OPERA REVIEW: Aida - The Opera House, Manchester.

Possibly the most well-known and loved of Verdi's many operas, Aida, a story of love, war, and betrayal in Ancient Egypt, concluded the trio of operas at Manchester's Opera House, kickstarting their latest UK tour.

This production, presented by Ellen Kent productions in conjunction with The Ukrainian Opera And Ballet Theatre, stays very true to the ideas and performance mores of the era in which it was written. As with all Ellen Kent operas, you know that you will be in for a very traditional and faithful retelling of the composers' visions. Sometimes there is merit in reinventing the wheel, and when it works, it works superbly; however, all to often these days directors and producers feel the need to change and update simply for the sake of it, and these productions undoubtedly fail to impress or be meritorious. Conversely, with a Kent production, you know before you go that you will be in for a feast of the senses, in glorious technicolour so to speak. 

Librettist Antonio Ghislanzoni and the Europe of the 1800s didn't really care about historical authenticity, and so this spectacle relies on pageantry and customs prevalent in a Victorian Europe rather than trying to accurately represent the world of Egypt and Ethiopia several thousand years' ago. One can hardly grumble then at this production's set and costume design, since they were simply continuing this tradition of placing both set and costume in a romanticised version of the past, utilising Greco-Roman architectural themes and costumes as a base, blending them with a few Egyptian and Persian ideas too. It's all about the spectacle, the feel, the look, and much less about historical accuracy.

There would / should also have been a triumphant Radames entering during the procession astride a beautiful black stallion, but sadly, ATG Theatres seem to have changed their live animal policy, and so the horse won't be appearing at any ATG venue unfortunately.

However, when it comes to spectacle, then we didn't feel short-changed at all. A fire-spinner (Adam Scott) performed during the Triumphal Procession, and the Ukrainian company was ameliorated by teenagers and youngsters from both Stagecoach Theatre Arts in Salford, and The Cheshire Theatre School who filled the stage with young ballet dancers and Ethiopian slaves.

Aida (Olga Perrier), a beautiful Ethiopian, and daughter to the King Amonasro (Olexandr Forkushak), is captured by the Captain of the Egyptian Guard, Ramades (Vitalii Liskovetskyi), and although he is already in love with Amneris, (Natalia Matveeva). daughter to the Pharaoh (Eugeniu Ganea), falls madly in love with her, and she with him. It's a recipe for disaster and worthy of Grand Opera. Of course all these principals were more than worthy of their roles, and in fact the quality of acting (something which sometimes is very much side-lined in Grand Opera in favour of vocals) was surprisingly high. However, for me there were two stand-out performances over and above; and these came from the energetic and visceral performance of baritone Olexandr Forkushak as Amonasro, and the beatifully sonorous and crystal clear bass tones of Valeriu Cojocaru as Ramfis, High Priest to the Pharaoh. 

A great finish to the three evenings of opera at Manchester, which became quite emotional at the curtain call, as conductor Vasyl Vasylenko took to the stage amid a large Ukrainian flag and the company played and sang the Ukrainian National Anthem. When you realise that only a short couple of weeks' ago, this company were rehearsing these operas in war-torn Kiev, and travelled through war-zones in order to get to the UK, the themes of the opera became all the more relevant and real.

Reviewer - Matthew Dougall
on - 29.1.23

OPERA REVIEW: La Boheme - The Opera House, Manchester.

 

Giacomo Puccini’s 1896 masterpiece, ‘La Bohème’ was the second night of three one night only shows put on by Ellen Kent, featuring Ukrainian Opera and Ballet theatre, at Manchester Opera House. Very much like the night before, it was a packed house ready for the frivolities and drama which ‘La Bohème’ had to offer.

Set during Le Belle Époque in a wintery Paris, we follow four bohemian artists living together, struggling in their craft to heat their apartment. Our lead, Rodolfo, a poet (tenor, Sorin Lupu) burns his manuscript to keep himself and his flatmates, the painter Marcello (baritone, Olexandr Forkushak), philosopher Colline (bass, Valeriu Cojocaru) and musician Schaunard (baritone Vitalii Cebotari) warm. When a chance encounter happens and Rodolfo is introduced to Mimi, a poor seamstress (soprano, Alyona Kistenyova), it appears to be love at first sight; later juxtaposed with the rekindling of the turbulent relationship between Marcello and Musetta (soprano, Olga Perrier). However the happiness does not last as Mini develops tuberculosis, causing Rodolfo to worry and end things with her. As the months pass, time appears to heal the wounds between our two lovers who reunite one last time, however under rather sombre circumstances.

‘La Bohème’ is boisterous and full of energy, yet is not without its more emotional parts. It shows us an immaturity through our characters and the peppy music, there is a humour which plays out before the audience especially between Marcello and flirtatious Musetta (where a special mention must be given to Forkushak and Perrier for their chemistry and especially to the former who steals the show in Act II). Whereas the relationship between Marcello and Musetta offer us some comedy, another special mention must be given to Lupu and Kistenyova, whose performances offer pathos and true romance. Our characters’ interactions are childlike at times however without a moment’s notice the mood can change to something more serious, much like the volatile artists in the show. There is a perfect blend of emotions presented to us and that is what really stood out; similar to ‘Carmen’ last year there is this all-out-gusto about it. However I do not mean to make comparisons as both are revered for their own merits. Rather unfortunately due to current circumstances, ‘La Bohème’ has become unintendedly relevant and poignant again, as the country struggles to keep warm and money is tight, there is established this relationship between ourselves and the characters, however unlike some bohemians, poverty is not voluntary. ‘La Bohème’ evokes a range of reactions and emotions from the audience all within two hours.

As has been mentioned many times before, with a Kent production you get an authentic production which drips with rich and lavish aurora, but not to the point where it ruins the bohemianism which the story so heavily replies upon. The set design was some of the best, with props which did not look out of place, beautiful backdrops showing the newly constructed Eiffel tower and the domes of Sacré-Cœur and the physical tenements in the background with smoking chimneys. One can tell that due care and attention was especially given to the mise-en-scene for ‘La Bohème’ which created a truly immersive experience. We feel warm and gay during Act II in the bar with the festivities going on and colourful decorations which are shown, and we also feel cold and vulnerable in Act III in the snow, struggling to keep warm behind a tree. Everything seems to work so well on stage, and the interactions to the surroundings really worked wonders in taking us out of Manchester Opera House, and to the Latin Quarter in Paris one hundred plus years ago. As previous stated, production quality is a big thing with these operas, and ‘La Bohème’ is the one which showcases this the best.

I wrote in my review of ‘Madama Butterfly’ that I wondered what was in store as they were starting with what had been the best show last year, and we were not disappointed! ‘La Bohème’ is pure enjoyment and satisfaction from start to finish, in the story, music, characters and set design. Furthermore it is incredible and a real testament to them that the Ukrainian Opera can put on such an outstanding show having travelled through warzones and bombings only a couple of weeks ago. If ever there was a show of strength and solidarity, then that was the night where everyone gave it their all to put on a truly wonderful show. The response from the audience showed this too, as the applause was plentiful and cheers, shouts and whistles filled the theatre. ‘La Bohème’ really left its mark for Ellen Kent in Manchester and secured the success of the tour here before going on elsewhere where I have no doubt it will achieve the same success. Verdi’s ‘Aida’ will be closing the run in Manchester, and if there are any tickets left then I would strongly recommend getting them as you will not be disappointed.

