Plays

The Best Exotic Marigold Hotel

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

he Best Exotic Marigold Hotel is based on the novel “These Foolish Things” by Deborah Moggach, and was inspired by the blockbuster film. 

The play follows the journey of seven characters, from different walks of life, who have travelled to India to live out their retirement in a more exotic environment, or so they think. Sonny (Noshad More) and his mother ( Rekha John-Cheriyan) own the hotel residence but are struggling to work together and agree on what their plans for the future should be. They don’t always see eye to eye, especially when it comes to matters of the heart. 

The accommodation is not quite what the brochure had led the visitors to believe, but along the way bonds are formed, and a plan is hatched to put the hotel on the map.

The cast is a joy, so many legends of the stage and screen together on one stage. The script is joyful and witty. And while the jokes are intended for the more ageing members of the audience, there is something in there for everyone. 

The chemistry between characters on the stage is sweet and charming. Hayley Mills, plays the meek and mild Evelyn, who grows braver and braver as she realises that her voice is meant to be heard. Mills is a great joy to behold, she is slick and her presence is felt all through the auditorium.

Rula Lenska, brings us Madge, and with her performance comes many laughs, she is a master of her craft and her comic timing is impeccable. Lenska and Marlene Sidaway, who plays Muriel, have a lovely chemistry and they give us many things to laugh about throughout the production. As does Andy De La Tour as the grumpy and cricket obsessed Norman. 

Paul Nicholas, (who I first saw in stage in 1991 as Barnum) is cast beautifully as Douglas, a man who is simply going through the motions of life with his wife Jean (played magnificently by Eileen Battye) he married many years ago, but who he now realises he no longer loves. Nicholas manages to make us all fall in love with a character, who essentially wants to leave his wife for someone else, how he does it I’m really not sure. But he pulls is off and we all gasp and “ahhh” when he returns for Evelyn.

This play is filled with subplots about call centres and long lost childhood friends and love marriages. But it’s simple and easy to follow. It can at times lack pace, but in a world where everything feels so heavy at the moment this productions gives us the light relief we are desperate for. 

Colin Richmonds set design is an absolute highlight of this production. We are transported to India in so many ways and the lighting design by Oliver Fenwick, helps to guide the narrative. The set, lighting and sound design are seamlessly joined to transport us to India.

The dancing by the whole cast at the end was truly wonderful. It almost makes you wish the entire production was a musical. 

While the show is clearly aimed at those of a certain age, it doesn’t mean that it can’t be enjoyed by us all. It’s a lovely piece of theatre, with a marvellous cast.

The Best Exotic Marigold Hotel is on until Saturday 12th November

Identities

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Premiering in Warrington’s Pyramid Arts Centre, ‘Identities’ by Rae Bell in partnership with Close To Home Productions shines a humorous and incredibly moving light on breast cancer, more specifically the journey one fictional character ‘Lucy’ and her brilliant boobs take.

Writer and performer Rae Bell allows Lucy’s boobs to do the talking in a succinct 60 minutes; the length of time it takes to perform a standard lumpectomy. Joining Bell on stage as left boob is Hannah Harquart, the two make for a perfect pairing. They’re bickering like sisters one moment then each other’s absolute rocks the next. The duo have a real ease about them ensuring the audience immediately gets on board with their creative storytelling. There’s a genuine warmth in their delivery as you quickly grow attached to their characters, making the development of the piece all the more emotional as we move from carefree nights out to consultant appointments.

The verbatim interviews which play out during the latter part of the show add an additional depth as the emotional & important reality of the subject matter is realised. Humour weaves through the entire production ensuring this piece never feels oppressive despite the subject matter.

The creative way in which the story unfolds allows for awareness raising to run alongside superb storytelling littered with belly laughs throughout. It’s the perfect blend of hilarity and heart-wrenching reality.

Director Maya Shimmin has ensured Rae Bell’s vision is realised with each aspect of the show uniting perfectly to ensure the storytelling takes centre stage here. The piece feels accessible and innovative and I’m sure will open up conversations for all who have the pleasure of seeing it.

Identities is packed full of humour and a whole lot of heart, it absolutely succeeds in raising awareness while being thoroughly entertaining; this is important and innovative theatre.

