racism and elitism, making it as relevant to today as in Wyndham’s day.

Unlike his more famous work, ‘The Day Of The Triffids’, the emphasis in ‘The Chrysalids’ is on youth although some doubling was required in playing adults. This worked with varied success, with the distinction between youth and adult characters on occasion denoted just by a hat, but the story was nevertheless clearly told. The large cast of eleven enabled several convincing group scenes, interestingly interspersed with several soliloquies. This was perhaps inevitable in needing to tell a story with several overlapping issues in the course of fifty minutes.

The performance started with the cast largely drowned by the opening music - although first night nerves seemed to account for the actors largely speaking quietly. As the play developed, the cast visibly grew in confidence and there were frequently strong interplays as relationships became frayed in the post-apocalypse world, where imperfect human specimens were banished to the ‘fringes’ whilst bonds developed amongst a group of individuals with a shared special gift. The play looked at life from the perspective of the wider society down to the parent/child relationship as both romances and friendships developed against the odds.

This was a thought-provoking play and a good choice for a youth theatre company to take on. There were several strong performances, most notably from Elyse Marling as the six-toed Sophie. REC Youth Theatre delivered a good performance of quite a challenging play, with plenty of emotion and drama.

Reviewer - John Waterhouse
on - 17.7.22

AMATEUR THEATRE REVIEW: The Hunchback Of Notre Dame - Z-Arts Theatre, Manchester.

This evening, Manchester Musical Youth welcomed an eager audience to the Z-Arts theatre in Manchester to watch their rendition of 'The Hunchback Of Notre Dame'. And what a rendition it was!

If you’re unfamiliar with the story of the hunchback; we follow two brothers in fifteenth century Paris. Frollo, played by Basit Khan, and Jehan, played by James Gadd, share their remarkable bond on stage with us. We see the cathartic Frollo cave to the pressures of caring for Jehan’s child who in turn we discover is Quasimodo, our tragic hero. Throughout the play we see Follo's arrogance and greed, his disgust for the gypsies of Paris, and his lust for the beautiful Esmeralda consume him, until his fateful end. An ending that Khan executed perfectly!

Khan was able to not only take on the challenge of portraying this monstrous villain but consumed his audience throughout the entire piece! His portrayal of Frollo was nothing short of perfect and he had the audience gripped on his every word. Stylistically Khan’s depictions of the character were astonishing; the character's racially driven motivations, covert lust for power, and desire of Esmeralda shone in every move, gesture and mannerism he performed, all whilst his character was rationalising the work of God - true to Victor Hugo’s original intentions. 

Spectacularly playing opposite this we have Matilda Collard as the beautiful Esmeralda. At first I took a little to warm to her character however as I sat and watched Collard perform, I naturally found myself empathising with her kind soul. I thought her portrayal of the young gypsy was elegant, bright and courageous. Two moments throughout I found myself welling up at her delivery of the character; the first during her initial meeting with Quasimodo and the second during her final moments on stage. Both moments implemented beautifully to show the kindness and compassion of the character.

Two of my favourite characters on stage were played by the wonderful Amèlie Hassouna-Smith and John Richmond. They were the perfect double-act! A Bonnie and Clyde of the fifteenth century! Their energy was infectious and their wicked cheekiness left me wanting more! I wanted them to succeed in their pick-pocketing endeavours, yet hated them when they turned on Quasimodo - a true telling of the talent these young people have to be able to turn the audience like that!

Captain Phoebus de Martin had my heart throughout! Bless, Oscar Downing! His portrayal of the character was heartwarming and charismatic! I was truly in awe of how long his character was suffering and he didn’t break once; his overwhelming love for Esmeralda was shown in his every move. He wasn’t the only one though, Billy Burrows played our loveable Quasimodo! A different love for Esmeralda, a pure and innocent untainted by lust or greed. Burrows allowed the audience to watch his tragic love story whilst also doing the character of Quasimodo justice!

'The Hunchback Of Norte Dame' would not have been as brilliantly powerful as it was without its ensemble! The elegant statues, the beautiful gargoyles, the soldiers, the gypsy dancers, the congregants, the storytellers! Each and every one of these very talented young people performed superbly last night! It was phenomenal! I could only describe listening to them sing as listening to angels sing because it felt so angelic!

Manchester Musical Youth (MMY) have put on a show that could have easily have been on the West End or Broadway! It was astonishing and left me speechless and emotional! Dave and Kimberly Holden’s vision was that of a masterpiece! A traverse staging, the immersion of the audience who were sitting so intimately close to the stage, the lighting, the band! Everything was incredible and such a pleasure to watch! they even harmonised in Latin!! It was beyond perfect!

I still think this review hasn’t done them the justice they deserve for how magical it was!

