STUDENT THEATRE REVIEW: The Addams Family - The New Adelphi Theatre, Salford University, Salford.

Presented at Salford University's New Adelphi Theatre, this was Manchester's Arden Theatre Company's Musical Theatre graduating class's farewell production... 'The Addams Family'.  A kooky but fun show based on the famous cartoon.

A scaffold arch on two levels hid the band and created the framework of the Addams's house. However, scant attempt at decorating this scaffold had been made, and it looked very bare and unconvincing. Happily however, costuming, characterisations, interpretations, choreography etc, all worked well here. The sound levels were occasionally too high, and the band (under the direction of Sam Coates) didn't have the same professional sound / quality as it had for 'Pippin'. 

The storyline of this musical by Andrew Lippa takes us a little further along the timeline from the cartoons, as Wednesday is now a teenager and growing up fast (she'll be Thursday very soon...!), and furthermore she is love...with a "normal" boy she meet in Central Park who comes from Ohio. The plot involves her telling her parents she intends to marry him, and inviting him and his parents over for dinner. (...and the Game!).   

Directed by Michael Peavoy, the pace and mood was set right from the start with an animated and spirited (pun intended) version of 'When You're An Addams', with the principal characters clearly defined. 

Bradley Lomond totally embodied the role of Gomez, producing a sensitivity to the character not normally seen. A strong all-round performance. Working excellently alongside him was Paige Peann, looking every inch like the cartoon, as Morticia. I loved her rendition of  my favourite song from the show, 'Just Around The Corner'. Again, taking more of the cartoon characterisation on board in this interpretation was a sullen, po-faced, and irritating (in a good way) Wednesday Addams, played with elan by Elizabeth Rayworth. The other character to impress over and above was Elena Mitchell as Alice Beineke, and her interpretation of her difficult solo 'Waiting' was certainly one of the best (if not the best) this reviewer has yet to see. 

This doesn't mean that this production was flawless, and in this reviewer's most subjective opinion I failed to understand why Mal Beineke was female and a part of a lesbian couple, when other actresses in both this and 'Pippin' were playing male roles without issue; and Eddie Thomlinson-Cliffe's Uncle Fester was too obviously male to be truly of non-specific gender.  'The Moon And Me' song was perhaps the weakest link in this otherwise excellent and very strong show, with a follow-spot which failed to accurately follow the moon on its journey; whilst some of the jokes in the script were missed or not given time to land; a skill which only really comes from experience. 

However, this was a fast-paced and very enjoyable show, delivered by graduating students who have proved themselves ready to tackle this most precarious of professions.

Reviewer - Matthew Dougall
on - 26.5.23

STUDENT THEATRE REVIEW: Pippin - The New Adelphi Theatre, Salford University, Salford.

Not often performed, this Stephen Schwartz Musical from the early 1970s can oftentimes seem a little dated these days. Telling the story (based on fact but hugely fictionalised) of the Emperor Charlemagne's younger son, Pippin (or Pepin - the usual spelling), and his search for a meaning to his (extra)ordinary life.

Despite being presented at Salford university's New Adelphi Theatre, this was the final graduation production by the third year students on the Musical Theatre degree course at Manchester's Arden Theatre School.

I have seen this musical presented in various ways over the years, but never in the way these students 'strutted their stuff' this afternoon under Emma Norman's direction. The premise of the storyline does make it easy for directors to put their own stamp on the show, as we see a group of travelling players gather an audience as they perform their story... that of Pippin. And as such, previous incarnations have included a circus tent and clowns, marionettes in an End-Of-Pier show, children's toys in a Jack-In-The-Box, as well as companies trying to authentically create the correct historical milieu of medieval itinerant thespians. This afternoon however, we were shown a large modern archway and platforms created from scaffolding, whilst a red velvet curtain at the rear of this arch separated the band from the rest of the stage. In this all-female version, we were presented with cardboard cut-out mono-dimensional characters whom we were unable to sympathise with and we did not care about their journey or story at all. 

Two large flight cases were used vagariously throughout, which, along with the scaffolding, didn't match the costuming of the show.- which was even stranger. All the cast wore sexy black lingerie - in the style one would expect to see in the show 'Chicago' - and then put quasi-medieval garb over the top of this for the characters they were playing, whilst they remained in just the underwear for chorus etc. I appreciate that Bob Fosse was the original director of Pippin on Broadway, so maybe this was Norman's 'hat nod' to this?!

The sound levels were slightly too loud throughout but the band, under the direction of Robert Purvis, sounded absolutely wonderful creating the perfect sound and style. 

The Leading Player (Belle Mayger) was dressed in a contemporary black and sparkly trouser suit, and invited us to join them and share an hour or two in their company. A very confident and strong performer, who, at times became a little shouty and irritating in this particular role. Kimberley King as Pippin was far more plaintive and at times bordering on bland and unmoving, but a pleasing actress, and easy to watch. Cartoon caricatures of the Emperor Charlemagne (Alix Hushin), and son Lewis (Saffi Rhodes) made it hard to like either. Emily Kelly as Catherine was far more successful as a truthful and believable mother and lover. 

The characterisations and interpretations given them by Norman sadly, for this reviewer at least, left me cold, and found the strange juxtapositions of era and style clashed rather than married. This was such a shame, since the 20 actresses involved in this show were all obviously very talented, and under different circumstances would undoubtedly have impressed more. 

Reviewer - Matthew Dougall
on - 26.5.23 

STUDENT THEATRE REVIEW: The 39 Steps - The Ampitheatre, Preston College; Preston.

Think of Preston and the image likely to occur is that of a post-industrial Lancashire town just off the M6, not really known for having great theatres. The fact is that the city has a hidden gem that has only recently seen a return to live performances and deserves to be much better known, Preston College amphitheatre. This remarkable venue is set amidst an array of tall pine trees and has everything a theatre production might require, with side and centre walkways, a semi-circle of descending rows and a stage backed with a stone structure allowing for two middle and two side entrances. Such was the setting for the Actor Training Academy end-term production.

John Buchan’s classic novel has undergone several movie and television adaptations as a gripping thriller and in recent years been transposed into a farce with four actors playing over a hundred roles. This production took a middle ground, very much a comedy, at times bordering on farce but with several scenes of serious drama.

The amphitheatre was used to great effect starting with an entrance from the rear by Richard Haney the central protagonist, giving an introductory monologue and the action taking place in the descending aisles, along the rows and in the forest to the sides of the audience area as well of course around the central stage. Fortunately, with the evening was blessed with warm weather and a clear sky, the use of the amphitheatre was demonstrated to its full potential. The story unfolded staying close to the original film version by Hitchcock with the audience exposed to entrances and performances from all sides.

A stylising device of the production was the incorporation of some twenty members of the cast dressed in blue and orange some of whom would put on costumes for bit roles but for the most acting as an audience or crowd in various scenes, from a London music hall to a Scottish political meeting and clowning around between scenes. This worked to a degree but at times was a distraction from the period feel of the story, perhaps a deliberately Brechtian move? The central characters were fully in costume however with the story effectively revolving around the Haney character.

