Plays

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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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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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.

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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.

Interview | Anthony Ofoegbu & Yasmin Paige | Circle Mirror Transformation

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Award winning director Bijan Sheibani brings the Northern Premiere of Annie Baker’s critically acclaimed play Circle Mirror Transformation to HOME’s stage from 7th to 17th March with previews beginning from Saturday 2nd March.

In a small town in Vermont, New England, five unlikely strangers come together in their community centre for a creative drama class for adults. The free-spirited Marty, recently divorced Schulz, former actress Teresa, the self-conscious high school student Lauren, and Marty’s quiet husband, James. Over six weeks of drama exercises and games ranging from the hilarious to the heart-breaking, their lives become entangled and transformed in the most humorous and moving ways.

We sat down with cast members Anthony Ofoegbu who plays James and Yasmin Paige who plays Lauren during a break in rehearsals to hear a little more about that play which won writer Annie Baker the 2010 Obie Award for Best New Play, and was voted one of the top 10 plays of 2009 by the New York Times, Time Out, and The New Yorker.

ON (Opening Night)- How are rehearsals going?

AO (Anthony Ofoegbu)- They are going great, I think the laid back persona of Bijan Sheibani our director keeps us all calm, he’s so giving and thoughtful, he sees the vision that maybe we can’t at the start then collectively through the process we start to see it too, it’s been a wonderful reciprocation of ideas and minds, incredible minds, I feel very privileged to be part of it, I’m pinching myself still.

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ON – Can you tell us a little about the play?

YP (Yasmin Paige) – The play is very naturalistic, I almost want to be able to watch it but obviously I can’t as I’m in it, it’s quiet but there is loudness within the quietness as well, it’s definitely a play about feeling, it’s about life.

AO – The title itself Circle Mirror Transformation is interesting, the operative word being mirror, Annie Baker writes in such a true way, everything is said in the silences; it’s an incredible piece of work. As actors we get to look at ourselves within this work and for an audience it mirrors life but offers so much choice for interpretation dependent on where you’re coming from in your walk of life dependent on your experiences, you might connect with something different to the person sat beside you. The silences within the play are so important in terms of internal thought, internal process, internal practice, it also allows audiences watching to connect with that and feel that, that’s the beauty of this piece I think.

YP – It’s very much about stillness, at times in life there may seem like nothing is happening but there is so much happening, just thinking about something like a still life painting, like a bowl of fruit or a vase of flowers, in itself there may not be much happening but that fruit will eventually rot, those flowers will decay, that stillness will go on its own journey. When we reflect on life today where everything is so busy all of the time, we’re all always running around, talking, dashing from here to there, the tempo of life is so fast paced but in Vermont that’s not so, it’s the opposite so it’s a different world for us to inhabit, it strips everything back and what seems still and quiet actually is quite extraordinary and perhaps so with life’s journeys, we don’t realise or see that it has been a journey until we have gotten to the end and reflected on how far we have travelled. It’s a great insight into our internal journey in life.

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ON – What can you tell us about your characters?

YP – My character is the youngest member of the group who goes to this drama class in Shirley, Vermont. She’s 16 and professes that she’s joined the class because she wants to become an actress and she is quite insular and shy but strong minded and very intelligent. Just because she’s quiet and shy doesn’t mean that she doesn’t observe what’s going on, she’s very ambitious and restless. She’s young and almost waiting for life to happen then suddenly she’s in a room with these older people for whom life has happened, it’s really interesting to see how much they all learn from each other. I don’t want to give anything away but I feel by the end of the play she probably grows the most.

AO – James I think is an unsettled soul, trying his best but I think the skeletons in his cupboard are continually rattling and I think he starts to see and understand that more in the process that takes place within the play that’s augmented by his wife Marty who runs the adult drama class in which the play takes place.

ON – Will the play stay with its traditional setting in Vermont, New England?

AO– Yes, we’re in Vermont, hats off to our voice coach Michaela she has just been sensational. We have had a lot of fun getting to grips with the accents.

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ON – Have you enjoyed exploring the writing of Annie Baker?

YP – Yes, so much, she writes so beautifully about human experiences, she has a special sparkle within her writing, she like to put hope into her writing.

AO – She has a great understanding of humans, whatever we’ve been through, whatever experiences we’ve had there can be hope still. She has a wonderful way of giving us the remembrance of hope and being hopeful, she has a very skilled way of showing us through her writing what we can do to perhaps rectify whatever odds we think we’ve made in our lives.

