on - 28.11.22
Reviews, news, interviews and previews of THEATRE, COMEDY, FILM, MUSIC, ART, LITERATURE in Greater Manchester and the whole of the UK.
Tuesday 29 November 2022
AMATEUR THEATRE REVIEW: Ladies In Lavender - The Lyceum Theatre, Oldham.
on - 28.11.22
Sunday 27 November 2022
STUDENT THEATRE REVIEW: Oppenheimer - Grosvenor East Theatre, MMU, Manchester.
This true-life historical drama centres on the interactions of some key
scientists (notably J Robert Oppenheimer himself) interacting with their
colleagues, the military, their romantic attachments and their own consciences
against the backdrop of what by any standards was one the most fearful things
ever to confront mankind. What more could be asked for as pointers for drama?
‘Oppenheimer’ is a
period play set in another country and the MST went to considerable lengths to
bring over the world of 1940’s America, with an excellent array of period
costumes and a notable collection of furniture from time. It was good to see
(from a drama perspective) that not only were many of the cast smoking
regularly but actually emitting smoke as a pointer of realism of the time when
the play was set. The only drawback to all this was that certain male actors
had long hair tied up in buns which, even allowing the usual suspension of
disbelief, detracted from an otherwise very authentic presentation.
The acting was
excellent across the cast with everyone convincingly acting beyond their young
ages. The accents were consistent throughout with some notably effective scenes
of disciplined military confrontations alongside social settings and personal
confrontations. Tommy Beswick was well cast as the tall, charismatic scientist,
in a part which included some tense monologues alongside many varied
interactions, including the absurdity of Oppenheimer and other academic
scientists being give senior military ranks, requiring them to try to act
accordingly, in uniform. The cosmopolitan nature of the scientists allowed for
some interesting characterisations, notably Reuben Gotts as Teller, a
hard-faced Hungarian and Joshua Bird as Bethe, a very emotive German. Harvey
Weedon was excellent as the nerdy academic Serber and Kelsey Ann Moebius showed
great versatility as unstable Jean Tatlock. Kai Ross presented a dynamic
picture of the hard-nosed, army officer Groves (sporting a realistic crew cut-cut!).
Space does permit comment on every role, with several actors playing more than
one part suffice to say that this production gelled with even some small roles
being very memorable, notably Helena Braithwaite’s convincing ‘little boy’ in
stark contrast to playing other female parts.
The staging was
particularly imaginative with the entire stage floor being a blackboard onto
which the scientists were literally drawing the academic theory of atomic power.
This device meant that all the action took on the science providing the
backdrop to the story. There were some nice dramatic touches such as straight after the
successful explosion of the bomb in a desert, thus guaranteeing the deaths of
tens of thousands, a party scene erupted with tinsel falling from the ceiling,
echoing atomic fallout. Another memorable image was the scientists lying on the
floor in darkness wearing eye protection as a bright flash of light and string
sound effects powerfully bringing over the first detonation of a nuclear bomb.
This production
required a lot of slick choreography, with scenes quickly changing from the crowd
scenes involving most of the cast to two-person exchanges, whilst a lot of
furniture and props brought on and off stage with no time out for scene
changes. Altogether, a fine production, ably directed by James Nickerson of a
complex play that never flagged over its two and a half hour duration. The
complex nature of the varied relationships alongside the wider issues of war
and morality were ably weaved together by writer Tom Morton Smith making this
an excellent piece of theatre.
Reviewer - John Waterhouse
on - 25.11.22
AMATEUR CONCERT REVIEW: Sing - NWTAC Theatre, Moston, Manchester.
on - 26.11.22
Saturday 26 November 2022
THEATRE REVIEW: Charlie And The Chocolate Factory: The Musical - Leeds Playhouse, Leeds.
