AMATEUR THEATRE REVIEW: Ladies In Lavender - The Lyceum Theatre, Oldham.

The latest offering at Oldham's Lyceum Theatre, is this slow-moving and gentle look at the between-wars life of two elderly spinsters living together on the Cornish coast. Their somewhat mundane and regular life is interrupted one morning by the discovery of a male body lying washed up, on the beach. They take him into their home and with the help of the local doctor this young Polish man (shipwrecked on his way to America) makes a full recovery and changes their lives for ever. 

A decent attempt by both the writer (Shaun McKenna) and the director (Carol Davies) was made to try and add some mystery and suspense into this story. Given the time in which the play is set  (1936-7), as well as the fact that there is not just this young Pole who speaks German, but also a very mysterious lone female, ostensibly a painter on holiday, watching him, and she is also quite obviously foreign too...! However, for reasons best known to McKenna, none of this is developed and the characters are all exactly who they say they are, and there's absolutely no mystery in it whatsoever. 

The play demands 5 differing locations with very short scenes in each, cutting back and forth, and so the Lyceum's set design team needed to surpass themselves on this occasion. The stage, for those of you unfamiliar with the Lyceum, does not take the name 'Little Theatre' lightly, as the performance area is very limited with hardly any backstage too, and so creativity is always the order of the day. However, the set design team always seem to work miracles, and I don't know how they do it! The five locations were all clearly defined and the set worked wonderfully. A split-level cottage with garden and ample room at the front for a path and sea view. The set was dressed appropriately and contemporaneously, and even the music chosen for the audience to be seated to was excellently chosen (Rimsky-Korsakov of course!)

The action of the play however starts with a whimper rather than a bang. Again we have to look at McKenna for this, but unfortunately this sets the tenure for the entire play, and we only really move out of second gear in the second act when Lisa Kay's portrayal of a very forthright and comedic maid Dorcas springs to life.

Lyceum stalwarts Sue Radcliffe and Pauline Walsh play the sisters (Janet and Ursula respectively), with a deal of of-the-time courtesy and decorum, whilst still bickering with each other the way that siblings are wont to do. It was a shame that neither had an authentic Cornish accent, as that would have been the icing on the cake, but standard RP worked just as well. The cast was completed by Matthew Hutchinson as the violinist Andrea Marowski, Andrew Wilson as the lusting Dr Mead, and Gill Barham as the aloof and yet sincere Olga Danilof. 

The dynamics within the play were nicely handled and the laugh lines never given too much weight in order that the story may flow evenly and realistically. However, it is a long play, and one in which very little actually happens, and so the performances really have to be top notch in order to sustain interest. In this respect it is a very difficult play for any amateur company to handle, and so one must praise the Lyceum for this. If any local company can pull it off, then the Lyceum can.

Reviewer - Matthew Dougall
on - 28.11.22

STUDENT THEATRE REVIEW: Oppenheimer - Grosvenor East Theatre, MMU, Manchester.

The Manchester School of Theatre certainly made an ambitious choice for their Third Year production, involving a cast of 15, with every part having significance.

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.

In their own words, we were welcomed to watch NWTAC's most self-indulgent show ever. They chose which songs they liked and wanted to sing, and they sang them!

NWTAC, or in full, North West Theatre Arts Company, is a local training ground for children and teenagers to find, develop and hone their love and skill of the performing arts industry, and this evening 25 of them - from the very young (I am guessing about 6 years old), to the late teens, sang their way through 46 numbers ranging from popular song through Musicals to rap.

The concert used playback tracks throughout, but many of the songs had been given some appropriate and sometimes exciting choreography by Katie Gough, whilst husband and wife team Prab and Beth Singh had provided the direction and musical direction for the troupe. Members of the cast took turns to announce or post-announce the items adding humour to the evening, whilst further humour was gained by some very clever segues between songs. 

It would be totally impossible to mention all the cast and all the songs in this evening's concert, and so, in the spirit of the singers, you shall simply have to indulge me whilst I mention those songs which I enjoyed the most! It isn't often a reviewer has the opportunity of being subjective, so I apologise in advance! I must also stress that although these items were my personal favourites, it in no way diminishes the quality or professionalism of all the other songs. The whole evening was very swift and competently managed, showcasing many youngsters who relished their chance at performing this evening.

However, here were my personal favourites: 'Maybe I Like It This Way' (Francesca Collinge), 'I Want To Break Free' (Olivia Anderson with a cameo from James Llewellyn Burke), 'Anything Goes' (sung and tap-danced by the majority of the group), 'The Song That Goes Like This' (George Rolfe and Erin Carty), 'When I Look At You' (Maria Collins), 'If Ever I Should Leave You' (James Llewellyn Burke), 'Diva's Lament' (Maria Collins), 'Quiet' (Poppy Evans), and 'Beggin'' (again the majority of the group).

The concert was intended to give the whole company the chance to perform songs of their own chosing which they may or may not have the chance to sing under normal circumstances, and to give them the experience and build their confidence in an industry which becomes more and more difficult to break into. Bravi!

