Plays

Ghost Stories

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Finally, a decade after it’s theatrical premiere at Liverpool’s Playhouse Theatre, Ghost Stories is embarking on a full national tour, and trust me it was well worth the wait!

From the twisted minds of childhood friends Jeremy Dyson and Andy Nyman, comes the ultimate scary theatrical experience, that will chill to your core.

Both Dyson and Nyman are no strangers to horror and the supernatural: Dyson is arguably best known for his work with, The League of Gentleman. Whilst Nyman is an actor and writer, who recently starred opposite Renée Zellweger in the Oscar winning film Judy. However, it’s his previous work with Derren Brown, which undoubtedly feeds into this production.

It would do the show a disservice to offer a review complete with plot synopsis and spoilers, the less you know going in beforehand the better. So, this review like a government investigation into Russian donors to the Conservative Party will be heavily redacted.

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Beginning with a lecture from Professor Goodman (Joshua Higgott), Goodman specialises in the study of the supernatural, especially debunking people’s stories, or exposing fakers and frauds. However, of all the cases that he has investigated there have been three that have stuck with him.

The first is that of security guard, Tony Matthews (Paul Hawkyard), and his unsettling final shift. The second is that of teenager, Simon Rifkind (Gus Gordon) and the strife his troublesome car gets him into. Finally, businessman, Mike Priddle (Richard Sutton) and the events that lead up to a family tragedy.

Can Professor Goodman offer up a rational explanation behind each of these stories, if so what can be?

If the aim of Ghost Stories is to have you jumping out of your skin then it achieves its goal ten times over, like a rollercoaster the thrills come thick and fast, just when you think you’re safe there’s another scare right around the corner. It’s not all shocks, there are several laughs too, with a pitch-black script and lots of fun gags, horror and comedy have often made strange bed fellows, Ghost Stories undoubtedly have got the balance spot on.

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With a production of this nature it of course relies hugely on its creative team and high production values and what they have created is something quite special. With James Farncombe’s lighting design, sound design by Nick Manning, then add into the mix Jon Bausor’s impressive set design and you have an atmospheric, gasp-inducing full-on sensory experience.

The cast are on fine form, Higgot has an engaging stage presence as our guide to the paranormal, whilst the three storytellers each bring something different to their tale. There’s comedy, drama, and terror from each turn but all done very differently, which is a credit to all three actors as well the sublime writing and direction.

This is so much more than a fright-fest: it’s smart, innovative and most of all an enormously fun piece of theatre that pulls out all the stops to give you a night out that will live long in the memory.

Ghost Stories is at the Lowry until the 22nd February 2020 tickets available here.

 

 

 

Looking Good Dead

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Reviewed by Alison Ruck

Opening Night verdict ⭐️⭐️⭐️1/2

There’s a real appetite for crime dramas currently. From Netflix to the BBC, there’s always something new within this genre to thrill and enthral audiences. ‘Looking Good Dead’ is the crime drama audiences are craving, live on stage.

Peter James is known as WH Smith’s ‘Best Crime Author of all time’; his 2006 novel ‘Looking Good Dead’ reached No2 in the Sunday Times paperback best seller list. It’s clear to see why as you unpick the story.

The story centres around the Bryce family: a typical family from Brighton, with your regular family squabbles, moody teenagers and standard day to day life – but their lives turn from the everyday to the sinister with one phone call. Tom Bryce (Adam Woodyatt) and son Max (Luke Ward-Wilkinson) inadvertently witness a murder after finding a USB stick on a train. Detective Superintendent Roy Grace (Harry Long) steps in to try and crack the case in time to save the family’s lives.

With a star-studded cast including Adam Woodyatt as Tom, best known for playing Ian Beale in ‘Eastenders’, and a recent stint on 2021’s ‘I’m A Celebrity Get Me Out Of Here’. Adam is joined by fellow soap actress Gaynor Faye as his wife Kellie, who recently starred in The BBC’s ‘The Syndicate’.

