Month: March 2018

The Importance of Being Earnest

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matthew Forrest

It has to be said I was approaching The Importance of Being Earnest with some degree of in trepidation: my only other encounter with the play occurred some 25 years previous with a rather tepid class reading by 9J at St Gregory’s Roman Catholic High School: It would be fair to say that it was a lack-lustre affair, and my Algernon Moncrieff was poor by anyone standards. To be told by our English teacher that this was a ‘comedy’ was an insult – we didn’t laugh once.

I’m happy to say Director Alastair Whatley’s take on the Oscar Wilde’s classic lays that ghost firmly to rest: this adaptation is bold, bright and full of life which will leave you grinning from ear-to-ear.

The plot focuses on two-men-about town, Algernon Moncrieff (Thomas Howes) and Jack Worthing (Peter Sandys-Clarke) both have created a fictional double life for themselves which allows them to get out of social occasions on a whim, and visit the country/city whenever they fancy. However both men’s double-lives land them in hot-water as affections of two ladies come into play, Miss Gwendolen Fairfax (Kerry Ellis) and Cecily Cardew (Louise Coulthard), have both fallen for Earnest Worthing, the fictional alter ego/brother created by Jack.

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Howes is on great form playing the devilishly mischievous Moncrieff, lapping it up as he gets to eat lot of muffins and use the stage as his own sofa: the dream job! He is the perfect foil for Sandys-Clarke who’s up-tight Jack, attempts to keep his dignity whilst his world crashes in around him.

Coulthard is excellent in the role of exceedingly clever if slightly unhinged Cecily, Coulthard plays the part with comedic perfection. West End and Broadway favourite Kerry Ellis is equally as good in the somewhat less ‘showy’ role of Gwendolen, (her first straight play in this her 20th year in the business). There is more than a hint of Blackadder’s Queenie in both performances which is high praise indeed. A scene between the two where a slice of cake, is used as a weapon is an absolute treat and is surely the most passive-aggressive afternoon tea I’ve ever seen.

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Gwen Taylor puts a unique spin on the arrogant, seemingly omnipotent but ignorant Lady Bracknell giving the character a hint of warmth and humanity, which makes some of her more unique lines of dialogue all the more absurd.

The Costumes and set design by Gabriella Slade are full bright colours which really stand out, that coupled with the gusto of the performances give the production a burst of energy.

Wilde’s writing certainly has stood the test of time, with a play about social etiquettes and living a double life who knows what he would make of today’s social media obsessed world.

With a great deal of relevance today this is a fun entertaining night out, that will leave you with a smile on your face and the sudden urge to go get a muffin! Suitably spiffing!

The Importance of Being Earnest is on at the Manchester Opera House till the 17th March tickets available here.

 

The Sound of Music

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Opening Night verdict ⭐️⭐️⭐️⭐️

Manchester’s Palace Theatre well and truly came to life last night as the audience leapt to their feet to give the stars of The Sound of Music, most notably Lucy O’Byrne (Maria) and Megan Llewellyn (Mother Abbess) a well-deserved standing ovation.

Set in Austria in 1938 on the eve of the Anschluss which saw Austria unite with Germany as a country under the Third Reich, the threat of the Nazis is ever presents as we follow the Von Trapp’s from the grandeur of their comfortable beginnings to their daring escape from the Nazis.

Lucy O’Byrne takes on the iconic role made famous by Julie Andrews in the 1965 film with charm and charisma. Gentle and kind but with a steely strong will she faces her fears head on as after being appointed Governess, she gently guides the Von Trapp’s from the limbo of grief after losing their mother to living life to its absolute fullest, all through the medium of song, well this is a musical after all!

O’Byrne’s vocals are faultless, her voice smooth and soothing with beautiful clarity. Her interactions with her fellow cast members particularly the seven Von Trapp children, heart-warming and joyful. She has genuine warmth and succeeds entirely in making the role her own. Instantly likeable she captivates entirely.

The Von Trapp children played by three sets of children throughout the tour are the marching machines the Captain has trained who burst with energy and enthusiasm the minute Maria plays the first chord of Do-Re-Mi. They shine on stage and are a delight to watch. Special mention goes to Katie Shearman who portrays eldest daughter Liesl with real emotion, her duet with Rolf (Jordan Oliver) a real highlight.

