Plays

Testmatch

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

I’ve watched a great many shows at the Octagon Theatre since its redevelopment and have always been impressed by the quality and variety of its output and I’m more than happy to say that writer Kate Atwell’s comedy/drama Testmatch continues this trend.

Testmatch begins in the present day, it’s England vs India and the stakes couldn’t be higher as it’s the final of the women’s Cricket World Cup final from England. However, rather inevitably, rain has stopped play. As the two teams sit and wait for the umpires decision on whether the game will continue or not. Some of the players from both teams shun the dressing rooms, instead opting to keep an eye on the conditions themself.

With no sign of play resuming, the opposing teams vent their frustrations at the situation, as well as bemoan/gloat on the balance of the match.  Soon the six women let their guards down and discuss other matters aside from the match, which include the passion they have for the sport, the rules of the game, and of course their personal lives and situations.

The six women present never use their names or nicknames, instead are identified by the squad number on the back of their shirts. Both of the team captain’s are present. India 1 (Aarushi Riya Ganja), the best bowler in the world right now, who needs the victory in her retirement match: and her opposite number, England 1 (Bea Svistunenko), the best with the bat for her country, but plagued with self doubt over fear of failure.

Also present are England 2 (Mia Turner) who is dealing with troubles off the field, as her recent relationship breakup is plastered over the front pages of gossip magazines and the tabloids. India 2 (Aiyana Bartlett) has to keep her sexuality secret for fear of the scandal it will cause. Finally there is India 3 (Tanya Katyal), whose love and passion for the game knows no bounds, and England 3 (Haylie Jones) who is just trying to make sure everyone gets along till play can resume.

As the long wait continues, tensions begin to rise, not just from the desire to win, but from  allegations of cheating and as well as racism, which spill over into a shocking confrontation and sets up a very unexpected change of direction for the production’s second part.

There is so much to admire about Testmatch. Kate Atwell’s script is as hilarious as it is thought provoking. At first packed with great one liners and risque dialogue, we are treated to a sneak-peek into the life of professional sports people. However this is somewhat of a red herring, as the play moves into darker territory, with prejudice and colonialism discussed in a thought provoking and rightly confrontational manner. 

Under Diana Page’s slick direction the production is always engaging and holds your attention throughout. The ensemble cast are superb, striking the right balance between comedy and drama, never straying into melodrama. It was a pleasure to see a cast bringing out the best in each other which makes for captivating viewing.

I’m not going to discuss the play’s second act in any detail, but it really is a shift in pace with a different set of characters (played by the same cast), and a different setting, however still continuing the themes from act 1. Just to say it’s a smart, ambitious and a bold choice, which is at first quite jarring, but brilliantly pays-off.  

This is an entertaining and enjoyable night at the theatre, that sadly highlights some of the issues that still blight our society today. Whilst the English weather is certainly hampering the current cricket season, get on down to the Octagon, where there is plenty of high quality drama on display, why not bring your cricket whites and pads too, you may even get a game during the interval if you’re lucky!

Teatmatch is at the Bolton Octagon until the 1st June. Tickets available here.

Robin/Red/Breast

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It would be fair to say that over the last decade, actor Maxine Peake has been involved in some of the boldest, most unique and much discussed pieces of theatre to grace the stages and spaces of Manchester. Peake, along with fellow collaborators Sarah Frankcom and Imogen Knight, are the co-founders of MAAT (Music, Art, Activism and Theatre) whose body of work has been showcased in the city for well over a decade with the promise of being brave and innovative and something that will live long in the memory. Recent efforts have included Percy Bysshe Shelley’s The Skriker and a look back at the singer, Nico’s 1968 album The Marble Project for their project The Nico Project.

For their latest offering the group, along with writer Daisy Johnson, bring us Robin/Red/Breast: a reimagining of John Bowen’s folk horror classic Robin Redbreast first broadcast on the BBC in 1970 as part of the Play for the Day series.

The action focuses on Norah (Peake) a writer who, following the end of a relationship, has decided to escape the rat race and move out to the country. There she buys a little cottage in the heart of a little village. The cottage may not be perfect, with it’s wasps and mice infestation, but it’s hers. However things soon turn sour as the city outsider’s presence soon draws the ire of the villagers, who interfere in and around the cottage on a regular basis. The only distraction from this comes in the form of Robin (Tyler Cameron) , a local woodsman and towering figure of a man, who seems as interested in Norah as she is with him. As Norah and Robin’s relationship grows so do the hostilities from the village and its residents leading to a battle for Norah’s mind, body and soul.

