Casting News | Gulliver’s Travels

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untitled-1The Octagon Theatre has announced the cast for their exciting retelling of Swift’s classic novel Gulliver’s Travels, which can be seen in Bolton’s Queens Park from 16th to the 27th August.

The lead role will be played by a giant puppet of Gulliver which will stand at a whopping 8m tall and is currently being constructed by Handmade Parade in Hebden Bridge. Joining the incredibly impressive puppet will be the familiar faces of Michael Peavoy, Robert Jackson and Alexandar Bean all most recently seen in the Octagon’s critically-acclaimed site-specific production Summer Holiday, as well as Anne O’Riordan who previously appeared in the Octagon’s 2016 festive show Cinderella.

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Throughout the production the cast will be joined by young performers and community companies culminating in the final scene that brings together local choirs from across Bolton in an exciting community collaboration. Various locations across Queens Park while be used in the production including the sunken garden, the duck pond and the amphitheatre which will be transformed into the magical land of Lilliput with festoon lighting, flags and sailboats adorning the space.

Audiences will meet at the Chorley New Road entrance to Queens Park and are encouraged to bring picnics or buy catering on site in what Elizabeth Newman, Artistic Director at the Octagon theatre expects to be ‘a big spectacle – we hope lots of people will want to come along and celebrate the final production of our 50th Anniversary Season after the sell-out success of Summer Holiday and our most impactful season to date.’

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The production will be co-directed by Octagon Theatre’s Artistic Director Elizabeth Newman and Ben Occhipinti and showing on evenings Thu 16 – Mon 27 Aug at 7.15pm with a matinee performance on Sat 25 Aug at 2.15pm. Ticket prices from £12 – £15 and can be found here.

 

Aspects of Love

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Kelly Price (Rose) & Felix Mosse (Alex) in Aspects of Love at Hope Mill Theatre. Credit Anthony Robling

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

Stripped back, elegant and intensely intimate Aspects of Love, Andrew Lloyd Webber’s romantic classic is given its North West professional premiere by award-winning pairing Hope Mill Theatre and Aria Productions and what a sensational premiere it is.

Based on the 1995 novella by David Garnett, Aspects of Love is a multi-layered and deeply fascinating exploration into the complexities of love. The story moves from one lustful entanglement to the next as intertwining relationships based around multiple characters within 3 generations of one family develop and change over a 17 year time scale. Love, lust, loss and obsession all feature in this spellbinding sung-through musical, the third of Hope Mill’s five in-house productions for 2018.

Kelly Price (Rose) & Felix Mosse (Alex) in Aspects of Love at Hope Mill Theatre 2. Credit Anthony Robling

17-year-old Alex is hopelessly smitten with glamorous actress Rose, Rose loves the thrill of attraction, desperately craving sexual freedom and adoration yet is terrified at the thought of loneliness . Despite a passionate affair Rose turns to Alex’s Uncle George for commitment who in turn introduces her to his long-standing lover, free-spirited Italian Sculptor Giulietta. Further complexities arise when years later Alex is reconciled with lover Rose whose 15-year-old daughter Jenny enthusiastically pursues him, much to the horror of protective father George.

Director Jonathan O’Boyle’s stripped back approach to this iconic musical ensures the storytelling and emotion of piece lie firmly at its heart. Conversations flow as witty song exchanges while melodic vocals develop into passionate protests. The intimate staging of this piece takes the intensity of each relationship to another level as the audience is carried along immersed in the fizzing action.

Kelly Price is sensational as Rose Vibert, passionate and demanding yet heart-achingly vulnerable, she gives an utterly compelling and deeply moving performance. Her delivery of Anything But Lonely is raw and heart-felt.

Felix Mosse is perfectly cast as Alex, displaying an incredible vocal rage, he is sensitive and entirely believable, guarded and intense yet simmering with passion and explosive rage. He judges the character perfectly and ensures the audience now have a new actor to associate with perhaps one of the most well-known songs in any musical, Love Changes Everything.

