STUDENT DANCE REVIEW: Nebbia - The Lowry Gallery, The Art Gallery, Manchester

A short, 15-minute dance presentation took place this afternoon in The Lowry Gallery of Manchester's Art Gallery, performed by the first year students on the UCEN / Manchester College Dancing course.

The girls (one imagines them to be about 17 years of age) all wore their black dance leotards and were tasked by their tutor to choreograph and devise short pieces themselves on the title 'Nebbia' (Italian for 'fog'). I am uncertain as to why this performance took place in the Lowry Gallery in the Art Gallery, since none of the paintings, nor indeed the idea of being inside a gallery was ever referenced. It could easily have been performed in any space, anywhere.

The first group were four girls working well together, followed by a group of three more girls. Four more followed with their own piece, and then the last three girls had their turn in the spotlight. All used backing tracks and performed contemporary ballet style dance. The choreographies were well thought out and all had used some lovely imagery, combining floor work with a couple of lifts. The inventiveness and creativity impressed me, and their coordination and togetherness was always good. It was the fourth group however who impressed the most, as they seemed to have embraced the idea of 'nebbia' the most, creating a sense of iminent danger as their dance swirled, enveloped and threatened.

To conclude, all 14 dancers came together to dance their final piece, which again had excellent use of space and ensemble. I loved the use of stillness in this section. Their focus (considering the venue etc) was remarkable, and despite it only lasting 15 minutes, was a very enjoyable and well-thought out piece of contemporary dance.

Reviewer - Matthew Dougall

on - 29.3.23

AMATEUR THEATRE REVIEW: West Side Story - The Festival Theatre, Hyde. Greater Manchester.

With a book by Arthur Laurents, based on ideas by Jerome Robbins and a story based on Shakespeare's 'Romeo And Juliet', with music by Leonard Bernstein, and lyrics by Stephen Sondheim, it is little wonder that 'West Side Story' has continued to be one of the world's most loved and popular musicals of all time. However, it is not an easy musical by any means. Act one resembles a ballet more than anything, whilst act two is far more Grand Opera. The music (as you might expect from Bernstein) is challenging and non-conformist, and yet the melodies are soaring and the rhythms incredibly catchy. Needless to say perhaps after such an introduction, but it requires a cast of highly multi-talented performers to be able to carry it off with any success. 

This evening I had the opportunity of visiting the Greater Manchester town of Hyde, to see Hyde Musical Theatre Company tackle this show at the town's Festival Theatre. I was not disappointed.

On entering the auditorium, the open composite set showed an array of metal scaffolding and rostra, with many ladders pointing in all directions. This mirrored the more seedy back streets of New York with their ladder fire escapes on the backs of their buildings nicely. All of this was to the rear of the stage allowing a large open performance area in front of it; whilst the two side 'wings' of the stage had been decorated to be used as Doc's Drugstore (stage right), and Anita's bedroom (stage left). Generally good and imaginative use of the space allowed the show to flow speedily and swiftly, with our eyes constantly being drawn to the central action in varying parts of their performance space. 

The cast was headed by a personable Matthew McGoldrick as Tony, whose soft light tenor tones impressed, whilst Kat Rawling's plaintive Maria was a little more grounded. Working well together they proved to be a worthy pair to lead the strong cast, as together they negotiated their predestined path from 'star-cross'd lovers' to avoidable tragedy. Riff, the now-leader of the Jets was played with real earnestness by Ben Vaughan, whilst his counterpart on the Puerto-Rican Sharks' side was Bernado, who had been given a very 'Godfather-esque' characterisation by a very watchable Kit Philips. Maria's best friend Anita was played this evening by Alison Baines, giving her character a sincere and urgent disposition, and her singing was a delight. Steven Cheeseman impressed as the Jet's second-in-command, Action, again giving a real and sincere performance and is obviously a very strong and talented performer. Maddison Lees trod the knife-edge path between being wanting to be a part of the gang as a tomboy, but also wanting to be accepted as a girl in her own right too, as Anybody's. Whilst Tony George made for a very believable and world-weary compassionate Doc.

The company was made up with many others (too many to name), but all had their own recognisable characters and made a formidable ensemble in the chorus numbers. I loved 'The Dance At The Gym', 'America', and the 'Somewhere/ Dream Sequence' in act two. Mentioning which, I should give due credit to Simon Fitzpatrick, whose choreography, (given the size of the stage and the number of people on it) was incredible. Exciting, apt, and generally excellently executed. Full credit too to the fight director (uncredited), whose fight sequences were realistic and thrilling.

A couple of things worked less well for me this evening. The lighting design was not optimal, and seemed to cast principals in shadows or darkness when they should have been lit, and some of the 'specials' used simply didn't make any sense to me, finding it more of a distraction rather than adding to the narrative drive. Musically, under the direction of Dave Chapman, the singing was secure and powerful, but the band did sound a little out of time or tune at times sadly. My only other comment is more of a suggestion really; but perhaps a little more of an obvious visual difference between 'Polaks / Jets' and 'Puerto-Ricans / Sharks' would have been easier for the audience to appreciate. Remember the old Western films where the baddies wore black hats and the good guys wore white?? The white t-shirts and blue jeans idea only worked to a point.

All-in-all, this was a wonderful show, intelligently brought to life, sincerely performed and is a credit to both all those on stage this evening and the society. Felicidades.

Reviewer - Matthew Dougall
on - 29.3.23

AMATEUR THEATRE REVIEW: Calendar Girls (The Play) - The Little Theatre, Altrincham. Greater Manchester.

I still have yet to watch this Juliette Towhidi / Tim Firth film of the same name... maybe one day! Until then, I shall continue to watch the live theatre versions that keep cropping up all over the place. I have now seen the musical version several times, but until this evening had never seen it as a play. Presented by SAMT (Sale And Altrincham Musical Theatre) at Altrincham's Little Theatre, the play does not pack the same punch as the musical does, and even if the storyline remains basically the same [there are some quite significant differences between musical and play], the emotional drive and gritty realism of the musical seems lacking in the play.

That's not to say it isn't there, and it doesn't mean the play isn't enjoyable, but it does mean, in this reviewer's opinion at least, that the play is less dramatic, less emotive, and therefore packs less of a punch than the musical. And that's a shame, since this play was presented by a society that prides itself on their musical theatre productions. 

This evening the stage had a single composite set used throughout regardless of location, which made it a little more difficult to follow and not as visually stimulating as it perhaps could have been. However, the back wall had a painting of the Yorkshire Dales in all their scenic glory, behind a very uncharacteristic stone wall [why wasn't it a dry stone wall?]. Either side of this were the walls of the community centre that is used as the base for the WI meetings, and this was decorated appropriately.

The story surrounds the famous, and very real event, of a Yorkshire WI paying tribute to the husband of one of their members who tragically died of cancer, by producing a tasteful nude calendar of their members to raise money for cancer research and the hospital where he was treated. The story has humour, heart, and in this play version, the dialogue is very much down-to-earth and naturalistic. It is almost as if we are flies on the wall, listening in to their banter and chit-chat. Credit here to director Martyn Preston for making it thus.

The play has a very weak and uninspiring start, as the ladies try out a yoga class in silence and no humour; but once they start to speak and the energy levels pick up, then the pace and the banter flow well, and the characters truly come into their own. 

Jenny Hollinshead plays Annie, the lady who struggles looking after her husband as he deteriorates from fit and healthy to wheelchair bound, and, along with her best friend Chris (Rachel Barrington), hatch the plan for the calendar and wheedle the other members to help them in their quest to raise funds for the disease. Chris, however, soon gets a little carried away with all the publicity and fame that this creates, and, after a subtle reminder from Annie, realises that she was being self-centred and not considering the reasons why it all started in the first place. Hollinshead and Barrington had a good rapport with each other and their friendship seemed very real.

