AMATEUR THEATRE OPPENHEIMER THE GARRICK PLAYHOUSE, ALTRINCHAM

Opening night on the Garrick's main stage of a brave choice of play for a brave and exciting society. Always one to push boundaries and produce work in their season which challenges, balanced with some old favourites and more well-known productions, this play by Tom Morton-Smith falls into the first category and tells the true story of who has been dubbed 'the father of the atom bomb'. It's a lengthy affair, with the first half lasting a full 90 minutes, and the final curtain was at 10:35pm this evening, but stick with it, the long first half, full of exposition and background information, told in the form of extremely short vignettes, swapping and changing location quicker than a flash, gives us much we need to know in order to understand the denouement. Act 2 is certainly more satisfying. It is an interesting play, and directors John Cunningham and Carole Carr managed to sustain our interest in the somewhat wordy and disjointed script through a myriad short scenes, many colourful characters, and of course the historical factuality. It could have been flat and devoid of variation, and the technical and scientific aspects could have bamboozled and taken precedence, and indeed on both scores the play was in danger a few times of allowing these things to happen, but with some deft acting skills from a fully ensemble cast (including two understudies on this their opening night), both pitfalls were happily avoided. Played out on a mostly bare stage with just outlines of the Los Alamos facility and the looming danger of what was to come in black silhouette to the rear, omnipresent, but never focus-pulling. The constant wheeling in and out of furniture etc for each tiny scene became not only predictable but added unnecessary seconds to an already overlong play. The use of a large screen centre stage to display each scenes location and year, along with relevant photos (actual archive photos by the looks of them) was indeed very helpful, although the science stuff was completely beyond me! 

Overall, this was an engaging play, sensibly portrayed by a talented cast who worked excellently together and provided a most interesting story (some of which was completely new to me) and all deserve much credit. A special mention needs perhaps to go to Scarlet Newton as Jean Tatlock, the soon-to-be wife of Robert Oppenheimer. Her stage presence, command of the stage, her role, and situations around her was taken with adroit elan. I also enjoyed the performance of Mark Jephcott, as the General Groves. Vocally very pleasing, using a lovely projection and enunciation; something which I am very hot on. And finally, I co0uld not possibly leave the review without mentioning the protagonist himself, Robert "Oppie" Oppenheimer, played in this production by Jonathan Higgs. Underplaying his role with a rather self-deprecating manner in both mannerisms and voice, it sometimes became quite difficult to see him as a leader and figure of authority. I wonder, was this based on historical research and real-life characterisation or was this the actor's / director's own choice? Either way it made for a very interesting juxtaposition between the driving forces throughout, allowing some of the smaller cameo roles more prominence because of it. I enjoyed this and applaud this.

It's long, and you have to watch and concentrate throughout, but it is worthwhile, and you come away feeling more knowledgeable than when you went in, so stick with it, and you will be rewarded. 

Oppenheimer runs until Saturday.

Reviewer:  Alastair Zyggu

Reviewed: 24 February 2025

OPERA REVIEW ELLEN KENT'S LA BOHEME MANCHESTER OPERA HOUSE

Manchester Opera House seemed to be bustling last night as crowds gathered and flocked to take

their seats in anticipation for Ellen Kent’s production of Giacomo Puccini’s 1896 classic, La Bohème,

featuring the talented voices of the Ukranian Opera and Ballet Theatre. Whenever Kent brings the

opera to Manchester, one cannot help but feel that an old friend has come to visit, with the mixture

of music, wonderful and lavish sets as well as the tear inducing performances being like a warm and

assuring embrace. La Bohème returns after being last performed by the Ukranian Opera in 2023, and

somehow Ellen Kent has taken what seemed like a winning formula two years ago and improved

upon it, making this season’s production of the tragedy one of the best operas so far, rivalled only by

her production of Bizet’s Carmen last year.

