Tram Productions hosted this event at The Adelphi Hotel Ballroom. The Wack Pack, consisting of vocalists, Asa Murphy, Steve Charles and Joe Speare have been performing events such as these for a number of years on commemorative dates such as Valentine’s Day, Father’s Day, Christmas etc., this one was a Mother’s Day Show for 2025.

Freeman of the City of Liverpool, Ricky Tomlinson, best known for his role as Jim Royle in the hit TV show, The Royle Family, resplendent in black tie and dinner suit hosted the show starting with a mixture of anecdotes, some about Liverpudlian comic, Ken Dodd and a variety of jokes to warm-up the audience who were mainly female and appreciative, loyal fans of the three Wack Pack celebrities.

Tomlinson went on to introduce Asa Murphy, who started the show with the Frank Sinatra hit, ‘My Kind of Town (Chicago)’ and Louis Armstrong’s ‘Mack the Knife’ backed by the show’s live band on stage.

Murphy then went on to introduce another member of the Pack, Steve Charles, who duetted with Murphy singing The Ink Spots hit, ‘My Shadow and Me’ followed by ‘Come Fly With Me’.

Third member, Joe Speare joined the pair to sing ‘King of the Road’ and then performed Nat King Cole’s ‘Unforgettable’ much to the delight of the audience.

The trio reminisced about songs their mother’s either sang to them as children or remembered they enjoyed, such as ‘In My Mother’s Eyes’ and Frankie Vaughan’s ‘Give Me the Moonlight, Give Me the Girl’.

The three went on to sing a cappella, the Sam Cooke number ‘Cupid’ and then Sinatra’s, ‘I’ve Got You Under My Skin’ backed by the live on-stage band.

The trio aim to bring to mind all the swing and swagger of the original Rat Pack consisting of Frank Sinatra, Dean Martin and Sammy Davis Jnr., when they were the hottest ticket in town on the Las Vegas strip. This show includes classic songs such as ‘Fly Me To The Moon,’ ‘New York, New York,’ ‘Let’s Face the Music and Dance’, ‘That’s Amore,’ ‘Lady and the Tramp’ and ‘Volare.’

The trio were smartly dressed in black dinner suits and interacted with the audience throughout, and Murphy explained how the Wack Pack was the idea of Tomlinson’s whilst he was owner of Liverpool’s The Green Room some years ago.

Many other hits of the1950’s and 1960’s were performed and enjoyed by the audience culminating in a very enjoyable afternoon to celebrate mothers alive and remembered from the past and the show is peppered with humour and anecdotes mainly about the trio’s Liverpool heritage and upbringing in Liverpool.

The audience showed their appreciation throughout and there was a prize for the best dressed mother.

Reviewer - Anne Pritchard

On – 30.3.2025

Opera Review Owen Wingrave - Royal Northern College of Music

 

Benjamin Britten’s Owen Wingrave was commissioned by BBC Television and first broadcast in

1971; it was generally felt at the time, and since, that Britten was too much the theatre composer to

thoroughly exploit the televisual medium. That may be no bad thing, as the opera’s future clearly

lay in stage performance and no radical intervention need be made by a producer to prepare it for

the theatre.

It’s a mordant and unforgiving tale, derived from a short story by Henry James: Owen Wingrave (James

Connolly) is the scion of a distinguished military family, who feel that the greatest honour is to die in

battle - a fate that befell Owen’s father, as well as his aunt’s ‘lover’. Owen is a distinguished student at

 at military academy, the star pupil of his tutor Coyle (William Jowett), idolised by fellow pupil

Lechmere (Kristen Gregory) and with the prospect of marriage to Kate (Jemima Gray), daughter of Mrs.

Julian (Charlotte Baker) a poor relation of the family: a great future in the army beckons. Then all is

thrown into jeopardy by Owen himself, when he announces his pacifism and refusal to perform

military service.

Orpha Phelan’s production for the RNCM replaces the panning shots and cross-fades of the

television broadcast with illustrative tableaus of soldiers in battle to provide a visual counterpart to

the entr’actes: the score, percussion-heavy as befits the military theme, may not be one of Britten’s

most immediately appealing but the cast gives a confidently-sung account of each role and it’s

hardly their fault if the characters themselves are somewhat monochromatic - Owen representing

little more than the resolution of the conscientious objector, his family a grim block of

condemnation, best evinced in the Act One scene where they demand to know how Owen ‘dares’ to

challenge his own fate. Only his tutor’s wife (Rosa Sparks) stands out as a sympathetic voice

against the chorus of execration led by Owen’s Nosferatu-like grandfather, Sir Philip (Oscar

Bowen-Hill) and his stern aunt (Ellie Forrester).

The family home Paramore, effectively a separate character in the opera, is beautifully

realised in all its grim glory by designer Madeleine Boyd and lit effectively by Matt Haskins and

Phelan’s scenic sense is evidenced by effective grouping of the characters and the presence of the

house’s ‘spirits’ as a living, if intangible presence throughout. It may be a weakness of the source

material that the denouement - Owen is ‘dared’ by Kate, after she challenges him with his ‘cowardice’,

to spend a night in the house’s ’haunted room’ - doesn’t entirely convince but the finale made for a

very effective stage tableau. Rory MacDonald conducted the excellent RNCM orchestra with great

authority.

There aren’t many chances to see this late Britten opera, so the opportunity should be grasped while it’s

(briefly) there.

Royal Northern College of Music, 30.03.25 - 05.04.25.

https://www.rncm.ac.uk/performance/britten-owen-wingrave/

Reviewer: Paul Ashcroft

on 30.03.25.

DANCE REVIEW PROFESSIONAL EMERGENCE DANCE '25 The New Adelphi Theatre, Salford.

 

Before the show proper, we were treated to three short contemporary dance pieces by three local training academies. (two in the foyer and the third on the stage). Emergence Dance is all about cooperation, and as an ex-student of Salford university himself, Joss Arnott is keen to establish links with local young emerging dancers and companies.  We therefore witnessed ' Still Waters Run Deep' from Chamelion Youth Dance - 17 dancers between 15 - 21 years old, created a fluid and energetic ensemble, with lovely unison work and evocative piece of tight and secure dance-theatre; 'ZEN' by WN Dance Company - 4 teenage girls create a funky and punchy, visually interesting contemporary routine; and 'The Earth That Always Hums' by Salford University BA Dance students - creating some lovely pictures with this group of student dancers, with particular reference to the superb use of Laban's fast / slow dimension.

