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.

Avenue Q

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Today’s review for Avenue Q is brought to you by the letter X, F and the number 4!

Avenue Q makes a much welcome return to Manchester this week like an old friend you haven’t seen in while, it’s reassuring to see that it hasn’t lost any of its charm, shock factor and ability to make you smile.

Avenue Q is the tale of a group of friends just trying to get by in the world, that fact that the group are made up of humans, puppets, and monsters is irrelevant, they all have the same problems, including relationship issues, unemployment and in one case an over reliance on internet porn! This is the version of life that the likes of Sesame Street don’t prepare you for when growing up.

The show set in New York, introduces us to Princeton, a fresh faced graduate armed with an English degree, ready to take on the world, however having limited funds and no job has seen him arrive on Avenue Q: a rough part of town that makes skid row look like Madison Avenue. Also living on Avenue Q, are a young couple, Brian and Christmas Eve, Brian an inspiring stand-up comic, whilst Christmas Eve dreams of being a therapist but cannot hang onto her clients. There is also Nicky and Rod, a pair of best friends who live together, however Rod has feelings for Nicky that are more than plutonic.

In addition, there is also Trekkie Monster, a reclusive monster, who seemingly just stays at home watching porn, and Gary Coleman, former child star who has fell on hard times and is now landlord of the street. Finally, there is Kate Monster, a teaching assistant, who dreams of opening her own school for monsters, who is also Smitten by Princeton and it looks like the feeling is mutual. However, as we know the course of true love doesn’t always run smoothly at the best of times, but when you have  a couple of mischievous forces at work in the shape of the Bad News Bears, then it would be fair to say life is pretty tough for the residents of Avenue Q.

Jeff Whitty has taken the world of Sesame Street stuck it through a meat grinder and what has come out the other end is a script that is sharp, witty and pulls no punches.  There is the right mix of sentimentality and near-the-knuckle humour. Add to that the songs of Robert Lopez and Jeff Marx that include the bang on point Everyone’s a Little Bit Racist, the heart-breaking There’s A Fine, Fine Line. The firm favourite of the audience this evening was The Internet is for Porn, which could have dated, but still hasn’t lost its sense of fun, and with a little help from our cuddly puppets its shock value.

The small ensemble cast is superb with many of them pulling double duty performing as various puppets. Cecily Redman is outstanding in her duel role of Kate Monster/Lucy the Slut, crisscrossing seamlessly from upbeat optimistic heroine to trashy vamp Lucy the Slut.  Equally impressive is Lawrence Smith, as the idealistic, well-meaning Princeton as well as the uptight repressed Rod. There is also excellent support from Chole Gentles and Tom Steedon who bring life into a plethora of furry creatures Bad Idea Bears, Nicky and crowd favourite Trekkie Monster.  It’s a credit to the actors/puppeteers, that you forget they’re on stage and lose yourself in the cute, yet foul-mouthed creatures.

It’s not just the exceptionally talented puppeteers and actors who deserve praise, but the human characters are exceptional as well. Ellis Dackombe and Saori Oda, are equally impressive as engaged couple Brian and his Asian American partner, Christmas Eve. Oda is a tour-de -force, in a scene stealing turn, whilst Dackombe is perfect as laid-back Brian, very much in a Seth Rogen, ‘stoner’ role. Finally, we have Nicholas Mclean as Gary Coleman, who lights up the stage with every scene he’s in and gets some huge laughs mainly down to the absurdity of his characters appearance

Director Cressida Carré has done a tremendous job making this a memorable production. Some very funny song and dance number, with some hilarious set pieces, including a pot of puppet on puppet bedroom gymnastics that will live long in the memory. I loved the video screen cartoons used throughout the production which are glorious nod to Sesame Street and certainly add an anarchic touch to proceedings.

The production touches on race, depression, sexuality and plays with our own prejudices and how we see the world, genuinely having something to say, and if that can be done with a song and in such bad taste then count me in.

