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

THEATRE REVIEW: Come Together - The Royal Court Theatre, Liverpool.

 

Two lads who met through fate at a fete in Liverpool in 1957 who went on to become two of the most famous songwriters of popular music. This show is a walk down memory lane for fans of The Beatles and celebrates the writing talents of Paul McCartney and John Lennon.

Written and directed by Bob Eaton, the brains behind the ‘Lennon’ musical performed at the Everyman Theatre back in the 1980s, the show stars Mark Newnham as John Lennon, Tom Connor as Paul McCartney and four remarkable musicians under the guidance of Musical Director Howard Gray, who back up the leading men. They deserve a special round of applause as they are the icing on top of the cake; Mike Woodvine (guitar), Greg Joy (drums), Adam Keast (bass) and Ben Gladwin (keys) all deserve a special mention for their flawless musical ability and confident stage presence. 

Dialogue is kept to a minimum throughout the show, except for the occasional dramatised exchanges between Lennon and McCartney and storytelling by McCartney which highlight the chemistry between the two performers. The stories behind each of the songs is uncovered before a performance of the song, with a few laughs and banter in-between.

The set is minimal and constant throughout the show with all of the instruments on stage helping to portray a combination of the film studios where the Get Back sessions were filmed, to the final iconic Apple rooftop concert performance, with girlfriends coats et al. Christopher McCourt (Set and Costume Designer) has dressed the duo casually in T shirts and waistcoats with no costume changes or special effects, the music is the star of the show. 

Backdrop video projections help to set the scene and announce different chapters in the lives of the famous duo quoting revered lyrics from some of their songs and showing Liverpool landmarks. The videos help to cleverly immerse the audience into each moment in time, with the sounds of screams in a stadium growing louder to emphasise the heights of Beatlemania that Lennon and McCartney, alongside George Harrison and Ringo Starr experienced and led to them publicly state that they couldn’t hear what they were playing and could have been playing anything and nobody would have known, thus leading to their decision to stop touring.

Connor’s portrayal of McCartney hits the mark superbly whilst Newnham’s depiction of Lennon took a little more convincing, that said, both performers’ musical competence and range is immaculate. The musical arrangements are tight and the chemistry between the leading actors and the other four musicians is impeccable, the audience were captivated from start to finish.

Audiences are treated to early Beatles hits during the first half of the show whilst the second half takes them into the 1970s. The audience was a mix of ages but mostly those who could remember the 1960s and the nostalgia the production evokes, they were able to lose themselves in personal memories whilst appreciating the music and goosebumps must have been experienced by many as powerful classics such as 'A Day In The Life' and 'Hey Jude' were performed. 

This intimate show is a tribute to two exceptional songwriters which Beatles fans will take to their hearts; fans from the older generation will enjoy being taken back in time by Beatles music which will prompt particular memories; for the younger generation the music will register appreciation of the song-writing duo's talents whilst jealously wishing they had been around at those innovative times.

Director Eaton has produced a show which runs for two hours including the interval and runs until 6th April 2024.

Reviewer - Anne Pritchard
on - 20.3.24

THEATRE REVIEW: The Wizard Of Oz - The Alhambra Theatre, Bradford.

 

Everyone knows the story of The Wizard Of Oz – it’s an absolute classic, and for good reason! It’s a story many of us grew up with, and if you’re anything like me, it’s marvellous musical sister ‘Wicked’ only fanned the flames, so when I heard that Dorothy’s house was landing right on our doorstep I couldn’t say no. A long way from the small screens of the 1930s, Lloyd-Webber’s adaptation tornadoes the Emerald City into the 21st century, whilst still keeping the old country charm that makes the film version feel oh so cosy.

For those who don’t know the story (how?) The Wizard Of Oz is a tale of longing, belonging, and finding yourself. It follows Dorothy and her dog Toto as she’s whisked away by a tornado after dreaming of a place over the rainbow where she could finally belong – right into the magical land of Oz. After accidentally starting a feud with the Wicked Witch of the West she sets off to find her way home, picking up a few new loveable buddies along the way.

Down the short not-so-yellow brick road to the Alhambra, it really is easy enough to think you’re not in Bradford anymore. Set designer Colin Richmond has done an absolutely fantastic job of creating the magical world of Oz with some absolutely stunning set pieces – the Wizard’s grand mask really is something to behold, basking over the whole stage and really creating that illusion of grandeur we’re all so familiar with. The use of technology in the show is just marvellous; despite being somewhat reminiscent of bowling alley graphics, the use of an overlay screen and detailed projections to create a more filled-out set and to keep the show concise without missing a single detail was something that worked really well (and the spinning tornado cow definitely warranted more than a few giggles.) I also really enjoyed the fun little pop culture references sprinkled throughout – the Tin Man’s Esso petrol stand, the Coca Cola machines and the Broadway shoutouts in the Emerald City on the video backdrop were a quirky way of bringing the show up to date and made for fun little Easter eggs to spot throughout. The costume design was stunning too; fun, colourful designs with enough rhinestones and sequins to sink a battleship, and the most fabulous hats I’ve ever seen (I’m looking at you, ensemble member with the giant green teddy bear head). The combination of staging and costume and the sheer energy of the cast made the stage look constantly bustling and busy in the best way – even with an ensemble of just 11, the stage never looked quiet and it was so fun to see.

As somebody who struggles with sensory overload I did find a few moments within the light and sound design a little jump inducing. Although the bright flashing lights and pyrotechnics certainly looked spectacular, they were more frequent than I’d first anticipated, and so do be warned if you’re of a more nervous disposition – I’d never been jump scared by a witch’s broom before, but here we are.

In short, the production was nothing short of phenomenal. Other than my slight issue with the sound and lighting (which is absolutely just a matter of personal preference) I had to really wrack my brain for the negatives, and I still came up blank. The cast themselves were magnificent; Aviva Tulley was feisty and headstrong as Dorothy, and her performance of ‘Somewhere Over The Rainbow’ gave me goosebumps. Her band of buddies were just as great – The Scarecrow (Benjamin Yates) Tin Man (Femi Akinfolarin) and Cowardly Lion (Nic Greenshields) were all so fun to watch, with lovely voices and great comedic timing that made the whole thing flow beautifully. And of course, The Vivienne was an absolute powerhouse as the Wicked Witch – the pantomime portrayal was well received, and her snarky demeanour fit the bill perfectly.

