Plays

Grow Up Grandad

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Reviewed by Sarah Bloomer

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

A small but accomplished ensemble trod the boards on opening night for Penny Smith and Tom Worrell’s production of Grow Up Grandad, a heart-wrenching tale of intergenerational loss and unlikely companionship in a relationship that is thrown together only to be torn apart.

Grandad is a belligerent old man who unwittingly inherits his twelve-year-old Grandaughter, Poppy when she is abandoned by her mother. The two run a gamete of emotions as they move from awkward incompatibility to tender endearment, navigating many twists and turns along the way.

Partington Players veteran David Wilson delivers an on-stage master-class as he performs in the eponymous role, his most enjoyable, he states, in his twenty-five year acting career. The role of Poppy is played by two actors: relative newcomer Chloe Dolby, a striking raw talent whose stage presence captivates as she advances from sassy precociousness to haunting vulnerability, and fellow Youth theatre actor Nia Griffin who reprises the role on alternate nights. Jayne Skudder demonstrates effortless versatility as Poppy’s thirty-two-year-old counterpart, delivering tear-jerking monologues and grief-stricken fury.

For all it’s weightiness and heart-break there is an equal measure of humour and hilarity, particularly as generations clash in exchanges between Grandad and young Poppy, “We can do a jigsaw”. “Oh my God!”

The scene changes are minimal and fluid and the lighting used to indicate a shift in time from day to night. There are memorable moments of clever direction as time shifts between present and future in a wonderfully synchronized door closing scene.

Ending a volatile, emotive piece is challenging. Grow Up Grandad closes with a deftly choreographed synergy between twelve-year-old Poppy and thirty-two-year old Poppy as they traverse revelations and retrospections in a role reversal with Grandad, now suffering with Alzheimer’s, as he shares fragments of his story with his Great Grandaughter Molly (Molly Tierney).

“Would you like to do a jigsaw?” “Do you know, I’d absolutely love to”. A perfect conclusion to a contemplative play.

Grow Up Grandad is on at Partington Players Theatre, Glossop until Saturday 1st February, further information available here.

 

My Night with Reg

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

First premiered at The Royal Court in 1997, Kevin Elyot’s ground-breaking play My Night with Reg was loved by critics and audiences alike. A transfer to the West End followed as well as Olivier and Evening Standard awards, a successful Broadway run and even a feature film so it comes as no surprise that Manchester-based Green Carnation should choose this moving play as their first touring production.

Set in Guy’s apartment over various years the story focuses upon the relationships of a group of gay men, all have in some form a connection with the eponymous Reg. What initially seems like a light-hearted look into the lives and loves of the group soon develops into a perceptive exploration or love and friendship as secrets and betrayals are exposed while the ever-present threat of the 1980’s AIDS crisis looms large.

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Guy (Simon Hallman) is hopelessly in love with John (Nicholas Anscombe) yet doesn’t have the courage to tell him. Eager to please he puts everyone else’s needs before his own while his hesitancy to put himself out there results in a life unfulfilled and free from any real intimacy.

Old mates John (Nicholas Anscombe) and Daniel (David Gregan-Jones) joke and jostle while never actually having an honest conversation. Interestingly it’s primarily the youngest character in the play Eric (Alan Lewis) who speak freely, unafraid of sharing his thoughts and feelings about the way he sees the world while couple Bernie and Benny bicker and bark at each other by way of communication.

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As Guy, Simon Hallman perfectly captures the frustration of a man thwarted by his own niceness, hopelessly in love yet lacking in the courage to do anything about it. He endears himself to the audience as he flusters and fusses around his friends making the final part of the play all the more affecting.

David Gregan-Jones flounces spectacularly as charismatic Daniel while showing great skill in his ability to switch from carefree to devastated with ease. Nicholas Anscombe plays John as a cool and composed figure who becomes increasingly lost as the piece develops.

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Steve Connolly and Marc Geoffrey as Benny and Bernie play off each other brilliantly offering some of the most cutting humour in the piece while Alan Lewis is refreshingly real as the much lusted after Eric.

