OPERA REVIEW: La Traviata - The Alhambra Theatre, Bradford.

 

'La Traviata' is one of the world's most performed operas, and yet, this evening was the first time for me, despite it being one of my dad's favourites! Written by Italian opera-maestro Guiseppe Verdi in 1853, it is based on Alexandre Dumas's play, 'La Dame Aux Camelias'. 

'La Traviata' (or in English, 'The Fallen Woman'), tells the story of Violetta, a courtesan who throws lavish parties at her 'salon' in Paris. However, she is dying of tubercolosis (well, this is Grand Opera!) and yet despite that embarks on a love affair with eligible and wealthy bachelor Alfredo Germont. There is a brief respite and happiness blooms, but of course, it does not end well.

This production utlised a set design of a large semi-circular Roman colonade with statuettes, resembling far more an Anciernt Roman ampitheatre than a 19th century Paris salon, and this set remained constant throughout the three acts, with just a nominal change to the central picture, hidden between the two central pillars. It was opulent but ill-fitting. The costumes, on the other hand were glorious, and as one would expect from an Ellen Kent production, were in keeping with the composers' original ideas. Despite both librettist and composer wanting to set the opera in the correct time period, it was not done so until the late 1800s, due to the opera theatre directors wanting to set the show in the past. The sound levels were nicely placed this afternoon, and the lighting was simple but effective.

Sadly though, the opera itself fell somewhat flat. The perfomances were lacklustre and pedestrian, and there was no energy on stage. Soprano Alyona Kistenyova played Violetta, whose many high notes were rather screechy, whilst Georgei Meladze was a rather dispassionate Alfredo. The energy and dynamic changed in the second act with the entrance of Iurie Gisca as Alfredo's father, Giorgio. The acting was believable, and his voice was mellow and secure. The other smaller roles were all taken by members of The Ukrainian Opera And Ballet Theatre, and the cumulative sound from them and the ensemble was indeed wonderful. I especially enioyed the bass of Valeriu Cojocaru as The Doctor.

The opera was sung in Italian, and surtitles were provided for above the stage by Victoria Bazalinchuk. With many grammatical and spelling errors they were hilarious, but sadly, for all the wrong reasons. 

I am normally a huge fan and advocate of Ellen Kent's productions, but most sadly this was not one I can heartily recommend. It was lacking energy, spontaneity, and despite the large Ukrainian contingent in the audience, many of us were getting restless. 

Reviewer - Matthew Dougall

on - 28.1.24

AMATEUR CHILDRENS THEATRE REVIEW: Matilda Jr - NWTAC Theatre, Moston. Manchester.

 

Elm Arts is a new company, and this, their production of 'Matilda Jr' at Moston's NWTAC Theatre, is their first outing. The company comprises children of all ages from the very youg  to the mid-teens, and they all came together this afternoon to provide us with a solid and proficient version of what has seemingly become a youth theatre classic; 'Matilda'. 

This was the Junior version, and so is written as a shorter and more relatable show for youngsters to get their teeth into, and these versions are usually around the 1 hour mark and performed without interval. This afternoon's show was somewhat longer than this and there was a rather incongruous interval too, but this was the only negative here.

Without a programme I cannot credit anyone sadly, but the director got the show off to a good start with nice use of the group's youngest and tiniest members. Colourful blocks with the letters M.A.T.I.L.D.A were used to good effect, and overall the simple set design along with a couple of bring-ons (done by the cast) worked excellently. The choreography was imaginative, creative, and the cast performed them all to a high standard, and this certainly helped move the show along. The singing was excellent, and it was clear that the cast had worked hard to bring about their characters to the depth of understanding and ability that they showed. Costuming was appropriate, the lighting design was simple but effective. What was most unfortunate was the sound levels. Some of the children were wearing mics which seemed not to be turned on at times, whilst other children were unmic'd and were completely inaudible beyond the front two rows. I have been reliably informed that the mics are quite costly and obviously this is something that was beyond the means of not just this company, but many others too; which is a shame, especially when dealing with youngstes who have not yet had the training to be able to project their voices sufficiently. The 'ah' factor was most definitly there though, and with a supportive audience of family and friends, this was a superb start to a company which obviously knows much about theatre and stagecraft, and just like the blocks of MATILDA, this show was an excellent and sturdy starting block from which to build. I know of many dance companies and private theatre schools in the area who have been going for many years and still have not acheived the standard and talent I saw on display this afternoon. 

Reviewer - Matthew Dougall

on - 27.1.24  

CABARET REVIEW: Piaf - Waterside, Sale. Greater Manchester.

 

Christine Bovill is a Glaswegian with a passion for the French Chansons, especially that of La Mome Piaf, The Little Sparrow, Edith Piaf. Bovill, as we learn from her one-woman cabaret performance at Sale's Waterside Theatre this evening, hated French at school, and it was only after listening to a record of Piaf that she was inspired to do well and learn as much as she could of both the language and the songs of this diminutive power-house's brief but colourful life and career.

With piano accompaniment (Simon Warren), we were taken on a musical journey of some of the more famous and some practically unknown songs owhich Piaf performed. We leaned a little about her life and career, and were able to listen to Bovill's superb renditions of these chansons. She did not look like nor act like Piaf - but then again, she never prentended even for a moment that she was anything or anybody othet than Bovill - but her vocals were uncannily like her. The guttral and gutsy sounds with which Piaf was so famous, as well as the colour and timbre of the voice was all there. Just closing my eyes and I was transported back to listening to live recordings of Piaf when I was much younger, for I too found inspiration in the French chansons, although for me, my passion was with Jacques Brel. 

The revue simply scratched the surface though, and personally I would have liked a more in-depth analysis of Piaf and her work; but perhaps I am in the minority there! Bovill was personable, approachable, affable, humble and sincere, and her voice was pure Piaf.

Reviewer - Matthew Dougall
on - 26.1.24 

AMATEUR THEATRE REVIEW: Guys And Dolls - St. George's Hall, Bradford.

 

'Guys And Dolls' is an absolute classic of a show that holds a special place in my heart as the last production I was a part of way back in my college days; there aren’t many shows that I know or love as well as this one, so I was excited to see Buttershaw St Paul’s AODS put their spin on it. Admittedly I’ve been a little spoilt with my theatre experiences – I’m usually one for large scale productions and haven’t had much experience with amateur productions from an audience standpoint, so I wasn’t too sure what to expect – but I must say that I was pleasantly surprised! Despite a few hiccups, BSP pulled out all the stops to provide us with an evening full of song, silliness and spats that definitely did this well-established show justice.

