AMATEUR THEATRE REVIEW - Grease - The Theatre Royal, Wakefield.

 

Diva Productions' rendition of 'Grease' is a true spectacle that ignites the stage with infectious energy and timeless charm. Set within the iconic halls of Rydell High School, this production not only pays homage to the beloved classic but also infuses it with a fresh, contemporary twist that captivates audiences from start to finish.

Led by a talented cast of performers, each character is brought to life with authenticity and depth. From the swagger of Danny Zuko (Michael Markey) to the sweetness of Sandy Dumbrowski (Esmae Bloomer), the chemistry between the leads is charming, evoking both nostalgia and excitement in equal measure.

But it's not just the leads who shine in this production; every member of the ensemble brings something special to the table, creating a vibrant tapestry of characters that feel both familiar and new. From the sassy Pink Ladies to the rebellious T-Birds, each actor injects their own unique flair into their roles, adding layers of complexity and nuance to the story.

Of course, no review of 'Grease' would be complete without mentioning the music. Diva Productions' rendition of the iconic soundtrack is nothing short of electrifying, with live performances that breathe new life into classic tunes like 'Summer Nights' and 'You're The One That I Want.' From the first note to the final curtain call, the music keeps audiences on the edge of their seats, tapping their toes and singing along with joyous abandon. 

In addition to the stellar performances and amazing soundtrack, the production values of Diva Productions' 'Grease' are top-notch, with eye-catching projected set designs, dazzling costumes, and slick choreography that transport audiences back to the heyday of rock 'n' roll.

Overall, Diva Productions' 'Grease' is a triumph that captures the heart and soul of the original while bringing a fresh, contemporary spin to the beloved classic. With a cast who could have been professional, bringing unbelievable performances, and an irresistible soundtrack, this production is sure to leave audiences of all ages talking about this show for weeks. 

Thanks for a really fun evening. 

Reviewer - Simon Oliver

on - 25.4.24

COMMUNITY THEATRE REVIEW: Evita - The Opera House, Buxton.

 

Community theatre is a wonderful thing, and should be encouraged. Aspiring professionals, committed amateurs, and even those who just fancy having a go, can all come together to work with a team of professional theatre makers to put on a professional standard production at a world class venue! What's not to be applauded?!

Once again, director Paul Kerryson has waved his magic wand, and brought his vision of this epic political story to life on the stage at Buxton's opulent Opera House. His vision however was a minimalist one, with the colour black dominating every scene. A more or less bare stage, save an omnipresent balcony-styled rostra at the rear, all coloured in black, with smaller set items brought on as necessary, mostly black, and a large ensemble dressed in, yes, you've guessed it, black. In fact, any reference to the correct historic period of this show was sadly completely negated by the ensemble's back clothes which were mostly today's fashion. Scarves or pieces of material were added at times, but they needed hats which were not in evidence, and the army wore just a simple brown jacket over the top of their black clothes.  The whole was crying out for colour. This came in the form of Eva Peron, who, along with Che, were the only two cast to stay in costume throughout.  Although hair styles and make-up were still not of the correct period, except for the famous balcony scene which starts act 2. And sadly no attempt was made to cover some rather obvious fenale tattoos in the ensemble either. This made for a clash of decades and as such, lessened the historical relevance and the narrative.

The lighting was also minimalist, with the designer liking the use of haze (smoke) so much thst it appeared in almost every scene whether it was effective or not. The band, under the direction of Rickey Long, were in fine form this evening, but sadly the sound levels were set far too high. I would have benefitted greatly from earplugs this evening the sound was so high!

None of this however negates the quality and sincerity of the performances. Catherine Pugh's determination to succeed at all costs shone through her portrayal of the titular Eva, whilst the sarcastic and more malevolent side of the political wranglings were brought out nicely by Luke Clayton as Che. Ross Clifton was a suave and unswerving Peron, whilst both Steve Sheppard and Maggie Thompson worked well as Magaldi and Peton's mistress respectively. The overall choral sound was good, and the ensemble was helped with their choreography by a team if six teenage tango dancers.

An interesting and competent, if rather dark interpretation of this classic Lloyd-Webber / Tim Rice score.

Reviewer - Matthew Dougall

on - 26.4.24

AMATEUR THEATRE REVIEW - From Page To Stage - The Empty Space, Salford.

 

From Page To Stage is the title, not of a scratch night or evening of reheased readings, but instead, is a celebration of Musical Theatre presented in concert revue style by The East Cheshire Musical Company at Salford's Empty Space Theatre.

Dressed down in company t-shirts and their own choice of trousers / skirts, and with nothing but "the empty space" of the stage to help their performances (save a few hand props), this did look a little more like a rehearsal than a performance this evening. If the company were to wear a uniform top half, then also surely, some uniformity below would have been optimal. However, working with what they had, this group of 20 performers ably and enthusiastically took us through the music of six well known and popular musicals this evening.

Starting with 4 numbers from Sondheim's 'Into The Woods', we were suddenly whisked seamlessly away to the world of Elle Woods and songs fom 'Legally Blonde'; whilst the first act finished with six of the ensemble portraying the wives of Henry VIII in three songs from the smash hit musical, 'Six'. Act two started with Kander and Ebb's take on the inter-war years' Berlin with songs from 'Cabaret'. This then morphed into four numbers from Stephen Schwartz's backstory to The Wizard Of Oz, with 'Wicked', and the company finished - still in green-mode, with songs from the evergreen Shrek.

Lighting was minimalist this evening, with most of the solos or small ensemble songs being sung within a square of light. However, the extremeties of this square were poorly lit and so we were often shown shadows and partially lit faces. We had some mic issues during the first act this evening, but the company continued stalwartly, and these problems had been fixed for the second act, however, for some reason the volume switch had been turned up, and what was aurally perfect in the first act was now too loud for the second. Live music in the form of a very small ensemble at the side of the stage supplied the music and were note perfect and sounded great all evening, under the directin of Ed Nurse.

With twenty performers and twenty three songs from six shows, I am not going to mention all, suffice to say that the entire company worked extremely well together making a lovely ensemble, with apt and naturalistic choreography by Heidi Fletcher. Obviously though, there are always songs which are personal favourites, and so, dear reader, please allow a little subjectivity, whilst I mention the three songs which, for me at least, were the most pleasing. First was Maria Collins and her rendition of 'Heart Of Stone' from 'Six'. Next was Francesca Bowman's interpretation of 'Mein Herr' from 'Cabaret'; and finally, again in the second act, I enjoyed Charlie Hawkins singing, "The Wizard And I" from 'Wicked'. 

The East Cheshire Musical Company had had to postpone their planned musical this year due yo their usual venue being unavailable, and so instead found a way of presenting not just one, but six, and showcasing the talents of their current company in the process.

Reviewer - Matthew Dougall

on - 25.4.24

THEATRE REVIEW - Frankenstein - The Duke's Theatre, Lancaster.

 

Touring theatre company, Imitating The Dog, have been creating and touring original performance work since 1998. Their work is innovative, integrating live performance and digital technology and their aim is to challenge audiences to see things from different perspectives. Imitating The Dog’s latest production, ‘Frankenstein’, explores creation (and the moral responsibility that comes with it) and love – the demand for love, and the rejection of love – some of the underlying themes of Mary Shelley’s novel. The themes are examined by interweaving two stories: a pared down version of Shelley’s novel and the modern-day narrative of a young couple confronted with an unplanned pregnancy and the forthcoming life changes and responsibilities they’ll face in bringing a new life into the world.

