Plays

Jane Eyre – Octagon Theatre

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Opening Night verdict ⭐️⭐️⭐️⭐️

170 years on from first publication, Janys Chambers and Lorna French’s new adaptation of Charlotte Brontë’s, Jane Eyre proves the story of trailblazer Jane is as inspiring and as captivating as ever.

Telling the story of an orphan girl and baring striking similarities to Brontë’s own life, Jane Eyre is an arresting account of battling through monumental challenges at a time when women were largely seen but not heard. Northerner Jane (Jessica Baglow) is taken in by her Uncle after the tragic death of her parents, much to the disgust of his cruel wife, Jane’s Aunt, Mrs Reed (Claire Hackett). Mrs Reed promises to raise Jane as her own, yet sadly subjects her to a childhood of misery and abuse which both Jane’s aunt and cousins revel in. Aged just 10 she is sent off to Lowood, a boarding school for orphaned girls, where she continues to experience a cruel and enormously unforgiving life at the hands of school tyrant Brocklehurst who delights in mistreating and humiliating his subjects. Despite this intolerable life, Jane makes a great friend in Helen Burns, a fellow pupil, tragedy however lingers close by as Jane suffers more heart-breaking loss.

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Jane eventually becomes a teacher at Lowood but after two years yearns for change and adventure; she advertises herself as a Governess and is summoned to Thornfield Hall where Jane is granted the position and takes on the responsibility of educating Edward Rochester’s (Michael Peavoy) French ward Adele. As we see the developing friendship between Jane and Rochester build strange and unexplained happenings within the hall begin to occur risking both the safety and the future of the entire household.

The small cast take on multiple roles with each and every actor delivering clear and intelligent characterisation; the additional young company shine, particularly Jasmine De Goede and Coco Jones as young Jane and Adele respectively. Staged in the round, director Elizabeth Newman ensures the focus of this piece lies entirely upon the talented cast on stage. Full use is made of designer Amanda Stoodley’s cage like frame and the full height of the Octagon theatre is used to great effect when paired with Chris Davey’s dynamic lighting which creates and changes atmospheres beautifully.

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The production feels bold and inspired as the pace dances swiftly through Jane’s early childhood to adult life. Baglow makes for an enormously charismatic Jane, strong of spirit, intelligent and witty, her search for fulfilment strikingly pure, she remains fiercely true to herself as painful as this may be. Convincing and confident Baglow embodies Jane superbly.

Michael Peavoy plays the brooding Rochester to Baglow’s Jane, he is forceful and intense in his attempts to get to know Jane who greets her masters unique ways with intelligence and smart humour, proving Jane to be an equal to Rochester in mind if not in stature. Peavoy’s ability to switch from deeply intense to light and playful perfectly embodies the complexity of Rochester’s bruised soul. There is an endearing playfulness between the two as their complex relationship grows and develops you find yourself willing for these two damaged hearts to heal each other.

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Leah Walker as the ‘mad woman in the attic’ is creatively delivered, making exceptional use of the Octagon’s intimate space and designer Amanda Stoodley’s innovative staging.

Writers French and Chambers focus more on the humour within the novel in this production than any I’ve seen previously making for an innovative and fresh feel, allowing audiences to see Brontë’s characters perhaps differently than in previous incarnations. The pace is quick and sometimes the emotional depth is brushed over in favour of humour, it is none the less an enormously engaging and entertaining production. The focus feels less on Jane’s need for liberty and adventure and more on her relationships and longing to feel loved. Her search to create her own unique family, something she never had is heart-warming as she bids to prove she is loveable and equal in heart and mind to Rochester when society would deem her beneath him. Jane is a woman of enormous character, who is tested to the point of almost betraying herself entirely but her belief in love and the fierceness of her own integrity saves her. Bolton Octagon once again succeeds in creating engaging, relevant and inspiring theatre.

Jane Eyre on at the Octagon until Saturday 10th February tickets available here.