Co-directors Dan Jarvis and Dan Ellis has succeeded in creating a piece that’s as funny as it is moving. This dark comedy doesn’t sugar-coat nor should it, Green Carnation’s affecting revival will resonate with many. Designer George Johnson-Leigh’s set is simplistic yet effective with neon lighting pulsating as the intensity rises.

A well-crafted, well-acted piece which will leave you more than happy you’ve spent the night with Reg.

My Night with Reg is on at The Lowry until Saturday 25th January tickets available here.

Further information about regional tour dates can be found here.

 

 

Band of Gold

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️1/2

Kay Mellor’s ground-breaking drama was a huge success when it first hit TV screens back in 1995. 25 years on the action has been relocated from screen to stage while still taking its inspiration from the lives and experiences of the Northern sex workers who in order to make ends meet work ‘the lane’.

The story focuses on Gina (Sacha Parkinson), a young mother who gets drawn into the world of sex work in order to provide for her daughter and pay off ruthless loan shark Mr Moore (Joe Mallalieu). Things take a tragic turn one evening while working the lane and its down to her fellow workers to deal with the fallout while continuing to face multiple battles of their own.

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Fans of the TV series will be pleased to know that this newly developed play doesn’t sway too much from the gritty style of the much-loved TV series with Mellor’s clever wit even in the darkest of moments shining through. Her writing allows the audience glimpses of the humanity and heart of her characters while offering a fascinating insight into their working world and the dangers contained within.

Through Mellor’s multi-layered script the individual stories of the main four female leads intertwine to create a dramatic piece which draws you in and keeps you guessing. Each character feels authentic and is honestly delivered by a strong cast made up primarily of Laurie Brett (Anita), Gaynor Faye (Rose), Sacha Parkinson (Gina) and Emma Osman (Carol) each giving a convincing and real performance.

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The ladies are strongly supported by several male characters with Kieron Richardson, Shayne Ward, Andrew Dunn, Steve Garti, Joe Mallalieu and Mark Sheals all showing a high level of skill if some are a little underused. Special mention must also go to Olwen May as Gina’s mother Joyce, her heartfelt emotion feels painfully raw and is delivered with real conviction.

While Mellor’s blend of tragedy and dark humour is delivered with sensitivity there are occasions when it feels like the piece would have benefitted from holding the dramatic tension for longer rather than so often going for the laugh or quickly changing scene; at times the audience laugh at situations which would have held more impact if characters were allowed more time to breathe. While the quick pace keeps the tension high it does result in a lack of opportunity to connect with the characters on a more emotional level.

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This re-invention of Band of Gold will entertain both fans of the original TV series and those coming to it for the first time. It also feels timely as we live through continued austerity with many women struggle to provide for their families and the sad reality that there are more sex workers now than when the original stories were penned. An engaging piece of theatre delivered by a solid cast.

Band of Gold is on at the Lowry until Saturday 25th January tickets available here.

An Inspector Calls

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Having been seen by over 5 million people since its premiere at the National Theatre in 1992 Stephen Daldry’s ground-breaking production of J.B. Priestley’s classic thriller comes to the Lowry this week as part of a UK wide tour.

Celebrated by audiences and critics alike its dramatic edge and clever theatricality remains. Set amidst a bleak, ominous backdrop we see a strange almost doll-like house, claustrophobic and precariously balanced. The laughter and chattering of the family within rings out, they are as yet unaware of whom lies within the wings waiting to unravel and expose their harmonious gathering.

A young working-class girl has committed suicide and it is Inspector Goole’s belief that each and every member of this loathsome family has played some influential part in her tragic demise. Daldry’s radical reimagining of this theatre heavyweight is strong in its impact and stirring in its message, the theatre packed with GCSE pupils, a clear sign of the continued relevance of this captivating piece.

Liam Brennan takes on the role of Inspector Goole, initially calm yet commanding he both examines and exposes each member of the elitist Birling family meticulously. Cocooned by their privilege he draws them out one by one rocking their very foundations and exposing their cruel entitled behaviours.

Each character is developed fully and delivered convincingly by an incredibly strong cast with special mention going to Chloe Orrock as daughter Sheila Birling whose journey from spoilt and materialistic to unravelled, ashamed yet reflective offers real hope for change.

