on - 29.10.22
Reviews, news, interviews and previews of THEATRE, COMEDY, FILM, MUSIC, ART, LITERATURE in Greater Manchester and the whole of the UK.
Monday 31 October 2022
STUDENT MUSIC REVIEW: Manchester University Symphony Orchestra Concert - The Martin Harris Centre, Manchester.
on - 29.10.22
THEATRE REVIEW: The Devil Rides Out: The Musical - The Empty Space, Salford.
on - 28.10.22
Thursday 27 October 2022
THEATRE REVIEW: The Other Side - 53Two, Manchester.
on - 26.10.22
Wednesday 26 October 2022
THEATRE REVIEW: Twopence To Cross The Mersey - The Albert Halls, Bolton.
on - 25.10.22
Tuesday 25 October 2022
AMATEUR THEATRE REVIEW: The Sound Of Music - The Garrick Playhouse, Altrincham. Manchester.
My over-riding criticism this evening however has to be laid at the feet of the sound department sadly. Microphones' levels were all over the place all evening. Sometimes we heard the dialogue too louldy, and sometimes we didn't hear it at all; whilst other times, individual chorus members were singled out and much louder than the rest of the chorus, and the levels were constantly changing. I am sure this was not intentional, and so hopefully can be easily rectified for future performances.
Reviewer - Matthew Dougall
on - 24.10.22
Monday 24 October 2022
AMATEUR THEATRE REVIEW: Alice In Wonderland - NWTAC Theatre, Moston. Manchester.
on - 22.10.22
Saturday 22 October 2022
STUDENT MUSIC CONCERT REVIEW - Chetham's Symphony Orchestra and Chorus - The Stoller Hall, Manchester.
on - 21.10.22
Friday 21 October 2022
YOUTH THEATRE REVIEW: The Little Mermaid Jr - The Grange Theatre, Hartford. Northwich.
on - 20.10.22
Thursday 20 October 2022
YOUTH THEATRE REVIEW: Peter Pan - The Hippodrome, Todmorden.
on - 19.10.22
Wednesday 19 October 2022
THEATRE REVIEW: Blood Brothers - The Lowry Theatre, Salford.
However, almost completely stealing the show (in a good way), was the amazing tour-de-force that was Niki Colwell Evans as Mrs. Johnstone, the twins' mother. Her emotional and emotive portrayal was simply electric; sympathetically and simplistically portrayed, we saw a raw and yet very real performance from a lady who could sing beautifully and yet be screaming with anguish at the same time... which takes a lot of doing!
on - 18.10.22
Tuesday 18 October 2022
ONLINE THEATRE REVIEW: Anne Bayne Of Duddingston Loch - Melbourne Fringe (digital online)
Dealing with themes of loneliness
and ones relationship with nature and the surroundings, the audio play is an
incredibly relaxing and gentle listen. Beginning with two soft chimes, Doolan’s
delivery and pacing, combined with these intricate descriptions offers
something that matches the likes of Autonomous Sensory Meridian Response (or
ASMR for short).
The listener feels for this
character who spends her time walking about the woods, dealing with a mixture
of emotions and finding herself. The freedom of solitary is embodied in a
golden eagle soaring high in the sky. Anne and Allan’s house, compared to a
cave by Anne raises this idea of loneliness and becoming almost hermit-like
whilst Allan is away in Italy. The discovery of her childhood home gone, also
brings upon the listener this idea of time passing us by.
Especially in the last couple of
years with COVID preventing many of us to spend time with loved ones, Doolan’s
story may be close to home for a lot of us. Our own struggles and acceptance of
being apart and alone is mirrored in Anne Bayne’s situation. Despite the story
being set over two centuries ago, it remains relevant to today.
When one searches Duddingston
Loch on the internet it is very easy to picture a lonesome woman wandering
around in 1739. The picturesque setting is perfectly described by Doolan in her
performance as Bayne. Touching upon the earlier point of this being an easy
listen, ASMR-y audio play, it is incredibly easy to close your eyes and vividly
picture everything which is described to you, and place yourself in Anne
Bayne’s shoes (or lack of). The establishment of this world and descriptions
are definitely the main take away from this, Doolan’s strengths as a writer are
clearly displayed in this audio play.