Hayley Grindle’s multiverse grey box set (and costumes), Simon Wainwright’s video design, Andrew Crofts’ lighting and James Hamilton’s sound design serve the two stories impressively – transforming time and place quickly from a contemporary apartment, to laboratory, to Robert Walton’s ship amid frozen wastes and snowstorms. The set also comprises video boxes, these are used as cabinets-cum-portable video screens which come alive when touched -  another piece of technology which is exciting to see.

Two actors, Georgia-Mae Myers and Nedum Okanyia, play the roles of the modern-day couple, Frankenstein (Okanyia), Robert Walton (Myers) and ‘the creature’ (Myers). Their performances are strong in all the roles, naturalistic as the couple and physical, sculptural and choreographed in the Shelley story. However, I found the present-day story to be slow-moving and it was difficult for me to catch every word with some of the dialogue masked by electronic sounds or music. It was helpful to come to the performance familiar with the Shelley story.

Indeed there is a lot to take in and think about - it is worth looking at the online resources provided by the company on their website, these include interviews with the Imitating The Dog team about the process of putting together this stimulating piece of theatre:  https://www.imitatingthedog.co.uk/learning-resource/frankenstein-learning-resources/ 

The Co-Artistic Directors for ‘Frankenstein’ are Andrew Quick, Pete Brooks and Simon Wainwright. ‘Frankenstein’ is an Imitating The Dog and Leeds Playhouse co-production and is showing at various venues across the UK until 2 May.

Reviewer - Sue Hayward

on - 24.4.24

AMATEUR THEATRE REVIEW - Bonnie And Clyde - The Met Theatre, Bury.

 

A somewhat romanticised version of events, but certainly based on fact, this musical from the pens of Ivan Menchell, Frank Wildhorn, and Don Black, tells the story of notorious US couple, Bonnie and Clyde.

The story this evening was played out on a smaller-than-usual main stage, in front of a wall of wooden slats made to look like a barn, which opened up with sliding doors in the centre and hinged doors to either side, giving the company and director ample entrances and exits for the various scenes. Projections were played out onto this surface at times throughout ameliorating scenes and adding to the story. The live band were positioned atop this structure, which was a lovely idea and this worked well. Taking in to consideration the restrictions of the stage, and balancing this out with the requirements of the script, this was a lovely compromise, and the scene changes were swift with smaller items being brought on and off as necessary.

This was a high energy production, sensibly directed by Mark Rosenthal, my only one criticism here, and this is a personal preference, is that I would have found other ways to move dead bodies from the stage. A personal hate of mine is to see said dead bodies stand and walk off stage during a blackout, it ruins the illusion for me.

This fully ensemble cast shone in their respective roles. All had superb and strong voices, amply able to cope with the demands of this jazz and blues infused score. Matt McGoldrick was commanding as the young man driven to the gates of hell through circumstance, and enjoying every second of it, Clyde Barrow. [however I think I would have found a way to hide the tattoos]. Izzi Smith worked well holding her own nicely alongside McGoldrick as his hybristophiliac girlfriend and accomplice, Bonnie. A special mention also to the two youngsters (aged 10 and 12) who played Bonnie and Clyde as children this evening. Their voices and acting matching their adult counterparts with accomplished skill. Cleo Avanessian (Bonnie) and Harry Dunning (Clyde).

Suzi Cleary and Kit Phillips were an excellent subplot pairing as Clyde's wayward brother Buck, torn between his life of crime and his uber-religious wife, Blanche. Alexander Cohen was the love-struck cop in charge of capturing the dastardly duo, but it was Zac Grenier who almost stole the show with his showstopping act one finale song as The Preacher.

Accents were good and generally consistent all evening, costuming was appropriate, and the band sounded perhaps the best I have heard a PADOS band sound to date! The sound levels were just a tad too high for maximum aural pleasure, and the lighting, although effective was either a little late on cues at times, or the actors were failing to find their marks.

An opening night success, and a hugely proficent and entertaining show of which the society should be rightly proud. Bang bang!!

Reviewer - Matthew Dougall

on - 24.4.24

THEATRE REVIEW - 2:22 - The Grand Theatre, Blackpool

 

Hold on to your seat; this is worth the hype!

'2:22' is a critically acclaimed and award-winning ghost story which wowed West End audiences on it’s opening run in 2021 at the Noel Coward Theatre. '2:22' has been the winner of the WhatsOnStage Award for Best New Play and it arrives in Blackpool this week for 5 nights only. Certainly, the marketing machine had worked and there was a palpable sense of expectation and tension as we entered the auditorium itself. This was opening night and it was particularly pleasing to see the Grand Theatre almost full on a Tuesday.  I love this theatre and its ever-welcoming staff.  As mentioned the marketing of this production has been ever-present and it has literally painted the town red, with several local Blackpool landmarks turning a searing Scarlett in anticipation of its arrival. The various productions of this wonderful production have featured several famous faces and has become the launchpad for global superstars transitioning from the world of music into the world of theatre. This constant and ever-changing cast is part of the play’s pull and the current tour is no exception, featuring 'The Wanted' singer Jay McGuinness amongst other more established actors. At the end of the play, the words ‘Shhh. Don’t tell’ are projected onto the walls of the set; so, don’t worry, I won’t be revealing any spoilers… 

The plot centres around couple Jenny (Rachel Morris) and Sam (George Rainford) and we join them as they host their first dinner party in their new home with friends Lauren (Vera Chok) and Ben (Jay McGuinness). Believing that an otherworldly spirit is residing in their home, Jenny suggests that her friends hang around to see if the spirit arrives at 2:22. Belief and scepticism clash as during the course of the evening the friends argue, disagree, and question each other; this certainly adds to the suspense and keeps the audience on the edge of their seats thinking that something certainly feels strange and frightening. Believing that something is getting closer the friends stay up and wait for bewitching hour. This particular focus of the plot divides the friends. I certainly felt that is was written this way to help the audience relate to the characters - in any group of friends, you will find those who believe in the supernatural who then justify their beliefs to the members of the scientific community, who believe everything is explainable through scientific theory. I am sure that as audience members leave, the debate of science versus supernatural will rage on. The script whilst wordy at times switches well, between building tension, to the comedic, which cleverly keeps the audience on the edge of their seats, guessing at what is coming next. The cast were very well balanced, and I enjoyed their performances. It is a credit to Jay McGuinness and / or the direction that he more than held his own. However, an extra special mention should be made to Rachel Morris who took on the particularly demanding role of Jenny due to the unavailability of Fiona Wade.

Overall my advice is don’t miss out get a ticket now, you will need to be quick if last night’s numbers are any type of indication. You will have a great night and support a fabulous and iconic theatre.

Reviewer - Jen O'Beirne

on - 23.4.24

THEATRE REVIEW - The Kite Runner - The Playhouse, Liverpool

 

Based on Afghan-American novelist Khaled Hosseini’s bestselling book of the same name, 'The Kite Runner' recounts a story of attachment, redemption and remorse. I have read the book a number of times as I enjoyed it so much, so I was looking forward to the play with anticipation.

This production adapted by Mathew Spangler and directed by Giles Croft, recounts a poignant tale of friendship and spans cultures and continents; it follows one man’s journey to challenge his past and eventually obtain redemption. The story is set across the backdrop of Afghanistan and USA, starting in the 1970s.  It is a powerful, touching tale which pulls at the heartstrings relaying events concerning protagonist Amir (Stuart Vincent), a wealthy Pashtun boy and his servant and best friend, Hassan (Yazdan Qafouri), a Hazra boy.  