Daldry’s exceptional direction clearly illustrates that the change Priestley wishes to see in the world must come from the younger generation, where they repent and reflect, their parents scrabble round in the gutter grabbing at their silverware polishing it in the mud, still grappling for their place at the top of the social ladder. Silent character Edna, (Linda Beckett) maid to the Birling family observes the fall-out while becoming more and more relaxed in her manner as the family fall from grace.

Designer Ian MacNeil’s intricate set design is strikingly impressive while Rick Fisher’s lighting adds to the atmosphere and intensity pairing wonderfully with Stephen Warbeck’s ominous soundtrack.

Whilst socialist Priestley wrote the play as a blistering criticism of capitalist society it very much remains a play for today with its message of social responsibility and consequence strikingly relevant. The piece illustrates perfectly how everything is connected and how our own individual actions impact others while using its platform to call for a kinder, fairer and more compassionate world. This thrilling adaptation is both slick and stylish, delivering a message that will stay with you long after the curtain call.

An Inspector Calls is on at The Lowry until Saturday 18th January tickets available here.

 

Preview | A swift half? | New play by Grace O’Leary opens at The Bridge Street Tavern this week

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Foraois Productions return this week with a new play capturing a slice of Manchester life in and out of the pub. Running from 21st to 23rd November at The Bridge Street Tavern, Grace O’Leary’s latest play A swift half? sees sisters Maria and Clara try to make sense of their lives and the choices they have made. The pub becomes more than just a backdrop as moments of clarity come served with a swift half. Old friend and pub landlord Bobby is often the dispenser of that wisdom but he too has his own hopes and plans. Whether they will be realised with a pint in hand remains to be seen.

A swift half? Is award-winning playwright and director Grace O’Leary’s 5th play and marks 10 years since she started writing and producing her own theatre. Her works include the critically acclaimed Letter Headed Paper which toured Manchester, Leeds, Liverpool and Preston in 2013.  Grace’s first play What Colour Was Her Blood? was short-listed for ‘Best Original New Play’ by North West Playwrights.

A swift half? asks the question, how important is the pub and what place does it have in everyday life? Some hidden truths are threatened to be revealed when sisters Maria and Clara have one too many vinos at friend’s Bobby popular pub, Haven’s Sake, and things could have been much easier if they just stayed in. Bobby, proud pub owner and overall charismatic bloke has dreams of being the next big pub promoter and nothing, he hopes, is going to stop him.

Ahead of opening night, Grace O’Leary said; ‘With it being 10 years since my first play was launched in Manchester, I felt it was right to do a new piece for my decade anniversary. I’ve spent many a happy, and the odd unhappy hour in pubs, and it made me think about the affect the atmosphere these wonderful establishments can have on people. I’ve been lucky to work with a fantastic cast on this production and am really looking forward to sharing it.’

Maria Quinn is played by Julie Burrows, Clara Quinn is played by Sarah E Maher and Bobby Braithwaite is played by Daryn Gates.

A swift half? Is on at The Bridge Street Tavern, 58 Bridge St, Manchester, M3 3BW 7.30pm, on 21, 22 & 23 October Duration 60mins approx. Tickets: £9 plus booking fee can be found here.

The Entertainer

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It’s often said that role of Archie Rice is a dream role for any actor; it’s an actor’s role, a role filled with pathos, a real rollercoaster of emotions. The likes of Laurence Olivier, Kenneth Branagh, Robert Lindsey and Michael Gambon have all played this iconic character, either on stage or screen, and now it’s the turn of one of the nation’s favourite song-and-dance men, Shane Richie.

The original production was set during the 1950’s in the shadow of the Suez crisis, however director Sean O’ Connor has shifted the action to 1982: Britain has just gone to war with Argentina over the Falkland Islands and comic Archie Rice is working the club scene, with diminishing success. His act is a string of sexist gags and mother-in-law jokes, think a cross between Bernard Manning and David Brent and you’re on the right track. Rice is struggling to adapt to a changing world of alternative comedy and so-called political correctness.

As Rice’s routine is in the gutter, his home life isn’t fairing much better: he is unhappily married to his second wife, Phoebe (played tonight by Alice Osmanski), his father Billy (Pip Donaghy) holds some pretty extreme views about their neighbours and the state of the country, his daughter, Jean (Diana Vickers) has come back home after splitting with her fiancé, and finally his son Mick, has been captured whilst serving in the Falklands.

