PANTOMIME REVIEW: Cinderella - The Victoria Theatre, Halifax

 

This reviewer has seen more pantomimes over the years than he has had hot dinners.....oh yes he has! Well, not quite, but I have seen a great deal, and it has taken me until this evening at Halifax's Victoria Theatre and their production of Cinderella to say that this is amongst the top ten all-time and certainly the best panto I have seen this season!

Produced by Imagine Theatre, a panto specialist (and it shows), the production uses colourful picture-book sets, creative lighting, a live band, a group of local dancers to help with the chorus numbers, fantasmagorical costumes with a change for the Dame on his every entrance, some truly magical illusions, and the end to the first act will simply blow you away! And all that is before we credit any of the talented cast!

We all know the story of Cinderella don't we..... oh yes we do! The only slight difference in Eric Potts's version is that it is the Fairy Godparents - called here King Julian and Queen Juniper - fun-loving do-gooders who make it their task to help Cinderella fulfil her destiny together, with some slick and really rather excellent magic along the way... that is because this duo is The Conjurors (Matthew Pomeroy and Natasha Lamb), who have their own sell-out illusion and conjuring show with which they regularly tour.

Adam Stafford was this season's best Dame (by a long way!), pitching his comedy and butchness just right for this reviewer. Nathan Morris is a most amiable well-intentioned clown as Buttons. Keiran Morris is charming as Prince Charming, and Emma Kirk (with her beautiful voice) was a superb Cinderella.

The two Ugly Sisters were Siobhan Diffin (Whitney) and Tasha Shanade (Britney). Both worked well and illicited the appropriate audience reaction. However, for me at least, they were not my idea of ugly. True, they were certainly ugly in character and behaviour, but outwardly they were far too pretty. Lovely costumes and nice make-up made them not stand out visually as one's idea of ugly. Moreover, since this script did not accommodate an evil witch or a King Rat character, it is the Ugly Sisters who should take on this role between them and be booed and hissed and be truly nasty. The audience did boo them, but only because Buttons asked us to, not because we felt repulsed by them.

We were treated to plenty of jokes throughout, some very silly ones as well as many for the grown-ups too. Unfortunately though there was one area which was the weak link in this panto, and that was the lack of traditional responses. At times this show was much more like a Musical Theatre Comedy than a panto, and it was such a shame that we had only one "oh yes it is" the whole show, and we never had a "behind you". The traditional routines were a little thin on the ground, and the audience only had a true rapport with Buttons and The Dame due to their constant call-and-response greetings. We did have one young child on the stage very briefly, but the songsheet was neglected in favour of more magic.

The choreography (Laura Grecian) was exciting and nicely executed this evening, the singing fabulous, and the whole mise-en-scene very slick, swift, and eye-catching. The live music was sound (a-hem, sorry!) under the direction of David Haller. A true spectacle for the festive season and a show that both company and theatre can be extremely proud of. Get yourselves down to Willowfield On The Wobble before it is too late!

Reviewer - Matthew Dougall

on - 19.12.23

CABARET REVIEW: Ember And The Vixens: Festive Foxes - The Art Gallery, Manchester.

 

The Atrium is ordinarily the impressive entrance to Manchester Art Gallery from the Princess Street side but it doubles up perfectly as a performance venue with sumptuous surroundings, impressive flights of stairs and a glittering performance space installed between subtly lit round tables. In short, an ideal setting for a cabaret show. The event on Saturday was well suited to the venue being an interesting blend of singing, poetry and burlesque.

The three constituent elements of the show each had considerable variety, crossing various genres. The common elements were not just that all the performers were women but each part given a distinctive female perspective. This related to variations in both moods and themes, necessitating a host to bind everything together. Jas Nisic was not just the compere but also one of the performers that worked well in giving the show an air of inclusivity. Her vibrant introduction to the evening, enhanced by a powerful singing voice, provided an enticing entre for what was to come.

The two accomplished singers on the night were markedly different in style. Jas Nisic gave a jazz take to Broadway musicals combined with a couple of soulful self-penned tracks sung to clear acoustic guitar chords. Her raunchy voice matched with a showgirl outfit, Nisic opened up the evening with style and charisma. Yemi Bolatiwa in sharp contrast essentially sung '70’s disco favourites but her opening cover of Blondie’s ‘Heart Of Glass’ showed her versatility, each of her songs delivered with conviction and panache, appropriately echoed with a sophisticated outfit.

There was no less variety in the poetry. Anna Nixon’s sassy appearance hinted at what was to come with her funny and edgy take on parties and relationships. Mary Lou gave a powerful rendition of some of her own works, blending comedy with reality. The spoken word took a slightly darker mood with Gemma Lee’s offerings. Selina Helliwell gave some very personal renditions, presented in person aside from her burlesque alter ego. A very varied collection of poems with contrasting modes of delivery, giving a range of female perspectives of life and love.

The promotional images suggested an evening based around burlesque but this was just an even third of the night's entertainment, although certainly the visual showpiece. Temptress La Tease gave a very dynamic, in-yer-face take on the genre, full-bodied and full of vitality. By way of alternative, Suzie Sequin show a delicate subtlety to the genre, supplemented by oriental-style fans and silk banners, at times seeming as much ballet as burlesque. In further contrast, Ember Travixen combined glamour and seduction with an Arabian Nights presentation followed later by a temptress in scarlet. In each case, the music was carefully chosen to set the mood and these three very different artists showed how burlesque is very much an art form in its own right, which (in contrast to a stripper performing in a steamy back-room bar) is empowering for all women, without the constraints of a particular body shape or look.

This was a thoughtfully constructed evening that sought to combine burlesque with other art forms; taking the audience into different emotions as mood shifted between light and dark, comedic and serious, frivolous and emotive. This was a revue show, with a rich variety of genres and moods, reflecting the very essence of the environment in which it took place; an art gallery housing an eclectic mix of colours, styles and emotions. This was a feminist event in the best sense of the word, not being reactionary or defensive but boldly and assertively presenting womanhood in ways that were variously thoughtful, vulnerable, playful or seductive.

Reviewer - John Waterhouse

on - 16.12.23

THEATRE REVIEW: I Should Be So Lucky: The Musical - The Grand Theatre, Leeds.

"I Should Be So Lucky: The Musical" transports the audience on an exhilerating ride through the powethouse era of pop music crafted by an iconic trio of producers. The production is a jubilant celebration of the infectious tunes and chart-topping hits that defined an era and made Stock, Aitken and Waterman synonymous with the sound of the late '80s early '90s

The cast, fuelled by an infectious enthusiasm for the music, delivers performances that pay homage to the distinctive style and energy of Stock Aitken Waterman's productions. The chemistry among the cast members is evident, creating a synergy that brings the beloved hits to life on stage. Each performer embraces the unique vocal nuances and stylings that made the SAW productions legendary, delivering renditions that honour the spirit of the original recordings.

Choreography plays a pivotal role in capturing the essence of the era, with dance routines that mirror the upbeat and dynamic nature of SAW hits. The stage comes alive with the infectious energy of the dancers, enhancing the overall experience and inviting the audience to relive the magic of iconic music videos.

The set design transports the audience to a time when bold colours, neon lights, and high-energy performances were the hallmarks of pop music. The incorporation of multimedia elements enhances the visual spectacle, offering a glimpse into the vibrant and glamorous world of SAW productions. The nostalgia-inducing set pays homage to the distinctive aesthetic of the era, creating a visually engaging backdrop for the musical journey.

Costume design is a standout feature, showcasing the flamboyant and stylish fashion choices that defined the era. The costumes capture the essence of the '80s and '90s, reflecting the trends and iconic looks associated with the SAW era. Each outfit is a nod to the fashion-forward sensibilities that complemented the bold and catchy nature of the music.

While the storyline may not delve deeply into narrative complexity, it serves as a vehicle to string together the musical gems produced by Stock Aitken Waterman. The pacing is well-managed, allowing the audience to savour each hit without losing momentum. Humour is interspersed throughout, adding moments of levity that resonate with the joyful spirit of the music.

In summary, "I Should Be So Lucky: The Musical" is a jubilant tribute to the enduring legacy of one of the most influential production teams in pop music history. The production captures the essence of the era, offering a nostalgic and visually stunning journey through the chart-topping hits that defined a generation. Whether you're a dedicated fan of SAW's music or a newcomer to the era, this musical promises an immersive experience filled with energy, style, and a celebration of the timeless tunes that continue to resonate with audiences today.