What made this production of La Bohème so good was the superb casting. Tenor, Davit Sumbadze as

Rodolfo, brought an air of innocence as well as a mischievous immaturity which blended well with

the young poet’s friends Marcello (Iurie Gisca), Schaunard (Vitalii Cebotari) and Colline (Valeriu

Cojocaru); however this was most noticeable against Soprano, Elana Dee’s Mimi as the two shared a

chemistry which elevated their romance beyond a level which was perhaps lacking in the ’23

production. Their romance speaks volumes even before the end of the first act, and as such really

hits hard when tragedy strikes in fourth act.

Set in 1830s Paris, La Bohème is a tragedy (albeit with its fair share of comedy) following four

Bohemians as they struggle creatively to make ends meet as well as romantically. On Christmas Eve

after seeing off their landlord, Rodolfo meets Mimi and the two fall for each other (featuring the

opera’s best known aria “Che Gelida Manina” which the motif recurs throughout the story). When

the two lovebirds join Rodolfo’s friends for food and drink, Marcello’s old flame, Musetta, appears,

thus juxtaposing Rodolfo and Mimi’s more serious romance with the more volatile yet lighthearted

romance. A few months later, a clearly ill Mimi confides in Marcello about her faltering relationship

with Rodolfo, all the while Marcello and Musetta’s rocky relationship start to break down once

more. In the final act, set in the burgeoning spring, we see a return to the situation presented in the

first act. Rodolfo and Marcello are alone, and Schaunard and Colline do what they can to bring in

provisions, when Musetta appears having found Mimi dying on the street. After rekindling their

romance, Mimi dies although Rodolfo is initially unaware, he breaks down upon finding out.

The story is an incredibly simple yet effective one. One of the many reasons why La Bohème works

as an entry level opera. Despite being set almost two hundred years ago, Rodolfo and the other

Bohemian’s situation is still very relevant to many today. Any preconception that opera is serious is

shattered when the four friends pretend sword fight and dance with one another, chasing each

other and smashing one of Marcello’s paintings over Schaunard’s head. La Bohème is that perfect

blend of humour, tragedy, and romance, offering a bit of everything for everyone. What else worked

was the changing scenery between the first, second and third act. The audience is never in one place

for too long and Kent’s keen eye for set design and props makes sure that there is enough going on

around the talent to create a magical and immersive world. The bright colours of the costumes and

props in the second act break apart the bleak blues and cold tones of the first and third act, all the

while those very bleak colours and tones work perfectly with the unfolding tragedy in the last act.

Puccini’s score is some of his best, and while it could be argued that Madama Butterfly is the

pinnacle of his work, the story of La Bohème allows for a bit more wriggle room to play about and

have fun with the music where appropriate. Under Vasyl Vasylenko’s baton, he brings Puccini’s work

alive with the music belting deep out of the pit filling the entirety of the opera house. To return to

the point of why the cast makes this particular production stand out so well, all have that little bit of

freedom to play about and each brought their own individual voice ensuring a strong stand-out

performance each time they were on stage. The idiom “Water off a duck’s back” came to mind when

Sumbadze, Gisca and Dee in particular filled the opera house with their voices. Additionally, with

these three in particular, despite sitting in amongst 1900 seats, one felt they were receiving a

personal performance. To put it plain and simple, it was beautiful on a level which had not been fully

realised previously.

La Bohème was the first of three one night only shows at Manchester opera house, the other two

being Puccini’s Madama Butterfly and ending with Verdi’s La Traviata. With the tour going all around

the country and lasting until May, there is still plenty of time to see all three. It must be added that

despite the war in Ukraine entering its third year, the Ukrainian Opera and Ballet Theatre never fail

to disappoint and are a testament to the will of their country’s people.

Reviewer: Daryl Griffin 

Reviewed: 21/02/25

THEATRE REVIEW NO SEX PLEASE, WE’RE BRITISH HOPE STREET THEATRE, LIVERPOOL

 

No Sex Please, We're British is a British farce written by Alistair Foot and Anthony Marriott, which premiered in London's West End on 3rd June 1971 at the Strand Theatre. It was panned by critics, but ran until 5th September 1987, transferring to the Garrick Theatre and the Duchess Theatre during the run of 6,761 performances.

