Confession time foks, I’ll lay my cards on the table from the get go, I haven’t seen the 1971 cinema release of Bedknobs and Broomsticks. Sure I’ve seen The Beautiful Briny Seasequence from old Disney compilation programmes they used to put on TV way back when. So I went into the live theatre show not really knowing what to expect in the way of plot, themes, or production, and I’m happy to say I was not disappointed, this was the perfect piece of escapism theatre, much needed for young and old alike.
Set during the blitz, the show opens with a fantastic 10 minute speech free sequence that sees the Rawlins’ siblings, Charlie, Carrie, and Paul orphaned during an air raid and moved from London out to the countryside. The children are understandably traumatised by recent events and apprehensive about the future. Here they encounter Mrs Hobday (Jacqui Dubois), who informs the children that they are to be placed in the care of the rather mysterious and eccentric Eglantine Price, (Dianne Pilkington).
Miss Price seems to be the recipient of lots of packages, including a broomstick, from a professor Emelius Brown (Charles Brunton), in London. Eglantine has a spell that she believes will end the war, and the needless killing war brings, but she’ll need the help of the children and the Professor. So begins an adventure that will take the children back to London, under the ocean, and to the mysterious island of Nepeepo. Can this quintet end the war as well as find something they all need, a family.
This is a production of the highest quality, from the hugely entertaining, song-and dance routines, mesmerising puppetry to magical set pieces. In addition some beautiful costumes and set designs capped off with some wonderful performances, it’s truly a feast for the eyes and ears!
Dianne Pilkington is perfectly cast as witch in training, Eglantine Price, her turn on A Step in The Right Direction, sets up a performance that is fun yet vulnerable and quirky, which in less capable hands could become irritating, but Pilkington manges this perfectly. The chemistry between her and Charles Brunton, develops naturally and doesn’t seem forced. Brunton is equally as good as the charming yet unlikely hero Emelius Brown.
It can often be distracting when an older actor plays a teenager in productions and at first I must admit I was a little taken back by Conor O’Hara as eldest sibling, Charlie, however O’Hara provides much needed depth to the role. He reminded me of a young Jim Dale, which very much played to the nostalgic element of the production, and is certainly no negative criticism.
There are plenty of song and dance numbers throughout, with stand out numbers, being the full company rendition of Portobello Road, which showcases the fantastic work of all the ensemble cast, and the stunning costume design of Gabriella Slade. Whilst Emelius and Eglantine highlight the exceptional puppet designs of Kennth Macleod.
However it’s not just big show stoppers that Bedknobs and Broomsticks gets right, the downbeat soulful, Nobody’s Problem, by our heroic fivesome, sets up the final act perfectly.
What elevates this production to the next level is the magical input of Jamie Harrison, flying beds, unruly brooms and a truly magical, jaw-dropping and well crafted finale.
With the current situation in the world, a great deal of the plot seems to resonate more than it would in normal times (whatever that is these days) and packs more of a punch. However this is a good old-fashioned romantic adventure story, filled with charm, whimsy and hope, which will enthral, enchant and entertain children (and adults) of all ages.
Bedknobs and and Broomsticks is on in the Lyric Theatre at The Lowry until 19th March 2022 tickets available 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
‘I thought you all were a bunch of little douche bags, but now I know that you’re soul brothers and sisters.’
It’s no secret that turning the 2003 comedy cult classic ‘School of Rock’ into a musical had been on Andrew Lloyd Webber’s agenda pretty much ever since film’s inception. However, after making its debut on Broadway in 2015 and having since taken the West End by storm, it seems hard to believe Webber’s School of Rock is only just now embarking on it’s UK tour debut.
Based on the cult film, School of Rock the Musical follows the story of Dewey Finn (Alex Tomkins), a low-life loser who’s just lost his job and been kicked out of his own band. He becomes the ultimate opportunist when he poses as his substitute teacher flatmate, Ned Shneebly (Matthew Rowland) in order to pay his rent. However, teaching fourth-graders at the $50,000 dollar-a-year prestigious Horace Green would appear to be harder than he had hoped, that is until he witnesses their musical talent and forms…. ‘The School of Rock!’