The staging is brilliant, with a modern house acting as the main focus where most of the action unfolds. Divided by a sheer cloth, behind the house of the Bryce family lies an ominous warehouse setting complete with steel beams and chains. Completing the set is a movable police office which joins the stage with its own soundtrack music, further adding to that typical BBC crime drama atmosphere of the play.

The first act did take some time to develop into the gripping drama it became, filling the majority of the act with steamily unnecessary scenes and information. However, as the second act opens, we’re immediately thrust into the crime drama etiquettes, audiences know and love.

The second act was filled with twists and turns, the climax of which leaving unfamiliar audiences with a shocking revelation. One thing that is missed from the magic of television and filming within this genre is the use of clever and creeping camera angles that build suspense, unfortunately an element live theatre just cannot provide, leaving some of the more suspenseful moments lacking flair.

The action scenes, which were few and far between consisted of lacklustre punches and tackles which could be further refined and dramatic, however the strength of the plot and its surprise moments carried the play.

The adaptation from novel to stage did miss the mark in some places, with cheesy jokes (which to be fair did produce chuckles from the audience) and often over-descriptive dialogue which weren’t inspiring in a theatrical setting.

Although maybe not as dark and serious as many of the crime dramas around today, ‘Looking Good Dead’ still makes for an enjoyable piece of theatre that can definitely appeal to crime-drama-genre lovers.

You can catch ‘Looking Good Dead’ at The Lowry Theatre in Salford until Saturday 22nd January tickets available here.

Noises Off

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Slip the word meta into conversation and most people may think you were talking about Mark Zuckerberg’s name for Facebook, and lots of other stuff in the ‘meta-verse’ I don’t understand, and quite frankly have no interest in understanding either! The meta I wish to talk about relates to Noises Off, a play within a play, from the pen of  playwright Michael Frayn, that is as clever and smart as it is silly and absurd, and I absolutely loved it!

First performed in 1982, Fryan’s script focuses on Britain’s obsession with farce, and the sex comedies of the 60’s and 70’s such as the Carry On and Confession films. He has taken some of these familiar elements and crafted a piece of work that still has a place in modern Britain, some 40 years on and the result is a riot from start to finish.

Noises Off  focuses  on a small touring theatre company as they attempt to bring their production of Nothing On to the stage. We see the production at three different stages of its lifespan. The first being the final rehearsal before opening night as director Lloyd Dallas (Simon Shepherd), attempts to get something half decent from his woefully  underprepared cast.

We are slowly introduced to this cast of misfits each with their own little quirk and foibles: First there is Dotty Otley (Liza Goddard), the star of the show, who has pumped a lot of her own money into the production. Next is the leading man, Garry Lejeune (Dan Fredenburgh) , a good actor, prone to bouts of jealousy. They are joined by Brooke Ashton (Lisa Ambalavanar) an inexperienced actress, who will plough through her lines regardless of what is going on around her.

Other cast members include: Belinda Blair (Lucy Robinson), a professional to the hilt, as well as being a hopeless gossip. Also there is Frederick Fellows (Simon Coates) a rather slow creature, low on confidence after his wife left him. The final actor making up the cast of Nothing On is Selsdon Mowbray (Matthew Kelly), a seasoned actor whose hearing problem matches his drink problem. The are joined by the easily flustered duo of Poppy Norton-Taylor (Nikhita Lesler) and Tim Allgood (Daniel Rainford) as the assistant stage manager and manager, with both also on hand as understudies should any misfortune befall the cast.

From the rehearsal space of Act 1, we are transported to back stage mid-tour for Act 2, where the cast and creatives’ personal lives and animosity towards each other are impacting the show, finally reaching it’s crescendo during the final act, which takes place on the final week of the tour.

Despite an initial gentle start, where characters are introduced and various plot strands are seeded,  Fryan’s script pokes fun at the genre with its more than familiar tropes of affairs, middle-aged men wandering around with their pants round their ankles,and young women managing to walk around with very little clothing. Don’t get me wrong there are gags-a-plenty in the first act, but nothing on the scale of what happens next.