Without a programme, I am now struggling somewhat, so the only credit information I can now supply was on a piece of paper attached to the wall of the theatre. Emergence's first piece was 'Chimera' by Sofia Napp. A Spanish guitar plays whilst two dancers come together in tango-esque style. It is playful and inventive, their games augments as more dancers join them and this suddenly changes into a low, reverberating restlessness. The company are one writhing mass, which becomes jubilant in a full unison piece of choreography before we ultimately end up with a Spanish guitar music and a different solo dancer moving to the beat as the light dims to blackout. An interesting piece of dance-theatre, obviously telling a very strong narrative, with the dancers responding well to Napp's vision.

The second piece from Emergence was '153 8s' by SAY (Sarah Golding and Yukiko Masu). Dressed in pseudo tartan 'kilts' and trews this piece started not with a whimper but a bang and a leap - a fast and furious and highly energetic start, almost tribal in style. The lighting design here creating beautiful silhouettes whilst the ethereal dance that followed the opening contrasted nicely with the modern throbbing beats of the music chosen. 

The final piece, and the longest of the three was 'Euphoria' by Joss Arnott and Lisa Marie Robinson. (with costumes designed for this piece by Salford University students). There is an electric current going through this piece with use of robotics, physical theatre and a little humour, a gentle and effective pas-de-deux happens half-way through in between the more up-beat and full company sections, and the whole finishes with a solo pastiche of Chaplin's 'Smile'. 

In many ways, all three dances were remarkably similar. All combined a similar juxtaposition of various rhythms, speeds, etc and kept a good variety of solo, duet, ensemble and company routines within their works. All three utilised (to a greater or lesser extent), mime, physical theatre, ballet, gymnastics, breakdance, street dance, hip-hop, etc, whilst all three utilised a mix of ultra modern pulsating throbbing beats pitted against more traditional and obvious pieces of dance music. What impressed me the most however, was the lightness of the dancers' bodies. Even when the full company were onstage leaping about and stomping, I was unable to hear anyone's footfalls, the landing on the stage was completely silent. Indeed, their poise and precision was remarkable throughout. Their co-ordination, even the very smallest or insignificant of gesture was exact and deliberate, and their understanding of the stories they were telling with every part of their bodies thrilling. My only slight reservation was that I did not see any of this in their eyes, just concentration. The lighting design throughout creatively aided the narratives and thought processes without distracting, and sound levels were good.

Superbly danced by performers at the very peak of their physical prowess.  

Reviewer - Alastair Zyggu

on - 28.3.25

THEATRE REVIEW AMATEUR - STUDENTS - in-training THE VISIT The Longmore Theatre, Manchester City College

 

Second year acting students from Arden School of Theatre once again were tasked in tackling the most popular and perhaps only known work of Swiss playwright and dramatist, Friedrich Duerrenmatt. However this is a greatly adapted and updated version thanks to Ed Jones, as the contemporary references, swearing, and bringing the play to a northern English town are all his. The theatre has been completely transformed too; rather than the usual seating we are now in a thrust theatre space with the audience seated on two sides of the largest acting area I have seen in a long while. A whole town has been created on the theatre's floor, in a similar way one would expect a TV Soap Opera studio to be laid out. A street runs through the middle, and the hostel, police station, grocery store, mayor's house, park, railway station etc are all clearly marked and effectively dressed on either side. One can imagine a camera crew following the actors as they move around this set. IT works, and works well, but perhaps it was just a little too large, since when the action happened in a part of the acting area furthest from me, I felt very distanced and detached from it, which I am sure was not the director's intention since the action would have been close to other audience members seated on the opposite side. 

James Mair's direction otherwise, was flawless. His vision, taking much inspiration from the theatre practices and techniques of Berthold Brecht and Duerrenmatt himself, was consistent and imaginative throughout, and the students responded to his directing with alacrity. In fact, after consideration, I feel that this production has to be one of the most mature and professional I have seen the acting students of Arden School produce for a long time. It took me a while to get to grips with the play, I have to admit. The costuming from almost every period in history from 1800 onwards, the varying accents, and the self-mocking bravura style took me by surprise a little.

'The Visit' (originally in German, it was 'The Visit Of A Lady'), tells the story of the return to the town of Guellen (Swiss German dialect for diarrhetic excrement - a joke that is lost in the English translation) of the extremely rich Claire Zachanassian, who, as a youth was a resident of this town and had an affair with the grocer, Alfie. Alfie is now married and a very popular member of the town's social life. However, Claire, realising the town has fallen on hard times and in desperate need of an injection of money to revive it, decides that - perhaps out of jealousy, perhaps just because she is bored and this is a sport for her - she shall give the town £2 billion, if they murder Alfie. She cast spurious charges in court, and although the townsfolk are convinced she is lying, the question is, will they or won't they kill Alfie for such a large injection of cash to the town and their own personal pockets? What is the human condition and what does greed do to you? Using lots of nicely choreographed dance routines (Charlotte Bushell), with the cast miming the songs, Brecht's 'Verfremdungseffekt' was used deftly, and with some effective lighting (Chris Bowler), Mair cleverly placed the humour of the piece nicely sandwiched between the the serious and perhaps contentious, never allowing us to dwell on the morals, but simply enjoy the spectacle, allowing us in on the action, since we know, just as the actors know, that they are actors and performing for us. (again, all Brecht and 'Epic Theatre' - Duerenmatt himself was, like Brecht, interested in developing this form of theatre!)

The cast was large, 30 actors and actresses in total, and so it is impossible to mention all. However, full and due credit must be given to the protagonists Jake Watters (Alfie), and Madeleine Scragg (Claire); both worked excellently giving lovely performances. But, if I might be a little subjective, forgive me, my personal favourite characterisations this afternoon came from Ciaran Lockwood's Mayor, Dario Bastos Junior's Priest, and Briony Chambers-Asman's Sister Bernadette. However, this was a fully ensemble production with all 30 cast members pulling and pushing in time with each other bringing about, as I have already stated, a very proficient and professional production. Highly enjoyable.

Reviewer - Alastair Zyggu

on - 18.3.25

BURLESQUE REVIEW - THE SPARE RIB: A DECADE IN THE MAKING THE EVERYMAN DOWNSTAIRS

 

This one night show was a special celebration of 10 years of burlesque, drag and cabaret from The Spare Rib, a production team who have a focus on extravagant entertainment and inclusivity for all.

It was a packed house at the intimate venue with many friends and family of the show’s cast attending and the atmosphere was vibrant, warm and inviting.

Compere, Ember Orchid, international drag king, hosted this event superbly, introducing each act with a short synopsis of their talent and details of their work interspersed with jokes and personal stories and disclosures.

The cast line-up featured burlesque and drag artists Shardeazy Afrodesiak, Nat Funni, Alabama Whirley, Lacey Dream, Lady Blue Phoenix, Meena Helvetia, Minxie Coquette and Tilly Mint.

The performances were a combination of sophistication, comedy and self-expression which were often outrageous, sometimes thought-provoking and a colourful celebration of plus-sized bodies and downright silliness. 

