Jerry Springer The Opera

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Newly formed theatrical company Northern Ricochet – made up of James Baker, Tom Chester and Bill Elms – don’t do things by halves. Taking the bold step of reviving controversial musical Jerry Springer The Opera as their first company production, they’re sending a clear message to the theatre world that there is a new, ambitious, creative and proudly Northern kid on the block.

Auditions were held in the North – including an open-call casting whilst the opportunity for local in-training actors to make up the onstage choir was offered. The result of this is a sensational piece of theatre packed full of humour, hilarity and genuine heart.

Written by Richard Thomas and Stewart Lee, Jerry Springer The Opera debuted at the National Theatre in 2003 – winning four Olivier Awards including Best New Musical and courting controversy at every turn. This revived production staged in the intimate Hope Mill Theatre allows the audience for Jerry Springer The Opera and Jerry Springer the talk show to become one as audience members sit on opposite sides of the theatre while the cast perform in-between them – giving this production an immersive and atmospheric feel.

James Baker directs the show in such a bold way that as an audience we’re whipped into a “Go Jerry” frenzy before the main man has even stepped foot on stage. The company do an excellent job of building the bubbling excitement ahead of our host’s grand arrival – led brilliantly by Warm Up Man Tom Lloyd, who whets our appetites for what’s to come: reminding us exactly who are the good guys and who we should be reserving our biggest boos for.

Once the infamous Jerry (Michael Howe) makes his grand entrance, we see him play host to three sets of guests who are all too willing to reveal their deepest darkest secrets via soaring profanity-laden arias and wickedly brilliant ballads. Bickering bubbles into bitch fights – leaving security guard Steve (Kai Jolley) to step in and calm the chaos.

Amidst the snarling and sniping Jerry expertly stirs the pot – gently probing his simmering guests and pushing them that little bit further… giving the audience that extra bit more. Things go a tad too far and Act II finds Jerry hosting the ultimate showdown: the Devil versus Jesus. Should Jerry refuse to host this clash of the titans, he’ll burn in Hell forever in a most uncomfortable and ‘barb-baric’ way!

This cast is without doubt one of the most impressive you’re ever likely to see. The ensemble pieces literally raise the roof off Hope Mill Theatre. Each voice is sheer perfection – coming together to create the most beautiful of sounds. Add to this perfectly judged comedic timing delivered with vibrant energy and you have an irresistibly entertaining piece of theatre. Every member of this cast gives their all – each offering something uniquely special and truly memorable.

Michael Howe embodies Jerry Springer perfectly, with every knowing shake of the head, contemplative hand on the chin and nuanced raise of an eyebrow; he is Jerry to a T.

Tom Lloyd makes for a fabulously extra Warm Up Guy while his Satan in Act II is deliciously devilish. David Burilin’s Jesus is pouty and petulant while Matt Bond’s God really hasn’t got time for this shit.

Cici Howells’ voice is sublime as both Shawntel and Eve while Andrew Patrick-Walker has moves Ru Paul herself would be proud of.

With such strong voices and powerful performances the score could easily become lost; however, Tom Chester ensures his band of six are perfectly pitched. The music – together with the rich mix of voices – really is heavenly.

This production has been brought bang up to date and feels frighteningly in-line with the chaotic times we live in. Hillbilly Chucky wears a ‘Make America Great Again’ cap while gun control statements are made alongside caricatures of Trump. The desire to feel superior and the joy in public humiliation raises questions about just how civilised we really are.

Yes it’s profane, yes it’s irreverent but every profanity is worth it for the absolute pleasure this production brings. You’ll shriek with laughter one minute and be stunned into silence by the sheer talent on display the next in this joyful and vivid piece. Cleverly crafted and outrageously naughty, this wild romp of a production will both amuse and impress as once again Jerry reminds us all to “Take care of yourself and each other”.

Jerry Springer The Opera is on at Hope Mill Theatre until Saturday 31st August tickets available here.

Amélie

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Reviewed by Alex Broadley

Opening Night verdict ⭐️⭐️⭐️⭐️

Amélie The Musical has the unenviable task of bringing the award winning French film Amélie (or, to give it its full name, Le fabuleux destin d’Amélie Poulain) to life. And it does this with gusto, whimsy and fabulous savoir faire.