‘Music is what speaks to you and that’s what matters most’
A story ultimately about music’s transformative influence and power, particularly on young people; Webber is wise to keep in many of the classic iconic tunes (some a little re-mastered) but still holding their authentic power and affability, whilst complimented by some perfectly punchy and well-conceived new theatrical songs, all helping to aid the plot and character development, such as that of Principle Mullin’s (played wonderfully by Rebecca Lock) powerful solo number ‘Where did the rock go?’. The music is what brings all the elements of Director Laurence Connor’s production together and nothing is more impressive than the big group ensemble numbers, which certainly bring the ‘WOW’ factor. It also has to be mentioned that whilst Webber introduces us to the show via a recorded voice message letting us know that ‘yes the children really are playing their instruments live’, Riley’s ‘Grown Up Band’ doesn’t miss a beat and are the consistent backbone of the show.
Visually, it’s a feast for the eyes too. Louizos’ set effortlessly turns from classroom to rock stage in a matter of seconds and with the help of Katz’s lighting design and Potter’s sound design, which are equally impressive, we feel like we have been transported to a live rock concert!
It’s never a good idea to fixate on one specific actor playing one specific role, but having become so synonymous with the film, sitting down in the auditorium and much to my childhood disappointment, I had to remind myself that no, 52-year-old Hollywood actor Jack Black would not be bouncing up on this Manchester stage some 18 years later to reprise the role of Dewey Finn. That disappointment was however swiftly and skillfully dismantled by the buoyant and hilarious Alex Tomkins (alternate Dewey Finn) who stormed the stage, literally, exuding the most incredible amount of sheer and consistent energy and vivacity for the entirety of the two and a half hour production that I have probably ever seen.
The classroom scenes certainly prove to be the most heart-warming and enjoyable, as indeed the all ‘acting’, ‘singing’, ‘dancing’ and ‘musical instrument playing’ kids are the beating heart of this production. They pepper about the stage with bucket loads of enthusiasm from the off, but truly establish themselves in Act 2 as we see their character’s personal stories develop. As an ensemble they are quite the force and as such it is extremely hard to pick any standouts, but on this occasion it has to be said that Souparnika Nair’s Tomika had the entire auditorium firmly fixated in bewilderment at her breathtaking vocals as she performed ‘Amazing Grace.’ Special kudos must also go to the casting team here who have cast over 40 children alone (to allow for obvious cast rotations).
Webber, Fellows and Slater have masterly created a production that maintains the best of the film’s original warm fuzzy and familiar moments that in turn makes it a nostalgia inducing and an emotionally uplifting evening to all those ex-15 year olds, who like myself, would have grown up watching the film on repeat and known it word for word, whilst simultaneously establishing a current, up-to-date, modern musical, that equally speaks to the youth of today and families alike.
A whole lot more than just Rock n Roll, this is real life affirming stuff…
The perfect ‘January blues’ pick-me-up for the whole family, School of Rock the Musical plays at the Palace Theatre, Manchester until the 15th of January tickets available here.
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.
Crossroads Pantomines production of Aladdin tells the tale of Aladdin: not as you know it, but instead as a version with many more laughs and spectacular crowd pleasing numbers.
We join the journey of Aladdin (Matthew Croke), whose only dream is to marry his one true love; Princess Jasmine (Rumi Sutton). However, the road to true love does not run smoothly, thanks to The Supreme Leader of Mancunia (Nicola Sanderson) and Abanazar (John McLarnon) : cue plenty of booing and hissing from the audience.