It's not often I leave a show and immediately start texting people to buy tickets, but it’s not one I wanted people to miss out on! I went in expecting a run-of-the-mill theatrical version of the story I’d seen a thousand times before – but it’s so fun, energetic and just that touch over-the-top that it completely subverted expectations in the best way. It’s definitely family friendly, with lots of singing and silliness, so take everybody along for the ride. I’m not too sure about Kansas, but right now there’s no place like the Alhambra!

Reviewer - Hazel Goodlad
on - 20.3.24

YOUTH THEATRE REVIEW: Les Miserables - The Met Theatre, Bury.

 

At one time the preserve of only the very best of professional talent, 'Les Miserables', possibly the world's most well-known (and best loved) musical of all time, is now open to all, no mater what age or experience. And this evening a group of young teenagers from the Youth Group of Prestwich Amateur Dramatic and Operatic Society put their hearts and souls into their version of this classic at Bury's Met Theatre. 

On a single composite set on two levels, the many scenes and locations were portrayed, some with more success than others. In most other productions the dates and locations of each scene are projected somewhere on the set to help the audience in their understanding of the timeline and story. Sadly that was not the case here, and I felt that if there were anyone in the audience watching this show for the first time, they would have had some difficulty in following the narrative, as the story was at times not clearly signposted enough. 

These youths put everything they had into this show, and it was clear right from the start that they were enjoying bringing this classic tale of love, war, resilience, disaster and endurance to an eager and very keen audience this evening. With the exception of Cosette, Fantine and Gavroche, all on stage were tasked with portraying characters far beyond their tender years, understanding and experience. Playing flawed and complex adult characters is not an easy ask for anyone, but when those doing so are still youths without the requisite experience then it is a double-whammy! In this regard, all coped excellently and the characters were clear and understandable. 

One thing which would have helped these youngers would have been to have had a live band rather than the pre-recorded backing tracks they favoured. This would have given the musical director much more opportunity to play the music in key signatures more fitting to the youngsters' voices, and also to tweak the music where necessary or to vamp and cover awkward scene changes etc. There was a conductor to the side of the stage, but I did not once see any member of the cast look at her, and even so, there was precious little she was able to do since the music was already set and unalterable. 

Tackling the lead role of Jean Valjean was a confident and secure Bernard Cooper, whose subtle ageing throughout was nicely measured. Playing opposite him was his nemesis Inspector Javert, performed with unerring and singular intention by Luke Nichols. Fantine was the sweet-voiced Bethany Mansour, whilst a nice love-triangle was set up by the feisty Epomine (Thalia S Vega), the demure Cosette (Amelia Horne) and the lovestruck Marius (Luke Ratcliffe). ['A Little Fall Of Rain' was heart-wrenching!] Of course the musical is not all high drama, and comedy is provided for in abundance by the innkeeper and his wife, M et Mme Thenardier, Josh Ingham was a very youthful and sprite-like imp, a character that worked for him, although I would lose the sideburns, they were simply awful, whilst his wife was a more mature and dominant character performed with gusto by Mia Beardshall. 

Smaller parts and ensemble helped to fill in the story and their chorus singing was lovely. It was a huge shame that this evening the lighting design let the show down. Faces, or indeed whole bodies, were left unlit, areas of the stage remained in darkness, cues were late or ineffective, and spots were not in the right places. This was such a shame, since the cast deserved better. 

Reviewer - Matthew Dougall

on - 20.3.24

STUDENT MUSIC REVIEW: Poulenc's Gloria - The Whitworth Hall, Manchester University, Manchester.

 

The wonderfully talented students of the Manchester University Music Society performed an eclectic mixture of American pieces worthy of bringing anyone out to see it on such a dark and miserable Saturday night. Performing the works of Leonard Bernstein, Florence Price, Stephen Paulus, Dan Forrest, Elaine Hagenberg and ending with Francis Poulenc, the MUMS Symphony Orchestra and Chorus made for the perfect marriage in entertainment and musical ability.

Presented by the friendly face of conductor, Robert Guy, an alumnus of Manchester as well as having many other achievements in the musical world, as well as introducing a number of talented members of the society, what the night successfully got across was that despite the relatively relaxed mood and informality of the event, the orchestra, chorus and more widely the society are as good and should be respected as much as any professional orchestra. The Whitworth Hall added to this too, with its high vaulted gothic ceiling, and impressive organ (which would be put to use), made for a magical setting to perform and listen in.

Once the lights had gone down and the audience had settled, the first performance to kick off the evening was Leonard Bernstein’s Overture To Candide, a piece that would set the tone for Florence Price’s Song of Hope at the end of the first half with its Gershwin inspired melodies that encapsulates and defined early to mid-20^th Century American music. The overture was the perfect warm up and display of the musician’s talents as well as providing the perfect distraction from the dreadful weather outside for the drenched audience. However this was the only a glimmer of what was in store.

Juxtaposed to Bernstein’s 50’s classic, was a more recent composition by Stephen Paulus, The Road Home, employing the chorus as well as orchestra to produce what has to be one of the most beautiful pieces of music this reviewer has ever witnessed. Assisted by the 1835 Southern Harmony Songbook, what Paulus created was a sentimental blend of new and old which when performed by both groups made for a truly wonderful moment in the night. My only wish was that it was a longer piece, but good things come in small packages.

Following from The Road Home was Good Night, Dear Heart by Dan Forrest. Taking inspiration from gravestone of Mark Twain’s daughter, Good Night, Dear Heart is a cappella inspired by heartbreak and is filled with a bittersweet melancholy. This piece showcased the University of Manchester Chorus’ prowess and delicateness, their voices reaching the farthest corners of the hall without being harsh or fortissimo. If there is a piece which the chorus’s members ought to be most pleased with themselves for, then it was this.