Amélie tells the story of young Amélie Poulain (played fabulously by Audrey Brisson). Brought up by neurotic and unusual parents, Amélie’s father (Jez Unwin) misdiagnoses a heart condition and her mother (Rachel Dawson) decides Amélie is too delicate to be in contact with others. Isolated and lonely, Amélie’s only childhood friend is a goldfish….who we later say ‘au revoir’ to.  After the early death of her Mother, Amélie is brought up by her emotionally distant Father, who has attached all his emotions to a garden gnome.

As a young woman, Amélie escapes to bon Paris and although she makes acquaintances, she is still very much alone until she finds a long forgotten box which will send her life in a different direction entirely. Amélie decides to help others in their quests for happiness, but can her own loneliness and unwillingness to interact with others be overcome?

The film is known for being full of whimsy and the musical delivers this and more. Amélie has been adapted for the stage by a fantastic team of writers and directors. With a book by Craig Lucas, the musical sticks closely to the film and in many ways is less sugary-sweet and more fun than the original screen-play.

One of the special things about the show for me, was the hard-working actor musicians. Many of the talented cast play multiple parts seamlessly. The instruments are weaved into the narrative and the music (composed by Daniel Messé) and lyrics (Nathan Tysen and Daniel Messé) have a magical folky feel. This all works well with the playful feel of the production. There are no particular stand-out songs, however there doesn’t need to be; Amélie’s story is episodic and shifts from story to story within it. The gentle and harmonic melodies weave their way into the narrative in a way which is genuinely wonderful. Although there are no traditional dance numbers, the sense of movement as Amélie moves through busy platforms, streets and trains is done brilliantly.

Audrey Brisson is fantastic as Amélie. She plays her perfectly, with just the right amount of naïve vulnerability and hope. Audrey has a fantastic voice and is a genuine tour de force of the show. The character of Amélie is complicated, as we all are, and Audrey shows the different sides of Amélie perfectly. Danny Mac plays Amélie’s love interest Nino and his performance showcases a warm voice and the final scene is genuinely touching.

Madeleine Girling’s set design deserves to be mentioned. A lampshade serves as a magical way of transporting Amélie to her flat and who knew that a photo-booth could be a confessional, a shop front and a market stall? The set transports us to what is undeniably Paris. The art nouveau style detail is beautiful and reminiscent of Parisian cafés, walks along the Seine and croissants. The hard-working cast almost blend into the set, waiting around the corners.

Special mention should also be given to the puppets (designed by Dik Downey). Adding to the sense of fun in the production, the appearance of a giant gnome and goldfish are definitely memorable moments! The appearance of Elton John (Caolan McCarthy) leaves the audience in stitches.

The show was packed but the audience was completely silent during the final scene; testament to how far we were drawn into our heroine’s plight. We desperately want our lonely Amélie to accept the love which is offered.

Amélie the Musical is on at Manchester’s Opera House until Saturday 10th August tickets available here.

 

 

 

Interview |Amélie the Musical |Michael Fentiman

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Described by Whats On Stage as a ⭐️⭐️⭐️⭐️⭐️ ‘perfect production’ Amélie the Musical arrives in Manchester next week after wowing audiences across the country as part of its first ever UK tour. Ahead of the shows West End transfer we caught up with Director Michael Fentiman to hear a little more about this magical musical.

How closely does Amélie The Musical resemble the film?

The film refused to behave like any film we may have recognised at the time. The approach to narrative is episodic. Favouring small vignettes, tiny films within a film, that group together to create a collage, a poetic mural that conjures a sense of loneliness and isolation in the bustling metropolis of 90s Paris.

The central character is largely passive. The first rule of script writing is usually that your protagonist is actively pursuing a change in the world they inhabit, Amélie is largely trying to avoid it.

It favours philosophical thought and ambiguity over conflict, sentimentality or explicit didact (usually the staple diet of your blockbuster filmmaker).

Somehow, by ignoring the rules of what constitutes enjoyable art, Amélie managed to appear in the late 90’s as a hugely enjoyable antidote to all the art that had started to believe there was a formula.

So if the film refused to behave like a film, in some respects Amélie must resist the pressure to behave like a traditional musical. It can’t be loud and brash, that would crush its fragile frame.  It can’t always yearn to please, that would fight the spirit of its aloof, Parisian routes. It can’t resort to slapstick laughs or lean on personal tragedy to illicit tears in ballads. It can’t open act 2 with a kick line or close act 1 with a burst of pyro or a tense cliff-hanger.

