Plays

Home, I’m Darling

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Darling 1

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Fresh from its Olivier Award success Laura Wade’s new play Home, I’m Darling arrives at the Lowry this week as part of a limited UK tour.

Co-produced by The National Theatre and Theatr Clwyd, Home, I’m Darling takes us into the perfectly stylised 1950’s home of Judy & Johnny; their bliss seemingly as bright as their primrose kitchen. Their marmalade is homemade while their gin gimlets are freshly poured as life in their 50’s bubble bounces along; that is until the rose tinted glasses begin to slip as this cleverly crafted comedy moves into choppier waters as the subtle analysis of gender divide and nostalgic perfection begins.

Judy’s made her choice: rebelling against her upbringing in a feminist commune eating lentil lasagne she now likes things shipshape, living a life of domestic bliss as a picture perfect housewife complete with pastel prom dress & devilled eggs on tap. While her mother argues against this misguided nostalgia insisting that the only people who were truly happy in the 1950’s where white, straight, men as choice, tolerance and acceptance were in very short supply.

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Designer Anna Fleischle has created a magnificent 1950’s haven. The two level set a perfect home with living room and kitchen downstairs neatly topped by a bedroom and bathroom all connected by a central staircase. Director Tamara Harvey ensures the cast make full use of the visually stunning set as each corner of the house is explored and inhabited. The genius scene changes where cast members jive their way around the house add immensely to the charm of this initially playful piece.

Katherine Parkinson is excellent as the insecure domestic goddess Judy, insisting that her feminism is evidenced in the life choices she makes while she attempts to live harmoniously in an inaccurately imagined era.

Jo Stone-Fewings gives a strong performance as husband Johnny, increasingly frustrated with this nostalgic domesticity and what it means for their marriage.

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Susan Brown shines as Judy’s Mum Sylvia, exasperated by her daughters life choices and desperate for her to start living life in the here and now, her scalpel-sharp monologue in Act II is sublime.

The strong cast work together wonderfully keeping the audience guessing throughout as to where this fascinating story will take us. Laura Wade’s script is both generous in its humour and sharp in its observations. Once the saccharine surface has been scratched the grit and relevance of this black comedy effectively take hold. Judy of course insists she is happy but the cracks in her gingham palace quickly show as money begins to run out while the fantasy lifestyle becomes a prison of her own making.

Judy’s indulgence for her ‘hobby’ which she clings onto for far too long impacts not only on her own but the life of husband Johnny who feels emasculated and embittered by his wife’s endless care and devotion. The constantly shifting perspectives engage as well as entertain; add to this a hefty dose of humour, superb cast and stunning set and you have a uniquely brilliant production.

Home I’m Darling is on at The Lowry until Saturday 27th April tickets available here.

Heart of Darkness

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

I’ll be honest when I heard that Heart of Darkness was being brought to the stage my interest was massively piqued for a number of reasons. The first and most obvious is this particular novella is the inspiration behind two of my favourite films: Apocalypse Now by Francis Ford Coppola and Heart of Darkness, a documentary which looked at the chaotic production of the Coppola masterpiece. However the Joseph Conrad penned story is today viewed somewhat differently from when it was first published in 1899. The story of captain Marlow being sent to the Congo Free State to retrieve an Ivory trader, Kurtz is considered by many academics to be offensively racist because of its apparent defence of colonialism, it’s portrayal of African natives as being primitive and savage by nature. Clearly this is an ambitious project and as far from “safe” theatre as you can get.

Fortunately Leeds based Theatre Company: Imitating the Dog are up to the task. The company have subverted Conrad’s text and created a unique production. There are two stories at play here on the surface there is the Conrad intended only the action has shifted from the Congo to Europe following a World War Two, which has a different outcome. As well as the change in location, there are also numerous character changes and other tweaks. In addition to this narrative, are numerous breaks where we drop into production meetings where the production team attempt to not just delve into the soul of Conrad as well as examine what impact the work has today.