Neil McDermott is an aloof and distant Captain Von Trapp who transforms into a loving and generous father, it is a somewhat instant transformation that feels a little forced and awkward, he seems much more comfortable however in Act II and demonstrates real and heart-felt emotion towards his children, his new wife and his beloved Austria.

A real highlight are the sisters of the Abbey, proving that Rodgers and Hammerstein’s melodic score remains as timeless as ever. Their ensemble performances are exquisite with the cherry on the cake being the breathtakingly beautiful performance from Megan Llewellyn who receives one of the biggest cheers of the night at the curtain call. The power and beauty in her voice is awe-inspiring.

From stunning costumes to Gary McCann’s intricate and sweeping set this is a lavish and hugely entertaining production. Featuring classic after classic such as the delightful My Favourite Things, the charming The Lonely Goatherd and the inspiring Climb Ev’ryMountain, The Sound of Music has it all. There are a few numbers which will be unfamiliar to many, mostly those sung by Elsa Schraeder (Kara Lane) and Max Detweiler (Howard Samuels) cut unfortunately from the film but making a very welcome return to this production and adding depth to the characters. Lane and Samuels make for a great duo, bouncing of each other wonderfully in each of their scenes together.

Visually beautiful and packed with powerful performances, The Sound of Music does not disappoint. This heart-warming tale with an important message at its core will entertain both young and old alike, ensuring this classic will easily remain an audience favourite for many, many more years to come. You’ll leave the theatre with a smile on your face and a warmth in your heart.

On at the Palace theatre until Saturday 17th March tickets available here.

Circle Mirror Transformation

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Photo credit: Marc Brenner

Photo credit: Marc Brenner

Opening Night rating ⭐️⭐️⭐️⭐️

Bijan Sheibani is at the helm of a triumph as Circle Mirror Transformation, Annie Baker’s award-winning play, gets its Northern Premiere on HOME’s stage. Sheibani’s sensitive direction presents audiences with a simple yet thought provoking production, played out by a stellar cast including seasoned performers Amelia Bullmore and Con O’ Neill.

Set in Vermont, New England it focuses on a creative adult acting class where five unlikely strangers, from different walks of life, meet at their local community centre. Over six weeks of drama exercises and games their lives become entangled and transformed in the most humorous and moving ways.

Photo credit: Marc Brenner

Bullmore is perfectly cast as the gentle free-spirited drama teacher Marty who has enthusiastically put together the unique group. She is joined by O’ Neill who plays newly divorced Schultz, struggling to come to terms with his marriage breakdown, Sian Clifford as unlikely siren Theresa, Yasmin Paige, self-conscious high school student Lauren, and Anthony Ofoegbu as Marty’s subdued husband, James.

Together the stalwart actors form a tight ensemble where everyone has their moment to shine as they carefully peel through each layer of their characters. There’s a real truth in their performances which engages the audience throughout and, along with Sheibani’s use of Baker’s lengthy pauses, also helps to highlight the believability of the piece. It is a welcome decision to have no interval during the one hour forty-five minute duration of play as it would have broken the fluidity that is so beautiful about the piece.

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You can fully understand why Circle Mirror Transformation was voted one of the top 10 plays of 2009 by the New York Times, Time Out, and The New Yorker – it washes over you, making you smile, laugh and feel a sense of connected emotion which leaves you feeling hugely satisfied.

Runs at HOME until Saturday 17th March

https://homemcr.org/production/circle-mirror-transformation/

 

Don Giovanni | Opera North

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Don Giovanni 01_credit Bill Cooper

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Michelle Ewen

Scandalously entertaining, Don Giovanni is a five-star romp through the ages which left us both wooed and wowed at The Lowry!

Presented by Opera North, Don Giovanni tells the story of a time-travelling lothario who leaves a trail of broken hearts – and even a corpse – in his wake before finally facing retribution.

With the Time’s Up movement empowering victims of sexual harassment and violence, Mozart’s work circa 1787 remains as relevant today as it did in the eighteenth century and, thanks to its stunning staging and raucous puppetry, this production feels thoroughly modern and provocative.