The majority of the action takes place in the Rice’s flat as the family bicker about the current state of the country, argue about Archie’s womanising, Phoebe’s desire to move Canada, and Jean’s moralistic view of the world, which strongly differs from that of her family. This is all done with the support of copious amounts of gin, as all of the family struggle with their own alcoholism. This is punctured with brief snapshots of Archie’s faltering act, some 1980’s bangers, and some genuine/fictious tabloid headlines of the day. As the Rice’s situation becomes more desperate, the already fractured family begins to come apart at the seams.

This is a challenging, gritty piece of work, there is a great deal to admire about the production. Despite being well over 60 years old, the themes Osbourne was addressing back then are just as relevant today. The setting of Thatcher’s Britain gives the production a gritty realism: the club spots and the scenes at the flat are quite grimy, so much so that you want to jump in the shower as soon as you get home.

The excellent performances are what make this production that little bit special. All five actors do a solid job throughout and it’s the dynamic between Shane Richie and Diana Vickers that is the real heartbeat of this production. Richie does a fantastic of job making you care about Archie. He knows his best days are behind him,  he knows he’s made mistakes yet despite his many flaws, you cannot but help but want him to succeed, and it’s purely down to the strength of Richie’s performance: if you don’t have that connection then it doesn’t work.

In Diana Vickers you have the moral compass of the family, someone that has yet to be tainted by her environment, and someone who has a chance of making a difference, it’s the conflict between the two of them that drives the narrative along and it’s a credit to both actors that this works so well.

It is a tough watch and one that is short on laughter, unless you like your comedy uncomfortable and cringy, however this is a production that is certainly worth a watch and one that will split audiences and more importantly spark debate and that is always good in my book.

The Entertainer is on at the Manchester Opera House until Saturday 2nd November. Tickets available here.

The Exorcist

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

When it it was announced that the stage version of The Exorcist was coming to Manchester I freely admit I was more than a little excited for a couple of reasons. The first being that this is one of my favourite films, when growing up the film had mystic about it mainly due to it being unavailable for some 11 years, to get hold of a copy was seen as a right of passage when growing up and when you finally did get to see it it did not disappoint. The second is that the film seldom out of your consciousness if like me you’re a fan of film critic and broadcaster Mark Kermode (Hello to Jason). There is seldom a week that goes by where the good Dr doesn’t manage to shoehorn an ‘exorcist story’ into his radio programmes and podcasts.

The stage adaptation from writer John Pielmeier, draws more from the 1971 novel by William Peter Blatty more so then William Fredkin’s film. It tells the story, of Hollywood actor Christine MacNeil (Susan Ward) and her daughter Regan (Susannah Edgley), they’re staying in a big creepy house, in Georgetown, Washington whilst Christine shoots her latest movie. However, with Regan’s birthday coming up and anxiety of her estranged father not contacting Regan along with the strange noises coming from the attic not all is well at home.

Regan soon begins speaking of an imaginary friend, Captain Howdy, who she claims to have encountered her whilst playing with a Ouija board. Her behaviour becomes more erratic, as she self harms, uses profanity, urinates on the floor, and more disturbingly predicts the death of Christine’s friend the movie director Burke Dennis (Tristram Wymark).

As Regan’s behaviour worsens, her health deteriorates and with doctors, medication and psychologists providing no cure Christine is running out of time to save her daughter. In the meantime, a Father, Damien Karras (Ben Caplan) is having a crisis of faith, having lost his mother, feelings of resentment, regret and remorse surround the priest, as he comes to terms with his own guilt at her passing. A meeting between Karras and Christine prompts the desperate mother to enquire about an exorcism; Karras acquiesces to Christine’s proposal and so begins a battle to save not just the life of a little girl but also the souls of those around her.

Director Sean Mathias has done a great job of bringing this classic of the silver screen to life. From the moment you enter the theatre there was a sense of trepidation in the air, right from the the get go, there are some big jump scares to get you in the mood. However, these are soon dispensed with in favour of the more shocking elements of the text: vomiting, foul language, murder and the ordeal that this girl and her family are going through.  All the key elements that caused and still cause outrage to this day are there, of which I will not spoil, yet they still manage to shock even now, and I knew what was coming.

