Plays

The Comedy of Errors (More or Less)

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Anyone who has ever read a Shakespeare or two will be aware of his love of mistaken identity, whopping errors of judgement and questionable life choices: A Comedy of Errors (More or Less) will absolutely confirm all these things and bring them kicking and screaming into the 1980’s. Think sensational shell suits, stunning shoulder pads, a beltin’ blast of Fergal Sharkey and you’re halfway there.

This new co-production between Prescot’s Shakespeare North Playhouse and Scarborough’s Stephen Joseph Theatre, creatively adapted by Elizabeth Godber and Nick Lane takes the Bard’s much-loved comedy and sprinkles it with lashings of Northern humour, some top quality 80’s bangers while relocating it to the sunny climes of Scarborough.

The original plot has never been the easiest to follow but this clever adaptation gifts us with additional narration along the way as well as some brilliant modernisation allowing the comedy of the piece to really shine.

We’ve got two sets of mismatched twins, a Lancastrian named Antipholus who arrives in Scarborough to deliver his hard-grafted one-man fringe show, trouble is, the twin he doesn’t know he has, is already there, owes money to half of Yorkshire and has plans to star in a packed-out talent show on the very same night. His pal/long suffering assistant Dromio also has a missing twin who, you guessed it, is also in Scarborough. Cue a fantastic farce that will have you laughing out loud from the very start.

This talented cast work incredibly hard delivering this reimagined classic, they are superb. Set in the round in the stunning cockpit theatre, Director Paul Robinson has ensured every inch of the space is used with every seat in the house getting a cracking view of the on-stage action. They literally don’t stop, several taking on multiple roles making proceedings all the funnier for it. The whole premise of the piece may be chaotic as each twin is continually mistaken for the other, but the storytelling is clear, hugely entertaining, and incredibly impressive. As the action becomes more farcical so does the comedy, there were many occasions I was crying with laughter as the exasperated twins get more and more confused.

David Kirkbride as Anitpholous of Scarborough/Prescot is hilarious, his loyal defining of what it is to be a Prescotarian has the audience in stiches while his performance as the chaos ramps up is a joy. Oliver Mawdsley who plays alongside Kirkbride as Dromio of Scarborough/Prescot is perfectly cast. The two make for a genius pairing, playing off each other with ease as the banter and laughter flows.

The changing up of Luciana’s (Ida Regan) character is a stroke of genius, she’s not the meek and mild version we know from Shakespeare’s pen but strong, assertive and gives as good as she gets leading to some fantastic scenes between her and Adriana, (Alyce Liburd). Both are excellent in their roles and clearly having a lot of fun with them.

Andy Cryer absolutely shines in his multiple roles, drawing your attention whenever he hits the stage. Valerie Antwi and Claire Eden bring brilliantly unexpected elements to the story while both ramping up the laughter levels even more.

This is a true ensemble piece, with each cast member bringing their absolute A game to the stage. The local referencing, playful narration and inventive reimagining have made this production both accessible and immensely enjoyable. The placing of several 80’s favourites adds to the fun with Alyce Liburd and Ida Regan’s Act II opener, a rendition of Cher’s Jesse James being a real highlight while I’ll now never hear Nick Kershaw’s Wouldn’t It Be Good without it raising a smile.

Shakespeare North Playhouse and Stephen Joseph Theatre have delivered an absolute cracker with this production, ensuring this modern-day Shakespeare is a must-see. The Comedy of Errors (More or Less) is an absolute riot, pure joy from start to finish.

The Comedy of Errors (More or Less) is on at Shakespeare North Playhouse until Saturday 25th March tickets available here.

Song From Far Away

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Forced to return to the place he had long since abandoned due to the sudden and untimely death of his brother, bereaved, nomadic banker Willem (Will Young) controls all that he can in this bitter-sweet monologue by playwright Simon Stephens and singer-songwriter Mark Eitzel

Where Willem is sarcastic, superficial and shallow his brother Pauli was artistic, musical and rooted firmly in the very heart of his family in Amsterdam. Willem moved to New York 12 years prior for a life of seeming anonymity and preferred disconnect. Reconnecting with his old life is neither embraced nor welcomed. Invitations are ignored while communication with anyone other than his late brother in the letters that he writes feels forced and misunderstood. He is a complex character, displaced both physically and emotionally yet draws you into his introspective world effortlessly.

