THEATRE REVIEW: The Swearing Jar - Squires Performing Arts Centre, Nottingham.

'The Swearing Jar' is a play with songs by Canadian author Kate Hewlett. Why Nottingham’s barely-visible theatre company New Perspectives has chosen to produce it is anyone’s guess: presumably, it looked a better prospect on paper than it turned out to be when stood up - but one wonders why someone didn’t notice it wasn’t working during the rehearsal process and quietly pull the plug. That way, both actors and audience would’ve been spared a lot of unnecessary pain. And this was painful: a tepid sitcom-styled script interspersed with a few tepid acoustic songs that sound like the work of someone who’d learned their first three chords earlier that afternoon. 

Generic characters routinely animated by actors who were barely audible - more projection needed from them all. And direction that evinces all the imagination of a person setting the table for a meal for one. The plot, as well as being thin, is cliched and trite: a newly-pregnant couple are delighted at the prospect of becoming parents but the woman, wishing to set a good example for the new arrival, invents the idea of a swearing jar to which they will contribute whenever one of them effs or blinds; the idea being to give the kid ‘a little something’ when they’re older. Yet the woman, a frustrated songwriter, has a roving eye and soon forms a liaison with a ‘bookshop clerk’ who (wouldn’t you know) is a frustrated musician. The play’s ‘moment of crisis’ comes when their first tentative outdoor snog is witnessed by her mother-in-law (do such bad luck incidents really happen anywhere except in bad plays?), and is compounded when her unaware husband dies of a brain aneurysm that he’d kept secret from his wife. It would take exceptionally charismatic performers to turn this mouldy sow’s ear into anything vaguely resembling a plastic purse; sadly, it doesn’t get them here. 

Although Paige Round and Joe Wiltshire Smith shared a believable chemistry as the couple, they failed to make them anything more than the generic ciphers they are. Stanton Wright as the bookseller sadly barely registered at all, and Tanya Myers as the mother-in-law not from hell but from one of its distant suburbs, did what she could with a paper-thin character but ultimately the sparseness of the material defeated her. As mentioned, audibility became a serious problem at several points, mostly notably when Round was giving the low-down on her husband’s undisclosed illness and her voice lost the battle with the audience’s bronchial interjections. Her singing voice, it must be said, has a fine, plangent quality which it would be good to hear in more worthy material. 

Ultimately, this was a venture doomed from the start: because if you don’t have a text, you don’t have a production. The mystery is why an Arts Council funded theatre company chose to waste its (and the public’s) resources on such a blatant piece of (I’m afraid there’s no other word for it) rubbish. 

Reviewer - Paul Ashcroft
on - 25.2.23

THEATRE REVIEW: Mrs. Churchill: My Life With Winston - Waterside, Sale. Greater Manchester.

On A Role Theatre Company specialise seemingly in presenting and touring small-scale historical plays, performed by a single actor. In this case, in a monologue written by Kit Hunter, the play was about Mrs Clementine Churchill, the wife of Britain's most celebrated and famous PM of all time.

The stage was set, ostensibly a room at his home, Chartwell, during the 1940s. The furnishings and style of the room appropriate for his status and the era, but included many things which might have been classed as memorabilia or kitsch, such as a Toby jug of Churchill on the coffee table. In the second act however, when the action moves to 1965, the room, decor, and furnishings remained the same.

Directed by Chris Jaeger, the play took us through the life of Clementine before her meeting Winston and their subsequent years of marriage and talked about Winston's role as MP, PM, father, and husband. However, as much as the substance of the play was (one assumes) historically accurate, there was precious little in there in the form of shock factor. The anecdotes and the bonhomie (a few nicely placed jokes) flowed freely, but something akin to a large glass of port by an open-log fire rather than the exposition being revelatory and exciting. 

Liz Grand portrayed Clementine in a way that reminded me more of HM Queen Elizabeth in terms of looks and deportment as well as vocally; and Grand would make a superb Queen in her next solo venture. Vocally at times she was a little too quiet for the size of the auditorium and could have either done to have projected louder herself or have had a little technical help. The monologue was just over 75 minutes' in duration and would have been ideally performed without a break, except the break was needed for the costume change and shift in time.

For those who know little or nothing about Winston Churchill and his personal life, then this play serves as an excellent introduction, and Grand did well with such a long and wordy script, bringing Clementine Churchill so vividly to life. She was a real, believable and sympathetic human being, and we emoted with her, especially at the end when she talks to the portrait of her husband.

Reviewer - Matthew Dougall
on - 25.2.23

MUSIC REVIEW: The Band Of HM Royal Marines Scotland - The RNCM, Manchester

As part of the RNCM's continuing trend to allow their students to perform side-by-side with professional musicians, this evening was saw several of their students take seats next to and perform with The Band Of HM Royal Marines Scotland.

When attending a military band concert there is a certain expectation of the style and kind of music that will be played; perhaps not exclusively, but certainly one would expect at least the majority of the concert to contain military marches by Sousa et al, as well as - with this being the Scottish Marines - a few traditional Scottish airs and reels too. Sadly, and most disappointingly, this was not the case this evening however. 

The first half of the concert was given over to three ultra-contemporary pieces of classical music, either specially arranged for military band (first and third), whilst the central piece in the first half was a world premiere performance. We started therefore with 'Amphion' by Fergal Carroll (conducted by Anne Miller, both an RNCM student and captain in the Marines).  An interesting piece but a strange choice as opener. The second was the World Premiere performance of Hannah Trudgeon's 'Winter Portrait' in which the band was required to emulate a symphony orchestra trying to recreate the sounds and feel of a winterscape. The piece was written during COVID lockdown and was conducted by the composer's husband, Captain Phil Trudgeon. The final piece in the first half was perhaps the most interesting of the three, as we were given a more tangible background to the piece - although extremely modern, it was much more accessible, a kind of tone poem having some narrative and progression and story to it. Called 'Ironbright' by Paul Saggers, it told the story of Isambard Kingdom Brunel, starting as Brunel started, with Time, then on to one of his bridges, before boarding the then largest ocean-going steamship there was, The Great Eastern.

The second half, we were promised, would be much more like the traditional fayre we were expecting and yearning for; however, even then it was sadly in very short supply. We started with what was basically an extended fanfare, 'Independence Day', before we welcomed members of the Royal Marine Drum Corps to perform with the band. The audience noticeably stood to attention in their seats, and we were all alert and ready for something more military and uplifting. In reality however, even this was a complete let-down. The drum corps (all four of them!) hardly touched their drums at all, but instead performed stick choreography (a-la American military style), in a precise and ,militaristic way, but it wasn't what we were expecting. The miming was irritating and we wanted them to actually play their drums!

Following this, after they had made a swift exit stage left, was a piece called 'Lollapalooza' by John Adams (conducted by RNCM student Lauren Wasynczuk), which again diverted from the usual band music we were expecting. Finally though, we reached something which tickled all the audience's fancy, and we were all highly delighted by this next offering. Called 'Zimba Zamba' by Goff Richards, this piece of Samba-esque writing called for a solo marimba player, and for this, the RNCM's Head Of Percussion, Simone Rebello, stepped up to the mark. This was absolutely brilliant and her playing was quite remarkable. Utterly brilliant and the first time the audience as a whole cheered and applauded loudly and heartily after the piece had been played. 