YP – There’s s a lot of light and there is also darkness, it’s about searching in the darkness and remembering that darkness is interesting and there can be safety in darkens as well as in light and exploring the importance of both. I think being able to explore art is so important everything I’ve learned that has informed me has come from reading books, watching films, seeing theatre; it’s taught me so much about myself. Art is so self-reflective; it teaches you not only about yourself but about the world around you.

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ON – Are you largely on stage for the entirety of the production?

AO – Yes, it’s one setting in which all the action takes place.

YP – Although we are in one place it’s set over 6 weeks, so there are weeks to show the growth and progression and journey.

AO – Although you never see outside of that room you really don’t need to, it’s all explained, it allows for the imagination to be rampant in scope.

ON – Have you ever performed at Home before?

AO – No, I’ve performed at the Lowry, but only briefly, we’re here for a month so I’m really looking forward to exploring Manchester as a city. The architecture of the city, this beautiful building we’re in particularly really interests me. My dream was to be an architect but that didn’t happen so I always look at buildings, Manchester has some wonderful buildings.

YP – I haven’t either but I’m so excited, HOME itself is beautiful, I really want to see and explore Manchester, I can’t wait. There’s so much art and culture here.

Mirror Circle Transformation begins preview on Saturday 2nd March with an official opening on Wednesday 7th and runs until Saturday 17th March tickets available here.

 

 

 

The Replacement Child

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Reviewed by Angela Hazeldine

Abooo Theatre’s ‘The Replacement Child’ Directed by Martin Gibbons had its opening this week at the fabulous Hope Mill Theatre. Starring Rupert Hill, Clare Cameron, Julia Haworth and Caroline Read this a heart-braking story of child bereavement told from the Fathers perspective.

The set, designed by Sorcha Cocran and lighting by Adam Murdoch is stark and creates a somewhat eerie tableau when you enter the theatre which adds to the tension before the play has even started.

The play begins with an awkward meeting between father Oscar (Rupert Hill) and teenage daughter Grace (Caroline Read) shortly after her 18th birthday. Grace wants some answers about Jude (Clare Cameron), the mother she never met. It is difficult to tell from the off whether Oscar is going to be very likeable at all, he’s coarse, angry and there are hints towards an unhealthy relationship with alcohol. But, as one audience member declared to Rupert in the Q&A session afterwards ‘You made me like him!’. It does seem to be theme throughout the play where in one moment you are very much on a characters side and the next minute they do or say something which leaves you finding yourself trying to work out ‘who is the bad guy here?’ But there is no bad guy, this is a story of a breakdown of a relationship after possibly one of the most traumatic experiences a couple could experience.

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At times, the language borders on poetic rather than naturalistic but once you’re used to it as an audience it flows beautifully. There are a few moments that are so powerful they take your breath away with audience members visibly gasping at points. The use of flashbacks and projections keep the story moving and the hour and ten minutes flies with so many emotional journeys in such a short space of time.

My companion and I couldn’t fault the performances, all of them powerful and heart wrenching. The chemistry the cast have is a testament to the supportive rehearsal process led by director Martin Gibbons and Clare Cameron who not only had her fabulous acting head on but who also founded Abooo Theatre. During the Q&A session we were treated to after the show, we discovered that the rehearsal process, along with everything Abooo Theatre do was very much geared towards making is easier for parents within the cast with rehearsals fitting around the school run and also being able to bring kids along to those very rehearsals. One cast member joked about having to come up with inventive alternatives to swear words having kids around.

I highly recommend this play and applaud Abooo Theatre, the cast, crew, director and producer Hannah Ellis Ryan on taking on this piece so beautifully written by Vittoria Caffola. Some would shy away from tackling such a sensitive, emotional subject but here it is done with heart, skill and sensitivity.

On at Hope Mill Theatre until Friday 23rd February tickets available

Interview | Joyce Branagh | Vincent River

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Joyce Branagh

Phillip Ridley’s thrilling and heart-breaking play Vincent River,, has been relocated to Manchester where it will receive its regional premiere at the award-winning Hope Mill Theatre next week.

Directed by John Young and starring Joyce Branagh and Dominic Holmes, Vincent River takes aim at homophobia and hate crime with a real and breath-taking honesty. This rousing modern classic, which premiered in London’s Hampstead Theatre back in 2000, slides under the surface of fear, hatred and love.

