AMATEUR THEATRE REVIEW - Six - The George Lawton Hall, Mossley. Greater Manchester.

 

NK Theatre Arts have sadly been forced out of their theatrical home of the Forum Theatre in Romiley for the time being, and, with a full show ready to go, an alternative venue was needed pronto! Propitiously, Mossley's George Lawton Hall, not too far away, was available, and so the production moved there, lock, stock and barrel.

The stage setting was impressive for this, the teen edition of the hit punk rock concert-styled musical 'Six'. Flats indicating a castle to the rear, with steps, levels, and even a platform coming some way into the audience, whilst the four-piece band played lived on the rear platform. I loved the six steps centre which lit up with the name of the queen taking centre stage. 

The lighting was creative and worked well, giving us that music concert feeling throughout. My only concern here being that at times, it cast very large shadows on the auditorium walls. 

Costuming was excellent, consistent with the original concept of the show; as indeed was the choreography (Amy walker), and direction (Paul Wilson), with him imbuing the six queens with northern accents, and in some cases, a little northern comedy too!

The musical direction was by Ceri Graves, which again, was true to the original concept of this show, and the four-piece band were excellent... that is, when I was able to hear them! Unfortunately this evening the sound department had upped the levels to max and the George Lawton Hall was quaking and quivering under the reverberations and screeches. Yes, this musical is in the style of a punk rock concert, but no, it is NOT a punk rock concert.... it is a musical. We need to hear the music, not just noise, and more importantly, we need to hear the lyrics of the songs. No matter how good and talented the six young ladies were this evening, if their singing is obfuscated and muffled by too much amplification, their hard work has come to nothing sadly.

And they had worked extremely hard. These six teenagers understood this musical, their roles within it, and their characterisations implicitly. They worked together as an ensemble excellently, and of course, each of the six wives also gets at least one solo to shine in too. The show lasts for just over an hour, non-stop, and the style of singing that is required of the six necessitates much technique and training. I am not certain that all six this evening had the requisite voices for such a demanding show, but, they all coped with it adroitly, and their commitment to the show, dedication, enthusiasm, and high energy, compensated for this a thousand-fold.

There are two casts, taking it alternately to perform this show, and so obviously I can only write about the six teenage divas I saw this everning, all of whom deserve the highest praise. They were Beth Moran (Catherine of Aragon), Melia Finnigan (Anne Boleyn), Bronwyn Wilson (Jane Seymour), Olivia Barton (Anne of Cleves), Mia Pearce (Catherine Howard), and Mia Reilly (Catherine Parr). Together making the formidale sextet of Henry VIII 's six wives, each telling their stories to the audience, trying to garner sympathy and outdo each other for the audience's approbation.

It is a fun and rather tongue-in-cheek show, but is historically accurate nevertheless, and is understandably extremely popular with the younger female, as it portrays six very strong and independant female characters with not even the slightest glimpse of a man (or a king!).

Reviewer - Matthew Dougall

on - 28.9.23

THEATRE REVIEW - Pornography - 53two, Manchester.

 

Simon Stephens, a Stockport born playwright, is perhaps most well-known for ‘The Curious Incident Of The Dog In The Night-Time’ and ‘Punk Rock’. ‘Pornography’, however, is one that I had not come across before, and I went into the theatre with no prior knowledge of the play’s themes or plot. ‘Pornography’, written in 2008, takes its name from Stephens’ opinion that ‘we live in pornographic times’. 

This play explores the lives of eight seemingly unconnected people living in fractured London, amidst the news of the 2012 Olympic games announcement and the Live 8 benefit concert. None of the eight characters were given names, only ‘one’ through to ‘eight’. This helped to give the production its ensemble feel. This play was a series of monologues and duologues that all connected in some way, helping to give the piece a fluidity. They rarely all shared the stage, except for in movement sequences; which worked really well. Director Oliver Hurst and movement director Matilda Philipson deserve the praise here.

The eight actors commanded the stage, with Matthew Haywood at the helm as ‘five’; a man looking at a bleak society and questioning how he can save it, with dire consequences. Isabel Ford as ‘eight’ brought a real, natural lightness to a turbulent play, and her comedy timing was on point. Another special mention within the ensemble cast must go to Isaac Radmore as ‘two’, a school boy in love with his teacher. Radmore really showed his audience the nature of ‘the show must go on’ as, during one of his more emotional monologues, the performance was halted due to a lighting issue. Radmore remained composed, and when all was rectified a couple of minutes later, he gave the audience a spell-binding and emotionally wrought ending to his monologue. Along with great performances from Haywood, Ford and Radmore, the ensemble cast was completed nicely with performances from Kim Burnett, Frankie Lipman, George Miller, Imohen Khan and John Joyce-O’Keefe. They all seemed to respond to one another and match each other’s performances, despite them having stand-alone monologues and duologues. 

Despite the slight lighting issue in the middle of act two, the use of multimedia within this production heightened the play immensely. The screens at the back of the stage, sometimes showing vaguely relevant images and videos, and sometimes live-streaming the play itself to the audience as though it was a concert (much like Live 8), was a fresh and innovative way to add dimensions to the play. Beck Cooley was the video director for this production and deserves much praise also. The lighting and sound were also very advanced; yet added layers to the viewing experience. The slight lighting issue can easily be forgiven as Dylan Tate’s use of lighting and Marco Tramontana’s sound design further elevated the mood of the production. The score was original and emotive, I would have loved for it to have been used even more within the play; especially as they used many local actors’ voices to create the ‘voices of the storm’ within the score. 

Sitting at just over two hours with an interval and hosted at the ever-growing 53Two, this production runs for a few more days and deserves to be seen. Support local theatre, support local actors, and support brilliant entertainment.

Reviewer - Megan Relph

on - 27.9.23

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

Following on from last Season’s successful all-LBGTQ+ productions, Altrincham Garrick Studio opens this year’s Season of all female themed plays with 'Bombshells' by Joanna Murray-Smith.

Originally written as a one woman show, the play features six monologues; a schoolgirl, a bride, a hassled young mother, a widow, a suburban divorcee, and a has-been cabaret singer. Six stories, six ages of woman, six insights, six emotional states.

I love a monologues structure. It allows the actor an intimacy of connection that isn’t usually experienced in a traditional play and for the audience it can be electric. If the quality of the writing and the quality of the performance are strong, Bingo! You have yourself a hit.

Joanna Murray-Smith has, in these six monologues, create a very entertaining, humorous and contrasting work. Each woman has her own insight, her own experience, her own denial, her own victories and failures, her own fears and joys.

First we meet Meryl (Eilidh Pollard) mother of three very young children. We wake with her at 6.07am when her crying baby starts the day and we stay with her for 24 hours until 6.07am the next morning when the whole routine (or lack of) starts again. She is hassled, harassed, tired and emotional. She is overwhelmed with love for her beautiful children and the endless repetition of the tasks of the day. She craves approval, acceptance, reassurance that she is a good mum, and coffee. She is filled with self-doubt and chastises herself as a selfish woman for ever considering her own needs; for ever being anything other than a slave to mother and wifehood. Pollard portrays well a loving woman who is under pressure. Her interactions with her children are well expressed and she uses her voice effectively and understands the rhythm and psyche of the character. I would have liked to have seen a more realistic handling of her ever present, milk demanding baby with a more realistic and believable baby prop. I think it would have allowed more moments of change of pace for her by utilising her breastfeeding regime and given contrast to the frantic pace of her day.

Next we meet Tiggy. (Lindsay Barker) Shy, sad Tiggy. Poor lonely Tiggy. Abandoned, angry Tiggy. Her husband Harry has left her for a much younger woman and in response she has embraced the world of cacti and succulents by joining a local appreciation society. She gives talks about them in local community centres. She comes alive when speaking on this her specialist subject. Barker conveys a gentle, shy woman who is kind and thoughtful, sweet and gentle, but much like a cactus if you catch it the wrong way, a sharp, stabbing painful moment can occur at any time. There is a vulnerability about her that Barker portrays effectively.