Supporting them as other WI members - all with their own characteristics and personalities - were Jessie (Rosalind Ford), Cora (Alison Gould), Celia (Jane Philpott), Ruth (Rosarie Walsh), and Marie (Helen Blythe). Again these ladies worked well together and brought about a very realistic and disparate group of Northern lasses (and yes, before anyone pulls me up.. Cheshire is also in the north!) 

Stuart Sephton played Annie's husband, John, who made a remarkably empathetic and realistic change and his wheelchair scene was very moving. Other characters were played by Paul Rendel (Rod), Phil Callaghan (Lawrence and Liam), and Janice Rendel (Lady Cravenshire). Again, all three strong actors who brought much to their roles and the play in general. 

Martyn Preston's direction was, at times, a little slow, especially in the scene changes, and I thought the choice of ambient music throughout to be a little strange at times, not really marrying with the feel of a WI despite the lyrics being perhaps apt. However, Preston found a good balance between the comedy and the more tragic scenes, and had a good understanding of the narrative drive and the overall arc of the play, delivering a very watchable and good-humoured production which was given a standing ovation on it's opening night this evening.

Reviewer - Matthew Dougall
on - 28.3.23

AMATEUR THEATRE REVIEW: Measure For Measure - The Garrick Theatre, Stockport.

'Measure For Measure' is a comedy of 1604, written just before two of his tragic masterpieces, 'King Lear' and 'MacBeth'. The play is very formulaic, and follows a similar plot / contrivance structure to many of his other works. The play is set in Vienna and the main plot revolves around the Duke of the city reluctant to clean the city up by ridding the outskirts of its brothels and skulduggery; and so tells his deputy, Angelo, that he should take charge while he leaves the city for a while. Angelo, grasps the reign of power with both hands and immediately reinstates long-forgotten laws, and threatens to burn down the whole 'red light district'. Meanwhile, the Duke disguises himself as an itinerant priest and watches, without revealing his identity, as Angelo imprisons Claudio and sentences him to death for getting his intended pregnant before marriage (one of the old now-reinstated laws), and agrees to visit his sister, a nun, to appeal and try and 'smooth things over' but it seems the only way Claudio will be released is if his sister, Isabella will agree to sleep with Angelo...! and so the plot thickens... but of course, this is, by and large, a comedy, and so, to quote a famous playwright, all's well that end's well.

This evening Stockport Garrick company tackled this rather difficult script, and under Martin Pritchard's direction, we were unclear as to the 'genre' of this play. I have thus far referred to it solely as a comedy; however scholars have mused over this play many a time, trying to understand whether or not Shakespeare meant it to be a comedy or not, as there are long passages of much more serious writing, more suited to his tragedies. It is also one of his more political plays too, and so he might also have been taking a stab at the British government of the time in much the same way (but perhaps less obviously) that Messrs Gilbert and Sullivan did with their comic operas. Is it a straight play? No. Is it a tragedy? clearly not. So let's just all agree that it is a comedy! Pritchard therefore did not find enough comedy in the script this evening, in this reviewer's humble opinion. There was a distinct lack of pace throughout, and sadly, there was little in the way of dynamic changes, making it a rather 'worthy' and heavy watch.

This was not really helped by the use of an uninteresting and uninspiring static composite set. A pale brown set of flats surrounded a set of pale brown steps at the rear of the stage, and the only things to change the colour of this were a few times when the lighting department gave us a different hue on a part of it. No carry-on set items were used throughout, making the cast either stand or use the steps at the rear to sit. Minimalism was the order of the day, however visually it was most unsatisfying.  A decision had been made to update the play too, and so we were no longer in Vienna (or were we?), but we were in a 20th century city, with costumes (and music) more reminiscent of the 1980s than anything. 

What started to work extremely well, before it vanished without a trace, was a rather Brechtian idea of having the cast seated on the rear steps as silent witnesses to the action unfolding in front of them, and then coming down from the steps in character to continue the narrative. However, this idea disappeared almost as quickly as it had been started, and sadly never reappeared. 

The large cast worked well with each other, and despite the gravitas, managed to find some lovely comedic moments which this evening's audience eagerly lapped up. Performing Shakespeare can be - even for the seasoned professionals - a bit hit and miss at times, as the fashion seems to be constantly changing as one how really ought to perform the Bard's works. Here it seems that the older, and perhaps more experienced actors on stage this evening were more inclined to observe the metre and speak in a more 'standard English', whilst the younger cast members favoured naturalistic dialogue and used their own accents. The cast all had their own distinct characters and characteristics which worked nicely, and the storyline was well measured and easy to follow. 

Overall, a strong and dedicated cast worked hard to bring as much to the play as they did, delivering a sincere and indeed enjoyable evening, even if it was a little unclear exactly what the director wanted.

Reviewer - Matthew Dougall

on - 27.3.23

MUSIC REVIEW: Mozart, Made In Manchester - The Stoller Hall, Manchester.

As part of their ongoing concert series, “Mozart, Made In Manchester”, the Manchester Camerata orchestra used their latest performance to showcase four relatively early works from the canon of Wolfgang Amadeus Mozart – an operatic overture and three piano concertos. These four pieces were some of the earliest compositions Mozart completed upon arriving in Vienna after leaving Salzburg in the early 1780s: the overture to 'The Abduction From The Seraglio', followed by Piano Concertos 11-13.

The concert opener was, fittingly, the Overture. This piece allowed the full Camerata orchestra in attendance to contribute to the evening’s performances and was a striking opener. 'The Abduction From The Seraglio' was an early operatic success for Mozart, although perhaps not as enduring in the popular consciousness as his later operas, The Magic Flute, The Marriage of Figaro, or Cosi Fan Tutte, and based on the Overture (as performed by the Camerata, at least), it is easy to see why it became a success. Incorporating some unusual instrumentation for the classical orchestra (as it was in the 18th century), the piece weaves in percussive melodies inspired by the music of Turkey (as the opera is set in that country), the work is propelled by shifting tempos from slow to fast then back to slow, ensuring that the piece does not allow overfamiliarity to weary its impact. Kicking off with a slow introduction by the string section, the varied percussion kicks in as the tempo is taken up a gear and there is an ensuing musical battle between the percussion and strings as the work switches between tempos. As the Overture progresses, there is a delightful flute solo (which was charmingly played by Amina Hussain, in what was the only piece of the night to require her talents) before the seeming peace offered by the flute is shattered by the switch to a fast tempo with frenetic violins as the piece reaches its climax. Janet Fulton’s work on the non-Western percussion was also a highlight (and, again, represented her only contribution to the concert). All in all, it was quite the thrilling opener to the concert.

After a brief pause to allow the Camerata to reconfigure itself into the core members required for the three concertos (strings and horns, but no percussion or flute) – and for the piano to be brought onto the stage – the orchestra was joined onstage by pianist Jean-Efflam Bavouzet and the first of the three concertos. No. 11 in F major commenced with a playful and light opening section from the strings with the horn section bringing in support underneath. Once the strings and horn had established the mood for the work, Bavouzet got to work with some highly impressive runs on the piano (which were designed to be virtuosic by Mozart) and the piece progressed with the piano and strings alternating with one another. The second movement of the concerto showcased the string section’s capability for bringing light and shade into their tonality, in a section which had a pastoral feel to the music. The third movement further allowed Bavouzet to demonstrate his skills with Mozart’s work and provided a very rousing end to the concerto.