The performances are solid throughout, Susannah Edgley has the difficult job of an adult playing a child, which she manages to do brilliantly, she fully captures the sweet innocence and absolute horror of Regan. Sophie Ward is equally as good in her role, its one you could easily go OTT with, yet she refrains from doing so giving a measured but heartfelt turn.

If this were a Hollywood blockbuster, Paul Nicholas would get the ‘and’ or ‘with’ billing on the poster, but here he gets top billing for what is essentially supporting role, however Nicholas brings a real presence to his role as Father Merrin, an experienced priest drafted into help with exorcism ritual. It is a restrained, understated but no less vital performance.  Finally, there is the un-credited performance of Sir Ian McKellen as the voice of the demon, the potty-mouthed thesp, pretty much steals every scene he’s in without being even being there! If there is filmed footage of this being recorded, then get it online quick because it would look fantastic. A huge amount of praise must be heaped on Edgley who does an excellent job of lip-syncing with McKellen’s fruity dialogue.

However, for me the most impressive aspect of the production is its look, the team have created a haunting, atmospheric and terrifying space, from the iconic window, Regan’s bedroom, to the creepy house, complete with exploding lights, through to the pews and confessional boxes of the church this is lynch pin of the production. The scene transitions weren’t as smooth as they could be, with sliding panels but it really didn’t matter. To create the big scares and the more shocking elements of the play the lighting, sound, and projection team have done some fantastic work here.

This is a creepy, tense production that will have enough to please fans of the film/book but is also fine introduction to this controversial, yet entertaining piece of work, I would say that the more controversial elements will still create debate and polarise people’s opinion, but that for me mean’s it’s done its job.

The Exorcist is on at the Manchester Opera House until 26th October. Tickets available here.

The Strange Case of Dr Jekyll & Mr Hyde

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Since opening it’s doors for the first time in 2017 the Storyhouse has often made some bold and brave choices for their in-house productions Whether a fresh take on an old classic, a brand new or rarely seen production being brought to life, they always offer up something intriguing and unique and their latest production The Strange Case of Dr Jekyll & Mr Hyde is no exception.

Based on the novella by Robert Louis Stevenson, this adaptation for the stage by Glynn Maxwell is a new take on a classic story that we think we know like the back of our own hands but do we really?

Retaining its Victorian London setting, we find a young girl selling matches, she is viciously attacked in a mysterious assault. The next morning Dr Jekyll (Edward Harrison) is troubled by the memory of the match girl but confused at having a pocket full of matches but no recollection of how they got there. 

Dr Jekyll writes to his old friend and former assistant, Lady Gabriel (Natasha Bain) for guidance. However, Lady Gabriel is focused more on the letters of her niece Rose (Rosa Hesmondhalgh), a curious, feisty, independent young women seeking adventure and a place to stay in London town. 

With London besieged by a series of grizzly murders, Lady Gabriel hasn’t the time nor the inclination to help her old friend, her main concern is that of the safety and wellbeing of Rose. However, soon Rose’s curious nature rubs off on her Aunty, this coupled with her intrigue of Dr Jekyll’s work on the splitting of the soul as well the mystery surrounding the deliverer of the letters from Jekyll, a Mr Hyde (Matthew Flynn) lead the pair to a meeting with the Doctor.

Whilst at Jekyll’s house, Lady Gabriel and the Doctor have a private meeting, which Rose is certainly not invited to attend, this leads the inquisitive adventurer to go exploring when she stumbles upon Jekyll’s labratory, his journal and another encounter with Mr Hyde that puts her and and her aunty in great danger.

There is so much to admire about this production that it’s difficult to know where to start. The creative team behind the show have taken a great many risks with narrative, style and presentation and the risks reward the audience with an original, atmospheric and psychological chiller that has a great deal of relevance in the 21st century.

Maxwell’s script is an update on Stevenson’s source material, still there at it’s core is that battle, between  good and evil, and the duality of human nature, whilst making the decision to explain Jekyll/Hyde’s behaviour as that of addiction, a need to step from the dark into the light, which adds an intriguing layer. We also have a strong female presence in this adaptation, which is missing in the source material. The character of Rose is a new character, and one that is yet to be troubled and trapped by the world around her.

