STUDENT THEATRE REVIEW - Legally Blonde - Main Theatre, City College, Manchester.

This very pink and girlie musical from the pens of Laurence O'Keefe, Neil Benjamin, and Heather Hach, has found its way to Manchester's City College, and to the college's second year Musical Theatre students to put their spin on this OMG! favourite.

The hired set fit where it touched on their large stage, leaving huge gaps between set items, and this sadly meant that cast were easily seen walking in and out of the wings to take their positions behind the set for their entrances and exits. It also meant that some of the direction necessitated a slight last minute change to try and accommodate the set that wasn't quite what was expected. For example, find a way of masking the cast being seen behind the hairdresser's window.

This was a highly youthful, energetic and upbeat show from start to finish. The cast obviously enjoying every second of their stage time. This powerful energy was, however, at certain times throughout somewhat lacking focus. The characterisations were generally good, and worked well within the parameters of the style of the show; although if you will allow me to be slightly subjective, the characters who were more grounded and not displaying monodimensional over-the-top characterisations worked better for me; my personal favourite being the grounded and personable portrayal of Emmett Forrest by Owen Bradley. Closely followed by Gracie Root as Vivienne and Francesca Collinge as Paulette. Of course though, it is the comedy cameo roles which always garner the most laughs, and here, it was Quinn Whitehurst's UPS delivery man Kyle, and the overtly gay couple Carlos (Daniel Eccles0 and Nikos (Ryley Winterbottom) who stole their scenes with ease.

Isobel Hudson as Miss Legally Blonde herself, Elle Woods, gave a sterling performance as she took on her misguided-but-all-working-out-in-the-end journey for love, heading a strong, vibrant and animated cast, who all worked well together, and the chorus numbers showcased their triple-threat talents as singers and dancers too. 

Costuming was mostly good and appropriate, except for allowing Harvard law students to wear sexy mini skirts to their lectures. And even if this actually happens {I cannot imagine it does}, it still negates the stark contrast between their clothes / attitude to that of Elle's. Lighting was appropriate and on cue, but sound levels were sometimes too loud - but this is something that is increasing in regularity with my theatre visits these days.. sound engineers do not seem to know the meaning of quiet. We did have a couple of microphone issues too this afternoon, with at least one cast member being heard whispering backstage whilst the mic was still switched on! The band, under the direction of Celia Lee was at the rear of the stage, and all but Lee hidden behind the set. I could see her conducting / playing, and trying to bring the band members together, but most unfortunately their cumulative sound was at times, neither in tune nor time, and perhaps would have benefitted from a little more rehearsal. There were also times to when they overpowered the soloist on stage.(another sound issue).

The choreography for the show was shared between 4 different practitioners, which is perhaps why some of the dances worked much better than others. I did not understand why there were two male dancers in 'Whipped Into Shape', when they are inside a women's prison, and this dance could easily have been more exciting and varied. But, the worst dance - again a very subjective opinion obviously - was the Irish dance. Majority of the "Irish" dance steps given by the choreographer here were in fact Scottish (and yes, there is a HUGE difference); whilst once again, it did not inspire and did not do the "Riverdance Mickey-take" that it is so well-known for.  The highlight of the show was undoubtedly 'Gay Or European'. This worked excellently.

Directed by Charlie Young, she utilised this youthful cast to the maximum, finding individual strengths and abilities and capitalising on them. The story was told easily, and we enjoyed taking the journey with these disparate, needy, and contemporary Americans. Young managed to wring out pathos and realism in certain scenes, especially in the ups and downs of Elle's love life with both Emmett and Warner, and managed to hold together a high-energy and quite volatile company with seeming ease!

Reviewer - Matthew Dougall
on - 28.6.23

GASTRONOMY REVIEW: Seniors Fish And Chip Bar, Lytham.

The worst fish and chips!

According to their logo and advertising, they are "the best fish and chips". I have no idea who they are quoting with this bold statement, but their establishment will be the very last place I shall go in future visits to the Fylde coast. They also advertise that everything is "served with a smile". Again, a blatant lie. Our waitress failed to manage even a slight curl from the side of her lips the whole time we were there. Sullen would describe it better.

To be honest, there is absolutely nothing to recommend this fish and chip shop. From them not having any hake - the only "speciality" fish on their unextensive and uninspiring menu, to their not being able to supply a carafe (or even jug) of water, to the cheap, "greasy-spoon" styled dining area.

Having been recommended by a friend to try this fish and chip shop, we made a beeline for it on our latest visit to Lytham. However, the interior of this transport-cafe-style dining room was less than inspiring, and the prices were not in keeping with this sadly. One is charged EXTRA for mushy peas with a fish and cheap supper; charged EXTRA for a microscopic portion of tartare sauce to accompany a plate of scampi and chips.. which, came unadorned with absolutely no sprig of parsley or slice of lemon! In fact, when we asked for lemon, they looked at me as if I were talking a foreign language! We were charged EXTRA for a single slice of supermarket bread and a portion of butter. The mind boggles...!

House wine was on the menu, and so, perhaps rather foolhardily, we opted for a glass. However, at £4.75 for a glass of vin-plonk, we shouldn't have bothered!

As for the food itself... well, the scampi was slightly undercooked; the onion rings were overcooked and slightly burned on the outside, whilst the onion itself was still cold and raw inside. The mushy peas were dry, obviously having been left for too long on a hot plate somewhere. The chips were still sporting small amounts of skin, and many still had bruises or "eyes" still in them. A lack of attention when peeling sadly. 

Our waitress sported the title, Team Leader on her uniform. If she is leading the team, then obviously this is why the place had absolutely no atmosphere; she was sullen and jobsworthy at best. There was however a young lad who was, again according to his uniform, "in training", and credit to him, he was the only member of staff who had the correct attitude, and served with a smile.