The play begins with conversations in Dari, the Persian language of Afghanistan, between the two young boys, innocently playing, naively firing imaginary guns at one another, a chilling vision of future events. Scenes portraying the boys playing are then cut short as they are confronted with tormentor Assef (Bhavin Bhatt), a bully, who intimidates the boys and later attacks Hassan with Amir covertly hiding, watching the savage assault but failing to intervene. This focuses the rest of the storyline, as Amir struggles with his guilt for the remainder of the play, finding a way to be ‘good again’. 

The story spans three decades and transports the audience from the boys’ childhood into the Russian conquest of Afghanistan through to the Taliban rule of the country and their escape from their war-torn homeland.

Stuart Vincent has a heavy workload challenge on his shoulders with an immense amount of dialogue to perform as the narrator of the play, plus as an actor performing the part of leading character, Amir, and he carries it off excellently.

Both Vincent and Qafouri easily swap between the ages of their characters and effortlessly bring innocent childlike naivety to their roles which are both intense and utterly convincing. Qafouri later plays Amir’s half-brother’s child, Sohrab, convincingly portraying the sorrow of a child whose innocence has been stolen.

Additionally, Bhavin Bhatt is wicked as the bully, Assef, and even more ominous as a Taliban member, although his character is often unlikeable, he is constantly enthralling; whilst Dean Rehman (Baba), the stern father with an unflinching moral code, authentically conveys his love towards his son, Amir, whilst also wrestling with his own guilty feelings of past misdemeanours. The supporting cast are all excellent and perform their roles with a stranglehold on the often disturbing subject matter.

The set is minimal, the design (Barney George) depicts a backdrop of the railings and sky surrounding Amir’s lavish childhood home which converts into the high-rise buildings of San Francisco; during a number of scenes colourful kites fill the sky upon which Projection Designer, William Shipson’s vivid depictions are displayed. The ensemble help shift furniture and wooden crates which take the place of seating in many of the scenes.

Drew Baumhol’s sound design works well combined with the visuals, transporting the audience to Afghanistan with traditional music, which is then contrasted with the sounds and ambiance of 1980's America. Unexpected loud bangs are featured in a couple of scenes along with fireworks and gun shots. 

This notwithstanding, at times this reviewer found difficulties in hearing a lot of the dialogue, especially when the actors turned their backs on the audience.  At other times, the actors mics seemed to be on too low a setting and this reviewer would have enjoyed the production more had they been turned up a smidgen.

Entrancing live music in the form of an entertaining tabla performance prior to and throughout the production is provided by Hanif Khan; as enjoyable as it was, unfortunately, at times the sound of the tabla overpowered the actors' voices causing this reviewer to strain to hear relevant parts of the play.

'The Kite Runner' is a hard-hitting play which doesn’t shy away from gritty topics; it is a story that touches on a multitude of human emotions and relationships and is told beautifully and accurately; it touches on cycles of abuse, shame, and hope, shown throughout the two-act play where everything blends together to weave the authenticity of Khaled Hosseini’s 2003 novel. The theme of the play serves as a convincing prompt that whilst we all have cultural differences there are still the challenges and opportunities to understand each other, a theme which is fostered in the book and develops throughout this production.

It is admirably impressive that this epic story is covered in a two-hour long play, the story doesn’t disappoint and is an emotional merry-go-round; it is an unforgettable theatre production and undoubtedly a play worth seeing, especially in the political climate of today, as unfortunately, war endures in numerous countries across the world.

The Kite Runner is on a UK tour until 6th July 2024.

Recommended age 13+

Reviewer - Anne Pritchard

on - 23.4.24

AMATEUR THEATRE REVIEW - Shrek - The Hippodrome, Todmorden.

 

Shrek the Musical presented by the Todmorden Amateur Operatic and Dramatic Society at the Todmorden Hippodrome, was a delightful and enchanting production that captured the essence of the beloved classic film while adding its own theatrical flair. From the moment the curtain rose, audiences were transported to the whimsical world of Far Far Away, thanks to Steve Clarkson’s impressive set design and the array of excellent costumes.

The cast's performances were captivating, with each actor embodying their respective characters with charisma and charm. From Shrek's (Martin Cook) endearing grumpiness to Fiona's (Laura Wilkinson) feisty independence, every character was brought to life with authenticity and humour. The chemistry between the leads was palpable, adding depth and emotion to the story's heartfelt moments.

One of the highlights of the production was undoubtedly the musical numbers, which were executed with precision and energy. From toe-tapping ensemble pieces to heartfelt ballads, the cast's vocal talents shone brightly throughout the performance, leaving audiences humming along and tapping their feet.

In addition to the stellar performances, the production also excelled in its technical aspects. The lighting and sound design were expertly executed, enhancing the mood and atmosphere of each scene. Special effects, including impressive make-up and puppetry, further immersed audiences in the fantastical world of Shrek.

Overall, the Todmorden Amateur Operatic and Dramatic Society's production of "Shrek the Musical" at the Todmorden Hippodrome was a resounding success. With its talented cast, captivating performances, and whimsical charm, it was a must-see for theatergoers of all ages.

Reviewer - Simon Oliver

on - 18.4.24

THEATRE REVIEW - Wicked - The Alhambra, Bradford.

 

The hardest kind of review to write is one where one comes across a show that is so brilliant, practically perfect in fact, that it is almost impossible to critique, and one finds oneself becoming almost sycophantic in one's use of superlatives.... 'Wicked' at Bradford's Alhambra Theatre this evening was that kind of show, and so this will be that kind of review...!

I had been looking forward to seeing this for some time. The musical doesn't tour as often as many do, and so, the anticipation is greater.  Winnie Holzman's reimagining of Oz and the backstory to Frank L Baum's famous novel is inspired, and with award-winning composer Stephen Schwartz providing the emotive and almost gravity-defying score, this is a show which, although we all know is only fantasy, we invest deeply in and our emotions are taken on a roller-coaster ride from start to finish.

The set design (Eugene Lee) was impressive, and I doubt there being too many theatres up and down the country having the technical capacity to take this show. There is flying, magic, and a lot of sliding flats, all ameliorated by a lovely lighting design (Kenneth Posner). And of course the costumes (Susan Hilferty) were Oztastic!

This evening's two protagonists, Glinda and Elphaba were played by Sarah O'Connor and Laura Pick, and I defy anyone to find me a better pair of leading ladies for these roles. They were both utterly stunning and worked off each other excellently. Aiding and abetting them were a whole ensemble of hugely talented performers from chorus to supporting roles, each as important as the other, and each working perfectly and seamlessly filling the stage with tableaux of story, song, and colour. I loved Simeon Truby, who had to work doubly hard this evening as he doubled as both the goat Dr. Dillamond and the Wizard of Oz himself, showing his versatility as two completely contrasting characters. Stephanie Lindo was Elphaba's wheelchair-ridden sister Nessarose, Jed Berry a happily obsequeous Munchkin Boq, and Carl Man the handsome loverboy prince, Fiyero. All three giving impressive and noteworthy performances.

If you want to know the prequel to 'The Wonderful Wizard Of Oz', and be utterly blown away by the sheer talent on display, not to mention the cumulative mise-en-scenes this talent creates, then get yourself down to The Emerad City for an evening of fantabulous verbalations.

Reviewer - Matthew Dougall

on - 18.4.24

AMATEUR THEATRE REVIEW - Kinky Boots - The Lyceum Theatre, Crewe.

 

This evening I found myself surrounded once again by the Edwardian splendour of Crewe's Lyceum Theatre, this time to watch the fabulously LGBTQ-friendly all-inclusive Cyndi Lauper hit musical, 'Kinky Boots'. This production was presented by Crewe Amateur Musical Society.

