Plays

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.

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.