The Damned United

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

In 2006 The Damned United hit the bookshelves, blending fact and fiction it told the story of charismatic, controversial football manager, Brian Clough and his ill-fated tenure at Leeds United. Author David Peace described it as “An English Fairy Story”. In 2009 it was turned into a film starring Michael Sheen, and now somewhat inevitably it has been adapted for the stage by the Red Ladder Theatre Company.

Following the same narrative structure of the book, we start with the end of Clough’s playing career due to injury. The demons, the nagging self-doubt are there for all to see from the onset, as well as the brash arrogant showman the world of football came to love or loath depending on your point a view. The action zigzags between him taking the helm at Leeds in 1974 and his successful but turbulent run as Derby County manager from 1967 through to 1973.

This is a fast paced, journey into the tortured mind of one man battling many enemies – unhappy players, interfering chairman, the bottle and rival manager Dom Revie. However, it’s Clough’s own insecurities and his relationship with his assistant manager and best friend Peter Taylor that is the heartbeat of the production.

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The time-hopping narrative structure can be a little confusing at times, but the production is anchored by two outstanding central performances: Luke Dickson puts in a nuanced, layered shift as Clough, filled with subtly traits and mannerisms: it would be easy to play this as a caricature but Dickson avoids this. David Chafer is also on fine form as Taylor, a man loyal and true to his friend but growing disillusioned by his treatment. Their relationship is what holds the production together. They are supported by James Smelt who morphs into all the other parts in the play.

The action is played against a corrugated fence backdrop: adding to the tension and authenticity of the surroundings, you can almost feel the deep-heat in the air. The fence doubles as a screen with various images projected on it throughout, pushing the drama along.

This is a fascinating look at obsession, addiction and self-loathing that is well worth a watch.

The Damned United is at the Lowry until the 27th October tickets can be found here.

Magical Christmas Movie Experience comes to Manchester

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Here at Opening Night we’ve started to feel a bit festive with the announcement of some Christmas movie classics being screened at a new pop up cinema launching next month – including Home Alone, Love Actually and Die Hard (and yes Die Hard IS a Crimbo movie – no debate!)

The Magical Christmas Movie Experience will showcase some of the best-loved Christmas movies in the surroundings of a beautifully transformed Mayfield Depot near Manchester Piccadilly.

Cinema goers will enter a magical kingdom through a secret wardrobe, finding themselves in an enchanted forest full of festive surprises.

Running over four long weekends from November 23 to December 16, the festive film programme includes The Greatest Showman, Love Actually Weekend and two Christmas Classics weeks.

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The phenomenon that is The Greatest Showman will be brought to life in colourful fashion with, stilt walkers, fire breathers and a fabulous choir creating a fully immersive experience. And there will also be sing-along screenings. Yeah ok it’s not really an Xmas movie – but we’re not complaining!

The Love Actually weekend takes the yuletide feelgood favourite, starring Hugh Grant, Martine McCutcheon, Martin Freeman, Emma Thompson, Keira Knightley among other famous faces and adds the seasonal sound of a live gospel choir as well as some more surprises. We’re already welling up at the thought of THAT Emma Thompson scene (dammit where’s the tissues!)

And the Christmas Classics weeks features a host of heart-warming, thrilling and hilarious favourites including Home Alone, The Holiday, Elf, Die Hard, The Polar Express and Gremlins.

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There’s be plenty of food and drink to feast on too.

In the cinema, a range of seating will include giant bean bags, and while people are encouraged to dress warmly for the winter weather, there will also be blankets on offer to snuggle under which will keep audience’s toasty – and which will be donated to the city’s homeless after the final screening.

Steven Matthews Event Organiser said: “Last Christmas Love Actually appeared in the same location, that was huge and really well received.”

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“This is something new for Manchester – it’s the first experience of its kind with an enchanted forest and everyone’s favourite festive flicks. Audiences can expect loads of surprises, and a totally unique experience.”

Doors to the enchanted forest and food court open at 6pm on Thursdays, 5pm on Fridays and from noon at weekends.

Tickets for all the films start from £14.99.