The costumes were spectacular, ranging from the opulent style of glamourous, Meena Helvetia to the outrageous charm of Nat Funni dressed as a rabbit adorned with  bunny ears and a purple wig and Lacey Dream clad in pink silk lingerie with outrageous eye make-up and thigh high boots. Special mention must be made of Minxie Coquette, seven months pregnant, entertaining with her Miss Piggy performance. Minxie has produced Spare Rib  shows for the past 10 years and is retiring prior to the birth of her first child, handing over the reigns to co-producer, Tilly Mint.

Most of the acts lip-synced to various musical tracks except for Tilly Mint, (producer at Glorified Cabaret, Birkenhead) who entertained singing live with renditions of Liza Minnelli’s ‘Cabaret’ and the Doris Day 1950’s hit,  ‘Que Sera Sera’. All performers moved amongst the audience and paraded up and down the centre aisle during their performances which was greatly appreciated by the encouraging audience.

All acts performed sassy stripteases, showing breasts adorned with nipple tassels and bare bottoms  with apple tassels, all presented in a fun way along with energetic acrobatic movements, daring displays of agility whilst cosseted in tight corsets, fishnet stockings with suspenders, thigh-high sparkly boots, extra-large wigs and enormous feather boas.

This was a celebration which was greatly appreciated by the supportive audience who applauded loudly throughout and participated at every opportunity with loud cheering, shouts and whoops.

This is an 18+ Adults Only show which has themes of race, gender, body positivity and sexuality delivered through music, dance and lip syncing with gender-bending performances; it also has occasional political themes.

Reviewer - Anne Pritchard On – 28th March 2025

Amateur Musical Theatre - COMPANY Sale And Altrincham Musical Theatre Company, Altrincham Little Theatre

Ok, let me start this review by saying that when it comes to the musicals of Mr. Stephen Sondheim, I wear my heart well and truly on my sleeve. I am a huge fan! I don't often travel all the way to Altrincham (for me it is a 3 hour round trip!) but sometimes, it just has to be done! 'Company' is a seminal work not just in Sondheim's oeuvre but in the world of Musical Theatre in general, and only comes round every so often. It is not an easy show to either produce/direct or perform in, but for those who get the opportunity to do so, it is usually well worth the blood, sweat and tears shed to bring it to fruition.

In this particular production, by Sale And Altrincham Musical Theatre (Amateur) at Altrincham's Little Theatre, director Edward Prophet's vision was clear and defined, there was a definite 1970's vibe to the show - in keeping with the time when it was first written and produced, and despite the non-linear structure of the show, he managed to hold on to the storyline with ease - not an easy ask with any Sondheim show to be honest. The story centres around Robert (Bobby), a 35 year old single man in New York, whose friends are now all married and he flits with singleton ease from affair to affair, currently holding three girls on a line. However, deep down he is ready and wanting to get married, whilst conversely his "happily" married friends all can't wait to divorce and be single again! The show is therefore all about marriage, relationships, and that certain age when comfort and familiarity are all very well, but not at the expense of excitement...! But this is a Sondheim show, and so every single word counts! His genius lies in his ability to write lyrics that are both sparkling with caustic wit and succinct without wasting even one syllable, and as such are notoriously difficult to sing and interpret.

SAMT's cast was a true ensemble working excellently together, complementing and aiding each other nicely throughout, and, despite the few "hiccups" during this evening's show (things which can easily be rectified for future performances), this was a most sensible and sensitive portrayal of middle-aged ennui, desire, and people on the edge. A very minimal set was used, preferring to utilise different hues of lighting against the bare brick rear wall, and this worked excellently. The company's decision to use backing tracks for the music however did cause a couple of problems. When using pre-recorded tracks it means that the singer has no option but to sing it in the key, at the speed, and the way in which is was laid down in, which is not always the best for that particular performer who would have shone clearer had the song been transposed or slowed down just a tad. However, in general, the cast coped with excellently and although every nuance and every word was not always correctly placed or clear, we understood and forgave. 

The show is an ensemble cast of 14, and perhaps it would be unfair of me to single anyone out in particular since all are integral and are inextricably weaved into each other - suffice to say that all worked extremely hard to bring their characters and performances (all individual) to the standard they did. I shall simply state that my favourite two musical numbers this evening were 'The Little Things You Do Together' and 'Getting Married Today'.

Reviewer - Alastair Zyggu

on - 27.3.25

THEATRE REVIEW - Flat, Pink Roses The University Of Manchester Drama Society (UMDS)

The latest play from The University Of Manchester Drama Society (UMDS) was a paean to motherhood - a one act, 60-minute outpouring - by Isabel MacIntosh, called, 'Flat, Pink Roses'.

We are at the flat of Iris (Freya McCourt) and Alex (Louie Robinson), two university students and lovers who seem to be at a bit of an impasse in their relationship. Their university friends Paige (Harper Towns) and Ava (Bea Page) are on hand to offer support, but somehow Iris keeps sinking deeper and deeper into a morass of her own creating. It seems that three years ago she had a big argument with her mother, and now, on the day of her 21st birthday, she is missing her mother and the relationship they once had. She might also be going mad - (a loud buzzing sound interrupts her speaking and our listening too) - she starts to hear things differently from what they were said imagining hatred between these girls when there was none there. She is a lesbian and has never wanted children, but suddenly now, she has a yearning to experience motherhood and understand it in the way her mother must have understood it for her when she was a baby and young child. 

Directed by MacIntosh, the dialogue is precise and clear, with the four girls' characters easily defined and their relationships with each other nicely placed. The script is a mixture between conventional fourth-wall acting and soliloquy. These are spoken to an imaginary audience in the far distance and McCourt handles them all well. There is a strange section in the middle where all four stand facing the audience delivering a monologue, but have they changed their characters? They speak of husbands, children, childbirth from their own experiences, and this is not clear. 

The stage, and indeed the whole auditorium is dressed as if we were inside a students' flat with paraphernalia and memorabilia such as posters, photos, candles, decorations, plants etc...and there was a huge LGBTQ flag on one wall; this worked well, but working less well was a sofa pointing directly towards the audience. What was the sofa facing?

I felt the opening sequence of the recorded message was a little too long, and that the ending was not entirely satisfactory in terms of closure or conclusion, but the four actresses coped with this rather wordy and worthy script well, with McCourt especially getting under the script's skin.

Reviewer - Alastair Zyggu

on - 26.3.25

THEATRE REVIEW - &;JULIET – ALHAMBRA THEATRE, BRADFORD

 

What do you get when you cross a Shakespearean tragedy full of death and deceit with confetti canons and Britney Spears?