Under Psyche Stott excellent direction, we have four very different performances, Natasha Bain gives a strong, world weary, turn, a matriarchal figure of the piece. Rosa Hesmondhalgh is a breath of fresh air as Rose, adding light relief throughout but this is much more than a comedic performance, here is someone that the world hasn’t corrupted yet, but she is far from naïve. 

Often in productions one actor plays both Dr Jekyll and Mr Hyde, however we have Edward Harrison on good form as the frazzled unhinged, mad professor, whilst Matthew Flynn is menacing as his alter ego, I swear he grew in size as the play reached its conclusion. Flynn must wrestle with some poetic yet tongue-twisting dialogue, however he masters it skilfully.

 

What does make the production that extra special is involvement of choreographer,  Paul Bayes Kitcher, whose work with Harrison and Flynn really pays dividends, especially during the transformation scenes. 

Additionally, the sound design by Adrienne Quartly ratchets up the tension throughout, add into the mix a simple yet intriguing stage design of glowing copper pipes, Victorian lamps and secret passages and you have an innovative, thrilling and original piece of gothic theatre.


The Strange Case of Dr Jekyll & Mr Hyde is on at the Chester Storyhouse till the 19th October. Tickets available here. 

Measure for Measure

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Hey, have you heard the one about the powerful older man who offered a young woman help in return for sexual favours? You’d be forgiven for thinking I’m speaking of the latest scandal to engulf Westminster or Hollywood but I’m referring to the plot of William Shakespeare’s Measure for Measure.

Measure for Measure is the is the final production for the Royal Shakespeare Company’s mini residency at the Lowry. Despite being four years shy of its 400-year anniversary this is a story that arguably has more resonance now than it ever has: the ill treatment of women and abuse of power by unscrupulous and seemingly omnificent men.

Set in Vienna at the turn of the 20th century, the Duke of Vienna has taken a sabbatical, leaving his deputy, Angelo in charge. Angelo is harsh and swift at implementing law and order to the city, while a young man Claudio, falls foul of the new changes to the law. He is sentenced to death for impregnating  his fiancé.  Claudio’s Sister Isabella, who is training as a nun hears of her brother’s plight and is soon up before Angelo pleading for her sibling’s life. The interim leader agrees to clemency in return Isabella must sleep with him. Isabella is repulsed by the very notion of this, but what can she do? Go up against the most powerful man in the city, it’s her word against his and who would believe her.  Isabella soon encounters a kindly friar, who agrees to assist  her with a plot to bring down Angelo, however the friar is really the Duke of Vienna returning to the area so he can get a a true measure of the city.

It is easy to see why this is referred to as one of Shakespeare’s more “problematic” works. On the one hand, this is a story about the abuse of power, as well as the wretched treatment of women. Whilst at the same to there are some comedic elements to the production in the form of the Duke’s deception and host of colourful yet despicable characters including the cunning pimp, Pompey, and slimy sycophant Lucio.  Director Gregory Doran manages to reign in all these elements to tell an engaging, fluid, and entertaining story, which does not shy way from the more despicable facets of the narrative.

Sandy Grierson is fantastic as loathsome Angelo; there is an understated menace to his performance, helped by the fact that he has more a passing resemblance to a certain Russian head-of-state.  Antony Byrne is also on fine form as the Duke, he is both strong and flawed, whilst his exchanges with Joseph Arkley’s Lucio offer up some of the productions lighter moments. However, at the centre of the production is exceptional performance by Lucy Phelps as Isabella, sometimes strong, sometimes vulnerable, it is her angst riddled turn that highlights the gravitas of the situation.

The superb acting works hand in hand with the high production values, there is very little in the way of set set design; instead, a change of location is signified by the use of projected images at the back of the stage.  Save for a few chairs and the use of two-way mirrors, set design is minimal which if anything intensifies the claustrophobia of the situation. The stage at the Lowry seemed to grow, as the narrative continues leaving the characters firmly in the spotlight, with no place to hide. In addition, the score by composer Paul Englishby, opens with a beautiful waltz, but soon shifts into darker territory, providing a sense of menace and foreboding.

