Plays

War Horse

Leave a comment

Reviewed by Matt Broadley-Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It’s been 17 years since Nick Stafford’s adaptation of writer Michael Morpurgo’s novel, War
Horse first hit the stage. When the book was originally published in 1982, it’s impact was moderate, however, with time and a little attention from The National Theatre, this
heartbreaking, beautiful story was brought to brilliant life, and still today both the book and play manage to wow and amaze audiences of all ages.

Telling the story of Devon farm hand, Albert Narracott (Tom Sturgess) and his relationship
with a foal, Joey. A family feud between Albert’s father Ted (Karl Hynes) and his brother,
Arthur (Gareth Radcliffe), sees the pair try and outbid each other for a young horse, at
market. Ted wins the battle for the horse, but at a hefty financial price.

With Ted not really interested in the care of the horse it falls on Albert, who with time,
patience and a unique understanding strikes up a special friendship with Joey. As Joey
becomes a fully-grown colt the pair can be seen coursing through the fields of the village,
and eventually he becomes a great asset to the family in the upkeep of the farm.

However, with the outbreak of World War One, Joey is sold to the war effort by Ted,
seemingly ending the friendship between Albert and his beloved horse. With Joey out on
the frontline somewhere in mainland Europe, Albert refuses to give up hope of being
reunited with his horse and a year later enlists in the army, much to the anguish of his
mum, Rose (Jo Castleton). So begins a journey that will see them both face great peril and adversity which will change the pair forever.

War Horse is live theatre at its finest: high production values from start to finish,
captivating storytelling and an ensemble cast at the top of their game.
Visually it’s as close to perfection as you’re likely to see. The mesmerising puppet control
of the Handspring Puppet Company who bring not only Joey to life, but other animals
including the great stallion, Topthorn and the Norrcott family’s sassy goose. This
exceptionally talented group of puppeteers/actors pack these creatures full of character
and personality: this married with the superb attention to detail on each puppet makes for
a visual treat.

The set is minimal, with the idyllic Devonshire countryside and later the barbaric
battlefields of the Western front made real using a mixture of drawings and animation,
screened across white fabric at the top of the stage. The visuals lurch from the tranquil to
the brutal and work in a unison with some spectacular lighting and thunderous sound
design.

War Horse doesn’t pull its punches on the brutal nature of war. Characters come and go,
with very little pomp and ceremony, all the death and destruction seen through the eyes of
either Albert or Joey. We are fully exposed to the horrors of the frontline from both sides of
the conflict, as well as the dangers for all the serving horses too. As you would expect, at
times it’s bleak, even shocking but there is also plenty of warmth, humour and kindness,
from Nick Stafford’s classy script, which shows the best and worst of humanity.

Tom Sturgess gives a fine central performance as Albert, a turn filled with warmth, and
determination. In addition there is a solid outing from Alexander Ballinger as the German
Captain Freidrich Müller. It’s a performance filled with anguish and compassion. With the
subject matter it would be easy for the production to drift into melodrama but under Katie
Henry’s direction the whole ensemble cast give measured and at times understated
performances, which is one of the show’s key strengths.

The production showcases the extraordinary vocal talents of Sally Swanson who brings to
life the compositions of Adrian Sutton and the lyrics of folk music legend Jonathan Tams.
Swanson has a tremendous voice, as she glides from scene to scene, soundtracking
moments of beauty between Albert and Joey, and the anguish and fallout from the war.

This is a sublime production that can be enjoyed by audiences young and old alike with
some startling imagery that will live long in the memory coupled with a powerful message
of hope. With a tour going to the end of 2024 and well into 2025 this magnificent beast of a
show shows no signs of being put out to pasture, and on today’s performance it’s easy to
see why.

War Horse is at the Lowry until Saturday 28th September. Tickets are available
here.

Brassed Off

Leave a comment

Reviewed by Matthew Broadley-Forrest

The superb collaboration between the Octagon Theatre and Theatre by the Lake, has once again produced something special with their brilliant production of writer/director Mark Herman’s 1996 film Brassed Off.