But what it can do is invite an audience into a simple, gentle, moving exploration of human loneliness and isolation and the earnest attempts to avoid it.

What were the main challenges in adapting it?

The challenge when adapting and staging a piece like Amélie is that the iconography of the film imprints itself so vividly in the mind of its audience, any stage production is in some respects competing with memories of the film. The music of Yann Tiersen, the cinematography of Bruno Delbonnel, Jean-Pierre Jeunet’s left of centre script and dreamlike direction. All smashing together to create something unique, oddly moving and vivid that lingers in the memory. Yet in order for it to satisfy in the theatre we must find a freedom to occupy its own space in our imaginations. It’s a tricky balance to get right.

Can you tell me a little about the music? Do what degree, if any, was it influenced by Yann Tiersen’s original soundtrack?

The music is hugely influence by the tone and feel of Yann Tiersen’s music. How could it not be? We have an amazing company of actor musicians, so we have incorporated into the score multiple violins, cello’s, accordions, pianos and flutes to create a very unique and moving sound.

How did you go about finding your Amélie? The similarities between Audrey Brisson and Audrey Tautou are striking, but we imagine there are some striking differences too…

As soon as I was asked to direct this production, Audrey was the first name I mentioned for the part. We have worked together before. Last time she played a hedgehog (obvious casting for Amélie!)  in a production of The Lion the Witch and the Wardrobe I directed a few years back. She is an extraordinary performer. A rare thing. A classical trained singer, who once toured the world with Cirque de Soleil, a superbly charismatic comic and clown and a sensitive and intelligent actress. She is also a fluent French speaker!

How have you created Paris on stage?

It was impossible to fully realise Paris onstage. So we have tried to capture a smell of Paris so that the audience can fill in the gaps. Are location for the set is one of the iconic Metro stations featured in the film, but from there we are whisked all around the city with simple props, beautiful music, brilliant acting… and a bit of imagination.

What is the enduring appeal of this story?

At a time where we are increasingly feeling at a distance from each other, and to some degree, from the world we inhabit, Amélie is a Musical that seeks connections. Kind connections, that close down distances and make us feel like we are able to look up, smile and reach out to the strange and the stranger.

Amélie is on at the Manchester Opera House from Tuesday 6th until Saturday 10th August tickets available here.

 

Letter To Boddah

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In the song Hey, Hey, My My (Out of the Blue) Godfather of grunge Neil Young muses the statement: “It’s better to burn out, than to fade away”.  Sadly, this was a question posed in Kurt Cobain’s suicide letter, tragically titled Letter to Boddah.

Writer Sarah Nelson has used this desperately heart-breaking event as the inspiration behind her play, also titled Letter to Boddah. Set entirely in the disabled toilet of a Tesco store, we find childhood friends Billy (Sam Glen) and Neil (Jordan Reece): the pair are dressed in full military combats, armed to the teeth and carrying a ruck sack packed full of explosives ready to blow up the supermarket, its customers, and if necessary themselves.  What has brought these two to this point? Is there any going back for the pair?

Nelson has written a pitch-black comedy drama which explores themes of friendship, grief, domestic abuse and lost potential. Taking a setting more associated with that of a British ‘sitcom’, we are treated to some razor-sharp one-liners and darkly comedic dialogue, mixed with moments of heartbreak, as well as a few twists that will have you on the edge of your seat.

Both leads are excellent. Sam Glen puts in an intense, gut-wrenching turn as grief-stricken Billy, whilst Jordan Reece plays Neil to perfection, striking the right balance between comedy sidekick and unhinged psychopath.  The chemistry between the two is outstanding and fully believable, which makes their actions seem all the more desperate. The two manage to captivate and entirely hold your attention throughout.

This is an important production that addresses issues of male depression and suicide, as well as containing strong political themes of globalisation, and commentary on a lost generation without a voice. Powerful, dark, shocking and packed full of humour, with a finale filled with tension. This is an outstanding piece of work that deserves to be seen by as many people as possible, and on the strength of the quality on display tonight, will surely find an audience.

Letter to Boddha is on at the Edinburgh Fringe throughout August at C CUBED (Venue 50) daily at 1:15pm tickets available here.

 

Henry V

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Petty political point-scoring, a none democratically elected leader making decisions shaping the future of our nation, decisions driven by a lust for power…sound familiar? Nope this isn’t a political commentary of the UK right now but Shakespeare’s Henry V.