'Guys And Dolls' tells the heartwarming, rib-tickling tale of a bunch of ne’er-do-well gamblers making the most of Broadway’s criminal underbelly in the 1940s – and despite being law-dodging criminals betting their lives away on the ‘oldest established permanent floating craps game in New York’, you can’t help but love them. Nathan Detroit (Rick Whyte) is the witty and comical ringleader, on the run from the law and from his long-suffering fiancé Adelaide (Stacey Gilyard-Rodgers) and trying to find a place to hold his game, makes a deal with renowned betting man Sky Masterson (Richard Armstrong) that he can’t convince uptight Lord-loving Sarah Brown (Francesca Rosado) of the Save A Soul Mission to join him on a date in Havana – to the tune of £1000. As is always the way, the guys get their dolls, and everybody wins; but not before a series of hilarious mishaps and miscommunications that you really must see for yourself.

The production values looked high – the set design looked incredibly professional, though it is a shame this doesn’t seem to be credited in the programme. I particularly enjoyed the simple way the changes of location were managed; beautifully designed street signs for ‘Broadway’, ‘The Hot Box’ and the ‘Save A Soul Mission’ were suspended above the scenes, illuminated by spotlight one at a time to show where the scenes were taking place. A simple yet effective means of transitioning which, when paired with a few additional set pieces, did the job beautifully – although there did appear to be a mix up with scene changes at one point, but this was quickly rectified and not too much of a distraction once the crew had picked up on the mistake.The mics were a little sensitive overall, or perhaps not perfectly placed, as breathing and on-stage movement was as easily heard as the dialogue, although this was easier to switch off to once the show got going, but listening to a backstage conversation above the happenings on stage, when one cast member forgot to switch off their mic after leaving the stage was more than unfortunate! The only other slight negative was the ensemble movement on stage – dance numbers were quite repetitive sadly, and sometimes we had some crowding and problems with them exiting the stage. This looked a tad messy at times. However, ‘Luck Be A Lady’ as a male ensemble piece absolutely stole the show – no notes.

Staying with the positives – of which there were many! The casting choices for the leads were marvellous; Rick Whyte and Stacey Gilyard-Rodgers painted the perfect pair as Nathan and Adelaide, with a wonderful on-stage chemistry and non-stop energy and performances that wouldn’t be out of place in a professional production. And it was lovely to watch the sarcasm develop into soppiness between Richard Amstrong and Francesca Rosado as Sky and Sarah – perhaps wanting a little fine tuning as they’re not easy parts to play, but it could just have been first night nerves, and I was still really surprised by the level of talent we were treated to. The band were also a major highlight – again, a definite surprise!

The BSP have been around for over 90 years now and it’s easy to see why – their people have real passion, and it really shows. 

Reviewer - Hazel Goodlad
on - 25.1.24

THEATRE REVIEW: Calendar Girls - The Opera House, Blackpool.

 

'Calendar Girls' started life in 2003 as a British comedy film directed by Nigel Cole, based on a screenplay by Tim Firth and Juliette Towhidi. It tells the true story of a group of middle-aged Yorkshire women who produced a nude calendar to raise money for Leukaemia Research (now Blood Cancer UK) under the auspices of the Women's Institutes in April 1999 after the husband of one of their members dies from cancer. The calendar raised more than a few eyebrows at the time but more importantly to date it has raised over £3 million for the cause! 

For some reason, best known to those involved, the musical originally premiered as 'The Girls' in 2016, before being renamed 'Calendar Girls' for the UK tour in 2017. The musical was a collaboration between Gary Barlow and Tim Firth. The inclusion of Tim Firth in the musical is an important factor because it guaranteed a very close alignment to the original and very successful play version, if it ain't break don’t break it.

The current tour is publicised as a new production with a revised score, and these are not the only new aspects to the production. Staging is completely changed and there are significantly fewer characters which means production as a whole has a very different feel to it. Staging had previously been a very grand backdrop of the Yorkshire Dales with props coming on and off to set the differing scenes. The revised staging is a very impressive looking interior of the hall where the WI meetings take place. Impressive if you are seated in the centre of the auditorium, not so impressive if you are sat stage left as there is a kitchen area that I had absolutely no view of that is used on several occasions. Disappointing that in a professional production no thought was really given to audience sight lines. Keeping everything “interior” also meant the action felt very one dimensional, hard to imagine how the cast were so in love with Yorkshire if all we saw was the inside of a community hall. The first act also has a very different feel to the original production. Songs have been removed '(Yorkshire', probably due to the lack of an ensemble) or chopped around. Very slightly 'Almost' is broken into three pieces and it makes it very difficult for the actor and audience to pick up the pieces and to fully appreciate and build pathos for John's health demise. 'The Flowers Of Yorkshire' seemed to be misplaced in this version and didn’t get the reaction it truly deserves. Overall Act 1 felt rushed with little time to really establish characters and relationships. It was almost like a concert version of the original. Act 2 felt more enjoyable and allowed us to really see the characters come to life. However, the lack of ensemble, notably the children, resulted in a few holes plot wise. It's unclear in this version why Chris suddenly decides to abandon her support for her best friend Annie, a key moment between the friends, due to issues with her son. In the original we see her son suspended from school, ending his chances, and her dream of him being head boy. It meant that you were left with the feeling that reduced numbers were due to perhaps a reduced budget and this resulted in a watered-down version of the original.

It's down to the cast then, to make what they can of it. This team are all names from TV soaps, theatre, or music, and honestly some can deliver a song better than others, at times there seemed to be uncertainty during some solo numbers. Stand-out was Chris (Samantha Seager) who throughout kept the team going and sung her solos brilliantly.

Overall I felt this version missed the mark. When I go to the theatre I love to be moved, the joy, the tragedy, and the comedy. All these aspects are present in this production, but somehow it does not allow all those qualities to breathe, it’s an ok night out but this story has the ability to be and great night out. If it ain't broke don’t break it.

Reviewer - Jen O'Beirne

on - 23.1.24

AMATEUR STUDENT DANCE REVIEW: Simply The Best - The Lowry Theatre, Salford.

