The world’s worst hotelier, Basil Fawlty, his long suffering wife Sybil, and human punch bag, Manuel have arrived in Manchester at one of the city’s newest hotels, Hotel Brooklyn for Faulty Towers The Dining Experience.
Interactive Theatre recently celebrated their 25th year of performances, as well as a decade of shows in London’s West End, and on the basis of today’s show you can see exactly why: anarchic, ridiculous and absolutely hilarious; I loved it!
Paying homage to the popular John Cleese and Connie Booth penned sitcom, the fun starts as soon as you step foot in the bar, while waiting to be seated, as Basil, Sybil and Manual demonstrate their unique take on customer service and good old British hospitality.
What follows is a unique dining experience, as a three-course meal is served through 90 minutes of mayhem while Basil abuses his waiter and most of the diners as well. The website states that 70% of the show is improvised, and you can certainly see why as a great deal of the event revolves around audience participation, whether they want to participate or not, and the rest is a mixture of well placed set-pieces from the show.
The cast are superb. It’s a flawless performance from all three actors and a showcase for fine mimicry and physical comedy. It’s exactly what you want from this immersive experience.
Fans of the show will love it. Those coming to it for the first time will hopefully have been briefed about what to expect, or they’ll be in for a rude awakening! If someone you’re going with is celebrating a special occasion, let them know as it will be celebrated in true Fawlty Towers style.
This is a great deal of fun and certainly worth catching whilst it’s in Manchester. A word of warning though be careful of the soup… some of the bowls may have a little bite to them (when you go, you’ll know exactly what I mean).
Faulty Towers The Dining Experience is at Hotel Brooklyn, until Sunday 12th March. Tickets available here.
One things us Brits love is a bit of Pride and Prejudice, from BBC dramas to cinematic adaptations there’s a whopping appetite for Jane Austen’s iconic novel. However, it’s time for Colin Firth and his soggy shirt to step aside as this fabulous all-female cast prepare to retell events in their own unique and hilarious style.
Taking on the role of servants this five-strong company deliver their inventive spin on Austen’s work complete with befitting karaoke classics as they play the part of each character in this fast and furious homage. A little bit miffed that they never get to play characters with any depth or complexity, let alone enjoy a much longed for happy ending they set about righting this wrong to hilarious effect.
The fast-paced production is razor sharp from the off, there’s quick changes a plenty as the comedic chaos unfolds.
Directors Isobel McArthur and Simon Harvey never allow the pace to drop resulting in a hugely entertaining and surprisingly accurate piece of theatre. It’s daft, dynamic and oozes cheeky charm.
The cast complement each other perfectly, never once losing their stride, their comic timing is exceptional while their delivery of the multiple karaoke classics will make you wish you were heading to the nearest bar after the curtain call. Some of the song choices are an absolute stroke of genius making me wish there were a few more bangers to enjoy.
Each of the five cast are superb, taking on multiple characters with apparent ease. Dannie Harris’ fizz guzzling potty mouthed Mrs Bennet is a scream while her dashing Mr Darcy is every bit the mysterious and misunderstood man of the hour. Emmy Stonelake makes for a superb Elizabeth Bennet, her strong Welsh accent adding to her brilliant comedic delivery, she’s a no nonsense, tell it like it is kind of girl who certainly isn’t wasting her time holding out for a hero.
Megan Louise Wilson is super sweet as lovesick Jane in complete constant to imposing her Lady Catherine De Bourgh who gets one of the biggest laughs of the night. Lucy Gray shows incredible versatility as the lonely and longing Charlotte Lucas one moment followed by snide, spoil Caroline Bingley the next, while Leah Jamieson ramps the humour to another level with her ingenious characterisation of Mr Collins, drab, dull and desperate highlighting just how utterly absurd the minimal rights of women back then were.
Pride and Prejudice* (*sort of) is a joy: clever, current and absolutely hilarious. It takes the traditional and tips it on its head. This reinvented classic will no doubt become a firm favourite on the theatre scene as this new tour and talented cast enjoy standing ovations night after night. Perfect escapism that will leave you with a smile on your face and a strong urge to head to the nearest karaoke bar.