For more details visit http://www.magicalchristmasmovieexperience.com

 

Let It Be

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

Direct from London’s West End Let It Be, has been on a magical mystery tour across the UK for quite some time now, the final stop off is the Manchester Opera House.

Chronicling The Beatles meteoric rise from their humble beginnings at Liverpool’s now world-famous Cavern Club through to global superstardom. We taken on a journey through a 40 song back catalogue of some John, Paul, George, and Ringo’s finest works including legendary sets from The Royal Varity Show, Shea Stadium and the Apple roof top gig.

Opening rather cheekily with four analogue television sets placed in the corners of the stage: they’re playing adverts and songs from the era. ‘The Fab Four’ arrive on stage and immediately launch into She Loves You, followed by I Wanna’ Hold Your Hand, which immediately has the crowd singing along. As demonstrated in the Shea Stadium section The Beatles famously quit touring because they couldn’t hear themselves play, based on the audience reaction tonight I can see why: most the tunes played tonight had the audience belting them out as if they on stage with the band: the more up-tempo numbers seeing them dancing in the aisles.

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The cast are on great form: Emanuele Angeletti (Paul McCartney) John Brosnan, (George Harrison) Ben Cullingworth (Ringo Starr) and Michael Gagliano (John Lennon) do a fine job in brining the boys to life. Some would argue that this would be one of the easiest gigs on the planet but if you get it wrong I’m sure you’d know about It! Luckily these talented performers manage to not only bring the music to life but also show the personalities within the band off as well. From George Harrison’s shyness, Ringo’s playfulness, to Lennon’s over-the-top show man (which can be a little grating at times,) there are subtle character traits throughout, at one point Angeletti performs minus his shoes!

One minor quibble are the accents: they are a bit all over the place and can be a little distracting, but you cannot fault them on the vocals and musicianship. The Beatles had George Martin as their 5th member and the cast of ‘Let It Be’ are no different with musical director Daniel Weiss joining them on keyboards.

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Those expecting a slice of musical theatre or a musical jukebox show may need to temper their expectation: this show is a concert only with plenty of theatrical elements including some great authentic costumes, and high-end production values.

The second half poses a what if question: that being what if the band reformed to play live on John Lennon’s birthday. We are treated to more Beatles hits as well as few from their solo offerings which included: My Sweet Lord, a haunting version of Imagine and a full throttle rendition of Live and Let Die. For me I loved this bold attempt to freshen up the act, whilst some audience members weren’t as keen, maybe it was a lack of familiarity with the material. The show soon gets back on familiar territory with a blistering encore of Back in the USSR, Let It Be, and Hey Jude, which had everyone on their feet and rattling their jewellery.

Overall this was a great show what it lacks in emotional depth it makes up for in sheer entertainment. Let It Be will have you singing and toe-tapping away all night long.

Let It Be is on at the Manchester Opera House until Saturday 27th October tickets available here.

Beauty and the Beast

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Opening Night verdict ⭐️⭐️⭐️

Reviewer Kate Goerner

Regal Entertainments and St Helens Theatre Royal continue their run of panto throughout the year by revisiting their well-received production of Beauty and the Beast from April 2017 – with a few cast changes.

The team has a reputation for putting on fast-paced and fun family pantomimes, at affordable prices (tickets start at £12) and Regal regulars will be pleased to see a host of familiar faces in the cast.

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Directed by Chantelle Nolan and written by Liam Mellor, Beauty and the Beast tells the famous tale of the prince cursed to live in the body of a beast until the love of a beautiful girl sets him free – think Disney but with a few panto twists!

Returning again as the comedy duo that steer the show are the Theatre Royal’s resident comic Lewis Devine and dame Simon Foster, here playing French Frank and Pretty Polly.

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The pair have fantastic chemistry together, and had the audience in the palm of their hands. My little reviewer loved the scene where Devine was turned into a frog, and seeing Devine interact with the youngsters invited on stage (always one of the best bits of panto and reliant on the comic in question being able to quickly improvise – as Devine could) was lovely.

Foster had some fabulous frocks and with his trademark ‘You-Hoo’ was clearly having a ball. His Prince Harry and Meghan Markle joke was the gag of the night.