Director Loveday Ingram places the production amidst the current political climate, (or should that be crisis?) St George’s crosses fly high as soldiers swill down booze while chants of ‘England ’til I die’ ring out from the yellow vests.

Shakespeare’s France very much represents the EU with the cast dressed in familiar vibrant blue as yellow starts billow in the breeze.

It may be 2019 but Henry V feels more pertinent now than ever before as Shakespeare’s social and political observations continue to ring true, centuries after they were first penned.

Joseph Millson takes on the role of the heroic leader. Persuasive and full of charm one moment, ruthless and murderous the next. Millson revels in the complexity of the monarch exploring every layer with subtlety and style.

He tackles Shakespeare’s famous “Once more to the breach, dear friends” monologue with a solid and rousing conviction: his army literally chomping at the bit, breathless for the battle to begin. In contrast the commanding warrior loses all composure when attempting to woo Katherine, faltering over his words as he bashfully fumbles in French.

Millson is supported by an impressively strong cast notably Samuel Collings as Pistol, Seren Vickers as Fluellen and Vanessa Schofield as Scroop/High Constable while Mitesh Soni and Sarah-Jane Potts inject some well delivered humour as Alice and Katherine.

Director Loveday Ingram and her cast not only find the heart of Henry V but also the humour too in this solid and potent production as keen observations of the human spirit play out.

Vulnerabilities of leaders are masked with chest pumping and posturing while the battlefield scenes remind us of the catastrophic consequences of decisions driven by political self-promotion. The scene after the battle of Agincourt packing a deeply emotional punch as the cast hauntingly sing to the skies.

Andrew Patterson’s dynamic lighting design adds atmosphere and depth while Paul Benzing’s fight direction adds authenticity and impact.

This is a cleverly constructed piece which will stay with audiences long after viewing. Vibrant storytelling at its finest.

Henry V is on at Grosvenor Park Open Air Theatre until Sunday 25th August tickets available here.

Early Doors

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Early Doors 2

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Some 14 years ago, Stockport’s most famous pub The Grapes closed its doors for the last time. This was the setting of the much-cherished Craig Cash and Phil Mealey penned sitcom. While only spanning 12 episodes, the show garnered huge critical success and developed a loyal fan base. When the show wasn’t recommisioned in 2004 it came as a bit of a shock.

Last year saw The Grapes fling its doors open again for a series of live theatre and arena shows, which started with a sell-out residency at the Quays theatre at the Lowry. Such was the strength of the production; the show won the best theatre production at the City Life awards.

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Well the live show has returned to the Lowry this time with a 10-night run in the Lyric theatre. This is very much a continuation of the TV series as we are reacquainted with much-loved characters and introduced to some new, albeit familiar characters. It is to the show’s credit that many of the original cast have returned to the show; however, I doubt that they needed much persuading.

This is not just a nostalgia trip trotting out old gags and catchphrases. Cash and Mealey have created a new show which see’s Grapes landlord Ken (John Henshaw) plucking up the courage to propose to part-time barmaid Tanya (Susan Cookson). However, things don’t go to plan, with the intervention of Ken’s mum: Jean (Judith Barker), and also some big-mouthed if well meaning locals, newcomers Freddie and June (Vicky Binns and Neil Hurst) who upset Ken’s plan. In addition, best friends Duffy (Mealey) and Joe (Cash), have their own problems, with the former delving into the world of online dating, and the latter having a few family issues. In addition, local bent coppers: Phil (James Quinn) and Nige (Peter Wight) are struggling with rules and regulations like “evidence” getting in the way of good honest coppering!

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If you are a diehard fan, or coming to Early Doors Live fresh, this show will leave you entertained and with a huge grin on your face. Packed full of stingy one-liners, pathos and a great deal of heart the show continues to focus on the same themes that made the series a success: love, loneliness, friendship and family, because no mistake the regulars in the Grapes are one big family not to dissimilar to another Cash and Mealey project: The Royale Family.

The cast are on great form: Melissa Sinden as the sharp tongued Winnie, instantly makes you forget about the shows 14 year absence while newcomers Vicky Binns, Neil Hurst, and Nick Birkinshaw as skinflint Tommy, fit in like Grapes regulars. Cash and Mealy don’t miss the chance to poke fun at our new PM; each gag had them and the audience in stitches.