Davey has seen something he can’t forget. Anita has been forced to flee her home. These two have never met. Tonight their paths cross with devastating consequences.

We caught up with Joyce Branagh who plays Anita ahead of opening in Manchester to hear more about this exciting and intriguing piece of theatre.

ON – What attracted you to this production of Vincent River, and role?

JB – The play itself really. It’s been relocated by Philip Ridley to be set in Manchester, which means it feels like we’re doing a brand new play.   It’s a fantastic piece of writing – it manages to be naturalistic, but at the same time has lots of poetry within it.  It also has elements of a ‘whodunnit’ – we’re constantly trying to work out exactly what’s happening – and that gives it a huge amount of drive and drama too – which I think will be exciting to watch. Philip came to rehearsals on our first day, which was great – we got to pick his brains – but it also meant we had to do the first read through with the author in the room.  Dom and I were terrified! I play Anita – she’s a strong Mancunian matriarch – she could easily pop up on Corrie…straight talking, witty, sharp as a button, but because of the death of her son, she’s wounded and her vulnerability keeps surfacing.  She a really complex contradictory character – which is really intriguing to play.

ON – The subject matter of Vincent River is very hard hitting and emotional. Is it hard to shake that off at the end of the day’s rehearsals?

JB – It can be a bit pummelling doing this – especially at the end of a long day. But it only lasts for about 5 minutes.  Then you get back to real life.  And I think that because the play has a sort of cathartic element to it, that you have that too… you get it out of your system by doing it.  In a weird way, it’s kind of exhilarating.  We also tell each other a lot of bad jokes in the breaks.  (I have a huge supply).

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ON – I imagine that chemistry between you and your co-star is very important for a piece like Vincent River – how are you and Dominic developing this and are you enjoying working together?

Dominic is a fab actor – I met him in the audition, and to be honest he’s another reason why I took the job. I thought – “Ooh he’s good.  I’ll have to be on my toes with him”.  I feel safe with him as an actor – which is great.  It means you can let the characters battle, but you don’t have to.  And that’s what the play needs – two people who are sparring with each other – trying to work each other out get what they want. He also buys lots of mini donuts for us all, which I find very important in a co-actor.

ON – Vincent River is to be performed for a month at Hope Mill Theatre – have you been to this venue before? Either as a performer or audience member?

I’ve never performed at Hope Mill, but I’ve seen lots of productions there. (I’m going in a couple of days to see The Replacement Child actually…)  Because of the versatility of the space, it’s feels very different every time.  I thought I’d seen every configuration – but I think we’re doing something different again!   I think our audiences are going to be surprised by our set-up actually… but I think it’ll help to intensify the experience – make everyone feel that they are actually in the room with us.

ON – You are a regular on the theatre scene in Greater Manchester – why do you think we have such a vibrant and varied arts scene up here?

Why? – I don’t know. But isn’t it fantastic?  I feel like this year things may even have gone up a notch.  There have been so many plays on that I’ve really wanted to see, and so many coming up that I’ve had to get my diary out and strategically plan when I can fit everything in – and I’ve still missed some productions that sounded fantastic.

ON – You’re a successful theatre director as well as actor. Do you have a preference and if so, why?

No preference. I love both – and I feel very lucky when I get the opportunity to hop between the two.  With this I know what a strong connection John Young our director has to the play, which means I can relax and let him take the strain!   I love directing – getting projects underway, bringing a great team together and crafting a show… but then it’s so lovely to leave all that stuff behind and just solely get into the head of a character and bring them to life.  Especially a character as juicy as Anita. She’s a belter. Thanks Philip Ridley!

Vincent River begins previews at Hope Mill Theatre on Tuesday 27th Feb before official opening night on Thursday 1st March and runs through until Saturday 24th March tickets available here. Standard tickets £15 concessions £12.

 

 

 

Brief Encounter

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Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

Widely hailed as one of the most romantic love stories of all time, Emma Rice’s Brief Encounter is a thrilling and visually stunning interpretation of the classic tale of forbidden love.

Taking inspiration from Still Life, the short play by Noël Coward which later became David Lean’s 1945 film Brief Encounter, the production offers more depth to the characters surrounding central lovers Alec (Jim Sturgeon ) and Laura (Isabel Pollen ) providing an opportunity to add multiple layers including a sharp injection of humour, music and dance, which takes this audience favourite to the next level.