Reviewer - Matthew Dougall
on - 26.11.22

THEATRE REVIEW: Charlie And The Chocolate Factory: The Musical - Leeds Playhouse, Leeds.

A Musical of Roald Dahl's famous story first came to our attention way back in 1971, when Gene Wilder portrayed the titular, self-styled Willy Wonka on screen. The film's music and songs were written by British wonder-team-of-the-time, Leslie Briscusse and Anthony Newley, and the film was a huge hit.

Fast-forward to 2013 and the West End, when a competely new musical is mounted. This time with music and lyrics by Marc Shaiman and Scott Wittman, with the adaptation from the novel by David Grieg. This musical once again captured the imagination of its young target audience and the show ran for 4 years. Immediately after this a Broadway show was commissioned, a new director and new ideas were brought to the table, and this show ran only for 9 months before closing. 

This evening in Leeds, some 4 years' later, and Leeds Playhouse's own production of this timeless classic awaits; and this production is the Broadway version. I know this because two songs from the 1971 film ['Pure Imagination' and the Sammy Davis Jr hit, 'Candy Man'] have been included, and the child roles - with the exception of Charlie - are being played by adult actors. The two most significant changes made to the Broadway show from the West End.

The musical in this Leeds incarnation is most definitely a game of two halves. Act one is slow and formulaic. A strange metallic electrical rubbish heap set sits centre stage with more around a false prosc. arch. I feel it resembles the set for 'Cats' more than it does for anything I am about to see this evening. It's cold, mechanical, and simply does not represent the world of either Charlie Bucket or Willy Wonka. The first act starts very softly, with a downbeat solo song from our young protagonist (this evening played by the very capable Amelia Minto). We are in second gear at best, and we never change gear the whole act, as we switch between the Bucket's run-down squat to the four other ticket winners and their domains. There is some humour in this, but the laughs are not frequent and not heartfelt, whilst the monodimensional caricatures rely on cultural stereotyping bordering on racism. 

Fortunately the second act fares much better, and with a huge reliance on computer graphics and technology, we are easily whisked away into Wonka's crazy world of chocolate and candy madness. The tempo is upped, the pace is swifter, the songs more Musicalesque, and the wit sharper. Admittedly the Oompa Loompas did not in any way resemble either my own or my companion's understanding of what the Oompa Loompa's were... as here they were presented as mechanical grey robots which didn't either look or feel right; but in all other aspects, this was the chocolate factory we all know and love. The clever use of the computerised graphics made this almost cinematic. However, the problem endemic with this stage and set design for this production was that approximately one third of the audience would not be able to see some or perhaps most of the rear wall where the graphics were being projected onto the screen. Utilisng the forestage area all the audience has a fair and equal view, however, the Playhouse's stage is extremely deep and the further back one goes - perhaps due to the erecting of the false prosc. arches for this show, the less of the stage and those acting in the rear area one has if seated towards the sides of the auditorium. It was telling indeed that when the cast took their curtain call, those seated in the best seats - ie: those in the upper rows of the very centre of the auditorium, screamed and shouted giving a standing ovation, whilst those audience members on the outer reaches of the auditorium were much more restrained and conservative in their applauding.

All-in-all though, despite the musical failing to completely capture the imagination of it's target audience - the comments I heard both in the interval and on my way out from the youngsters seated near to me was that they enjoyed it, but not overmuch. It didn't sparkle and thrill in the way they (or indeed I) were hoping! - it was an entertaining evening performed by a talented ensemble cast.

Reviewers - Chris Benchley and Matthew Dougall
on - 25.11.22

GASTRONOMY REVIEW: The Toby Carvery, Bradford.

Bradford's Toby Carvery is ideally situated on the main by-pass near the motorway junction, and so ideal for the weary traveller in need of sustainance.

I am no stranger to the Toby Carvery, having patronised the restaurants in this chain many times from York to Bolton with most places in between, however, it was my first visit to this particular one on the outskirts of Bradford. And I could not have been more delighted. The interior decor might well be the same as every other establishment, but the carvery itself was simply the best I have ever tasted!

With a plethora of vegetables on offer I was spoilt for choice, but I can highly recommend both the red cabbage and the creamy leeks; whilst the roasted parsnips were so succulent, sweet and tasty that I could easily have made a meal out of just parsnips alone! And as for the roast meats themselves, we had a choice this afternoon of beef, turkey, gammon and pork. I am very fond of the more well-done meat and I noticed that the ourtside 'crust' of the pork had not been taken - ditto for a large helping of the more crispy and dark outsides of the beef. I didn't hesitate, and the server was more than happy to pile them onto my plate, saying that if I didn't eat them, they'd only go to waste as most people prefer the insides of the joint. I was like a pig in muck; all my Christmasses had come at once, and the food was cooked to perfection for me. 

A couple of things however do make me have to mark this establishment down somewhat. Not being able to have a cup of tea, (and a cuppa would have been the icing on the cake with my late lunch!), since they had 'run out of milk' - I kid you not. And the staff were not allowed to nip across the road to the nearby supermarket to buy some either! And further, the gents toilets had had a problem with the plumbing and there was water all over the cubicle floor. Not ideal.