The second concerto, No. 12 in A major, began with its opening movement, which this time really allowed the horn section to shine – this was quite an interesting choice as Mozart had attempted to promote the three concertos being performed as being able to be played without a horn section should the performers prefer a more chamber music feel – and, once again, allowed for some truly impressive runs across the piano keyboard by Bavouzet whose skill made playing the instrument look so easy (although as anyone who has tried to learn to play the piano will attest, it is not as easy as one would assume). The concerto’s second movement showcased much tighter segues between the string and horn sequences with the piano sections than had been evident in the first concerto and, indeed, in the opening movement of this piece. Whereas before, the two alternated with a clear demarcation, in this movement the space between the piano and orchestra’s music was compressed. This was no reflection on the performance but clearly an intention on the part of Mozart where the brief pauses in the earlier work were designed to allow the piece to breathe. The final movement for this concerto showcased some quite upbeat, jaunty piano work and rapid stabs of strings and horns within the music, providing an interesting and welcome change of pace to the preceding work within the concerto.

The final piece of the concert, Piano Concerto No. 13 in C major, brought John Melbourne back on the timpani and Tracey Redfern and Peter Mainwaring on trumpet (having only previously been in action during the Overture at the start of the evening) to bolster the orchestra and provide new and exciting textures to the concerto. Melborune’s timpani, in particular, brought some percussive colour to the concerto. When all was said and done, however, the real star of the concerto performances was, somewhat understandably, Bavouzet – his playing skills matched only by the clear enthusiasm and enjoyment he has having playing and listening to the music (and recognition should also be given to the page turner who enabled to ensure Bavouzet was able to keep up with reading the score even when playing!).

As well as Bavouzet, the other “star attraction” of the evening was the Camerata’s conductor: Gábor Takács-Nagy. Throughout, his conducting was full of vigour and enthusiasm, clearly highlight a strong rapport with the orchestra and Bavouzet. Watching Takács-Nagy’s conducting was just as entertaining as hearing the fantastic performance of these Mozart works. The concert was a very strong reminder as to why the Camerata’s Mozart programme has attracted such high praise – future performances as part of their “Mozart, Made In Manchester” project will be well worth seeking out if you are keen to hear the lesser known, as well as the more famous, works of one of the most prodigious composers of the classical music world.

Reviewer - Andrew Marsden
on - 25.3.23

THEATRE REVIEW: Bricks - 53Two, Manchester

Six short plays, bringing together writers, directors and actors for an explosive and intense evening of hard hitting plays around disturbing subjects.

This performance of ‘Bricks’ had brought together a large crowd of Manchester’s theatre scene, and the opportunity to see so many talented artists working together to stage short and profound punches of theatre, made for an electric atmosphere. The audience were completely behind what they were about to see, even though the plays were dark and told gut-wrenching stories, where there were opportunities to laugh the audience took their cue without hesitation.

The standout piece for me was ‘Loving The Bones Of You’ by David Payne, directed by Simon Naylor, assistant director Kelsea Knox. Gill, a devoted mother (Karen Henthorn), fusses over her student daughter Claire (Liz Simmons) as she tries to write a paper for her studies. The scene begins with a comical tone, as the mother fusses in a stereotypical way, over food, relationships, life stages. Henthorn’s comedy timing and over-the-top emphatic noises had the audience laughing out loud, but the atmosphere changed as the fussing turned into something incessant. The mother character became so frantic over her daughter’s eating disorder and lack of being able to control it that there is the crux and most dramatic moment of the play (no spoilers!). It is a harrowing moment that stayed with me. Henthorn and Simmons performed this piece with a resonating amount of talent that shook its audience. Direction by Naylor and Knox took its audience on an unsettling dive into a toxic relationship erupting in a dramatic death scene, the action was well choreographed and vision for the climatic ending well executed.

Other great moments from the night included, Tachia Newall’s portrayal of the character Rennie, an incredibly sweet and optimistic comic book shop owner. Newall owned the stage with his performance, bearing a heart-wrenching vulnerability to the character. And in ‘The Crowd Goes Wild’ Daniel Jillings gave a rousing performance as a bereaved and troubled father, hardly moving from standing centre stage, Jillings commanded the space, letting his wave of grief and anger be palpably felt by the audience.

Six plays, each dealing with upsetting scenarios. All the plays were extremely well acted, all the actors gave outstanding performances. Here’s to hoping for more works like this from 53Two that hopefully go on to inspire further great hard-hitting pieces.

Reviewer - Kerry Ely
on - 24.3.23

AMATEUR / STUDENT DANCE REVIEW: U.Dance NW - The Lowry Theatre, Salford.

Set over the course of a weekend, The Regional U Dance festival incorporates workshops, masterclasses, presentations and activities for aspiring dancers from all over the North West. One Dance UK, in partnership with NorthWestDance and The Lowry have presented and hosted this yearly event for several years, and indeed this was the 6th time I have had the pleasure and privilege of being able to cover the two public shows on Saturday and Sunday evenings. 

This time 11 teams of dancers were chosen by the regional panel to present their work in these shows each night (22 in all), with another two groups being asked to perform a new work or work-in-progress in the foyer before the show. On Saturday this was Company Chameleon Seniors, and Sunday a group of junior school children from Ingleton Dancers.

This year the vast majority of the dances on stage for both evenings were contemporary ballet / dance, despite U.Dance's ethos of being all-encompassing and treating all styles of dance equally. With there being 22 pieces from 22 different schools / academies, I simply cannot mention them all! Therefore I ask you, dear reader, to allow me some subjectivity in this review, whilst I mention those dances which, for me at least, I found the most satisfying. I am unaware of the criteria upon which these dances are judged by the region and national panels; however, I can tell you my own criteria. First and foremost I am looking for a whole presentation - a piece of choreography which is also a stand-alone piece of theatre. Lighting, SFX, set (if used), costumes, make-up and chosen music all cohere and compliment each other, and thought has gone into the overall 'look' and 'feel' of the piece, especially if there is a narrative drive within it. The choreography should be exciting and varied, with good use of space, levels, and techniques / moves, but should always be within the comfort zone of the dancers being tasked in performing them. And finally, I watch the dancers' faces to see if they are acting or just simply dancing. 

Armed with all of this knowledge, I can now reveal my personal favourites. From the Saturday evening these were The Zig Zag Youth Dance (and even after having performed a 'Google' search for this company, can find nothing on the web about them or where they are from... that's a shame!) performing 'In Bad Faith'; Homegrown Dance Theatre, Chester, performing 'The Devil Inside Us'; Newmanovres Dance Academy from Preston, performing 'Missing', and my favourite from the Saturday evening simply had to be 'Werave' from a dance company I have been following and had a fondness for ever since seeing their production of 'The Qube' at my junior school whilst I was still in short trousers, Ludus Dance Company in Lancaster.

Sunday's evening show proved to be just as spectacular with many dances and dancers impressing me greatly. The show started excellently with Stockport Grammar School Dance Company with 'The State Of Impermanence'. Firm favourites this evening included LIPA 6th Form College performing 'Night Whispers'; Fusion Dance Company from Denton's 'Run Boy Run'; Wirral Grammar School for Girls' performing 'Sweet Dreams' [I loved the use of clouds and pillows in this sequence!]; and The WigLe Academy from Wigan performing 'Hold The Girl'. I have left the best until last though, and my absolute favourite piece from the entire festival {it was amazing!} came from a dance company from "the heart of the Lake District", and a company I have hitherto never heard of, but shall be making a point of following from now on; The Dance Attikk and their piece, 'ID Tag'. A complete piece of theatre danced with great skill and precision.

Congratulations to all the other participants too, and thank you all for allowing me to be so entertained by those who will undoubtedly be tomorrow's professionals. Keep dancing! and I look forward to seeing the North West's young dancing talent once again next year.

Reviewer - Matthew Dougall
on - 25/26.3.23

AMATEUR THEATRE REVIEW: Made In Dagenham - The Pendle Hippodrome, Colne.