This really is Foster and Devine’s show, so much so that the title characters definitely get less time on stage than their comedy counterparts.

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Milkshake’s Kiera-Nicola Brennan played a spirited Belle, with Andrew Geater (Dandini in Easter’s Cinderella) a fine-voiced Beast. Philip McGuinness reprised his crowd-pleasing turn as the vain Gaston, with award-winning panto performer Hannah Potter also returning as the Cruella De Ville-esque Madame Botox, Gaston’s scheming mum.

And BBC Pitch Battle’s Maddie Hope Coelho (Dorothy in Regal’s The Wizard of Oz) put in a highly polished and professional turn as Fairy Rose – her ‘When You Believe’ in the transformation scene was a delight.

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There were just enough references to the much-loved Disney animated version to keep the army of little yellow-dressed Belles in the audience, but don’t go expecting a carbon copy of that version – you do get to see Belle in a gorgeous yellow ball gown though- never fear.

(I did enjoy the gag by Foster and Devine about not having the rights to ‘THAT’ song from Disney’s version.)

And music is a massive part of the panto experience, and on this occasion the song choices – while well performed – were not particularly memorable, and some had lyrics changed – which was a bit confusing at times and not really effective. A few more hits from the past 12 months would have been welcome (no Greatest Showman?) although the all-conquering Baby Shark did make a hugely popular appearance.

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The storybook sets and costumes were charming and effective (although no costume changes for the wedding/finale?) and the adult and juvenile dancers supported the principle cast well.

So much to enjoy definitely, and at a commendable price, while perhaps not quite hitting the sparkly heights of previous pantos from Regal.

Up next for the team is the Christmas offering of Peter Pan, again starring Foster and Devine, with the starry additions of Liverpool favourite Louis Emerick (Captain Hook) and Strictly’s Kristina Rihanoff (Wendy). We’ll be there! (Oh yes we will!)

Beauty and the Beast runs until Sunday 28th October at St Helen’s Theatre Royal tickets available here.

Will Varley| The Ritz | Manchester

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For four days this week, Manchester is the home of folk music as various venues around the city play host to some of the folk scene’s biggest names. Billy Bragg, This is the Kit, and Eliza Carthy & the Wayward Band will all be performing sets throughout the city.

The festival opened Thursday night at the Ritz with a set from singer/song writer Will Varley, who is currently in the midst of a UK tour. The London based artist has just finished a tour of the USA, Europe and various festival appearances, to huge commercial and critical acclaim.

Varley’s current tour is in support of his 5th studio album Sprit of Minnie and tonight’s show at the Ritz is a brief showcase of what fans can expect from his current tour and if tonight’s show is an indication, then they’re in for a treat.

The show has something for everyone, from political and social commentary in the haunting, The Man Who Fell to Earth, to scathing self-examination, through to good-natured humour in tunes such as I Got This Mail.

The set shifts from Varley backed by full band and him flying solo: Varley has a truly exquisite voice that can command and hold a room, as we go glide effortlessly from an audience in reverence during his more serious output, to having the crowd sing-along as if it at a huge stadium gig.

Varley’s show is like a rollercoaster filled with exhilarating  highs and lows, that will leave you grinning from ear-to-ear, and then looking at your feet in sombre reflection within the blink of an eye. He is certainly a talent, and one worth catching when he plays live.

Will Varley is currently on tour, Tickets can be bought here.

 

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Manon

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Kate Goerner

This week sees the arrival of English National Ballet to the Opera House in Manchester with Kenneth MacMillan’s Manon, first performed in 1974 and rarely seen outside of London.

The ballet, set to a score by Jules Massenet and reworked by Martin Yates, is based on Prévost’s Manon Lescaut, and tells the tale of Manon (Alina Cojocaru) who when being traded by her brother Lescaut (Jeffrey Cirio) meets and runs away with idealistic young student Des Grieux (Joseph Caley).

Their romantic idyll is soon shattered when Manon’s head is turned by the furs and diamonds laid on by the sleazily menacing Monsieur GM (James Streeter) and she abandons Des Grieux for him.

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They are later reunited, but they pay the price for their defiance and, somewhat inevitably, it all ends tragically in a swirling, confusing, Louisiana swamp.