It’s following the interval where we are treated to a tour-de-force of brilliant physical comedy from the entire cast beautifully directed by Lindsay Posner and choreographed by Ruth Cooper-Brown. As the illicit backstage shenanigans and petty squabbles begin to seep into the performances front-of-house, we have everything from shoe laces tied together, to prickly cactuses, at times it’s hard to keep track of what’s going on at such a frenetic pace, but it’s a visual feast, and worth the price of admission alone.

It’s easy to see why Noises Off has survived for so long as all the right ingredients are there: a smart, intelligent script which never seems dated or out of touch, a fantastic ensemble cast, who just know how to do comedy, who all get their moment to shine and finally a wonderfully directed series of set pieces that will tickle every funny bone they can reach. With all that is going in the world, Noises Off is just the tonic that is needed for 2 ½ of silly escapism.

Noise Off is at the Lowry until Saturday 21st October. Tickets available here.

Quiz

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

If there are two types of television programmes we love: the classic quiz show and a good courtroom drama are right up there, well imagine the two combined, but live on stage. Add into the mix the fact that it’s a real life incident focusing on one of television’s most infamous moments and you have the recipe for writer James Graham’s Quiz.

First performed in 2017 and later adapted for the small screen in 2020, Quiz is part way through a nationwide tour, and has arrived at the Lowry’s Lyric Theatre this week.

This is the story of Charles Ingram or the “Coughing Major” as he was dubbed, who along with his wife Diana, and fellow contestant, Tecwen Whittock were found guilty of cheating on, Who Wants to Be a Millionaire?  following the army officer’s appearance in 2001.

The action takes place in the courtroom and at first looks at the case for the prosecution, whilst at the same time examining the genesis of the ‘millionaire’ format, that would go on to be a global phenomenon. During the trial we learn of an underground quizzing network designed to infiltrate the show’s rather lax vetting procedures, as well as several recreations to incidents from the show involving the Ingram’s and their extended family.

Following the interval we are treated to the case for the defence, where we see the Ingram’s prepare for Charles’ Who Wants to Be a Millionaire?  appearance, helped by his wife Diana, a quiz enthusiast, who encourages her husband to entertain the audience in order to remain in the millionaire hot seat. We get to see the toll the accusations and trial has on the couple, as the pair are ridiculed and abused by the press and public, as well as more direct action against them in their family home.

Writer James Graham’s has created a funny, entertaining and at times poignant show, dripping with nostalgia. It’s a mixture of great one liners and pitch perfect, absurd visual gags, the Ingram’s swatting up session being one of many highlights.

It also offers up a brutal critique on ruthless television executives and the treatment of their contestants and their audiences.  We are also given a brief history of the origins of reality television which for better or worse have become a firm fixture of our viewing habits.

The show is anchored by three superb central performances. Rory Bremner is in great form as ‘millionaire’ host Chris Tarrant, mimicking Tarrant’s facial expressions, mannerisms, and diction to perfection. On this performance alone it’s easy to see why Bremner is still regarded as one of the nation’s most revered impressionists. His casting certainly adds star power and some heft to proceedings.  Lewis Reeves gives an equally impressive turn as the awkward, shy major, at times, it’s a measured, subtle performance which helps garner sympathy and also helps to throw some shade on the trial verdict.

There is also an impressive turn from Charley Webb, making her stage debut, as Diana Ingram. Webb gives Ingram warmth and depth, playing her more as a loving wife and quiz fanatic rather than the criminal mastermind, some media outlets would have you believe at the time. It’s a surprising interpretation, but certainly one that pays dividends and more than adds to your enjoyment.

Directors Daniel Evans and Seán Linnen have created a slick, fast paced production that always entertains and engages. There is a nice touch with an interactive keypad, as we are invited to take part in the quiz ourselves, but more importantly give our judgement on the Ingram’s. The quiz element of the show certainly brought out the competitiveness of the audience in Salford, as at various times answers could be heard muttered throughout the theatre, adding to the show’s charm and authenticity.

Robert Jones’ unique stage design sees the courtroom setting seamlessly morph into television studio, complete with the Who Wants to Be a Millionaire? hot seat and dazzling studio lights, adding to the flow and tempo of the production.