The Pendle Hippodrome Theatre Company, based at their own theatre in Colne, Lancashire, took the bull by the horns this evening and swapped the windy hills of Witch-country for the East London town of Dagenham, transporting us back to the year of this reviewer's birth, and the Ford company sewing machinists' strike.

Despite a couple of slightly dodgy accents, this transition was done with aplomb. Costuming, hairstyles (mostly), and set all created that era that some of us still tend to see through rose-tinted spectacles. Watching 'Made In Dagenham' will remind them (if they are old enough), that their idealistic vision is most definitely wrong. It was a hard time to be alive, and this musical doesn't shy away from many of the 'issues' of that society; nay, it practically wallows in them, highlighting not only the inequality of women (an ongoing issue), but also corporal punishment in schools, sexism, the class divide, trade unions, women in government, etc etc. the list is endless. 

The language used in the musical too, is also atypical of the genre but is almost a verbatim piece inasmuch as the shop-flor banter could easily have been taken from an actual recording of chit-chat at the time. To say that it is 'fruity' is an understatement, and the show includes a lot of swearing and vulgarity. This is all apt, and the show would be weaker for trying to 'gentrify' it. 

The PHTC showed great skill in bringing this story to life, and heading a very strong cast is Jessica Sanderson in the lead role of Rita. Her talents totally lost as a flight attendant (her actual job!), and with such a powerful and sonorous voice, and pleasing stage presence, I look forward to seeing her on stage in whatever her next role happens to be. Aiding and abetting her this evening were a whole ensemble of machinists, whose cumulative choral sound was delightful, and provided some lovely harmonies; and these ladies included cameos and smaller principal roles, most notably, Connie (Vicky Riley), Sandra (Liz Rowell), Cass (Laura Schofield), Clare (Cathryn Osbourne), and Beryl (Angela Boult), all finding their own individual characters and working well within the ensemble.

Eddie, Rita's husband and worker on the assembly line, was given gravitas and sincerity by David Smith; and again, was supported by several smaller male roles which included Tooley (Matt Whatley), Monty (Jason Morris), and Cortina Man (Karl Pilkington). The upper-classes were represented by Jeremy and Lisa Hopkins (Stevan Manley and Vicky Goldsworthy respectively), whilst fun was to be had (tongue firmly in cheek) with the comical lampooning of two real-life politicians, Barbara Castle, performed by Gillian Mason, was not too far away from a look-and-sound-alike, whilst Richard Sanderson as Harold Wilson gave our ex-Prime Minister a more Pythonesque twist with obvious comedic glee. 

Finally, one must also mention the two O'Grady children. A young boy and girl who appear in a few scenes in between an ever-growing chasm between Rita and Eddie as they argue and grow further apart, only to be brought back together again at the end (well, this IS a Musical afterall...!). Credit then to youngsters James Newton and Heidi Grimshaw.

An onstage band (centre stage rear) started too loud and the first few bars were deafening. Thankfully, our sound technician was on the ball, and the rest of the show was loud, but not deafeningly so. Musically the show was in safe hands under the direction of Lisa Manley, with solid and sensible direction form Daniel Mason, with excellent use of space and levels, and some imaginative and interesting choreography from Karen Shaw. 

A most enjoyable musical, and I look forward to the opportunity of watching this society in September when they tackle the family musical, Chitty Chitty Bang Bang.

Reviewer - Matthew Dougall
on - 24.3.23

STUDENT THEATRE REVIEW: The Manchester Opera - The main theatre, City College, Manchester

The second year acting students presented their own take on the 'Mack the Knife' story at their home theatre within the walls of city College, Manchester this afternoon. For this they updated the story to the present day, and set the narrative firmly and squarely in Manchester. 

The stage showed the 'shop' at the rear of a pub, owned by Mr Peachum (Charlie Forrest), complete with clothes on rails and hanging from every available place possible, including from the rafters. Peachum is a wrong'un, that much is clear, but his 'legitimate' business is controlling all the beggars and lending licences in the city. His daughter, Polly (Stephanie Wallace) has formed a relationship, and indeed marries the most notorious villain, Macheath, aka Mack The Knife (Theodore Robinson), and it is this that is the catalyst for the ensuing animosity and eventual undoing and comeuppance of Macheath. Although, in this version, despite it being titled, The Manchester Opera, an alternative happy ending was found...!

Using contemporary songs, choreography, and a very much tongue-in-cheek style of presentation, it threw many of these young students very much out of their normal comfort zone, but they all rose to the challenge - as indeed, they will need to be able to turn their hand to any skill at the drop of a hat once in the bear-pit of the big wide world! Considering that these are students whose main focus is on acting, the quality of singing and dancing was actually quite high and I was verily impressed by the way these young students handled this part of the performance. Perhaps it was because they had chosen contemporary 'pop' songs in the main, and so were more familiar with these songs beforehand. 

A few things confused me about this play, and I can only assume that it was self-written / devised, as there is no credit to a writer on the programme, and I cannot find anything online. First, and perhaps, the most important, was the fact that the updating only worked to a point. There were some rather clunky juxtapositions which simply jarred, at least for this reviewer. And second, I simply did not understand why Polly was given a northern Irish accent when both her parents, never mind the setting, were Mancunian.

The sound levels this afternoon were also not optimal. At times the singing and dancing was perhaps a little too loud, and yet there were characters and lines of dialogue which were simply inaudible. Most if not all the cast wore mics, and yet if the mics were not switched, then the cast were whispering, and if the mics were switched on, then they were miming! This was particularly apparent with the whores in the brothel. 

However, this was a rather upbeat, and very Mancunian version of a story of double-dealing, blackmail, murder and villainy, and was performed with obvious zeal and zest by this young cast, revelling in acting in a "play with music" and providing us with some interesting and seedy characters. If these people do exist in real life, then they do so in a part of Manchester I have yet to visit...!

Reviewer - Matthew Dougall
on - 23.3.23

AMATEUR THEATRE REVIEW: School Of Rock - The Forum Theatre, Romiley. Greater Manchester

Andrew Lloyd-Webber's 'School Of Rock' (based on the film of the same name) is becoming increasingly popular among the amateur repertoire, as this particular reviewer has now seen four versions of this show so far this year! It's appeal is apparent, but must cause some consternation when casting the youngsters since the show requires a class of junior school children who can not only act, sing and dance to a high standard, but they all are required to play at least one musical instrument too, with several taking leading solo roles on guitars, keyboards and drum kit. What never ceases to amaze me however is the ease in which every society, every production, manages to find such a group of skilful and dextrous youngsters. Proving beyond doubt that Britain does indeed 'got talent'! 

In this particular production, presented by NK Theatre Arts, at their home-base of The Forum Theatre in Romiley, we had a very upbeat, energetic, and somewhat tongue-in-cheek show played to the hilt by a large cast of both adults and children. Of course this show belongs to the children, but one must not overlook the principal adult actors either. Taking the leading role of Dewey Finn - the guitar-playing, Hard Rock-loving, slob who refuses to "grow up" and become a proper adult - was John Redfern. Redfern played the role for laughs and was at times (especially in the first act) quite monodimensional; tending to shout everything (including the songs) rather than reserving the shouting for emphasis. He did however, make a lovely comedy turn during the opening song, giving the band more than justification for sacking him! Redfern reminded me very much of the comedian Nick Helm (who also shouts a lot!), but in Redfern's favour, he did mellow and become much more believable and rounded during act two once he develops and relationship with the young students in his charge. An energetic and forceful actor who is obviously talented, but for this reviewer at least, didn't quite hit this character squarely on the nose, failing to find some of the more subtle nuances of his role. 