Bravo. 

Reviewer - Simon Oliver

on - 13.12.23

GASTRONOMY REVIEW: The Riverside Inn, Acton Bridge, Northwich.

 

Arriving on the last Saturday before Christmas Eve, in the mid afternoon, the restaurant was bustling. However, there were still plenty of spare tables, and we were shown to a booth near the rear passing by at least four dogs in amongst the diners. Yes, this is a very dog-friendly place, and so if that puts you off, best to stay away... a further couple of dogs arrived (with their owners of course) whilst we were dining.

It appeared that there were plenty of staff this afternoon, but despite this, the service was terrible. We ordered our starters and main courses at the same time. After 50 minutes waiting for the starters to arrive, we had to call a waitress over to bring them out.. they had been prepared, but no-one was serving! We waited a further 20 minutes between them clearing the starter and serving the main. Many of the staff however were on their break. About 6 of them had taken over a couple of booths opposite us, and were happy to sit there and dine just as a guest would... only they were served first! They all got their meals before we did and we were there first! One of the cooks even came out during this time with a dirty and disgusting kitchen cloth hanging from her back pocket.... absolutely not the best advertisement for the restaurant!

The food is pub grub, nicely presented, but nothing that is in need of a chef... just someone who can work a microwave. My starter of pate was awful. The foulest tasting pate I think I have ever had, whilst the chips were triple-cooked despite it not saying this on the menu. The vegetables on our main dishes were effectively raw and cold.

Not a pleasant experience, despite the steak pie and the ham hock being nicely cooked and the waitress polite. When they charge you £3:05 for a cup of tea, it is time to head for the hills!

Reviewer - Matthew Dougall

PANTOMIME REVIEW: Cinderella - The Opera House, Buxton.

It's panto time again... oh yes it is!

Buxton Opera House's traditional family fayre this year was the ever-popular story of Cinderella, directed by Opera House favourite, Paul Kerryson.

Full of local references, setting the show in the village of High Peak in Buxtonia, the appeal was apparent, and the traditional elements of the show came right from the off as the Fairy Godmother (Charlotte Hannah Jones) with her dulcet Welsh intonation started the show in rhyme on Stage Right, interrupted by the Witch (Amy Cray Edgell) entering Stage Left in a green wash. 

The upbeat, contemporary (almost!) songs, were sung brilliantly throughout, giving the show a rock-chick vibe, with standards such as 'The Shoop Shoop Song', '(You're Simply) The Best', and 'River Deep And Mountain High'. whilst a team of ensemble dancers helped with some rather nifty choreography. It really was a shame though that the company missed out on not including a group of young dancers from a local dancing school. They would have filled the stage out much more (it looked rather bare and spare at times), and added to the spectacle and ah factor.

James Holmes and David Dale worked well together as the Ugly Sisters, imbuing their characters with the right amount of both vitriol and campness. In a venue such as Buxton's Opera House, breaking the fourth wall and entering into any relationship with the audience is much more difficult than in some theatres which do not have a high stage on a prosc, arch; but they tried hard to banter as much as possible, although sadly some of the traditional responses did not go on for long enough. Georgia Gallagher was an almost perfect Cinderella. Pitching her character just right between demure obeisance and gutsy single-mindedness, we actually had a three-dimensional character rather than the usual cardboard cut-out! And she had a beautiful and powerful singing voice to boot! Ross Clifton was a suave and nimble Price, dancing and bopping his way through his charm; and Fairy Godmother Jones's powerful rock ballad voice was made ample use of, especially in the second act. Aidan Bailey was full of that youthful energy and spring-in-the-step needed to work the young audience and be loved by them as Buttons. The one character that seemed a little out-of-kilter, was Buns (Felix Prince). This was a large and very tall rabbit (a man in a costume). The problem with this is that he was far more scary than cuddly. Big black eyes, large protruding teeth, and a line in arrogant gestures (all in mime), made him stand-offish and not at all friendly.  

Bright and colourful sets, plenty of fabulous costume changes, several traditional routines (some of which worked much better than others), a fabulous transformation for Cinderella, and a few risque and adult jokes thrown in for good measure - I loved the "me khazi you khazi" line, which no-one else got! - make this a fun, traditional, and family-friendly spectacle for the festive season, and one of the best pantos this reviewer has witnessed so far this season. 

Reviewer - Matthew Dougall
on - 17.12.23

PANTOMIME REVIEW: Goldilocks And The Three Bears - The Grange Theatre, Hartford. Northwich.

 

KD Theatre productions are once again in residency at Hartford's Grange Theatre for this year's pantomime, 'Goldilocks And The Three Bears'; a colourful and fast-paced, high-energy romp with a circus theme.

The story - for what it is worth - centres around Dame Betty Barnum (Joe Docherty) and her son Silly Billy (Joey Warne), with their best friend and circus helper, Goldilocks (Bethany Jayne Wynn), defend their circus and overcome the evil Ringmaster (Michael Loftus) who has set up a rival circus and intends to see to their downfall. The traditional story of Goldilocks - and the one scene that we all know being the porridge, the chairs and the beds being eventually 'just right' - was given less than a passing nod this evening and the three bears and Goldilocks shoehorned incongruously in to this tale. Although the bears themselves (Mollie Kate Angus, Jonny Wakeford, and Eddie Manning) were quite engaging and worked well inside those large and hot costumes!

From the start the volume was far too loud and was absolutely not pitched correctly. The sound levels were obfuscating the dialogue and the pitch of the music, and invaded our thoughts and concentration. There were several traditional panto routines etc in this show, and one, which I have not seen for a very long time - a precious object being left at the side of the stage - made me smile... at least one company out there remembers this as a traditional routine and has not forsaken it! However, not enough consideration was given to the young audience members this evening. and the few times we did get the responses going, they were very short lived. No-one went up on stage, not even for the song-sheet, and the group of young dancers (four different groups, and assume they are from a local dancing school) were so underused and ineffectual - not their fault - that they might as well have not been there!

Docherty's Dame was camp and fey, and more Joe Lycett and Boy George than the brusquer and butcher traditional dame; whilst Loftus's line in thick, incomprehensible cod accents was impressive! However, The Three Bears were very pleasing, and Warne's unstoppable energy as silly Billy made up for this.

The company had chosen to use pre-recorded backing tracks for all of their music too, which is, for this reviewer at least, a faux-pas too far. And despite Mark Aldous being credited as Musical director and arranger, there was no sight nor sound of live instruments this evening.

Upbeat, swift, and picture-book quality, but not the best I have seen from KD Productions.

Reviewer - Matthew Dougall
on - 16.12.23

FILM REVIEW: Independent Film Co-operative End Of Year Screening - The Odeon Great Northern, Manchester.

 

Tucked away from the hustle and bustle of Manchester during the Christmas period, the Independent Film Co-Operative (IFC) put on a screening showcasing their passion and talent through a number of exceptional short films and music videos. The IFC are nearing their 10th birthday, and are made up of a varied range of people, from students, industry professionals and amateurs. What they all share is a true love for filmmaking and cinema, cinephiles in the truest sense. The group meet monthly and host networking events as well as screenings of their productions and general get togethers. One may be mistaken for thinking of the likes of the Bradford Movie Makers who featured in the 2022 Kim Hopkins documentary, 'A Bunch Of Amateurs', however while there may be some similarities (as can be expected) the Independent Film Co-Operative seem far from amateurish even if they are an “indy” film group, and as shown in production stills before the screening began, have access to some top notch equipment. Upon being told that the IFC had a very quiet few years due to COVID, one gets the impression that they are on a serious rebound, all guns blazing, lights, camera, action! 

In no particular order the screening consisted of the following music videos: 'Freedom' – Voices Beyond (Dir. Maretha Ilves and Rhys Faghan), '4 The Sake Of It' – Brash (Dir. Sam Bond), 'Fluid' – The Red Stains (Dir. Angela Ricciuto) and 'Soul' – Jamie Borrowdale (Dir. Jamie Burrowdale). These were an eclectic mixture of music videos, each dealing with different themes such as identity and loss. The production quality varied between videos which was rather refreshing and highlights the variety of talent this group has. Although 'Freedom' lacked the polished look of 'Soul' it did not mean that it was any better of worse. In fact 'Freedom' and '4 The Sake Of It' were the two stand out music videos of the night (personally) and both were drastically different from one another in style and composition. It is all about what you do with what you have and this was a point which kept repeating in my head throughout the night. 

