THEATRE REVIEW - Noises Off - The Lyceum Theatre, Sheffield.

 

'Noises off’ is one of the most consistently successful comedies ever written, having been regularly performed by both amateurs and professionals for the last four decades. This current touring version by Theatre Royal Bath in association with Birmingham Rep boasted a remarkable set and some famous faces, very much in the tradition of the English farce, fast-paced and with lots of stage action.

The play is a farce but it also parodies farce, featuring in spades the traditional elements of a Brian Rix-style Whitehall farce, a female running around in her underwear, men’s trousers’ falling down and doors constantly opening and closing. All three elements appear in ‘Noises Off’ virtually from start to finish, as opposed to most farces, where there is usually some element of build-up from a quiet start.

The premise of a play about a play, a sex-farce called ‘Nothing On’, gave writer Michael Frayn the opportunity to jump straight in with all the clichés. Much of the comedy comes from contrasting the cast's various foibles to the characters they are playing in ‘Nothing On’, rather concentrating on how they lose their clothes or end up in bed with eachother. Even the title of the play ‘Nothing On’ is an ‘in-yer-face’ dig at the typical ultimate subject matter of a great many '60s and '70s stage sex comedies.

Written in the early '80s, ‘Noises Off’ was perhaps trying to consign the English sex comedy to the past by ridiculing it as an outdated style, as comedy was starting a metamorphosis with new, alternative styles of humour. It is worth remembering that many '70’s TV comedies are either not shown today or require a ‘this might offend’ warning with many stage sex comedies now viewed as dated. ‘Noises off’ has no bed-hopping or illicit affairs and despite its outward appearance is certainly not a sex comedy. It also fails to have that other '70’s comedy stalwart, the ‘comedy gay’ and there is no mention of race at any point (another typical feature of the genre).

The other notable element of ‘Noises Off’ is that the set famously alternates from being the play as seen by the theatre audience and the rear of the set as viewed by the actors, back-stage. This naturally requires a sophisticated set and this production went a stage further by have two complete levels, front and rear, both featuring numerous doors and flights of steps. The actors were not just running in and out of doors but running up and down (or sometimes falling down!) the stairs. This was truly an excellent set, with much attention to detail, right down to a very ancient-looking dressing room door.

The ‘play’, ‘Nothing On’ was shown being performed on different stages of a national tour over three acts, not surprisingly going wrong in different ways on each occasion. However, anyone expecting anything like ‘The Play That Goes Wrong’ by Mischief Theatre would be disappointed; there were no sets falling apart or any actors left clinging to a collapsing piece of staging. Almost all the comedy came from items misplaced, actors locked in rooms, making wrong entrances or just otherwise, generally making mistakes as the director became increasingly irate. There was a lot of running around the stage but the comedy was script-based for the most part. With almost no expletives, ‘Noises Off’ is in many ways quite a gentle comedy with no character completely reduced or savagely attacked.

The cast certainly worked hard, keeping a frenetic pace, requiring constant precise timing and a lot of physical exertion. The audience definitely appreciated their efforts, regularly laughing out loud.

Reviewer - John Waterhouse

on - 28.11.23

THEATRE REVIEW - Jesus Christ Superstar - The Alhambra Theatre, Bradford.

 

The story of the last few days of Jesus's life is well known. Or is it? It certainly used to be, and way back in the early 1970s when this rock opera first hit the stage, Andrew Lloyd-Webber and Tim Rice knew they did not need to tubthump or signal the story any more than they did. But times have changed, and youngsters today will probably have difficulty in following the story as it unfolds in this somewhat adapted and reinvented modern take on this classic show. In fact, those who already do know the story, need to concentrate! But that is my only negative criticism of this fast-moving, sincerely told, Superstar for the 21st century.

Set against a composite set of lighting rigs, sound equipment, microphones, and travelling cases for said equipment, there lies a large fallen cross creating the centre-piece and crux (forgive the pun) of the set design. The band are on stage, and this creates different levels for the cast to utilise. Combine this with creative and moody lighting, and already you are half way there to immersing yourself in this theatrical experience.

It starts well, but it is the ensemble in this production which truly sets it apart from the rest. The choreography is jittery and frenetic, and yet it never seems too much or out of joint. Their togetherness and coordination is exemplary, and then, just to prove they can, they stand stock still and deliver the sweetest sounding harmonies mezzo piano. It is just lush.

Ian McIntosh takes the onerous role of Jesus. At the start there seems to be little emotion or energy in him, but he knows what is to come, and so his calm and acceptance somehow worked. It was only in the second act did he truly shine though, when we were able to see the man, the mortal, fighting for survival, pitted against the inevitable course of heavenly intervention. Vocally he was able to deliver the goods and then some. The role requires a true rock voice, his screeching was perfectly pitched and safe, whilst the falsetto soared and the chest voice resounded.

For this reviewer, Shem Omari James was a rather disappointing Judas, failing to really embody the role or the vocals. Hannah Richardson too was not as convincing a Mary as I have previously seen, and her solo, " I Don't Know How To Love Him", was oddly lacking in true emotion.

However, Jad Habchi as Caiaphas and Matt Bateman as Annas were excellent. The juxtaposition of their different vocal ranges (tenor and bass), and their wheedling and menace made for a truly formidable duo. Ryan O'Donnell's quiet entrance in act one as Pilate brought the hairs on the back of one's neck to stand on end, and his stand-out solo in act two equally well measured.

This is certainly a rather monochrome show... the costumes, set, and whole mise-en-scene takes only small deviations from beige. But this is a highly stylised production, full of imagery and allegory. We even have a tableau of "The Last Supper" in there too! And the production itself sits half way between a rock concert and a stage show. Hand mics are used throughout and many of the songs are sung as if to the audience in an arena tour!

Reimagined and updated for the contemporary era it certainly is, and, like Marmite, you will either love it or hate it! But Timothy Sheader's vision is clear, consummate, and unfaltering, and bravo to the entire company for their tireless energy and total commitment.

Reviewer - Matthew Dougall

on - 27.11.23

FILM REVIEW: Napoleon - Cineworld, Bolton.

Ridley Scott is one of those directors who when he’s good, he’s great, but when he’s bad, he’s absolutely dreadful. His latest film, 'Napoleon', is neither great nor dreadful. However, Scott loves his “Director’s Cuts” which on the whole offer a marked improvement over the theatrical release; 'Blade Runner' or 'Kingdom Of Heaven' come to mind when one thinks of a Ridley Scott “Director’s Cut”, and 'Napoleon' may very well be an addition to that list.

Now let us briefly make a little detour back to the late 1920s when French filmmaker, Abel Gance, set out a plan for six films documenting the French Emperor’s life from childhood, to his final days on St. Helena. The first film (also called 'Napoleon') when completed was over six hours long, and only goes up to the beginning of Bonaparte’s invasion of Italy. Exhausted by the scope of the project, Gance called it a day and moved on. I am mentioning this because of the attention the length of Scott’s version has received, and in part to highlight how the theatrical length, at around 2½ hours is nowhere near long enough to adequately cover the events portrayed in the film. Even the planned 4 hour version is not nearly long enough.

Nevertheless, praise must be given to Scott for giving it a go. It is not his first Napoleonic film, nor is it his first historical biopic. Unfortunately the film stumbles out of the starting pen and struggles to find its footing and pace throughout until the lights come back on in the screen and everyone is getting up to go home. Tonally it ranges from hardcore, violent and gruesome battle scenes to goofy, farcical and, at times, downright cringe-worthy domestic scenes. The shift is jarring at points and unfortunately for the audience the battles and gory stuff does not last long enough before they are presented with Joaquin Phoenix rutting and grunting like a farmyard animal in heat. Phoenix is good in the role as the Emperor, however one is left wondering what direction he was given, as his performance, much like the tone of the film, varies from serious and brooding to acting like he’s on set of 'Joker'. Interestingly, his appearance as Napoleon does bear a striking resemblance to Albert Dieudonné’s Bonaparte in Gance’s 1927 Napoleon. A director paying homage to another film is not surprising after all, but I thought it was an interesting little nod.