DON GIOVANNI_OPERA NORTH Don Giovanni; William Dazeley, Leporello; John Savournin, Donna Anna; Jennifer Davis, Don Ottavio; Nicholas Watts, Donna Elvira; Elizabeth Atherton, Zerlina Kathryn Rudge, Masetto; Ross McInroy, Co

Mozart presents us with three female leads: Donna Anna (Jennifer Davis), who Don Giovanni molests before killing her father Il Commendatore (James Platt); Donna Elvira (Elizabeth Atherton), who Don Giovanni has previously seduced and promised to marry; and Zerlina (Kathryn Rudge), whom he is intent on bedding on her wedding day to Masetto (Ross McInroy).

Slipping back and forth in time, Don Giovanni manages to stay one step ahead of all three women with the help of his long-suffering servant Leporello; indeed, it is only when Don Giovanni defiantly asks the statue of the murdered Il Commendatore to dine with him that his past transgressions look set to finally catch up with him…

William Dazeley has all the prerequisite charisma and acting chops to carry the title role of Don Giovanni, yet it is his partnering with John Savournin as Leporello that delivers the greatest satisfaction. Fully indulging in Mozart’s brand of nudge-nudge wink-wink bawdy comedy, Dazeley and Savournin are a riot, as well as bona fide masters of gesticulating rudely with their canes.

DON GIOVANNI_OPERA NORTH Don Giovanni; William Dazeley, Leporello; John Savournin, Donna Anna; Jennifer Davis, Don Ottavio; Nicholas Watts, Donna Elvira; Elizabeth Atherton, Zerlina Kathryn Rudge, Masetto; Ross McInroy, Co

The black, lowbrow comedy they indulge in offers the perfect counterbalance to Donna Anna’s palpable grief, which the brilliant Jennifer Davis portrays so believably. Whether she’s being roughly molested, lying prostrate on the floor or flopping in anguish against her ever-patient fiancé Don Ottavio (Nicholas Watts), Davis’ vocals never falter – making this a stunning Opera North debut for the graduate of DIT Conservatory of Music and Drama in Dublin.

As the flirtatious Zerlina, Kathryn Rudge is delicious – simultaneously reassuring her husband-to-be Masetto, while actively encouraging Don Giovanni’s panting advances. Her vocal theatrics during a simulated sex scene had the audience in stitches!

Praise too for James Platt, who lends just the right amount of gravitas to the role of Il Commendatore – making for a sensational last act.

DON GIOVANNI_OPERA NORTH Don Giovanni; William Dazeley, Leporello; John Savournin, Donna Anna; Jennifer Davis, Don Ottavio; Nicholas Watts, Donna Elvira; Elizabeth Atherton, Zerlina Kathryn Rudge, Masetto; Ross McInroy, Co

While the Opera North cast and chorus are to be congratulated on their first-class performances, it is Alessandro Talevi’s direction, Madeleine Boyd’s set and costume design, Matthew Haskins’ lighting and Victoria Newlyn’s choreography that takes the staging to a whole other level.

The device of inserting a Punch and Judy-style stage ‘window’ into the curtain was ingenious – especially when the actors’ lower bodies were replaced with identical miniature puppets. These were, without doubt, some of my very favourite scenes in the whole production.

And what is an opera without music? Hearty congratulations to the Opera North orchestra, which was expertly led by Christoph Altstaedt – breathing new life into the familiar and seducing us with every note.

Don Giovanni has one final performance at The Lowry on Friday 9th March at 7pm with a bookable free pre-show talk at 6pm, tickets available here.

Interview | Kerry Ellis | The Importance of Being Earnest

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Broadway and West End star Kerry Ellis arrives in Manchester next week with Oscar Wilde’s brilliant and hugely funny The Importance of Being Earnest in which she takes on the role of Gwendolen.

Starring alongside the legendary Gwen Taylor as the formidable Lady Bracknell, Susan Penhaligon as the luckless Miss Prism plus Downton Abbey favourite Thomas Howes as Algernon this will be Kerry’s first role in a straight play after an impressive and enormously successful 20 years in musical theatre.