 

This was Danceworks's 9th bi-annual showcase, and the 5th one that I have had the pleasure of witnessing. Danceworks is a privately-owned dancing school in Eccles, and give weekly evening and weekend tuition in many different forms of dance as well as singing, acting and Musical Theatre. 

This evening the auditorium was full, the mood was high, and the expectation great. Having seen the showcases from this school before, I know that the standard is very high, and the students dedicated and professional. I always look forward to these events. Too old and too ungainly myself now, but once upon a time, I was up there myself, and so know only too well what training and commitment is necessary to produce pieces to this standard.

The showcase started in fine form with a medley of song, dance and acting from the Lloyd-Webber musical, 'School Of Rock'. The tiny tots came next to many 'ahs' from the audeince. Some of these only 3 or 4 years old and taking to the stage for the first time. Contemporary ballet is one of my favourite genres, and this wa next; a superb piece from the seniors, 'Feeling Good'. The first half continued through the next 13 items, switching between genres, stryles, age-groups etc, and then finished with the combined singing groups with a medley of 'Queen' hits. Powerful, meaningful, and rich tones with some nice harmonies. 

The second act kicked off with 'Relight My Fire' from their Summer School group, and again we travelled vagariously through tap, commercial, jazz, ballet, contemporary etc to the show's finale, the Competition Team's condensed medley from Menken's 'Newsies'.

Personal favourites along the way were the aforementioned 'School Of Rock' and 'Feeling Good', 'Conga', 'Dancing Fool', 'Hit Me With Your Hot Note', 'Fame', 'Run Boy Run', 'White Swan', 'Dance Of The Flowers', 'Cosmic Love' and 'Newsies'. 

The costuming, as always, was excellent, and this was ameliorated by some imaginative and evocative lighting and SFX. (haze and pyros). The choreography was always pertinent and within the capabilities of the students. There was good use of available space, a nice degree of change between full company, small group and individual work, and the pictures created were well devised. A few more lifts in certain dances would have upped the ante a little though. The students themselves were full of professionalism and dedication, and majority were full of the right attitude and poise required for each section. It was not all superior though sadly, and there were a couple of points which hindered this particular showcase. My biggest concern was with the sound levels. In the main, the music (on playbacks) was far too loud. When there are young students on stage singing solos or speaking dialogue over music, they were drowned out completely by the music. Such a shame. Even some of the dance numbers' music was set too loud. This was particularly evidenced in ther tap routines. The taps simply coiuld not be heard above the music and so there was no point in them tapping! That was such a shame. My second point comes with the flow and finesse of the show. There weres everal occasions where there were long pauses between each item, and we even had the main curtain closing for some of these. This lost the impetus of the show, and, especially in the second act, it felt a little "amateurish" (for the want of a better word). And sadly, what should have been a joyous but drilled and precision finale, was chaotic and messy to say the least sadly. Hopefully, this will have been attended to before the performances on Sunday.

That being said, Danceworks in Eccles continue to inspire and produce performers of extremely high quality, and once again, it was a most enjoyable 3 hours in their company. 

Reviewer - Matthew Dougall
on - 20.1.24

 

CLASSICAL CONCERT REVIEW: Flamenco Experience - The Cathedral, Manchester.

 

It was a very cold early evening with a shallow but crisp layer of snow underfoot, and in January it is already dark by 6pm, the starting time of this concert, and the nave of Manchester's magnificent cathedral was aglow with faux-candles. From a distance they looked almost real; but obviously for health and safety, real candles could not have been used. However, the look was impressive, and even without that olfactory sense, you were still transported back to a pre-electricity era. 

This evening we were gathered to watch and experience the delights of something which is so intrinsically wreathed in the mysteries and folklore of Southern Spain, that this artform has become a must-see spectacle for any music or dance enthusiast who has either already travelled there or has yet to do so. I write of course, about Flamenco. The history of the artform is obsure, yet it is clear that it comes out of the people, the peasants, the workers, and their need to relate to each other their travails and their desires. Dance and song have been associated with relaxation and communication since man started to walk on two feet, and Flamenco has been developing (indeed, continues to develop) ever since. The music is steeped in the traditions and customs of the region, and of course from the people who populated it; and so it is easy to distinguish Moorish and Jewish influences within the tunes, as well as see the countryside, towns and their people in your mind's eye. 

This evening was a one-hour non-stop bath of song (Angel Del Toro), guitar (Javier Pastor), and dance (Monica Tello), as they played, sang, and danced their way through 8 traditional pieces giving us a broad overview of the history and development of the artform. Tello had a different costume for each dance, and moved seamlessly between cloak, fan, and castanets. (although the castanets are not traditionally a part of Flamenco, since they inhibit the all-importnat hand gestures, they have become quite popular nevertheless). 

There are two downsides to the use of this venue however. The first is that the seating is not raked, and, with it being a church it suffers from a lack of heating and poor sightlines (pillars etc). I was seated on the third row in the central nave, and still had difficulty seeing anything below shoulder height of the three performers on the raised platform erected for them in front of the church's screen. This was a huge pity, since a large part of the Flamenco experience is the footwork of the dancer, and although I could hear it, I was never once able to see her feet at work. The second problem is the lighting. Yes, I KNOW this is a candlelight concert, but the 'candles' themselves are insufficient. The two musicians wore black all evening and so they were little more than shadows and we were unable to see their faces, and

although we could just about make out Tello as she danced, again the lack of light on the stage

diminshed the performance and our enjoyment of it. It was only during the encore pieces (which seemed somehow spontaneous although I know they were not) when the church lights were put on again were we able to see the three of them properly. When one needs to SEE the performers, then some light and some consideration needed to be given in the regard.

It was, nevertheless, an enjoyable hour in their company, and it was clear that all three of them were consummate and dedicated, providing us with an evening of truly authentic Southern Spanish culture. Muchas gracias.

Reviewer - Matthew Dougall
on - 19.1.24  

AMATEUR THEATRE REVIEW: The Girl On The Train - The Garrick Playhouse, Altrincham. Manchester.

 

If you can fill a theatre on a freezing cold Monday night in January then you must be doing something right. Such was the case at the Altrincham Garrick Playhouse last night as the latest production in its season, 'The Girl On The Train', opened. This massively popular 2015 novel captivated readers much in the same way that Gone Girl had three years earlier, cementing the genre of female based thrillers with confidence.