Rounding off the first half was Florence Price’s Song Of Hope. Price, a name and talent seldom known or appreciated until somewhat recently, but one musicians should be glad to perform and audiences glad to hear is a new personal favourite. Taking inspirations from the dance rhythms popular in the 1920s and 30s, Song Of Hope appears more brooding and dark compared to other works by the composer. A majestically poignant ending to a first half which began the ramp up to the Poulenc’s Gloria finale.

Whilst there was an interval, there shall be a slight interval in this review to say that there were a handful of up-and-coming and talented members who performed in different capacities either as guest conductors or soloists. It seems almost unfair to pick out certain persons, however sometimes it cannot be helped. Levi Collins not only wowed us as a member of the strings, but also as a mezzo-soprano, performing both roles in the previous piece, all with much ease and grace. Additionally the other special stand out performance has to be from Medical student and soprano, Niamh Mullaney whose technical ability was outstanding in her solo performance in Poulenc’s Gloria. This must not detract from the burgeoning talents presented to the audience, with the sopranos Laura Crooks and Aiofe Downey were incredible as well as baritone and guest conductor, Josh Hill. Other conductors included Kwankawe Ruantrakool, Isabelle Hussey and Alanis Dalledone, some of who conducted various movements in Gloria. Of which, more to follow. However let me use this opportunity to say that these talented people are names we are sure to see more of in the coming years and their skill is an inspiration to those who do not partake in music anymore, or those who want to partake. The future of music is in safe hands.

After the interval, we were treated to Still With Thee, by Elaine Hagenberg. Based on the abolitionist Harriet Beecher Stowe’s poetry, Hagenberg’s cappella seemed suited to the halls church nave like structure; with the chorus situated below the halls organ facing out to the dark gothic beams high up. It was almost as if Hagenberg had pictured the Whitworth Hall when composing the piece. However as good as Still With Thee was, there appeared to be an atmosphere in the audience, apprehension or excitement for the grand finale which was to follow this piece.

Replacing Gershwin’s Porgy And Bess (which when one looks at the likes of Bernstein and Price earlier in the programme makes sense), was Francis Poulenc’s masterpiece, Gloria (commissioned and premiered in America, thus keeping with the American theme of the night). An all-encompassing piece in six movements which employs the orchestra, chorus, soloists and organ. Drawing inspiration from the likes of Stravinsky in parts, Poulenc created a work which seems timeless and much which appears older than its sixty year existence. The entire piece was seamlessly conducted by four conductors, each smoothly transitioning to the podium. It was incredible how each one brought their own touch to the piece, yet there was no jarring change overall to disrupt the flow of the performance. This in itself was a truly impressive feat.

The entire coordination between conductor, orchestra, chorus and soloists throughout Gloria was at such a high level, one forgets that these individuals are students. It made for such a culmination which left one almost awestruck, and with Mullaney’s performance, made for a truly enchanting and stellar performance and ending to what was already an exceptional evening.

MUMS and the Chorus never fail to put on a wonderful show. It almost goes beyond music, it’s a shared passion between students of different subjects and backgrounds. It was so wonderful to see fellow students in the audience waving to their friends in the orchestra or chorus. The talent that each and every member possesses too is incredible. If you want an evening of good music, but you perhaps don’t wish for that perceived stuffiness that accompanies a professional orchestra than this is it. In fact it’s a shame that these concerts are not filled to the rafters with people other than family or friends, it’s a university society but they are as good as any professional group you may come across. All those involved should be immensely proud of themselves, not just about the evening’s performance but for what else they bring. They bring a mood/ atmosphere/ emotion which I’m still struggling to my finger on... it has to be experienced.

Reviewer - Daryl Griffin
on - 16.3.23 

THEATRE REVIEW: American Buffalo - The King's Arms Theatre, Salford.

 

David Mamet’s award-winning play ‘American Buffalo’ was expertly brought to life by director David Thacker, assisted by Oliver Hurst, at the Kings Arm’s Salford, produced by the theatre’s own Lisa Connor, very much a winning combination of creatives.

Thacker is very much a versatile professional in the acting world, with experience directing theatre, film and television and is professor of Theatre at the University of Bolton. This level of knowledge and experience showed in this production, making for an extremely impressive piece of pub theatre.

The play commences the morning after a high stakes poker game, Don played by Colin Connor explains the events of the previous evening to his younger friend/gofer Bobby played by Jon O’Neill, while imparting some worldly knowledge and sending Bobby on errands. Bobby is especially tasked to keep an eye on a customer who recently purchased a coin of high value in Don’s shop. Don is planning on breaking into the customer's house to retrieve the coin with the help of Bobby but is soon joined by poker buddy Teach played by Dave MacCreedy, who convinces Don to drop Bobby from his plans for being untrustworthy and take him instead. Tensions mount for Don as he drops a disappointed Bobby from his plans and an explosive Teach comes armed with a gun to his dislike and the situation only gets more chaotic as the play reaches its violent climatic end.

Mamet’s text doesn’t shy away from using slurs and strong curse words and each actor delivered the text with great Midwestern accents, the play came to life and the energy of their vocal performances gave a real rhythm to the piece that felt almost Shakespearian in its patter. All three actors gave outstanding performances, Don’s leading presence as the owner of the shop and organiser of the break in, Bobby’s naïve demeanour yet manipulative evasiveness to questioning, and Teach’s intense and explosive personality made for a clash of personalities that brought great drama, equally well portrayed by the whole cast. The physical action at the end of the play is well choreographed by Callum Arnott, a chase in a small busy space and Bobby is hurt by Teach. The movement is delivered with a harsh effective realistic blow of a man acting intentionally to cause harm without giving a chance for defence. Brutal.

Act one sees Don clearing away rubbish and items from the before mentioned poker game. The poker table sits centre stage, and the audience are in the round amongst piles of rubbish from the junk shop. Loyalties of friends are questioned, the subject of the lost coins value is raised, and arguments erupt around the poker table, as though the game hasn’t entirely stopped, the characters feigning innocence or giving steely determined gazes to one another. These performances we’re emphasised by Gareth Jones’ lighting design. A circular lighting rig above the stage lit the actors faces in a warm wash with a blue highlight, reflecting the plays tragic tone.