Initially the jumps between plots and use of a small cast seem a little confusing but once you adapt you can fully immerse yourself in this ambitious project. Using cameras and projectors and green screen imagery the company has created a visual feast that is part classic Hollywood, part graphic novel. This marries perfectly with the reading of script directions and as well references oral and visual references to Casablanca, Blade Runner, and aforementioned Apocalypse Now and Heart of Darkness.

This production does offer it’s take on just how fractured a nation we are over Brexit and for this it should be commended however one sequence which showed footage of drunken girls on a night out lumped in with the likes of Boris Johnson and remain protestors was for me no better than a sneering article in the Daily Mail.

This bold, innovative and powerful performance will be up for interpretation amongst its audience and create a great deal of debate which is what original theatre should do.

Heart of Darkness is on at the Lowry until Thursday 18th April tickets available here.

Blood Brothers

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Reviewed by Alex Broadley

Opening Night verdict ⭐️⭐️⭐️⭐️

Blood Brothers is one of those shows which some might think is a standard touring musical, a staple for theatre-goers everywhere. However, Blood Brothers is embarking on its 30th Anniversary tour for a reason, it has stood the test of time for over 3 decades and its themes of class, money and love are as relevant as ever.

Written and composed by Willy Russell the man behind Educating Rita and Shirley Valentine, Blood Brothers’ first audiences were school children. He wanted to make sure that he hooked the children sitting in the back row of the class and Blood Brothers certainly does that. The show was soon picked up for a short run in the West End and thus began its epic journey to becoming the theatrical juggernaut it is today.

Blood Brothers tells the tragic tale of the Johnstone twins, two brothers separated at birth. Their mother Mrs Johnstone (Linzi Hateley) struggling with mounting debt and the need to feed seven growing children, simply cannot afford to keep both of her babies. Enter Mrs Johnstone’s employer Mrs Lyons (played convincingly by Paula Tappenden); Mrs Lyons cannot have children and the pain is etched on her face. In a fateful deal, Mrs Johnstone gives away one child (Joel Benedict as Edward) and keeps the other (Mickey, played by Alexander Patmore).

The play opens, as many great plays do (think Phantom of the Opera), with the ending. From the beginning, we know how it will play out and this adds to the sense of foreboding and tragedy. Narrator (Robbie Scotcher) asks us to make up our own minds – does Mrs Johnstone have a stone in place of her heart? Scotcher is ever present; he is our slightly menacing moral compass, questioning the characters’ decisions and reminding us of their inevitable fates.

The brothers continue to meet, drawn together by fate and across the class divide which will eventually tear them apart. Time is moved swiftly and effectively on by Scotcher and we see Mickey and Eddie grow up and become young men, albeit with very different lives and opportunities.

Russell’s aim was for the music to be woven into the story and the songs and musical patterns weave themselves throughout the narrative. The soundscape is dramatic and occasionally builds up to a crescendo loud enough to make the audience wince along with the drama. Stand out songs include Tell me it’s not true and Marilyn Monroe.

Andy Walmsley’s set design is simple but effective. The claustrophobic feel of the Liverpool slums and the contrasting bright feel of the Lyons’ living room take us back to the 1950s/60s but also show the class divide which runs throughout Blood Brothers.

The cast is fantastic and extremely hard working. Alexander Patmore’s Mickey is full of cheeky humour and grit. The scenes when Mickey (Patmore) and Eddie (Benedict) are children are stand out moments and take you back to playing out after school and not having a care in the world. Benedict is likeable as the naïve and privileged Eddie Lyons and the relationship between Mickey and Eddie is affectionate and deep. Linzi Hateley is strong as Mrs Johnstone; full of gumption and humour, you feel for the tough hand life has dealt her. Her character is the lynchpin of the play. Danielle Corlass’ character of Linda is caught in the middle of the class and brotherly divide; she is funny and well meaning.