The story is, somewhat incongruously, set in Northampton... perhaps the town's only claim to fame! [please don't write in!!], and we find ourselves at the ficticious Price's Shoe Factory. The factory has been failing for some time, but on the death of his father, Charlie inherits this white elephant unwillingly. He does not want to continue in his father's footsteps (excuse the pun!). However, events overtake themselves when a combination of his genuinely kind heartedness and indicision meets an aging and hardened drag queen purely by chance. This happenstance leads the two of them to go into business together to create a completely new line of sensatinal footwear to take the Milan fashion show by storm.... kinky boots... and in so doing, save the factory from closure, secure the workers' jobs, learn a lot about each other, and find love and respect in ample supply. It's a true feel-good show full of both Northampton down-to-earth no-nonsense grit, and fabulous, glamorous hard-rock-chick-drag-queen glam. There is heart and soul in this show, it is easy to see why it is so popular.

Performing the leading role of Charlie Price, was a very sensitive Sean Clark-Wilkinson, whose voice was able to cope with the rigorous demands of this searing score, and made us all sympathise with the ups and downs of his journey this evening. Playing opposite him was Michael Daws as Simon aka drag queen Lola. Again another very sensitive actor, but starting off this evening a little too big.. perhaps trying to compensate for first night nerves. However, once he found his feet (again, excuse the pun!), the two sparred off each other delightfully, and their scene in the gents' loo was excellently measured.

Chloe Parr played factory worker Lauren, and truly came into her own with 'The History Of Wrong Guys'; a fun character and we enjoyed her attempts at being noticed; whilst plaudits must go to Robert Crabb as the "typical male" employee who, like many in the cast, is changed irrevocably by Lola's presence, playing his role with sincerity and seeming ease.

A whole company of smaller roles, a mixed chorus of drag queen Angels, and yes, of course, lots of very kinky boots completed the line-up. All working well and adding to the tableaux and story. A live band with good sound levels played in the pit, and there was good costuming and lighting throughout.

A highly competent, enjoyable, and fun show, with the message, "accept people for who they are!" .

Reviewer - Matthew Dougall

on - 17.4.23

YOUTH THEATRE REVIEW - Les Miserables - The Festival Theatre, Hyde. Greater Manchester.

 

Once the province of just the very best of West End talent, this, the world's most popular musical, is now available to amateurs and youth groups. It was this slightly altered youth score that I watched this evening at Hyde Festival Theatre, presented by The Drama Department.

The theatre is not large, and the capabilities and capacity of the technical side of things is not ideal for a full scale musical, but director Michael McCaw made ample use of all that was available to him, including a large full-stage-sized screen at the rear upon which CGI images of each scene - as well as a helpful timeline - were projected. Sometimes though it was clear that McCaw's vision for this show far exceeded the theatre's capacity. Maybe one day he will have the chance to see his vision realised, when budget and staging are not issues to be considered.

For the most part, the rest of the stage remained bare, but several scenes required a few set items, with, of course, act two being dominated by a large barricade, which, with the help of the stage management team, revolved as in the original West End production. Such a shame that the stage-hands were not dressed in costume for this, they looked very incongruous.

An imaginative and creative lighting design therefore dominated the stage at other times. Mostly this worked very well, with some lovely backlights for the soloists. The designer did get a little carried away though with the strange specials around the auditorium. These distracted and added nothing to the scenes.

With this being a youth production, it would be somewhat unfair and prejudicial of me to critique the performances. Suffice to say that it was abundantly clear that all on stage were fully committed to their roles, were giving 100% at all times, and were obviously enjoying their stage time. Indeed a lot of thought, hard work, and effort had gone into creating such a dramatic and epic piece of theatre with such realism and earnestness, none of this went unnoticed or unappreciated. McCaw's own directorial flair and originality was also evidenced, and mostly worked extremely well. 

What I will do however, if the reader will permit, is for me to completely subjective for a small paragraph, and single out just four of this evening's performers. This is not because they were any better than any other, nor is it because they showed any more talent or dedication than the rest of the cast. No, this is a purely personal opinion, and nothing more. The four on stage this evening who for me, hit every single nail fairly and squarely on their heads and then some, were: Eleri Jones as Eponine, Olivia Small as Fantine, Brodie Robson as Gavroche, and Scarlett Bailey as Young Cosette.

A live band, under the direction of Paul Lawton was hidden somewhere in the bowels of the theatre, and the sound levels were at times set just a little too high. The whole thing could have done to have been just a couple of decibels lower for maximum effect and enjoyment.

A rather large cast, including ensemble, filled the stage as necessary, and their cumulative sound was lovely, again enjoying and appreciating all the harmonies. The whole group have obviously worked tirelessly to create this piece of theatre. A lady sitting next to me had never seen the show before and knew nothing of it; however, this version has inspired her to see the show again, and even perhaps read the novel... she was one of the first on her feet at the end, as the whole audience gave this society a deserved stranding ovation.

Reviewer - Matthew Dougall

on - 16.4.23

AMATEUR YOUTH THEATRE REVIEW - The Greatest Night - The Albert Halls, Bolton.

 

Welcome to the annual showcase of dance and musical theatre from Dawson's Academy Of Dance And Stage (Bolton), presented this evening by their own Curtain Up Theatre production company. Their showcase took place on one evening only at The Albert Halls in the centre of town.

This will be the umpteenth year that I have had both the privilege and the pleasure of watching Dawn Dawson's students' hard work come to fruition. The dedication of her team is undeniable, and the energy, enthusiasm, talent, and discipline shown on stage by the students this evening was, as always, impressive.

I have to be completely honest - I know the company would want and expect nothing less of me - and say that this evening however, was just a little ragged around the edges, and did not quite live up to my, by now, extremely high expectations of this academy. There are a few reasons for this, and so please allow me to elucidate.

The first thing which struck me was the lighting design. I am uncerain of the Albert Halls' capacity, but suspect that it is capable of creating more varied effects than the few on display this evening. Many of thg dance routines were performed in semi darkness, extremities of the stage were left unlit, the design for each number was very similar with little variation throughout, many of the principals were insufficiciently lit,  and the smoke machines (haze) practically ineffective and used incorrectly. This was a crying shame. Moreover, and this concerns the set not the lighting. Would it not be possible to put a black tab across the rear of the stage? Those horrific statues and gothic organ simply did not fit any of the pieces this evening, looking incongruous and pulling focus.

My second point would be the need for an MC / compere. Perhaps the children liked this, but from a professional production point of view, as good as she was, this dragged the whole show back into the realms of amateur (using the word as a negative rather than the true meaning).

With 13 items to get through in each act, this showcase was also on the long side. The academy does not boast a huge membership this year, and so it put a lot of pressure on fewer students to do more dancing and singing / acting than they would have done in previous years. 

That being said however, the performances were of course up to the very high standard that one has come to expect from this company, and the discipline of the students never in question. These talented students put their hearts and souls into this evening, and it paid dividend many times over. With so many items to get through, I will not go through them all here, but instead, if you will allow me to be subjective for once, will simply highlight a few of my favourites of the evening.

So, in the order they happened on stage... I loved the young girl singing 'Castle On A Cloud' from 'Les Miserables', following this the young man who made M.Thenardier his own in a rather unique interpretation of 'Master Of The House'. The young Gavroche was also quite excellent.  I enjoyed the jazz style of "A Little Party", whilst the sheer beauty of "Kiss From A Rose" was enchanting. Act 2 opened with a selection from the musical 'Seussical', which, even when performed in its entirity can be very confusing, so the cast did really well to bring forth both the story and the characters here and made this a very enjoyable section. The evening's star prize must go to a young Kent Hayward. His rendition of the old-style song-and-dance-man singing, "When I Get My Name In Lights" was simply wonderful. I would have liked to have seen him do more tap though....! Another lovely contemporary ballet piece followed, "Set Fire To The Rain". And finally, the last two dances from the '& Juliet' section were very impressive.