We caught up with Kerry ahead of the show opening at Manchester’s Opera House on Tuesday 13th March to hear all about the play, her impressive career and her thoughts on taking on this new challenge.

ON: This is a real change for you, are you enjoying the experience?

KE: It’s the first play I’ve ever done really, I did do a short play with Trevor Nunn as a bit of a try out, but this is the first major play I’ve done and I’m really proud of it, I’m with a team of people who are just wonderful. Gwen Taylor is just a dream, the whole cast are great. To get to do an Oscar Wilde and a comedy as my first play has just been wonderful, I just love it. The audiences have been brilliant, it’s been very special so far, I’m absolutely loving it.

ON: Are you finding much difference between working on a straight play compared to a musical?

KE: Of course there’s the obvious with no music but yes it is quite different, with musicals there’s always so much going on, big sets and big ensembles, lots of music, songs to learn but with a play it’s literally you and your voice, your dialogue and just a few other people on stage with you. Essentially we’re doing the same thing and telling a story but it does feel quite different, we have different scenes which of course happens in both plays and musicals so the essence is the same but there’s definitely a difference.

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ON: From the production shots it appears the play will be traditionally staged are you enjoying wearing the costumes?

KE: They are stunning, they were made by Camden Costumes, they’ve all been tailor-made to us, the fabrics are amazing, the productions shots look great and show just how beautiful they are, I just feel very fortunate to wear them, the last time I wore costumes of this style was back when I was in My Fair Lady. My character Gwendolen is from a very well-to-do- family so they fit just perfectly with her character. The two dresses that I have are incredible and the hats, just phenomenal. Earnest does take me back to my My Fair Lady days as there definitely are some similar themes. What I love about this production is just how funny it is, the class system and the ridiculous things we do are to be laughed at, sitting in corsets drinking tea, it’s so silly really.

ON: You’re working with a hugely talented cast, have they offered any advice?

KE: Just watching them has been incredible, particularly Gwen who has just had her 79th birthday, I’m sure she won’t mind me sharing that information. To watch her work and be in a rehearsal room with somebody of such talent and experience and to watch her go through the same kind of things we all go through, the developments, the confidence on one night, the self-doubt on another night, seeing how she reacts to an audience, how much she cares about the show, watching her work has been very educational and I feel privledged to be in her presence. I know that probably sounds a bit cheesy but it really has been an incredible privilege to work with her.

ON: You’re celebrating 20 years what are you career highlights?

KE: There are so many, what’s interesting about doing this 20th anniversary tour is I didn’t even realise it had been 20 years, it was my manager who suggested calling it my 20th anniversary tour and I said ‘don’t be so ridiculous it can’t even be close to that’. Looking back over things I’ve done and asking audiences what they’ve seen me in and enjoyed it’s amazing what people come out with, things I’ve forgotten I’ve even done, I don’t know how I fitted everything in. I feel very fortunate that I’m still doing what I love doing and this anniversary tour is to celebrate that and to give something back to the people who have supported me over the years, I’m loving it. To do it alongside the play is wonderful.

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ON: What can audiences expect from your concert?

KE: A little bit of a trip down memory lane, there are some classics in there I can’t not sing Gravity and songs from We Will Rock You, but I am essentially singing lots of new things from my new Golden Days album. I’m also working on some new music with Frank Wildhorn who worked with Whitney Houston so there’s some of that in there so it’s really a celebration of then and what I’m doing now as well. I like to bring people new things and take them on a bit of a journey.

ON: After such an incredible 20 years in the industry do you have any advice for young performers?

KE: I feel very fortunate that I love doing what I do, I’ve made a passion for it and you have to as there are times like now when you’re touring and are away from your family, I’ve got two young boys so I’m away from them and my husband and I do have to make those sacrifices, you do have to love it and you have to make sacrifices for it, you have to have drive for it because it’s tough and it’s brutal and competitive and all of those things but it is the best job in the world. I don’t think you ever tire from hearing an audience reaction, people say it’s in your blood and I really do believe that. I was speaking to Brian May recently, we often talk when we’re on tour as we both understand how it feels, we were emailing the other night while he’s away in Australia and asking the silly little things like ‘how’s your hotel room?’ but it’s those things that really help when you’re away from your family.