However, when their carvery platter is so good and excellent value for money (only £7.99), you'd be mad to pass this place by!

Reviewer - Matthew Dougall
on - 25.11.22

GASTRONOMY REVIEW: The Kitchen And Bar - The Octagon Theatre, Bolton.

Prior to our visit to the theatre this evening, my companion and I decided to try the Octagon's own kitchen since they were advertising a Festive Menu which whet both of our appetities. Despite there being a choice of only two starters and three main courses, we both were very much looking forward to tucking in to our respective choices.

Both the deep-fried brie with cranberry sauce and seafood platter (smoked salmon roulade, prawns, and mackerel pate) starters were excellent and nicely presented. The same can also be said of the two main courses on offer. My companion had the traditional roast dinner of turkey, pigs-in-blankets, and vegetables, whilst I went for baked salmon. The lemon brioche crust was not to my taste, but that was easily resolved by simply not eating it! The cooking of the meats and vegetables however was spot on. All too often these days, restaurants will serve everything 'al dente', believing it to be "how it should be done".. it's a very wrong assumpton, and in all honesty, I do not relish crunching through hard vegetables whilst enjoying succulent and tender meat; and so bravo to the Octagon here, as all the vegetables presented this evening were cooked to perfection... not too much that they mushed, but certainly not undercooked either.

Our only real negative criticism of this evening's dining would be the temperature at which our food was served. The style of plate / crockery used didn't help in this regard, nor did the fact they the plates were also cold. The temperature of all our food was a very dissappointingly luke warm / tepid at best.

I had an apple crumble for dessert, and although it was quite tasty, again, the temperture was in the minuses!

Good quality food, presented quite stylishly, tasty, and moreish; but when food is supposed to be hot, it should be served hot, and sadly points must be lost for this.

Reviewer - Matthew Dougall
on - 23.11.22

 

THEATRE REVIEW: A Christmas Carol - The Octagon Theatre, Bolton.

Christmas just wouldn't be Christmas without a bit of Dickens, right? And over the years I have seen a vast array of incarnations of his most famous novel of all, the latest one being presented by The Octagon Theatre in Bolton. It never ceases to amaze me just how different they have all been.

The Octagon's version utilises a small but multi-faceted cast, in a musical version [music and lyrics by Kate Ferguson and Susannah Pearse]. It's fast, slick, humorous, good natured and feel-good from start to finish, with each performer playing more than one role (with the exception of Scrooge himself), and all having a go on at least one or more musical instruments too, from tubular bells at the rear of the audience to trumpet and rather unwieldy double-bass on stage. 

The set is in-the-round, and so no large set pieces can be utilised, meaning that the majority of the settings are gained through use of lighting and small carry-on items, which the cast are also tasked into doing. The ceiling (for the want of a better word) is decked with hanging street lamps and fairy lights which work well, however, I was very uncertain about the UV lighing, as this seemed to serve no other purpose than to light up all the white clothing in the audience!

A vast array of theatrical styles was utilised with abandon by director Georgia Murphy, as we unhesitatingly moved from gothic horror to pantomime, tragedy to slapstick, in the blink of an eye, and this evening's Bolton audience seemed to lap it all up - especially the audience participation dance routine! Juxtapose this though with the uber-scary entrance of Jacob Marley and one was left wondering just exactly who their target audience was. 

The story remains faithful to the novel, and, although it was at times rather difficult to tell what character the cast were, [little or no regard for contemporaneous costuming and hair styles was given], the changes were sometimes very fast with hardly any difference in characterisation, it was still recognisable and easy to follow. 

And despite having to wait until the very end of the show to recognise that this is Winter and it is cold on stage, the ensemble cast worked well within the confines of the stage space and brought about a lively and entertaining Christmassy family show.

Reviewers - Chris Benchley and Matthew Dougall.
on - 23.11.22

STUDENT MUSIC CONCERT REVIEW: Manchester University Choral Ensembles - Holy Name Church, Manchester.

The instrumentalists had had their showcase in the afternoon, and so it seemed only fair that the Manchester University's two main choral ensembles should also have their turn too, which they did, within the beautiful religious splendour of Oxford Road's Holy Name church. 

The first choir to perform this early evening was The Cosmo Singers, and this group of 27 a cappella singers started their set with the beautiful, and seasonally appropriate 'Weihnachten' by Mendelssohn. Seven further pieces followed, a good selection of compositional eras was chosen, and a couple were sung to piano accompaniment provided by another student. I would have preferred perhaps a little more variation in style, but maybe because this was a church, the choir was reluctant to let its hair down too much. The final song in their set was the most upbeat and sounded very much like African Tribal music, but was in fact 'Jubilate Deo' by Peter Anglea.

The dynamics were nicely handled in all the pieces, and the breathing techniques nicely observed too. The harmonies were secure and sounded good, although I don't think the SATB balance was optimum in this choir. The sound was at times too light, and the lower registers (especialy baritone / bass) were under-represented.