More information on Identities as well as tour dates can be found here.

Let The Right One In

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

“It’s grim up North”, a phrase we’re all so used to hearing, so much so that sometimes we may well just believe it. Well, the North isn’t as grim as some will have you believe, and it certainly isn’t as grim as the lives of Eli and Oskar, the central characters at the heart of writer Jon Ajvide Lindqvist’s 2004 novel, Let the Right One In.

I bring up the North because Lindqvist’s book takes place in Stockholm, however this adaptation takes place in an unnamed frozen landscape populated by a great many accents from the North West of England, which for me gives the production a great deal of charm and an injection of humour.

However, the central narrative is anything but fun. For teenage outcast Oskar (Pete MacHale), life is pretty tough: he’s a loner who is constantly bullied at school, living with an alcoholic mum, with very little interaction from his father. In addition to his personal issues, his local community is in the shadow of a series of grizzly murders.

Whilst out playing, the young teenager meets mysterious teenager Eli (Rhian Blundell), who, along with an elderly gentleman, Hakan (Andrew Sheridan) have moved next door to Oskar and his mum. Despite a shaky start where Oskar informs Eli that she “smells like his dog”, the two begin a friendship.

However all is not what it seems with Eli and Hakan, between them they are responsible for the town’s murders, for Eli is a vampire and Hakan is her captur/acolyte. The blossoming relationship, between Eli and Oskar, sees a jealous Hakan take drastic action that will jeopardise the safety of Eli and Oskar and will set both on a journey that neither could imagine.

Writer Jack Thorne and director Bryony Shanahan have created a bleak, at times brutal, production with a tender under-belly, that one moment has you shocked to your core and within the blink of eye will see you raise a smile. Those expecting a Halloween ‘jump’ feast should curb their expectations. Don’t get me wrong, there are moments of horror right from the start, but these are few and far between and when they come, they hit your senses like a punch to the gut.

The cast are superb: Rhian Blundell and Pete MacHale are outstanding as the young couple; their relationship is the glue that holds this together and both give performances filled with naivety, angst and humour. It’s their relationship that leaves a lasting impression, more so than any other aspect of the production.

They are supported by a fine group of actors, with standout turns from Andrew Sheridan as the deplorable Hakan, who manages to make you feel some sympathy for a truly reprehensible character. Whilst Stefan Race as school bully, Jonny, who for my money is the real villain of the piece, simply makes your skin crawl in every scene he’s in which is a great achievement when you consider the rogues and deviants on display here!

The creative team have created a cold, bleak world, perfect for the story. There are some truly innovative uses of the vast open space of the Royal Exchange’s ‘in the round’ staging. The swimming people finale is a particular highlight.

Fans of the source material will get a great deal from this production, whilst for newbies this is a satisfying introduction to such a beloved piece of work. As a night at the theatre goes, this is a well crafted, exceptionally told story, as tender as it is uncompromising and more than warrants a night out during this season of the witch.

Let the Right One In is at Royal Exchange until the 19th November. Tickets can be found here .

Brief Encounter

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️


In 1945 Brief Encounter hit the British cinema screens for the first time. Based on the one act play by Noel Coward called Still Life and directed by David Lean, the film was a huge commercial and critical success. It regularly features in polls as being one of the greatest British films of all time.

Over the years there have been numerous radio, TV – and even an operatic version of this timeless classic. There has also been numerous theatrical offerings too and this latest production has come from Director Paul Robinson adapted for the stage by writer Emma Rice. This production sets out to captivate audiences of all ages at Bolton’s Octagon Theatre, where it embarks on a three week run.

After a chance meeting in a train station cafe, a local GP, Alec (Pete Ashmore) and respectable housewife, Laura (Anne-Marie Piazza) set out on a journey of passion and forbidden love; doomed to fail from the start. Both are married, both have children and both are upstanding pillars of the community. Will the world around them, and more importantly they themselves, accept the love they have for one another?

Key to the success of this fabulous production is its pacing; the story has time to breathe. That, coupled with the undoubted chemistry between the two leads, ensures you care about the two lovers. You feel their pain, anguish and like our “Romeo and Juliet”, as one character points out, you want a different outcome for the two, even though you know it’s never going to happen. There’s brilliant storytelling, excellently executed throughout this production which is packed with emotion and a great deal of style.