We learn so much about him through this 80 minute piece, his complicated relationship with his parents, his regret over a lost love, yet it’s his surprising affection for his niece Anka, which truly gives us hope that relationships won’t always be impossible for Willem, indicating that this is a piece much more about living than dying.

The simple staging of the faceless hotel suite is given depth by the movement of tall billowing curtains while the lowering and raising of the ceiling adds at times to the feelings of claustrophobia and intensity. The smattering of snowfall beyond the confides of the suite midway through hints almost at a euphoric feeling of hope, just out of reach.

Will Young is entirely captivating in the role, commanding the attention of the audience effortlessly. The source material doesn’t leave room for sentimentality despite dealing with the loss of a sibling, making the moments of song and melody all the more poignant, cathartic in their delicate simplicity and delivered note perfect by Young. His performance feels intimate, authentic and real.

Director Kirk Jameson’s choice to set the piece several years after the passing of Pauli offers an opportunity of self-reflection, rediscovery and most importantly hope. This intimate and beautifully delivered piece will stay with you long after the curtain call.

Song From Far Away is on at HOME until Saturday 11th March tickets available here.

Beginning

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Credit and copyright: Helen Murray http://www.helenmurrayphotos.com

If you told me before the performance of Beginning, that I’d be emotionally invested in two people dancing around a kitchen to I Owe You Nothing by Bros, then I’d have called you a liar. However, two hours later I’d owe you an apology, and then would have chewed your ear off demanding a ‘chat’ about what we’d just witnessed!  Taken in isolation, this 10-minute sequence demonstrates all that is great about the David Eldridge penned production; playful, tender, at times desperate, an emotional rollercoaster, more than worth jumping onboard.

Beginning starts at the dying embers of a housewarming party in the leafy suburb of West Didsbury. All that’s left is Laura (Erin Shanagher), the party hostess, and Danny, (Gerard Kearns) a-friend-of-a friend of Laura’s, unsure why he’s still there. We soon learn that the pair have caught each other’s eye as the party has progressed and now it’s all about how the night will end.

Set in real time, we learn how these two very different characters share some striking similarities. Laura is a sexually confident, managing director, laser focused on a romantic encounter with her guest, whilst Danny is a confidence starved 42-year-old man, who lives with his mum, sceptical about why Laura is so keen for them to spend the night together.

As the night progresses, the pair peel away layers of their character to see if this potential union could work: a mutual love of scotch eggs being a plus point, their choice of football teams a potential roadblock, Laura’s chosen team, being one of the more shocking and funnier revelations for the Manchester audience. However, it’s their past heartbreaks that are shaping their present anxieties, holding them both back and keeping them very much alone.

Bryony Shanahan’s direction is flawless throughout. This is very much an extended version of a mating ritual you’d see on one of David Attenbrough’s Sunday night wildlife documentaries, as the would-be-lovers circle each other using the glorious in-the-round setting of the Royal Exchange. There are even hints of those extended dance sequences you get in many period dramas.  The play is allowed to breathe, throughout there are long moments where more is said in a silence than could ever be by any dialogue. It gives it a more real life, naturalistic quality.

The two leads are fantastic, with both Kearns and Shanagher giving layered, nuanced performances – both drifting seamlessly from comedic to heartbreak within the blink of an eye. The aforementioned Bros sequence will have you grinning from ear-to-ear as a result of Shanager’s fantastic dance routine, and equally devastated by Kearn’s reaction. The chemistry between the pair is off the chart – the production lives or dies on whether you believe in the pair of them, and you absolutely do.

David Eldridge’s script is bang on point, warm, funny and poignant. It has a great deal to say about the human condition, and our desire for meaningful human connection, something we all can empathise with post-pandemic. It takes a seemingly mundane everyday occurrence, and makes it the most important thing in the world for its near 2 hour running time. The fact that you’re never really sure how you want it to end, or indeed how it will end, is a major strength.

This is a production that sees everyone at the top of their game, a witty, thought provoking, relatable and unashamedly honest script, anchored by two strong, enjoyable central performances who bring to life characters you actually care about. This is surely what good storytelling is all about.