From Ibiza to the Norfolk Broads

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From Ibiza

Opening Night verdict –

It was, of course, the immortal allure of David Bowie that drew us like a siren’s call to ‘From Ibiza to the Norfolk Broads’… an irresistible opportunity to hear his music; to listen to his voice (albeit brilliantly mimicked by comedian Rob Newman); to see his otherworldly face projected front and centre stage…

So, inhabiting protagonist Martin’s world – where Bowie shines perpetually like an ephemeral ‘Diamond Dog’ – takes no leap of the imagination at all. We first encounter him aged seventeen, and he is a broken bird of a boy: gripped by an eating disorder, he is prone to occasional self-harm and leads a reclusive, dead-end existence with his alcoholic mother.

Martin’s father left the family home when he was two years old, so when he stumbles across his estranged patriarch’s treasured collection of Bowie albums and memorabilia, an obsession is born.

On the morning of Martin’s eighteenth birthday, he is gifted an envelope; left to him by his erstwhile father, it contains a map of London that treads in Bowie’s footsteps.

Galvanised by the hope that it may ultimately lead to his father’s whereabouts, Martin scrapes together enough money to head to the capital – beginning his quest outside the wrought-iron gates of Stockwell Infants School, where David Robert Jones was the small boy with anisocoria eyes and a huge future…

First thing’s first, this is a ‘one-man show’ in the truest sense – a tour de force solo performance by the impressive Alex Walton [After the Blue, ISM, London Calling, Macbeth], who is seemingly inhabited by a cast of thousands. You see him morph from all-knowing narrator to angst-ridden teenager to wizened record store owner within seconds. Each character is as fully formed and believable as the last – leaving you with the impression of having been entertained by a whole company, rather than a single performer.

Walton’s emotional range is vast – taking him from an overexcited karaoke performer in a rough pub to the victim of an all-too-real panic attack in a greasy kebab house within minutes. (Anyone who has experienced crippling fear and breathlessness when anxiety strikes could find this a particularly triggering scene, although credit must be paid to him for a startlingly accurate portrayal.)

Curiously, although Bowie’s spectre engulfs the production from start to finish, anyone expecting a musical of smash hits is going to be sorely disappointed. His music is purely incidental – utilised to hint at Martin’s mental state, rather than a succession of rousing choruses taken from the hit parade. (Expect to hear snippets from Bowie’s more experimental side of his oeuvre.) Likewise, Set & Costume Designer Andie Scott delivers a pared-back aesthetic, which merely hints at Bowie – providing no more than window dressing to Walton’s considerable talent.

Writer & Director Adrian Berry (Artistic Director of Jacksons Lane Theatre in London) is to be especially praised for delivering a truly innovative narrative and production that is heart-breaking and humorous in equal measure, as well as avoiding all temptation to conclude with a definitive ending. Part of the great joy of this experience is walking away from the theatre and ruminating over what the final scenes mean for Martin, his father and the Thin White Duke himself.

Hugely acclaimed at last year’s Edinburgh Fringe – playing to sell-out audiences – the show is currently on tour nationally, with concluding performances at Jacksons Lane Theatre (6-10 March 2018). For tickets, click here.

Reviewed by Michelle Ewen

A Christmas Carol

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CC

Review by Matthew Forrest

Panto season is in full swing at this time of year, but fairytales and jolly japes aren’t everyone’s cup of tea, so if you’re looking for something a little different to get your festive juices flowing, then the MAP Repertory Company’s take on A Christmas Carol offers the perfect alternative.

Charles Dickens’ A Christmas Carol, has made captivating reading for young and old alike for just short of 175 years when the novel was first published in 1843. There have been countless film adaptations of this classic tale,  all offering something a little unique and this version is no different.

Told with various cast members acting as narrator, we are introduced to Mr Ebenezer Scrooge and his dutiful, down trodden  employee Bob Cratchit as they are busy working on Christmas Eve. We get a look into the blackheart of Scrooge as he berates his employee for want Christmas Day off, as well as mocking his nephew Fred, for his merriment and positive outlook  over the festive season. What follows is Scrooge’s road to redemption as he encounters four spirits who look to save the old misers soul before it’s too late.