Both this choir and the one to follow were conducted by a trio of student conductors taking it in turns to either conduct, sing, or sit to the side. They were David Wynn-Evans, Kwankaew Ruangtrakool, and Harry Mobbs. All were interesting to watch, but for me Ruangtrakool was the most expressive, managing some clever unison snaps during one of her turns. Both choirs also utilised the natural accoustic of this church to their best advantage too. Enunciation and diction were always clear, and very little effort was needed on the part of the singer to make their voice soar high and wide. My over-riding criticsim would be that the announcing, done by one of the conductors, was far too quiet. Even being seated near the front of the church as I was, I still was unable to hear and understand most of what was being said. 

The second choir to sing for us was Ad Solem. This was a completely a cappella group (no piano this time), and they numbered 25. Here the choir sang 5 pieces, again varying in the era of composition but a much more eclectic range of style too; and in this instance some of the chosen repertoire required soloists. Each solo was clear and beautiful, although my perosnal favourite, despite not being a huge fan of the soprano voice, was sung by one of the sopranos almost completely out of view from me to stage right in a wheelchair. What a lovely voice! The dynamics and phrasings again were all controlled and superb, and thankfully, for this reviewer at least, the SATB ratio was perfect this time.

The choir started with Thomas Tallis ('If Ye Love Me'), and ended with a chorus entitled 'Panda Chant 2' from the minimalist contemporary opera, 'The Games' by Meredith Monk. We could not have asked for a more diverse set list! Ad Solem added the mutterings of monks, the calls of the Muezzins, vocal sighs, and the bleating of goats to their repertoire with aplomb!

The concert was about 90 minutes long and performed without a break. I would suggest that that, when one is seated on the hard narrow wooden pews of a church, is too long! However, that notwithstanding, this was very enjoyable concert and the singing was of an extremely high standard.

Reviewer - Matthew Dougall
on - 19.11.22 

STUDENT MUSIC CONCERT REVIEW: MUMS Ensembles - The Martin Harris Centre, Manchester.

A Saturday afternoon towards the end of November in Manchester. Well, there are the Christmas Markets (same old, same old.. yawn!), and then there's a concert given by the students of Manchester University's Music Society at their resident concert hall in the depths of the university complex along Oxford Road. I'll give you a wee clue as to which I chose...!

The rather splendidly named Cosmo Rodewald Concert Hall within The Martin Harris Centre is one of three classical music concert venues in the city, but is almost exclusively used by the university. It's a very homely and welcoming place.. no-one stands on ceremony here, it's a working and studying centre... and they do a decent cup of tea too!

This afternoon's concert was student-led, and was there to showcase four of the universty's different music ensembles, performing works which would hopefully show their groups and musicianship off to their best advantage. 

The first ensemble to take the stage was the Wind Band. They started in bright and upbeat form playing arrangements of animated film tunes etc (some more familiar than others) with real gusto, and plenty of jazz rhythms. This was David Johnson's 'Symphonic Animation', a suite of 6 short pieces from swing to the James Bond-esque. The third movement in this suite featured one of the band crooning his way through the French chanson standard, 'La Mer' (in its English translation).  A great start to the concert, and with the 6 movements split between two student conductors it also gave them a chance to practise and hone thier skills too.

The Wind Band then finished (conducted by a third student) with a Star Wars Medley (arr. Burden), which consisted mostly of the main theme we are all familiar with with a quieter section sandwiched in between. A bold flourish of a finish for this first ensemble, setting the bar rather high for those to follow.

The String Ensemble came next and played two pieces; Dvorak's 'Serenade For Strings' followed by movements from 'Six Songs' by John Downland. With the Dvorak being so well known, it is even more imperative to make sure it is solid and secure before performing than let's say, a jazz impro piece or even something by Stockhausen (where you can more or less play any note at any time and still no-one would notice!) Sadly the violin section was extremely tentative with this piece this afternoon, and because they had not tuned their instruments before playing there were also a few differing pitches and unintentional discords. The Downland pieces proved more enjoyable. 

After the interval and it was the turn of MUMS Brass Band. A change of conductor here too, [I believe he was the band's main conductor and also a tutor], bringing the best out of this ensemble with three pieces. Starting with a march called 'The Spacemen', it was classic brass band music and was a great opener for the ensemble. This was followed by a much more mellow, and indeed unusual piece of music for a brass band to play; Goff Richards's 'Country Scene', but any thought of nodding off was soon quashed as they then played the opening section of Holst's 'Mars' from his Planets Suite. Rousing, stirring, and consummate. Our conductor then handed the baton to his junior assistant to complete the conducting of the band's set this afternoon. We were first of all taken back into a more mellow mood with a lovely arrangement of 'The Londonderry Air' (Danny Boy), before the whole band let their hair down, changed positions, stood Big Band style, and with flashy Cuban rhythms finished their set with the showpiece that is 'Valero' by James Swearingen.