On paying the bill, we found that they had added a bottle of water extra, rather than not charging for the free glasses of water; and that an extra 50p supplement had been added to the price of the chips, due to the potato shortage!

Harrumph!

Reviewer - Matthew Dougall 

THEATRE REVIEW: Snookered - The Salford Arts Theatre, Salford.

Libby Hall’s contemporary ’Whodunnit’ currently playing at Salford Arts Theatre invites its audience into a typical Salford pub to witness the comings and goings of its regulars on a typical Friday night. All is as you would expect. The dart board looms, the juke box plays '80’s favourites, regulars cling to the bar, 2 young men spar over a game of pool, a stranger quietly sips his pint, banter flies around and the landlord holds court. All is well… or is it? When a dead body is found in the men’s toilets, a lock -in is enforced and will not end until the landlord has found out who has taken one of the snooker cues and inserted it into the now resident corpse.

What unfolds is a confident, entertaining and nuanced piece of writing that captures characters and community with skill, humour and honesty. It is real, comic, harshly funny.

Leading the cast, Scott T Berry as landlord presents a man we all immediately recognise and trust. He knows his pub, his regulars, his place. He is master of his world and has seen and heard it all many times before – until one of his regulars ends up skewered like a kebab in the loo.

Berry controls the action with good skill. He is our pivot, the one who guides us the through the proceedings as focus jumps from the engaging Cheryl (Elizabeth Poole) – the ex-wife of the deceased to Connor (Jake Talbot) and Ash (Joel Hill) – best friends who seemingly know everything and nothing about each other. Our attention is grabbed by Artois (Molly Edwards) the landlord’s woke-ly conflicted daughter and finally (and unsurprisingly) falls on The Stranger (Samuel Bates)

The joy of this piece is that the characters presented are all likeable and real, and the rapport within the cast is strong. Talbot and Hill successfully create the kind of young man double act we all know and love, Berry and Poole achieve a closeness of relationship that comes from decades of Friday nights spent in each other company and stories of their shared goings on, the most hilarious being the one when Cheryl gives birth by the juke box and landlord proudly presents her with a postpartum pint of Sterling lager after which she names her newly born son.

‘Snookered’ is littered with gem-like nuggets of the lives that pass through the bar without being saccharine or sentimental. It acknowledges that life is tough, people have chemo, use foodbanks and place their hope in their weekly lottery ticket. Local drug gangs threaten, people get mugged, robberies occur and Hall successfully creates a sanctuary-like space within the bar that protects from the toughness of the world outside, despite the occasional murder in the loos.

Roni Ellis’s direction is strong and well-paced and focus jumps around between characters with seamless skill and the question of whodunnit is handled with surprising sensitivity.

I enjoyed this well written piece of theatre and my time in the company the characters despite some of their homicidal tendencies. Catch it if you can.

Reviewer - Lou Kershaw
on - 28.6.23

AMATEUR THEATRE REVIEW: Putting It Together - The Curtain Theatre, Rochdale.

The latest production to come from Heywood Amateur Operatic Society is a revue musical from the pen of Stephen Sondheim and is currently being performed in Rochdale's cosy Curtain Theatre. 

Conceived with Julia McKenzie, this was originally intended as a theatrical song cycle, in order to try appease both backers and public alike that he needed to come up with a "sequel" to 'Sunday In The Park With George', which he was most reluctant to do. This song cycle then, took the form of a series of Sondheim songs from already published works, and was first performed in Oxford in 1992. Songs and format changed for the Broadway production a few years' later, and a thread of a storyline was added making it the revue musical it is today. We find ourselves at a posh black tie soiree, hosted by an older couple, somewhat jaded with their relationship, and in need of diversions (cue several Sondheim classics...!), whilst a younger,more naive couple with the rest of their lives ahead of them make life even more unbearable for the first couple. The revue is "narrated" by a third man, a more caustic presence, perhaps a conscience, who interacts vagariously with both couples. This evening the society also added a female chorus of three to fill out certain scenes and songs. As you can probably imagine - if you are a Sondheimophile that is - this casting makes it perfect for an array of emotional rollercoaster songs about love and relationships which once the surface has been scratched away, are never quite what they first appear... his speciality!

The show starts with our 'narrator' with a witty opening speech (the only spoken words in the revue), which leads us into the opening song from 'The Frogs' telling us, the audience, how we should behave. The band are on stage at the rear seated behind a large illuminated PARTY sign, and we are whisked away into this world of wealth and completely screwed-up people!

If I were able to be subjective and give personal opinion, then there would be a couple of things this evening that I would change, however that is not my role here and when, on a purely objective level, I can simply not find any fault with this production from start to finish, it has to garner the full five stars (if we as a site gave stars that is!).

This was a consummate, slick, polished, nuanced, and highly professional production from start to finish. In fact, if one were not to know that these were members of an amateur society, you would not be in the wrong for rating them higher than similar shows I have seen recently given by those who are being paid to do it for a living.

There was focus, energy, chemistry, and above all, dynamicism in this evening's production, with all five principals delivering outstanding acting and vocal performances. (my personal favourite being 'Leave You').

When the sound, lighting, music, costumes, etc are all fitting and working well, and with a cast this strong and talented, you should not really need a review, the show should sell itself.... and this is (and I very rarely, if ever, write this) a must-see show!

Full credit to the performers Nick Angus (narrator and also director), younger couple Sam Reid and Sophie Lord, and the older party hosts, Jon Crebbin and Sarah Thewlis, whose interpretations of some of Sondheim's more difficult writing was second to none.

I feel sure that you all will have made the heavenly Stephen Sondheim very proud.

Reviewer - Matthew Dougall
on - 27.6.23

THEATRE REVIEW: The Rocky Horror Show - The Grand Theatre, Leeds.