Reviewers - Chris Benchley and Matthew Dougall
on - 25.11.22
GASTRONOMY REVIEW: The Toby Carvery, Bradford.
on - 25.11.22
GASTRONOMY REVIEW: The Kitchen And Bar - The Octagon Theatre, Bolton.
on - 23.11.22
Thursday 24 November 2022
THEATRE REVIEW: A Christmas Carol - The Octagon Theatre, Bolton.
on - 23.11.22
Tuesday 22 November 2022
STUDENT MUSIC CONCERT REVIEW: Manchester University Choral Ensembles - Holy Name Church, Manchester.
on - 19.11.22
STUDENT MUSIC CONCERT REVIEW: MUMS Ensembles - The Martin Harris Centre, Manchester.
Overall a very enjoyable concert.
on - 19.11.22
Sunday 20 November 2022
AMATEUR THEATRE REVIEW: Rent - The Riley Smith Theatre, Leeds University, Leeds.
Johnathon Larson’s 1996 rock musical focus is around the interconnected lives of three couples: Roger (Jack Foster) and Mimi (Casiah Palmer-Sterling), Maureen (Anna Duffell) and Joanne (Phoebe Coldron), and Collins (Ajay Sahota) and Angel (Cam Griffiths). At the heart of the musical is an exploration of identity within LGBTQ + Community, encompassing conversations on drug addition, financial pressure, and grief within the context of the AIDS crisis at the end of the 20th century. Mark (Toby Bowen) is an aspiring filmmaker who narrates the show as he films the lives of his friends.
The production team did an amazing job on the set design, lighting, costume, and sound as this created the perfect staging for this production. There were a few technical difficulties with microphone timing but other than that they did a phenomenal job in allowing the cast to perform with maximum impact visually and audibly.
Excellent casting of Mark as Toby Bowen who delivered a sterling performance with his strong vocals, acting and dance skills, I especially enjoyed his Tango with Joanne. The strongest coupling was that of Angel and Collins where we saw Cam Griffiths and Ajay Sahota give a heart-warming delivery of their roles, with a rollercoaster of emotions. Huge credit to Cam Griffiths as the role of Angel is iconic and pinnacle to the plot of ‘Rent’ and can be a challenging role for any accomplished actor, however he delivered a faultless performance with his fabulous vocal range. Griffith’s rendition of ‘I’ll Cover You’ captured the character of Angel in all their kindness, affection, and hope on every occasion he appeared on stage.
It is clear that each and every cast member put their heart and soul into the performance and that was certainly evident tonight, 'Rent' isn’t the easiest repertoire with its demanding vocal range and can be a train crash at times to the untrained. The most impressive vocals were when the whole cast and ensemble delivered ‘Rent’, ‘Santa Fe’, ‘La Vie Boheme’, ‘Contact’ and of course the infamous ‘Seasons Of Love’.
Final credit to the band who played magnificently throughout the evening enabling the show to come together and for the cast to deliver their musical numbers. A well-rounded delivery from LUU Musical Theatre Society, as this is a hard production to deliver with its extensive vocal range required throughout.
Well done to all involved and a personal congratulations
to Producer Emma Wilcox for a job successfully carried out.
Reviewer - Katie Leicester
on - 19.11.22
AMATEUR THEATRE REVIEW: Oliver! - The Art Theatre, New Mills. Derbyshire.
There can be few people unfamiliar with ‘Oliver’, whether through the film or stage versions and over-familiarity can bring its own challenges. NMAODS successfully overcame this by staging not just a very slick production but creating an excellent set with twin swirling flights of steps and a central balcony imaginatively used to create a wide variety of scenes, from a London bridge to a genteel bedroom to a workhouse. Various light changes of a high backdrop of St Paul’s cathedral (reminiscent of the film version) helped create the mood associated with each scene. Another nod to the film version, which worked well, was to have most of the central characters wearing the same colours as their movie counterparts, notably Nancy’s striking red dress, Mr Bumble’s blue cape and Fagin’s iconic green coat. This was after all very much a production in its own right, able to acknowledge a masterpiece of moviemaking without compromising its own artistic integrity. The costuming overall was very effective, with the different social classes and various work outfit all easily identifiable.