Jerome Pradon (George) & Kimberley Blake (Giulietta) in Aspects of Love at Hope Mill Theatre. Credit Anthony Robling

Jerome Pradon’s character acting as the worldly George authenticates his journey from decadent philanderer to aging father, afraid of what love may do to his precious daughter. His delivery of The First Man You Remember sung to daughter Jenny (the sweet and endearing Eleanor Walsh) captures the tenderness of the piece perfectly.

Kimberley Blake’s vivacious and alluring Giulietta is a joy to watch, her stunning vocals accompanied by slickly delivered choreography during post-funeral Hand Me The Wine and The Dice a real highlight of the show, pacy, passionate and full of sass.

Designer Jason Denvir has transformed the intimate setting with an expanse of shutter doors which are used to great effect as we glide through multiple cities bathed in Aaron J Dootson’s atmospheric shafts of light.

Kelly Price (Rose) in Aspects of Love at Hope Mill Theatre. Credit Anthony Robling

The stripped back orchestration of 2 pianos and percussion ensures Lloyd Webber’s soaring score is delivered beautifully; it’s melodic, dreamy and devastatingly dramatic.

Every aspect of this show has been crafted beautifully, scene changes are delicately choreographed while each ensemble member captivates and leaves an impact. The sheer quality of this production combined with the uniquely intimate setting of Hope Mill Theatre breathes new life into Lloyd Webber’s work. Slick, stylish and oozing with passion, Aspects of Love is another sure-fire hit for the mighty Hope Mill Theatre/Aria Productions pairing. An absolute must-see!

ON at Hope Mill Theatre until

Interview | Katherine Kingsley | DUSTY

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Based on the personal memories of those who knew her best and packed full of her timeless hits including, I Only Want to Be with You, Son of a Preacher Man and You Don’t Have to Say You Love Me, DUSTY the musical heads to The Lowry’s Lyric theatre for one week only as part of its premiere UK tour.

BAFTA and Olivier nominated writer Jonathan Harvey (Beautiful Thing, Coronation Street) brings Dusty Springfield to life with a script celebrating the extraordinary story of one of Britain’s most successful artists.

Olivier Award-winner Maria Friedman (Merrily We Roll Along, Stepping Out) directs Katherine Kingsley (Piaf, Singin’ in the Rain) as the legend that is Dusty Springfield in this incredibly funny and deeply moving new musical. We were privileged to catch up with Katherine to hear a little more about the show and her feelings on portraying such an icon.

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ON: Were you a Dusty fan before getting involved in this new musical?

KK: Yes I really was, I grew up listening to Dusty, my Mum used to play Dusty a lot which had a big influence on me, I’ve always loved that style of music, Soul, Motown, I really grew up on those sounds. I never would have imagined I’d end up playing her, when I heard about the show I had some reservations about appearing in what I thought might be another jukebox musical, it’s not really what I do but then I read Jonathan Harvey’s script and that was something else. Plus there is so much that I love about the music that I just thought, yes, I want to do this. It’s a challenge on many levels but such a good one.

ON: With Dusty being a very private person is it difficult to know what to share and how to do this respectfully?

KK: We’ve learnt so much about Dusty the person during the process of preparing the show and yes she was a very private person. I guess she lived in an era which was pre-social media and therefore there was an element of privacy for performers if they wanted it. Dusty never sought attention from the media like some other performers did, she had quite a sad life in some respects, she was fiercely private particularly about her sexuality, she was never really comfortable discussing it publicly. I almost feel quite protective over her, I’m very aware that I’m playing the role of a woman who would not have wanted to be known by her sexuality. This is where Jonathan has done an absolutely brilliant job. He’s written the script so beautifully so it reveals things about her which are surprising, fascinating and interesting but never gratuitous and always respectful. It touches on many things, her self-harming, her sexuality but most of all its about her talent and that’s absolutely where it should be.

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ON: How difficult is it not to do a flat-out impersonation of Dusty?