At only thirty minutes' long,
‘Anne Of Duddingston Loch’ is the perfect piece to have on for that something-to-listen-to-on-your-way-to-work, or to have on in the background as you do
chores. One can easily follow the story and get a feeling for the character and
emotions without needing to dissect it in an overly-evaluative manner. It keeps
you interested and invested without requiring you to be devoted to every word
said. However at the risk of seeming somewhat dismissive of the work, paying
some attention of the words really drives this atmosphere that Doolan creates
which heightens the character, Bayne’s, emotional journey and understanding of
herself.
What is also great about this
audio play is its accessibility; a digital file available on Soundcloud with
additional excerpts on YouTube, and free to listen to. Thanks to the wonders of
technology we are in a time where artists, writers, performers etc., have these
platforms to exhibit their talents and works for us to experience and enjoy. On
a broader scale, these digital events which make up the online section of the
Melbourne Fringe mean one can enjoy something they may otherwise never get the
opportunity to, and it is important to make the most of these opportunities and
discover new avenues of art which were previously closed to us.
Reviewer - Daryl Griffin
Sunday 16 October 2022
THEATRE REVIEW: J B Shorts 22 - 53Two, Manchester.
Friday 14th October 2022, and I was at 53Two in Manchester, who hosted JB Shorts 22 and it was brillaint! I absolutely loved the venue and everything that was put on display. Highlighting 6 individual 15 minute shorts felt like just the right amount of theatre in one quiet and quaint little space. Perfect for a date night, a mate night or a solo trip JB Shorts was fantastic and a great night out.
The first play was 'I Want My Britain Back'. Krissi Bohn plays the controversial Secretary of
State who finds herself locked in a room with political activist Rachel
Gill-Davies, whose character is bidding for new healthcare plans with penny
recipes to help those facing working class poverty and much more. Bohn’s
character of the Secretary of State came across as a bitch BUT that was perfect
for the role! She played brilliantly as we completely believed she was the
Secretary of State! This was matched excellently with Gill-Davies’ character
who calls out the Secretary of State at every moment she has and with every
right she has. The debate between the two characters flowed effortlessly and
the women had clear passion and energy on stage to fuel this great debate. The emotion and conviction from
Gill-Davies’ character specifically when questioned about her class poured into
the audience. Throughout the short, the humour and comedic timing was able to
lift its audience from a touching and very raw topic that is captivating
Britain in the present day whilst also complimenting the hard-hitting subject
it was tackling. The whole piece had a 'Black Mirror' vibe and it left me wanting
more. The ending for me wrapped the piece wonderfully leaving a satire note for
the audience to interpret for themselves.
Starting with a fabulous rendition of when two become one, the transition of Karaoke was perfect in setting the scene for the next short 'I’m A Slut'. Hinting at the night before, 'I’m A Slut' challenges opinions and prejudice surrounding disabilities and the world of sex whilst also nodding to the societal appropriations of one-night-stands and the conversations surrounding that. Stanley Rawlings and Steph Lacey gave natural chemistry and the banter between them didn’t feel written. The conviction of Rawlings’ character made my head and my heart fight because he was so caring and loving and yet a little bit broken but had embarked on a terrible habit of adultery with no remorse for his actions. Anna Swan’s character felt like she had the right kind of egotistical balance that hit all the correct spots. Contrasting with Lacey’s intrepid yet seemingly coy character. As a whole l enjoyed the short and I was quite astounded that in the short burst of 15 minutes we see Rawlings character change so much.
'The Looks Department' was one of my favourite pieces as the provocative storyline with drop of humour left me wanting to see a full length show of it! It left a divide between myself and my friend because it provoked her so much that she didn’t enjoy it but that is the reason I thought it was brilliant! Her opinion was that looks shouldn’t even be a discussion when hiring someone - and I said exactly that’s why this piece is so brilliant! The intertwined issues of age, culture and gender all highlighted internal prejudices that we each all have and we choose whether or not to act upon these! I also enjoyed the explorations of the solutions employees come up with in order to solve a little problem like choosing the right candidate, which can leave a company open to a lawsuit - which begs the question what do you do in all these moments. I found the dynamic between Jade Golding, Caroline Chesworth and Jordan Tweddle to be perfect! Each bringing something to the table that left the audience questioning where the piece was about to go. I walked away from this show wondering if this had ever happened in real life and also whether it’s happened to myself in life when applying for a position, a question I would never have the answer to.