Reviewer - Daryl Griffin
on - 27.1.23

OPERA REVIEW: Madama Butterfly - The Opera House, Manchester.

The Ukrainian National Opera returns to Manchester again with Ellen Kent’s lavish production of Puccini’s classic, ‘Madama Butterfly’ to start off three nights of equally lavish productions at the Opera House, as well as the 2023 season! The perfect beginning which saw a full house, and a very receptive audience.

Puccini’s tragic love story set in turn of the century Japan, near Nagasaki, tells the story of one Japanese woman’s devotion to her American husband and the eventual fall out which follows. Cio-Cio San, the titular Madama Butterfly (performed by the exquisite soprano, Elena Dee) a young and impressionable girl is married to the brash and immature American naval officer, Benjamin Franklin Pinkerton (tenor, Vitalii Liskovetskyi). Abandoned by Pinkerton, whose career in the Navy takes him away from Japan, and growing maturity makes him realise the impossibility of the situation, Cio-Cio San raises their child, Sorrow, with the help of her maid, Suzuki (mezzo-soprano, Natalia Mateeva) in the vain hope that Pinkerton’s ship will arrive back in Nagasaki bay. When the Abraham Lincoln finally does drop anchor, it is revealed that Pinkerton is now married to an American woman and wishes to take their child. In an attempt to shield the still fragile Cio-Cio San from the truth, Suzuki and the American consul, Sharpless (baritone, Olexandr Forkushak) try to delicately approach the situation, however it is to no avail, and with devastating consequences.

The story is simple in its premise, however its satirical undertones in the perception of the growing power of the United States, combined with the music and performance, make ‘Madama Butterfly’ a far more intricate and interesting story that one may first realise. This work may be Puccini’s most delicate and heartfelt; it may be his crowning achievement. Even if one is not familiar with opera or the music of Puccini, ‘The Humming Chorus’ which transitions the last act from night to day, will be familiar to you. A beautifully innocent and pure piece, which really makes great use of the lack of sung dialogue and captures the emotion and tone of the entire show. ‘Un Bel Di Vendremo’ is the other standout piece, and the glistening jewel that sits atop the encrusted crown that is ‘Madama Butterfly’. Beautifully performed by Dee, the song captures the heartbreak of our main character and is a great display of vocal prowess and emotional performance.

The set design and costumes really add to the overall genuine feel of the opera. Ellen Kent has a keen eye for detail and a dedication to presenting ‘Madama Butterfly’ as in intended when it first premiered over one hundred years ago. It is this eye and dedication, which makes these productions some of most luxurious and eye catching there are. To put it simply, if it ain’t broke, don’t fix it! It is a problem which splits people down the middle, you have the traditionalists who like things to be presented in the way which they were intended, and then the modernist-mixer-uppers (to phrase it elegantly) who have to tweak things here and there, changing the settings and periods in an attempt to alter the underlying themes or messages. The traditional presentation is what makes the opera this grand spectacle that you look forward to seeing and leave, counting down the days until you can see your next one. It’s one of the many things this production gets right. Many will read this either nodding or shaking their heads.

‘Madama Butterfly’ has of course influenced many remakes, adaptations so on and so forth. The hit musical ‘Miss Saigon’ is probably the most successful of these, however it cannot come close to what ‘Butterfly’ offers. The audience experiences a vast range of emotions from humour to sorrow and pain, with a particular plot point warranting a very audible gasp from the crowd being a memorable moment.

To not compare too much to last year, but the best was saved for last when this was performed on the last night, following two other very good shows. It begs the question, how great must this run of shows be if they’re starting off with ‘Madama Butterfly’? The performance certainly sets the bar incredibly high.

Ellen Kent has worked wonders to get the entire Ukrainian Opera and Ballet Theatre (based in Kyiv) through warzones and across the continent to the United Kingdom. Her efforts must be commended as well as the stellar work by the theatre itself so far from a war torn home. The respect and love was mutual as the crowd stood for ‘Schne Ne Vmerla Ukrainy I Slava, I Volia’, the Ukrainian national anthem, followed by rapturous applause towards the gesture, the cast and crew with the biggest cheer saved for Madame Butterfly herself, Elena Dee. Whose performance captivated the entire opera house and gave us all goose bumps.

Puccini’s ‘La Boheme’ and Verdi’s ‘Aida’ will follow on the 27th and 28th respectfully. The audience tonight showed that ‘Madama Butterfly’ can still command an audience, signifying its reputation in the 21st Century. Furthermore it also shows that the people of Greater Manchester love this highbrow, cultured art form. The troupe will be touring all around the country and Ireland between now and summer.

Reviewer - Daryl Griffin
on - 26.1.23

AMATEUR THEATRE REVIEW: Ghost: The Musical (School Edition) - The Grange Theatre, Hartford. Northwich.

Those of a certain age (and I include myself here) will remember getting all hot under the collar at watching a certain Patrick Swayze romance Demi Moore during a rather steamy and messy potters' wheel scene during this 1990 film of the same name. This however was the School Edition of the show, and thankfully keeps the smooch to an absolute minimum. The plot though, in all other respects, is identical.

This is a hugely ambitious show for anyone to mount, and the performers here are all students at The Grange School itself, making it even more remarkable, whilst the technical wizardry (as indeed wizardry it was) was all down to the expertise of staff members. 

The story revolves around a young couple, Molly (a ceramic artist), and her boyfriend Sam (a wheeler and dealer in city finance), who, moments after they declare their desire to get married is cruelly knifed to death on the street by a wallet-snatcher. The rest of the story then shows Sam "in limbo" as he learns why he was killed and realises that his love Molly is in danger herself. As luck would have it, he is able to recruit the help of a con-artist psychic, who just happens to actually be a real psychic, Oda Mae Brown, and of course bring about the downfall of the criminals before he is called up to heaven.

It's a real two-handkerchief film, and this interpretation of the show was no less so. I found myself welling up on several occasions with a lump in my throat. This production was very truthfully and plaintively told, allowing the audience to emote so freely. This, in performers so young, is quite a feat.

Max Hildred handled the role of Sam with an understanding beyond his years, easy to watch and completely believable. Oscar Joliffe was no less so as his best friend and work colleague Carl. Troy Turpin really made the role of the subway ghost his own, relishing being both dead and malevolent, with a great stage presence. Oda Mae, (the role played by Whoopi Goldberg in the film - and therefore quite an iconic and affectionately remembered one) was portrayed here by a very talented Gabi Exon-Trickett. Completely casting aside any thought of reinterpreting Goldberg, she created her own character entirely, and simply owned the stage on her every entrance. A very strong and confident actress.

The central role of Molly was given to Lux Tilston. Once again, her understanding and interpretation of this role was way beyond her tender years. Simplistic, genuine, understated acting made her portrayal all the more real and visceral, with a lovely clear and sonorous singing voice to boot. Tilston's solo on the auditorium steps had me crying! 

The principals were supported by a talented and eager bunch of cameo roles and chorus, all adding to the show, not detracting. 