The short films, again in no order, were: 'The Man Of The House' (Dir. Daniel Elkin), 'Only Boring People Get Bored' (Dir. Kassandra Knight), 'Manic Attacks' (Dir. Lucie Podobska), 'The Estate' (Dir. Alexander Bay), 'Expiration Date' (Dir. Xander Ross), 'I Made War Of The Worlds' (Dir. Luke Walters) and 'Raising Purrfect Humans' (Dir. Samantha and Jack Harpur). Again, an absolutely fantastic mixture of genres and production qualities and styles. Each short had their own qualities and merits, for example 'Expiration Date' was a great silent comedy, making use of the one location (which we never leave) and joke (a bounty hunter’s futuristic gun won’t work due to multiple error messages) as well as some splendid special effects. It’s an incredibly simple premise, but the flourishes and acting really make it work. Another comedy (and the short which may have been my favourite) was 'Only Boring People Get Bored', similar to 'Freedom', was rough around the edges and lacked the polish which say 'The Estate' had, but made great use of the setting and mise-en-scene. A wonderful comic performance by Sophie Toland and an absolutely stupid (in the funny ha-ha way) premise of what a person gets up to when they are at home all day, made it stand out. It was charming and again, it harks back to the thought of getting the most out of what you have. 

Now juxtapose that with Alexander Bay’s 'The Estate', the short which looked and felt the most professional and made use of a variety of locations, a country manor, a ruined stables, a prison looking location. A serious thriller/ drama in which a rehabilitated handyman, fresh out of prison takes a job on a country estate; admittedly I saw the twist a mile away, and the “court” scene at the end ruined what had been a stellar production to that point, but it was far from boring or bad. The performances were believable and engaging, as was the plot to a degree. One could watch 'The Estate' on television or even in the cinema before a feature film easily. 

As for the other short films, they each brought something new or different to the table. Albeit limited in location or budget, they certainly went above and beyond to present an interesting take on long established trope (the stranger appearing out of nowhere at an old house in 'The Man Of The House'), or touching on themes of conspiracy theories and using social media as a platform to evoke mass hysteria ('I Made The War Of The Worlds'), to body image and self-acceptance in 'Manic Attacks'. 

'Raising Purrfect Humans' was a delightful stop-motion amination using the premise of a training video for cats and how to engage with their humans. This short had the most sentiment and was a surprisingly sweet end to the screening. 

One cannot be too critical of these shorts and music videos. After all, having had some experience on a professional shoot, I know how much blood, sweat and tears goes into making a short or music video. It is exhausting work, but incredibly gratifying when it can be projected on a cinema screen to a full audience. It is an impressive feat and the IFC should be incredibly proud of what they have achieved and will continue to achieve. This screening also begs the question or at least leaves you mulling over the point of why the film industry appears so insular and hostile to outsiders, when a screening like this shows that amateurs and the like can make equally good material as what is seen on the television and big screen. Personally I feel we are currently experience a creative drought, and those beings higher up and preventing the likes of the IFC from coming along and opening the floodgates. Why, say the BBC for example, cannot screen something like 'Manic Attacks' instead of the 1,000,000th repeat of Flog It, I don’t know. 

It is reassuring to know that there are societies and groups out there, locally, who are on the up and up and still love films and filmmaking. Whereas Hopkins’ 'A Bunch Of Amateurs' portrayed these groups as a dying breed, the Independent Film Co-Operative is a hard refusal of that suggestion. I for one would be interested in seeing what else they do, and I know of many people who would also be interested in what they do with a view to join. Let’s hope for many more end of year screenings to come!

Reviewer - Daryl Griffin
on - 15.12.23

THEATRE REVIEW: Bear Left - 53two, Manchester.

In need of something a little bit different for Christmas? Then do not despair; 'Bear left' currently running under the arches of Manchester's 53two, is the perfect feel-good antidote. Perhaps more a musical than anything else; although in essence it is a series of short plays which have been cleverly interwoven and compiled with much original music. It's not quite a musical, but it isn't an evening of short plays either, but whatever you want to call it, or pigeonhole it, it works, and works superbly!

Imaginality Productions (Ollie Mills and Simon Naylor) have, with the help of writers, Mohammed Barber, Emma Hinds, Steph Lacey, and Hannah MacDonald, and a superb cast which includes a heady mix of hardened professionals with many stage and TV credits to their name, and those just starting their professional journeys, pushing and pulling together as a true ensemble to bring us the stories of the lives of several disparate strangers who, by chance, or even by destiny, meet at a motorway service station on Christmas Eve.  

The set, one of the best I have seen in this venue, was a composite affair of outdoor car park, seating area, indoor Starbucks and fast food restaurant (complete with jukebox) and metal steps leading up to a second level of further seating. This afforded the directors plenty of choices and the spaces were used creatively and effectively. The original music (Ollie Mills) was pertinent and very much in the Musical theatre genre, with all the cast having the requisite voices to sing the upbeat choruses and the soulful and heartfelt solos. The playlets themselves were modern, relevant, and cleverly interwoven, and the characters learned much about love, relationships, friendships, and as they learned a little more about themselves and help others, we too were caught up in their world, and sympathised greatly with them. There was only one thing which truly spoiled all of this, and that was the lighting design. Sadly the LX was very poor this evening, leaving many of the cast in either partial or total darkness when they should have been in the limelight; whilst the lighting was not strong and total enough in the daylight / indoor scenes. There was also a most unfortunate incident when one cast member was atop the highest seating area singing his solo and was backlit in a lilac colour, and all we saw was a disembodied silhouette of a head encased in lilac hue!    

For this reviewer at least, there were a few favourite moments. And I KNOW I should not be subjective, but sadly, totally impartiality is simply not possible; and so please allow me to credit those performers who for me gave the truest, most sympathetic, and most delightful performances this evening, in amidst a sea of ensemble wonder-ness! Daniel Brennan's portrayal of a shy and gay choirmaster was precise and studied to perfection; whilst a struggling mum, bringing up a 15 year daughter on her own, a busy-body on her way back from a hen-party, and a lesbian couple (one heavily pregnant) all impressed. (Morag Peacock, Kelsea Knox, Alicia Ellis, Jasmine McIvor, and Hannah McDonald). Both Kenton Craig's and George Miller's characters were interesting as far as they went, but we wanted to see them developed more. The same is to be said for another of the cast who never truly interacted with the rest in any meaningful way, and we would have loved to have known more about her; the bored young lady behind the Starbucks counter (Rebecca McCauley). My favourite vignette however was a two-hander, which starred not humans, but two crow puppets. Superbly observed and the two actors voicing and handling the puppets delightful!

However, with a live 4-piece band cleverly 'hidden' in amongst the set, and a bright yellow mini the focal point; 'Bear left' has something for everyone, and is a delightfully heartening and rewarding theatrical experience for the festive season. And I shall never look at a motorway service station in the same way again!

Reviewer - Matthew Dougall
on - 15.12.23

STUDENT MUSIC REVIEW: MUMS Festive Concert - The Cosmo Rodewald Concert Hall, Martin Harris Centre, Manchester.

 

Manchester University Musical Society, known affectionately by the acronym MUMS, gave their last concert of the year this evening at their home base of the Cosmo Rodewald Concert Hall inside The Martin Harris Centre hidden among the many buildings which comprise the university.

The concert started in true festive spirit as the Combined Manchester And Salford University Brass Band took the stage.. and concert hall sides! .. to perform 'Once In Royal David's City', 'Hark The Herald Angels Sing', and a lovely piece, a medley on tunes from the animated film, 'The Polar Expess'. Their final two pieces required a lot of audience participation - standing, swaying, whooping etc, but most of the audience were sporting, with a little persuasion, happy to join in with 'The Twelve Days Of Christmas', and a traditional Bavarian Schneewaltz. The band itself however would have benefited greatly from a little more rehearsal and direction.

There was then a fifteen minute hiatus whilst they exited, the stage reconfigured, and we welcomed a somewhat reduced Manchester University Symphony Orchestra. Several different student conductors held the baton throughout the course of the orchestra's time on strage this evening, and it was interesting to note their differing attitudes, and how the instrumentalists responded to each.