The last group to play this afternoon was the university's Big Band. Dressing down in Hawaiian shirts and ripped jeans, this was more akin to a band playing at the Academy rather than in the hallows of the Martin Harris Centre, and once they started to play, the volume was too! I have only reviewed the Big Band once before, and I made exactly the same comment last time too... they are simply far too loud! Turn the volume down or better still play accoustically, this is a Big Band not a Heavy Metal one! They played six pieces of music ['Take The A Train', 'Baby Carrots', 'Nuttville', 'Pyramid', 'Whirly Bird', and 'Moanin''.] but I was unable to enjoy them due to the volume level. Undoubtedly they are all consummate players and their skill was undeniable, so I would have liked to have listened to them at the same volume levels as the previous ensembles. 

One thing which did make the afternoon drag a little was the arranging and rearranging of the stage. Naturally each ensemble wanted a different seating configuration etc,. but surely, with a little thought beforehand, this could have been stage-managed much swifter, easier, etc. It all seemed very ad hoc when one person removed chairs, stacked them in a pile, and then another came and put the chairs back out again...! Fussy and disorganised.

Overall a very enjoyable concert.

Reviewer - Matthew Dougall
on - 19.11.22

AMATEUR THEATRE REVIEW: Rent - The Riley Smith Theatre, Leeds University, Leeds.

Set in the East Village of New York City, 'Rent' is about falling in love, finding your voice, and living for today. Winner of the Tony Award for Best Musical and the Pulitzer Prize for Drama, 'Rent' has become a pop culture phenomenon. 'Rent' follows a year in the life of a group of penniless young artists and musicians struggling to survive and create in New York’s Lower East Side, under the shadow of HIV/AIDS.

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.

This production celebrated 100 years of the New Mills Amateur Operatic Society and what better way of celebrating than by putting on one of the most ambitious and enduringly popular shows ever with a story harking back to the Victorian era (ok, the Art Theatre was actually opened in 1911 but it has the feel of a Victorian Music Hall).

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.

Is there anything better than staying in on these cold autumn nights? Absolutely! Live music! Snuggling into the seat of a cosy theatre, nostalgically watching your music icons come alive and hearing their classic songs played out once again. Bliss.

This reviewer jumped at the chance to see this show, after excitely anticipating its return to the north west on its latest tour. Judy & Liza does what it sayd on the poster and more... it celebrates and tell the story of the mother-daughter duo, their successes, their iconic roles on stage and the silver screen, and their many failed marriages - 4 each.

The only things to let this show down are the unironed heavily creased tarpaulin used as a backdrop, the small screen (that the ladies themselves certainly would't have been used to) and the sound being piped only from the stage rather than the auditorium (I won't mention the lack of band, as I appreciate the limited space and budget). This tour seems to be playing smaller venues and I can see the appeal of more intimate settings but I also think this would work in grand theatres too.

Nonetheless, the lalents on offer are excellent and well-versed. With Helen Sheals playing the legendary Judy Garland (changed from Francis Gumm, which she used whilst performing with her sisters from a very young age). Sheals's embodiment of the role comes evidently from her portrayal of 'CBS Judy' in the musical Judy! which was presented on London Fringe before taking up a run at Arts Centre there in 2017. Her characterisation is almost natural, with such dymanics. We see Judy as a performer with a zest for building rapport wth her audience and putting on a good damn show and Sgeals recognises this and does the same (albeit with a smaller audience). Her rendition of 'Over The Rainbow' (albeit without the 'when all the world is a hopeless jumble....' preamble which would have been nice to include) by a broken down and beaten Judy at breaking point is a memory to behold. Brava!

Her on-stage daughter Liza is played by an equally talented performer in Emma Dears. The Liverpool-born actress has had much success in musicals, as well as, most recently in Emmerdale and Channel 4's It's A Sin. It is thereforme great to see her, and the show, returning to her roots for this leg of the show's 10th Anniversary (celebrated in 2021), backed by Bill Elms. Her representation of Liza as a youthful, enthusiastic showman is brilliant - I have had the pleasure to see Liza perform live.

The show begins with a projection of the good old days and the ladies' show at The London Palladium, which bits of this show are taken from. We start with a bang with the upbeat 'Wherever We Go' (known from the musical 'Gypsy') which affirmed the closeness of the chemistry the mother and daughter shared, before 'Born In A Trunk'; which encapsulates Judy's beginnings in the insutry; her father a theatre owner, and her mother extremely pushy. The presence of a trunk and photo album bring the feeling of nostalgia to another level and help to guide the story along, especially with the anecdotes of goings-on behind the scenes and in the production of 'The Wizard Of Oz'.

We then hear a heart-felt 'Zing! Went The Strings Of My Heart' which we hear Judy sang on the radio for her bed-ridden father the night before he died. Before the memorable duet of 'Get Happy/Happy Days Are Here Again' that we know so well from the duo's performances together. Then came 'You Made Me Love You', sung to a photo of fellow MGM cast member Clark Gable to mark Judy's contract with the film studios.

Talk of their various husbands, we then hear 'One Little Word...Married' from Cabaret (which I hadn't known before I researched), before the joyful 'Trolley Song' from Meet Me In St Louis (on which Judy worked under her husband-to-be Sid Luft, after being theatened with suspension from the studios).

To end the first half we are treated to the Gershwin-penned 'Liza', before the lady herself explains the spelling and pronunciation of  'Liza With A Z'.