Young Mary O’Donnell (Ciara-Alexandra Booker) is the MOST talented girl in her school. She can sing and dance like no other and is hotly tipped to win the prestigious St Bridget’s Annual Talent Contest as she did last year, and the year before. When her nemesis Angela McTerry unexpectedly performs the very song and dance routine that Mary has been preparing, she has minutes to decide what to do as an alternative performance. It’s not a problem. She is talented, almost a professional, she will cope. If Meryl Streep can, she can. What unfolds is hilarious, well judged and sweetly psychopathic. Booker excels in this performance. Just like Les Dawson’s piano playing – you have to be pretty good to be able to do it that badly and Booker was THAT good.

Theresa McTerry (Kim Armston) is The Bride. Today is the happiest day of her life. We see her prepare excitedly for her wedding telling us of how she has planned this moment since being a young girl. As she dresses herself for this, the most important day of her life, we share her excitement and anticipation. But as the moment comes and she steps into the ceremony her doubts and fears begin to emerge with great comedy. Turns out she hasn’t really thought much beyond the dress and Amston portrays this role with great humour and nicely timed focus. As the ceremony moves to the reception her state of mind declines and her desperation to escape her reality hits home. It really WAS all about the dress and her journey from giddy girl to desperate woman is laid bare. It is a nicely jugged and well paced performance

Winsome (Sarat Broughton) is a widow. Her widowhood defines her as she copes with life following the death of her husband. She surrounds herself with the company of other widows and falls into a fixed routine of activity that seems to function as an anaesthetic to her pain and loss. When volunteering for a local Blind Society, reading books to it’s members, she meets Patrick, a much younger man. Gradually he seduces her and an awakening occurs that is both unexpected and beautiful. It takes some skill to perform a seduction alone on a stage and I must applaud Broughton for her portrayal. Her movement, vocal expression and nuanced performance was for me, impressive.

Zoe Struthers (Annabel Fox) is a Diva. An ageing, alcoholic diva who is past her best. We witness her swansong, a final performance for her adoring fans. She is demanding, self pitying, deluded and drunk. She laps up the adoration and manipulates it to suit her many needs. A monologue which is styled with audience banter inserted between songs this could have been a final showstopper. For me, Fox did not quite deliver. Her tragic performance needed to be much bigger, bolder, drunker and more Diva-esque. Basically, more Liza Minelli.

In conclusion, I did enjoy this show. The intimacy of this lovely studio worked very well for this piece of theatre and there was a lovely connection with an appreciative audience. Between the monologues, actors repositioned the stage for the next performer and for me this did not work and lacked directorial imagination. Connections could have been made using these moments and I felt clear opportunities were lost. This was a shame as there was some real talent amongst a generally good cast. The piece was entertaining and enjoyable. It was good. It could have been great.

Reviewer - Lou Kershaw
on - 27.9.23

THEATRE REVIEW: The Full Monty - The Opera House, Buxton.

This is the crowdpleaser of all crowdpleasers. A stage adaptation of the classic comedy film about six unemployed Sheffield men who start their own strippers troupe, “The Full Monty” bared all: both literally and emotionally; and earned a standing ovation from an overjoyed audience here at Buxton Opera House, and is produced by both the venue and Everyman Theatre, Cheltenham.

Simon Beaufoy, who wrote the original screenplay of the 1997 film, wrote this stage adaptation too; and made some very interesting choices when moving the story to a different medium. The time period has been changed to the late 1980s, partly so sound designer Chris Whybrow could feature a lot of ear-thumping music from the period, and partly to enhance the air of post-industrial decline. Margaret Thatcher, “our illustrious leader”, gets her portrait defaced on stage and her ghost haunts the overall story. Other changes were more practical: the main set is the disused steelworks that Gaz and Dave used to work in, and scenes and characters that were scattered in all different locations in the film have been reworked to be in just a few settings. Designer Jasmine Swan used a lot of semi-rusted steel in her stage structure that could be assembled and re-assembled like Meccano.

Danny Hatchard was a restless streak of energy as the entrepreneurial  Gaz, founder of male stripper troupe Bums Of Steel. As his young son Nathan, Cass Dempsey mixed sweet innocence with true Northern bolshiness, and his relationship with his divorced father prompted much cooing from the very engaged audience. Neil Hurst, as Gaz’s overweight best friend Dave, had a deadpan sense of comic timing and a solid stage presence that usually had him stealing every scene that he was in. He took all the wolf whistles from the audience in his stride.

Bill Ward was outstanding as Gerald, Gaz’s retrenched foreman who is clinging to keeping up appearances while hiding from his wife that he is unemployed. Taut with suppressed energy, he dished out his frustrations with laser focus. Jake Quickenden gave a sympathetic performance as Guy, making no secret that Guy was gay, but leading it into a more unexpected direction. Nicholas Prasad, the “pigeon-chested little tosser” Lomper, was a zestful worrier. Leyon Stolz-Hunter gave an interesting performance as the geriatric Horse: combining the lonely old man with the formerly vibrant Northern Soul dancer of a previous era – and yes, he did a terrific Funky Chicken.

Katy Dean, as Dave’s sexually frustrated wife Jean, was sincere in her love for her husband. Laura Matthews, as Gaz’s ex-wife Mandy, embodied the self-sufficiency that was the fear of the men of Sheffield. Suzanne Procter doubled in a number of roles that included an aggrieved female stripper at the Bums Of Steel auditions, and Gerald’s wife Linda – now armed with a garden gnome. Adam Porter Smith was a tersely effete Alf, landlord of the working men’s club that hosted Bums Of Steel’s debut performance.

Everything built up to the final scene of the Bums Of Steel performance. And this was where theatre trumps film. Spotlights beamed in from behind us. Tom Jones’ singing was booming out of the sound system in stereo, and the bass was so deep the walls were throbbing. And in front of us were the performers: here, live, and going for the full monty.

For the record, Hatchard, Hurst, Ward, Quickenden, Prasad and Stolz-Hunter are all very good dancers, and blazed with charisma. How could any audience resist?

Reviewer - Thalia Terpsichore
on - 26.9.23

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

What a joy to see a set design that wasn't a rubbish dump! I have had a very long and productive relationship with this musical over the years, and it is probably fair to say, it is one of the few that I know inside out and backwards. However, this evening it was the first time I have been shown a stage design that didn't include, at least in part, a pile of rubbish! How refreshing! This was The Drama Department's youthful and hugely energetic production of Lloyd-Webber's 'Cats'. Here, we were outside the Stage Door of the feline version of Stockport's Plaza Theatre, with posters advertising productions such as 'Meowin' In The Rain', and 'The Whiskers Of Oz', was a superb touch, whilst the design allowed for different levels, and enough room (just!) for the company to perform their fantastic dance routines. I am uncertain what the two "slides" were meant to represent, but I enjoyed watching the cats slide down them!

This was a very large, youthful, and talented cast, and on this, their opening night, they were performing full steam ahead, giving 100% at all times, and seemingly enjoying every second of it too, which seemed to spill out from the stage over the audience, as their energy and commitment was both tangible and infectious. 

The story (what there is of a story) concerns the coming together of the local group of Jellicle Cats, who await the arrival of their leader, Old Deuteronomy, who will then listen to their lifs stories, watch them perform, and decide which of them should be chosen to be 'reborn', and come back in another Jellicle life. Over the years the musical has undergone various changes and rewrites, and so some of the songs, 'transitional melodies', etc have either been altered or completely replaced, but the basic premise remains the same; even if, in my humble opinion, the show has worsened because of these changes.

All the cast deserve credit, but, in the space of this review, I should like to mention just a couple, who, for this reviewer at least, managed to impress just a little more, standing out not in a showy or bad way, but simply that their talent and stage presence made me want to watch them whenever they took the stage. In this regard, I must mention Bombalurina (Louise Colohan), Rum Tum Tugger (Isaac Murtagh), Bustopher Jones (Gavin Chadwick), and the two young turbaned "twins", who sadly I am unable to name. (maybe someone can help me?!). And of course, the enigmatic and impressive presence of the "narrator" of the show, Gary Jones as Munkustrap. It was also a truly wonderful idea to use a smaller chorus of preteen 'Kittens', and they all did remarkably well.

Both the costumes and make-up were a mix of some working excellently, and others being extremely strange and seemingly unsuitable. A truly mixed bag; but those that did work, worked superbly, and were the ones that I tended to watch when they were on stage. The sound levels were good throughout, and the lighting was creative, but sadly the perimeters of the stage seemed to remain unlit the whole evening, and so cast members placed in these areas were unlit too. It also was a huge shame that when cats were singing solo lines (especially in the 'Jellicle Songs'), the voices were coming from the stage, but we were unable to see the singer.