This is a joyous, entertaining take on a story that for a time gripped the entire nation offering something a little different. If the question is, should you go to watch Quiz? then the response is clear “YES, and that’s my final answer!”

Quiz is on at the Lowry’s Lyric Theatre until 28th October. Tickets available at here.

The Great Gatsby

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

We may have been plagued with more rain than ever this summer but at Chester’s Grosvenor Park Open Air Theatre a long, hot, New York summer has arrived as F Scott Fitzgerald’s The Great Gatsby plays out.

Audiences are transported to the decadence of Long Island during the Roaring 20s where the lavish lives and lurid loves of the residents of West and East Egg are brought to vibrant and believable life by brilliant storytelling, extravagant costumes, melodic song and superb musicality: all delivered by an incredibly talented cast.

Writer Deborah McAndrew and director Conrad Nelson have taken this potentially dark tale and delivered something fun, thrilling and enormously entertaining.

Nick Carraway (Thomas Cotran) arrives in New York after the war determined to make a new life for himself, he calls upon his distant cousin, wealthy socialite Daisy Buchanan (Molly-Grace Cutler) and soon encounters the infamous and charismatic millionaire Jay Gatsby. What follows is a scintillating tale of scandal, high-society and dark revelations. Cotran is superb as Carraway, barely a moment off stage he guides us through the retelling of this heady tale beginning in the court room as he convinces us entirely that his is the opinion to trust. He’s our constant and steady guide, mirroring perfectly our own fascination with these characters who we both love and loathe in equal measure.

The mystery and intrigue surrounding Gatsby is brilliantly developed, by the time Daniel Burke as the man in question makes his first appearance, we’re all as equally enthralled as his fawning party guests. Suave, sophisticated, yet always maintaining an air of mystery as he greets strangers as friends littering conversations with his favourite term of endearment where everyone is an ‘old sport’. He places himself at the heart of a world he so desperately wants to belong to, no matter the cost.

Odious and seemingly untouchable womaniser Tom Buchanan is portrayed perfectly by Laurie Jamieson, while Molly-Grace Cutler gets to the heart of shallow Daisy Buchanan. Alice Lyburd’s Myrtle Wilson is wholly convincing in her desperation for life beyond her class while Matthew Ganley’s portrayal of George Wilson tragically demonstrates the failure of the so called, American Dream.

The Great Gatsby is another triumph for Grosvenor Park Open Air Theatre, this talented company of actor musicians will sweep you away with their vibrant storytelling, weaving fun and frivolity throughout this dramatic tale. The accessibility of the theatre space makes for a welcoming environment for all while the addition of captioning each show further cements the message that theatre truly is for all, wonderful!

The Great Gatsby is on at Chester’s Grosvenor Park Open Air Theatre until 27th August. Tickets available The Great Gatsby – Grosvenor Park Open Air Theatre

Cruise

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Images Pamela Raith Photography

Written by and starring Jack Holden, Cruise was the first new play to open in the West End post lockdown and has since gone on to complete sell-out runs in London’s Duchess and Apollo Theatres as well as picking up an Olivier nomination along the way. 

Based on a phone call Holden received when working atLGBTQ+ charity, Switchboard, the play brings caller Michael’s memories of his time in Soho during the 1980’s to brilliant and believable life. As Michael embarks on a journey of self-discovery, Holden skillfully evokes Soho of the 80’s in all its decadent, drug-fueled glory while recounting a devastating HIV diagnosis at a time when seeing out more than a handful of years post diagnosis was crushingly unlikely for most.

Given only four years to live, Michael and his partner ‘Slutty Dave’ are determined to live what life they do have left to the absolute fullest, making the square mile of Soho their playground while they still can.

This one man play is far for a single character performance as Holden introduces us to multiple characters with blistering speed and enthusiasm. The eclectic mix of personalities are all delivered with captivating skill by Holden as they share with us their own stories of hope, joy and tragedy.