Many of the dances used acrobatics which worked nicely. All were choreographed with skill, making sure the demands of the dance did not exceed the students' capabilities, and creating some interesting shapes, nice picture endings and good use of the space overall. Costuming was excellent throughout, and the quality of both snging and acting very good.

Dawson's Academy take students from 3 years old, and this everning, these tiny tots took their first tentative steps on stage in front of a live audience, and of course all the parents ooed and aahed. I think they were just a little too tired though to truly concentrate on their second appearance... it was long past their bed times!!

'The Greatest Night' showcased song, dance,  and musical theatre acting, and to think that the eldest on stage this evening was 18, was both inspiring and mind-bloiwing. I truly wish that I had been granted such opportunities when I was growing up, these students are so lucky!

Reviewer - Matthew Dougall

on - 15.4.24

AMATEUR MUSIC REVIEW: Catalyst: National Youth Orchestra - The Philharmonic Hall, Liverpool.

 

The National Youth Orchestra Of Great Britain takes budding musicians from all over the island, even including a couple of members from The Channel Islands, and with a huge membership, once on stage, they are a mighty force to be reckoned with, totally some 140+ instrumentalists. Add in The National Youth Brass Band Of Great Britain too, and for the first of two very substantial works this evening, the stage of Liverpool's Philharmonic Hall was crammed with young musicians and their instruments. I have never seen so many on this stage before.

The concert started therefore with a piece of new writing from contemporary composer Gavin Higgins. This 40+ minute Concerto Grosso For Brass Band And Orchestra was not an easy piece to play. It was not an easy listen either. All too often, today's composers go for showy and clever over lyrical and tuneful, and for this reviewer at least, this was a prime example. Throwing pretty much everything at this concerto, there were several types of unconventional percussion, as well as non standard ways of playing the orchestral instuments. Flirting vagariously betwen harmony and atonality, discord, and other contemporary harmonic or enharmonic structures, Higgins' concerto grosso - literally a large concerto - used instruments from the brass band and indeed the brass band section as a whole as the concertino, whilst the orchestra as a whole became a rather grandiose ripieno. It was a bold and brash work in two movements, and the second movement was far more interesting dynamically, leading to a loud and flamboyant finale.

After the interval and we settled in for the second lengthy piece in this evening's concert. One of the orchestra's more loved and popular 20th century symphonies, Prokofiev's fifth. To say that this work is a piece of absolute genius is not an understatement! Written in response to the Second World War it was a hugely daring thing to write. The Soviet Union at that time were very controlling of all things, especially any real or perceived anti-soviet sentiment, and the feeling that the war was perhaps futile and uneccessarily aggressive was not party thinking at all! However, one can clearly hear Prokofiev's own reaction to the war in between the military marches and propoganda tunes. The first movement is dark, brooding, warlike, but sincere and heartfelt, whilst the second movement, a scherzo, is light, tuneful, and ironic. Both the third and final movements use elements of Russian folk songs and military marches; a fervent dance of death in the third, and a huge build of false hope and happiness in the last movement to the final few bars which are quite clearly gun shots and death.

Conducting this piece was Jessica Cottis, and her conducting was superb. It was evident that every member of the orchestra respected her, and she was animated, controlling, and envigorating. A joy to watch, and I can only imagine a pleasure also to be conducted by her.

The orchestra were on fine form too. The membership of this ensemble ranged from 13 - 19 years, and yet they were completely indistinguishable from any renowned symphony orchestra you care to name. Their cumulative playing was impressive to say the absolute least. Talented, dedicated, and simply superb!

In between the two major works, a short polyphonic fanfare was performed by both orchestra and brass band. This was not in the programme, and so do not know what it was.

Reviewer - Matthew Dougall

on - 12.4.23

AMATEUR THEATRE REVIEW: Rock Of Ages - The Art Theatre, New Mills

 

It seems like years since the Romiley-based company NK Theatre Arts performed on stage. Severly put back by the RAAC problems at their home venue, The Forum Theatre, they have finally found an alternative, friendly and accommodating venue in the form of New Mills's Art Theatre, and their production of 'Rock Of Ages' here puts them firmly back up where they belong!  I can only hope that Stockport Council are digging deep into their pockets to recompense this society.

And so, travelling just that few extra miles down the road, and crossing over into deepest darkest Derbyshire proved to be an excellent move. Never mind that the stage is considerably smaller, and that other things such as a significant rake, strange downstage rabbithole exits, and a whole different acoustic needed to be considered; the society was performing on a real stage, and their vision of this jukebox anthem to the hard rock sounds of the 1980's has at last been realised....... and yes, it was worth the wait!

Directed by Paul Wilson, who also performed the role of aging rocker Dennis, this was one of the best interpretations I have thus far seen of this show. The storyline, for what it is, is shoe-horned in to showcase as many well-known hits as possible, but it is often either ignored or told in a very bland, laissez-faire way. This evening however, Wilson was not content with simply letting the songs speak for themselves, and his fondness for corny comedy shined through in every scene. Lovely directorial touches abounded, whilst the comedy never stole the show's nor the music's thunder. 

Narrating the show, in a very self-effacing and effete way, in a characterisation all his own, was John Redfern as Lonny. Traditionally played much straighter and louder than this, Redfern found a character that was both hilarious and centred, credible and creditable.

Rocking along with him in their cause to save The Bourbon Rooms and indeed The Strip's reputation were Drew (Mike Miller), Sherie (Alison Baines), Dennis (Paul Wilson), Stacee Jaxx (Isaac Brooks), and a whole host of rock chicks ensemble; whilst in the red corner, from Germany, were father and son Hertz and Franz (Martyn Preston and Todd Bennett), with referee would-be mayor, Regina (Jade Wilbraham). This was a high energy and no punches pulled production, with everyone on full throttle the whole evening. 

Characterisations were fun and secure, vocals were very strong and nicely placed.... this is not an easy sing. Rock songs are very demanding and require a completely different technique from the usual musical theatre repertoire. Choreography was fun, slick, and superb. The onstage band was excellent throughout, and despite a slight mic / amp disaster just at the start of "More Than Words", the sound levels were perfect. Just loud enough to be considered rock, and not too loud to be out of place in a theatre. Lighting etc was creative and worked well, and costuming was mostly excellent.

All in all, despite the rough ride this society and this show has taken to arrive at its destination, this was a truly upbeat, tongue-in-cheek love poem to those heady hard rock years of the 1980s. Bravo!

Reviewer - Matthew Dougall

on - 10.4.23

BALLET REVIEW: Edward Scissorhands - The Alhambra Theatre, Bradford

 

Matthew Bourne's production of "Edward Scissorhands" at the Bradford Alhambra Theatre is an enchanting and immersive theatrical experience that captivates audiences from start to finish. Drawing inspiration from Tim Burton's iconic film, Bourne brings his unique vision to the stage, breathing new life into the beloved tale of a gentle outsider with scissors for hands.

From the moment the curtain rises, audiences are transported into a whimsical world of beauty and darkness, where the ordinary meets the extraordinary. Bourne's choreography is the driving force behind the narrative, seamlessly blending dance, music, and storytelling to create a mesmerizing spectacle. Each movement is a delicate expression of emotion, from the hauntingly graceful gestures of Edward to the vibrant ensemble numbers that pulse with energy and vitality.