First adapted for the stage in 1998 by Paul Allen, the production under the direction of Liz Stevenson is embarking on a three week run at the Octagon, and I’m pleased to say it more than delivers.

Set during the mid 1990’s 10 years after the brutal miners strikes, the fictional pit town of Grimley, is one of the last coal towns left standing. The pit is the life blood of the community, and still turns a huge profit, however with the threat of closure on the horizon and talk of redundancy, how will this impact not just the workforce but their loved ones?

Told through the recollections of Shane (Andrew Turner), the son of pit worker Phil (Joey Hickman). Phil and his family have been hit hardest mainly through his involvement in the strike of 1984. He, along with wife Sandra and their four children (Daneka Etchells), are struggling to keep their heads above water.

In addition to Phil, there are fellow miners, Jim (Greg Patmore) and Harry (Matt Ian Kelly) best mates and a formidable double act, equally matched by Rita (Maxine Finch) and Vera (Joanna Holden) their wives, with Rita tirelessly campaigning to save the pit, whilst Vera has dreams and ambitions for the nicer things in life. Then there is Andy (Barney Taylor), a bit of a jack-the-lad, who has known nothing else other than working down the mine and living in the town of his birth. Andy’s world is turned upside down with the arrival of Gloria (Hannah Woodward), a former childhood sweetheart, who has returned home to do some good for her community.

Finally there is Phil’s father, Danny (Russell Richardson), a retired pitman, and Grimley’s colliery brass band leader, a no nonsense proud man who is laser focused on restoring some pride to the community though his band.

There is so much to admire from this production, especially the strong, super talented ensemble cast. The production benefits from casting superb actors who can also play a bit, alongside musicians who can act as well. For the numerous brass arrangements the production has enlisted the help of two local bands: Eagley Band and Windgates Band who perform some rousing pieces including Florentiner March and a beautiful rendition of Danny Boy (I’m not ashamed to say left me with a bit of grit in my eye).

There are fine performances throughout, Joey Hickman as Phil, gives a desperate, yet measured turn as Phil. Barney Taylor and Hannah Woodward give spirited turns as young lovers, Andy and Gloria. The pairing of Greg Patmore and Matt Ian Kelly is a real plus point of the show, the pair have great chemistry and comedic timing. The same can also be said of Maxine Finch and Jonna Holden. However it’s Russell Richardson’s turn as Danny which will live long in the memory: the passionate tirade against the Tory Party and destruction of communities is a thing of beauty.

Paul Allen’s gritty script doesn’t pull its punches, it is filled with heartbreak and humour. In the blink of an eye, it shifts from despair to hope and reliance, anchored by a much needed dose of gallows humour.

Rather sadly some of the themes in Brassed Off, are still as prevalent now as they were 30 years ago, yet hope as ever remains. With a dynamite script, a cast of actors and musicians at the top of their game, this an essential night out to the theatre. Unmissable.

Brassed Off is at the Octagon Theatre till Saturday 28th September, tickets are available here.

The Gangs of New York

Leave a comment

Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Images by Mark McNulty

Storyhouse and Grosvenor Park Open Air Theatre productions have become somewhat of a must for theatre lovers during the summer months. With its purpose built theatre set in the beautiful picturesque surroundings of this Victorian park, it is the perfect setting for live theatre.

The venue has hosted some fantastic productions over the years which have included Little Women and The Great Gatsby. Continuing with the theme of adapting celebrated works of literature, one of this year’s offerings is The Importance of Being Earnest, the other is a far more daring prospect: the world premiere of The Gangs of New York, based on the factual book of the same name by celebrated American journalist, Herbert Asbury.

Set in the mid 1800’s, we are introduced to John Morrisey (Oisín Thompson) and Hellcat Maggie (Hanora Kamen) , a pair of Irish immigrants fresh off the boat arriving in America. It would appear that they have a certain skills set which will help them to survive the mean streets of New York, Maggie, is a light-fingered pickpocket, whilst Morrisey is equally as good with his hands as a boxer.