Hope Street Theatre is a small, intimate theatre and it was a full house waiting expectantly for the show to begin. Directed by Shaun Chambers,  The Northern Comedy Theatre cast, Farron Ronan (Frances), Kieran Maleedy (Peter), Franklyn Jacks (Runnicles), Kathryn Chambers (Eleanor),  Tony O'Keeffe (Mr Bromhead), Kieran McLaren (Constable Paul), Chelsea McCann (Susan), Elaina Halstead (Barbara) and Arnold Needham (Steven Arnold, Coronation Street TV star aka Ashley Peacock) delivered this 1970’s farce with attention to detail and enthusiasm revelling in the absurdity of the plot and the chaos which ensued.

The set remained constant throughout the production portraying the inside of a small flat above a bank with very 1970’s styling, a leatherette sofa and chair, a drinks trolley and a serving hatch in the living room through which we could see the small kitchen.  A number of doors led off to different rooms, a study, a bathroom, a spare bedroom and a beaded curtain draped a hallway which led to the master bedroom.  There was also an entrance to an upstairs bedroom made use of by a couple of the characters. An intercom with a buzzer let the residents know if there was anyone at the front door requiring to be let in.

Young, newly married couple, Peter and Frances Hunter live in the flat above the bank where Peter is the assistant bank manager. Frances innocently sends off to a mail order company for some Scandinavian glassware, thinking she can sell it and boost the household budget, as she really wants a house of their own with a garden instead of the flat above the bank.  But instead of the glassware, she receives Scandinavian pornography.

The couple enlist the help of the bank's eccentric chief cashier, Brian Runnicles in order to decide how to get rid of the abundance of pornographic photographs, books, films and eventually girls that threaten to endanger the reputation of the happy couple.  A  number of characters complicate matters by visiting the couple. Eleanor (Peter's snobby mother) turns up by Peter’s invitation and decides to outstay her welcome by staying longer than anticipated. Mr. Bromhead (Peter’s boss) who has a soft spot for Eleanor, arrives to take her out, Mr. Needham (a visiting bank inspector) turns up unexpectedly a day early and asks if he can stay the night and Vernon Paul (a police superintendent) arrives to investigate why the side door of the bank has been left open.

They all become inextricably entangled in the rumbustious events that follow as the couple try, but fail, to keep things under control.

There were a few sound problems at the start as it was very difficult to hear Farron Ronan (Frances) delivering her lines, but this improved as the play progressed and there were a few problems with the serving hatch.  The cast combined to deliver this farce with comic timing and a plethora of absurdity proving that British farce still remains popular with theatre-goers. The plot is very dated of course, views on pornography and access to it have changed enormously since the 1970’s, the internet not having been around at that time, but the audience seemed to enjoy the stroll down memory lane and the laughs it provided.

It's memorable to note that the part of Brian Runnicles was first played on the London stage by Michael Crawford, who adopted a persona similar to that of his later character, Frank Spencer, in the television sitcom Some Mothers Do 'Ave 'Em.

The show runs from 19^th – 22^nd  February 2025.

THEATRE REVIEW - THE PEACEFUL HOUR ROYAL COURT THEATRE, LIVERPOOL

 

Writer Gerry Linford has compiled a play centred around a popular radio programme, called The Peaceful Hour which was hosted by Liverpool DJ Pete Price; it was aired on Radio City from 10pm – 2am for four decades and became a ‘must’ for many late-night radio listeners. 

The show is directed by Emma Bird, with Set and Costume Design by Chris McCourt, Ian Scott Lightening Designer and Marie Jones Wardrobe Supervisor.

The play focuses on Julie (Ellie Clayton), her new boyfriend, anthropology student, Tim (Jack Whittle) and her dysfunctional family.

