West Side Story

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07RET WestSideStory - Andy Coxon (Tony) & Gabriela Garcia (Maria) - image Richard Davenport of The Other Richard

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Expectation has been at an almighty high since West Side Story was announced as part of the Royal Exchanges Spring/Summer 2019 season. So successful of late has the theatre been at reimagining classic musicals the run had almost sold-out before the first preview even took place.

This epic tale based on Shakespeare’s Romeo & Juliet sees star-crossed lovers Tony and Maria fighting to be together in 1950’s Manhattan where warring gangs make the rules and stepping into enemy territory is strictly taboo. As a story there is everything from love and conflict to hope and heartbreak as the Sharks and Jets fierce rivalry shapes their very existence.

011RET WestSideStory -The Jets - image Richard Davenport of The Other Richard

Since it first premiered in 1955 Jerome Robbins choreography is something that’s always come as part and parcel of any West Side Story production. So iconic in its style it’s hard to imagine the Sharks and the Jets moving in any other way. Step forward Aletta Collins who not only takes on the challenge of reimagining the instantly recognisable choreography but does so in the most beautifully inspired way.

There are still enough elements of the original choreography to keep the traditionalists amongst us happy but these elements are now combined with a pulsating fusion of Latin, street, lindy hop, jazz and even a touch of northern soul to create the most vibrant melting pot of movement.

05RET WestSideStory - Gabriela Garcia (Maria) & Andy Coxon (Tony) - image Richard Davenport of The Other Richard

Director Sarah Frankom ensures this new choreography is allowed to take centre stage as moments of breath-taking beauty unfold; highlighted perfectly during the switch from punchy ensemble piece to the stillness of Tony and Maria’s first meeting which bursts with joyful innocence. A genuine moment of calm & purity during the heady tension of the dancehall scene.

The cast are outstanding and as an ensemble work together to perfection, fuelled by hatred, fear, anger, love and loss, they fizz with pent up emotion. The era is unspecific making it feel just as relevant today as it did 62 years ago as we seemingly are once again in the midst of a swathe of violent knife crime.

03RET WestSideStory - Andy Coxon (Tony) - image Richard Davenport of The Other RichardCROPPED

Andy Coxon finds the true heart of Tony, delivering a powerful and emotive performance; his rendition of Maria a real highlight while fellow lead Gabriela García is completely captivating as Maria. Her operatic vocals are note perfect and pure. Their duets are sublime while the innocence of their love is blissfully uplifting.

Jocasta Almgill is superb and sassy as streetwise Anita, Fernando Mariano makes for a passionate and proud Bernardo while Michael Duke as Riff is convincing and committed.

The cast make full use of Anna Fleischle’s innovative design which is skilfully lit by Lee Curran. They weave, jump and balance on Fleischle’s vertical geometric sets, one minute gone, the next high up emerging from the shadows. The balcony scenes in particular during Tonight really showing off the impressive staging of this piece as each character vies for the audience’s attention, from all sides of the theatre’s intimate space.

West Side Story ©The Other Richard

The eleven piece orchestra powerfully deliver Leonard Bernstein’s classic score with new arrangements by Jason Carr giving it a modern and fresh feel. Led by Tom Chester the score is packed with emotion and fundamental to the impact of this piece.

The Royal Exchange have created something truly special here, the standing ovation a clear indicator that this production marks another success for the innovative Manchester theatre makers. Bold, inspired theatre at its best.

West Side Story is on at the Royal Exchange until Saturday 25th May tickets can be found here.

Blood Brothers

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Reviewed by Alex Broadley

Opening Night verdict ⭐️⭐️⭐️⭐️

Blood Brothers is one of those shows which some might think is a standard touring musical, a staple for theatre-goers everywhere. However, Blood Brothers is embarking on its 30th Anniversary tour for a reason, it has stood the test of time for over 3 decades and its themes of class, money and love are as relevant as ever.

Written and composed by Willy Russell the man behind Educating Rita and Shirley Valentine, Blood Brothers’ first audiences were school children. He wanted to make sure that he hooked the children sitting in the back row of the class and Blood Brothers certainly does that. The show was soon picked up for a short run in the West End and thus began its epic journey to becoming the theatrical juggernaut it is today.