The really production works if you fully invest in the predicament that Alec and Laura find themselves in; Pete Ashmore and Anne-Marie Piazza draw you in perfectly. Nothing flashy or over-the-top, just raw, honest emotion. They both capture the fun and tenderness their tryst has produced, as well the guilt and hurt that it also brings.

It’s not just the Alec and Laura affair that’s in play here. There is also the blossoming romance between cafe owner Myrtle Bagot ( Natasha Lewis) and ticket inspector Albert Godby (Robert Jackson), as well as the courtship between cafe worker, Beryl, (Lara Lewis) and train porter Stanley (Joey Hickman). These are both played mainly for laughs bringing lots of joy throughout the first act. It’s during act two where the drama kicks in.

The supporting cast like the leads are superb, not only playing the aforementioned characters, but numerous other characters who, great or small, all impact Alec and Laura’s relationship. In addition to this, the cast along with musical director, Alex Weatherall, perform some Noel Coward and Simon Slater penned numbers including a stunning rendition of Go Slow Johnny and a slow, haunting performance of A Room with a View.

Other musical highlights included a version of George Formby’s Leaning on a Lamppost at the start of the show which brought on a pleasing, impromptu audience sing-along. As well as a fun saxophone trombone face off between Jackson and (Natasha) Lewis.

Setting the play ‘in the round’ is more a blessing than a curse. With most of the action taking place in the train station cafe, stage designer Jessica Curtis has created a multipurpose set: the cafe’s chairs, counter piano, and serving counter double up as a restaurant, and family home. The ‘in the round’ setting gives the production an energy and vibrance, some genuinely unexpected and innovative touches. My only small complaint is that sometimes the vocals on some of the musical numbers were a bit of a challenge to hear.

This is a timeless tale told with heart, soul and plenty of style, well worth a ‘little’ dalliance to the theatre.

Brief Encounter is at the Octagon Theatre, Bolton until 5th November. Tickets available here.

Vincent River

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Vincent River is a psychological thriller written by Phillip Radley and first performed in 2000, twenty two years on and this subject matter is still incredibly relevant. This production is directed by Dan Ellis and Dan Jarvis for Manchester based Green Carnation Company.

The entire play takes place in a half unpacked, unkempt living room, belonging to Anita. The mother of Vincent River. A young man, victim of a homophobic hate crime, murdered in his prime. Anita has recently moved from the home she shared with her son, due to a hate campaign towards her from the community she was once such a large part of.

Anita is crippled with grief, and has noticed a young man following her and watching her from afar. One night she invites, or rather demands, that the young man, Davey, come into the flat to talk to her and explain why he has been watching her. What transcends from this one act is an intense and at times uncomfortable interaction between these two fragile and vulnerable characters.

Davey tells Anita that he and his newly engaged girlfriend are the people who found her son’s body, but Anita sees through this charade and knows that there is a deeper, darker reason for his appearance in her grubby living room.

Rory McManamin (Davey) and Maddy Myles (Anita) are captivating. They deliver an intense and emotive performance of Ridley’s intricate script. There are no scene changes or costume changes to hide behind or to give them a moment to escape the high intensity and complexity of the play.


The scenes can at times be awkward and stilted, but that’s the script, it isn’t meant to be easy to watch. Anita’s son has been horrifically murdered and she knows that Davey knows more than he is letting on. But when the moment of realisation is upon us it is heartbreaking and crippling. It feels like we could reach out and touch Anita’s tidal wave of grief. The way in which Davey’s monologue is delivered is hypnotising. The way in which he moves between speaking directly to Anita and then speaking directly with Vincent in the moment is so powerful.

This is production isn’t for those with a lack of attention span, it requires your full attention to understand the complex characters, intense dialogue and a woven web of things that are unsaid.

I felt emotionally exhausted at the end of this production, but not in a bad way. The reality is that I felt so many of Anita’s emotions. I found this production gripping and unnerving. It was at times hard to grasp that a mother who knew and loved her child so much, could know them so little at the same time.

Images ShayRowanPhotography

Vincent River is on at Hope Mill Theatre until Wednesday 19th Oct tickets available here.