Anyone even slightly familiar with theatre as a whole will be well aware that Shakespeare has always been a little bit extra. I’d never have thought that the classic star-crossed story of Romeo & Juliet could be any more dramatic - but I’ll happily admit when I’ve been proven wrong. &;Juliet takes this tragic tale of teenage loves and turns it around completely, creating an all singing, all dancing (quite literally) tale of empowerment, self-belief and life after love that just might be as timeless as the classic itself. As a jukebox musical it’s guaranteed to have at least a few hits you won’t be able to stop yourself from singing along to, even if they are a little different – you wouldn’t expect ‘Hit Me Baby One More Time’ to work as a ballad, but it just does. &; Juliet really does have it all; it’s fun, it’s silly and it’s full of an infectious energy that you just can’t help fall in love with.

Directed by Luke Sheppherd and written by Emmy award winner David West Read, & Juliet follows on from the original we all know so well with just one simple question – what if Juliet didn’t kill herself? What if she instead realised her worth, owned her confidence and stopped living to please others; what if she fell in love with herself? (As opposed to a boy she’d known for 4 days…it’s a bit of a no brainer, really). The show follows Juliet as she casts off the oppressive shackles of her family’s expectations and leaves for Paris, accompanied by her best friends, her nurse, and her thirst for something new. But when she finds herself back in a familiar situation – with a familiar lover – can she make the right choice and put herself first?

The first thing you can’t help but notice as you enter the theatre is the sheer scale of the staging; I audibly gasped. Set designer Soutra Gilmour and lighting designer Howard Hudson have gone all out for this production – the attention to detail is absolutely exquisite. From huge twinkling quills to the classic bard’s balcony laden with illuminated lettering, the whole stage is aglow and filled with bursts of colour; no matter where you look, you still won’t feel like you’ve seen everything. The show is filled with spectacle, with hanging chandeliers, moons, beautiful projections, an entire nightclub…they’ve spared no expense and if imagination was the only limit, then they’ve got it in bucket loads. The costumes are stunning too, with designer Paloma Young seamlessly blending ruffles and renaissance with glitz and glamour to create costumes that somehow manage to look modern, but still Shakespearean.

The cast were absolutely phenomenal – it’s not often you come across a show where there are no weak links to speak of but this is one of them. The level of talent on stage in this production is next level. Leading the story as Juliet is the incredible Gerardine Sacdalan, whose breathtaking vocals truly are once in a generation. She is note perfect throughout, never missing a beat even when keeping up with Jennifer Weber’s high energy, full cast choreography. Sacdalan is a joy to watch, perfectly portraying teen angst with a side of sass. She’s perfectly cast alongside the hilarious Lara Denning as Anne and Sandra Marvin as Angelique; both of whom added great comic relief but absolutely wowed with their vocals. Liam Morris was our Romeo for the evening, swaggering into the role with well-deserved confidence. Jay McGuiness made a loveable rogue out of Shakespeare, even if he was utterly groanworthy at times – but it’s all part of the fun! And perhaps the most surprising of all was Ranj Singh, who despite being known for his appearances as a television doctor fit right into this professional cast with ease, showcasing his comedic side and capturing the audiences’ hearts. It was so clear to see here that the cast were really enjoying what they were doing, and there was a beautiful chemistry between everyone on stage which worked so well with this being an ensemble production. Particularly of note was the blossoming relationship between May (Jordan Broatch) and Francois (Kyle Cox) which was so palpable that it genuinely made my inner teenager reach out from the past and physically cringe, so perfectly did they capture the stunning awkwardness of first love.

This production is one of those incredibly rare productions where I spent so long trying to come up with a negative to discuss but came up empty handed. It’s so full of feel-good charm that you can’t help but spend the whole evening grinning ear to ear, and I’d recommend it to absolutely anyone – so grab your tickets while you can! You can catch the show at the Bradford Alhambra until 29^th March or find it across the UK for the second half of the tour up until the end of June.

Reviewer: Hazel Goodlad

on - 24th March 2025

 

THEATRE REVIEW AMATEUR - Romiley Operatic Society EVITA The Plaza Theatre, STOCKPORT

The Plaza Theatre in Stockport is both beautiful (it retains the original Art Deco design throughout), and, from a theatre company's perspective, awkward. The stage is long but very narrow, and the back wall of the stage is the solid rock from which the theatre was hewn. Theatre companies coming to the Plaza therefore need to bear this in mind in terms of staging. Romiley Operatic Society have performed here many times before, and yet, this evening's production of Lloyd-Webber/Tim Rice's 'Evita' utilised a set - reminiscent of the original set design for the London opening - which was actually too big for this stage and caused several problems. We were shown a design on two levels. A central acting area behind which a raised platform, utilised almost exclusively for the coffin sequences. Around this was a raised walkway jutting out on both sides in the shape of a squared-off letter C. All this was in black, with the only concession being the grey metal of the safety railings. With a large cast, and some excellent and ambitious choreography, the room the performers had to move around was simply not enough. When it looks squashed and cramped, then it probably is. Directed by Dawn Leigh, little or no consideration was given for the time it takes the actor/actress to ascend or descend the steps from the balcony to the main stage, and oftentimes dialogue and even singing was lost in this changeover. Furthermore, it was never truly obvious what the motivation was for the character to suddenly move from one place to the next, other than the "look" of the show. Finally, a large screen (or was it two separate screens) were used on the rear wall centrally between the two gangways and behind the catafalque. Unfortunately this did not work as well as perhaps Leigh had hoped. Some of the images projected on here were definitely on the dark and dim side, and therefore did not give off the opulence and grandeur that it should have done; some of the images were almost hidden behind the black coffin area and so only the very tops of the pictures were visible; and finally, some of the moving images, especially those of falling petals or flickering candles upstaged and pulled focus from the actual scenes going on in front of them.

Leigh's direction (along with costume designs by Janet Newcombe and Annabel Reyes) was very monochrome/sepia  [black and white with a dash of various shades of brown!} A highly stylised and clinical production, full of imagery and tableaux, which if it hadn't have been for Gary Jones's energetic and authentic choreography, would also have been a very static one. His staging of 'The Art Of The Possible' was one of the clearest and cleanest I have seen. Paul Lawton's excellent musical direction kept the show in check, and although some of the songs seemed to have been deliberately slowed down just a tad, the sound was superb, and the sound levels all evening were fixed just right. Lighting design by Ian Legate was creative, but, perhaps with this being opening night, several failed to hit the spot. (forgive the obvious pun!). Cast were often in shadow when they should have been lit, and the cues were late in coming, but this can easily be resolved for further performances. 