As you may have heard or read already, the film also suffers from a number of historical inaccuracies, which in this case, are to the film’s detriment. Artistic license calls for historical inaccuracy from time to time to make something more interesting or push a point, otherwise you end up with a documentary. Scott seems to embellish the truth a little too much. When one of the first scenes of the film omits the simplest of details (which would not detract from the scene or film etc.) it sets a precedent which lingers over the rest of the film where, for a historian such as myself, rubs me up the wrong way. If you know absolutely nothing about Napoleon or the Napoleonic wars then you’ll be wowed and amazed when he orders cannons to be fired onto the Great Pyramids of Giza. It is a little surprising that Scott makes these choices when one considers the keen eye for detail he possessed for 'The Duelists' for example. Admittedly this matter is purely subjective and if Ridley Scott was here and knew what I thought, he’d smack me and would quote the Emperor, saying “Imagination rules the world.”

Visually, in keeping with the rest of the film, Dariusz Wolski’s cinematography, whilst very good, is let down by a poor, desaturated colour grading which made it hard to really see what was happening in scenes which take place during the night. Fantastic costumes are let down by a bland colour palate which really takes away the essence of the period. Clothes (especially the clothes which someone like Napoleon would wear) were colourful and brash. They made a statement, as did the surroundings. Instead you are left not paying attention to the scene because you’re too busy trying to figure out what colour Napoleon’s coat should be. Dark red? Dark green? Blue? Stylistically it could be a thing to do with making a point about there only being natural and candle light, but then you have to question if Kubrick could make natural and candle light make everything look vibrant and luxurious fifty years ago, why can’t it be done with the abundance of technology we have today? The colour grading really ruins these wonderful shots which are presented in the film which replicate famous paintings, Gerome’s 'Bonaparte Before The Sphinx', and Delaroche’s 'Napoleon At Fontainebleau' are some examples which are ruined by a Mexico filter and everything-in-the-past- was-bleak colouring. Colouring and filters aside, these creative aspects which acknowledge Bonaparte’s wider standing in the common knowledge by referencing famous paintings I liked a lot and they really made the film stand out in part.

The cast overall is very good, after all Scott has always had a good eye for casting. Other than the questionable delivery or particular lines here and there which are dotted throughout, Phoenix is great and he has great chemistry with Vanessa Kirby’s Josephine, who steals the show a little. Unfortunately her character and their relationship is a victim to the restrictive length of the theatrical cut, but hopefully the director’s cut shall correct that. Phoenix and Kirby are supported by an exemplary supporting cast with many familiar faces popping up here and there. The decision to use the actor’s own voice as opposed to everyone speaking in an British accent because its historical (like how Phoenix did in 'Gladiator') was rather refreshing, and it all gels together with those actors who do affect an accent. Sometimes it can cause a bit of a headache, but it works very well in 'Napoleon'.

The good and the bad balance each other out to make for an all right film which you may not wish to rush to see, but do go and see when you have nothing else on. As previously said, I imagine the director’s cut will be much better. The film does feel like it is cramming in as much as possible and you end up brushing over a lot of events. There’s a reason why Abel Gance gave up after his first instalment, and even if it meant that things would be only slightly less brushed over, I feel had this film been in two parts then the overall story may have benefitted greatly. There are times during the film where one cannot help but wonder just how fantastic Kubrick’s shelved Napoleon biopic would have been. A stellar cast is let down by awkward dialogue. The cinematography is let down by the colour grading. The battle scenes are let down by being too short. The pros and cons are constantly battling themselves throughout the entirety of the film. A special mention has to be made about the decision to portray Napoleon Bonaparte as a regular (for the most part) man, and not some egotistical, maniacal, short, angry figure who bounces about yelling at everything and everyone, which is an unfair and overexposed characterisation we were all made to believe.

'Napoleon' is not the best Napoleon biopic, nor is it Ridley Scott’s best film, but it is a reason to come back to the cinema. It was the first film which I have been excited to see in a long time, and although I came out not loving it, I wasn’t disappointed. The following quote sums up the film rather well... “If you wish to be a success in the world, promise everything, deliver nothing.” – Napoleon Bonaparte.

Reviewer - Daryl Griffin

on - 24.11.23

AMATEUR THEATRE REVIEW: Christmas At The Movies - NWTAC Theatre, Moston. Manchester.

For one evening only, North West Theatre Arts Company (NWTAC) produced a variety show of excerpts from their favourite Christmas films. 

The large cast, ranging in age from very young (perhaps about 6 years old), to adult, took us through ten films with the help of a couple of sofa-sitting comperes, who, at the side of the stage, ostensibly in the comfort of their own lounge, watched the films on TV, commenting on them as we went through. This style of compering was a lovely idea, and brought out some nice comedy for the two young girls tasked with this job. In the first act the two were a little too young to truly find the nuances of what they were saying - but nevertheless it was funny and a wonderful learning curve for them. Whilst the second act saw two slightly older girls perform this task, and they were much more natural relaxing more into these roles. This due entirely to age and experience. 

The films were sometimes shown as potted versions of the entire film, cramming as much plot into their allotted time as possible. these were acted (mostly) but sometimes the film's more famous songs were sung too. Other times, an excerpt from the film was presented, which gave the company more licence to sing and dance. And one of their chosen films, 'Die Hard', was the film's own trailer projected onto a screen at the rear. The company took us through, 'The Muppet Christmas Carol', 'The Grinch', 'It's A Wonderful Life', 'The Snowman', 'Home Alone', 'Home Alone 2', The Nightmare Before Christmas', 'Love Actually', 'Miracle On 34th Street' and 'Elf'.

I have to admit to not having watched the vast majority of the films presented this evening, and so found myself being entertained by theatrical versions of films unknown to me. This was an interesting experience, and confirmed that I was right not to have watched the films in the first place their entirety! (bah humbug!) 

These short precised versions made us laugh, sing-along, and feel the joy of this time of year. The company was a mix of those I have seen several times before on the NWTAC stage, and some new talent too. Congratulations to all involved. 

Reviewer - Matthew Dougall
on - 25.11.23

   

THEATRE REVIEW: Fight Like A Girl #4 - The King's Arms, Salford.

Five years ago I attended the very first 'Fight Like A Girl' at Salford's King's Arms pub theatre. The company are now producing their fourth series of short plays, and again, donating all their profits to Cancer Research. 

Created, curated, and brainchilded by Roo Pilkington, his inspiration for these events being both his aunt and his best friend fighting for their lives due to cancer (hence the title), the evening took the same format as previously. Pilkington acting as compere, in his own self-deprecating humour, and the large cast performing 9 short plays to the capacity audience this evening. 

The evening started with a short play called 'Trapped' (director Carmen Dooley / writer Barry Wood) which set the tone of the evening superbly. An off-beat comedy piece about two actresses suddenly coming to the realisation that they were indeed actresses on stage. A clever ending making this piece stand out. The evening finished with another off-beat comedy, 'New Till Etiquette' (director Michelle Victoria Riley / writer Roo Pilkington) which had a busy-body shopper (Maria O'Hare) deliver an almost monologue about her idea of queueing at supermarket tills.

In between these we had tragedy, drama, and of course more comedy, and the mix of pieces and variety of styles nicely placed. there was something for everyone in here. My personal favourites of the evening however were, from the first act: 'Face The Music And Dance' (director Prue Griffiths / writer Paul Daley) which starred Julie Root talking to  Lynne Whittaker about her kinky and active sex life as a pensioner, and becoming something of a local celebrity after her lover died mid sex-throes; and 'On Whitby Cliffs' (director Julie Broadbent / writer Jonathan Hall), which was a serious dramatic piece as a man (Chris Noone) and a woman (Ruth Berkoff) whose meeting on a cliff at Whitby was not as coincidental as it first appeared. A beautifully nuanced piece of writing which was handled with skill, Berkoff especially impressing.

In the second act it was a pre-recorded monologue played on a screen to the rear of the stage which brought a lump to all our throats. Tania Sparkes was hoping to be able to perform her own piece, 'Pay Attention To Me' live on stage this evening, but Tania is the aforementioned best friend of Roo Pilkington, and as she continues her fight, she had to go back into hospital and so could not perform live. Fortunately. the director, again, Pilkington, had the foresight to record her performance for us. Poignant, and heartfelt, it was the most real of the evening,. as she spoke about her cancer, her treatment, but more importantly the social effect that cancer has on her, as her generation live their lives through social media, and since she is unable to post anything upbeat, she finds herself alone, and yet she craves that connection, that online validation. 