Luke Ray was almost never off stage during the whole show and gave a splendid performance with period speech and mannerisms as Richard Haney, the self-deprecating Londoner inadvertently involved in murder and espionage. This was a very physical role with Ray seen at some time or other seen all over the auditorium and stage. Jessica Rolfe was well cast as the woman fate had thrown together with Haney as a pair of fugitives on the run whilst gradually bonding. There were several notable characterisations, notably Lucy Vernum as Mr Memory and Tom Byers as the cockney milkman with the amusing double act of Horatio Goldthorpe and Darci Slater as Mr and Mrs McGarrigle (this was the kind of show where you could get away with a racial stereotype!).

This was a very good production but it could have better still if the pace had been faster. An essential element of farce is pace and particularly in the first Act, many of the exchanges between characters were interspersed with far too many long pauses. There were also some key scenes which would have been more effective had they been shorter, cases in point being Haney addressing the Liberal party rally and the bedroom scene at the McGarrigles. Otherwise, this was an excellent production in an excellent venue.

Reviewer - John Waterhouse
on - 26.5.23

AMATEUR THEATRE REVIEW: Guys And Dolls - The Little Theatre, Wigan.

This was my first visit to Wigan's Little Theatre. I had no preconceptions, but  was pleasantly surprised by how airy, roomy, and clean the theatre was. A large auditorium (with a circle!) and a larger-than-expected stage. 

A 21-strong cast - a very large cast for the size of stage - managed to negotiate this musical with ease. A minimal set design of Broadway lights at each side (flashing when necessary) and use of drapes brought in and out for each scene worked well. A slow start with the Runyonland Ballet (this was the weakest part of the show), but was immediately enlivened by a superb rendition by three of our protagonist crap-shooters, with 'Fugue For Tinhorns'. (excellently sung). 

Directed by Maureen Schofield, the show was set at a good pace, and her work on characterisation and character development was nicely handled. I especially enjoyed a most natural and believable portrayal of Nathan Detroit (Si Foster), and the transformation (not to mention the beautifully pure soprano tones) of Sarah Brown (Fiona Stewart). Special mentions to Becky Brown (Miss Adelaide) for her character development and singing, Colin Magenty (Arvide Abernathy) for his avuncular disposition and rendition of 'More I Cannot Wish You', and John Clinton as Big Jule, for being, well, Big Jule!

Using backing tracks always has its disadvantages, and this evening was no exception. I didn't understand the need to play overture / entr'acte etc when these were not live but recordings, and as such added nothing to the show, and there were a few times when the backing tracks were too slow for the way the cast member wished to sing / interpret the song. Sky Masterson (Jack Martin0 struggled with the orchestration of 'My Time Of Day' too, and so perhaps a little more rehearsal time with these issues would have been beneficial. 

Costuming was generally of period and worked well, and sound levels were superb all evening. Spot lights were a little slow finding their marks at times, but hopefully this will improve as the show runs.

Overall however, this was a proficient and upbeat show, delivered by a most enthusiastic and hard-working cast who cumulatively delivered an easily understandable and hugely enjoyable rendition of this classic musical. 

Reviewer - Matthew Dougall
on - 29.5.23

THEATRE REVIEW: The Lost Spells - Theatre By The Lake, Keswick.

In this theatrical musical adaptation of the children's book of poetry by Robert MacFarlane and Jackie Morris, 'The Lost Spells' is aimed at families with children upwards of 6 years, and warns us that unless we keep ours eyes open, and care for the nature around us, all of which has its own purpose, both that purpose and nature itself will be lost. If we no longer know the names of things, then does that thing actually exist?

As we took our seats in the auditorium, the open stage showed us a large, looming moon, an array of faux-candles, and in amidst these, a drum kit, a double bass etc. thus giving us a clue as to the style of show. The cast entered the stage, they are animals from the Wild Wood; their costuming minimal, being anthropomorphised and utilising just a sense of colour and ears sticking from a hat. These are actor / musicians, and the overriding force in this musical is the music. It is at the heart and core of the show, and these five performers play an array of instruments between them, as well as sing and act. I found Alex Wingfield's Fox (and his other alter egos) the most engaging actor this evening, whilst Lucy Yates (Woodpecker) was very much at home on a drum kit, and Paula James (Jackdaw) was no stranger to her style of singing / performing. The songs however didn't feel fluid and natural, and some of the lyrics - taken from the poems - felt slightly awkward and patronising to older ears.

Our protagonist - Joy, or The Girl With No Name (Miriam Nyanko) played a convincing 12 -year old girl unsure and not fitting in, in a new town and a new school. When she finds a mysterious Book Of Spells under her pillow however, then her journey of discovery and learning starts.

The show doesn't offer anything much in terms of set change and the show is really quite static; despite the 4 "animals" dashing around energetically as the girl is taken on her journey. A few simple "visual tricks" offer little [moths flying out of the book, a mirror ball, puppet sequence etc],  and so the onus is very much on the cast to bring this story to life. Perhaps because of the nature of the narrative, the show is quite disjointed at times, and I was left wondering why those particular poems / spells were chosen over any of the others; but the overall message of caring for our environment was delivered with ease. Maybe because I am an adult, coming at this show from a much more mature perspective, but even this message seemed a little tame in today's society. With Greta Thunberg and Climate Change at the forefront of the world's crises, dandelion clocks and conkers didn't really have much impact.

This was a very energetic and generally up-beat show, and under Andy Barry's direction, the puerile humour and daft physical comedy was loved by the children, and in general, the audience this evening was very positive about the show..

Reviewer - Matthew Dougall

on - 27.5.23

NEWS: Join the Forever Tenors this June to support Leeds Hospitals Charity.

 

International Classical Crossover Duo to Perform Benefit Show in Leeds City Varieties on Sunday 4 JUNE.

Yorkshire’s own classical crossover duo, Forever Tenors, will be returning to Leeds City Varieties on June 4th to perform a special fundraising show in collaboration with Leeds-based cancer charity Jacqui’s Million.

Made up of tenors, Adam Lacey and Robert Durkin, Forever Tenors have had a meteoric rise in the classical crossover world over the last two years. With their personable stage presence, and Yorkshire charm they have captivated audiences with their beautiful harmonies and captivating performances.

Having gone from treading the boards in local productions, to international stages and beyond, the duo will be returning to their home city for this special benefit show. The performance will be in support of Leeds Hospitals Charity which helps continue the vital work carried out at the Bexley cancer ward at St James’s hospital. With proceeds from the show being donated to the charity to help in their fight against cancer.

The show will feature that unique sound of Forever Tenors with their perfect blend of nostalgia and innovation. Taking classic compositions, you know and love and infusing them with new life and energy. From "Nessun Dorma" to "Unchained Melody," their rich and emotional renditions are sure to take your breath away.

"We are absolutely thrilled to be able to give back to our local community in Leeds by performing this benefit show," said Adam Lacey, one half of the duo. "We really want to help raise much needed funds for the charity that is supporting the important work being done at the Bexley cancer ward at St James’s hospital. We hope that people come along and show their support with us!"

Tickets to the show are now on sale and can be purchased directly through the Leeds City Varieties website.

About Forever Tenors:

Forever Tenors are an international classical crossover duo made up of Adam Lacey & Robert Durkin. Throughout their incredible career, Forever Tenors have had the privilege of performing alongside some of the biggest names in the industry, including Russell Watson, Alfie Boe, and Wynne Evans, cementing their place as one of the most exciting classical crossover duos to emerge in recent memory.