There was can be few shows where both the main characters and chorus have a more or less equal balance between adults and children and this provided an ideal showcase for the entire company. A lot of societies struggle to find enough young adult male singers but the cross section of ages was spot with this production. The boisterous enthusiasm of the cast was evident from the outset with the stomping ‘Food Glorious Food’ as the workhouse boys paraded down each stairway. Another showstopper, ‘Consider Yourself’ provided the opportunity for dance and even some acrobatics as the audience was presented with a cross-section of Victorian society including street performers (there was no internet back then). The culmination of the story with Bill Sykes trapped on the roof tops was handled with a dramatic crowd scene providing a fitting end to a powerful story very well told.
This
production was particularly well-cast with Stewart Bowden putting in a
sterling, comic characterisation as Fagin and Emily Hobson, with an excellent
singing voice, bringing over all the complexities of Nancy. Darren Cooper as
Bill Sykes actually made Oliver Reed seem endearing by comparison (no mean
feat!). A notably very funny performance was Peter Bowler’s incompetent Dr
Gremwig, coming down the steps in a manner worthy of Frank Spencer. Of course,
no production of ‘Oliver’ can succeed without the two central boys and Ross
Provart as Oliver and Isaac Fletcher-Shaw as Dodger each gave an endearing
performance. Finally, in another display of remarkable attention to detail,
credit must be given to Stanley, who gave a credible performance as Bill Syke’s
dog Bulls Eye.
It
is hard to imagine NMAODS have ever put on a better, more all-rounded, professionally handled production than this presentation of ‘Oliver ‘. Everything
just sounded and looked right. The movement of furniture and props from scene
to scene was handled so slickly that there was only one blackout and no
front-of-curtain scenes. To carry that off, you need a combination of a skilled
and enthusiastic cast together with nimble production and these came together
superbly. NMAODS have set themselves a very hard act to follow!
Reviewer - John Waterhouse
on - 19.11.22
THEATRE REVIEW: Judy And Liza - The Epstein Theatre, Liverpool.
Reviewer - John Kristof
on - 19.11.22
Friday 18 November 2022
THEATRE REVIEW: Cinderella - Hope Mill Theatre, Manchester.
on - 17.11.22
Wednesday 16 November 2022
AMATEUR THEATRE REVIEW: All My Sons - The Garrick Playhouse, Altrincham. Greater Manchester.
Arthur Miller’s career-breaking play, ‘All My Sons’ centres on an all-American family in crisis. It is a social drama investigating the ties between social, familial, and individual responsibilities. Kate and Joe Keller are middle-aged parents of adult sons; Larry, missing in action since 1943, and Chris, a returned veteran now working in the family business. They live between the Bayliss family and the Lubeys in a town where everyone knows everyone’s history… and has an opinion on their business. Given the Keller’s engineering business was responsible for providing defective parts to the military during the war, many people blame Joe Keller for the deaths of 21 airmen. He has been acquitted at appeal but his former neighbour and employee, Steve Deever, is still in prison carrying the blame. Their son, Chris Keller, is an idealist who has found the transition back from wartime tricky. He misses his compatriots who were killed in action and feels that the nation does not value the sacrifice that his men paid. Despite now working with his father, he is uncomfortable with the financial success the war brought to many manufacturers (a reflection of Miller’s own disgust at the profiteering nature of America’s war-time economy). On this summer day, Chris awaits a visit from Annie Deever, Steve’s daughter and the sweetheart of his missing brother Larry. It’s been so long that Larry went missing that Chris believes him dead and is hoping to win Annie’s hand in marriage for himself. His mother Kate is not prepared to even consider that Larry isn’t alive somewhere in the world. Her grief seems to consume her, and she is both fragile and volatile - prone to emotional outbursts. As the day unfolds we meet both sets of neighbours, each providing more contrast and texture to the Kellers’ story, and then both Annie and, eventually, George Deever. Annie and George have believed Joe’s version of the faulty parts episode and turned their back on their father Steve. The secrets, dreams, and disappointments each member of the story brings with them unfold along with the day and life will change for all of them before the next day dawns.
