Interview| Lucy Moss | Six the Musical

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Not one but SIX queens are coming to reign over Salford this festive season proving there is much more to each and every one of them than just a forgettable name in an ancient rhyme.

Smash hit musical SIX arrives at The Lowry for a strictly limited 2 week run from Tuesday 4th until Sunday 16th December as the six wives of Henry IIIV take to the stage in a sassy and sensational sisterly retelling of their forgotten stories. Prepare for their feisty and fabulous her-storical her-stories in full, feel-good glittering glory.

Opening Night were lucky enough to catch up with writer Lucy Moss (one half of writing team Moss and Marlow) ahead of the show’s arrival to hear a little more about this infectious production that’s currently taking the theatre world by storm.

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After meeting at Cambridge University Lucy Moss and Toby Marlow knew pretty quickly they wanted to write a show together; Lucy explained how the disparity of meaty theatrical roles for females was something they thought needed taking on: “In musical theatre particularly the majority of the female songs are about how much the character loves their husband or how sad they are because the man they want to love them doesn’t love them enough. We really wanted to create something that had more interesting and also funnier parts for women, it’s crazy really because it was just created as something for fun and our biggest worry was that our friends would think it was really bad. It’s been so cool it really has.”

Lucy added: The was a slot within the university musical theatre society to take a show to the Edinburgh fridge so Toby applied and came up with the idea of doing a show a bit like a pop concert with microphones and dance routines, I almost never thought it would happen but now we’re here about to go on tour and it’s been incredible.”

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What is striking (and utterly brilliant) about Six is walking into a traditional theatre setting and seeing an all-female cast accompanied by an all-female backing band, sending out a very strong and positive message to theatre goers, we are in effect seeing the ultimate girlband on stage. Lucy explained: “We really wanted to tell the stories from the women’s perspective rather than it being just about Henry and how they died which is what we’ve all heard before, we wanted to tell more about their lives and their experiences. The message of the show and its growth very much coincided with the #metoo movement so I think the themes felt very relevant to a lot of people when the show first started taking off and it’s just snowballed from there.”

If you think you’ve heard earworms before then you ain’t heard nothing yet, prepare to be humming the SIX soundtrack for the rest of time as each track is as catchy as the last and could give any pop princess a run for her money, Lucy explained: “We definitely based the Queens on different pop divas so for example Catherine of Aragon is based on Beyoncé, Anne Boleyn is based on Lily Allen, Catherine Parr is Alicia Keyes and so on.”

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As well as being massively entertaining, seriously just wait until you see it, SIX is also impressively educational as each Queen becomes so much more than just a name, we asked Lucy out of all the fierce Queens did she have a favourite? “My favourite Queen’s story is Anne of Cleves because she’s the only one who has a happy ending really, yes she got divorced but she ended up living in this really fancy palace in Richmond, drinking mead, going hunting and outlived every one of them even Catherine Parr who survived, she absolutely lived her best life til the end of her days.”

From starting off as a small fringe production the rise of Six fever really has been incredible. “We had absolutely no idea the show was going to do anything more than the fringe, I was excited then at the thought of somebody maybe coming to see it and inviting us to do one night at a fringe venue in London, that was like, in my wildest dreams and now were here it’s so cool, we’re definitely super hyped to come to the Lowry.”

Six the musical opens at The Lowry on Tuesday 4th December and runs until Sunday 16th December to ensure you have a spectacular Sixmas book your tickets here.

 

 

 

Calendar Girls

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Opening Night verdict ⭐️⭐️⭐️1/2

Reviewed by Nikki Cotter

There can’t be many people who don’t know the magnificent story of the Rylstone & District Women’s Institute and their impressively innovative way of raising funds; but, if there are then lucky for them writer Tim Firth and long-time friend Gary Barlow have worked their collective storytelling magic to create a musical about the ground-breaking WI ladies.

When Yorkshire lass and WI member Annie (Anna-Jane Casey) loses her beloved husband John (Phil Corbitt) to leukaemia a seed is planted by best pal Chris (Rebecca Storm) to raise funds for a comfy sofa for the visitor’s room at Skipton General. These funds won’t be raised with a traditional raffle or tasty bake sale, but by the girls creating their very own ‘alternative’ calendar for distribution across the Dales.

There are tender moments throughout this moving piece, where tears threaten as the cruelty of life is played out, none more so than during Anna-Jane Casey’s emotional delivery of Kilimanjaro. These poignant moments are interspersed wonderfully with witty laugh out loud moments which firmly remind us that in life if we want to experience the highs we must also accept the heart-breaking lows.

As the idea of the ladies baring all inches closer to becoming a reality we see them wrestle with their own insecurities and daily battles offering the realisation that we all face similar difficulties and obstacles in life.

Firth and Barlow’s pairing is an impressive one, the script is warm, genuinely funny and entirely relatable while accompanying songs flow seamlessly as lyrical extensions of the script.