Beginning is on at the Royal Exchange Theatre till 11th March tickets available here.

Spring and Port Wine

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

What better place to revive this Bill Naughton classic, than his home town of Bolton, and in the beautiful setting of The Octagon Theatre. This venue compliments the play greatly: bringing us into the bossom of the Crompton family home. Here we meet the Cromptons: four adult children still living at home and their seemingly polar opposite parents – Daisy (Mina Anwar) and Rafe (Les Dennis).

The Crompton household is ruled by the iron fist of patriarch Rafe. It is where every penny is checked and accounted for, nobody goes without, and everyone contributes. While the siblings in the house feel bullied and stifled by their father and sorry for what their mother puts up with: Rafe, in his mind, feels like he is protecting his family and keeping them from hardship. Quite the opposite to their nosey and overfamiliar neighbour Betsy-Jane (Isabel Ford), who lives her life hiding behind the curtains in order to avoid the last person she borrowed a fiver from.

As the play begins, a series of events unfold, after youngest daughter Hilda (Natalie Blair) refuses to eat her Friday night tea of herring, much to her fathers annoyance. The consequences of this act of defiance are felt by all family members throughout the play. 

The script is sharp and witty. The set is well thought out and works so well in the round. There is much nostalgia with the set and costumes and music too. 

The cast are excellent, they tell the story so well. It is warm and funny and at times heartbreaking. And although this play is set in a time gone by, there are so many themes that we can identify with in our own more modern family lives. The lack of communication, parental disapproval, unconditional love and sibling rivalry.

Mina Anwar is outstanding as Daisy Crompton, she is hilarious when she needs to be, vulnerable in moments and at times you can feel her warmth wrap around you like the big hug only a mother could give. She and Les Dennis work wonderfully together on stage, and really engage us as an audience. Dennis shines when the armour of his character softens.

All four of the Crompton siblings should be congratulated in their performances, from Natalie Blair’s hilarious expressions and mannerisms of Hilda, to Gabriel Clark and Harold Ryan’s characterisations of the Crompton brothers, to Monica Sagar’s beautifully performed interpretation of serious sister Florence. Adam Fenton is excellent as the fiancé of Florence, who is seemingly the first person to stand up to Rafe. While the greatest laughs went to Isabel Ford for her hilarious portrayal of Betsy-Jane.

This play, performed 60 years after it was written doesn’t break down any barriers, or challenge our thinking in anyway, but it entertains, it’s wholesome, heartwarming and it’s told very well, by an excellent cast and in a fabulous setting. I laughed and laughed and I can’t think of a better reason to visit Bolton on a Tuesday night.

Spring and Port Wine is on at The Octagon until Saturday 4th March tickets available here.

All images by Pamela Raith Photography

The Ocean at the End of the Lane

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

At the festive time, The Lowry, has always made some bold choices for their big Christmas show. Past shows have seen family favourites and classic works of literature brought to the Lyric Theatre stage with great success. Well, this Christmas the Lowry has made their boldest choice to date, with the National Theatre production of The Ocean at the End of the Lane and boy does it pay off. If the old saying of, “fortune favours the brave” is anything to go by then those rewards go to the audience members who will be treated to a gripping, powerful, fantasy, brought to life in truly jaw dropping fashion, with spectacular visuals and performances that will live long in the memory.

Based on the 2013 novel by Neil Gaiman and adapted by Joel Horwood, the production opens in the present day, as a nameless man (Trevor Fox), buries his father, he comes across a place familiar to him from his childhood, where he encounters a rather eccentric, yet familiar old lady. It is here that man is transported back to his 12th birthday where his world would change forever. 

Set in the early 1980’s the nameless boy (Keir Ogilvy) has stumbled on a truly shocking incident, his father (Fox in a dual role) attempts to shield him from this, fortunately a young woman, Lettie Hempstock (Millie Hikassa) offers to take the boy to her family farm until the incident is cleared up.

It’s down on the farm that the boy meets Lettie’s family: her mum Ginnie (Kemi-Bo Jacobs) and her granny, Old Mrs Hempstock (Finty Williams), the eccentric lady we met at the start. Through his friendship with Lettie that the boy witnesses a series of pretty freaky occurrences such as lifeless fish, dead from swallowing a 50 pence piece, Lettie and her family’s ability to predict the future right before it happens, talk of creatures that regularly infiltrate our world, and finally a puddle of water that is a portal to alternate reality.