At the time of its broadcast, the original Robin Redbreast was compared to the 1971 cinema masterpiece The Wickerman. I haven’t seen the original Robin Redbreast, but I have seen The Wickerman, and themes of fertility, power and isolation are present there and are present here. However there are tips of the hat to other staples, Rosemary’s Baby and the more recent Midsommar. However, rather surprising for me was the presence of Sam Peckinpah’s notorious British western Straw Dogs.

What this production does so well right from the start is nurtures and cultivates the feeling of impending doom with with the arrival of a 10 strong all female brass band, complete with striking red and white majorette outfits playing a haunting piece that conjure up images of sacrifice: it really is as stunning as it is unsettling.

Upon entering the theatre the audience are given a set of headphones, which are used for the first act. We are introduced to Norah, who silently demonstrates life in her new home and with the addition of the headphones we get to hear Norah’s inner thoughts and feelings –  about how she ended up here and also what she thinks about her new neighbours. Norah doesn’t prove to be the most reliable of witnesses. Her actions often betray her thoughts, and sets up a nightmare that is about to unfold.

At a running time of 55 minutes right through, this is a compelling watch, with creatives at the top of their game. Maxine Peake is a tour-de-force, giving a performance dripping in physicality and raw emotion. The sequence between her and Tyler Cameron are beautifully choreographed. The sound design by Pete Malkin superbly blends the tranquillity of birdsong with the harshness of Norah’s rejection. Whilst Gazelle Twin’s composition is suitably unnerving and on one occasion physically unsettling, this (un)holy marriage with Carol Jarvis’ arrangement works well throughout.

This is at times a tough, unrelenting watch, with plenty of scope for interpretation. A bold, visceral piece of theatre sees creative talent at the top of their games creating a piece of theatre that will be talked about for many years to come.

Robin/Red/Breast is on till 26th May. Tickets are available here.

Vignettes 6

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Reviewed by Jodie Crawford

Opening Night ⭐⭐⭐⭐⭐

Vignettes returns to Hope Mill theatre with 6 exceptional pieces of theatre, which are short in minutes but packed with character, emotion and in parts good old Mancunian humour. These 6 pieces of stand alone theatre, are a celebration of the great talent that female identifying playwrights have to offer us in Manchester. The cast, production team, and direction live  up to the writing – each piece captivating in its own right. 

We begin Act 1 with Race for Life. Written by Christine Mackie, Directed by Joyce Brannagh. Our two main characters, Alice (Christine Mackie) and Stevie (Ellaney Hayden), have a chance encounter after taking part in their local Race for Life event. The two women have very different reasons for entering the event, but ultimately both women find something in the other that they were searching for. 

This piece is so beautifully and humorously written by the incredibly talented Mackie. The characters are so well connected and real. Often stories about women feature women who are downtrodden or who have achieved the unexpected. But this piece tells the story of two types of women that society don’t really talk about or identify with greatly. This story is about two women that people maybe don’t notice. There is a real vulnerability in both characters (not that they’d ever want you to see it). A well told story, with lots of heart and humour. 

Our second piece in Act 1 is a powerful piece written by Nasima Bee, and Directed by Nikki Mailer. Haiesha Mistry is a triumph in this piece. She just pulls you in from the minute she begins in her role of Ranad. She is mighty and strong. She fully encompasses this role and I was mesmerised by her from start to finish. Lamin Touray, as Ali, also works well on stage with Mistry. They together deliver a narrative about freedom, expression and the importance of having a voice. The written dialogue is compelling and is delivered with such energy. It is worth the ticket price alone to see this performance. 

The final piece of the first act is Interesting written by Alex Keenan and directed by Jess Gough. This piece is clever, well developed and insightful. It explores so many themes that are relevant with so many of us. The loss of a child in pregnancy, depression, marital difficulties and so much more. The character of Bo, the daughter of a counsellor, is played by the talented Eleanor Booth. Bo is angry and depressed, she is struggling to connect with her mother and in an act of childish retaliation towards her she impersonates her mother in an online counselling session. The couple attending the session, played by Stacey Harcourt and Barney Thompson, are experiencing so many emotions relating to the loss of a child in pregnancy at 5 months. The husband Max just can’t communicate how he is feeling and the wife Laura is desperate to talk about their loss. Bo’s prank doesn’t go to plan and exposes so many complex feelings and emotions for all three characters. A wonderfully written and acted piece that gives us insight into the difficulties experienced in grief and mental well being. 

Act 2 begins with Anatomy of Desire written by Obesi Osi-Lyere and directed by Justina Alna. This piece introduces us to HER played by the brilliant Ntombizodwa Ndlovu. HER is easy to identify with, HER is desperate to be successful, loved and respected, but things aren’t smooth sailing. HER takes us on a journey through time and events that are at times quite confronting. At times the chronology is hard to follow, but the acting is powerful and the main themes are present. I think we can all identify with the hopes and dreams of HER in this highly emotive piece of theatre. 