The choreography (Carolynne Jones) was imaginative and filled the stage. I loved the group work, the use of space, and the picture endings, whilst the acrobatics did not go unnoticed or unappreciated. Directed by Michael McCaw [any relation to the sadly cut song of Billy McCaw..??!!], the show was pacey and dynamically satisfying. The story was nicely signposted, and the characters and their relationships easy to understand. There were also a couple of nice directorial additions in this show too, which were nice touches and made me laugh. Musically secure under the direction of Paul Lawton, the pit orchestra was kept in check and sounded good the whole evening. The singing from everyone was superb. I loved Gareth Smith (Old Deuteronomy)'s mellow baritone. The chorus singing was joyous and lush, but there were times when the male harmony voices overpowered the female tune, and so the balance here just needs a little tweeking. 

Overall, and taking first night nerves into consideration, this was a hugely enjoyable, high energy, "vollgas" production, and the cumulative talent on stage was awe-inspiring. Bravo.

Reviewer - Matthew Dougall
on - 26.9.23

THEATRE REVIEW: The Rocky Horror Show - The Alhambra Theatre, Bradford.

Everybody’s favourite science fiction double feature has landed back at the Bradford Alhambra this week and you’d better hold on to your gold glittery hats, because it’s one hell of a ride. The biggest cult musical of all time has an extremely dedicated fan base for a reason – all undressed to the nines on a Monday night and with this show, you expect nothing less. If you’re looking for a happy ending, a quiet night, or a storyline that even remotely makes sense, this isn’t where you’ll find it. If you’re looking for a nice family night out, you’re in the wrong place. But if you fancy a couple of hours of sin, debauchery and assault of the senses, then follow the lights over to the Frankenstein place…

For those of you unfamiliar with Richard O’Brien’s theatrical masterpiece, The Rocky Horror Show follows the sweet, innocent, newly engaged Brad and Janet who, on their way to visit an old friend, get stuck in a storm with a blown-out tyre. Lost and scared, they find themselves searching for the closest help they can find – which just so happens to be nestled in within a pit of sexual depravity. What could possibly go wrong? Aliens building themselves the perfect man? Witnessing a murder, ruining your relationship with countless infidelities and ending up on a different planet? You couldn’t make it up.

Right from the start, Jackie Clune as the narrator makes sure the audience knows just what they’re in for. With such a cult following it’s no surprise that the audience knows what the in jokes are, so there’s plenty of off-the-cuff audience interaction to be had; and Clune really drew from her comedy background with plenty of on-topic quick-witted retorts that would make a nun blush and had the audience howling. And it was only on the up from there, as this was an insanely talented cast. Colombia (Darcy Finden) Riff Raff (Kristian Lavercombe) and Magenta (Suzie McAdam) got everyone up and moving with everyone’s go-to dance at Halloween party – the absolutely classic ‘Time Warp’. It’s not often you get a workout on a trip to the theatre, but the audience went wild, and it was so much fun to see everyone having a boogie. And of course, our stunning ‘Sweet Transvestite’ Frank N Furter (Stephen Webb) got the brunt of the excitement for his magnificent entrance – hilarious, smutty and downright sensational, he could give Tim Curry a run for his money. (And that’s coming from a diehard fan, so it’s not said lightly!)

Brad (Richard Meek) and his lovely Janet (Haley Flaherty) were delightfully awkward – which doesn’t last long surrounded by all that sexual tension and leather, but it just makes for good comedy. And the masterpiece of the evening, Rocky (Ben Westhead) sounded wonderful and looked even better. Although it should be a crime to have that low a percentage of body fat AND be so talented, it just makes the rest of us look bad.

The one slight critique would be that despite the stunning stage design (futuristic '70s if ever I saw it) they might have gone a little too hard on the sci-fi lighting – there was the odd occasion where it was difficult to see the action on stage, but I suppose it could be chalked up to adding a little otherworldly atmosphere to the room…

All in all, though, a sensational cast and a laugh riot of a production – not for the faint of heart, but one for the weird and wonderful among us. Give into your deepest desires and head over to the Bradford Alhambra this week, before they’re beamed back to good ol’ Transexual Transylvania!

Reviewer - Hazel Kaye
on - 25.9.23

THEATRE REVIEW: Identities: A Play About Boobs - The Pyramid, Warrington.

'Identities: A Play About Boobs' takes us on an extraordinary journey through the lens of life, humour, and breast cancer, all told from the unique perspective of two protagonists - a left and right boob. Crafted by Rae Bell and a remarkable group of women from the North West, it is nothing short of a resounding success.

Rae Bell, the mind behind the boobs, astutely infuses the script with a witty humour that keeps the audience laughing even in the most poignant moments and allows us to sit in the discomfort without dragging us into depth. Initially, a play about cancer might feel quite uninviting and I guess that really, that is the point of 'Identities'; to break down the fear of cancer allowing us to understand, sympathise and laugh at two tits on stage!

The beauty of 'Identities' lies in its ability to seamlessly weave comedy and heart-wrenching sincerity into a narrative that keeps the audience engaged from start to finish. One moment, you'll find yourself laughing uncontrollably and the next you’re tearing up. 

From the very first moments of the play, it's evident that this is a work of deep creativity. Lucy Sneddon’s use of colour and texture in costumes and set is full of nostalgia, it replicates the feeling of a young girl's bedroom and feels like groovy chic meets the cellular level of breasts. The manipulation of time and the meta references to the audience create a unique and immersive experience. All this is complemented by Jessica Brigham’s lighting that aids the snappy changes and emotional shifts in scenes. 'Identities' manages to strike a delicate balance, feeling meticulously rehearsed to perfection yet also spontaneous and responsive. Hannah Bracegirdle's sound design allows us to be fully immersed in the atmosphere of the world, particularly in a haunting walk down the hospital hallway as we pass by private conversations which I later found were real testimonies of women from the North West. 

Hannah Harquart and Rae Bell, the two funny Northern acting talents in 'Identities', are like a dynamic duo reminiscent of the legendary comedic pairings of northern British actors, such as Victoria Wood and Julie Walters, bringing their own unique brand of humour and heart to the stage.

In a show with such an intimate cast, every character interaction carries immense weight, and the chemistry between Rae Bell and Hannah Harquart is nothing short of joyous. Their portrayal of the straight man/funny man dynamic is impeccable, evoking a sibling-like relationship that allows the most poignant moments to hit close to home (pardon the pun) with unparalleled impact.

Director Maya Shimmin also deserves immense credit for orchestrating a seamless blend of writing, acting, set design, music, lighting, and costumes. Every aspect of the production works in harmony to tell a compelling and thematically strong story.

Although 'Identities' doesn't revolve around a specific location, it manages to capture the essence of Northern women: loving, strong and full of humour. With only a few references, it evokes a strong emotional connection to the hometown of Rae (Warrington). This adds a unique layer of sentimentality to the show.

While 'Identities' is bound to captivate audiences in various locations, there's an unparalleled experience in being in the room with the very family members and live testimonies from women who have had breast cancer and who inspired this heartfelt story.

'Identities: A Play About Boobs' is the result of two years of dedication and a lifetime of personal experiences. It carries the weight of a deeply emotional journey but does so with finesse, humour, and an unwavering commitment to its message. It's a must-watch for anyone seeking a touching, tender, heart wrenching, and undeniably hilarious theatrical experience. Five stars would not do it justice; it's a theatrical gem that will leave an indelible mark on your heart.

Reviewer - Jack Wagman
om - 21.9.23

AMATEUR THEATRE REVIEW: A Different Way Home - The Little Theatre, Altrincham. Greater Manchester.

Jimmie Chin is a local writer, and he writes about his local area and what he knows. Born in 1940 in Middleton (then part of Lancashire), in north Manchester, his plays are full of the local essence of life, with local humour, and plenty of local references for those of us who also live here to recognise too. Many of the street names and areas mentioned in this play were very familiar to me, including the number 59 bus!

I had never seen 'A Different Way Home' before, and expected the play to be more comedic than it actually was. This is essentially a bitter-sweet recollection of love, life, and death, which Chinn subtly and cleverly intertwines with humorous anecdote in order for it not to become 'moribund' (interesting word that, moribund).