Back at home the boy struggles with recent events, in addition there is a far from perfect homelife: he is motherless, has clashes and petty squabbles with his sister (Laurie Ogden), and an inability to communicate with a father trying to do the best he can with his children.

The situation becomes all the worse, when the eponymous young man and Lettie do battle with one of these invading beasts and unwittingly unleash another creature. The being infiltrates the boy’s home in the guise of glamorous lodger, Ursula (Charlie Brooks) who morphs into exactly what the family crave, a mother figure to the children and a companion and lover to the father.  Along with Lettie, and her family of strong-willed mystics, the boy must confront his fears in order to save his family, and himself from a monster that knows his every fear and every desire.

As productions go this is truly EPIC, and one that will astound, amaze and exhilarate its audience. After an initial gentle start where you try to figure out what’s going on, and what’s going to happen (I know all the fun stuff!) the action kicks off with a stunning and beautifully choreographed battle that begins a series of mind-blowing set pieces, which will enthral as they will send a shiver down the spine!

The performances are fantastic: Keir Ogilvy and Millie Hikasa are wonderful as the misfit, best friends, it’s a beautiful partnership filled with warmth, quirkiness and genuine friendship. The pair bounce off each other throughout and are the beating heart of the show. EastEnders Charlie Brooks, complete with Glen Close hair from Fatal Attraction is brilliant as wicked seductress, Ursula. Sometimes you wish Brookes would get to play a nice character for a change, but why should she when she does evil so well.

There are strong supporting performances throughout from Trevor Fox in a measured, restrained turn as the tired, beleaguered Dad, whilst Finty Williams and Laurie Ogden between them have the lion’s share of comedic lines.

Director Katy Rudd has masterfully brought this much cherished book to the stage using talent at the top of their game. The set design by Fly Davis is eerie, and intimidating, bringing the woods to life where most of the drama unfolds. Whilst the scenes in the Hampstock kitchen resemble that of a painting or a Peter Greenaway film.

The lighting and sound design by Paule Constable and Ian Dickinson respectively are pretty much perfect, atmospheric, and a proper shock to the senses when they need to be.

For older people like myself this is a hark back to fantasy adventure films of the 1980’s from Never Ending Story, Legend and The Return to Oz (the Wheelers I’m thinking of you!). Whilst younger audience members will associate this with Stranger Things. For fans of this genre, you’ll absolutely love this. However, it’s all that and so much more tackling issues such as loss, grief and the importance of talking to our loved ones.

It’s an unsettling, magical piece of theatre, which will blow you away and fully demonstrates just how good live theatre can be. I cannot urge you enough to go see this production this holiday season, so what you are waiting for go book your tickets NOW!

The Ocean at the End of the Lane is at the Lowry until 8th January, tickets available here.

Betty! A sort of Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

In their local village hall, The Dewsbury Players: a unique blend of am-dram performers, have come together to celebrate their finest export and local hero, Betty Boothroyd, the first female Speaker of the House of Commons and arguably one of politics most fascinating characters.

With their individual visions on how best to do Miss Boothroyd justice, not to mention their wildly varied beliefs, the players are committed to uniting artistically to create a musical Dewsbury will never forget. The problem is, director Meredith (Maxine Peake) has falsely informed the BBC that the group offer a tad more diversity and community value than in reality; so, when BBC exec Adrita (Lena Kaur) turns up to rehearsals things take a rather creative and chaotic turn.

This play-within-a-play created by Maxine Peake and Seiriol Davies (who also stars as Calvin) is a riot. It’s bonkers, brilliant fun with a gorgeous message of love and acceptance at its heart. There’s laugh out loud political parody and some absolute genius lines while the script touchingly shines a light on each of the wonderful characters making up the group. Their observations on life are spot on, sharp, witty and entirely relatable.

The musical numbers are where the creative team have really had some fun, poking a gentle ribbing at traditional musicals; there’s enthusiastic choreography, musical theatre clichés and heart-warming solos all delivered with tongue firmly in cheek. Musical director Sarah Dyer leads a slick four-piece band who demonstrate an incredible range as they deliver both rousing ballads and rock-tastic numbers with precision.