Today’s review was brought to you by the letters, X and F, the X is for X-rated, and the F is for funny, funny, funny! Whilst the 4 well that’s 4 stars, all the way, so take a stroll down Avenue Q you won’t be disappointed!

Avenue Q is on at the Palace Theatre until the 26th October. Tickets available here.

 

 

 

Sleeping Beauty

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Reviewed by Kate Goerner

Opening Night verdict ⭐️⭐️⭐️⭐️

The Theatre Royal in St Helens and Regal Entertainments continues with its welcome tradition of producing pantomines outside of the festive season with Sleeping Beauty for the October Half Term.

A much-loved tale of beautiful princess Aurora cursed to prick her finger on a spinning wheel by evil fairy Carabosse and sleep for a hundred years is brought to life by a hard-working cast – with all the requisite panto elements like glitter, songs and bags of audience participation.

Familiar faces in the cast include St Helens resident dame Si Foster. With a ‘You Hoo’ he is a good humoured figure who the audience clearly has real affection for.

As always Foster has great rapport with comic Lewis Devine (Chester the Jester) – a now familiar face in Theatre Royal pantos a clear audience favourite. His scene with the children from the audience on stage was as funny as you’d hope.

Samantha Palin is an impressive baddie Carabosse – striding about the stage and delivering some one-liners as wicked as her character. Clearly having bags of fun being the baddie, she almost made you root for Team Carabosse!

Mia Molloy and James Lacey play it straight as Love’s Young Dream Aurora and The Prince, both bringing like ability and great vocals to the stage.

Making up the principle cast is Warren Donnelly as The King and Abigail Middleton as Fairy Sparkle, who got to enjoy the spotlight at the end of of Act 1 with a powerhouse rendition of When You Believe.

A good panto in my eyes is one where I spend quite a bit of the show watching my little boy’s reaction to the on-stage action! And he was fully immersed in this show – booing, cheering, singing and laughing. His favourite bit? The “rude” nursery rhymes had him and the other young audience members in hysterics.

It’s a cheerful, crowd pleasing affair performed and received with warmth. And as ever the ticket prices are commendably affordable – starting at just £13.

Up next for Christmas at the Theatre Royal is Aladdin starring Strictly professional dancer Robin Windsor – we are looking forward to it already.

Just one cautionary note for parents of younger children – you can no longer borrow free booster seats at the theatre – instead having to purchase an inflatable one (which you get to take away with you) for £5 – a cost which could add up for larger groups. Just something to perhaps consider when deciding where to sit if you are with younger children and don’t want to shell out for a seat.

Sleeping Beauty is on at the St Helens Theatre Royal until Saturday 29th October. Tickets available here.

 

ENB – Cinderella

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

From the moment the curtain rises on Christopher Wheeldon’s production of Cinderella, you are transported into a fairytale world, rich with colour, majestic decadence, and lashings of magic and wonder.

The production opens with the young Cinderella dancing joyfully with her parents, however happiness soon turns to tragedy as Cinderella’s Mother becomes ill and sadly dies. Heartbroken, Cinderella’s tears fall to the ground, thus sprouting a mighty tree, which will have a huge impact on our heroine as the story unfolds.

As time passes by Cinderella’s father remarries a cruel woman: in disgust at her father’s supposed betrayal of her mother, she decides to act as servant rather than join the family. In the meantime, a young Prince called Guillaume, is being pressured into finding a wife by his father, King Albert. In order to facilitate this, a ball is arranged with invitations to be handed out across the Kingdom. However, Guillaume and his friend Benjamin decide to have a little fun and swap roles with each other. A chance meeting between Cinderella and the disguised Prince ignites a passion between the two; however, with a wicked stepmother, an ambitious stepsister, and other factors standing in their way, will they get there happy ever after?

This is a three-pronged assault on the senses that creates something quite special. First, we have the iconic score of Sergei Prokofiev, filled with joy, woe, grandeur and more than a nod to his Soviet roots.