Despite being on uncomfortable ground with its subject matter, this is an accessible, engaging production that is made even more fascinating by its relevance today. This may not be one of the ‘bards’ best-known plays but it is filled with twists and turns, none more so than the close 10 seconds of the play which add to the cynical nature to this intelligent piece

Measure for Measure is at the Lowry till 5th October. Tickets available:  here.

Tags: Measure for Measure, William Shakespeare, Gregory Doran, Drama, Theatre, Sandy Grierson, Antony Byrne, Lucy Phelps, Joseph Arkley

 

 

 

 

A Taste of Honey

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Reviewed by Michelle Eagleton

Opening Night verdict ⭐️⭐️⭐️⭐️

When one of Salford’s most iconic plays comes back home to its birthplace, there’s bound to be a huge weight on the company performing it to get it right. The National Theatre set itself the challenge of doing just that by making one of the first stops on its UK Tour of Shelagh Delaney’s A Taste of Honey, The Lowry. 

Director Bijan Sheibani, who is at the helm of this production, has managed to rise to the challenge though, as it received an encouraging reaction from the audience on press night.

Sheibani takes the play back to its roots in this bold incarnation, which echoes how it was originally performed, adding the incorporation of music. There’s a live band onstage throughout, which accompanies the characters in solo numbers and plays underneath some of the dialogue, which helps evoke the mood of the piece.

For those who are unaware of the story behind the Shelagh Delaney classic, A Taste of Honey is essentially a gritty norther tale of the love-hate relationship between a working-class single mother Helen and her  daughter Jo, set against the stark backdrop of 1950s Salford. The play was penned by 19-year-old Shelagh back in 1958 and it’s hard to believe that at such a young age the local girl, who had very little experience of seeing shows let alone writing them, could produce such prolific work which would resonate with generations to come. 

Lancashire born theatre and TV star Jodie Prenger puts in a solid performance as northern matriarch Helen making the most of the acid tongue humour gifted  from Delaney and her natural comedic delivery, prompting huge amounts of  laughter from the audience. We also get the chance to see Prenger put her impressive  vocal chords to good use as she packs  a punch with the opening number ‘A Good Man’ (a soulful track reminiscent of some of the late Amy Winehouse’s repertoire).

Gemma Dobson’s portrayal of Jo creates a character that’s like marmite – you love her vulnerability one minute but want to throttle her for her outbursts the next. Dobson’s whining edge to Jo gets a little tedious in the second half of the play but overall her sweet scenes with Jimmie (her sailor love interest) and Geof make up for it and we see her performance of the troubled teen really come into its own.

Despite the play being primarily focused around the two main female roles, Jo and Helen, the stand out performance comes from one of the males in the cast, Stuart Thompson as Geof. Thompson is a delight to watch and displays a natural  sensitivity  as Jo’s gay best friend. Thompson manages to find a balance of campness and caring in the role of Geof, who struggles with his worries of being an outcast in the 1950s society whilst looking after his pregnant friend.

Elsewhere, Hildegard Bechtler’s contemporary design of the production  adds to the bleakness of the piece with a minimalist set complete with stark and dingy lighting. Everything seems shabby and in need of TLC, except for Helen’s brash and glam outfits which extenuate her desire to appear better than she is in reality – which you could say epitomises  the phrase ‘all fur coat and no knickers’.

There have been numerous productions of A Taste of Honey since it opened on stage over 60 years ago and the National present a good version here, which really highlights the comedy and pathos of Delaney’s work.

A Taste of Honey is on at The Lowry until Saturday 21st September then begins a UK tour, further information can be found here.

Macbeth

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Reviewed by Michelle Ewen

Opening Night verdict ⭐️⭐️⭐️⭐️

“Double, double toil and trouble…”

In an era when the mere suggestion of a female Bond is enough to break the Internet, the Royal Exchange enters the fray with possibly the first ever mixed-gender professional production of MACBETH to have cast a woman in the lead.