When we return, we note the brief absence of Judy, who makes her entrance from the audience for a rendition of 'Hello Dolly', whilst Liza reminds us of her leading role in 'Stepping Out'. She then regales us of her father's ability to see the possibility and her seeing the reality of situations in 'Seeing Things' (another that I hadn't heard before).

Judy's role from 'A Star Is Born' came through 'The One That Got Away', which sadly didn't earn her an Oscar. Liza did however, for her role in Cabaret, from which we hear 'Maybe This Time' and the title song, complete with sequined hot pants, suspenders and bowler hat. She then gave us 'Sorry I Asked' when discussing her own marriages, before we reach the realisation that we have lost the iconic Judy through what she believed to be accidental death. We hear 'Smile'. They then return together for an encore of 'Two Lost Souls' (with an intorduction of 'Let Me Entertain You' from Gypsy) which also features recreation of orignial footage of them applying make-up, with the up-stood trunk holding a mirror, and outfits matching the sketch of  'We're A Couple Of Swells'.

With the dilemma of which song to end with being resolved by a mashup of 'Over The Rainbow' and 'Maybe This Time' from the respective leading ladies, you can't not feel a sense of enjoyment and pleasure that we had and have these ladies entertaning us with the songs from yesteryear. It's no surpise, therefore,.that they received a well-earned standing ovation.

Thank you for keeping these spirits, songs and legacies alive. 

Please get to see this show when it travels around from March next year - judyandliza.co.uk

Reviewer - John Kristof
on - 19.11.22

THEATRE REVIEW: Cinderella - Hope Mill Theatre, Manchester.

Rarely has a production taken so long to get off the ground, but due to a certain virus this particular show has been 2 years longer in the making than normal; and then, due to the leading lady having a minor accident, the postponement of the press night performance, it was almost too much... however, the one thing that I can say with absolute alacrity and candour, it was most certainly worth the wait!

The production values of this show were the best I have ever seen from any show at this venue so far. So much thought, consideration and creative skill had been wrung into every aspect of this production, but especially the fantastic SFX combined with the imaginative lighting and composite set. For all of this we simply must credit Aaron J Dootson (lighting design), George Reeve (projections), and Elly Wdowski (set design).

With a title like 'Cinderella', and with it being performed at this time of year, it might be quite natural to assume that this is a pantomime.. but you'd be wrong. There are elements of the genre present within the show - and under a different director, it could easily have got quite out of hand! - but this is a Musical, and written by one of Musical Theatre's most celebrated partnerships, Messrs Richard Rodgers and Oscar Hammerstein II. Admittedly, I have never seen a production of this show before, but I am the proud owner of two recordings of it, and in both cases, the recordings make the show much more jokey and pantomimic than the show I witnessed this evening. Perhaps, because pantomime doesn't exist as a genre in the USA, they were far more at ease to play around with it. Here, under the direction of Hope Mill's own Joseph Houston, we were in pure Romantic Musical Theatre territory, and the show was all the better for it. With just as exciting and beautifully executed choreography from Joseph Houston's husband and co-founder of Hope Mill Theatre, William Whelton. This was pure theatrical magic! (and yes, you can quote me on that!)

However, mentioning the USA, there was one - and only one - slight issue this particular reviewer had with this production, and that was the cast's accents. Sometimes it was British English, sometimes it was American English, but most of the time it was a curious mixture of the two, which in the 1940s and 1950s, Hollywood stars tried to pass-off as British and became known as 'Mid-Atlantic'. I was, and still am, very uncertain as to why this curious mix of accents was used. My only rationale being that it was written by Americans using American terminology and speech patterns, and so maybe the dialogue simply flowed better with a 'Mid-Atlantic' styled speech. (?)

However, accents aside, this is a treat for all the family, and this season's 'must-see' show. I do believe the musical has gone through several revisions since it was first performed as a TV broadcast in 1957 starring Julie Andrews, and has rarely seen the light of day this side of the Atlantic - this being the Northern Premiere of the show. However, I also believe that this version is the most musical-like version and the updates and changes made to the score and libretto over the years have served the musical well - which is rarely the case. 

Taking the leading role of (Cinder)Ella is Grace Mouat, heading an extremely strong and talented cast,in a fast-moving, slick, and quite astounding production of a slight variant on a well-known fairy story. Go and see it before it closes on the 11th December!

Reviewer - Matthew Dougall
on - 17.11.22

 

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.

The play opens with a prequel style storm, lightning flashes catching the silhouette of a woman on the porch of a mid-Western suburban property. This was well handled by the tech team, setting the standard for the evening. The lighting throughout was lovely, deftly carrying us through almost 24 hours. At first glance, the set was pleasing to look at – a traditional wooden board house (with both porch and a cellar) lit within as appropriate, sat in a picket-fenced, tree-lined garden. But if the devil is in the detail then a little more thought was needed. Doors taller than upper floor windowsills, green leafy trees with autumn leaves piled around them, fruit on a tree much too young and small, and trunks that finished way below the sightlines, left it feeling slightly awkward – but the spirit was clear, and the staging served its practical purpose very well. As each character appeared, it was clear that the wardrobe department have an excellent eye for detail. Every costume was not only historically appropriate but suited the character perfectly.