The band's final piece was a little bit of an anticlimax after this, but was still enjoyable. 'Danzon no 2' by Arturo Marquez, was conducted by RNCM student Xinjie Yang. It was their encore however - a flashy quick march - which brought us all back into the mood again, with other concertgoers commenting that this style of music was what they were wanting and far too much emphasis and concert-time given to new works poorly suited for the military band. 

Reviewer - Matthew Dougall
on - 23.2.23

STUDENT CLASSICAL MUSIC REVIEW: Dvorak Symphony no:8 - The RNCM, Manchester.

As part of the RNCM's regular Thursday lunchtime concert series, and their continuing collaborations with professional orchestras and musicians playing side-by-side with their current students; this afternoon saw RNCM instrumentalists take seats in amongst soloists from The Chamber Orchestra Of Europe to perform Dvorak's perhaps most personal symphony, his 8th (originally no 4).

With a stirring score of Czech folk melodies and a cri-du-coeur for his homeland and the beauty and majesty of the Bohemian scenery, this piece of music strangely feels even more poignant and relevant when placed directly behind his final symphony (no 9) in which he creates the same stir and passion for the USA, 'From The New World'!

In this afternoon's performance the orchestra was led from the leader's seat with no actual conductor, by Mats Zetterqvist. Using a smaller-than-usual orchestra made the themes and individual melodies seem much clearer than they would have done in amongst a full-size symphony orchestra; but that was not the main reason this rendition sounded a little different. For that we must turn our attention to Zetterqvist's direction. Working with the orchestra in very much the same way Gabor Takacs-Nagy does with the Mozart works he presents with Manchester Camerata, he gives the work a much more intense and personal slant. A much more considered and weighty interpretation is created; all the notes are the same and are all played in the correct order, but pauses have been perhaps lengthened, dynamics augmented, highlighting a certain passage, melody fragment or solo instrument, making it more intense and meaningful. This, I understand, is not to everyone's taste, but it does bring out a fresh and interesting interpretation to a work which might otherwise have stayed in the music library drawer in favour of something more contemporary.

Reviewer - Matthew Dougall
on - 23.2.23

AMATEUR THEATRE REVIEW: 1984 - The Hippodrome Theatre, Todmorden.

What can a novel written in the 1940s (published 1949) about a now-passed future tell us about our current society and the way we live and think today? Well, I can answer that with one simple word...much. George Orwell's seminal novel (no, in my humble opinion that honour goes to 1984 and not Animal Farm!) about a dystopian and nightmarish society controlled by "Big Brother", who, as we all know "is watching you" is a genre-defining and incredible read. Having studied the novel for my A levels (several decades ago...!), it is one of the few works of literature that I still pick up regularly and enjoy, despite having had the themes and meanings drummed into me, brainwashed by them, in a very '1984-ish' way by my then English Lit teacher!

This evening the stage was littered with old TV sets, some working, some not, with a large 'telescreen' at the rear, looming ominously and continuously. This was a stage adaptation by Nick Hern and was for a cast of only six. Hern's adaptation misses so much of the tension, the build, the suspense, the horror, the boredom, the thrill, in fact, it is a very bland and uninspiring adaptation, and was less than impressed by the text sadly. It starts towards the end of the novel, and the first act is played in a series of flashback vignettes, but not even played by the real Winston and Julia, but played by two other prison inmates of the 'Ministry Of Love' as a kind of therapy session. These vignettes therefore do not have the same punch or freshness as watching them take place in real time without knowing the end. In the second act, we start with a couple more vignettes, non sequiturs to the main storyline, but needed to add context and essential plot information, and so they seem rather clunky and out-of-place; whilst for the remainder of the second act we go to 'real time' in the present to witness the continuation and end of Winston's "rehabilitation" - his 'learning and understanding'.

Directed by Richard Holley, the pace of this cautionary and doomed romance / thriller which warns against Totalitarianism was set at quite a pedestrian speed, and sadly never truly managed to get out of second gear the whole time. In all fairness though, I don't think Holley is wholly to blame for this at all. The text (as I have already mentioned) was one of the poorest I have come across and didn't lend itself to high dramatic dynamics, despite the presence of the Thought Police and some excellently executed moments of blood and violence. Further, having O'Brien as the central and controlling force throughout the entire play makes for a very sluggish exposition, as there is only so much leeway and change of character available in such a character as his. In this production it was played with a certain relish in his own cunning and malevolence by Michael Crowley making an impressive acting debut this evening.

Winston, our antihero was performed by two people. First, the 'real' Winston who is forced to watch his thought crimes acted out in front of him as part of his therapy in the first act, and then come into his own as he is tortured by O'Brien in the second. Here Winston was given a world-weariness and gait way beyond his supposed 39 years by the sensitive actor, Craig Baillie. His fitter, more youthful and activistic self in the sessions was played by Nick Birchall, giving Winston a more solid and realistic reason for his thought-crimes. Julia was portrayed only in flashback (except for a couple of small scenes, aone being their final meeting in a cafe after they had both been released). Here she was played with verve and commitment by Rosie Nikolich. Other roles were taken by Emma Stafford (Charrington) and Bill Joyce (Parsons), and all played other much smaller roles and walk-ons where necessary. It was a true ensemble cast and they worked tightly and well together; bringing as much of this nightmare world to life as they could. It's a very wordy play, and some understanding of the novel and the novel's language and themes is a definite advantage for the audience member here (another reason why the text is poor in my opinion). 

The play was underscored with suitably discordant electronic sounds composed especially for this production by Tim Benjamin, and a lighting and sound design captured the drab and dullness of Oceania well. Costuming was appropriate, and the minimalist idea of utilising just two wooden benches and little else as stage props / set worked well. Any further amelioration to the set was done quite aptly through the TV screens.

A most thoughtful and intelligently dissected production was the end product of the company's labours, and despite my commenting it being a little dynamically unchallenging, the cast still managed to keep not just my attention but also those of many young teenagers in this evening's audience who undoubtedly knew nothing about the novel or its themes other than watching "Room 101" and "Big Brother" on their on tv sets! An interesting production, stolidly, solidly, and realistically performed by Todmorden Amateur Operatic Society. Well worth making the trip to the top of Greater Manchester and tipping your toes into West Yorkshire for!

Reviewer - Matthew Dougall
on - 24.2.23

 

THEATRE REVIEW: The Winterling - Loft Theatre, Leamington Spa.

Jez Butterworth, author of the zeitgeist-tapping play 'Jerusalem' and the "Noi-rish" stage thriller 'The Ferryman', didn’t have an easy path to his present position of eminence. The plays that followed on from his precociously successful debut, 'Mojo' (1995), failed to achieve the impact and cultural reach of his two recent ‘biggies’, and were sniffily received by critics. Consequently, both 'The Night Heron' (2002) and 'The Winterling' (2006), breathed their first and last on the stage of London’s Royal Court Theatre: and though both have been selectively taken up by amateur companies, to this reviewer’s knowledge, neither has received a second professional production in this country.