And now to the acting, which was, by and large, superb. Heading this talented cast was Louise Colohan as Eva Peron. In the early scenes when she was still Eva Duarte, another actress portrayed her, Evie Moran. As good as Moran was, I still do not understand why two actresses were necessary. However, once we were accustomed to Colohan, we were shown a young woman full of determination, power-hungry, and ready to do anything - including prostitution - to further her own political aims. Her private moments of insecurity on the balcony scene were a joy! We then saw a woman in torment, and pain, and her denouement was excellently measured. A powerful singer and dominating actress who tried extremely hard to be as close to the real Eva Peron in movement and thought as possible. Juan Peron was an upright and angular, unswerving Paul Allison, who spoke-sang much of his text, which surprisingly worked and worked very well indeed, and I truly enjoyed his rigidity. Gary Jones was a very personable Che; he has a great stage presence and his characterisation of this "mere observer of this tasteless phenomenon" who darts in and out of the actual action always commenting on it pushing the narrative forward, was again superbly placed. I am uncertain as to why he was not Che Guevara, and did not wear the camouflage jacket etc that we associate with this character, but instead he was just another descamisado who just happened to be called Che - but despite my slight reservation in this regard, Jones made this work, and gave a truly outstanding performance nevertheless. Magaldi was played by John Harrison, and although obviously an actor very much at ease on stage and performing, he was far too well-dressed, upper-class, and perhaps also just too good a singer! Amy McWiggan was Peron's mistress, and her brief appearance and solo were nicely and skilfully performed.

The chorus/ensemble singing was solid and clear throughout and the harmonies came through nicely. The young children were used a few times, but their moment in the spotlight came in the second act for 'Santa Evita', when two of the young children were given a solo (a nice touch!) and this was lovely. 

Overall, a very proficient and enjoyable production, but without menace or any real threat of violence from either the army or the mob which I felt it needed, but truthfully and sincerely portrayed by a truly talented cast.

Reviewer - Alastair Zyggu

on - 25.3.25

CLASSICAL MUSIC REVIEW Amateur MUMS Symphony Orchestra and Chorus - Puccini's Messa Di Gloria Whitworth Hall - Manchester

 

The Whitworth Hall is not an ideal venue for a classical music concert, the vast majority of seating being on the ground level and so anyone seated in the rear rows will have little or no view at all, and there is only a very small amount of seating available at a slightly higher level a little further back still. The acoustics are not brilliant, and the lighting can be described as dim at best. However, this is the Manchester University orchestra and chorus and so I presume that they feel they ought to perform on home ground! I have been supporting these annual concerts for several years now, and this year's was a little substandard "front of house" so to speak. The first and most problematic issue was the fact that there were no refreshments available before the concert or during the interval. This was a shame, as this was the 'hot topic' for discussion as audience members mingled, disgruntled, and in need of something to nibble or drink. And then, during the concert, we had the noise of a fan disturbing the quieter sections of the opening piece of music, and lights which either didn't work or worked when they should not have done, bathing the audience in light but leaving performers in the dark, or with insufficient cover.

But before you think I am being unduly negative, let me swiftly move on to the actual music itself, since that was truly what we were all there for and it was (mostly) superb. Four pieces were performed in total, all with an Italian theme, and we started with Richard Wagner's 'Siegfried Idyll'. Wagner is known these days for his (rather long-winded) operas, and so to hear something other than this is a very rare bird indeed. His 'Siegfried Idyll' is a love poem to his wife, and as a "thank you" for the safe delivery of their first born, a son, whom they called Siegfried. According to records, Cosima (Wagner's wife) woke up on her 33rd birthday (which also happened to be Christmas Day) to hear this being played outside her bedroom by a 15-piece orchestra.  This was followed by Pergolesi's Magnificat. This is a piece of choral Baroque music which was bright, light, ebullient, and rousing, and used both the MUMS Symphony Orchestra and the University of Manchester Chorus. I am not sure I understood the rationale of performing the first two pieces this way round, as Wagner's Idyll was slow, deliberate, quiet, and did not really wake us up and put us in concert mood, whereas the Magnificat certainly did. And although there is no evidence that Pergolesi actually composed this work - he died of tuberculosis at the age of 26, and others were very keen to jump on his bandwagon - it certainly is in his style and the work has to be attributed to someone! The final piece before the interval was Respighi's 'The Fountains Of Rome', which is work for a much larger orchestra than the other two pieces required, and was written in 1917 and became the first of his so-called 'Roman Trilogy' (the other two being 'The Pines Of Rome' and 'Roman Holidays'). These three works are also possibly Respighi's best known and certainly most performed works these days. The piece is in four sections as it moves swiftly from 'The Fountains of the Valle Giulia at Dawn' through to a more strident 'Triton Fountain Mid Morning', before a triumphant 'Trevi Fountain at Midday', which leads onto a much quieter and more reflective section as the work finishes with The Fountains Of The Villa Medici at Sunset.

The second half of the concert was taken over completely by the larger and longer work, and this evening's showpiece - Puccini's Messa Di Gloria. Once again, a composer known more or less solely for his operatic compositions, this was a mass written by Puccini when he was just 14 years' old! And already one can hear the maturity, expression, and style with which his operas are filled. In 5 movements, the mass was intended as a school exercise, but the music, as played by the orchestra and sung by the University Chorus, is lush, dense, melodic, and pure genius.

The programme was a little long (by approx 15 minutes), but we didn't really mind, since the playing and singing throughout the whole concert was lovely - although my ears did detect an out-of-tune violin on more than one occasion, unfortunately. Lead conductor Tom Newell conducted most of the Puccini, but handed the baton over to nine of the universities student conductors at other points for them to gain the necessary experience. I thought this might have been quite messy, but in fact, it was quite smoothly and effectively done, and it was most interesting to see how the orchestra (and chorus) responded quite differently to their differing styles and approaches. The evening also showcased 5 student singers too, who came up from the ranks of the choir to perform their short solos in both the Pergolesi and the Puccini. The leading tenor solo for the Messa Di Gloria however was sung this evening by Bacup-born Sean Ruane.

It is always a joy for me to watch, encourage, and support those people either still in-training or on the very first rung of their professional ladder, and this evening was no exception. All things considered this was a hugely enjoyable concert, and was performed by students and amateurs whose understanding of the music and their technical expertise were being pushed to the max under Tom Newell's directing, bringing out the best of some lesser known but beautiful pieces of music.

REVIEWER - Alastair Zyggu

on - 22.3.25

COMEDY REVIEW BRENNAN REECE: ME ME ME THE ROYAL EXCHANGE MANCHESTER

 

Playing to a sold out, home crowd of family, friends and fans of this extremely popular, highly likeable and extremely watchable home-grown Manc comedian on a Friday night at the beautiful Royal Exchange was Brennan Reece. What a brilliant venue and I was interested how he’d play to the audience in the round but he absolutely revelled  in it and worked every curve as he assessed his audience and fed off their laughter.