The reworking of this piece from its original 2015 incarnation sees some notable changes. The decision to opt for a celebrity based cast works well in part with each actor enormously likeable and engaging however the multitude of accents robs the production of its down to earth, grass roots charm and at times is distracting from the story. As the Yorkshire grit and determination is lost so its authenticity is watered down.

Likewise designer Robert Jones has scaled back the previous touring set, the green drawers and cupboards which created the rolling Yorkshire hills now replaced with a regularly opened gate, effective still but its impact not comparable.

Despite these quibbles Firth and Barlow’s superb storytelling still shines through as the cast take us on an inspirational story which turns tragedy into triumph.

Anna-Jane Casey and Rebecca Storm as best friends Annie and Chris are hugely impressive, pals through thick and thin their pairing is convincing and genuinely touching.

Karen Dunbar as Cara is hilarious, add to this a superb turn from the legendary Ruth Madoc who delights in every opportunity to raise a laugh.

There’s also a wonderfully written comedy sub-plot in which the younger members of the cast fight their own battles of teenage angst, first love and the absolute worst….embarrassing parents. Isabel Caswell, Danny Howker and Tyler Dobbs as Jenny, Danny and Tommo respectively are joyful to watch.

Calendar Girls portrays the inspirational story of the courageous women of Yorkshire with wit and genuine warmth, while there is sadness the bloody-minded defiance of these strong Northern women is there for all to see. Heart-warming in its delivery and inspiring in its message.

Calendar Girls is on at The Lowry until Saturday 10th November tickets available here.

Let It Be

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

Direct from London’s West End Let It Be, has been on a magical mystery tour across the UK for quite some time now, the final stop off is the Manchester Opera House.

Chronicling The Beatles meteoric rise from their humble beginnings at Liverpool’s now world-famous Cavern Club through to global superstardom. We taken on a journey through a 40 song back catalogue of some John, Paul, George, and Ringo’s finest works including legendary sets from The Royal Varity Show, Shea Stadium and the Apple roof top gig.

Opening rather cheekily with four analogue television sets placed in the corners of the stage: they’re playing adverts and songs from the era. ‘The Fab Four’ arrive on stage and immediately launch into She Loves You, followed by I Wanna’ Hold Your Hand, which immediately has the crowd singing along. As demonstrated in the Shea Stadium section The Beatles famously quit touring because they couldn’t hear themselves play, based on the audience reaction tonight I can see why: most the tunes played tonight had the audience belting them out as if they on stage with the band: the more up-tempo numbers seeing them dancing in the aisles.

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The cast are on great form: Emanuele Angeletti (Paul McCartney) John Brosnan, (George Harrison) Ben Cullingworth (Ringo Starr) and Michael Gagliano (John Lennon) do a fine job in brining the boys to life. Some would argue that this would be one of the easiest gigs on the planet but if you get it wrong I’m sure you’d know about It! Luckily these talented performers manage to not only bring the music to life but also show the personalities within the band off as well. From George Harrison’s shyness, Ringo’s playfulness, to Lennon’s over-the-top show man (which can be a little grating at times,) there are subtle character traits throughout, at one point Angeletti performs minus his shoes!

One minor quibble are the accents: they are a bit all over the place and can be a little distracting, but you cannot fault them on the vocals and musicianship. The Beatles had George Martin as their 5th member and the cast of ‘Let It Be’ are no different with musical director Daniel Weiss joining them on keyboards.

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Those expecting a slice of musical theatre or a musical jukebox show may need to temper their expectation: this show is a concert only with plenty of theatrical elements including some great authentic costumes, and high-end production values.

The second half poses a what if question: that being what if the band reformed to play live on John Lennon’s birthday. We are treated to more Beatles hits as well as few from their solo offerings which included: My Sweet Lord, a haunting version of Imagine and a full throttle rendition of Live and Let Die. For me I loved this bold attempt to freshen up the act, whilst some audience members weren’t as keen, maybe it was a lack of familiarity with the material. The show soon gets back on familiar territory with a blistering encore of Back in the USSR, Let It Be, and Hey Jude, which had everyone on their feet and rattling their jewellery.

Overall this was a great show what it lacks in emotional depth it makes up for in sheer entertainment. Let It Be will have you singing and toe-tapping away all night long.

Let It Be is on at the Manchester Opera House until Saturday 27th October tickets available here.

Will Varley| The Ritz | Manchester

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For four days this week, Manchester is the home of folk music as various venues around the city play host to some of the folk scene’s biggest names. Billy Bragg, This is the Kit, and Eliza Carthy & the Wayward Band will all be performing sets throughout the city.

The festival opened Thursday night at the Ritz with a set from singer/song writer Will Varley, who is currently in the midst of a UK tour. The London based artist has just finished a tour of the USA, Europe and various festival appearances, to huge commercial and critical acclaim.