Pride and Prejudice* (*sort of) is on at The Lowry until Saturday 21st January, tickets available here.
When it comes to festive family fun you can always rely on Regal Entertainments to deliver the goods. There’s no expense is spared in this year’s panto, giving us not one but two stars of Britain’s Got Talent (three including Chuck), Corrie’s Kimberley Hart-Simpson and St Helen’s panto favourite Lewis Devine. Add to this a fabulous Prince Charming in the form of Joe Sleight, a magical Fairy Godmother played by Rachael Wood and two glorious ugly sisters, Kristopher Bosch and Richard Aucott and you’ve certainly got all the ingredients for a whole heap of fun.
This glittering production is everything you’d want from a panto from lavish sets to elaborate costumes, Cinderella ticks every box. The witty script is littered with local references, stuffed with silliness and there’s even a TikTok dance thrown into the mix. There’s audience participation a-go-go as well as a perfect mix of much-loved chart hits from recent No.1’s to musical theatre favourites.
Kimberley Hart-Simpson makes for a wonderful Cinderella, she’s extremely likeable with great comic timing and a superb singing voice. Lewis Devine is brilliant fun as Buttons, the two of them have some fantastic scenes together made even funnier with the addition of love rival Prince Charming (Joe Sleight) thrown into the mix. All three seriously impress on the vocal front and are clearly loving every manic minute on stage.
Britain’s Got Talent stars Jon Courtenay, Jamie Leahay and Chuck are used to great effect both as characters within the storyline then entertainers at the palace ball where both are given the opportunity to let their talent shine. The ugly sisters Borisina (Richard Aucott) and Trussiana (Kristopher Bosch) are wicked fun with some of the best pantomime dame costumes I’ve ever seen.
Director Chantelle Nolan has thrown in some really magical moments which are greeted with gasps of delight, plus of course some mischievous surprises to keep us on our toes. Choreographer Nazene Langfield has gifted both the adult and juvenile dancers with some beautiful routines which lift the already sparkling ensemble scenes. Special mention must go to Lewis Devine, Jon Courtenay and Rachael Wood who somehow manage to get through a hilariously chaotic 12 Days of Christmas, a real highlight of the show and exactly what panto is all about.
This is a real family friendly show, suitable for all ages with plenty to keep little ones engaged as well as the cheeky gags us older theatre goers like to listen out for. The final transformation scene is as special and as sparkly as it gets, giving us the happy ending we’d all hoped for. If you’re in need of some Christmas cheer then get yourself down to St Helens Theatre Royal where they’re dishing it out daily!
Cinderella is on at St Helens Theatre Royal until Sunday 8th January tickets available here.
On the 1st Day of Christmas Shakespeare North gave to me…a fabulous, festive, fun adaptation of Dickens iconic A Christmas Carol filled with heart, and heaps of humour!
This being their 1st ever Christmas season Shakespeare North Playhouse have pulled out all the stops to ensure their version of A Christmas Carol is one theatre goers won’t forget in a hurry. It’s fast-paced, laugh out loud funny and wonderfully entertaining as four talented actor-musicians take on multiple roles and multiple instruments, spreading more than a little Christmas cheer as they go.
Nick Lane’s creative adaptation directed wonderfully by Ellie Hurt takes the original story and gives it a real Prescot feel with the addition of localised references and regional jokes all of which are lapped up by the invested audience. Add a little music, melodic songs plus plenty of audience participation (yes we even get to shout ‘It’s behind you!’) and you’ve got the perfect recipe for a real Christmas cracker!
This cast of four go all-out in ensuring no one will leave the Cockpit theatre without a smile on their face as they act, sing, dance and play their way through this super slick production.
We begin in Scrooge’s house where his staff (well most of them) are keen to tell his story; with a little encouragement from each other as well as the audience the storytelling begins.
Zoe West is superb as Ebeneezer Scrooge, snarling and sarky living up to every inch of the name. Her characterisation is wonderful, embodying the miserable miser to perfection ensuring Scrooge’s journey resonates entirely.
Jessica Dives creeps us all out as the ghost of Christmas past, weird and wacky in her haunting, complete with a horror homage, red ballon. Abigail Middleton as the Ghost of Christmas Present ensures we all absolutely get the joke while Eddy Westbury as the Ghost of Christmas yet-to-come has a little problem with autocorrect which has the audience howling.