Helping the adult story along is the principal of the school, Rosalie Mullins, who starts as a strict, unmoving and unmovable rock upon which the strict code of behaviour and excellence of the school stands and depends. Played this evening by Charlotte Lavelle, she subtly manages to soften bit by bit on her every entrance, making her 'date' with Finn more believable than I have seen previously, and her solo in the bar, 'Where Did The Rock Go', was the adult highlight of the show. Coming on for the finale dressed as an aging rock chick was also a lovely idea and worked well.

However.. the children! With every one having their own different character / characterisation, they all impressed and make a very strong cohesive group. Summer (Franki Linguard) was superb as the bossy organiser goody-two-shoes, and her dancing and singing was also beyond reproach. I loved to watch her acting in the background whilst a scene was being played in front of her, and her facial expressions and her body language were just delightful, not upstaging but doing what a good actor should. The great Charlie Chaplin quote comes to mind: "Don't be like the majority of actors, standing around waiting for your turn to speak. Instead, learn how to listen". The School Of Rock band.. Zack (Charlie Gill), Katie (Ellie Patterson), Freddie (Zack Winterbottom), and Lawrence (Montague Fairfield) all showed considerable musicianship as well as giving us four different and recognisable characters. The two backing singers Marcy (Sadie Pilbury) and Shonelle (Kat Ellington) worked excellently together and impressed with their singing / dancing. Fashion designer Billy (Harvey Garner) hit his caricature of a rather camp and fey fashion-lover perfectly, and his hip swagger was hilarious! Tomika (Ava Staines-Heath) was excellent inasmuch as we hardly even noticed her presence until act two (as it is supposed to be), and then she truly came into her own with her unaccompanied rendition of 'Amazing Grace' giving me goosebumps in the process and garnering the largest applause of the evening up to that point. Others, all of whom deserve full credit, were technicians, roadies, security etc.. and these were played by Amelia Dunne, Emma Redfern, Joel Derbyshire, Lauren Pilbury, and Joe Simpson.

A supplementary live onstage band performed all the songs not being played by the School Of Rock band, and sound levels were generally far too high sadly. I know that 'rock' is in the title of this show, but we are in a theatre watching a musical, and, as a definite trend to put the volume knob at max is sweeping musical theatre these days, louder does not equal better. I was forced to wear earplugs for majority of the singing this evening.

Directed by Dominic Stannage, some of the scene changes seemed a little too long, and I simply did not understand why on two occasions, one of the young girls was tasked with simply standing looking out, centre stage, whilst the scene was changed. The emphasis was clearly on 'fun' throughout', and sadly some of the jokes fell a little flat this evening. However, Stannage found a good arc to the story and we followed the exploits of this grown-up juvenile delinquent and his dogged insistence at competing at 'Battle Of The Bands' at whatever cost, with interest and sympathy. 

A truly upbeat and heart-warming story which subliminally tackles issues of gender, mental illness, child psychology, misunderstanding, and goodness knows what else through a medium that touches every single human on the planet...music. An absolute blast of a show, and (despite my criticisms) hugely enjoyable and a feather in NKTA's cap!

Reviewer - Matthew Dougall
on - 23.3.23

 

AMATEUR THEATRE REVIEW: Kipps - The Plaza Theatre, Stockport.

Nostalgia. You can't beat it. The feeling of being in a wartime theatre, bumping into friends whom you have performed or share the same passion for the art with (but haven't seen in a while) and watching a (bloomin' good) show you have performed in the original of.. by which I don't mean the 1912 debut but a local production of Half A Sixpence in 2010 (the show 'Kipps', by H.G Wells, was adapted to Half A Sixpence in 1963).

I do have to admit that I had reservations about the reworking of the show - made famous by Tommy Steele's starring role in the 1967 film (there was an original film of it in 1921) but, although some of the new songs are distinctly Stiles and Drewe, Julian Fellowes' re-write is brilliant (original songs by David Heneker, with orchestrations by William David Brohn). It's a dead cert that they 'backed tor right horse'. As well as the music, the character of Chitterlow is representative of Mr Toad in 'The Wind In The Willows' - a show that Fellowes, George Stiles and Anthony Drewe worked on to conceive the musical version of. All of the songs are packed with either poignance, fun and vigour, but the one I enjoy the least has to be 'Pick Out A Simple Tune'. The whole show is a treat and the singing and choreography on point (other than a slight "pitchiness" which may just have been the complexity of the score). There were only a few tiny elements that I thought odd but I thoroughly enjoyed the show regardless (and was obviously singing along the whole time).

The story is one of class and love. Artie - Arthur Kipps - works in the textiles store of Mr Shalford, along with Buggins (Daniel Eccles), Pearce (Vicky Terry), Flo (Alice Moran) and others. All young and naive, Arthur (played brilliantly, Lee Evans-esque, by the hugely talented Ben Mackenzie) has feelings for aristocrat and woodwork teacher Helen Walsingham (Amy Mason). He initially decides that 'She's Too Far Above' him and learns that he isn't the man for her - even though she isn't sure there are strong romantic feelings anyway, but she knows there's a spark - as his parents weren't married when he was born. He also learns, however, from eccentric actor-writer 'Chitterlow' who writes a character named Arthur Kipps into his new play 'The Right Horse' after reading a letter in the newspaper trying to trace the real Arthur Kipps as his estranged father left him his fortune. Chitterlow (acclaimed choreographer-actor Gary Jones) offers to investigate the claim and confirms the windfall. This means that, with an unexpected change of lifestyle - 'Just A Few Little Things' - he can be with Helen after all and they agree to marry, much to the delight of Helen's mother (Janine Royle) who had big plans for the couple, their finances and instructs her son James (Chesney Talbot) to take care of business. All Artie wants however is 'A Little House'.

The show actually starts with a sequence showing a young Arthur (Harry Willbourn) and childhood sweetheart Ann (Beth Moran). We also see lifelong friends and Ann's brother Sid (Deni Griffiths) and Mary (Lois Ridgway) throughout which is lovely, as well as Arthur's Aunt Susan (Donna Barton-Simms) and Uncle Bert (Matt Copsey). At a party, Ann is working as housemaid and stops Artie. They reminisce about 'Long Ago' and express their love once more. There's just one problem though.. he's already engaged.

Earlier in the show, the store assistants dream of what they would buy if they came into money and Arthur decides he'd 'buy a banjo' if HE had 'Money To Burn'. Whilst a shy character at times, he's always full of energy and drive (and love) but lacks self-confidence too  (evident in 'I Never Get Anything Right'). Reassurance comes from Helen in the form of 'Believe In Yourself' which is one of many beautiful numbers... as well as those already mentioned, and the spectacles that are 'If The Rain's Got To Fall' which closes act one and the highly-amusing (probably best known song from the show) 'Flash Bang Whallop' during Artie and Ann's wedding party (yes they do get there in the end). Other more poignant songs like 'Half A Sixpence' and 'I Known Who I Am' are beautiful, timeless and a brilliant contrast to the more fun, somewhat outlandish ones. 'Then In The Middle There's Me' when Artie is in the dilemma between the two love interests is also a nice.

The production team, and indeed everyone involved with this show should be immensely proud of the brilliance of this polished show and I am truly honoured to have worked with and known many of them. The choreography by the gem that is Tracy Harper, assisted by Gary Jones, direction by society chairman Michael McCaw who always makes me smile and expert musical direction of Paul Lawton mean that this show could never be anything short of outstanding. The very few issues I saw included a certain wig of a welcome gender-change character (which gleamed chuckles form the audience - brava, Philip Gibbons), Artie cutting himself on an invisible window (the only fake thing in the show and therefore a standout for me) and the removal of his jacket and Ann's boots when they went 'for a walk'. These are mere petty production notes as literally everything else was stunning, particularly timings.

