AMATEUR THEATRE REVIEW: Legally Blonde - The Forum Theatre, Romiley, Greater Manchester.

NK Theatre Arts in Romiley near Stockport always bring out the best of their talented members, and this evening's performance of the totally pink musical-based-on-the-film-based-on-the-novel, 'Legally Blonde' was no exception.

The story tells of Elle Woods (Lauren Sanckson), one of the Malibu elite, whose only goal in life - apart from wearing pink and shopping - is to marry her teenage heart-throb, Warner, thus keeping the money and the privileges in the family without her actually having to do anything... that is until Warner 'dumps' her, and she finds that she actually truly does love him, and her life is empty without him; and so, in a decision which will change the course of her life forever, she decides to follow him to the other side of the States and go to Harvard Law School ostensibly to study law, but, basically just to be near him. What actually happens however, is Elle finds that there is much more to her than just a sexy body and a monied father, and of course, because this is a Musical, there is a feel-good and somewhat moralistic ending.

As always, Romiley's Forum Theatre's large stage was filled with set and cast, and this large cast were giving 100% all the time.. the energy and commitment was palpable, and everyone on stage was obviously enjoying every second of it, which shone through into the audience. Director Hannah Thomas had given the show a few nice personal touches, and once the choreography kicked in (there was a lot of singing at the start which was crying out for choreography), it was hugely energetic and completely apt for the style of show, executed with ease. And of course we had the "aah factor" times two this evening as well, as not one, but two dogs graced the theatre's stage.

Supporting Sanckson's epic portrayal of Elle were a host of principal and cameo roles, as well as the dancing Delta Nu cheerleaders, and an ensemble. I can't mention all, but I can mention four, who, for me at least, created characters which were their own and yet still within the remit of the show, performing with elan and skill throughout. First in this list has to be John Dean, who played the cameo roles of Kyle, Chad, and Carlos, bringing something new to each, and despite the caricatures being overt, they were still somehow totally believable, and we (the audience) loved his stage presence. Emma Lester's Paulette was sincere and yet very funny, and made the perfect foil for Dean's Kyle, as the two of them worked excellently together. It was such a shame that this evening Megan Voss had a microphone that was not working and her skipping rope was not being 'whipped into shape' with a mind of its own, but Voss's characterisation was secure and she has a good stage presence and is an excellent dancer. The fourth cast member was a dancer - a Delta Nu, and had a solo in 'What You Want', although I have scanned the programme and cannot find the names of the ensemble anywhere. [She does, however have a photo of her in the programme and appears with Elle in the bottom left of page 3!]

That does not in any way diminish the performances of everyone else on stage this evening; and despite the several technical hitches present this evening, this was a joyous, high energy show full of larger-than-life characters and good old American hi-jinx!

Reviewer - Matthew Dougall
on - 29.9.22

THEATRE REVIEW: A Midsummer Night's Dream - Shakespeare North Playhouse, Prescot, Liverpool.

And Shakespeare North Playhouse in Prescot has opened! With its first inhouse production, co-produced with Not Too Tame and Northern Stage. “A Midsummer Night’s Dream” is a very lively mixture of raucous northern comedy and spine-chillingly supernatural romance. Last night’s performance was in the new Cockpit Theatre space: an octagon-shaped theatre-in-the-round that is covered in wood panelling to look like an Elizabethan indoor playhouse that once stood in Prescot. There is no other venue in the United Kingdom like it.

Matthew Dunster’s anarchic direction / adaptation of the well-known text swerved between Brechtian working-class humour set in the modern day, and moments of real power using more historically-themed Elizabethan staging. Sometimes these two extremes got in the way of each other, and it would have been more satisfying to have had the production totally in either of the two versions being presented. Having already seen a lot of pop-music and swearword–infused modern-day interpretations of “The Dream” (the aspect that was being promoted as the innovative and radical part of the production), I was more drawn to some quite interesting thinking going on with the Elizabethan supernatural romance side of it, and would have liked to have seen more of that world. Maybe Dunster, as a director, was trying to please too many stakeholders at once in this opening show for a new venue.

The meta story surrounding the production was that it was opening night for Shakespeare North Playhouse; half of the professional actors hadn’t turned up; and so an enthusiastic group of Playhouse staff members would put on the show instead – extending the Mechanicals idea to an extra level, and still being supervised by the neatly efficient Peter Quince (Andrew Butler). Bits of costume were hastily grabbed off a rail and put on around normal theatre staff clothing; Bottom (Jimmy Fairhurst) kept his bright orange security guard uniform on for most of the first half, and everyone plunged in. This served the comedy well. The performers frequently broke out into new lines to reflect this. I especially loved Flute’s (David Nellist) reaction to being cast as Thisbe: “I’m fifty three! Look around, you’ve got Thisbes coming out of your arse!” – and there were a lot of other extraneous interjections too, and as Helena (Kate James) was getting snogged by a love-struck Demetrius (Tyler Dobbs): “I wish this was happening in real life and not just in the play!”, leading to Demetrius to step out of character for a moment to assure her it was just pretend. There weren’t quite enough people to cover the Lion as well, so a poor audience member called Brian was dragged in to do all of those bits. And throughout the performance, the audience were taught the moves for a funky dance which we all ended up doing together after “Pyramus and Thisbe” had been performed.