This was the most impressive production I have seen at the King’s Arms, it’s running until the 24th of March, if you can get tickets, I urge you to go see it. You will not be disappointed by the professionalism of this production, the wonderfully detailed performances by the actors and the well thought out direction from Thacker make this one not to be missed!

Reviewer - Kerry Ely
on - 14.3.23

MUSIC REVIEW: Guitar Heroes - The Theatre Royal, St. Helens

 

This show is ideal for guitar enthusiasts and music fans in general; it not only celebrates some of the most talented guitar players from the past 50 years but also recreates the ambiance and musical sounds of the times they performed, perfectly.

Creator/Producer, Phil Walker leads the production along with guitarists Chris Taylor, Andy L-Smith and drummer Jack Daynes.

The show is divided into small sections portraying each celebrated artist and a large video projection on the backdrop depicts each artist in turn, along with footage from some of their performances. Coloured spotlights changing colours are used throughout with strobe lighting interspersed during particular sequences.

The opening number, Chuck Berry’s ‘Sweet Little Sixteen’ was followed by Buddy Holly’s ‘Rave On’ with Phil Walker centre stage; a Shadows medley with the guitarists depicting the famous Shadows dance routine came next; ‘Purple Haze’ then celebrated the talents of Hendrix and then Toni Lommi from Black Sabbath was remembered next.

Guitarists, Chris Taylor and Andy L-Smith depicted ZZ Top dressed in long black leather coats playing white fur-trimmed guitars, singing ‘Sharp Dressed Man’ much to the amusement of the audience.

Status Quo, Eric Clapton/Cream featuring ‘Sunshine Of Your Love’ and ‘Leila’ received delighted applause and then Walker commemorated guitarist Albert Lee by playing a splendid rendition of ‘Country Boy’ whilst informing the audience that at 80 years of age Lee is still performing.

Coloured strobe lighting accompanied a rendition of Pink Floyd’s ‘Comfortably Numb’ as the first half came to an end.

The second half started with a drum solo by Daynes celebrating Mark Knopfler’s hits, then Van Halen’s hit ‘Jump’ had the audience singing and clapping along. Walker performed ‘Purple Rain’ using a replica of the distinctive Love Symbol Electric Guitar Prince used in his video of the hit song.

More of the greats were celebrated including Peter Frampton, Thin Lizzy, Santana, Gary Moore, Peter Green, Jimmy Page and Slash of Guns N’ Roses' fame until concluding with Brian May of Queen. An encore of ‘Living On A Prayer’ had the audience on their feet showing their appreciation for the finale.

The show features different artistes at each performance. Front man, Walker interspersed the production with information about the artistes portrayed along with repartee and jokey banter with the audience.

The show journeys through five decades, from 1950’s Rock & Roll through to the most innovative and inspiring guitar heroes of modern times. The performers are undoubtedly talented and accomplished musicians and are all highly skilled in versatile musicianship; they play more than 20 different guitars between them throughout the show and each performer combines guitar playing with drumming and singing.

The production is touring the UK throughout the year.

Reviewer - Anne Pritchard
on - 6.3.23

THEATRE REVIEW: Sleuth - The Alhambra Theatre, Bradford.

 

‘Sleuth’, written over fifty years ago, retains a freshness and remarkable sense of originality. The popularity of murder-mystery set in an English country house shows no sign of diminishing, as evidenced by the current tour of ‘The Mousetrap’ and BBC's now annual Christmas offering but for the most part, the style is formulaic with always the same objective of discovering whodunit. Anthony Shaffer took this popular genre and turned it on its head in a way that has never been surpassed, and ‘Sleuth’ remains virtually unique, with Ira Levin’s ‘Deathtrap’ being perhaps the only play that truly measures up against it.

It is difficult to adequately review the cleverness of ‘Sleuth’ without giving away spoilers. In a nutshell, the character dynamics keep changing and just as the audience get comfortable with the set-up, it suddenly all changes and does so on numerous occasions. The play is also an interesting study of two worlds; the backward-looking view of a privileged gentleman, steeped in tradition and entitlement, contrasted with that of a forward-looking young son of poor immigrants. There is also a lot of social commentary, including observations of class hatred, snobbery and even the social context of the country-house murder-mystery genre itself.

‘Sleuth’, as with ‘Deathtrap’, is not without humour and the story weaves between high drama, intrigue, and laugh-out-loud comedy, as layer upon layer are peeled away from the main character’s desires and motivations, culminating in a very satisfying and surprising climax. It is a shame there are not more plays like this. This really is a play operating on multi-levels that keeps the audience constantly interested and guessing.

Many will be familiar with the '70’s movie version of ‘Sleuth’ starring Laurence Olivier and Michael Caine, which did full justice to the play (unlike a later remake in which Michael Caine swopped roles and Jude Law played the young man). To their credit, neither Todd Boyce as the ‘gentleman’ Andrew Wyke nor Neil McDermott as Milo Tindle let their own characterisations be influenced by the film versions. Each of them stamped their own interpretations on their respective roles and for what was largely a two-man show, demonstrated a lot of physicality between the two of them, with the spacious set used to full advantage. McDermott was genuinely funny, seamlessly switching into impassioned vulnerability as the story twisted and turned. Boyce made his character progressively arrogant and detestable, with the upperclass trait of almost never revealing any real emotion. The developing intellectual battle between these total opposites was fascinating to watch.

This production made no attempt to reinvent the wheel, with a superb and highly detailed set accurately depicting a great mansion somewhere in the home counties. Even the staircase seemed to boast an expensive, 100% woollen carpet and the set oozed wealth, tradition and clutter with not a single item looking modern. There were a few lively special effects and on a few occasions, background music to heighten the drama (although music was used sparingly and only at key moments of intensity).

The biggest testament to the success of this production was the audience. There were genuinely spontaneous gasps of surprise and loud laughter in equal measure. At other times, you could hear a pin drop as the two main actors had the audience caught up in intense observation. This was an excellent and sophisticated play given full justice by powerful performances keeping the audience spellbound. Against a superb backdrop, this was a wonderful piece of theatre and a great play to demonstrate just how engaging theatre can be.A

Reviewer - John Waterhouse

on - 13.4.23

AMATEUR THEATRE REVIEW: Young Frankenstein - Middleton Arena, Manchester.

