Plays

Karl Marx comes to Manchester!

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Karl Marx reincarnated for Manchester audiences in one-man show, Marx In Soho.

The 5th May marked in an incredible two hundred years since Karl Marx was born, marking the occasion, renowned historian and activist Howard Zinn’s brilliant, timely one-man show, described as a passionate, funny and moving defense of Karl Marx’s life and political ideas will head to Manchester following a successful run in New York.

Marx In Soho, a play dedicated to the revolutionary thinker will embark on a six-week tour of the UK opening at Brighton Fringe 2018 on the 17th May before heading to Manchester for performances at Manchester, Chetham’s Library on June 2nd and the King’s Arms on June 9th and 10th.

Zinn reincarnates Marx and lands the prominent thinker for one night only in present day Soho, New York, where, during the course of the play, he confronts issues such as American education, the super rich ruling class, corporate mergers, prisons, and the media.

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Celebrated actor Bob Weick (Terra Nova, Circle Mirror Transformation) takes on the role of Marx, a part he has played for the past 7 years performing the piece over 300 times across the United States from Maine to California. The two-time Barrymore nominee is excited to be finally bringing the production to UK audiences:

“I’m delighted MARX IN SOHO is coming to the UK as it is a place where both Marx and his philosophic collaborator Engels spent most of their lives. They walked these streets, studied in the libraries, drank in the pubs, and learned of the struggles of the working poor and dedicated their lives to doing something about it.

“It will be exciting that we will be addressing these issues on the tour, especially in Manchester and London, around places they even frequented themselves.”

 

UK TOUR DATES:

Brighton Fringe, May 20-28

Manchester, Chetham’s Library, June 2 tickets available here

Manchester, King’s Arms, June 9 and 10 tickets available here.

London, The Space, June 12

London, Etcetera Theatre, June 17

London, Upstairs at the Gatehouse, June 20-22

Kindertransport

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Opening Night verdict ⭐️⭐️⭐️

Timely and relevant, Diane Samuels’ absorbing play Kindertransport opened at Manchester’s Opera House last night.

Focussing on the remarkable time when child refugees were welcome on our shores as thousands of frightened Jewish children were forced to flee Nazi Germany between 1938 and 1940 to the safety of Great Britain.

In this Anne Simon directed production we focus on one such child, a young Jewish girl named Eva who is sent to the safety of Manchester by her desperate mother Helga, to live a hopefully free life under the protection of foster family Mr & Mrs Miller. As Eva matures she moves further and further away from her past, changing her name to Evelyn and locking away every reminder of her tragic origins in the attic. One day Evelyn’s daughter Faith discovers the documents, uncovering the truth about her mother’s complex beginnings and forcing Evelyn to face up to her past and relive her haunting nightmares.

There is a recurrent figure brought to life in Evelyn’s evocative memories, the Ratchatcher, a creeping, lurking and terrifying child catcher portrayed by Matthew Brown to interesting effect. He is a haunting reminder of Evelyn’s childhood fears and now adult guilt, he is however in large parts unseen as he fails to creep far enough into vision on many occasion, a great element that could have been exceptional sadly poorly orchestrated.

Leila Schaus makes for a compelling and believable Eva, she fully embodies the role of frightened, frustrated child while portraying beautifully the shattered innocence of a young evacuee whose childhood is gradually destroyed by the horrors of war.

Jenny Lee is excellent as the vociferous Lil, as the Mancunian Mother she brings some welcome laughter to this poignant drama.

Suzan Slyvester and Hannah Bristow in their roles as Evelyn and Faith portray a difficult and cold mother/daughter relationship. Lacking in warmth, they are spiky and cruel to each other, as Evelyn wallows in her misery and Faith lacks the compassion to empathise with her mother’s plight.

Past and present appear on stage simultaneously to great effect with Nic Farman’s atmospheric lighting gently but convincingly differentiates between the two.

The production features some strong performances with a visually impressive set from Marie-Luce Theis it just doesn’t quite impact the way this moving exploration on the effects of war should do. That said it is a compelling and educational production which puts the spotlight firmly on the lasting plight of the innocent during war, something that should always be at the forefront of our minds.