So, The Winterling is a welcome choice for presentation by Leamington’s enterprising and adventurous Loft Theatre Company: it’s the third Butterworth play they have mounted in the last decade. To those who like to slot things into genres, the play presents problems, being not quite a thriller, and not quite a comedy, and not really a domestic drama, though it contains elements of all three. But it would be superficial to dismiss it as a ‘dark comedy’, as the world the play draws us into is stark in its outline and nightmarish in its implications .

West, a ‘career criminal’ is holed up in a derelict cottage on Dartmoor, apparently the victim of professional blow out. We get the impression he’s been required to ‘leave town for a while’ after a job he was involved in went wrong. While awaiting the arrival of an associate from the smoke, he shares the space with Draycott, a local vagrant, who may be either cunning or mad, depending on your politics (he might conceivably be both) and Lue, a small-time whore with dreams of leaving for somewhere ‘better’. The associate, Wally, arrives accompanied by Patsy, his common-law stepson, with the news that West’s closest friend in ‘the firm’ has committed suicide. This would pass muster as the set up for a late night time-killer, but just as we think we know where we are, the author confounds our expectations and forces us to ask questions about what we are seeing. Is West as in control of the situation as he initially seems? Why exactly has Wally, the associate, brought his stepson with him? And what precisely is the nature of the business these three ‘gents’ seem to be in?

Much is left ambiguous, so your answer will be as valid as mine, but it’s typical of Butterworth’s generosity as a playwright that he allows an audience this ‘space’ to view the action through their own prism. And there are some stunning flights of dialogue (a bit of childish one-upmanship about an Iron Age fort being ‘in the wrong place’ tortuously elides into a confrontation about the real reason for the visit) that show the hand of the natural dramatist. But while violence is forever present - permeating the dialogue and ersatz bonhomie that West, Wally and Patsy try to create - not a gun is flourished, nor a head kicked in (notwithstanding the late in the day appearance of an axe).

Director Tom O’Connor’s production was well-paced, if lacking in the last degree of tension at key moments: more could have been mined from the turn on a penny shifts between jokes and menace, but a capable cast won through. Butterworth has always written bold, actor-attracting roles and justice is done to them here - Dave Crossfield impresses as a man who knows he’s reached his limits, James McCabe expertly catches the over-reaching innocence of the out-of-his-depth Patsy, and Phil Reynolds’ Wally is a masterly study in ambiguity. Richard Moore’s detailed set is almost a sixth character in the drama.

All told, a triumph for the Loft Theatre Company. See this while you can!

Reviewer - Paul Ashcroft
on - 22.2.23

BALLET REVIEW: Sleeping Beauty - The Alhambra Theatre, Bradford.

This production had to be titles, "Sleeping Beauty" because everything on stage took place to the music that is Tchaikovsky's original score for his 1889 ballet, but the show departed in many ways from both traditional ballet and the fairy tale / pantomime associations of the title.  Whilst not quite as familiar as "Swan Lake" or "The Nutcracker", there are elements of the score that will be familiar to most through use in films and other medium. For the show itself, Matthew Bourne's production was rightly given the strapline, 'a gothic romance', and was a fully matured ballet, taking the genre in new directions with remarkable settings, and a vibrantly different approach to set and costume.

This take on "Sleeping Beauty" had a very discernible storyline, unlike certain ballets, requiring several brief scene descriptions or years given, in order to keep the audience up to speed. The imaginative setting took us from Czarist Russia of 1890, right up to the present day. ( Or to be precise, yesterday!). The first half started with the interior of a palace with giant embroidered curtains and pannelled mirrors, flanked by imposing columns. This moved on to the Palace gardens, and there were no backscreens. The palace building on a mound in the background looked remarkable and three-dimensional, as did the huge angelic statue, and the sky changed to denote both changing times and weather with impressive technical realism. Against this backdrop the cast were given free rein to tell the story through modern, fluid dance, with the costuming remarkably accurate for the period. No tights for men here, but baggy trousers, and the women often wore long dresses with bustles, yet the dancing was nevertheless smooth and sophisticated without the rigidities of traditional ballet.

There was a lot of humour in the first halfw from an uncontrolable baby who climbs up curtains, to Princess Aurora sneaking a lover into the palace, but by the interval things had taken a darker turn, not just with a spell cast on the princess, but her lovergraphically becoming the victim of a vampire. This gave the second half a very different feel from the outset, as all the gaities of court life gave way to images of death and decay. The palace now abandoned with gates chained and overgrown with foliage. Again the sets were remarkable with a very realistic impression of countless trees rising above a carpet of dry ice. By the time the story reached 'yesterday', an array of dangling lights brought the audience very much up to the presnt day, providing a fittingbackdrop to the finale of a story spanning over acentury.

The strapline of a gothic romance was the key to understanding Bourne's reimagining of the story. Both romance and the issue of death ( the overriding element in the term 'Gothic' ) were very real elements in the telling, and neither were given sugar-coated overtones. The musical pathos matched well the emotional intensity of the key drama points, there was a genuine feeling of spiritual transcendence as the audience was caught up in the story. Aside from the artistry of the dancing and the spectacle of the sets that is. The ending was suitably climatic and satisfying but to say would be to risk giving spoilers.

Bourn's "Sleeping Beauty" was unquestionably ballet, but it was also high drama, as well as successfully combining both elements with comedy was nomean feat to pull off. The Northern School Of Contemporary Dance showed how ballet remains a living genre for our times, capable of reinvention without losing sight of the essential elements of the genre. The audience did not just applaud at the end, they cheered.

Reviewer - John Waterhouse

on - 21.2.23

THEATRE REVIEW: Steel Magnolias - The Lowry Theatre, Salford.

'Steel Magnolias' is a 1987 play by Robert Harling, set in a hair salon in a small town in Louisiana USA, and centres around the ill-health and ultimate death of one of this group of friends due to diabetes. The play is semi-autobiographical inasmuch as the central storyline of Shelby is based on his experiences with his sister's illness.

Made into a film starring a whole string of Hollywood A-listers, the play (ie, the film) entered cult status, and remains a favourite to this day, as it is (at least in it's play form) performed entirely by these six strong and characterful women. Even the title of the play suggests the characters we are about to meet on stage. Magnolia is the State flower of Louisiana, and is delicate and pretty, whilst steel suggests something harder, more permanent, and indeed strong and forthright. You have, in these two words, a microcosm of the characters of the six women friends who gather regularly in this salon.