What is unusual about this play is that it is, in fact, two separate monologues. In the first act, the longer and more detailed of the two, we see Leslie, a single, middle-aged man, living in a house that hasn't seen any change in decor since it was first furnished. We learn that he lived there with his mother, and that she passed away on Christmas Eve. It is a 70 minute monologue, and during it we laugh, we cry, and we sympathise (or even empathise) with him, in a script that allows us to see his world without prejudice. Performing this daunting task was Ian Fernsome, who obviously had a great affinity with his character, and was a thoroughly engaging and personable actor, giving us a very real and understated performance of a very real person. 

After the interval and it was the turn of Leslie's sister, Maureen to tell her side of the coin. Here we see Maureen in black and obviously dressed for a funeral, but the narrative is far less developed, and if anything, too short, and so we don't really get to know or understand Maureen in the same depth as we did Leslie. That is a shame, we needed more from her to understand the family dynamics better. However, no less a talent was found to play Maureen, and Sarah Kirk did an excellent job with what Chinn had given her. [errant cigarette lighters notwithstanding!]

Directed with assurance and understanding by Michael Russell, this was a tight and compassionate portrayal of this 'slice-of-life' northern family.

Reviewer - Matthew Dougall
on - 25.9.23

CLASSICAL MUSIC REVIEW - Manchester Camerata with the RNCM Chamber Orchestra - The RNCM, Manchester.

 

It is becoming something of a pain, with many companies moving away from printed programmes, not having anything to hand in order to reference during the concert. For those, like me, who either do not own a smart phone or prefer to have it firmly switched off and out of temptation's way whilst in a theatre or concert hall (as it should be!) we have no way of knowing what the programme of the concert is.. and this is most annoying. Yes, we can - if we remember - print the programme from home before coming to the theatre, but even that is onerous and prone to disaster. I was therefore listening to the three pieces performed this evening, without any knowledge of what they were or who the soloist was. There was no screen above giving the programme details as there sometimes is, and there was no announcements during the concert either.

The first piece was a modern piece in three short movements by Grazyna Bacewicz called 'Divertimento'. Performed by the string section only, they were highly contemporary and discordant, with the occasional tune.

Following this was Mozart's Piano Concerto No 23 in A Major. Again 3 movements but this time the strings were ameliorated with a couple of French horns, a few wind instruments, and of course a piano! To play the piano solo this evening was Ethan Gillespie, a young pianist who played the concerto with simplistic ease. I did feel that in the second movement, he tried to put more meaning and emotion behind the notes than necessary, and it tended to slow it down and lose the flow of the piece because of this. Mozart's ebullience was not present in this movement. The third movement however was light , frivolous and nicely showy. 

After the interval, and we returned to a full chamber orchestra including timpani. This was Dvorak's 7th symphony. Lush and Romantic it was, but sadly it was not very clean. The dynamics in the piece were not picked out sufficiently, and the melody was not clearly signposted at times with the harmony and bass notes being louder than the tune. Dvorak is one of my favourite composers and unfortunately I was rather disappointed with this interpretation.

A rather mixed bag of a concert, with three pieces spanning three different compositional eras, all under the baton of RNCM student conductor Agata Zajac. 

Reviewer - Matthew Dougall
on - 23.9.23

THEATRE REVIEW: Nest - M6 Studio Theatre, Rochdale.

 

For many years I have been a huge advocate of M6 Theatre Company, and of the work they do. I have seen many of the productions, aimed at toddlers and young children, and the vast majority have been absolutely spot on. I was looking forward to seeing 'Nest' this afternoon, since I had never been to M6 Theatre Company's new home, in their purpose-built annex in the grounds of Hamer County Primary School in Rochdale before. The building is well-equipped, and their studio theatre is a lovely black-box affair with raked seating on one side, affording a good view from any seat. 

'Nest' is a two-hander, and tells the story of a couple of crows starting out in a new nest in the centre of a city, One lays a couple of eggs, and they set about trying to prepare for them to hatch. The substance of this story was not in any way enough to sustain a performance time of one hour, and keep the interest and focus of the youngsters in today's audience. Most followed it to a point, and were quiet throughout, but their attention spans waned and a few fell asleep on their parents' arms.  

From an adult perspective, this production raises far more questions than it answers, and there are so many things within the show which I found confusing or counter-productive, especially when this show is being performed to extremely sponge-like and impressionable youngsters. The set, did not in any way, look like or represent, a nest. Birds of the crow family will happily make their nests anywhere, and from anything, that much is true; however, after a truly lovely start - using shadow puppetry - to give the background to the story and their choice of nest, we were not shown a nest made of twigs in the branches of a tree. This was a 'house' made of planks of wood, including a wheeled table, ornaments, and a trap door...! The actual nest - where the crows put the two eggs - was a wicker basket. Very strange.

Another point of confusion is casting two actresses to perform this show, when one quite clearly is playing the role of a male crow, 'Birtle' (which sounded far too much like Myrtle... a female name), and had a higher-pitched voice than the female of the partnership, Piper. (a male name (??).

The shows started excellently, as I already stated, with a shadow-puppet montage of a field with tress, slowly being taken over by houses, then high-rise flats and factories etc, leaving a single solitary tree for the two crows to utilise. It was a simple but clear message which was sadly, not followed through in the narrative. In fact, the narrative was to give the children the very opposite messages. First, crows like all the things that the humans throw away on the streets etc, because they can pick them up and use them to decorate their own nests. [promoting the dropping of litter] Second, they like all the food that the humans drop on the flor and leave around because they can then come along and eat and enjoy the human food. [promoting the discarding of unwanted food on the streets] Thirdly, the script promotes consumerism and capitalism (albeit subliminally). The ecological and environmental message that the show started with was not mentioned again! Except as an afterthought at the end, saying that they must look after these eggs, it is their job to take care of their future... but what future...?!

The two actresses (Cynthia Emeagi and Emily Spowage) work well together, and complement each other well on stage. The songs are catchy but are not loud enough, and the show itself very slow and long-winded, with not enough to sustain the interest of the youngsters throughout, and no interaction at all, as this was a show that observed the theatrical tradition of the fourth wall. 

Reviewer - Matthew Dougall
on - 23.9.23

THEATRE REVIEW: By The Waters Of Liverpool - Waterside, Sale. Greater Manchester.

 

A few years' ago, I saw a stage adaptation of another Helen Forrester novel, 'Twopence To Cross The Mersey', produced by the same team responsible for this show. What I did not realise however, was that this play, 'By The Waters Of Liverpool', starts (more or less) where the other one finished. 

We are in Liverpool (of course), and this story takes us through the years 1938  to the middle of the second world war, and our protagonist, the diminutive Helen Forrester, is once again telling her own story. It is a story of hardship and deprivation, but also one of great hope and belief in the human spirit. 

As before, the set is a backdrop of the more famous and iconic buildings of the Liverpool skyline, and a few brown and unkempt house flats for either side of the forestage. The format, and adaptation is exactly the same; a curious mixture of narration and the acting of little vignettes. The characters introduce themselves (including what they are wearing etc) before they speak, and the vignettes could easily be performed on their own and in any order; some are funnier than others, but all rely on caricature rather than character to tell their story. It is a very odd piece of theatre, since it is neither a play nor a lecture, and because of this, it is impossible to sympathise with and relate to the characters on stage in a way that one would normally do when watching a play. This was essentially a story being narrated in costume with a bit of comedy thrown in for good measure.

Admittedly, this was a more proficient and more mature production than 'Twopence' was, but there is still a long way to go yet before it becomes the truly riveting and emotional rollercoaster that the real story of her life clearly was. This I lay at the feet of the writer / adapter. That being said however, it still does have an undisputed appeal, especially to those of a certain generation. Those who have read the Forrester books in their youth, or have a personal connection to Liverpool at the time this novel is set. And, more importantly, for me at least, I did learn something very important from this play this evening; namely that Jews in England were prejudiced against and had their shop windows broken etc; due in no small part to Mosley and his Blackshirts. I had, however, been completely ignorant of this until this evening.

Reviewer - Matthew Dougall
on - 22.9.23 

THEATRE REVIEW: The Cost Of Everything - The Lowry Theatre, Salford.