Blood Brothers tells the tragic tale of the Johnstone twins, two brothers separated at birth. Their mother Mrs Johnstone (Linzi Hateley) struggling with mounting debt and the need to feed seven growing children, simply cannot afford to keep both of her babies. Enter Mrs Johnstone’s employer Mrs Lyons (played convincingly by Paula Tappenden); Mrs Lyons cannot have children and the pain is etched on her face. In a fateful deal, Mrs Johnstone gives away one child (Joel Benedict as Edward) and keeps the other (Mickey, played by Alexander Patmore).

The play opens, as many great plays do (think Phantom of the Opera), with the ending. From the beginning, we know how it will play out and this adds to the sense of foreboding and tragedy. Narrator (Robbie Scotcher) asks us to make up our own minds – does Mrs Johnstone have a stone in place of her heart? Scotcher is ever present; he is our slightly menacing moral compass, questioning the characters’ decisions and reminding us of their inevitable fates.

The brothers continue to meet, drawn together by fate and across the class divide which will eventually tear them apart. Time is moved swiftly and effectively on by Scotcher and we see Mickey and Eddie grow up and become young men, albeit with very different lives and opportunities.

Russell’s aim was for the music to be woven into the story and the songs and musical patterns weave themselves throughout the narrative. The soundscape is dramatic and occasionally builds up to a crescendo loud enough to make the audience wince along with the drama. Stand out songs include Tell me it’s not true and Marilyn Monroe.

Andy Walmsley’s set design is simple but effective. The claustrophobic feel of the Liverpool slums and the contrasting bright feel of the Lyons’ living room take us back to the 1950s/60s but also show the class divide which runs throughout Blood Brothers.

The cast is fantastic and extremely hard working. Alexander Patmore’s Mickey is full of cheeky humour and grit. The scenes when Mickey (Patmore) and Eddie (Benedict) are children are stand out moments and take you back to playing out after school and not having a care in the world. Benedict is likeable as the naïve and privileged Eddie Lyons and the relationship between Mickey and Eddie is affectionate and deep. Linzi Hateley is strong as Mrs Johnstone; full of gumption and humour, you feel for the tough hand life has dealt her. Her character is the lynchpin of the play. Danielle Corlass’ character of Linda is caught in the middle of the class and brotherly divide; she is funny and well meaning.

Blood Brothers is a staple of musical theatre. Everyone should see it. It offers you an evening (or afternoon) filled with humour, tragedy, grit and will leave you feeling as though you’ve been on an emotional rollercoaster. Bring a handkerchief for those inevitable sniffles.

Blood Brothers is on at The Lowry, Salford until Saturday 13th April.here.

 

Hair

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

This inventive production of Hair The Musical has been on quite a journey these past few years, from first opening at the intimate Hope Mill Theatre back in 2016 to a sell-out London run winning a WhatsOnStage Award along the way; it now makes its return to Manchester opening at the city’s Palace Theatre as part of an extensive 50th anniversary UK tour.

Set in New York’s East Village at a time when the emerging youth counterculture was rejecting mainstream America and growing increasingly disenfranchised by the controversial war in Vietnam, Hair still remains one of the most iconic rock musicals of all time. A tribe of free thinkers who turned their backs on convention creating their own family in which to belong, advocates of peace, love and liberal thinking. Central to the story is the plight of Claude (portrayed brilliantly by Paul Wilkins) torn between rejecting his military drafting and embracing this non-violent, peace loving tribe.

Very much an ensemble production Hair showcases a cast of incredible talent. Opening number Aquarius vibrantly and powerfully sets the scene, drawing the audience into this joyous celebration of love, freedom and pacifism right from the start. Maeve Black’s beautiful set design and costumes transforming the Palace Theatre into a psychedelic heaven lit to perfection by Ben M Rogers.

Director Jonathan O’Boyle ensures the audience are taken along for the ride involving them in this exuberant trip on multiple occasions. Jake Quickenden as Berger confidently leaps into the stalls in little more than a thong while Tom Bates takes great delight in perching on an audience members knee during his hilarious performance as Margaret Mead.