Pic copyright Phil Tragen 2021
This pantomime has everything that British pantomime should have – with bells on! The absolute star of the show is the incredibly talented comic genius that is Ben Nickless (Wishee Washee), who helps his brother Aladdin overcome all of the hurdles put in front of him on his quest to marry Jasmine. Nickless’ Covid rap gives us an hilarious spin on the last two years of life in a pandemic, with plenty of laughs about masks, testing and lockdown life. The audience were in absolute stitches during his attempt to use a loop pedal to give us a rendition of an Ed Sheeran classic.
Alexandra Burke plays the role of Scherezade, who provides Aladdin with assistance throughout his journey, and who gets us moving in our seats as she belts out the numbers – the crowd absolutely loved her rendition of Bad Boys, and the ensemble provide the dance moves that we all expect from a spectacular panto like this.
Pic copyright Phil Tragen 2021
Eventually, after much turmoil and misadventure and the most amazing carpet ride, Aladdin gets his girl. But not before we are treated to the most hilarious number “What I would be” from Nickless, Dupree, Croke and Sanderson. The audience were doubled over laughing at the comic genius of this scene, the timing is impeccable and Ben Nickless deserved a standing ovation just for this!
The set and costumes are vibrant and majestic. The use of puppets for the genie and the snake are both comic and transfixing. Ceri Duprees (Widow Twanky) outfits are extravagant and mesmerising, just as she is. She is everything she should be. Hilarious, sarcastic, and with a pair of legs to die for! Her renditions of Lady Gaga’s Poker Face and of Bang Bang will be talked about by this audience for a long while.
Pic copyright Phil Tragen 2021
This pantomime is the tonic we really don’t realise we need until we get it. With all the uncertainty at the moment this is the light relief that we Mancunians are desperate for, so get your booster and get down to the Opera House for an addition boost – that’s all you need this Christmas.
Aladdin is on at the Manchester Opera House until Sunday 2nd January tickets available here.
In the novel series, A Song of Fire and Ice, it was often said that “Winter is coming”. Well, over in Narnia winter has well and truly arrived and never has it looked so spectacular!
For the holiday season, the Lowry are staging Sally Cookson’s adaptation of C S Lewis’s family favourite, The Lion, the Witch and the Wardrobe which is a visual feast for the eyes.
Sticking relatively close to the source material, this musical production is set during World War Two and follows the evacuation of the Pevensie children: Peter, (Ammar Duffus) Edmund, (Shaka Kalokoh) Susan (Robyn Sinclair) and Lucy (Karise Yansen) from London to Scotland, to the home of the rather odd, but whimsical Professor Kirk (Johnson Willis).
Whilst exploring the house the youngest sibling, Lucy is drawn to the wardrobe where she discovers a gateway to the cold, bleak land of Narnia. There she meets the kindly but scared faun, Mr Tumnus (Jez Unwin). Here Mr Tumnus tells Lucy that Narnia is being held hostage by the White Witch, who has placed the land under a curse destined to experience the harshness of winter forevermore.
Lucy goes back to her family, but none of them believe her. She later returns through the wardrobe followed by Edmund, however Edmund meets with The White Witch (Samantha Womack) who with the temptation of Turkish Delight, decrees that Edmund must bring his brother and sisters to meet her.
Eventually all Pevensie children land in Narnia, where they encounter Mr and Mrs Beever (Sam Buttery and Christina Tedders respectively) as well as a whole host of woodland creatures who are part of the rebellion, battling to end the tyranny of the White Witch and bring about the return of their leader, the lion, Aslan (Chris Jared). With the battle lines drawn it’s time for the children to pick their sides for the ultimate battle of good versus evil.
This is a show packed full of quality with top-end production values which allows the audience to be transported between blitz time Britain and the fantasy world of Narnia. From the fantastic puppetry work of Toby Olié and Max Humphries responsible for the beautiful, graceful, Aslan to the amazing work of Joanna Coe and Susanna Peretz in the costume and make up department who bring the creatures of Narnia to life, from the plucky forest freedom fighters to the haunting, grotesque disciples of The White Witch.