Blood Brothers is a staple of musical theatre. Everyone should see it. It offers you an evening (or afternoon) filled with humour, tragedy, grit and will leave you feeling as though you’ve been on an emotional rollercoaster. Bring a handkerchief for those inevitable sniffles.

Blood Brothers is on at The Lowry, Salford until Saturday 13th April.here.

 

Abigail’s Party

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

First premiered in 1977 at London’s Hampstead Theatre then broadcast on the BBC that same year, Mike Leigh’s ingenious Abigail’s Party brings to brilliant life the most painfully awkward cocktail party in the most hilarious & enthralling of ways.

Suburban housewife Beverly has set the scene for her soirée; she’s prepped the cheese & pineapple on sticks, switched on the fibre optic lamp & stocked the drinks cabinet in readiness for the arrival of new neighbours Angela (Vicky Binns) and Tony (Callum Callaghan). Also invited is neighbour Sue (Rose Keegan) who is escaping 15-year-old daughter Abigail’s party over at her own house. Beverly’s husband Lawrence (Daniel Casey) is also in attendance in between running errands while his wife prepares to schmooze.

Janet Bird’s inspired set transports us right back to the 70’s as knowing giggles ripple through the audience from the off when Beverly enters the chintzy wood panelled living room cigarette in mouth, gin in hand, decked head to toe in garish paisley she glides around the stage to the sensuous sounds of Donna Summer.

Some spikey exchanges take place between Beverly and husband Lawrence before their guests arrive offering the opportunity for our brash hostess to really come into her own. She is liberal with both the booze and her opinions as some of the small talk soon begins to sting.

Jodie Prenger is exceptional as the infamous Beverly, getting more and more grotesquely brilliant as the gin flows. So versatile in her skills she embodies the desperate housewife to perfection. Daniel Casey gives a great performance as Lawrence keeping his pent-up irritation with wife Beverly hidden to begin with until pushed to breaking point when things quickly start to unravel.

Vicky Binns as Angela is eager to please her new neighbour, her genuine naivety and optimism making her all the more endearing. Her inane chatter leads to some terse tellings off from frustrated husband Tony whom Callum Callaghan portrays convincingly.

Rose Keegan shines as fifth party guest Sue, quiet and polite despite some overly familiar probing questions she gives a hilarious performance as the single guest caught in the middle of two clearly unhappy couples.

Director Sarah Esdaile at times focuses less on the uncomfortable interactions and undercurrent of frustration & more on the humour of the piece. Traditionally tense moments are played a little more for laughs than they were in the famous Alison Steadman led version, this does dilute the emotional impact of the ending a little however with such superbly executed performances the is no doubt that this is an enormously entertaining piece.

Although Abigail’s Party is very firmly set in the 1970’s its genius lies in its hilarious and at times painfully honest study on human interaction, ambition and all the complexities that come with it. Littered with laugh out loud humour and moments to make your toes curl Abigail’s Party is wonderfully entertaining theatre with themes as relevant today as they were 40 years ago, the most eventful party you’ll ever be invited to.

Abigail’s Party is on at Manchester’s Opera House until Saturday 13th April tickets available here.

Trainspotting Live

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Reviewed by: Michelle Eagleton

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There’s no denying that Irvine Welsh’s cult novel Trainspotting made a huge mark on the Nineties generation. His book charting the antics of drug fueled youths in Scotland hit the shelves in 1993 with the Danny Boyle film coming three years later, making an overnight star of Ewan MacGregor. Trainspotting Live, currently on tour, takes the story to another level and whether you are fans or newbies to the tale of Renton, Tommy, Sick Boy and Begbie it is an immersive experience like no other.

The King’s Head Theatre and In Your Face Theatre are at the helm of this ground breaking production which has made Manchester’s former bus quarters, the Mayfield Depot, its home for their run in the city. The vast venue is the ideal location for the raw material on display with its exposed brickwork and abandoned warehouse feel adding to the atmosphere and giving the impression of you entering an underground rave from the start.