With over 20 performers, 9 writers and 9 directors, it would be impossible to mention all, but all have given their time and their talent for this most charitable event, and all deserve huge credit for providing an evening of diverse and enjoyable new writing, and raising money for research into trying to stop the UK's number 1 killer.

Reviewer - Matthew Dougall

on - 23.11.23

STUDENT DANCE REVIEW: Upside Down Under - Main Theatre, City College, Manchester.

Arden Theatre School third year dance students took to the stage today to present their latest offering, a 30-minute contemporary ballet which I believe was self-devised.

Sadly without a programme or any information online, I am somewhat in the dark, unable to credit anyone, and without any idea of what the dance was meant to represent. Contemporary dance is perhaps the most difficult of all styles and genres to watch / review, since the dance relies far more on inner-thoughts and emotions, rather than presenting a story as classical ballet does. 

I can therefore only subject the reader to my own interpretation of what I witnessed. The piece was a fully ensemble work of 20 female dancers, which during the piece took us through many different feelings / emotions; but all connected to love, relationships, desire etc. Perhaps also female independence? It was very sincere and dramatic, and some of the imagery created was visually stunning, especially the red rose petal sequence. 

Being trained in Laban, I was delighted by the beautiful use and juxtaposition of his 8 Efforts. The twenty dancers were fully immersed and totally committed to this piece making it dynamically interesting. My only slight concern being that at times, when the dancers should have been totally in unison, they were not quite as sharp and precise as they could / should have been.

An interesting piece, proficiently danced.

Reviewer - Matthew Dougall
on - 23.11.23

OPERA REVIEW: The Barber Of Seville - St. George's Hall, Bradford.

In a masterful marriage of the melodious and the colloquial, Ian McMillan's rendition of Rossini's "The Barber of Seville" unfolds as a cultural tapestry, marking the grand commencement of Bradford's Opera Festival. The enchanting concert format, unveiled at St George’s Hall on a crisp November evening, immersed the audience in a tale full with love, mischief, and the nuanced complexities of class. 

McMillan's linguistic prowess, delicately weaving the tapestry of The Sublime Tyke Talk, injects a hearty dose of Bradford's distinctive charm into this timeless classic.

Under the direction of Alex Chisholm and the baton of conductor Ben Crick, the ensemble cast, led by the charismatic Oscar Castellino as Figaro and the enchanting Felicity Buckland as Rosina, orchestrates a performance that transcends linguistic boundaries. Sam Kibble's portrayal of Count Almaviva, Julian Close's Basilio, and the ethereal Ukrainian soprano Milana Sarukhanyan as Bertha contribute harmoniously to the grand symphony.

The orchestral magic of the Yorkshire Symphony Orchestra and the vocal prowess of the Bradford Festival Choral Society intertwine, creating a sonic landscape that resonates with the very spirit of the region. McMillan's adaptation pays homage not only to the comedic brilliance of Rossini's original masterpiece but also establishes an enduring cultural connection that is distinctly Bradfordian.

In this operatic journey, where the pursuit of love collides with the comedic escapades of Figaro, McMillan's Yorkshire dialect adaptation serves as a testament to the festival's unwavering commitment to making opera a truly immersive Bradford experience. A delightful premiere, seamlessly blending the opulence of opera with the comforting warmth of local expression, it leaves an indelible mark on the cultural canvas of Bradford.

Brava!

Reviewer - Simon Oliver
on - 23.11.23

MUSIC REVIEW: Thank You For The Music - The Adelphi Theatre, London

Music and dance are the essence of life even before speech and walking and ‘nothing can capture the heart like a melody can’.

Forty six years on from the release of the original song ‘Thank You For The Music’ by ABBA and over fifty years since the ABBA story began, this performance was the ultimate modern tribute to ABBA- set firmly in the twenty first century. It was a perfect mix of modern and vintage ABBA.

Audience participation was greatly encouraged throughout including singing ,dancing, line dancing, Swedish fingers, dividing the audience in two to compete against each other (Voulez-Vous - Ah Ha). At times the jokey narrative gave the performance a pantomime feel with many 2023 references for example-‘Money Money’ and Amazon Prime . But ‘if I tell a joke you’ve probably heard it before’

All the dancing queens were called to the party of the year to dance, jive and have the time of their life and the audience loved it.

This high energy production was well casted and the main four characters- the ABBA group of Agnetha Fältskog, Anni-Frid (Frida) Lyngstad , Benny Anderson and Björn Ulvaeus -were ably accompanied by two back up vocalists, Amy Reet and Elspeth Foster. Elevated on centre stage, expert drumming by Jason Gumbley was the backbone and supported the music throughout. Harry Garbutt and Ben Hanson played backing keyboard and guitar respectively.

Frida ( Kellie Vallance ) dynamically led and introduced many of the acts and Benny ( Steve Nelson ) had a lot of fun on stage and competently swapped between instruments. The other two big personalities Björn ( Dave Miles ) and Agnetha ( Emma Parker ) completed the Swedish pop group, and the entire stage area was well used by the performers particularly in the second half.

Spectacular projections and lighting illuminated all the songs, and even the audience were invited to help create candles of light in the auditorium by putting on their mobile phone torch lights during 'Fernando'. Firework, fairground, kaleidoscope, and disco projections all created psychedelic effects to delight the audience as ABBA sang and danced.

You may have thought you were at an original ABBA concert as the colourful, eye catching costumes were as masterfully coordinated as in the 1970s with the same penchant for the dramatic. Groovy suits, bell-bottomed trousers, iconic cat outfits with long, over-the-knee white boots, super-trouper capes, disco-ready spandex suits, platform shoes, white outfits for the angelic era, and all contrasted with the black of the backing vocalists.

This show was great for all ages but especially the die-hard ABBA fans from the 1970s -‘whoever it was I’m a fan ‘ Give thanks for the music-‘I wanna sing it out to everybody, what a joy, what a life, what a chance’ and as Mother Theresa also said ‘Life is a song -sing it ‘. The roof was raised last night with powerful harmonies ,singing and joy which over-spilled into the Strand.

An unforgettable evening with a fantastic atmosphere.

‘The winner takes it all’

Thank you for the music.

Reviewer - Judith Armstrong
on - 21.11.23

AMATEUR THEATRE REVIEW - Joseph And The Amazing Technicolor Dreamcoat - The Art Theatre, New Mills, Derbyshire.

 

There is always a very warm welcome at this theatre, and one feels very much at home. The Victorian splendour always a lovely surprise. This evening I was there to watch their own amateur society's production of the ever-popular musical, Joseph.

This was a show full of colour and spectacle. The now "traditional" idea of the show in terms of costuming and the utilising of a children's chorus were evidenced throughout, and it was clear the society had put a great deal of effort and energy into this show to make it both as visually striking and successful as it was.

A single composite set was used throughout, which gave a grand entranceway between sets of steps and a platform above, sand coloured it worked well for both Canaan and Egypt, except that, perhaps the pseudo heiroglyphics should have been present only when in Egypt?  

A large and more than competent band played live in the pit under the secure direction of Claire Sweeney. The cumulative harmonic sound of the 11 brothers, especially in "Those Canaan Days" was truly lovely. Simple but effective choreography from Cathryn Yates helped her with her proficient and clear directing. On a personal note, I would have liked to have seen the children featured a little more, especially during the choreographies.

Taking his cue from Jason Donovan and the likes, Joseph Paul Rafferty enjoyed his stage time a s the titular Joseph. Emily Hobson was a most personable Narrator, and (almost) stealing the show with his Elvis Presley rendition was Joe McGuire as Pharaoh. Gary Ward (Reuben), Leon Shufflebotham (Simeon), and Stewart Bowden (Judah) led the male choruses of brothers with skill, creating a lovely ensemble. But in a show such as this, it is always the youngsters who take our focus and attention; again, their cumulative singing and ensemble work was excellent.

The technical aspects too were nicely produced this evening. The lighting was creative and effective, costumes apt and dazzling, and the sound was mostly very good... there were just a few occasions where the chorus singing overpoiwered the soloists, but that can easily be rectified for further performances.