KK: I approach it from a very different perspective I think than an impersonator would. Those iconic moments when Dusty is performing I will look at her hand gestures etc. I will honour that and try to match it as best I can so it feels authentic but I’m never for one minute trying to do an impersonation. I am not her but hopefully bringing an essence of Dusty. I really aim to capture her spirit for the audience and if they feel a little like they’re watching Dusty then that for me will be wonderful.

ON: Do you have a personal favourite from the incredible Dusty back catalogue?

KK: Oh gosh I love so many, there are so many amazing songs. I guess my favourites are the more unusual songs, I really love I Close My Eyes and Count to Ten which is absolutely gorgeous, it’s included in the show but with a completely different arrangement. I love Losing You, it’s such an amazing song. You Don’t Have to Say You Love Me is such a great song and such a big sing for me, it really is massive, it just shows how talented she was. They’re all just so wonderful. Oh I can’t forget about Spooky. A lot of people seem to forget about Spooky but what a song!

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ON: We get the feeling you’ll be sharing a real message of female empowerment through telling Dusty’s story?

KK: Yes, I’m so excited for our audiences, particularly younger women and girls who maybe aren’t familiar with Dusty. Those who are maybe a generation or three behind who will be able to discover this amazing woman and will have more evidence and knowledge that these amazing kind of women existed in the 1960’s and were out there paving the way for future generations. Dusty undoubtedly paved the way for so many iconic singers, Adele, Amy Winehouse. Dusty was paving the way and doing that sound many years before.

ON: In a nutshell, why should audiences come and see Dusty?

KK: I think it’s a modern story, beautifully told about an amazing, strong woman who goes through some incredible personal struggles. It also has the best musical catalogue, we take you from the 60’s through pop culture right up to Dusty’s song with the Pet Shop Boys in the late 80’s, there’s so much to discover about Dusty. It’s deeply moving, it’s enormously entertaining and you’ll come away we hope feeling incredibly inspired.

DUSTY opens at the Lowry on Tuesday 24th July and runs until Saturday 28th tickets available here.

 

 

 

 

 

 

Love from a Stranger

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

Agatha Christie is one of the most prolific writers of not just her own, but any generation, turning out over 60 books. She was also a successful playwright, having penned the theatrical titan that is The Mousetrap.  However, her flirtation with the stage didn’t stop there, as here we have Love from a Stranger, a Christie short story called Philomel Cottage which was adapted for the stage by writer/actor Frank Vosper in 1936. This isn’t just another ‘run of the mill’ Christie ‘whodunit’, but a multi-layered tale of control, manipulation with a thoroughly believable monster at the centre of it.

Having come into a substantial amount of money, Cecily (Helen Bradbury), seemingly has the perfect life: wealth, a good job, and engaged to her partner Michael (Justin Avoth). However, it is adventure that Cecily seeks, and a chance encounter with a handsome photographer, Bruce Lovell (Sam Frenchum) opens all sorts of possibilities for Cecily. The charismatic young American persuades Cecily to leave her old life behind and start afresh with him.

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The couple move to a remote cottage in the country where at first everything seems perfect, however cracks begin to appear in the relationship, and all is not what it seems with Lovell, as he begins to control and manipulate his now wife much to the distress and concern of Cecily’s family and friends.

Director Lucy Bailey has done a fantastic job crafting a tense, captivating psychological thriller. The production’s main strength is its ability to shock. At first it seems to be run-of-the-mill, easy going fodder, perfect for a lazy Sunday night in front of the telly. There are even a few laughs in there, courtesy of Aunt Louise (Nicola Sanderson) and then later housemaid, Ethel (Molly Logan), however this is all a ruse, designed to sucker you in and leave you fully unprepared for the events that transpire in the nerve shattering finale.