ON: Are you looking forward to coming to Manchester?

Yes, I love Manchester, I was there not too long ago with Wonderland, I always have a great time there, the city is great, the people are wonderful and the theatres are fabulous, the shopping too of course is wonderful!

Tue 13 – Sat 17 March, Opera House tickets available here.

 

Hard Times

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Reviewed by Angela Hazeldine

“Now what I want is, Facts. Teach these boys and girls nothing but Facts…”

These are the words of Thomas Gradgrind, the School Board Superintendent (played here by Andrew Price). As Northern Broadsides adaptation of Hard Times by Charles Dickens unfolds, we begin to see why this approach to bringing up children can have disastrous effect on their future and indeed, spirit.

Here we have an inventive and ambitious retelling of one of Dickens’ perhaps lesser read tales. Thomas Gradgrind will not allow fanciful thoughts not in his school nor in his home, which becomes somewhat problematic when the circus comes to town.

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The piece is threaded together with tones of nostalgic North England, brass duets and rich north east folk melodies along with circus montages that are both vibrant and haunting at the same time.

The cast all appear to be multi-talented actors who sing, dance, play instruments, walk on stilts, charm snakes (not a real one for those of you that suffer from Ophidiophobia) amongst other things! I haven’t picked out individual performances in this review as this piece is very, very much an ensemble piece with everyone working together to deliver this epic tale.

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For me, the first half felt slightly lacking in momentum but this is probably down to the immense amount of detail needed to round off a Charles Dickens story. The second half seemed to have a lot more energy as all loose ends were tied up and the deviousness of pretty much everyone involved was exposed.

Congratulations to Deborah McAndrews for this adaptation of an epic tale, the story keeps moving but all the details are still there which is so important when dealing with Dickens and also to Conrad Nelson for his direction and fluid telling of the story, no mean feat when a circus is involved!

On at the Lowry until Saturday 10th March tickets available here.

Opera North – Madama Butterfly

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Opening Night rating ⭐️⭐️⭐️⭐️

Puccini’s heart-breaking tale of passion, betrayal and ultimate devastation is brought to life beautifully at the Lowry this week as part of award-winning Opera North’s exhilarating ‘Fatal Passions’ season.

Young Japanese girl Cio-Cio-San (Anne Sophie Duprels) marries and falls deeply in love with US naval officer, Lieutenant Pinkerton (Merūnas Vitulskis) who has purchased the right to marry her and unlike his bride sees the marriage as a temporary arrangement. Cast out by her family Cio-Cio-San devotes her entire being to her American husband only to be abandoned by him when he cruelly deserts her and returns to the United States. Hopelessly devoted she remains true to her love, watching and waiting patiently for him to return with only her maid Suzuki (Ann Taylor) and the young child she had months after her husband’s departure for company.

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Sung in Italian with English subtitles the narrative is wonderfully clear with the cast acting each scene beautifully. The changes Cio-Cio-San goes through are dramatic and at the same time desperately tragic. From sweet and innocent geisha with painted face and stunning kimonos to American influenced 1950’s dress complete with blunt bob as despair and obsession over the return of her missing husband overcome her.

Returning to the production are Anne Sophie Duprels, Ann Taylor and Peter Savidge, all excel in their respective roles. Anne portrays Cio-Cio-San perfectly, her exceptional acting sees her as a delicate flower in Act I who morphs into a broken and tragically desperate figure in Act II. Her voice is hauntingly beautifully and packed full of emotion.

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Ann Taylor as faithful maid Suzuki is exceptional. Crushed to the core by the fate she sees befalling her mistress, her devastation feels real and powerful. Peter Savidge delivers a warm and entirely convincing performance as the upstanding and honest Sharpless, somehow knowing how this story would end before it even began.

Merūnas Vitulskis is charming as the dashing Pinkerton, his commitment to the role ensures the audience love to hate him, even receiving a pantomime like booing at the curtain call.