On at the Opera House until Saturday 5th May tickets available time.

Interview | Richard Fleeshman | The Last Ship

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Having started his career at age 12 on the cobbles of Coronation Street, Richard Fleeshman has gone from strength to strength, moving into musical theatre and quickly establishing himself as one of the most in demand actors in the country.

Fleeshman’s latest role which brings him to the Lowry in July sees him perform in Sting’s self-penned musical, The Last Ship. Inspired by Sting’s own childhood as well as his 1991 album The Soul Cages, The Last Ship focuses on a community amidst the dying days of the shipbuilding industry in Tyne and Wear. Fleeshman takes on the role of Gideon, a sailor by trade who returns home 17 years after turning his back on his hometown to become a sailor. He returns to reconnect with a lost love, however tensions soon rise as the once proud town he left is in demise and life for the girl he loved has changed dramatically.

“It’s based in what was a real working shipyard, the Swan Hunter shipyard.” Richard Fleesham explains. “I play Gideon Fletcher who was expected to follow in his Father’s footsteps and go working in the yard but he decides that life is not for him, I suppose similar to Sting really, so he joins the navy and heads off to sea, returning 17 years later when he returns to find the place he left behind is very different to the one he has returned to.”

The Last Ship originally made its premiere in Chicago in 2014 ahead of opening on Broadway where it was nominated for two Tony Awards for Best Original Score and Best Orchestrations. Since Sting brought the show to the UK it’s had a new book from director Lorne Campbell as well as the addition of new songs. The focus too has shifted to concentrate much more on the political aspects of the story. “Audience responses have been amazing, I was confident that audiences would enjoy the show as the story is fantastic and the music is beautiful but it’s been lovely to see just how much it’s resonated with audiences. At its heart it’s a story about people, about people being repressed and how they respond to that. As a company we get a real rush of energy from the audience, it’s a very powerful story and it’s clearly affecting people and moving audiences which is fantastic to see from up on stage, we’ve had standing ovations every night so far which is just incredible.”

Fleeshman having starred in both the West End and Broadway productions of Ghost, the Musical, came close to taking a break from musical theatre before hearing about the opportunity to audition for the role, “I’d actually decided before taking this role that I needed a break from eight shows a week and then literally an hour after having that conversation with my agent she called me back and said ‘Look I know what you said about having a break from musical theatre but….Sting…’ as soon as I heard that I said, scrap everything I said!”

Fleeshman was incredibly nervous when he first auditioned for the role knowing Sting was going to be present but has nothing but praise for the award-winning musician. “It’s been so fantastic working with Sting, he is one of the most humble, gracious guys you could wish to meet then you add onto that his unbelievable talent and passion for this project, it really is unbelievable.”

While Fleeshman may not relate to events that have happened in Gideon’s life he certainly relates to the draw of family and a love for his hometown, “In terms of his pride at the end of the show in the town that made him I can fully relate to that, I still go back to Manchester every month, my family are there, my best friends are there, I feel proud of Manchester every single day.”

With Fleeshman deciding he needed a break from musical theatre we wondered what it was that was so special about The Last Ship which made him change his mind, “One of the things that drew me to this show was that it’s a play that has incredible music rather than a musical, there are long periods of time, sometimes 7-8 minute scenes with just dialogue, there’s no underscore, nothing just dialogue so from an acting point of view you get the best of both worlds. The freedom you’re granted when doing a straight play mixed in with the joy of having a full band and full ensemble singing, that’s one of the things I love the most about it.”

As the Last Ship is due to dock at The Lowry in July we asked what audiences can expect from the large scale production. “At its heart it’s a brilliant, gritty story about people, about pride and about resilience. Audience responses have been amazing, I was confident that audiences would enjoy the show as the story is fantastic and the music is beautiful but it’s been incredible to see just how much the audiences have related to and enjoyed the show, I absolutely can’t wait to bring the show to the Lowry, it will be really special.