This is a highly original attempt at this old classic that doesn’t always hit its mark but is a great deal of fun regardless. The cast all work their socks off playing muliple roles and are clearing having a ball, the show is a blend of music and comedy, with a great deal of joy coming from the introduction of the puppet Tiny Tim. What sets this apart from other productions is the way they used the space at 53Two venue, all aspects are covered with various cast members popping up in the theatre. The soundscope is brilliant especially during the scenes with the ghosts, made all the more immpressive by the limited budget of the play.

With a running time of just under hour, Map rep company have tried to cram as much story in as possible, which doesn’t quite work in parts: the biggest problem being the introduction of the tension between Scrooge and his nephew is left unresolved. In addition Scrooge’s scaving encounter with the charity workers isn’t mentioned until after he has his epiphany: so when Scrooge shows his charitable side it has very little impact as it was seen without context.

This is a fun, smart  show, suitable for all the family that will provide a spring in the step as we march towards Christmas,packed with fine performances, comedy, Christmas  carols and lashings of good cheer it’s well worth watching.

On at 53Two until Saturday 23rd Dec, tickets available here.

 

 

 

Peter Pan

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Opening Night verdict ⭐️⭐️⭐️⭐️

Promising to be a ‘musical adventure’ Selladoor Worldwide bring J.M. Barrie’s classic Peter Pan to Blackpool’s Opera House this festive season.

Starring X Factor, I’m A Celeb and soon to be Dancing On Ice favourite Jake Quickenden as Pan with Liverpool legend Jennifer Ellison as the villainous Hook and Maureen Nolan as Mrs Darling, Peter Pan is a magical, feel-good, re-telling of an all time classic.

Designer Jessica Curtis sets the action beneath a large eye catching & atmospheric draped tipi, a simple but effective set which lends itself well to scene changes and captivates audiences imaginations as we fly with Pan, Wendy, John and Michael through their bedroom window to Neverland.

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Quickenden is on fine form as he makes his stage debut, he is hugely likeable and makes for a charismatic Pan, showcasing his vocal talents beautifully in each of the crowd pleasing musical numbers which include Uptown Funk, Can’t Stop The Feeling and We Are Family.

Ellison’s Hook perfectly compliments Quickenden’s Pan, she is fierce, feisty and boy does she know how to play a baddie……oh yes she does! She has the audience in the palm of her hand from the off as she revels in the boos and delights in the hisses, a glint of devilment in her eyes, she’s all about having fun with this role and giving the audience the great time they came for.

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The strong supporting cast work incredibly hard doubling up as both the Lost Boys and Hook’s motley crew to great effect. Director Kirstie Davis ensures each character is clearly defined as they work together seamlessly, each and every cast member full of energy and enthusiasm, engaging the audience entirely. With an additional creative element of puppets taking on the role of Nanny the Dog and the ticking crocodile, both really add to the magic of the piece. Special mention must also go to Grace Osborn as Wendy, strong and sassy, her duet of Breakaway with Quickenden is a real highlight of the show.

The promise of a musical adventure is entirely accurate, while there are some of the fun elements of panto with audience interaction and great humour delivered by local Radio favourite Scott Gallagher as Smee, Robert Marsden’s adaptation of Peter Pan is a step up from the cheeky gags of panto and is more a musical dramatisation of a classic tale. Act One allows the audience to settle into the production before a fast paced all action second act keeps everyone engaged as they will Pan to win the day as he battles to save Wendy, John and Michael from walking Hook’s plank.

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The production has something for everyone, an engaging story, well chosen musical numbers, lots of humour as well as strong individual performances. Let your heart be warmed by this magical adventure, highly entertaining, well delivered and jolly good family fun.

On at Blackpool’s Opera House until Saturday 7th January tickets available here.

Interview – Sting | The Last Ship

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Sting

Undoubtedly one of the most successful UK artists of all time having sold millions of records, won every award & prestigious accolade imaginable including multiple Grammy’s, Brits, a Golden Globe, 4 Oscar’s nominations, an induction to the Hollywood walk of fame and a CBE to name but a few, Sting has now set his sights on musical theatre with the self-penned, The Last Ship. We were lucky enough to be invited to an intimate launch of the musical which docks at the Lowry Theatre from 3rd July 2018.