Varley’s current tour is in support of his 5th studio album Sprit of Minnie and tonight’s show at the Ritz is a brief showcase of what fans can expect from his current tour and if tonight’s show is an indication, then they’re in for a treat.

The show has something for everyone, from political and social commentary in the haunting, The Man Who Fell to Earth, to scathing self-examination, through to good-natured humour in tunes such as I Got This Mail.

The set shifts from Varley backed by full band and him flying solo: Varley has a truly exquisite voice that can command and hold a room, as we go glide effortlessly from an audience in reverence during his more serious output, to having the crowd sing-along as if it at a huge stadium gig.

Varley’s show is like a rollercoaster filled with exhilarating  highs and lows, that will leave you grinning from ear-to-ear, and then looking at your feet in sombre reflection within the blink of an eye. He is certainly a talent, and one worth catching when he plays live.

Will Varley is currently on tour, Tickets can be bought here.

 

The Vyrll Society

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“Any Scousers in?” lead singer Mike Ellis nonchalantly asks the rather snug audience members at Manchester’s Soup Kitchen venue. This is a question that never really goes down well in most Manchester venues, (pretty much the same way asking if any ‘Mancs’ are in if you were in a Liverpool venue) however this questions isn’t met with the usual customary boos; the response is met with a few cheers and no animosity. There are two reasons for this. Number 1, The Vyrll Society have developed a loyal fan base after years of honing their craft live, which has seen them creating quite a buzz. The second is that not everyone is brainless dickhead and inner-city rivalries take a back seat to decent music!

The constant touring of pubs, clubs and festivals has certainly paid off for the band, as stated they have a developed a loyal fan base, and with their debut album, Course of the Satellite going into orbit this August, you can but only see big things for this five piece from Liverpool.

Opening with live favourite Shadow of a Wave, the band work their way through a set that include singles Flight and a Perfect Rhythm. It’s easy to see why the band have garnered so much interest, filled with catchy baselines and killer licks: this is dreamy psychedelia, that will have you tapping your feet , sure there are no sing-along anthems but there plenty of tunes where you can a grove on too. The stand out track was the Thriller-esque Inner Life.

The band have drawn obvious comparisons with The Zutons and The Coral, mainly due to their association with the late Alan Wills, founder of the Deltasonic label, but for me there’s plenty of early Pink Floyd, Peter Green’s Fleetwood Mac and the criminally underrated The Music.

The band look the part, they sound fantastic and are developing a great visual show, as a host of shapes and a kaleidoscope of colours are projected out though out their set . It would appear they’ve fully embraced the rock ‘n’ roll life style slower track Soft Glue dedicated to the band’s tour manager who is suffering from pneumonia.

This was a great showcase for a hugely talented band, which is quite rightly getting the praise they deserve. Their tour continues in Leeds tonight and wraps up on Friday with a huge hometown show at the O2 Academy in Liverpool Academy. They’re back in Manchester in February and will almost certainly and quite deservedly be playing bigger venues, catch them and join the society whilst you can because the sky is the limit for these lads.

Vyrll Society Play Liverpool O2 Academy on the 19th October tickets can be bought here.

Tags: The Vyrll Society, The Soup Kitchen. Live Music, Guitar, Course of the Satellite,

Interview | The She Street Band

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Writer Matt Forrest

Seemingly every summer, Bruce Springsteen and the E Street band make their way across the pond for a series of sell-out stadium gigs, however with ‘The Boss’ treading the boards on Broadway how will the Springsteen ‘diehards’ get their fix? Well look no further than The She Street Band: a group of super talented ladies who just happen to be the world’s first all female Springsteen covers band.

Made up of players from the UK, Ireland, Sweden and the United States, who are: Jody Orsborn (bass) Calie Hough (drums), Mara Daniele (guitar), Lynn Roberts (keys), Clare McGrath (glockenspiel), Isabel Lysell (lead guitar) and Yasmin Ogilvie (sax). Opening Night caught up with founder Jody Orsborn to find out about the band, their upcoming tour, and just what makes Springsteen so special.

Opening Night: You played Latitude festival this summer. How was it?

The She Street Band: We played a 4,000 person tent which was pretty surreal. It was interesting because there were definitely people there that knew Bruce and all the lyrics but there were also a lot of younger folks who didn’t seem to know the songs but still danced along the whole time. We thought that was really cool.

ON: Who’s idea was the band? How did it come about?

Jody Osborn: I went to see Bruce Springsteen play at Wembley in 2016 for The River tour. Needless to say, it was a bit of a life changing experience. I just had such an incredible time at the gig that when I left, I said, I need more of this in my life…and the idea for the band just popped into my head. Luckily 6 other super talented ladies also thought it was a good idea and The She Street Band was born.

ON: What can fans expect from the tour?

JO: We aren’t a traditional cover band. There is no one Bruce (4 different ladies take lead vocals throughout the set) and as such, we aren’t trying to be him. What we try and do is to portray the energy and spirit of his music, with a female twist. The shows are definitely good fun, at least for us!