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It’s not just the script that helps ratchet up the tension, Mike Britton’s unique and intricate set design, of sliding panels and see through walls add to the claustrophobia, whilst bringing an element of voyeurism to proceedings. In addition, Oliver Fenwick’s film noir lighting design comes into its own as the story unfolds adding menace and an almost seedy quality to proceedings.

The cast are on fine form: the two leads have a believable chemistry with each other: Bradbury is feisty yet naive as Cecily, whilst Frenchum is charming and menacing as the unhinged Lovell. They are supported by a superb group of actors: with special mention going to a near show stealing turn from Nicola Sanderson as Aunt Louise, who certainly brings a great deal of humour to a character that could be irritating: however, some of her lines and her stage presence had the audience in stitches.

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One thing which did affect this fabulous production, and which is in no way the fault of the cast or crew was various audience members leaving their mobile phones switched on throughout the performance, one noisy intervention coming at a particular tense moment in the play: it really is frustrating the amount of times this seems to happen. Switch your phones off! Embrace being at the theatre and be in the moment!

Mobile phones aside, this is a riveting, entertaining and engrossing production, that like its lead character, starts off as one thing and in the end is a different beast all together: certainly, worth a watch.

Love from a Stranger is at the Lowry until the 14th July tickets available here.

Mamma Mia!

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Opening night verdict ⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

Chock-full of classic Abba anthems, witty one-liners that will have you roaring with laughter and more feel-good factor than you could shake your Fernando at, Mamma Mia! arrives at Manchester’s Palace Theatre for a 2 week stop as part of its current UK tour.

The popularity of the global smash-hit, written by British playwright Catherine Johnson, based on the classic songs penned by Benny and Bjorn shows no signs of waning and nor should it. The joyful party atmosphere is infectious, as each song is greeted with affectionate sighs of recognition and a spontaneous audience clap-along…and that’s just during the overture!

Lucy May Barker returns to the role of Sophie, a naive twenty year old on the verge of getting married to her sweetheart Sky (Phillip Ryan). Having never known her real father Sophie is desperate to have him at her wedding. She takes matters into her own hands and through some stealth investigation narrows it down to three potential candidates, unbeknown of course to Sophie’s fiercely independent, free-spirited mother Donna (Shona White). So, what’s the best way to work out which of her Mum’s ex-boyfriends is her birth father? Invite them all of course!

White is superb as Donna, hugely comedic with also a great ability to play the more tender heartfelt scenes beautifully, her performance during The Winner Takes It All no better evidence of this as she belts out the big notes with real heart and vulnerability.

Laughs are delivered in bucket loads by Donna’s two best mates Rosie (Nicky Swift) and Tanya (Helen Anker) who together are hilarious and individually deliver hugely entertaining solo performances. Rosie, during a lightbulb moment sets her sights firmly on Aussie adventurer Bill (Matthew Rutherford) and makes sure he knows it through her outrageous delivery of Take a Chance on Me, whilst Tanya teaches wannabe toyboy Pepper (Matt Jordan-Pidgeon) more than a thing or two about women during her fab rendition of Does Your Mother Know.

Daniel Crowder, Matthew Rutherford and Tamlyn Henderson who play Harry, Bill and Sam respectively are perfectly cast in their roles. Each very different from the next, adding a entertaining injection of charisma to proceedings.

The ensemble are superb, their delivery of Anthony Van Laast’s choreography is slick as they literally burst with energy in every scene offering some of the real stand-out moments in this glorious campfest full of fun and sprinkled with sparkle.

Mamma Mia will undoubtedly release your inner dancing queen; laugh out loud funny, touchingly tender, immensely uplifting feel-good theatre at its absolute finest!

On at the Palace Theatre until Saturday 14th July tickets available here.

The Last Ship

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

It’s rather fitting The Last Ship should wind up its UK tour in Salford: sure, they never built ships there, but the Lowry now stands on a site that up until 1972 was a working port. However soon like so many British industries the Salford/Manchester docks closed with 3000 people losing their jobs. So, it seems rather fitting then that for one last time (well on this tour at least), The Last Ship sets sail.