Their first piece was the overture to Samuel Coleridge-Taylor's musical homage to Longfellow's poem of native American hero, "The Song Of Hiawatha". It is a truly lovely piece of music, and Coleridge-Taylor finds himself so rarely on a programme these days. 

Following this and the final piece before the interval was a piece by French composer Jacques Ibert. This was his lovely flute concerto, with the second movement especially lyrical and beautiful. The solo flute was played this evening most competently and capably by university student Jess Pun Lai Yuen. Very enjoyable.

After the interval, during which a group of university carol singers assembled in the gangway's balcony to sing four well known carols and we were encouraged to join in,  the concert proper started back in the concert hall with a concerto for coloratura soprano and orchestra by the Late Romantic / Early 20th century Russian composer, Reinhold Gliere. It was not a particularly long work, but the wordless soprano part torturously high and very difficult. Student Ruby Magee coped amazingly with this piece showing her technical expertise as well as bringing some emotion and meaning to her "ohs". 

The rather long concert (2.5 hours) finished this evening with The Firebird Suite (1919 version) by another Rusian composer and contemporary of Gliere, Igor Stravinsky. An interesting and pulsating piece of writing which demands more than just a single hearing. In my notes I wrote that the faster third movement felt very much in the vein of the silent movie comedies of the likes of Laurel And Hardy. Jaunty and cinematic in concept; whilst the final movement, a slower and more thoughtful piece, belonged, at least until the final crescendo, to another cinematic genre, and I could easily hear this as background to a quieter scene in a James Bond film. The whole was dynamically and melodically most interesting and pleasing. Wow.

My only other comment on the evening however was that it did not fit the remit of a Festive Concert. Take away the brass band and the interval choir - giving us the standard length and style of a standard classical concert , and there was nothing at all to distinguish this from any other at any other time of the year. We needed festive hats, tinsel, and a few orchestral festive tunes finishing with the ever-popular Sleigh Ride surely??? 

Reviewer - Matthew Dougall

on - 14.12.23

THEATRE REVIEW: Little Women - HOME, Manchester.

 

"Little Women" is a much-loved classic, an essential stop on any young girl’s reading journey since it was first published in 1868 and rendered popular with non-readers in recent years by the film adaptations of 1994 and 2019.

Primarily told from headstrong Jo’s perspective, it is an affectionate and gentle coming of age story. As Pa has gone to serve as a Chaplin in the army, Marmee is left at home with tomboy Jo and her sisters Meg, Amy and Beth. Jo writes stories and plays, encouraging her sisters to perform and enlisting the forlorn next-door neighbour, Teddy Laurence, to join their rambunctious band. Louisa M. Alcott was herself a ‘literary spinster’ and much of "Little Women" is based on her life in New England during the American Civil War. The four March sisters are blossoming into womanhood, learning to navigate polite society and trying to follow the teachings of their much-thumbed Pilgrim’s Progress. Despite Alcott’s own opinions on the limitations of marriage, much of the story centres on the acquisition of suitable husbands – although suitability is defined differently by the girls’ Great-Aunt March than by the sisters’ more liberal parents. Allegedly, the novel was originally written for Jo to remain unmarried, but Alcott was persuaded to give her a husband in a bid to sell more copies!

The production was delicious to look at. The costumes were true to the period (and not too pristine either – a healthy dose of creases and fading in the girls’ dresses added realism), the props were well researched and again, suitably worn when necessary. It was staged on a fixed set, dotted with bare silver birch trunks and vintage furniture, against a black background, with columns of black creating a walkway across the entire back wall. These were used with good effect to create perspective and in Act 2 were backlit to create the windows of a New York skyline. The lighting was atmospheric and used colour to good effect. There were one too many instances where faces were lost – a fault in the lighting or in the actors’ positioning? It was hard to tell. The sound too was well considered – a blend of effects and live playing, with harmonised singing of the girls. The use of the military horn and battle cries was a great reminder of the larger political scene against which this homely little story is told. There was an unfortunate glitch in the soundscape, right in the middle of the death scene in Act 2 but this, surely was a one-off.

This adaptation by Anne-Marie Casey for Pitlochry Festival Theatre, crams in most of the key moments of both 'Little Women' and its sequel 'Good Wives' - although not always in the right order, much to my frustration. Meg (Jessica Brydges) and Amy (Julia Brown) have high hopes and try hard to uphold the standards expected of a family with a much higher income. They despair of Jo (Rachael McAllister) ever fitting in, anxious that she doesn’t embarrass the family. Meanwhile Beth (Meg Chaplin) is meek and shy, staying close to home and spreading kindness. Chaplin’s stints at the piano added to the homely feel and the musical moments were a delight harking back to the days when families all owned a piano and made their own entertainment. The challenge for the sisters is to portray young girls on the brink of womanhood. Brown, Brydges and Chaplin were convincing teenagers and Brown’s Amy made a beautiful crossover from a gauche baby sister to elegant young wife. Brydges too came of age with grace, portraying a woman whose ambition was curbed as she saw the good character and loyalty of John Brooke (Tom Richardson). Whilst McAllister was an engaging adult Jo in Act 2, her younger persona didn’t quite ring true in the first act. She overwhelmed Kacey Ainsworth as Marmee and was too strong for Daniel Francis-Swarby’s Laurie. In fact, Act 1 was underwhelming in many ways – it didn’t live up to the production values laid out by the set and costume design. The lowlight of the evening was a poorly executed ice-skating scene which made my companion and I cringe. By the time the interval rolled around at 9 o’clock, I was feeling rather disgruntled. However, Act 2 went a long way to redeem the evening. McAllister’s adult Jo and Richardson’s Bhaer were delightful to watch. Richardson was the best thing about the whole play for me – playing two different love interests with nuance and presence.

Amy’s illness and resulting death were well-handled; played right up front so the emotion got you in the eye. And with the soaring voices of 'Silent Night', her absence was felt keenly - more than one tear was shed! Amy’s story comes to a resolution and by the end even Jo gets her man (whether Alcott approved is another matter). The final scene was announced by a falling of snow across the back walkway which was echoed across the apron as Jo and Bhaer finally understand each other. A beautiful end to a pretty production. The jaunty dance before the bows was an odd choice, but there we have it...  some odd choices and lovely moments, gorgeous to look at, and wrapped up in just enough carols and Christmas references to make one feel festive.s

Reviewer - Justine Sutcliffe

on - 12.12.23

STUDENT OPERA REVIEW: The Snow Maiden - The RNCM, Manchester.

 

Composed in 1880 / 1881, Rimsky-Korsakov's own personal favourite work, his opera, "Snegurochka: Vesennayaya Skazka" was performed this evening in the main theatre at Manchester's Royal Northern College Of Music. The company comprised entirely of students at the RNCM presented it in Christopher Cowell's English translation, "The Snow Maiden".

It is quite a long opera (in 4 acts and a prologue), and for those with principal roles which are present in the majority of it, then it is a most demanding score too. Rimsky-Korsakov takes his story from a play by Alexander Ostrovsky, who in turn had only turned an ancient folk tale into a tragic fairytale. In the opera, there is a distinction between human characters and those who are mythical or perhaps not entirely of this world. Rimsky-Korsakov's clever scoring clearly indicates this musically too, as certain leitmotifs can be heard throughout aurally signalling a certain character.

We start in an endless Winter. It has been Winter for 15 long years, ever since Father Frost  (Adam Jarman) angered the sun god, Yarilo. Snegurochka - or for simplicity let us call her the Snow Maiden (sonorous soprano Jessica Hopkins) - is the daughter of both Father Frost and Mother Spring (Olivia Swain). Mother Spring objects to her daughter being hidden away in a world of Winter by her father, but is helpless. It is only when the Snow Maiden herself asks to be let free and go into the world of the mortals, and experience the changing of the seasons, that kickstarts the spiral of tragic events which follow.