ON:There is such an extensive back catalogue  of songs to choose from, how do you choose the set list?

JO: There are a few songs that have to be played like Thunder Road, Dancing in the Dark and Born to Run but we also try and throw some surprising ones into the mix like Jackson Cage or Stolen Car, ones that you might not expect. All of the band members have a vote in which songs we add and we actually put a poll out to our Instagram followers recently to break a tie (Cover Me was victorious!).

ON: Do you or any of the band members look up to draw inspiration from a particular E- Street band member?

JO: They are all incredible! How can you choose just one? Personally, as the bass player, I look to Garry Tallent. He’s such an incredible bass player. He’ll take a relatively simple song and just do this stunning bass part that adds so much depth and feeling to it. I think he’s amazing. Plus we’re both from Tennessee so his nickname Tennessee Terror can apply to me as well.

ON: The band share vocal responsibilities which is a unique dynamic, is it a case of you all picking your favourite song and belting them out?

JO: A bit! But each of the singers sort of represent a different side of Bruce. We have party Bruce, rock Bruce, brokenhearted Bruce, so some songs naturally fit in better with one vibe or vocal style than another. It all works out!

ON: What has been your favourite or most memorable experience you’ve had since joining the band?

JO: Can I say three?

1) At our very first gig, walking out into the room towards the stage and not being able to get through because it was so packed and thinking…what have we done?!).

2) The 1-2-3-4 moment in Born To Run at Clapham Grand. They had a confetti cannon and it was just so epic.

3) Garry Tallent rocking our merch.

ON: How does the experience of performing Springsteen’s songs compare with seeing them performed by the man himself?

JO: There isn’t anything that compares to seeing Springsteen live but it is so incredible to play the songs and have a roomful of people dance and sing along with you. The songs are so powerful and being able to create that environment where everyone can come together and enjoy them is a pretty amazing feeling.

ON: Aside from Springsteen what else is on the She Street band juke box in the tour bus?

JO: We all have super eclectic tastes! We listen to a lot of classic stuff like The Kinks, Beatles, Bob Dylan, Patti Smith and then newer artists like Angel Olsen, Big Thief, Courtney Barnett, Snail Mail, Adult Mom, Shannon and the Clams, Seinabo Sey, King Tuff and Lykke Li.

ON: Do you or any of the other band members have any other music projects we should know about?

JO: Yes! Mara Daniele, the rhythm guitarist, has her own solo project and is about to release some singles. Isabel Lysell, the lead guitarist, is in a duo called Smoke Rivers. Lynn Roberts, the keyboardist, is in the band Joe Innes and the Cavalcades. Clare McGrath, the glockenspiel player, is acting in a play until the end of the month in London called Eris, which we went to last week and was brilliant. Yasmin Ogilvie, the sax player, is in an all-female horn section called Apex Horns. Calie Hough, our drummer, plays for a number different projects. She was actually just doing percussion for a play at Shakespeare’s Globe in London. And I’m a DJ. I’ve DJed for the likes of Secret Cinema, Lacoste and more. So we keep busy!

ON: We were lucky enough to Steve Van Zandt  play the Cavern Club, he was on great form and looked ecstatic, What would be your dream venue to play?

JO: The Stone Pony in New Jersey of course! Gotta play at the Springsteen mecca, right?

ON: Do any of your shows involve plucking an audience member out of the crowd like the Dancing in the Dark video?

JO: We play it by ear a bit. At out February gig, a fella actually jumped on stage from the audience. The bouncer thought it was a normal stage invader and started to come over to pull the guy off. Luckily, Ally who runs the venue, Clapham Grand, was side stage and knew what was happening and whisked the bouncer off so we could have a good dance! At our May gig, the stage was too small so I actually jumped into the audience! So…I suppose folks will just have to see what I do.

ON: Have you or any of the band managed to catch the ‘Springsteen on Broadway’ and can you get any tickets? (Only joking)

JO: I wish! Sadly none of us have made it out there but a lot of friends have and I am massively jealous.

ON: What informs your music/songwriting?

JO: Springsteen! As a cover band, we didn’t have to write the songs but as women, we do try to put our own unique spin on them. The songs are so full of depth and real, raw human emotions. They are incredible to work with and play and to think about how the meanings can change when they’re from a woman’s voice.

ON:How have you evolved as a artist evolved over the years?

JO: When we first started the band, we stuck really closely to playing the songs as is. But as we’ve gone on,   though we play some of the songs quite straightforward, we’ve also gotten more comfortable playing with the layers more and putting more of our own mark on them, while hopefully staying true to the original. For example, all of the girls in the band can sing so we focus on adding a lot of harmonies in.

ON:What are you up to at the moment artistically?

JO:We are about to go on tour across the UK and Ireland. It’s our first proper tour and we are really looking forward to heading out on the road and meeting Springsteen fans across the country! We’ll be heading to Brighton, London, Glasgow, Dublin, Liverpool and Manchester.