Blue Stockings

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Written by Olivier award winning film maker, Jessica Swale, Blue Stockings is set in the late 1800s, a time where Britain was beginning to change for women. We follow the lives of four young women, from different backgrounds, all wanting to study at one of the greatest universities: Cambridge.

Although all the women are gifted and, despite not receiving the same level of education as their male counterparts, ambitious, they are not seen as equals and will not be able to graduate with a degree, but instead will be sent home empty handed. The play is the story of their struggle. The struggle for equality, education, inclusion and to be heard, but also the struggle to accept themselves, to know their place and ultimately the struggle of heartbreak: in its many forms. 

The four women of Gorton College, Cambridge are Tess Moffat (Pippa Lane), Celia Willbond (Bronte James), Carolyn Addison (Madeleine Healey) and Maeve Sullivan (Olivia Brinkley). What an absolutely fabulous bit of casting this was. The women have such wonderful chemistry on stage, they each bring something different, but equally delightful to their performance. You get a real sense that they fully understand how important this story is to tell. They show us that women in the 1800s weren’t the stiff boring figures that many history books would have us believe. But they were full of hope and merriment. They struggled with many of the same issues as young women today: Are they good enough? Will they fall in love? Will they succeed? There is much to identify with, with these characters. 

The “boys” played by Sam Evans, Callum Johnson, Tom Broughton, Charlie Gallagher and Chris Shoop-Worrall showed us what these young women were up against. In a time where men were taught that their needs and aspirations were much more important than those of a woman, it was clearly a struggle, even for young, educated men, to accept a woman as their peer, despite how intellectual they actually were. 

This whole cast was excellent, a very high standard, as is expected from Altrincham Garrick productions. This production is Su Mowat’s directing debut at the Garrick, and she has debuted magnificently. The play is smooth and professional: it is complimented by lighting design by Geoff Scullard which is moody and atmospheric when it needs to be, creating depth on a simple stage. The original music composed by Mark Goggins was beautiful and at times very moving. 

This is a wonderfully wonderful production, filled with laughter and heartache, performed by an exceptional cast. It is running until Saturday 8th October tickets are available here.

OutStagedUs

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

I honestly didn’t know what to expect when I was invited to review this “fearlessly bold celebratory night of theatre addressing and exploring issues of sexuality and gender identity.” But I certainly wasn’t expecting to laugh and cry as much as I did.

Hive North theatre company (formerly Hope Theatre Company) has selected eleven very different pieces written by various writers and performed by an exceptional cast.

All pieces are centred around issues of gender identity and sexuality. As I was leaving the auditorium I overheard someone say “there are so many voices that need to be heard” and that’s it – that’s the essence of this performance as a whole.

Within each piece there is a story that many can identify with. There is a struggle that so many people have faced and so many people continue to face. There are issues that I would never have considered that people are confronted with and grapple with daily. There is also great humour and real honesty.

I was incredibly moved by the first piece “Behind Enemy Lines” by Bobbie Warner; the honesty and raw emotion in the writing when exploring the issue of the loss of a pregnancy for a trans masculine person was so incredibly moving and thought provoking.

Spark by Caitlin Magnall-Kearns was an absolute highlight. It was so warm and fragile and the performances from Ralph Bogard and Sam Goodchild were heartlifting and heartbreaking all at the same time. I have never ever wanted two people to end up together more than I did these two!

There was also so much humour in so many of the pieces, even where the subject matter was serious and hard hitting.

The entire cast is to be congratulated on their performances – there was so much talent on stage and nowhere for anyone to hide in this intimate setting of the studio at the Lowry.

All eleven pieces were extraordinary – I feel like my perspective, my empathy, my understanding and my insight have all been changed for the better thanks to these very important pieces of theatre. I felt so incredibly proud of all the writers for sharing such insight into issues that we just don’t explore and discuss enough.

Hive North have done an incredible job of finding these writers and telling their stories. I left wanting to see more and more from these writers, these actors, these directors and these stories in all theatres across the country. I will 100% be back for more, but next time I will remember to pack my tissues!

OutStageUs is on at The Lowry until Thursday 29th September tickets available here.