The Last Ship opens at The Lowry on Tuesday 3rd July and runs until Saturday 7th July tickets available here.

Lennon’s Banjo

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Lennon's Banjo cast in costume - credit Dave Jones

Opening Night verdict ⭐️⭐️⭐️⭐️

Lennon’s Banjo aims to shed some light on one of the biggest rock ‘n’ roll mysteries of all time, where on earth is the Holy Grail of pop memorabilia which John Lennon learnt his trade on that’s been missing since 1958?

The whereabouts of the mother of pearl backed banjo have never been revealed but one thing is certain, whoever discovers this missing musical treasure which without we may never have heard the Beatles would guarantee themselves instant fortune.

Writer Rob Fennah aims to shed some light on this missing part of Beatles history in his new comedy play, aptly titled, Lennon’s Banjo. The story follows Beatles tour guide Barry, a fab four fanatic who delights in sharing his knowledge to anyone who will listen but especially tourists who roll up for his magical mystery tour. One day he stumbles upon an unopened letter sent from John Lennon to Stuart Sutcliffe detailing where the missing banjo is stashed. Ever the artist the language in John’s letter is flowery and littered with jabberwocky style riddles which will need deciphering before the precious pop memorabilia can be located. Unfortunately for Barry he’s overheard discussing the letter by a double crossing, dodgy dealing Texan who fancies finding the infamous banjo for himself. Cue comedy capers galore as the race to discover the whereabouts of Lennon’s priceless relic begins.

Eric Potts heads up a strong cast at the loveable Barry, happy in his Beatles bubble he is trusting in nature which could very easily become his undoing. Potts is a superb comedy actor, he excels in the role and portrays Barry with such heart you find yourself willing him to succeed from the off.

Mark Moraghan and Jake Abraham as Joe and Steve, Barry’s begrudging buddies and local Beatles memorabilia shop owners add depth to the piece as they team up with hapless Barry in the race to find the musical treasure. There’s mickey taking a plenty and despite their apparent irritation with Barry and his endless Beatles facts the genuine affection for their pal shines through. The scenes between the three being a real highlight of the show as the banter and the put downs flow they are likeable, relatable and enormously entertaining.

Villains of the piece Travis and Cheryl portrayed brilliantly by Danny O’Brien and Stephanie Dooley add another layer to the story as their desperate and debt driven search for the illusive banjo becomes increasingly complex while the consequences of not delivering it get higher. The two have great chemistry and despite attempting to double cross an unwitting Barry are enormously likeable.

The strong cast deliver Rob Fennah’s witty script to perfection in this laugh out loud production, with wonderfully clear storytelling littered with humorous local references. Lennon’s Banjo is a fun and fast paced comedy romp. With bucket loads of scouse charm, enough Beatles facts to keep you entertained for days and appearances from Pete Best in certain performances Lennon’s Banjo will leave you grinning from ear to ear while considering lessons in jabberwocky.

On at the Epstein Theatre until Saturday 5th May tickets available here.

This House

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This House 2

Opening Night verdict ⭐️⭐️⭐️⭐️

Following sell out runs at the National Theatre and in the West End, James Graham’s critically acclaimed political drama has come to visit constituents, canvassing audiences across the country as part of a new national tour.

Inspired by real and incredibly dramatic political events which took place in the houses of parliament between the turbulent years of 1974-1979, This House lifts the lid on the frenzied activities at the height of a hung parliament where every vote counts as the Government attempt at all costs to operate successfully without the safety of a working majority.

Writer James Graham places the action at the very beating heart of Westminster, the Government and oppositions whips offices. These pressured hubs and the entire backbone of the palace as deals are struck, ears are bent and promises made.

This House The born to rule attitude of the Tories is displayed superbly by opposition whips William Chubb, Matthew Pidgeon and Giles Cooper, sneering and entitled for whose Boys club loyalty and a great suit is a must.

The working class roots of the Labour party are perfectly embodied by Martin Marquez, James Gaddas, Tony Turner, David Hounslow and Natalie Grady, for whom compromise is betrayal and defeat is not an option.