With a production of this scale there are huge expectations of magic, fantasy and huge set pieces which are more than met. The first meeting with The White Witch as she arrives on a huge chariot is excellently executed, as is The White Witch’s elevation to the skies of Narnia covering the stage below with a blanket of snow. These are just two of the numerous awe-inspiring moments.
It’s not just visually where the production excels, Benji Bower and Barnaby Race’s blend of folk and roots compositions work beautifully well, giving the production a human, rustic quality.
In addition there is a superb cast, at first it’s always quite jarring seeing adults playing children, but you soon forget this as we see the four children go from somewhat annoying teenagers to ‘badass’ heroes. Chris Jared, working side-by-side with the puppet incarnation of Aslan, gives the beast an authority and dignity, obviously with Aslan there are comparisons to Christ, but Jared’s lion is more Churchillian, with his roaring battle cry.
With Samantha Womack’s White Witch, we have a cold, icy villain, void of emotion, this along with her movement around the stage seemingly gliding, yet stalking make her a truly memorable villain.
It’s shows like this that make going to the theatre one of the most joyous experiences we can have; The Lion, the Witch and the Wardrobe will captivate and enthral audiences from 9 to 90. I’ve no doubt the film version will be on TV during the festive season but treat yourself to this theatrical production and you won’t be disappointed.
The Lion, the Witch and the Wardrobe is at the Lowry until the 15th January 2022 tickets available here.
Stick Man tells the tale of the wonderful Stick Man, who one morning goes for a jog (and at times a boogie ) where he suffers some significant misadventures!
Firstly, he is chased by a dog who mistakes him for a stick to play with. Then he is taken by an energetic young girl who fancies a game of Pooh sticks and thinks he might just be the best Pooh stick she has ever seen. Next, he loses his way and is swept out to sea, where he eventually washes up on a beach and is used as a bat for a game of bat and ball, but the final straw is when he is used to place a flag on top of a sandcastle!
We’re taken on a journey through the seasons, as he tries to find his way home, to his stick lady love and his stick children three.
This production is everything that is great about children’s theatre. It’s characters are wonderfully energetic and enthusiastic. The songs, simple and catchy.
I took my, normally fidgety, two year old. This was her first live theatre experience and I was nervous of how she would react, but I needn’t have worried. She sat silently mesmerised throughout the entire production; only letting out the occasional gasp of “wow” and joining in with the “he’s behind you” chorus from the audience.
Jordan Louis-Fernand (Stick Man) Alice Imelda (Stick Lady Love) and Jonathan Ainscough (Actor/Musician) play a variety of roles with great enthusiasm and provide us with some outstanding pieces of physical theatre. Their performances are warm and engaging for the younger audience. The scenes are diverse – ranging from the high energy of the dog chasing the stick, to the tranquility of the ocean waves and the hypnotic snow of winter.
The lighting, set and costume design work well together to provide us with a simple, but effective setting to this Julia Donaldson favourite.
This production takes us on a journey of laughter, heart warming moments and pure Christmas cheer. I’ve seen Stick Man three times now and this was by far my favourite production. It is a family must see this festive season.
Stick Man is on at The Lowry until Sunday 9th January tickets available here.
Accessible Performances
Relaxed | Thu 9 December | 1.30pm Audio Described by Caroline Burn | Sat 18 December 2pm | Touch Tour 1pm BSL by Emma Jane Heap | Sun 19 December | 2pm
To book accessible tickets please call 0161 876 2183
The Not So Ugly Sisters is a musical alternative tale of Cinderella and what happened after the “happily ever after” told from a whole new perspective, brought to us by Wrongsemble, Leeds playhouse and Red Ladder.
Situated in a hair salon the story is told by the captivating Barb (Lucy Rafton) and Dolly (Daisy Ann Fetcher), Cinders step sisters, on the day of Cinders marriage to Prince Smarming. An event which Barb and Dolly have not been invited to, much to their great disappointment.