Reviewer - Caroline Bleakley
on - 16.7.22

THEATRE REVIEW: The Coffee Shop Musical - Foundation NQ, Manchester.

As part of this year's Greater Manchester Fringe Festival, Leo And Hyde presented a brand new concept musical in Foundation, a working coffee shop in Manchester's Northern Quarter, and the title of this musical...'The Coffee Shop Musical'!

The coffee shop is unchanged from the normal daytime layout, and the staff are still serving drinks and cakes as we enter and take our seats. The action takes place in, around, and amongst us. The two cast members - Andrew Patrick Walker and Liv Alexander - enter the cafe up the outside stairs and through the glass doors just as we did; they sit, walk, sing, and even dance all around the seats and us, as well as the bar. This is a fully immersive but not interactive or participatory experience. It works superbly.

The story is a little off-beat, but again it is a quirky and inetersting idea. Voice-overs are heard.. we are told that they are from a distant planet, far far in the distant future... they are not even humans but, a much more highly developed and clinical metamorphosis of us. They tell us that they are broadcasting the last surving video footage of human interaction in a coffee shop, which dates from the year 2022. Homo Sapiens are a primitive and extinct species, and only fragments of our existence and lives remain. This is all done in a tongue-in-cheek manner as this company is obviously quite a new and young one comprising creatives who are themselves the kind of people they are lovingly and self-effacingly lampooning in this musical. - the 'freelancers', the 'influencers', the 'barristas', the 'cat video lovers', the 'unemployed' etc.. are all shown through the sceptical and cynical eyes of their contemporaries and peers. 

And whilst the VO expostulates on the reasons why Homo Sapiens became extinct, the two performers sing and act their hearts out. Their performances are throrough and precise, changing characters as needed, and they have excellent chemistry between them. There are moments of pathos, but mostly this is a comedy, and the humour is well-placed and relevant. 

The music is contemporary (there's even a rap number), but the sound levels are never too loud, and the whole hour is a non-stop onslaught on mankind's adoration of coffee, the reasons for us visiting coffee shops, and what we get up to whilst we are in them! Excellently realised, the two performers deserve the highest praise.. such close-proximity acting is not easy, and these two carried it off with aplomb. Personally I feel the show would have worked better with at least 4 performers, but that is just a personal preference. 

A high energy musical which will wholly entertain you from start to finish, and bring you hopefully, to the same conclusion the super species on the VO had, that 'this is our world', and despite all out faults and imperfections, we should all learn to love and appreciate each other more.... we do deserve to live!

Reviewer - Matthew Dougall
on - 16.7.22

AMATEUR THEATRE REVIEW: Wolf Moon - St.Anne's Parish Centre, Buxton.

Part of Buxton Fringe Festival, this was the 11am production of Clare O'Neill's 'Wolf Moon' at St. Anne's Parish Centre. [the later production having a different cast].

REC is a youth company and here, their students - ages between 5 and 11 - performed this play with music, written and directed for the group by Clare O'Neill. 

The play, which runs without a break for about 40 minutes, tells the story of how this year's Wolf Moon disappeared, and so three separate groups set off on a quest to find the moon. each group finds a section of it, and brings them together to make the moon shine once again. The play teaches children the importance of nature, and to care for our environment, as well as showing them the importance of working together, appreciating each other, and acknowledging our differences and strengths through selflessness and kindness. 

The dialogue is interspersed with some stylised movement from a group of fairies, and a few songs, accompanied live from keyboards, and ameliorated with self-made backing tracks. 

The venue itself was light and airy, and a large acting space had been created with wooden rostra to the rear of the stage and a moon above. Sadly, even when seated on the front row, I was unable to hear a few of the performers as they had been directed to stand on the rear platform and they were not projecting their voices sufficiently for them to carry across the vast expanse of unused stage space. The directing was extremely static throughout unfortunately, which did slow the pace of the production, and there was no consideration of sight-lines as I could easily see into the room at the rear of the stage used as their 'wings'. The side door at the front of the stage was also used as an entrance, but the glass pane was not curtained over and so I was able to see everyone walking and waiting there, including the backstage crew. 

The play was an enjoyable and thoughtful presentation, and it was clear that those 20+ youngsters on stage this afternoon were enjoying their stage time. I am always happy to watch youngsters performing and having fun, as it was a privilege that was not available to me when I was young... such youth theatres and children's theatre groups simply did not exist! A huge congratulations to all the youngsters.

Reviewer - Matthew Dougall

on - 16.7.22

CHILDREN'S THEATRE REVIEW: Oliver - St. James's High School, Farnworth. Bolton.