Paul Wilkins heads up the strong cast proving what a talent he is in the role of Claude. Thrown into turmoil at the life changing decision he faces, his anguish and torment delivered with passionate energy. Jake Quickenden makes for a confident and flamboyant Berger, athletically strutting around the stage dishing out powerful vocals along the way. Daisy Wood-Davis shines in the role of Sheila, her voice as powerful as it is beautiful.

Tom Bates has the audience in the palm of his hand as Margaret Mead while Natalie Green as soulful Cassie is a joy. Other notable performances in this excellent ensemble are Alison Arnopp as the enigmatic Jeanie, Aiesha Pease whose rich tones warm the soul and Bradley Judge who is enormously entertaining as Woof.

The cast work together superbly and all deserve praise, they deliver William Whelton’s inspired choreography to perfection, often moving as one, pulsing together in perfect harmony. Musical Director Gareth Bretherton leads the small group of on stage musicians confidently ensuring this electrifying score is given the platform it deserves.

While the themes may not be so shocking to audiences now in more free-thinking, accepting times its message still remains enormously relevant; the despicable quote from Donald Trump heard ringing through the auditorium at the very start proving this point entirely.

Hair gives a touchingly symbolic reminder of the fact that we really are just one tribe. Its hippie, trippy vibe is deliciously infectious bringing every audience member to their feet in celebration of this triumphant piece of theatre while the power of final song Let The Sun Shine In offers hope and proves just how powerfully emotive theatre can be. Hair’s transition from Hope Mill Theatre to the much larger stage of the Palace theatre is seamless as this beautifully crafted and joyously affecting theatre absolutely lets the sun shine in.

On at Manchester’s Palace Theatre until Saturday 13th April tickets available here.

 

Abigail’s Party

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

First premiered in 1977 at London’s Hampstead Theatre then broadcast on the BBC that same year, Mike Leigh’s ingenious Abigail’s Party brings to brilliant life the most painfully awkward cocktail party in the most hilarious & enthralling of ways.

Suburban housewife Beverly has set the scene for her soirée; she’s prepped the cheese & pineapple on sticks, switched on the fibre optic lamp & stocked the drinks cabinet in readiness for the arrival of new neighbours Angela (Vicky Binns) and Tony (Callum Callaghan). Also invited is neighbour Sue (Rose Keegan) who is escaping 15-year-old daughter Abigail’s party over at her own house. Beverly’s husband Lawrence (Daniel Casey) is also in attendance in between running errands while his wife prepares to schmooze.

Janet Bird’s inspired set transports us right back to the 70’s as knowing giggles ripple through the audience from the off when Beverly enters the chintzy wood panelled living room cigarette in mouth, gin in hand, decked head to toe in garish paisley she glides around the stage to the sensuous sounds of Donna Summer.

Some spikey exchanges take place between Beverly and husband Lawrence before their guests arrive offering the opportunity for our brash hostess to really come into her own. She is liberal with both the booze and her opinions as some of the small talk soon begins to sting.

Jodie Prenger is exceptional as the infamous Beverly, getting more and more grotesquely brilliant as the gin flows. So versatile in her skills she embodies the desperate housewife to perfection. Daniel Casey gives a great performance as Lawrence keeping his pent-up irritation with wife Beverly hidden to begin with until pushed to breaking point when things quickly start to unravel.

Vicky Binns as Angela is eager to please her new neighbour, her genuine naivety and optimism making her all the more endearing. Her inane chatter leads to some terse tellings off from frustrated husband Tony whom Callum Callaghan portrays convincingly.

Rose Keegan shines as fifth party guest Sue, quiet and polite despite some overly familiar probing questions she gives a hilarious performance as the single guest caught in the middle of two clearly unhappy couples.

Director Sarah Esdaile at times focuses less on the uncomfortable interactions and undercurrent of frustration & more on the humour of the piece. Traditionally tense moments are played a little more for laughs than they were in the famous Alison Steadman led version, this does dilute the emotional impact of the ending a little however with such superbly executed performances the is no doubt that this is an enormously entertaining piece.

Although Abigail’s Party is very firmly set in the 1970’s its genius lies in its hilarious and at times painfully honest study on human interaction, ambition and all the complexities that come with it. Littered with laugh out loud humour and moments to make your toes curl Abigail’s Party is wonderfully entertaining theatre with themes as relevant today as they were 40 years ago, the most eventful party you’ll ever be invited to.