Directed by Anthony Banks, this production utilised the combined talents of six actresses who worked excellently as an ensemble. In my own head I had likened them to a school of fish... all doing their own thing, but coming together as one when danger strikes, and yet, they were not all the same species of fish, and sometimes changed species half-way through. We went from flounder to pyranha in a simple change of scene. Their ensemble work therefore, was formidable. Individually, their characters were somewhat weaker; I think perhaps they were trying to emulate the characterisations from the film (?), and perhaps not being given enough leeway to explore their own way through these characters. Whatever the case, the dialogue was at times difficult to hear. Not just myself, but several theatregoers around me were also saying that sometimes the speaking was too quiet and we were having to strain to catch what was being said. Again, if you are familiar with the film, and know what to expect, your understanding (and hearing) of the lines is automatically clearer. And to be fair, there were many in this evening's audience laughing in all the right places.

Another thing which didn't really help this production was the pace at which it was set. The set design (Laura Hopkins) gave us a realistic 1980's hair salon within what could easily have been a small TV screen in the centre of the Lowry's huge stage. Lamps, cables, and rigging adorned the rest of this vast space. The acting therefore looked cramped and stymied, although there did seem ample room for the cast to work with. The pace throughout was somewhat monotonous and rarely did the dynamics change. The entrance of Clairee (Caroline Harker) towards the end of the first scene lifted the pace and made us sit up and beg, but only momentarily; whilst the transformation of Annelle (Elizabeth Ayodele) from shy out-of-town hick to sassy party-goer in the second act had a similar momentary effect. The rest of the play took a slow downhill spiral to the tragic denouement. The denouement however was handled superbly, and despite my not being truly engaged in the play until that point, M'Lynn's (Laura Main) long speeches about her daughter in the final scene did bring a lump to my throat. 

The cast gave us a varying array of accents, despite them all being from Louisiana, with one sounding distinctly upper middle-class English with the occasional word being given a southern style drawl.

Having never seen the film, and taking this play on it's own merits, it was an interesting if slightly pedestrian production which I feel would appeal to and resonate far more with the middle-aged female audience member than it did with myself.

Reviewer - Matthew Dougall
on - 21.2.23 

STUDENT OPERA REVIEW: Mrs. President - The Martin Harris Centre, Manchester.

“Mrs President” is a sparkling 21^st century American opera about the first woman to run for President: Victoria Woodhull. Performed by the students of MUMS Opera, last night’s performance was at the Martin Harris Centre in Manchester, and ended in a standing ovation.

The staging was very simple, mostly based around a white wooden platform with banners hanging from it; and clothing that suggested that the period is 1846 to 1872, in the locations of Ohio and New York. The small orchestra was to one side, and conducted with elegant skill: – I apologise, but I do not have a cast and creatives list, and cannot say who by. The musicianship was of a high standard, and did great service to Victoria Bond’s beautiful score.

The voices of the assembled cast were quite lovely, and showed very sound technique: – a lot of work and rehearsal had gone into the vocal performances, and it was a pleasure to listen to. My one comment is that the microphones hanging from the ceiling were distorting the clarity of the diction, so it was sometimes difficult to understand Hilary Bell’s libretto; and being a modern opera, I did not know the story in advance.

The singer performing Victoria did a firm performance, presenting a strong and formidable woman who believed passionately in her causes of women’s rights and free love. She was matched by the singer playing her husband James Blood, who has an especially rich voice with good dynamics and shading. The singer playing the corrupt and hypocritical celebrity preacher Henry Ward Beecher kept a keen edge of slime and sleaze going throughout his performance. And his counterpart, the thwarted lover Joseph Treat, had an intelligent edge of dark manipulation in his.

The singer playing Henry’s younger sister Isabella was very sweet and sincere. The singer playing Victoria’s mother was warm and with presence. There were quite a lot of bit parts: special mention goes to the soulful-looking child Victoria, the bitterly shy slave girl who was auctioned, the voiceless parishioner who was impregnated, and the arresting police officer.

The chorus work was excellent: they were a full character in their own right. With a story that was so much about courting public opinion, that force of voices was needed for Victoria to push against. Bond’s score took the voices into all sorts of places, from a spiritual séance for Civil War widows to a presidential rally gone wrong where the mob were calling “Mrs Satan For President.” The director handled the large groups on stage very well, with a naturally organic flow of movement; and the storytelling was understated, but still possessing of quiet tension.

Reviewer - Thalia Terpsichore
on - 18.2.23

THEATRE REVIEW: No Limits - The Turbine Theatre, London.

I was so excited to review this brand-new performance, produced and cast by Sam Caldwell at Paper House Productions. It has been a few years in production due to the pandemic, but it blasted its way into my heart last night. This is about life having No Limits. We can follow our hearts and dreams, but we should not stay still. Keep moving forwards all the time, no matter what or who we compare ourselves to on social media or just how many 'likes' we get.

This is a young play in every way; with a young production team and young cast, music and lyrics written by Sam Thomas. This is how to make a successful show – youth means you have nothing to lose and all to gain. You can make it the way you want, and you can cast the most exciting people that appear at your auditions. I notice that I am probably one of the oldest here in the audience, but I absolutely love it. This is just the kind of show needed to inject life into younger generations, to get them into theatres. It is exciting, it is up-to-the-minute. It is 21st century complexity, touching on love, loss, gender and LGBTQ+ issues. This play says it how it is. No sugar coating. This is real life. No Disney happy endings here. Flatmates – all in their twenties navigating a path through the perils of life, love and ambition.

It is a performance of constantly shifting scenarios played by five amazing performers. Set to music, with few words; all dialogue is contained in the lyrics. The music is wonderful, and the lyrics are sensational – funny, open and heart-breaking, they touch a nerve, and all performed by these five powerful voices.

No Limits is going to be a cult hit, I am sure it is going to pick up a big following. The cast of five amazing performers, all with a portfolio of Top West End shows playing this little theatre in South London shows how important this little gem is. I think it is really cool, the lyrics, the set, the cast.

Life in your twenties is a minefield – taking steps into independent living and here we are discussing everyday relationship issues for these five flatmates. We are looking at how life and relationships are unpredictable, how stable and comfortable relationships end, how unsure of yourself you are when starting a new relationship. This is about a fear of being hurt, let down. It is about family loss, new life. Betrayal. Rebirth. Heartbreak. But yet the overwhelming instinct of wanting another body close to us, someone to relate to whether that’s friends, family or lovers, drives us forward. That is how we function and reproduce - the desire for love, companionship and sex.

These songs resonate with everyone in the room. We have all been there, we recognise ourselves somewhere in these stories. Heart-touching, humour and tears all wrapped into one and that was just the first half.

In the second half we see the flatmates prepare to leave the nest, but we see a darker and sadder side to these characters. Kinky sex references, catfishing your neighbour, stalking and one-night stands. Ending on the sad departure with their packing boxes. I want to end with me pressing the like button for these five amazing rising stars and their voices – Natalie May Paris, Hannah Lowther, Mary Moore, Michael Mather and Owen Clayton – who made this show their own. Their sheer talent, exuberance and drive that make ‘No Limits’ the phenomenon it is going to be.

Reviewer - Penny Curran
on - 17.2.23

STUDENT MUSIC REVIEW: Chetham's Philharmonic Orchestra Concert - The Stoller Hall, Manchester.