They share their childhood memories of growing up with Cinders, through funny stories and fabulous musical numbers. Barb (Lucy Rafton) brings hilarious sarcasm and Dolly (Daisy Ann Fletcher) an energetic positivity that is both comic and moving. The script by Elvi Piper is witty, intelligent and contemporary which engages the younger generation with references to “hashtags and dms”. KS2 and KS3 Christmas school trip audiences are going to love the hilarity and wittiness of the dialogue.
Make no mistake, the success of this show is largely thanks to the pure talent of Lucy Rafton and Daisy Ann Fletcher: Their vocals are flawless, their comic timing incredible. An absolutely magical partnership which brings the tale to life and engages the audience (which spans generations) fantastically. They are a dynamic, well rehearsed duo – bouncing off of one another.
The set and lighting design works brilliantly for this intimate show and the use of props to enhance the storytelling works equally as well.
The people of Sale are lucky to have this on the doorstep over the Christmas period. If you haven’t booked it yet, you absolutely should! A must see, belly laughing alternative to the traditional tale for the modern day audience.
The Not So Ugly Sisters is on at Waterside, Sale, until Saturday 1st Jan tickets available here.
If there’s one thing theatre audiences love, it’s a Disney adaptation. From full-scale productions such as the long-running Lion King to the newly opened five-star smash, Frozen, right through to magical musical numbers and glittering finale scenes in local pantos; Disney’s influence runs right through British family theatre and is often the first theatrical experience many children have.
Latest adaptation, Bedknobs and Broomsticks flew into Manchester’s this week, stopping at the Palace Theatre on it’s World Premiere UK tour, amazing to think despite celebrating it’s 50th anniversary there’s never been a full-scale production before!
While the lesser recreated of the Sherman Brothers penned Disney hits (Mary Poppins, The Jungle Book, Chitty Chitty Bang Bang) it’s charm and appeal have made it a firm favourite for fans, while it’s classic score is still a childhood staple. Yes, the plot is a bit bonkers at times, but for many that’s a huge part of this cult classic’s charm.
Film fans will be happy to hear that this stage adaptation remains largely faithful to the film with some padding out of backstories which works beautifully.
Set in the 1940’s, evacuees and siblings Charlie, Carrie and Paul have been sent to the countryside after losing their parents during an air raid in London. Miss Eglantine Price takes them in and they soon discover all is not as it seems as apprentice witch Price reveals she just needs one final spell from former tutor Professor Emelius Browne in order to use her magic in a bid to help the war effort. With the help of an enchanted bedknob their adventures begin!
Additional songs by Neil Bartram fit well with the much-loved classics, Portobello Road, The Beautiful Briny, The Age Of Not Believing and my personal favourite Substitutiary Locamotion with new addition Negotiality feeling like it’s been there all along.
Jamie Harrison’s impressive set and dazzling illusions really add to the magic of the piece. The bed really does fly as does Miss Price who swoops up into the air on her broomstick and as for the final battle scene, well seeing really is believing!
Gabriella Slade’s costumes are stunning, intricate, elaborate and utterly gorgeous while there’s a wonderful use of puppetry weaved into the production. Designer Kenneth MacLeod has created some spectacular puppets while the cast bringing them magically to living, breathing life. Norton the Fish portrayed fabulously by Rob Madge deserving of a spin off show of their own! While actors being turned into rabbits right before your eyes is a whole lot of fun! This really is physical theatre at its finest.
Dianne Pilkington is sublime as Miss Englantine Price, witty, charismatic and with a voice that’s pure perfection. Charles Brunton compliments her wonderfully as Emelius Browne, his eccentricities and magic skills endearing him to the audience immediately.
Conor O’Hara gives eldest child Charlie true depth as he demonstrates powerfully the influence war has on the life of a child. His journey as Charlie breathing fresh ideas into to this classic tale.