When it did swerve into supernatural romance, Dunster’s direction really shone. Puck (Louise Haggerty) was on stage almost from the beginning as a silent homeless person of the street, perfectly invisible to all the mortal characters. Oberon (David Morrisey) was presented as a circle of light coming from above, with a booming omniprescent voice, and it felt perfectly plausible that he could do anything with magical forces. Titania (Nadine Shah) was elegantly shimmering, yet constrained within the circle of Oberon’s power, and her own power was palpable as she restrained Bottom within the same circle. The four fairies (Tia Bella-Easton, Yazmin Kayani, Kelise Gordon-Harrison and David Nellist) were dark, nightmarish creatures with screeching voices and talon-tipped fingers. The four lovers had their own fiery set of comedy going; Lysander (William Grint) could only communicate in British Sign Language, which only Hermia (Rebecca Heskith Smith) and Helena could understand, leading to some deliberate mistranslations to Demetrius, but they also had an ethereal quality in the forest, and love really did shine through for the wedding night scene at the very end.

Reviewer - Thalia Terpsichore
on - 27.9.22

THEATRE REVIEW: Fisherman's Friends - The Lowry Theatre, Salford.

'Fisherman's Friends' is a musical with a book by Amanda Whittington (based on the film) which tells the story, although undoubtedly somewhat romanticised, of how the unlikely pop sensation of Cornish Shanty group, 'Fisherman's Friends' came to fame.

Utilising a single composite set with a few additional larger set items being brought in from the wings, the show relies heavily on the music and 'feel' of the sea-faring life of the small, close-knit, Cornish community of Port Isaac. With tradition being prevalent in the heart of soul of this community of four generations, the sea shanties they sing in their local, but very much in debt, pub, are as much a part of their way of life as the actual fishing is. It is a story of chance that brings a down-on-his-luck talent scout from London to the town, and he lies his way to convincing them to go to London to set up a record deal. It is also chance that does eventually furnish them with that deal, and a surprise entry in the charts at number 9. Perhaps it is also chance that he falls in love with the protagonist's daughter, and a "made-for-musicals" subplot is born.

The music is undeniably catchy, and the songs this evening were performed with integrity and in the style of the original 'Fisherman's Friends'. This part of the story was at least faithful to the original group, and the music, especially the harmonies, was delightful from all. In fact, an extremely multi-talented cast had been assembled for this production, since all were called upon at some stage throughout to act, sing, dance, and play at least one instrument. 

The action was seamless, and the larger instruments (cello and double bass) did not seem obtrusive either, and with many a catchy foot-stomping rhythm, this was a feel-good and hearty hoe-down [or whatever the sea-faring equivalent is..!]

Even if the plot is a little thin on the ground and extremely predictable, this large and talented cast will easily transport you to their world of Cornwall and the life and loves of a Shanty Band, and you'll find yourself being carried along, clapping and stomping with the rest. You might even learn a little of the origins of the sea shanty and the different styles of song!

Reviewer - Matthew Dougall
on - 27.9.22

AMATEUR THEATRE REVIEW: Big Fish - Memorial Court Theatre, Northwich.

I had been looking forward to my visit to The Memorial Court Theatre in Northwich for a long while. My introduction to The Mid Cheshire Musical Theatre Company (MCMTC for short) was earlier this year in March when I was lucky enough to see their most excellent production of 'American Idiot'. This too, like 'American Idiot' was a musical which was completely new to me... I had never heard of 'Big Fish' before, and knew nothing about it, and so I was eagerly awaiting the sating of my love of the Musical Theatre genre.

However, 'Big Fish' doesn't pack the same punch as 'American idiot' did, and I found the music and themes very derivative, as well as the storyline being extremely thin and trite. That does not mean that I did not enjoy the show - I did; nor does it mean that the cast did not impress or give of their best - they most certainly did. 

The staging for this show utilised a walkway around the band pit as well as the main prosc. arch stage; which, for the most part, relied on back-projections for each scene, with the addition of larger set items as required (bed, bench etc), whilst a raised platform at the rear of the stage afforded the director ample opportunity to create different heights and areas within the same scene. The set worked well, as did the projections, but it was the lighting design, which sometimes seemed to get a little out of hand. There is a huge tendency currently for lighting designers to be very "creative" and "liberal" with their designs, and most of the time they work. However, on occasion, they obfuscate and dissipate the scene rather than ameliorate and harmonise with it, and this happened on a couple of occasions during tonight's show sadly.

In a show which quite happily mixes fantasy with reality, and messes around with time periods, there has to be some stability, an anchor so to speak, on which we can keep ourselves grounded in the production without it all spiraling out of control. And despite his role being the one who creates all the fantasy, I found the leading role of Edward Bloom to be that person this evening. Joe Clarke's grounded and believable performance was, I think, what made me enjoy the show as much as I did. He is a very easy-to-watch actor, with a totally sympathetic and credible, fully-rounded characterisation.

Clarke was helped in his role by being cast with equally talented protagonists. His long-suffering, but ever-loving wife was played with verve and realism by Aimee Clare. The young version of his son, Will, was played by his real-life son, Billy Clarke, who made a truly good attempt at this rather difficult role, whilst the older version of his son was played by Scott Heath, who displayed just the right amount of love / confusion / disappointment / aggravation / and finally understanding and love once again in his portayal.   

Jennifer Haney was older Will's fiancee, Josephine, with Dawn Lloyd and Grace Dougall playing the two different ages of Joe's childhood would-be sweetheart Jenny Hill. It was Georgia Brooksbank as the Witch however, who surprised me the most with her song in the first act - a voice and characteristation which simply came from nowhere, and truly impressed. 