For 50 years, Richard O’Brien’s 'Rocky Horror Show' has had us jumping to the left, and sliding to the right, and as we brought our knees in tight, in the ever wonderful Leeds Grand Theatre, there was a buzz in the air, from the hundreds of excited patrons in all manner of costume. The band kicked off, and away we went.

Madness has taken control.

'The Rocky Horror Show' is a cult classic musical that follows the adventurous journey of newly engaged couple Brad (Richard Meek) and Janet (Haley Flaherty). When their car breaks down on a stormy night, they seek shelter at a mysterious castle, inhabited by the eccentric Dr. Frank-N-Furter (Stephen Webb), a self-proclaimed "sweet transvestite from Transsexual, Transylvania." Brad and Janet become entangled in Frank-N-Furter's unconventional experiments, they are introduced to an array of bizarre characters, including his seductive creation, Rocky Horror. As the night unfolds, Brad and Janet are exposed to a world of sexual awakening and personal liberation, challenging their preconceived notions of love and desire.

But you already knew that.

Tonight, we were treated to an outrageously talented cast. Reece Budin was our stand-in narrator, and he had his hands full, navigating through the show, giving the members of the audience who knew the cult script their moment, and also bantering back to the onslaught of abuse flung his way throughout the show, taking the role in his stride, even making a quip about ‘Usually this role is played by the who’s who of show biz, but tonight you’ve got the – Who’s that?? Of Musical Theatre’ bravo sir, you were great. Also, our stand-in Rocky, Fionán O’Carroll, not only did he absolutely nail the part, but having to stay in peak physical condition, for the duration of the run as an understudy, is above and beyond the normal requirements! Then our final stand-in was dance captain, Stefania Du Toit, who played Columbia, but honestly, I don’t think anyone could have nailed this role better, being an accomplished dancer meant that every move of Columbia's weird being was exaggerated, accentuated, and delivered with a dollop of eccentricity, making her weirder, wilder, and more enticing than you could imagine. Bravo. Now to the principals, Riff-Raff (Kristian Lavercombe) and Magenta (Suzie Mcadam) partnered to become a formidable team, both working together in sync as siblings are known to do.

 - shout out to Lavercombe, who has performed TRHS over 2000 times, more than any other actor in the shows 50 year history!

The 3 leads in this show were truly remarkable. I’ve watched a lot of theatre in my life and never have I seen a more perfect casting, Meek’s Brad, handsome, yet naïve; Flaherty’s Janet, beautifully sweet, angelic yet thirsty; and then we come to Stephen Webb. Words cannot explain how scintillating Webb’s performance was. He had the audience in the palm of his hand. It was astounding. I think I and the other audience members inside the packed auditorium, could have watched him perform as Frank for hours.

Christopher Luscombe's direction skilfully harnesses Richard O'Brien's impeccable writing, effectively utilizing the diverse production elements. Although the set design may not be overly elaborate, it fulfils its purpose admirably, particularly enhanced by the lighting design by Nick Richings, which elevates the overall experience, until a rogue laser hits you in the eye! The choreography in "The Rocky Horror Show" is widely renowned, epitomised by its iconic moments like the Time Warp. Nathan M Wright brings these performances to vibrant life on stage, infusing them with beautiful and captivating movement.

For 50 years, 'The Rocky Horror Show' has captivated audiences worldwide, and its enduring appeal becomes easy to get caught up in. This ultimate feel-good production manages to create a party atmosphere that extends beyond the stage and envelops the audience, even in the midst of murderous events. With its iconic songs and legendary characters, brought to life by a truly remarkable cast, the show effortlessly blends nostalgia for those familiar with its previous iterations (be it the stage or movie version) while introducing fresh elements. Notably, the genius portrayal of the Narrator adds a new dimension to the experience. The timeless quality of 'The Rocky Horror Show' remains as thrilling today as it was when it initially emerged, and here's to anticipating the next 50 years of this extraordinary production.

Now be sure to go see this tour, as it comes to a theatre near you. There will be tickets available, but not for very much longer..

Reviewer - Simon Oliver
on - 27.6.23

AMATEUR THEATRE REVIEW: The Ladykillers - The Little Theatre, Bolton.

Bolton Little Theatre played host this evening to an array of seedy characters masquerading as musicians. This is the delightful Ealing comedy classic, The Ladykillers, brought to the theatre by William Rose and Graham Linehan. Those of a certain age... and I include myself in this... will never forget Alec Guinness, Peter Sellers and Herbert Lom, et al... boarding at Mrs. Lopsided's house whilst they concoct a daring robbery, which, in true comedy style goes both hilariously and tragically wrong.
Bolton Little Theatre's production tried hard to both bring these well-known and loved characters to life themselves, whilst also putting their own spin on them and the story too.

The stage was cleverly and ingeniously thought through. The living room and hall of the house being on the same level as the upstairs bedroom, via a split set and a set of stairs leading off into the wings. This worked well mostly, but there were times when I did not know how a character got from one to the other, since we never saw them traverse the forestage or the steps, which seemed odd. The biggest surprise was with a sliding panel to reveal the scenes which take place on the roof. The weakest part of all of this though was the train. So integral to the story and the 'feel' of the play, and the sound effect for the train did not replicate that of a period steam train sadly, and neither did we have any smoke either passing by the window, or even entering it.

Peter Scofield took on the pivotal role of Professor Marcus, and he had one thing in his favour straight away... he looked like Alastair Sim! This was in itself a gift... the role was originally written for Sim to play, and indeed Alec Guinness admitted himself later in life that he was impersonating Sim when he played Marcus on screen! Scofield therefore only had to sound like either of those two greats and this was a win/win... and lo and behold... he did!!

Aiding and abetting him in his nefarious undertakings were Gary Carroll as Major Courtney, underplaying his role nicely; Andrew Cropper as Harry, Steve Harrison as Mr. Lawson, and Chris Sherburn as a high-pitched and foreign Louis. All had their characters secure, wisely not being direct copies of their more famous film counterparts.