'The Girl On The Train' gives us Rachel, a complex and flawed female protagonist embroiled in a mysterious thriller with strange twists, unexpected turns and surrounded by characters in whom she has little faith. That lack of faith extends especially to herself. Dogged by disappointment and loss, personal failure and alcoholism Rachel witnesses something truly dreadful but cannot remember, due to her regular alcohol fuelled black outs. Piecing together what has happened becomes her obsessive focus as the journey of the play unfolds.

Now this is not an easy play to stage; short scenes and multiple changing locations from a dank, dark and threatening railway station underpass to comfortable middle-class homes or the sad, chaotic, one bedroomed flat of a functioning alcoholic. It demands good design and Ian Scullion’s set is clever, well executed and superbly effective. The exterior train station location is the central hub of the set. It is cold, dark, damp, vandalised and threatening.

Lighting projections and smoke effect are used very well to create that sense of foreboding and feeling that nothing good can happen in such an environment. Using three triangular prisms, effective lighting design and a team of well-trained stage managers, the action smoothly moves from one location to another; we are quickly transferred out of subway style surroundings and into the smart, stylish living room of a Victorian terraced house as the prisms rotate.

This play demands a lot of the ever-present leading role of Rachel. She is a clever and complex woman. Strong yet vulnerable, clever yet foolish, sharp yet dulled by life. Ruth Moore as Rachel leads this cast with an assured hand. In a well-judged, nicely paced and nuanced performance Moore brings Rachel and her flawed life to the fore with skill.

Scarlet Newton as the tragic, selfish, emotionally scarred Megan gave a strong contrasting performance, handling the moving tale of the loss of her child especially well. This played nicely against the calm, supportive therapist Kamal, played with subtlety by Sanjiv Joshi

Supported by a well-cast company with good rapport and pace, tensions rise, curiosity overwhelms, instincts react and gradually the awful truth emerges.

Direction is well judged and utilises the design to good effect. Flashbacks are staged well and key moments were given sensitive handling.  

All in all this is a good production of a difficult play which creates a great atmosphere, has imaginative staging and is really an enjoyable night out.

Reviewer - Louise Kershaw

on - 15.1.24

THEATRE REVIEW: One Play, One Day - 53Two, Manchester.

 

You can always be assured of a warm welcome at 53Two and last night was no exception. This popular city centre venue played host to Reloads Theatre’s latest One Play One Day project – a simple concept – 4 writers, 4 directors and 16 actors produce four 15 minute plays in 24 hours. Sounds simple but anyone with any experience of putting on a production will know this is no mean feat. And so the audience were treated to the result of this ballsy project and were presented with four very different pieces of work.

Opening with 'Body Of Christ', written by Zac Blinston and directed by Joe Geddes, we meet Father Michael O’Doherty, newly appointed parish priest at St Bartholomew’s, Rochdale. The audience, his congregation, immediately drawn into the action as he announces the significant changes he is about to make to the parish, none of which appear to benefit his flock and all of which benefit him personally. The cancelling of all activities at the parish centre in order to renovate it into space for his own needs causes resentment, chaos and hilarity as Father Michael ends up locked in the building, by a begrudging and now redundant parish gardener, alongside his hilariously well intentioned junior priest, the community line-dance-teaching PCSO, and a new attendee looking for the weekly Alcoholics Anonymous group. It is daft, it is well paced, sharp, detailed and very funny. Executed confidently and skilfully by a cast of four, William Teller, Ray Butler, Abi Mitchell and Daniel McKeown gave us an excellent opening performance… and probably the best punchline I have heard in a very long time.

'Sisterhood', written by Amelia Slater and directed by Russell Richardson takes four characters who are all NHS nurses working together on the same ward. We get to know them via their staff room breaks and develop an insight into their lives, loves, conflicts and challenges. As the title would suggest, despite their personal and hierarchical differences there is a camaraderie that is strong and they pull together to support, counsel and rally each other as women so often do. It is funny and heartwarming and well presented by the cast of Ellean Stokes, Orline Riley, Leah Eddlestone and Michelle Grimshaw.

I suppose the least conventional of the four pieces was 'Ghost Play' written by Caroline Lamb and directed by Josh Dixon. Set in the back room of a shop run by a technology enthusiastic medium, we meet Siobhan who is trying to make contact with her recently deceased uncle in order to help solve some of the mystery surrounding his death. Via an EVP system connection is made with her philandering relative, who has conveniently hooked up with a curious new beau on the other side. What unfolds is that whilst his death was accidental, had he not been in the process of attempting to murder his ex-wife, he would not have ended up dead himself and communicating from the afterlife – hoisted by his own petard so to speak. There is a quirky twist at the end of the piece that works well and the cast of Freya Ingram, Leslie Davidoff, Sophia Smith and Hylton Collins do justice to the material.

What happens when two young people from opposite ends of the social, cultural and political spectrum meet, fall in love, decide to marry and then introduce her father to his mother? 'If The Cap Fits', written by Fraser May and directed by Mickey Jones asks this question. Whilst well delivered by the cast of Gina Hutchinson, Deborah Brian, Steve Gidwaney and Niall White this piece was the least successful for me. The idea is great, the comic tension is great, the anticipation of the outcome is great, but there was almost too much to fit into 15 minutes and in order to make the story work it needed details to be filled in which only exposed more gaps in the narrative for me. There is potential in this piece, no doubt, but of the four, whilst enjoyable to watch, this felt the most like a work in progress.

In all the time I have been writing reviews I can’t think of another time when I have mentioned all 16 members of a cast by name, but for this event I felt I absolutely had to, such was their energy, commitment and sheers guts in putting together a piece of work of this standard in 24 hours.

Writers and Directors had the courage of their own conviction in terms of the ideas and company that they were working with, the audience loved it and all in all this made a really successful and enjoyable evening.

I understand the company, led by actor Danny Ryder, will be returning in April for a repeat of the One Day One Play format at The Lion’s Den, Manchester and I really look forward to catching the next one.

Reviewer - Louise Kershaw
on - 14.1.24

OPERA REVIEW: Madama Butterfly - The Opera House, Manchester.

 

Giacomo Puccini’s famous tragic romance ended what had come to be one of the best runs at Manchester Opera House by Ellen Kent directing the Ukrainian Opera and Ballet Theatre. A sold out performance was indicative of the draw that one of Puccini’s most famous operas has in its one-hundred and twentieth year, and possibly a reassurance to Kent, who behind closed doors had seemed unsure of Madama Butterfly having kept it as part of the line up in the last few years, that the great opera should not be going anywhere just yet. Like Carmen, a few tweaks to the cast here and there had done the opera a great service, making it one of the greatest performances over previous years.