But it's not just the choreography that dazzles; it's also the meticulous attention to detail in every aspect of the production. The set design, reminiscent of a quaint suburban neighbourhood straight out of a storybook, is a feast for the eyes. From the quirky houses to the atmospheric lighting that sets the mood for each scene, every element contributes to the immersive experience, drawing viewers deeper into Edward's enchanting universe.

What truly sets Bourne's production apart is its ability to evoke a range of emotions, from laughter to tears. Through his masterful storytelling, Bourne explores themes of love, acceptance, and the human condition with depth and sensitivity. The tender moments shared between Edward and his beloved Kim tug at the heartstrings, while the struggles of being different in a world that values conformity resonate deeply with audiences.

In the end, Matthew Bourne's "Edward Scissorhands" is more than just a retelling of a classic story; it's a transformative journey that leaves a lasting impact on all who experience it. With its breathtaking choreography, imaginative staging, and heartfelt performances, it is a testament to the power of art to move and inspire. Whether you're a fan of dance, theatre, or simply a lover of great storytelling, this production is not to be missed.

Reviewer - Simon Oliver

on - 9.4.24

CIRCUS REVIEW: Cirque: The Greatest Show - The Opera House, Blackpool.

 

Currently touring the UK is the latest combo theatre spectacular, "Cirque - The Greatest Show', which combines circus performance with songs and dances from contemporary music films. ['The Greatest Showman', 'Lalaland', 'Moulin Rouge' etc].

At Blackpool Opera House for one performance only, the large theatre was close to capacity this afternoon with youngsters and families lapping up the extravaganza.

The show started with a comedy mime artiste whose black and white life needed some colour, and so, after exchanging his old TV set for a modern one, colour, in the form of song, dance and circus, entered his life. A large screen at the rear of the stage was projecting pertinent images throughout, however, from my seat in the side stalls, this was not in focus and so we were unable to see these sadly. Otherwise the lighting and SFX were well executed and complimented the performances throughout, but the sound levels were mostly set far too high.

Musical theatre performers sang and danced their way through several well known hits, either as stand-alone set numbers or to accompany one of the circus performers. The standard of the dancing overall was very good, with the three young male dancers excelling. The singing was a mixed bag, but nothing truly impressed sadly.

The circus skills on display ranged from aerial work, clowning, juggling, quick-change artistes, fire juggling, crossbow, and cyr wheel. All artistes were more than proficient in each of their disciplines, but for me the stand-out performance here was French juggler, Thomas Barrandon.

And yes, I have left the best until last. An act which I had hitherto never seen, and one that greatly impressed. Duo Eclipse are a pair of acrobatic skaters, and this afternoon whilst on a small raised circular dais, they performed some death-defying acts of incredible skill and balance whilst skating and whirling!

Sadly, the company do not have a programme and so am unable to credit any others, and have no record of my visit either... shame.

Reviewer - Chris Benchley

on - 7.4.23

CLASSICAL MUSIC REVIEW - Northern Chamber Orchestra with Katie Stillman - King's School, Macclesfield.

 

This was my first visit to the King's School in Macclesfield, where the Northern Chamber Orchestra have made their home. I was very much looking forward to this concert, but after having experienced their new venue, I now have some mixed feelings. It is very rare in a review that I mention the venue, normally the two things are unrelated. However in this instance, when ones enjoyment and perception of the music can be so drastically altered by the ambience and comfort of the venue, I feel this is relevant. This is a modern school hall, plain and simple. A large, open, unappealing and multi-purpose structure which might suffice the youngsters who attend the school, but right from entering the building, the whole experience for me was akin to the very worst of AmDram or perhaps a parish coffee morning. The hall itself is ill-equipped for a classical concert, the walls are school walls, which they make no attempt to hide, and the seating, although raked, is designed for bodies much smaller than the average adult and we are simply sardined in to these uncomfy plastic chairs. The school does not have the requisite lighting for this concert either since the NCO used 4 stick-lamps of their own to ameliorate; and half way through the concert when the outside tempest blew, the building made us all too aware of it. A large window looking out onto the grounds and absolurely no sound-proofing certainly dd not help. I mention all of this simply because the venue was simply unsuitable for a professional orchestra of this standing, and as such, my enjoyment of the music diminished.

However, to the music itself now.

This 18-piece string ensemble led by renowned soloist Katie Stillman was in fine form. Their programme stretched the musical eras from Baroque to contemporary, and each piece was performed with undoubted skil and precision.

We started with Britten's arrangement of Henry Purcell's Chacony in G Minor. The dynamics were superb, the attention to the detail of the scoring incredible, and despite the piece's boring and repetitive nature, the esemble made it sound sonorous and meaningful.

Following this and we were catapulted right up to the present day with a work written during Lockdown by Anna Clyne, "Stride". Clyne took inspiration, and indeed borrowed the occasion melody fragment from, Beethoven's Pathetique Sonata to create a sounsdscape of varied textures, colours, and emotions. Flirting vagatiously with both contemporary and classival writing techniques, the piece is almost a tone poem in its structure, and on my first hearing of this piece this evening, I found it surprisingly lyrical and satisfying.

The last work before the interval was the absolutely delightful and inspired piece of

writing which is Benjamin Britten's Simple Symphony. Not an easy piece to play by any stretch of the imagination, but once again, under Stillman, one need not have worried. The ebulient and playful second movement played entirely plucked pizzicato was a delight, whilst the finale - marked as 'frolicsome' - was just that, and a lovely end to the first half.

The second half was a long and more substantial work. Schubert's String Quartet in D Minor, "Der Tod Und Das Madchen" played here in the arrangement for string chamber orchestra by Gustav Mahler. Once again, the playing of this was irreproachable, and the emotions and dynamics of the piece were simply lovely. The famous second movement from which the piece gets its nane was superb, despite the the storm outside deciding to start just at the most dramatic moment!

Reviewer - Matthew Dougall

on - 6.4.23

POETRY EVENING REVIEW: Roger McGough: Alive And Gigging - Waterside, Sale. Greater Manchester

 

For any poet or would-be poet the name Roger McGough is not just a well known one, but a loved and revered one too. Born in Liverpool in 1937, this spritely octogenarian is as canny, as funny, and as humble as ever. 

One of the original Liverpool Beat Poets, His poetry is easy on the ear, whether in a lyrical rhyming pattern or in a more oblique and avant-garde fashion, and quite often there is a serious punchline despite the frivolity. He is very fond of lists, of finding humour and poetry in the mundane, a slight obsession with death, and of course the rhythms and undulations of 1960's music - all of which are evidenced in his poetry. His style is often referred to as "Street Poetry", but personally I find that term rather demeaning. Mostly though his poems are meant to be read aloud ("Performance Poetry"), and in the short hour in his company this evening, that is exactly what he did.

Starting with a clever and humorous voice-over introduction, McGough took us through his life, from his very early years and first memories right to the present day, and along with the poetry there were a few anecdotes thrown in for good measure too.

A self-effacing, approachable, down-to-earth and genuine human being, he has an impish sense of humour but a caring nature, again, all evidenced in his writing.

Short, succint, but practically perfect, and a must-see for anyone with a love of poetry.

Reviewer - Chris Benchley

on - 6.4.24

AMATEUR THEATRE REVIEW: Treasure Island - The Garrick Playhouse, Altrincham.

 

It is the Easter holidays, the youngsters are at home and under your feet, and if you have not gone away on holiday, that means parents are once again tearing their hair out at finding things to do and entertain them until they have the chance of packing them off once more to school.

To this end, Altrincham's premier amateur theatre company, The Garrick, have over the last few years, cannily provided a family-oriented, child-friendly theatrical entertainment for the community. This year, director Joseph Meighan has chosen Bryony Lavery's freely adapted 2014 version of 'Treasure Island'.