Dangerous Liaisons indeed.

The powerful production is packed with extraordinary performances.

As the young lovers Cojocaru and Caley (both making their debuts in the roles) are irresistible. Their Act I playful and shy courtship pas de deux making way for a more physical pairing the following morning. And their hypnotic and heart-breaking final dance together deserved the cheers.

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As the sinister Monsieur GM, Streeter rose above being a cut-out villain, his height, combined with costume, make up and beautifully controlled body language sent a real shiver down my spine. Not a man who would take being left lightly.

Crowd pleasers were Ciro’s infectious Lescaut – his drunk dancing clearly delighted the appreciative Opera House audience – and Katja Khaniukova as his mistress, displaying both passion and control.

Artists of the company play a variety of roles from courtesans and their customers to both extremes of society – powdered faces and rouged cheeks contrasting with dirty smudges and ragged clothes, coiffed wigs with tousled hair.

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The female artists clearly had great fun in Act II in particular, inside a den of iniquity. Their romantic dresses belying their competitive nature when it came to landing a customer – behind the smiles they were all sly shoves and sharp elbows.

Mia Stensgaard’s stunning design coupled with Mikki Kunttu’s lighting brought modernity to the production. An abstract prow of a ship and an incongruous modern large scale period painting that set the scene in Act 1 brought an interesting twist to proceedings.

Indeed the scope and scale of the production is so vast that at times it seemed a little restricted on the Opera House stage – but with another literary heroine in residence down the road at the Palace, perhaps this couldn’t be helped and really is a minor reservation.

Manon truly is a stunning production that will delight and devastate in turn and again reinforces why ballet companies should be congratulated for stepping away from the more familiar tales, and enabling regional audiences to experience the rarer works.

The Vyrll Society

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“Any Scousers in?” lead singer Mike Ellis nonchalantly asks the rather snug audience members at Manchester’s Soup Kitchen venue. This is a question that never really goes down well in most Manchester venues, (pretty much the same way asking if any ‘Mancs’ are in if you were in a Liverpool venue) however this questions isn’t met with the usual customary boos; the response is met with a few cheers and no animosity. There are two reasons for this. Number 1, The Vyrll Society have developed a loyal fan base after years of honing their craft live, which has seen them creating quite a buzz. The second is that not everyone is brainless dickhead and inner-city rivalries take a back seat to decent music!

The constant touring of pubs, clubs and festivals has certainly paid off for the band, as stated they have a developed a loyal fan base, and with their debut album, Course of the Satellite going into orbit this August, you can but only see big things for this five piece from Liverpool.

Opening with live favourite Shadow of a Wave, the band work their way through a set that include singles Flight and a Perfect Rhythm. It’s easy to see why the band have garnered so much interest, filled with catchy baselines and killer licks: this is dreamy psychedelia, that will have you tapping your feet , sure there are no sing-along anthems but there plenty of tunes where you can a grove on too. The stand out track was the Thriller-esque Inner Life.

The band have drawn obvious comparisons with The Zutons and The Coral, mainly due to their association with the late Alan Wills, founder of the Deltasonic label, but for me there’s plenty of early Pink Floyd, Peter Green’s Fleetwood Mac and the criminally underrated The Music.

The band look the part, they sound fantastic and are developing a great visual show, as a host of shapes and a kaleidoscope of colours are projected out though out their set . It would appear they’ve fully embraced the rock ‘n’ roll life style slower track Soft Glue dedicated to the band’s tour manager who is suffering from pneumonia.

This was a great showcase for a hugely talented band, which is quite rightly getting the praise they deserve. Their tour continues in Leeds tonight and wraps up on Friday with a huge hometown show at the O2 Academy in Liverpool Academy. They’re back in Manchester in February and will almost certainly and quite deservedly be playing bigger venues, catch them and join the society whilst you can because the sky is the limit for these lads.

Vyrll Society Play Liverpool O2 Academy on the 19th October tickets can be bought here.