Maxine Peake leads this ensemble cast brilliantly, firstly as demanding director Meredith, sniping constantly at her cast despite desperately needing them to fulfil her dramatic ambitions. Then second act she is transformed into the straight-talking, charismatic Boothroyd ready to take on the House in the challenges that befall her.

Co-writer Davies is a treat as Calvin, bursting with enthusiasm and a mediator to all, he delivers some of the shows most memorable and outrageously over the top moments brilliantly. Eva Scott portrays Angela, Meredith’s subdued and self-conscious daughter beautifully, showing her versatility throughout as she channels her inner confidence spurred on by the arrival of former friend Adrita.

Joan Kempson displays sharp comic timing as Hazel, the salt of the earth grandma who blasts out the one-liners and is poles apart from condescending Meredith. Carla Henry is a joy as Tracy, a former West End star who’s light still shines in Dewsbury despite her issues with her hubby at home and her weak ankle. I cried laughing at her Ian Paisley, no spoilers here but I’ll never hear Riverdance and not think of her performance. Lena Kaur’s take on BBC exec is spot on whilst her second act transformation is inspired.

Betty! A sort of Musical does exactly what it says on the tin, gives you a belly full of laughs and leaves you with a smile on your face. There are musical numbers which could maybe benefit from a little trimming, but this is a minor quibble on what’s a brilliantly entertaining show. This heady reminder of days when politicians stood for decency and duty is a whirlwind of hilarious, heart-warming fun. A welcome and well observed reminder of the importance of community and common ground.

Betty! A sort of Musical is on at the Royal Exchange until Saturday 14th January tickets available here.

Images Johan Persson

Neil Gaiman | The Ocean at the End of the Lane | Interview

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The forthcoming tour of the National Theatre’s adaptation of the award-winning book The Ocean at the End of the Lane is coming to The Lowry in Salford. Author Neil Gaiman answers our questions.

The book is loosely based on your childhood. What was the starting point?

The book began with me wanting to try and explain to my wife where I grew up and what that world was like. She could take me to her childhood home because it’s still the same, but I couldn’t take her to where I grew up [in East Grinstead] because the place had long since been demolished; lots of lovely neat little housing estates covered the gardens and the fields and lanes. So for me it was kind of an effort to try and evoke a past and a sense of place.  An interesting side of it for me too was that I realised that I hadn’t heard, for a very long time, the Sussex accent of my childhood. Mrs Weller came in and cleaned once a week and Mr Weller came in and did the gardens. They were probably in their 80s and they had proper Sussex accents – almost like a West Country burr. I resolved to write a novel with that in too.

How did you create the Hempstocks?

I was told by my mother – quite erroneously, I discovered, when I did my research – that the farm half-way down our lane was in the Doomsday Book. And that was the start of the Hempstocks in my head; who they were and what I wanted to do with them.

Do you find writing about family especially fascinating?

I don’t think I’ve ever been able to avoid writing about family, even when I thought I was writing about something else. Whether it’s biological family or the family we make. In the novel I created a semi-fictional family for myself, and in the play version it was one step further away from my family, which I think looking back on is incredibly healthy! But the boy is definitely me.

Neil Gaiman

The play received amazing reviews when it premiered. Without any spoilers, do you have any favourite moments?

There is something astounding about the moment when they enter the ocean. That completely fascinates me. And you’re going to see miracles made out of bits of rubbish and old plastic bags and nightmarish birds beyond your imagination. It still takes me by surprise every time I watch.

Is it true that you were so moved by the play when you saw it in rehearsals that you cried?

I saw the first full run through. About ten minutes from the end I had tears running down my face. I thought that this was terribly embarrassing and I was discreetly trying to flick them away.

You describe yourself as a storyteller. What inspired you to be a writer?

I’m not sure that all writers are frustrated performers, but for me it was the joy in getting to be all of the characters. As a writer you get to do that. Being a kid who loved books I could think of nothing cooler than giving people the pleasure that I got.

The Ocean at the End of the Lane opens at The Lowry on Monday 12th December and runs until Sunday 8th January tickets available here.

A Christmas Carol

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

On the 1st Day of Christmas Shakespeare North gave to me…a fabulous, festive, fun adaptation of Dickens iconic A Christmas Carol filled with heart, and heaps of humour!