The Snow Maiden is allowed to live in a rural village with adoptive parents Bobil (Yihui Wang) and Bobylinkha (Leah McCabe), and falls madly in love with a shepherd, Lyel, (Sophie Clarke). As this is Grand Opera, Rimsky-Korsakov continues with the tradition of giving what in pantomime would be the "principal boy" role to a female contralto. However complications arise when he falls in love and runs off with another maiden from the village, Kupava (Charlotte Baker). In fact a love-square is started (forget triangle, this is two male and two female). Eventually, after the Snow Maiden returns to her Mother entreating her to grant her the gift of true love, she falls madly in love with Mizgir (Matthew Secombe), and just when you think there might be a chance of a happy ending....... well, this is Grand Opera so if you do not already know the ending, I won't spoil it.

The principals were all superbly chosen and their singing and indeed stagecraft was excellent and inspiring. The chorus were lush in their harmonies and filled the stage as required. However, for this reviewer at least, there was something missing with this production. And that can be summed up in one word: excitement. It was a very pedestrian production and visually unstimulating. The set comprised a Greco- Romanesque semi-circle of ampitheatrical steps, which served to concrete the allegory of judgement, the metaphor of performance, and allow the director (Jack Furness) opportunity to add a few Brechtian touches to his vision. The lighting designer (Ben Ormerod) followed his lead and created a colourful cyc and creatively lit the white steps with skill. However, the passing of Winter into Spring happened in song only. The set remained white throughout, and the token addition of a few branches did not cut it. Whilst the lighting never once gave us the warm hues of straw, and the whole opera was lit with the colder steels. Even the emergence of the sun at the opera's finale did not change the hue of the lighting on stage signifcantly. Moreover, the opera demands much dancing, merrymaking, journeying, and festive merriment, and yet, the pace hardly changed from first gear the whole evening. It was a very static and highly stylised production which went for style over substance in majority of directorial choices. And in modernising much of the costuming, there was a most strange and jarring juxtaposition between lyrics and actual physical representation. [It is the same with contemporary productions of Shakespeare]. I did not understand why a chorus member was following the Snow Maiden around ostensibly videoing her continually with a camcorder; nor did I understand the need for the two automatic rifles in the finale.

The finale's picture ending was most pleasing. Was that the reason the set design was the way it was, just so we could have that lovely image at the end? 

A most interesting but somewhat disapponting production, but not from the opera students themselves. The quality of performance was awe-inspiring and the aural experience whole and rich.

Reviewer - Matthew Dougall

on - 13.12.23

THEATRE REVIEW: Shrek - The Opera House, Blackpool.

 

When almost every theatre in the land is doling out the traditional seasonal fayre of pantomime, Blackpool's Opera House went for another very popular and family friendly show for the children this December. 'Shrek' is a musical comedy based on the animated film of the same name, and the story follows a large green ogre named Shrek, as he attempts to win his swamp back from Lord Farquaad who has banished all the fairytale creatures from his city and dumped them in the swamp to fend for themselves. In so doing he meets a very talkative and excitable donkey, and together they end up rescuing Princess Fiona from an isolated tower guarded by a ferocious but lonely female dragon, and of course, because this is itself a fairytale, Shrek and Fiona fall in love and find happiness together.

This production by Goucher / Gale / Myers, and Gavin Karlin Productions is a very swift affair using graphics and CGI for majority of the scenery and set. Sometimes though it is too slick, as the scenery for the following scene appears before the scene being played out has truly finished. Philip Witcomb's set was a pair of concentic semi-circles enclosing the stage and action, meaning the acting area was reduced and we were constantly watching the action take place inside coloured lights and rainbow effects which distracted and took away from the actual set and actual action taking place within them.

Antony Lawrence was a most endearing Shrek, his Scottish brogue pitched just right, and his subtle changes in character from big scary ogre at first through acceptance, friendship, and finally love was nicely marked. Joanne Clifton (Princess Fiona) and Brandon Lee Sears (Donkey) were his travelling companions and co-stars,  the three of them working well together. James Gillan played the baddie, Lord Farquaad, but I simply did not understand why he did not perform on his knees. Standing the same height as all around him did not work. The joke was gone, the laughter none existent, and his character diminished. Whilst the dragon was played by Cherece Richards. Again, this was most confusng. A large puppet dragon (not large enough!) was brought on stage by three puppeteers in black, as well as Williams costumed as a dragon. She spoke and sang, and the cast looked at and acknowledged her, NOT the puppet, negating the need for a puppet! Moreover Williams and the puppet moved independently of each other and even exited the stage from different sides! I asked a young boy seated next to me how many dragons were on stage, expecting him to reply with "two". However, his answer was three.... he counted the three handlers, and had not even recognised the fact that Williams was meant to be the dragon until prompted by his mum.

There was one other rather strange casting choice too. When we first see Fiona and she sings, "I Know It's Today", we should see three versions of her in the tower, one as a preteen, one a teenager, and one as the twenty-something of the now. However, sadly all three Fionas looked approximately the same age and there was no distinction in acting or singing between them either.  

A lively, happy show for the festive season, but when the dialogue and singing seems somehow muffled and hard to understand - even if you do know the story -, it is a little disappointing. In fact, the only two occasions when the target audience truly laughed... belly laughed, were the two points in the show when either Shrek or Fiona fart.

Family friendly, fast-moving, and proficiently produced, this is a colourful and enjoyable spectacle.

Reviewer - Matthew Dougall

on - 12.12.23

THEATRE REVIEW: Fantastically Great Women Who Changed The World - The Lowry Theatre, Salford.

This is high energy, pop-laden musical theatre at its finest; and a reward for both children and adults. “Fantastically Great Women Who Changed The World – The Musical”, adapted from the non-fiction book by Kate Pankhurst, features an all-female cast, crew and band. Presented by Kenny Wax Family Entertainment, this performance was at the Lowry, Salford.

he framing story is that 11-year-old Jade (very sweetly played by Georgia Grant-Anderson) has got lost from her class on a school trip to the museum. She finds her way into a mysterious wing that is closed to the public, and once inside, meets various great women from history who are wandering around for no apparent reason. Chris Bush’s script gives Jade a psychological journey as she blossoms from the forgotten little mouse that is the helpmeet to everybody else in her world, to a proto young woman who will one day take on the world with her greatness. The final message of the show is to encourage all the members of the audience, young and not-so-young, to dazzle the world with their own greatness too.

The ensemble cast was introduced as a fearsome foursome of school teachers in blackboard dresses decorated with white chalked figures – Joanna Scotcher’s costumes were incredible. After they’d lost Jade, they played multiple historical characters between them, and regularly performed together in the ultimate of cool pop / rap / R&B / and everything in between singing groups: – Jane Austen even showed off some classical singing training. 

Jennifer Caldwell was the unofficial leader as Northern-accented Emmeline Pankhurst, in a military-style purple-sequinned uniform (it’s musical theatre, not a documentary), and her performance was the ultimate in understated toughness. She doubled as French spy Agent Fifi.

Leah Vasell has missed her calling as a bone-chilling teacher in real life. (“It’s not my time I’m wasting, it’s yours” was delivered to this reviewer with full impact.) However, she was delightfully charismatic as Amelia Earhart, Mary Seacole and Rosa Parks. Chloe Hart sparkled with charming innocence as Channel swimmer Gertude Ederle, Jane Austen and fossil hunter Mary Anning. Elena Breschi gave graceful intensity to Sacagawea, Frida Kahlo and Marie Curie. And there was a special guest performance of Anne Frank, delivered by a delicately sincere Millie Kiss.

Special mention has to be made of the band. They were in full view, sitting in yellow neon-lit squares above Scotcher’s set of jumbled wooden museum crates and boldly colourful costumes. Audra Cramer was on keyboard, Isis Dunthorne was on drums, and Nicola T. Chang was on second keyboard and percussion. Never mind the musical: they could have run the whole thing effortlessly as a concert performance, and their enthusiasm and dynamism was a beacon to little musicians everywhere.

Chris Bush’s lyrics did get lost at times, as she tried to jam in as much historical information as possible in a short amount of time, and the clarity of the diction got a little interfered with by the microphones. Miranda Cooper and Jennifer Decilveo’s score was fabulous though, and worthy of a cast album release. Dannielle Lecointe’s choreography was simple but effective, and kept the funky tone going. Zoe Spurr’s lighting design dipped and flashed. Director Amy Hodge blended comedy with energy, imposter syndrome with ambition; and the audience gave a standing ovation at the end.

Reviewer - Thalia Terpsichore

on - 7.12.23

PANTOMIME REVIEW: Cinderella - The Contact Theatre, Manchester.