As the play opens, it’s 1987, Julie and Tim are in Julie’s tower block flat in Kirkby, after meeting in a club in Liverpool city centre. Julie, dressed Madonna style, is set on a night of passion and cavorts across the stage and on and off the furniture performing sexual acrobatics trying to seduce Tim, posing, as she thinks, seductively in order to attract his attention and get him into bed. But Tim wants none of it, preferring to get to know Julie first, whose name he didn’t know until they introduced each other over a glass of wine in the flat.

The play concentrates on Julie’s living conditions in a small, high-rise flat in Kirkby and her family, contrasted with posh speaking Tim’s middle class upbringing in the Cotswolds with ‘mummy and daddy’, attending boarding school and going on walking holidays with his family (which Julie’s family find hilarious).   

Julie’s erratic family members, Edna (Julie Glover), Tommy (Michael Hawkins), Ange (Angela Simms) and Carl (Lenny Wood) are introduced to the audience, each with their own individual back stories and idiosyncrasies.

The set portrays the inside of the tower block flat and the outside balcony with the view and skyline of Liverpool. There are many references to living conditions in Kirkby and the controversial funding of the artificial dry ski slope which was planned to be built there in the 1970’s, plans for which were abandoned due to it being considered unsafe.

The play attempts to portray an authentic depiction of everyday life in Kirkby in the late 1980’s, with actors using strong regional dialects, a substantial amount of vulgarity and profanity and a heavy abundance of cultural references. 

Stereotypes abound within the play, particularly regarding the portrayal of certain characters which may be offensive to some, whilst others may find it amusing.

The play attempts to portray  the harsh realities of working-class life in a comedic style, but on many levels it fails due to exaggeration, larger-than-life stereotypes and a gut feeling that the actors are trying too hard to make the script work. 

The script contains a measure of controversial content which may offend.

The show runs from 27th February to 6th March 2025.

Reviewer Anne Pritchard 20.02.2025

MUSICAL THEATRE REVIEW - THE PARENT AGENCY - THE MUSICAL STORYHOUSE CHESTER

                                           

This production marks the tenth anniversary of David Baddiel’s best-selling children’s book, The Parent Agency, upon which the show is based.  The book has sold over 355,000 copies worldwide and been translated into 30 languages. Originally released in 2014, The Parent Agency went on to win the Laugh Out Loud Award.

The musical is produced by John Berry and Anthony Lilley of Scenario Two and Suzie Henderson and Helen Redcliffe of Storyhouse.  It has lyrics by Baddiel and music and additional lyrics by Dan Gillespie Sells (lead singer and songwriter of band, The Feeling); it is directed by Tim Jackson. Baddiel is the narrator and incites humour and originality to the script.

It was a full house with a mixed audience of youngsters, teenagers, parents and older adults who gave the cast a warm welcome with a loud cheer as the show started.

Max Bispham, (Barry), won over hearts with his opening solo song bemoaning his dislike of the name his parents had bestowed upon him, and he went on to steal the show with his personality and acting ability shining through in each scene. He has a heavy script to maintain and he performed superbly; he acted, danced or sang in almost every scene not forgetting or stumbling on a single word; he is remarkable, and his diction and stage presence is excellent, as is his singing and timing.

The story centres around Barry who blames his parents (Susan and Geoff) for “being boring, never buying him cool stuff, being tired all the time and being too strict”. So, he makes a wish for better parents and finds himself whisked away to a place he’s never heard of called, Youngdon in the ‘United Kid-dom’; it’s an alternate universe where children get to pick out their perfect parents with the assistance of staff at The Parent Agency.

We see Barry trying to choose which parents he would rather have, other than his own.  The scenarios are very funny, and emotions go into overdrive as the story unfolds.

Osian Salter, Eli Sowden-Mehta and Louis Wilkins share the role of Barry with Max Bispham whilst the show tours, whilst his parents are played by Rebecca McKinnis (Mum, Susan) and Rakesh Boury (Dad, Geoff).