Margaret Marks looked remarkably like Katie Johnson, the originator of the role of landlady Mrs. Wilberforce. Perhaps though, for this reviewer at least, she tried too hard to replicate Johnson's performance and not bring enough of her own to the character.

Directed by Frances Clemmitt, the play started off rather slowly this evening, and it took a long time to find its stride. Perhaps this was because it was opening night, but generally the pace needed to be swifter with actors picking up their cues and reacting to each other much snappier than they did this evening. The physical comedy was not really hitting its mark squarely this evening sadly, and the visual knife gag was simply out of place here.

Otherwise however, this is a solid and sturdy performance of a classic film, faithfully recreated without copying, and a jolly entertaining evening out.

Thank you.
Reviewer - Chris Benchley

on - 26.6.23

MUSIC REVIEW: A Child Of Our Time - The Philharmonic Hall, Liverpool

This evening I was in the beautiful and iconic surroundings of Liverpool's Philharmonic Hall in order to listen to both choir and orchestra of the Liverpool Philharmonic itself.

There were three works on the programme, and the first, an 11 minute piece by contemporary composer Eleanor Alberga was unknown to me. Titled 'Tower' it was a progression of ever crescendoing tonal and discordant chords, as if the tower itself were being built by the sheer force of the music. It was an interesting listen, but sadly an instantly forgettable piece, and it didn't really seem to fit in with the two other items on this evening's programme either. Neither was it stylistically similar, nor was it of a similar genre or era of composition.

For the second piece this evening, we turn to one of England's greatest composers (a subjective opinion I might add). Ralph Vaughan-Williams. His song cycle for solo baritone from poems by Robert Louis Stephenson, known as 'Songs Of Travel', is a beautiful and haunting work of 9 poems. Originally set to just piano accompaniment, and later orchestrated, they are amongst Vaughan-Williams's finest examples of the English song style, of which he was undoubtedly one of the masters. To sing the work this evening was Roderick Williams, whose dulcet tones I have heard several times before. A most pleasing and gifted singer who is able to put much thought and emotion into everything he sings. Here was no exception, and along with the Philharmonic orchestra under conductor Martyn Brabbins, they sounded lush and deeply moving.

After the interval, and we prepared for the longest of the three works in the programme, and the one which gave this evening's concert it's title, 'A Child Of Our Time'. This is an oratorio by another English composer, Sir Michael Tippett, and lasts about 65 minutes without a break.

The performing of this oratorio could hardly seem more relevant at the moment as conflict in the Ukraine continues. The work was written between 1939 and 1941, and is a passionate reaction against the Nazi treatment of Jews during the second world war, their introduction of pogroms, and in particular the infamous Kristallnacht; and on a more universal scale, a riling against racism in all its forms. It is a cry for peace and brotherhood, as his highly personal and emotional work tries to speak about the oppression of all peoples, and is his personal pacifist crie-de-coeur to humanity for understanding and reconciliation. It is hard not to see and hear Tippett's passion throughout this work. The oratorio, written in the Baroque style, is in three parts, using recitatives, arias, and of course full choruses. Instead of the full chorales, typical of Bach for example, Tippett replaces these with African-American spirituals and gospel songs. A very canny and aurally pleasing choice.

Martyn Brabbins was back on the podium, and along with the combined orchestra and chorus of the Liverpool Phil, the four soloists in this oratorio were Nardus Williams (soprano), Kathryn Rudge (mezzo soprano), Elgan Llyr Thomas (tenor), and once again baritone Roderick Williams. Particular highlights in this performance for me were, 'Nobody Knows The Troubles', 'Go Down Moses', and 'Oh By And By'; in fact the chorus sounded superb throughout. Lovely balance on the harmonies and the swells handled beautifully.

Two pointers I should like to make however after having attended this concert. The first is that the evening was somewhat long. If the programme had not included the first piece, it would have cut the evening down to a more normal and acceptable concert length and there would have been no confusion of style. However my second, and more important point is the balance of sound this evening. For the 'Songs Of Travel', Williams was, on a few occasions inaudible, and during 'A Child Of Our Time', the orchestra frequently overpowered the soloist when singing softly. More (or indeed some) amplification of the soloists' voices was most definitely required this evening. Otherwise, a most enjoyable concert, performed with elan.

Reviewer - Matthew Dougall.

on - 24.6.23

DANCE REVIEW: Emergence Dance '23 - The New Adelphi Theatre, Salford.

Joss Arnott's dance company, Emergence, is five years' old, and I have been following them from the beginning. It has been an exciting journey. This current tour started in March, and for their final two performances, they returned to where it all started, Salford University. Arnott is a graduate of this university and his first company was formed from graduates from here too. The New Adelphi Theatre in the Peel Park campus was his final destination, for a tour that was, quite literally, titled, Finale.

Before the show, two small foyer dances were presented by visiting companies / artistes. The first was a solo contemporary piece by a young man from Manchester College, whilst the second piece was a dance that I had already seen once at The Lowry Theatre as part of this year's U.Dance event. A group of 14 year old students from Lancaster with their funky contemporary choreography celebrating togetherness, joy, and personal wellbeing. This was We Rave.

And so to the actual show. There were two pieces before the interval, and one longer and more complex piece afterwards. The first piece was titled 'Fortune Favours'. Contemporary ballet is a most interesting creature since although it is always clear that the dancers themselves have an internal narrative drive and they absolutely know what they are, who they are, where they fit in, and what story they are telling; usually the audience members are free to interpret these movements in their own way as their experience of the dance differs greatly; meaning that every dance, despite it having only one beginning, can have many hundreds of different stories and directions stemming from it, depending on who watches it, and their frame of mind at the time. In this dance, the programme tells us that the aim of the choreography here is to "showcase the power of these artistes, and to empower and inspire audiences to feel strength within their own lives."  From my perspective I did not 'get' this, but it was a powerful and most interesting piece. I absolutely loved the use of Laban's "efforts" in here. The slow/fast and the light/heavy dimensions were excellent. A simple but effective start, utilising a solo dancer, and the use of ensemble and group work was impressive.