Tags: The Vyrll Society, The Soup Kitchen. Live Music, Guitar, Course of the Satellite,

The Pride

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

Using Alexi Kaye Campbell’s debut play to mark their own debut production, new theatre company Green Carnation present The Pride, an affecting, powerful and poignant piece of theatre.

Focusing on two separate Britain’s, that of the repressive 1950’s and the supposedly liberal 2008. Three central actors, (Gareth George, Simon Hallman and Joanna Leese) play the identically named but hugely different characters of each era with a forth actor (Alex Thompson) playing a trio of strong supporting roles.

Designer Frankie Gerrard centres the action during both eras within a sitting room setting, a slight shift of furniture and a roll of the clouds via simple hanging drapes indicating the changing days.

We firstly meet 1950’s Phillip (Gareth George) an unfulfilled, middle-class, married estate agent who gets introduced by wife Sylvia (Joanna Leese) to well-travelled, articulate yet lonely Oliver (Simon Hallman) for whom she is illustrating his most recent children’s novel. An immediate attraction is felt between the two men as secrets are kept and truths lie unspoken, Phillip’s true self being denied and suppressed with devastating consequences.

In 2008 Oliver is so free sexually it is damaging the one person he truly loves resulting in him losing partner Phillip due to his need for risqué sex with strangers and posing the question is 2008 Oliver just as detached from his true-self as 1950’s Phillip?

Sylvia shifts from 1950’s actress turned illustrator whose mental health problems are hinted at to forthright friend whom both Oliver and Phillip both turn to, an ally and advocate in both era’s.

Simon Hallman excels as Oliver, while rigid and desperately lonely in the 1950’s he transforms into a sexually liberated yet painfully shambolic character come 2008. Hallman adds emotional depth to the outrageously promiscuous Oliver and a heart-felt desperation to 1950’s Oliver who yearns to feel love.

Gareth George’s 1950’s Phillip convincingly bubbles with violent frustration while his 2008 self is calm and composed, at complete contrast to hedonistic partner Oliver.

Joanna Leese impresses as Sylvia giving an emotional and committed performance, the scene where she gently confronts her husbands lover heartbreaking in its honesty. Elsewhere Alex Thompson injects some great comic relief in his three varying roles of rent boy, wide-boy magazine editor and 1950’s aversion therapist, his superb comedic acting changing the tone of an early scene entirely.

Director Dan Jarvis along with co-director Dan Ellis have succeeded in bringing this thought-provoking revival bang up to date. As Campbell’s script cleverly weaves history together the characters although hugely different feel on many levels connected as the heartbreaking fears of loneliness resonate in both era’s. There are moments when the pacing could improve slightly with Act I feeling much longer than Act II but this is a minor quibble.

Shifts in attitudes from the 1950’s to 2008 while abundantly clear cannot remove the fear of being unloved as this insightful drama explores not just what it is to truly be yourself but that cost at which for many this comes.

With beautifully poignant writing and impressive performances The Pride examines and explores without sugarcoating.

Important, rewarding and impressive theatre.

On at Hope Mill Theatre until Saturday 20th October more information can be found here.

Interview | Doctor Dolittle’s Brian Capron

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Doctor Dolittle returns to the stage this Christmas in Leslie Bricusse’s acclaimed family musical which opens at the Lowry on Tuesday 11th December.

Based on the much loved 1967 film with Rex Harrison, Leslie Bricusse’s family favourite promises fun for all as eccentric Doctor (Mark Williams) takes us on a magical adventure in his quest to find the Giant Pink Sea Shell which holds the secret of life and making the world a happier place.

Not only will we meet the Pushmi-Pullyu and the Doctor’s trusty sidekick Polynesia the Parrot but we’ll also meet many wonderful human companions along the way. Here at Opening Night we were lucky enough to catch up with one of the talented humans taking to the stage this festive season in the form of Brian Capron.

Coronation Street legend and much admired theatre actor Brian give us the inside info on what we can expect from this Christmas spectacular.

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Opening Night: This production sounds absolutely spectacular, especially the puppets.

BC: It’s going to be wonderful, so much thought and planning has gone into this production. The planning alone for the puppets has been incredible. It almost doesn’t feel right saying puppets as they are so lifelike, they’re such characters which their own individual personalities.