 

I think you have to be of a certain age and disposition to understand, love and truly 'get' the genius behind the work of Mel Brooks. Younger audience members seemed a little lost. Admittedly "The Producers" is more well known and perhaps also a little more accessible than this satirical comedy-horror parody from the pen of Brooks way back in 1970. Moreover, the film of the same name is much easier to follow, the stage adaptation loses much due to the necessity for very short scenes and little time for certain characters' development. As far as the scenes are concerned I thought that Heywood AODS had got it sussed this evening by using a large screen to the rear upon which each scene could be easily and swiftly conveyed, a great idea which should have and could have worked without the need for extra, often clunky, often large, extra pieces of scenery being moved in and out constantly by the stage management team who were always visible - but unfortunately an unhappy marriage of the two did not really work as well as it ought. 

The proficent band were in front of the proscenium stage, and lighting (as well as a few special effects) worked nicely. The sound levels were far too high throughout, distorting speech and hurting ears.

The acting however was, once again, absolutely up to the very high standard I have now come to expect from this society. The principals were a mix of faces old and new, and heading this strong team was the young actor Sam Reid, whom I have never seen before in the lead role of Froderick Fronkensteen, sorry, Frederick Frankenstein! A very personable and watchable performer and carried the show well. Max Harrison was The Monster, and his changes throughout as his character develops and becomes more "human/e" was excellently measured. Channelling Marty Feldman (and why not!?) was another talented and watchable actor in the role of Igor, Michael Thompson. Leonie Picariello was the sexy and lustful blonde bimbette who steals Frederick's heart, Inga, whilst Stephanie Mead as Elizabeth and James Earnshaw as Hans Kemp both made the most of their smaller but importrant roles. However, there are two performers who for this reviewer at least, deserve a special mention. I have seen both of them on stage before, and each time have been verily impressed by their characterisations and understanding of both the roles they perform and stagecraft in general. These are Shirley Harrison as Frau Blucher (neiggggggh!!), and Nick Angus as Dr Frankenstein Senior.

It is a fun, upbeat show, but some of the jokes were not landing correctly this evening. It is also not a show for youngsters, the sexual references and innuendoes should give the show a 14+ rating. It was the first time I have seen the stage version of this hilarious film, and it was a superb introduction for me. With a little less volume on the mics and a little work on comedy timing, this could be a truly superb show, and is deserving of a larger audience than this evening which was only half full unfortunately.

Reviewer - Matthew Dougall

on - 13.4.23

AMATEUR THEATRE REVIEW: Priscilla, Queen Of The Desert - The Plaza Theatre, Stockport

 

Priscilla is an Australian, iconic darling; immortalised in the 1994 cult classic movie of the same name which then became a stage musical on Broadway in 2011.  Since then, it’s been a vehicle (excuse the pun) for Jason Donovan’s career as an actor and singer and subsequently as a producer of the show. If you don’t know it, the show follows three drag performers, who travel across Australia to perform a coveted, top spot at a casino in Alice Springs, travelling through the back of beyond, breaking down en route and facing a plethora of dilemmas to overcome before arriving at their destination in just six days.

I felt to be in the presence of greatness and have never in many-a-year and many-a-show seen a first night performance of that standard – it was supreme! An enormous cast, (almost 40), the most stunning costumes I’ve ever seen, and a set and lighting plot which just screamed ‘fabulous’.  All the singing was under the tight control of the ultra-talented MD Paul Lawton who is a master of the NW musical theatre circuit but really got to show his prowess with pop music too; with a score more or less completely iconic pop ranging from Kylie, Gloria Gaynor, Burt Bacharach, and all the way back to Jerome Kern! His band were tight, glorious and provided a soundtrack to bathe in.  He had singers who could truly sing and who better to provide the vocals for the drag queens lip syncs than three divas with pipes made in heaven and bestowed upon a camp, Greek Chorus who flew (yes flew!) above the action for most of the show like stunning, glamorous angels from pop heaven. They were the splendid and effortless vocals of the Divas: Dawn Leigh, Sarah Thewlis and Aimee Clare; each and every one of them looked, acted and sang their numbers to perfection with different armography (a new word for me) by Leigh. Such talent!

There were so many spectacular, company numbers where, it seemed, the entire cast were used, seamlessly by the incredible talents of choreographer Tracy Harper, so many different styles, so many different shapes and costumes and some of them were BIG costumes but the cast performed them with tight execution, polish, and with no collisions. The energy in EVERY number was tangible and so many quick changes and yet everyone knew exactly where every move was and where they should be. This was such a successfully creative element of the show which was a big takeaway for me. There were clearly trained dancers in the cast and good movers all on stage together and Harper knew her performers well and she moved them all, brilliantly. I loved the umbrellas in the funeral scene, and the cake costumes in Macarthur Park with Tick were indescribably good, but I laughed so hard in that scene as it was so camp, I could taste it! 

Onto the main performers: Tick played by Gary Jones is a drag artist who persuades his two friends, and fellow drag artists, to travel with him to Alice Springs in Priscilla, (the bus) as we learn that the other reason for him to go there is to meet his 6 year old son whom he has never met. The friends are: trans performer Bernadette (Paul Allison) who has never been truly and genuinely loved for who she is, and the flamboyant Kylie-loving and acid-tongued, Felicia (Steve Cheeseman).  From the opening number, these three had me transfixed with stunning performances, spectacular dancing of the highest standard, worthy of any showbar from here to Vegas and figures to die for! They looked and sounded amazing whilst individually exuding characterisations of the highest calibre – quite simply, exquisite. As we followed their journey across Australia in the battered but fabulous Priscilla bus (which was converted to a show bar with flashing lights in the 'Colour My World' number) we watched as the characters explored together the prejudices they met along their journey, from smallminded  townsfolk  which resonated just as strongly then as now in modern Britain. They met some vile hatred, but also lots of kindness too where they were accepted, assisted and were able to fit in despite being different. Bernadette also meets a guy along the way with whom you feel there is potential for love, whilst Tick meets his son Benji (Louis Jones-McCaw) and we get to see a hint of a father-and-son relationship in its beginnings with a beautiful Elvis duet of ‘Always On My Mind’ in the final scenes. Just like the movie, the three of them ascend Ayers Rock for the finale, ‘We Belong’, to perpetuate the show’s theme of inclusion and acceptance of diversity.