Sting may have come a long way since his childhood days spent in the shadows of the shipyard in Tyneside but he has never forgotten his roots. In writing The Last Ship Sting rediscovers the impact industrialisation & loss of identity has on a town and it’s inhabitants. As a child Sting thought of the shipyard as a dark and dangerous place, his biggest fear that he would end up there, unable to fulfil his dreams of being a singer. “Many years later I realised I owed a debt to my community, a community who’d had their incredible skills set thrown on the scrap heap, their dignity in working taken away, I wanted to explore what happens when you take this away, economics does not exist without community.”

Not strictly autobiographical but certainly very influenced by Sting’s childhood, lead character Gideon has turned his back on his hometown, leaving to become a sailor, after 17 years away her returns to reconnect with a lost love, however tensions between his past and his future flare as the once proud town he left is now a community in demise as the local shipyard is closing and fear for the economic stability of the town is overwhelming.

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Of the story Sting said “I know how difficult it is to write an original story, many musicals are based on stories we already know, films, even cartoons but I wanted to take on that challenge, it was fun, it was hard-work, inspiring, challenging, disappointing, thrilling so many emotions, almost like a ship, there are so many moving parts and elements that need to come together, effectively you are the captain of the ship. It was hugely challenging but also so much fun.”

The musical has a very strong sense of regional identity, having lived away from the North East for so many years now Sting feels he is in the perfect place to look from the outside in, “I live an international life, I’m from a community but I live outside of it which to me feels like a good place to be impartial and give a voice to a community who maybe don’t have one.”

Giving his childhood community a voice is clearly a huge driving force behind The Last Ship as well as the emotional debt Sting feels he has to pay. “I was formed by the North East, my engine of ambition was created there, I was very lucky to be able to do what I did and it was only through good fortune when I left at aged 18/19 that I was able to, I am enormously grateful for the environment in which I was raised. It was rich and full of symbolism, the launching of a ship makes me tearful even now, something so enormous being launched by the hands of its makers, the workers of the town, happy and proud of what they have created yet at the same time anxious at when their next job might be.”

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Sting explained what drove him to take on the challenge of musical theatre, “I’m undoubtedly driven by curiosity, driven always by the thought of ‘What’s next?’ I never want to keep pressing the same buttons, creativity is an elusive animal, hunting creativity means putting yourself out of your comfort zone, I’m not driven by success but driven by my own curiosity, I’m an eternal student.”

After a runs on Broadway, Chicago, Salt Lake City and now Finland, Sting explained how the piece has been altered slightly for the UK and Ireland tour which opens in Newcastle in March. “I felt the show needed slightly refitting for this tour, it’s more political than it was on Broadway, the struggle of the men takes precedence here as opposed to the love story which was very much focussed on for Broadway. Once I’d started with the characters the songs then came very, very quickly, almost like it was stored up deep inside, a story just waiting to be released. I’ve never been so passionate about anything I’ve done.”

Directed by Lorne Campbell with set design by the Tony Award-winning 59 Productions The Last Ship promises to a powerful, emotional and inspiring piece of theatre. Steeped in the proud history of the North with a stunning score, melodic folk music as well as rousing ensemble numbers The Last Ship starring Jimmy Nail sails into the Lowry from Tuesday 3rd July 2018, tickets available here

 

 

The Salon

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Telling the story of soon to be divorced Carol and her colleagues, ditzy X Factor wannabee Tia and Shelia who doesn’t want much in life other than a toy boy with the stamina of a marathon runner, The Salon makes a welcome return to St Helens Theatre Royal this week.

The show is a hilarious behind the scenes look at the outrageous daily happenings in your average high street salon when you’re struggling to get over a broken heart and the local gangster has launched a hostile takeover bid on your business and will do anything and sleep with anyone to get it.

Penned by former Hale and Pace sketch writer and Liverpool playwright Drew Quayle, The Salon boasts a stellar Liverpudlian line-up including Radio City favourite Leanne Campbell, Brookside’s Sarah White and Phillip Olivier and Blood Brother’s Olivia Sloyan as well as Emmerdale’s Peter Amory and Towie’s Harry Derbidge.

