Plays

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.

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.