One Man, Two Guvnors

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Back in early spring 2020, I was fortunate to attend the season launch for the reopening of the Octagon, which included the programme for the year ahead through to 2021. Instantly one production stuck out, writer Richard Bean’s smash-hit One Man, Two Guvnors. We’re all fully aware what happened next, just under two years have passed and finally the production arrives on the Octagon stage and boy was it worth the wait!

Based on the Servant of Two Masters, a 1743 comedy by the Italian playwright Carlo Goldoni. Set in 1960’s Brighton, One Man, Two Guvnors follows the escapades of dim-witted chancer Francis Henshall (Jordan Pearson) who has somehow landed the job as a hired goon for East End gangster Roscoe Crabbe. All is not what it seems with Roscoe, Roscoe is dead and this is actually his twin sister, Rachel Crabbe (Siobhan Athwal) who is impersonating her dead brother in order to cash in some of brothers debts, so she and her lover, Stanley Stubbers (Laurie Jamieson), can start afresh. To further complicate matters Stubbers’ is responsible for Roscoe’s death.

Francais spots an opportunity to earn a few extra quid and more importantly have a decent meal, working a second job as Stubbers valet. Stubbers is on the run from the law for murder and is just bidding his time to reunite with Rachel. Can Francais keep his two employers from finding out his deception long enough to earn a big pay and end his 16 hours without eating?

Under the direction of Lotte Wakeman with Bean’s near flawless script this is as good as theatre gets and a real treat for comedy fans. Slapstick, farce and some killer one-liners, the show has something for everyone. The beauty lies in the fact that you’re never quite sure where the show is going, such is it’s anarchic nature which really adds to the fun.

The production is anchored by a powerhouse performance from Jordan Pearson who is engaging throughout, his childlike innocence is infectious, as he is driven by hunger, never fully aware or concerned by the chaos he has created.  

Pearson is supported by strong performances from the ensemble cast, with Lauire Jamieson getting the lion’s share of the best lines as slightly unhinged toff, Stanley Stubbers. Whilst Javier Marzan as the hapless waiter Alfie, and Qasim Mahood, as the jilted actor, Alan Dangle, both put in superb physically comedic turns.

I cannot recommend this production enough, over-the-top, ridiculous fun from start to finish that will have you grinning from ear-to-ear, an absolute must-see!

One Man, Two Guvnors is at the Bolton Octagon until the 25th June, tickets available here.

Electric Rosary

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️1/2

Writer Tim Foley’s new play, Electric Rosary had quite the inception, back in 2017 it won the Bruntwood Prize Judge’s Award and now it arrives at the Royal Exchange Theatre for a three-week run. This sci-fi comedy promises something original and something we had no idea we needed in our lives till now, nuns and robots sharing the stage for the first time!

Set in the dilapidated grounds of St Grace’s convent, a depleted troop of nuns are struggling to keep the convent afloat. Whilst the recent passing of the mother superior has left the nuns in a state of flux as to who will lead them through these are turbulent times. In addition, the convent had set up strong ties with a missionary in Ecuador which all the nuns have dreamt about visiting, however with funds so low this seems highly unlikely.

With Easter approaching acting mother superior, Elizabeth (Jo Mousley) may have a solution to their problems in the guise of a council funded robot, Sister Mary (Breffni Holahan). Whilst young nun Theresa ( Saroja-Lily Ratnavel) is made up with android Mary, older nuns, Phillippa (Suzette Llwellyn) and Constance (Olwen May) are more sceptical.

The views of the nuns seemingly represent their views of the outside world in general, as the use of robots as workers is commonplace in this world, with some members of the public protesting about the “reapers” as they are called, and as the protests head closer to the convent what will the nuns do about it, and just how will they solve a problem like Mary?

This is a bold, unique at times hilarious production, with some fantastic performances, and razor-sharp script. However, the further you dive into the narrative the darker it becomes, exploring themes such as tolerance, the over reliance on artificial intelligence, and other factors that divide us.

The play opens like an extended episode of Victoria Wood’s classic sitcom, Dinner Ladies, sweet, charming and hilariously funny packed full of well observed punchlines. There numerous strong comedic set pieces as Sister Mary adapts to her new environment and how it reacts to her. However, it’s the final act where the tone shifts becoming more of a thriller.