Talent, glorious talent! On Friday 15th July 2022, St James's High School welcomed an excited audience to the early 1800s! Pocket watches in hand we took a step back in time to see these talented young people perform the Dickens' classic that was Oliver! Set in the cold and dreary workhouse our ears open to the classic 'Food Glorious Food', sang by the angelic ensemble! Their youthfulness and cheekiness captured in the energy-bursting opening number which lead us to our delightful introductions with young Oliver Twist, played by Chloe Hunter - a casting that couldn’t have been more perfect!

Young Oliver expelled from the workhouse by Mr Bumble & Widow Corney played respectively by Elliot Whitehead & Abigail Faulkner, were a fantastic paring of witty pomposity! Their characters brought humour and a domineering presence to their roles which were executed wonderfully. A quick set change and Oliver is welcomed into the undertaker's household where Jolie Smethurst and Emma Higham gave us a wonderful performance that gave me greedy, selfish, uncaring vibes, similar to that of Monsieur & Madame Thénardier from the iconic musical Les Miserables.

On to the poverty-stricken streets of London, Oliver is woefully blessed with an encounter with arguably a theatrical favourite that is The Artful Dodger! Skyla Redford stepped beautifully into this role as the perfect casting! She was cheeky, cunning and charismatic! Her renditions of ‘Consider Yourself’ and ‘I'd Do Anything’ left the audience with a buzz. Throughout the show she gave the perfect amount of confidence and character and left us wanting more. Big shoes were left to fill with the character of Fagin! However Lily Moro stepped up to the plate and delivered! An iconic role in itself, Fagin, arguably another audience favourite, teaches Oliver the ropes of pick-pocketing and Moro did this brilliantly in her performances of ‘You’ve Got To Pick A Pocket Or Two’ and ‘Be Back Soon’. Her vocals showed how incredibly talented she is! And her characterisation was beyond remarkable! Such big shoes to fill that were filled in a dazzling way!

As a child I was always petrified by the character of Bill Sykes and watching this show at the age of 26, I was terrified once again as Alex Farrar played his character eerily well! His towering frame and villainous performance was suited perfectly to the character and the shock of Nancy's Death gave me chills!

The star of the show for me was the wonderfully talented Hollie Daley, her vocals were astonishing and her embodiment of Nancy was truly remarkable! Her ‘Oom-Pah-Pah’ and ‘As Long As He Needs Me’ could be compared to that of a West End performance! She really is a talent!

Overall this couldn’t have happened without the fantastically talented chorus and ensemble! They complimented each of the main characters with tenacity and confidence! Each student worked their socks off and it was very clear to see! Directed by the brilliant Johanna Hassouna-Smith, St James's School show is always a delight to watch and one for the calendar each year as they go above and beyond! It’s so refreshing to see the arts coming back to life after such a challenging year for the performance industry through the talent of these young people! - ‘I’d do anything’ to watch it again!

Reviewer - Caroline Bleakley
on - 15.7.22

THEATRE REVIEW: Romeo And Juliet - Grosvenor Park, Chester

Approaching the tepees in Grosvenor Park on a balmy summer evening was a perfect segue from the real-life working week to a magical world. Bunting, festoon lights and warm smiles greeted the audience, who arrived with blankets and picnic baskets. The theatre itself is an open air, arena style and unlike many park productions there is stepped seating and back supporting cushions provided. Duly fed and watered - nursing a glass, bathed in sunsetting rays - the audience were brought to attention by the entrance of the company. They were a strong and demanding presence – with eye contact, sheer purpose but no words, they silenced the crowd, took a collective breath, and began, toppling us into 1950's Italian café society with a rendition of ‘When Two Tribes Go To War’ (yes, really - and it worked!) The music (arranged by ME+Deboe and delivered by the cast members) was particularly skilful throughout – acoustic, folk-inspired adaptations of an eclectic but effective mix of popular hits punctuated the action, enhancing emotions and moving the story along. 

‘Romeo And Juliet’ is possibly the best known theatre performance of all time – retold and reinvented over and again in its 400+ year lifetime. This version felt fresh, light, and contemporary, the costumes were glamorous recreations of 1950's fashion, right down to Juliet’s underwear. The original text was padded and embellished with beautiful physical moments including dance, street fights and personal business which allowed air to move between the dialogue and heightened the anticipation of the audience. Much of this unscripted action subtly encouraged the focus to fall sharply on the lovers. No-one could pretend that the unravelling fortunes of the rebellious pair come as a surprise – but this production approached the significant moments confidently and with a deft touch. They weren’t rushed or over-emphasised, delivery of the famous lines was as natural as the rest – portraying a playful, sincere pair of teenagers. The balcony scene was a delight, filled with teasing, smiles and kisses - with great use being made of the blurred barriers between performers and audience that in-the-round staging offers. Samuel Awoyo’s Romeo celebrating his romantic success with a casual fist pump cemented him as a modern-day, relatable hero.