The rest of the cast all played their parts with aplomb and there were some hilarious smaller roles. Jordanne Woodward’s Cynthia with the ping pong balls in Pop Muzik was a masterclass in exotic cabaret! Tick’s ex-wife Marion (Amy Mason) had real impact and made a cameo which was really noticeable. Congratulations to every single person on stage as every single one made themselves and their characters known, established and meaningful from the opening scene to the finale which was worth a ticket on its own. So many stunning costumes but so much energy, enthusiasm to not just wear them but to perform in them with love, ambition and talent. I absolutely loved the show and if that was the opening night, then I am positive by the end of the week, the audience is going to be on their feet, dancing along before the interval. Priscilla herself was a huge prop to have on that stage and an accomplishment to work successfully with her, first night stage crew were still getting to grips with her in a couple of scenes but not enough to steal her limelight as she is, after all, the star of the show.

This production by Romiley Operatic was under the uber-talents of director and chairman Michael McCaw. What a proud man he must be to see his production and dream of these gigantic proportions come to life after probably months of blood, sweat, tears, and sleepless nights planning all those scenes and numbers. He had a stellar cast but it takes a special kind of directing talent to be able to bring a show like this to life, add his own unique touches and make it work exactly how he wanted it to and to my eyes it had all the whistles and bells and some more. Huge congratulations! The show was superb, a sensation which I will be talking about for a long, long while. Thank you for the opportunity to watch an amazing, memorable piece of theatre. It was a joy. 

If you are lucky enough to get a ticket to this show, I promise that you will not be disappointed.

Reviewer - Kathryn Gorton 

on - 12.3.24

 

YOUTH THEATRE REVIEW: Oklahoma! - The Evans Theatre, Wilmslow.

 

It is quite a rare thing these days for amateur companies to tackle the book musical standards, and an even rarer bird when they are performed by a youth company. It is also quite refreshing too.  This was the 6th show I have been privileged to see from this talented troupe of Wilmslow youths known as Tempo, and the first show I have seen by them that was written before I was born!

Rodgers and Hammerstein's 'Oklahoma!' is a comedic ode to the lives and loves of the rural and rustic lifestyle of those living in a land that was just about to join the united states, which it did in November 1907, and the score is full of standards which anyone who has grown up with Musical Theatre around them and in their blood as I have, will know and love.

Tempo Youth did extremely well in recreating the style, mannerisms, vocalisations, accents, mentalities, and concerns of the era. The costuming was mostly excellent, and the simple set of wooden slats and hay bales was all that was needed to create the actors' playground. The proficient band was to the rear of the stage and wearing appropriate costume, although my personal preference would have been to have the band out of sight, they distracted, pulled focus at times, and did not fit in readily with the set or style of show. This would also have given the cast a larger acting space, and when it came to the full chorus dance numbers, space was very much in short supply!

Heading this strong cast was 15 year old Jake Hornsey, performing with Tempo for the first, but surely not the last time, in the role of Curly. His easy-going swagger contrasting nicely with the other more characterful and damaged male roles. Poppy Preston performed the principal role of Laurie with accustomed ease, finding some lovely nuances within the character to make her more believable and accessible. Keira Lambe was the most youthful and energetic Aunt Eller I have ever seen, but this worked nicely for her, and her warm and passionate demeanour was well placed. The more comedic roles of Ado Annie (Maggie Thompson) and Will Parker (Jake Butler Smith) can sometimes be over-exaggerated (especially Ado), but in this production both Thompson and Smith kept both feet firmly on the ground and delivered a couple of superb performances, allowing the more overt comedy to come from Ali Hakim (Adam Byrne) and Gertie (Elizabeth Anderson). Byrne 's delivery was nicely timed and his understanding of the role excellent, whilst Anderson's laugh was the best I have ever heard any actress do in this role. Freddie Tickle tackled what is perhaps the most difficult and darkest role in the show, that of hired-hand-with-a-past, Jud Fry. His scene in his hut and his two songs were truly superb. Sadly he did not keep up this level of malevolence and violent undercurrent when we saw him later in act 2, but a very talented and watchable young actor nevertheless.

The small cameo roles and a very large ensemble helped to create the world of turn-of-the-century mid-west, and the chorus songs were lovely. Sadly, this evening some of the mics seemed to be either not turned on or set at a very low level, and sometimes the choreography impeded the singing, but all told, we still were able to enjoy and emote with their enthusiasm and proficency. Oklahoma's OK!l

Reviewer - Matthew Dougall

on - 12.3.24

AMATEUR DANCE REVIEW: U.Dance (North West) - The Lowry Theatre, Salford.

 

This annual event set over two days at Salford's Lowry Theatre is the chance for the best of the region's amateur youth dance companies to come together to compete for a place in the national competition held later in the year to find the best youth dance group in Britain. Held over a weekend in late Winter/ early Spring, the Lowry hosts workshops and seminars as well as two public performances of the current year's entries into the event. Other regions host similar events throughout the country culminating in the semi -final and final where one or two groups from each region then compete against each other. This year I was only able to be with them on the Sunday, and so apologies to those whom I missed on the Saturday, but I can only write about those groups I witnessed.

As is now custom, the evening began with a short foyer show from a young group of dancers not participating in the competition, but instead, there to give their youngsters confidence and experience. In this case it was Cardale Under 11s Dance Group from Halifax, and these six youngsters performed their self-devised piece called, "Our Future".

In the Quays Theatre we were then presented with this evening's 12 troupes. Six before and six after a short interval. The remit for U.Dance is that the choreography can be in any style, including folk dances from other countries, however, this year, as indeed in previous years, the vast majority were contemporary dance / ballet. The evening however started and ended with Hip Hop. With the final piece, a group of six boys, presenting 'The Birth Of Hip Hop' whilst including some Street Dance and Breakdance within their routine too.