A truly high spirited, fun, and enjoyable show which runs at the Art Theatre until Saturday. 

Reviewer - Matthew Dougall

on - 22.11.23

BALLET REVIEW: The Rite Of Spring - The Lowry Theatre, Salford.

This evening I was at Salford's Lowry Theatre to watch acclaimed choreographer and dance company, Seeta Patel, perform their Indian / Western fusion interpretation of Stravinsky's 'The Rite Of Spring'.

The performance was in two very distinct and different halves. In the first half, lasting roughly 30 minutes, we see Seeta Patel herself perform the traditional Indian dance style called Bharatanatyam, a dance style from Southern India which is traditionally performed as a solo, which was the case here. This was a very sincere and heartfelt interpretation by Patel, as she used the traditional dance movements and mime to represent the story. This was helped by a single video projection screen to the rear of the stage which accompanied the dance with abstract images looking very much like they were drawn with an Etch-a-Sketch. To further amplify the cultural significance of this dance, three musicians were also used; seated on seats invisibly suspended in the air behind the projections. These were Samyukta Ranganathan (vocals), Prathap Ramachandran (percussion), Vijay Venkat (flute).

The second half of the performance, after the interval, was a much more western interpretation of the story. Here were had a company of 10 dancers performing contemporary ballet to pre-recorded orchestral music (Stravinsky's The Rite Of Spring), played by The Bournemouth Symphony Orchestra. This piece, choreographed by Seeta Patel was a much more recognisable fusion of the two countries. A Western music score and majority western ballet style choreography, but interwoven within this were several Indian dance movements and expressions which set it apart from other contemporary dances. There was a also a central section to this dance which reverted back to the Indian Bharatanatyam style much more closely, as the orchestra stopped, and the Indian voices started again as an interlude and connection between the two sections of this piece.

The choreography was exciting and there was a very good use of space and 'pictures' throughout. Where the company fell short just a little was in their timing. There were several moments within this second 40 minute piece where there should have been a sharply executed unison movement, which unfortunately were just not quite unison enough. Otherwise though, this was a very interesting, and indeed educational, evening, being both entertained and learning about a new-to-me culture and dance style. You do however, need to know the story of 'The Rite Of Spring' beforehand though, since both these interpretations take their own paths through the story, and sometimes it is not entirely clear what the narrative is.

Be warned too, that there is no physical programme for this event, and so, if like me, you were wanting to read the programme etc before the show starts, or have it with you to refer to, you will need to have a mobile phone which accepts the QR code and read it online. Not ideal by any means.

Reviewer - Matthew Dougall
on - m21.11.23

AMATEUR THEATRE REVIEW: A Christmas Carol - The Garrick Playhouse, Altrincham. Manchester.

The story of the miser Scrooge’s redemption has become as much a part of Christmas as Santa Claus, festive decorations and mince pies. The amount of adaptations and versions almost rival any Shakespeare play with the Muppets, Blackadder and East Enders each having famously presented their take on the story alongside countless film and TV versions with the lead role going to actors as varied as Michael Caine, Patrick Stewart, George C. Scott and Albert Finney.  There have been musical adaptations, animations, comedy versions and modern re-settings (notably ‘Scrooged’ in 1980’s New York with Bill Murray). Against all this, Altrincham Garrick presented a new adaptation that aimed to be as true as possible to the original 1847 story.

The look of this production was very ‘gothic’ with a grey set (resembling cold stone), black costumes and a sombre appearance of bookcases covered in drapes and papers littering the stage floor. This was in keeping with Dickens’s own views of the harshness of life in Victorian times and there was no attempt to find humour in any of the characters or their surroundings.

A key aspect of this production was the presentation of Scrooge; not an amusingly grumpy miser but an aggressive tyrant who was not above hitting people with his stick and striking fear into those who encountered him. Jonathan Black’s interpretation of Scrooge ensured that he could not attract any kind of tragic sympathy; this was a genuine villain in a world of cruelty and injustice. No attempt was made however to change the traditional countenance of the ghosts who respectively for Christmas’s past, present and future were a whimsical fairy, a jovial character modelled on Father Christmas and the Spirit of Death.

A perhaps unusual aspect of this rendition of A Christmas Carol was the transformation, once Scrooge has seen the error of his way. His glee at finding himself still alive and not too late for Christmas was in greater contrast than usual to his former self, with the character suddenly transforming from a figure of hate to one of sympathy (certainly in sharp contrast to many other adaptations!). This change was carried through into the overall show with all the characters suddenly appearing in vibrant reds, blues and greens rather than uniform sombre black. This effect was further enhanced by the sudden appearance of a choir and hand-bell ringers; everything really had gone from black & white to colour and a feeling dull morbidity transformed into celebration and good cheer.

To fully tell the story, a certain amount of stylisation was needed for the stage and Gatiss used a cast of ten who variously played all the characters (apart from Scrooge) in addition to providing a narrator and collectively becoming an ensemble for street crowds, party goers, funeral mourners, and all the other presentations of life in Dickensian times. This was handled well; sometimes it being hard to tell which ensemble members had played which characters through a combination of excellent costumes and strong acting. A back curtain with slits allowed for the rapid entry and exit of the ensemble and this was overall a very slick production. Credit must also be given to some very effective sound effects that certainly enhanced the ghostly feel of the performance.

This was an interesting return to the authentic concept of what ‘A Christmas Carol’ was meant to be; a genuinely disturbing tale of social injustice set against the backdrop of a ghost story, tempered by some scenes of good-natured humanity and festive merriment. An enthusiastic cast and some skilful direction did full just to the adaptation providing a perfect entre for the start of the festive season.

Reviewer - John Waterhouse

on - 20.11.23

OPERA REVIEW: La Rondine - The Lowry Theatre, Salford.

Puccini is at his finest when he is breaking someone’s heart. “La Rondine” (“The Swallow”) is a quietly elegant opera of soft sensitivity, and Opera North’s production resets it in the 1930s. Sung in Italian, this performance was at the Lowry, Salford.

Soprano Galina Averina was almost too sweet in both persona and singing voice to be playing a Parisian mistress, but as the leading character of Magda she was delightful. Her silken voice rippled lightly through the score, and she radiated a luminous charm. Tenor Sebastien Gueze was almost like a prince out of a fairy tale as her new love interest Ruggero, and together they were a couple in love that was so delicately radiant in both performance and sound, it was almost as if they didn’t need stage lighting.

Soprano Claire Lees brought the operetta element to it as the lively and witty maid Lisette, especially when stealing her mistress’s clothes to go on a date with her boyfriend. Tenor Elgan Llyr Thomas partnered her as the cynical and underfunded poet Prunier, setting up the themes of romantic love in the first act, and then proceeding to spit all over them as the opera progressed, with a sardonic delivery. Baritone Philip Smith was intimidating and powerful as Magda’s wealthy protector, Rambaldo.

There was lovely ensemble work from the three other mistresses in the initial party scene: Yvette, Bianca and Suzy, performed by soprano Pasquale Orchard, soprano Kathryn Sharpe and soprano Laura Kelly McEnroy. Their voices bubbled with feminine gleefulness as they had a little behind-the-scenes sharing without their protectors around, while kicking off their elegant shoes and rubbing their feet – reminding us that this was their work, not their own passion.

Leslie Traver’s set design was built around the geometric structures of the art deco period, not being particularly French, but still very much interwar. Gabrielle Dalton’s costumes were very beautiful, beginning first with the evening gowns and suits of the cocktail party – the four mistresses in dresses of either gold or silver were especially stunning – and then moving into more simple cotton garments to suggest the wholesome life out in the countryside. The lighting design of Paule Constable and Ben Pickersgill ranged from evening lamps to golden French sunshine in the morning.

Conductor Oliver Rundell created a dreamy, playful soundscape of Puccini’s score. Director James Hurley didn’t quite get the shame of being a former courtesan into the work, but still drew the audience into a spellbound timeslip for the evening.

Reviewer - Thalia Terpsichore
on - 17.11.23

OPERA REVIEW: Masque Of Might - The Lowry Theatre, Salford.