The story revolves around the return of local boy Gideon Fletcher, (Richard Fleeshman) who 17 years prior fled the town and joined the navy: he could see the writing was on the wall even back then for the shipyard and wanted to avoid the seemingly inevitable indoctrination into that way of life. However, on his return he now finds his town in potential ruin from the proposed closure of the ship yard. To make matter worse he receives a frosty reception from his old-flame Meg Dawson, (Frances McNamee) the girl he left behind. These two may be the focal point, but this is story with a bigger tale to tell: one of community, hope and defiance.

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The Last Ship is Sting’s love letter to a town he grew up in and a life he had once known. It fully acknowledges the pride and struggle that the people of Tyneside and other communities faced at the closure of not just the docks but coalmines and pits as well. Songs like “The Last Ship” the “Shipyard” swell with pride with the latter being a foot stamping statement of intent.

The cast are on fine form, Richard Fleeshman makes for engaging, charismatic lead, who at times doesn’t half sound like Sting when singing. Joe McGann and Penelope White as shipyard foreman Jackie White and his wife Peggy, make for a heart-warming, strong couple, who have each other’s and the rest of the communities backs at all times. The show is packed full of spirited and strong performances throughout that certainly do the source material full credit.

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The production design by 59 Productions is outstanding: one minute you’re in a dockyard the next a church complete with stain glass windows and eerie echo. Above we have the claustrophobic grey clouds, and magnificent tower cranes: the visuals take this production to another level, never ‘showy’ or flash, just simply stunning.

Anyone expecting an all singing, all dancing musical affair complete with ‘jazz-hands’ need look elsewhere, for this is production filled heart, soul and an unashamed political agenda. It calls out Margret Thatcher and the government of the day for the pain and suffering they caused so many at that time. The production highlights the mistakes of the past a warning to make sure these mistakes aren’t repeated in the future, especially regarding the NHS: It certainly has some something to say, and it says it loud and unashamedly proud.

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At the close of the production the cast took a well-earned standing ovation and gave us one last song: joined by Sting for an unannounced, unassuming blink and you’ll miss it cameo for the Last Ships final week of shows, judging by this performance lets hope there are plenty more voyages to come!

The Last Ship is at the Lowry until 7th July tickets available here.

Legally Blonde

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

High energy, fizzing with fabulousness and full of heart Legally Blonde bursts onto the Palace theatre stage this week for the final stop of the current UK tour.

Based on the 2001 film starring Reece Witherspoon which later became an award winning Broadway musical, Legally Blonde continues to be a massive crowd pleaser with every audience member up on their feet by the end of the show.

Dumped by law student boyfriend Warner for not being a serious enough girlfriend, Elle decides to take matters into her own hands and sets about gaining a place of her own at Harvard Law School in a bid to prove she is the perfect accessory.

The tongue-in-cheek innocence of the story ensure this camp, bright and fluffy production raises smile after smile while never taking itself too seriously.

Lucie Jones bursts with personality as the Malibu marvel, with great comedic timing and a voice that packs a punch her goofy but smart Elle proves her status as a musical theatre star is secured.

Rita Simons excels as Paulette, fun and feisty she ensures the loveable hairdresser gets her moment of glory with snake-hipped UPS guy Kyle, played superbly by Ben Harlow.

Special mention must also go to Laura Harrison as Vivienne and Helen Petrovna as Brooke Wyndham, both shine in their respective roles, with Petrovna’s skills with a skipping rope during Whipped Into Shape simply mind-boggling!

Director and choreographer Anthony Williams ensures this is a production bursting with energy, enthusiasm and most of all fun. There! Right There! Being a real highlight of Act II and further cementing Legally Blonde as a kitsch, camp couple of hours of perfectly pink uplifting escapism.

With a winning energy this pink princess succeeds against the odds to find her own perfect prince and sends a reminder about the importance of sisterhood that is more than just skin-deep.

On at the Palace theatre until Saturday 30th June tickets available here.