ON:What’s on your rider?

JO: Nice wine! We’re classy ladies. And gin.

ON:Tell us your most embarrassing or surreal experience.

JO: At our gig in March, we were doing a song for the first time, “Candy’s Room”. I play bass and sing on it. I was rocking away on the bass and singing and was super stoked when I made it through this whole thing without messing up… only to be told after that the bass had gotten unplugged right at the beginning and I couldn’t be heard the entire time.  Shame as I thought the non-existent bass sounded great!

ON:What song do you wish you’d written?

JO: Born To Run. It’s such an epic anthem! And the feeling that the “1-2-3-4 moment” gives to people when you hear it live, it’s really a moment like no other.

OP: What’s your worst lyric?

JO: Now don’t get me wrong, I love this song. One of my favourites in fact. But the lyric “hey little girl is your daddy home” from I’m On Fire….oh no no no.

The She Street Band are on tour throughout October and will be playing locally in both Liverpool and Manchester, tickets are available here.

 

 

 

Rock of Ages

Rock of Ages UK Tour ©The Other Richard

Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Nikki Cotter

Big hair, big laughs and even bigger voices, Rock of Ages is lewd, loud and most definitely proud!

This riotous rock ‘n’ roll extravaganza return’s to Manchester this week as part of a new UK tour, with uncomplicated debauchery at the top of its agenda. Right from the opening scenes it’s clear that Rock of Ages is a show which doesn’t take itself too seriously and is more than happy to poke fun at the era, the script, the cast and even the audience who absolutely lap it up.

Rock of Ages UK Tour ©The Other Richard

Rock of Ages transports us back to the 1980’s where small town girl Sherrie (Danielle Hope) and wannabe rock God Drew (Luke Walsh) have headed to Hollywood to pursue their dreams. Things of course don’t quite go according to plan and despite clearly fancying the pants off each other their love story seems more stop than start as they search for their happy ending on the Sunset Strip. Add to this a couple of German property developers who want to turn their beloved Bourbon Room into a snazzy mall and we soon find that not only do they have to try to save themselves but the Strip too.

There’s so much to enjoy about this show that the lack of narrative really doesn’t matter, the cast came here to rock our socks off and that is exactly what they do. It’s clear to see why this feisty and fun show has a huge cult following, not only are the performances top class the show is also incredibly witty with an infectious energy.

Rock of Ages UK Tour ©The Other Richard

Lucas Rush shines as the cheeky narrator Lonny, his boundless energy and naughty charisma make him an absolute joy to watch. Danielle Hope is perfectly cast as Sherrie, belting out the big ballads with apparent ease while her love interest Luke Walsh comes close to stealing the show with his knock-out performance as Drew, add to this a power-house performance from Zoe Birkett as Justine and you’ve got some of the finest voices in musical theatre right there on one stage.

Rhiannon Chesterman and Andrew Carthy as Regina and Franz respectively are an absolute scream, their outrageous duet during Hit Me with Your Best Shot has the audience howling; while audience favourite Kevin Kennedy strikes the right note as bar owner Dennis.

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Director and Choreographer Nick Winston ensures the pace is fast and the choreography is as tight as a rock stars jeans as the incredibly talented cast belt out rock classic after rock classic including The Final Countdown, We Built This City, In Want to Know What Love Is and the infectiously uplifting Don’t Stop Believin’.

It’s cheesy and it knows it but oh so entertaining. With its tongue firmly in its cheek, stunning performances and lots of cheeky fun, Rock of Ages is big, bold, in-your-face theatre which entertains from start to finish.

Catch it at Manchester’s Opera House until Saturday 29th September tickets available here.

The Return of The Soldier

Pic copyright Phil Tragen 28.08.18

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Writer Nikki Cotter

Based on the 1918 novella of the same name by Rebecca West, The Return of The Soldier is an emotive new British musical brought to atmospheric and achingly beautiful life in Hope Mill Theatre’s intimate space.

The fourth of this year’s five in-house musicals from the award-winning pairing of Hope Mill Theatre and Katy Lipson tells the story of a soldier returning from WWI who is suffering from memory loss, or as we now know it a symptom of PTSD. Rather than returning to the wife he no longer remembers he returns to his first love who now married herself has never quite forgotten the joyful days they shared. What follows is a tender and fascinating story as the pain of unexpressed emotion has far-reaching and heart-wrenching effects.

Pic copyright Phil Tragen 28.08.18

Tim Sanders’ beautifully crafted book and lyrics are delicately directed by Charlotte Westenra, paired with Charles Miller’s stunning score, The Return of The Soldier is quite simply, beautiful.

The simplicity of the piano and cello ensure this new chamber musical packs and emotional punch delivered in the most exquisitely affecting of ways, highlighted magnificently by Aaron J Dootson’s lighting design.