With three supporting acts to open and warm up the crowd was the 'intense eyed' Larry Dean whose manic expressions, quick patter and physical comedy, Norman Wisdomesque face-pulling and self analysis of his Autism making him conclude that all his previous relationships were gaslighters, had me howling. Next, was Tito Giacotto, an ex professional Sicilian footballer now based in Manchester. The final warm up was the excellent,  Hayley Ellis, whose self-deprecating poke at her tired face and eyes had me in stitches. She is definitely a lady I will be following and trying to get to see again. 

Onto the main event; Brennan Reece. A master showman with funny bones. He is mischievously enigmatic and bounces around that stage with devilry in his blood. He throws his jabs and then coquettishly backs away behind a thin, camp veil. I had the pleasure of watching this show in its infancy at Edinburgh Fringe last summer and the narrative and essence is the same but it’s had lots of layers and detail sewn into it now.

Brennan explores and digs to find an answer in his joke back-catalogue as to which one was THE offensive quip which lost him a job as a CBBC presenter (true story).   Reece is a well-loved compere at Comedy shows around the UK and a master of his craft with successful and  sold-out shows galore and many TV appearances including: Live at the Apollo, but the elusive TV job must have bitten hard when it was swiped away for reasons of a comment being offensive, then not being told which comment. And from this starting point, the show ensues, exploring the nature of a joke. One man’s trigger is another’s belly laugh. Nothing is off limits from dead grandma with Rue Paul make-up to an invitation to join a gay threesome,  teenage attempts at self-fellatio (but busted by mum and dad). online dating and realising he’s so old because his matches are called Denise and Cassandra, telling us how his mum had been in Jimmy Saville’s caravan but nothing happened and years later when his historic sex offences came to light she was gutted (hinting at her missing out on compensation), all in the name of humour.  His audience who were all a ready baked fan base of love who chortled and howled in appreciation of his brand of comedy.  He declared that jokes are social glue. I concur. We all have our levels and I love his brand and flavour of fun and laughter but one person’s honey is another’s Marmite. The Manchester crowd adored it. 

One of my favourite parts was Brennan’s constant nods to the venue and its more usual theatrical performances held there.  Establishing a Hamlet pose to begin each segue was highly amusing and even the heckler in the gallery didn’t put him off; using  his Shakespearean self-discipline and confidence, he fed off it and didn’t  even need the bouncers to throw him out, unlike a nearby larger scale comedy gig.  Brennan Reece is a superb stand-up comedian. He is a  joyously effervescent funny guy who feels like a fountain of endless one liners and come-backs. 

This tour is 15 shows and there are only four more to go, ending in June. Even if he isn’t good enough for Auntie Beeb’s watershed he was definitely good enough for us .

Reviewer Kathryn Gorton 

on 21st March 2025

PLAY REVIEW INSIDE A MIND BREAD AND ROSES INDEPENDENT THEATRE

 

Here I am at the Bread and Roses an independent theatre housed above a trendy pub in Clapham, South London. Inside a Mind is a show ‘based on the eyes of someone who is suffering from trauma’. It is a spoken word play. I was lucky enough to have a quick chat with Director, Crystal Turner-Brightman who wrote this remarkable performance based on their own personal experience of events and living with PTSD. Crystal was also the producer and director of ‘Inside the Mind’. Victoria Strupish was the assistant director and score composer.

This is a new spoken word play that has evolved in Crystal’s mind in varying guises since 2017. This performance brings to life the traumatic events of one students experiences and has a  young cast that completely understand the nuances of the four main characters.

Sophie Ebbs as the main character, Sage, was totally believable as a character with anxiety and trauma, negotiating the ups and downs of friendships and relationships at University. She plays vulnerability with belief that her whole being is hopeless. Learning to read people and their underlying personalities is hard for all students starting out in their new lives. But doubly difficult when you are coming to terms with your sexuality. It’s hard to describe too much here as I’ll give the plot away.

It’s always exciting to see a small cast in a fledgling production.  This young cast finding their feet delivering a passionate performance about sensitive topics involving physical threat and coercion and create a very moving experience. To have a performer called ‘Fear’ played by Liv K Czibor is the voice inside most of our heads. The voice that stops us moving on, experiencing new things, taking risks. Liv was eerie and fluid on stage and playing a voice rather than an actual character while being present on stage is naturally difficult, but it works. ‘Fear’ clearly saying those familiar words not just to Sage and the audience but words we all know from our own quiet times inside our heads.

Tia Hudson plays Tamsin the antagonist in this story. Tia comes to the stage as a character that we’re not sure if we should like. But we soon find out what she’s really all about. Tamsin (Tia) is real, and fierce and dominant and takes over the performance and we begin to understand where Sage’s ‘Fear’ finds its name.

Michael Sookan was the calm counsellor who helps Sage find out that everything will be alright and that we can live with our anxieties and accept them. By doing this we can free ourselves from Fear and move forward with our lives. Michael delivers a trustworthy performance as the counsellor from the university who is there to help Sage find herself and encourage her to start to live and breathe once more.

This performance covers themes of trauma, toxic relationships, and fire safety and comes with a warning of unsuitable content for under 14s.

The characters were recognisable in the many people we encounter every day. Who knows what each one of us lives with and deals with? Who knows our own innermost fears? It’s only 40 minutes long but I really enjoyed it; nothing that I expected at all, so a thought provoking evening in Clapham was had by all.

The production is on a short run 21st & 22nd (7.00pm) - 23^rd March (2.30pm matinee)  

Reviewed by Penny Curran

on 21st March

THEATRE REVIEW - PLAY BUCKLED 53two, Manchester

'Buckled' is a one act, 60-minute rollercoaster of a series of linear scenelets in the lives of Callum, a thirty-something history teacher, his recovering alcoholic mother, and his childhood best friend, good-time girl, Ruby. 

Written and directed by Helen Jeffery, we feel that this piece of theatre is something rather personal to her, it is written and performed with a tightness and precision that allows only one interpretation. The writing however is not particularly conventional, as Jeffery intermingles with three different writing / performance styles. 

We have poetic choral speaking direct to the audience; we are given monologues which again break down the fourth wall and the character speaks to their (unseen) audience; and then there is the conventional concept of performing behind a fourth wall. It shouldn't work - but somehow it does! 

With each short scene we learn something new about one or more of the three of them, and the action hinges around Callum's imminent wedding and whether or not he would be able to invite both his mum and Ruby to the occasion since they both have drinking problems and whilst one is doing her best to sort her life out by joining the AA etc, the other lives in denial, seeing booze as a way of having a good time. 