Along with a large and talented cast of cameos and chorus, not forgetting an extremely thin, deep-voiced Giant called Karl (Matt Austin), and a "guest star appearance" by PT Barnum's elephant, this was asensibly produced, engaging and enjoyable production, brought to life by Louise Colohan (director), Ian Sherwood (Musial Director), and Liz Cardall (choreographer). 

Reviewer - Matthew Dougall
on - 24.9.22

THEATRE REVIEW: A Night At The Kabuki - Sadler's Wells Theatre, London.

What an absolute delight. This show is a feast for the eyes and the brain. Bravo to Sadler's Wells for staging this Modern Japanese Fusion. 

'A Night At The Kabuki' is written by Hideki Noda who has based this showcase around William Shakespeare’s 'Romeo And Juliet' tragedy, using Queen’s ‘A Night At The Opera’ album as the soundtrack. It seems unthinkable that these three influences could be mashed together.

What if Romeo and Juliet didn’t die? What if they lived to tell the story? Can history be changed? What if tragedy can’t be averted? What if the story is set amidst two warring Japanese families, instead of Italian ones? 

Of course, there would still need to be star-crossed lovers, death and murder.

If you haven’t experienced the incredibly exciting art form that is Kabuki, then this will be a delightful introduction, with a twist. It’s a fast-paced show with a phenomenal amount of energy. But it is very funny. We laughed out loud for most of the first half. It is a long show, so be prepared for over three hours of non- stop action. The second half was more sombre and during a week of highly charged emotions, a tear did appear in my eye at the end. A standing ovation for a truly magnificent cast. 

Kabuki is a classical form of Japanese dance-drama. Kabuki theatre comprises, a combination of dance, story and music. It is known for its heavily stylised performances, the often glamorous costumes worn by performers, and for the elaborate Kumadori make-up worn by some of its performers. In this production only one performer wears full Kumadori make-up and that is Kiyomori, who is Romeo’s father. He is both ferocious and funny, and he was so traditionally Kabuki that you forget you are watching a Shakespeare based performance in central London.

 

In true Kabuki style the performers were taking multiple parts and as the show was so fast-paced that you had to really pay attention to work out who was who. Naturally, these performers are incredibly well known in Japan for their theatre, TV and film work. I had a few favourites. Satoshi Hashimoto, a renowned Japanese film and TV actor, was so funny with an amazing stage presence. He was adorned in the biggest and showiest costumes throughout the show, having three major parts and several lesser parts. He is distinctly recognisable as the tallest and most distinguished performer on the stage. The funniest part of the whole show happens where Satoshi enters the stage with balloons (I cannot tell you more as I do not want to ruin the story). The audience were in uproar.

At this point, I need to mention Nurse; in Shakespeare’s 'Romeo And Juliet' she steals the show, the same happens here. On further investigation, I discover that the nurse who is sprinting around the stage, climbing up the scenery and bouncing from one place to another, is in fact Hideki Noda, none other than the writer and director. He knew how he wanted this played and he did it with gusto.

I recognised ‘Old Juliet’ but could not place her; she has also appeared in over one hundred and fifty Japanese movies. She was a continual presence on the stage. Both Old Juliet and Old Romeo (Takaya Kamikawa – another famous Japanese film actor) were on stage for the whole performance of three hours. They were the storytellers; they were the shadows and consciences of Young Juliet and Young Romeo. They were the voices of reason; they tried to change destiny. 

Juliet was from the Minamoto Clan who do not believe in riches, wealth, fame or indulgence. Romeo was from the Taira Clan where parties and wealth and notoriety are of the greatest importance. They come together in a clash of cultures, amidst a terrible war. They are young and they are in love. Both Juliet (Suzu Hirose) and Romeo (Jun Shison) are the most beautiful creatures that you could imagine, and you cannot believe their love is destined to last for only five days. Both Hirose and Shison despite their young ages have also appeared in many movies. The rituals of Samurai where you state your name before battle are also depicted, it was quite frightening seeing and hearing this troupe going into battle. You can only imagine how you would have felt if you had these fearless warriors racing towards you in times gone by.

'A Night At The Kabuki' was a fantastical magical experience, the lighting (red depicting wartime and pale white for calm), the beautiful changing of scenes under a rippling moving fabric cloth, seeming like waves and the underlying Queen soundtrack. 'Love Of My Life' playing out through the whole show, interspersed with clips from 'Bohemian Rhapsody', 'You’re My Best Friend', 'God Save The Queen', and a few others. This performance puts Japanese acting royalty all in one place at the same time on the Sadler’s Wells stage and it was an honour to watch them.

This modern Kabuki was like a dream enveloping my whole consciousness. 

Reviewer - Penny Curran
on - 22.9.22

NEWS: Full cast announced for Rodgers And Hammerstein's 'Cinderella' - Hope Mill Theatre, Manchester

Full casting announced for Hope Mill Theatre’s production of Rodgers + Hammerstein’s Cinderella the Musical

 

Tuesday 1^st November – Sunday 11^th December 2022

 

Full casting has been announced for the UK theatrical premiere of Rodgers + Hammerstein’s Cinderella, opening at Hope Mill Theatre in Manchester in November.

 

Leading the creative team for this new production are venue founders Joseph Houston and William Whelton, with Houston directing and Whelton co-directing and choreographing. Announced today is that Tarik Frimpong (The Wiz Hope Mill Theatre, Mary Poppins Returns) will join the creative team as Assistant Director.