Hildegard Bechtler’s eye catching set it ever-changing, with sliding panels which reveal views of the outside world we never actually get to physically see, symbolic of Cio-Cio-San’s isolation. This two act opera takes place entirely in Cio-Cio-San’s home allowing the story to be the entire focus of this mesmerising production. Peter mumford’s lighting design is gently subtle, perfectly displaying Ana Jebens striking costumes.

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With a soaring score to match the faultless performances delivered note perfect by the orchestra of Opera North, Madama Butterfly is a gripping, impassioned and heart-breakingly beautiful production. Opera North succeed wonderfully in packing this much-loved opera full of emotion and powerful passion, with a wonderfully clear narrative which will please both those new to opera and seasoned fans alike, just don’t forget your tissues!

One more performance at The Lowry on Saturday 10th March, tickets available here.

Trump – The Musical

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Trump – The Musical. 53Two Manchester

Director: Kyle Williams

Writer: Laurence Peacock

Reviewer: Matthew Forrest

The Blowfish Theatre is carving out quite the reputation for themselves: First there was Boris-The Musical, and now we have Trump – the Musical. It’s a hard task to make some of these influential people of power any more ridiculous than they are or god forbid, they may even show them in a more positive light, however writer Laurence Peacock walks the tightrope between the two and manages to create fun-filled night out.

The plot may at first seem too far-fetched to comprehend but with all that has gone on in the world, nothing would surprise me! It’s 2020 and Donald Trump (David Burchhardt) is running for election and is planning to make America great again (again!) However he has a few issues to contend with: an infatuated Vladimir Putin (Natasha Lanceley), a maniacal Kim Jong-un (Lanceley again in a dual role) and his plan to blow up the moon and of course his biggest issue: the loss of his mobile phone. Meanwhile over in the UK, which is now just England and Northern Ireland, King Nigel Farage (Kyle Williams) plans to invade Scotland, as the UK is on its uppers as a result of Brexit. Only two people can save the day: Rod (Polly Bycroft-Brown) press sectary to Trump and Roger Lavery (Laurence Peacock) Chief Minister to King Nigel: however Lavery has his own sinister agenda.

This is a political-comedy with plenty of bite poking fun at both the late and right: at times it’s absurd and a bit silly with a plot that is nonsense, but don’t let that fool you – some of the gags are bang on point: there are jokes about the treatment of disabled people, racism and immigration which are near-the-knuckle, but rather sadly aren’t too far from the truth; surely good theatre/comedy should entertain but also open up channels of debate and Trump – The Musical does that.

The ensemble cast are on great form: all over-the-top in their lampooning: Burchhardt has the easiest job of playing the narcissist Trump. He really can’t go wrong, whilst Williams is having a ball as the foul-mouthed Farage. However it’s the performances of Lanceley and Bycroft-Brown that really standout; both have a gift for comedy that shines through.

There are some great musical numbers in there, courtesy of musical director Dominic Lo, who also plays Putin’s aid Sergei. Make America Great Again! (Again!) and The New Good Old Days certainly have a satirical edge to them, but stand-out for me is Rootin’ for Putin, which is simply fantastic because of its absurdity.

Overall this is a hilarious, fun filled night out that will have you grinning throughout. A bit like an episode of the Thick of It, only laced with LSD. It’s a must for fans of musicals and satirical comedy, however if you’re easily offended still go along anyway – you’re in for a treat!

For more tour dates of Trump – The Musical visit: http://www.blowfishtheatre.weebly.com/trump.html

 

 

 

 

Police Cops in Space

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Angela Hazeldine

Nathan Parkinson, Zachary Hunt and Tom Roe are ‘The Pretend Men’ and their newest show is ‘Police Cops in Space’ which is having a three night run in the Lowry Studio. To be frank, I’m slightly annoyed that I should probably write three hundred words about it when all I really need to do is write three….

SEE. THIS. SHOW.

Honestly, it is absolutely no surprise that these guys had a completely sold out run at the Edinburgh Fringe Festival two years in a row and also at the Soho Theatre in the West End. It’s just so clever.