Musically the show sounded solid and secure from a band made up from both students and tutors. I have the feeling that there were a couple of places this evening when the lighting didn't quite do what it was supposed to, but the LX design was creative and of a high standard. Screens with computer graphics were used throughout to great effect. Sound levels were good throughout. However, those responsible for the set, illusions, magic, etc that are so intrinsic to this show, deserve perhaps the biggest applause. I can honestly say that having seen the most recent professional UK tour of this show, then budget for budget, company for company, this production wins hands down in this regard. 

I loved this show. And my companion's reaction... ditto.

Reviewer - Mathew Dougall
on - 26.1.23

AMATEUR THEATRE REVIEW: Dirty Rotten Scoundrels - St. George's Hall, Bradford.

Another new-to-me venue awaited this evening as I stepped into the Grade 2 listed Victorian splendour of Bradford's St. George's Hall. It's a beautiful building, but does have its drawbacks when being used as a prosc.arch theatre. 

The show I had gone to see was a musical based on the 1988 film (which starred Steve Martin and Michael Caine), 'Dirty Rotten Scoundrels'. The film, as indeed the book for this musical, follows the exploits of a master con-man working out of the resort town on the Southern French coast of Beauville-Sur-Mer. His antics are brought to a halt as he encounters a newbie on his patch and decides to take him under his wing. Together they get up to all sorts of mischief, as they have made a bet with each other to see who can be the first to charm a beautiful Colgate heiress out of $50,000. All the while being wary that yet another con-artist, much better and smarter than they are, called The Jackal, is also treading on their toes..! 

The story is slick and fast-paced. The comedy, at least in the musical version, coming mostly from the situations, although there are a select few pearls of one-liners. However, the songs and dance routines seem to get in the way. Rather than aid, develop, and ameliorate the story - in the way say that they do in shows like, 'The Producers' - they are not intrinsic to the plot, nor do they develop the plot or characters, and the show is written in the style of the old 'book musical', and so they lessen the punches of the comedy sadly. The music is catchy, upbeat, and definitely fun, but is incidental and inconsequential to the plot, thus obfuscating it. 

The set was a single one-piece affair stretching the entire rear of the stage, a set of colonnades giving the impression of luxury - be that a hotel, a mansion house, or other locations throughout the show. Larger set items were brought in as necessary by the cast in costume and character which worked well. Overall however, we never once were given the impression that we were on the south coast of France, and the lighting never accurately created that wonderful Mediterranean yellow that we so automatically recognise as their sunshine. We could have been anywhere in the world. 

The cast this evening were having a ball. It was obvious much work and consideration had gone into creating these characters and the actors / actresses were giving their alls. Darren Smith worked well, and was comfortable in his role of aging smoothie, Lawrence Jameson. He was suave and debonair when required to be so, but was also good when ruffled and undone, working well with his peers and carrying the show well.  Ayden Rizvi as Freddy Benson was the young upstart who ruffled Lawrence's fathers thus kickstarting the chain reaction to ruin. Again a talented actor who worked hard to inject life and comedy into his role. Bringing about a sense of decorum, at least in the first half, was the town's police chief, Andre Thibault, played rather a la Rene Artois (Allo-Allo), by Phil Jowett. Jowett impressed with his unassuming but secure stage presence and his unwavering, albeit deliberately cod, French accent. 

The females in the story, all of whom are the victims (unwitting or otherwise) of the con-men's faux-charm, were Jolene (Alison Smith), who was something like Annie Oakley on Speed, and her OTT antics earned her one of the largest rounds of applause from the audience of family and friends this evening. Muriel (Cathryn Riley) was much more grounded, but just as wilfully ignorant of the masculine advances. Finally, the spurious Christine Colgate, the object of the men's bet, is played with ease by Amy Jagger, who manages that lovely balance between naive culpability and being the driving force behind the action. Can she really be taken at face value..?!

An entertaining production which bears the fruit of much study and hard work. 

Reviewer - Matthew Dougall
on - 25.1.23

GASTRONOMY REVIEW: Abbraccio Italian Bar and Restaurant, Stalybridge. Greater Manchester.

Who'd ever have thought that tucked away, inconspicuously, by the side of a petrol station on the main Stalybridge bypass, would be an Italian restaurant of such clout. 

Abbraccio (English 'embrace' / 'hug') is a bijou bar and restaurant with a mouth-watering menu, and staff who are friendly and accommodating. And as for the chef, here is a man who knows food and how to prepare and cook it! The menu states that if there is anything that you would like that isn't there or want to change things they will do their best to oblige, and indeed that is exactly what I did. The food was presented tastefully and cooked to absolute perfection. 

Between myself and my companion we worked our way through starters, main courses, side plates, and dessert, as well as wine and coffee. We ordered from both the 'Specials' menu and the standard, and the portions were generous. You may well therefore be wondering how much such a menu might set one back, but we still had change from £100 at the end of it all, and so it is also excellent value for money too.

The fayre is exclusively Italian (which incidentally has now overtaken Indian cuisine as being the nation's favourite), but the choices are large, with many dishes not normally found on an Italian menu in this country. 

A lovely ambience, with the tables not too close and plenty of bright lighting, and Italian music (Andrea Bocelli) coming from the speakers; we felt at ease and were not rushed, despite spending just a little over two hours at the table. 

This was my first visit to this Stalybridge gem, and it certainly will not be my last.

Reviewer - Matthew Dougall

THEATRE REVIEW: The Rocky Horror Show - The Lyceum Theatre, Sheffield.

'The Rocky Horror Show' is fifty this year, and it would seem it's here to stay. From its modest beginnings as a fringe show at the Royal Court’s Theatre Upstairs to the 1975 film version by which most people still know it, to the a seemingly endless series of revivals, of which this is only one, it’s withstood changes of fashion and taste (though who needs ‘taste’?) and has now arrived at a peculiar point in its history where the world seems in danger, finally, of catching up with it. 

So, where does Dr. Frank'N’Furter, arguably the stage’s first gender-fluid individual, stand in 2022? The answer is: pretty much where he (or should it be ‘they’?) always did, as the star turn of a romp that has proved as durable as it has impervious to criticism - so anything this, or any other reviewer may find fault with, will make no difference to an audience’s enjoyment. 

It may be pointless to point out that the plot, such as it is, is barely developed, that the characters are all ciphers or archetypes lifted from science fiction films of the Monogram era (it might be argued that that’s the whole point) and that the first half is considerably better than the second half (the hit number The Time Warp, arrives very early in the proceedings and everything that comes after is a bit of an anti-climax, musically speaking). These things barely matter, as a Rocky Horror audience comes knowing what to expect and determined to enjoy every second of it, with all the participatory trappings. 

The current touring version of the show, directed by Christopher Luscombe, features a very strong cast, all of whom seem well-versed in the Rocky Horror style. There is probably only limited room for innovation when it comes to interpreting these characters but each performer manages to flesh out what they’ve been given: Richard Meek and Haley Flaherty were persuasive as the vanilla duo Brad and Janet, whose unexpected sojourn at the Frankenstein House allows them to explore their sexuality. Susie McAdam and Kristian Lavercombe were sinister and charismatic as hostess Magenta and factotum Riff-Raff, and Darcy Finden, who graduated from Mountview during the confusion and uncertainty of the pandemic, makes a splendid professional debut as the high-kicking, tap-dancing Columbia. Ben Westhead makes an impressive adult debut as the muscle-bound (titular) Rocky and Joe Allen impresses in the dual roles of Eddie and Dr. Scott. 