Innovative director Emma Rice takes the best elements of both the play and the screenplay as she delivers a faithful and fresh take on the story of two middleclass married people who catch a glimpse of what could be should they dare to leap out of their predictable lives.

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Upon entering the Lowry’s Lyric theatre, cast members mill about, dressed as 1930’s cinema ushers playing various instruments and singing harmonious ditties offering an instant glimpse into the musicality and originality of Emma Rice’s production and sending a clear message to the audience that we’re in for something a little different.

Multimedia elements are wonderfully woven into the exhilarating onstage action as the story of star-crossed lovers Laura and Alec unfolds. There is playfulness and passion as the tragedy of Laura and Alec’s forbidden love is interspersed with the comedy and joyful silliness of the two additional love stories within the production. Beverly Rudd and Jos Slovick as Beryl and Stanley deliver a perfectly judged interpretation of puppy love, all giggles, blushes and charming light-heartedness, Rudd providing a gorgeous version of Mad About The Boy while Slovick serenades his sweetheart throughout with his melodic observations on romance. Lucy Thackeray and Dean Nolan as Mrs Bagot and Albert are a delight, knowingly coy and completely hilarious, with the most impressively physical reprisal of Noël Coward’s I am no good at love you’re ever likely to see, sharp, witty and near acrobatic in delivery.

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Being a Kneehigh production the physical theatre element is second to none, perfectly judged it offers light in the shade of the heart-breaking love story which continues apace. The angst of Alec and Laura’s attempts to control their passion for each other is contrasted beautifully with the elation they experience when together which further adds to the intensity of their scenes together, the on stage chemistry between Sturgeon and Pollen is a joy to watch as love blossoms from their initial innocent meeting at the station.

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Designer Neil Murray, lightening designer Malcolm Rippeth and Sound Designer Simon Baker have worked in harmony to create something truly special as they manage to achieve the most striking of cinematic feels to this inventive production.

Innovative, deeply moving and impressively staged, Brief Encounter brings glorious technicolour to this most iconic of love stories.

On at The Lowry until Saturday 24th February here.

Hamlet

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Hamlet Production Photos Photo Credit : The Other Richard

Opening Night Verdict ⭐️⭐️⭐️⭐️

Often described as Shakespeare’s greatest tragedy, Director David Thacker’s Hamlet is relocated to a gently suggested Soviet Block with it’s marbled walls and leaders portraits, a nod also perhaps to the troubled political times we find ourselves living today.

Upon entering the theatre James Cotterill and Ciaran Bagnall’s impressive set and lighting design looms large; making use of the full height of the Octagon it is dominant, multi-levelled and imposing. In the opening scenes at the funeral of Hamlet’s father we quickly get an idea of the style of this production, beautifully and dramatically lit, scenes change at a pace from bright and bold to soft and brooding.

Hamlet Production PhotosPhoto Credit : The Other Richard

Hamlet Production Photos Photo Credit : The Other Richard

Taking on the title role is the hugely impressive David Ricardo-Pearce, the tragic Prince, torn away from his studies abroad to a kingdom in turmoil, his Uncle taking not only the throne from Hamlet’s dead father but also Hamlet’s own mother to be his new bride. Overcome with confusion and grief the haunting sight of his dead father’s ghost sends Hamlet further into the depths of despair as he strives to find clarity in a world he feels increasingly uncertain.

Ricardo-Pearce delivers the multi-layered prince with conviction, playful yet proud, intense and sardonic. He takes of the task of avenging his father’s murder with fervour as he struggles to find an outlet for his grief, he is unflinching in his quest for retribution. At times addressing the audience directly, Ricardo-Pearce’s commitment to the role is exceptional as he questions, considers and confirms his plans.

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The supporting cast are equally as impressive. Jessica Baglow captivates entirely as the broken and grief-stricken Ophelia, singing gently as she weeps for the loss of her love Hamlet and her father, her mind turns to madness. Eric Potts injects great humour amidst the intensity as the trusted Polonius while Brian Protheroe is impressive as the cold and composed Claudius. Marc Small makes for a loyal and committed Horatio while Michael Peavoy is a charismatic and dignified Laertes.

Thacker’s emphasis on the family tragedy of Hamlet reaps dramatic rewards, with the delivery of the script some of the clearest I’ve seen, this Hamlet is accessible and gripping, it feels fresh and inspired with the cast working together perfectly to deliver and engaging and enormously entertaining piece of theatre.