There are some great performance in this riotous production directed by Sylvie Gatrill. Leanne Campbell plays recently heartbroken salon boss Carol to perfection, pitching her character just right as she battles through daily life in the salon while her ex and his new girlfriend have moved in across the street, she is the calm in the storm of salon life, instantly likeable, she has the audience rooting for her from her first line.

Managing the sex obsessed Sheila, played brilliantly by the sharp and sassy Sarah White and fame hungry, nice but dim beauty therapist Tia (delivered perfectly by OliviaSloyan) isn’t easy for Carol, not only is she nursing a broken heart but is agony aunt to salon owner Neil (Peter Amory) while trying to ward off local gangster Tony’s (Philip Olivier) advances.

There are some real laugh out loud moments in this adult comedy including an eye watering waxing session with some great comic timing from Philip Olivier and a scarily realistic boozy breakdown from jilted Carol.

Regal Entertainments Ltd set is impressive and authentic, allowing for scene changes within one static set, with the Salon taking centre stage and owner Neil’s fabulously flamboyant flat situated above.

The Salon makes for a great night out, flirty, filthy and full of fun!

On at St Helens Theatre Royal until Saturday 25th November tickets available here

Things I know to be True

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Things

Opening Night’s verdict: ⭐️⭐️⭐️⭐️⭐️

Following on from a hugely successful and critically acclaimed 2016 tour of Australia and the UK Things I Know to be True presented by Frantic Assembly and State Theatre Company South Australia arrives at Chester’s stunning Storyhouse this week.

Before the production begins an announcement is made informing the audience that unfortunately John McArdle is unwell and instead artistic director Scott Graham will take on the role of Bob, script in hand. This is of no detriment to the production, Graham clearly knows the play well and gives an excellent and moving performance, perhaps a little ironic and in keeping with the themes of Andrew Bovell’s play, life indeed is unpredictable and challenges frequently arise.

Bovell’s focus for the piece is the Price family, a family who on the face of things seem average and ordinary soon become complex and entirely captivating. We see life through the eyes of the four grown up children, sons and daughters to Fran and Bob, working class parents who strived to give their children opportunities and more than they had. The pressure to rise to these expectations however means cracks soon begin to show as their children struggle to be more yet are consumed with their desire to have more. Cracks become chasms as illusions and pretences are shattered and exposed as individuals begin to break under the burden of responsibility and crushing love.

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This is a beautiful and deeply moving dissection of family life, where secrets are uncovered and resentments boil over, missed opportunities become deep regrets as the emotional fragility of the family is laid bare.

Added to Bovell’s outstanding script is Frantic Assembly’s superbly physical storytelling. Outstandingly choreographed movements add depth and meaning to the piece, they also offer the audience precious moments to reflect and process the struggles and bombshells playing out before them in this visually mesmerising production.

Geordie Brookman and Scott Graham’s direction is exceptional, beautifully staged and stunningly lit by Geoff Cobham. The extremely hard-working cast deliver an entirely flawless performance; each actor on stage fully embraces Bovell’s complex and multifaceted characters. Special mention goes to Cate Hamer as the families matriarchal Mother, Hamer is utterly compelling as Fran, strong, sharp and witty yet burdened by missed opportunities of what might have been and drowning with worry about her children.

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Things I Know to be True is a deeply moving piece of theatre, laugh out loud funny in parts yet achingly sad in others, strikingly beautiful and visually captivating, powerful and poignant. Frantic Assembly and State Theatre Company have delivered a perfect piece of theatre.

On at Chester’s Storyhouse until Saturday 11th November, tickets available here http://www.storyhouse.com/event/things-i-know-to-be-true

Hound of the Baskervilles

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Hound of the Baskervilles3

Reviewed by Matt Forrest

Over the years there has been many interpretations of Sir Arthur Conan Doyle’s The Hound of the Baskervilles – at least 20 TV and film adaptations alone, not to mention countless theatrical productions. However I challenge anyone to say they have seen anything quite like Northern Rep’s version of this classic tale… and if you don’t believe me, the proof is currently at the King’s Arms for all too see. 