To the demanding central role of Frank'N’Furter, Stephen Webb brings an appropriate degree of danger to match the camp androgyny in this modern Lord of Misrule. Narrators for this tour alternate between Philip Franks and (in Sheffield) Jackie Clune, who coped magisterially with an audience that considered itself a lot wittier than it actually was (don’t they all?). 

With a flexible set by Hugh Durrant (rapid scene changes were required, often shifting between interior and exterior and all were managed convincingly and with aplomb) and the original costume designs of Sue Blane, this is a highly entertaining revival and ideal for any Rock Horror neophytes (or ‘virgins’ as they’re known in the trade).

Reviewer - Paul Ashcroft
on - 23.1.23

THEATRE REVIEW: Noughts And Crosses - The Lowry Theatre, Salford.

‘Noughts And Crosses’ is an adaptation from the book of the same name by Malorie Blackman, adapted by Sabrina Mahfouz. The premise is that of an alternative, dystopian Britain, where the ruling class is the dark-skinned “Crosses” and the “Noughts” are a colourless underclass, no longer slaves to the Crosses but denied many privileges and oppressed by the dark-skinned government of the time. Against an increasingly violent backdrop, two teenagers attempt to continue their secret childhood friendship, falling in love despite the dangers. Sephy’s dad is a corrupt Home Secretary, keen to manipulate anyone to maintain the status quo of Cross supremacy. Callum’s dad is a part of the Liberation Militia, a militant group of Nought activists who perform acts of terrorism against Crosses.

Staged on a deceptively simple set and performed by an ensemble of 10 actors, this production is marketed heavily at school groups. The accompanying materials claim that the play aims to have a social and political impact on the young people that see it, expanding their understanding of what it is like to grow up in a minority. The reversing of racial equality to oppress white people is an excellent vehicle for those aims. However, as an audience member who hasn’t read the books or seen the TV mini-series, the social justice element was lost to the strength of Sephy and Callum’s love story. According to my companion who is a fan of the series, there were opportunities to explore the social and political content which were missed because of the focus on the star-crossed lovers.

This is not to say that the production wasn’t challenging - it contained scenes of violence, terrorism, capital punishment, alcohol misuse and blatant racial hatred. The performers handled all these elements incredibly well. There was intermittent use of intricate physical theatre (directed by Corey Campbell) to create moments of transition, chaos or tension, and the production felt smooth and slick. Adding to the ensemble style - the cast were integrated into the scene changes and – apart from Effie Ansah as Sephy and James Arden as Callum - all performers played multiple roles.

The cast were strong, characters were clearly defined (no easy task when condensing a full-length novel into 140 minutes) and the relationships were authentic. With strong performances across the board, the eight supporting actors provided a rich and detailed backdrop for Ansah and Arden. Ansah played an exuberant, naively confident Sephy – this worked well in Act 1, but it would have been good to see her alter as life became more embroiled. Arden was a delight as Callum - strong from the off, he set his character up to be the stoic rock, determined to improve the Noughts’ lot using only legitimate means.  A sense of doom hung over him from the first scene.

This was a very enjoyable production, there is something different about sitting in an audience that is well over 80% young adults! The teenagers were restless toward the end of a slightly drawn-out act one but were visibly (and in some cases, audibly) moved by the twists and turns of act two. The group behind us were drama GCSE students, who were thoroughly impressed with the production itself – intrigued by the perceived simplicity of the set, which was made up of two walls that folded, card-like across the back wall. Lined with canvas and detailed by LED lighting these were used for projections of varying sizes; opened and closed as doors, cupboards or windows; and were rolled away to make space for stairways. The students described the acting as “awesome” but even they were unsure about the purpose of the story line – more focused on the fated love story than on the atrocities of a violent, segregated society.

Ultimately, is this production worth seeing? Definitely – a gritty, modern book-adaptation grounded in an alternative reality. Take a teenager – they’ll love it!

Reviewer - Justine Sutcliffe
on - 19.1.23

AMATEUR THEATRE REVIEW: Nativity! The Musical - Pendle Hippodrome, Colne. Lancashire.

I have driven through the Lancashire Pennine town of Colne before, but I had, until this evening, never set foot upon the cobbles (a-hem!). The Pendle Hippodrome, located on a steep side street off the main road was much larger than I had anticipated, and the society who own the theatre assured every patron of a warm and friendly welcome. 

The society in question is The Pendle Hippodrome Theatre Company, and this production of 'Nativity! The Musical' was presented by the society's Youth Theatre. The youth theatre is open to all, regardless of ability, and is fully integrated. This meant that the stage was never empty, it was always buzzing with youthful energy, and the camaraderie, ensemble-feel, and palpable cumulative enjoyment coming from the stage was electric. 

The principal cast were well chosen, as the older members were given the roles of the adults, whilst the younger, and perhaps less experienced members were given cameo child roles and ensemble. It worked very well. 

The story, and indeed whole premise of this musical, one which I have to admit that I had not seen before, seemed to me to be a curious mix between 'Matilda', 'Elf', and 'School Of Rock'. It was therefore ideal for a large company of mixed age youths to present, and they all gave the show their alls, obviously relishing every second of their stage time. Here, a trio of school friends from Coventry grow up and go their separate ways, only to find that adulthood and fate has two of them locked in a  ridiculous battle - they have both become primary school teachers - to see who can produce the best Nativity Play. 

Heading a strong cast was the inimitable Blake Morris as Desmond Poppy, a manic, excitable, immature adult, who through his innocent energy makes things worse, and then ultimately, because this is a feel-good show, brings about the happy conclusion that we all knew would happen right at the start. The show offers no surprises story-line wise. Obviously a very strong actor with boundless energy, but at times he spoke so quickly, with an affected accent, that it was not possible to understand him.

The protagonists in the story were Ashley Brennand as the trained but failed actor who now teaches at a primary school, and Abbie Hargreaves, his only one true love who left him to follow her dream in Hollywood, Jennifer Lore. Both showed great prescience and understanding of the adult world in their characterisations, indeed Brennard had the exact demeanor and gait as one of my teachers from years' ago. However, stealing every scene he appeared in, was the third member in this trio of ex-Drama School drop-outs, Gordon Shakespeare, played by Lewis Murphy with a stage presence and understanding of stage craft way beyond his years. Here is a young man to keep an eye on, and a budding star of the future.

Special mentions should also be given to Amelia Turner-Smith, another very confident and proficient performer, who played Katelyn / Star; Louis Peel as a very relatable Olly, and two taller girls (I am uncertain I have their names correct, but hopefully I have) who impressed with their dancing ability (identically dressed in pink for the Hollywood movie set scene), Eden Barritt and Phoebe Whittaker.

Unfortunately this evening the lighting was often not on cue and there were several mics either not working or not switched on.. however, this was opening night and so hopefully these technical isues can be rectified for the rest of the run. Costumes were generally excellent, and since there were 54 scenes in this show, the idea of using 4-sided towers of differing heights to represent each scene was simple but very effective. The show was slick and pacey throughout.