Hamlet Production Photos Photo Credit : The Other Richard

A great Hamlet of course rests enormously on the lead, Ricardo –Pearce succeeds entirely in involving the audience in his journey as we experience and feel not only Hamlet’s broken and disillusioned heart but his manic and mesmerising mind. Fast-paced, gripping and utterly compelling.

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

Dancing Bear

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Dancing Bear 1 credit Matt Tullett

Opening Night Verdict

As part of the Queer Contact Festival 2018, Jamie Fletcher & Company and Contact bring their dramatized musical, Dancing Bear to Manchester’s Palace theatre for two nights ahead of further dates at the West Yorkshire Playhouse in April.

Conceived by director/musician Jamie Fletcher and writer/musician Beccy Owen, Dancing Bear is an unflinchingly provocative piece of theatre which examines the navigation of daily life for many LGBTQ+ individuals while focussing on their individual challenges and fight for inclusivity, acceptance and a sense of spiritual peace in whatever forms that may take.

Each member of the company is given time and space to deliver their story, ensuring from the start we see each person as an entirely unique and special being. Stories are shared, some happy some painfully sad, offering an opportunity to reflect and consider our own views and experiences. A wonderful addition to the show is the inclusion of Katie, a BSL Interpreter who is wholly part of the company and who testifies like each other cast member.

Dancing Bear 2 credit Matt Tullett

The honest and personal testimonies are interwoven with an inspired piece of poetry in which we see the Dancing Bear move through various animal communities in a bid to find his people after being banished by his family; he yearns for somewhere he feels safe, loved, accepted and free to be the person he knows he truly is inside.

Whilst the show implores you to question and explore it also entertains enormously, with superb original songs and powerful contemporary dance in addition to the real-life stories, there is a wonderful cabaret vibe to the production. There is no preaching, nor pushing of an agenda other than delivering a message illustrating the importance of love and acceptance. The glorious array of individuals on stage wonderfully demonstrates our strength as individuals lies in acceptance and the grace to embrace difference in all its forms. In exploring faith it becomes wonderfully clear that to each individual God can be exactly what they want God to be, a powerful being in which faith can be placed. Poignant, provocative and an opportunity to find our own inner peace & spirituality on our own terms, conclusions need not be drawn as we celebrate the uniqueness of each other.

On at the Palace theatre 8pm this evening tickets can be found here.

 

Strangers on a Train

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SOAT

When two men meet by chance on a train journey, little do they know the impact this life-changing encounter will have. As they relax into their journey, the drinks begin to flow and stories of their lives are shared. As hopes, dreams and life’s troubles are discussed an idea emerges which will have an untold impact on both their lives.

Based on the novel by Patricia Highsmith which was adapted for the cinema by Alfred Hitchcock in 1951, Craig Warner’s Strangers on a Train is a sinister tale of persuasion. Smiling psychopath Charles Bruno (Chris Harper) charms architect Guy Haines (Jack Ashton) into revealing his innermost thoughts then hatches a plan to commit what he thinks are the perfect murders, clever and calculated in a way the truth could never be uncovered. Of course something as dark as murder could never be so simple, the plan quickly begins to unravel & suffocate Guy as a manipulative and unhinged Charles becomes ever-present and looms large in all aspects of Guy’s life.

Chris Harper and Jack Ashton are entirely convincing in their individual roles. Harper is commanding and brash as Charles, obnoxious, obsessive and chillingly intense, he perfectly embodies a man on the edge of madness. Perfectly paired with Ashton’s calm and relaxed presence which becomes increasingly strained as the horror off his characters situation takes over, pushed past the point of no return by a tormentor he barely knows, he takes on the role of cornered victim well, keeping up appearances believably whilst battling with an increasingly manic oppressor.

While both leads and the ensemble deliver strong performances the pace of the play lets the production down, leaving a feeling that a good chunk could have been edited in order to allow the chilling tension the cast are so clearly capable of delivering to florish.

David Woodhead’s set while wonderfully intricate with sliding panels revealling hidden rooms at times muffles conversations & in several scenes blocks cast members from view for audience members sitting anything but bang central.

While some scenes are drawn out others feel rushed, with only fleeting appearances from Helen Anderson and John Middleton as Helen Anderson and Arthur Gerrard, both are excellent and draw attention each time they are on stage.

While there are some excellent performances which hold your attention for the duration of the production, the promised chill is never quite felt. Trimmed down this could be an excellent and gripping piece of drama.

On at the Opera House until Saturday 10th February tickets available here.