In the second dance, "Announcing..." , we saw menace, conflict, provocation, and perhaps even a final redemption. The choreography here was, for this reviewer at least, more exciting, and some parts reminded me of Hofesh Schechter's work. This was thrilling and visually stunning choreography. As with all of Arnott's work, there is a strong bond between dancer, lighting, sound, music, etc.. and here was no different. The lighting designs were excellent, and the musical rhythms entered and exited the bodies with great skill.

For the final piece of the evening, we came back after the interval to find a stage had been erected at the rear of the existing stage, upon which was a five-piece live band. Two electric guitars, two full drum kits, and a further extra percussionist playing a large bass drum and several cymbals. I have to be honest at this juncture, but after five minutes of this aural onslaught, I simply had to leave. The noise levels were simply far too high, and were piercing my eardrums. I had come to watch a dance not to be present at a trash metal concert. We are in a theatre not at a pop music arena. Sadly I am unable to say anything of the final piece. I understand that during the tour, this music had been played pre-recorded, it was only for the final two concerts here in Salford that they music was live. That was a shame.

Reviewer - Matthew Dougall

on - 23.6.23

THEATRE REVIEW: Moby Dick - Waterside, Sale. Greater Manchester

I have to admit to never having read Herman Melville's acclaimed classic, 'Moby Dick', despite knowing the story. I have tried a couple of times, and discarded the novel after just a couple of chapters each time. This evening however, Grist To The Mill Productions promised to bring this novel to life on stage in the form of a 60 minute non-stop monologue.

The stage was set with a piece of muslin-like material which, so arranged gave the impression of a hammock, a sail, and ingeniously the prow of a ship. A few wooden crates and a stool the only added extras.

Into this walked Ross Ericson - but we shall call him Ishmael.

The story was authentic, as was, I believe his accent, although at times he did speak either to quickly or indistinctly for me to catch everything he said sadly. I am assuming the vast majority of his text this evening was taken directly from the novel... it had that prose style about it.

Ericson obviously has a love of storytelling and of this story in particular, but between him and his director, Michelle Yim, they needed to find a little more variation in the dynamics of this story.... it is all there in the text, but only rarely came out in performance. I also had the feeling that Ericson was searching for his lines a couple of times this evening too. That being said however, if you did not know the story beforehand, then you certainly would now, and learn about the other characters that sailed the Pequod with him, such as Captain Ahab, Queequeg and Starbuck, and of the ferocious white whale who killed all but he.

Reviewer - Matthew Dougall

on - 22.6.23

AMATEUR THEATRE REVIEW: My Fair Lady - The Forum Theatre, Romiley. Stockport. Greater Manchester.

 'My Fair Lady' is a wonderful show. With words by Alan J Lerner and music by Frederick Lowe, one of American Music Theatre's greatest ever partnerships, and adapted from the novel, Pygmalion, by the great G.B. Shaw, it has 'hit' written all over it! The musical is set in London, in that great period of the beginning of the 20th century, when the Empire, King and country were all Great with a capital G, and tells the story of a famous grammarian and English Language phonetician, Henry Higgins, who makes a bet with friend and fellow logophile and linguist, Colonel Pickering, that he can turn a working-class flower seller into a high society lady in just a matter of weeks. The challenge is accepted, since Eliza herself. the "guttersnipe" flowergirl wishes to learn to speak properly in order to work in a flower shop.

The musical displays the mores and morals of the era well, with Higgins never truly referring to or acknowledging Eliza as a human being with feelings etc, but more of a commodity that once she has passed her usefulness, can be thrown back into the gutter without another thought. If it weren't for Pickering being more of a gentleman and Eliza being more free spirited and outspoken (something that was frowned upon then), it would all have turned out much differently.

This version by NK theatre Arts Amateur Company was very long. That would be my first and overriding comment on this show. Admittedly the production did not start on time, but when it finished at 10:50pm and there are young children in the show and audience, it needs cutting. The company chose to use pre-recorded backing tracks for this show, and so here is an ideal opportunity for some judicious cuts to be made. There were several occasions when the music was playing but nothing was happening on stage.. and I would suggest that at least 30 minutes needs to come off this show's current running time.

Set, hair, and costumes were all quasi-realistic, but as we went along I noticed that all three areas showed several different decades and styles, many of which being too modern for the era in question sadly.

The set utilised not only the stage itself, but the first part of the auditorium too. This area was Higgins's living room. Why the two arm chairs and sofa were all pointing facing the audience (the fourth wall) I have no idea, especially when all the other furniture - a desk, the phonograph, a table, and even the lamp - were all behind these seats, with nothing in front except ostensibly a blank wall.

And whilst such effort had been made into creating a living room with much furniture, it seemed odd that the rest of the scenes opted for minimalism and artistic licence.

Ian Chatterton played the role of Henry Higgins this evening with an air of arrogance and offhandedness, and together with Maria Markland's petulant but forthright Eliza Doolittle, they both made a praiseworthy and valiant attempt at their roles, creating some nice moments between them. The moments of tension worked the best, but there was little or no chemistry between them, at least not enough visually, in order to spark a romance / love affair. Even sworn enemies have electricity firing between them! In fact, Eliza seemed more resigned to becoming a maid / servant to Higgins at the end rather than his fiancee. There was not even a kiss...!