The second piece of Act 2 is one of the highlights of this entire production: Birds Don’t Run. They Fly. This beautifully crafted script is written by Lauren-Nicole Moyes and directed by Laura Woodward. Here we meet Ashleigh (Laurie Ogden) and Helena (Kate James), two women with a connection from school, reunited at a Blackpool Park Run. This piece starts with so much humour and banter, that when we begin to peel away the layers of these women’s armour we are aghast to the hidden reality they are in. 

I found this piece moving, confronting and heartbreaking. It is so cleverly constructed by Lauren-Nicole Moyes- the use of the bird analogies throughout is inspired. Both actors deliver exceptional performances, but Ogden was truly breathtaking in her portrayal of Ashleigh: this piece will stay with me for a long time. 

And the final play is Maharani of Manchester. Written by Anshan d’souza-lodhi and directed by Gituka Buttoo. Described in the programme as  “If the Godfather was a South Asian woman with morals.” This play takes place in the wilds of Rochdale. Here we meet Maharani (Ifeoma Uzo) who is determined to take Joshua (Raphael Santiago) out into the wild to see whether he is good enough for her daughter. Joining them on the expedition is Princess (Riah Amelle) who isn’t completely unbiased! This play is fun, simple and shows us that the truth is often the best place to start. 

Vignettes 6 is an incredible evening of a diverse selection of plays. Each wonderful in its own right. It is a feast of entertainment with something for everyone. So many characters delivered by an incredibly talented group of actors. An absolute celebration of 6 playwrights, telling six very different stories. How lucky we are to have this wonderful selection of theatre here in Manchester, all on one stage together. 

Vingettes is on at Manchester’s Hope Mill Theatre until 24th April tickets available here.

97+

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️


It’s a brave move to tackle the events surrounding a national tragedy as your debut production, yet debut writer/director Tom Cain has done just that with his play 97+. Working in partnership with the Hillsborough Survivors Support Alliance, Cain’s play looks at the traumatic effects that fateful day had on a group of survivors as well as a family still wrapped up in grief over the loss of loved ones.

Staged as a collaboration between Tom Cain Theatre and Bill Elms Productions, the play set in 2012, focuses on three separate stories which become interwoven with each other. First is John (Colin Kilbride) who was involved in the crush at the stadium, and, despite his best efforts, had a young man die in his arms. John, haunted by night terrors, seldom talks to anyone about his ordeal other than to his wife Liz (Claudia Molyneax), who tries to offer support, but is often rebuked by John. 

Next up is loner Steve (Leslie Longley), also a survivor of Hillsborough, suffering a different type of trauma – survivor’s guilt. Steve’s life has fallen apart through the break up of his marriage and alcoholism. A chance meeting between John and Steve leads to an unlikely friendship, as the pair try to support each other with their ordeal.

The final story is that of Sally (Lynne Fitzgerald) and Stuart (Graham Padden), a couple whose son died at Hillsborough. They are raising their granddaughter Charlotte (Alice McKillop); all are dealing with the loss of a son/father, as well as abuse relating to myths and lies about the tragedy. 

With the impending release of findings from the Hillsborough Independent Panel, the three different groups share their stories, in the hope that one day they will find peace, as well as justice, for not just those that lost their lives that day, but for those affected by one of the darkest days in our recent history.

Tom Cain’s script quite rightly doesn’t pull its punches, addressing issues of PTSD, injustice and police cover-ups. It’s clearly a personal project for Cain, whose grandfather was a Hillsborough survivor. Cain handles the subject with sensitivity and respect. The strength of the production lies in the hard-hitting personal testimonies of the characters, each done as a monologue. Colin Kilbride and Lesley Longley both put in powerful turns with harrowing accounts that will live long in the memory. 

The few opening night nerves were ironed out as the performance progressed, on an emotional night for all involved, including some audience members. This hard hitting piece of theatre clearly and impressively aims to inform, educate and shine a spotlight on the continued fight of the Hillsborough Survivors Support Alliance. A powerful, carefully crafted and hugely emotive production.

97+ was performed on Friday 12th April at the Olympia, Liverpool for more information head to https://linktr.ee/tomcaintheatre?

The Mousetrap

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Reviewed by Dan Grimes

Opening Night verdict ⭐⭐⭐

Agatha Christie’s The Mousetrap embarked on a triumphant 70th Anniversary tour two years ago and this week it takes a welcome sojourn at The Lowry’s Lyric theatre.

The Mousetrap really needs no introduction. The play has long since passed the point where it has become a brand in its own right, having played continuously on London’s West End for almost 72 years (COVID notwithstanding). In fact, the production now has its own catchy tagline. “Have YOUdunnit?” probes the poster on the way into the auditorium, reminding me that participation in the audience is as much about being part of a collective experience as it is about enjoying a well-crafted murder mystery.  