ON: Are you looking forward to performing with the puppets?

BC: Absolutely, I have a number with the Pushmi-Pullyu, which is a double headed llama & when I first saw the puppet it wasn’t quite finished but even then I could tell just how impressive it was going to be, it was already taller than me! It’s absolutely huge and has a performer in either end. It will be performing a dance in the middle of the number, Never Seen Anything Like It, which will be just magical.

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ON: It sounds like the show is really going to impress visually.

BC: Tom Piper the designer is one of the best theatre designers in the country. The way he has envisaged the whole thing, coming out of a storybook really is so very, very exciting.

The show will still be a period show but some things will be a little updated. It’s amazing really just how relevant to today this show is. There’s a charming message that comes through about the preservation of flora and fauna, conservation of animals etc. and it is presented so beautifully.

ON: You’re playing two characters in the production, can you tell us a little about them?

BC: Yes I play two characters; the 1st is Albert Blossom who owns the circus. He’s a big, fun character to play and of course I get to perform the fabulous Never Seen Anything Like It which is one of the big turns in the show. He’s a wonderful character to play. The second character is a complete contrast, a character called Straight Arrow, he is head of the natives on Sea-Star Island, the island Doctor Dolittle visits. He’s very posh so a wonderful contrast to the 1st half.

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ON: Are you looking forward to spending the festive season at the Lowry?

BC: Absolutely, I often do panto at Christmas, in fact last year I was at the Stockport Plaza so I’m really excited to be coming back to the North West with such a wonderful Christmas show.

Doctor Dolittle really is a genuine family show, suitable for young and old to enjoy together. It’s going to be wonderful, there’s a great cast, spectacular songs, incredible scenery and costumes, it really will be something special.

Doctor Dolittle opens at The Lowry on Tuesday 11th December and runs until Saturday 5th January tickets available https://thelowry.com/whats-on/doctor-dolittle/

 

Disney on Ice | Dream Big

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Kate Goerner

Created in the late 1980s and seen in over 65 countries around the world, Disney on Ice as a brand is now a firmly established part of the Disney family. And the current tour – billed Dream Big – is indeed a  bit of a dream for fans young and old.

Produced by live family entertainment specialists Feld Entertainment, Dream Big is a lavish all-twirling, all-jumping show that packs in more than enough Disney princes and princesses, songs (and special effects) to keep audiences in a Disney dreamworld.

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For those who are unfamiliar with a Disney on Ice production. Minnie and Mickey act as hosts and introduce segments devoted to various iconic movies – this time round including Aladdin, Beauty and the Beast, The Little Mermaid, Tangled, Cinderella (complete with coach) and recordings of the soundtracks are played that the skaters perform and mime too.

With a stunning set backdrop and literally dazzling costumes and perfect wigs – we really do see our favourite heroes brought to life in front of our eyes. (It was particularly lovely to see them all regularly waving at audience members throughout the show). The skating was stunning – and for some of the performers (Maui and Sebastian the Crab – I’m looking at you) some in what must be quite tricky costumes.

A real highlight was the (new for this tour) Moana section – the solo skating routine performed by ‘Moana’ to How Far I’ll Go was a perfect example of music, performance and skating combining perfectly. I had goosebumps and a large lump in my throat – just stunning! It was as it had always been on ice!

Be Our Guest from Beauty and the Beast was a big company number, and a real crowd pleaser, as was Under the Sea from The Little Mermaid.

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Another favourite was the extra-long segment donated to Frozen, that was basically a mini version of the movie. Yes we’ve all heard Let it Go a million times, but it was pretty special seeing a version on ice! With twirling! Yet more goosebumps.

My 3 year old was admittedly a little scared of Ursula the sea witch from The Little Mermaid and the fire-breathing dragon from Sleeping Beauty (we took the opportunity to beat the loo queues and later on get an ice cream when it got a bit too scary for him), but he loved the Genie from Aladdin, Mickey and Minnie, Belle and (of course) seeing Elsa. He genuinely did not want to leave when the house lights went up.

Cynics begone – if there’s a more magical and uplifting way to spend an autumn evening, well…..I’ll get my skates on!