The Korean soprano Elena Dee returned as Cio-Cio San, bringing her usual top-class performance as the unfortunate lead. Dee’s stage presence and technical ability was and always will be unmatched, as her voice reached the farthest corners of the opera house with ease along with her acting was enough to bring the audience to tears. Dee was supported by the equally wonderful and emotion-evoking mezzo-soprano Natalia Matveeva as Suzuki, who brought a different quality to the role over previous incarnations of the maid. Tenor Georgi Meladze donned the summer-whites as the foolish and impulsive United States naval officer, B. F. Pinkerton and was on fine form performing against Dee’s Butterfly. Iurie Gisca returned having swapped the torero outfit for a more low-key suit as the American consul, Sharpless.

Set at a dojo overlooking Nagasaki harbour at the turn of the twentieth century, Pinkerton leases the land and property deciding to take the young and innocent Cio-Cio San as his bride. Whilst seeing the venture as a nothing more than a bit of fun, having a ‘girl in port’ so to speak, Cio-Cio San sees it as having met her lifelong partner with an opportunity to start a new life as an American wife, willing to abandon her Japanese traditions much to the displeasure of her uncle, the Bonze (Valeriu Cojocaru). The two are married and spend a night of passion together. Pinkerton leaves with his ship, promising to return. Years pass and Cio-Cio San, having mothered Pinkerton’s child (Ivy Shi) wait along with Suzuki for Pinkerton’s ship to drop anchor in Nagasaki bay once more. Preparing herself for her husband’s arrival, it is revealed to Suzuki by Sharpless and Pinkerton that Pinkerton has matured and taken an American wife. Knowing of the son, Pinkerton wishes to take the child and raise him in the United States with his new wife. What ensues has to be one of operas most tragic and emotional climaxes when Cio-Cio San finds out what is to happen. 

As always, the set pieces and costumes are grand and lavish. A dojo adorned with lanterns sitting amongst water features and blossom trees and flowers replaced the amphitheatre set which had featured so prominently in the previous two nights. With Butterfly colour and lighting appear to be as integral to the plot as the music and libretto. Embarrassingly, it has to be admitted that in previous years the costume change for the second act representing the character’s position and mood had been lost on me. Pinkerton’s summer white uniform is replaced by a black uniform, having taken on the role of the villain of the story, likewise Sharpless’ cream suit changes for a black and grey suit. Gisca’s Sharpless is morally conflicted. The lighting slowly dims and brightens aiding scene transitions more smoothly than the fall of the curtain which usually prompts the unknowing audience member to get up for a drink, only to rush back after a few minutes. This use of the backlight casting the silhouettes of Cio-Cio San, her son and Suzuki as the lights grow darker during the “Humming Chorus” is beautifully practical and symbolic of the darkness which Pinkerton brings. This performance of Madama Butterfly has to be Kent’s most beautiful yet, and it was hard for even the most stoic of us to keep a tear rolling down one’s cheek.

Much like the previous night’s performance of Carmen, Butterfly was another example of the perfect mixture. The cast was wonderful, the set was luscious and the orchestra was at its best, benefitting greatly from the timpanist whose thudding blows masquerading as the harbour cannon were felt to the bone. Everything worked so well together, Dee and Meladze’s chemistry with each other and the secondary cast was phenomenally effective. Kent’s direction was faultless, having crafted and molded Madama Butterfly to her own vision whilst keeping that core breadth of view originally realised by Puccini.

Concluding what has been purely magical and enchanting three nights at Manchester Opera House, myself and many others will be counting down the days until Kent and the Ukrainian Opera return with the likes of Matveeva, Gisca, Dee, Meladze and Davit Sumbadze. In what has been an outstanding start to the UK and Irish tour, should this exceptional level of quality and be maintained (which would be stupid to doubt) until the very end, then the 2024 season will most likely go down as one of the greatest in recent years for Ellen Kent. 

Reviewer - Daryl Griffin

on - 12.1.24

OPERA REVIEW: Carmen - The Opera House, Manchester.

 

This evening's performance of Carmen by Ellen Kent featuring the talent of the Ukrainian Opera and Ballet Theatre was the best of any of Kent’s productions yet. Satisfying and thoroughly enjoyable in every possible manner, Natalia Matveeva’s Carmencita and Davit Sumbladze’s Don Jose were the perfect couple for this superb performance, bringing alive the very essence of Bizet’s opera. It was pure unadulterated bliss.

Kent has always claimed that it pays well to invest in your lead singers, and Carmen proved that philosophy ten times over. Matveeva was exquisitely sultry and seductive as the heroine, her talent lay in not only reaching every corner of the Opera House with her powerful mezzo-soprano voice, but in her acting too. Matveeva used every inch of the stage, her eyes gazing at what felt like every member of the auditorium. The mezzo-soprano fully embodied the character of Carmen in a performance that Bizet himself would not find fault with. Furthermore, as if Matveeva was not captivating enough as the gypsy Carmen solo, when performing opposite Sumbladze’s Don Jose the two created a chemistry and romance that evoked such passion, it burned as hot as the cigarettes which are made in the factory from Act I. There was a real Burton-Tayloresque factor about the two singers which made for a truly enthralling and rambunctious evening. The tenor, Sumbladze (in his first UK tour), was a massive improvement on the Don Jose from 2022, from the moment he appeared on stage in his corporal’s uniform and opened his mouth, one knew he had put his heart and soul into the role. Likewise, his passion was our passion, his lust was our lust, Sumbladze had the audience on his side from the very beginning.

Set in Spain in the early nineteenth century, Bizet’s Carmen is a story of jealousy for the same woman. Carmen is in everybody’s eye, yet she plays and manipulates her way to those only she has eyes for. Don Jose, a young and innocent corporal, falls for the vampish Carmencita outside the cigarette factory after the young gyspy singles him out. After falling foul of the law, Carmen is detained by the soldiers and the young corporal is instructed to take her to the jail, however already wooed by her, Don Jose lets her go and takes her place in prison. After being released, Jose finds Carmen and her gang in a tavern, plotting a raid, and again unable to resist Carmen, quits the militia to join her. However there is another who has Carmencita’s favour, Escamillio the toreador (Iurie Gisca) and what develops is an intense jealousy between the two men.