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Trainspotting Live CREDIT Geraint Lewis

Convention goes out of the window as soon as you enter…Glo bands replace tickets and there’s no seat reservations, the choice is yours where you perch for the 75 minutes duration of the play (I’d avoid anywhere near the exposed loo as ‘the worst toilet in Scotland’ scene gets a little messy). If you are easily offended then this maybe isn’t the show for you…nakedness is a plenty, as is the swearing and sex. Don’t get me wrong though it’s all in context and is played out with such raw energy and realism from the five-strong cast that you are seriously swept away with them on an emotional rollercoaster that sees you witness their chemical highs and the subsequent sombre come downs.

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Trainspotting Live CREDIT Geraint Lewis

Greg Esplin delivers a powerful performance as Tommy, Renton’s best mate who suffers the consequences of the drug scene. His descent from fun loving chappy to distraught junkie is mesmerising to watch.

The last time Trainspotting Live toured there was a cast of seven which meant there were two females sharing the roles on offer, with the cast cut down the weight falls on to the only woman in the line-up Lauren Downie to step up to the plate. Downie rises to the challenge and is outstanding in her plethora of roles each one carefully crafted, especially Renton’s Mum which she plays with such painstaking desperation.

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Trainspotting Live CREDIT Geraint Lewis

It would be wrong not to mention all of the actors who make up the cast as they are a hugely talented bunch. Oliver Sublet (Begbie), Michael Lockerbie (Sick Boy) and, stand in for press night, Dean Gribble (Renton) put in stellar performances that are fizzing with realism.

Each performance of Trainspotting Live is unique as it very much relies on the reactions of the crowd who have turned out to see it. Part of the fun is watching people’s faces as they witness some of the shocking scenes on display and the humorous interaction between the actors and the audience is priceless. The show manages to balance the darkest of themes with lighter shades of humour and the sheer speed at which the productions runs echoes the film perfectly.

Don’t ‘choose something else’…choose Trainspotting Live before it heads off to its next station.

Runs at Mayfield Depot until 21st April

Tickets available via http://www.trainspottinglive.com/#buytickets

 

 

Rain Man

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️

Based on the Oscar winning 80’s movie starring Dustin Hoffman & Tom Cruise, Rain Man introduces us to Brothers Charlie and Raymond Babbitt who are returned to each other’s lives following the death of their father.

Hard-nosed hustler Charlie is unaffected by the loss of his Dad, a cold-hearted man he fell out with years ago; he is however disturbed to discover the sizeable estate left behind has not been gifted to him but an unknown benefactor. Upon investigation he discovers this mystery trustee sitting on a cool $3 million is actually the institution which houses his older brother Raymond, an autistic savant sibling he has no knowledge nor memory of.

Determined to get what he deems as his half of the estate Charlie takes Raymond from the institution on what begins as a quest for his own gain but actually becomes an unexpected journey of self-discovery and brotherly bonding as Charlie starts to realise just how special and unique his forgotten sibling is.

Adam Lilley’s portrayal of Raymond is committed and convincing, complete with awkward shuffle, avoidance of eye contact and frequent ticks he remains consistently strong both physically and vocally. Chris Fountain proves what a talented actor he is as he journeys from loathsome self-centred brat to emotionally affected & touchingly tender sibling. The chemistry between the two is outstanding and becomes increasingly moving as their relationship deepens.

It’s clear Dan Gordon’s stage adaptation of Barry Morrow’s screenplay is intended to please fans of the original film and that it absolutely does, there is however no updating nor reworking of the 1988 movie which was made at a time when understanding and knowledge of autism was very different to what it is now.