The quieter moments are given the time that they deserve to be impactful while the big full ensemble numbers really take the entertainment levels up a notch. The Portabello Road scene and the Beautiful Briny dance competition are a joy and leave you wishing there were a few more full ensemble numbers to enjoy. I must also mention how wonderful it is to see such a representative cast on stage, more of this please!
The ensemble work hard in this show, moving sets and becoming scenery throughout. This took a little getting used to and on occasion felt like there was a little too much to look at. The pace of Act 1 slows a little at times while Act 2 burst into gorgeous, glittering life and before you know it the bows are being taken.
This is a beautifully crafted show, technically brilliant, superbly designed and wonderfully delivered. There’s peril, romance, incredible puppetry and thrilling magic. Film fans will come away happy while an army of new fans no doubt will be gained. An enchanting production which will delight young and old alike.
Bedknobs and Broomsticks is on at the Palace Theatre until Sunday 24th October tickets available here.
As one of the first live events to happen in Manchester after the third national lockdown, it was a welcome treat to attend SecretCity’s Opening Night!
Happening at EventCity throughout summer 2021, we were given chance to have an early experience and watch the 2020 remake of The Secret Garden at the drive-in cinema.
Arriving into SecretCity, we were greeted by an immersive Alice in Wonderland enchanted tunnel, complete with a water pistol armed dancing mushroom and a zebra on stilts.
As we followed the journey round, we saw an Alice in Wonderland scene with a vibrant butterfly who threw a giant beach ball our way! This was a fantastic welcome, and really set the tone for the rest of the event.
Before the film, a DJ set was blasted out of speakers and on radio waves – perfect for a party in the car!
The SecretBar was a huge hit with attendees, including a popular beer garden area for catching up with friends. The drinks were flowing and plenty of hot food was on offer to warm us up.
Spectacular aerial artists and roaming performers put on a stunning show throughout the build up to the film.
Popcorn in hand, we headed back to the car for the film to begin. A light show and pyrotechnics were a feast for the eyes in the last few moments before the film began, whilst the DJ encouraged the audience to flash their car lights and honk their horns!
Various films are being shown throughout the summer on the UK’s biggest LED outdoor screen, but the stunning remake of The Secret Garden was the perfect choice for opening night.
There are plenty of photo opportunities at SecretCity – so dress up and enjoy a night out from the comfort of your own car!
Regal Entertainments and St Helens Theatre Royal’s usual run of family-favourite pantomimes throughout the year came to an abrupt halt when the Coronavirus pandemic closed theatres across the country back in March. The creatives rallied together producing an innovative virtual show: Rapunzel: The Lockdown Panto, back in April and now through lots of hard work, commitment and Covid compliance bring Beauty and The Beast to the stage, opening the doors of the Theatre Royal to audiences once again.
Directed by Chantelle Nolan and written by Liam Mellor, Beauty and The Beast tells the famous fairy-tale of a prince cursed to live as a monstrous beast, the only thing that can break the curse is…of course true-loves kiss! But just how does a furry monster find true love, especially when we are all social distancing!
Regal Entertainments have well and truly pulled out all the stops to ensure their first live show in a long 9 months is an unforgettable one. The script is positively jam-packed with Covid gags with Boris Johnson getting a hilarious ribbing while Joe Wicks, Chris Witty and even the track and trace app all feature.
French Frank and Pretty Polly played by Scott Gallagher and Jamie Greer respectively are a perfect comedy duo, guiding us through the ups and downs of life in the village of Petit Pois as they try and save their master (Andrew Geater) from a hairy ending. They bounce off each other brilliantly, the quick-witted pair are clearly having a ball being back in front of an audience, throwing themselves full throttle into the slapstick silliness as well as offering plenty of cheeky gags for the grownups.
Timothy Lucas as a scene stealing Gaston is an absolute joy, self-obsessed, pumped up and completely outrageous he has the audience in the palm of his hand from his first swivel-hipped lunge onto stage. His mother the Cruella De Ville-esque Madam Botox (Abigail Middleton) is as detestable as her air-head son, the two make a perfectly ghastly pair of pantomime villains.