 

Joining the previously announced Grace Mouat (she/her) (SIX, & Juliet, Legally Blonde) who plays Ella and Jacob Fowler (he/him) (Heathers the Musical, Little Mix: The Search) who plays Prince Topher are Annie Aitken (she/her) (The Phantom of the Opera) who will play Madame, Julie Yammanee (she/her) (Carousel) who will play Marie/Fairy Godmother, Lee Ormsby (he/him) (Les Miserables) who will play Sebastian, Matthew McDonald (he/him) (HMS Pinafore) who will play Lord Pinkleton (U/S Prince Topher), Katie Ramshaw (she/her) (Jeremy Jordan in Concert) who will play Charlotte, Olivia-Faith Kamau (she/her) (Million Dollar Quartet) who will play Gabrielle and Adam Filipe (he/him) (The Prince of Egypt) who will play Jean-Michel.

 

Completing the cast will be featured ensemble members Morgan Broome (she/her) (U/S Madame/ Gabrielle), Lois Glain Postle (she/her) (U/S Marie/ Fairy Godmother), Ria Tanaka (she/her) (U/S Ella), Ella Valentine (she/her) (U/S Charlotte), Jamie Jonathan (he/him) (U/S Sebastian), Will Fisher (He/Him) (U/S Pinkleton), Trevor Lin (he/him) and Milo McCarthy (they/them) (U/S Jean-Michel).

 

Completing the creative team are Musical Supervisor Leo Munby, Musical Director Audra Cramer, featuring New Musical Arrangements by Jason Carr, Set and Costume Designer Elly Wdowski, Projection Designer George Reeve, Lighting Designer Aaron J Dootson, Sound Designer Adam Fisher, Associate Choreographer Charise Renouf, Wig Designer Richard Mawbey, Wig Supervisor Lucy Packham-O’Brien, Assistant Costume Designer Eve Salter, Sound No 1. Josh Evans, Casting by Jane Deitch and Artwork by Steph Pyne.

 

Director Joseph Houston said: “We are thrilled to finally share our full cast for Rodger’s + Hammerstein’s Cinderella. The whole Cinderella casting process was a joy from beginning to end, and the sheer talent that we have assembled is truly remarkable. Having Grace Mouat in the title role, is so exciting and I know audiences are in for a treat, seeing her take on such an iconic role, alongside Jacob Fowler, who is also set to stun audiences. We have assembled an incredible creative team to help bring this show to life and we can’t wait for audiences to experience our most ambitious show to date.” 

 

The smart and beautiful young Ella lives in the care of her wicked, self-absorbed stepmother Madame and her two stepsisters Charlotte and Gabrielle. In another part of the kingdom, Prince Topher is trying to find himself and learn his place in the world. When his scheming advisor Sebastian suggests throwing a ball so the Prince can meet potential brides, Ella and Topher’s different worlds come together. Expect the unexpected in this clever retelling of the beloved fairy tale.

 

Cinderella is the only musical written for the television by legendary duo Rodgers & Hammerstein (South Pacific, Carousel, The Sound of Music). Originally broadcast live in 1957 starring Julie Andrews, the broadcast was watched by more than 100 million people, before subsequently being remade for TV again in 1965 and 1997 (starring Whitney Houston and Brandy).

 

A new Broadway version with a Tony-nominated book by Douglas Carter Beane premiered in 2013 featuring several fresh characters and songs. This will be the first time a fully staged version of the show has been performed in the UK (following a 2019 one-night concert version in London).

 

The musical’s previously postponed 2020 run will be staged this Autumn at Hope Mill Theatre, from  Tuesday 1^st November until Sunday 11^th December with a press night on Sunday 6^th November.

THEATRE REVIEW: Girl From The North Country - The Lowry Theatre, Salford.

With songs dating from 1963 to 2012, ranging from the familiar to those only die-hard Dylan fans will recognise, and having captivated audiences in London’s West End and on Broadway, this production delivers an outstanding homage to a gifted musician and poet; the beautiful voices of the cast are testament to Dylan’s outstanding portfolio of work.

The story is set in Dylan’s birthplace, Duluth, Minnesota, in 1934 in the cold winter of The Great Depression (seven years before the prodigious songwriter was born), in a run-down lodging house housing an assortment of characters, all with their own problems and different troubles in life. 

Nick (Colin Connor) and Elizabeth (Frances McNamee) own the boarding house. He is having an affair with one of the guests and she has early onset dementia. Their son, Gene, (Gregor Milne) is a would-be writer with an alcohol addiction and their adopted black daughter Marianne (Justina Kehinde) is mysteriously pregnant.

Around this central group director McPherson interlaces black and white lovers and would-be suitors, a boxer, a rogue Bible salesman, hangers-on and ne’er-do-wells, plus another troubled family. Life has not been kind to any of them and all have something to regret or to hide; all are given equivalent emotional weight throughout the piece. There is also the evocative feel of a candlelit ghost story.

Frances McNamee plays poor dementia-stricken Elizabeth with veracity and timely comedic interludes, whilst Colin Connor (Nick Laine) unveils boarding house owner Nick as an adulterer who is up to his neck in financial debt, with candour and down-to-earth reality. Chris McHallem holds the piece together as Narrator whilst also playing Dr Walker.

It is basically a play with music; the songs are drawn from Dylan’s back catalogue, not just the early Woody Guthrie-inspired folky protest work, but those with more musical development in them which the cast handle well emotionally. Author McPherson has included songs from every decade of Dylan’s music.