Abigail’s Party is on at Manchester’s Opera House until Saturday 13th April tickets available here.

The Wizard of Oz

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The Wizard of Oz Image 4 - Credit David Munn Photography

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Continuing their run of half term pantos Regal Entertainment bring The Wizard of Oz to St Helens Theatre Royal this Easter.

Their reimagined panto version of the much-loved family favourite sees an all new script as well as some star billing including a very glamorous Wicked Witch in the form of Linda Lusardi who is joined on stage by her daughter Lucy Kane, most recently seen on ITV’s The Voice.

The Wizard of Oz Image 1 - Credit David Munn Photography

Directed by Chantelle Nolan and written by panto legend Si Foster The Wizard of Oz tells the magical tale of Dorothy Gale who finds herself accidentally killing the Wicked Witch of the East by dropping a house on her. When the Wicked Witch of the West finds out about her sisters untimely death she makes it her mission to seek revenge but will have to get past the power of Dorothy’s newly acquired ruby slippers to do so.

While The Wizard of Oz isn’t traditionally a pantomime Si Foster’s script cleverly reworks the story to ensure there are plenty of opportunities for the traditional boos, cheers and shouts of ‘its behind you’.

The Wizard of Oz Image 3 - Credit David Munn Photography

Foster’s writing allows for Reece Sibbald’s Scarecrow to take on a ‘Buttons-esque’ comedy role which he laps up. A natural entertainer, both his comedic timing as well as physical comedy are exceptional as he gets into some hilarious scrapes and showers the audience with more than just the usual water pistols. My little reviewers absolutely loved the part where he shrinks in size & giggled about it all the way home.

Mia Molloy gives a great performance as Dorothy, she is in fine voice and more than does justice to Somewhere Over The Rainbow. Her dancing and acting abilities also impress proving she is indeed a worthy wearer of the ruby slippers.

The Wizard of Oz Image 2 - Credit David Munn Photography

The talented cast work well together and keep the story moving at a pace. There’s a sprinkling of cheeky jokes for the adults as well as lots of laughs for the little ones. One moment of corpsing from Lusardi & Sibbald absolutely bringing the house down.

Music of course plays a huge part in panto and its great to hear in addition to some of the traditional songs from The Wizard of Oz there are some recent favourites including Baby Shark as well as a roarsome song from The Greatest Showman.

The Wizard of Oz Image 6 - Credit David Munn Photography

With impressive sets, lavish costumes and strong support from both the senior and juvenile dancers The Wizard of Oz impresses visually as well as musically.

While the story doesn’t allow for a traditional love story element writer Si Foster has added just the right amount of comedic adjustments to give the show a panto feel while still remaining true to the story.

The Wizard of Oz is a hugely entertaining family friendly version of a much-loved classic with ticket prices starting at just £13 this Wizard of Oz is wonderful indeed.

Catch The Wizard of Oz at St Helens Theatre Royal until 22nd April tickets available here.

 

eVULVAlution

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Life as a self published erotic novelist can be tough, especially when your creative juices have stopped flowing and you’ve been relegated to admin on your polyamorous husband’s WhatsApp group.

Pamela De Menthe however is not a woman to be kept down, that tricky 29th novel may be stuttering but she’ll use her mucky imagination and crude creativity to ensure her novel eVULVAlution reaches a pleasing and most satisfying climax.

Writer and performer Jenny May Morgan has created a hugely likeable and incredibly funny character in Pamela De Menthe; cleverly crafted with loving care resulting in an entirely convincing comedy heroine.

The show is presented as a book launch for new novel eVULVAlution with just one catch, it isn’t actually finished yet. Turning to the audience for inspiration and some hilarious sound effects Pamela strives to deliver the literary work she’s convinced herself is totally groundbreaking and entirely necessary.

This time-travelling prehistoric erotic romp, set of course in Hull quickly becomes a hilarious adventure for both Pamela and her audience. Jenny May Morgan’s attention to detail is exceptional in this witty one woman show. It’s jam-packed with nuanced looks and brilliant throwaway comments that Alan Partridge would be proud of.