Early Doors

The surprising sing-along finale is an unexpected treat and a fittingly joyous end to a highly entertaining evening. As the show closed, the cast are given a well-deserved standing ovation. Get yourself down to the Lowry and join the regiment, you won’t be disappointed.

Early Doors is on the Lowry until Saturday 3rd August then heads out on a nationwide tour; tickets are available here.

 

PROM! The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Billed as a modern day Cinderella story, Oldham Theatre Workshop have reimagined writer Sarah Nelson and composer James Atherton’s PROM! The Musical for a 2019 audience; the result is an uplifting, vibrant and enormously entertaining piece of musical theatre which feels fresh, original and timely.

Taking inspiration from High School Musical as well as Harry Potter this production sees ordinary and magical worlds collide resulting in an enchanting production with spellbinding storytelling.

Georgia Conlan takes on the role of Prom’s Cinderella style character; ill treated by her self obsessed step sisters Lisette (Millie Gibson) and Noushka (Ella Marshall) life for her is pretty grim. If she’s not doing their homework she’s cleaning the house for overbearing stepmum Clarissa who firmly believes her precious little darlings Lisette and Noushka can do no wrong. Life gets even worse when Clarissa rocks up at school calling the shots and taking it upon herself to decide who will be belle of the ball…(prom).

If ever divine intervention was needed it’s now and thankfully there’s a Fairy Godmother at the other realm high school, Defixus Academy just waiting for a person who is worthy enough for their assistance in order for them to both graduate and save their magical academy from closure.

Georgia Conlan is outstanding as Ester, her voice is sheer perfection while she has a sweet sass which embodies the character perfectly. Her performance is entirely captivating, she wins the audience over from the start with a genuine charm and an abundance of talent.

Millie Gibson and Ella Marshall succeed convincingly in portraying the loathsome, spoilt Lisette and Noushka while Sophie Elliott gives a hugely entertaining performance as the outlandish Clarissa, her comedic timing and character acting is a joy to watch.

Billy Barlow and Sajata Dey make for a great pairing as Fairy Godmother’s in training Rayden and Effie while Poppy O’Brien and Niamh Palmer both give scene stealing performances as Miranda and Little Fairy.

Noah Valentine makes for a great high school hearthrob and is without doubt another one to watch for the future.

Director James Atherton ensures each and every cast member has the opportunity to shine with vibrant ensemble pieces and the clever use of individual characters ‘vote for me’ campaigns we especially loved Nathan Horrocks’ ‘Boris’.

It really is a credit to the sheer talent within OTW that it feels almost unfair to single out individuals as each and every cast member gives their all in this production and every one is worthy of praise.

The audition scene is a wonderful showcase for the talent in this cast as each friendship group within the school takes their turn to deliver their own unique take on prom entertainment. The song sung by The Notes is a real highlight written and performed by Noah Valentine, Megan Meakin, Amelia Taylor, Kendra Marshall, Seb Lowe and Lewis Green, showing not only the quality of the cast but of their writing too, both catchy and contemporary.

Joseph Ed Thomas’ atmospheric lighting design compliments the simple yet effective set beautifully. The use of a mix of microphones and projection resulted in some dialogue being very occasionally missed but this really is a minor quibble in what is a fantastic piece of theatre.

This vibrant piece of theatre is well written and superbly delivered. The strong characterisation allowing several intricate storylines to develop clearly while at all times remaining engaging and entertaining. An outstanding piece of theatre which deserves to be seen by many. PROM! is a slick, stylish production, magical fun from start to finish.

PROM! The Musical is on at Oldham Coliseum until Saturday 27th July tickets available here.

 

Preview | PROM! The Musical

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After an enormously successful run back in 2010, Oldham Theatre Workshop is reviving contemporary, feel-good musical PROM!

The teenage take on the Cinderella story is will be performed by some of Oldham Theatre Workshop’s finest young performers.

The story is set in two schools in two parallel worlds: the magical school for Fairy Godmothers (Defixus) and the real-world school (Delawick); both are under serious threat of closure. As we see both schools head towards graduation and Prom night the two worlds are about to collide in a wonderful explosion of magic and music.

GEORGIA CONLAN NEW CAST

Georgia Conlan, whose recent credits include Closets the Musical (Hope Mill Theatre) will be playing one of the leads Esther, she said, “I am so excited to have been cast as Esther in this production. I feel lucky to be a part of Oldham Theatre Workshop this year and cast in an incredible role. I’m looking forward to seeing it all come together and performing it at Oldham Coliseum, which is such a beautiful venue.”