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While both actors give superb performances as Raymond and Charlie the story feels outdated and at times is uncomfortable to watch. There are moments particularly in Act I when Raymond’s disability is used for nothing more than to give the audience a cheap laugh, most glaringly during the hotel scene where Raymond hears brother Charlie and girlfriend Susan (Elizabeth Carter) having sex. It does nothing to drive the story forward in any way & would benefit from being cut all together. I found this scene in particular an unpleasant reminder of the narrow-minded attitudes disability rights campaigners and people with autism have worked so hard to overcome, to sit in a packed audience & hear gleeful laughter at the characters expense felt like a massive backwards step.

Delivering this show in a large theatre like the lyric is also a challenge in itself; a smaller theatre may have offered the opportunity for a more subtle intimate production, albeit with a hefty reworking of the outdated script.

There are moments of brilliance as we see the genuine connection develop between the two leads most notably when Charlie teaches Raymond to dance; both actors execute this poignant moment beautifully however the script dictates that these joyful moments are few and far between.

At a time where difference and diversity is increasingly celebrated Rain Main feels like it missed the 2019 memo. Although the cast deliver excellent performances the script is just too outdated to guarantee another decade of success and unfortunately displays an enormously out-dated depiction of autism which should be left in the eighties.

Rain Man is on at The Lowry until Saturday 16th March tickets available here.

The Stretch

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Following on from its success as part of JB Shorts 19, MAP Productions have reworked and extended The Stretch from its original 15 minutes into an hour-long piece as they examine the lasting & devastating impact one moment of madness can have.

We follow Lee (James Lewis) through his long 10 years in prison, joining him on a brutal and soul-destroying journey as he visually charges before us from strong self-assured new kid on the block to defeated & destroyed shadow of his former self, broken by the brutality of life on the inside.

Through atmospheric lighting & inspired design the arches of 53Two have been transformed into a menacing & moody environment adding an almost immersive feel to proceedings. The cast make full use of the multi-layered set, lurking in the shadows as new boy Lee is led in to serve his time before powerfully making their presence known.

Joe Ainsworth’s script is melodic and pacy as with each year that passes hope fades and survival instinct takes hold before the reality of abandonment & isolation takes over.

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James Lewis gives a superb performance as Lee, honest and real in his portrayal he takes us on an incredibly raw and deeply poignant journey. His measured performance transitions from witty and light to heartbreakingly raw as he becomes increasingly broken by the failing prison system.

The ensemble add depth and authenticity to this production, taking on various roles depicting individuals on both the inside and outside of the prison walls and the impact Lee’s one monumental mistake has on them.

Simon Naylor’s fluid direction creates pace and adds poignancy to the quieter more emotional moments allowing them the impact they deserve.

The Stretch offers powerful performances which movingly highlight the tragic repetitive cycles happening daily in prisons around the country if not the world. A brave and honest account of one man’s devastating descent into hopeless institutionalisation. Affecting and important theatre.

The Stretch is on at 53Two until Friday 15th March, tickets available here

Tickets £10 with unwaged tickets available for every performance. Please bring proof of being in receipt of Universal Credit, Job Seekers Allowance or Income Support to the box office when collecting tickets.
Tuesday 12th March performance is BSL interpreted

 

 

 

 

The Last Yankee

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

UK theatre goers have seemingly been having an affair with the works of American writer Arthur Miller for decades now. The National Theatre has staged more productions of Miller’s plays than any other writer apart from Shakespeare, which is an impressive feat indeed.

Director David Thacker during his time as the Director of the Young Vic in London staged nine Arthur Miller plays seven of which he directed himself: one of these works The Last Yankee, was a huge commercial and critical success and now 26 years later Thacker reprises his role bringing the play to the impressive Bolton Library Theatre.

Set in an American psychiatric hospital, we are introduced to two married couples: Patty Hamilton (Juliet Aubrey) and her carpenter husband, Leroy Hamilton (David Ricardo-Pearce). We also have successful business man John Frick (Patrick Poletti) and his wife Karen (Annie Tyson). The two couples are polar opposites: the Hamilton’s have seven children and are just financially struggling to keep their heads above water. Whilst the Frick’s have no children yet a vast wealth at the disposal. Despite their differences the two couples have one thing in common, depression, anxiety and a self-loathing that threatens to not just wreck their marriages but destroy them individually as well.