Of course all 12 groups were meritorious, and once again, it was a delight to see such an array and abundance of local talent. However, I obviously had favourites, as indeed everyone should. My criteria however, in case you were wondering, is thus.... I look for how suitable the choreography is: does it fit the chosen music, the chosen style, the chosen narrative, and is it both within the reaches and capabilities of the dancers and does it show stylistic expression and flair. Is there a good use of performance space, and is there a mix and balance between solo, duet, group, and ensemble work. Does the dance have an arresting start and / or end. Are the dancers in time and in sync. Then I look at costuming and lighting. Are these appropriate and effective. Finally I look at the dancers themselves... are they enjoying the dance, fully commited or is there fear and uncertainty in their eyes. Having watched all 12 troupes and applied the above criteria, then I shall be very personal and subjective for a moment if you will allow, and give you my top five. 

In joint second place this evening were "Into The Shadows" by Infinity Dance And Theatre School (Chester), 'Final Destination' by Wirral Grammar School for Girls (Bebington), 'Red Pilled' by Zig Zag Youth, and "If You Go Down To The Woods Today" by Newmanouevres Dance Academy (Cardinal Newman College, Preston). However, my absolute favourite this evening was the gorgeous and lovely contemporary ballet, 'The Mist' by Elysium Dance Theatre. The icing on the cake for this piece however would have been a little haze (mist) from a smoke machine, but even without that, this dance ticked all the boxes and then some!

For future reference the programme does not tell the audience where the groups are from, and so, even with a little web searching, I have still been unable to locate some of this evening's troupes sadly. The north west is a large area!

Congratulations to all, and once again thank you for proving that this corner of that green and pleasant land we call home is full of young, keen, and talented dancers ready to take on whatever their future holds!

Reviewer - Matthew Dougall 

on - 10.3.24

AMATEUR THEATRE REVIEW: Legally Blonde - The Opera House, Blackpool.

 

Blackpool's Opera House was in the pink this evening for a very upbeat rendition of the perennial favourite musical based on the hit film of the same name, 'Legally Blonde'. Elle Woods once again got to study at Harvard Law School just for love; loses said love, finds a new love, and in the process also finds her metier and wins a star case using good old Sorority House values.

A flashy set of wonky walls and unopenable doors presented itself this evening, with some of the sets working better than others. The hairdressing salon was cumbersome and I did not like seeing stage management in full view moving it in and out. Creative lighting and mostly appropriate costumes helped bring the story to life, and a pit band belted out all our favourite tunes. Sadly the sound balance was not quite right this evening. Sometimes the band overpowered the dialogue or singing on stage, but mostly the cast's mics were too high meaning the voices were distorted and incomprehensible at times.

The enthusiastic and dedicated cast was headed by Aimee Duxbury as Miss Woods comma Elle herself, whilst her ex-boyfriend and Harvard fast-tracker, Warner, was played with understated dour sincerity by Declan Wilkinson, and the more gentle and understanding Emmett, who eventually steals Elle's heart, was a rather fresh-faced Blue Blezard.

Professor Callaghan (Joff Keelan) was a more mature but also more human and sympathetic portrayal than I have seen, and this worked in his favour, whilst comedy was provided for by hairstylist Paulette (Jenny Daniels) and her love affair with UPS deliveryman, Kyke (Patrick Duffy). The ah-factor catered for too in the inclusion of not one but two dogs on stage.

A frothy-pink piece of teen-oriented all-American comedy romance, but sincerely and proficiently performed by Encore Productions.

Reviewer - Matthew Dougall

on -  7.3.24

STUDENT THEATRE REVIEW: One Man, Two Guvnors - Pendleton Sixth Form College, Manchester.

'One Man, Two Guvnors' is a farcical comedy set in the Brighton of 1963. Based more than loosely on Goldoni's Commedia-esque 'The Servant Of Two Masters', we are given a very British seaside-postcard-humour instead of the Italianate Commedia Dell'Arte of the original. That does not mean however that the humour, style and characterisations are all that different, since much of what we consider to be typically British humour is in fact based very much on the Italian Commedia traditions!

But back to the play! It starts with, and indeed is interspersed with (covering each scene change) a Skiffle Band playing and singing the hits of the time. Two young student bands had been formed for this and they proved both a nice diversion to the sometimes too long scene changes [ obvious unwieldy and cumbersome flats notwithstanding! ] but also to firm and fix the era of the production even more. Costumes (and facial / body hair ) were superb, although the aging make-up did not work with such soft lights and close proximity to the audience. I enjoyed the set design too, beach huts was a lovely idea.

The play starts with a kiss. This kiss was neither real enough to be authentic, nor was it comedic enough to be truly funny. I am assuming that it should have been comedy. Had we truly laughed at the ridiculousness of this kiss, we would have known straight away the tone being set for the play, yet, as it was, we were slowly introduced to the comedy which was a shame. However, once the comedy did come, it was abundantly clear that all on stage knew what they were supposed to do and how it should be delivered. Due to this being the first night and so the first time in front of a live audience, as well as the young casts own inexperience, the timing and delivery was not always there, but this is a huge and important learning curve for them all. Generally the pace was too slow with cues not being picked up quickly enough or entrances coming a little late etc. But these are students learning their craft, and what they did manage to produce was actually highly entertaining and their understanding of their characters and the relationships between them very secure indeed.

Directed by Les Williams, there were some truly lovely ideas within this show. He obviously has a love of the style of humour and comedy required and his enthusiam brushed off onto the cast. I have only ever seen this play once before, but must either have missed or forgotten just exactly how full of sparkling and delightful one-liners the script is.

Leading this hightly talented cast was our protagonist, Francis, played with obvious glee and giving it his all - Joel Souter. The entire ensemble worked excellently together, and I enjoyed all their characterisations, all of which were solid and nicely placed. However, on a purely personal level I simply have to credit the amazing physical comedy skills of Luca Cribelli, simply making the part of the aged waiter Alfie his own. 