Her well developed humour is lapped up by the audience and while Pamela is pretty darn bonkers she is the kind of bonkers you can’t help but fall in love with. From her amateur power-point to her sponsorship deal with a motorbility scooter company she offers a well rounded character whose brilliance is a bright as her animal print bumbag.

A cheeky, fabulously fun and enormously entertaining romp through the world of self-published erotica. Roll on book number 30!

Catch eVULVAlution next at Waterside, Sale in July further information can be found here.

Trainspotting Live

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Reviewed by: Michelle Eagleton

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There’s no denying that Irvine Welsh’s cult novel Trainspotting made a huge mark on the Nineties generation. His book charting the antics of drug fueled youths in Scotland hit the shelves in 1993 with the Danny Boyle film coming three years later, making an overnight star of Ewan MacGregor. Trainspotting Live, currently on tour, takes the story to another level and whether you are fans or newbies to the tale of Renton, Tommy, Sick Boy and Begbie it is an immersive experience like no other.

The King’s Head Theatre and In Your Face Theatre are at the helm of this ground breaking production which has made Manchester’s former bus quarters, the Mayfield Depot, its home for their run in the city. The vast venue is the ideal location for the raw material on display with its exposed brickwork and abandoned warehouse feel adding to the atmosphere and giving the impression of you entering an underground rave from the start.

TRAINSPOTTING LIVE

Trainspotting Live CREDIT Geraint Lewis

Convention goes out of the window as soon as you enter…Glo bands replace tickets and there’s no seat reservations, the choice is yours where you perch for the 75 minutes duration of the play (I’d avoid anywhere near the exposed loo as ‘the worst toilet in Scotland’ scene gets a little messy). If you are easily offended then this maybe isn’t the show for you…nakedness is a plenty, as is the swearing and sex. Don’t get me wrong though it’s all in context and is played out with such raw energy and realism from the five-strong cast that you are seriously swept away with them on an emotional rollercoaster that sees you witness their chemical highs and the subsequent sombre come downs.

TRAINSPOTTING LIVE

Trainspotting Live CREDIT Geraint Lewis

Greg Esplin delivers a powerful performance as Tommy, Renton’s best mate who suffers the consequences of the drug scene. His descent from fun loving chappy to distraught junkie is mesmerising to watch.

The last time Trainspotting Live toured there was a cast of seven which meant there were two females sharing the roles on offer, with the cast cut down the weight falls on to the only woman in the line-up Lauren Downie to step up to the plate. Downie rises to the challenge and is outstanding in her plethora of roles each one carefully crafted, especially Renton’s Mum which she plays with such painstaking desperation.

TRAINSPOTTING LIVE

Trainspotting Live CREDIT Geraint Lewis

It would be wrong not to mention all of the actors who make up the cast as they are a hugely talented bunch. Oliver Sublet (Begbie), Michael Lockerbie (Sick Boy) and, stand in for press night, Dean Gribble (Renton) put in stellar performances that are fizzing with realism.

Each performance of Trainspotting Live is unique as it very much relies on the reactions of the crowd who have turned out to see it. Part of the fun is watching people’s faces as they witness some of the shocking scenes on display and the humorous interaction between the actors and the audience is priceless. The show manages to balance the darkest of themes with lighter shades of humour and the sheer speed at which the productions runs echoes the film perfectly.

Don’t ‘choose something else’…choose Trainspotting Live before it heads off to its next station.

Runs at Mayfield Depot until 21st April

Tickets available via http://www.trainspottinglive.com/#buytickets

 

 

Zog Live comes to Chester and Salford

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Zog

Making a timely debut on the stage following a beautifully adapted and well-received television appearance at Christmas is Zog – the well meaning if a bit clumsy dragon featured in Julia Donaldson and Axel Scheffler’s terrific best-selling children’s book.

Large in size and keen in nature, Zog is eager to win a golden star at Madam Dragon’s school – where dragons learn all the things that dragons need to know.

Zog tries very hard as he bumps, burns and roars his way through school – but luckily plucky Princess Pearl patches him, up ready to face his biggest challenge yet, a duel with Sir Gadabout the Great!

This new stage production will no doubt appeal to fans of previous book to stage adaptations of Donaldson and Scheffler’s work like The Gruffalo and Stickman and Zog has a really interesting creative team working to bring it to the stage.