Arriving at the King’s Arms, Salford for a two week run, this fun filled murder mystery focuses on the mysterious death of Sir Charles Baskerville and the apparent threat to the heir of the Baskerville estate, Henry Baskerville. Super sleuth Sherlock Holmes and his trustee sidekick Dr Jane Watson travel from their home on Baker Street all the way to the Devonshire moors, where they encounter all manner of suspects, with even more suspect accents! Can our daring duo not only solve the case but also survive the horrid hell hound? Time will of course tell. 

Those expecting a faithful and straight laced reworking of this classic tale are in for a shock. This is an innovative, funny and downright brilliant reworking of this classic tale. All parts are played by two hugely talented actors in Michael Justice and Angela Hazeldine. The performances alternate with two other actors, so it’s pot luck as to who you’ll get, however this is the second time I have seen this production with different cast members and in no way has it detracted from my enjoyment – if anything, it’s all the better as it keeps things fresh and slightly unexpected. The script is packed full of so many double entendres and just plain daft gags that maybe it should be called Carry on up the Baskervilles. However the joy really comes from Justice and Hazeldine’s adlibbing and doing their best to put the other off their stride.  

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Granted, they play fast and loose with the original story and by the end the convoluted plot becomes secondary as the show becomes an excuse to have a bloody good giggle.  A spot of audience participation is required and the audience tonight got into the swing of things, laughter is most definitely the order of the day. 

As I said earlier, this was my second time seeing this production and each time has been something different: the first time there were some children in attendance and the second there were none, but both performances were adapted to make all feel welcome, with the first performance being more child friendly, without losing any of the humour. 

It’s the job of any critic to critique any show as honestly as possible, however sometimes there’s no harm in leaving it to audience members to have the final say: I got talking to a lovely couple during the interval and the gentlemen claimed he’s been watching shows with his wife for over 45 years, this he told me is only second show he hasn’t fallen asleep in during all that time and I can assure you he made it through the second half too! 

Go and see this riotous romp at your nearest opportunity – you certainly won’t be disappointed! Fun, filthy and downright fabulous! 

Hound of the Baskervilles is on at Kings Arms till the 25th November 

Tickets available from: http://www.kingsarmssalford.com/whats-on/ 

 

BE//LONGING

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Award-winning Manchester theatre collective Take Back Theatre have teamed up with Manchester Migration Lab and Hope Mill Theatre to explore and address our perceptions and understanding of migration.

This thought-provoking and deeply moving multi-media piece uses music, art, scripted theatre and multimedia presentations to tell real and honest stories of migration.

This creative partnership with Manchester Universities new Migration Lab offers audiences the chance to gain a deeper and more honest understanding of all forms of migration, happening the world over every day.


Upon arrival each audience members papers are checked and a temporary travel document approved which we must carry with us at all times. We are then given a map allowing us to navigate as we cross the border into Hope Mill Theatre. The theatre space has been transformed to resemble a warehouse on the edge of the border, boxes are piled up, labelled to indicate types of clothing, ages, sizes etc ahead of distribution . Telephones dotted around the theatre allow audiences to listen in on personal & deeply moving migrant stories , a recording of a Syrian refugee speaking to an Italian Coastguard as a boat sinks, an account of life as a detainee in Yarl’s Wood Detention Centre, the stories are multiple and varied.

The centrepiece of the evening penned by Becx Harrison and directed by Matt Hassall sees actors Nadia Emam and Darren Kuppan explore the ideas of borders, imposed borders, everyday borders, the challenges faced by those unable to freely cross borders, the privilege of those who can and the sense of belonging borders may/may not bring. It is engaging, thought-provoking and beautifully delivered. Provocative and quick paced both Emam and Kuppan command the full attention of every person in the room.


Hearing such honest and personal accounts in this stirring and deeply considered manner gives them great depth and real strength of meaning, pairing quotes from the privileged beside those of the desperate offers an opportunity to evaluate and question the injustices so many face. Migration happens every day, we are all migrants who cross borders daily yet for us the privileged borders are rarely a matter of life or death.

The theatre piece finishes by playing Maximo Park’s ‘Risk To Exist’ accompanied by a deeply moving film exploring the work of MOAS – Migration Offshore Aid Station.