Obviously the story and music of a musical support a show but it is the people who bring it to life that really make it and by goodness did Romiley Operatic do that! A fellow audience member commented on the budget and scale of the show and it can be easily equalled to the professional West End version. It helps even more to see such natural, expert performers enjoying what they do...it is a hobby (if alongside training) after all.

I strongly recommend you make the trip to the Stockport Plaza this week or you risk kicking yourself for missing this masterpiece. I can't wait to be there next year for their production of Priscillla Queen of the Desert... (my favourite!). Well done to all.

Reviewer - John Kristof
on - 22.3.23

AMATEUR THEATRE REVIEW: Footloose - The Evans Theatre, Wilmslow.

I first came across Tempo Youth Theatre a few years' ago, back in 2016 actually, when I went to see their superb production of 'Starlight Express'. I have been a huge fan of this society ever since, and have only missed one of their annual productions since then. (Guys And Dolls). I was therefore very excited to be visiting once again this evening, as the expectations of this society - a youth group with the vast majority of the membership in the mid to late teens - is very high. Of course, they did not disappoint. I have seen 'Footloose' only 7 times previously, with 2 of these being UK number 1 professional touring productions, and I wish to state here and now, that this evening's presentation was my favourite (and perhaps best) to date!

'Footloose' (based on the 1984 film of the same name) tells the story of Ren McCormack and his mum, moving from the bright city lights of Chicago to a small mid-west town of Bomont to live with his aunt and uncle. Everything is different in Bomont, especially the strange law that forbids dancing of any kind within the town's limits. Ren and the minister's rebellious daughter Ariel slowly fall in love with each other as he hatches a plan to try and force the minister to change this law and bring dancing - and therefore life, love and laughter - back to this town which is bound in the sadness of a four-year-old tragedy.

Taking the lead role of Ren this evening was Joe Butler-Smith, and at just 17 years' old he has a bright and assured future ahead of him as his talents seem to know no bounds, especially his balletic dancing. Personable and eminently watchable, he had a lovely understanding of his role and the development of his relationship with both Ariel and Ariel's parents was measured beautifully. Maggie Thompson was Ariel, and proved to be a more than worthy co-star, as her teenage sullenness and wayward nature softened on her every entrance making her relationship with both Ren and her parents all the more real. Ariel's parents, the Rev and Mrs Moore were played with assured authority and commanding quietude by Freddie Tickle and Ruby Thake. They worked well together, and in their moments of solo revelations brought a lump to my throat each time. 

These four were supported by other talented and characterful smaller principal roles. Keira Lambe played Ren's mother Ethel with loving simplicity, whilst Marco Dennis impressed with his comedy timing and movement skill as the hick-with-a-heart, Willard. Three girls are used in this musical (in much the same way as the Delta Nu girls are in Legally Blonde, or the Ronettes in Little Shop Of Horrors), the 'leader' of which is the fast-talking, nervous best friend of Ariel (who also happens to be in love with Willard), Rusty; performed here with glee and gusto by Poppy Preston. 

It is impossible to mention all by name. Suffice to say that there simply was not a weak link in this robust chain of young people, with the chorus singing and dancing to a West End standard. I loved the opening chorus number and the finale sequence - including the after-bows sequence, was simply amazing! (Wonderfully choreographed by Hannah Davis)

A simple composite set was used throughout for most of the locations with extra set items brought in and out as required. This worked well and the changes were all slick. Lighting was imaginative, and sound levels were mostly fine. Occasionally they strayed into 'too loud' territory, but this is a failing in many a modern production sadly, where the thinking is louder = better. In this show, it was only an issue a few times when the on-stage band (sounding excellent under the direction of John Barry) got a little carried away drowning out the principal singers. 

One thing puzzled me throughout the show however, and I am still uncertain about it now. The film (and therefore the musical) is based on a real event, and this event happened in 1978/9, and the film is most certainly set in the 1980s. This evening some of the set items brought on to stage - especially the Minister's house, were clearly 1950s, and we had a roller-skating waitress in a diner - again 1950s. The costumes were a mix of several decades, but most would fit the 1980s. And yet, in the first act there was an extraneous reference to 'Wikipedia', which only came into being in 2001...!

Tempo Youth Theatre continue to inspire, engage, and delight, and their productions are of a professional standard. So everybody simply needs to "cut loose", and get on down to see 'Footloose', the powerhouses of talent on stage will astound.

Reviewer - Matthew Dougall
on - 22.3.23

BALLET REVIEW: The Great Gatsby - The Lyceum Theatre, Sheffield.

The Northern Ballet have given a fresh take on several popular stories from ‘Casanova’ to ‘The Little Mermaid’ but it is unusual for this company to look to Hollywood for inspiration. ‘The Great Gatsby’ is of course a classic novel from 1925 but it has actually been a film thrice over starring Alan Ladd (1949), Robert Redford (1974) and Leonardo di Caprio (2013). In many ways however, the story lends itself to ballet. Gatsby’s vast mansion and lavish parties seem to echo the palatial splendours and court balls found in for example ‘The Nutcracker’ and ‘Swan Lake’ whilst the tangled love lives of Daisy and Myrtle are in some ways reminiscent of the ‘Romeo And Juliet’ story.

The spectacle of vast wealth and glamour was certainly given full reign with this production, rows of five huge flats either side of the stage at times reflecting the art deco imagery of the period, carried through with period furniture and naturally the costuming, from flashy silk waistcoats to flapper dresses. Aside from Gatsby’s sumptuous lounge and various lavish bedrooms, there was an excellent depiction of an outside party with foliage lowered from the ceiling and a compelling lakeside raised walkway that provided some dramatic imagery, particularly of Gatsby standing alone, away from all his admirers. In sharp comparison to all this, the set was quickly transformed on a few occasions into a grubby garage, complete with period petrol pumps and loose tyres, providing the perfect contrast.

This production was a ballet and for the Northern Ballet, there seemed to be much more emphasis than usual on classical ballet moves rather the modern dance with which this company is more associated. However, this was the roaring twenties and ballet mixed with popular dances of the period. This included, not surprisingly the Charleston in act one and act two opened with a dynamic massed tango scene. The blending of the alternative styles of dance with ballet never appeared forced or clumsy and gave a strong period feel.

‘The Great Gatsby’ is a complex story and it helped to read the programme synopses to fully understand what was going on but the story was nevertheless told in detail with even the party dance scenes used not just for spectacle but to advance the plot. The dancers displayed real emotion, visibly reacting to love, betrayal and death.

A key element to this production was the music by Richard Rodney Bennett. Perhaps to give a period American feel, the piano used prominently in the scenes at Gatsby’s mansion and for a particular party, the score went full whack into jazz whilst in the tango scene, there was a distinct Latin rhythm. For the most part, the music was powerful with a modern feel and less use of strings than might be found say an older score like ‘Swan Lake’. Some of the music towards the climatic end scenes was also very moving and this composer certainly captured the various moods of the story, or at least he would have done had he composed the music specifically for this ballet. The score was actually carefully selected pieces from Rodney Bennett’s extensive film repertoire including ‘Murder On The Orient Express’ and ‘Nicolas And Alexandra’ (both from the 1970s) but you'd never have known it without the programme notes.

This was an imaginative production, blending a composite score of film music with various dance styles to bring a popular film (or films) into the world of ballet, which taken together was no mean feat. A vibrant display of sets, costumes and music by the renowned jewel of Northern creative dance that is the Northern Ballet.

Reviewer - John Waterhouse

on - 21.3.23

 

 

AMATEUR THEATRE REVIEW: Sister Act - The Civic Centre, Heywood. Greater Manchester.

This musical is becoming increasingly popular amongst amateur societies, and it isn't hard to see why; it is full of up-beat, showstopping song-and-dance numbers which involve a large chorus, has some great character parts of varying sizes, has the ability to be played in an overt comedic fashion which is sure to garner laughs, and has a heartwarming and feel-good storyline which appeals to all ages, and indeed those of any religion (or none, as the case may be!).