Almost immediately Morrisey’s growing reputation draws the ire of local gangland chieftain, William Poole (James Sheldon) a.k.a ‘Bill the Butcher’, as he puts it “a true American ”. Poole’s love of violence is only matched by his hatred for all immigrants landing in America hoping to make a better life for themselves. Soon the pair enter into a blood feud, which threatens to cost both of them not just their business ventures, but their lives as well.

As a huge fan of the 2002 Martin Scorsese, Gangs of New York, I was intrigued to say the least by how the production was going to unfold, and I’m more than happy to say it does not disappoint. The story doesn’t just focus on the prejudice and bigotry that many immigrants faced, but also the seedy criminal underworld of New York. Crooked cops, and bent politicians are all thrown into the mix, rather sadly it would appear that 1840’s USA isn’t too different from modern society.

At its core writer Kieran Lynn’s adaptation focuses on two love stories: Morrisey and Suzie Smith (Yolanda Ovide), a young women, from a wealthy family who has ambition to be more than just some rich man’s trophy wife. Whilst the other is the forbidden romance between Maggie and Lew Baker (Lucas Button), a local beat police officer, indebted to Bill the Butcher. It’s a bold move and one that pays dividends as you firmly invest and care about what will become of them all.

Director John Young’s production despite its weighty subject matter is filled with energy and a surprising amount of humour, there are sly, on point one liners which hit the mark throughout. In addition, the glorious in-the-round setting allows for some audience interaction, with some (un)willing audience members dragged up to be part of the show.

Throughout there are various cast members playing all manner of musical instruments, and performing songs giving an authentic folk/roots feel to the production. These light touches mean that when an act of violence does take place, it’s all the more brutal and comes as a bit of a shock.

The cast are in fine form throughout, Oisín Thompson gives a performance packed full of charisma. James Sheldon has a commanding stage presence, full of menace and rage. Hanora Kamen puts in a turn full of sass and grit, whilst Yolanda Ovide gives a restrained, measured performance, as one of the few voices of reason. Lucas Button is equally impressive as the troubled police officer, with a performance full of nervous energy and subtle comic timing, his arc is the one that underpins the entire production.

It’s a bold, brave choice to adapt this weighty, historical book for the stage, but one that rewards its audience with an entertaining and surprisingly fun watch. It’s a production performed by a super talented ensemble cast of actors and musicians, in an as perfect (weather permitting) setting as you’re going to get, live theatre doesn’t get much better than this!

The Gangs of New York is on at Grosvenor Park Open Air Theatre until 31st August tickets are available here.

Twelfth Night

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Having brought audiences a boundary breaking version of A Midsummer Night’s Dream in 2022, Not Too Tame return to Shakespeare North Playhouse this month with their inspired interpretation of Twelfth Night, with the aim to rock your socks off!

This modernised version centres the action within the music industry, there’s raunch, romance and a whole lot of riffing as this Shakespeare classic is given the rock star treatment. Utterly irreverent and a whole lot of fun this is Shakespeare for today. There’s a glorious mix of modern language which marries perfectly with Shakespeare’s script, it’s extremely funny, a little bit naughty and as far from stuffy as you can possibly get.

This is the second co-production between Warrington based Not Too Tame and Shakespeare North Playhouse and it’s clear both know this stage and setting well. Director Jimmy Fairhurst ensures his cast use every inch of the stunning Cockpit Theatre, making this production all the more exhilarating as you wait in anticipation of who will appear next, from where and when. The theatre becomes the cast’s playground and it’s clear for all to see just how much fun they’re having with it.

Twelfth Night is often described as one of Shakespear’s greatest comedies and Not Too Tame have gone full throttle with this, the production is bursting with top quality comedic moments, well-timed delivery and wisecracks galore. There is of course the classic Shakespeare tropes of unrequited love, mistaken identities, and subterfuge as separated twins Viola (Georgina Frost) and Sebastian (Tom Sturgess) arrive in Illyria each thinking the other is dead. This is Illyria as you’ve never seen it before, no longer is it a shipwreck that separates the siblings but a euphoric night on the nose candy.

Frost and Sturgess are both excellent in their roles, the addition of multiple genres of music to this innovative production allows them to show their talent as singers while Dean Fairhurt’s musical composition gifts them with great opportunities to lyrically progress the story.