That’s right, hang on to your coronets… Shakespeare’s titular character is played by a FEMALE. And what a woman she is! Dressed in combats, shaven-headed and brandishing assorted weaponry, Lucy Ellinson’s Macbeth is decorated for her valour; gripped by murderous ambition; and then strung up for her sins.

She parties in a blood-red ballgown, assassinates her Queen and shares her bed with a strong woman of colour, who prays: “Unsex me here and fill me from the crown to the toe topfull of direst cruelty”. (It’s enough to make your average Daily Mail reader’s head spin!)

In a further gender reversal, Duncan is played by Alexandra Mathie. It is an arresting moment when she enters the stage – a sharp bob framing a face that would usually bristle with whiskers.

Let us be clear, however… this is not about watching an inclusive ‘woke’ production. Every actor has earned their place and, with gender politics swept off the table, you’re free to focus on characterisation.

Macbeth is presented as an ambitious, conniving and deceitful person – not a woman breaking stereotypical convention – and in a major departure from classic portrayals, Lady Macbeth (Ony Uhiara) relies on scorn and reason instead of her womanly wiles.

They are part of an ensemble that is a tour de force. Each character is carefully etched and singularly memorable – delivering classic scenes with admirable gusto.

As brave and noble Banquo, Theo Ogundipe makes for a tender father and terrifying ghost, whilst Nima Taleghani and Rachel Denning bring comic relief as Lennox and the Porter/Lady Macduff.

Witches Nicola May-Taylor, Charlotte Merriam and Bryony Davies are scene-stealers whenever they appear – as “foul and fair” a motley crew as you could ever hope to encounter.

Christopher Haydon’s direction is spectacular, with the arrival of Banquo’s ghost at the feast his pièce de résistance. (Playful and sinister, think heads on platters, giant teddy bears and a malevolent game of musical chairs!)

Here, a special mention also to Designer Oli Townsend, Lighting Designer Colin Grenfell and Sound Designer Elena Pena, who infuse the whole production with a post-modern, industrial and militaristic feel.

Balloons, gunshots and strobe lights puncture the interior of ‘the round’ as – under the tutelage of Movement Director Lucy Hind – the players hurtle in through doors, drop down on ropes and swing from ladders with knife blades pointing venomously.

With no seat no more than 9m from the stage, MACBETH makes full use of the 360-degree performance space, which is a feat of engineering in itself. Suspended in the Grade II listed building, it is the perfect metaphor for this thrillingly entertaining show – a thoroughly modern offering rooted in the classic tradition of the theatre.

MACBETH is on at the Royal Exchange Theatre until 19 October. Ticket information can be found here.

Danny and the Deep Blue Sea

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Written in 1984 by John Patrick Stanley, Danny and the Deep Blue Sea is a intensely compelling study of two lonely lives, both trapped in desperate and destructive spirals of self-loathing who come together in search of both companionship and redemption.

Volatile Danny (Danny Solomon) speaks with his fists, lashing out at anyone and everyone in a bid to protect his fractured self. He is unpredictable and alarming yet somehow Roberta (Hannah Ellis Ryan) is not afraid. Burdened by her own trauma she is riddled with self-hatred and a warped sense of a need for punishment for her abusive past.

A simple set of scattered bar furniture and an old mattress complete with crumpled bedclothes make to the set. A glimmer of moonlight seeps in from above while a porcelain doll dressed in white offers a hint of Roberta’s past.

As the barbed bickering deepens into aggressive exchanges a sharing of secrets begins allowing both characters to develop unpredictably. Danny’s vulnerability begins to show as his defences slip while their fleeting post-coital redemption shows their shared desperation for elusive love and happiness. They are messed up, bad, burdened and bruised yet touchingly real and heart-achingly raw.

Both Danny Solomon and Hannah Ellis Ryan convince entirely in their roles. As an audience member you are in that bar in the Bronx with them, you feel every moment of heartache in the bedroom and share in their despair and awkward humour. Director Daniel Bradford ensures the emotional charge of both performances slaps you in the face keeping you guessing throughout, never knowing where these tormented souls will take you next. Drowning in despair one moment while gleefully flinging arms around each other the next. Powerful and affecting theatre once again from Play With Fire Productions.

Catch Danny and the Deep Blue Sea until Thursday 12th September at Hope Mill Theatre tickets available here.