If you love the cheery energy of High School Musical, the magical essence of Harry Potter, and the irresistible joy of Everybody’s Talking About Jamie, then you’ll love PROM!

Suitable for everyone (recommended age 7+) PROM! The Musical is on at the Oldham Coliseum from Wednesday 24th until Saturday 27th July tickets available here.

 

Applications Now Open For Hope Aria Academy September Intake

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William Whelton, Katy Lipson and Joseph Houston. Founders of Hope Aria Academy in Manchester

Following a hugely successful inaugural 12-week programme Hope Aria Academy have now opened applications for their Autumn/Winter intake.

The Manchester based part-time drama course focuses on acting, singing and dancing with students able to choose to take classes in all three disciplines or opt for single modules in one specific area.

Hope Aria Academy founders Katy Lipson, Joseph Houston and William Whelton all have backgrounds in Musical Theatre training and are currently full time producers and theatre owners.

The second course which will begin in September is tailored for individuals who have either already trained professionally and are looking for a fresh approach to training within a smaller more focused atmosphere, individuals who are not yet ready to make the leap to full time drama training and require further tuition, and mature students who have experience in musical theatre and want to re-skill to return to the industry.

Students will also be introduced to the wider creative industry with regular guest teachers in all three disciplines of acting, singing and dance. There will be one full scholarship place available, funded by Hope Aria Academy, with auditions for this taking place in August, date TBC.

Patron of Hope Aria Academy, actress Hayley Tamaddon

Stage and screen actress Hayley Tamaddon is patron of Hope Aria Academy and taught a workshop as part of the last programme.

Hayley said: “I’m thrilled to be a patron of Hope Aria Academy. The work they produce is outstanding. Ranging from dance to musical theatre to tv acting, the students here are taught everything to do with this wonderful profession we call show business! And I’ll look forward to doing a spot more teaching there myself in the new term!”

Hope Aria Academy’s next intake will launch on Monday 16th September 2019 and run on Monday (dance), Tuesday (singing) and Wednesday (acting) evenings from 6.30pm to 9.30pm at Hope Aria House, Unit 15 Wellington House, Manchester, M40 7FS. Students can take the full course or can opt for single modules.

More information on Hope Aria Academy, fees and how to apply can be found here.

 

Mojo

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

With the super talented Jez Butterworth’s latest offering The Ferryman currently wowing audiences and critics on Broadway, it’s always worth paying a visit to some of his earlier work and the WonderIf production of Butterworth’s first play, Mojo.

Originally set in the 1950’s seedy club scene of Soho, this version sees the action shift to the ecstasy-fuelled club scene of 1990’s Manchester.  Manchester at the time resembled a Western, as rival gangs battled for control of the doors and of course the drug scene, so this narrative shift works perfectly.

The first act opens at the Atlantic club and certainly belongsto Potts (Paul Jennings) and Sweets (Leigh Manning) as the pair muse about how the good times are coming back, especially with the potential success of Silver Johnny (Edrine Spencer), a local singer/dancer the boys helped to discover –things are certainly on the up.

Later club skivvy Skinny (Oliver Baines) and Baby (Scott Harrison) join the party. Early doors we can see cracks in the relationship of these four, as Baby’s toxic masculinity oozes out of him especially as it relates to his treatment of Skinny.  However, the situation takes a more sinister turn with the arrival of the club manager Mickey (Miles Mooney) who informs the gang that club owner, and Baby’s father, Ezra has been murdered and is in the bins outside the club.

In addition,their golden goose Silver  Johnny is missing. The gang decide to lay low in the club to see how the situation plays out and defend their territory, but with tensions running high, personal vendettas, bruised egos, and certain group members manipulating the situation for their own gain, it’s pretty clear that not everything will end well for this dysfunctional quintet.

This is pitch black comedy that looks at the battle for supremacy and the pecking order of a group of wanna be tough guys: there is always a hierarchy in place. The script is packed with stinging dialogue and cutting one liners, with a plenty of dark humour to boot.

All six performers work well as an ensemble, demonstrating who their character is and just where they  fit into in the group’s structure, I do think some of the performances could be reined in a touch and played less for laughs as it loses sight of the more dramatic elements of the play. In addition, there are still references to the action taking place in London rather than it’s new setting of Manchester which did get a little confusing.