Heywood AODS knew all of these things of course, and the company produced a show which gave both the comedy punch and the kick to the stomach at all the right places. Strong principal roles, supported by equally strong cameos, who were all supported by a talented and very enthusiastic ensemble of nuns etc. 

The stage at Heywood's Civic Centre is a rather awkward shape, inasmuch as it is extremely wide and not exceptionally deep. Similar in many ways to Stockport's Plaza Theatre. The set design therefore very sensibly utilised the two extreme sides not part of the prosc. arch with two of the settings required for the show, and these stayed in place throughout, whilst the main body of the stage had the church interior as the "base" set with smaller set pieces being brought in and out as necessary, or using a front-of-curtain scene too when a larger change was required. The changes were mostly swiftly executed and worked well, although I have to admit I didn't understand the choice of the two set pieces on either side, as both were used only for one small scene each and both in the second act. Surely it would have been more effective to have used these areas for places which occur more than once in the show. 

The lighting design (Rob Armstrong) was mostly effective, although the use of strobe in the second act was unnecessary and didn't have the required effect. Costumes worked well throughout and I loved the idea that the nuns habits became more and more outrageous as the show went along. Sadly the sound levels this evening were set far too high, and the speakers were straining under the volume as we heard them complaining several times throughout the show. The band was excellent, and sounded superb the whole evening under the talented direction of David Abendstern. 

Aimee Clare portrayed our wannabe star lounge-singer Deloris Van Cartier with assured confidence and gave a fully-rounded portrayal from naive bluster, to genuine fear, through understanding and learning, to acceptance and of course stardom (finally!). With a powerful singing voice and Annie Oakley gung-ho, she showed considerable skill as her veneer was chipped away, bit by bit by both the Mother Superior and police officer Eddie. These two characters being (in this reviewer's opinion) the two "stars" of this particular production. Shirley Harrison played the Mother Superior with a certain Sound-Of-Music style, but it absolutely worked for her, making her snide put-downs all the more powerful, as they were unexpected. Her two solos were superbly measured and she proved to have a beautiful voice and deep understanding of the arc of her character. Nick Angus (last seen by this reviewer as Simon in Kinky Boots for the same society) made for a superb and sympathetic Eddie. Again, his singing was beyond reproach as he showed an amazing bluesy / Motown vocal ability, and was an extremely engaging and watchable actor. 

Leonie Picariello portrayed the comedy role of Sister Mary Patrick with obvious glee, pitching her characterisation from the famous film, thus making it more recognisable perhaps, whilst Stephanie Mead played postulant Sister Mary Robert with nervous reserve, before proving she had what it takes to become a character in her own right in the second act. Nicely done. Other smaller cameo roles were taken by Simon Pickup as Monsignor O'Hara who truly embraced his "gangsta" side in the denouement; Sam Reid, the mafia boss boyfriend of Deloris who seemed too nice at times to be truly evil and tote a gun at Delores's head, was given a certain stylish panache this evening by Sam Reid. He has a good stage presence, a nice singing voice, and is obviously a talented performer. His three side-kicks were played this evening by Paul Dawson, James Earnshaw, and Martin White. Although little more than 'filler' and stooges for Curtis, their three-part singing and dancing routines were nicely executed and very funny.

As I have already stated, the chorus worked excellently, going from a gaggle of out-of-tune but cheery singers to a gospel choir worthy of an audience with the pope! All had been given their own individual characteristics and together their cumulative choral sound was delightful. 

The whole was directed by Jo Weetman, who obviously loved what she was doing, and gave the show an easy-to-follow arc and brought the storyline out with ease. I would say that at times a couple of the entrances / exits didn't really make much sense, and perhaps this would be worth looking at for future performances; and I would most certainly advise using a fight director for the chase sequences / pratfalls, stage fighting, as these parts of the show were most certainly the weakest unfortunately. Katie Fry gave the show all the lovely moves as choreographer, wisely finding flashy moves which the whole cast could perform with ease, and the resulting finale to act one and the second act's denouement and finale sequence were fabulous, cleverly using the whole cast to fill the stage with colour and spectacle. 

All-in-all, a high energy, no-punches-pulled, "fabulous baby!" show, and yet another feather in the society's cap. 

Reviewer - Matthew Dougall
on - 21.3.23

THEATRE REVIEW: The Shawshank Redemption - The Alhambra Theatre, Bradford.

It is proof of the greatness of a story when it is able to successfully transition across various mediums. This would seem to be particularly the case with ‘The Shawshank Redemption’, beginning life as part of a compilation of short stories and after a modest initial return at the box office, going on to become one of the most critically acclaimed and popular films of all time. This big-stage adaptation is faithful to the story in the movie, with all the main characters readily identifiable but just in case some have still not seen the film, no spoilers are to be given here.

Full justice to the dramatic setting of a maximum-security prison was done with the impressive set, from the overhead gantry with armed guards to rows of dim lights with metal protectors outside cell doors. The impression was stark and grim, providing a versatile backdrop to the various prison settings such as the library, the laundry or the governor’s office, all represented convincingly with items dropped from the ceiling. All of this however was the just setting to the powerful human drama that unfolded.

There have been many plays, films and TV series based around prisons, so what makes ‘Shawshank’ special that it resonates with so many people? The answer lies partly in that the central character Andy is the ultimate victim, sentenced for a murder he didn’t commit, brutally bullied by prisoners and cynically used by the governor and warders. Joes Absolom was well cast as Andy, presenting a calm, put-upon character with an indomitable spirit who never gives up hope. There was a kind of understated introversion of Abolom’s interpretation, reflecting the inner world of the undoubted pain Andy felt at the injustice being meted upon him.

The other key to the story is the prisoner who befriends him, Ellis, played by Ben Onwukwe, a long-term con who somehow never loses his sense of humour. ‘Shawshank’ is Andy’s story but Ellis’s ability to smile in the face of adversity is a vital element to what makes ‘Shawshank’ shine. If Onwuke Ellis was to be compared to anyone from Hollywood, it would not be that of Morgan Freeman but a typical Samuel L. Jackson character, who seems to specialise in adding to humour in the grimmest, most violent circumstances. In this stage version, Ellis was given quite a lot of time alone on stage to talk to the audience and Onwuke was adept in giving engagingly powerful monologues.

In ‘Shawshank’, the main villain is the corrupt Warden, in this case Stammas, played by Mark Heenehan, without a shred of any human sympathy or compassion for anyone. There were some very nasty prisoners in with Andy, but Stammas was the one people were rooting to see fall, in no small measure down to the callous coldness displayed by Heenehan. For good measure, the brutality of the guards personified by Hadley played by Joe Reisig, was an important part of the prisoners dilemma, aside from their own brutality to each other. This was brought to the fore by Leigh Jones’s Rooster; an effective portrayal of a man seemingly damaged by the system. His constant laughter was manic and escapist, a million miles from the stoic good humour of Ellis. At the other extreme. Kenneth Jay’s quiet little ‘Brooksie’ had become so institutionalised that the thought of leaving prison led him to consider suicide. This was the world Andy’s hope and Ellis’s humour had to overcome and that the audience wanted to see succeed.

‘Shawshank’ is a story of hope and survival in the face of extreme adversity. It is the kind of story that people want, perhaps even need, and watching this unfold live on stage can hardly fail to lift people’s spirits in these troubled times.

Reviewer - John Waterhouse
on - 20.3.23

OPERA REVIEW: Tosca - The Theatre Royal, Nottingham.