This is a piece laced with melancholy, uselessness and a hint of the supernatural. The songs are interspersed into the action with the cast stepping up to microphones and picking up instruments to perform them alongside an onstage band. The cast are multi-talented, all singing and playing various instruments; interestingly McPherson has used only the instruments which were available during the 1930s in the production (piano, violin, mandolin, guitars, drums and double bass).

The production relies heavily on the vocal talent of the cast, all of whom have skilled singing voices; mention must be made of the singing talents of Nichola MacEvilly (Mrs Neilsen), Frances McNamee (Elizabeth), Frankie Hart (Katherine Draper) and Rebecca Thornhill (Mrs Burke,) all of whom have excellent voices. Justina Kehinde (Marianne) and Joshua C Jackson (Joe Scott) are vocally outstanding; their voices are exceptionally beautiful and blend remarkably well together. The slowed-down duet of ‘I Want You’ performed by Gregor Milne (Gene Laine) and Frankie Hart (ensemble) brought out the poignancy of the song and was delightful.

Throughout the show, the ensemble produced incredible combinations of dance to accompany their backing melodies. Movement Director, Lucy Hind, created a mixture of bee-bop, waltz, and freestyle movement which was key to the era and was never obtrusive. 

Rae Smith must be commended for her excellent work on set and costume, the authentic detail of the costumes gives important reality and relevant atmosphere to the production. One set is used throughout, the kitchen of the boarding house, dark and dimly lit, thus achieving the atmosphere of the Depression. It utilises various back-drops with photographs which are at times back-lit so that some of the ensemble appear as dark silhouettes against it. The screens and photographic backdrop are understated but very effective. 

Enormous recognition must be given to Simon Hale for his superb musical arrangements and music supervision for the show.

The show ends with a rendition of Dylan’s beautiful ‘Forever Young’ and closes on a poignant image of the family sharing a meal.

'Girl From The North Country' is packed with emotion and deals with issues that are especially pertinent today, with concerns about money, mental health, and looking after one-another when times are hard, whilst McPherson has managed to make Dylan's songs sound heartbreakingly personal.

Dylan fans will love this production, as it reinterprets the familiar in a new way, all approved by the great man himself, whilst fans of musicals, which include incredible, heart-wrenching songs and powerful, emotive lyrics, will adore it too.

'Girl From The North Country' is at The Lowry, Manchester from 19th-24th September 2022.

Reviewer - Anne Pritchard
on - 20.9.22

AMATEUR THEATRE REVIEW: Matilda Jr. - The Grange Theatre, Hartford. Northwich.

I love the Grange Theatre in Hartford (Northwich); this multi-purpose and versatile space never ceases to amaze me, and there really isn't a bad seat in the house. This time, the stage proper, along with the large curved auditorium space was utilised by Curtain Call Productions for their telling of the Roald Dahl / Tim Minchin musical, Matilda. This was the Junior version of the show - a 60 minute condensed and child-friendly version intented to be performed entirely by young children and teenagers.

I have only seen Curtain Call once before, and they impressed me then; however, they surpassed my expectations on this occasion. It was clear, right from the start and throughout, that every single one of a cast of seeming thousands were not only fully engaged in their roles and giving 100%, but they were also enjoying every minute of it too.

Costuming, lighting, sound, all helped in the creating of this wonderful show, the singing was of a high standard throughout, and the choreography (Joel Montague), was both exciting and creative, performed with elan. My only real criticism of any negative variety was with the use of the stage blocks. Directed by Gail Montague, it wasn't always clear why the blocks were being moved, what they were supposed to represent, and why they were moved sometimes twice by two different children in one scene change. 

Charaterisations were superb from all. Of course, Ava Gordon-Butler as Matilda was both symapthetic and relatable, giving a solid and engaging performance from the start. Both Ben Mather-Dodd as Trunchbull and Tom Green as Rodolfo had me howling with laughter for all the right reasons. Lydia Williams's Miss Honey was a slightly stronger and more "noticable" character than I have previously seen and this worked well; whilst special mention must go to Archer Armstrong, who truly made the character of Bruce his own. 

With a cast of 60 young people on stage, this must have been something of a logistical nightmare, but the headaches and sleepless nights of those in charge paid off. This was a slick, professionally produced, intelligently outlined, and extremely enjoyable production, and I loved every minute of it. Bravo!

Reviewer - Matthew Dougall
on - 14.9.22

THEATRE REVIEW: Much Ado About Nothing - The Crucible Theatre, Sheffield.

This is Shakespeare as you are most likely to have not seen it before! The script is essentially as you might know it (save for a few modern additions), the costuming is essentially modern dress (except for the Wild West-themed party scene) and staging is virtually non-existent apart from three benches (and occasional massage beds). There are next to no lighting effects and virtually no sound effects (with the notable exception of a helicopter). So what makes this Shakespeare unusual? The answer is the diversity!

This production took diversity to new levels. The cast was very ethnically diverse, although nothing unusual in that (in this case with almost every major region in the world represented!). The real diversity with this production is in the emphasis on disabilities, including a non-speaking female lead (conversing mainly through other actors using sign-language), an actor using a wheelchair for the majority of the performance, and an actor with a prosthetic leg. The refreshing aspect was that the diversity was not in this case a cynical way of manipulating the Arts Council into providing grant funding (a ploy seen all too often by many companies). Rather, it was a serious initiative by the theatre company Ramps On The Moon who aim to normalise the presence of deaf, disabled and neurodiverse people on and off stage. The play is a co-production with Sheffield Theatres, so there was a balance of disabled and non-disabled actors. As the play got underway, it soon became of no consequence who did or did not have any form of disability, which was surely the intention.