Now, having seen the play (for the first time I might add, and without any idea at the outset of WHOdunnit) I feel as though I have been initiated into a secret society which precludes me from giving away too much of the plot. However, I think it’s safe to state that the action centres on events that take place at Monkswell Manor Guest House, a newly opened hospitality venture run by relative newlyweds Mollie and Giles Ralston (Hollie Sullivan and Barnaby Jago) and involving their intake of idiosyncratic lodgers. As news spreads of a murder in London, this group of strangers find themselves snowed in at the remote countryside location. When a fresh-faced police sergeant arrives, the guests discover – to their horror – that one of them, is in fact, the one WHATdunnit.  

This touring production, with well-paced direction from Ian Talbot and Denise Salvey, does a very solid job of bolstering the Mousetrap brand. The staging is at the same time sumptuous and robust. The set elegantly recreates the interior of an English country manor house, complete with gothic oak panelling and stone architraves. The actors work the set hard throughout with doors slammed, staircases tramped, curtains yanked, and windows clambered through. However, testament to the skill of the designers and the construction engineers, there was not even a hint of a wobble. The costumes were in-keeping with the period and each outfit was precisely chosen to enhance the characterisations. Well-cut tailoring and hard-wearing fabrics, these clothes evoked a time before fashion became disposable. The props and furniture items were equally evocative of the time and similarly high quality, with every component coming together to create an overall sense of opulent dependability.

The lighting design was simple but effective. With all the action contained within the same box set, the use of wall lighting and lamps helped punctuate the passing of time and the way the ambient lighting gradually faded as the dark winter night drew in, created the right atmosphere to frame the suspense. I especially enjoyed the care taken over the critically timed blackout at the end of Act 1 with the remaining auditorium lighting also being temporarily dimmed to enhance the depth of the blackout and add to the disorientation.  Unfortunately, sound on this occasion was less reliable, with more than one occasion when miscued microphones pulled you out of the action. I was also a little disappointed with the realism of the snow used on stage. Seeing each newly arrived character lightly dusted with snow from the imminent blizzard was initially pleasing. Unfortunately, the fact that the snow lingered a little too long on clothes when characters were stood in front of the roaring fire, and that some of the dustings appeared more like dollops was ultimately more jarring than was likely intended.  

Performances from all eight actors admirably matched the solidity of their surroundings, with each actor delivering their own well-crafted characterisation. Stand-out performances came from Shaun McCourt as the eccentrically camp Christopher Wren, Amy Spinks as the enigmatic Miss Casewell and TV stalwarts Gwyneth Strong and Todd Carty as the acerbic Mrs Boyle and bumbling Major Metcalf respectively. However, the real star of our show was Hollie Sullivan who was pulled off the understudy bench to play Mollie Ralston. Hollie looked and sounded every inch the 1950s inheritress but also managed to find a depth of emotional connection to the role that caused her to shine that little bit brighter.

Overall, this was an extremely competent production with excellent staging and well delivered performances. That being said, I was left feeling much more enrolled than entertained. I can now say that I have ‘dunnit’ and I will dutifully keep its secret locked in my heart as bid, but overall it was an experience more akin to visiting Madame Tussauds than watching an edge-of-the-seat thriller penned by the Queen of Crime. Whilst I appreciated the craftsmanship and I’m glad to have ticked it off the bucket list, it all felt a bit lacklustre in the end. Very much like the solid oak table mentioned in the script, the play is undoubtedly a genuine antique but it may now be starting to show some signs of woodworm.  

Agatha Christie’s The Mousetrap (70th Anniversary Tour) runs at The Lowry, Salford, from Monday 8th to Saturday 13th April 2024. Tickets are available here.

Cluedo 2

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

Following the huge success of Cluedo (stage play), writers Maurice Gran and Laurence Marks have followed it up with the rather aptly named Cluedo 2, which hopefully will contain more mayhem, more murders, as well as some laughs.

This time around the action takes place in the ‘Swinging Sixties’, at the country estate of fading rockstar, Rick Black (Liam Horrigan), as he is about to offer an exclusive first airing of his latest album. In attendance are Black’s shady American manager Colonel Mustard (Jason Durr), Black’s wife, the scheming socialite Mrs Peacock (Hannah Boyce) and Black’s friend and tech expert, Professor Plumb (Edward Howells).

In addition, there is the seemingly ever-present housekeeper, Mrs White (Dawn Buckland) and interior designer, Miss Scarlett, (Ellie Leach), who has been brought in to give the crumbling manor house a bit of a makeover. Later they are joined by Wadsworth (Jack Bennett), a jobbing actor typecast as a butler, and finally the Reverend Green (Gabriel Paul), a friend and musical collaborator of Rick Black.