Holden’s poetic script never faulters, one moment you’re laughing at a glorious drag performance, the next you’re breaking your heart at the brutality of a diagnosis with no apparent cure. Holden has an incredible ability to draw you in and keeps every member of tonight’s Manchester audience enthralled, never knowing quite where this rollercoaster of hedonism and heart will take us. We soon realise we’re headed for 1988 and what should be Michael’s last night on earth and the complexity and sense of urgency this brings.

Bronagh Lagan has directed Holden with confidence, allowing him the freedom to really tell this story. Each character is well-rounded and filled with life, making the losses we learn of feel all the more real. While this is a one man play, Holden is not alone on stage, aside from the multiple characters he creates he’s also joined by musician and composer John Patrick Elliot who brings Soho to thumping life with his electronic soundtrack, stamping his influence on this powerful piece with pounding house and rhythmic disco.

This one act play running at approximately 100 minutes will lift you up, touch your heart and remind you of the importance of human connection. An exhilarating piece of theatre that serves as a perfect tribute to all it so brilliantly celebrates.

Cruise is on at Manchester’s HOME until Saturday 12th August tickets available here.

UNTITLED F*CK M*SA S**GON PLAY

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Marking the opening of Manchester International Festival, Kimber Lee’s ‘Untitled F*ck M*ss S**gon Play’ officially opened at the Royal Exchange this weekend, resulting in a thunderous standing ovation which will no doubt be repeated nightly during the four week run.

Lee highlights the absurdity of the stereotypical portrayal of Asian women in Western created entertainment with razor sharp skill and wonderful wit, resulting in a fierce and fast paced piece that somehow remains laugh out loud funny while poignantly challenging the interpretations we’ve been served for generations.

Taking a dive into the likes of Madam Butterfly, South Pacific, Miss Saigon and M*A*S*H, Lee quickly and convincingly shows us just how absurd the characters in these oh so familiar pieces are.

Opening with an initial examination of Madam Butterfly which received its US premiere in 1906, Kim (Mei Mac) is offered as a bride by her mother Cio Cio (Lourdes Faberes) to the square jawed, all-American Clark (Tom Weston-Jones) in a bid for a better life for the whole family. Their American dream however never materialised as the inevitable tragic, yet devastatingly poetic, consequences of that fateful romance play out. This scene is then repeated multiple times albeit in different decades as South Pacific, M*A*S*H and Miss Saigon take their turn under the microscope. The repetition cleverly highlighting the cliches accepted so willingly by many audiences over the years.

Narrator Rochelle Rose guides us brilliantly through each scene, acting both as translator for Clark who throws out random words linked vaguely to the general location whilst assuming he’s speaking fluently to his new bride and author of the piece. Her easy delivery highlighting further the absurdity of the assumptions made by the writers of each tragic story. Each repetition grows more frenetic and absurd as Director Roy Alexander Weise ramps up the physicality for our tragic heroine Kim (Mei Mac).

Following the blistering first hour the second part of the play moves to the more sedate surroundings of a modern day New York loft apartment where the opportunity for Kim to examine whether anything has actually changed occurs. Interestingly it is also at this point that Lourdes Faberes delivers a speech reminiscing about how the older generation had no objections to how they were portrayed and instead took delight in seeing themselves represented on stage.

This play never tells us what we should think or feel, its beauty lies in its ability to make us question ourselves and our own complicity in misrepresentation and issues of race. The complexity presented before us is made engagingly accessible, whilst offering a hope for the future that the misrepresentations and the damage caused can become confined to the history books. Hugely entertaining theatre that speaks loudly and proudly from the heart.

UNTITLED F*CK M*SS S**GON PLAY is on at Manchester’s Royal Exchange theatre until 22nd July tickets available here.

Vardy v Rooney: The Wagatha Christie Trial

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Never have I gasped louder than when reading those infamous words; “……… It’s Rebekah Vardy’s account”. Instantly a cultural moment was set and the term Wagatha Christie spectacularly coined. Forget the action on the pitch, this was all about social media shenanigans and Coleen Rooney’s cleverly planned plot to identify who was playing foul by taking her private stories and sharing them with The Sun.