The second is the story telling and choreography of the piece. Cinderella, is one of those stories most of us are hugely familiar with however Wheeldon has spiced things up: gone is the fairy godmother, replaced by four fates who watch over Cinderella from the moment her Mother dies. The ugly sisters aren’t particularly ugly, instead one is truly mean of spirit, whilst the other is a meek timid creature, also put down by her mother. The big change is in Cinderella herself, she is a strong, independent women.

The English National Ballet, has some absolute gems in their ranks, Joseph Caley as Prince Guillaume commands the stage throughout, an excellent leading man, with a performance of power and strength, whilst Erina Takahashi is graceful, light and fluid, yet feisty. They were supported by some fantastic comedic turns from Tamera Rojo, (stepmother Hortensia) Alison McWhinney stepsister Edwina) and Katja Khaniukova (stepsister Clementine), as well as a solid, yet fun performance from Jeffrey Cirico as Benjamin, you get two Prince’s for the price of one!

For me the aesthetic of the production really sets it apart from anything you’ll see anywhere else.  From floating chandeliers, dangling chairs, enchanted forest, to beautiful flowing ball gowns, the piece manages to marry fairytale magic and royal splendour seamlessly. Set and costume designer Julian Crouch, deserves a huge amount of credit, as do the rest of the production team, they have created something truly magical.

This a production filled with spectacular set-pieces, which include a mesmerising scene where Cinderella is readied for the ball and an enormously fun scene where Guillaume and Benjamin hold a shoe fitting for every woman in the Kingdom in order to find Cinderella. However, the real jewel in the crown is the spectacular palace ballroom scene, packed full humour and romance, we have shenanigans aplenty including drunken dance floor escapades, failed courting dances, and a spot of dance floor chunder, behaviour which regularly occurs in nightclubs the land!

As part of English National Ballet’s 70th anniversary the company are celebrating and thanking its touring communities by giving away 70 tickets during each run of performances in every city they tour to. In addition to this the ballet company has gifted tickets to staff from local charities and organisations including Talbot House, Mustard Tree, Frost Foundation, Lifeshare and Teenage Cancer Trust/Christie Hospital. English National Ballet will also give a ‘Golden Ticket’ for a special English National Ballet experience or piece of merchandise to one audience member per performance in Manchester.

Accessible, beautiful, light-hearted and magical this is a production that will cast a spell over you, an absolute treat for the whole family!

Cinderella is at the Palace Theatre until the 19th October. Tickets available here.

Disney on Ice – 100 Years of Magic

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Reviewed by Kate Goerner

Opening Night verdict ⭐️⭐️⭐️⭐️

From the hundreds of children dressed as their favourite Disney idol to the myriad of swirly flashy things lighting up the inside of Manchester Arena – it was definitely Disney on Ice time!

The always-popular ice spectacular is a staple of the family entertainment calendar, offering people the chance to get a glimpse of their Disney favourites without having to go to Paris or Florida. Throw in dazzling skating skills, gorgeous costumes and plenty of iconic Disney songs and you have all the elements for a magical night out.

This year’s Disney on Ice show is called 100 Years of Magic and sees a loose plot of Mickey, Minnie, Donald and Goofy trying to decide on a movie to make – drawing inspiration from Disney‘s back catalogue of celluloid smashes.

Perhaps less Princess-centred than Disney on Ice shows I’ve seen before, 100 Years of Magic includes tributes to some absolute classics like Beauty & The Beast, Aladdin (why have one ice skating Genie when you can have 20!) The Lion King and more.

Of course there is the chance to see all the Princesses and their Princes skate as well as a fabulous extended section that gives the delighted audience Frozen in about 20 minutes – this is a real highlight with goosebumps galore as Elsa twirls and swoops across the ice to Let It Go. And it even snows!

Our other favourite bit was a simply gorgeous tribute to Mulan featuring a beautiful solo to Reflections followed by the very talented full company of skaters performing a stunning martial arts-inspired routine to I’ll Make a Man Out of You. This was followed by the entrance of an impressive Chinese Dragon onto the ice – that drew gasps from the audience.