Eight-Freestyle have been providing the community with a seasonal pantomime for the past 11 years, and this particular reviewer has had the pleasure of watching the vast majority of them over that time. Originally producing their pantos at The Dancehouse Theatre, they were much more a community affair back then. Now, in partnership with Manchester's Contact Theatre, the company have developed, but not necessarily progressed. 

The traditional story of Cinderella had been kept, but the traditional idea of pantomime was given very much a back seat. Yes, the colourful, over-the-top costumes were present (although not nearly enough of them); yes, there were hundreds of corny jokes throughout, but sadly most of them did not land either due to poor delivery or being beyond the average audience knowledge; yes, there were a few of the age-old audience responses, but the cast hardly gave the audience chance or respect enough to acknowledge them; and yes, a couple of the standard traditional routines were presented this evening, but they were somewhat lacklustre. Even the scary ghost routine, when the audience came most alive by shouting at the cast, was negated by the cast more or less completely ignoring them. 

Many of the usual faces were present again this year, as we welcomed Ryan Hall as Prince Charming, Steven Jackson as Baron Stoneybroke, Red Redmond as Buttons and was directed once again by Sean Canning.

The show utilised both an opening and act 2 opening sequence of CGI which served only to lengthen the show, whilst the actual set itself was amateurish and simplistic, built around the four-piece live band which played on stage, taking up much needed acting and dancing space. Whilst the steps to the various levels around the band looked quite treacherous. 

Kate Mitchell quite simply stole the show with her no-nonsense Victoria Wood-esque northern Fairy Flo, whilst conversely, the two ugly sisters Verucca (Lady Bushra) and Herniya (Misty Chance) were insipid and as far removed from our idea of ugly sisters as it is possible to get. Their was no chemistry between them, and most unfortunately they were given at least two songs, and they simply did not have the voices to cope with them. 

5 professional dancers were given the main dance routines with the principals, but children from local dancing schools (including Debut in Stockport) were given the chance to dance in many of the numbers too, and age for age, ability for ability, the youngsters outshone the adults. 

Sound levels were for once good. The company has a track record of ear-piercingly loud music, so thankfully, that was not the case this year. However, the lighting design - or lack thereof - left a lot to be seen - or not seen as the case may be. The smoke machine was rather pathetic, and did not give the desired effect. 

The whole cast needed to pick up on cues and tell the story, which, at the moment is not happening. There are long gaps between set pieces and the signposting of the story is very poor. Thankfully, we all already know it! The fourth wall also needs breaking down more, and the cast need to listen to and react with the audience more. They were wanting it, but sadly that fourth wall stayed in place throughout. Such a shame.

Hopefully, given time for this show to bed-in and fix the flaws, this will become a most entertaining and worthy addition to the festive entertainment calendar. However, as it stands, in all honesty and objectivity, this was not the best panto this company has produced, and I left feeling rather disappointed.

Reviewer - Matthew Dougall
on - 10.12.23

AMATEUR PANTOMIME REVIEW: Dick Whittington - The Little Theatre, Bolton.

Bolton Little Theatre has been providing the town with quality amateur theatre for many years, in fact one might even say that it is a Bolton Institution. There have been many changes over the years, and as members come and go, and ideas within the industry change, the theatre has always tried to keep up and stay 'cutting edge'.  However, when it comes to panto, what better kind is there than the familiar traditional kind... and Bolton Little Theatre knows this and their production of  'Dick Whittington is nothing more than a local panto for the local people, full of the traditional elements that any proper panto should have!

It did take a long time to get going this evening sadly, with a long and unnecessary pre-recorded musical intro, but once the cast were on stage, with the fairy stage right and King Rat stage left both speaking in rhyme, you knew this was traditional fayre. The youngsters were kept amused with sweets etc being thrown into their midst at least three times throughout, and a full-on water pistol sequence where one cast member caught the back of my neck with an almost point-blank range firing from his water gun!

Directed by David Smart with simple choreography by Kiera Alice McGowan, the cast tried hard to bring as much life and pizzazz into the show as they did, giving us the traditional tale of a young principal boy (Georgie Smart) and his cat (Amelia Phipps) journeying to London town to find their fortune. Being given work at Alderman Fitzwarren's (David Maloney), and finding true love with the Alderman's daughter, Alice (Kasie Hilton). Whilst finding friendship and comedic antics from Dame Sarah (Chris Watts), and his son Idle Jack (Craig Pinnington); and defeating the evil of King Rat (Simon Irving), and his two hapless assistants (Jordan Beard and James Casterton). 

The show runs on the theatre's main stage until Sunday.

Reviewer - Matthew Dougall
on - 9.12.23

YOUTH THEATRE REVIEW: Les Miserables - The Art Theatre, New Mills. Derbyshire.

The highly dramatic and now iconic musical that is based on Victor Hugo's epic novel, 'Les Miserables', is now so entrenched in the musical theatre canon and our psyche, that we all - at least those with any theatre knowledge at all - have our own ideas on what makes a perfect production of this show; and if, like me, you were fortunate enough to have seen the original West End production way back in 1985, then it it understandable if I am perhaps a little subjective at times. It is a very difficult musical to perform, and becomes even more so with every production as it becomes more and more well-known. The roles are not easy ones.. even those who appear in only one or two scenes, they are a huge part of the dramatic impetus and narrative drive, and cannot afford to relax, not even for a second.

I am more than happy to report that the young teenagers and children from Bowden Theatre Works put their absolute alls behind this show, and committed 100% to this production which truly showed and helped make it the success that it certainly was. Every single cast member, whether Valjean or chorus member deserves full credit for their energy, their understanding, their dedication, and faithfulness to the text and music.

An impressive composite set which folded in and out, or expended when necessary worked very well. My only criticism here is that the walkway at the rear of the stage above the large entranceway was too high. I was seated only half-way down the circle, and when cast cast were standing on this walkway, their heads and shoulders were missing. At the rear of the circle, the whole body must surely have been out of view.

An impressive and strong start to this show with the prisoners on board ship, and this strength, energy, and indeed drama, continued throughout, right up to the moving finale. One thing I would say is that if there was anyone in the audience who did not already know the story, then it would have been rather difficult for them to follow the storyline in this production. No help was given to places, dates, and we had to use our imaginations to understand what happened between scenes. Further, Valjean was the only character to noticeably age throughout the show, with his physicality weakening on his every entrance and looking very frail and grey by the end. This was superbly done. 

My biggest negative critique of this show was the company's decision to use pre-recorded backing tracks throughout. This for me was a mistake. Many of the songs as laid down on these tracks did not suit the performers who were to sing them. Some were much to fast, some did not give the soloists any help (when help was needed) with their note, and some should have been transposed to a more natural key for the performer to be more comfortable singing. In fact, the tracks were a hindrance more than they were a help. The Musical Director stood in the orchestra pit on her own throughout, waving her baton, but hardly anyone on stage ever looked at her, there was no need, she could not do anything to help if she was not in charge of the music!

As I have already mentioned though, the entire cast coped superbly with this. Even those teenage boys whose voices were wavering between treble and adult gave it everything they had, and we totally understood their predicament. [I have been through this myself too, so know what it is like!] However, since i am going to be just a little subjective, then please allow me to give a special credit to those on stage this evening who for this reviewer at least, managed to impress just a tad more than the rest, either by the quality of their singing, the sincerity of their acting or both. First, and perhaps most obviously is Jake Hornsey for his masterful understanding of the mammoth role of Jean Valjean. A hugely personable stage presence combined with a lovely singing voice, and the ability to subtly age throughout too. Keira Lambe's Fantine was plaintive and sincere, Annabel Clarke's 'Castle On A Cloud' was superb, and made the perfect Little Cosette. Ross Provart and Isabel Fletcher-Shaw deserve a mention as the obnoxious innkeeper and his wife, M et Mme Thenardier, finding much comedy and entertaining especially in the ball scene towards the end of the second act. However, for me, my favourite character on stage this evening was the young teenager who played the role of Eponine, Jess Camileri. Her understanding of her role, and her genuine unrequited love was heart-wrenching, as well as having a lovely sonorous singing voice too. 