The frantic scenes are dominated by boisterous alpha males, bolstering for position with the exception of Natalie Grady taking on the role of Ann Taylor, Grady delivers her role to perfection, strong and sure in what was very much at the time a man’s world.

James Graham’s superb writing highlights frequently the laugh out loud absurdity of the political world, as monumental decisions impacting the lives of the masses are made amid point scoring, archaic and ancient traditions.

This House 1 This House is a true ensemble piece with a fine display of character acting, there is game playing, childishness, flamboyance, passion and genuinely moving moments all wrapped up in an enormously funny script. Jeremy Herrin and Jonathan O’Boyle’s innovative direction ensures the piece is slick and packs the intended political punch. The inclusion of an on stage band adds further depths and pace of the piece ensuring smooth, sharp scene transitions.

Designer Rae Smith’s set combined with Paule Constable’s atmospheric lighting both highlight and mirror the drama on stage. The crumbling & fractured Government being watched by the looming face of Big Ben, forever constant and predictable until one day when like the Government the clock splutters and stops.

This House 3 This House is an inspired and engaging production, the eccentricities of Westminster acted out by the enormously talented cast is genius. Where there is plotting and scheming there is also camaraderie and genuine affection. The superbly crafted characters have exactly the same demons we see today, do they put principles before party in the battle of idealism versus reality? This beautifully scripted piece could so easily be set in 2018, scarily relevant and a sobering testament to the fact that despite the stakes being so high nothing ever really changes.

This House will make you laugh out loud and possibly cry at the state of modern day politics but undoubtedly will entertain. It’s a pacy, penetrating examination of the political world as differences and similarities are thrillingly exposed. A must-see.

On at The Lowry until Saturday 28th April tickets available here. For those who may fancy themselves as a back bencher there a limited on stage tickets available.

Birdsong

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Birdsong 3

Opening Night Verdict ⭐️⭐️⭐️⭐️1/2

Reviewed by Matt Forrest

It’s a bold move by anyone’s standards to take a 503-page novel and attempt to turn into a 2 ½ hour play: especially one the scale and volume of Sebastian Faulks’s Birdsong, so a great deal of credit must go to writer Rachel Wagstaff for this brave choice.

The story shifts back and forth between 1910 and 1916 and focuses on three central characters. First there is Jack Firebrace (Tim Treloar), a loving husband and father out on the frontline of the Somme, digging underground tunnels for the British in an attempt to gain the element of surprise on the German soldiers. Jack is like a Father figure to his troops: however when news reaches him from back home that his own son his unwell, he wants leave to go and visit. However a chance encounter and near death experience with Lieutenant Stephen Wrayford (Tom Key) would see the two men strike an unusual bond and friendship: Firebrace the warm hearted working man and Wrayford, the cold, distant serving officer.

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But what made him so distant in the first place? The answer to this lies in 1910, France, where Wrayford is starting life in the textiles business. Wrayford is staying with a wealthy but cruel factory owner, his wife Isabelle (Madeline Knight) and family. It is here that Wrayford can see that the marriage is an unhappy one, and soon he and Isabelle fall in love and thus a passionate affair ensues.

Back in 1916, we see Wrayford begin to recover from his ordeal, however still haunted by images of Isabelle, we zig-zag between 1910 and 1916 to find out what really happened to him to make him the way he is now.

From the moment the lights come up, and you see Victoria Spearing’s fantastically haunting set design: complete with barbed-wire fence resembling a cross, you know you are in for a roller-coaster ride of emotions, one that will leave you with a smile on your face one moment and shocked to your core the next. The near deafening sound design my Dominic Bilkey creeps up on you and throws you headlong into the full horrors of war: however always in the chaos and calm is the haunting sound of Birdsong: the only true constant of the play.

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The cast are exceptional throughout with most playing dual roles. They must barely get time to breathe with constant costume and set changes: it really is a team effort like a band of brothers/sisters off to war that you cannot help but be bowled over by the warmth, humour and pathos each one brings to their roles. There are a few mis-placed accents here and there, but these are very minor quibbles in what is a truly and engrossing piece of theatre.