Paul Allison made a lively, spritely, and considerate Pickering. A lovely clear voice and diction as well as a great stage presence helped his character along nicely. Becky Larner as Henry's mother, Mrs.Higgins was a delight, as was Louise Clarke's Mrs.Pearce. Jake Ridgeway gave a more than pleasing rendition of his solo, acting lovestruck quite naturally.

The principals were supported by a large and enthusiastic chorus of all ages, filing the stage where necessary.

A little long-winded, but a spirited and faithful interpretation of a classic musical; entertaining and enjoyable.

Reviewer - Matthew Dougall
on - 21.6.23

AMATEUR THEATRE REVIEW: Where Is The Life - PADOS House, Prestwich. Manchester.

A black comedy play written and directed by talented playwright Martin Roche explores a group of retired thespians living out their days in a retirement home. Not to be confused with a care home. Independent living is the key to remaining at The Beeches or you’ll be gone by tomorrow. 

PADOS [Prestwich Amateur Dramatic and Operatic Society that is!] is lucky to have this beautiful, emotional and clever play as part of its season which fitted perfectly with the intimate, bijou setting of its theatre space.  Martin Roche knows the play well – as it’s from his own pen, heart and mind and craftily extracted clearly drawn characters with depth and back stories. I am sure most of his characters would be thinly guised representations of his extensive, back catalogue of on and off stage characters he knows personally or homogenous mixtures of.  The play is intimate and emotional and I filled up at least three times, such was the power of some of the characters' stories. PADOS House fit the bill for a perfect viewpoint of the home’s sitting room / residents' lounge where the action took place.  A beautiful set by Ian Howarth's and Cliff Burton’s experienced hands gave depth and a good use of doors and a perfectly placed window to watch the residents’ inevitable exits from. It was used beautifully throughout and became a metaphor of the world outside representing what lies behind us and what lies ahead. 

The Beeches is run by the bossy, selfish, egotistical and money grabbing Julie (Chloe Whittington), who trod insensitively over everyone in her path; especially poor, pathetic husband, Tony (Keith McEvoy) but got her comeuppance in the end when she is found out and is usurped with Tony taking the helm as a much better home manager who has more care experience and a better relationship with the residents in his little finger than Julie had in her entire body. Enter Kelly, new care assistant and new to everything, straight off the dole queue and quite the individual in appearance and feisty attitude and not what the residents expect. The residents bet wagers on how long she’ll last; expedited by the cynical Colin’s nasty threat that she’d be gone within a week. They all lose of course because Kelly joins the happy band of ex-theatrical professionals and realises that there is quite a lot of life in there and strikes up warm and unlikely friendships with the gentlemen who live there and builds deep and genuine connections with them. Tara Mycock has a striking presence although being physically petite, she delivered spunky interactions which were spirited, pacey and well thought out. She gave a convincing portrayal of a newbie, outsider who become central to the resident’s daily lives and grew and changed in attitude and character. I wasn’t as convinced in the final scene of the transformation to rising theatre star but overall, she was perfect for this central character whom the plot revolves around.     

The residents: Tom, played with finesse, style and so much controlled and well timed pathos by Paul Firth stole the show for me. He was excellent, his light touch and acerbic camp quips were perfection whilst his tender, soft and measured tragic moments revealed a man very much in touch with his own reality. His hilarious eulogy after Alan’s passing was top drawer despite the darker setting. He very much reminded me of a hybrid Alan Rickman meets Paul O’Grady (but not Lilly Savage).  His foil was the poor and tortured Alan (Jon Comyn-Platt) whose painful demise into dementia, incontinence and all things degrading was beautifully acted. I sobbed at his frustrated phone call asking directory enquiries for the telephone number of his family but he couldn’t remember their names. He had a haunted, hollow face which reminded me so much of the cruel journey dementia takes its victims on as it takes away their memory and soul. Don (Peter Haslam) gave his usual warm, confident and competent portrayal of the only straight resident. A widow with an almost estranged daughter and money hungry son-in-law who never came to visit. I felt he got dressed up every single day waiting for them. He was so genuine and real and I had a lump in my throat when he told Kelly he wished he’d had a daughter like her. Such realness. The baddie of the piece is cynical, bitter and twisted Colin, who has theatrical history with everyone but sits on the periphery of the group with an air of superiority being borderline malicious, and yet he is in fact the most vulnerable and fragile member who has the most to gain from genuine connection. Stephen Moss had the hard and sharp elements of the character spot on. His demise in the final scene felt a little overly drawn out. But, that might be a comment on the final scene which felt unnecessary. I would have liked to have been kept hanging with what happened after the funeral and left to draw my own conclusions. Mark Rosenthal’s natural and skilful comic timing and physicality was exploited to its full potential as he played the stone deaf handyman Gordon. He is funny to watch and a very experienced performer who knew exactly how to extract the humour. His scene at the post funeral buffet where he licked the glass before giving it to the will-digging daughter was hysterical. Don’s daughter, played by Andrea Berger, was just the right measure of nasty to make us dislike her on sight and the audience felt not sympathy for her or her equally nasty piece of work husband, played by Rob Butler. The cast were all great fits for their parts and had been excellently directed.   

The strength of this play for me was its sharp, pacey narrative, its massive use and interweaving of theatrical talk, play prose, quotes, tips of the hat to theatre and the use of music to demarcate individual stories. Roche’s play has this in abundance and must have been a joy to perform for the small and well chosen cast who understood the piece and were each given moments or monologues to really expose their story and soul to the audience. I thought it was beautiful. I laughed and cried (a little) and that’s what good theatre is supposed to do isn’t it? Talk to your soul.   

A really lovely play from Martin Roche, performed very well by the talented and accomplished troupe of players at PADOS. I believe there are still a few tickets available and it runs until Saturday. A great night out but a hankie is advisable.

Reviewer - Kathryn Gorton
on - 20.6.23

AMATEUR THEATRE REVIEW: Into The Woods - The Garrick Playhouse, Altrincham. Greater Manchester.