Again, going back to the perfect casting, Gisca’s Escamillio was exceptionally swashbuckling and dandy, his on stage presence was almost infectious and one could not help but grin when the toreador sauntered on and smiled. Gisca’s voice was one of the best of the evening, the baritone’s rendition of the famous Toreador Song in the second act raised the hairs on one’s neck being utterly exhilarating. Energy is not an unfamiliar thing in Carmen, and every aspect of the production had energy exuding from it. Gisca’s Escamillio was this energy personified, his vibrant costumes throughout strike a bolt of colour in scenes. 

Which leads onto the costumes, the sets, the props, all of which come together wonderfully to create extraordinary verisimilitude, whisking the audience back some two hundred years. Kent’s productions have always prided themselves on their firm commitment to the traditional, with no holds barred on imposing set design and the most delicate and detailed costumes. Everything is real and interacted with by the cast, and nothing is left to the imagination. All this combined with the lighting helps further the world in which Carmen is set. One almost feels the cold in the open night of Act III, the warmth and joviality which comes with it in the first act. This particular performance of the opera was lightening in a bottle, and one can only hope that the heights set by Carmen remain for the rest of the tour. 

The opera itself is widely accessible, although the main plot elements are prevalent in other operas, Carmen has a perfect blend of action, pathos, comedy and romance. It appeals to all which is most likely why Manchester Opera House appeared packed again. Carmen is raunchy bordering on the perverted, it’s grandiose bordering on the bombastic, it is the perfect opera. Bizet’s music reflects this, being worthy of its own concert. Ellen Kent has worked wonders with the Ukrainian Opera and Ballet Theatre to bring this to Manchester, and her direction and choice of cast flawless. 

Is it not a shame that it was a one-night-only event? To a degree yes, but what a cultural treat to have been lucky enough to experience such a performance. If there had been any misgivings about La Traviata the night before, then Kent’s Carmen was an aggressive rebuttal, highlighting the talent of the theatre company, as well as elevating the director to a height that one doesn’t think of Ellen Kent = Opera, but rather the other way around. 

Puccini’s Madama Butterfly has a tall act to follow and finish the Manchester leg of the tour on, yet one thinks we have nothing to worry about. 

Reviewer - Daryl Griffin

on - 11.1.24

STUDENT THEATRE REVIEW: Trial By Media And Death By Dispensing - Main Theatre, City College, Manchester.

 

The rather long and somewhat confusing title of this afternoon's presentation of 'Trial By Media And Death By Dispensing' by the first year students of Arden Theatre School's Theatre And Performance course, was their own adaptation and reworking of Berkoff's The Trial.

This one-hour exercise in boundary-pushing started with majority of the cast already on the thrust style stage, with the audience seated on two opposing sides, whilst a line of mirrors down the centre of the stage mirrored the action back to us, and a large screen on a third side of the stage showed the whole stage for us. Dark blue hues and calming music surrounded this, and cameras, video cameras, microphones, and goodness knows what else, adorned the perimeters.

Sadly there were not any programmes available this afternon (a QR code to download on mobile phone was provided) so I am unable to credit anyone; however, this young and enthusiastic cast gave very intense and committed performances as pretty much every contemporary theatre technique was thrown at it in order to give the students as much experience as possible as well as teach them just exactly how far theatre can be pushed outside the box! Everything from Deconstruction to Metatheatre, whilst this truly multi-media presentation was not without its challenges for the students.

Dressed identically in black trousers, white shirs and ties,  the cast took turns to narrate, to act the protagonist, and we even had a couple of songs performed live with keyboardist. I have to confess it was disjointed at times, with so many points of action, one did not really know where the focal point of the action was. This was made even more difficult to understand since those who were unmic'd were not articulating or projecting sufficiently enough.

A sincere and challenging production which reminded me very much of my own student shows when I was at Drama School more than 30 years' ago!

Reviewer - Matthew Dougall

on - 12.1.24

OPERA REVIEW: La Traviata - The Opera House, Manchester.

 

Ellen Kent along with the Ukrainian Opera and Ballet Theatre kick off their British and Irish tour at the Manchester Opera House this week, starting with Giuseppe Verdi’s tragedy, La Traviata. One of Verdi’s most popular works, La Traviata is an adaptation of Dumas fils’ novel The Lady Of The Camillias, and is quite possibly the maestro’s most personal work, mirroring his and Dumas’ personal relationships.

Manchester Opera House was buzzing with an anticipation from the young to the old, some first time opera goers, others, stalwarts to the opera and to Kent who would not miss a show like this for the world. The Opera’s return to Manchester got bums on seats as the auditorium appeared packed, and by the end of the performance, it was said that Madama Butterfly was completely sold out. 

Featuring Alyona Kistenyova as Violetta, the protagonist along with Giorgi Meleadze as her love interest, Alfredo Germont; La Traviata is as dramatic as they come with a tumultuous romance. Supported by a cream of the crop cast, Eugeniu Canea in a cast change as the Barone Douphol, Violetta’s other lover and rival to Alfredo, as well as Vitalii Cebotari in a wonderful and subtly villainous performance as Alfredo’s father, Giorgio, who wants Violetta to leave his son. Set during the “present day” of 1850s Paris, the audience were treated to a sublime smorgasbord of antique furniture and props, as well as luxurious and vibrant evening gowns and Marcella waistcoats with tails. Torn between her own feelings and those of Alfredo’s and his father’s, Violetta has a difficult decision to make in doing what is best, all the while battling her own illness. Verdi’s delightful score ties the peaks and troughs of the plot together superbly, and the famous “Brindisi” duet and chorus from Act I not only highlights Verdi’s skill, but also was very good at setting the tone for the scene. If there is one thing to take away from a Verdi score, is that, as if at a snap of the finger, can change the tone as dramatically as the story.

Under the baton and careful direction by the current artistic director and chief conductor of the Ukrainian Opera and Ballet Theatre, Vasily Vasylenko, the orchestra pit and singers came together beautifully and with a simple flick of the baton or gesticulation with a fist or opened hand, the music would swell or the singers would fill the Opera House with their mighty voices, and with the same hands which delicately wave in the air, Vasylenko has a good firm grip on every single musician and singer. His performance is worthy of its own show and review. 