As more guests arrive, the body count increases, and soon everybody becomes a suspect. Everyone has a motive, and everyone has the means, but will they all survive long enough to catch the killer?

Cluedo 2, is very much a mixed bag, it does a great job of introducing all the familiar tropes associated with the boardgame: each of the characters are given a fresh take, subverting expectation, but still present are the classic murder weapons and rooms within the manor house.

Writers Gran and Mark’s script is fun throughout but doesn’t always deliver the big laughs that it needs. There are no wasted lines, and every bit of dialogue could be a clue, so be sure to pay attention! I expected more bite from the team behind one of my favourite sitcoms, The New Statesman. Director Mark Bell, arguably best known for directing The Play That Goes Wrong has tried to incorporate what worked so well on the Mischief Theatre smash hit into Cluedo 2, with again, mixed results: there are elements of farce, quick gags, and physical comedy which work well, you just wish there was more of it.

What this production does have is several strong performances. Dawn Buckland steals nearly every scene as the no nonsense Mrs White, she has the lion’s share of the best lines, and she delivers them with exceptional comic timing. Equally impressive is Jack Bennett as the former butler-turned actor, now playing a butler, Wadsworth. It’s a great comedic turn full of energy, which demands your attention throughout.

There are strong performances from Liam Horrigan as Rick Black as well as several other characters (no spoilers) who fully invest into the silliness you expect from the show. Hannah Boyce is in fine form as the mean, selfish Mrs Peacock.

The big draws for the productions are former Heartbeat star Jason Durr, who goes OTT as the big Texas music manager Colonel Mustard; it’s a performance as absurd as it is enjoyable. Whilst former Coronation Street and 2023 Strictly Come Dancing winner, Ellie Leach makes a fine stage debut as Miss Scarlett.

Whilst never hitting the big laughs, there are enough gags and comedic set-pieces to keep you entertained for the two-hour running time, and despite a slow start, the pace quickens as soon as the body count rises, leading to a suitably absurd and thoroughly satisfying conclusion.

Cluedo 2 is at the Lowry till 6th April. Tickets available here.

Peter Pan Goes Wrong

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Reviewed by Gill & Freddie Selkirk

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Mischief Theatre Company are the hilarious gift that keeps on giving, from their original offering, The Play That Goes Wrong to this current UK Tour of Peter Pan Goes Wrong it seems everything they touch turns to comedy gold.

Like the multi award-winning Play That Goes Wrong, Peter Pan Goes Wrong focusses on the Cornely Drama Society and their valiant attempt to deliver J.M. Barrie’s classic, Peter Pan, which of course gets a chaotic and calamitous Mischief Theatre makeover.

This play within a play introduces us to our cast who quite literally live and almost die by the mantra ‘the show must go on!’. With ambition that far outweighs their actual talents the scene is set for two hours of malfunctioning sets, lack of ability, faulty electrics and some painfully close near-misses as our players go about delivering their lines to hilarious effect. There are clashing egos, intense insecurities as well as unwanted affections within the company, all of which add to the glorious chaos of the piece.

Gareth Tempest portrays Jonathan who is our self-obsessed, narcissistic Peter Pan. With an eye for the ladies and an inability to fly in a straight line he continually plunges the show into absolute chaos. Wendy (a very keen to please Sandra) is played brilliantly by Ciara Morris, her enthusiasm paired with her exuberant arm waving never tire. Jack Michael Stacy, as Chris the director (who also plays Captain Hook and Mr Darling) displays a brilliant lack of self-awareness. His continued instance on treating the play as a serious piece and increased disappointment with both his fellow cast members and the audience who clearly don’t agree is genius.

Matthew Howell is superb as Robert (co-director/Nana the Dog, Peter’s shadow) with an ego bigger than Neverland he has the audience in the palm of his hand while Theo Toksvig-Stewart as Max, (playing Michael Darling/mermaid/the crocodile), has a soft-spot for Sandra and is only in the show because his uncle is financing it.

Dennis (Clark Devlin) offers some real comedy moments as he’s fed his lines through a very unreliable headset while Jamie Birkett as Annie (playing Mrs Darling, Lisa, and a superbly funny Tinkerbell) has more consume changes than a pantomime dame. Jean-Luke Worral as the narrator though blighted with technical issues, still adds a touch of sparkle every time he appears, pertified actor Lucy (Rosemarie Akwafo) has trouble finding her voice while Jake Burgum tries to keep it all together as stage manager Trevor, resulting in almost as much unforgettable stage time as the stars of the show themselves.

This really is a comic masterpiece; it’s fast pace never wanes while the gags and physical humour come thick and fast. It’s slapstick central and the audience lap it up, you’re just about recovering from one laugh when the next quickly and hilariously presents itself. Every cast member gets their moment to shine thanks to the witty writing and brilliant direction. High praise must also go to Simon Scullion’s impressive set design, its adaptability and revolve adding superbly to the carefully choreographed chaos.