A very enjoyable introduction to Colne, Pendle Hippodrome, and the Youth Society, with a production that all concerned should rightly be very proud of. 

Reviewer - Matthew Dougall
on - 19.1.23

GASTRONOMY REVIEW: Amaro Italian Restaurant, Blackpool.

Perhaps Blackpool is much better known for its Amusement arcades, Fish and Chip shops and sticks of rock along the one of their three piers, but hidden (almost) behind the tower and very close to St John's church is a lovely Italian restaurant called Amaro, which is certainly worth a visit.

The food is of a high quality and nicely presented, and there's also plenty of it, and so excellent value for money. Attentive but not fussy waiters are friendly and happy to oblige. 

We visited on a very wintry and cold January evening, and we found that the temperature inside the restaurant could have done to have been a little on the warmer side, especially when the glass front door opened and let a gust of Blackpool air in and across the tables. The lighting could also have been a little brighter too for optimum enjoyment.

However, the food is flavoursome and piping hot, and they have a good choice of wines (although admittedly most of them are Italian). 

Reviewer - Matthew Dougall

GASTRONOMY REVIEW: Anatolian Grill, Prestwich.

Who'd have thought that Prestwich, a town bordering northern Manchester would have such a gem as this on its high street?

The Anatolian Grill (and wine bar) was just the perfect choice for an early evening of delightful food and relaxing ambience on a very snowy and blowy wintry day.

The restaurant is spotlessly clean (as indeed are the toilets), and the lighting is bright and clear - a huge plus. I absolutely hate restaurants who decide to dim the lighting to create 'mood', thus not being able to see exactly what you are eating... it always seems a little suspicious to me! With plenty of space between the tables, and attentive but not over-fussy waiting staff, we spent just over two hours in the restaurant this evening and did not at any point feel rushed or that we had over-stayed our welcome. In fact we stayed at the door chatting further to one of the waiting staff before we finally left. Friendly and polite. Just perfect.

And as for the food and drink, then there are absolutely no complaints at all. All the dishes were tastefully presented, hot when they were supposed to be, and superb value for money as the portions were generous on all counts. Even watching other diners' food as it passed by and served on other tables, they all looked and smelled delicious.

My only complaint.... I didn't have enough room left to start the meal all over again...!

Reviewer - Matthew Dougall.

DANCE REVIEW: Spirit Of the Dance - The Grand Theatre, Blackpool.

Blackpool's opulent Grand Theatre was alive and 'kicking' this evening with the current tour of Irish Dance "sensation", 'Spirit Of The Dance'. 

The show started well, as the ensemble, dressed in mystic robes evoked the 'Spirit' in order it seemed to create a brand new dance which they were to take all over the world, and the singing and harmony singing from the ensemble had a very 'Musical' feel to it, theatrical, emotive, and leaving us wanting to see more. Unfortunately it all seemed to go downhill somewhat from there.

A troupe of 10 female and 4 male dancers (not including the principals) took us through dances from around the world, some with more success than others. The Scottish routine was laughably abysmal, the flamenco routines were more kindling than flames, but the Irish dancing (for which the company is known) was energetic and exciting. More than mentioned above, there seemed to be no storyline at all, and the two Spirts: one a singer / dancer and the other simply a dancer (along with a principal male dancer) interspersed their routines with the full ensemble ones. There was good use of the stage space and the choreographic ideas were sound with some lovely pictures.

I enjoyed the singing, but all the music was on playback (as well as many of the steps and taps), and so unlike their more well-known cousins, 'Riverdance' and 'Lord Of The Dance', there was no live music at all. One of the ensemble tried to involve the audience in a clapping game so we could clap the rhythm of The Blue Danube Waltz (oh dear...!), but whilst that was certainly the nadir of the show, it did end on a very well choreographed and creative comedy dance routine where the whole cast sat on the edge of the stage, and danced with their arms and hands. Very funny and clever. 

The troupe is undoubtedly talented, and their dancing was of a very high standard this evening, but if you are looking for Michael Flatley standard slickness and precision, then you need to look elsewhere.

Reviewer - Matthew Dougall
on - 18.1.23 

THEATRE REVIEW: George Takei's Allegiance - The Charing Cross Theatre, London.

A little piece of Broadway has landed in London and won’t be here long. It’s brought with it some songs that will have you tapping your toes in the theatre but unfortunately not long after that. If you love a show tune and a Broadway hit, you’ll love every minute of George Takei’s Allegiance. It’s got the flair of a Broadway show but captured in a small space. But if show tunes are not your cup of tea, then you might be left looking for more.

The story starts with an elderly Sam Kimura (George Takei) on Pearl Harbour Remembrance Day standing in uniform and being informed of his sister’s death. What then follows is the recollection of his youth and the story of just a few individuals from the 120,000 Japanese Americans locked in internment camps.

During a summer celebration, the Kimura family are rounded up, their homes and valuables stripped, and sent to Heart Mountain - a charming name for a not-so-charming place. Dust storms, no medication, and lack of basic rights make life impossible but young Sammy Kimura (Telly Leung) enlists at the first chance he gets with the belief that proving his allegiance to the American people will change their perspective on the Japanese Americans. And while Sammy believes fighting in a war is the only way to change things, his sister Kei (Aynrand Ferrer) and father Tatsuo (Masashi Fujimoto) believe in staying true to family and their heritage.

Despite the subject matter, the show feels light and quick, with comedy masking the darker undertones. This is not a gritty war story, this is a story of regret and love. The company as a whole are good together but I was left wishing for more personality and fewer characters that felt stereotypical and incomplete. Ferrer as Kei, however, brings a voice that stands out among the rest, and her ballads fill a room with tangible emotion. While Patrick Munday as Frankie Suzuki ends the first act as a one to watch.

Overall, Allegiance is a profoundly sentimental passion project by Takei with emotional notes scattered throughout. It doesn’t spend enough time fleshing out the reasons for its choices but by the end of the show you’d have to be made of stone to not feel the urge to reach for the tissues. It’s not a perfect war story, but instead a gentle tale of love and regret in a time of struggle. You may not remember the songs at the end of the run, but you’ll come out feeling a little more emotional than when you went it.

George Takei’s Allegiance runs from now until April 8th at the Charing Cross Theatre.

Reviewer - Aidan Bungey
on - 17.1.23

 

THEATRE REVIEW: Girl From The North Country - The Lyceum Theatre, Sheffield

A Bob Dylan jukebox musical? Well, not exactly. Anyone expecting 'Girl From The North Country'

to do for the Zim what 'Mama Mia' did for ABBA or 'Sunny Afternoon' for The Kinks may be in for a

disappointment, as Girl is very definitely a ‘play with songs’ rather than a musical.

Quite a substantial play in fact, and with considerable ambitions. Or do I mean pretensions?

On reflection, yes, I do. Conor McPherson has written a Chekhovian drama, set in a boarding

house in Duluth, Minnesota (Dylan’s birthplace) in 1934, which involves a number of disparate,

down-on-their-luck characters, brought together and into conflicting circumstances: some are the

boarding house staff, others are the transient lodgers, an assortment of Depression-era American

‘types’ already familiar to those who’ve read their John Steinbeck and Studs Terkel. A narrator

makes occasional appearances to remind us of the date and to inform us, unavailingly, of what’s

meant to be going on. The proprietor has a sick wife and a pregnant housemaid. The pregnant

housemaid has an elderly suitor. A Bible salesman drifts through, in the company of a prize-fighter.