 

It is something to satirise events or types of people and make people laugh. There is added gravitas if the events in question are topical and affecting everyone to varying degrees. However, it quite rare to actually offer the audience, constructive and original ideas for solving a crisis. ‘The Cost Of Everything’ managed to do all these things in an amusing and extremely interactive way.

The rising cost of living has been a constant feature in the news seemingly forever, with key aspects taking turns to be the main focus of attention from fuel and energy costs to food prices and to the shortage of affordable housing coupled with expensive rents. There are different ideas as we now have reached the present situation but Hidden Track Theatre honed in on aggressive capitalism and self-interest, showing how we now worship in the church of the free market. The concept was brought over in a very funny way, complete with a liturgy conducted by a priest wearing the holy pound sign on a neck-chain backed with church singers whilst at the same time, convincingly getting the message over.

The main thrust of the show was akin to a cross between the board game ‘Monopoly’ and a TV game show involving the whole audience, with everyone given a small number of symbolic tokens, described as ‘things’ which varied from a concept such as energy to a specific luxury item. Audience members competed in various games using playschool-style props that were funny whilst focussing on different key issues. Flash messages on the video screen would frequently interrupt events such as a sudden increase in energy costs meaning everyone had to choose a ‘thing’ to give up. Added to this were frequent fun-facts that were not funny at all (such as the relative cost of a house now compared with fifty years ago).

The cast of three remained fully in character throughout all the fun and mayhem, for the most part representing members of the church of the free market but with the very distinct addition of Jen from Preston, an ordinary, everyday-sort of woman, who represented the heart of what the play was about. To his tremendous credit, Elliot Hughes in writing ‘The Cost Of Everything’ did not pick on easy scapegoats such as trying to blame everything on the Tories or the bankers because apart from anything else, that would not help to resolve the actual problems. Jen from Preston represented a real event that took place in Preston around 2015 where the council worked with various groups of the public in a constructive way to try to address various issues facing the city; something that has become known as The Preston Model. It was very refreshing to encounter a funny, satirical play that actually gave you something positive and credible to take away!

Elliot Hughes, Janelle Thompson and Steph Reynolds all gave spirited performances, both interacting amongst themselves and interacting directly with audience members. The cast were certainly well-rewarded for their efforts with an enthusiastic audience keen to get involved in all the hi-jinks. This was a fun night that offered more than just entertainment. Another interesting added element were the ‘homeworkers’ who were a group of some 15-20 people watching the show on-line and they participated in being able to vote on direction at certain points during the performances. A couple of cameo characters also appeared on the video screen for good measure.

All in all this was a sophisticated show that was funny and relevant, focusing on how to resolve issues rather than just moaning and wagging the finger. Very well worth seeing!

Reviewer - John Waterhouse
on - 21.9.23

THEATRE REVIEW: Boys From The Backstuff - The Royal Court Theatre, Liverpool.

Alan Bleasdale’s gritty social drama which started life on TV in 1978 as a ‘Play For Today’ called ‘The Black Stuff’ was a no-holds-barred look at life in Thatcher's Britain portrayed through the lives of diverse working-class men and women; this was developed into the critically acclaimed, ‘Boys From The Blackstuff’, a poignant and humorous mini-series of five, fifty minute episodes which aired on BBC2 in 1982. This new adaption by James Graham, writer of the hit BBC series Sherwood, is presented by Liverpool’s Royal Court and Stockroom Productions.

It tells the story of five tarmac layers, Chrissie, Loggo, George, Dixie and Yosser, who are used to hard graft and providing for their families but suddenly they have no work and no money as they’ve lost their jobs and are dealing with unemployment in the Thatcher era. Directed by Stockroom Productions's artistic director, Kate Wasserberg, it’s a depiction of the desperation and hopelessness felt while struggling to cope with high rates of unemployment and the lack of social support which follows. 

The story is a portrayal of Liverpool in the 1980s, a bleak and despairing place, with only the common threads of unemployment and humour keeping moral up. The story centres on the struggle of a ragged band of workers trying to make ends meet. On the way there are scams, subterfuge, corruption and the ongoing battle between the workers and the ‘sniffers’, the Welfare Benefit Fraud Investigators. 

Focusing in on the life of each character, it portrays the anguish and suffering experienced around their frantic struggles to find work as well as harshly depicting the devastating effects of unemployment on their domestic lives and their mental health.

The play is staged on a set designed by Amy Jane Cook, depicting industrial rigging, giving an industrial feel with scenes using various movable constructions which help to smoothly relocate the audience’s attention between work places, public buildings and domestic settings; at times the actors are high up on platforms and then at eye level using wooden crates on wheels, dry ice and flaming tarmac boilers. A rear video backdrop of the Mersey waters and docks interspersed with still images of Liverpool complete the atmosphere emphasising the maritime theme to this version of the story and relative simplicity of the staging. 

The five main characters, Barry Sloane, as Yosser, Andrew Schofield as union leader George, Mark Womack as Dixie, Nathan McMullen as Chrissy, and Aron Julius as Loggo, unveil the camaraderie of the working-class men which builds well throughout the show highlighting the solid ties of trust and loyalty between them and then shows how they go on to realise that their allegiance to one another outlives any job or relationship. 

The first half sets the scene but is somewhat slow and unremarkable but the action steps up after the interval and contains the more interesting insights into the personal lives of the main characters with shared musical interludes and reminiscences of their past and the dreams they had along the way. The original critically acclaimed work was lauded for its depiction of the desperation and hopelessness felt while struggling to cope with high rates of unemployment and the lack of social support which followed and this certainly comes across in this production.  Barry Sloane portrays Yosser outstandingly with passion and sympathy while the other four principal actors excel in their depiction of characters trapped in a specific moment of time, powerless to improve their quality of life.

The dialogue and language used throughout the production helps depict the atmosphere of the time and location, with colloquial ‘scouse’ used providing the audience with laughter and a few tears; despair, anger, disillusion, hopelessness and frustration are portrayed brilliantly. 

Reviewer - Anne Pritchard
on - 21.9.23

THEATRE REVIEW - Greatest Days - The Alhambra Theatre, Bradford.

 

Ahh, the jukebox musical. The wonderfully entertaining bridge between mainstream pop songs and musical theatre – and what a mash up. They work for a reason – and 'Greatest Days' is no exception to the rule. Packed full of nostalgia, emotion and some absolute pop bangers, what’s not to love?

Following the lives of 5 boy-band obsessed teenage girls in the '90s, 'Greatest Days' is a tale of love, loss, friendship, and of life not working out the way you thought it would, but still being amazing anyway. After finally winning the opportunity to see their favourite band live and having the night of their young lives, sharing their hopes and dreams for the future and promising to never lose touch – it really is the teenage dream. But after a devastating accident tears the group apart, we cut to 25 years later with the girls not quite where they imagined they’d be. 

I never expected to find myself crying in public to a Take That soundtrack, but that’s right where I ended up – as the show reminds us, things don’t always work out the way you expect. With Heather (Jennifer Ellison) now in her 40s and living the housewife life with her long-term partner Jeff (Christopher D. Hunt) the girl who always dreamed of her big white wedding is still dreaming, missing the fun and excitement of her teenage years and using her throwback music as a coping mechanism. So when another competition raises its head and she has the opportunity to see the band once again, and she’s lucky enough to win – it seems like fate that she should get the gang back together. And realising that none of them had quite lived the life they thought they would, we see them come to the realisation that it’s just fine – the best laid plans, and all that. But seeing each other again and being open about their experiences shows just how much they need each other’s support, and it’s a heartwarming rekindling that really tugs on the heartstrings. I don’t want to give too much away, but it really is an emotional rollercoaster! Mady Moore’s portrayal of Debbie is absolutely stunning and definitely worth a mention; bringing the show together from past to present with her confidence and lust for life, she’s a real firecracker. 

Ellison is a charming and charismatic Rachel, encompassing the plucky spirit of a Northern girl with a funny side and a gentle touch. She’s supported wonderfully by Olivia Hallett as young Rachel; the two paint a wonderful picture of a young girl full of hope, living in the past where it was a little more plentiful. The group is completed with the sassy and snarky Heather (Charlotte Anne Steen) the tightly wound Zoe (Holly Ashton) and hilarious Claire (Karen Holmes) The entire group fit together so flawlessly; it really does feel like you’re watching a group of best friends just enjoying themselves! Although we had a couple of understudies on the night it was impossible to tell; the casting remained remarkable and the cast gelled together beautifully. I particularly enjoyed the interspersion of the younger characters with their older selves; it made the emotions hit even harder to see the characters in comparison with their younger selves.