This being their 1st ever Christmas season Shakespeare North Playhouse have pulled out all the stops to ensure their version of A Christmas Carol is one theatre goers won’t forget in a hurry. It’s fast-paced, laugh out loud funny and wonderfully entertaining as four talented actor-musicians take on multiple roles and multiple instruments, spreading more than a little Christmas cheer as they go.

Nick Lane’s creative adaptation directed wonderfully by Ellie Hurt takes the original story and gives it a real Prescot feel with the addition of localised references and regional jokes all of which are lapped up by the invested audience. Add a little music, melodic songs plus plenty of audience participation (yes we even get to shout ‘It’s behind you!’) and you’ve got the perfect recipe for a real Christmas cracker!

This cast of four go all-out in ensuring no one will leave the Cockpit theatre without a smile on their face as they act, sing, dance and play their way through this super slick production.

We begin in Scrooge’s house where his staff (well most of them) are keen to tell his story; with a little encouragement from each other as well as the audience the storytelling begins.

Zoe West is superb as Ebeneezer Scrooge, snarling and sarky living up to every inch of the name. Her characterisation is wonderful, embodying the miserable miser to perfection ensuring Scrooge’s journey resonates entirely.

Jessica Dives creeps us all out as the ghost of Christmas past, weird and wacky in her haunting, complete with a horror homage, red ballon. Abigail Middleton as the Ghost of Christmas Present ensures we all absolutely get the joke while Eddy Westbury as the Ghost of Christmas yet-to-come has a little problem with autocorrect which has the audience howling.

In addition to the ghosts this versatile cast play Jacob Marley, Bob Cratchit and Tiny Tim to name but a few, each is as creative and hilarious as the last. Their musicianship is a joy as they effortlessly pick up multiple instruments throughout & play them with ease.

It’s uplifting and silly but also offers a thought provoking focus on the plight of those in need bringing us bang up to date with voices from local residents affected by the cost of living crisis. This element is so cleverly interwoven that its poignancy feels strongly effective.

Simisola Majekodunmi’s lighting design adds just the right amount of atmosphere while designer Hannah Sibai makes wonderful use of the Playhouse’s versatile space, no mean feat when working in the round.

The cast do an excellent job of sweeping us up and taking us along on Scrooge’s life-changing journey, involving us wholeheartedly in the witty telling of the beloved tale.

This is feel-good festive theatre that strikes a perfect balance between professional and accessible. It is theatre for all in a stunning new regional space that feels exciting and inviting. If this is what Shakespeare North Playhouse do in year one I can’t wait to see what lies ahead!

A Christmas Carol is on at Shakespeare North Playhouse until Saturday 7th Jan tickets available here.

Images by Patch Dolan

The Man Who Wanted To Be A Penguin

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

This is the story of an interesting and eccentric man, who is an explorer and inventor at heart. Living in “The Shed” spending his time “solving problems” The Man (Steve Salt) is beginning to realise that perhaps his neighbours and friends aren’t as interested in the same things that he is and when he plans a birthday party (albeit at very short notice) and nobody turns up, it is the final straw. 

Spurred on by the delivery, from the lovely postal worker (Loretta Hope), of a globe, The Man decides that he is going to visit Antarctica and become a penguin.

Along the way he meets a bearded explorer, and together they face the harsh challenges of snow and blizzards. From here The Man begins to finally feel a part of something, for the first time. 

Steve Salt and Loretta Hope are just wonderful, they are so at ease together on stage and together they capture the imaginations of the audience. The physical theatre of this piece is exquisite, Director Niki McCretton has devised a way in which the narrative is told through very little dialogue in parts and it works so well: it’s like a beautifully choreographed dance.

The set and puppets and props by Holly Miller are just wonderful; the use of duvets for snow works so majestically.

This company does what it aims to do – “make memorable and rewarding shows” – it is a show written for children, about being true to yourself, challenging yourself, accepting others and building friendships. What else could we possible want for our children this Christmas?

The stars of the show were, of course, the penguins. So many sizes, so many designs, all so utterly adorable. My children were keen to get home to write “a penguin” on their Christmas list.