The Stoller Hall, only opened in 2017, provides an excellent home for Chetham’s School Of Music, with a very high ceiling providing good acoustics. This evening was billed as an eclectic mix of music, which is certainly was, but it was more than that, giving an interesting insight into the possibilities of alternative orchestral ensembles. The lower and middle schools demonstrated an array of talent with composer’s works ranging from the early 1700s to the present day through ensembles varying from just twelve to around fifty musicians.

The evening opened with a saxophone chorus, with all four main types of sax (soprano, baritone, tenor and alto) represented. There are apparently 14 different types of saxophone and Chetham’s showed through the ambitious choices of Holst’s ‘Jupiter’ and a piece from Vivaldi how these variants of the same instrument can be orchestrated to represent almost every section of a full orchestra; a very entertaining opening!

The second section gave the strings a chance to shine with some thirty-odd violins and cellos. The unmistakable style of Copeland was given full reign with a very lively rendition of ‘Hoe Down’, nicely juxtaposed with the moody title track from the Bond film ‘Skyfall’. The violins imaginatively lined the aisles for the second rendition, enhancing the feeling of this classic movie theme.

Next, it was the turn of the brass and woodwind sections, again contrasting a popular movie theme (in this case, a kind of Star Wars medley), with a more formal orchestral piece, the powerful ‘Music For The People’ by Vaughan Williams. Unfortunately somewhat hidden from view, a sizeable percussion ensemble at the back enhanced both items.

The second half of the night had more of the feel of a formal classical music concert, the centre-piece being a dramatically powerful solo on the grand piano, backed by the full orchestra. Excerpts from Tchaikovsky’s ‘Nutcracker Suite’, whilst well executed provided something of an anti-climax after the power and emotion of much of the previous offering but the evening certainly ended on a high note with music from the 1953 Coronation by Oldham-born composer, Walton. There were echoes in the dynamic price of the score for the 1969 film ‘The Battle Of Britain’; perhaps not so surprising since Walton wrote much of the music used in the film.

There is a danger of sounding patronising in expressing any surprise that such a varied and sophisticated range of music could be played so well by so many very young musicians but this really is meant as the highest compliment. There was nothing, at least as far as this reviewer could tell, that set the music apart from anything played by an experienced adult orchestra and it was evident that the music played with as much passion as technical ability. Indeed, it is no exaggeration to say that at least one cellist was noticeably head-banging all through one piece! The playing of Offenbach’s ‘Can Can’ was executed with the orchestra constantly rising and sitting whilst playing and there was noticeably physicality in much of the rest of the repertoire; this was music that, across the board, the players really believed in!

Having arrived not knowing what was on the programme or what else to expect, this was one of the most pleasantly surprising and indeed engaging musical evenings experienced in a very long time. Chetham’s School is certainly a jewel in Manchester’s artistic crown.

Reviewer - John Waterhouse
on - 16.2.23

GASTRONOMY REVIEW: Hartford Hall on School Lane, Hartford. Northwich.

Hartford Hall on School Lane is a hotel and restaurant in Hartford, near Northwich, Cheshire. From their website and indeed, from the outside of their building, the place looks smart; one might even say 'posh'. However, appearances can be (and often are) deceiving!

This restaurant is most definitely a place of mixed messages. Once inside, the decor is something akin to gastro-pub, with mismatched furniture and faux upmarketness. The waiting staff look slovenly with dirty trainers, unkempt jeans, and no uniformity to any of it. The lighting was dim and I had to ask them to turn it up! Whilst the background music, which should perhaps have been light classical to try and blend in with the idea of 'romantic hotel' which is how it is trying to be marketed, was contemporary pop.

Reading the menu one would be under the misapprehension that their kitchen boasted a Michelin-starred chef, however, it transpires that these meals are seemingly bought in en masse and one of the kitchen staff simply puts the dishes into a microwave before presenting them to their guests. 

My companion and I chose a baked camembert for the starter. For some reason, beyond our comprehension, this is only for two people. Why smaller camemberts could not be used for a single starter, is obviously beyond the reaches of this establishment. The chees came overcooked with no utensils or separate plates...I imagine they expected us to pick up the sourdough bread and dip it into the cheese, but without side plates or any cutlery. We had to ask for these! The sourdough bread was inedible. Rather than simply charring it (as it states on the menu) it had been soaked in butter beforehand, and so came to the table tasting like poorly fried bread, and tasted vile. The red onion chutney (undoubtedly bought and brought in from a large catering jar) was actually very tasty.

My companion's main course, beef shin from the Specials Menu, was nicely presented, cooked to perfection, and was the highlight, or perhaps the only ameliorating factor to the entire visit. Sadly, my choice of main course, Duo Of Duck, was just the opposite. It was the two slices of duck breast which caused the problem here. The duck was presented to me red and undercooked, and so I asked them to cook it for longer, distinctly requesting it to be 'well done'. After the second time of sending it back, I gave up... there was no difference at all in the cooking of the duck, and I realised that they were simply putting it back into the microwave and so of course it would not cook the duck further, just heat it! The skin was wet and rubbery, and the duck flesh still very pink!

At the table opposite us, a couple ordered ale-battered fish and chips, and when it was presented to them, it looked exactly like the fish and chips I eat regularly from my local chippy! No difference at all! They even had a bottle of Sarsons vinegar on the table!

And with the prices they charge for this 'service' I would advise giving this pseudo-upmarket establishment a wide berth!

Reviewer - Matthew Dougall

AMATEUR THEATRE REVIEW: The Addams Family - The Brindley Theatre, Runcorn.

The Ella Performance Group, part of the Ella Together Company in Runcorn, are a troupe dedicated to inclusivity and boast many members who have both physical and mental disabilities, including those with severe learning difficulties, and somehow, manage to incorporate these as seamlessly as possible into their productions. Something which takes love, skill, and dedication, but if this production of The Addams Family is anything to go by, then the fruits of their labours paid off several times over.

In this main stage production directed by Keily Hampson Wilson and Rachael Lindsay, we follow the travails of the soi-disant, titular family as they negotiate Wednesday's pubescent love-affair with a 'normal' boy and his parents, who are invited to dinner. 

All the familiar Addams favourites are present (minus 'Hand'), but both Wednesday and therefore Pugsley are, in this version, somewhat older than in their original cartoon incarnation. 

Heading the cast is Joseph Maloney and Niamh Ledsham as husband and wife duo, Gomes and Morticia respectively. Both gave solid and considered performances, finding their own ways through the extremely well-known behaviours of their characters with ease. The pivotal role of Wednesday was performed this evening by Darcey Hampson, who simply stole the show in her every scene. Her rendition of 'Pulled', a notoriously difficult song, was incredible, and she proved to be a strong and immediate actress. The other members of this disparate and kooky family came in the form of Grandma (Stevie Corry), Thomas Hampson (Pugsley), Aidan Caroll (Festor), and Stevan Morst (Lurch), all bringing their own respective talents to the table. 

Corbyn Wilding gave a solid and believable rendition of Wednesday's love interest, Lucas; whilst his parents were played by Mathew Cowley (Malcolm) and Emma McGhee (Alice).