The band themselves were incredible too – nobody can quite square up to Robbie and Gary, but these boys did a remarkable job and took us straight back to the '90s, parachute pants and all. It’s worth seeing even if you’re not a huge Take That fan (although if not, why?) as the show isn’t really about the band as I’d first expected, but the effect they can have on the world and the role music can play in your life. The vocals are amazing, the lights are like a stadium show (beautifully designed by Rob Casey, but maybe a tad too much stadium for the Bradford Alhambra; my retinas are still adjusting.) All in all it’s a good laugh, a good cry and a good reason to have a boogie in your seat (even if it does make you feel a little bit old when you come to the realisation of just how long ago the '90s actually was…)

EAhh, the jukebox musical. The wonderfully entertaining bridge between mainstream pop songs and musical theatre – and what a mash up. They work for a reason – and Greatest Days is no exception to the rule. Packed full of nostalgia, emotion and some absolute pop bangers, what’s not to love?

Following the lives of 5 boy-band obsessed teenage girls in the 90s, Greatest Days is a tale of love, loss, friendship, and of life not working out the way you thought it would, but still being amazing anyway. After finally winning the opportunity to see their favourite band live and having the night of their young lives, sharing their hopes and dreams for the future and promising to never lose touch – it really is the teenage dream. But after a devastating accident tears the group apart, we cut to 25 years later with the girls not quite where they imagined they’d be. 

I never expected to find myself crying in public to a Take That soundtrack, but that’s right where I ended up – as the show reminds us, things don’t always work out the way you expect. With Heather (Jennifer Ellison) now in her 40s and living the housewife life with her long-term partner Jeff (Christopher D. Hunt) the girl who always dreamed of her big white wedding is still dreaming, missing the fun and excitement of her teenage years and using her throwback music as a coping mechanism. So when another competition raises its head and she has the opportunity to see the band once again, and she’s lucky enough to win – it seems like fate that she should get the gang back together. And realising that none of them had quite lived the life they thought they would, we seem them come to the realisation that it’s just fine – the best laid plans, and all that. But seeing each other again and being open about their experiences shows just how much they need each other’s support, and it’s a heartwarming rekindling that really tugs on the heartstrings. I don’t want to give too much away, but it really is an emotional rollercoaster! Mady Moore’s portrayal of Debbie is absolutely stunning and definitely worth a mention; bringing the show together from past to present with her confidence and lust for life, she’s a real firecracker. 

Ellison is a charming and charismatic Rachel, encompassing the plucky spirit of a Northern girl with a funny side and a gentle touch. She’s supported wonderfully by Olivia Hallett as young Rachel; the two paint a wonderful picture of a young girl full of hope, living in the past where it was a little more plentiful. The group is completed with the sassy and snarky Heather (Charlotte Anne Steen) the tightly wound Zoe (Holly Ashton) and hilarious Claire (Karen Holmes) The entire group fit together so flawlessly; it really does feel like you’re watching a group of best friends just enjoying themselves! Although we had a couple of understudies on the night it was impossible to tell; the casting remained remarkable and the cast gelled together beautifully. I particularly enjoyed the interspersion of the younger characters with their older selves; it made the emotions hit even harder to see the characters in comparison with their younger selves.

The band themselves were incredible too – nobody can quite square up to Robbie and Gary, but these boys did a remarkable job and took us straight back to the 90s, parachute pants and all. It’s worth seeing even if you’re not a huge Take That fan (although if not, why?) as the show isn’t really about the band as I’d first expected, but the effect they can have on the world and the role music can play in your life. The vocals are amazing, the lights are like a stadium show (beautifully designed by Rob Casey, but maybe a tad too much stadium for the Bradford Alhambra; my retinas are still adjusting.) All in all it’s a good laugh, a good cry and a good reason to have a boogie in your seat (even if it does make you feel a little bit old when you come to the realisation of just how long ago the 90s actually was…)

Everybody loves a happy ending, and 'Greatest Days' just goes to show that even though yours might not be the one you imagined, it’s still worth embracing – especially when you’ve got your people by your side. Everybody loves a happy ending, and 'Greatest Days' just goes to show that even though yours might not be the one you imagined, it’s still worth embracing – especially when you’ve got your people by your side. 

Review - Hazel Kaye

on - 19.9.23

THEATRE REVIEW: Rebecca - Charing Cross Theatre, London.

 

Making its London Premiere at Charing Cross Theatre, 'Rebecca' begins with the melancholy song, 'Last Night I Dreamt Of Manderley'. It’s a soulful melody and this begins Act 1 with our narrator (the second Mrs de Winter) the shy and innocent  “I”, played by the delightful Lauren Jones. 

This new English adaptation of 'Rebecca' is based on the book of the same name by Daphne Du Maurier.  The show starts in the South of France at the luxurious and high-class Monte Carlo where “I” is working as a lowly companion for the ostentatious Mrs Van Hopper. For those that know the book, it starts as a whirlwind love story where Maxim de Winter falls for the shy, innocent and demure young lady following the death of his first wife, Rebecca. The haunting chill of Rebecca is felt throughout this production and more so once the newly married couple return to Manderley, Maxim’s stately home in Cornwall. 

As “I” realises that she has fallen passionately in love with Maxim and is about to leave Monte Carlo with Mrs Van Hopper she begins the musical number, 'You Can Count On Me', being forever the romantic it brought a tear to my eye. The show starts off with hope and love and the possibility of happiness which is clearly depicted in the musicality and lyrics. Maxim, played by Richard Carson, is everything you imagine him to be, tall, good looking, portraying a caring side all mixed up with a fine voice that anyone would be entranced by. You can see why this young girl is enraptured by him.

The newly married couple then return to Manderley, where the staff wait with anticipation of meeting the new Mrs de Winter, only to be surprised at the vulnerable young girl who arrives with Maxim.  We feel Rebecca everywhere at Manderley. Rebecca is still adored by the indomitable Mrs Danvers, played by Kara Lane. The song, 'Rebecca' is like a love song to her former charge, and appears several times throughout the performance and chillingly more so each time. Kara Lane steals the show with her seething hatred of the new Mrs de Winter and her conniving schemes that drive a wedge between our newlyweds. There are some slight changes to the original book, but it all works well in this production based on Michael Kunze’s story. The atmospheric fog that rises brings the reality of living by the sea in Cornwall and also highlights the darkness of the story. 

Surprisingly this new production was first devised for an Austrian audience and put on stage in Vienna. 'Rebecca', the musical by Michael Kunze (story and lyrics) and Sylvester Levay (music) was originally written and performed in German. With Austria being a landlocked country, it would have been a challenge to depict the wildness of the Cornish land and seas. But the projections were superb here in London, that I can only praise the effects, images and sounds. The musical has nevertheless been wonderfully adapted for English by Christopher Hampton with Michael Kunze. There were some concerns that the songs might not work so well in English, but by golly! It’s wonderful. I always judge a show on whether I would see it again, and this impressed me so much I messaged my friend who sings at the Royal Opera House during the interval and told her to buy tickets. The ensemble was fabulous and too many to name them all.

Charing Cross Theatre is a small theatre, just off London’s west end, but for this show it has somehow housed an eighteen-piece orchestra, which has in fact been downscaled from over thirty musicians since Vienna. The show has been a huge hit in Vienna and is seen as very much operatic. It’s on a small run here in London, but I hope it can make it onto other stages as it is an important piece of work. We’ve been waiting for it to be staged in London since 2012, when it was scuppered at the last minute due to the theatre being flooded.

It was a lovely surprise at the end for the cast to welcome Michale Kunze, Sylvester Levay and the conductor Robert Scott onto the stage for the final curtain. I hope they were as pleased with it as were the audience.

Reviewer - Penny Curran

on - 18.9.23

THEATRE REVIEW: The Mousetrap - The Opera House, Buxton.

 

“The Mousetrap” by Agatha Christie is in the Guinness Book of Records for being the world’s longest-running play. First opening in 1952, it continues in the West End today, and is now also on a 70th anniversary tour, with this evening's performance presented by Adam Spiegel at the Buxton Opera House.