The cast of ten were very much an ensemble. Perusal of the programme (a very professionally produced item) shows us this is a cast with many years of experience amongst them. The American accents were smooth and natural in each actor – and, as an added bonus, appeared to be from broadly the same corner of the US! Diction and clarity were excellent - in a very wordy piece, I missed nothing. Special mention must go to Leo Chandler, the young performer who took the role of Bert. He was an absolute asset, and I am sure he has a long future on stage ahead of him. Amongst the adults there were some cracking performances. Tom Broughton and Katie Cullen as Chris and Annie portrayed beautiful, tentative moments in Act 1, sharing an authentic range of emotions and establishing themselves as a couple at odds with their elders. Cullen’s elegant posture and beauty enhanced a lovely performance. Broughton, as Chris, was, for me, the lynchpin of this production. He gave a considered and controlled performance – if any criticism were to be made, his body language was not always appropriate to an ex-serviceman of the 1940s. Were he to shed his contemporary characteristics for a more formal mid-century demeanour, he would be utterly outstanding. 

Joe Meighan brought a real change of energy as George. Despite playing a character packed with anger and betrayal, and not appearing until Act 2, Meighan’s enthusiasm for his craft exuded from under his hat. Loui Quelcutti, Colin Rice, Sasha Carrillo and Ann Sutcliffe all played the neighbours well, a strong group of secondary characters is a director’s dream and Carole Carr is certainly blessed here. Nowhere was experience more clear than in David Beddy (Joe Keller) – Beddy is clearly comfortable on the Garrick stage, showing no fear of silent, solo business he approached this role with calm and certainty. Brigid Hemmingway (Kate) is by no means a newcomer but against the mountain of experience, she appeared to be the more naive performer. She made a valiant attempt at a huge, emotionally complex role but didn’t quite have the range required to keep her character authentic.

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.

Reviewer - Justine Sutcliffe
on - 15.11.22

OPERA REVIEW: Orpheus - The Theatre Royal, Nottingham.

The culmination of Opera North’s ‘Orpheus’ season is an ambitious attempt to fuse Claudio Monteverdi’s 1607 ‘Favola In Musica’ with a contemporary score utilising traditional Indian instruments by Jasdeep Singh Degun, arranged by Ashok Gupta. The risks inherent in such a venture are obvious: any attempt to bring western and eastern musical traditions can easily result in something that is neither fish, flesh, nor fowl.  

The present reviewer must admit to a degree of inadequacy in approaching this task, for while he has a reasonable knowledge of baroque opera, his knowledge of Indian and Bangladeshi music is by no means commensurate and while it was clear that the instrumentalists led by the composer on sitar were of the highest skill level (a percussion duet was particularly memorable), there were moments when the elisions between Monteverdi and Degun felt somewhat jarring and contrived. That said, Degun’s score does illuminate some of the similarities between the two traditions, for instance the use of vocal melisma common to both, though some of the lengthier vocal excursions felt like too much of a good thing .

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

THEATRE REVIEW: Fisherman's Friends - The Grand Theatre, Leeds.

‘Fisherman’s Friends’ is an adaptation of the story of a few local men with a heart for song who became music stars almost overnight. Based on the 2019 film of the same name, the plot revolves around music manager Danny’s chance visit to Port Isaac. He hears a group of local men, gathered on the Platt in the harbour, singing traditional sea shanties. These men are a collection of locals, with real jobs and a firm friendship – singing for the love of it and to raise money for charity. Like many of us, he finds himself moved by the raw, acoustic harmonies and their traditional renditions of hardship, love, and loss on the seas – and decides to launch their record career, using dubious strategies to get them seen when the big noises in London don’t seem interested. His efforts are met with a mixture of resilience, distrust, and derision. The villagers have low opinions of Londoners – a chance for the storyline to highlight the plight of many picturesque, traditional communities who find their native families struggling to keep a foothold when the middle classes roll in and buy up properties as second homes. One of the most virulent detractors is Alwyn (Parisa Shahmir), daughter of the ‘Fisherman’s Friends’ unofficial leader, Jim (James Gaddas). She rails hard against Danny’s presence in the village at all, ever loyal to Port Isaac and a way of life that is fast eroding. It is, perhaps, predictable that this relationship gives us the 'will they/won’t they' romantic strain to the production.

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

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.

Currently available to watch online as part of Sadler's Wells Digital Stage, this 2019 production of Ballo Arthur Pita's 'The Little Match Girl' (from Hans Christian Andersen), is a triumph of contemporary dance-theatre.

The story has been transferred to 19th century Italy, but the narrative remains unchanged. A poor girl forced to sell matches and not to return home until all are sold lest she receive a beating by her father, forces her to venture further and further into the cold unforgiving night, and as she does, the people she meets (apart from her uncle) treat her with disdain and hatred, shunning and mocking her. In Andersen's story, she eventually succumbs to the cold and her soul is carried off to heaven. However, in order that the audience are not left in floods of tears - and particularly since this is a show for all ages and being shown around the festive season - the end has been reconsidered, and here, just as you think all is over, we see that she has been transported to the moon and dances for the astronauts for the 1969 landing. Genius.