Chris Jenkins gives a commanding performance as returning soldier Christopher Baldry, lost in what he remembers as his idyllic past, he convincingly switches from harsh and abrasive in his confused present to playful and mellow in his reignited past, illustrating the complexity and tragedy of the effects of war perfectly.

Pic copyright Phil Tragen 28.08.18

Tessa Kadler impresses greatly as Chris’ forgotten wife Kitty, last seen at Hope Mill Theatre in Pippin, Kadler’s portrayal of a wife grieving for a husband who is still very much alive is both powerful and impassioned, her despair at the rejection she feels channelled into a determination to fix this desperately sad situation. Kadler sings beautifully with warmth and emotion, a contrast to her seemingly cold nature and a hint of what is to come.

Naomi Slights is perfectly cast as Margaret Grey, the working class first love of Captain Baldry. She delicately manoeuvres between being a loyal and committed wife to Mr Grey (Marc Pickering) and embracing the opportunity to feel alive again with Christopher Baldry. Her characterisation is impressively strong and draws you in entirely as she journeys from ecstatic highs to guilt ridden lows with just the right amount of measured energy for the demands of this complex and emotional role.

Pic copyright Phil Tragen 28.08.18

Marc Pickering gives a masterclass in acting in his character portrayals of both William Gray the loveable, dependable, safe, pickle-making husband of Margaret and Dr Gilbert Anderson the eccentric, highly animated and incredibly amusing Freudian-esque psychoanalyst, his performance as both characters is utterly joyful to watch.

Esme Sears shines in the role of Christopher’s dedicated cousin Jenny, the story dictates she is more an observer than a character who drives the story but her emotional connection to the other characters adds depths and richness to the emotion of this fascinating story in which she ultimately plays an important part. Sears portrayal is delicate and gently determined delivered with striking style.

Pic copyright Phil Tragen 28.08.18

The Return of The Soldier demonstrates perfectly how compelling quality storytelling can be, there is no need for flashy chorus numbers here as the superb acting, sublime score and delicate direction combine to create a cleverly constructed, tender and absorbing story. Kudos to producers Hope Mill Theatre, Aria Entertainment and Guy James Theatrical Ltd for once again bringing bold and inspiring new work to the forefront.

Full of heart and achingly beautiful, The Return of The Soldier is a simply stunning must-see.

The Return of The Soldier is on at Hope Mill Theatre until Saturday 29th September, tickets can be found here.

*Photo credits Phil Tragen

Madagascar the Musical

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Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Nikki Cotter

Based on the smash-hit animated film which took the world by storm in 2005, Madagascar the Musical succeeds entirely in bringing the much-loved family favourite from screen to stage in a bold, bright and brilliant way.

For those not in the know, Madagascar tells the story of four animal friends from New York’s Central Park Zoo, Alex the Lion, Marty the Zebra, Gloria the Hippo and Melman the Giraffe. Marty dreams of a life in the wild and on his 10th birthday decides it’s time to take action, making a bid for freedom, or in this case the open plains of Connecticut. Things however don’t quite go according to plan as all four friends find themselves unexpectedly stranded on the far-flung island of Madagascar, battling with both Alex’s killer instincts and King Julien’s killer dance moves!

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The colourful characters and distinctive design we know and love from the film are all there, Max Humphries exceptional puppetry design ensures young and old are instantly captivated as this fast-paced and punchy production quickly whips the audience in to a feel-good frenzy.

2016 X-Factor winner Matt Terry makes a confident stage debut as Alex the Lion, he is charismatic and extremely likeable, belting out the big notes with apparent ease and cheeky charm. His trusty pals too are perfectly cast. Antoine Murray-Straughan impresses enormously as Alex’s best friend Marty delivering Fabian Aloise’s choreography with style, Jamie Lee-Morgan brings in the humour as hypochondriac Melman while Timmika Ramsay ramps up the sass as hippo Gloria.

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Elsewhere Jo Parsons gives a hugely comical performance as party animal King Julien. His brilliantly bonkers take on the Lemur monarch coming close to stealing the show. Special mention must also go to Shane McDaid who gives a stand-out performance in his dual roles of Skipper and Maurice.

Kevin Del Aguila’s script is tight and crammed full of fun, a lot of care and attention has been taken to ensure this production remains true to the film ensuring fans will not be disappointed. The energy and enthusiasm of the hard-working cast is infectious, their command on Max Humphries puppetry design via Emma Brunton’s puppetry direction brings each and every character to fun and furry life, captivating even the youngest of children. The musical numbers entertain although competing with the anthemic I Like To Move It is never going to be easy.

Madagascar is entertaining and uncomplicated fun for all the family; with an incredibly talented cast, impressive bold design and a joyful message of friendship at its heart. Madagascar will charm you entirely, a roarsome treat from start to finish!

Madagascar the Musical is on at Blackpool’s Opera House until Saturday 15th September tickets can be found here.