The rest of the talented company are Kazmin Borrer, Elliot Broadfoot, Natasha Cayabyab, , Sarah McFarlane, Joshian Angelo Omaña, Alan Vicary, Ralph Birthwell, Althea Burey, Elliot Copeland, Jessica Daugirda, Sophia Lewis and Robbie Scott who excel in every scene.

This family-friendly show had the audience laughing and toe-tapping to the catchy songs; the whole cast play various roles, and they manage to transition from one character to another seamlessly, they are all fantastically talented and watchable.

 The set was truly creative; it morphed smoothly from home to office, in one scene incorporating a moving bus, a football pitch and a stage full of trampolines, plus two girls careering effortlessly around on hoverboards as if it was the most normal thing, almost like they were walking.

 The stage set utilises vivid strip-lights, audience focused search-lights, dry ice, and an assortment of other devices which won’t be mentioned here as it may spoil the enjoyment for those planning on seeing the show. Suffice to say, they all add to the entertainment value of the show which is marvellously compiled to produce a very entertaining production. A live band situated at the back of the stage added to the enjoyable family-themed entertainment.

The Casting Director is Olivia Laydon, with children casting by Amy Beadel; the creative team also includes Choreographer Carrie-Anne Ingrouille, Costume Designer Sarah Mercadé, Lighting Designer Zoe Spurr, Assistant Director Francesca Hsieh, Music Supervisor Nick Finlow, Music Director Ellen Campbell, Sound Designer Paul Gatehouse, Associate Sound Designer Richard Jones, and wig, hair and make-up Designer Craig Forrest-Thomas.

The show is a delight from start to finish and had the audience enthralled from the opening number.

The Parent Agency is at The Storyhouse Chester until 2nd March 2025, ahead of a planned national tour and London run.

Reviewer Anne Pritchard 19.02.2025

 

 

 

 

 

MUSIC THEATRE REVIEW - Queen Extravaganza 02 Apollo Manchester

Queen Extravaganza is the official tribute band which is touring the UK and Ireland to mark the 50th anniversary of the tremendously popular Queen hit song, ‘Bohemian Rhapsody’. Queen guitarist Brian May and drummer Roger Taylor are the masterminds behind tribute band Queen Extravaganza, which doesn’t attempt to mimic Queen band members but performs Queen classic hit tunes from Queens extensive catalogue of hit singles and albums.

The stage set is adorned with an oversized golden Queen emblem portrayed against the backdrop which is draped with purple curtains and a wall of spotlights. The drumkit is set up on a platform with steps leading up to it and a keyboard is stage left. The 85 year old theatre which was originally a theatre has an intimate feel, and the auditorium has few seats unoccupied; the audience ages varied from teenagers to more mature Queen fans of 60+.

The audience exploded into cheers and whistles as the six-piece band members burst onto the stage whilst white strobe lights flashed in abundance. Vocalist, Alirio Netto, bedecked in a black glittery jacket and shades took the lead singing ‘We Will Rock You’ to the delight of the audience eager to lap up the band’s offerings. He followed this with ‘Tie Your Mother Down’, with the wall of lights on the backdrop changing to different colours throughout and finished the number aka Freddie Mercury with his powerful stance, arm raised, on the steps leading up to the drumkit.

The popular ‘Somebody to Love’ came next with encouragement by vocalist Gareth Taylor for audience participation who eagerly clapped and joined in; Taylor then asked them to “Make some noise” whilst singing ‘Under Pressure’, duetting with drummer/vocalist George ‘Chips’ Farrar. Farrar followed with a rendition of the B side of hit single, ‘Bohemian Rhapsody’, ‘I’m in Love With My Car’.

‘You’re my Best Friend’ from the enduring Queen album, ‘ A Night at the Opera’ was performed by Netto and Taylor together followed by ‘Killer Queen’ which had the audience on their feet dancing and clapping.