In addition to the ghosts this versatile cast play Jacob Marley, Bob Cratchit and Tiny Tim to name but a few, each is as creative and hilarious as the last. Their musicianship is a joy as they effortlessly pick up multiple instruments throughout & play them with ease.
It’s uplifting and silly but also offers a thought provoking focus on the plight of those in need bringing us bang up to date with voices from local residents affected by the cost of living crisis. This element is so cleverly interwoven that its poignancy feels strongly effective.
Simisola Majekodunmi’s lighting design adds just the right amount of atmosphere while designer Hannah Sibai makes wonderful use of the Playhouse’s versatile space, no mean feat when working in the round.
The cast do an excellent job of sweeping us up and taking us along on Scrooge’s life-changing journey, involving us wholeheartedly in the witty telling of the beloved tale.
This is feel-good festive theatre that strikes a perfect balance between professional and accessible. It is theatre for all in a stunning new regional space that feels exciting and inviting. If this is what Shakespeare North Playhouse do in year one I can’t wait to see what lies ahead!
A Christmas Carol is on at Shakespeare North Playhouse until Saturday 7th Jan tickets available here.
There is a famous Monty Python sketch called The Fish Slapping Dance, whereby Michael Palin slaps John Cleese in the face with two tiny fish, whilst performing an absurd little jig, only for Cleese to retaliate with a massive slap to Palin’s face with a huge trout! Now I know this isn’t the normal way to begin a review but after watching Unfortunate: The Untold Story of Ursula The Sea Witch, you’ll feel like you’ve been walloped over the head by something bigger than a giant trout! Vulgar, absurd, and hilarious, this in-your-face musical parody is as crude as it is fun and I loved it, and dare I say so would the Python team too!
With cinematic releases from Disney such Maleficent and Cruella, told from the point of the villain proving to be a huge commercial successes, Fat Rascal Theatre’s march on the Mouse-eared media Megalodon with their alternative take on everyone’s favourite sea witch, is also proving to be a huge audience favourite.
In this retelling, the action rewinds 20 years: Ursula, is a sassy, no nonsense strong woman, who heads to Atlantica in the hope that a marriage with the Kings son, Triton will save the kingdom. However the course, of true love doesn’t run smoothly, first some body shaming aimed at our straight talking heroine, followed by being framed for murder, sees Ursula exiled from Atlantica
Fast Forward 20 years, Triton returns to his former lover, in need of her help with his daughter, Ariel. Ariel is his only living heir and will inherit the kingdom, however it’s fair to say Ariel isn’t quite ready to be a reigning monarch, more interested in men, and what they have between their legs than ruling the sea. Will Ursula’s plan work and make Ariel, become the princess those Disney bigwigs want her to be?
This production is an absolute riot from start to finish: catchy, no nonsense show tunes with big laughs, not just there because they have to be but there because they enhance the plot. Stand out numbers include the crude, but hilarious, Where the Dicks Are, the scene setting Nasty, and my personal favourite, We Didn’t Make it to Disney.
The cast more than matches the excellent written material. Allie Dart-Munro as Ursula, gets the balance of sass and vulnerability just right. Whilst George Whitty as Triton, has a tremendous singing voice, hitting all the right notes. His is a dead-pan performance when compared to his co-stars. Miracle Chance is exceptional as Ariel, a gift at comedy, a real ‘jesters’ performance. Whilst Jamie Mawson as Eric, the handsome prince of the story is as OTT as he is ridiculous.
There is great support from Danni Payne and Jack Grey who play multiple characters and puppets including Sebastian the lobster, now sporting an Irish descent.
My only gripe really is the sound mix seemed off during the first half, with some of the lyrics lost in the mix, it was rectified following the interval, but I’m sure there were more laughs to be had if I could hear the gags.
With strong messages about body positivity, water pollution, the environment and #MeToo blended with a great deal of risque songs, and more ‘knob’, gags then the average Graham Norton monologue, this is highly entertaining and fun night at the theatre, just leave the kids at home with a babysitter and the subscription to a popular child friendly streaming platform would be my advice.