But probably the crowd-pleasing cameo of the night was from Toy Story 4 scene-stealer Forky, whose arrival on the ice brought cheers of joy from the youngster sat around us. Indeed the whole Toy Story section was clearly a hit with the young fans of Woody, Buzz and the ‘plastic’ effect wigs on the toys were a nice witty touch too.

But the whole show was fantastic – a welcome bit of Disney magic delivered on skates. We had an absolute blast!

Further information, tickets and tour dates can be found 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. 

Curtains

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

We’ve all heard of opening night disasters when it comes to the theatre, from forgotten lines to sickly cast members, I’m certain actors and directors will have their fair share of horror stories. However, I’m sure none will match having their leading lady bumped off during the final curtain!

This is the premise for musical whodunit,  Curtains. This Tony Awarding winning  production is from the song writing duo John Kander and Fred Ebb, who  also wrote Chicago and Cabaret.

Set in 1950’s Boston we are backstage on the set oftroubled Broadway hopeful  Robbin Hood.  Leading lady Jessica Cranshaw (Nia Jermin) is murdered on opening night and, due to her rather shambolic performance, everyone is a suspect. Luckily, Boston’s finest, Lieutenant Frank Cioffi (Jason Manford), who happens to be a theatre super-fan, is on hand to crack the case.

Placing the theatre on lock down, Cioffi begins to work his way through the list of suspects that include estranged couple and writing partners Georgia Hendricks (Carley Stenson) and Aaron Fox (Ore Oduba). Then there are show producers Carmen Bernstein (Rebecca Lock) and shady Sidney Bernstein (Mark Sangster) and flamboyant director Christopher Belling (Samuel Holmes). In addition, we have ambitious rising stars, Bambi Barnét (Emma Caffrey) and Niki Harris (Leah West), with the latter catching the eye of Lieutenant Cioffi. Everyone is a suspect with cast and crew beginning to drop like flies, can Cioffi catch the killer and save the show?

On the surface, this is a classic murder mystery, very much in the Agatha Christie mould, but on the other hand this is both a love letter to, and a critique of showbusiness, in particular the  theatre. 

There are caricatures aplenty from over-the-top directors, to ruthless money grabbing producers and mean-spirited critiques. Despite a few minor issues, this is an enjoyable, entertaining romp, filled with neat one liners, catchy tunes and some plot red herrings that will keep you engaged throughout.

The cast are at the top of their game, Jason Manford is a likeable leading man, whose comic timing is matched perfectly with a fine singing voice. Carley Stenson and Ore Oduba are also on good form as the warring writing partnership, with Stenson really given the opportunity to flex her vocal cords. There are scene stealing turns from Rebecca Lock and Samuel Holmes who between them get the lions share of the best lines and certainly make the most of them.

They are supported buy an exceptionally hard working cast who put in tremendous effort throughout which are exemplified in the company numbers The Women’s Dead, He Did It, and In the Same Boat III, which are the undoubted highlights of the show, and showcase Paul Foster’s exceptional direction and Alistair David’s intricate choreography.

The production is not without flaws; it’s a bit flabby in parts and there seems to be a bit of filler, it doesn’t quite hold your attention throughout its entire running time, in fairness the show gets off to such an intriguing start that it would be difficult to maintain that level of interest throughout. 

On the whole this is an entertaining, clever, production packed with solid performances, great tunes and some fantastic set pieces, which despite its darkly comic narrative has a heart of gold at its core and is a slice of fun, feel-good musical theatre!

Curtains is on the Place Theatre till 12th October tickets available here. 

MAME

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In the same week they celebrate their 4th birthday Hope Mill Theatre open their biggest and most ambitious show to date. Tony award-winning Broadway musical Mame hasn’t been seen in the UK since it’s original 1969 West End production starring the late, great Ginger Rodgers, but Hope Mill Theatre and Aria Entertainment don’t do things by halves. Teaming up with Ray Rackham Theatrical collectively they have created quite simply their most impressive and jaw-droppingly brilliant production since opening their doors in 2014.