The relationship between both Stephen and Isabelle, and then Jack and Stephen is what drives this production forward. You firmly invest in the love/obsession Stephen and Isabelle have for each other, as well as the moving friendship between Jack and Stephen and this is firmly down to the impassioned performances of the leads who all give captivating performances.

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This is what theatre should be: engaging, entertaining, leaving you shocked and entertained: after the curtain call and the applause had died down and the audience shuffled silently out of the Quays Theatre: that said more about the impact this play had then any reviewer ever could.

Birdsong as the Quays Theatre Lowry until Saturday 7th April, tickets Available here.

 

 

The Game of Love and Chai

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LC

Opening Night verdict ⭐️⭐️⭐️1/2

Nigel Planer creatively reimagines Pierre de Marivaux’s 1730 play The Game of Love and Chance in this modern day, fun and farcical incarnation, The Game of Love and Chai.

There is still a central love story, duplicity, mistaken identity, class system and buckets of laughs while modern themes and Bollywood beats are introduced as well as an Uber driver and a delight in Primark purchases.

Swapping 18th-century French nobility for modern-day British Asians makes for a fresh take on a traditional classic. The plot is a fairly simple one, wealthy widow Kamala-Ji (Goldy Notay) wants to see her daughter Rani (Sharon Singh) marry successful local businessman Raj (Adam Samuel-Bal), head-strong solicitor Rani however is unimpressed at the convention of marriage so decides to take some control of the situation switching places with her nice-but-dim cousin Sita (Kiren Jogi) ahead of Raj’s visit, little does she realise that Raj has had the same idea and his Uber driver, Nitin (Ronny Jhutti) will be stepping into Raj’s shoes for the occasion.

The cast are clearly having a lot of fun in this colourful and creative production. Adam Samuel-Bal and Sharon Singh make for a believable coupling, caught up in their own plotting their chemistry is genuine and joyful. Ronny Jhutti, wide-boy and Uber driver extraordinaire and Kiren Jogi, the beautician with a bigger personality than her luscious lashes treat the audience to plenty of laughs as the chaos and comedy ensues. The addition of Bollywood music lifts the production while Goldy Notay as Kamala-Ji presides over affairs with authority, prosecco in hand.

Not all the jokes land but the all-round theme of this production is farcical fun with a capital F, in that it succeeds. The last-minute change to 18th-century dress seems unnecessary and out of place in this modern reimagining. All in all the scamming, scheming and big personalities in this production will entertain with some great comedic timing delivered to hilariously dramatic effect.

On at The Lowry until Saturday 31st March tickets available here.

Art

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Art

Opening Night verdict ⭐️⭐️⭐️

Reviewed by Matt Forrest

It’s nearly 25 years since the Yasmina Reza short play Art made its theatrical debut in Paris and judging by the anticipation and buzz around the Lyric theatre this evening, it would appear the play still has a huge drawing power. However, the big question is, is it still worth the hype and praise? Or is it a bit like the Cecilia Giménez restoration of the Fresco, and doesn’t deliver what is promised?

The plot focuses on three life- long friends, Serge, Marc and Yvan. Serge, a wealthy divorcee with a supposed penchant for modern art, decides to spend £200,000 on a painting of a white canvas. His friend Marc takes great offense by this show of extravagance.  Marc believes Serge is, either going mad, having a sly dig at him, or is just plain foolish for making such an inane purchase. Marc  enlists the help of Yvan, their down trodden people-pleasing friend to either get to the bottom of their friend’s behaviour, or at least get him onside with his assessment that the painting “is shit”.

As the debate rages between Serge and Marc, and Yvan’s piggy-in-the-middle stance on proceedings, it would appear that this rather bland, neutral piece of art exposes some home truths and harsh realities that threatens to blow the lid off their friendship once and for all.