Unfortunate: The Untold Story of Ursula The Sea Witch is at the Lowry till Saturday 10th September, tickets available here.
Back in early spring 2020, I was fortunate to attend the season launch for the reopening of the Octagon, which included the programme for the year ahead through to 2021. Instantly one production stuck out, writer Richard Bean’s smash-hit One Man, Two Guvnors. We’re all fully aware what happened next, just under two years have passed and finally the production arrives on the Octagon stage and boy was it worth the wait!
Based on the Servant of Two Masters, a 1743 comedy by the Italian playwright Carlo Goldoni. Set in 1960’s Brighton, One Man, Two Guvnors follows the escapades of dim-witted chancer Francis Henshall (Jordan Pearson) who has somehow landed the job as a hired goon for East End gangster Roscoe Crabbe. All is not what it seems with Roscoe, Roscoe is dead and this is actually his twin sister, Rachel Crabbe (Siobhan Athwal) who is impersonating her dead brother in order to cash in some of brothers debts, so she and her lover, Stanley Stubbers (Laurie Jamieson), can start afresh. To further complicate matters Stubbers’ is responsible for Roscoe’s death.
Francais spots an opportunity to earn a few extra quid and more importantly have a decent meal, working a second job as Stubbers valet. Stubbers is on the run from the law for murder and is just bidding his time to reunite with Rachel. Can Francais keep his two employers from finding out his deception long enough to earn a big pay and end his 16 hours without eating?
Under the direction of Lotte Wakeman with Bean’s near flawless script this is as good as theatre gets and a real treat for comedy fans. Slapstick, farce and some killer one-liners, the show has something for everyone. The beauty lies in the fact that you’re never quite sure where the show is going, such is it’s anarchic nature which really adds to the fun.
The production is anchored by a powerhouse performance from Jordan Pearson who is engaging throughout, his childlike innocence is infectious, as he is driven by hunger, never fully aware or concerned by the chaos he has created.
Pearson is supported by strong performances from the ensemble cast, with Lauire Jamieson getting the lion’s share of the best lines as slightly unhinged toff, Stanley Stubbers. Whilst Javier Marzan as the hapless waiter Alfie, and Qasim Mahood, as the jilted actor, Alan Dangle, both put in superb physically comedic turns.
I cannot recommend this production enough, over-the-top, ridiculous fun from start to finish that will have you grinning from ear-to-ear, an absolute must-see!
One Man, Two Guvnors is at the Bolton Octagon until the 25th June, tickets available here.
Writer Tim Foley’s new play, Electric Rosary had quite the inception, back in 2017 it won the Bruntwood Prize Judge’s Award and now it arrives at the Royal Exchange Theatre for a three-week run. This sci-fi comedy promises something original and something we had no idea we needed in our lives till now, nuns and robots sharing the stage for the first time!
Set in the dilapidated grounds of St Grace’s convent, a depleted troop of nuns are struggling to keep the convent afloat. Whilst the recent passing of the mother superior has left the nuns in a state of flux as to who will lead them through these are turbulent times. In addition, the convent had set up strong ties with a missionary in Ecuador which all the nuns have dreamt about visiting, however with funds so low this seems highly unlikely.
With Easter approaching acting mother superior, Elizabeth (Jo Mousley) may have a solution to their problems in the guise of a council funded robot, Sister Mary (Breffni Holahan). Whilst young nun Theresa ( Saroja-Lily Ratnavel) is made up with android Mary, older nuns, Phillippa (Suzette Llwellyn) and Constance (Olwen May) are more sceptical.
The views of the nuns seemingly represent their views of the outside world in general, as the use of robots as workers is commonplace in this world, with some members of the public protesting about the “reapers” as they are called, and as the protests head closer to the convent what will the nuns do about it, and just how will they solve a problem like Mary?
This is a bold, unique at times hilarious production, with some fantastic performances, and razor-sharp script. However, the further you dive into the narrative the darker it becomes, exploring themes such as tolerance, the over reliance on artificial intelligence, and other factors that divide us.