Mischief Theatre have once again produced a comedy classic, which will appeal to all ages and leave you belly laughing long after the curtain call. My almost 11 year old, Freddie said it was the best thing he’s ever seen at the theatre, “I laughed from the very start to the very end, it’s ridiculously funny.”

Peter Pan Goes Wrong is on at Manchester’s Opera House until Sunday 31st March tickets are available here.

Work It Out

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Many of us have been there, stood in a random community centre or school hall early evening, trainers on, ancient leggings dug out of a long-forgotten drawer as we await the arrival of the class instructor and just hope they’re not quite as bouncy as we’ve imagined. 

It’s the perfect material for a piece of theatre, from the characters we meet to the problems and predicaments they find themselves in. It’s something we can relate to, empathise with, and laugh along with as we reflect on our own brushes with ‘fitness’. Writer Eve Steele (who also stars in the production as Siobhan) has taken this basic premise a step further with the exercise class being one specifically for people who have been referred due to the mental health challenges they face.

This distinct group of characters go on a unique and engaging journey, from beginning as strangers who struggle to be in the same room together to becoming their own unique and fiercely proud community. Each has their own story and moment to shine as the weeks pass by and the heart of each character is carefully revealed. From alcoholism to hoarding, sexual abuse to overeating the issues they’ve face are many, however together they find a sense of belonging and a genuine sense of purpose without this production ever feeling cliche.

Writer Eve Steele and Director Sarah Frankcom have lovingly worked with these characters to ensure they are relatable, believable and touch the hearts of the audience in ways we don’t see coming. The subtleties of their journeys collectively make for a powerful, emotive piece of theatre packed with heaps of heart and humour.

There’s Rebecca (Raffie Julien), who is deaf and refuses to speak who brings along her Grandma Marie (Eithne Browne), Rebecca gradually finds freedom and confidence as the weeks progress while Marie evolves from angry and anxiety ridden to loving, caring and contemplative. Shaq, portrayed sensitively by Dominic Coffey is a care-leaver who is struggling to survive in a wholly unsuitable home environment. His moving dance solo to a jazz version of Radiohead’s Creep is a real highlight of the show.

Eva Scott’s portrayal of Colette a shy, sensitive soul who struggles with body image is deeply moving, seeing her find her place and purpose within the group as they bid to secure funding feels like a monumental triumph. Aaron McCusker’s journey as Rob is perhaps one of the most profound, his transformation is poignantly realised in the final touching scenes as Siobhan (Eve Steele) with whom Rob has become close takes a step back from the group while her personal progress stalls. Class leader Alice (Elizabeth Twells) who seems so composed and complete at the start goes on her very own unique journey of vulnerability where she too realises, she needs the strength of the group to get her through.

The powerful final scenes illustrate both the positive change community and inclusion can bring while exposing the stark reality of the damage done to a society failed by ineffective Governments and underfunded services. The focus on individual stories brings a real sense of hope to this piece as the characters unify becoming closer and tighter as the weeks go by.

Work It Out is on at HOME until Saturday 16th March https://homemcr.org/theatre/

The Gap

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

The always innovative Hope Mill Theatre so beloved for its musical offerings brings something entirely different and equally as pleasing to audiences this month as they host the world premiere of Jim Cartwright’s new play, The Gap.

When a chance phone call reunites old friends Walter (Matthew Kelly) and Corral (Denise Welch) a glorious trip down memory lane ensues. In the fifty years since they last saw each other a lot has changed, however, once the reminiscing begins, the magic of Soho in the swinging Sixties comes flooding back as do the marvellous memories created there.

Both Kelly and Welch deliver Cartwright’s sharp script superbly, there’s laugh out loud humour paired with tender heartfelt moments, all flowing beautifully as the duo bounce off each other brilliantly. Cartwright’s writing is second to none, it’s poetic, moving and of course, really bloody funny, a gift for any actor and one to which Kelly and Welch more than do justice.

Their ability to draw the audience in, is exceptional, one moment we’re following their teenage dreams as they head to the big smoke the next were cocooned with them in their later years, where cosy cardigans have replaced quaffing champagne. What happens in between is a glorious adventure of free spirits and lives fully lived amidst the highest of highs and lowest of lows. Their warmth as actors paired with their skill and versatility really makes this piece sing.

Director Anthony Banks has ensured the humour of the piece is brilliantly executed, cheeky and charming from Welch, deliciously deadpan from Kelly, making you fall in love with Walter and Corral just that little bit more.