We don't really have the time to cry or emote too much whilst watching in any case as the pace is set right from the start as rather quick and one vignette overlaps the former with elan. Facial expressions from all are a joy, and the dark and conniving humour brought out expertly. This is a rich and imaginative production, which is simply and effectively told, fusing contemporary ballet with more folk dance styles; comedy with tragedy, violence with Punch-And-Judy-esque frivolity, and there are elements throughout of Commedia Dell'Arte meeting Tim Burton!

A bare stage scattered with snow, a dolls' house size town in the hinterground, and a large and loomig omnipresent moon is not only effective but stark and clever. the lighting is superb, as are the sound effects. Music by the rather ironically named Frank Moon is apt, and always adds rather than detracts, and is performed with skill, whilst the choreography is clever and furthers the narrative.

Add to all of this some macabre make-up and costumes and this magical adventure - for that is what it is - transcends the mundane and the mere need to tell a story. It is the ending of this tragic tale that hits home the hardest... a poor little girl back on Earth trying to sell cigarette lighters in the driving snow. Nothing has changed has it?

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.

Reviewer - Matthew Dougall
on - 10.11.22

Available to rent until Sunday 15 January 2023

Price: £3.50

https://www.sadlerswells.com/digital-stage/ballo-arthur-pita-the-little-match-girl/

THEATRE REVIEW: The Best Exotic Marigold Hotel - The Lowry Theatre, Salford.

'The Best Exotic Marigold Hotel' is a stage play by Deborah Moggach based on her novel, 'These Foolish Things'. However I think we all know that in reality, the 2011 John Madden film is the more well known and probably the go-to for reference and comparison, not only with us reviewers but also majority of the general paying public. 

It is fair to say therefore, that the stage adaptation, doesn't really live up to either the novel or the film, and despite the casts best efforts, is little more than a rather long-winded, gentle comedy, with and about stereotypical characters. 

There is genuine warmth in this story, and, as with all good comedies, there is a darker and more serious underlay, which, in this case, is a veiled but barbed commentary on the UK's social care system and our irreverence of the elderly, alongside a look at contemporary India and how the Caste system still carries much weight as well as the lasting impact of Colonialism. But these are all dealt with in a very marginal way and not given much consideration.

The script has been updated slightly to bring us up-to-the-minute with Zoom and LGBTQ issues, but an overlong and underdeveloped first act which just meanders along never getting out of second gear, doesn't leave you wanting more. Fortunately the second act fares better, but the plot development here feels rushed, and the play only truly gets into its stride and finds its voice in the final few minutes of the play [the very awkward and eggy silence at the darkened dinner table notwithstanding].

Of course it is wonderful to see esteemed veterans of stage and screen still doing what they do best. Rula Lenska as a forthright and outspoken Madge, Paul Nicholas as a hen-pecked and yet not-so-devoted husband, and Hayley Mills as the sensible Evelyn. However, in this particular reviewer's opinion, it was some of the lesser known actors in this production who truly shone. My personal favourite being Marlene Sidaway's brilliantly observed Muriel, being perhaps the only character to lift Act 1 from the monotone.

With a composite set of the hotel courtyard, much of the atmosphere, colours, sights, sounds and busy-ness of India was lost, but it did capture the boredom and ennui perfectly, as well as the somewhat dated and peeling-at-the-edges charm and opulence. Whilst the lighting design sadly did not hit the mark at all this evening, casting many unwanted shadows, forcing principal cast members to act in either semi or total darkness in unlit areas of the stage, or in spots which were not quite large enough to accommodate them, and again, failed to capture the true colours of India. Fortunately the underscoring of Bollywood style Indian music was a joy, and this, along with some lovely costuming choices, truly helped to transport Salford to Bangalore.

A very curate's egg of a production, which should have worked much better than it did, and despite the entire ensemble cast doing their best to lift some wonderful lines off the page and breathe life into this heart-warming comedy, it fell short of the mark this evening sadly.

Reviewer - Matthew Dougall
on - 9.11.22

 

THEATRE REVIEW: From Here To Eternity - The Charing Cross Theatre, London.

If, like me, you remember the black and white film with Frank Sinatra, and the iconic frolic in the waves between Burt Lancaster and Deborah Kerr, you will not be disappointed. Sir Tim Rice has turned 'From Here To Eternity' into a wonderful musical. He has written some incredible lyrics with music by Stuart Brayson. I would like to think these songs should go on to become as well-known as some of Sir Tim’s previous works. They are heart-wrenching and outline the impending doom from a war that the Americans know is coming. The cast performance of these musical numbers was nothing short of perfection. For a cast that’s made up from mostly young and not very well-known performers it was beautiful and deserved its standing ovation. I know the story inside out and it still brought a tear to my eye. I didn’t want it to end, and I would go back again and again to see this. It was incredible. I felt it had a similar vein to 'South Pacific' but with a darker underbelly.

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