What this is for a modern theatregoer is a piece of museum theatre. When it opened, “The Mousetrap” was nothing extraordinary; and there were many, many other West End plays like it. Over the decades they have dropped away, and their staging techniques have fallen out of fashion. Nowadays, “The Mousetrap” is the only survivor, and gives the theatregoing experience of seventy years ago – further enhanced by being in the beautiful Edwardian ornateness of the Buxton Opera House.

The set, which never changes, is a luscious interior of a Jacobean country house: so comfortable-looking and realistic the audience could be sitting in the main reception room with the cast. Snow is drifting down behind the towering glass windows. Quickly the characters arrive and are introduced: a young married couple who have just opened the place as a post-war guesthouse; a nervy young architecture student; a bossy matron who serves as a magistrate; a gruff retired army major; a strident young woman who describes herself as a “pale pink” socialist; and an eccentric yet musical man with a European accent. There is just enough time for newspapers and a radio to announce that a local woman has been murdered, before everybody is snowed in for the next few days.

A telephone manages to relay that a police sergeant wishes to ask some questions about the murder, before the line goes dead. A very young and rather gauche sergeant manages to make his way over on skis, and the investigation begins. One of the people present is the murderer. One will be murdered (live on stage!). And one is anticipated to be the victim after that.

Rachel Dawson gave a vivacious performance as youthful guesthouse manager Mollie Ralston, flashing around the stage with energy as she balanced dealing with guests with dealing with police questioning. Michael Lyle was the more laid-back Giles Ralston, not taking anything particularly seriously, and being pointedly middle-class. (The twee-ness of all the characters’ accents and demeanours did give this reviewer some extra amusement – again, this has all gone out of vogue!)

Shaun McCourt, and his mobile expressive face, was superb as the rather bizarre-acting student Christopher Wren. Catherine Shipton performed Mrs Boyle as almost the stereotype of today’s dissatisfied Trip Advisor reviewers, finding fault with everything. Todd Carty was a solid presence as Major Metcalf. Leigh Lothian shone as the spikey Miss Casewell, giving a haunted intelligence to the performance. Steven Elliott was the court jester as the mysterious Mr Paravicini, undermining pomposity and drifting off to play “Three Blind Mice” on the piano at regular intervals. Trying to get everybody to be at least a little bit concerned about their upcoming doom was Garyn Williams as Detective Sergeant Trotter.

Directors Ian Talbot and Denise Silvey handled the edge of farce very well, brightening up the traditional detective drama with lively interplays between the characters that were sharp yet illuminating. The atmosphere of a dark and wintry snow-in suffused the production, with vintage lights and sound effects crackling on and off, and a fire wavering quietly in the background.

During the curtain call, a speaker reminded the audience to not tell anybody else who the murderer is, to keep the production fresh for all future theatregoers. And so…… I won’t.

Reviewer - Thalia Terpsichore
on - 18.7.23

AMATEUR THEATRE REVIEW: The Shawshank Redemption - The Garrick Playhouse, Altrincham. Greater Manchester.

Altrincham Garrick have transformed their stage rather convincingly, into a dank, dark, grey, bare and metallic prison block inside the Shawshank Penitentiary in Maine, USA. This foreboding and sparse set, together with low-key lighting, a little haze, and no auditorium music is what greets us as we take our seats this evening. The prison guard walks the prisoners in and they file into their cells one by one. It's sombre, it's ritualistic, and it is scarily real. 

This is 'The Shawshank Redemption', a stage adaptation of the classic Stephen King novel and award-winning film that followed. However this was my first visit to 'The Shank' .I have never read the novel, nor have I seen the film. I was therefore watching this story unfold for the first time, and was always trying to second-guess the narrative; sometimes with more success than others.

Directed by The Garrick's Artistic Director, Joseph Meighan, the play had moments of genius juxtaposed with moments of tedium. I was watching a play which was at times hard-hitting and realistic with the actors performing naturalistically, whilst at times we transcended this and were transported into the realms of theatrical and presentational acting. Perhaps this was deliberate, but I am not convinced that it worked. Admittedly, this was opening night, and so the actors might well have been a little more tentative than once the play beds in, but still, there were many long gaps and "thought" pauses, especially between scenes as the cast were tasked with bringing set items in and out. The pace was set right from the start as slow, and sadly, it never truly moved out of this the whole evening. Moments of genius (and pure theatricality) did pop up occasionally, and Brooksie's attempted suicide was one such highlight. Although I found the play dynamically rather pedestrian, the characters were clearly defined, the ennui and quotidian routine of the prison well observed, and the storyline clear and nicely signposted. 

Taking the lead role of Andy Dufresne in this brave and bold production (which pulls absolutely no punches!) is the quietly confident and continually hopeful Tom Broughton, whilst the narration and equally important role of Ellis 'Red' Redding was played by a sympathetic and believable Lewis Sewell. It is a large, all male, ensemble cast, and everyone on stage knew their roles well and how they fit into the play. They all had backstories, and all were fully-rounded characters which is in itself, a very important aspect of this production, and credit here to Meighan for bringing this to bear. 

The action of the play takes place over a twenty year period, and the audience is asked to use their suspension of disbelief in this regard, however, none of the cast age either physically or visually, which, perhaps would have been the cherry on the icing if they had.

With a couple more performances for this play to 'bed in' and the actors to pick up on their cues, lifting the pace a little where needed, this will be a very compelling, forthright, and uncompromising piece of theatre.

Reviewer - Matthew Dougall
on - 14.9.23

THEATRE REVIEW: Great Expectations - The Royal Exchange Theatre, Manchester.

This adaptation of the well-loved Dickens classic is set in Bengal at the height of the British Raj as the nationalists are rallying against partition. This is not Tanika Gupta’s first adaptation for the Royal Exchange, and it is highly unlikely it will be her last. She blends the narrative of the original book into the history and culture of colonial Bengal with skill, nuance, and humour. It is a gem of an idea – giving real historic purchase to the storyline by adding further depth to the British obsession with class and superiority depicted in the original book. What it also gives, is the opportunity to transport us half-way across the world, and back in time over a century, and the result is a gloriously stunning feast for the eyes and the ears.

The design standards of this production are breath-taking. A circular, undulating path with a concentric circular bench is framed by an imposing pair of age-worn wrought iron gates at one end and a rectangular filigree arch at the other. The stage was surrounded by a stream of water, made from a vinyl circle and creative lighting, and it was softened with grass, gravel, an almost continual stream of low-smoke, and the benign presence of Lakshmi. Hovering above (and lowered when needed) was Miss Havisham’s spectacular, cobwebbed chandelier, complete with stopped clocks. The lighting was utterly gorgeous – reproducing a tropical quality and, at one point, a sunset glow with real authenticity. The costumes were equally beautiful – detailed and sumptuous through to simple and homespun according to status – Miss Havisham’s gown was almost iridescent in its faded glory. The soundscape too was refined and delightful – using purpose-composed music, sprinkled with effects. This was a stage set that was for inhabiting - no gimmicks or moving parts; no whistles and bells - a sumptuous gift for the actors and audience alike.

And so, with incense curling from the stage floor, it began. Esh Alladi sprang onto stage as the child, Pipli, full of curiosity, hope, and naivety. Alladi gave a flawless performance, capturing the hearts of all except the girl he loved. Catherine Russell’s Miss Havisham was his antithesis – jaded, manipulative and isolated from the world. Her self-dosing from a pocket-sized laudanum was a brilliant touch and Russell commanded the stage, making Havisham’s years of anguish a raw and fresh pain. Jagu, the gentle, simple brother-in-law played by Asif Khan was a slice of kindness and calm – his unconditional love for Pipli creating some poignant moments amongst the chaos of such a complex story. The pragmatic, practical sister, Krishna was played by Shanaya Rafaat with crisp, unemotional efficiency – a woman most wouldn’t cross! This was a consummate performance from everyone involved. Particularly impressive were the stage combat sequences, blood was flying, and many gasps were heard – notably from those nearest the action, always a sign of the most realistic of injuries. There was consideration in every detail – the convicts’ hobbled walk and the raw sores around their ankles being just one example. The use of accents was a brilliant touch, changing accents to distinguish between different languages is not a new concept – but this was subtly done to great effect, and with pinpoint accuracy as in some scenes Alladi flit between the two accents at an impressive rate.