Opera North’s Tosca has been widely acclaimed on its current tour and it’s easy to see why. Edward Dick’s production offers an uncluttered, cogent and powerful view of this familiar work, with strong performances in all three central roles (not always a given). As a bonus, there’s a versatile set (Tom Scutt) and some well-judged lighting effects by Lee Curran. All elements work unobtrusively toward one end.

Puccini’s opera celebrates its 123rd birthday this year: it remains as fast-paced and as garishly entertaining as it always did. ‘Shabby little shocker’ it may be but, my God, does it work!, and it’s (still) probably the best illustration of the maxim that the best operas are often made from the least distinguished source material (Victorien Sardou’s melodrama with the same title is long forgotten). Ilica and Giocosa’s libretto fairly rattles along and Puccini’s score is a technicolour marvel of melodies and drama. So, it’s a sturdy work and one that’s difficult to destroy (though I’m sure some have tried), but that’s not to say it’s easy. The triangular relationship between the idealistic painter Cavaradossi, his lover the diva Floria Tosca and the corrupt police chief Scarpia is of crucial importance and if one of the principals is lacking, the thing doesn’t fly. Joining the touring cast in Nottingham only, Magdalena Molendowska and Andres Presno were a credible pair of lovers, with Presno bringing a ‘hipster’ ambience to Cavaradossi. Apart from some ill-advised ‘sexy antics’ in their first scene, their duets went well and were powerfully sung. As the third point of the triangle, Robert Hayward was an appropriately chilling Scarpia, a sort of slimline Harvey Weinstein, who dominated much of the second act (as a good Scarpia should) with a display of all humankind’s most odious vices. He also performed one of the most effective death scenes ever seen on the operatic stage. 

This was not a high concept production, though scenically we appear to be in the twenty-first century (ear-pieces and laptops - on one of which Tosca is forced to watch Cavaradossi being tortured - are much in evidence). Director Dick managed to pull off two stunning coups de theatre - the first during the famous Te Deum at the climax of the First Act, where the stage became crowded with various well-heeled archetypes and it was made clear to us that the regime which Scarpia works for is one funded by, and of benefit to, the rich. The second came at the end, when Tosca’s self-defenestration takes place in a blaze of light. In the pit, Adam Hickox gave an authoritative account of this imperishable score. This is well worth travelling a long way to see! 

Reviewer - Paul Ashcroft

on - 16.3.23

THEATRE REVIEW: Irish Annie's - The Plaza Theatre, Stockport.

St Patrick's Day. The perfect evening for some shenanigans, music, comedy and craic, along with an audience full of Irish -and Irish loving - people at the beautiful, Art Deco, Stockport Plaza. A pint of the black stuff to wash it down would have been lovely but the bar ran out before the interval. (True story).

Irish Annie's is a brand new musical play concept by Asa Murphy who fronts the onstage ceilidh band 'The Shenanigans'. The play is set inside Irish Annie's bar - a traditional Irish bar filled with warm welcomes, anecdotes, banter where you are either a 'mucker' or a [*insert rude word to rhyme*].  Annie is played with energy and glamour by the enthusiastic, crowd-rousing Catherine Rice who had great repartee and interaction with the audience - who were invited into the bar by dropping the fourth wall.  She reminded me of Mrs Brown's Boys' Cathy in looks and mannerisms. She had great delivery and read the audience well. I thought she had good pace in her delivery and set up the entrances of the customers really well. 

The customers: the headliner was Ricky Tomlinson, playing himself by telling us funny tales including his memory of meeting Caroline Aherne (Mrs Merton and his daughter Denise Royle in The Royle Family) which the audience lapped up as she was a Manchester treasure. Then, attempting some quiz night questions directly with the front rows which the audience delighted in beating him to the punchline and his hilarious rebukes in his inimitable style was worth the ticket price, alone. The other celebrity customer was Stockport local Jason Manford who had the crowd on their feet in applause with his rendition of the Irish folk song 'Carrickfergus' from his last album showing what a talented singer he really is along with being a very funny guy. He was warm and shared the stage generously with the rest of the cast despite being the audience's favourite. His story of being in a sauna with his mate as a young man with a sauna full of other naked men had us belly laughing for ages.  

Other customers were the drunken Priest, Father Squiffy, Moira the Money Lender, and Porky the Postman, along with Sam Conlon the resident drunk and band leader/MD. Holding the whole evening together, the talented Asa Murphy as Seamus Murphy.

Reviewer - Kathryn Gorton 

on - 17.3.23

There were plenty of Irish classics to join in with: When Irish Eyes are Smiling, Wild Rover et al and some others written just for the play by the composer ( Murphy).

What I struggled with; after thinking about it the next morning;  after consuming the black stuff elsewhere,  is that the content of the piece is quite flimsy and it is quite difficult to put flesh on the bones of some characters/customers and give them a real purpose to be in Annie's place. They money lender really stood out as a token villain and although there was a comedic element to the role she belonged more in a pantomime.  That said though, we had a really great evening, joined in all the singing and laughed our heads off at Ricky and Jason's contributions.  The Stockport Irish Community were out in force, dressed in their best green and orange finery and celebrating their culture on one of the best night outs of the year. Guiness optional. 

OPERA REVIEW: Ariadne Auf Naxos - The Theatre Royal, Nottingham.

It was very brave of Opera North, in these chancy times, to revive Strauss’ hard-sell mixture of opera seria and opera buffo. There are several critics (not this one) who consider Strauss’s 1912 work an artistic disaster that fails to be either sufficiently comedic or adequately tragic, in addition to including arguably the most thankless role ever written for a dramatic tenor. There may be some validity in these charges - several tenors are on record as loathing the high-lying role of Bacchus, with its vertiginous tessitura and lack of dramatic involvement (‘You just stand there’, said James King, one of its most famous exponents); and Hugo Von Hofmannsthal’s libretto is (arguably) too literary and esoteric to work in the theatre (and it doesn’t make a whole lot of sense, either: ON’s surtitles represented a very free adaptation!). None of this mattered, for no-one who witnessed last night’s performance in Nottingham could be in any doubt that Rodula Gaitanou’s production, first seen in Vienna in 2016, was an artistic triumph - an imaginative but respectful new look at a sometimes under-appreciated work. 

Transplanting the action of the Prologue from 18th century Vienna to 1950s Rome was an effective call and the atmosphere of the Cinecitta film studio, presided over by an unseen but Croesus-rich movie mogul was lovingly re-created: but, a harder feat, Gaitanou also managed to nail the atmosphere of post-war exuberance. Another good call, if more of a mixed blessing, was to offer the Prologue in English. This worked well in setting up the comic plot of a serious opera composer being required to combine his new mythologically- inspired work with a lowbrow vaudeville. John Savournin relished the speaking role of the ever-pompous Major Domo, while Hanna Hipp is marvellous in the breeches role of the Composer, even if the philosophical content of that character’s musings translated less well than the comedy. 

With the Prologue over, the second half of the opera received a more straightforward treatment, but with some imaginative touches, as the Composer and the Music Master remained as silent on-stage presences, reacting as their masterpiece was desecrated. For the first time in the present reviewer’s experience, the interruption of Ariadne’s monologue by the ‘rude mechanicals’ was actually funny and Jennifer France’s Zerbinetta was a real star turn with a gloriously physical rendition of her long aria. Elizabeth Llewleyn’s Ariadne was another impressive central performance, making as much as can be made of one of opera’s most static roles (she spends most of her time lamenting atop a rock); David Butt Phillip’s Bacchus also impressed and if he did very occasionally get drowned out by the orchestra, that’s an occupational hazard in this role. 

Opera North’s Principal Guest Conductor Antony Hermus conducted a rapt account of a score he obviously adores and the orchestra responded with their finest playing of this season. This was the crowning achievement of ON’s spring. 

Reviewer - Paul Ashcroft
on - 17.3.23