Zog

Kneehigh founder and Artistic Director Mike Shepherd adapts and directs, with Katie Syke’s design bringing the pages of the book alive – and the show has an original folk score by award-winning singer-songwriter Johnny Flynn.

From the team behind Tiddler and Other Terrific Tales and Tabby McTat, Zog promises to be roaring fun for all ages.

Zog is at Chester Storyhouse from Friday 5 to Sunday 7 April and The Lowry from Friday 7 to Sunday 9 June.

For more information visit http://www.zoglive.com

 

Pepperland

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

First performed in Liverpool in 2017 to mark the city’s Sgt. Pepper at 50 Festival, Mark Morris’ unique tribute to the iconic album is a joyful explosion of music and movement painted with the most vibrant of colour pallets.

Referencing several of Sgt. Peppers most memorable songs as well as the exuberant Penny Lane, Pepperland is an uplifting celebration with its airy choreography & clever interpretations.

Ethan Iverson’s bold score reimagines each of the much-loved songs; the rich sounds of the piano are accompanied by the electronica of the theremin which marries beautifully with Morris’ playful choreography.

Elizabeth Kutzman’s swinging sixties inspired costumes offer a rainbow of Carnaby St inspired colour while the 17 dancers navigate their way through joyous jives to dreamy hippy vibes. The mood is playful, fun and free.

While there are some pieces which are fairly abstract it’s those with live vocals from Clinton Curtis which really engage the audience. The wit of Morris’ choreography during When I’m 64 clearly an audience favourite as the dancers interpret the out of kilter music with comedic consequence.

Morris’ decision to have his dancers stand and sing along to A Day in the Life is particularly striking with just the right amount of nostalgia.

At just over an hour long Pepperland is the perfect show to bring Sgt. Pepper to vibrant life for modern dance audiences. The fluidity of the choreography a fine example of the quality of Mark Morris’s innovative work while the precision of his dancers will inspire and enthral.

On at the Lowry until Saturday 30th March tickets available here.

Interview | Jenny May Morgan talks eVULVAlution

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Jenny_May_Morgan_Photo_Credit_Nathan_Chandler

In tackling that difficult 29th erotic fiction novel, author Pamela DeMenthe has hit a stumbling block, her time travelling prehistoric erotic fiction romp, set in Hull, eVULVAlution needs a little help; luckily for Pamela Lowry audiences’ creativity is there to be called on in this brand new comedy.

Following on from her hugely successful debut show ‘Pamela DeMenthe presents: Sticky Digits, Jenny May Morgan returns to The Lowry her brand new show eVULVAlution. We caught up with Jenny to hear a little more about the show, her involvement with The Lowry’s Artist Development programme and inappropriate offerings from her audiences.

Opening Night: For anyone unfamiliar with Pamela can you tell us a little bit about her?

Jenny: Pamela is a self-published erotic fiction author; she started writing erotic fiction a few years ago writing 28 books in the first year and then brought out Sticky Digits which is the title of my original show. Now a year on she’s writing her new book eVULVAlution which is a pre-historic erotic fiction story with time travel set in Hull, so far it’s been a bit of a stumbling block for her and she has a bit of writers block .

ON: I read that Pamela might be seeking help from her loyal readers; does this mean some audience interaction?

Jenny: Definitely, in the original show there was a bit of audience interaction, the original show was hosted a little bit like a TED Talk/Audience With… this one has a similar sort of premise but the audience will be expected to help Pamela complete the book as she’s left the book a little bit open-ended. I don’t get anyone up on stage or anything like that but there are definitely opportunities for audience interaction.

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ON: Are you fully prepared for a wild variety of offerings from the audience?

Jenny: Ha ha oh yes, to be honest when audiences say things you maybe don’t expect it can be a bit of a gift and you end up getting something hilarious. It’s amazing how many people actually come up with the same kind of suggestions. When I did the original show I did a part with a bespoke original erotic fiction story and asked people to come up with a body part, I’d say around 80% of people said elbow, which was bizarre. I did around 25 shows up in Edinburgh and almost always they said elbow. So who knows what will happen this time around.