The play opens like an extended episode of Victoria Wood’s classic sitcom, Dinner Ladies, sweet, charming and hilariously funny packed full of well observed punchlines. There numerous strong comedic set pieces as Sister Mary adapts to her new environment and how it reacts to her. However, it’s the final act where the tone shifts becoming more of a thriller.
I felt that the production somewhat loses its way a little after the interval, which is a real shame, it would benefit from another edit. It does manage to get back on track though with a powerful, haunting final 30 minutes. The ensemble cast are excellent throughout: Saroja-Lily Ratnavel gives a fantastic performance, as the innocent, sweet natured Sister Theresa, displaying a gift for comedy. Breffni Holahan as Sister Mary, commands the stage, demanding your attention throughout, with a very physical performance. Olwen May is in fine form as the strong yet cynical world-beaten Sister Constance. In addition, there is a powerful performance from Yandass Ndlovu in two very different yet pivotal roles
This is a strong showing from all six actors who all work hard throughout with each one getting their moment to shine. Electric Rosary despite some minor flaws is a hilarious, ambitious production with a great deal to say about modern times and well worth a watch.
Electric Rosary is at the Royal Exchange Theatre till the 14th May tickets available here.
Sheila’s island is an adaptation of Tim Firths comedic play “Neville’s Island” – This laugh aloud version is written for an all female cast.
At the beginning of the performance we meet four middle aged women, whom having misinterpreted clues on a team building exercise have ended up washed up and stranded on a small island in the Lake District. We witness the stages that each of these unique characters go through over the days they are marooned as they become desperate to be rescued.
Now clearly there is a target demographic for this show, and it won’t be for everyone. But luckily for me I’m a forties something woman and this show sang to me. I could identify a little bit with every character and I’ve certainly met each of these women in the workplace in my lifetime.
I found it engaging and hilarious – the gags just keep coming and it explores so many relevant every day issues that Middle Aged women face.
The cast were outstanding – Abigail Thaw’s Denise was the character that you hated but loved in equal measure – Thaw’s comedic timing and expression were incredible. There is a clear chemistry between the cast members – but the too-ing and fro-ing between Thaw and Rina Fatania as Julie was hilarious. It’s like the script was written for them.
Judy Flynn holds the story together in her portrayal of Sheila – her monologues keep the plot moving and the audience interested in those occasional moments where the scenes start to drag a little. Sara Crowe’s character Fay provides us with an insight into emotional loss and guilt, but sometimes it feels like these issues needed to be developed further in the script.
The comedy that comes out of the contents of Julie’s backpack is side splitting. We all know someone who goes camping or adventuring with every single item they could possibly buy at the outdoor adverture shop. But the scene with the sausage is absolute genius! I’m not sure I will ever be able to eat a sausage from a hotel breakfast in the same way again.
Special mention needs to be given to the set design by Liz Cooke- the uneven ground brings a realistic surface to the set, the actors have to watch each step, helping to portray the setting of a remote island. It’s very clever and means that the set, along with the sound and lighting, become a huge part of the show and without that it wouldn’t have the same organic feel to it.
All in all this was a fabulous production, with excellent acting and comedy. All that was missing was greater pace in some scenes and perhaps some further character development.
If you’ve ever been on a corporate team building weekend away you will definitely recognise these unhinged yet lovable characters.
Sheila’s Island is on at The Lowry until Saturday 2nd April tickets available here.
Box of Tricks recently announced that the postponed 2020 tour of the critically acclaimed immersive play The Last Quiz Night on Earth written by Alison Carr will return, visiting venues this Spring and offering audiences a very different experience of live performance.
Opening Night spoke to writer Alison Carr to hear a little more about the process involved in creating the show and what audiences can expect from this innovative comedy.
ON: What inspired you to write The Last Quiz Night On Earth?
AC: The idea of a quiz night kept popping into my head but I’d dismiss it because I was worried it’d been done too often before. So I kept plugging away and overcomplicating things, until eventually I thought okay, lean into it – a quiz night AND what? A quiz night AND the world is about to end. It all opened up from there and a quiz night became the only way to tell this story. It brings so much to explore like togetherness and community, comradery, competitiveness. Throw into the mix an asteroid heading straight for us, and the stakes get higher. It’s the final chance to say the unsaid, heal rifts, get the last word, make peace with regrets or try to do something about them.