Sound levels were generally good throughout, but sometimes the lighting design did not do the production any favours. Especially in some of the shows more iconic solo songs, they chose to use a special which made small circles of light twirls an the stage floor. This truly did not work sadly. The cast mics also needed to be turned up at times. Solos or harmonies were at times too quiet, and the backing tracks too loud. Also, were those with smaller supporting roles wearing mics? I hazard to think not, since I was unable to hear them at all sadly. Not their fault though of course. Fortunately I knew the lyrics and was able to lipread. Others would not have been so fortunate. 

A powerful production which was true to the composers and writer, whilst affording the young people of the local area (I would imagine aged between 6 and 17) to perform in what must surely be one of the world's most famous and most loved musicals. An imperfect production, but a hugely important experience and learning curve for all involved. 

Reviewer - Matthew Dougall
on - 8.12.23

THEATRE REVIEW: Stocking Fillers - The Royal Court Theatre, Liverpool.

A selection of seven short plays…

What better way to get into the Christmas spirit than by spending an evening being entertained by this medley of short plays, each delivering a modern twist on some very different perspectives of Christmas.

Set in the intimacy and cosy surroundings of the basement theatre at the Royal Court, Liverpool and cleverly written by members of the Royal Court’s writing groups, directed by Nicole Behan they were brought to life by four professional actors, Charity Bedu-Addo, Charlie De’Ath, Jamie Peacock and Angela Simms.  

The scenery was kept simple but effective, showing Liverpool’s iconic skyline, silhouetted with twinkling lights and the minimalist props were multifunctional and used to good effect.

Each play covered a different topic related to the Christmas theme and explored numerous scenarios covering many different emotions experienced at this time of the year.  All were relatable and some took a modern and sometimes ironic take on an old and classic storyline.

The actors were very versatile in the roles they played. Jamie Peacock portrayed a very sassy half-angel wanting to gain his “full set of wings” as well as a supportive son-in-law and a hapless partner to a heavily pregnant wife about to give birth and stranded in the middle of no-where as well as a young man wanting to experience a Christmas like his childhood and finding out he’s going to be the one who makes the magic for a child of his own, as well as the back end of a donkey who has aspirations of becoming a more serious actor.

Charity Bedu-Addo was excellent in her portrayal of an innocent daughter who receives an amazing gift from her father but hasn’t quite grasped the sadness behind the surprise; her enthusiastic shop-girl with ideas to improve her job and honesty in wanting to help her customers find the right gift played well against her disillusioned co-assistant. Her portrayal of a naïve and excited elf at Santa’s workshop being full of the joys of working for “the man himself” until she met “Grumpay” was quite believable.

Charlie De’Ath delivered a notable level of maturity and sobriety to a number of the plays and comic wit to others. He played a very professional front end of a donkey (who desperately wanted to keep his rear end in check) and a convincing drunk shepherd who willingly stood in as a doctor when the need arose.

Angela Simms delivered some memorable laugh-out-loud comedy moments in her parts of the disillusioned retailer and toy factory worker, but was equally as engaging in the part of a daughter facing the bittersweetness of a Christmas gift.

All the actors showed great versatility in the way they delivered humour and tragedy in the different characters they played.

The show ended with a synoptic singalong summarising what happened in each play to the music of Deck The Halls and the audience were invited to sing along in the chorus which we all did with great gusto.

All in all, a thoroughly enjoyable, entertaining and thought provoking mix of stories that bring home the real meaning of Christmas in ways you’ll be touched by for a long time to come after the final curtain.

Reviewer - Catherine Gall
om - 8.12.23

PANTOMIME REVIEW: Cinderella - The Storyhouse, Chester.

I had the pleasure of watching ‘Cinderella’, a Storyhouse original production written by Samantha O’Rourke and directed by Hannah Noone. This production had the audience clapping and tapping their feet; whisking them away to a magical kingdom with a wave of a magic wand. 

'Cinderella' is a well-known and popular story that we know so well, but this was not your typical Cinderella fairy-tale but instead came with a modern twist, with the Prince losing his silver shoe at the ball and Cinderella rocking out in her converses in comfort and style.

However, we still had the Fairy Godmother (Melinda Orengo), the evil step mother (Susannah Van Den Berg) and the King (John Holt-Roberts) who wanted his son to fulfil his duty to the kingdom and find a wife. Cinderella’s stepsisters were not ugly as we expected but instead were both kind and friendly even though one sister was led astray. The grand portrayal of this show outlined the fact that good always triumphs over evil in the end.

The costumes for this production were colourful and eye-catching, and matched the characters' personalities well. With all the cast multi-rolling during this production the costumes were a vital part and allowed the audience to follow the story. Cinderella’s iconic magical ballgown was cleverly created with a simple turn to change outfits, to give the elusion of magic. This dress itself was not what you would expect for Cinderella, but nevertheless it was a perfect fit for this adaptation.

The Fairy Godmother and the keeper of stories was a character who was loved by the audience. Orengo had great stage presence and narrated the story with talent and enthusiasm. She used great facial expressions to keep the audience engaged. Her costumes were outstanding and were a particular highlight for the production, an extra mention needs to go to the costume designer for the creativity and imagination for this exquisite costume design.

There were many love stories amongst the characters, which added a wonderful, heart-warming touch to the show. O’Rourke adds a lovely touch here by giving the Fairy Godmother a love story of her own with stepsister Lena (Sarah Workman). Workman is a comical genius, she has her lines perfectly timed to create maximum effect with the audience. Alongside her great facial expressions, we saw her many musical talents put on display. 

The music for this production was spectacular, featuring iconic songs such as: ‘Love Shack’, Rolling In The Deep’ and ‘Night Fever’, the audience could not help but clap along. ‘In The Air Tonight’ by Phil Collins was used to create an epic battle with the evil sorceress Debbie. The direction by Noone was cleverly done by having the cast move between scenes and becoming part of the band. Excellent casting choices here, as the talent on the stage was exceptional. 

A shout out has to be made to Tasha Dowd. The great characterisation and multi-rolling were brilliant with lots of little details, Dowd gave an outstanding performance that had the audience roaring with laughter and wanting more. 

The choreography by Paul Isaiah Isles was simple but effective. The movement for this production was fun and allowed audience members to follow along. I feel the dance ability on the stage was capable of a lot more and I feel the choreography didn’t allow for the cast to showcase their capabilities. At times I felt the movement did not meet the expectations of such memorable music numbers that we all know and love. It was great to see audience participation on stage; dancing alongside the cast.

The set for this production was innovative, from story globes lighting up the stage at the beginning, potato carriages, garden sheds and an enchanted forest appearing for the start of act 2. The use of the pyrotechnics, smoke-filled bubbles and balloons gave the audience a great immersive experience. The crew and technical team did a great job keeping all their show cues slick and tight, it was a shame their efforts were not mentioned in the programme. 

What a feel-good production of 'Cinderella' it was, getting everyone ready for Christmas. With children arriving in their Cinderella dresses ready for the ball, waving their magic wands were not disappointed but were overjoyed with the magic. Great work from the Storyhouse team for putting on a great production. 

Reviewer - Abigail Bradbury
on - 7.12.23

THEATRE REVIEW: Brief Encounter - The Royal Exchange, Manchester.

 

Manchester's Royal Exchange Theatre is well known for providing the city with a Musical production over the Christmas period, and indeed over the years they have shone with many fabulous and memorable productions. This year it was much less of a Musical, and more a play with songs. In Emma Rice's theatrical adaptation of Noel Coward's famous film, 'Brief Encounter', the film had been given a lift with the injection of comedy, and, unlike previous productions of this adaptation, the company had chosen to use music and songs entirely from the Noel Coward oeuvre. The former taking away from Coward's intent, whilst the latter made it much closer to being entirely his work.

For those who do not remember or are too young to know, 'Brief Encounter' follows the whirlwind romance and love affair of two strangers who meet, quite by chance, on a railway platform cafe. Laura, played with statuesque resilience by Hannah Azuonye, has a small piece of grit in her eye from a passing train, and so she is helped by Alec, a GP, played with unswerving and singleminded passion by Baker Mukasa. The play follows them as they become more and more enveloped in each other with each regular Thursday meeting at the same railway cafe. In between, they return to their more mundane lives with spouses and children and responsibilities. Their passion eventually takes hold and is noticed by others. This being the respectable society of the post war, and not today's live-and-let-live attitude, then they must be more circumspect. However, they eventually realise that they must separate and a more sombre and sober, but surprisingly unsatisfying end of their relationship does happen.