After the performance further exhibits are introduced including interactive maps, a deeply moving installation ‘The Tent’ which explores birth in a refugee camp and stateless babies to an engaging short film by Casey Longdon and Grant Archer detailing ‘The Overview Effect’ exploring the perspective of astronauts as they look down to the world below and see a visual truth of the world without borders, further illustrating how we are all connected.

Be//longing is a highly emotive and passionately delivered piece. As overwhelming as a subject matter this is, Be//longing successfully ignites debate and delivers much needed opportunities to learn, to listen, to contemplate and then to hopefully act.


On at Hope Mill Theatre until Saturday 4th November, limited tickets available via http://www.hopemilltheatre.co.uk

http://www.takebacktheatre.com/

The Wipers Times

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Review by Matthew Forrest

What do you think of whenever the First World War is mentioned? The trenches? The mud? The tragic loss of life? People of a certain age, myself included, will be reminded of GCSE History lessons, with poems by Wilfred Owen and Siegfried Sassoon.  It would be fair to say that this period in history is not remembered for its’ humour or biting comedy. However, writers Ian Hislop and Nick Newman are on-hand to give us an alternative and surprising version of the Great War through their play The Wipers Times.

The Wipers Times was a satirical magazine produced on the frontline by soldiers who, when not dodging German mortars, were sharpening their satirical swords and giving the military top-brass a good savaging. The magazine grew with every passing publication and provided the ‘Tommys’ with a morale boosting spot of light relief.


Adapted from Hislop and Newman’s BBC film of the same name, the play focuses on a band of soldiers from the 24th Division of the Sherwood Foresters.  Whilst based in Ypres, they stumble upon a printing press and with this, Captain Fred Roberts and Lieutenant Jack Pearson hit upon the idea of writing a journal made up of jokes and skits to send up the grim situation they find themselves in.  Fake adverts and spoof war reports are the order of the day as the magazine gains popularity with the troops whilst raising the ire of those in command.

This is an excellent piece of the theatre and well worth going to see. As you would expect from writers of their calibre, the jokes are bang on point, and although they freely admit they lifted the best gags directly from the pages of ‘The Wipers’, this is their love letter to a publication which proceeds magazines such as Viz, Punch, and their own magazine Private Eye. It provides a fascinating insight into satire as well as the British stiff-upper-lip. There are gags about the Daily Mail and ridiculous facial hair that, despite being 100 years old, still seem relevant today thus proving a good gag done properly will always be timeless.

The cast are on top form: James Dutton and George Kemp are excellent as Roberts and Pearson and it is their friendship which drives the play. They are supported by a great, young cast of actors who really show the camaraderie and spirit of the time, made all the more poignant with the loss of one of their ranks.

Director Caroline Leslie has got the balance between humour and pathos just right.  Leslie has got the tone spot-on and has judged it exceptionally well. The comedic set-pieces of the musical hall numbers and mock adverts are the highlights; they tip more than a nod and wink to Monty Python’s Flying Circus or The Goons and fans of this style of humour will love it.

The production design is first class, with Dora Schweitzer’s claustrophobic set design in conjunction with Steve Mayo’s booming sound scape: yes this is a comedy but you’re only a moment away from potential catastrophe, as the debris falls from the ceiling, you feel the soldiers peril and part of the action.

The production does have a few very minor issues. At times some of the dialogue was lost; I think maybe the microphones needed turning up a touch.

The Wipers Times is a funny, sharp, entertaining snap-shot of a little known part of Britain’s history, but more importantly it’s a celebration of something we do better than anyone the world over…….”taking the p**s”.

The Wipers Times is on at the Manchester Opera House till the 4th November

http://www.atgtickets.com/shows/the-wipers-times/opera-house-manchester/

Hedda Gabler

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Following on from a much celebrated sold-out run at the National Theatre earlier this year this new version of Ibsen’s iconic Hedda Gabler arrives at the Lowry until Saturday 4th November.

Reimagined by Olivier and Tony Award-winner Patrick Marber and directed by Ivo van Hove, also an Olivier and Tony award-winner, the production is modernised and accessible yet still stays true to Ibsen’s original work.