Olivia Sloyan makes for a superbly sassy Belle while Andrew Geater’s charm shines through as the reclusive Beast. Jenna Sian O’Hara acts as narrator in her role as Fairy Rose, her no nonsense Northern attitude sees her giving as good as she gets in an unforgettable 12 Days of Covid which leaves the audience roaring with laughter (behind our Covid compliant masks of course).
Choreographer Nazene Langfield has created some beautiful numbers for the talented senior dancers, sadly no juvenile dancers this year due to Covid restrictions but the seniors do a wonderful job of filling the stage adding real depth to the musical numbers. There’s some great song choices this year, many with a Covid twist which are an absolute stroke of genius and while the audience can’t participate in the usual way a TikTok dance off fills the gaps perfectly.
By the time of the final transformation scene, you’ll be wishing you could stay in your seat and watch it all over again. This hilarious production at a time when theatre making is more challenging than ever before is an utter treat, just what’s needed to lift spirits, create magical memories and remind us all just how precious the arts are. Kudos to all at St Helen’s Theatre Royal for creating a perfectly safe environment for families to enjoy some much-needed escapism.
Beauty and the Beast is an absolute Christmas cracker, in the words of my Godson Freddie “The best one we’ve ever seen”
In a year where arts organisations and charities have been hit extraordinarily hard by lockdowns and restrictions on social interaction, new innovative approaches have been put in place to ensure their vital work continues.
No-one knows this more than the team at Singing Medicine who have created a limited-edition singing teddy bear to raise vital funds for their work supporting the health and wellbeing of ill children. The bear, named Noah because of its meaning rest and comfort, plays the team’s signature song ‘Music Inside’ when the jacket button is pressed providing comfort to children while encouraging them to sing and play.
We spoke to Rebecca Ledgard, Director of Education, about how the pandemic has impacted and reshaped their approach helping vulnerable children in hospital.
Tell us about Singing Medicine and how it started?
We (Ex Cathedra) were running our Singing Playgrounds project for primary schools which is all about playing through singing. Sally Spencer, one of the singers in Ex Cathedra choir, was working on our community programme and had been involved in some of our Singing Playgrounds work. She was, and still is, a nurse in Birmingham Children’s Hospital. She said, ‘The children I work with need this too!’. We began to explore how we could include the children in the hospital in the Symphony Hall Singing Playgrounds workshops and soon decided actually we should create a special project where we took the singing play to them in their hospital beds.
Why is Singing Medicine important? How do we benefit from singing?
We think singing, and singing-play is really important! Sally describes singing in Ex Cathedra choir as her own singing medicine. We are all really passionate that all children should play and develop through singing and have the chance to enjoy singing. When we sing cortisol is reduced (stress) and feel-good hormones are released. It’s the body’s natural pain killer, all areas of the brain are stimulated, the deeper breathing aids healing and fights infection. And it’s just wonderful to sing with other people. It makes us feel good. When we started Singing Medicine we just wanted not to leave out children in hospital from our education and participation work, but we soon realised how enormously beneficial it was for them for being distracted, soothed and calmed, or stimulated and having fun, and being able to use their imaginations and make decisions through the singing games we create.
The choir has been visiting sick children weekly at the Birmingham Children’s Hospital for the past 16 years, how has the pandemic affected these visits?
The whole team (or nearly) happened to be together on Friday 13th March 2019 celebrating team birthdays when we found out we would not be able to go back on the wards for a very long time. Together there and then we discussed how the children would need Singing Medicine even more so now that they were about to become even more isolated – and we should not stop. We decided there and then that Singing Medicine mission, aims and values didn’t need to change, only how we got Singing Medicine to the children. We started to plan how we could make interactive singing films for the children as though we were still sat next to them.