The Play That Goes Wrong

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewer: Matt Forrest

With the World Cup in full swing, the whole nation seems to have gone football crazy: we’ve seen great goals, controversial refereeing decisions and some calamitous howlers, however not even the biggest goal keeping blunder would compare to the chaos that goes into The Play That Goes Wrong.

Now in its sixth year, this Tony award-winner sees the plucky but flawed local Am-dram group ‘The Cornley Polytechnic Drama Society’ stage a classic ‘whodunit’, with their production of Murder at Haversham Manor. However the production is blighted from the outset: there is a missing dog, a misplaced Duran Duran CD, and a faulty shelf hampering proceedings and all this before the house lights have gone down and the show has begun.

Chris Bean (Jake Curran) the stressed director head of the drama society, and lead role of Inspector Carter, welcomes us to the show and informs us of some of the society’s less successful productions which include James and his Peach, and The Lion and the Wardrobe. It’s the perfect setup to introduce a hilarious evening of mirth and mayhem.

Along the way we are introduced to the various society players which include Max Bennett, who plays Cecil Haversham, (Bobby Hirston) a first time performer milking his role for all it’s worth, Sandra Wilkinson as Florence Colleymoore (Elena Valentine) somewhat over-egging her part in a desperate bid to steal the show, and Dennis Tyde as Perkins (Benjamin McMahon) clearly nervous and not very good at learning his lines. In addition they are supported by the technical crew of Trevor (Gabriel Paul) and Annie (Catherine Dryden) who try to fight the flames of disaster (quite literally) and will play bigger roles then either would have envisaged.

As the action continues we see the play go from one catastrophe to another, taking a mental and physical toll on all the cast and crew, just thankful it’s over and that they all survived… even if not entirely in one piece.

This is the third time I’ve watched this production within the last year and I’m not ashamed to say I love it. It seems to get better and better with every viewing; you notice things you missed the first time and second time around as a result of laughing so much. Director Mark Bell has crafted a night of pure unadulterated fun and frolics. The production pokes fun at the self-important, pompous world of amateur dramatics, with a biting, scathing pitch perfect script by Henry Lewis, Jonathan Sayer, and Henry Shields.

The cast certainly put in a shift, with an endless barrage of slapstick and physical comedy very much in the tradition of Laurel and Hardy or Michael Crawford from classic BBC sitcom Some Mother’s Do Have ‘em.

All of the cast do exceptionally well but the stand out performance goes to David Kristopher-Brown, as Robert and Thomas Colleymoore, whose performance at one point had audience members howling with laughter, with a little a hint of fear for the actors safety, made all the more impressive by the fact that Brown is the understudy for this touring production, and certainly highlights the depth of quality this production company has at its disposal. In addition, Steven Rostance as Jonathan, and Charles Haversham who plays the least convincing dead body you are likely to see and really should change his name to Lazarus!

There are a few minor issues: at times there is so much going on that it is hard to keep track of the action. In addition, because of all the turmoil, some of the dialogue is lost and hard to hear adding to the chaos and confusion

Overall this fantastically fun night at the theatre that will leave you grinning from ear-to-ear, and aching sides to boot. At the close of the show the cast let us know that their next production: The Comedy About a Bank Robbery will be going to the Lowry in September: hopefully I’ll have recovered from this performance by the time that comes around!

They Play That Goes Wrong is on at the Manchester Opera House till 30th June tickets available here.

Awful Auntie

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AA 1

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewers Eve and Maisy Powell

Following their award-winning production Gangsta Granny, Birmingham Stage Company return to Manchester with their newest David Walliams adaptation, Awful Auntie. This enormously entertaining tale of friendship, fights and not to mention frights is on at the Opera House until Sunday 24th June.

We sent our mini-reviewers Eve age 10 and Maisy age 7 and a half to give the show that’s been thrilling audiences around the UK their verdict.

Eve Powell

I really, really enjoyed it, I thought it was really inventive and cleverly created, very funny and also very child friendly as the story was easy to follow.