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Art proved to be a bitter-sweet night at the theatre, with more to say about the insecurities and foibles of middle-class-white men than a critique of modern art. The script is razor-sharp, filled with stinging- barbs and some cracking set pieces that include possibly the funniest olive eating scene I have witnessed and a finale that drew loud, audible gasps from the assembled audience. The trouble is that the 2 of the 3 characters are quite loathsome and that you really don’t care about them, their friendship or the painting.

That said there is no shortage of star-power on display here: Dennis Lawson is clearly having a ball as cantankerous Marc, delivering most of the plays most venomous lines with real gusto. Nigel Havers does what he does best as the suave, extravagant Serge, a role we are all too familiar with seeing him play, but he does it so well. However the biggest applause for the night was saved for Stephen Tompkinson, whose speech mid-way through is comedy gold, and his turn as the well -meaning wet blanket Yvan very nearly steals the shows.

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Mark Thomas has created simple but effective beige set with only a few paintings and different style chairs used to show off the personality of our protagonists.

I suppose, as all Art, the idea is to challenge and debate. This piece of Art certainly does that; love it or hate you won’t forget it in a hurry that’s for sure!

Art is on at the Lowry until the 31st March tickets available here

East Is East

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EIE

Opening Night verdict ⭐️⭐️⭐️⭐️

Set in Salford in the 1970’s, East Is East is a powerfully sharp and deeply moving story of an Anglo-Pakistani family struggling to find their place not only in society but also within their own four walls.

Patriarch George (Kulvinder Ghir) rules his family with an iron fist, emotional torment and physical threats are his go to methods for gaining respect from his wife and his frustrated children who are desperate to make their own way in the confused world they’re struggling to make sense of.

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Mother Ella (Jane Hazlegrove) loves them fiercely and longs for her husband to love their children for who they are and allow them to explore the opportunities their Western lifestyle allows. The family is fractious and fraught as siblings squabble desperate for release from the pressure of their fathers imposed conformity.

Kulvinder Ghir is outstanding as George, warm and loveable one moment, seething with explosive anger the next. He takes George to breaking point with sensitivity and conviction. Ultimately a frightened man, lashing out at those he loves most due to his pride, his fears and his need for control.

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Jane Hazelgrove impresses as ballsy mum Ella, with a heart full of love for her children and a genuine loyalty towards husband George, her portrayal is believable and honest. The scenes between Ella and Auntie Annie (Claire Hackett) are playful and fun, putting the world to rights over a steaming hot brew being the order of the day.

Each of the children are well cast and deliver their differing roles convincingly, torn between love for their family and their desperation for their own identities they bicker and squabble yet love each other fiercely. This is an enormously talented ensemble cast each and every individual excels with special mention to Shila Iqbal as foul mouthed Meenah who shines as the sassy sole female of the siblings.

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Director Ben Occhipinti guides his cast beautifully ensuring Ayub Khan Din’s sharp script is delivered with maximum impact and perfect pace. The laughs which come thick and fast are perfectly interjected with dramatic action which stops you in your tracks, witty dialogue is interrupted by heart-breakingly poignant moments which silence and shock.

The production superbly explores themes of culture, identity, family and acceptance. It may be set in the 70’s but these themes still resonate strongly today. In our modern world with there’s often thinly veiled pretences at multiculturalism East Is East feels relevant, current and is an important story to tell. The laughs plentiful, are balanced beautifully with ‘hold your breath’ heart stopping moments of raw emotion in this slick and superbly delivered production. Sharp, honest and boldly brilliant.

On at the Octagon theatre until Saturday 14th April tickets available here.

The Importance of Being Earnest

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Kerry E 1

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matthew Forrest

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

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

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

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

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

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

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

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

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

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

 

Circle Mirror Transformation

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Photo credit: Marc Brenner

Photo credit: Marc Brenner

Opening Night rating ⭐️⭐️⭐️⭐️

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

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

Photo credit: Marc Brenner

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

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

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

Runs at HOME until Saturday 17th March

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

 

Hard Times

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Reviewed by Angela Hazeldine

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

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

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

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

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

Hard Times 1

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

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

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