Miller has crafted a near perfect fable of the chase for the American dream and how quickly it can go sour, whilst raising some important issues about mental health and its treatment. The script is measured and refreshingly low-key, the dialogue is terse and pulls no punches: there is nothing ‘showy’ or flash just an honest, gut wrenching account of a struggle that is becoming more and more prevalent in modern society with each passing day. Despite its weighty subject there is also a great deal of black humour adding a touch and of warmth and a much-needed respite from the drama.

The four leads are superb, the interactions between Poletti and Ricardo-Pearce in the first act sets the tone for the production, Poletti is solid as the snobbish know-it-all, yet clueless, Frick, whilst Ricardo-Pearce gives subtle, weathered performance as the blue collar all American.

Aubrey and Tyson are equally good as Patty and Karen, who’s unlikely friendship is the heartbeat of the production. Aubrey is captivating, filled with nervous energy, that is at times unsettling, whilst Tyson cuts a tragic figure and as the loveable Karen, a performance filled with whimsy and heartbreak in equal measure.

Thacker’s simple but effective directions works beautifully with Ciaran Bagnall’s intriguing set design: throughout performance we see a patient lying motionless in hospital bed, never mentioned or referred to, the proverbial elephant in the room and a damning critique of how we treat mental illness and our attitudes to mental health. This marries perfectly with the wall of mirrors back drop, distorting both perception and reality.

This is a thought-provoking essential production that despite its weighty subject is engaging and accessible, with the time flying by. A production that is superbly acted, powerful, and certainly a relevant message for our times: everything dramatic theatre should be.

The Last Yankee is at Bolton Library Theatre until 16th March tickets available here.

 

 

 

 

 

The Full Monty

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

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The Full Monty arrived back in Manchester this week and judging by the whoops and excited cheers from the audience when Gary Lucy and Co take to the stage their return is very welcome.

Adapted from Simon Beaufoy’s 1997 film of the same name, The Full Monty tells the story of six out of work Sheffield steel workers, bored, broke and battling various issues of their own.

Gary Lucy as Gaz is behind on his child maintenance, his custodial problems worsening by the day. Best mate Dave’s (Kai Owen) confidence is rock bottom and his relationship with wife Jean (Liz Carney) is suffering. After stumbling upon a Chippendales night at the local social club Gaz sees an opportunity to earn a quick buck and hopefully prove to son Nathan (Fraser Kelly) he’s not a complete failure.

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Right from the off it’s clear what the audience are here for; they want a reet good laugh and of course ‘that’ infamous scene at the end of the show. Each teasing flash of flesh is lapped up as this story familiar to many begins to play out. Fans of the film will be glad to know the adaptation has been respectfully done, characters remain the same ones they fell in love with back in the 90’s and the northern witty one-liners come thick and fast.

Designer Robert Jones has translated the industrial disused steelworks into an effective and efficient set, doubling up as offices, social clubs and performance space with ease.

What starts off as feel-good escapism soon deepens into something more as we see friendships grow, self-respect return and important issues raised. Beaufoy’s script doesn’t shy away from sensitive themes; suicide, sexuality and self-worth are all covered here but done so in a typically northern no-nonsense fashion where problems are faced with a laugh and a joke but at all times a genuine warmth.

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Heading up the cast Gary Lucy is clearly an audience favourite although his accent takes a trip across the Pennines on more than one occasion the audience lap up his cheeky banter as Gaz the Lad. Fraser Kelly as son Nathan is convincing and committed, leading you to question just who is raising who here. Kai Owen as Gaz’s best mate Dave gives a warm and relatable performance while both Joe Gill as Lomper and Andrew Dunn as Gerald shine in their respective roles. Louis Emerick as Horse proves despite a dodgy hip he’s still got the moves while James Redmond as Guy proves he’s packing more than just a girder down there!