The Man Who Wanted To Be A Penguin is on at Waterside Arts until Saturday 31st December tickets available here.

The Mousetrap

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

It is incredible to think that this play has been performed by so many actors in its 70 year run. 70 years of different generations of theatre goers sitting in auditoriums gripped by this timeless murder mystery. Laughing at the same jokes, and all asking themselves over and over “who dunit?”.

As the curtain rises for Act one, we encounter the splendid view of Mr and Mrs Ralston’s drawing room, which has been converted into Monkswell Manor guest house in order to for them to be able to afford to keep this family home. Firstly, Mrs Ralston (Joelle Dyson) enters wearing a dark overcoat, a felt hat and a light scarf and hurriedly hides something in a bureau, before quickly leaving the room. Next to enter is Mr Ralston (Laurence Pears) wearing a dark overcoat, a felt hat and a light scarf and he too hurriedly hides something before disappearing off stage. I’m fact all of the guests who arrive, arrive wearing the same garments, something that becomes extremely significant as the plot unfolds.

The Ralstons are keen to welcome their first ever guests, but with no staff to help them they appear slightly out of their depth, with the cooking, cleaning and entertaining to take care of. As they ready themselves for their opening night, we learn from the news report on the wireless of a brutal murder that has taken place in London earlier that day. 

Before long the guests begin to arrive; firstly, is the nit-picking Mrs Boyle, played by Gwyneth Strong. From the moment she arrives she is less than impressed with the guest house and her fellow guests, especially the second guest to arrive: the animated and hilarious Christopher Wren, played by Elliot Clay. His arrival is followed by the kind-hearted, and ever helpful Major Metcalf (Nicholas Maude) and finally the last scheduled guest – the unconventional Miss Casewell.

As all the guests settle into their rooms and get to know each other a loud knock at the door catches them unawares. There are no other guests due to arrive….Enter Mr Paravicini (John Altman) who claims to have rolled his flash car further down the lane and is in need of a place to stay. Something doesn’t seem right about this chancer, but there is no option but to welcome him in from the cold. 

The guests are barely settled when a telephone call from the police puts everyone on edge. A detective is to descend on the guest house with some important news.

Young and dashing Detective Sergeant Trotter, arrives on skis to inform all at Monkswell house that they are infact now murder suspects, and at least one of them could be the next murder victim. With everyone now cut off from civilisation, thanks to a timely blizzard and the unfortunate cutting of the telephone wire, it’s is up to the detective to solve the crime and keep everyone safe. But who could possibly be a violent killer and what is their motive?

I was not expecting this play to be as witty and funny as it is. The pace is mostly quick, the set really helps with the pacing of the narrative, as the cast enter and leave through varying doors and corridors.

The cast are absolutely superb, each and every one of them. Dyson and Pears make a wonderful duo as husband and wife, they are perfectly charming. Elliot Clay is exceptional – he was the stand out performer for me tonight: he is funny and energetic and portrays Christopher Wren’s vulnerability in a way that we are able to see the depth of his character. Gwyneth Strong is excellent as the cantankerous Mrs Boyle, she really gets the audience against her from the get go! Nichola Maude and Essie Barrow are perfectly cast in their roles and both have a wonderful presence on stage. John Altman plays Paravincini with the right balance of humour and sleaziness. And finally Joseph Reed: he takes command of this play, his dialogue is sharp and controlled. He controls the pace and the narrative with professionalism throughout. 

I watched this play continually questioning who was the nurderer and who was a red herring – and low and behold I didn’t have a clue and would never have guessed it! But it’s a secret, so I’m not telling! 

I’m generally not a big Agatha Christie fan, but this isn’t a typical Christie play, it’s got something more wonderful to it. The issues raised in this 70 year old play are still relevant today, the characters are easy to identify with, it isn’t just about posh people and a murder plot. It’s about acceptance, truth, the class system, gender stereotypes and dealing with your past before it catches up with you. This play is genuinely funny, and captivating yet tragic at the same time, a great night out.

The Mousetrap is on at Manchester’s Opera House until Saturday 3rd December tickets available here.

All My Sons

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Altrincham Garrick Playhouse bring us this “intensely personal” Arthur Millar play, All My Sons, directed by Carole Carr.

The play centres around the Keller family, a family suffering from the unknown fate of one of their sons, Larry, who has been reported “missing in action” three years previously.