With a mixture of the tightest, in-synch physical theatre and choreography and off the cuff improvisation you will be laughing from the opening ‘Credits’. Having never seen these guys before ( what a fool I am!’) there were a few ‘in’ jokes for those that had seen their previous show ‘Police Cops’, that went over my head but I didn’t care.

The use of music, lighting, props, fabulous wigs and random humour kept the audience on their toes. And they work so hard. I saw a backwards roll last night the likes of which I have never seen before. It was a testament to these fellas that every single person there last night in a packed studio had thrown caution to the wind and snow and had made the journey to an eerily quiet Salford Quays.

It’s difficult to write a review about a show like this as I don’t want to give anything away because you need to see for yourselves!

If you can get there tonight or tomorrow I urge you to go. It’s a crazy world we live in these in these days and it can get very stressful so do yourself a favour and give yourself an hour of just brilliant entertainment.

Right. I’m off to play ‘Chase the Egg’.(‘IN’ joke)

Police Cops in Space is on at the Lowry until Saturday 3rd March, tickets available here.

BRB | The Sleeping Beauty

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Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Michelle Ewen

It’s a tale that needs no introduction – one that has charmed generations (young and old) ever since the seventeenth century.

The simple story of a beautiful princess who is awoken from a sleeping enchantment by the kiss of a handsome prince. Little wonder then that people happily braved the plummeting temperatures to flock to Birmingham Royal Ballet’s five-star performance of The Sleeping Beauty at The Lowry. (Who wouldn’t want to sit inside a giant snow globe with prima ballerina Delia Mathews pirouetting prettily centre stage?)

Fulfilling its bold mission statement to: ‘…inspire and move people worldwide with the best ballet…’ Birmingham Royal Ballet have assembled a formidable company of performers, who are ably supported by a stellar creative team and accompanying orchestra – superbly conducted by Paul Murphy.

Of course, it is Delia Mathews who shines as Princess Aurora, which is considered to be the most technically demanding of all classical ballerina roles. Appointed Principal in 2017, New Zealander Mathews spends virtually the entire performance en pointe – remaining beautifully controlled, while embodying vivacity and coy flirtation with every gesture. Her Disney-handsome Prince is Brandon Lawrence, who says his proudest moment on stage to date was dancing for His Royal Highness, The Prince of Wales at Buckingham Palace. (How fitting!) The Bradford-born Soloist was faultless in his footwork; oozing romance and charm, he stole my heart too!

Full credit to Nao Sakuma for making one of the greatest stage entrances I’ve seen: riding high on the backs of her malevolent attendants – and dressed head to toe in black lace and sequins – Carabosse is the embodiment of evil as she curses Princess Aurora on her christening day. Though less technically demanding, her ‘pantomime villainess’ turn is perfect, right through to the final curtain.

While these ‘showy’ roles undoubtedly shine, my greatest personal pleasure was seeing the Soloists each take their own moment in the spotlight during the Prologue and Act III.

Peter Wright’s The Sleeping Beauty is based on the original choreography of Marius Petipa, and it is truly a delight to see each performer take flight – buoyed by Pepita’s steps and Tchaikovsky’s magnificent score.

As Puss-in-Boots and the White Cat, Hamish Scott and Yvette Knight are delightful, while Ruth Brill and Valentin Olovyannikov as Red Riding Hood and the Wolf get fully immersed into character with the aid of their dazzling costumes. (It comes as no surprise to find out that The Sleeping Beauty is the only ballet that requires an articulated lorry just for costumes – including 40 rails and 16 huge wicker skips. From the moment the curtain goes up, the stage is awash with crisp tutus, powdered wigs and swathes of twinkling lace!)

That brings us neatly to Philip Prowse’s design. Sumptuous and decadent, the production feels lavish in the extreme; the set is beautifully lit by Mark Jonathan (recreated by Peter Teigen), whose genius gives us a real ‘wow’ moment when we see the sleeping Aurora spotlighted through the tangled forest.

Birmingham Royal Ballet is to be truly praised for delivering on every level: dream choreography performed by a truly accomplished cast; note-perfect orchestration; and a feast for the eyes through no-holds-barred production and design.

Don’t sleep on it… The Sleeping Beauty is on now at The Lowry until Saturday, 3 March. Tickets are available here.