ON: Have you ever been thrown by any suggestions?

Jenny: I have been yes, I’m not sure I should say ha ha; in Edinburgh there was an older couple in the audience and at one point I ask the audience if they have any questions and the guy asked when was the last time Pamela had an orgasm and his wife just shot him a look, it was just so unexpected he went bright red!

ON: You’ve toured the show in different areas do you notice different responses around the country?

Jenny: There are definitely different reactions, some people enjoy the cruder aspects of the show, some audiences enjoy more of the storytelling nature of the show. I don’t know if you could draw any geographical comparisons to that; I did the show in Bristol at the end of last year and that was really interesting as Pamela the character is from South Gloucestershire so there’s lots of references to Gloustershire that are a little bit obscure and funny if you don’t know it but even funnier if you do know it so doing the show where people really get the references is a lot of fun.

ON: When you’ve had such a successful first show how do you find your starting point for show number 2?

Jenny: I’ve been thinking about the show for quite a long time so I’ve been slowly writing it in my head for the last couple of years. There is a pressure to deliver something funny, that’s remains true to the character but also you want to do something a little different to the last show. I quite like the fact that not only do I have that pressure but Pamela has that pressure so part of the show is about the follow-up and the pressure on her to write a new novel and the struggles with that. I guess it’s a bit of an analogy of my situation and the pressure writing a new show; I like those things colliding a little bit.

Pamela_DeMenthe_Actor_Jenny_May_Morgan_Photo_Credit_Nathan_Chandler

ON: How did you get involved with The Lowry’s Artist Development Programme?

Jenny: I live in Manchester so I know The Lowry well; I’ve been involved in their studio programmes as a performer engaging with workshops for quite a number of years. I invited them to come and see the original show and they kindly then programmed the original show last April. I was aware of the development programme so put an application in and luckily they agreed that they could develop me. It’s been fantastic, they create a bespoke package of support to help further your career, that’s exactly what I’m getting at the moment and it’s just lovely.

ON: As a female comedian, are doors harder to open or are things shifting now?

Jenny: I think it’s definitely changing, I think how things are for women in general are changing, the last few years certainly feels like there have been huge changes across the board. In the bigger cities there feels like there are more opportunities and you definitely see more female comedians about, I have done a few gigs in more remote places where you feel a little like you’re the token woman and the audience can be a little ‘Right come on then, make me laugh’ but I don’t actually mind that; I see it as a challenge. It’s still a male dominated industry but things are definitely changing, when you go to Edinburgh there are loads of brilliant females creating and that’s a wonderful atmosphere to experience.

ON: Will you be heading to Edinburgh Fringe this year?

Jenny: Not this year, but I’m hoping to take eVULVAlution up there summer 2020 so really looking forward to that.

ON: What do you think Pamela would make of online dating apps?

Jenny: Well she’s been married for 10 years so hasn’t been participating in that sort of world; I would say Pamela hasn’t got the most straight forward of private lives with her husband. There’s a slightly complicated relationship going on there in the background so I’d say a lot of her erotic fiction is perhaps wish fulfilment coming out through her writing. I don’t want to give too much away but there’s definitely been a bit of a development in her personal relationship with her husband, there’s been some talk about maybe becoming polyamorous so I think she might have to start engaging with the dating world which I think will be a bit of a whole new world for Pamela.

ON: So we need to book our tickets and see what happens next for Pamela then don’t we?

Jenny: That would be wonderful!

Catch eVULVAlution at The Lowry on Thursday 4th and Friday 5th of April tickets available here.

 

Wise Children

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Adapted from Angela Carter’s book of the same name Wise Children tells the captivating story of Nora and Dora Chance, elderly twins and former chorus girls from the wrong side of the tracks; Brixton more specifically. On the day of their 75th birthday they unexpectedly receive an invitation from their absent father Melchoir Hazard who turns 100 that very same day. It’s an opportunity to ‘cross the river’ and may also offer a chance to answer some questions about life, love and the meaning of family.

The scene is set, but if we’re going to answer any questions surely we need to know where it all began? So begins a glorious journey through the life and times of the charismatic twins all told in a series of flashbacks via a vibrant feast of song, dance, colour, music and pure storytelling magic.