Interview | Circa Tsuica | Now or Never

Circus 5

The circus is coming to town! Well more accurately, fabulous French circus company Circa Tsuica will be setting up camp in The Lowry Plaza ahead of their new show Now or Never with the MAPAS Jazz Band, Salford.

Watch the performers fly through the air, bounce around the big top and cycle on trick bikes all while belting out funky brass music!

First performance is Thursday 30th August and here at Opening Night we got the chance to talk to co-director and performer Tom Neal and workshop leader and performer Baptiste Bouquin to find out a little more about this spectacular show.

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First of all, what is Now or Never all about? What are you trying to achieve with the show?
Tom: Our first aim is to create a really great link between us and the audience – but also among the audience themselves. Everyone is individually welcomed and invited to share something to eat and drink. One way or another, we want everyone to become part of the show.

We perform a lot on bicycles because they are universal objects that everyone uses or sees on a daily basis. A bike is less abstract than a trapeze or teeterboard – though we perform on those too – and it’s great to show people just what can be done on one!

Live music, composed by Guillaume Dutrieux, is also very central in Now or Never. It’s not just as an accompaniment – we all play our instruments and do circus tricks at the same time. Blending the acrobatics and the music really enhances the way we reach the audience.

In the end what people usually remember is how close to us they feel – and that is reciprocal, we feel the same way too. This show is an ode to tolerance, sharing and living together in peace.

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The young musicians of the MAPAS Jazz Band, Salford are performing with you in the show, how have you worked together?

Baptiste:  Before the Circus arrives, we have had two sessions where we rehearse the sections of the show that they will play with us. We help them with the usual musical parameters – rhythm, sound, playing together etc – but also with the specific skills that they will need to be part of the show. They’ll need to know all the music by heart so they can interact with the others, they will have to move on stage, they will have to be characters (for example, they’ll be guests in a wedding scene). Some of the bands are surprised that they need performance as well as music skills!

When the circus arrives, we do the dress rehearsals in the Big Top with all the team. We want the young musicians to really make the most of the whole experience, not just be focussed on notes or sheets of music.

Maybe that’s what we want to share with them, that music is huge and there are so many different ways to perform it. In Now or Never, it’s linked to circus, to a relationship with others, to joy and risk. It’s not just about playing notes – even if I would prefer them to play the right ones!

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Now or Never takes place in Circa Tsuica’s travelling Big Top rather than a theatre. What difference does that make for you as performers? And what about for the audience?

Tom: Performing in a circus ring is very, very different to performing on a stage. There is no ‘cheating’ in a ring, the audience is all around you and there is nowhere to hide. All the action is in the centre so the the focus is greater. For the audience, every point of view is unique and close-up. For us, it is a challenge because we have to make every perspective interesting. At the same time, we can really feel the closeness of the audience which is a great pleasure. The audience can see each other and we like to play with that in the show. We change people’s perspective, get people talking to each other while eating some crepes, we want everyone to feel that they are invited to a giant party.

Baptiste: When the audience arrives they expect to just go and find their seats but, actually, it’s already like a party, or the main square of a village. There’s a buffet right in the middle of the track, people are offered drinks by the artists, they are welcomed. It’s a very warm atmosphere, the opposite of the pomp and circumstance of some theatres.

How do you work together to set up the tent – and the camp around it which you will live in while you are in town?

Tom: Well, setting up the tent and everything inside takes us about a day. It is usually a collaboration between us and a group of local people provided by the venue. I am the tent master and I explain to the locals how things should be done. In our group everyone knows what to do so it’s quite organic. If the location allows it we then place the caravans in which we live all around the Big Top to recreate a tiny village. Before and after the show the audience is invited to walk along them to share a glimpse of what our lives can be, since in “real life”, back in France, we live in the same village (but in houses now) and run our company together collectively.

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How does daily life work while you are there? Who does the shopping, the cooking, the washing? Do the kids go to school?

Tom: We have a very long preparation day before the show, we need to prepare the food and drinks we offer to the audience, clean the stage, wash the costumes, check the props, instruments and the bicycles, warm up, rehearse the music and the circus and so on… We also have our own showers and laundry in a semi-trailer, we have a cook preparing nice meals, a nanny, a teacher, with a mini-circus-tent-school, in order to be as autonomous as possible, so when I say we’re recreating a real village it is not a joke…

Is it true that once the tent is up, that there will be music rehearsals during the day that passerbys can come along and watch and listen to?

Tom: Sure, we’re always happy to welcome people to have a peep when we rehearse, so come along if you hear noises in the Big Top…

Now or Never opens on Thursday 30 August and runs until Saturday 1 September tickets are available here.

Adults £16, Under 16’s £13 – Family tickets sold in 4’s (minimum 1 adult) £12.25

 

Theatre of Hate | The Ruby Lounge

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Writer Matt Forrest

It would be fair to say that we had a reprieve from the hot, muggy, sweaty weather this weekend, however those in attendance at the Ruby Lounge may be forgiven for thinking that nothing had changed as Theatre of Hate, are in town and turning the place into an inferno! Tonight the Ruby Lounge was something akin to a leisure-centre steam room, albeit one you could sweat out the weekend’s alcohol consumption and top it up at the same time!