The Full Monty is an entertaining night out, a heart-warming story delivered in a fun and feel-good way with more than enough laughs to send you home smiling.

Catch The Full Monty at Manchester’s Opera House until Saturday 23rd February tickets available here.

 

Mydidae

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

The day starts as any other, Marian (Hollie-Jay Bowes) practices her French while brushing her teeth, her partner David (David Gregan-Jones) does his best to convince that his business spiel has some actual meaning; it soon becomes clear however that their inconsequential chatter & random mutterings are merely a means of avoiding a much deeper, darker and undoubtedly more difficult conversation.

Affectionate chat becomes increasingly saturated with barbed comments as with each trip to the bathroom insecurities and an inability to communicate honestly are exposed.

Jack Thorne’s script is both challenging and remarkably honest, stripping each character both physically and emotionally. Laura Woodward’s focussed direction ensures warped domestic life takes centre stage as light-hearted interrogation becomes something altogether more shocking.

Hollie-Jay Bowes & David Gregan-Jones unselfconsciously move throughout the intimate space allowing the audience a genuine fly on the wall insight. Each have an ability to connect deeply with the audience; you feel their pain, their heartache, their frustrations as the reality of their grief in all it’s complicated detail is stripped bare.Their believability as a fractured couple allows the emotion of Jack Thorne’s piece to rise to a brutal and unexpected peak which literally knocks you for six. Both are outstanding.

Natalie Johnson’s set and costume design of varying shades of blue are lit to subtle yet dramatic effect by Joseph Thomas, a hint of what’s to come with a flash of colour lighting up the freestanding bath between scenes.

Wonderhouse Theatre succeed in delivering this provocative & powerful piece impressively well, holding the audience entirely for the full 75ish minutes. It is the kind of theatre that will remain in your thoughts for days, weeks, maybe more as you pour over the detail & examine the issues raised.

Brutal, honest and brilliantly executed theatre.

Catch Mydidae at Hope Mill Theatre until Saturday 23rd February tickets £12/14 are available here.

 

The Animals and Children took to the Streets

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The Animals And Children Took to the Streets, presented by 1927 pic 2

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

For nearly 15 years the 1927 theatre company have been pushing the boundaries when it comes to theatre. They have gained quite the reputation for their bold, innovative productions which has seen them marry live performance and music with animation and illustration to create a theatrical experience like no other.

For their latest offering The Animals and Children took to the Streets, writer and director Suzanne Andrade again uses all these tools to create a satirical, jaw-dropping production that will leave you both mesmerised and enormously entertained.

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Andrade transports us to the dark, dank Red Herring Street, on which stands the Bayou Mansions. This is a tower block located on the wrong side of town, housing the worst of society, from social misfits to murderers and sexual deviants; they all have a place here. The authorities and the rich have chosen to ignore their plight, deciding to let them implode. However, when a gang of feral children from the Mansions go on a destructive rampage that includes kidnapping the mayor’s beloved cat and running amok on a park for the middle-class, their mini-revolution does not go unnoticed. In retaliation, the Mayor takes drastic action.

The children’s only hope of escape comes in the form of the Bayou Mansion’s caretaker; a man who is desperate to woo Agnes Eaves, a middle-class do-gooder, who believes dried pasta collages and art classes are what the kids need. Agnes’s daughter, Evie has been caught up in a police round-up and only the caretaker knows what’s happened to them.

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This is 70 minutes of pure joy, innovative, smart and darkly comic, this production is pitch perfect. Paul Barritt’s animation lies somewhere between a LS Lowry painting with some Terry Gillian sketches thrown in. Add into the mix the clear influence of 1920’s silent cinema, specifically the films of Fritz Lang and Georges Méliès and you have a visual feast that will leave you howling with laughter, whilst having a good old scratch as we see the rats, lizards and cockroaches that infest the Bayou scurry across the screens.