I felt that the production somewhat loses its way a little after the interval, which is a real shame, it would benefit from another edit. It does manage to get back on track though with a powerful, haunting final 30 minutes. The ensemble cast are excellent throughout: Saroja-Lily Ratnavel gives a fantastic performance, as the innocent, sweet natured Sister Theresa, displaying a gift for comedy. Breffni Holahan as Sister Mary, commands the stage, demanding your attention throughout, with a very physical performance. Olwen May is in fine form as the strong yet cynical world-beaten Sister Constance. In addition, there is a powerful performance from Yandass Ndlovu in two very different yet pivotal roles

This is a strong showing from all six actors who all work hard throughout with each one getting their moment to shine. Electric Rosary despite some minor flaws is a hilarious, ambitious production with a great deal to say about modern times and well worth a watch.

Electric Rosary is at the Royal Exchange Theatre till the 14th May tickets available here.

Sheila’s Island

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Sheila’s island is an adaptation of Tim Firths comedic play “Neville’s Island” – This laugh aloud version is written for an all female cast.

At the beginning of the performance we meet four middle aged women, whom having misinterpreted clues on a team building exercise have ended up washed up and stranded on a small island in the Lake District. We witness the stages that each of these unique characters go through over the days they are marooned as they become desperate to be rescued.

Now clearly there is a target demographic for this show, and it won’t be for everyone. But luckily for me I’m a forties something woman and this show sang to me. I could identify a little bit with every character and I’ve certainly met each of these women in the workplace in my lifetime.

I found it engaging and hilarious – the gags just keep coming and it explores so many relevant every day issues that Middle Aged women face.

The cast were outstanding – Abigail Thaw’s Denise was the character that you hated but loved in equal measure – Thaw’s comedic timing and expression were incredible. There is a clear chemistry between the cast members – but the too-ing and fro-ing between Thaw and Rina Fatania as Julie was hilarious. It’s like the script was written for them.

Judy Flynn holds the story together in her portrayal of Sheila – her monologues keep the plot moving and the audience interested in those occasional moments where the scenes start to drag a little. Sara Crowe’s character Fay provides us with an insight into emotional loss and guilt, but sometimes it feels like these issues needed to be developed further in the script.


The comedy that comes out of the contents of Julie’s backpack is side splitting. We all know someone who goes camping or adventuring with every single item they could possibly buy at the outdoor adverture shop. But the scene with the sausage is absolute genius! I’m not sure I will ever be able to eat a sausage from a hotel breakfast in the same way again. 

Special mention needs to be given to the set design by Liz Cooke- the uneven ground brings a realistic surface to the set, the actors have to watch each step, helping to portray the setting of a remote island. It’s very clever and means that the set, along with the sound and lighting, become a huge part of the show and without that it wouldn’t have the same organic feel to it.

All in all this was a fabulous production, with excellent acting and comedy. All that was missing was greater pace in some scenes and perhaps some further character development. 

If you’ve ever been on a corporate team building weekend away you will definitely recognise these unhinged yet lovable characters.

Sheila’s Island is on at The Lowry until Saturday 2nd April tickets available here.

Vignettes

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Reviewed by Paris Rogers

Vignettes follows the format of six short plays written and directed by females. The show screamed from the rooftop how diverse and talented Greater Manchester is. When walking into the theatre, you are immersed into the show immediately, the casts each play remain on stage throughout adding background detail and intensity to the individual pieces.

The show starts powerfully with Misha Duncan Barry’s, Limerence starting Keziah (Maz Hedgehog). Kaziah had a way of pulling me in to the action straight away, it usually takes a while for me to be drawn in alongside a long build up, but Kaziah did this effortlessly with her epic expressive body language and firework energy. Because of this energy being so high, some words were lost from the fast speech, but this was quickly and professionally rectified.

The second piece was The Demon dog of Waterhead by Cathy Crab. Firstly, hats off to the actors, Dom (James Quinn) and Sue (Sarah Legg) for their commitment to these roles, I had an aching stomach from laughing so much at their comedic timings. As much as the comedy carried the piece, it lacked structure and left me a little confused with the overall message and purpose for the piece and characters.