Fair play to front-man Kirk Brandon, who surely must win the award for the hardest working man in music today. Having just finished a series of dates with Spear of Destiny, he has marched straight into a tour with Theatre of Hate and add into that a few solo shows that will see him on the road till December…..judging by the performance tonight it’s a wonder that there’s anything left of him. This is a performance of raw energy-filled passion. Sporting a rather fine Mickey Mouse t-shirt, he’s in fine voice and looking in incredible shape for a 61 year-old.

The band arrive on to stage and launch into the anthemic Original Sin, which brings out the first of many, not sing-a-longs, more shout-a-longs: this is followed up by Judgement Hymn, which opens with a full on dirty saxophone solo from John ‘Boy’ Lennard. From there on in we are treated to a barn storming set anchored by Stan Stammers thunderous baseline, at its peak in the high octane 63.

The band have been promoting the 2016 album Kinshi for quite some time now but they managed to mix the set with tracks from the album and classic hits. Each song was greeted like a returning hero by the baying faithful: all things considered, both band and crowd are on good form for a Sunday, without a thought or care for the Monday morning hangover.

The band encore with The Klan and the Do You Believe In The Westworld, which brings out the largest cheer and caps off a blistering evening of punk, that’s more polished than raw.

As Brandon is on the road for quite some time, he’d be well worth catching. Regardless of what guise you see him in, you’ll be guaranteed a full-throttle performance which may just inspire you to raise some hell!

Theatre of Hate tour dates and information can be found here.

DUSTY – The Musical

Opening Night verdict ⭐️⭐️⭐️⭐️DUSTY

Reviewed by Nikki Cotter

Hailed as one of Britain’s most successful female singers, Dusty Spingfield’s turbulent life is absolutely perfect fodder for a musical biography. From political trailblazer to pop chart dominator, the deeply private life of the insular diva offers exuberant highs and heartbreakingly emotional lows; all delivered to a sensational soundtrack of 19 of the chart legends most loved songs.

BAFTA & Olivier nominated writer Jonathan Harvey’s script directed by Maria Friedman moves at a swift pace, giving a whistle stop tour of the legends life, which beyond the kohl eyes and blonde bouffant many of us actually know little about.

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There is intimacy and intensity in the form of Dusty’s relationships with partner Lois (Joanna Francis) and Mother (Roberta Taylor) intermingled with the great humour and fun she finds in her longstanding friendships with best pals and vital support network Pat (Esther Coles) and Ruby (Ella Kenion). One thing Harvey doesn’t shy away from is the dark depths of Dusty’s self-doubt, insecurities and dramatic breakdown. This is not a santitsed jukebox musical but a gritty and powerful piece of musical theatre which succeeds in giving you a rich insight into the complex life of the legendary icon.

Katherine Kingsley as lead Dusty is phenomenal. The three-time Olivier-nominated actress captures the very essence of Dusty to perfection, she belts out the big numbers with effortless style and portrays convincingly and with great depth the pain and loneliness of the fallen diva, ready to rise again to the top of her game when the call finally comes. Her emotionally charged performance more than does justice to the late great Dusty, every iconic hand gesture and breathy note feels authentic as she entirely captivates.

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Dusty’s impressive back catalogue is used to great effect to move the storyline along, while some songs are delivered by different cast members it’s the more concert style delivery from Kingsley that really takes this production to another level, ensuring a standing ovation during You Don’t Have To Say You Love Me even before the song ends. Other stand out moments include her descent into drugs, drink and debauchery during I Close My Eyes and Count To Ten, her creatively staged comeback during What Have I Done To Deserve This and the touchingly tender and deeply poignant Goin’ Back which is movingly sung from her death bed.

The strong supporting cast is chock-full of talent which special mention to Joanna Francis who gives a strong and gritty performance as Lois, Dusty’s backing-singer and partner. Esther Coles and Ella Kenion as Pat & Ruby, Dusty’s PA and hairdresser but ultimately friends and confidents who bring real wit and joy to the production.

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Tom Pye’s and costume design perfectly sets the scene and ensures the passage of time is clear. Video projections generate movement to the static set allowing bedrooms to become theatres, even broadcasting real footage of Dusty’s funeral.

As a first outing this is an enormously entertaining production, there are a few moments in the first half which feel a little clunky where Harvey’s incredibly witty script could be pulled back a little to allow the emotion to rise or allow the audience a moment to feel and experience the tension but these are very minor niggles in what is a superb show which will not only educate and inspire but will undoubtedly remind you of why the legendary Dusty and her smoky lyrics have such timeless appeal.

This is a slick and stylish production with real depth and genuine heart, add to this a leading lady who will quite simply blow you away and you have an absolute must-see show.

On at The Lowry until Saturday 28th July here.