There’s great deal of play here, and it’s less than compelling - partly because the characters are such

obvious stereotypes. The dialogue has a hackneyed quality that aligns it rather too comfortably

with the B movies of the period and by the end of the first act, the suspicion grows that this is just a

third rate American drama, albeit one written (and directed) by an Irishman.

But all is not lost, because interpolating the long and arid stretches of meandering dialogue,

are the songs: not the most obvious songs from the vast Dylan songbook ('Like A Rolling Stone' or

'Make You Feel My Love' might be the only ones known to a general audience) but that may not be

such a bad thing. Whatever Dylan’s own merits as a vocalist, it’s hard to deny that his own

recordings sometimes sold his melodies short and here they are given full value by a tremendous

cast, with some serious voices. Justina Kehinde, Elizabeth Laine and Maria Omakinwa were

particularly impressive in their solo numbers, as was the rest of the ensemble in the choral ones

and it was, at times, revelatory to hear underrated songs like 'True Love Tends To Forget' and

relatively unknown ones like 'Went To See The Gypsy' and 'Tight Connection To My Heart' finally

given their due. Slightly better-known songs like 'You Ain't Going Nowhere', 'Jokerman' and

'Hurricane' were given rousing renditions, too. But their relevance to the action of the play seemed

only tangential at best. The song that gives the play its title was conspicuous by its absence.

A strange confection, then, something that was neither fish nor fowl and for a production

that trades on its Dylan material, there’s an awful lot of McPherson. Dylan fans who are wary of

the theatre should approach it with caution. 

Reviewer - Paul Ashcroft
on - 17.1.23

AMATEUR THEATRE REVIEW: The Importance Of Being Earnest - The Garrick Playhouse, Altrincham, Manchester.

"A Haaaaaaandbaaag?!!" - well, no, not really.. more of a ladies' Puma sports bag actually.... (the logo is immaterial...!)

Yes, this was Altrincham Garrick's latest production of the Oscar Wilde favourite, 'The Importance Of Being Earnest', but not as we know it. Updated to the present day, with references to politics, social media, computers, and goodness knows what else, the script had been changed somewhat to reflect our current times. It did however still retain most of the original dialogue, and hereby hangs the rub. Wilde's writing is extremely stylised, a true comedy of manners, and his speech patterns and rhythms seemed to be at odds with the modern world and references thrown in. It didn't quite work, but it was a brave effort and once one became used to this, it became much easier to accept. 

A striking and actually quite simple set design of a single angular wall dividing the stage which turns round from town house to country worked surprisingly well, and Nick Sample's direction was a pure joy. Obviously Sample has a great sense of impish fun, which was shown throughout, adding his own little comedic touches. The production was slick and tight, and the overall arc of the production was considered and well-placed. 

To my surprise, a short scene in the second act - which is normally omitted, and not even printed in some playscripts, a scene involving a certain George Gribsby - had been included in this production, and it was the first time that this particular reviewer had seen it performed live. And although I understand it's omission, it was extremely interesting to see it performed, as it did add another layer of deceit, duplicity, comedy, etc, that would not have been there without it. 

Heading a strong cast were our two would-be Earnests; Chris Shoop-Worrall as Algernon Moncrief, and Jamie Sloan as John (Jack) Worthing. Both had made their characters their own, and showed a lovely understanding of both their roles and their characters' development. Playing 'against' them were their two love-interests; Antonia Whitehead as a very forthright, commanding, determined Gwendoline, whilst Lauren Robinson's Cecily Cardew was no less determined but a little more demure. Again they worked well both individually and together, and as a foursome the quartet were formidable. 

Adrian Grace gave a very understated and believable portrayal of a village vicar, Rev. Dr. Chasuble, and Sarat Broughton gave a very secure performance as the unwitting germinator of the whole farce. Sarah Kirk gave the role of Lady Bracknell a new, modern, and interesting style, but for this reviewer at least, it felt a little out of kilter with the domineering 'gorgon' that she really needs to be. Gwendoline's character was a Lady-Bracknell-in-training, and I was waiting for the full force of her 'majestic indignation' which sadly never materialised. 

A very proficient and focused production, which may not be to everyone's liking, but one cannot deny that the cast gave excellent performances, the direction was clever and original, and the play still extremely funny and well worth the braving the inclement winter weather to be so entertained.

Reviewer - Matthew Dougall
on - 16.1.23

STUDENT CONCERT REVIEW: A Day Of Strings - The RNCM, Manchester

Manchester's Royal Northern College of Music held a whole day on Saturday devoted to just the string section of the orchestra, and had stalls, workshops, information and tutelage for those instrumentalists who play violin, viola, cello or bass. In addition to all of this, the college had prepared three concerts throughout the day too, and it was these three concerts that I was there to watch.

The first of the day, starting just after lunch featured members of the RNCM String Orchestra, as well as a few working professionals in amongst them too (these were to perform at a later concert). In this concert there were three works performed, the first two of which were inspired and influenced by Beethoven, whilst the third was a work by the master himself which he never intended for public performance.

First we heard Sir Michael Tippett's 'Fantasia On A Theme By Corelli', conducted by the college's Head of Strings, Chris Hoyle. This was a curious mix of the Baroque and contemporary both in terms of sound and composition. The second piece was a modern piece, having been composed only a couple of years' ago by Anna Clyne (in collaboration with a choreographer), and was intended as a ballet. Called 'Stride' it is based around Beethoven's Pathetique Sonata, and was much more lyrical and tuneful, even balletic, than I had thought it might have been. The concert concluded with Pavel Fischer directing Beethoven's broody and tumultuous String Quartet 11, performed here in an arrangement for String Orchestra by Mahler. 

The second concert of the day was a little shorter, starting at 5pm. This concert was performed by the first year RNCM String students, who have only been performing together since the beginning of the school year in October. Unfortunately, unlike the first concert, the introductions here were done without mic and I did not hear anything at all, so am having to rely solely on the RNCM's online programme from their website. Starting with Mozart's Divertimento For Strings (K138), and directed once again by Chris Hoyle, this was a bright a jolly start to the concert. We then listened to a rather long piece or set of pieces for solo violin, performed by Ning Feng. The concert ended with what was, for me at least, the highlight of the whole day; Puccini's 'Cristanemi'. This was a really lovely piece of music and despite the ensemble presenting this as a kind of experiment for them... playing from memory, no conductor, and trying to listen to and feed off each other, it worked wonderfully.

The final concert of the day came at 7:30pm, and for the first piece we were straight back to Mozart and again another Divertimento. This time Eb Major (K563) and performed by string trio Ning Feng (violin), Lise Berthaud (viola), and Nick Trygstad (cello). After the interval and the RNCM String Orchestra was conducted (without score) by Henk Guittart, having a very followable and precise style of conducting he was nice to watch. The piece was Arnold Schoenberg's early but famous composition, 'Verklaerte Nacht'. Superbly played, controlled and emotional, this was a lovely finish to a whole day celebrating the largest section of a standard orchestra. 