Andrade’s script is razor-sharp, witty and brutal, it clearly has a take on social inequality and the continual struggle of the working class who are denied the opportunities afforded to the privileged. The script is supported by three super talented performers in Felicity Sparks, Genevieve Dunne and Rowena Lennon – whose facial expressions alone are worth the price of admission. Their performances in conjunction with Barritt’s animation beautifully tell this story and breathe life into a highly original and rewarding piece of theatre.

The Animals and Children Took to the Streets is at Home till 16th February, tickets available here.

 

 

Trial By Laughter

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️

The name William Hone won’t mean that much to most people, which is crying shame. For back in the early 1817 this was a man who campaigned tirelessly for civil liberties, sought reform in the many lunatic asylums, and highlighted the miscarriages of justice that blighted the judicial system. In addition Hone was an investigative journalist, satirical commentator and publisher who along with his friend, George Cruikshank a political cartoonist lampooned the ruling class of the day: that being the Regency government.  So angered by Hone’s work the Prince Regent sought to have him prosecuted by any means possible.

So when it came to the story of William Hone, who better to tell it than Ian Hislop and Nick Newman. Both are champions of a free press, both have great form in sending up and holding to account politicians and world leaders through the magazine Private Eye. Newman is the cartoonist for the magazine and Hislop is the editor.  In addition Hislop is no stranger to a libel case having faced several down the years.  The two writers have reunited with director Caroline Leslie, with whom they worked with on their debut play The Wipers Times, to bring this intriguing story to the stage with their new production: Trial by Laughter.

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The play opens with the Prince Regent and his (alleged) mistresses angered by their depiction at the hands of Hone and Cruikshank, so enraged is he that he orders his government flunkies to prosecute Hone. Hone is charged with blasphemy and arrested, falsely imprisoned and denied legal assistance. With only the support of Cruikshank, and his wife, Sarah, Hone mounts a defence and against all odds wins the trail. This really is the beginning of Hone’s troubles as he faces three criminal trials in as many days, which could see him imprisoned or deported to Australia. With the Regency’s relentless pursuit and Hone’s health deteriorating is this really a battle he can truly win?

There is a lot to admire about this production: Joseph Prowen is on great form as William Hone, playing him with a twinkle-in-the-eye and a great deal of righteous optimism that is gradually beaten out of him as the trials progress. Dan Mersh (playing numerous roles) is equally fine as Hone’s tormentor; Justice Ellenborough who plagues his foe at every turn and cannot hide is distain or prejudices for Foe. Peter Losasso plays Cruikshank, with a cheeky swagger clearly relishing his pun filled part. Whilst Eva Scott is also strong as Hone’s long suffering wife, who in spite of all their trials and tribulations she never loses faith in her husband.

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Despite the subject matter being over 200 years old it relevance today cannot be understated as the play tackles such issues as freedom of speech and freedom of the press and measures how far governments and people of power will go to too stifle this, you only need to look at the recent murder of journalist Jamal Khashoggi to see its relevance. It also tackles the weighty issue of what is fair game for a joke: politicians, religion, the ruling class, and when does a joke go too far and become offensive. These are clearly subject matters that Hislop and Newman feel passionately about and it shines through in their writing.

The production does have a few issues: there are some great gags in here which poke fun at modern day celebrity culture, even Prince Charles is on the receiving end of a roasting. Whilst the jokes come thick and fast, and are exceptionally crafted there is nothing here that will have you rolling in the isles, more a wry smile then a big belly laugh. Despite this being a trail there is little jeopardy for Hone and thus at times the more dramatic elements of the paly can feel a little flat.

Overall this a fascinating, entertaining tale that needs to be told and deserves its platform, it’s worth a watch but you can’t help feel there is something missing.

Trail by Laughter is on the Lowry until 2nd February, tickets available here.