THEATRE REVIEW: Quality Street - The Crucible Theatre, Sheffield.

Nearly 90 years after his death, J. M. Barrie has weathered changing fashions better than many of his playwriting contemporaries. Unlike Shaw or Galsworthy, he never won the Nobel Prize and even in his lifetime the perceived ‘whimsicality’ of his best-known plays attracted some derision; but the public loved them and continued to love them until some time after the Second World War when, 'Peter Pan' apart, they mysteriously vanished from the world’s stages. That Barrie’s plays are whimsical is not a point to argue - even in his realistic dramas ('What Every Woman Knows' and, up to a point, 'The Admirable Crichton') we sense that fairyland is only just beyond the drawing room door. But the reason so many of his dramas have survived as stageworthy vehicles is down to two things: their rich theatricality and the strain of wry, unassuming humour that runs through them. 

Both are in plentiful evidence in 'Quality Street', one of his earliest successes: ostensibly a light West End comedy set during and in the immediate aftermath of the Napoleonic Wars. Valentine Brown, a dashing young physician, is a friend and advisor to the Throstle sisters, Phoebe and Susan: it’s widely assumed  he will shortly propose marriage to Phoebe and when he calls round with notice of his intention to make an announcement, the sisters know what it will be. They are both wrong-footed: Valentine’s announcement is of his intention to join the army. Off he goes, leaving the sisters to ponder the consequences of an unwise investment he urged upon them, which has left them penniless. They have no alternative but to earn money by setting up their own school, but both prove hopeless teachers. Then Valentine returns from the wars, minus a hand, to find his remembered ringletted Phoebe transformed into an old maid of thirty.  

Phoebe determines to get even and to get her man by assuming the identity of a fictional niece ‘Livvy’, in which persona she captivates all the local men with her vivacity and pert dance moves. That Valentine will see the error of his ways is practically a given from the start, but Barrie works out his plot with such charm and ingenuity that we can’t feel short-changed.  

In Laurie Sansom’s production for Northern Broadsides,  the star-crossed lovers are persuasively characterised by Aron Julius and Paula Lane, with excellent support from Louisa-May Palmer as Susan and a rambunctious turn from Gilly Tompkins as the comical housemaid Patty. An effective (and economical) touch is provided in the Second Act when puppets are used to animate the children in the sisters’ school. But the decision to add a prologue and interpolated commentary from workers at the Mackintosh confectionary factory (as was) in Halifax served no purpose other than to reference the famous confectionary boxes which took their name from the play. To this reviewer at least, these sections made for a jarring contrast with Barrie’s text and added nothing of value to a play that can stand by itself.  

A slightly qualified recommendation, then, for this worthwhile revival.  

Reviewer - Paul Ashcroft
on - 25.4.23

THEATRE REVIEW: The SpongeBob Musical - The Lyceum Theatre, Sheffield.

Since its launch in the summer of 1999, Stephen Hillenburg’s SpongeBob SquarePants has reigned as the number one kids animated TV series, while generating a universe of beloved characters, pop culture, catchphrases and meme,s plus theatrical releases, consumer products, and a global fan base.  SpongeBob SquarePants has been seen in more than 170 countries, translated into 30+ languages and averages more than 500 million viewers each year.

In August 2015, Nickelodeon announced that a brand-new musical version of the adventures of everyone’s favourite sponge would be turned into a large-scale Broadway musical. Kyle Jarrow was approached to write the book, whilst Tom Kitt was given the exciting task of bringing together over 20 international artists, to create the soundtrack to Bikini Bottom. The show was a huge success and went on to win many awards. Eight and twelve Tony Award nominations - the most nominated musical of the 2017 to 2018 theatre season, winning the best scenic design of a musical (David Zinn). 

Finally, the UK has its first premiere of the tour - SpongeBob has landed in the UK!

I honestly had no idea what to expect when I had the opportunity to go and catch the opening night of The SpongeBob Musical at Sheffield’s Lyceum theatre. Being well into my 20s when the cartoon first aired (January 2000) it isn’t something I’ve ever watched myself.

Other than the main character SpongeBob, (who lives in a pineapple under the sea), and his pet snail Gary (who meows like a cat - obviously - what other noise could a sea snail make?!), there’s also SpongeBob’s best friend who lives two doors away - Patrick Star - a dim-witted yet friendly pink starfish who resides under a rock. Despite his mental setbacks, Patrick sees himself as intelligent. Squidward Q Tentacles, SpongeBob's next-door neighbour and co-worker at the Krusty Krab, is an arrogant, ill-tempered octopus who enjoys playing the clarinet and painting self-portraits but hates his job as a cashier. The owner of the Krusty Krab is a miserly, greedy red crab named Mr Krabs who talks like a sailor and runs his restaurant as if it were a pirate ship. He is a single parent with a teenage daughter, a grey sperm whale with red lipstick and a yellow ponytail named Pearl. to whom he wants to bequeath his riches. Pearl does not want to continue the family business and would rather spend her time listening to music or working at the local shopping centre. Located across the street from The Krusty Krab is the unsuccessful rival restaurant - The Chum Bucket, which is run by a small, green one-eyed copepod named Plankton and his computer wife Karen. All sounds bonkers right?! Unless you’re familiar with the popular cartoon the characters seem eccentric and slightly futuristic - ironic for something created in 2000.  

I however as always tried to keep an open mind. For me some things worked brilliantly - my ultimate favourite part of the entire set being the wonderful brightly coloured '90s-esque costumes (Sophie Mercadé - Costume Designer), the choreography (Fabian Aloise) and the comic pairings of Lewis Cornay (SpongeBob) and Irfan Damani (Patrick Star), but the real highlight and selling point for me in this production would be Divina De Campo’s performance as bitter fast food restaurant owner Plankton. Until this evening De Campo was simply a household name to me - I’ve friends who are obsessed with Ru Paul’s Drag Race but for me its never been a show I’ve been drawn to, but each time on stage De Campo OWNED it and had the audience eating out of the palm of De Campo's hand.  Witty, camp and oozing confidence, De Campo’s performance as the “baddie” screamed “Pantomime Villain” and was by far the best thing about the entire production.  

What didn’t work for me was the music - whilst the programme doesn’t list track titles, it states it has original songs from many established artists from Cyndi Lauper to Sara Bareilles to Panic! At the Disco however, I often felt the songs sounded too much of the same and became repetitive and the only real number that stuck in my head was “(Just a) Simple Sponge” by Panic! At the Disco, I also found the storyline somewhat dull and predictable - but then this IS an adaption of a kids cartoon and therefore more aimed at kids - the audience had a large number of children in who seemed to love the show and given it has been nominated and won various awards, it’s obviously popular with audiences - just maybe those audience members below a certain age.

However, I know my own young nieces absolutely adore the cartoon and would no doubt rave about the musical so if you have children under the age of ten then this is definitely a child friendly show with laughs, music and surprises a plenty. However if you’re a single person over the age of 40 like myself, maybe give this one a wide berth. 

Reviewer - Charlotte Davis-Browne
on - 24.5.23

AMATEUR THEATRE REVIEW: Blackberry Trout Face - The Forum Theatre, Romiley. Greater Manchester.