Beginning in 1920’s New York City Mame Dennis really is the belle of every ball. Life truly is a banquet for Mame and her party loving friends so when her deceased brother’s 10 year old son Patrick is thrust into her care you may think the party may be over but then you haven’t met the magnificent Mame.

Even when she loses her fortune in the Wall St crash she perseveres with irrepressible positivity and her own unique sense of style, whoever let getting repeatedly fired get in the way of living their life anyway? Spanning several years through relationships, love and loss Mame captivates entirely, her exuberant soul is addictive, she thrills, delights, excites and entertains along the way.

Hope Mill Theatre has been transformed for this enchanting revival. Philip Witcomb’s design ensures that the intimate space seems to open up before your eyes as the jaw-dropping first number begins. Nick Winston’s choreography is sublime; transporting the audience from a rainy Manchester to a glittering Broadway with each full-out and fabulous number. Winston who also directed the piece leaves the audience open-mouthed at the sheer scale and brilliant of the production, it feels lavish, luxurious and deliciously decadent.

Tracie Bennett is entirely mesmerising as Mame she absolutely gives her everything to the role and is truly brilliant. Hilariously comedic one moment and utterly gut-wrenching the next her delivery of If He Walked Into My Life is spellbinding.

The pairing of Bennett and Harriet Thorpe who takes on the role of bosom buddy Vera is nothing short of iconic. They are a joy to watch as they barb off each other with booze fuelled brilliance. Tim Flavin is a suave and sophisticated Beauregard, the connection between Flavin and Bennett feels warm and genuine.

Special mention must also go to junior cast member Lochlan White who at tonight’s performance played Young Patrick. Demonstrating fine acting skills, a pitch perfect voice and the kind of charisma Mame would be proud of.

Every member of this talented cast deserves high praise. They work together in such slick harmony that each scene flows seamlessly into the next yet feels full of surprises. They deliver Nick Winston’s choreography to dazzling perfection, teamed with Tim Mitchell’s impressive lighting design and strong musical direction from Alex Parker each ensemble number packs a powerful and perfect punch.

The boldness and bravery shown by Katy Lipson of Aria Entertainment and Joseph Houston and William Whelton of Hope Mill Theatre in bringing this all-new revival to such vibrant life must be commended. How lucky we are in a Manchester to have such committed and passionate theatre makers.

Mame is an absolute triumph, dazzling, daring and utterly delightful, world-class theatre right on our doorstep. A perfectly peachy slice of theatrical heaven. Mame feels like the start of something very, very special and I for one am here for the ride!

Catch MAME at Hope Mill Theatre until Saturday 9th November tickets available here.

Hope Mill Theatre | A Factory of Creativity |

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Joseph Houston and William Whelton at Hope Mill Theatre. Photo Phil Tragen Photography

Hope Mill Theatre moved from private ownership to operating as a registered charity this week. The charity – A Factory of Creativity will operate the award-winning theatre which was founded by William Whelton and Joseph Houston in 2015, with the support of a board of trustees, made up of individuals who have supported the venue since it opened. Whelton and Houston will continue in their roles of Executive Director and Artistic Director respectively with the board of trustees supporting and guiding the charity as it moves forward.

In a joint statement Whelton and Houston said: “Hope Mill Theatre was set up four years ago with a £10K start up loan and has been operating since then as an independent business, receiving no local or national funding. In a small amount of time we have grown rapidly and have struggled to keep up with the expectations and sheer demand of operating such a large endeavour. It has become increasingly hard to support the level of work that we produce in-house as well as supporting a thriving arts community locally.

“Hope Mill Theatre is now in a very crucial stage of its journey with many exciting opportunities, as well as an ever-evolving and developing local landscape. We, along with our small team, recognise the importance of having the venue expand, which will allow us to focus more on nurturing new work and supporting artists.  It is our ambition to secure the venue’s home for many years to come and well as engaging more with our community and making our work accessible to varied audiences. We believe moving forward as a charity will allow us to achieve these ambitions.”