While this is a two-hander, with their characters being absolutely the main focus they both portray additional characters often to hilarious effect, from Kelly’s Teddy Boy to Welch’s kiosk owner all add depth and heaps of laughs to the story. The use of music is another key element, from Petula Clark’s Downtown, to Kylie’s I Should Be So Lucky, each represent a key era in the story.

Cartwright’s writing allows us to truly see their characters, warts and all, while their nuanced performances tug on our heartstrings when we least expect it. This is a gentle, joyful, hilarious, exploration of friendship, one that proves beautifully that soulmates come in many forms.

The Gap is on at Hope Mill Theatre until Saturday 16th March tickets are available here.

Noises Off

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Noises Off has arrived in Chester as part of a major UK tour following a sell-out West End run at the Phoenix Theatre. This clever play within a play follows the on and off-stage antics of a small theatre company as they attempt to bring their production of Nothing On to the stage.

As the story unfolds the audience is treated to a masterclass in farce. There are comedy mishaps a plenty, carefully choreographed calamities and superbly orchestrated chaos in this much-loved piece. First performed in 1982 this Michael Frayn play continues to bring in the audiences. It is fast paced, well delivered, and brilliantly directed.

Initially gently introducing us to the characters during their final rehearsal before their opening night, we quickly realise that director Lloyd Dallas (Simon Shepheard) well and truly has his work cut out.

Firstly, there’s Dotty Otley, (played by Liza Goddard) she has pumped a lot of her own money into the show and is keen to get things right. Next up is Garry Lejeune, (played tonight superbly by Mark Middleton), a talented actor with a simmering rage and jealous streak that may just be his and the rest of the casts undoing. Brooke Ashton (Lisa Ambalavanar) joins the cast as an inexperienced actress who will deliver her lines with gusto regardless of the mayhem that surrounds her.

They are joined by fellow cast members Belinda Blair (portrayed brilliantly by Lucy Robinson) a terrible gossip who loves to plant little seeds of scandal amongst the company. Frederick Fellows (Simon Coates) who is lacking in confidence since his wife left him but determined that the show must go on, and finally Selsdon Mowbray (Paul Bradley) whose hearing problems paired with his love of a tipple or two result in some hilarious moments in the script. There’s strong support also from backstage staff Daniel Rainford as Tim and Nikhita Lesler as Poppy.

We move from the hopeless final rehearsal in Act 1 to the back-stage antics during a mid-tour performance in Act 2 as the pressure amongst the cast and creatives nears boiling point, setting us up perfectly for a finale of fireworks. While Act 1 gently sets the scene introducing us to the players, Act 2 takes this production to another level, one that will leave you in awe of the skill and timing of this talented cast.

Director Lindsay Posner and choreographer Ruth Cooper-Brown ramp up the action in Act 2 as the cast bounce from one disaster to the next barely giving the audience time to catch their breath. Going way beyond missed lines as the carnage takes hold. This is a very traditional farce and certainly appeals to its target audience giving them exactly what they came for, laughs and plenty of them. While some of the elements may feel a little dated, scantily clad attractive female character, trousers round the ankles of male characters multiple times (and with multiple characters) and a rather stereotypical appearance from a Sheik and his wife, there’s no denying the quality of this production.

Noises Off is without doubt a comedy classic that will have audiences returning again and again. Entertaining, expertly delivered escapism.

Noises Off is on at Chester’s Storyhouse Theatre until Saturday 10th February tickets available here.

Life of Pi

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Having earned a whole raft of five-star reviews when it premiered at Sheffield’s Crucible theatre back in 2019, Life of Pi has gone on a journey almost as incredible as that featured in the show itself with acclaimed runs in the West End as well as on Broadway. Lucky for us Lolita Chakrabarti’s Olivier Award winning stage adaption of Yann Martel’s best-selling novel has arrived in Salford for a five-week run allowing regional fans to see the much-loved production for themselves.

This tale of endurance and hope amidst seemingly impossible odds tells the story of Pi, a young shipwreck survivor who finds themselves cast adrift with only a hyena, a zebra, an orangutan, and a Bengal tiger named Richard Parker for company. It is Pi and Richard Parker who feature for the majority of the journey, as they fight the elements, starvation and at times each other in a bid for survival.

Opening in a sterile, bland, hospital room, Pi recounts their story of survival following the sinking of the cargo ship containing their family and the animals from their zoo as they attempted to escape the troubles of India for a more peaceful life in Canada. Investigator Mrs Okamoto must decide which account is accurate as Pi explores her culture, spirituality and the harsh reality of human survival.

Taking on the role of Pi at tonight’s performance is Tanvi Virmani, as the storyteller of the piece she succeeds entirely. She brings warmth, humour and heaps of charisma to the physically demanding role. She ensures that as an audience we believe both her fascinating tale and are convinced totally by Richard Parker’s prowling presence as Parker is brought to brilliant life by a team of extraordinary puppeteers. Every meaningful movement, subtle sound and delicate interaction is done with absolute precision leaving you believing completely that this extraordinary beast is as alive as anyone else on stage.