The stage set was minimalist in the extreme. A walkway across the rear with a ramp / steps, and nothing else -although everything that was brought in for each scene was suitably covered in cobwebs! A large screen at the rear of the stage was utilised to fill in the set and location for each scene with computerised projections. It worked, but was not optimal, and sadly the lightning effect used in the outdoor scenes was rather distracting. 

The company used a live band this evening, comprising bass guitar, keyboards and drum kit. Sadly the sound levels were not correct this evening, and as such we had an overloud overture, and drum-heavy accompaniments to every song. I enjoyed the choreography of the 'dancecestors', and the idea of having those as well as a chorus of more normal ancestors worked well in relation to the full integration of the company members. 

Costuming was again very good, and the mise-en-scene solid and the storyline understandable and narrative-led. However, the use of creative specials from the lighting design was focus-pulling and distracting. I didn't understand why such specials were used in almost every song, and they were deflecting sadly. 

However, all-in-all, a very enjoyable presentation from a company that truly cares about bringing people from all walks of life and areas of the community together to celebrate their love of theatre and performance in a most creative way. Bravo!

Reviewer - Matthew Dougall
on - 19.2.23

AMATEUR THEATRE REVIEW: Chitty Chitty Bang Bang Jr. - The Brindley Theatre, Runcorn.

The Ella Performance Group, part of the Ella Together Company in Runcorn, are a troupe dedicated to inclusivity and boast many members who have both physical and mental disabilities, including those with severe learning difficulties, and somehow, manage to incorporate these as seamlessly as possible into their productions. Something which takes love, skill, and dedication, but if this production of Chitty Chitty Bang Bang Jr is anything to go by, then the fruits of their labours paid off several times over. 

All the performers in this one hour studio theatre show were under 18, and the director made good use of all in the cast. The stage and backstage area in this studio space are very limited and as such much creativity and careful consideration is needed inasmuch as entrances / exits / stage set and props. Mostly the director's ideas paid dividend, although the car needed to be covered over when not actually a part of the scene.

Where this company found Jeremy and Jemima (Lucas and Elise Hampson) I shall never know, as I defy anyone to find me a better pair of protagonists! Loud, clear, in character throughout, and just a complete delight! Together they told the story of how their inventor father raises enough money to buy an old banger of a car which turns out to be rather fantastical and magical, and the envy of the Vulgarian Baron who wants it for his own, with simplistic skill and aplomb.

Caracticus Potts Jnr (their father) was played this afternoon by a very personable Molly Willis, working well with and having a good rapport with those on stage with her. Whilst Caracticus Potts Snr (Grandpa) was played very much OTT high-comedy style by Aidan Carroll. Grace Harrison was excellently chosen as Truly Scrumptious, not only looking the part but inhabiting the role with ease, whilst Julieanne Doyle was a very down-to-earth and kindly toymaker. Corey Birch McClure was hilarious as a very deadpan and fiercely earnest Baron, whilst Jessica Knowles had much fun in being the Baron's Chu-Chi-faced Baroness, playing the role with comedic glee. Thomas Hampson was a very convincingly evil and slimy Childcatcher.

Utilising four chorus members as Kabuki-style ensemble - ie: dressed entirely in black, therefore the convention that they are invisible, but the props they carry or the things they do we do see - was a stroke of genius and worked excellently. In fact the choreography and mise-en-scene in general for this show worked superbly. My only one criticism in the negative was sadly the car itself. When everything else - including the costumes - were superlative, it was a huge let down. Made from take-away food tinfoil containers, cardboard and selotape it looked very ragged and amateurish in amongst such an otherwise professionally staged production.

Reviewer - Matthew Dougall
on - 19.2.23

AMATEUR DANCE REVIEW: Last One Standing - The Grange Theatre, Hartford. Northwich.

Dancing 4 Fun are no strangers to Hartford's wonderful Grange Theatre, and perform their shows here on a regular basis. The company's ethos, as their title suggests, allows all people of all ages and all backgrounds to enjoy dancing...just for fun! Obviously those with talent and the desire can, and often do, take their dancing further, but the focus of this company is on the enjoyment and social aspects of dance.

'Last One Standing' is their latest theatrical venture; and takes as its premise the world of video / computer games. A group of friends, each in their respective bedrooms, all start playing together online, and instead of the game staying in the ethos behind the screen, it becomes real, and the girls are systematically picked off one by one becoming flesh-eating zombies, until of course, there is only one human remaining.. the last one standing.

Utilising both the actual theatre stage and a part of the auditorium floor, it gave the dancers a larger arena upon which to build their theatrical suspense, although sadly, any floor work they performed on the auditorium area was lost completely beyond the front row of audience. A large cinema screen and projector was utilised continuously throughout, playing excerpts of various computer games (actual footage). Obviously this was to keep the audience focussed on the reason behind the dances and the storyline in general; but some of these excerpts were overlong, and in the main unnecessary, simply wasting time. 

The full company from the school included adults, seniors and juniors, and they took their musical inspiration from the popular music repertoire, as majority of the dances were contemporary dance or urban style dances. A good mix between solo dances and large ensembles, but it was somehow extremely disjointed. Majority of the routines were incomplete, and dancers finished their routines seemingly mid bar sometimes, after only dancing for a very short period. Obviously this was to give everyone who wanted the chance to dance, the opportunity of so doing, but from an audience members' perspective, it was rather disconnected. 

One of the dances was a tap routine performed by the adults. Sadly, the music was so loud that it drowned out all the taps, and so it was completely ineffectual. Shame. In fact, majority of the music this evening was too loud. 

Bravo to all the dancers though. Most of them really quite young and worked extremely hard to perform with such earnestness and focus. Despite my reservations on things technical this evening, the young dancers gave a most enjoyable spectacle, and their energy and commitment undeniable. Well done all.

Reviewer - Matthew Dougall

on - 17.2.23

THEATRE REVIEW: Faustus: That Damned Woman - The Storyhouse Theatre, Chester.

Christopher Marlowe’s classic play is reimagined and brought vividly to life by Chris Bush (writer), Francesca Goodridge (Director) and an impressive cast that certainly packs a punch. From the opening moments, the darkness of the piece is clear, with a stark and gloomy set. Emma Pallant is magnetic as she leads the cast in a slow dirge, before her character faces a vicious drowning.  

Tree roots claw down towards the audience from above and a dark circular hole sits at the front of the stage, serving as a constant reminder of Faustus’ final destination. At one point, she sits with her feet near the hole’s edge, washing herself as she sings, and leaving us convinced she is about to be grabbed and dragged down below at any moment.  

Olivia Sweeney must have been exhausted by the end of Act 2, as she certainly gives it her all in the eponymous role. Sweeney plays Faustus’ hunger for knowledge and determination to over-through the Devil himself so well, with a desperate glint in her eye that has Faustus bordering on madness. Her vulnerability peaks through during some very poignant moments, such as her meeting with Doctor Garret and the cruel tricks Lucifer plays on her at the climax of the play.  