Hope MIll Theatre Patrons

The theatre will continue to build on its acclaimed partnership with Katy Lipson of Aria Entertainment, with Hope Mill Theatre and Aria continuing to work together in the future, both at Hope Mill Theatre and around the UK, with their most ambitious show to date – Mame starring Tracie Bennett – which has it’s official opening this week.

Also announced is the news that award-winning writer Russell T Davies and stage and screen actress Denise Welch are to join Olivier Award-winning actress Tracie Bennett as a patrons of the theatre.

Russell T Davies said: “I’m thrilled and honoured to become a patron of Hope Mill Theatre.  It’s an amazing place, and I’ve followed Joe and Will’s journey right from the start. Their productions are wonderful, and I love their support for new writers and talent.  I think the future’s full of Hope!”

Denise Welch said: “I’m delighted to become a patron of Hope Mill Theatre. My love of theatre was formed in a company that started like this one and I’m thrilled to be a small part of Joe and Will’s journey. Coming to Hope Mill is not just a night at the theatre – it’s an experience from the minute you arrive, and the productions are first class. Exciting and vibrant…..just like me!”

Tracie Bennett said: “Being from the north myself, it is awe-inspiring to see the true and heartfelt passion and vision of mavericks Joe and Will, and the work they have done in creating Hope Mill Theatre. I had been following their work and have admired from afar the creation of this exciting new venue. I have long thought that a project of this ilk was a long time coming to Manchester. The work they are doing for regional theatre and musical theatre is extremely exciting not only for the city of Manchester but also the industry itself.”

First Look Photos – MAME

First look photos -MAME *Credit Pamela Raith

In the first few months as a charity, there are planned funding applications to fund the purchase and upgrade of lighting and sound equipment. A ‘fund a chair’ scheme will be launched to help replace the venue’s current seating – to help make watching theatre at Hope Mill a more comfortable and accessible experience.  There are plans to also apply for funding to install hearing loops in the venue, as well as an upgrade of the ticket system used to improve the booking experience. There are also plans to launch ‘Friends of Hope Mill Theatre scheme.

Whelton and Houston concluded: “It’s now time to allow Hope Mill Theatre to grow and flourish as it enters the next phase of its very exciting future, regionally and nationally.”

 For more information on Hope Mill Theatre please visit Hope Mill Theatre

 

 

 

 

 

 

 

 

 

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

 

 

 

 

& Juliet

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Some jukebox musicals come and go faster than you can say Hit Me Baby One More Time others like Mamma Mia really hit the spot becoming staples of the theatre scene; enter new kid on the block & Juliet a magnificent mash-up of legendary songwriter Max Martin’s biggest hits which judging by tonight’s thunderous standing ovation is without doubt here to stay.

Bursting into vibrant life with opening number ‘Larger Than Life’ & Juliet directed by Luke Sheppard gives an absolute masterclass in musical theatre. Visually stunning and with a cast that reads like a who’s who of theatre royalty & Juliet takes you on a joyous ride of empowerment, uplifting fun and star quality sass.

Forget what you know about Romeo & Juliet, this fresh production transforms the Bard’s tragic tale as Anne Hathaway (played spectacularly by Cassidy Janson) tells husband William Shakespeare (an impressive Oliver Tompsett) that his ending for the star-crossed lovers is…well basically shit; thus opening the gates for Juliet’s journey of sensational self-discovery as she explores for the first time what it means to truly get a life!

Oliver Tompsett and Cassidy Janson take on part narrator part player roles as the two inventively weave themselves into the narrative, influencing and entertaining throughout. Tompsett makes for a determined, unwavering Shakespeare that is until wife Anne (Cassidy Janson) takes his quill and sets about influencing not only Juliet’s but her own story. Both are perfectly cast, they spark wonderfully off each other with razor sharp comedic timing and genuinely warm wit.

Miriam-Teak Lee is simply outstanding as Juliet, giving an absolutely world-class performance, delivering powerhouse vocals with ease while her warm charisma combined with instant likability gets the audience immediately on side. It’s a thrill to join her on this fabulous ride as we will this fine heroine to find her own happy ending.