Virmani gets wonderful support from a great multi-talented company. With special mention going to Lilian Tsang as Mrs Okamoto, the determined investigator keen to get to the heart of Pi’s story and Sharita Oomer as the gentler Mrs Chen who offers an opportunity for balance and compassion.

Director Max Webster ensures the magic of the novel is brought to brilliant life by a team of inventive creatives. Tim Hatley’s set design is visually stunning, transporting us effortlessly between locations while Tim Lutkin’s lighting and Andrezej Goulding’s video projections enhance superbly this enthralling play. Sound design from Carolyn Downing ensures Andrew T Mackay’s original score is crystal clear, adding wonderfully to the authenticity of each setting and ramping up the wow factor a notch more.

The puppetry work is truly magical, from swooping birds to twisting turtles everything is so beautifully realised. Richard Parker particularly, and the puppeteers who bring her so brilliantly to life will live long in the memory, so mesmerising is their combined creativity.

Life of Pi is an inventive exploration of the human spirit, told with courage and creativity. Visually perfect, it will transport you into Pi’s fascinating world as you suspend all disbelief and allow this theatrical experience to wash over you. Thrilling, emotive theatre.

Life of Pi is on at The Lowry until Sunday 7th Jan tickets available here.

2:22 A Ghost Story

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

There has been a great hype around 2:22 A Ghost Story since it opened on the West End in August 2021. Whilst plot details remain scarce, so as not to spoil audience members enjoyment, it was the production’s casting that grabbed all the headlines. Pop superstars, Lily Allen, Cheryl (formerly of Girls Aloud) have appeared in the show’s London run, in addition, actors such as Eastenders Jake Wood and James Buckley of The Inbetweeners, have also appeared. 

Now embarking on its first UK tour, I suppose the big question is does it justify the hype? Simply put, yes it does, not just because of the cast, but behind it is a smart, intriguing funny script with plenty of thrills and scares to keep you entertained for a great couple of hours.

The plot focuses on married couple Jenny (Louisa Lytton) and Sam (Nathaniel Curtis). The pair are busy renovating their new home, as well as managing the sleepless nights brought on by the arrival of their newborn daughter. Whilst Sam is away with work, Jenny experiences some strange occurrences, she hears the sound of a man crying and footsteps coming through the baby monitor, even stranger this occurs nightly always at the same time.

Upon Sam’s arrival home the couple host a dinner party for Sam’s friend from university Lauren (Charlene Boyd), and her new boyfriend Ben, (Joe Absolom). At the party Jenny tells her guests of what she has experienced, whilst her husband is sceptical and tries to rationalise them, Jenny finds support from Lauren and Ben.  On top of the possible paranormal activity there is continuing personal gripes and tension that threatens to boil over.

Danny Robin’s script is intelligent, sharp, with some darkly comedic one-liners. Whilst the ‘big jump’ scares aren’t as frequent or as-in-your-face as The Woman in Black or Ghost Stories, when they do come, it does give you a jolt. The situation seems highly plausible, with the focus more on the characters paranoia and regrets than anything. For me the production is equally about the struggles of modern life as well as the paranormal, which makes for a more authentic viewing experience.

Louisa Lytton is in great form as Jenny, it’s a believable turn filled with angst, worry and frustration that never strays into being OTT. Nathaniel Curtis is equally impressive as Sam, a character so arrogant with an air of superiority, he’s totally unlikeable at first, however as the narrative progresses you see him become more vulnerable. It’s a portrayal that in lesser hands could irritate, but Curtis gets the balance spot on.

Joe Absolom brings a touch of humour mixed with a slight intensity to proceedings as Ben, the working-class outsider of the quartet. Absolom gives a measured performance, while the continuing tension between Ben and Curtis’s Sam is fun to watch. Whilst Charlene Boyd’s Lauren adds to the drama and complexity, as throughout the course of the evening we see her slowly descend into desperation brought on by alcohol. She strikes the right blend of confidence and insecurity throughout.

Under Isabel Marr’s direction this is slick production, where the tension lifts but never becomes melodramatic, you are consistently anticipating when the next scare will arrive. The mere inclusion of the clock counting down till the fateful time is a simple but deeply effective plot device.

2:22 A Ghost Story, works so well because of its domestic setting, believable characters and a very real feeling scenario. It’s a well-crafted, solidly acted, chilling and highly entertaining night at the theatre, filled with plot twists and misdirection it’s perfect for this spooky time of the year.

2:22 A Ghost Story is at the Lowry till 4th November 2023, tickets available here.