With the cast introducing themselves at the outset, the audience were soon drawn into the world of the characters. The problem, as with many Shakespeare productions of this style, was that with a large cast of around 20, all in modern dress and effectively no set, it is hard to keep on top of the various roles and social positions of each character. The general thrust of the story was not hard to follow, aided by a running screen of the dialogue but some more costuming to denote status and job functions would have helped.

A set-piece fairly early on in the production was a Wild West hoe-down scene complete with line-dancing and the odd musician. The large cast enabled a real sense of party atmosphere, which was pleasing to behold. Another scene which worked well was the health club where four members of the cast conversed whilst lying on tables as each received a massage. Almost all the remainder of the play relied on the power of the spoken word and liberal use of the three benches although the generous acting space was used to full advantage with considerable movement.

This was a very cohesive production with the entire cast giving a real sense of community. The direction by Robert Hastie ensured the mood kept moving from light to dark, with the ‘ado’ parts of the story being told with real drama and feeling, juxtaposed to the ‘nothing’ elements, including several comic scenes. A memorable example of the latter was an interrogation with the prisoners gagged with rubber ducks (which perhaps surprisingly did work!). The double-act of a pair of extremely camp impresarios was also very funny. This was also a case where distinctive costuming really worked, helping to define the roles of the characters in question.

Any issues in trying to follow the story closely were unrelated to any individual disabilities; rather a general need for more distinctive costuming and staging but this was a lively and enthusiastic production, resulting in a virtual standing ovation, having provided a lot of laughter throughout. An intriguing production and a useful object lesson in inclusivity.

Reviewer - John Waterhouse

on - 13.9.22

BALLET REVIEW: Nureyev: Legend And Legacy - The Theatre Royal, Drury Lane, London.

A glorious evocative display from some of the world's best dancing talent.

Opening night on September the 5th saw the world's leading ballet stars join together for a gala to celebrate the legacy of world famous and legendary soviet-born ballet dancer and choreographer Rudolf Nureyev. I was delighted to be in attendance, and after a relaxing Lido swim in Covent Garden, headed straight over on the short walk to Drury Lane. At first sight, the Theatre Royal looks quite unassuming, and then turning the bend one is greeted with its true magnificence, its history gloriously revealing itself. Haworth Tomkins recently completed a major restoration of the iconic Grade 1 listed theatre. The restoration involved seven years of research, and the attention to detail that has been laid upon this building project has beautifully brought the theatre back to life. It clearly shows, the hustle and bustle, a perfectly laid out red carpet, and the cameras all helped to create a magical buzz of what we were all about to witness amongst the theatre's great surroundings. The buzz understandable, Nureyev was highly regarded and in fact many believe the greatest male dancer of his generation. His influence deeply affecting those who were in his presence and even to this day, 29 years after his untimely death at age 54, his life and legacy is carried on via performances like this and also his Rudolf Nureyev Foundation. The foundation established in 1975 (then named The Ballet Promotion Foundation) is, amongst many other things, there to help assist in grants and funds to enable aspiring ballet dancers who cannot afford to go to ballet school to follow their dreams. This I believe to be a true legacy of love carried on through the years.

The gala, curated by former Royal Ballet Principal Nehemiah Kish and supported by the Rudolf Nureyev Foundation, involved an international cast of dancers accompanied by live music from the Royal Ballet Sinfonia, conducted by David Briskin. The gala was spilt into two acts consisting of nine classical excerpts representing highlights in Nureyev's career. Before the dancing began, entering from the wings and introducing this opening performance was acclaimed actor Ralph Fiennes who directed the Nureyev inspired 2019 film biography, "The White Crow", and gave an impassioned talk about Nureyev and his work. Also stepping out to introduce the gala was Dame Monica Mason DBE, former Director of The Royal Ballet who spoke of her great fondness for not only the work of Nureyev, but the man himself and left us with the deeply thought-proving words, "He wanted to poison us all with his passion."

We were led in with "The Sleeping Beauty, Act 2, Entr'acte Solo" and which I have to say Guillaume Côté, who was a last minute replacement for Germain Louvet due to injury, gave a fine performance. It's never easy standing in last minute for many reasons (Lovet is also due to dance this piece on the 12th September performance) However I'm always inspired by close-to-the-wire cast changes and where artistes give their own uniqueness to any given role. Credit to Lovet. Next up was "Gayane, Pas De Deux" performed by Oleg Ivenko, star of 'The White Crow' and who was an absolute delight to watch, his stage presence was on another level. His dance partner Maia Makhateli shone just as brightly on that stage and was a beautiful match for Ivenko. "La Bayadere, Act 3, Pas De Deux" danced by Iana Salenko and Xander Parish was extremely watchable and delivered with poise. For me, a definite highlight of the whole gala evening came next in the form of "Flower Festival In Genzano, Pas De Deux", performed by Ida Praetorius and English National Ballet dancer Francesco Gabriele Frola. Frola completely owned that stage and his dancing talent was clear for all to see, with his exquisite leaps and energy. I could not look away once from watching this piece and Praetorius just dazzled as his partner, her character work was wonderful to watch in this August Bournonville inspired dance. The costumes were especially charming in this piece and credit to wardrobe supervisor Valentina Centra. The final piece before the interval was "Laurencia, Pas De Six" with Cesar Corrales, Natalia Osipova, Yuhui Choe, Marianna Tsembenhoi, Benjamin Ella and Daichi Ikarashi. This classical dance also had wonderful layers of Spanish folk dance and the two intertwined perfectly. I almost felt a little out of breath at the end of this dance and had certainly built up a thirst for an interval drink.