I loved how they changed the scenery, I thought it was amazing. One of my favourite things was Wagner the owl puppet who was operated by Roberta Bellekom, it was so realistic and looked just like a real owl.

I would absolutely recommend Awful Auntie, it is great fun.

Maisy Powell

I really enjoyed Awful Auntie, my favourite part of the show was the little puppets, I loved them.

Aunt Alberta really made me laugh especially when Stella and Soot played tricks on her.

I would definitely recommend Awful Auntie to everyone especially children.

AA

Packed with laugh out loud moments, a superb storyline chock-full of colourful characters brought brilliantly to life by a talented cast Awful Auntie is a perfect family show. With a running time of just over 2 hours including an interval this is another stonking hit for Birmingham Stage Company.

Awful Auntie is on at Manchester’s Opera House until Sunday 24th June tickets available here.

Further information on Birmingham Stage Company can be found here.

The Crucible

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Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Nikki Cotter

First performed back in 1953, the themes raised in Arthur Miller’s The Crucible continue to speak true today, illustrated to gripping and dramatic effect in this bold and atmospheric production from director Geraldine Alexander.

When Arthur Miller wrote the play back in the 1950’s he used the Salem witch trials as a metaphor for the rife anti-communism which was gripping the United States at the time. Liberal thinking was seen as a challenge to American society and authorities acted quickly to stamp it out, something we see ever-present in the political climate of today.

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The Crucible transports us to 1692, where a small farming town has been gripped by a frenzied paranoia as witchcraft rumours swiftly circulate and fear takes hold. As accusations rise innocent women and the men who defend them are led to the gallows, their only hope of surviving, confessing the unthinkable. Catastrophic events unfold as a frenzied and fearful hysteria grips the town.

Jess Curtis’ atmospheric set & costume design is clear and uncluttered, inventive as well as interesting, allowing the themes to speak loudly as the madness unfolds. The trust staging is used to great effect, as an audience you feel at the centre of the action, the intensity and claustrophobic nature of the piece is striking and in your face, from the hysterical girls to the heartbreak of the Proctors, we feel every ounce of emotion. Chris Davey’s lighting design is exceptional, casting shafts of light on proceedings, highlighting the oppression of the innocents accompanied perfectly by Simon Slater’s chilling sound design.

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The cast deliver Miller’s words with Northern voices giving an authentic and relatable feel. The ensemble are impressively strong, coming together in the courtroom scene to dramatic effect. Freddy Elletson makes for an impressive Reverend Hale, attempting to bring calmness to the madness, devout and fair he becomes increasingly disturbed by the injustice and absurdity he it witness to.

Matthew Flynn and Mary Doherty as John and Elizabeth Proctor add poignant emotion to the piece. Their arrests proving this witch hunt has gone way past the point of no return. Leigh Quinn shines as mary Warren, troubled, tormented and ripe for dangerous manipulation from Eleanor Sutton’s determined and defiant Abigail Williams.

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Director Geraldine Alexander’s production succeeds entirely in delivering a powerful warning of how the anxiety and fear of the masses can be taken advantage of in the pursuit of personal power to the most devastating effect. The powers that be using exclusion, lies, fear and isolation to maintain the status quo of the community, sound familiar?

Gripping, emotive theatre, impressively staged and powerfully delivered. On at the StoryHouse until Saturday 7th July, tickets available here.

West End Live preview

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Trafalgar Square during West End Live 2017 (c) Pamela Raith

The most unmissable event on any theatre’s fans calendar returns to London’s Trafalgar Square this weekend where an impressive 200,000 theatre fans will enjoy performances from some of the best of the London theatre scene and even better, it’s all for free!