This was my first visit to the Altrincham Garrick and I had a superb evening, this is a company who clearly take themselves and their productions seriously – amateur or not, they aim high. Overall, this was a good performance, thoroughly enjoyed by the audience and well-worth making the effort to see. I hope to be back in the very near future.
on - 15.11.22
Monday 14 November 2022
OPERA REVIEW: Orpheus - The Theatre Royal, Nottingham.
Speaking
of which:in his earlier review of ON’s 'Orfeo Ed Euridice', this reviewer noted
the slightness of the plot, which is sufficient to sustain a short musical work
along classical lines but might seem stretched in other circumstances. This version of 'Orpheus' clocks in at nearly
three hours, with an interval - is that too long? Arguably, yes: there were
certainly some longeurs and rather too many moments when tension was allowed to
flag, perhaps to accommodate the improvisational nature of much of the new
score. As a result, the one and three
quarter hour playing time of the first half reached near-Wagnerian proportions
and, for once, an interval was sorely needed. Act One did, however, close with one of the evening’s indisputable
successes, the long lament for Euridice in which all the vocalists joined.
As
Orpheus, tenor Nicholas Watts carried much of the burden of the evening, bringing
to this demanding role an innate musicality as well as an engaging personality,
both vital if the work is to have a sympathetic centre. The production, by Anna Himali Howard, seemed
to be pitched uncertainly between a staged production and a concert performance,
with the band arranged on either side of the stage and the performers occupying
the centre. The natural world was
represented as a council estate, the underworld as a ‘blank space’, decorated
with wedding balloons, though the emphasis throughout was on the music rather
than interaction between the characters.
An
interesting experiment then, which might be described as either a qualified
failure or a qualified success, depending on your viewpoint.
Reviewer - Paul Ashcroft\
on - 12.11.22
Friday 11 November 2022
THEATRE REVIEW: Fisherman's Friends - The Grand Theatre, Leeds.
The star of this show, is
undoubtedly, the ‘Fisherman’s Friends’ as a unit. Their voices ring in glorious
harmony as their songs tell us their collective story – the history of Cornwall
and of seamen the world over - infinitely bigger than the sum of its parts. The
six-piece band appear on stage - some of them taking small roles in the
ensemble. Likewise, some cast members
take up an instrument here and there - the selection of traditional instruments
adding authenticity and atmosphere. There is, literally, an ocean of music
(over 30 songs) - the vast majority being traditional shanties arranged by the ‘Fisherman’s
Friends’ themselves. The supplementary
numbers are used well to tell more of the specific story of the individual
characters – particularly the women and, of course, our city-boy, Danny. They blend so well that this audience member
could not have known which were old and new without support from the programme
notes!
This is a musical about musicians
– it goes without saying that the voices are stunning. Shahmir has the archetypal folk songstress lilt
and her solos cut the perfect contrast to the broad sweep of the orthorhombic
accuracy of the ‘Friends’ harmonies. Another
standout solo moment came when Sally (Hazel Monaghan) poured the worries and loneliness
of a fisherman’s wife onto the stage in a haunting melody. More human story comes from Jago (Robert
Duncan) and Maggie (Susan Penhaligon) who portray the most senior members of
this community. Jago is well into
retiring age and dad to Jim (which was difficult to believe given Duncan’s
boyish face and sprightly physicality) and when Jim’s temper flares, the ‘Friends’
look to him to smooth the waters. Duncan
and Penhaligon are well-known faces with long careers in the industry and added
a certain gravitas to the ensemble.
As we rattle along the musical
numbers (South Australia, Drunken Sailor, John Kanaka, Haul Away….) there’s
just enough dialogue to keep the story going and just enough character
development to draw the audience into the sub-plots. The whole piece is staged in the harbour,
with the harbour wall and its ladders, railings, crates, and lobster pots
adding a gallery for variety and giving the interior scenes at the pub a defined
area too. From the storage doors in the harbour wall is pulled a boat – a
brilliant example of simple, effective stagecraft - no hydraulics or
razzle-dazzle here. The boat tosses in the sea according to the casts’ own
strength and choreography – brilliant! Port
Isaac may be picturesque to the visitors but here, on Lucy Osborne’s set, we
are located in the nitty-gritty heart of the locals’ lives. Well supported with lighting and haze, the
set does just what’s needed – even providing a stage for a bar where the
Friends sample some of the delights of London life!