A bare stage with just a couple of chairs and a small table was used throughout, and the play begins with punchy upbeat music telling us "what do you want to do - get loaded and have a good time". As we go along a screen on the back wall announces each small scene by giving it a title - a hint / clue to the scene's content and intent, and we move from drinking for pleasure, and the selfishness of drinking, through to the consequences of alcoholism on not only themselves but those around them. 

The dialogue mixes some highly comedic moments with moments of real tenderness, and the further into the play you go the more emotional charged it becomes. The end of the play offers hope, but does not give closure. 

Tracy Spencer plays Maggie, Callum's mum, whilst Callum is Al Bollands, and his best friend Ruby is portrayed by Morgan Cerys-Holland. The three were absolutely excellent, we truly believed their characters and stories bringing a sensitivity and genuineness to the script through deft and nuanced performances. 

 Reviewer - Alastair Zyggu 

on - 21.3.25

AMATEUR THEATRE REVIEW SHREK MIDDLETON ARENA

Local amateur theatre company, JTC (The Jewish Theatre Company) are 50 years' old, and they are celebrating. The JTC have grown over the years, but presently perform their annual Musical at Middleton's Arena, but their home is, I believe, in Bury. On entering the auditorium, the stage curtains were open and colourful specials lit the area in hues of yellow and green. 

A large live band assembled in the stalls close up to the apron front, and the anticipation and thrill in the air was palpable. With a large cast, including a troupe of children chorus dancers (a nice touch!) this was a very upbeat and fun show for all the family, and it was clear that all on stage were enjoying every minute of their stage time too. The musical follows the storyline of the animated film - or at least I am told that it does, I have yet to see the cartoon version, but have seen the musical many times over the last few years; it has become an amateur 'staple'.  

Heading the colourful and animated cast this evening was Dean Simons, donning the green paint and creating a very believable and sympathetic Shrek. I enjoyed his character arc, from independent no-nonsense ogre through his alliance-cum-friendship-cum-dependence on Donkey, to his affection for Fiona, and his subtle and nuanced changes mellowing as he went along was excellently placed. Simons is also a very strong actor and his singing voice was powerful, clear and mellow. 

Acting alongside of him, as I have already briefly mentioned were Donkey and Princess Fiona, played respectively by Michael Bowers and Aimee Horwich. Bowers took the bull by the horns and pushed his character as far as he could in terms of comedy and eliciting audience sympathy, however there is a slight tendency to push a little too hard at times which he needs to be aware, since he too is obviously talented and sensitive. In fact, in my opinion, the role of Donkey is actually the most difficult to portray satisfactorily by British actors, since the role was written for a black American comedian and this is only too obvious in the character's dialogue. Horwich too has a very powerful and quasi-operatic singing voice and he characterisation of Fiona was nicely measured. The threesome worked very well together and found some nice chemistry in their quieter moments. 

The principals completed with Andrew Farley's interpretation of the diminutive megalomaniac-in-the-making Lord Farquaad. His characterisation was spot on, but sadly either the director or choreographer or both had him revealing his real legs, even standing up at times throughout, which sadly completely ruined the illusion and negated any effort taken for him walking on his knees Such a shame. 

We also had a slight technical hitch this evening when it became evident that his mic was either not switched on or was not working, and it took the foresight of one of the knights to walk off stage and bring on a hand-held mic for him for the song. Full marks and excellently done to the unknown guard. 

The flamboyant and multifarious characters of the chorus all both looked and sounded lovely, and their full chorus songs were perhaps the showstoppers of the evening. Special mention to the understudy for Young Fiona, I enjoyed her part in the trio. 'I Know It's Today' (I missed her name, was is Sienna Ponds?), and also to Libby Michelson's Pinocchio - one of the best characterisations of this role I have thus far seen. 

I did have one rather large misgiving with this particular production however, and that was with the set design. Where everything else was lush, full, and colourful, the set was minimalist in the extreme, and in parts completely non-existent. There was a white cloth at the rear of the stage upon which projections of a semblance of the scene's setting was projected. However, the problem inherent here was that once the stage lights were on, the image was near enough to being lost altogether, and we simply could not see it! 

Precious few items of set were brought on... an archway and bed for Fiona's prison, and half a bridge to take us to the dragon - basta! This simply was not enough, especially when on at least two occasions the stage was split and we were tasked in imagining that those on one side of the stage should not see those on the other, it stretched our suspension of the disbelief too far, especially if you did not know the storyline and where they were supposed to be! 

With a fire-breathing female dragon, plenty of smoke and flashing lights, this was a very buoyant, bright, and fanciful production performed with zest and vigour by an obviously highly talented and dedicated cast. 

 Reviewer - Alastair Zyggu 

on - 20.3.25

AMATEUR THEATRE REVIEW - GREASE PADOS YOUTH THEATRE Bury Met Theatre

It has been a long time since I last saw a production of the ever-popular 'Grease', but the last production I did see, was the UK professional tour, and where these two shows differ was quite astounding. PADOS Youth's production succeeding in doing something fundamental with this show which the professional tour completely failed to do, and that is to understand the reason why this show exists and the driving force behind the characters. This is a show about teenage angst and their sexual awakenings and proclivities. Yes, this show is about horny teenagers! Hearty congratulations to PADOS Youth for taking the bull by the horns and recognising this and performing it with sincerity and gusto! You also put the professional tour to shame completely in this regard.

The show's story - just in case you have been living under a rock in a cave in the Antarctic - centres around Danny and Sandy. They have spent their summer holidays together on the beach, falling in love, not realising that they would be attending the same school come September. Sandy is new to the area, and also rather prim and a goody-two-shoes, whilst in school, Danny just happens to be the leader of the local 'Greaser' gang, The T Birds. Sandy, despite her reticence and upbringing, is unwittingly enrolled into the female version of the gang, The Pink Ladies, and comedy ensues as Rizzo, the Pink Ladies' leader revels in the knowledge that Danny and Sandy are in love but so utterly mismatched - that is, until the end of the show, when Sandy decides the only way to get her man is to be like him - "tell me about it, stud!".