'The Final Nail In The Coffin' was by far my friend’s favourite 15 minute short! Absolutely hilarious in all the correct places. This short explores the kidnapping of Boris Johnson, and Billy Doherty’s characters pursuit for justice in a far fetched and comedic way. Billy Doherty and Liverpool actress Victoria Oxley had a great chemistry on stage that suggested years of companionship from the couple they portrayed. Oxley was hilarious and witty which left a warmth with her audience, this warmth was matched by Doherty and the story which unfolded about his characters sisters battle with Covid. John Joyce-O’keeffe gave quite the performance as imitation Johnson which could have easily had me cringing in my seat, however it didn’t. It was subtle and plausible that Bojo does have a doppelganger doing his work. Dominique Ward’s news reporter gave just the right amount of gritty, cutting edge journalism with a touch of charismatic beauty. The whole piece in all was perfect for a 15 minute short. Leaving just the right taste in its audiences mouth.
I found 'Recording History' to be funny in parts and the performance given by Nadia Watson, Alexander McGonagle and Wendy Albiston to be utterly convincing. I enjoyed the actors depiction of the character but the storyline for me was a little bland and I was glad it was only a short. Some moments throughout I found brilliant - special nod to the eyebrow gestures shared between McGonagle’s and Albiston’s characters. Moments like this I felt were well timed. Albiston’s humour throughout was perfectly light, partnered wonderfully with McGonagle’s characters naive wants for stardom and Watson’s characters snootiness! Was a lovely trio.
'Five Women; Rambling' was by far my favourite of all
6 of the plays I watched! I really wanted to see a whole staged version of
this. I wanted to explore the five women’s sisterhood more and more as the time went on. I
wanted to see backstories, I wanted tragic endings and more camping
shenanigans. This short entertained thoroughly whilst leaving more questions
than answers. I wanted to know why Lynn Roden’s character (whom I imagine
myself to be in 30 or so years) didn’t see her darling poppy on her own anymore.
What was the big secret Kerry Williamson-Parry’s character was battling with.
Who was Nicola Gardner’s character, I wanted to know about this brilliant
Sister. How is Christine Mackie’s character coping with the penultimate theory
of growing older and potentially loosing her best friend and significant other.
And finally, does Julie Edward’s character EVER get to rejoin
trampoline-aerobics! All the questions and not enough answers but I absolutely
adored it and felt emotional throughout.
Reviewer - Caroline Louise
on - 14.10.22
THEATRE REVIEW: The Time Traveller's Wife - The Storyhouse, Chester.
Anything with “time travel” in the title, and this
reviewer is there. Plus, this is the first ever theatrical adaptation of Audrey
Niffenegger’s classic timeslip romance
novel. Testing the waters at Chester Storyhouse before heading to the West End,
this musical production is a dazzling display of technical illusion and special
effects, combined with a poignant score, witty book and lyrics, and sensitive
yet entertaining performances from its cast. Last night’s performance finished
with a standing ovation.
The first act covered the initial romance of Henry (the time traveller) and Clare (his eventual wife) meeting for the first time in different time zones – she meets him for the first time when she is ten, circa the late 1970s, he meets her for the first time when he is in his late twenties, circa the mid 1990s – and culminated in their wedding. There was a lot of jumping around in different decades here, particularly the 1980s and 1990s, and a lot of fun was had by designer Anna Fleischle and wigs, hair and make-up designer Susanna Peretz in their historically accurate yet colourful designs. The teenage party in the 1980s, where Clare’s friends Charisse and Gomez joined the story, was particularly merciless in its use of mullets, denim and crimped hair.
The second act lingered more on the 2000s, and the implications of being married to a time traveller. The focus became a lot more lyrical, atmospheric and plaintive. It opened with a stunning sequence showcasing the full effects of video designer Andrzej Goulding and illusion designer Chris Fisher, as they shared with the audience the experience of being hurtled through time tunnels all the time from Henry’s perspective: – that one sequence alone is worth the price of the ticket.