Purcell only wrote one opera, but he did write a lot of other music for theatre, church and state occasions. Using a compilation of pieces from different sources, director Sir David Pountney has assembled an “eco-entertainment” with a masque format for Opera North. This performance of “Masque Of Might” was at the Lowry, Salford.

This project was a labour of love for Pountney. A diehard Purcell fan, he did not have the chance to assemble such disparate material until the Covid lockdowns. He wanted some themes to hang them together on, and it appears his own personal and political passions were what were used. “Masque Of Might” is the result.

And this is why companies like Opera North, and all its colleagues, need to put as much effort into finding the Purcells of the present as reviving the Purcells of the past. I agree Putin and Ukraine should be put on the operatic stage – so commission a new opera. I agree the climate crisis, and the driving factors behind it such as capitalism and apathy, should be sung about – so commission a new opera. I agree a piece about fluffy little animals and sad trees with a single cartoon villain would make a lovely Opera-In-Education project – so commission a new opera.

But when we are living in times like these, and passions are running so strong on these issues, Purcell’s tinkling harpsichords and trilling counter-tenors from four hundred years ago do not cut it. Frankly, he was not looking ahead to our time; he was not composing about our time; and he is the wrong composer for the job. Where are the ones that are?

Having said that:-

“Masque Of Might” is an opportunity to hear in one place a range of Purcell’s music written for different media. If you keep your eyes closed and treat it as a concert, it is the equivalent of a Baroque variety show, but it is an exceptionally high-calibre one. The Opera North chorus were especially worth hearing in the ensemble work, and soared in the pieces designed as sacred music.

Soprano Anna Dennis sang all the female solos as a variety of characters and styles, from the heartbroken lament “The Plaint” from “The Fairy Queen” to a lively comic performance as the Witch of Endor.

Bass Callum Thorpe gave a grounded performance as the villainous dictator Diktat. Countertenors James Laing and James Hall were the clowns and sycophants, but they also had some wonderfully florid passages to sing, and Purcell can do musical ornamentation like no other.

Bass-baritone Andri Bjorn Robertsson was a variety of characters, the chief one being a climate change activist who gets killed. At the beginning though, he was dressed in a Sun King-style costume,  the video screen behind him was displaying all the planets moving in space, and he was singing “Ye Twice Ten Hundred Deities” from “The Indian Queen.” It was wonderful. It was the closest moment to an actual masque in the whole production.

Tenor Xavier Hetherington and bass baritone Matthew Brook had a variety of small supporting roles and put in good cameo performances. There was group movement work for all the singers, expanded out with six professional dancers.

Conductor Harry Bicket brought out the variety, the shimmer, the soulfulness and the exquisite harmonies of Purcell’s oeuvre.

Reviewer - Thalia Terpsichore
on - 16.11.23

PANTOMIME REVIEW: The Scouse Dick Whittington - The Royal Court Theatre, Liverpool

This reviewer entered the theatre with some trepidation, not really knowing what to expect of a show billed as an ‘adult panto’ along with being somewhat concerned if it would even be entertaining but I was very pleasantly surprised.

Writer Kevin Fearon has turned the traditional story of Dick Whittington on its head and created a tale of Scouse madness; instead of Dick travelling to London where the streets are paved with gold, hero Dick Head aspires to be mayor of Liverpool where the streets are paved with chewing gum.

The opening song sets the scene of this panto for grown-ups with the cast performing ‘Let’s Get Ready To Rumble’ and numerous ‘Dick’ jokes follow along with plenty of Liverpool-style innuendo and near-to-the-knuckle japes and swearing.

Numerous hit rock songs from the '80s litter the show with the backing of the theatre's live band featuring Ben Gladwin on keyboard, Greg Joy on drums and Chris Nicholls and Mike Woodvine on guitars; all additionally providing excellent vocal backing with musical direction superbly provided from Howard Gray.

Director Mark Chatterton has pulled together a group of elite performers who work marvellously as a team and individually helping to make this performance an unparalleled success. All cast members are equally proficient in their roles and execute them with maximum credibility and with excellent aplomb.  

Established performer Andrew Scholfield excellently portrays King Rat, whilst also taking on various other personas brilliantly. Lindzi Germain is made for panto; she is ideal as Holly Head and Mrs Mozart; her lung capacity is overwhelming, and her vocal reaches are exceptional plus her comedy timing is superb. Liam Tobin (Bradley Fitzwarren, Mozart) is outstanding, and Adam McCoy (Dick Head) excels as does Hayley Sheen (Alice), their vocals are outstanding, and they are a perfect match to play the young loved-up couple. Jamie Clarke as Cat and Emma-Grace Arends, Emma Bispham and Paige Fenlon who play The Ratettes are wonderful additions to the plot, Fenlon also plays Fairy effortlessly.

The stage is set with a giant Advent calendar backdrop utilising doors which the cast can open and pop out of delivering one-liners, along with a revolving stage turntable which is made full use of. Set and costume design is by Olivia du Monceau, lighting design by Ian Scott, choreography by Lucy Thatcher, sound design by Kate Harvey and the audio and visual system is by Jamie Jenkin.

It wouldn’t be a panto if audience participation wasn’t included and the audience are encouraged to join in and at times sing along to the magnificent array of  '80’s hit songs included in the show, many of them rock tear-jerkers.

The plot is funnily obtuse but works wonderfully providing laughs galore including lots of home-grown Liverpool colloquialisms and the cast naming local landmarks. It’s difficult to provide more details without giving away a lot of the truly hilarious parts of the show which will spoil it for those wishing to attend but it is brilliant madcap mayhem at its best. 

The show follows the success of previous shows from writer Fearon and musical director Gray of The Scouse Cinderella, The Scouse Snow White and The Scouse Jack & The Beanstalk and is billed as ‘The World famous, record breaking, eye popping, lung busting, side splitting, knee trembling Royal Court Christmas show’ and to be honest it is.

The show runs until 20th January 2024. 

Age advisory 16+. Children under 12 are not allowed into the show.

Reviewer - Anne Pritchard
on - 15.11.23

OPERA REVIEW: Illuminating Orpheus - The International Anthony Burgess Foundation, Manchester.

Mixing Greek myth, shadow puppetry and French art song, “Illuminating Orpheus” is a delicate little chamber opera with a very contemporary driving force. Presented by Lights On Theatre, this performance was at the International Anthony Burgess Foundation in Manchester.

The stage was simply laid out with a piano and a pianist, Matthew Lau, to one side, and a white screen across the entire width of the space. The projection on the screen declared us to be at a university conference for a particularly obscure and nonsensical branch of musicology. The presenting lecturer, Oliver, shambled onto the stage. He was a rather eccentric young man with a lot of personal issues, and a propensity to taking swigs out of a flask. This was a spoken, and the actor, Keir Lundy, was tautly electric, keeping the through line of the piece going and revealing himself to be a bit of an unreliable narrator.

He was doing a talk about the Orpheus and Eurydice myth, and his wife was supposed to be there to sing some Eurydice songs, but she hadn’t shown up. Several young women and a young man did come on at various times to sing in French, and the screen began to show shadow puppetry illustrating the Orpheus myth. The puppets and scenes of towns and buildings were in the woodcut illustration style, with a lot of filigree work, and some movement. The performers also represented the characters behind the screen, their silhouettes usually in profile. The songs themselves were Louis Durey’s musical settings of Apollinare’s poems. The singing was beautiful, though as many of the poems are about animals, and there were no subtitles, there would be giraffes or other creatures wandering across the screen for no apparent reason and that was a bit confusing. Aidan McCusker performed Orpheus, Barbara Diesel performed Eurydice, Anusha Merrin Bobby and Keren Hadas were in supporting roles.

The professor lost interest in his presentation and began comparing himself to Orpheus, on the grounds that he is a genius-level but underappreciated novelist, and he has just lost his beautiful wife – though due to an “It’s over” text message, rather than a snakebite. Eventually he wandered off, and his wife Una wandered on, to tell the story from Eurydice’s point of view.

Sarah Ampil - who has a richly vibrant singing voice as well as being a calmly poised actor, took us through the history of a modern and unhappy young woman who dropped out of music school to marry a demanding and narcissistic young man. There is also mention of a growing amorous attachment to her best friend Ari, and Rebecca Anderson played this character behind the screen. She became Una's dark shadow, and there was some very nice interaction between the two that broke through the screen wall. She brought the story all the way up to the musicology conference, and then left us there.