The curiously titled, 60-minute, one-act play for teenagers, 'Blackberry Trout Face' is written by Lawrence Wilson, and originally performed and developed by Liverpool-based theatre company 20 Stories High.

The play is set in Runcorn, and our three cast this evening all gave the local accent a fair airing. 

The play takes as its basic premise that three teenagers (the youngest 13 and the eldest at least 18), all with the same mother, but from two different fathers, find themselves left alone in their squat of a house one morning to read a note from their mum (both fathers having flown the nest a long time ago!) telling them she left in the early hours of that morning, leaving them alone to fend for themselves. It is a very dysfunctional family at best. The middle child, Kerrie (Connie Crawford), prepares heroine for her mum every morning, and we learn that said mum has been working as a prostitute the last few months in order to clothe and feed her children. The eldest, Jakey (Jack Findlow), is in trouble with a street gang and tries to escape this life himself by joining up. Whilst the youngest, Cameron (Sam Jeffries), is making an 'invisibility suit' because he is afraid of leaving the house, has panic attacks, and is regularly beaten up by his school peers.

The set was a dirty, untidy, squalid living room-cum-kitchen, suitably dressed for the production. Whilst lighting, costumes etc all too were appropriate. Sound levels were good throughout.

Directed by Maisie Noble and Emily Roberts, the pace of this play was set very slowly. Undoubtedly a deliberate attempt at giving us a feel of their mundane and going-nowhere lives. Sadly the dialogue is uninspiring (which doesn't help) and the play itself is not a gripping drama in any way, but unfortunately, they were unable to bring either drama (jeopardy) or pace to this rather pedestrian production. The scene changes were long, and overall it was rather flat and unstimulating. How this play ever won the award for Best New Play for Young Audiences in 2010 I shall never know!

That being said however, and credit where credit is most certainly due, all three actors did excellently with what they were given, and tried hard to inject both humour and pathos into their real and believable characterisations.

Reviewer - Chris Benchley
on - 24.5.23

THEATRE REVIEW: The Card - The New Vic Theatre, Newcastle-Under-Lyme.

Arnold Bennett’s 1911 comic novel The Card, telling the story of the rise of Edward Henry “Denry” Machin from humble office boy to successful entrepreneur and beloved youngest Mayor in the history of Bursley, was adapted for the stage by Deborah McAndrew for Claybody Theatre and was very well received during its inaugural run at Fenton Town Hall in 2022. I wanted to go and see it then, but couldn’t, so I was delighted to have the opportunity to see it at the New Vic.

The show begins with the unveiling of a statue of Denry in St. Luke’s Square, Bursley, 120 years on from his appointment as Mayor, the pomp and ceremony of this occasion being underlined by the presence of the Bursley Brass Band (the Acceler8 Band under the direction of Jef Sparkes) who feature prominently throughout the production. The drape comes off to reveal Denry (local lad and New Vic regular Gareth Cassidy) and as the cast take turns to narrate the story – essential as eighteen years of Denry’s life are packed into little over two hours – we are whisked back in time to the office of Mr. Duncalf (Howard Chadwick) where Denry is working as a rent collector.

A chance encounter with the Countess of Chell (Molly Roberts) gives Denry the idea of sneaking his name – and a few others whom he hopes will prove useful to him – onto the invitation list to the Countess’s Ball, where for a bet he asks the Countess to dance, winning himself £5. The Ball is beautifully choreographed by Beverley Norris-Edmunds and indeed the performance is peppered with dance throughout.

When Duncalf fires him, Denry sets up on his own using the £5 he won and takes a disgruntled client of Duncalf’s with him. This is the real start of Denry’s meteoric rise and, although the ethics of some of his tactics are questionable, his quirky lovability and basically good nature win us over.

Denry becomes engaged to his former dance instructor Ruth (Jessica Dyas) after he saves her life, leaping aboard a runaway pantechnicon, ending up trapped inside it with her in the canal. The slow-motion depiction of how this happens is one of the stand-out scenes of the whole piece, a simply wonderful few minutes of theatre. On holiday in Llandudno, chaperoned according to the proprieties of the time by sweet Nellie (Jenny Murphy), Ruth’s big-spending habits alarm Denry who has to find a way of breaking off the engagement but make it look like it was Ruth’s idea. This done, Denry buys an old lifeboat and makes a fortune taking tourists on trips to see a shipwreck by the Little Orme.

Back in the Potteries, we follow Denry on several more adventures, but only really get to his heart when we meet his elderly Mother (Howard Chadwick) whom he introduces to us as the most important woman in his life. The bearded Chadwick’s brilliant performance as the feisty, curmudgeonly Mrs. Machin put me in mind of Steve Pemberton as Tubbs in “The League Of Gentlemen”, with an underlying pathos behind the humour. Mrs. Machin hasn’t had life easy: widowed young, she brought up her son alone in a cold, rundown cottage, but it takes a special wheeze on Denry’s part, aided and abetted by Nellie, to get her to accept the idea of moving to nicer surroundings.

Given that the play starts with the unveiling of Denry’s statue it is hardly a surprise when he becomes Mayor but we are universally delighted for him when he does. The final objection to Denry’s elevation comes from a rival councillor who asks, “what great cause is he identified with?”

“He is identified”, comes the response, “with the great cause of cheering us up”.

Cue celebratory music and dancing, and a hearty ovation from a North Staffordshire audience who have most definitely been cheered up.

This is feelgood theatre at its best and it has everything: a great story, beautifully told with superb music, dance and even a display of footballing skill from Eddie Westbury as Callear (“the greatest centre forward in England”). Gareth Cassidy’s performance is first rate throughout as is the support he receives from the rest of the cast, the Claybody Community Company and the Acceler8 band.

The Card is definitely a must-see. I had high expectations of it beforehand and they were surpassed by some distance.

Reviewer - Ian Simpson
on - 23.5.23

CHILDREN'S THEATRE REVIEW: Seussical Jr - Woodend Mill, Mossley. Greater Manchester.

This was my first visit to Woodend Mill in Mossley. I am no stranger to the company, Mossley AODS, but I am to their youth theatre, known as Next Generation, who are now (and have been for some time) based at Woodend Mill, where all their classes take place. The company has even built a theatre with raked seating and ample performance space and wings within their floor. It was this theatre I found myself at this evening, to watch the Junior group of Next Generation {I am uncertain of their actual ages, but am guessing between 10 and 14} in their production of 'Seussical'.