The director, Ellen Kent, admitted that this performance was almost cancelled due to the vast tangles of bureaucratic red tape and hurdles to jump in taking the Ukrainian Opera out the Ukraine, as such numbers of the company had only arrived in the United Kingdom at six o’ clock in the morning of this performance. This fatigue was noticeable unfortunately, but swiftly overcome by the beginning of Act II and by the second scene in Act II, the stage was full of energy and the engine that is the Ukrainian Opera and Ballet Theatre was purring smoothly. Additionally it must be said that Meladze with all his technical capabilities and good looks appeared somewhat awkward and stiff in the first act, but by the end of the show whatever nerves or apprehension there may have been, had dissipated, and his chemistry with Kistenyova’s Violetta blossomed and bloomed as the show went on, culminating in a tragically beautiful finale. The wonderful performance of the “Matador Chorus” by the supporting cast (with a special mention going out to Nicolae Cebanu as Gastone, who seemed to steal the show in his scenes) appeared to secure the night and put the show back on track and stomp its foot down, telling Manchester ‘we’re here!’ and the issues surrounding the curtain not closing properly was shrugged off by the cast, and chuckled off by the audience. 

As always, the Opera House has a wonderful character and charm which one cannot put their finger on, but which has always made the Opera House the favourite out of it and the Palace Theatre. The late Edwardian decorations in their dark green and gold accents make Manchester Opera House the perfect setting for these traditional productions put on by Kent. The mise-en-scene of the opera blend well with the surrounds of the auditorium to make for a truly unforgettable experience. 

Thus concluding a successful (if a little shaky to begin with) first night with multiple curtain calls, a standing ovation along with flowers for the leading lady, as well as the usual triumphant rendition of the Ukrainian National Anthem. La Traviata made for a memorable night, but the best is yet to come as Ellen Kent has Bizet’s Carmen and firm favourite of Kent’s, and arguably Puccini’s best known work, Madama Butterfly lined up for the following two nights.

Reviewer – Daryl Griffin

on – 10-1-24

CLASSICAL MUSIC REVIEW: Rachmaninov - The Liverpool Philharmonic

 

This evening the hallowed Grade 2 listed Philharmonic Hall was alive with the sound of Romantic music from three countries. Under the baton of conductor Domingo Hindoyan, the Liverpool Philharmonic Orchestra started the concert with Josef Suk's lively and tuneful Scherzo Fantastique. This work, opus 25, first received a hearing in Prague in 1905, and although Suk is known within Czechia, he often gets overlooked on other county's concert platforms, which is a shame. Somehow he is often overshadowed by the more famous Dvorak and Smetana, both contempories of his.

Following this, and we moved swiftly from Central Europe up north to the lakes and forests of central Finland.. or Karelia to be more precise. The works of Sibelius are inextricably linked with the landscape, folklore, and customs of this once independant territory. Sibelius only wrote one violin concerto, and he poured so much of Karelia (and by affiliation, himself too) that it is almost impossible to listen to it without conjuring bleak snow-filled landscapes and hardy farmsteads of the late 19th century. I have seen this work performed where they showed photos of the Karelian landscape behind during the music, and this worked beautifully.... one truly understood both music and composer more fully. Perhaps that should be made de rigeur for many of the Romantic and early 20th century composers who blend their writings with what was around them and their love of their own country and people.

To play the violin solo this evening was Artist-in-Residence Simone Lamsma, who filled her part with passion and emotion, playing deftly and wowing this evening's appreciative audience.

After the interval and the concert's showpiece. We travel over the border from Finland into Russia, and to listen to one of the greatest composers to ever emerge from that country. A huge boast I know, since Russia has supplied the world with many fine composers, but Rachmaninov remains one of my favourites! His first symphony (which was what we were to listen to) received its premiere in St. Petersburg in 1897. However, despite all the odds it was not well received at all and it shattered Rachmaninov's confidence. Thankfully, not for long as he has given the world so much, but it seemed that Russia at that time was simply not ready for his modernism, brashness, unconformity, and indeed his musical irony. It is a wonderful piece of writing, and always a joy to listen to. The Liverpool Philharmonic went "all out" here too, raising ther own bar with this. 

A fabulous concert.

Reviewer - Matthew Dougall

on -11.1.24

THEATRE REVIEW: Life Of Pi - The Grand Theatre, Leeds.

Set against the backdrop of political turmoil in 1970's India, zookeeper (Ralph Birtwell), his wife and two sons are forced to leave their beloved Pondicherry, and seek refuge and exile in Canada. It seems that is the only country willing to accept the family as well as majority of the zoo animals too! The family, including the menagery, are loaded onto a foreign cargo ship and their hope of a new life begins. However, disaster strikes, the ship is caught in a violent storm and sinks. The only human survivor being the younger son, Piscine Patel (who calles himself Pi). He survives for many days on the oceans sharing his lfeboat with the zoo's newest acquisition, a Bengal Tiger by the name of Richard Parker. He is washed ashore on the coast of Mexico, and both the medical profession and the ship's insurers have come to either help him back to full recovery (in the case of the doctors) and get an accurate account of his story (the insurers). What happens on stage, deftly adapted from Yann Martel's novel by Lolita Chakrabarti, is this story. 

A clever set design allows the scene changes to be seamless and swift, utilising some computer generated images and a superb sound and lighting design, we go back and forth from hospital bed to lifeboat in the middle of the ocean with ease. The effects in this production are all stellar, and sound levels are perfectly balanced.

Giving a truly realistic and believable performance on this, his professional theatre debut, of the protagonist Pi, is young actor Divesh Subaskaran.We are completely invested in his adventure which is brought vividly to life by the inclusion of some marvellous puppetry. Ever since The National Theatre produced the excellent 'War Horse', theatre companies have seen the potential of creating life-size puppets which are manipulated by humans either inside or around, or in most cases, both. These puppeteers deserve huge approbation since they spend the entire stage time bent over or on haunches, or some other uncomfortable and unnatural position in order to bring these animals to life as vividly and realistically as possible. Some of the animals worked better than others this evening - the orang-utan being the least life-life in my opinion. But the tiger was magnificent, an equal star of the play with Pi. One could not exist without the other.

The supporting roles were many and various and all worked well, keeping us engaged and enthralled with this strange and incredible tale. This is a play based on the novel, and so it does not follow the novel precisely, but the main storyline remains the same. However, whether you have read the book or not does not matter, this is a production which demands to be seen. 

Reviewer - Matthew Dougall
on - 10.1.24

AMATEUR THEATRE REVIEW: The Last Quiz Night On Earth - The Garrick Theatre, Stockport.