ON: How does the play fit in with your previous work?
AC: There are elements there like a fractious sibling relationship, and having something quite extreme or unexpected going on. But overall it’s quite a departure, especially the characters’ interaction with the audience. My jumping off point was to write something fun. Around the time I got the call from BOTTC I’d been researching a lot of serious, dark material for other plays I was writing. It takes its toll. So when Hannah (Tyrrell-Pinder, Director) got in touch my first thoughts were “yes please” and “for my own well-being, it’s got to be fun”. Plus I always want to be challenging myself, not trotting out the same-old, same-old. And just like ‘dark’ doesn’t mean humourless or hard-going, ‘fun’ certainly doesn’t equal something fluffy or meaningless. It is the end of the world, after all.
ON: How did you get into writing?
AC: I wrote my first play at school – a version of Cluedo (don’t sue me Hasbro). I directed it too, and played Mrs Peacock. I clearly had delusions of grandeur. I’d forgotten about that until I went to answer this question, and I was going to say I had my first stab at writing a play for my University’s theatre society. I directed that one too, but wasn’t in it. So I was gradually lessening my megalomaniac tendencies.
After I graduated I kept writing around jobs. I wrote a comedy called Patricia Quinn Saved My Life. It was all very daft but I could let loose because I never thought it’d see the light of day. It got picked up by a company for the Edinburgh Fringe and became my first professional production. It went down really well and made me think maybe I had something and I could keep going.
ON: How does it feel to see your work on the stage?
AC: It’s amazing and terrifying. I don’t write for the love of sitting at my desk for hours, tearing my hair out over structure and dialogue. I write to have it made, for the joy of being in a rehearsal room and being part of the process of it coming to life. I love the shared experience of theatre. That I get to be in the same space as the audience and that we are all breathing the same air as the characters on stage as the events unfold in front of us. It’s incredible and such a privilege. I often end up watching the audience watching the play. That said, it’s also sick-to-my-stomach nerve wracking. What if the audience don’t like it, it isn’t clear, they don’t laugh, they’re bored, they leave disappointed? All of that keeps me awake at night.
ON: Which playwrights inspired you?
AC: Victoria Wood was, is, and will always be my biggest inspiration. Her voice is so distinctive, and so Northern. She’s why I tried writing anything in the first place. She brought joy to so many and achieved so much. I’ll always try and see any Edward Albee or Tennessee Williams plays I can – they’re so big and fearless. Martin McDonagh’s The Beauty Queen of Leenane is one of my favourite plays. Lee Hall, Bryony Lavery, Zinnie Harris, Annie Baker, debbie tucker green. Having said all that, I’m not so much a fan of particular playwrights as I am plays and theatre in general – I try and see as much theatre as I can in the North East and beyond.
ON: What was the best bit of advice you were given when you started out?
AC: I can’t remember the exact quote, but the gist was ‘you need to take yourself seriously as a writer’. I think it was a confidence thing. I was reluctant to jump in with both feet cos what if people didn’t like what I was writing or it turned out I actually wasn’t very good. If I kept it all at arm’s length and didn’t invest too much, then it couldn’t hurt me. But ultimately you have to give it your all – at least I do. So I try to take my work seriously but not myself.
ON: What is next for you?
AC: I’m lucky that some of my projects that were paused due to the lockdown are now starting to remerge. One play idea that was in its earliest days, the company and I have totally scrapped and started again with – so that’s beginning to findits feet. And I’m well underway on a new play I was approached to write in the middle of last year. I’m a different writer than I was when theatres shut down in 2019 and I hope I can keep moving forward and keep making work that I love.
ON: How does it feel having The Last Quiz Night on Earth come back?
AC: I’m delighted! Like all the plays that had to close in March 2019, it was very abrupt and it’s felt like unfinished business ever since. Kathy, Rav, Fran and Bobby are characters who have been in my life for so long now, and I’m excited to hang out with them again. Plus I’ve written a brand new quiz for the show – so if you saw it before, you can come back and take part all over again!
ON: Finally, why should people come to see The Last Quiz Night On Earth?
