Plays

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.

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.