Best friend May is played beautifully by Arun Blair-Mangat his raw fragility when delivering Britney’s much-loved ‘I’m Not a Girl, Not Yet a Woman’ is packed with genuine heart and gut-wrenching emotion while Tim Mahendran is excellent as love interest Francois adding a perfect twist to proceedings while taking the story to another unexpected level.

Special mention must go to David Badella and Melanie La Barrie as Lance and Nurse who are quite simply a joy to watch, bringing the house down during their outrageously funny duet Teenage Dream/Break Free. Jordan Luke Gage introduces us to a very different kind of Romeo, an empty-headed heartthrob who may not be quite as innocent as he seems, Gage thrills with his spectacular arrival while his hilarious doe-eyed dorkish delivery is lapped up by the audience.

No review of the show would be complete without heaping praise on the insanely talented ensemble who look like they are having the time of their lives on stage. They deliver Jennifer Weber’s slick choreography with precision and a sass Beyoncé would be proud of just when you think they couldn’t get any better they crank it up a notch more, absolutely stunning.

Set designer Soutra Gilmour has created something epic here as the constantly evolving set continues to surprise while Paloma Young’s stunning costume design is a glorious meeting of period mixed with modern, think intricately detailed corsets teamed with sumptuous sports luxe and you’re halfway there.

It’s hard to believe the songs featured weren’t specifically written for the show Bill Sherman and Dominic Fallacaro’s arrangements of Max Martin’s mega hits fit the show like a glove while David West Read’s script finds a measured balance between hilariously funny and touchingly tender.

& Juliet is the musical we need right now, the ultimate in feel-good fun offering a joyous night of escapism while tackling modern themes with positivity and truth. You’ll laugh, you’ll cry, you’ll dance your socks off before leaving with the biggest smile on your face with a heart well and truly warmed. Sensational fun from the first beat, we absolutely want Shakespeare that way!

& Juliet is on at the Manchester Opera House until Saturday 12th October before it moves to London’s Shaftesbury Theatre tickers available here.

Preview | Disney on Ice

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Writer Kate Goerner

The ever-popular Disney on Ice spectacular returns to the rink at Manchester Arena next month – offering a timely opportunity to get a bit of Disney magic in your life in these unsettled times!
So why not grab those Mickey Ears and prepare to celebrate 100 Years of Magic in this all-new arena show that’s led by the Mouse-ter of Ceremonies (ahem, sorry!) Mickey Mouse with Minnie and lots of other pals and princesses alongside him.
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The family friendly production will be skating into Manchester from the 9th to 13th October and features more than 50 performers, a sing-along score of Disney musical masterpieces, exhilarating choreography and beautiful costumes and sets.
The show is packed with iconic Disney characters from much-loved films that Disney fans young and old will love seeing in the flesh – with added ice theatrics!
Audiences will travel to the heart of Africa with Disney’s The Lion King, come along for an adventure in friendship with the gang from DisneyPixar’s Toy Story, and watch as Belle breaks the Beast’s curse in the tale of Beauty & The Beast.
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And OR COURSE no Disney on Ice show would be complete without a trip to the kingdom of Arendelle from Disney’s Frozen and journey up the North Mountain with adorable snowman Olaf and hunky Kristoff, as they help royal sisters Anna and Elsa discover that true love conquers all.
Over 14 tales are featured, with some absolute classic songs like Hakuna Matata, You’ve Got A Friend in Me, Let It Go, At Last I See The Light, A Whole New World and loads more.
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Producer Kenneth Feld said: “This is a show, more than any other, which is truly for everybody. When I sit with the audience, I see those that are grandparents, like I am, enjoying a lot of the classic Disney stories, while young kids and parents really respond to modern day favourites like Frozen.”

Disney on Ice: 100 Years of Magic is produced by live family entertainment specialists Feld Entertainment.

Tickets and more information are available here.
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