The father, Joe, played by David Beddy, had been acquitted of supplying faulty cylinder heads for combat planes, during the war, and left his business partner take the blame.

The daughter of the business partner was the Keller’s son Larry’s sweetheart, Annie (Katie Cullen) who after the incarceration of her father had moved to New York City with her mother. In the play, we see her return to her childhood hometown and into the bosom of the Keller family. Some of whom are delighted by her visit, while others are reminded so much of their loss by her return. Larry’s brother Chris (Tom Broughton) is still living at home and is working with his father. He has plans to marry Annie and not everyone is happy about it – this triggers a spiraling of emotions as the truth finally sets itself free.

This play is about versions of truth, relationships and community. Although this play is decades old, there is so much that is relevant today.

Altrincham Garrick Playhouse, once again demonstrates to us that they have talent in abundance. This cast is truly superb. David Beddy plays the strong yet vulnerable Joe Keller perfectly. One minute we love him, the next we see him as a victim and then we hate him and then we grieve for him. Exceptionally portrayed by Beddy.

Tom Broughton is a beautiful Chris Keller, he commands the audience and has great chemistry with the equally talented Katie Cullen as Annie. Brigid Henningway plays the anxious and heartbroken Kate Keller perfectly. She walks the fine line of villain and victim magnificently. The entire cast is spectacular.

Although it isn’t an easy play to watch at times and it’s hard to say that it’s an enjoyable story, it is important. It’s a story that Miller wrote with purpose, as he did with everything he wrote. We learn through his script that we are all versions of ourselves, and that things are not always as they seem.

Bravo, Altrincham Garrick Playhouse, once again you bring us great theatre in such a truly professional way.

All My Sons is running until Saturday 19th November at the Altrincham Garrick Playhouse tickets available here.

Othello

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Opening Night verdict

Almost 15 years since it originally premiered, Frantic Assembly’s Othello feels fresh, gripping and revels in every element of Shakespeare’s brutal tragedy.

Predominately set in well-worn working class pub, where a pool table takes centre stage, Scott Graham and Steven Hoggett bring their adaptation bang up to date as the opening sequence bursts into life all tracksuits, trainers and bolshy bravado.

Their signature physical theatre is put to incredible use as Michael Akinsulire’s commanding Othello leads his gang of brothers from the front, occupying their seemingly safe space within the pub with a cool air of authority, where tension is constant & there’s an ever present feeling that violence could erupt at any moment.

The multiple sequences of Frantic Assembly’s trademark choreography, often almost silent bar a blaring soundtrack are superb; while the Bard’s text is delivered with authenticity and brutal emotion, this is a Shakespeare for today, raw and real.

Michael Akinsulire illustrates Othello’s complexities flawlessly, his brooding behaviour keeps you on guard throughout, one moment he’s tender the next tormented. The choice to set this piece in modern day makes for an all the more stark realisation that the accusations of Desdemona’s (Chanel Waddock) infidelity are completely unfounded and unjust. Waddock is no wallflower, giving as good as she gets, but she is loyal and loving right to the end.

Iago is portrayed perfectly by Joe Layton, snide and calculating; no one is off limits as his lies wreak havoc. He needs barely any motive at all to condemn those around him through his malicious exploitation.

Kirsty Stuart makes for a memorable Emilia, ensuring the short scene in Act 2 between her & Desdemona which takes place in the women’s toilets feel pivotal. While Felipe Pacheco and Tom Gill as Rodrigo and Cassio respectively, add depth and humanity to the piece.

As with all Frantic Assembly productions this is a true ensemble piece with the whole cast working together seamlessly to create this powerful retelling of Shakespeare’s bleak tragedy. The pub setting is inspired and makes it feel wholly accessible to modern audiences. Laura Hopkins set designed paired with lighting design from Natasha Chivers and Andy Purves and a thumping soundtrack from Hybrid cement the inspired modern-day setting.

This is thrilling theatre which builds to a devastating finale as the brutality of revenge and the fragility of ego plays out. A powerful, punchy and poignant Othello which will leave you wanting all of Shakespeare’s classics to get the Frantic Assembly treatment, superb!

Othello is on at The Lowry until Saturday 19th November here.