Act One took us to the point where Pipli’s mysterious benefactor contrives to move him into the city to educate him in readiness for his bequest. It was a melancholic start (Dickens is rarely cheery!) and despite its beauty and the strong performance across the ensemble, the Act felt a bit of a drag – there were perhaps a few too many trips around the circular path and just a shade too long in each transition. Act 2 however, gave us a bit more bounce. As Pipli developed his independence and some spirit, the performance moved more nimbly with even a few good laughs – the return of Andrew French’s Malik and Giles Cooper’s Herbert Pocket surely had something to do with that. Both actors were concise and characterful, each providing both drama and comedy. Alladi’s arrival in Kolkata, portrayed with nothing more than a bag and his own physical representation of the hazards of the city, was a superb way to draw the audience back in, and the pivotal moment of the fire was so cleverly handled as to cause a moment of genuine concern for the safety of the cast.

Having never read Great Expectations (I know – but Dickens was paid by the word, they’re a tough haul!), it was quite a puzzle to keep up with the unseen backstory that was revealed through Act 2 and seemed critical to understanding the resolution of the performance. Elements of this were enjoyable – the scene where a lawyer admits to nothing (but tells all) raised a few chuckles – but some were rushed, leaving me barely holding on to the storyline by the end. Safe to say, I predicted at the interval that Pipli was not going to get his happy ever after, and was moved to shed a tear when Alladi bared Pipli’s soul, revealing his depth of feeling for Estella.

This epic retelling, transported in place and time was the most beautiful thing I’ve seen on a stage in a while – it had the feel of one of those luscious BBC Christmas adaptations we all hark back to. Not only is it stunning, the historic and geographic setting holds its own with an authenticity that makes one feel it was an obvious choice. A must-see of the season!

Reviewer - Justine Sutcliffe
on - 13.9.23

THEATRE REVIEW: Heathers - The Opera House, Blackpool.

 

Currently at Blackpool's Opera House, the latest UK tour of hit musical 'Heathers' is as sassy and as brash as ever!

Verity Thompson, Elise Zavoy, and Billie Bowman, as Red Heather, Green Heather and Yellow Heather respectively, rule the school. They are the prettiest, with the most influential daddies, and dress as a formidable threesome. All the guys want to be their boyfriends, and all the girls want to be like them. But they are mean and nasty, and use their "talents" in the wrong direction. Are they beyond salvation though? And that is very much the question which is the backbone of this musical. On the one hand there is an "angel", in the form of Veronica Sawyer, a dowdy swat girl who has both the intelligence and beauty to become one of them, and she tries to use this at first for her own image and glory, but later for much more altruistic reasons. However, is it too little, too late? Enter the "devil", Jason J D Dean, as played here by Jacob Fowler. He truly is evil, but he does love Veronica, so will his love be enough to save his soul and the carnage?? Oh, I didn't mention the killing did I?! What starts off as a 'High School Musical'-esque show with a hint of 'Grease' thrown in for good measure, soon becomes an altogether darker and more murderous show, with three of the protagonists dispatched before the act one curtain!

It is all very much tongue-in-cheek though, and the crass American humour of the piece is always there, even in the darkest of moments.... like a bomb being placed in the school, and only seconds until detonation...!

I fully understand why this show has become the semi-cult musical it has, with many audience members coming dressed as their favourite character. It has broad, facile humour, it has young sexy cast members strutting their stuff - in fact - two of the young men in the show spend the entire second half in just their underpants! It has simulated sex scenes, and right-on contemporary LGBTQ messages. But on the flip side, it also does seem to glorify and promote murder as a way of advancing the cause...!

As a middle-aged, straight, white male, I was definitely not the show's target demographic, and so perhaps did not join in with the spirit in the way I was meant to. And there was also a problem with the sound levels this evening too. Sometimes they were so low, I was convinced the performers' mics were not working, while at others the band overpowered and the sound deafened! Very strange. However, one thing is for sure, this is an upbeat, quirky, and entertaining piece of American Musical Theatre, which was hugely loved and appreciated by the millenials and teenage girls in this evening's audience.

Reviewer - Matthew Dougall.                                                                                                              on - 12.9.23

THEATRE REVIEW: MacBeth - The Shakespeare North Playhouse, Prescot. Liverpool.

How wonderful it was to be in a new theatre in the North-West. This was my first time at Shakespeare North Playhouse in Prescot and what a beautiful building and setting. After losing the Oldham Coliseum earlier this year and other theatres in the NW producing less and less work, it was so encouraging and exciting to be in a new producing house. And what better way to start my journey than with Shakespeare’s Macbeth.

Macbeth is one of the great plays and the one I have probably seen the most. This other worldly play where the main protagonists are manipulated by supernatural forces deals with politics, envy and the poison of seeking power.

This co-production by Shakespeare North, Northern Stage, English Touring Theatre and Théâtres De La Ville De Luxembourg is certainly ambitious in its vision. So, it is a brave choice for that most famous other worldly back drop - the Witches - to be cut from this production. It is also a brave and bold choice to set it in modern times using multimedia screens, video messages on phones and a clever use of a CCTV just off-stage giving glimpses of secret conversations. The design by Basia Bińkowska is striking and sets up this world well. This show is bursting with bold ideas and vision which should be commended for its bravery.

The show relies on the strong ensemble cast creating an atmosphere that invites the audience in - literally in some cases - and that I as an audience member in the auditorium want to be a part of. There are some scene changes that are styled out bleeding one scene into another helping to create an intimacy which drew the audience in. There is a lot of music in this production which is unusual for this play which feels right in some places but definitely not in others.

There are lots of clever devices in this production, the ghostly dinner guest is particularly effective – I shall say no more! Using the CCTV camera in the hall to show some brutal moments like the fight scenes which look convincing and shocking at some points. A lady just in front of me gasped in absolute horror at one of the characters being killed. All credit to fight director Kevin McCurdy for this.

Mike Nobles Macbeth is a very introspective character, torn by his conscience and his pre-destined future, he wrestles with his thoughts, often mumbling to himself - even for his big speeches! His relationship with Lady Macbeth played well by Laura Elsworthy, is believable in the most part and the chemistry between them feels genuine. However, a lot of their scenes seem to be so intimate that the audience are almost excluded from this. I was sitting in the lower gallery so not far from the stage, but I could not hear quite a lot of Noble’s words due to him swallowing a lot of his words and poor diction. For some reason the actors wore mics, even though the space was not that big, yet still I was not hearing every word due to little or no voice projection. I see no reason why a professional actor should not be heard in a space of this size, especially when wearing a mic!

Noble certainly feels the pain of Macbeth but he plays it almost to himself, he doesn’t let the audience see the turmoil he feels and for me he lacks the gravitas needed to be a convincing usurper. We never see how high the stakes are when he does decide to invoke the plan his wife conjures up.

All the cast work hard to fill the stage with life, with good performances from all, but notably Guy Rhys and Coral Sinclair who play Macduff and Lady Macduff respectively. However, there does seem to be as many questionable choices as commendable ones. Why would you cut the witches who set up the whole supernatural world in which the play inhabits? Why does Malcolm sing a karaoke song, yes, a karaoke song, and then Macduff sings a line from it when he is told the worst news any father can hear which totally broke the drama for me? Why when the first half is so physical that the second half is so static which is when the war starts and Macbeth is under siege? What purpose does it serve of some of it being filmed and projected above, causing quite a lot of split focus? Why were members of the audience asked to sit in and join the banquet scene? What was the bagpipes starting and stopping supposed to signify at the start of the second half? For every clever and inventive bit of direction there was an equally odd and confusing bit of direction. They say you should not notice good direction because you are so absorbed in the world of the play so you should simply be enjoying the story. Too many times though, I was distracted by the choices in direction and found myself asking: Why? Why? Why? It’s a shame as the director Richard Twyman is obviously a creative and talented director with a lot of ideas, but there were too many directions in which this production was being pulled towards but no final destination. To say this show was more style than substance may seem harsh, but sadly that was the case for me.

Macbeth is at the wonderful Shakespeare North theatre till September 23^rd, it then goes to Northern Stage and Ipswich before embarking on an international tour.

Reviewer - Prospero
on - 6.9.23