The fun character of Mephistopheles is shared beautifully by the cast, which each of them taking a turn as Lucifer’s right hand man. The playful smirk and sauntering sarcasm they each employ makes it easy to know when the character has changed faces – a shining example of how well this ensemble work together. Yali Topol Margalith deserves a special mention for her deeply unsettling portrayal of Mephistopheles – peppering her speech with a child-like, guttural giggle that sends shivers down the spine.  You can tell she is relishing the sinister playfulness of the role.

Chris Bush’s crackling script drags Faustus kicking and screaming into the modern era (and beyond!). It’s tense. Long periods of silence, sometimes interrupted only by the drip, drip, drip from above, stretch out the tension. You can’t help but clench your fists in preparation for a jump scare, which, interestingly, doesn’t always come. After Faustus summons Lucifer in the wood, she is alone on stage, coaxing him out with her candle for some time before he actually appears. There’s almost a feeling of a collective in-take of breath as the audience await his arrival, and when he does stride into the space, it’s a relief!  

Francesca Goodridge employs many interesting physical sequences within her direction. Marie Curie’s husband, Pierre, is brought to life by an empty suit puppeteered by two members of the ensemble. It’s simple but impressive. A body suit is also used to represent the demise of Doctor Newbury, which is unsettling and gruesome. Faustus’ indulgence in the seven deadly sins is also presented via a stunning physical sequence from the whole cast.  

There’s no doubt this is a stunning re-telling of a familiar tale, which explores the themes of death, jealousy and revenge. Bush’s re-visioning of the lead character adds fresh new layers to the familiar story which makes for a devilishly good watch.   Reviewer - Gavin Hayes

on - 16.2.23

YOUTH THEATRE REVIEW: Bleak Expectations - The Garrick Theatre, Stockport.

'Bleak Expectations' is a book, a radio comedy series, and now also (apparently) a play too, all written by Mark Evans. As the title suggests, (a combination of Bleak House and Great Expectations), it is an over-the-top parody of the Dickensian novel, as well as the mores of the Victorian era, and the standards of the time. Of course all of this is with particular reference to Charles Dickens, who may or may not be Pip Bin in this play, but if not, the character is certainly drawn from much of Dickens' writings and life. Pip Bin acts both as narrator in his own story as an old man, and as his younger self during his escapades (played by a different actor).

The story follows the early life of Pip, along with his two sisters, Poppy and Pippa. On the cusp of his 18th birthday, his father dies, his mother goes mad, and his fortune passes to the children's guardian, Mr Gently Benevolent. However, it turns out that Benevolent he is anything but, and is in fact evil personified, and sends Pip away to the worst boarding school in the country where the boys are ritualistically murdered on their 18th birthdays. We follow the adventures of Pip, and his new-found best friend Harry Biscuit, as they try to defeat the evil Benevolent siblings (of which there are four!), and restore their mother to health, and bring their family and the family's fortune back together again. 

The script is full of silliness following in the footsteps perhaps of such things as Monty Python and The Mighty Boosh. It's irreverent, corny, and performed in a pacey, tongue-in-cheek manner it would be having the audience wetting their seats laughing!

In this production, performed by Stockport Garrick's own Youth Theatre, it lacked pace sadly, and as such lacked punch and we missed many of the jokes. This was most unfortunate, but was, I must stress, not the actors faults at all. All the cast gave of their best throughout, performing as they had been directed to do so, and so much credit must be given to them for finding as much comedy and bringing as much to their characters as they did. The play was directed by Faye Harrison, assisted by ex-youth theatre members James Fagan and Ben Wilde; but perhaps three heads spoilt the broth rather than being better than one. Stylistically, the play was not in the correct genre, and the performers didn't seem to be aware that they were performing in a farcical parody and needed to be BIG and larger-than-life all the time in order for it to work. Further, the sound levels were poor this evening and both my companion and I were missing much of what was being said on stage. When the actors dipped their voices or spoke rather quickly, then it was lost beyond the first few rows. This could so easily have been a superb production, as it was obvious that the stage contained many talented and dedicated young actors and actresses, all of whom were working extremely hard this evening; sadly though, in the wrong direction. The only (few) laughs that they garnered this evening were from those young people (family, friends, fellow youth theatre members) who already knew the script or had a good idea of what to expect. The success of a show such as this can only be measured by how much and how heartily the audience laughs, and judging from this evening's audience's reactions, I can only say that it needs a lot of work yet. Perhaps, as an ameliorator to my negativity, it might also be said, that this play should perhaps be given to older actors; there could have been (and more than probably should have been) far more sexual innuendo and implied activity throughout which would have helped the comedy. Obviously though, given their ages, this would not have been appropriate for these students to perform. 

Another thing which didn't help this evening was the set design. We were presented with what looked like a filthy rundown back alleyway with a very rough sketch of hills in the distance. Sadly, this set didn't work for any of the various locations of the play. We had Pip's home (interior and exterior), a church, a boarding school, London, and goodness knows what else, but never anything that seemed to assimilate with what was on stage. A black box with no set at all would have worked better. Moreover, many of the entrances and exits didn't make any sense either.

Once again, I stress, the young performers are not at all to blame for any of this. They worked extremely hard and I was very surprised and impressed by how much they managed to bring to this script despite it being performed in the wrong genre with them obviously not fully cognisant of what was actually required of them. 

Reviewer - Matthew Dougall
on - 16.2.23

PANTOMIME REVIEW: The Wizard Of Oz - The Theatre Royal, St. Helens.

Panto in February? 'Oh NO its NOT' surely? Well let me tell you 'Oh YES it IS!'  And what a treat it is to see another fantastic production from Regal Entertainments at St Helens Theatre Royal. Performed by an amazing cast to a packed theatre, there is over two hours of fun and laughter throughout with plenty of audience interaction to the delight of the children and the much older 'children' accompanying them! 

So here I am, an adult with my plus one, no kids with us and slightly worried that maybe I should have enlisted a child instead of my husband to get a kids perspective of the show. Who knew I was sitting next to the biggest kid of all?

With puns and innuendoes that sailed over the heads of the youngsters but delighted the adults, the Wizard Of Oz is a  Perfect, Amazing, Nutty, Terrific, Oh not to be missed, value for money, entertaining delight you really need to get to see.

There will be few who do not know of Dorothy and her quest to get back to Kansas after a storm, the Scarecrow desperate for a brain, the Tinman in need of a heart and the cowardly Lion wanting to find  courage. The four meet up and follow the yellow brick road, hopeful to meet the Wizard who it is thought will be able to help them all. The wonderful cast bring the story to life. Dorothy, fabulously performed by Maddy Hope Coelho, is accompanied for most of the show by her dog, adorable scene stealer Toto, and arguably the best behaved performer on the stage! (not sure if this was Buddy or Bindi but suspect it was Benny today if the photo is in name order on the programme, they share the role) He was totally unfazed by the pyrotechnics, music and dancing surrounding him.

Dorothy gave a captivating rendition of 'Somewhere Over The Rainbow' and her performance throughout was enchanting.

No panto would be complete without a baddie and this is no exception with the Wicked Witch played evilly and with a fantastic cackle by Bethany Grace, who received the biggest boos and hisses with her every appearance. Her opposite number is Glinda the good witch with Hayley Russell playing the part to a tee especially with her American drawl.