'Seussical' is an odd musical at best, as it doesn't follow one storyline from the pen of the Swiss-American poet, Dr. Seuss, but instead takes characters and storylines from several and mixes them altogether to make a storyline long enough to make into a full-scale show. It can therefore become quite confusing at times, and if you don't know your Seuss, it makes it even more difficult to follow. Fortunately I have seen the full musical a few times before and so was able to follow the story this evening. My companion on the other hand was completely new to the show, and was completely lost, not understanding even the basics of the plot. I think that I too would have been confused had I not had a prior knowledge. Why did we not understand it? Well, the first reason is probably that this was a shortened 'junior' version of the show, which cuts out most of the dialogue and some of the songs to make a one-hour child-friendly adaptation.[although the full length show is also child-friendly too on this occasion]. Perhaps in the so doing, the plot has become less clear. Which brings me to my second point. The direction. If the plot is not clear and easily understandable, then we must look to the director - in this case Abey Bradbury - to make the necessary signposting and throughline for the audience's comprehension; which sadly, in this case, she didn't. Perhaps a third consideration would be the costuming. Had the characters been given costumes more fitting to their characters - ie: The Cat In The Hat looked like the Seuss carton version; The Sour Kangaroo looked more like a kangaroo, and the two birds looked more like birds (with requisite tails and wings) etc - but the costumes didn't really help in his regard sadly; although I did like the idea that all the Whos were dressed in orange. Finally, neither of us understood that the large lollipop items being held throughout were supposed to be clovers! All this is such a shame, as the children themselves gave their alls to the show, and we would have loved to have understood their production much better than we did. 

One more small problem this evening was the lighting. Several times through the show the principals were cast in darkness during their songs. I am uncertain as to why this happened, and feel sure it wasn't supposed to be that way, so hopefully that will have been rectified for any further performances.

Of course, none of this is the children's fault. I am not suggesting for one minute that it is. The cast of 25 youngsters were energetic, dedicated, passionate, and giving 100% all the way through. It was inspiring to watch them. 

Starting the show was Jojo, the son of the mayor of the Whos, played here by a very confident and immediately likeable _*. Helping him along, jumping out of a Seuss book and then becoming a quasi-narrator character was another confident and personable performer, _* as The Cat In The Hat. It was a shame this version of the show didn't give her more to do, as she seemed to be sidelined every time she came on stage, which was odd. 

_*'s Horton The Elephant carried the principal storylines of trying to save The Who (who live on a speck of dust on a clover), and incubating an abandoned egg for a wayward and star-struck bird. A sturdy, unwavering performance which meant that her quietude and calm determination gave all the other characters licence to run and dance around her creating a nice contrast and an interesting dynamic.

_* as Gertrude McFuzz, and _* as Mayzie La Bird, both impressed with their interpretations, and the two differing bird characters were brought out nicely. _*'s Sour Kangaroo-with-attitude and powerful singing voice was a joy. 

The four Bird Girl backing singers/dancers worked nicely together and the whole ensemble impressed with both their singing and dancing. A highly energetic, fun show, of which all those on stage this evening should be very proud. There was lots of 'attitude', and everyone was focussed and completely in character the whole time, even when the temptations to acknowledge family in the audience were presented to them... so that again is very much in their favour. Congratulations.

Reviewer - Matthew Dougall
on - 23.5.23

_* = names removed at the request of the society.

AMATEUR THEATRE REVIEW: Witness For The Prosecution - The Garrick Playhouse, Altrincham. Greater Manchester.

As we entered the auditorium this evening to take our seats for Agatha Christie's courtroom suspense drama, 'Witness For The Prosecution', we were greeted by an open set on stage. A courtroom, wooden benches for the defendant, barristers, etc, and a higher, central one for the judge. Above this a large statue of Lady Justice. It looked both very authentic and theatrical. 

However, the play started by cast walking on in silence and changing the set. One of the benches is on casters and the other side reveals the chambers of solicitor Wilfred Robarts. Not only did this seem unnecessary it didn't feel right and served only to lengthen the play. Why not have this set already and the curtains closed? Furthermore, the positioning of the two chairs, an extension to his office, was very false. They were positioned far too far away from each other and the desk, and pointing towards the audience. This was the very worst of amdram stage settings sadly. 

However, the acting and following direction, was far from "amdram" fortunately. First night nerves and the odd hiatus notwithstanding, director Mike Shaw had worked well in creating the correct feel to this story, building the whodunnit element with skill. The first act was a little slow at times, but the characterisations were solid, realistic, and believable. The second act was swifter and more engaging, and I certainly had not guessed the entirety of the clever denouement.

This was a very strong ensemble cast and they all worked well to bring about this dramatic and very wordy script. I admit to never having seen the stage play before, and to not remembering the film, which I watched when too young to appreciate it. So, tonight I was watching the plot unravel for the first time, and it was quite fascinating. 

Jonathan Black as Sir Wilfred Robarts QC and Jonathan Barker as solicitor Mr. Mayhew both gave grounded and credible performances as members of the bar. I have to say that my contact with such personages has been very infrequent fortunately, but they both presented the stereotype to perfection. The same can also be said of Geoff Holman as Judge Justice Wainwright and Stewart Mathers as Mr. Myers QC. (I loved his little signature coughs). 

The accused, Leonard Vole, was totally convincing and (without giving too much away), his tiny but excellently measured character change towards the end, was superb. A very personable actor, and hit the nail on the head with this role. His wife, the "foreign" Romaine Vole was played with stylish arrogance, and given just the right amount of superciliousness by Antonia Whitehead. 

The lighting was generally good, but when we were in Robarts's chambers there was a black spot behind the two outlying chairs, meaning that whenever anyone walked behind them - as they did frequently - they were unlit and in shadow. Also, I don't think some of the voices this evening were loud enough or being projected enough. Fortunately I had a fifth row seat, so this was not an issue for me, but on several occasions I doubted whether or not the rear of the auditorium would have been able to hear.

Overall however, a sturdy and gripping piece of whodunnit theatre, performed by a strong and talented group, keeping one engaged and guessing right to the end [that is, if you don't already know the story!].

Reviewer - Matthew Dougall

on - 22/5/23

STUDENT THEATRE REVIEW: The Nick - The Main Theatre, City College, Manchester

Performed by the first and second year students on the Dance And Performance Degree course at The Arden Theatre School in Manchester, and danced on their main stage in the bowels of UCEN City College's central campus, this was their end-of-year showcase.

The first part of the show was a 20-minute showcase of commercial dance routines, from Burlesque to hip hop and street. These 6 dances were all good and enjoyable; although I was uncertain as to whether or not they were supposed to smile. Facial expressions did not seem to have been taken into consideration in some of the routines as some dancers wore a continual false toothy smile, whilst others scowled and stared unflinchingly. 

After a short interval, the main feature... The Nick. A dance/theatre realisation of a contemporary female prison. The prisoners had been given orange jump suits (a -la Guantanamo Bay!), and each had been given a number and the reason for their imprisonment. Other performers played prison wardens and visitors.  This was a very visceral "ballet" and was also a damning indictment on the prison system and those who wield power and dole out justice. If this is truly 'normal' procedure in prison, where the guards are just as corrupt as the inmates, and the 'justice' meted out is worse than the crimes the prisoners had already done on the outside, then it is shocking. I have no direct (or even indirect for that matter) connections with the UK prison / justice system; but it is little wonder that prison engenders crime, if what I saw is to be believed.

Danced (performed) with sincerity and much energy, the story of these inmates unfolded, and we leaned about their crimes, the brutality of their life in prison, the jealousies, and their survival mechanisms; some stronger than others as indeed we witness a prison murder.

Hard-hitting, no punches pulled, this mixture of contemporary ballet styles using contemporary music and very minimal dialogue (as well as voice-overs) had me railing at the prison system. Danced with precision and skill by the students, I enjoyed their talents, and the use of the black material towards the end was inspired choreography.