Reviewer - Matthew Dougall

on - 14.1.23

BALLET REVIEW: Giselle - The Grand theatre, Blackpool.

By way of introduction, although completely unrelated to the actual ballet; this was my first visit to Blackpool's aptly named Grand Theatre, and it is magnificent! Matcham's unmistakable lovely architecture is omnipresent, still resplendent in this 1894 building. And with some very helpful and friendly FOH staff, it made the experience all the more wonderful.

This was the second time I have seen the Varna International Ballet company, having already had the pleasure of watching their 'Nutcracker' at The Bridgewater Hall in Manchester earlier this year. Here though, the opulent surrounds of the theatre helped enormously in creating the correct milieu for a very traditional production such as this.

The company utilised minimal set. The first half was nothing more than 2 doors at either side of the stage, whilst the second act was even simpler, with a single grave stone - positioned far too deep into the SR wings sadly - but enabled the full stage to be used for the corps. A screen at the rear of the stage gave more depth and context to both acts, and the CGI wilis in the second act worked nicely.

The choreography and costuming was kept extremely traditional, no risks or deviations taken, making this a rather rigid ballet, but most certainly fulfilling both the composer's original intent and following the classical ballet structure. 

Adolphe Adam's score is delightful; known for his ballet music, the resulting sounds could perhaps be said to be a  mix between J Strauss II and Schubert had both been French! Tonight's orchestra, much reduced due to the touring requirements, was in the pit and conducted by Stefan Boyadzhiev.

An international line-up of soloists danced the principal roles this evening, with Claire Gillard impressing in the title role. Count Albrecht (Marco Di Salvo) coming very much into his own in the second act. I enjoyed the energy and focus of Pierre Gaston as the Forrester. The second act heavily features the corps, who remain on stage more or less the entire act. Heading the corps (playing the roles of the Wilis) were Megan Reid and Pauline Faget, whilst Myrtha, the Queen of the Wilis, was danced by Francesca Busquets. Perhaps just a little more precision and dynamic force was required from the corps this evening. In fact, the whole cast was lacking a certain something, perhaps we could call it 'oomph'; with just a little more direction / focus / energy this could easily have been a stunning production; as it was, it was still a very good one.

As with 'Nutcracker', enjoyable, traditional, and proficiently danced.

Reviewer - Matthew Dougall
on - 13.1.23

PANTOMIME REVIEW: Dick Whittington - Parr Hall, Warrington.

It's panto time again.... oh yes it is! Christmas may well be 'behind you', but the fun and games have only just started at Warrington's Parr Hall. Friday night may be music night elsewhere, but here it was the opening night of their traditional pantomime, 'Dick Whittington'.

With a truly traditional and lovely script [plenty for the kids and 'over-their-heads' adult jokes too] by Tom Rolfe (who also directed), this was one of the best books I have seen in a long while. A proper Principal Boy, and the precious-object-in-the-corner routine being things which are rarely done in pantos these days.

The panto's opening was perhaps a little off-side: a large screen imitating a TV set with a 'Breaking News' broadcast by ex-PM Boris Johnson (a good Mickey-Take) but that particular joke fell flat simply becasue it went over the target audience's heads, and the sound levels were such that much of the speech was muffled and lost. However, once we got into the panto proper, then the children couldn't get enough. This art-form is aimed primarily at the pre-teens and tweens, and they were joining in and becoming excited with everything on stage - just as it should be. There was even a lovely moment with the Captain's Mate (Daniel Dean) who had a silly rhyme instead of a more traditional song-sheet where he had to ad-lib with three young audience members on stage, and he handled this expertly.

Amy Thompson played Dick Whittington with an air of confidence and swaggery that only a Principal Boy can carry off, whilst his love interest, Alice was the personable Amy Leek. Mark Newell's Dame Fitzwarren was pitched somewhere between a drag act and a gruff butch man which worked well for him and he obviously knew his way around the genre, making the most of his stage time. Leo Atkin was a continually confused Captain, whilst the Good and Evil were represented here by Fairy Bowbells (Freya Ebbrell) and Queen Rat (Natalie Walton). Walton's characterisation was rather strange, as she seemed a little out of kilter with her being cast as an evil person. Her solo song in act 2 was lovely, proving that she had great stage presence and the best singing voice in the cast, and truly came into her own when she was told she had to be nice!

Dick's Cat and The Sultana of Morocco were performed (I can only assume) by two of the dancers, who this evening came from Felicia Burns Dancing Academy in Warrington, and filled the stage where required with choreography and ensemble.   

This was the opening night, and so there were a few things which were a little shaky. Once the cast have become more accustomed to working together and the show beds-in, I am sure it will be a much more cohesive and slick production. The sound levels and lighting were not quite right this evening either, as dialogue was mic'd too loudly and thus it became indistinct and blurry at times, whilst there wsa a rather strange use of 'specials' from the LX department. The choice of songs and dances were, despite being in keeping with the traditional nature of the show, perhaps, just a little too passee and downbeat for the modern generation to truly engage in. 

My slight concerns notwithstanding though, I have to say that this was a very enjoyable show, with a little bit of magic (courtesy of Captain's Mate Daniel Dean) thrown in for good measure. A truly family-friendly, child-oriented, joke-a-plenty show that is traditionally in the spirit of the genre. 

Reviewer - Matthew Dougall
on - 6.1.23

AMATEUR CLASSICAL MUSIC CONCERT: The National Youth Orchestra Of Great Britain: Odyssey - The Philharmonic Hall, Liverpool.

This is now the fourth concert I have had the privelege of attending over the years from the talented musicians of The National Youth Orchestra, and quite honestly, it was, for me at least, the best and most enjoyable of them all. 

Their short four-venue tour of 'Odyssey', which started where most tours would dream of finishing, London's Barbican Centre, came to Liverpool's Philharmonic Hall for one performance only this late afternoon. It was a cold and rainy day in the middle of Winter, and I really didn't fancy the drive there and back from my home city of  Manchester, however, it was most certainly worth it, what a glorious concert it truly was!

This afternoon's orchestra comprised 170 talented young musicians from the length and breadth of the nation, from all walks of life, with only one thing in common: their love of and passion for music. All aged between 15 and 18 years old, and having only been playing together as an orchestra for less than one month, it was not just inspiring but amazing to see (and hear) just exactly how immensely talented and creative these youths were.

Two members of the orchestra introduced themselves and the pieces they were to play. A lovely idea, and really helped our understanding of not just the music but the dynamics and make-up of the orchestra too. 

The programme lists three works which they were to perform, however, we actually heard 6 pieces in total in the two hours in their company. First came the 'Four Sea Interludes' from Britten's opera, 'Peter Grimes'. Stirring, dramatic, brooding, and difficult to interpret, this proved to be a superb start to the concert. It was impossible to tell that these were still students and not fully-fledged professional musicians. 

The second piece was a new work, and one by a contemporary composer of whom I had never heard. This was, 'Rift' by Anna Clyne. My usual response to ultra-contemporary classical music is something along the lines of smelling something nasty on your shoe (!) however, I have to say that I truly enjoyed this work. It was a complete surprise. Written in 2016 as a ballet in collaboration with choreographer Kitty McNamee, this was a most intelligently crafted and lyrical, tuneful, and thematic piece which one could quite easily see realised as a ballet. I loved the sweeping strings of the third section which led ultimately to a very surprising crescendo and end.. just glorious. 