My notes were minimal for Perspective by Alex Keelen. This is because I was hugely captivated from start to finish. This play was perfectly pitched. The story telling by Janice (Emily Heyworth) was exactly what story telling should be, engaging, climatic and stimulating. Kevin (George Miller) was a breath of fresh air in the whole show, he brought a true charismatic spin. Not only were the actors outstanding, but it was also equally matched with impeccable writing and directing.

My favourite piece of the night was Tangled by Debbie Oates. The acting felt effortless and unbelievably easy to watch, I enjoyed the hilarious heartfelt journey I was taken on by Sally Ann Matthews. It reminded us how important young people are today. This piece stuck with me throughout the night and continued to be discussed into the busy streets of Manchester. 

The Reference by Hannah Ellis Ryan stood out amongst the others as it shone a light on competition between sisterhood and cleverly made me question what each character’s intentions truly were. It could have easily gotten lost amongst the comedy from the other pieces but instead made me go silent with the intense atmosphere the actors portrayed so brilliantly.

The show was finished with a bang, Halal Hens by Zoe Iqbal. Often amongst comedy the purpose of the piece can be lost. This was not the case with Halal Hens, controversial topics were cleverly addressed throughout while keeping us entertained. The actors had a clear strong connection on stage which really helped the flow of the piece and energy. I especially enjoyed the directing in this, it was quick paced, thought provoking and well timed.

Overall Vignettes was a varied evening, taking me on a fascinating emotional roller coaster and truly reminding me of the importance of storytelling like never before. I left feeling empowered, educated and more importantly with a strong belief in womanhood.

Vignettes is on at Hope Mill Theatre until Saturday March 26th tickets and further info can be found here.

Fatal Attraction

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Reviewed by Paris Rogers

Opening Night verdict ⭐️⭐️⭐️

I feel lucky that I’ve not watched Fatal Attraction via Film or in the theatre before. It allowed me to have a completely clear slate and no comparison when writing this review.

Fatal Attraction by James Dearden follows Alex Forrest (Kym Marsh) as she takes us on an absolute roller-coaster of emotions ending in becoming unhealthy obsessed with Dan Gallagher (Oliver Farnworth) all resulting from a one night stand. 

The play had an extremely strong start, drawing me in with a spotlight on Dan Gallagher. His voice was clear and crisp and had a way of silencing the audience into their seats. It also started, light, upbeat and with Dan Gallagher in a happy marriage to Beth (Susie Amy). I sometimes struggle to gauge what’s going on in the beginning of a play and what relationship the characters have but the stereotypical marriage between the two was clear from the start and portrayed nicely on stage.

The set was almost black box theatre. Simple yet effective. The simplicity encouraged the audience to use more of their imagination and focus on the actors. It also permitted incredibly smooth scene changes. Video calls were used to transform the story from the 1980’s to modern day. I felt this was not needed and took the focus away from the dialogue and flow of the play. It felt awkward and pardon the pun, staged. However, I can understand that it is difficult to bring every scene of the film to the stage, these calls were a quick interject to keep the story moving.

There was an incredible amount of background noise used which set the scene but again took away the focus from the actors. I felt they had to work twice as hard to carry the scene along. This sometimes came across rushed and their accent fell now and then. 

Speaking of which, it is difficult enough to see facial expressions on stage without a lump of hair constantly covering an actor’s face. This meant the actors body language had an even greater role to play. At times this disappointingly did not match the dialogue. There were uncomfortable movements, especially walks off stage and jarred hand gestures throughout. 

One of the most iconic scenes in the film fell flat in the stage adaptation, when Dans wife Beth discovers her daughters pet rabbit has been boiled alive. I’m not certain how I would react if I found a cute bunny boiled on my stove, but I it wouldn’t be a single scream.

In comparison, Marsh put buckets of detail into her performance as Alex. The dialogue and scenes she had to deliver were undeniably challenging but she managed to make me feel compassion for her even at the evillest parts of her actions. Her approach to the character was not only exceptionally clever and thought through but made me constantly question her motives. Was she just ill and been taken advantage of or was she a calculated woman with hatred for men running through her veins? 

The ending to the play allowed me to interrogate two different scenarios in my mind. This permitted ongoing questions after leaving the theatre. The street was filled with different views and endings, it clearly provoked debates and conversations during and after.

Fatal Attraction is on at the Opera House until Saturday 26th February tickets available here.