Through investigations Miss Marple herself would be proud of, Colleen planted false stories on her private Instagram account, allowing access to only one follower; Rebekah Vardy; sure enough these fabricated stories soon appeared in the press and so the crime was cracked!

However, in the world of WAGs, wannabees and whistle blowers this revelation didn’t call full time on the matter as the country became well and truly obsessed with the announcement there would be extra time as Vardy sued Rooney for Libel. Cue a spectacular court case in which underhand tactics, own goals and howlers a plenty were exposed.

Now Liv Hennessy has condensed the transcripts of this dramatic seven day court case into a hilarious piece of verbatim theatre, with the genius addition of two football style pundits who commentate on the grittier parts of the legal jargon brilliantly from the side lines.

The script is gold, all of the iconic moments are there, from Vardy’s, “Who’s Davy Jones?” to the barrister’s utter confusion at the term FFS. Vardy’s transcripts in particular gift us with some incredibly entertaining moments, all delivered superbly by Lucy May Barker who switches from catty comments to resting bitch face in the blink of an eye.

Laura Dos Santos portrays the more self-aware Rooney with fluid ease, her nuanced mannerisms and Scouse lilt in complete contrast to the outrageous and brash Vardy.

Lisa Spirling’s direction is inspired, ensuring the court transcripts are well and truly lifted off the page, she recreates the action inside the court as a game of two halves while Polly Sullivans set cleverly transforms the courtroom into a football pitch.

Barristers Tomlinson and Sherborne portrayed by Jonnie Broadbent and Tom Turner are superb, delivering their grilling to perfection. Special mention must also go to Nathan McMullen who takes on multiple roles, his Wayne Rooney resulting in roars of laughter from the audience as he physically transforms himself into the infamous player.

This is a brilliantly crafted piece of theatre, the pace is fast, the cast are premier league and the entertainment value is top flight, totally wagtastic!

Vardy V Rooney – The Wagatha Christie Trail is on at The Lowry until Sunday 11th June tickets available here.

The Way Old Friends Do

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Ok, I’ll confess, I’m not ready to move on from the glorious bubble that was Eurovison just yet so when I spotted that The Way Old Friends Do, a new comedy with a heavy emphasis on everyone’s favourite Dancing Queens, Abba, was heading to The Lowry I jumped at the chance.

Penned by and starring Ian Hallard, The Way Old Friends Do introduces us to Peter (Hallard) a self-confessed Abba superfan and his former school friend, the filthy and fabulous Edward (James Bradshaw).

After a chance reunion via Grindr, their friendship is reignited when Edward ropes Peter into forming an Abba tribute band with a twist…they’ll be portraying Agnetha and Frida while wannabe actress Jodie (Rose Shalloo) takes on the role of Björn and rehearsal pianist Mrs. Campbell (Tariyé Peterside at tonight’s performance) is enrolled as a rather bemused and bearded Benny.

The story focuses on Peter and Edward’s friendship and the complexities of navigating suddenly being thrust together after many years, albeit wearing a wig and platform boots. At school both came out to each other, but while Edward announced he was gay, Peter unsure then about his sexuality declared himself a devoted Abba fan. Fast-forward to adulthood and Edward is living his authentic life while Peter is still struggling to share his truth with his beloved nan (voiced by Miriam Margolyes).

Halland’s touching portrayal of sweet-natured Peter is a beautiful watch, as he explores both this rekindled friendship and the lessons, he can learn from it. Culminating in a touching coming out scene as he calls his Nan to finally confide in her.

Bradshaw’s Edward in contrast is full on, flamboyant and seemingly fearless making his character not just entertaining but hugely endearing as we see the layers unpeel a little, revealing much more than meets the eye.

Tariyé Peterside is hilarious as Mrs Campbell, she makes the most of every witty line she’s gifted & seems happy to go with the flow as long of course as she’s having fun. Rose Shalloo gives us lots of laughs as struggling actor Jodie, Donna Berlin shines as Peter’s no nonsense BFF Sally, while Andrew Horton as the Aussie hunk with questionable intentions adds an unexpected layer to the story.