'Into The Woods' is one of Stephen Sondheim's more popular and accessible works,and this evening's production marks the fourth time so far this year that this particular reviewer has seen this show, with another production of it taking place next week in Manchester!

It tells the stories of Jack And The Beanstalk, Rapunzel, and Cinderella, combining them cleverly together with a story about a baker and his son, whilst including many other popular fairytale references. In fact the plot is really quite convoluted, and with James Lapine's book and Sondheim's lyrics, it does sometimes get as thick as mulligatawny, and requires careful singing and careful listening.

As for the singing.... no qualms whatsoever, the entire cast were superb in allowing the clever rhymes and puns to hit the spot every time. In fact, the entire cast was a true ensemble cast, and they worked excellently together. Joseph Meighan's tight but imaginative direction helping them to create solid characters and tell a complicated story with ease.

This was a very British show though, or at least tried to be. Various characters or character groups were given different accents, and so we had Yorkshire, Scouse, RP, Cockney, Lancashire, and for the Witch, Irish. I understand what Meighan was trying for here but two thoughts occurred to me. First is that this diffuses and perhaps even negates the idea of community and unity which is central to one of the main themes of the show; whilst although I am sure it was not deliberate, but giving a witch the only accent to fall outside the UK but within The British Isles could by some be considered as politically muddy waters. The other problem inherent with Britishifying it is the language of the libretto. The Witch's vegetable list is distinctly American and Little Red sings of "nice (being) different than good" - not 'from' as we all know it is in British English, etc...

Otherwise however, this was a consummate and professionally produced musical, whose production values were exceedingly high. Subjectively there were some things which did not happen quite as well as perhaps they could..... but objectivity is the name of the game, and in this regard it was a flawless production, showcasing some amazing local talent, all of whom deserve recognition and so I won't highlight anyone in particular here.

Sound levels were good throughout, lighting and effects were clever and optimal, set design giving different levels and sightlines, whilst being both practical and eye-catching. Costuming was in modern dress, which worked, and the Witch transforms not into a youthful sexy beauty, but a younger version of herself with short straight black hair and a black dress. (minus the magic).

Musical direction by Steven Mercer-Murray was clear and the band faultless all evening. Meighan's production also includes a few surprises. First is the inclusion of lyrics and songs which are often cut from the show, and so those audience members going, thinking they know every word of every song (like me...!) will be in for a little surprise. Whilst he also manages to give a little hat nod to other Sondheim shows throughout too. The most obvious being Sweeney Todd, but Sunday In The Park With George, Gypsy, and West Side Story were also in there too... and perhaps others which I missed

An exemplary and accomplished production putting Altrincham's Garrick Playhouse firmly and squarely back on the map!

Reviewer - Matthew Dougall

on - 19.6.23

THEATRE REVIEW: Bad Dad - Walkden Gardens, Sale. Manchester.

Heartbreak Productions specialise in touring outdoor shows, and this afternoon I was in Walkden Gardens in Sale, (Manchester), to watch their latest production, an adaptation of the David Walliams children's novel, Bad Dad.

It wasn't the sunniest of afternoons and we were almost rained off twice this afternoon with steady and heavy downpours, but the audience came prepared with waterproofs, umbrellas, and in some cases, even wellingtons! We already had to bring our own seating - a usual prerequisite for shows of this nature - and many had also brought a packed picnic tea too!

The stage, looking like a large skateboard was thrust into the semi-circular seating plan, and we found the four actors milling around chatting to the audience in and out of character before the show started.
Bad Dad is about a young boy whose father is an ex-racing driver.... a very good and award-winning racing driver... but since his wife left him, and the accident in which he lost a leg, he has become increasingly introvert and laissez-faire, and without job and money, somehow still manages to feed them both... even if that does mean resorting to driving for a local mobster boss! Don't worry though, it all works out in the end.

Directed by Emma Hodgkinson, this family show was clearly aimed at the younger audience members today, of which there were a goodly number. Sadly though, perhaps due to the inclement weather, the company did not manage to enliven them or have them rolling in the aisles as I have seen other outdoor shows/companies do. The music was jingly but uninspiring, and despite the cast's best efforts to play BIG and over-the-top caricatures, a few titters and the odd laugh was the most they could muster from this afternoon's crowd. Except of course where lavatorial and scatological humour was concerned, and these references of course, made them laugh.

Perhaps, had the weather been kinder, the audience would have been more receptive, and this would have in turn lifted the performances and our enjoyment of the production.

Reviewer - Mathew Dougall
on - 18.6.23

AMATEUR DANCE REVIEW: Salford Dance Explosion - Day 4 (Thursday) - The Lowry Theatre, Salford.

Now in its 13th year, this annual event, celebrating amateur dance in Salford is back at Salford's Lowry Theatre. The event this year ran for four evenings with 12 different local groups taking part each evening, showcasing a total of 48 dance groups from the region! What a wonderful and inspiring event these days always are, and it is always a pleasure to support young upcoming performers whether hobby dancers or aiming to make this their profession.

I was present for two of the evenings (Tuesday and Thursday), and the dedication and talent on display was, as always, awe-inspiring. Young entertainer Adam was on hand each evening as compere / MC singing a song at both the opening and closing of each event, as well as whipping up support in the form of whoops and claps from the audience of majority family, friends, and fellow dancers. 

Here is my rundown of the groups on Day 4 (Thursday).

Starting the evening was a Michael Jackson medley, presented by the BTEC Musical Theatre students from Shockout Academy (Manchester). It was a pity really that this item was put first on the schedule this evening, the standard of these dancers was simply stratospheric (and that is not something I write lightly). I have danced professionally myself many years' ago, and more recently have seen thousands of both amateur and professional dance troupes, and have been waiting for such a troupe to simply blow me away! Their acting, coordination, ensemble work, precision, energy, timing, execution, not to mention the sheer skill of these dancers was phenomenal. This was a Michael Jackson tribute which was actually better than the original - and these dancers were all young teenagers at their oldest! Incredible.