The interval bubbles were sipped in The Garden Cafe Bar, a mystical and hidden oasis secret garden style bar that dazzled with fairy lights, candles, and with a real vintage-style vibe. I loved it in there and will be back! Once seated again ready for Act 2 we were introduced to "The Sleeping Beauty, Act 3, Grand Pas De Deux" with Natascha Mair and Vadim Muntagirov where both oozed elegance and finesse. Next was "Giselle, Act 2, Pas De Deux" and dancers Francesca Hayward and William Bracewell graced the stage with a presence I've not quite witnessed before, the chemistry between them was magnetic. My second highlight of the evening was the penultimate performance of "Don Juan (Excerpt)" where I was completely mesmerised watching. I quote "The Angel Of Death, a mysterious lady in white, approaches Don Juan determined to bring him to his damnation. However, beholding his face, she, as all women, falls in love with him and is unable to act..." That mysterious lady in white, Alina Cojocaru was just sublime. Her ballet dancing looking effortless and as though she was floating in space. Alongside her Alexandr Trusch led by example and had the audince in the palm of his hand. This piece for me was astounding and got me standing on my feet at the curtain call for this dance alone. Sensational, bravo Trusch and Cojocaru. The final dance "Le Corsaire, Pas De Deux" has Corrales giving us a bold and daring display of his talent with spins, leaps and endless bounds of energy and stage presence. Yasmine Naghdi shines beautifully and this piece looked to be a firm favourite judging on the cheers from the audince almost egging the dancers on for more!

The stage was simply but appropiately set with just the Royal Ballet Sinfonia delicately lit in the background behind a gauze backdrop. This gave the dancers their moment to really stand out and the Sinfona with their own dramatic yet unobtrusive presence throughout the whole 2 hour performance. Credit to conductor Briskin and all the Sinfona members who played with zest and passion. I may have been the only one on my feet at the end, I was too engrossed in applauding the cast to notice and with no one by my side there was no shuffling or awkwardness about standing. I think standing ovations should be heartfelt, if you feel it, you feel it and I certainly did watching Nureyev: Legend & Legacy. Even more the special at Theatre Royal Drury Lane where Nureyev made his 1961 debut!

Reviewer - Mary Fogg
on - 5.9.22

THEATRE REVIEW: Fear And Misery Of The Third Reich - St Luke's Bombed Out Church, Liverpool.

Theatre Right is possibly Liverpool’s newest theatre company and what better way to make a splash by taking a powerful, dramatic work by one of the greatest ever playwrights and presenting it in the awesome open-air venue that is the bombed out church of St. Lukes with a fresh, modern take by a talented ensemble?

The modern take was the comparison of 1930’s Nazi Germany with Putin’s Russia of today and whilst there are many clear parallels, from the aggressive invasion of a neighbouring state to suppression of freedom at home, there was a huge irony. Brecht was writing as a communist sympathiser, inspired by a visit to Moscow and decrying fascist dictatorship; Putin, born into Stalin’s Russia, cut his teeth as a KGB officer and has never renounced Marxism or communism. That aside, it was curious watching a play about the Nazi regime performed in a venue which had actually been destroyed by the Luftwaffe (although they had fortunately left the walls standing).

            

The play was certainly performed in Brechtian style with all the cast in plain grey outfits, minimalist props and frequent interspersions of music, ranging from the Sex Pistols to '60’s hippy tunes. Brecht’s plays had political messages and he wanted to ensure his messages were not lost in the drama of the various times in which his plays were set. There was also the curiosity of hearing people talking as Germans living under Hitler with all that that entailed yet all with (as least at times) strong Liverpool accents! This was surely though no oversight and served to ground the horrors of the 1930s with what is happening in the present day, notably in Russia and Ukraine.

'Fear And Misery Of The Third Reich’ is actually a collection of connected playlets focussing on the lives of everyday, ordinary people with no depiction of any historical characters. No specific historic events, such as Kristallnacht, are depicted either. This really was a play from the perspective of the public. The various scenarios observed ranged from ‘undesirables’ placed in a prison labour camp to factory workers being used for propaganda purposes to couples experiencing the growing realisation of the dangers of being in a relationship where one of them is a Jew.

With hard-hitting scenes and engaging dialogue, the effective micing-up of the cast was a wise move, ensuring the power of the words was not lost. All five members of the cast were able to convey a variety of characters, with life under the Third Reich examined from various angles. In a long conversation on the telephone, Samantha Alton brought over the anguish and anxiety of trying to come to terms with life under the ‘new order’. Mary Savage as a Work Camp guard hinted at the overt brutality of the Nazi regime. There was even an element of comedy with Reginald Edwards as the compere at a Propaganda rally continually putting a positive gloss on the lives of various workers, for whom life was clearly not as rosy as the Nazis wanted everyone to believe. Liam Powell-Berry brought over the mental-tangles of individuals who clearly wanted to believe in the Nazis despite what they saw around them whilst Megan Thorne went from a brutalised prisoner to a Nazi equivalent of a ‘hero of Socialist Labour’

            

This was a consummate production, atmospherically directed by Anthony Procter and making full use of the central performance area. The play sufficiently distanced itself from 1930’s Germany whilst starkly presenting what life for ordinary people was like under the Nazis. That is surely what Bertholt Brecht would have wanted.