PADOS Youth currently boasts some very talented performers. The singing throughout was truly excellent, and I enjoyed listening to all the harmonies from chorus and ensemble. I enjoyed all the songs, which were all interpreted with skill, whilst the band (I am assuming there was a live band, although no mention of it is made in the programme) sounded superb under Sarah Osmond's direction, and was played at the correct volume throughout. In all honesty the principal cast were excellently chosen and all gave highly credible and creditable performances. Bernard Cooper's Danny was centred and intelligently portrayed, very easy to watch, and his dancing very proficient. Sandy was played with demure poise by Sylvie Knightley, and her rendition of 'Hopelessly Devoted' sent shivers down my spine. Abbey Wheeler was a very confident, no-nonsense Rizzo, and she was able to make us sympathise for her when she thought she was 'knocked up' - not an easy ask for anyone playing that role. Sensitively characterised. Frenchy (Juliette Wilson), Marty (Isla Davidson), Jan (Emily Sapseid), and Doody (Emily Ring), Kenickie (Luke Nichols), Sonny (Alex Hadlow), and Roger (Cavan Jefferson), made up the other characterful members of The Pink Ladies and The T Birds respectively, all having their individualities showcased nicely with their moments in the spotlight as well as giving superb support as cameos throughout. The sub-plot between Kenickie and Rizzo was well placed. It was the utterly unique portrayal of both Eugene and Teen Angel which gave this show its individuality however. Young Elijah Walton is obviously a talented actor, unafraid of pushing himself and his acting ability, and in so doing created two cameo roles which he made completely his own, especially Eugene. I have never seen this character portrayed this way before, but it worked for him and his diminutive size made it all the more comedic. Other cameos were played by Darcie Moore as a very upbeat and chatty Patty, Luke Ratcliffe as Vince Fontaine, Joshua Ingham as Johnny Casino, Rebecca Lyons as Miss Lynch, and Isabella Fallon as the dancing date from a  rival school and rival gang, Cha-Cha.  

The chorus work, as I have already said, sounded superb. Some of the choreography was a little ragged, but I believe this was because of a lack of space on stage, and perhaps also first night nerves. Suzi Cleary's choreography worked superbly in the Alma Mater Parody and the High School Hop sequences, although I did see many moves plagiarised from the film version throughout! But hey, when it's a good move and it works....!

The stage was a school gym, and each scene used a part of this gym setting as well as other larger set items brought in by the stagehands. Changes were generally swift and did not interfere with the smooth running of the show. I liked the idea of basing the whole set design on a school gym, but it would have been very interesting to se how this would have worked had it been carried out to its logical conclusion and utilised school gym equipment exclusively. Directed by Helen Wilkinson, it was a very high energy and upbeat show, and it must have been difficult to keep these youths' energies and enthusiams in check! Characterisations were clear and defined nicely, chemistry between them was palpable, and having different ages and characters in the chorus worked well too. A couple of things however which I might point out. A spot light was needed on the radio on stage when Johnny Casino gave his speeches. The record that was given as a prize was quite clearly Jim Reeves! Another consideration was the small screen positioned centrally on the rear cyc. Not used at all except for playing the movie at the Drive-In. Perhaps it could have been used to identify each scene? I also found it very focus-pulling having the movie still playing during Danny's 'Sandy' song sadly. Costuming was mostly very good throughout, although I would have preferred a more obvious "Pink Ladies" jacket with them wearing them more of the time, and although wigs and hairstyles were mostly superb, the T-Birds should al have had grease in their hair and been true Greasers - hence the name of the musical in the first place! However, these are minor considerations in a show which, despite it's age, still manages to remain one of the all-time favourite teenie shows, and PADOS did the show proud! 

Reviewer - Alastair Zyggu

on - 19.3.25

GASTRONOMY REVIEW -TOMPSON'S Fish And Chip cafe / Restaurant BURY

 

Arriving in Bury just as all the shops and cafes were closing for the day, and needing something to eat before going to the theatre in the evening, I wandered aimlessly around the centre of a town I have scant knowledge in the hope of finding somewhere to rest my weary legs awhile and sustain the inner man. I don't and won't entertain fast food joints (McDonald's/KFC etc) and none of the pubs looked particularly welcoming, and as I was beginning to become disheartened, I came upon the inobtrusive and unprepossessing frontage of Tompson's Fish and Chip restaurant. I went in and was extremely glad I did! It is a traditional fish and chip shop with counter out front, but they also have a small dining area behind, which is light, airy, and exceptionally clean, and their menu for table service boasts prawns, salmon, scampi, hake, haddock, as well as the "old faithfuls" of plaice and cod. There are pies, sausages, puddings, burgers and children's and gluten free options too. There is a small dessert menu and they even offer wine with your meal!

I opted for something I believe I have never eaten before, a rag pudding. And for those who are unfamiliar with this, it is a dish that was invented in Oldham which consists of minced meat and onions in a suet pastry, and originally cooked in a rag - hence the name! It was absolutely delicious! It was served with chips, and I have to say that in all honesty, these were the finest chip-shop chips I think I have ever eaten.

With pleasant and prompt service, reasonable prices, and hearty traditional fayre, this place comes highly recommended. 

REVIEWER - Alastair Zyggu

THEATRE REVIEW - THAT CAN'T HAVE HAPPENED King's Arms, Salford

 

'That Can't Have Happened' will be director David Thacker's second production so far this year in collaboration with Rising Moon Productions at Salford's King's Arms pub theatre, and his third production there to date. The play came about through Thacker accepting a proposal that he should create a play from transcripts of some of the women who have experienced domestic abuse and been helped by the charity Fortalice. Thacker therefore worked very closely with Fortalice and took the testimonies of five such women. He then used these verbatim dialogues and wove them into a 90 minute play. What we hear about these characters' situations and what they were made to go through then is all the more harrowing knowing that these things actually happened. Fortalice is a Bolton-based charity which supports and helps women and children who are caught in the melee of domestic abuse - and as we were shown, this does not necessarily manifest itself in physical terms, but can be emotional and coercive too. 

Entering the auditorium, we were presented with the chairs neatly arranged in a full circle, and the five cast members seated in amongst us. The premise here being that we were all in a therapy / focus group meeting at Fortalice and these five women spoke about their abuse, their relationships, their life, and their eventual escape from its clutches and of course their time at Fortalice and how this charity has helped and supported them to regain their lives and independence. This was a brave idea, and a choice that paid off excellently - for a short while. Having these actresses seated in amongst us was both intimate and inclusive, we felt much more a part of their stories, and they became all the more real because of it; I even felt myself wanting to go over to one of them and put my arm around her! But it is not an easy ask for the actresses to be so close and so personal with audience members, and they coped with this superbly and adroitly. However, my slight misgivings here are that this is essentially a theatre production, and this idea became both boring and very static when that is all that happened. The entire 90 minutes of the play was motionless and the central acting space never used. We needed just a little bit more from a piece of theatre.

My other misgiving follows on from this. I understand obviously that the charity Fortalice is sponsoring this production and the play would not have been possible without their first approaching the production team; so it is very hard to criticise when the remit of this play is a corporate one, but the many mentions and adulations of Fortalice, especially in the second half, did, for a public performance, feel a little like overkill. 

The five actresses taking on these real-life characters were Vicky Binns, Bel Odawa, Isabel Ford, Flo Wilson, and Eve Steele. All five were "real" and we completely bought into their characterisations and stories, Binns especially impressing. 

REVIEWER - Alastair Zyggu

on - 19.3.25