Newlywed Hedda (Lizzy Watts) is bored, admitting she ‘settled’ because she felt old, the absolute last thing she actually feels by this marriage and her life however is settled. She’s retuned to a place that suffocating and soulless, a new home where nothing yet has it’s place, certainly not Hedda.

Overcome constantly by the desire to control and take charge of everyone and everything around her Hedda thrives on the destruction of harmony. Constantly battling the demons within, Hedda’s release seems to come from hurting, upsetting and even destroying others. She can be cruel yet is clearly damaged, sharp yet desperately vulnerable, wild yet ultimately trapped.


Hedda wants to be free, she wants the freedom she sees men have yet everyone wants a piece of her, they want to touch her, to be with her, to dictate what she does with her body, to claim ownership. Marber’s focus on Hedda’s relationships offers a real depth to this piece as an audience we try to understand and even sympathise with the damaged, manipulative and often cruel Hedda. She tempts the alcoholic to drink, twists concern for mistrust and family love for suffocating meddling.

Lizzy Watts portrays Hedda beautifully, she shines in the cleverly reimagined production, she is feisty yet vulnerable, struggling with demons which consume her entirely, she is cruel yet clever captivating the audience entirely as she physically embodies the torment and complexity of Hedda, she looks uncomfortable in her own skin as the world weighs down all around her and her inner turmoil threatens to consume. Supported by an incredibly strong cast this is a truly impressive performance.

National Theatre continue to raise the bar high with this bold, atmospheric and entirely engaging production. Jan Versweyveld’s set and lighting design are both superb, the apartment is a sparsely furnished box, which we never leave, almost becoming asylum like as the piece develops and further illustration of Hedda’s confinement and absolute boredom with life where even the timid Thea has the courage to follow her heart. Joni Mitchell’s “Blue” plays between scenes, a further gentle nod to Hedda’s dissatisfaction with her lot.


National Theatre entirely succeed in making a play familiar to so many feel entirely fresh and unpredictable. Powerful, intense and utterly captivating.

On at The Lowry until Saturday 4th November tickets available here www.thelowry.com/events/hedda-gabler

The Threepenny Opera

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Opening with a snarling and solo rendition of the much loved Mack the Kinfe, David Thacker’s version of Bertolt Brecht and Kurt Weill’s 1928 anti-capitalist ‘play with songs’ packs a re-energised and impressive punch.

Set in the near future where Queen Elizabeth is dead the country is awaiting the coronation of King Charles III, the powers that be work together to oppress the poor. Corrupt police are in cahoots with criminals while ruthless capitalists getting richer by the day by keeping the working classes down, making fat profits from the work they tie them to. Macheath (David Birrell) runs rings around both the corrupt authorities and the ever plotting underworld, with women, his only weakness in life seemingly being the only people who might be able get the better of him.

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James Cotterill’s set is industrial and inventive; levels of scaffold add height to the Octagon’s performance space offering the actor/musicians full involvement in the production.

The themes in David Thacker’s version resonate deeply as corrupt police, dodgy politicians, seemingly inexplicable fires and benefit cuts all get a mention bringing this Threepenny Opera bang up to date. Macheath’s treatment of women mirrors the injustice and exploitation seen so frequently in society, no more so than this last two weeks, it is a production which speaks powerfully about the times we’re living in. As always where there is social commentary there is sophisticated satire as the cast deliver this script with genuine wit and great style.

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Birrell is exceptional as Macheath, dangerous and manipulative; his brooding presence has just the right amount of menace about it, his voice rich, strong and powerful. Eric Potts as the odious Jonathan Peachum is superb, full-on and incredibly funny his paring with wife Celia (Sue Devaney) offers genuine laugh out loud moments throughout. Anna Wheatley as Polly Peachum is outstanding, sassy and strong she throws herself heart and soul into the character and has the audience in the palm of her hand.

Packed full with live music and incredibly clever and catchy lyrics The Threepenny Opera is a show that will entertain hugely yet send you away contemplating life and the injustices within it, powerfully politically and enormously entertaining David Thacker has got the balance just right in this slick, snarling and incredibly entertaining production.

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On at the Bolton Octagon until Saturday 4th November https://octagonbolton.co.uk/whats-on/theatre/the-threepenny-opera/#tickets