Hallard’s script is laugh out loud funny, he excels at witty one liners while there are meaningful moments littered throughout. Each character goes on their own journey, growing and developing as their friendships build. Bursts of Abba during the scene changes whet your appetite for a full cast performance which never fully materialises, something I can’t help but think would be the icing on the cake of this super fun production, however the fun facts delivered by super-fan Peter throughout will leave you hoping there’s an Abba round at your next pub quiz.

Janet Bird’s rotating set design is simple yet hugely effective, becoming a rehearsal room one moment and a sophisticated spa the next. This is complimented perfectly by her wonderful costumes which get progressively more fabulous as the band develops. Director Mark Gatiss has ensured the pace never drops while the more emotional scenes are given just the right amount of time to breathe. There’s a welcome sigh of affection as we hear Paul O’Grady’s voice as the radio DJ setting the year for each Act, adding to the sentimentality of this production .

The Way Old Friends Do will entertain you enormously, reward you with some inspired character development and remind you of the importance of true friendship. Uplifting, joyous theatre packed with plenty of heart.

The Way Old Friends Do is on at The Lowry until Saturday 27th May tickets available here.

The Beekeeper of Aleppo

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Reviewed by Kate Lewis

Opening Night verdict ⭐️⭐️⭐️⭐️1/2

This compelling and touching adaptation of Christy Lefteri’s bestseller draws the audience in to the dire reality of the plight of the masses of people fleeing their homes around the world. The play shifts between past and present as the central protagonist, Nuri is forced to relive his traumatic journey as a refugee for the officials who are interviewing him. The anguish of the articulation of this journey is palpable thanks to the accomplished performance of Alfred Clay who does not allow us to look away.

Emotionally, a difficult watch as we confront the notion that the family whose plight we follow are familiar and human and universal in so many ways. The relationship between Alfred Clay’s ‘Nuri’ and Roxy Faridany’s ‘Afra’ is delicately balanced with humor and intimacy that really does crystallise the deeply human and flawed characters at the heart of this narrative. The unexpected turns in the plot are both tense and utterly devastating.

The staging and costumes are pared back and undistracting which allows the clever use of light and sound to synchronise beautifully with the script to create tension, sadness and some degree of hope. While it deals with some difficult experiences, it does so without being gratuitously graphic which would make this an excellent and hard-hitting watch for teenagers and young adults.

The undoubted tragedy of this play is drawn out never more artfully than by the performance of Joseph Long as Mustafa who walks the hair-thin line between glimmering humour and dreadful sorrow which for me was a true highlight of the production. A story well worth the telling and a story well told. This is bound to capture audiences around the country and force them to consider carefully its unflinching political message as well as its charming portrait of what it is to be human.

The Beekeeper of Aleppo is on at The Lowry until Saturday 22nd April tickets available here.

Cat on a Hot Tin Roof

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️1/2

Last year, the Royal Exchange had for its autumn offering of Tennessee Williams’ The Glass Menagerie, (it was originally scheduled for the stage in 2020 but was temporarily shelved due to Covid-19). The production garnered huge commercial and critical success. Hoping that lighting will strike twice, the Royal Exchange has once again turned to the great American playwright to kick off their spring programme with another Williams’ classic, Cat on a Hot Tin Roof.

Set over the course of one evening, the Pollit family has gathered at the huge family estate for their patriarch, Big Daddy’s (Patrick Robinson) double celebrations. First of all, it’s his 65th birthday, and secondly Big Daddy has received the news that he is cancer free following a health scare. However, the event isn’t the joyous affair one might expect.

First of all you have Big Daddy’s youngest son, Brick (Bayo Gbadamosi) a retired American Football star, who has recently injured his leg in an athletics accident, hobbling around on crutches.  This is the least of his worries, for he has descended into alcoholism following the death of his close friend Skipper. Adding to his woes is his wife Maggie, (Ntombizoda Ndlovu). With the pair trapped in a loveless, sexless marriage, with Maggie desperate to reignite the flames of passion and restore the marriage to its former glory, and hopefully produce a child.