Reviewer - Matthew Dougall
on - 19.5.23

STUDENT THEATRE REVIEW: A Chorus Line - The Eccleston Theatre, Pendleton Sixth Form College, Pendleton, Manchester.

It has been a long time - too long - since my last visit to Pendleton Sixth Form College, but hearing that they were producing 'A Chorus Line' it was one I just simply HAD to come to. It is so rarely performed these days, and that's a shame..it's a great show.

One question was left hanging in my mind however. How could a group of 16 / 17 year old students have the gravitas and the maturity to become on average 10 years' older and be a group of dancers (with baggage!) auditioning for a Broadway show. My concerns however were utterly unfounded. I totally believed their playing ages, and the cast displayed a maturity and sensitivity to their roles and the show as a whole that was way beyond their years and experience. 

Directed by Ian Bennett, the show had been updated somewhat to accommodate our changing times, but was not changed so much that it affected the show in any way, and the wonderful little 'hat nods' to both the film and the original Broadway production were a joy. 

The set was simple but effective. A large dance / rehearsal studio with mirrors. What more do you need...! 

However, before I start praising everyone and everything... allow me first to get the negatives out of the way first. And most unfortunately there were a couple of them. First, the music. As superb as it was - and under Nathan Jarvis's direction the band's cumulative sound was lovely, it was simply too loud in places; especially when music was underscoring dialogue. Some of the songs were too loud in general, and the sound levels needed adjusting to accommodate more than one principal singer. Sometimes there was unwanted feedback on the mics. And second, the lighting. Generally the creative design worked well, but there were times when the changes were late in being executed, or at other times they left principals in unwanted darkness or shadow. Again, that was such a pity.  I might also suggest that a running time of 110 minutes without an interval is a little long. It's doable, but I was shuffling and getting a "numb bum" towards the end!

The performers however simply blew me away! To say that this show requires a large ensemble with extras, and they al need to be triple threats - ie: they must be excellent dancers, singers and actors (pulling off a reasonable American accent); and then to realise that they are teenagers and students, still in-training; and then to watch them give fully-rounded, totally focussed and believable flawless performances.... it left me both speechless and breathless. I wish I was in a position to be able to employ them (sadly at the moment I am not) but I would not have hesitated!    

Holding the auditions is Zach (Ciaran Lockwood), who brought much to his role, which often gets sidelined. His relationship with Cassie, his genuine concern over the accident, and his overall demeanour (a world-weary, harassed and begrudging director / choreographer with a chip on his shoulder) was superbly measured. Cassie (Isabel Horrocks) was superb as the ex-girlfriend, and her 'Music And The Mirror' solo was fantastic. 

The whole company opened with 'I Hope I Get It', a very strong and sincere opening, and it only got better! However, to make a special mention to just a couple if I may be so bold...  A very moving speech from Paul (Martin McDonough) towards the end of the show gave me a lump in my throat, but it was Gracie O'Brien as Morales who had me welling up and crying with pure emotion as she sang the solo part and led the chorus in 'What I Did For Love'; and her rendition of 'Nothing' was just stunning.

Louise Pettitt needs due recognition to for her wonderful choreography, which was executed with style and precision by this large cast - even when they were supposed to be out of time or not doing the steps properly during the audition, it worked excellently. I loved  'One' (again the nice 'hat nods' to the original did not go unnoticed).  

It was a very hot, balmy Saturday evening, and despite the temptations to be elsewhere, I was so glad I had made the journey across the city to watch this show... I wouldn't have wanted to miss it for the world! 

Reviewer - Matthew Dougall
on - 20.5.23

AMATEUR THEATRE REVIEW: Showstoppers! - The Forum Theatre, Romiley. Greater Manchester

An evening of Musical Theatre, delivered by the talented NK Theatre Arts Company at Romiley's Forum Theatre? Yes please!

The first half of this evening's concert was a game of two halves. Two Musicals were given the spotlight, and both were presented as 'potted' reduced versions of the full shows. Several songs and some dialogue in order to give the audience a full flavour of the full shows was presented. 

First came the perennial favourite, 'Oliver!'. Lionel Bart's catchy take on the Dickens' classic. Opening with a rather energetic, 'Food Glorious Food', we were then shown the beadle and his wife scold Oliver, before he takes him onto the streets with 'Boy For Sale'. Oliver then sings 'Where Is Love?' before being taken under the wings of the Artful Dodger and 'Consider Yourself', and being taken to join Fagin's gang  'Pick A Pocket' and 'Be Back Soon'. Nancy entertains with 'Oom Pah Pah', and we are introduced to Bill Sykes with 'My Name'. Bill strikes Nancy for not co-operating, and she sings the plaintive, 'As Long As He Needs Me', before we have the chorus back on again for 'Who Will Buy', and we end with Fagin 'Reviewing The Situation'.  Colby Voss played Oliver in this section, and showed great stage presence and ability for his years. The director should have had him take his cap off though foir his solo, as we couldn't see his eyes at all.. shame. John Dean's Fagin was delightful.

The one thing which sadly did not help this section or any of the following sections unfortunately, was that the company chose to present the evening using backing tracks. I was aware at many points throughout the evening of soloists not being able to accurately follow the tracks; their interpretations of the songs not fitting fully with the music. It seemed clear that the cast had not had enough rehearsal with those specific tracks, as sadly technology is unforgiving and cannot follow the soloists as a live band and conductor can, but instead the soloist must follow the music. Also, whilst I am on the subject of music, the sound levels were pitched far too high. The music was too loud and booming through the speakers, drowning out the soloists, and then they in turn had to sing louder in order to try and be heard, and as such started to sound screechy. Sound technicians please take note: louder does not equal better.. it better has and it never will!

Before the second section of the first act, a short preview of the society's upcoming production of 'My Fair Lady' was shown (I'm Getting Married In The Morning).

And then tow the second half od the first act.. a precised version of the contemporary musical, 'Mean Girls'. As with Oliver, here we were shown several of the songs and character vignettes in show order with main cast and ensemble coming instantly more alive, as they all seemed to be able to relate to and sympathise with the premise and characters of this musical more. 

The second act this evening continued again in similar vein; with three more musicals being given the shortened version treatment. First came, 'Oklahoma!' {'Oh What A Beautiful Morning' / 'Surrey With The Fringe On Top' / 'A Girl Who Can't Say No' / 'The Farmer And The Cowman' - excellent choreography! / 'Oklahoma!'} This section was then followed by another contemporary favourite, 'Everybody's Talking About Jamie'. , and finally the evening finished with songs, dances and dialogue from 'another perennial favourite, Sister Act'. A rousing full chorus joyous finish to the evening, although more attention to the nun's costumes was most definitely needed here sadly.

I have two points to make about the evening which might seem a little over-critical, but hopefully they will be taken in the spirit they are meant. First, the title. The evening was not an evening of showstoppers at all. In fact, only a very small proportion of the songs sung this evening might be put into that category. So, rather than an eclectic evening of many different production numbers from many different musicals, we were given five small individual shows. Not that this wasn't enjoyable.. it was... but the title was misleading. Second, having the audience seated in cabaret style seats, on long trestle tables and not raised above the stage level was also a mistake in my opinion. Had the tables been positioned in a semi-circle and the cast performed in the centre and around the tables (like the original cabarets) it would have worked nicely, but to watch production numbers on a stage, this idea was far from optimal. 