Nothing but the Roof

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NothingButTheRoof-HopeMill-2

Opening Night verdict ⭐️⭐️⭐️

Reviewer: Matt Forrest

Writer: Adam Colclough

Director: Adam Colclough

Back in 1962, the Drifters sang about heading to the roof to get away from the cares and troubles of the world: alas, the same cannot be said of three characters at the heart of Adam Colclough’s latest play Nothing but the Roof.

The action opens with Warren (JP Smith) clutching a letter standing near the edge of a rooftop on a rundown block of flats, he is coincidentally joined by childhood friends Step (David Hyde) and Millsy (Peter Thompson). The pair are dressed as Fred and Barney from The Flintstones: Step has roped Millsy into a father’s for justice protest; however, a mix up with the sign puts paid to that.

As the three friends get reacquainted with each other, they laugh, they fight, they reminisce as they discuss what hand life has dealt them: grief, unemployment, debt, and abuse are some of the hardships the three pals have faced, but can they come out of it the other side?

Despite the weighty subjects covered, the script is exceptionally funny indeed, with some stingy one-liners: it certainly has that lad’s night at the pub feel, as the friends point out each other’s faults, failings and generally just ‘rib’ each other to huge comic affect.

The production does however try to pack too much in with our three friends facing just about every disaster you could possibly think of; the play bounces from one tragedy to another, skimming the surface of these subjects rather than tackling them. Sometimes less is more and the play would certainly benefit from a trim, and as well as a few pauses here and there as the dialogue is delivered at such a breakneck speed that it could do with allowing the audience time to breathe.

The cast despite a few early missteps are on great form, you firmly believe friendship and the chemistry between all three is fantastic. The setting of the rooftop looks the part and allows the actors to fully express themselves.

This is an important play which raises some interesting points about modern Britain and one that should be seen by as many people as possible, it will certainly make you laugh and offer some food for thought, it just needs to iron out it’s kinks and it’ll be a great piece of work.

Tags: Nothing but the Roof, Hope Mill Theatre, Adam Colclough, JP Smith, David Hyde, Peter Thompson, Drama, Theatre

Macbeth

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Opening night verdict ⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

Set in a post-apocalyptic world, Rufus Norris’Macbeth is dark, compelling and visually stunning. A long civil war has raged and now anarchy rules as the fight to survive in a place where the stench of fear and rebellion fills the air.

Designer Rae Smith has created an epic and imposing set which acts as the perfect backdrop for this gloriously gritty production. Critics were harsh when the production opened on the Southbank earlier this year and this reworked offering recast for the touring production has taken note of that with tweaks and changes ensuring Macbeth engages from the off.

Michael Nardone is an excellent Macbeth, his glee at the witches prophecies exposing his vanity as he chases his predicted outcome with obsessive compulsion. He portrays the conscious stricken rugged warrior with much skill, one minute the goading warrior the next a crumbling man haunted by the horrors of the night.

Stirring and strong is Kirsty Besterman’s Lady Macbeth, calculating and cold she gives her all to the performance and convinces entirely as the ambitious and ruthless purveyor of power.

The three witches are hauntingly brilliant, phantom-like and gruesome as they thrust and twist high above the stage on poles, kudos to Elizabeth Chan, Evelyn Roberts and Olivia Sweeny for their delivery of these deeply physical roles.

Deka Walmsley adds depths in his role as the Porter, offering forewarning and commentary as Macbeth’s murderous acts escalate.

There is some chopping down of the text which does at times move the action on a little quicker than expected losing some of the depth of character in the early scenes however this is not done so ruthlessly to affect the essence of the story. We see less of the three witches than we should resulting in their influencing of the action stopping more or less at their opening prophecy. The cast however drive this atmospheric piece through their absorbing performances and prove that the human need for power is as ruthlessly cruel now as it was back in 1606 when Shakespeare first penned the Scottish play. While some may feel the battle feels more for a civil war than a Kingdom this for me resonated strongly and felt a timely reminder of the ever-present prosperity to attack we seem to be surrounded by today.

Gritty, gruesome and visually captivating theatre. Catch Macbeth at the Lowry until Saturday 6th October tickets available here.