There wasn’t really a resolution: it was more like a yin and yang adaptation of the Orpheus and Eurydice myth. Samuel Herriman wrote the script, giving it a dark psychological truth. Spark Sanders Robinson designed the puppetry. The audience enjoyed it immensely.

Reviewer - Thalia Terpsichore
on - 11.11.23

THEATRE REVIEW: Everyone's Talking About Jamie - The Grand Theatre, Leeds

"Everybody's Talking About Jamie" at Leeds Grand Theatre offers a theatrical experience that transcends the stage, immersing the audience in the journey of a young individual navigating the complexities of self-discovery and acceptance.

The musical not only showcases the exuberance of youth but also delves into the challenges and triumphs of embracing one's true identity. Jamie’s (Ivano Turco) quest for authenticity is portrayed with sincerity, and the emotional depth of the storyline resonates with the audience.

The musical numbers, choreography, and performances by the cast synergize to create a captivating spectacle. The infectious energy of the choreography brings the stage to life, and the well-crafted musical compositions contribute to the show's lasting impact. Each character is portrayed with authenticity, and the chemistry among the cast members adds an extra layer of connection between the performers and the audience, with special mention to the bond of Jamie, his mother, Margaret (Rebecca Mckinnis) and her best friend, Ray (Shobna Gulati).

The set design and costumes contribute significantly to the visual appeal of the production, transporting the audience into the world of the characters. The seamless integration of these elements enhances the overall theatrical experience, making it a feast for the senses.

"Everybody's Talking About Jamie" is a testament to the creative prowess behind its conception. The show originated from a documentary titled "Jamie: Drag Queen at 16," which followed the real-life story of Jamie Campbell, a teenager from County Durham, as he pursued his dream of becoming a drag queen.

The transition from documentary to stage production was masterfully handled by the creative team, including writer Tom MacRae and composer Dan Gillespie Sells. Their collaboration resulted in a script that seamlessly blends humour, heart, and the challenges of self-discovery. Sells' musical compositions, marked by infectious rhythms and poignant melodies, elevate the emotional resonance of the narrative.

The show's director, Jonathan Butterell, played a crucial role in bringing the story to life on stage, ensuring that the production captures the essence of Jamie's journey with authenticity. The choreography, under the guidance of Kate Prince, adds a dynamic layer to the storytelling, enhancing the visual spectacle of the musical numbers.

"Everybody's Talking About Jamie" not only entertains but also serves as a powerful exploration of identity and the courage to be oneself. The collaborative efforts of the creative team have resulted in a production that continues to receive acclaim for its innovative approach and resonant storytelling. As audiences revel in the magic of the show at Leeds Grand Theatre, they become part of a larger narrative that celebrates the creative vision behind this remarkable piece of musical theatre.

In summary, "Everybody's Talking About Jamie" at Leeds Grand Theatre is a must-see for those who appreciate a well-crafted musical with a compelling storyline, dynamic performances, and a visual spectacle that lingers in the memory long after the final bow.

Reviewer - Simon OLiver
on - 14.11.23

MUSIC REVIEW: Radio Gaga - The Adelphi Theatre, London.

When I arrived at the Adelphi, I could not believe the queue outside, running almost the length of The Strand. What I had not expected was that there was a huge fan base for Radio Gaga already. They have been performing as Queen for a while now and are well known amongst the fans. This was not what I had anticipated and there was real frisson in the air of expectation. The auditorium was packed, not an empty seat in the house. There was a real buzz and excitement in the crowd which was infectious.

The stage was fairly bare, but the lighting was phenomenal so when the band arrived on stage it felt almost like being in a large stadium. Freddie (Mark Sanders) was larger than life and had all the moves and Freddie’s famous jackets. Carrying Freddie’s trademark microphone stand throughout the performance, as well. He is a well-practised imitator of the infamous lead singer. The band were good; in particular the drummer Tristan Snowden-Poole (Roger Taylor) needs a mention as he knows how to spin a drumstick! I was a little taken aback by Richard Ashford (Brian May) – his hair resembled more of a luxurious Samuel Pepys style wig than that of Brian. It looked so heavy there was no way he was able to really shake his hair like Brian can. It swamped him and I can only imagine how hot it must have been under it. The two guitarists Richard Ashton and Jon Caulton (John Deacon) were not as dominant as needs be and their guitars were not as loud. Also joined on stage by Ben Parkinson on keyboards. Freddie was and is the star and everyone else plays second fiddle.

The audience loved it, singing along, following Freddie’s lead, echoing his call and response. Mark Sanders is a good Freddie substitute although he doesn’t quite have the voice, but then who in the world could possibly fill Mr Mercury’s shoes and vocal range? This was about the performance, making the audience believe this was a concert, (albeit tied to our very tight seats). As with the real Freddie, the audience were eating out of his hand. Clapping along to 'We Will Rock You', swaying their arms to all of the old favourites, one of mine being 'Killer Queen'. We had phone lights on and waved those as well. The Adelphi is quite an old-fashioned theatre so there is no opportunity or space to stand up and dance, and being in these seats doesn’t really suit a live concert. The show is about to kick off a nationwide tour, so look out for a venue near you for a really great night. If you are a Queen fan – do not miss it. I’m sure there will be better venues suited to live music and Radio Gaga will be back in London to play the O2 in February.

It is a two-part gig, over two hours long in total and ending of course with 'Bohemian Rhapsody'. They did of course come back on stage for an encore. I think the renaissance of Queen’s music has been helped by the film Bohemian Rhapsody and has gained a newer and younger audience joining the original stalwarts. A good night was had by all and the buzz that filled the theatre at the beginning was still there as we filed out into a damp November night in London. This was definitely a ‘Crazy Little Thing Called Love’.

Reviewer - Penny Curran

on - 14.11.23

OPERA REVIEW: Masque Of Vengeance - The Stoller Hall, Manchester.

Lashings of intrigue, lust, deception, and a stage filled with corpses at the end – just another night at the opera, really. This new adaptation of Jacobean drama “The Revenger’s Tragedy” was performed by Music Troupe at the Stoller Hall in Manchester.

Thomas Middleton’s 16th century playscript has been set to music by Edward Lambert, to create a new opera: “Masque Of Vengeance”. The subject matter is terrific for opera. Using the actual play text as a libretto, though, did mean that at times the music felt stilted and repetitive, as Middleton didn’t have a lot of variation in his writing style, and it did feel like a constraint on the composer. Lambert did work around it though, recasting Vindicio as a mezzo-soprano, which gave a much fuller sound as almost half the cast were female voices; and making use of ensemble singing where everybody is effectively shouting at each other, but in polyphonic harmony.

Mezzo-soprano Leila Zanette had a wonderful time in the title role. The Revenger, Vindicio, was played as a man who, to enact his plan on getting vengeance for his dead fiancée, disguises himself as an attractive procuress in the sex industry. Zanette’s sultry charm was mixed with a singing voice of controlled passion, in both personas.

Making up the corrupt court was the royal family of nightmares – and designer Tabitha Benton-Evans did helpfully have a pile of skulls and a severed male head on a pole on set, just to reinforce that. Striding around in sharp modern clothing that wouldn’t have looked out of place on a Milan catwalk, the local royals bawled each other out, reinforced hereditary status (as the death toll went up, the crown was regularly being passed around), and engaged in the odd bit of illicit sex. Baritone Charles Johnston was head of the pack as the King, and got his tongue quite realistically cut out halfway through – a particularly cruel torture for an opera singer.

Counter-tenor Francis Gush sang with the purity of a choir boy and the soul of a ghoul as the Prince. Tenor Lawrence Thackeray had just the right note of sliminess as the King’s illegitimate son Spurio. Tenor Will Diggle was the appalling adolescent Vacuo, the King’s new stepson, and bass Christopher Foster arranged for Vacuo’s death with great satisfaction and rich vocal resonance as the courtier Antonio.