The dialogue throughout was delivered in a relaxed and natural style - particularly by Awoyo and by Eddy Payne (Benvolio). Payne’s was a superb performance – he brought out the best in his fellow actors and his delight in his craft sparkled. He was often the centre of comedy in the first act, enlivening the party scene and teaming up with Haylie Jones’ Mercutio to taunt Romeo. Another source of comedy was Nicola Blackman’s portrayal of Nurse – a sassy, outspoken, unabashed Caribbean woman with a twinkle in her eye. Her adlib moments with the audience were saucy and full of merriment. In fact, much comedy and interactive audience teasing was brought out of Act 1, occasionally at the expense of the story but always with a joyous sense of mischief. Not least of these was the drunken procession at the end of the party scene where limbs and prosecco went flying, dousing audience members in passing. This meant that the performance became very much a play of two halves as we re-joined the story after the interval to witness the Friar and Nurse desperately attempt to choreograph a dance to evade destiny.

The second act was a more serious affair with less inter-play or ad-libbing. It was here that Joelle Brabban, as Juliet, came perilously close to stealing the night. Thanks to her beautiful interpretation in Act 1 of an innocent feisty teenager willing to fall in love with abandon, not just Romeo but everyone in the audience was in love with her. The moments that followed her first ‘death’ were entrancing – Lady Capulet and Nurse transformed Juliet’s bed to her bier (a simple but incredibly effective staging choice) while the company transformed the stage to a beautiful burial ground scattered with fairy-lit, white crucifixed headstones. By now the real-world sun had almost set and the simple stage lighting, mingled with the twilight to elicit an ethereal beauty fit for the tragic finale. Romeo’s fight with Paris before he entered the tomb gave us a final frisson of violence to offset the pathos. There was a palpable sense of fear for the place which brought a newfound admiration of Juliet’s courage to have played dead amongst the bodies of her ancestors. Awoyo and Brabban handled these closing moments with finesse.  Their fear, grief and loss were never overplayed and in turn their deaths were performed with poise and emotion. 

As the action dissolved into the curtain call, the cast accompanied their bows with the by now, distinctively styled ‘Everybody Wants To Rule The World’ and the audience applauded, cheered, and stood to render their thanks for a wonderful performance.

This was my first visit to Grosvenor Park Open Air Theatre – on the strength of it, I am already booked for their adaptation of Little Women. Here is a company with a beautiful venue, a strong cast, and a clear vision of how to entertain an audience – long may they prosper!

Reviewer - Justine Sutcliffe
on - 15.7.22

AMATEUR THEATRE REVIEW: Peter Pan Jr - The Arena, Middleton. North Manchester.

Fairstage Academy is a dance and theatre arts club in Middleton, and has clesses for children between the ages of 3 and 17 in various dance styles from classical ballet to street dance, and also offers drama and singing tuition too. 

This early evening the school's local theatre, Middleton Arena, was a-buzz with parents, family and friends, all eagre to watch their child perform on stage.

The Junior version of the Peter Pan musical is a one-hour non-stop piece which keeps all the more memorable and easy-to-sing songs, and manages to still keep the story without too many chunks missing. It's an ideal show for the children too as there are many roles available for them... not only is there the three Darling children, Peter Pan, and Tinkerbell, but there's also Tiger Lily, and a whole host of Lost Boys and Indians (Tiger Lily's band).  Added to that, this evening we also had a band of pirates and a few dancing fairies too! Whilst the adults were performed by the academiy's oldest students. All this worked well, and I loved the inclusion of the fairies at the start of the show, such a lovely idea. 

The set was good: for a show that requires multiple scene changes from London townhouse bedroom, to forest, to on board a pirate ship, to the Lost Boys' hideout and many other places in between, the changes were swift and easily managed with minimal but pertinent large set items and carry-ons. Lighting and sound were also good, and I loved the costumes. Obviously a lot of thought and preparation had gone into the overall look and feel of the show.

In a show which is being performed by children, it is impossible not to be moved and enchanted by it all. I always hark back to my days as a child performer, and having no such opportunities as these and many other fortunate youngsters receive these days. Youth Theatres and academies for children simply did not exist back in my day! I had to content myself with joining an adult Amateur Dramatic Society and hoping they would chose a production which featured children!

It is also, almost nigh impossible not to have favourites too...! Of course, all on stage this evening deserve high praise; but if you will allow me to just single out one or two which impressed me over and above...! First, I enjoyed Wendy's (Thea W) singing. A lovely voice and had the character off very well indeed. And second...sadly I cannot name them, since I simply do not know which of the Lost Boys they were, however I can say that they were the young girls who sang solos and duets in the song 'Never Grow Up'. 

Congratulations to all.

Reviewer - Matthew Dougall
on - 15.7.22