‘Days of Your Life’, penned by Queen drummer, Roger Taylor was performed whilst four videos on the backdrop depicted Queen members in their youth and then Taylor sang ‘Crazy Little Thing Called Love’ asking for more participation from the audience.  ‘I Want it All’ followed with guitarists, Nick Radcliffe and François-Olivier Doyon along with Taylor, performing a threesome solo guitar spot together front of stage.

After a short interval ‘It’s a Kinda Magic’ delighted the audience as the four videos on stage showed animated caricatures of Queen members whilst search spotlights scanned the audience with the sounds of explosions and gun shots. Radcliffe performed a guitar solo on ‘ Who Wants to Live Forever’, written by Brian May and ‘Don’t Stop Me Now’, a firm favourite.

‘Fat Bottomed Girls’, ‘I Want to Break Free’ and ‘Another One Bites the Dust’ had the audience enthralled, singing and dancing enthusiastically.  Musical Director/Keyboard Player, Darren Reeves joined vocalists Taylor and Netto front of stage to conduct a sing-off from the audience and ‘Radio GaGa’ helped keep the party going.

The show culminated with ‘ Bohemian Rhapsody’ with the videos on stage showing the original Queen video and an encore of ‘We Are The Champions’ completed the show.

The music is loud, very loud, sometimes the vocalists are not in tune and often chords are missed by the guitarists, but the overall experience is memorable due to the song content. Strong strobe spotlights flashed continuously onto the stage and at times onto the audience so anyone with vision sensitivity may find it unwelcome and uncomfortable or painful.

Queen Extravaganza is touring UK in 2025, tour dates may be found at https://www.queenonline.com/quex/upcoming_shows.

Reviewer: Anne Pritchard on 15.02.2025

 Photos - Stufish Entertainment Architects

 

 

 

STUDENT THEATRE SCHOOL REVIEW - RELIABLE FICTIONS Arden Theatre School, Manchester College, Manchester

 Written by The Arden Theatre's tutor Graham Lappin, 'Reliable Fictions' is a song cycle about life's relationships that could have been, had they only been written better!  As Lappin states, we all create our own reliable fictions on a daily basis, our stories, the ones that matter, but always our own versions of them. Love of course takes centre stage in the vast majority of these fictions of course. In fact, my main concern with this song cycle was that for it 65 minute duration (performed without a break) it became both quite predictable and very samey. Most of the songs were slow, considerate pieces, torch songs if you will, even when the tempo was upped slightly in a couple of the more jazzier numbers, the directing and the pace remained constant, as did the performers' thought processes. We longed for a little more than a simple walk across the stage to sit on the circular dais in the centre; we ached for the character to burst into a spontaneous run rather than the predestined amble that affected them all And we hoped to hear the band strike up a really cool up-tempo piece which went just a little faster than molto allegretto. However, all that being said, the music was harmonic, tuneful, and each song individual, working well with the performer or performers chosen to sing it. I loved the full company close harmonies, in fact, when they came, the harmonies in general were lush.

 Performed on a very simple set of a parquet floor and central circular dais, with the live band in a line behind but separated by both a small step and some clever lighting [the simple but effective lighting design pleased me throughout] they were always in tune and sounding great; just ever so slightly too loud at times, masking the quieter, more intimate moments of the soloists. Costuming was also kept to an absolute minimum, with the cast in generic blues and whites, although I would have liked, on a personal note, to have seen a little change to this for each character, perhaps by the simple addition of a feather boa, a hat, or a bag.

 The ensemble cast, comprised of third year graduating students of the Vocal Studies And Performance course at Arden Theatre School - namely - Sarah Bush, Cal Carlisle, Charlotte Collins, Mabel Cozens, Jacob Jones, Cherry Lam, Charlotte Lisgo, KImberley Scholes, Halle Thomson, and Emily Smith - they proved that acting people older than themselves with life's baggage was not beyond them, and although they did not yet have the maturity and experience to be able to give fully rounded performances, they made a brave and realistic attempt; whilst the cycle provided many opportunities for them to showcase their vocal talents whilst also giving them much scope for development.

 REVIEWER - ALASTAIR ZYGGU on 7.2.25