Reviewer - John Waterhouse
on - 2.9.22

THEATRE REVIEW: Noises Off - The Festival Theatre, Pitlochry.

Farce is alive and well and living in Pitlochry this summer. Ben Occhipinti's vision of Michael Frayn's classic is very much a period piece of its era, from the costuming, the set, and everything that lies between. 

The story is easy, even if the subplots and romantic intrugues aren't... the first act shows the dress / tech rehearsal of a farce, whilst the second act shows what the play looks like from backstage during its run, and the third act takes you to almost the end of the play's run, and from the audience's perspective once again. We are shown the development of or deterioration of the relationships between the cast (and director), and how their personal lives affect their stage performances.. oh and it wouldn't be farce without an ingenue running around in her neglige and a pair of trousers falling down!

Frayn's script still sparkles, despite it being perhaps not exactly what our snowflake generation would call PC; but it is of its time, and is perfectly crafted. The cast of nine handled their roles well - it is never easy when casting a rep season, utilising the same actors and actresses for all the productions - but here the cast tackled their roles as if they were born for it, and it paid dividend. Good interaction and character development from all, managing to make their ridiculous situations believable as we followed their intertwining stories.

Some more comedy could have been elicited in certain places, and certainly the pace needed to be upped overall for it to truly be farce; but again, when each performance is a single performance with the cast performing other productions both before and after it, and with no chance for the play to "bed in" as such, this must be an nigh impossible thing to achieve. 

Sound, lighting, and stage fighting were all effective and used well, and there was indeed some lovely physicality - John Cleese-esque - from Connor Going's Garry. 

Pitlochry Festival Theatre's production celebrating the 40th anniversary of Frayn's farce-within-a-farce is, despite it being just a tad pedestrian and clunky at times, a very enjoyable and funny one, faithful to both playwright and era. I might suggest though that an 8pm start for such a long (3 act) play is a little on the late side.  

Reviewer - Matthew Dougall

on - 2.9.22

THEATRE REVIEW: Bugsy Malone - The Grand Theatre, Leeds

Alan Parker’s quick-firing, splurge-filled musical was written for children – to perform and to watch. It was made famous by the 1976 film (launching the stellar careers of Jodie Foster and Scott Baio) and has been regular youth group and school production fodder since it was first staged in 1983. A unique concept back in the 1970s and even now, almost 50 years later, all the characters are adults played by children. This is the glory of Bugsy Malone – it was an inspired, untested idea, and it worked! The film delighted adults and children alike, depicting the violent gangster mobs of the 1920s as fresh-faced youngsters with guns that fired cream. It quickly passed into British classic status and has enjoyed several revivals in single venues over the years.

But, it would be unheard of to tour the number of children needed to stage Bugsy within child performing restrictions, so this touring production brings us a half and half version. Seven of the main characters are played by children, and the ensemble is made up of young adults (who take several minor roles including the gang members, Fat Sam’s dance girls, Cagey Joe, Leroy etc). And, here lies the rub – we now have neither one thing nor the other. The ensemble are unerringly fabulous: strong, drilled performers with boundless talent and stamina. The children are, with no doubt, also talented with lovely singing voices but they pale against the ensemble, through no fault of their own. Clearly they would shine as child characters in ‘Matilda’ or ‘Les Mis’ but here, they lack the strength to match their adult cast-mates – with the notable exception of Delilah Bennett-Cardy (Blousey) and Fayth Ifil (Tallulah).

That said, this is an exuberant performance! Staged in a deceptively simple space with clever use of lighting, flies and a warehouse door, back street New York is depicted in all its grimy glory. The height of the back wall is a visual force throughout, and the direction makes great use of the different doors and stairs. The costume design is a feast for the eyes; the contrast of the showgirls’ sequins with the boys sharp suits is delightful. Jon Baosor’s design is perfection, from the pre-lit, flown nightclub tables to the skeletal framed sedan car. An enthusiastic peppering of baton bulbs bring the glitz and glam where required. There is an adroit cinematic quality – a nice nod to the show’s beginnings.

The music has had a re-write since the '80s, and it has made this production fresh and punchy. Many of the numbers have been extended with dance breaks, and this allows for Drew McOnie’s choreography to really wow. The precision and clarity of the ensemble dancing is truly spell-binding. The big cast numbers are fizzing with energy and acrobatics. Many of them have a real feel of the silent movie era, with exaggerated body language and visual humour, and the sheer height they clear with their leaps is astounding. Particular highlights were ‘Bad Guys’ and ‘So You Wanna Be A Boxer’. In contrast, Bennett-Cardy and Ifil’s solos were soulful and sweet – these girls have voices to die for, their clarity and tone surpassing their years.

The story too has benefitted from an edit – the dumb cop duo of the original are gone, and while I noticed their absence, they didn’t leave a gap in the storyline. The audition scene was a hoot, and the addition of seeing the would–be performers ‘backstage’ after Lena’s return was a nice touch. The cast move the show along at a lick, packing in the laughs between the musical numbers. Isham Sankoh’s Fat Sam, left to clear his own scenery after the demise of his gang, was a clear hit with the audience and his energy and timing was to be admired.

So, ignoring the dichotomy of a half-and-half cast, this is a family hit of a show. The glee just bounces off the stage. I have never seen a cast have so much fun. The energy is infectious and the music well-written, the choreography is jaw-dropping. This is slick, funny and fast – catch it if you can!

Reviewer - Justine Sutcliffe

on - 31.8.22