Overall this is an entertaining, engaging night at the theatre, with numerous twists and turns that will leave you guessing how it will end. In addition, the show has a killer soundtrack, featuring the likes of New Order, Joy Division and Happy Monday’s, that you really can’t go far wrong. This is a must for fans of the gangster genre, and anyone who likes their dialogue sharp and stinging, cutting straight to the bone!

Mojo is on at the Met Bar on the 21st and 22nd of July. Tickets available at here.

Twelfth Night

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Twelfth Night has long been known as one of Shakespeare’s greatest comedies; in celebration of their 10th birthday Grosvenor Open Air Theatre are happy to prove why.

Locating the action in the Bohemian Balkans the celebratory festival vibe is strong, there’s flowers in hair while the drink is free flowing. The abundance of music and laughter indicate that Director Julia Thomas is prepared embrace the fun of this comedic and jubilant production.

This is an ode to the joyful and silly; there’s mistaken identities, unrequited love, a shipwreck, subterfuge as well as a whole host of entertaining characters.

The talented cast deliver Shakespeare’s verse with clear conviction while their enthusiasm and wit gives the piece both a light and accessible feel.

Separated twins Viola (Whitney Kehinde) and Sebastian (Marc Benga) each arrive on the shores of Illyria after a shipwreck; Viola first, allowing her 3 days of getting acquainted with the locals, enough time for two to fall in love with her while another two attempt to fight her albeit while she’s now dressed as as a man (Cesario) in a bid to keep the spirit of the brother she believes to be dead alive.

Kehinde is excellent as Viola/Cesario, cool and commanding she handles the confusion and complexities of life in Illyria with sass and style.

Sarah-Jane Potts shines as Olivia, hot in pursuit of her happy ending while Samuel Collings brings the house down as the put upon Malvolio whose transformation from stiff upper lipped steward to stocking wearing, downward dog facing smiler is pure genius.

Mitesh Soni is an absolute joy as Sir Andrew Aguecheek. His physical comedy, facial expressions and nice but dim personality really bringing this piece to life. Kudos to Soni for successfully delivering Shakespeare’s prose whilst flossing, impressive!

Jessica Dives as Feste takes on the form of a modern day wandering minstrel, offering an almost narrator like musical accompaniment while adding a wonderfully melodic energy to proceedings.

Director Julia Thomas isn’t afraid to embrace the silly or the slapstick and is greatly rewarded for her choices. Her cast embrace the opportunity, having a lot of fun with the piece while the audience reap the benefits.

A stand out moment which really embodies the playful nature of the production is the hilarious fight scene, outrageously farcical and absolute comedy perfection. The frequent witty exchanges between cast and audience further add to the playfulness and accessibility of this piece.

A highlight of Chester’s summer season for ten years now with productions as strong as this there is no doubt the Grosvenor Park Open Air Theatre will be celebrating birthdays for many years to come.

Outrageously good fun for all the family.

Twelfth Night is being performed at various dates over the summer further information and tickets can be found here.

Interview | & Juliet | Miriam-Teak Lee

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Something VERY exciting is heading our way this September; brand new musical & Juliet opens at Manchester’s Opera House ahead of a West End run and will aim to prove that there is life after Romeo when instead of giving up on life Juliet decides it’s time for her to get a life!

This vibrant new musical will feature not only songs from legendary writer Max Martin (Britney Spears’ “Oops… I Did It Again”, Backstreet Boys’ “Everybody”, Ellie Goulding’s “Love Me Like You Do”, and The Weeknd’s “I Can’t Feel My Face to name but a few) but also boasts a cast that literally reads like a who’s who of musical theatre including Miriam-Teak Lee (Hamilton, On The Town), Oliver Tompsett (Wicked, We Will Rock You, Kinky Boots), Cassidy Janson (Beautiful: The Carole King Musical, Chess) and Jordan Luke Gage (Bat Out Of Hell).

Pic copyright Phil Tragen 2019

This timely and innovative new musical is directed by Luke Sheppard (In the Heights) with a book by David West Read (Netflix’s Schitt’s Creek) and choreography from the internationally renowned Jennifer Weber.

& Juliet looks set to be an iconic new production which best of all Manchester gets first!

Former Hamilton star and award-winning actress Miriam-Teak Lee will take on the role of Juliet as she escapes to Paris with her best pals in a bid to choose her own ending. We were lucky enough to catch up with Miriam-Teak Lee ahead of the show’s opening in Manchester to hear a little more about this revolutionary musical and what we can expect from this new kind of Juliet. 