AC: Well, there’s a quiz – a real one. You don’t have to be good at quizzes (I’m not) or, if you are, great – come and show off. And when you’re not trying to remember which British city hosted the 1970 Commonwealth Games, there’s a story unfolding around you about family and regrets and last chances. I wouldn’t want anyone other than Box of Tricks making The Last Quiz Night On Earth. Their work is never pretentious or intimidating, it’s welcoming and warm and a good night out. What better way to spend the apocalypse?!
The Last Quiz Show on Earth comes to The Station, Irlam in association with The Lowry between 22nd-26th March. Further info and tour dates can be found here.
*Images used are from rehearsals, credit Grant Archer
Back in July 2021 Artistic Director at the Octagon Theatre, Lotte Wakeham, chose The Hound of the Baskervilles to open the revamped theatre in Bolton. Directed by Wakeham, it proved to be a smart choice, as it received huge critical acclaim and was the perfect way to showcase the talent at the Octagon. On the back of its success the production is now undertaking a nationwide tour hitting The Lowry, Quays Theatre this week for a run of shows that will delight and entertain!
Under the stewardship of UK tour director, Tim Jackson and adapted for the stage by Steven Canny and John Nicholson, the plot remains faithful to Sir Arthur Conan Doyle’s original. Sherlock Holmes and faithful companion Dr Watson are recruited to investigate the mysterious death of Charles Baskerville. Has Baskerville fallen victim to the infamous Baskerville curse that has befell so many of his ancestors, or is there a more rational explanation?
Those expecting a faithful and straight laced reworking of this classic tale are in for a shock. This is an innovative, funny and downright absurd reworking of one of Conan Doyle’s best loved works. Within the opening five minutes our trio of actors break ‘the fourth wall’ and directly address the audience to explain that for both artist and financial reasons the three of them will bring all the characters to life.
What follows is a comedy masterclass from the three leads, Nial Ransome, plays it relatively straight as the rather dim-witted Dr Waton, whilst Jake Ferretti and Serena Manteghi are a force of nature, as they undertake the majority of the character swapping, with Ferretti playing Sherlock Holmes, as well as various suspects. Whilst Manteghi, plays the role of Sir Henry Baskerville, the heir to the Baskerville fortune, and the next in line to be ‘bumped off’, as well various other Baskerville family members and three subtly different Dartmoor Yokel’s.
The script in conjunction with energetic performances of the three actors is the main strength to show. Paying homage to silent cinema, slapstick and the ‘whodunit’, Canny and Nicholson have taken Conan Doyle’s to be frank ridiculous plot and ramped it up to 11, allowing for even more absurdity, from OTT accents (not Canadian as Manteghi as points out), dance routines, and farce. Often throughout the show I was reminded of the productions of the Spymonkey theatre company, albeit a more toned down, child friendly version.
This is a fast paced, fun filled at times surreal show, which gives an irrelevant take on this world famous piece of literature. The only rational explanation is to go see the show at your nearest convenience!
The Hound of the Baskervilles is on at the Lowry till Saturday 5th February. Tickets can be found here.
This year Sale Nomads celebrate their 75th birthday, and they kick off the festivities by delivering a fabulous production of Aladdin directed by Derek Stuart-Cole (his 40th year of Nomad pantomimes). This is panto at its most pure: gender role reversal, a storyline of good vs evil, slapstick comedy, elaborate costumes, audience participation and of course a comedic dame.
This tale is set in China’s old Peking and follows the journey of Widow Twanky (Mike Sammon) and her sons; Aladdin (Jess Dyer) and Wishee Washee (Sean Botham) as they embark on their quest for wealth in order to free themselves from the evil clutches of Abanaazar (Peter Birch). Aladdin is torn between his love for Sheherezade (Niamh Rushton-Nutt) and his loyalty to his widowed mother.
The casting of Mike Sammon as the dame is a triumph. The audience falls in love with the hilarious dame from the minute she enters the stage. The costume department have excelled themselves and the snappy banter between Twanky and Abanaazar had us in stitches – some jokes in there just for the adults as is expected! And didn’t disappoint.
There is an array of young talent in this production. The dances are well choreographed and the dancers themselves captured the attention of our mini reviewers, who were up and dancing in the aisle. The chorus and the children all deliver well rehearsed and confident performances.