What can be said about Reece Sibbald as scarecrow? Just be prepared for side-splitting laughs at his hilarious antics! The Tinman, played by Adam Melville, is brought to life with a drop of oil and he acts his role superbly even with the occasional risqué innuendoes expected in panto and received with great laughter. The loveable Lion from Michael Alan-Bailey is another perfect-for-the-role performer with his cowering scaredy-cat behaviour. The Wizard of Oz lives up to his name, wonderful at least by Warren Donnelly.

The dancers, choreographed by Nazene Langfield are a delight to watch as they perform in many scenes as Munchkins, nymphs and creatures with fabulous colourful costumes courtesy of Regal Entertainments Ltd.  Of course the success of a show is not just the performers but the behind-the-scenes creative department who also deserve an accolade for their contributions to the production.

Three youngsters are winners of the golden ticket found in some programmes and are invited to the stage to meet Scarecrow and help him with the well known song 'Old MacDonald Had A Farm' with  one child is a star-in-the-making with a very confident 5 year old Darcy taking the limelight.  

'The Wizard Of Oz' is only running until 19th February with some days having three performances with selected morning shows having a 40% reduction in ticket price so get on your red shoes and follow the yellow brick road to the Theatre Royal where you will be guaranteed to have a MARVELous time with lots of surprises (you'll understand the marvel link when you see it!)

Reviewer - Lorna Weekes
on - 15.2.23

AMATEUR THEATRE REVIEW: Sister Act - The Academy Theatre, Co-op Academy, Blackley. Manchester.

The Co-op Academy, a senior high school tucked away inconspicuously amongst the urban sprawl of Blackley, Higher Blackley and Crumpsall, is a real jewel, theatrically speaking. The school boasts a wonderful theatre (available for outside hire) which has professional standard lighting etc. The school also has a proven track record of quality theatre and music training, and this annual theatrical event, giving the young teenagers a chance to strut their stuff, is both a popular and meritorious part of the school's theatrical (and musical) calendar.

This time round they presented the ever-popular show, 'Sister Act'. This musical, based on the now iconic film starring the inimitable Whoopi Goldberg, with music by one of America's greatest tunesmiths, Alan Menken, tells the story of a certain Delores Van Cartier, lounge singer and moll to a local gangster boss, who finds herself on the run from him after she witnesses him commit murder. Seeking police protection, she is 'hidden' in a local convent, and is given the task of improving the quality of the nuns' choir. The rest, as thy say, is history...!

This is a school production, and so, of course, all the cast - as well as the band at the front of the stage - are all young students there, and it was, as always, heartwarming and thrilling to see so many young people giving so much to create their characters, the story, and entertain their peers and families. Absolutely everyone needs to give themselves a huge pat on their respective backs for that! However, the praise simply doesn't stop there; as once again, the school has provided these students with a professional set and wonderful costumes as their playground, and every one of them strives for excellence. They are al enjoying themselves, and creating interesting characters whom we can follow on their journeys. 

Heading the strong cast, and taking on a rather challenging role, was Safi Frimpong as Delores. This was the first night and as such, nerves were in evidence at the beginning quite naturally; but her character and confidence grew the further into the show she got. Delores's boyfriend-with-a-gun and head honcho of a posse of misfit hoodlums, Curtis, was played with earnestness and power this evening by Lucasz Brzezinski. The comedy antics of his 4 hangers-on bringing a lovely opposing dynamic to the cruelty and reality of the situation. 

Eddie, the police officer who protects Dolores until her trial, was played this evening by Gabriela Taiwo, whilst the Mother Superior of the convent where Dolores was placed, was played by Maja Fraczek. Both Taiwo and Fraczek bringing much to their respective roles, creating believable, flawed and interesting characters. Sister Mary Robert, the postulant who idolises Dolores was Gift Pius Odibo, whose solo song was excellently measured; whilst the other characterful nuns were each given their own distinct mannerisms and all worked well together. The journey from singing appallingly to their grand finale was crafted with skill.

The whole cast numbered 40, and so apologies if I have not mentioned everyone involved!

There were some things this evening which didn't work perhaps as well as they could have done; but all these are technical issues, and so can hopefully be easily rectified. Microphones were crackling, voices were being heard from only one side speaker or not at all, the gun noises not the correct sound and too loud, and some of the transitions between the scenes could have been a little tighter. The band was at times a little too loud, overpowering the singing, whilst the sound levels amongst the band themselves was not quite in balance either, as the drummer, despite his obvious talent and proficiency, was the overriding sound coming from the pit when he played with sticks. When he played with brushes, the sound levels were fine.

On stage, there were a couple of occasions when the cast lost their place or missed a cue; however, I mention this only as praise. They were completely professional and 'played it col', simply waiting and picking the dialogue back up again from where they knew and continued as if nothing had happened. Absolutely the correct thing to do, and kudos to them for so doing.  

All-in-all, the Co-op Academy have done themselves proud again, and produced a quality production, showcasing the talent, commitment, energy, and desire to succeed from a whole team of both students and staff. My congratulations to you all. 

Reviewer - Matthew Dougall
on - 15.2.23

GASTRONOMY REVIEW: The Neptune Fish Bar And Restaurant - Runcorn.

Oh dear, oh dear, oh dear! Requiring some sort of sustenance before an evening theatre visit, and with this being my first visit to the centre of Runcorn, I was shocked to find that the centre had a distinct lack of restaurants. Seemingly the town boasts cafes a-plenty, all of which seem to close either at 3pm or 4pm, and then the only options available to the weary and hungry traveller is a Wetherspoons and precious little else. The only other food available come in the form of fast food takeaways, most opening early evening, and Runcorn seems to have more than it's fair share of these. I counted 7 pizza takeaways, 6 fish and chip shops, and goodness knows how many others of varying food choices, all within the space of a square mile or so! The only one however which had any inside seating - advertising itself as a 'restaurant' was The Neptune Fish Bar.

On the plus side, the establishment was clean; however, my positivity for this place must end there sadly. Myself and my companion ordered our food to eat in along with tea-for-two. The service was sluggish at best, and when the plates of food arrived I was disappointed to say the least! Having already paid for the meal at the counter, it was difficult to complain, and so we suffered in silence and left.

I had ordered scampi and chips, whilst my companion had the traditional fish and chips. When the plates arrived the portions were small (thank goodness, since it was basically inedible), and completely without any garnishing. No sprig of parsley, no slice of lemon, no tartare sauce, absolutely nothing. Salt and vinegar were already on the table. The scampi was undercooked and very hot, whilst the chips were practically cold and were some of the worst-tasting chip-shop chips I've ever tasted. My companion was of the same opinion. 

If we ever find ourselves in Runcorn again, then we shall avoid this establishment like the plague, especially since there is a plethora of others in direct competition with them. However, it would be nice to be able to find a couple of restaurants in Runcorn next time...obviously though we shall have to travel out of the centre for those sadly!

Reviewer - Matthew Dougall