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Vicki Mortimer’s stunning set and costume design is a visual feast, a quirky vintage caravan, billowing silk kimono’s and bountiful butterflies all vying for attention indicate from the off that this is going to be quite a ride.

Emma Rice’s vision for this production ensures this flamboyant and fabulous piece is so packed full of joyous theatricality it enthralls from the very first moment. The cast work together so beautifully bringing mischief, mayhem, sex and of course scandal to life, this really feels like an uninhibited celebration of theatre. The characterisation is excellent, all wrapped up in a joyful sense of community where ‘family ‘is made up of whomever makes you feel whole. The cast working together exquisitely to demonstrate just how enthralling theatre can be.

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Tender moments are woven delicately into the tapestry of this story while the darker elements act as a reminder of the more sinister side of life. Songs are used in support of the story and bring a real and on occasion unexpected joy to proceedings; the use of Eddie Grant’s Electric Avenue is pure genius, while Cyndi Lauper’s Girls Just Want To Have Fun becomes touchingly poetic.

This is a true ensemble piece, no scene would work without each cast member delivering as they do; further adding to the sense of family and rich community. The Nora’s and Dora’s through the years are played to perfection, each as captivating as the next. From puppets through to pigtailed girls, to bobbed showgirls to the aged performers acting as narrators telling their story they play their parts to perfection.

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There is gender-swapping, bawdy humour and brilliance throughout as Rice pokes fun at the aging ‘thesp’ in the form of the twins father Melchior and Shakespearean references are cleverly littered. Special mention must go to Katy Owen as Grandma Chance and Paul Hunter as Gorgeous George, the comedic timing of both adding laugh out loud humour to the piece with their double entendres and physical comedy.

Wise Children is an inventive and jubilant romp of a production; there is razzmatazz, thrills and spills in this enormously inventive and visually captivating production. As the first production from Emma’s Rice’s newly formed theatre company also called Wise Children this production rubber stamps the fact that Emma Rice is without doubt one of the most exciting and visionary theatre makers out there, an absolute must-see.

Wise Children is on at Chester’s Storyhouse until Saturday 23rd March tickets available here.

Further information about The Wise Children Club, Emma Rice’s initiative to make theatre training more accessible can be found here.

 

Into The Light

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Hijinx Theatre and Teatro la Ribalta’s international collaboration Into the Light directed by Frantic Assembly’s Scott Graham and Krista Vuori, is a joyful, physical & visual exploration of performance & what it means to be seen, heard and importantly understood.

In an age where we strive for validation from those who observe us via clicks and likes the importance of physical human connection can never be underestimated. Into The Light brings together a group of individual performers some with and some without a learning disability and fuses their energies into a collaborative and visually dynamic piece.

Performers are thrust into the limelight, relishing the feeling of centre stage adoration, one moment stealing the spotlight from one another then the next insecurities threaten as they are pulled back into the darkness.

Being in the ‘light’ represents interaction, connection and validation. The spotlight offers an opportunity for freedom of expression in this inventive and delicately crafted piece of theatre.

There is very little spoken word from the actors on stage instead interview style recordings are played out during the performances detailing individuals hopes, dreams, fears, how performing makes them feel and their thoughts on how they are perceived when they’re both on and off the stage. This audio adds depth and personality to the piece as each individual voice rings out through the theatre.

The storytelling is done so cleverly through movement with each performer clearly finely tuned in their art, at times they toy with the audience, the slightest of movements decides what we see and what we don’t see.

Andy Purves’ atmospheric lighting is excellent and could almost be classed as a member of the cast while Ian Barnard’s music adds to the pace and flow of the piece with some perfectly chosen tracks ranging from The Mamas And The Papas, Dream A Little Dream Of Me to The Beastie Boys, Sabotage.

The inclusivity of this piece is refreshing to see, each actor with a learning disability plays a genuine and meaningful part in the production and is rightfully treated as an equal to every other member of the company. Each performance is thoughtfully considered and beautifully delivered.

Hijinx Theatre and Teatro la Ribalta’s succeed wonderfully in delivering dynamic and innovative theatre. The partnering with Frantic Assembly ensures there is humour as well as intensity in this lovingly crafted piece. Bold and inspiring theatre.

Further information can be found here.