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How is the classic story of Romeo & Juliet reimagined in & Juliet and how where does it start in terms of the original play?

& Juliet reimagines the ending to Romeo and Juliet and asks, what if this was just the beginning for Juliet. & Juliet is a play within a play so it starts with Shakespeare (Oliver Tompsett) telling his fellow actors the ending to his new play Romeo and Juliet, when Anne Hathaway, Shakespeare’s wife (Cassidy Janson) hears, she asks why don’t we rewrite that ending… and continue on. She explains that Juliet is still young and has her whole life ahead of her, so why would she kill herself because of one boyfriend. So as she takes the quill and begins to write, we see Juliet at Romeo’s tomb, distraught and contemplating with the dagger. At which point she sings “Hit Me Baby One More Time” as she looks to the stars to “give her a sign”.

Juliet sounds like a strong, independent character and a really inspiring role model to women. What does it feel like to play such an exciting lead role in a brand new musical?

It feels incredible to play such a strong character. I genuinely believe that Juliet has always had strength but that isn’t necessarily explored in depth in the original Romeo and Juliet, so it is amazing to be able to tell a story that puts a magnifying glass on Juliet’s inner power and journey to self discovery. It’s important that young girls have someone to look up to, to be influenced by, and I really feel that Juliet could really be the inspiration that they need. To know that they can do anything they put their mind to, that they can be in the driving seat of their own life and that there is no limit to their greatness!

Performing in Hamilton must have been an incredible experience. Was this your West End debut and how did this role help prepare you for playing Juliet?

My actual first West End Debut was playing Claire DeLoone in Leonard Bernstein’s On The Town at Regent’s Park Open Air Theatre in Summer 2017. And I was awarded Best Actress in a Musical for that role at The Stage Debut Awards which was incredible. So that role, coupled with being a cover of all the Schuyler Sisters in Hamilton really did prepare me for playing Juliet. It taught me about constantly being aware of all the actors on stage, using my initiative when things went wrong, bouncing off people’s energy, staying true to my character but allowing myself to discover new nuances and relationships, even in the moments when I’m not speaking or singing. And it taught me that the power of whatever you feel on that stage is whatever the audience feel, so never deprive them of the truth.

The musical features an incredible score from prolific songwriter Max Martin. What is your favourite track to perform on stage and why?

With the public performances we have been doing recently, I have been performing Roar quite a lot and that is such a powerful moment in the show for Juliet. I love performing that song because it is the pinnacle moment for Juliet in her search for self discovery. She literally realises in real time the kind of person she used to be, how she used to “bite her tongue and hold her breathe” constantly trying to please others, and this is a moment where she says I am going to do as I please and you are all going to watch me succeed! It’s such an empowering moment in the show and the audience will feel that too!

What can you tell us about what your costume style in & Juliet?

I LOVE the costume designs by Paloma Young, I cannot wait for everyone to see them. It’s a very clever mix of Renaissance and modern day. We have included use of the tight bodices with corsets but shorter skirts and a sporty flare. It’s iconic!

How much choreography can we expect to see in & Juliet and what kind of dance genres have the creative team drawn upon to create a fresh new musical style?

There is so much choreography in this show by the incredible Jennifer Weber! There is definitely a hip hop/commercial/new age style to the choreography that works so effortlessly with Luke Sheppard’s brilliant direction to further the story, to transport us and to absolutely engulf us in this world of wonder!

Why do you think Manchester audiences in particular will love the musical?

Manchester is the home of music, seeing so many great artists go there and perform there. I think Manchester will receive the show incredibly and we can’t wait for them to see it first!

What three words would you use to describe & Juliet?

Revolutionary! Spectacle! Inspiring!

Shakespeare and pop music are a unique combination! How do the two blend together?

It combines the greatest pop writer of the 16th/17th century with one of the greatest pop writers of the 20th/21st century. So I think it’s a pretty iconic blend and one that will stick in people’s minds for years to come!

Finally, what can audiences expect when they come and see & Juliet?

They can expect to see a whole new outlook on Juliet Capulet, they can expect to have an incredible night, they can expect to laugh their socks off and go on a journey filled with all their favourite songs, sung in a completely different way with a whole new meaning. It’s a show not to be missed!

& Juliet plays at the Manchester Opera House from Tuesday 10th September until Saturday 12th October tickets available here.