What is the inspiration behind Noah Bear?
For years we dreamed of having a singing teddy to leave with the children when we left them but this seemed an impossibility. During lockdown Joanna Harrison (The Snowman) imagined and drew us a bear. Vada Recording Studios helped us with the recording to put inside and Louis Kennedy offered to make the singing bear in support of Singing Medicine. Noah Bear has been a real boost to us (we have also felt the impact of these difficult times) and he has inspired our creativity – he now has his own youtube playlist of singing games for the little children!
When you squeeze him Noah Bear sings and then says, ‘Will you sing with me?’ and then continues to sing. We were sent a film of a little girl singing with Noah Bear which was wonderful!
Noah Bear sings a beautiful song. Did the Singing Medicine team compose it?
I composed it to use in one of our SingMaker workshops and Rob Challinor added his magic and brought it alive. We filmed children in the hospital singing the song, coincidentally and amazingly the week before lockdown working with the chaplaincy team.
When we were thinking what song we should put inside the teddy bear Music Inside seemed fitting because the lyrics are ‘Music in me bubbles inside. Music in me makes me smile. Music in me makes my heart sing. I’ve got music inside.’
What is your favourite thing about being a part of ‘Singing Medicine’?
Everything! I get to work with a special group of people, who are joyous and creative and want to make a difference to children. The teamwork is wonderful.
What is one of your most unforgettable ‘Singing Medicine’ moments of the last 16 years?
Each team member has their own special memory that stays with them. I can’t forget how three of us were brought into a room where a large family had gathered, to sing to a child because the grandfather wanted Singing Medicine to be the last thing his grandchild experienced. He sang with us while his daughter rocked her child.
One of the last sessions before lockdown was a little boy sat in his leather jacket on his bed. He was very sick. He was from Syria and neither of us spoke each other’s language, although I attempted thank you at the end. We played a singing game and played some percussion and we laughed together too. He grinned and waved when we left.
Singing Medicine member Gemma always recalls the time we were asked to sing with a patient who had not spoken for 2 weeks after undergoing surgery. The patient was scared of hospital and everything that was going on there. The nurses explained that we would probably not get much response from them. However, we sang and played a jungle game and dad did an Oscar-winning performance of a monkey. The child’s tummy moved as though they were laughing. We then moved on to a picnic song and each adult took a turn as though they were all playing together and including the child. When it came to their turn in the song, mum sang as though helping her, “have you brought the” and she got interrupted by the child at the top of her voice shouting “bananas!”. Other than one whispered “Daddy'” it was the first word she had uttered in 2 weeks.
There are also so many wonderful moments every visit though where a child sings and smiles and we laugh together. The others in the team talk of situations where they were able to distract a child with singing-play when something perhaps painful or horrible was happening to them, or the first time a child spoke after being in a coma and the joy and laughter and happy tears from parents and nurses dancing. It’s not uncommon for a child to sing even though they are not talking. There are so many I couldn’t single out just one.
You’re based in the West Midlands but your work reaches far beyond this location. Can you give us some examples of this?
Birmingham Children’s Hospital is like our home but we have also delivered Singing Medicine to Great Ormond Street, Warwick, and Heartlands. We’ve also presented it in Auckland and Singapore.
And we are now online and so everyone can get involved around the world. Our interactive films are free to access and easily accessed via our YouTube channel Ex Cathedra Singing Medicine – YouTube
Where can you buy Noah Bear? How can people get involved and support the work you do?
There are multiple ways people can get involved and support us. We would be really grateful if people bought their own Noah Bear for a child they know. Every child can benefit from singing with Noah Bear – singing through play. And the sale of every Noah Bear will bring financial support to enable us to keep bringing Singing Medicine to children in hospital – at the moment through our interactive singing films, and one day soon when we can go back onto the wards.
You can also find lots more merchandise to purchase and Christmas gifts to browse at www.bekindsingwithnoah.com
Opening Night 