After the interval and we returned to hear the first piece that was not in the programme. 11 further youngsters (additional to those on stage) were standing in the boxes at either side of the auditorium, instruments in hand. One of them announcing that they were NYO Associates and had devised and created their own short piece which they were going to play for us. I am assuming that the Associates are a little younger than those in the main body of the orchestra. Their piece was called 'Orbit' and took a single main theme developing it each time in texture throughout the ensemble. 

We returned to the stage and the show-piece of the concert, Richard Strauss's 'Also Sprach Zarathustra'. Again the orchestra showing an incredible talent for their understanding and interpretation of the music. Layered, textured sound with superb dynamic control. Truly goosebump-inducing playing from them here.

None of the three pieces are easy pieces to tackle, each demanding a different skill presenting their own challenges, and yet these teenagers rose superbly to each challenge and performed with elan. Of course, much of this has to do with the conductor, and this afternoon's conductor was the animate and amazing Alexandre Bloch. Bloch knew how to wring every last drop of emotion and precision from every musician, and his passionate, energetic, and yet clear and controlling conducting was simply amazing. I have not seen Bloch in action before, but I have now made it a mission of mine to make sure I see him as much as possible. A true inspiration.  

The orchestra then performed two encores. First came Johann Strauus II's 'Blue Danube Waltz' - continuing the  '2001 Space Odyssey' theme, and then a lovely little gem of a surprise, as the orchestra not only played but sang too! This was a wordless singing version of 'The Radetzky March', bringing the concert and indeed their mini-tour to a superb close with a rather 'Last Night Of The Proms' feel. Utterly brilliant and truly amazing. Bravissimi tutti. 

Reviewer - Matthew Dougall
on - 8.1.23 

BOOK REVIEW: Only The Lonely by Tamara Von Werthern

'Only The Lonely' is the first in a series of accidental detective mysteries written by Tamara Von Werthern. Originally written in German, this novel follows salesman turned Detective Philipp and his canine sidekick, Maschka, as they attempt to uncover the truth behind a mutilated cat which then leads to a peculiar disappearance of the cat’s young and attractive female owner.

The novel’s author, Tamara Von Werthern is also a playwright, screenwriter and producer. She has also written poetry and she owns her own theatre company. An incredibly accomplished woman, Von Werthern has now added crime fiction author to her list of accolades, and I have a feeling her novels will be just as well received as her other creative endeavours.

With the novel originally being published in German, I was concerned before reading that 'Only The Lonely' may not be as eloquent and well-written when translated to a secondary language, English. This is often the case with novels when translated. However, Von Werthern’s English writings still held suspense and humour throughout. The publication itself was a very easy read with its simple writing, making it accessible as an adult novel as well as a piece of young adult fiction. This, along with it being the first in a series, and coming in at only 104 pages, classifying it as a novella, Von Werthern’s first outing with Detective Philipp could easily be read in one comfortable sitting. Taking my time, this read took me three days.

The novella’s protagonist, Philipp, who is based on the author’s father, is charming but flawed. Von Werthern has successfully created a well-rounded and believable character in just a few pages. Not strictly a detective, Philipp’s jobs include removal man and insurance salesman, making his foray into private investigator and detective all the more humorous. The reader is following Philipp on his uncertain journey as we learn alongside him what it takes to be a detective.

A thoroughly enjoyable read, however I hope the next in the series is longer, with more subplots and suspects. I would love to see Philipp and his canine Maschka in more settings and with more drawn out adventures. The characters that the detective comes into contact with in this cosy crime drama were well written and believable, their interactions really drawing me in, however there were only really two possible suspects. As a personal lover of crime dramas and who-dunnits, the solving of the case as a reader was not as satisfying when there was a 50/50 chance I would be correct. Don’t get me wrong, there were still a good few twists within Von Werthern’s 100 page adventure; I found I was just hungry for more.

I will be eagerly awaiting the second novel in the accidental detective mystery series to be translated into English so that I can devour it as I did the first. If you can read German then you are already able to consume the next instalment of Philipp and Maschka’s crime solving; lucky you.

Reviewer - Megan Relph

BALLET REVIEW: The Nutcracker - Bridgewater Hall, Manchester.

Any dance-enthusiast will know that Christmastime without Tchaikovsky's 'The Nutcracker' is like Easter without the eggs! Fortunatley for all those dance-enthusists out there, there are plenty of ballet companies only too happy to oblige. This season alone, I have seen at least 4 such Nucracker ballets being advertised locally. I chose therefore to go and watch one from a company I had never seen perform before, in a venue that was not built for traditional theatre performance. 

On arriving inside the main auditorium at Manchester's Bridgewater Hall I was pleasantly surprised. What is normally a large classical music concert hall had been given a make-over. The stage had been cleared of all podia, a false prosc. arch with large dark blue curtain had been erected, which, once opened revealed false curtained wings, and a large screen at the rear onto which CGI images were displayed throughout to show set and location. The orchestra therefore had been given the first few rows of the stalls (seats taken out), and the whole looked very much like a purpose-built theatre. Very clever and effective. There was perhaps only one thing not in their favour with this arrangement, and that was the lighting capacity and capability. The rear screen too had its disadvantages, as it was sometimes much brighter than necessary and pulled focus from the dancers.

The company performing the ballet was the Varna International Ballet from Bulgaria. The company are touring the UK until the middle of March, and their soloists hail from various European countries.

The story of 'The Nutcracker' really is not the most inspiring in the world, nor is it the most difficult to follow. Perhaps that's one of the reasons it has stood the test of time. It's also very 'child-friendly', and it is the ideal ballet to bring families and younger children to. A magical fairystory of toys coming life is something that every child can imagine. The other thing in this ballet's favour is the wonderful music. Tchaikovsky's score is a potpourri of delight after delight, with many of these tunes being used for adverts, theme tunes, and stand-alone pieces. Of course, to get the full effect of the score, you need a full symphony orchestra - there you can really find definition, nuance and depth of dynamic, and the score can soar - and so I was a little disheartened by such a small orchestra (approx 20 musicians) this early evening, especially finding that an electric keyboard featured prominently to play all the parts missing from the orchestra proper. Obviously a full orchestra would have proved impossible for a touring company, so a compromise had to be struck.

The principal dancers were all wondeful this evening. I am not in any way qualified to comment on their technical ability; I shall leave that to those who have studied the art-form; but from a layman's perspective, there did not seem to be much variety in the choreography, with a rather odd choice for poor Giulia Visalli as The Arabian Dancer. who was tasked with trying to walk balletically in huge platform shoes. Joao Goncalves excelled as both the Nutcracker Doll and the Chinese Dancer. Whilst Vittorio Scole and Perdita Lancaster delighted with their pas-de-deuxs and solos as the Prince and Marie.

The Corps worked well this evening, and filled the stage with their colouful costumes and traditional style routines. Sadly however, they were rarely completely in sync. This was particularly noticable in the four Arab dancing girls, and in the Waltz Of The Snowflakes, which is a wonderfully visual spectacle to finish the first act.

An entertaining and seasonal treat for all the family.

Reviewer - Matthew Dougall
on - 2.1.23