A jam-packed schedule of performances will include popular crowd-pleasers The Lion King, Wicked, Les Misérables, Mamma Mia!, The Phantom Of The Opera, Disney’s Aladdin, Dreamgirls, Bat Out Of Hell The Musical, Kinky Boots, Matilda The Musical, Motown The Musical, Everybody’s Talking about Jamie and Thriller Live, phew! If that’s not enough excitement for you the weekend will also see several new arrivals to London’s West End making their West End LIVE debuts, including Tina: The Tina Turner Musical, Strictly Ballroom The Musical, Brief Encounter, Eugenius!, Little Shop Of Horrors, Chicago, Heathers The Musical, Kiss Me, Kate, Knights Of The Rose, Six, Circolombia and Madagascar – A Musical Adventure.

Cast of Bat Out Of Hell performing at West End Live 2017 (c) Pamela Raith

The vibrant showcase will culminate in a performance from chart-topping Britain’s Got Talent winners Collabro on Saturday 16 June, and an exclusive cabaret of West End stars on Sunday 17 June.

Produced and organised by Westminster City Council and Society of London Theatre (SOLT), with support from the Mayor of London, West End LIVE is an annual highlight of London’s cultural calendar, with performances, fun photo opportunities, meet-and-greets, merchandise stalls, refreshments and sing-alongs attracting thousands of theatre fans young and old across the weekend.

Crowds at West End Live 2017 (c) Pamela Raith

With such an exciting and varied programme there is something for everyone in this sensational showcase from theatre’s finest stars. A full performance schedule can be found here.

See you there!

War Horse

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Writer Nikki Cotter

War Horse, the most successful play in the National Theatre’s history, seen by over 7 million people worldwide returned to the Lowry last night to a thunderous and well deserved standing ovation.

Adapted from Michael Morpurgo’s 1982 children’s novel which was then given the Stephen Speilberg treatment in 2011, War Horse depicts the experience of World War I via the differing journeys of young soldier Albert Narracott (Thomas Dennis) and his beloved horse, Joey.

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Albert’s father (Jasper William Cartwright) drunkenly buys Joey to be used as a farm horse, realising he is unsuited to work plans are made to sell him; Albert however who has quickly created the deepest of bonds with the horse commits himself to teaching him to plough within one week, the reward being keeping his friend on the farm.

Life however changes dramatically when war is declared as deeply treasured Joey is requisitioned to the cavalry and shipped to the battlefields of France. Devastated Albert, too young to fight flees from home, lying about his age in a bid to sign up, find Joey and bring him home. What follows is a story of epic proportions as Joey is passed through the hands of soldiers on opposing sides in a breath-taking tale of resilience, determination and incredible courage.

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From first meeting Joey as a foal he entirely captivates, the brilliance of Handspring Puppet Company exceeds every expectation. The relationship between Albert and Joey is an absolute joy to watch. Joey is brought to snorting and stomping life in the most striking and creative of ways by incredibly talented puppeteers. The portrayal of not just Joey but the rest of the animals is so convincing, you soon forget that they aren’t real animals as every single heartstring is pulled, knotted and stretched a little bit more as their traumatic experiences on the battlefield unfold.

Thomas Dennis is superb as Albert Narracott playful and determined as young Albert, the journey he goes on demonstrating with striking clarity just how absurd the notion of war is. Peter Becker gives a strong performance as German captain Friedrich Muller, a man defeated by the nonsense of war who just wants to return to his family and forget the horrors he has seen.

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Poignant songs by John Tams delivered beautifully by singing narrator Bob Fox, drive the story on as we travel from the green fields of Devon to the desolate fields of No Man’s Land.

Through clever puppetry and stunning acting important messages are delivered, hope, courage under duress and the unfathomable futility of war. Genuine devastation for the plight of the men and the horses is palpable throughout the audience as the harrowing sounds of war ring out, with atmospheric lighting design from Paule Constable and superb sound design from Christopher Shutt cementing this as a multi-sensory theatrical experience.

War Horse is nothing short of epic. Emotive, powerful theatre, exquisitely delivered that will stay with you long after the curtain falls.

War Horse is on at The Lowry until Saturday 30th June, tickets available here.