Soprano Laure Meloy was quietly carnal as the Duchess, new wife to the King. Soprano Madeline Robinson rewrote the ingénue trope in her portrayal of Vindicio’s sister Virginia, being both sharply brittle in her singing and grittily teenage in her persona. Contralto Mae Heydorn fleshed out the weak-natured mother Gratiana, especially after giving in to the temptation to sell her daughter’s body: – it’s the first time I’ve heard someone sing opera in a pleading whine.

Director David Edwards got all the violence staged cleanly (apart from the plethora of stage blood), and kept the smell of sexual tension in the air. Alex Norton and Adrian Salinero were dynamic accompanists on the piano.

Though staged in modern dress, it was very in keeping with the spirit of “The Revenger’s Tragedy”, and worth seeing.

Reviewer - Thalia Terpsichore

on - 12.11.23

MUSIC REVIEW: An Evening With Anton Du Beke and Friends - The Philharmonic Hall, LIverpool

Illuminated letters spelling out his name adorn the stage and as his band starts playing, Anton Du Beke, ‘Strictly Come Dancing’ senior-pro-dancer-turned-judge arrives on stage in top hat and tails to the cheers and applause of his fans. He poses this way and that, and bathes in the adoration of his fans, a wide grin on his face spreading from ear to ear, almost looking like the cat who’s got the cream before launching into ‘Putting On The Ritz’.

The show promises a night of song, dance and laughter with Du Beke singing some of his favourite songs and performing dances which have inspired his career, and it pretty much fulfils this promise with reminiscences from his boyhood, anecdotes from the popular TV show ‘Strictly’ and audience participation. It may come as a surprise to some that he can sing as well as dance (he has enjoyed a hit album of crooner classics, as well as being a TV presenter and best-selling author of romantic novels) and he combined singing and dancing in the opening numbers but the one thing Du Beke can do without any encouragement is talk, and he does talk a lot in this show. He frequently admits that his shows generally overrun because he can often go off on a tangent when telling a tale and he says he can give Ken Dodd a run for his money in shows running over. His show is totally unscripted, and he does go off track a lot until finally getting to the point he wants to make in a story, whether this is intentional or not is debatable, but it can be a little frustrating at times.

Audience members are encouraged to text questions to him, and these are read out and answered at intervals in-between the singing and dancing. Du Beke takes these opportunities to garner audience participation and build rapport, even kissing one eager fan. He reads out birthday wishes requested and two were from family members of fans in their 90s.

Du Beke tells the audience that the show is ‘all about me’, which it is, he is the ultimate showman, or aspires to be, dressed immaculately, bathing in the spotlight, soaking up the adoration of his fans, a modern-day Fred Astaire with characteristics of Bruce Forsythe, he is the ultimate poseur. Not that he did it alone. He is joined by vocalist Lance Ellington, son of band leader Ray Ellington and backed by an eight-piece band led by musical director/pianist Clive Dunstall, plus a troupe of four excellent female dancers.

His first duet with Ellington is ‘Let’s Face The Music And Dance’ setting the ‘Astaire’ tone followed by ‘If My Friends Could See Me Now’ which probably sums up Du Beke’s rationale, how he has morphed into his current persona from being born plain, Anthony Paul Beke, a boy brought up in a working-class background with an abusive father, who discovered his love of dancing in his youth and pursued it as a career. He is now a renowned judge on prestigious TV show ‘Strictly Come Dancing’ and regularly performs in touring shows with other ‘Strictly’ stars, Erin Boag and Giovanni Pernice.

Du Beke changes costumes throughout the show, sparkly jackets are de rigueur, and he makes full use of the stage, darting about, almost never standing still whilst recounting tales from ‘Strictly’ about some of his dance partners, particularly of Ann Widdicombe and Judy Murray. He also paid tribute to judge Len Goodman and shared his experiences with Sir Bruce Forsyth, the latter being his hero. Personal disclosures about his family life with his wife and his six-year-old twins, George and Henrietta are also featured.

Du Beke professed a love of Liverpool and the Scouse accent and introduced the guitarist in his band as Scouse Pete; he wasn’t afraid to take the mickey out of certain towns and people much to the delight of his fans and he encouraged participation from audience members.

The first half concluded with duets with Ellington, featuring, jazzy number, ‘Don’t Get Around Much Anymore’ and a comedic version of ‘Do-Re-Mi’ from the film, ‘The Sound Of Music’.

Part two commenced with two song and dance routines from the musical show, ‘Chicago’, those being, ‘All That Jazz’ and ‘Willkommen’, both expertly choreographed and performed by Du Beke and the dancers.

Du Beke shared that his favourite dance is the slow foxtrot and wowed the audience with a demo and later whilst recounting a memory from his dance class days, he demonstrated a magnificent tango with his four backing dancers dressed in vibrant red, which was a joy to watch and very much appreciated by the audience. He demonstrated that at 56 he remains a marvellous mover, particularly with a romantic waltz, a slow foxtrot and a dynamic tango.

Although Du Beke is the star of the show, as he kept reminding us, Ellington is his ideal show partner; they appear comfortable in each other’s company, have a great rapport, providing banter and recollections of other shows, with Du Beke taking the mickey out of Ellington at times plus the four excellent backing dancers who are professional and talented enough to star in ‘Strictly’.

The show concluded with duets of Du Beke’s favourite song, ‘Mack The Knife’, a comedic ‘Rain On My Parade’ and an encore featuring the pair giving ‘New York, New York’ the works with audience members joining in as Mr Showbiz basked in the adulation of a standing ovation from a clearly delighted audience.

Mr Showbiz, Twinkle Toes, Mr Entertainer, Mr Debonair, call him what you like, but Du Beke is a seasoned virtuoso who can carry a variety show based on his own star quality.

It is a good fun night of variety where Du Beke is right at home being a consummate performer, comfortable in the spotlight with all the attention on him; it is a must-see for his fans.

Reviewer - Anne Pritchard
on - 13.11.23

AMATEUR THEATRE REVIEW: The Wedding Singer - The Grange Theatre, Hartford. Northwich.

I had the pleasure of returning to The Grange Theatre this evening to see ‘The Wedding Singer’ performed by The Zodiac Musical Theatre society. Such a fun show, and one where the cast obviously had a great time, which translated to the audience and increased our enjoyment.

Let’s head back to the 1980s! This lively and energetic musical is based on the hilarious 1998 hit film starring Adam Sandler and Drew Barrymore; featuring songs that harken to your favourite '80's artistes. Zodiac cordially invited the audience to just say ‘yes’ to this romantic musical comedy. The musical tells a simple love story of it’s two main characters, Julia (Kirsten Dunn) a waitress and Robbie (Blair Smith) a wannabe rock star. Blair Smith played this lead role with real flair, putting in a great performance and his voice was able to balance beautifully with a wide variety of songs. He was able to play the rollercoaster of emotions felt by Robbie Hart well. Robbie moves from being the best wedding singer in New Jersey to a bitter bad wedding singer who was jilted at the altar at his own wedding. The female lead, Julia played by Kristen Dunn, put in a particularly strong performance, both in acting and singing. These two leads worked really well together complementing each other and moving the show along at a swift pace. ‘Come Out Of The Dumpster’ is when we see Robbie and Julia’s relationship develop. This number was an audience favourite with great facial expressions and perfectly timed pauses, it was very comical to watch and well-staged.

What could be a simple love story is complicated by Julia’s relationship with the Wall Street high-flyer Glen played brilliantly by Mackauley Carter. Carter looked the part with a slightly sleazy edge and showed all the necessary traits to leave us in no doubt that he was the ‘baddy’ in the production, with his selfish, swaggering persona and arrogant dealings with Julia and Robbie. He is an attractive man and he knows it, with a successful job and an eye for the ladies. He is a bit of a womanizer and has no intention of staying faithful to Julia. Constantly buying Julia's love with his money and any other women that may take his fancy.

Opening the show with ‘It’s Your Wedding Day’ had the audience tapping their feet excited for more. The bride in this number clearly stood out of the crowd with her dancing and great facial expressions, it clearly was her wedding day! The ensemble not only added colour, depth and harmony but many had smaller roles to play and they all did a great job. The other band members were Sammy (Tom Ray) and George (Tayler Spruce). Sammy the bass player in the wedding band, came over as an abrasive character pretending to love being a bachelor when he is actually in love with Holly (Chloe Pennington). George, the band's keyboardist, is sensitive and somewhat flamboyant, the opposite to Sammy's macho attitude. This pair were great comical characters and added a different slant to the production.