With cries of "follow that!", Reflections Dance Company's senior competition group (Boothstown), gave it their best shot. With their street dance routine, 'Represent', these 9 teenage girls did excellently, and their routine was deftly executed and completely different from what went before it thankfully. Next came Stagecoach (Warrington), and their group of 6 - 14 year olds showed us their dance-theatre version of popular playground games. This was followed by Miss Joanne Farnell's School Of Dance (Eccles) with excerpts from her forthcoming showcase 'Time To Dance'. Starting with four teenager ballet girls, it morphed into a larger group of much younger dancers and their modern routine, before we watched a solo teenage girl perform a lovely solo contemporary piece. They finished with their 10 / 1 year-olds dancing from 'The Lion King'. Nicely done. The final group before the interval was Stagecoach (Salford). This was full-on Musical Theatre as two of their group sand the roles of Christine and The Phantom, whilst the rest performed a contemporary ballet between them, as they sang 'The Music Of The Night' from 'Phantom Of The Opera'. Costuming and the idea were good, and the young lady singing Christine managed the final high note with ease, sounding sweet and in tune - not an easy ask even for the professionals!

In the second act we saw two groups of students with special needs. New Bridge College (Oldham), performed an excerpt from their own adaptation of 'A Midsummer Night's Dream'; whilst charity, My Life Legacy (Leigh), allowed their charges to dance along to "This Is Me" from 'The Greatest Showman'.  Grosvenor Park Primary School (Swinton) impressed, giving me my favourite routine from the second act this evening with a contemporary routine to 'I'm A Survivor'. St. Mark's Primary School's after-school club, consisting of a very large group of mostly year 1 and 2 children managed cartwheels and clever moves with ease. Branwood Prep School (Eccles)'s after school club is managed by Reflections, and here, they showed skill with an older group and a larger younger group of a nicely choreographed contemporary routine. The evening ended with a group of 17 year old dancers from Winstanley College (Wigan). They performed two pieces. The first contemporary ballet, and the second a student-choreographed commercial routine. The troupe displayed obvious skill and worked well together, although it did lack a little energy and precision at times.

Another fantastic evening, and look forward to seeing what Dance Explosion 2024 has to offer!

Reviewer - Matthew Dougall
on - 15.6.23

AMATEUR DANCE REVIEW: Salford Dance Explosion - Day 2 (Tuesday) - The Lowry Theatre, Salford.

Now in its 13th year, this annual event, celebrating amateur dance in Salford is back at Salford's Lowry Theatre. The event this year ran for four evenings with 12 different local groups taking part each evening, showcasing a total of 48 dance groups from the region! What a wonderful and inspiring event these days always are, and it is always a pleasure to support young upcoming performers whether hobby dancers or aiming to make this their profession.

I was present for two of the evenings (Tuesday and Thursday), and the dedication and talent on display was, as always, awe-inspiring. Young entertainer Adam was on hand each evening as compere / MC singing a song at both the opening and closing of each event, as well as whipping up support in the form of whoops and claps from the audience of majority family, friends, and fellow dancers. 

Here is my rundown of the groups on Day 2 (Tuesday).

On Tuesday we saw teams from Primary School after-school clubs right the way up to dancers from a Performing Arts college, and the ages ranged from 4 years' old all the way to mid-30s! Miss Joanne Farnell School Of Dancing (Eccles) started the whole evening with an extended sequence titled, 'Time To Dance'. A contemporary dance mix with nice use of three young dancers in the middle. Following this was The Abigail Bibby School Of Dance (Swinton) with a very confident unison routine for a large group of young teenage dancers, making their mark by having been drilled in precision and this worked nicely. FD Academy Of Irish Dancing (Eccles) came next with a change of pace and style, showing their skill in traditional Irish dancing with a slightly modern twist, as they danced their 'Battle Around The Sun'. Following this was The Rachel Ann Walker Theatre School Of Dance (Swinton), with a swish group of adult ladies performing a specially choreographed jazz routine called 'Maria'. Again, a rather large group, performing for the most part, in unison, and with a little Latin influence thrown in for good measure, this was a proficient and entertaining routine. The penultimate group before the interval was Reflections Studios Infant Company (Boothstown) with their highly upbeat and energetic group of young hip-hoppers. This routine called 'Ruthless', was for this reviewer at least, the highlight of the first half, as the combined group's power, attitude, and indeed skill, simply shone. The first half finished with another excellent piece of dance. This time from The Ribble Valley Dance Company (Clitheroe). Their 'Electric Tango Twist' was a most interesting combination of genres, including clever use of tap. Superbly executed.

The second half featured 3 after-school primary school groups, all of which were in their own ways, delightful. St. Charles Primary School (Swinton) performed first, and, having the youngest dancers on stage the whole evening, wowed with their lovely interpretation of 'Friends Like Me' from 'Aladdin'. Following this was St. Andrew's Primary School (Eccles), performing 'Stereo', and finally St. Mary's CE Primary School (Cadishead) with a superb mash-up of their favourite songs. Here every child was having the time of their lives, and the 'acting' during the dance was superb. For me the highlight of the second act! Act two also saw Mill Green School - a community special school (St. Helens) - give some of their young charges rein to strut their stuff in 'Love Is All You Need'. The evening ended with the outstanding first and second year dance students of Pendleton Sixth Form College (Pendleton) perform three short routines... commercial, contemporary, and jazz. These dances were of course, truly outstanding, and were rightly chosen to finish the evening, as these 16 / 17 year old dancers were simply fantastic! 

Reviewer - Matthew Dougall
on - 13.6.23