All the cast this evening - both principals and chorus - are deserving of praise. All the sections were enjoyable and well put together. Of course though, I am only human, and human nature (despite reviewers trying to be as objective as possible) does play a big part in what we write. And I have to admit to having a couple of favourites this evening! John Dean impressed with his versatility; playing different roles in several of the sections this evening. He has a vitality and pleasing stage presence as well as being a multi-faceted performer.  I loved Sam Jeffries's interpretation of Jamie. It had both heart and soul and was very grounded. And finally, for her dancing, her stage presence, and total commitment to everything she was tasked to do, Megan Voss. 

NK Theatre Arts have a large membership, from very young to adult, and cumulatively are a formidable talent. This evening ably and amply showcased that talent, and I look forward to coming back to see their next endeavour.

Reviewer - Matthew Dougall
on - 19/5/23

AMATEUR THEATRE REVIEW: It Runs In The Family - The Little Theatre, Altrincham

The name Ray Cooney is synonymous with farce; a style of fast-paced ridiculous comedy that typically gives those who (under normal circumstances) would be perfectly rational and normal human beings, reason to be outrageous and over-the-top, with ludicrous tragi-comedic plot contrivances a-plenty with seemingly no way out, and then, because this is farce, Cooney finds a lovely way to end it all happily. (even if people run around in their underwear or behave inappropriately!) 

'Keep It In The Family' is no exception, and this production by Altrincham's Little Theatre understood this, delivering a production that was as close to farce as I have seen in a long time. For some reason, this style of comedy is very popular with amateur companies, and yet, is notoriously difficult to deliver. It requires a certain style of acting, (and commitment to the play), that normal comedies do not, and as such, oftentimes falls a little flat. Not here.

Under Michael Russell's tight direction, we knew we were in farcical territory right from the start. Normally, with farces, much of the opening is exposition with little or nothing to laugh at, as the premise / storyline is set up and we are introduced to the characters. Here however, we were laughing right from the start, and that is always a good sign. The pace wasn't quite there at the beginning of the play, but that was understandable. But by the time the first bombshell hit, it was full speed ahead, and there was only one way to go... forward!

A good set design of the doctors' common room in a London hospital, with doors to slam, windows to open and the all-important window ledge! A slight point might be that perhaps there could be a way to make the windows stay open themselves, rather than having to have cast members be constantly aware that they are sliding down when they shouldn't be. Otherwise, the set was dressed appropriately, and the lighting and sound levels good throughout.

Gary Woodhall played the pivotal role of Doctor Mortimer, around whom all the plot revolves. It requires a certain groundedness to the character, a certain believability, a sea of calm amid all the farcical calamity happening around him - which he has set up and is central to! And we bought in to this completely. Nicely done. Creating, aiding, and abetting all the havoc were a large cast all bringing much to their respective roles and helping the play along. Special mention should be made to Arthur Hulse as Willoughby Drake, who reminded me very much of Sir Percy Shorter in 'Habeas Corpus', and both Chris Burton and Ewan Henderson (Drs Bonney and Connolly) who threw themselves into silly accents, drag, singing, and goodness knows what else in order to save face.

A light-hearted romp of a farce, delivered with an obvious love of the genre, providing the audience with an hilarious and well-crafted evening's entertainment. 

Reviewer - Matthew Dougall
on - 21/5/23

AMATEUR THEATRE REVIEW: Flamingoland - Bolton Little Theatre, Bolton.

I have always had a great affection for Bolton Little Theatre's intimate 3-sided performance space known as The Forge Theatre. Seating about 70 audience members on two rows this black-box space works excellently for certain productions. 

Their latest play, 'Flamingoland' by Deborah McAndrew works well in this space. The curiously titled 'Flamingoland' tells the story of Mari (Lindsay Farnworth), a no-nonsense Yorkshire lass who seems obsessed with her own mortality and planning her wake, down the very last detail, with her long-suffering spinster daughter Kathleen (Catherine Cropper), and the sometimes visits from her more brusque and brash older sister Bridie (Catherine Henderson), and her would-be rebel (and also single) daughter, Sadie  (Emily Hill). Mari is dying, that much seems clear, and she is getting her house in order, boxing everything up, getting rid of the furniture, and finally getting round to sorting out the vermin problem she has with squirrels in her attic.

McAndrew's script sparkles. It is excellently written, with not a single word out of place or unnecessary, and under Carol Butler's direction this afternoon, the dramatic elements of the script, the pathos, was delivered with sincerity and aplomb. The lighter, comedic sections (of which there were many, especially in the first two acts), were sadly not highlighted perhaps as well as they should have been, and were given too much of a fatalistic dramatic approach. Sadly this had the effect of lessening the impact of the more cathartic moments in the third and fourth acts, as the play was not as dynamically satisfying as perhaps it should and could have been. 

However, the actors themselves gave much to their roles this afternoon, and delivered performances which were truthful, believable, and sympathetic. Lindsay Farnworth's journey as Mari was excellently measured. Her failing body becoming weaker with her every entrance, as her determination to organise her wake increased. Whilst her sister, Bridie was suitably annoying and irritating. Catherine Cropper's Kathleen was professional, uptight, reserved, holding back... until her cathartic moment arrives in the final act, and she handled this with genuineness and accuracy, proving her versatility as an actress. Sadie (Emily Hill) too, although a smaller role than Kathleen, has a large journey to take in her scenes, and here Hill chose to use her controlled facial expressions well to balance the physicality of Henderson. 

There is a fifth cast member too. Dave. Played this afternoon by Adam Green. The environmental health warden who is exterminating the squirrels. Green portrayed him as a simple, down-to-earth man who doesn't ask much from life, is pleasant and kind to all, and has conflicting emotions about the ethics of his job. 

The set (due to the space  restrictions) was minimal. A plain back wall - where paintings had been taken down, an old sofa, and an occasional table. A few boxes on the floor. However, for this reviewer at least, the start of the play did not have anywhere near enough clutter, and Mari wasn't given enough 'business' and so this semi-miming with the boxes did look rather false sadly.

There is also a substantial part of the plot which I have deliberately not mentioned, but that part is the core of the play and I don't want to give anything away. However, suffice to say that it was handled nicely, and - thanks to McAndrew's writing - still leaves the audience with a little question mark  at the end. Oh, and talking of the end; I don't know if this was scripted or directorial, but the last action (after the bows) was  stroke of genius!

This was mu first visit to The Forge Theatre at Bolton Little Theatre in a  long time, and it was lovely to be back. BLT nurture a bunch of talented amateurs and this afternoon's production was no exception. 

Reviewer - Matthew Dougall
on - 21.5.23

THEATRE REVIEW: A Force To Be Reckoned With - The Greater Manchester Police Museum, Manchester.

Mikron Theatre Company's latest offering, 'A Force To Be Reckoned With', transports us back to 1952, with this delightful insight into women in the force from the pen of Amanda Whittington.