These students have obviously worked extremely hard to bring about a production of this strandard and quality whilst still so young. Full credit to all who have helped them along the way and congratulations to each of them too. I look forward to seeing where their acting journey takes them next.

Reviewer - Matthew Dougall

on - 5.3.24

THEATRE REVIEW: Houdini's Greatest Escape - The Duke's Theatre, Lancaster.

 

Described as a “39 Steps-esque thriller…this show will have you laughing and gasping throughout at the magic of theatre and the ‘real’ magic of illusions designed by TV’s Pete Firman”, I had high expectations for ‘Houdini’s Greatest Escape’ at the Dukes Theatre, Lancaster. The cast of four worked hard, but opportunities for side-splitting laughter and audience engagement were missed.

The idea for the story is a clever one - Harry Houdini (played by Ben Higgins) and his wife, Bess (Lydia Piechowiak), are on the cusp of a career-defining performance for King Edward when Harry finds himself framed for murder by a gang of criminals in cahoots with the Chief of Police. Can Harry and Bess escape from this predicament by using their well-honed expertise?  The play follows their journey and their encounters with a multitude of characters including a clown with (bizarrely) an elephant’s trunk for an arm! There is much comic multi-playing from Kirsty Cox and Adam Elliott (Elliot plays 11 parts) with physical humour from Elliott, in particular. Higgins and Piechowiak make a solid team as Harry and Bess.

Missed opportunities include a scene in the first act when Harry, Bess and Nelly struggle on the roof of a train and the actors operate humanettes with their heads appearing as those of the puppets. This could have been hysterically funny but lost its impact as the puppeteers’ bodies were not blacked out. 

In another scene Elliott switches expertly between 4 characters at a newspaper stand, the joke, however, wears a little thin as the scene lasts too long. 

The audience did not seem to be completely on-side during the performance I saw – attempts to engage us using prompt cards (‘Applaud’, ‘Boo!’)  during Agatha the Spiritualist’s show (within a show) fell flat. Perhaps some audience participation earlier in the evening might have helped with this?

The second act felt much stronger than the first, starting with Elliott’s skilfully performed card trick to recap on the story so far using 2 cards representing Harry and Bess, along with a slow-motion re-enactment of how the astute Bess helps Harry to save himself from being killed. Other highlights include: clever use of a newspaper to ‘frame’ Harry’s ‘wanted’ image;  quality physical theatre from Elliott when he rides a motor bike, then pedal bike, then horse;  an underwater scene when Bess manages to escape from a police car – again in slow-motion, and a tightly choreographed ensemble scene featuring 4 characters in a bar.

As the story builds up to Harry’s performance for King Edward, I expected that performance to be the high point of the evening and felt thwarted that this wasn’t the case, however the show does end with a cleverly engineered illusion (could an audience member be asked to check the padlocks?).  

I had hoped to laugh out loud and be intrigued by illusions throughout the show so was disappointed. A more liberal sprinkling of magic would have been welcome! 

‘Houdini’s Greatest Escape’ was written and directed by New Old Friend’s founder, Feargus Woods Dunlop, and is showing at various venues across the UK until 30 June.

Reviewer – Sue Hayward

THEATRE REVIEW: Oh What A Lovely War - The Grand Theatre, Blackpool.

 

The celebrated entertainment from the devising and creative ensemble of actors in Stratford East, known as The Theatre Workshop, under the strict control of none other than Joan Littlewood, 'Oh What A Lovely War' is one of the few pieces of their theatre to survive into the present day. And it was not an easy piece for them, especially Joan Littlewood herself, since the wearing of uniforms and the dogged following of the populus to any kind of dogma or cause was something she railed against. However, when she insisted her company wear pierrot costumes and presnt it as an end-of-pier entertainment, she unintentionally created a work of genius which ensured its longivety.

In this production by Blackeyed Theatre at Blackpool's Grand Theatre, the pierrot costumes had been replaced by fin-de-ciecle circus wear, which seemed an appropriate substitute, and the set too had that Victorian circus feel to it. The multi-talented cast of six were all actor-musicians and a whole variety of instruments were played both for the songs and the sound effects this evening.

However, the biggest problem inherent with this was the fact that there were indeed only six cast members. I was not around to witness the original production by The Theatre Workshop but imagine there must have been a larger ensemble than this. Going back more than 30 years and I myself was in a production of this musical which was made up of a small band, separate from the actors, and a chorus / ensemble too. I have since seen only two other productions of this show, and both used larger casts than this. Six works... or at least it has been made to work; but it is bare. To have a full chorus song with harmonies and the music all being provided for by just six people sounded very sparce and it lacked. 

Director Nicky Alpress has worked well with these six people to create what she has, it is faithful to the spirit of the original, but sadly partly due to the lack of numbers, but also due to the lack of microphones, it failed to carry on the Grand's stage this evening. Seated as I was to the rear of the circle, I was struggling to hear much of what was being said and sung. The music drowning the voices for the singing, and much of the dialogue was inaudible. 

The lighting design was insufficient and distracting. Faces could not be seen clearly enough, and the stage was in semi-shadow, especially at the edges, for most of the show.

This evening's performance lacked energy and spontaneity too sadly. Admittedly the auditorium was only a third full at best, but the production lacked oomph! The one thing which truly makes this piece of theatre special is the dichotomy between and the bathos created by the entertainment and fun of an end-of-pier show ( "the ever-popular war games" ), and the fact that their entertainment is lampooning and satirising the First World War. When the performances become too serious, too melancholic, too full of pathos, then the production becomes a little sluggish and moves away from the original intent of the show. This evening's production was very much in danger of doing this on several occasions, and many of the songs were given too much weight.

One further point to consider would be that this entertainment is a period piece, stuck in a style of performance which not only has no relevance to today, but it is also not in any of the audience's living memory. Pierrots, End-of-pier entertainments, Victorian clowning, and indeed all the names, references, and songs, are all wrapped in a time capsule. There was nothing in this particular reimagining of the show which a modern audience could latch on to.

Reviewer - Matthew Dougall

on - 2.3.24