Jack Brown as Sir Toby Belch and Reuben Johnson as Sir Andrew Aguecheek are hilarious, Brown nails it as the odious Sir Toby, the hard-drinking, hard-partying, high-spirited (or is that just high?) uncle of Olivia (Purvi Parmar). His pairing with Reuben Johnson is perfection, as Jonson gives us a hilarious Tim, Nice-But-Dim-esque interpretation of Sir Andrew, the two together are a joy.

Purvi Parmar as Olivia is excellent, while Louise Haggerty as Feste gets the party started right from the off. Returning to Shakespeare North Kate James takes on the roles of both Maria and Antonia and delivers both brilliantly.

Then of course we come to Les Dennis who shines as Malvolio, there is little Les hasn’t done in his incredible career and now he can well and truly say he’s not only ticked performing Shakespeare off his list but he’s well and truly knocked it out the park. His Malvolio is multifaceted, starting off as a confident, sharp suited tour manager and transforming entirely in Act 2 in a scene I don’t think anyone will forget in a long time – iconic! A gifted actor he has the ability to draw you in and break your heart a little as he shifts impressively from victimiser to victim.

This is Shakespeare with sass, spunk and seriously bangin’ beats. The relocating of the action does at times in Act 1 make the story a little more complex to follow but once you’re on board the anthemic beats and knock-out cast will whip you up and carry you along for this feelgood ride. If music be the food of love, play on, and on and on!

Twelfth Night is on at Shakespeare North Playhouse until Saturday 29th June tickets available here.

2:22 A Ghost Story

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Having wowed the West End with multiple record-breaking runs as well as an ongoing UK tour that continues to sell out, 2:22 returns to The Lowry for another two-week run and judging by tonight’s standing ovation a third visit would be most welcome.

Written by award-winning writer Danny Robins, this supernatural thriller is fast becoming a modern classic, with its clever narrative and inspired cast changes keeping audiences on their toes.

The action takes place over one evening at the home of Sam (George Rainsford) and Jenny (Fiona Wade). Having recently moved into an old house with their baby daughter Phoebe, extensive renovations have begun. Amidst the sleepless nights and with her husband away with work, Jenny has begun to experience some strange goings on, footsteps heard in daughter Phoebe’s room and the sound of a male crying, more curiously always at the same time, 2:22.

When Sam return’s home the couple host a dinner party inviting Sam’s university friend Lauren, (Vera Chok) and her new partner Ben (Jay McGuiness). When Jenny reveals the mysterious goings on to the group husband Sam is sceptical, insisting there must be logical explanations. Support comes primarily from Lauren and Ben, with Ben particularly having a keen interest in the supernatural. Jenny convinces the group to stay up until 2:22 so they can witness for themselves the scary shenanigans.

It’s here that Danny Robins brilliant script really shines, witty and sharp the tension builds as you wait for the jumps that this clever script continually threatens. Act 1 sets the scene while Act 2 ramps up the scares impressively. This is not just a ghost story but an exploration on humans, their beliefs, struggles, strengths and weaknesses. The digital clocks displaying the time ticking towards 2:22 brilliantly aid the uneasy feeling that something bad is about to happen.

Fiona Wade is excellent as Jenny, filled with angst and frustration she portrays the character with believable authenticity. George Rainsford is equally as impressive as the initially arrogant and unlikeable Sam, his journey from start to finish shows an interesting exploration of character which he delivers convincingly. Vera Chok as booze loving Lauren increases the drama as we see her shift from confident to emotionally crushed while Jay McGuiness as Ben brings heaps of charm, humour and likeability as the working-class outsider of the middle-class group.

With an excellent plot twist, masses of misdirection and swathes of suspense 2:22 is a brilliantly crafted piece of theatre. Entertaining, well-acted and surprising right to the end, it’ll make you think twice about things that go bump in the night.

2:22 is on at The Lowry until Saturday 15th June tickets available here.

Testmatch

Leave a comment

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

Leave a comment

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

Leave a comment

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+

Leave a comment

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

Leave a comment

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

Leave a comment

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

Leave a comment

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.