In the middle of all of this we see the developing and blossoming romance and love of two other unlikely couples. The cafe owner, given a lovely Welsh lilt and glint in the eye by Christina Modestou, finds happiness from the Station Master, who in this production is not as old and world-weary as usual, and as portrayed by Richard Glaves there is both strength and humanity in his role. Their antics are portrayed a little at times, like A Carry On film, but never does it become over-the-top, and both are experienced and sensitive performers creating a lovely chemistry between them. Finally, the young love, adolescent ineptitudes and nervousness aplenty as a young station worker, Stanley (Georgia Frost) courts the cafe waitress played with stilted naivety and reserve by Ida Regan. We enjoy waching their confidence grow and Regan especially makes a lovely transformation as she becomes increasingly more confident throughout. The only other actor in the play is Matthew Allen who works well with the little the script gives him.

The first act is rather slow and where the dialogue should sparkle, it doesn't, and where there should be high comedy, we are not really laughing, but we do not lose interest though and despite the direction (Sarah Frankcom) being something of a mix of styles - she could not really decide whether the production was a Musical, a comedy or a drama, as all three were vying for prominence here - we still enjoyed the build-up of tensions and emotions which burst forth and blossomed into a much swifter and more enjoyable second act. 

The singing was generally good, with Regan and Modestou particularly impressing with their vocal skills, whilst we only truly got to see any dancing in one showstopping sequence during the middle of the second act, and then again, a fully choreographed curtain call. Live music was performed on stage by a four-piece jazz band under the deft direction of Matthew Malone, whose tiny interactions with the cast were subtle but skilled. 

Sightlines were something of an issue sadly. The rear stalls cannot see parts of the set which hang down from the rafters, whilst people seated in the two galleries directly above the cafe or piano will not be able to see any of the action that takes place in these areas.

An interesting but not completely satisfying production.

Reviewer - Matthew Dougall

on 7.12.23

BALLET REVIEW: The Nutcracker - The Grand Theatre, Leeds.

 

There’s something so wonderfully festive and special about the ballet – especially one that’s set at Christmas. The sparkling costumes, delicate music and twinkling lights of 'The Nutcracker' are a far stretch from our usual pantomime outing for the end of the year, but if you’re looking for a classier affair then it’s the perfect way to bring a touch of quiet magic to the holiday season. 

'The Nutcracker' is a well known classic with a beautiful score by Tchaikovsky, that follows Clara (Rachel Gillespie) as she is whisked away on a magical dreamlike adventure to a beautiful world filled with all kinds of marvellous characters and, of course, her Nutcracker Prince (Harris Beatie). We join Clara and her family at their Christmas party, decked out in their finery and enjoying the festivities in a beautiful dance. The set design by Charles Cusick Smith is simply stunning, with a Christmas tree I can only dream of having the patience to decorate, and a real homely feel to the regal Regency home that draws you in to the party. 

Admittedly slow to get going, the narrative of the production could certainly have been condensed a little; although the performances were beautiful, it did feel as though each sequence went on just that little too long. Ballet differs from other theatrical performances in that the lack of dialogue means the performers need to show, not tell – the production does this wonderfully bar the first introductory scene, which is a slightly lacklustre spot in what is otherwise a stunning storytelling. 

As the festivities unfold, we’re introduced to Clara’s eccentric Uncle Drosselmeyer and his magical box of wonders, from which, among other enchanting delights, a beautiful wooden Nutcracker is gifted. What ensues is a beautiful and delicate dance through a world of wonder, with drama and laughter and incredible choreography by David Nixon CBE. You might not expect giggles at a ballet, but when The Nutcracker is miraculously brought to life to battle the Mouse King (Bruno Serraclara) the show really picks up, as delicate dancing makes way for camp choreography in a wonderfully staged fight scene (with adorable little additions drom the younger students of Nothern Ballet). 

Clara, of course, saves the day, and the rest of the show sees Clara and her Prince transported to a mystical land, full of snow and beauty where she is celebrated for her bravery by everyone she meets – through the medium of dance, of course. Due respect should rightly be given to any dancer able to spend 2 hours en pointe with a huge expressive grin on their face, still able to move gracefully and hold themselves up; the ability to create such beautiful art with movement is one you don’t see on this level very often. But of course, despite the across-the-board talent, none could compare to the Prima Ballerina; the Sugar Plum Fairy. Dominique Larose was absolutely mesemerising in this famous role, step perfect with her partner Jonathan Hanks as the Cavalier. Despite one close near-drop (which can be forgiven when you’ve to lift someone up that many times in pants that tights!) they stole the show as the picture of elegance.

In all, if you’re not a fan of ballet then of course it won’t be for you – if you’re after something upbeat to get into the party spirit then head down the road to the panto. But if youre a ballet lover, or simply fancy a change with a familiar story to bring that extra bit of magic to your holiday season, then this is the one for you – it’s an absolute dream.

Reviewer - Hazel Goodlad

on - 29.11.23

PANTOMIME REVIEW: Aladdin - The Theatre Royal, St. Helens.

 

This year's festivities are off to a fantastic start, courtesy of Regal Entertainments at St Helens Theatre Royal with the classic tale of Aladdin. From the minute you walk into the theatre you are greeted by the lovely front of house staff and there is a real buzz in the air with great excitement from everyone with programmes and flashing lights available in the foyer. Once again the pantomime exceeds expectations with a spectacular production directed by Chantelle Nolan. The cast just gel, there is a great chemistry between them and all the fun and happiness oozes from them and they genuinely appear to be having as much fun on stage as we are watching. 

With catchphrases from Wishee Washee (the delightful Lewis Devine), Widow Twanky (the questionably beautiful, Richard Aucott) and Aladdin (the handsome Alex Aram) there is plenty for the youngsters in the audience to shout out to, actually it wasn't just the youngsters responding, I'm still hearing 'you say Wishee I say Washee, Hands off the balls and Ah so!' innuendo flying over the innocents' heads as a panto tradition, bringing knowing looks between the adults.

The costumes are absolutely wondrous, bright, colourful, glittery and in the case of Widow Twanky outrageous. There is delightful choreography performed superbly by a troupe of 8, two males and six females who are an essential part of panto and are engaging to see. 

Abanazar (Liam Fox, Emmerdale's Dan Spencer) is the one to hiss and boo at as he wickedly tries to deceive Aladdin and claim the magical lamp in a bid to take over the world. Making his professional panto debut, Fox is most definitely up to the role, with a booming voice and commanding performance, I guarantee this won't be the last panto he will appear in as the villain!

Aram is also a 'newbie' to the Theatre Royal and as Aladdin he was in every way street urchin to Prince, and the duets with Princess Jasmine (the lovely Jess Smith) were a joy to listen to. Smith, a local lass,  was very much at home performing and it is no surprise to learn she has appeared as lead singer in a couple of touring productions for several years. 

There is a great song made up from lyrics of a number of other well known songs which works surprisingly well and also a funny sketch using misheard words from songs.

Wishee Washee works his little socks off, actually, a lot more in the laundry scenes! As a firm family favourite once again his energy and bubbly personality cannot fail to delight and his many crazy antics are divine by nature, Devine by name!  Trying to keep unsuccessfully all in line is P C Shameless (better known as Stan from the tv series Shameless, Warren Donnelly, see what they did there?) His task is never ending and you almost feel sorry for him. 

We have two genies this year although one, The Genie of the Mirror (Radio City presenter Leanne Campbell) appears by video projection which is very effective. The other is Genie of the Lamp (awesome Tim Lucas) who portrays an incredible genie and I loved his every appearance on stage which also engaged the audience with a dance and song. 

Be prepared to be taken on an astonishing journey on a magical flying carpet with Aladdin with amazing reality with the use of 3D glasses which are issued to every member of the audience during the interval.  Certainly an experience not to be missed.

Aladdin is a spectacular show, lights, sound and scenery are all too often forgotten about and that's mainly because of the flawless execution. Well done all concerned. A mention to the youngsters who received golden tickets in random programmes to appear on stage alongside Wishee Washee, you stole the show!

If there is one show to see that lifts the spirits and is enjoyable by young and old alike, get along to a performance, matinee available on certain days and continues until Sunday 14th January 2024.

Reviewer - Lorna Weekes

on - 6.12.23