Other attendees at the party are Brick’s older, ambitious brother Gooper (Daniel Ward), his scheming wife, Mae (Danielle Henry), and their five children or “no necks” as they are comically referred to throughout. The final family member is Big Mama (Jacqui Dubois), Big Daddy’s wife, who is trying to hold the family together unaware that her overbearing nature is doing more harm than good.

This play follows a three-act structure, with the first undoubtedly belonging to Ntombizoda Ndlovu, as Maggie.  She dives headfirst into Willams’ script with many, many monologues highlighting the troubles between her and Brick, and foreshadowing the drama that is about to unfold. It’s a mesmerising performance filled with heartbreak and humour, and one that will quite rightly earn Ntombizoda a great deal of plaudits.

The second act sees a standoff between Brick and Big Daddy, with a sombre, beautifully understated turn from Bayo Gbadamosi, going up against, powerhouse performance from Patrick Robinson, as the straight-talking father, ready to right his wrongs, for better or worse, now he has a new lease of life. Robinson, delivers some brutal dialogue with so much charisma, that you almost, (and I do stress almost ) side with Big Daddy.

The final act sees all the players gather for a restrained, darkly comedic showdown, which sees grievances aired and issues come to the fore. It may not be the big set-to, you would expect, the rather toned down conclusion is no less satisfying.

The production is not without flaws, the script is a seemingly never-ending torrent of monologues, which repeat the same thing over again, as Talking Heads said in the song Psycho Killer, “Say something once, why say it again?”. Whilst the play does offer an interesting take on mortality, grief, and wasted life to name but a few it certainly takes a long time making its point, some of Williams’ self-indulgent tendencies could do with a bloody good trim.

Director Roy Alexander Weise has done a fine job creating a claustrophobic environment for which this toxic group thrive in, as you would expect it’s a dramatic piece that never strays into melodrama and has more darkly comic humour than I certainly expected.

At over three hours long it’s a challenging watch, but one that rewards with enjoyable performances and some stringing lines of dialogue.

Cat on a Hot Tin Roof is on at the Royal exchange till 29th April, tickets available here.

Top Girls

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️

Opening with a surreal dinner party, newly appointed MD of Top Girls employment agency Marlene is celebrating her success with her girlfriends ; an interesting mix of strong women from history and literature. Each has their own unique story which they retell with vigour; seemingly competing in their efforts to impress one another before descending into a wine-fuelled confessional of the absolute misery befallen them at the hands of men.

Marlene too has her own secret tragedy but has boxed it up, moving onwards and upwards in the hope it’s forgotten as she climbs the male dominated corporate ladder. However the past has a habit of catching up with us and reveals itself in Act 2 resulting in some hard truths being spoken that even the finest whiskey can’t soften.

Director Suba Das has relocated elements of Caryl Churchill’s much celebrated play to 1980s Liverpool, an effective choice and one that gives the story some relatability. The scenes between Marlene (Tala Gouveia) and her seemingly embittered sister (Alicya Eyo) offering both depth and convincing realism amongst a play of vignettes that at times lack cohesion. Marlene’s return to her sister in the home city she resents is acted out brilliantly by Gouveia and Eyo. The scene feels raw and believable with the narrative given time to breathe and sting appropriately.

The employment agency vignettes are entertaining and thought provoking as the female staff gate-keep roles and opportunities while discussing their own personal lives and the control they feel they have on them.

Special mention must go to Elizabeth Twells who stood in for Natalie Thomas at short notice, script in hand and gave a strong, confident performance in each of her multiple roles.

Set and costume designer Ellie Light has given this production an impressive and slick look, switching the style from modern city office to Liverpool terrace superbly while the thumping 80’s soundtrack and additional composition from Nicola T. Chang is a real highlight.

The overall piece will challenge, however I felt nothing for any of the characters and wished this revival had tried less hard to be cerebral and better at connecting with the audience. While brilliantly acted and visually impressive the emotional connection never materialised.

Top Girls is on at Liverpool’s Everyman until 25th March tickets available here.