This production has many scene changes and with the combination of a large ensemble mixed with space restrictions the Grange Theatre creates, director Lou Steggals clearly worked really resourcefully to maximise every inch allowing all the ensemble space. ‘If I Told You’ was staged beautifully using the different levels of the stage. The stage crew needed a bigger mention in the programme as they had too much presence on the stage however I believe certain scene transitions could have been completed using the cast in costume.

A shout out has to be made to Kate Walker who played Robbie’s Grandma Rosie. Her characterisation was brilliant with lots of little details, Walker gave an outstanding performance that had the audience roaring with laughter and wanting more.

The opening of act two, ‘All About Green’ was a real audience pleaser and the costumes certainly fitted the mood, I especially liked the green ties and the business suits. Carter showed he is a good all-rounder in this number dancing with the dancers during the dance break. The choreography by Jessica Martin and assisted by Jack Davies for this number was sharp and had some eye-catching moments.

There were a few lighting problems within the production where some of the cast were not lit or just standing slightly outside the light, shadowing their faces.

The music was directed well by Craig Price with eight band members including himself. The band had the audience wanting more, giving high energy music such as ‘Saturday Night In The City’. Craig Price worked hard with the cast during the performance keeping them in time with the band. ‘Single’ was another great number during this production. The men were all drinking in a bar, while Robbie was drowning his sorrows about Julia. The cast in this number added a great comical feel-good energy to the stage and brought their induvial characters to life during the dancing.

I thoroughly enjoyed my evening at The Grange Theatre, there were so many little details that made the show special and each and every member of cast and crew should be proud of what they have achieved.

Reviewer - Abigail Bradbury
on - 11.11.23

AMATEUR THEATRE REVIEW: Waiting - The Storyhouse, Chester.

I had the pleasure of watching an outstanding piece of writing today. ‘Waiting’ written by Gail Young and directed by the award-winning Yvette Owen. This production had the audience laughing and crying, touching our hearts in so many ways. The audience was transported back in time from the moment they stepped into the Garret Theatre, the music playing and the set that decorated the stage was immersive.

The new play ‘Waiting’ follows the Wright family from Liverpool who faced challenges and devastating news in the face of a war destined to pull us apart, that only brings us closer together. The family are torn apart when the three children Tommy (Ethan Harrison), Jean (Savannah Bristow) and Shirley (Cara Sconce) are evacuated to Wales during WWII in an attempt to escape what came to be known as The Liverpool Blitz. Liverpool suffered eight days of bombing during World War II. Hundreds of buildings were destroyed in prolonged raids which targeted the docks area at England's largest western coastal port. The city became the most heavily bombed British city outside London. The story is based loosely on Gail's own family history. The prominent theme of this show was about waiting, where every character showed their own story and struggles as time passed. We watched them wait for letters from loved ones; wait for the sirens to sound and the bombs to fall; wait for children to return to their own beds, and most importantly, wait for the all clear to leave the bomb shelter so they can pick up the pieces of their fallen city left behind.

Owen knew exactly what she wanted from this production, with a good choice of cast, giving support to the young actors who responded superbly to her direction. The production’s biggest selling point is that it is devotedly put together with a huge sense of community and commitment. A shout-out has to be given to Alison Pritchard and her scrumptious looking Victorian sponge cake which had our mouths watering.

The scouse humour was on point and made the audience laugh, staying true to the community of Liverpool. Being a born-and-bred scouser the performance really made me proud to be from Liverpool and to remember all those who lost their lives and suffered during the war.

The launch of this play was perfectly timed with the run-up to Remembrance Day, reminding us all ‘lest we forget’. All profits from ticket sales for the production are kindly being donated to UNHCR (The UN Refugee Agency) to support people across the world currently facing similar challenges in their lives.

This production, involves a talented cast of young actors who were joined by singers from Chester Operatic Society and Chester-based musicians. The singers and live band were a beautifully added touch to this production and gave an uplifting joy to a very tough and challenging period of our history. The cast singing ‘Silent Night’ in Welsh was a creative addition and added a moving element during the air raid sirens. While the Wright family were suffering and sheltering from the bombs, the young ones were safe, singing and praying to their loved ones back at home. Seeing both scenes performed side by side was creatively done using lighting effects, showing a contrasting effect and experience during the war.

The costumes were a perfect fit for the era and brought each character to life alongside the never changing set that worked really well to create a picture worthy stage setting. The lighting for the performance was minimal but very effective, adding tension and emotion to the scenes. The lighting transitions were well timed and made each scene transition flawless.

There were clever uses of cinematography and photography, which only enhanced the live performances from the cast. Genuine historical footage such as Neville Chamberlain’s speech and Mill Road infirmary allowed the audience to really feel part of the Wright family, as if we were all neighbours’ experiencing the Liverpool Blitz. It was a perfect added touch by filming the wedding of David Wright (Dan Aynsley) and Teresa Doherty (Felicity Parry) at St Laurence’s Church, in Frodsham. The talented filming and editing skills of Dan Fox from Char Noir Productions was very well managed as each clip flowed together seamlessly.

Felicity Parry’s performance as Teresa Doherty was outstanding. Her use of emotion and commitment to the role pulled on the heart strings of the audience. Her tragic death reminded us of the devesting history of the maternity ward in Mill Road Hospital, Liverpool and how it took a devastating direct hit on 3 May, 1941.The bomb landed in the courtyard at the rear of the hospital, killing many mothers and their new-born babies.

Peter Wright (Ally Goodman) and Jessie Wright (Kat Tanczos) performed well together creating a family setting which faced adversity and hardship. The characters reading the letters within this production were staged and directed seamlessly causing me to have goosebumps in anticipation of good or bad news. The emotional performances had the hearts and minds of the audience, there was not a dry eye to be seen. Amy Wright played by Dawn Adams made a significant presence as she had the audience laughing the moment she stepped onto stage. This tough grandma had seen trying times herself and was worried history would repeat itself.

Gail Young’s writing had us begging for more by leaving us on a cliff-hanger not knowing if David Wright will return home from sea and finally meet his daughter. The cast coming together to sing at the end was a beautiful testament, showcasing how in Liverpool, you never walk alone and we stand together. The cast and production team fully deserved the sell-out performances and standing novation at the end

Reviewer - Abigail Bradbury
on - 11.11.23

STAND-UP COMEDY REVIEW: Mark Simmons: Quip Off The Mark - The Lyceum Theatre, Crewe.

Finally I have the chance to watch this comedian live! Third time lucky so they say, and that maxim proved to be true this evening, as it was indeed the third time I have tried to see him, obviously failing to do so on the first two occasions! However, I have to say, that I am extremely glad I persevered and finally made it, sine it was truly worth the wait!

Punsmiths are not everyone's cup of tea, but when they are executed with such skill, and they are clever, then who cannot enjoy them. (that's a rhetorical question!) Mark Simmons seems to be taking a space left vacant by the genre's elder statesmen such as Milton Jones, Tim Vine, and the sadly no-longer-on-the-circuit Stewart Francis. And if you enjoy any of these, then you will simply love Simmons. 

Simmons is quiet, self-effacing almost, and you really have to listen to him as e brings you into his somewhat surreal world. Standing on the Crewe Lyceum's stage, looking like a cross between Ed Sheeran and Shaggy from Scooby-Doo, the puns are almost non-stop. Even the moments of quiet are, we realise, just al part of a long elaborate joke. 

It has been a long time since I laughed so long and so hard in public. His callbacks and his final parting shot are simply genius! A very intelligent and cleverly constructed set, which even has no less than TWO puns in the title! I will certainly make time to see this comedian again.

Prior to Mark Simmons making his appearance after the interval (and performing non-stop for at least a whole hour), the first half of the evening was given over to a support comedian, Danny Ward. A very different style to Simmons, he talked about his age, the environment, shopping, DBS checks, gadgets, and Britain's Got Talent. He can be described as conversational and confrontational at one and the same time, and can come across as a little abrasive. His set lasted about half an hour.

Reviewer - Matthew Dougall
on - 11.11.23