However, what at first, on paper, might have looked like a good idea, in practice, this proved not the best choice unfortunately. Lavery's laboured version is not for children. This is a feminist version which makes both Jim and Dr. Livesey female. It also alters some of the characters, most notably by giving Jim a grandmother instead of parents, and some of the other characters have been added (or subtracted) or their fates changed. The biggest problem with Lavery's version though is the language. This is a 20th century freely adapted script, and yet she chose to keep the language archaic and obscure, thus alienating majority of the target audience from the start. Moreover, she was unable to decide what genre she wanted this work to be classified as: a documentary, a thriller, a ghost story, a horror story, an adventure story, a comedy, a pantomime?? And this indecision was sadly mirrored in both Meighan's directing and the characterisations. The end result feeling much more like it belonged to the 1970/80's TV series called 'Play For Today' than anything contemporary and catching.

It is a very large cast, and some of the minor characters become insignificant in this version, and so one wonders why they were ever even included... Red Ruth, Silent Sue, Dick The Dandy etc...., whilst the character of Grey (Graham Simmonds), a role added by Lavery, was excellently placed and his deadpan presentation was a joy.

Heading the cast this evening, half narrating her own story was the very sincere Lauren Brown as Jim Hawkins. A sturdy performance but sadly lacking the charisma to truly engage continuously. Playing opposite her was a very loud Michael Gallagher, obviously relishing being the villain of the piece as Long John Silver. Sadly the difference in these two opposing performance styles clashed rather than married. Other roles were a mixture of rounded characters and quasi-pantomimic caricatures, and when the over-the-top comedy role of Ben Gunn (Euan Tanna-Fenton) finally arrived, it was too late for the audience to laugh, since there had ben little to no comedy before this point.

With stylised sea shanty community singing for the set changes, a colourful parrot puppet for Captain Flint, and a rather rushed denouement, this was a very mixed bag of a production. A good set design and evocative lighting plan certainly hepled, and the cast were all fully committed and gave proficient and unfeigned performances, but the show as a whole failed to both truly cohere and engage.

Reviewer - Matthew Dougall

on - 4.4.24

AMATEUR THEATRE REVIEW: Singin' In The Rain - The Grand Theatre, Blackpool

 

This is now the second show that this reviewer has had the pleasure of seeing from this talented local society, Blackpool Operatic Players. Having seen their production of Shrek at the Grand Theatre last year, I knew this show would be given full justice; book musicals of yesteryear only appeal to a certain percentage of the musical-theatre-going population - but this one is a classic and still much loved by those old enough to remember musicals before the likes of Lloyd-Webber changed the scene completely.

In this story, we find ourselves in Hollywood in the 1920s, and at that momentous and ground-breaking happenstance, the advent of the talking picture. Don Lockwood and Lina Lamont are the toast of the silent films, superstars and idols, and then, suddenly, a rival studio produces a "talking picture", namely, 'The Jazz Singer', and their world is turned upside down. Their boss R F Simpson decides that their next big movie should also be a talkie in order to compete with the competition. Comedy arises in their ineptitude and misunderstanding of this new technology, but it is a doomed project right from the start since their female star, Lamont, has the highest pitched, squeakiest voice imaginable and simply does not fit her onscreen image. Fortunately, a deus-ex-machina arrives in the form of Kathy Sheldon, an aspiring young actress with the voice of an angel, and she is coerced into providing the voice of Lamont to help the studio. Don Lockwood falls head-over-heels in love with her, and she with him, and of course this goes against all the onstage chemistry and publicity material that the studio endorse about the two stars' romance. Things don't go according to plan, but don't worry. there are plenty of high-stepping tap routines, catchy tunes, and even onstage rain for the iconic title sequence! There's also a happy ending too, of course!

Jack Price plays a very personable lothario and matinee idol, and is a very easy-to-watch actor. His dancing is skilled and he gives a rounded and entertaining performance. Stephanie Cartell's voice as Lamont is consistent and of course completely irritating! Perhaps she could have played the role a little more dim-witted, thus creating more comedy on her lines, "What do you think I am, dumb or something?", which as they were held no comedy at all, since she clearly was quite intelligent despite her (deliberately) horrendous voice. Sophie Morison made for the perfect love-interest as Cathy Sheldon, hitting the role perfectly, being not too obvious, but never in the background either. The second male lead of Cosmo, Don's life-long friend and erstwhile performing partner, was taken by Andi Lees-Lester, who put much into this energetic and demanding role. Again, an easy-to-watch actor, but I did feel he was struggling a little with the more full-on physical comedic demands of the role.

The set was minimal but apt, and worked nicely. The scene changes however need some work still to make them run more smoothly and convincingly. If there is one thing this particular reviewer does not like to see is cast members, in costume and fully lit, moving sets in and out (unless that is a part of the style of directing, which this was not). 

Costuming was very good, as were the sound levels and lighting design. The pace needs to be picked up a little generally from all the cast, but this was opening night and so this will become swifter as the show runs. Some lovely cameo performances, and a solid strong chorus with good harmonies and dancing - I did not expect a second rain storm, and that was nicely done.

However, musically and theatrically secure, this was a strong and most enjoyable production which did full justice to the show's original intents. Full of superb and memorable songs, and lots of tap dancing, it is guaranteed to blow the blues away on these still rather wintry late March days! 

Reviewer - Matthew Dougall
on - 27.3.24

THEATRE REVIEW: Hedda - The Arts Theatre, Nottingham.

 

'Hedda' is director/adaptor Andrew Whittle's 'new' version of Ibsen's classic 1890 play Hedda Gabler.  There are probably as many good reasons for losing the character's surname as there are for retaining it, given the critical cliche that she is more her father's daughter than she is her husband's wife. But audiences should rest assured that this is as close to a traditional production of Ibsen's play as has been seen for some time.  

This comes as a relief, to this reviewer at least: all attempts to update the play to a modern setting have foundered on the failure to translate a crucial plot point, namely the burning of Loevborg's manuscript.  Since the early 21st century, it's been physically impossible to 'lose' a manuscript unless you maintain an allegiance to pen and paper (and who does that?), so it's gratifying to see the masterpiece consigned to the hot stove rather than watching Hedda hammering a laptop to pieces or swallowing a memory stick (two of the more asinine 'solutions' to the problem seen in recent years).  

Adaptor Whittle doesn't play it entirely straight though: occasional moments of effing and blinding (by the servant, Bertha, and by Hedda) strike a jarring note and don't add anything. 

Leaving that aside, this is in many ways a satisfying production, thoughtfully plotted in terms of stage pictures and with convincing period costumes. None of the characters are radically reinterpreted but that, too, comes as relief. Alexandra Whitworth's drawling Hedda presides over a compact version of the Tesman drawing room, dominated by a burgundy suite around which most of the action centres and on which David Hubbell's elastic-limbed Tesman gets to bounce during a crucial denouement late in the play. Monica Nash's Mrs. Elvsted is well-characterised, so it's a pity she was inaudible for long, important stretches of the play, notably the expositional scene in Act 1: those unfamiliar with the text would've been left in the dark, especially if they'd been seated mid-theatre. There is a very powerful and well-judged performance by Robert Hamilton in the difficult but crucial role of Lovborg.  

On opening night in Nottingham, the cast seemed to be getting to grips with an unfamiliar space; hopefully, things will build from here as they set out on a tour which finishes at the end of April.  

Reviewer - Paul Ashcroft
on - 26.3.24

THEATRE REVIEW: An Officer And A Gentleman - The Alhambra Theatre, Bradford.