With comedic and tragic twists
and turns, we arrived at the triumphant point we all knew was coming and the
audience took to its feet for a rousing finale. This story, as a film and a
stage musical, shares a stall with the likes of Brassed Off, Full Monty,
Calendar Girls, Pride, Billy Elliot - charting the modern history of workaday
Britain and telling of the places and institutions in danger of being diluted
or drowned, as the modern world changes around them. Like these other tales, it’s an edited and
rewritten version of real-life, with the ending selected at just the right
moment of triumph – but that doesn’t negate its worth.
'Fisherman’s Friends' is an aural
feast of harmonies, rooted in the depths of tradition and community. You don’t
have to love folk music to enjoy it – if you experienced Nathan Evans’ ‘Wellerman’
when it went viral, and were tempted to google other shanties, give this show a
try! It’s off to Canada when it’s
finished here in Leeds but back in the new year for more UK tour dates.
Reviewer - Justine Sutcliffe
on - 9.11.22
Thursday 10 November 2022
OPERA REVIEW: Orfeo Ed Euridice - The Theatre Royal, Nottingham.
In marked contrast to Opera
North’s season opener, 'La Traviata', Gluck’s 'Orfeo Ed Eurdice' is a slow-breathed
meditation on love and the nature of loss, set to music of almost unearthly
purity.
Stagings, in this country at
least, tend to be few and far between and it’s not difficult to see why: apart
from the dramatic confrontation between the bereaved Orfeo and his beloved
Euridice, it’s a static piece in which an inordinate amount of the vocal
heavy-lifting is left to the singer (baritone, alto, mezzo, counter-tenor and,
in the distant past, castrato) essaying Orfeo. It doesn’t help that for much of the First Act, Orfeo is required to
express themselves in terms of the most generalised grief: glum people aren’t
fun to be around, even when they have a perfectly valid reason for their
glumness.
Fortunately,
this production (it’s advertised as a ‘concert staging’ but it’s actually far
more than that) featured Alice Coote in the demanding role of the bereaved
husband. This was a high definition
acting performance, not a recital - thought out and acted out in the way the
best operatic acting always is, and that’s before we move on to the singing,
which was magnificent in its expressiveness. She is well-paired with Fflur Wyn, whose progress within the company has
been a pleasure to observe, as Euridice and their eventual confrontation fairly
sizzled with intensity - Orfeo’s turning to face Euridice drawing a gasp of
horror from the audience. Completing the
principal roles was Daisy Brown as Amor, the orchestrator of the whole venture,
who in a nice touch wore the garish mauve jacket of a reality show host.
Which
brings us to the staging: no director is mentioned in publicity but thought has
clearly gone into the look of the presentation and the performers move
purposefully with the action suited to the word. The chorus assembles beneath a starry sky and
the sole prop is a plynth to represent Euridice’s tomb and the platform in the
Underworld from which she confronts Orfeo. Nothing more is needed if you have intelligent singing actors and an
excellent chorus.
In
the pit, the company’s principal guest conductor Antony Hermus presided with
enthusiastic authority. It’s hard to
imagine a more effective staging of a difficult masterpiece than this one.
Reviewer - Paul Ashcroft
on - 9.11.22
DANCE REVIEW: The Little Match Girl - Sadler's Wells Digital Stage, Online.
A whole production from start to finish, beautifully and lovingly crafted. Danced on this recording by Angelo Smimmo, Karl Fagerlund Brekke, Faith Prendergast, and Corey Claire Annand.
on - 10.11.22
Available to rent until Sunday 15 January 2023
Price: £3.50
https://www.sadlerswells.com/
THEATRE REVIEW: The Best Exotic Marigold Hotel - The Lowry Theatre, Salford.
on - 9.11.22
Wednesday 9 November 2022
THEATRE REVIEW: From Here To Eternity - The Charing Cross Theatre, London.