Lauren Gunderson’s book switched from sympathetic yearning to full American sass in as many twists and turns as Henry’s time-travelling sequences, and her running commentary on relationships in general led to some moments of very sharp humour. The music and lyrics of Joss Stone and Dave Stewart focused more on the emotional core of the story, keeping a gently boppy pop background going of no discernible decade, but easily moving into piquancy when required. Director Bill Buckhurst had multiple design elements flowing seamlessly into each other, and created a world where time travel was real.
Joanna Woodward’s performance as Clare was beautiful: somewhat ditzy romantic comedy in the first act, artist / mother / left-behind wife in the second act. David Hunter as Henry sustained the focus of a very ordinary man who has a very extraordinary genetic ability, and kept it truthful and plausible. Phoebe Cheffings was charming as both their ten-year-old daughter Alba and the younger Clare.
Tim Mahendran was notable as baffled best friend Gomez, shambling around in comedy one moment, but flashing into dynamic anger the next, particularly in his song on first meeting Henry who he had encountered before during a time travel. Hiba Elchike nearly stole the show as Clare’s friend Charisse: sardonic, witty, and always ready to take dominance in any mad situation that occurred. Aisha Davis performed the scientist Dr Kendrick with icy intelligence. Ross Dawes was a grumpily tender presence as Henry’s widowed father.
Please do go and see it. It’s going to be a classic of
musical theatre.
Reviewer - Thalia Terpsichore
on - 13.10.22
Friday 14 October 2022
BALLET REVIEW: Beauty And The Beast - The Arena, Middleton, North Manchester.
Add to these 8 a small, but dedicated corps, which sadly, for this reviewer at least, didn't appear and dance enough as a full company - we only truly saw them at their best during the denouement / finale sequence. However, the pictures they created and the way they added to the more intimate scenes by being statues etc, was creative and interesting.
on - 13.10.22
AMATEUR THEATRE REVIEW: Sister Act - The Pendle Hippodrome, Colne.
Reviewer - John Kristof
on - 13.10.11
Thursday 13 October 2022
AMATEUR THEATRE REVIEW: Shrek - The Lyceum Theatre, Crewe
Reviewer - Matthew Dougall
Sunday 9 October 2022
THEATRE REVIEW: Please Let Me Get What I Want - The Salford Arts Theatre, Salford.
The initial premise appears to be an updated version of “The Odd Couple”, set in urban Salford. Two eighteen-year-old boys run into each other in a pub toilet years after they last saw each other in primary school. One has violent, drug-addicted parents and is aching to leave home. The other lost his parents in a car crash years ago, and has just lost his grandmother as well. They decide to get a flat and move in together. The first boy is very neat and organised, has savings in the bank, and is looking to make a life for himself. The second boy is a bit of an irresponsible drunkard who just wants to have a good time. And it’s a very small and grotty flat, with a noisy and sexually active drug dealer living on the floor above.
Joel Hill, as the first boy, delivered a detailed performance of assured maturity, perfectly encapsulating the teenager who is old before his time. His naturalistic stage presence was partnered with a strongly quiet power and sense of pace. For an actor so young, it was rather extraordinary.
Vincent Purcell, as the second boy, had a lot more of the comedy relief. He relished every instant of it, particularly with a very nice line of small physical gestures that swelled the scripted moments. Interestingly, his own dramatic power also started to kick in as the play’s events slowly turned the two protagonists into young men who have to decide their own character. The unreliable narrator issues he was wrestling with towards the end were also performed with a maturity that was rather disconcerting in an actor so young, and full credit must be given to director Roni Ellis here. She is definitely an actors’ director.
Playwright Libby Hall has an eye for the minutiae of life, and a restrained approach to language. Though there were scenes of very broad humour – Purcell’s character’s job interview for a retirement home could not have been more over-the-top - overall, Hall’s touch was feather-light. And the strong sense of ethics that permutated the piece gave it a deeper richness without being didactic.
The set was simple, but effective, featuring movable pale-coloured panels that could be substituted for various gungy surfaces such as pub toilets and council house walls. The lighting was also restrained yet potent, at times breaking into spotlights to isolate the two characters from each other as their versions of events differentiated, then blending again. At times there was a pounding soundtrack, featuring a great deal of music from the Smiths.
on - 5.10.22
THEATRE REVIEW: The Milk Train Doesn't Stop Here Anymore - Charing Cross Theatre, London.
Reviewer - Paul Ashcroft
on - 3.10.22