Abanaazar’s “henchmen”, Echo and Ditto (Jon Gardner) are an hilarious duo – their constant misunderstanding and comedic timing had us giggling away throughout the show. The two genies bring a sprinkling of magic to the show.
Eventually, Aladdin finds his fortune in colourful Baghdad and we are treated to a magical carpet ride and a wonderful rendition of Flying without Wings by the talented Jess Dyer.
Aladdin is reunited with his true love and together Dyer and Rushton-Nutt (Sheherezade) deliver an astonishing version of Everything I do, I do for you. These two young women have talent by the bucketload- it’s hard to believe that this is amateur theatre. They are pitch perfect and ooze confidence.
Sale is so fortunate to have a production of this standard on their doorstep – there is something for everyone in this and Sale Nomads should be congratulated on the standard of this wonderful production. If you haven’t seen it yet, get your tickets ! It’s an absolute must-see to wash away those January blues ! Tickets available for Wednesday 12th – Sunday 16th
St Helens Theatre Royal and Regal Entertainments Ltd have a great reputation for putting on brilliant Pantomimes, and boy do they rise to the challenge this Christmas!
There’s aerial acrobatics, fire jugglers and even some super soakers in this high energy, fantastically funny, festive offering. The stellar cast features several much-loved Theatre Royal regulars as well as Hollyoaks hunk David Tag as The Ringmaster and the wonderful David Phipps-Davis as Dame Gertie.
Regal Entertainments Ltd add a little more meat to the bones of this classic fairytale as Goldilocks (Olivia Sloyan) finds herself at the centre of a fight to save the Three Bears as well as her beloved Big Top from the hands of evil Baron Von Vippemall (Timothy Lucas). With a sprinkling of romance, a dash of peril, a fabulously flamboyant Dame and a delightfully daft Silly Billy (Scott Gallagher), Goldilocks and The Three Bears has all the ingredients for a perfect Panto.
The script is jam-packed with hilarious gags while the opportunity to shout, cheer and join in with the fun begins almost immediately. Scott Gallagher ramps up the humour as the hilarious Silly Billy, this is his third consecutive Christmas appearance at the Theatre Royal and the audience absolutely love him. He engages both adults and children alike while his timely quips about Downing Street parties are ingenious.
Theatre Royal favourite Timothy Lucas most recently seen as hero of the hour Jack, in Jack and The Beanstalk is superb as dastardly villain Baron Von Vippemall. He’s clearly loving every minute of this role; teasing and taunting the audience to brilliant effect. His versatility as an actor providing laugh out loud moments throughout, it’s always a joy to see him perform.
Hunky ringmaster David Tag impresses vocally while Olivia Sloyan shines as Goldilocks, the duo make for a perfect pairing. David Phipps-Davis brings the flamboyance as Dame Gertie with some of the most spectacular costumes and wigs I’ve ever seen while his powerful voice takes the ensemble numbers to the next level.
Nazene Langfield’s choreography is delivered with precision by the cast and Senior Dancers while Regal Entertainments Ltd’s glittering set and sumptuous costumes add to the sparkle of this festive piece.
We don’t see some of the usual songs/sketches associated with Panto however they aren’t missed as tongue twisters and sweet throwing replace them, keeping the pace quick and the exuberance high.
Regal Entertainments Ltd have delivered an absolute Christmas cracker this year, you’d struggle to find a better quality, funnier show at a more reasonable price for all the family to enjoy. Little ones were mesmerised while there’s plenty of cheeky jokes for the adults to knowingly giggle along with.
Goldilocks and The Three Bears is fabulous, family fun, seeing the joy on children’s faces in the theatre truly cementing the importance of live theatre. If you’re struggling to find your Christmas cheer then look no further and get yourself down to St Helens Theatre Royal, this dazzling production will leave you feeling merry and bright. Another smash-hit for Regal Entertainments Ltd with my mini reviewers asking can we watch it again before we’d even left our seats! A magical, hilarious, and brilliantly entertaining production from start to finish.
Goldilocks and The Three Bears is on at St Helens Theatre Royal until 9th January tickets available here.
Opening Night 