 

Welcome to the end of the world! As we gather in 'The Four Horsemen' pub to play our very last pub quiz, a large meteor is falling from the skies and will obliterate us all! All efforts to divert or destroy this meteorite have failed, and so, with our loved ones and friends we gather to enjoy a final pub quiz whilst the radio plays the National Anthem!

The bar area of Stockport Garrick theatre was used for this intimate and interactive production. Seated on tables by the bar, as close as the theatre could get to reality, we participated in the quiz and banter with good humour. The questions were not easy, they were "curated", but the winning did not matter, we were there to be entertained, and entertained we were!

Having already seen the premiere production of this play a few years- ago by Box Of Tricks Theatre Company, I was curious to see how those not concerned with the development of this script would approach and tackle it. Hand on heart, it was a better production than the original!

One totally bought into the premise, and the four very stong cast members were totally convincing, bouncing off each other with skill. Sometimes it was the pauses which were the most effective (director Cate Berry). With a mix of humour and seriousness, and of course the threat of imminent death, these four gave excellent and highly creditable performances which impressed greatly. Sarah Field was the pub landlady Kathy, whilst her quizmaster was a flamboyant Dominic Lo as Rav. The unexpected appearances of people from both of their pasts makes their last couple of hours alive meaningful and poignant. Kathy's errant brother Bobby was played with skill by Chris Rigson, and Rav's schoolboy ex-girlfriend was the believable Ellie Spooner as Fran.

My only real criticism would be the sound effects and lighting. A little more to reflect the impending doom might have been preferable, and whilst the acting of the denouement was superb, the accompanying sound effects were sadly lacking and almost laughable.

With excellent use of space, and great timing, this sympathetic cast took us on an emotional journey, regardless of the added extra jeopardy of certain death!

Reviewer - Matthew Dougall

on - 9.1.24

PANTOMIME REVIEW: Beauty And The Beast - The Gladstone Theatre, Port Sunlight. The Wirral.

 

I had the pleasure of watching Dreamworld Entertainment’s ‘Beauty And The Beast’ at the Gladstone Theatre, in Port Sunlight. It really is a tale as old as time and this production had the audience laughing and dancing on their feet; whisking them away with an enchanted tale of love and beauty, which can be found within. This light hearted pantomime was written by Fortina Stone and produced by both Jamie-Leigh Christian and Laura Newnes.

'Beauty And The Beast' is a well-known and popular story that we know so well and this production did not disappoint. Including traditional panto favourites such as an Enchantress of the Rose (Jenna Sian O’Hara), a Dame (Shania Pain), a villain (Darren John Langford), and a sweet sidekick (Lenny Wood). With a unique twist and adapted storyline, Dreamworld Entertainment brought fun and laughter into the Gladstone theatre once again. 

Melissa Weston gave a wonderful performance as Belle and showed great leading lady qualities. Conor Barrier as the Beast showcased his true talents on stage, I enjoyed watching him move with the dancers and perform in the ’12 Days Of Christmas’. This talented pair worked well together and looked beautiful at the ball.

The costumes for this production were colourful and eye-catching and matched the characters' personalities well. Belle’s iconic costumes - the simple blue day dress and her magical golden ball gown, did not disappoint. The audience audibly gasped when Belle appeared in her ball gown, and it looked fantastic twirling around the dance floor. The Beast’s transformation at the beginning of the show was cleverly achieved with lighting effects and set the bar high from the rest of the production. I was however disappointed with how the Beast returned to his natural form as it lost its magical effect.

The lighting added brilliance to the production with seamless scene transitions and was truly light art at its best. Nathan Storm’s lighting design was creative and had maximum effect making a powerful contribution to the rhythm of the production. The light truly danced with the dancers and was perfectly operated by Laurence Noble. The lighting had a choreography that matched what was happening on stage. It went way beyond the basic functions of light. With a range of special effects and magical touches that drew the audience in and added a bit of sparkle that you can only really find on the stage.

The Enchantress of the Rose was a character who was loved by the audience. O’Hara had great stage presence and narrated the story with talent and enthusiasm. She used great facial expressions to keep the audience engaged, although at times she was hard to hear. With a few wig malfunctions, O’Hara used her moustache when playing Papa Gerard to add to the comedy of the production. 

A shout-out has to be made to Pain who played the Dame, Mrs Potter. Pain gave an outstanding performance that had the audience roaring with laughter and wanting more. Pain is a comical genius, with lines perfectly timed to create maximum effect with the audience. Alongside the great facial expressions, we saw many musical talents put on display. Outstanding!

The music for this production was entertaining, featuring iconic songs such as; ‘Never Gonna Not Dance Again’, This Is Me’ and ‘I’m Still Standing’. The audience could not help but clap along. The direction by Newnes was cleverly done and the stage was used to maximum effect. Newnes had excellent casting choices here, as the talent on the stage was exceptional. The old-style panto call-backs were great fun and had the audience following along. There were a few timing issues with some comical lines but this can vary depending on the audience. 

The choreography by Christian had some good sections and included some striking lifts and tricks. The movement for this production was fun and the audience members enjoyed recognising the well-known TikTok moves. I feel the dance ability on the stage was capable of a lot more and I feel the choreography didn’t allow for the cast to showcase their capabilities. At times I felt the movement was repeated in different routines, making it seem repetitive and less effective. I thought Christian utilised the stage well and it was great to see audience participation on stage; with children dancing alongside the cast.

The Ensemble on stage was fun and energetic drawing the audience’s eyes adding passion and magic to the stage. Alex Patmore and Cole Porter were exceptional and their performance skills were spectacular. Mia Molloy also drew my eye with her outstanding stage presence. I was delighted to watch the brilliant children in Red Team as they danced, giving it everything they had. They gave a dazzling performance with each step perfectly executed. Well done to Ada-Grace Jones from Blue Team for standing in and for the whole cast for adapting so quickly to last minute changes. 

With children arriving in their Belle dresses ready for the ball they were not disappointed but were overjoyed with the talent and magic on stage. Dreamworld Entertainment’s ‘Beauty And The Beast’ was a lovely production. The beautiful costumes, magical lighting effects and enjoyable songs made it an enchanting experience, as a brand new way to experience the tale as old as time. Well done to everyone involved!

Reviewer - Abigail Bradbury

on - 29.12.23