Mikron have been around for over 50 years now, and the reason for their longevity? Well, that's easy; they provide easily accessible productions for all ages that are both fun and educational. The company (usually a troupe of 4) travel mostly by barge (yes, that's right.. they also have to learn to navigate the canals and waterways of this glorious country of ours too!), and when the barge can't get to the venue, then the old reliable standby of a minibus will! Because of this though, their sets, costumes etc, al need to be minimal, light, easily handled and multipurpose. And because the productions invariably incorporate songs and music, the actors ned also to be able to play at least one portable musical instrument, and sing. The company perform mostly outdoors. Canal sides, pub car parks, or basically anywhere where they can set up and ask an audience to come along bringing their own picnic chairs with them, and so the cast will get used to performing in all weathers, and having to project their voices above the noise levels of whatever the great unpredictable outdoors throws at them! Mikron don't ask much from their cast do they?!

In this particular show, performed in the glorious midday sunshine in the courtyard of Manchester's Police Museum, the four cast members coped adroitly with the extraneous noises from moving empty beer barrels, noisy passers-by, cars and city drinkers. Voices were projected sufficiently, and we sat back to enjoy this tale of the WPC and the inequality that they endured. 

In true Mikron style, the four cast members play many different parts between them, their characters changed by a hat, a scarf or sometimes nothing more than a different voice. And when they aren't speaking, they are more than probably playing an instrument for the song. It's a lively, generally upbeat production, and the history of how women first came to help out the men, to them being a recognised and significant part of the force was interesting and I enjoyed my history lesson.  And with this being 1952, we also were given some lovely insights into policing methods and ideology of that time, with the help of a Quentin Crisp-esque type of character who informs for the police in order to be protected from the rougher elements of society who see him as a 'puff', which, in 1952, was illegal. This storyline being nicely introduced here to be developed further as a future play perhaps??

The four cast members - Eddie Ahrens, Hannah Baker, Harvey Badger, and Rachel Hammond - all deserve equal praise. They gave much to this show, and it paid dividend. Working well together, they found comedy, sympathy, and even some pathos within the script, and delivered a highly entertaining piece of touring fringe theatre. I started my own professional journey (many years ago) in TIE [Touring theatre-in-education], and so know only to well how hard a life it is to be continuously on the road, taking set, costumes etc with you. It isn't easy, but it can be hugely entertaining and rewarding too. My congratulations to the whole team, and wish them well for the rest of their tour. 

Reviewer - Matthew Dougall
on - 20/5/23

AMATEUR THEATRE REVIEW: Into The Woods - Pyramid Theatre, Union Building, The University, Leeds.

This was my first visit to Leeds University, and - apart from parking the car being something of a nightmare due to parking restrictions etc - I found everyone at the university most helpful and friendly. The Pyramid Theatre is an intimate studio space, which although designed to be "in the round" was presented this evening with audience on three sides of the rectangular performing space, whilst the larger-than-expected live band had positioned themselves along majority of the fourth row, leaving a section of that row to be used as the only set used for the society's show... namely a large tree trunk (with a peep-hole), and a couple of stumps used as seats. The only other set this evening was a green net across the ceiling adorned with leaves and this idea being continued around parts of the auditorium seating. 

The society in question this evening - as I have been reliably informed that Leeds University is blessed with two Musical Theatre performing groups - was LUUMTS. And despite the minimalism in the set design, there was nothing at all minimal in the performances this evening. Being a university society, the membership of the society is restricted to current students and as such the cast are all young, energetic, and bring vitality and freshness to their roles, with big characterisations. Their commitment to, and obvious enjoyment of, their roles and the show in general was inspiring. 

Sondheim is never easy, and getting it "just right" is an act that few professionals are able to follow with success, and so every time an amateur or student company decide to tackle one, especially one as well known as this, I can only admire their perspicacity and determination. This society tried hard, and the cast brought much to the table in order to make the show work. However, the directing and use of (even choice of) space worked against them on this occasion, as well as a lack of focus. Sadly the director still placed far too much emphasis on performing towards the central row of seating, and there were many moments when some of the smaller vignettes were not visible at all to the majority of the audience.

I have seen a few productions of 'Into The Woods' recently which have gone against the convention, and as such have weakened the storyline, making something of a nonsense of the roles of the Mysterious Man and Narrator by not making them the same actor. This society also chose not to understand that in order for the story to "work" the two characters are the same person. That was a shame. One other thing I failed to understand this evening was the different accents used throughout. A few of the cast chose to speak in either genuine or quasi-American accents, whilst a couple of the characters playing "peasants" quite rightly chose local dialect (not London as one cast member had), whilst royalty chose again quite rightly, mostly, RP. 

Despite my above comments I enjoyed the show muchly. All the cast were well chosen, and all gave much to the show, however I do feel that in general, the females were stronger this evening than the males. Sadly the Witch was not made to look anywhere near ugly (or old) enough at the start, but her act 2 solo was delivered with a passion and power that I haven't seen since Bernadette Peters! Both The Baker's Wife and Little Red Riding Hood impressed me this evening over and above, but in this reviewer's most subjective opinion, the actress who played Cinderella was the "star" of the show this evening, delivering a performance that would not be out of place on the West End stage. 

Credit too to the young lady being the puppeteer for the cow; a much overlooked role when using such a cow, and she managed to convey emotion on the cow's face with seeming ease.

Overall, a very Curate's Egg production - good in parts - and some parts were very good indeed; performed by a truly energetic, enthusiastic, and talented group who, for this show at least, would have benefitted from a different performance space and / or more focused and tighter direction. 

Reviewer - Matthew Dougall
on - 18.5.23

THEATRE REVIEW: Bi-Topia - Waterside, Sale. Greater Manchester

“BI-TOPIA” is a charmingly awkward coming-of-age comedy about bisexuality, written and performed by Sam Danson. This evening’s performance was at Waterside in Sale, as part of the Pride In Trafford season, and presented by Emmerson & Ward Productions.

Sam Danson set up the status quo immediately with a satire on the American military man’s idea of perfect masculinity. With cod American accent and a lot of toy guns, he worked his way through a flip chart of all the key characteristics of manhood, beginning with “Don’t cook! Except on a barbecue…..” and ending with “Don’t Be Gay!” This page of the flipchart was left on stage for the remainder of the performance, and was the dominant throughline of the show.

Once the American persona was dropped, Danson brought us into the world of a gauche teenage British boy who had a girlfriend, but also accepted invitations from other boys. Running over the next few years, Danson’s character progressed to working in a 'McJob' in a gelato parlour, getting his own flat, and having blundering experiences around town as he tried to work out what made him tick. He even visited a therapist – twice.

Danson is a lively and personable actor, with a deft sense of comic timing. He really performs solo theatre well, bringing a variety of other characters in this small world to life, each with their own take on the main character’s situation. The script is quite clever in returning to the American soldier motif to show what the real problem is, then zinging off into another bout of youthful cack-handedness that is reminiscent of “Fresh Meat.”

But just to be a picky little reviewer, the overall effect was of a gay coming-of-age story – not a bisexual one. The pull towards men plainly was what was dominating Danson’s character’s thoughts, and quite understandably. Yet there was next to no acknowledgement of the pull towards women. In fact women hardly existed at all, except as a fleeting reference here and there. Which made the eventual ending rather flat, forced and unearned.

Overall though, it was a good piece, and well worth watching.

Reviewer - Thalia Terpsichore
on - 17.5.23