For those of you not too familiar with the story, and not
wanting to give too much away, 'From Here To Eternity' is set in Hawaii in the two-week run up to the bombing of Pearl Harbour by the Japanese. This
was the turning point when the Americans were dragged into the second World
War. 'From Here To Eternity' outlines the harsh brutality of being a soldier from
within your own company, the long wait to join the war that is raging in
Europe, the loneliness of being a long way from home, of love that can be found
in the hardest places, infidelity and of love that is so easily lost. At times funny
yet harrowing until the end. A phenomenal story that has been based on the
novel by James Jones.
Jonathan Bentley as Prewitt has such a wonderful voice, and
it is one that conveys so many emotions. He is a real star in the making, and although Bentley has already appeared in some major shows, I am sure he will become
a household name. Desmonda Cathabel plays Lorene and my golly, she is gorgeous
and has the most beautiful voice. Cathabel has just won the Stephen Sondheim
Society Student performer of the year 2022. She breaks your heart with every
note she sings, what a fabulous rising star we have here! Onwards and upwards,
catch her if you can before she rises to the higher echelons of the music
world. Jonny Amies playing Angelo Maggio, the role made famous by Frank
Sinatra, would be tough shoes to fill for most actors, but Amies took this role
and made it his own. Already with a few TV credits to his name, now playing the
Italian-from-Brooklyn on stage seems like the part was made for him. Great
accent and singing voice added to his charm; you can do nothing but sympathise
with the lovable rogue who manages to get out of the most difficult
circumstances, despite being bullied for being Italian at a time when racism
was rife within the army. Ducking and diving, making a few cents here and there
and landing on his feet apart from when he comes up against Fatso, Adam
Rhys-Charles is Warden, another army man with a lower officer rank, trying to
get through the daily battles of army hierarchy and concealing a hidden love.
Loyal to his company and respected by the men. Not seeking promotion, as that
is everything he is against, a man of principle and honour. Rhys-Charles, plays Warden with sensitive and compassionate nuances in his voice through his words
and music. I did not initially warm to him but that was his plan, as the
performance progressed, we were able to see inside the real man and then we
started to see his true sensibility. Torn in many directions we see his
vulnerability and the sense of loss he was experiencing through all the twists,
turns and tribulations.
I must mention the fabulous Carley Stenson and Alan
Turkington, both with a long list of credits, playing the married but unhappy Captain Holmes and his trophy wife. Married in name only we watch the unfolding
relationship amid the crisis that is happening in Hawaii. The strive for power
and glory to the detriment of a dysfunctional marriage. Both Stenson and
Turkington are masters of disguise, hiding their real intentions from each
other and displaying this in their skilled acting manner, their singing and
stage presence. They are an asset to the troupe, and I imagine a stable and
guiding influence on the younger members of the team.
There are only three female parts in the play and the final
actor that I must include is the exuberant brothel matriarch, Mrs Kipfer,
really just another person making a quick dime out of the military. Eve
Polycarpou, a well-known stage, screen and TV star, walks out into the arena and
demands the attention of the audience, with a powerful voice, she commands
everyone around her. As Mrs Kipfer, she has nothing to lose, she’s making a
living, she won’t be told how to run her business by the army. They have no
jurisdiction over her. She provides a little solace for the soldiers and
sailors that frequent her house. How well suited is Eve Polycarpou to this
role, what a great bit of casting! Without her presence in 'From Here To
Eternity' the production would be missing something truly spectacular. This
could almost have been her show.
Definitely not one to be missed. 'From Here To Eternity' is an
emotional rollercoaster of a story with some of the best music around. The
audience was made up of a wide spread of ages and listening to those younger
ones unfamiliar with the original film, they were in awe and saying how they
did not know the story before they came to the show, but how amazing the
singing and story were.
Reviewer - Penny Curran
on - 8.11.22