 

It is always exciting when something completely new comes your way. So, when the opportunity came long to see a musical version of 'An Officer And A Gentleman', I simply could not refuse. Over the last couple of decades or so there has been an absolute glut of musical adaptations of cult or hit films from yesteryear, and one would also think that the genre of jukebox musical had been run completely dry by now too; so although the musical itself might be new, the idea, the music, and indeed the story are all worn and tired. Something spectacular needed to happen on stage this evening then for this show to be the hit that it promised to be. 

As a complete aside, something quite extraordinary did happen this evening, but not in the way that anyone would either have wanted or expected. The lead role of Lynette this evening was being played by Sinead Long, that is until half-way through the second act when the Stage Manager announced that due to her sudden indisposition, her understudy would be continuing, and so after a brief 10 minute hiatus, the show resumed with Etisyai Philip taking over the role. 

I know that I have seen the film, only once, when it first came out some 40 years' ago, and remember not really wanting to watch it again. However, that was then, and I had completely forgotten the storyline and characters, and so, as far as anyone is concerned, I was watching this story unfold for the first time this evening. It is a very formulaic and predictable story, and has nothing to say that has not bee said a zillion times before in books, films, etc. All the cast were talented and as an ensemble worked well together, but failed to truly inspire or engage. It was not due to a lack of energy, for that was in plentiful supply, it was simply that they failed to bring the audience into their world and their story. Act one was very lame and the applause was reserved and polite. Act two did get better as the story became more involved and the songs and immediacy of the denouement brought the audience together more and we became more interested and concerned. By the end of the show the audience were completely engaged, but it should not have taken 2.5 hours to get there! 

There were a few reasons I think for this lack of engagement. First, there was very little chemistry between both sets of leads. Yes, they acted being in love, but we did not truly believe it. The acting and singing were proficient and the story was told easily, but there were no sparks, no missed heartbeats. Second, some of the cast had a rather disturbing habit of looking out directly at the audience. Some dialogue and some singing were performed in this way and it was most distracting and spoilt the illusion. I know it is a complete exaggeration but I almost expected them to start waving to family members in the audience at one point! The costuming and whole idea of the show was too clinical. There was no dirt, no grime, and yet without it, the cleaner, smarter elements of the show did not shine as brightly as they should. 

My final thought and negative point is the set. Michael Taylor's design simply did not work. What we were presented with was a grey, metallic box of tubes and mesh rising high and square on the three sides of the stage, with a moveable set of steps in a similar design on wheels. Neon lights sometimes lit shapes and logos giving the audience a clue to the scene / location, but mostly this dystopian monstrosity, which looked much more like something between a nightmarish Jesus Christ Superstar mixed with The Shawshank Redemption, offered neither the grit and deprivation of the slums, nor the clinical and military feel of the Naval Training Facility. It was always dark (too dark) and simply left us needing to use much more imagination and suspension f disbelief than we should have been using.

On reflection, the show was entertaining enough and provided escapism for the evening. It is a rather mixed bag of a show though, and indeed the audience themselves were very mixed in their reactions. Some gave a standing ovation at the end, whilst many others begrudgingly applauded. 

Reviewer - Matthew Dougall
on - 25.3.23

THEATRE REVIEW: Alice In Wonderland - Waterside, Sale. Greater Manchester.

This particular reviewer has seen productions by Folksy Theatre (the company producing and performing this afternoon) before, but they have been outdoor shows, with the cast performing in all weathers and struggling with vocal projection and connecting with all the audience. However, this afternoon at Sale's Waterside theatre, the audience were much more attentive and the interaction and connection was immediate right from the start.

A brightly painted and busy set design of four flats and a back cyc portrayed psychedelic images of the Alice story, whilst the three performers played a whole array of characters between them in a frenetic and fast-moving musical version of this well-known and loved classic children's story.

Aimed at children from 3 -7 some of the dialogue was a little too fast or complicated for them, but they were engaged and enjoying the story (mostly) throughout. Although they were waning and being distracted towards the end, and I felt that perhaps ten minutes from this show could easily be cut, as it was running this afternoon at 68 minutes. 

Folksy Theatre (as indeed the name suggests) sing folk-style songs and these three performers played an array of instruments this afternoon between them, from all types of percussion, different styles of guitar, and keyboards. Their singing worked well, suiting the songs and the style nicely, and they made some lovely harmonies between them.

Costuming was minimal, and character changes were made with the addition of a hat or silly voice and little else. Sometimes puppetry was utilised, the White Rabbit being full of fun, and the caterpillar being a favourite for the tiny ones. 

Ariane Murchie portrayed Alice, and her character was constant throughout. Dressed in a blue dress and white apron (what else?) she represented stability when all around her was forever changing. A very pleasing young actress and easy to watch. Working their socks off with ever-increasing madness were Laura Blair and Tom Hardwicke playing everything else in the story from dim-witted playing cards painting the rose bushes, to a completely mad Mad Hatter, to an imperious Cheshire Cat, and an Off-Her-Head Queen!

The story was filled with songs, and although these were good, I think they might have been better appreciated by the youngsters if there had been fewer and with much easier refrains played over and over so they could join in. They were very "adult" in nature. 

Overall, the production worked much better in a theatre than in the open air, and the audience responded more easily and readily too. A fun show, performed by three tireless and obviously talented actors/actresses. 

Reviewer - Matthew Dougall
on - 23.3.24

STUDENT THEATRE REVIEW: The Island / DNA - The Main Theatre, City College, Manchester.

 

The second year acting students of Arden Theatre School presented a double bill of complementary one act plays this afternoon in their home theatre within the bowels of Manchester's City College.

The afternoon started with 'DNA', written by Dennis Kelly and tells the story of a group of teenagers, whilst messing about in the woods, accidentally cause one of their group to fall into a ravine and die. The moral dilemma that ensues is a little contrived but very interesting and as they hatch a 'fail-safe' plan to cover their tracks and lead the police down a false trail to a made-up perpetrator, their group resolve cracks and two distinct camps are formed. It is only when the presumed dead classmate surfaces some moths later that they need to find an alternative solution...! If I am honest then I found the ending of this play a little unsatisfying, but that is a comment on the writing not on the directing or acting.

The directing and acting (as well as an evocative and nicely designed set and lighting plot) were first class. I would not be lying if I were to say that this is by far the most mature, most visceral, and most disciplined piece of theatre I have seen from The Arden students in a very long time, and I truly enjoyed watching these consummate performances. Perhaps because the actors portraying these characters were quite close to their playing ages, and were therefore able to bring more of their own experience and characters to the table than when being tasked to play adult roles, whilst the narrative and premise obviously gripped the cast just as much as it gripped me.  

My only, and I mean my only negative comment, on this piece is that when Adam finally does make an appearance, he was positioned too far downstage, thus being blocked from sight by majority of the audience. 

Following this and we were transported to the world of 'Lord Of The Flies' in an all-female version interpreted and rewitten by director James Mair, called, 'The Island'.

The narrative and the premise here are much weaker, and I left the theatre with far too many questions to unanswered questions about this piece. The acting from the ensemble cast was sincere and completely focussed, but I was not able to "buy-into" this story in the same way as with DNA. 

The play started with pre-recorded speeches from the world wars and although it was obvious what this was representing, it did seem a little like buttering the bread on both sides. The lighting and effects in this play were not as successful either; seemingly too much emphasis was being placed on 'effect' and 'look' rather than letting the story tell itself. The performances were all truthful and en pointe, but they were working with a much weaker script and more arty direction, with too much girly screaming and screeching, making it rather predictable dynamically too.

Reviewer - Matthew Dougall
on - 21.3.24