Interview | Darragh Cowley & Jabez Sykes | Spring Awakening

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Ground-breaking pop-rock Broadway musical Spring Awakeningwith it’s emotive and important themes of sexuality, religion, gender and self-discovery opens in Manchester’s Award winning Hope Mill theatre this week. The UK revival of Duncan Sheik and Steven Slater’s musical set in the late nineteenth-century has themes which resonate heavily today as we follow a group of young teenagers on a journey of self-discovery in a environment of censorship and silence.

The production which opens for previews on Thursday 29th March is the second of five in-house musicals this year from the enormously successful collaboration between Hope Mill Theatre’s founders Joseph Houston and William Whelton and co-artistic director and resident producer Katy Lipson. Directed by Luke Sheppard the defining musical of the last decade has created a buzz on social media since the moment it was first announced.

We spoke to Manchester cast members Darragh Cowley who plays Melchior and Jabez Sykes who takes on the role of Moritz to find out a little more about the production and hear how it feels to be performing something so hotly anticipated on home soil.

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Opening Night: For those unfamiliar with the show can you give us a brief outline and tell us a little about your characters?

Darragh Cowley: I play Melchoir, who is a very forward thinking young teenager, very clever, very intelligent. Spring Awakening is a real pop, rock, rah rah against the system really, it’s the youth trying to defy the system in which they have been brought up and to break the traditions that they don’t really think are right. It covers themes of teen pregnancy, child abuse, mental health and youung persons suicide but then the overall theme towards the end is about growth and rebuild and how people can get back from that sort of thing, it’s a beautiful, beautiful piece it’s gorgeous.

Jabez Sykes: I play Mortiz, there’s a lot going on for Moritz at this time, he’s dealing with a lot of pressure, his mental health maybe isn’t the best that it could be, which has been quite a daunting task really to take on, it’s such a sensitive subject and such a hot subject right now but I really think we’ve done it justice, working with the cast, our director Luke Sheppard, choreographer Tom Jackson Greaves and musical director Gareth Bretherton it’s been a real collaborative experience and I think we’ve really got there with tackling the important issues in the piece.

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How as a cast do you work on developing trust and chemistry?

JS: From day one we were all so comfortable with each other, it was almost like we knew each other from another life.

DC: There was such a nice feeling in the room, it was immediately really comfortable.

JS: It really was lovely, I think no one is scared of getting anything wrong, everyone is so supportive of each other, which makes for a really great working environment.

DC: Luke Sheppard our director has made it very much a collaborative process so before we do any scene we’ll sit and talk through it so we can all put our ideas in, even a few weeks into the rehearsal process we might say, actually Luke can I try this idea, can I still play with it? And he just tells us to go for it and see what it’s like, it might be terrible idea and he’ll say ‘Darragh what were you thinking?’ But if not he is more than welcome to accommodate and include our ideas.

JS: In terms of trust a lot of the subjects are very delicate and everyone is fighting their own personal battles so something might affect somebody in a way that doesn’t affect somebody else, but one of the things we’ve all learned is that you have to be patient with everybody, you have to have respect for each other and I think with that comes a natural trust.

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There is a real online buzz about the show, is that felt by the cast and does it add any pressure?

JS: I think there’s always that little bit of your head that’s saying oh my God so many people are really excited about this and I think because it’s such a special and quite a cult show for some people but I feel confident that what we have produced is a really, really beautiful piece and we’re excited now and ready for audiences to see it.

DC: The buzz online about the show has really put some wind behind our sails, I’ve never been in something of this scale, we’ve been rehearsing now for six weeks or so and I feel ready to stat beginning to share it, I’m excited, there’s a pressure but there’s an excitement too, I just feel right now let’s go, let’s do it!

JS: We really feel that everyone who has been tweeting about the show is really positive and really behind us and are coming to support us because they love the show and they want it to be as brilliant as we know it is.

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Are you looking forward to performing at Hope Mill Theatre?

DC: It’s a dream, I started my theatre career doing amateur dramatics at the plaza in Stockport, went through Manchester Musical Youth then went to Guilford to train for 3 years, finished two weeks ago and it’s literally a dream to come back to the city where it all started, where I grew up, went to school, it’s just gorgeous to be able to come back and say ‘Hi I’m an actor now, look I did it!’ It really is an absolute dream to be back in the city where I’m from.

JS: I’m so excited, I just can’t wait, it feels really special, I feel like things have gone full circle for me, I went to watch Parade at Hope Mill which was their first in-house musical, and I knew the moment it finished I wanted to work at Hope Mill and now here I am, I’m so grateful and so excited for this opportunity and I really cannot wait to get started.

Spring Awakening begins previews at Hope Mill Theatre on Thursday 29th March and runs until Thursday 3rd May tickets available here.

Art

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Art

Opening Night verdict ⭐️⭐️⭐️

Reviewed by Matt Forrest

It’s nearly 25 years since the Yasmina Reza short play Art made its theatrical debut in Paris and judging by the anticipation and buzz around the Lyric theatre this evening, it would appear the play still has a huge drawing power. However, the big question is, is it still worth the hype and praise? Or is it a bit like the Cecilia Giménez restoration of the Fresco, and doesn’t deliver what is promised?

The plot focuses on three life- long friends, Serge, Marc and Yvan. Serge, a wealthy divorcee with a supposed penchant for modern art, decides to spend £200,000 on a painting of a white canvas. His friend Marc takes great offense by this show of extravagance.  Marc believes Serge is, either going mad, having a sly dig at him, or is just plain foolish for making such an inane purchase. Marc  enlists the help of Yvan, their down trodden people-pleasing friend to either get to the bottom of their friend’s behaviour, or at least get him onside with his assessment that the painting “is shit”.

As the debate rages between Serge and Marc, and Yvan’s piggy-in-the-middle stance on proceedings, it would appear that this rather bland, neutral piece of art exposes some home truths and harsh realities that threatens to blow the lid off their friendship once and for all.

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Art proved to be a bitter-sweet night at the theatre, with more to say about the insecurities and foibles of middle-class-white men than a critique of modern art. The script is razor-sharp, filled with stinging- barbs and some cracking set pieces that include possibly the funniest olive eating scene I have witnessed and a finale that drew loud, audible gasps from the assembled audience. The trouble is that the 2 of the 3 characters are quite loathsome and that you really don’t care about them, their friendship or the painting.

That said there is no shortage of star-power on display here: Dennis Lawson is clearly having a ball as cantankerous Marc, delivering most of the plays most venomous lines with real gusto. Nigel Havers does what he does best as the suave, extravagant Serge, a role we are all too familiar with seeing him play, but he does it so well. However the biggest applause for the night was saved for Stephen Tompkinson, whose speech mid-way through is comedy gold, and his turn as the well -meaning wet blanket Yvan very nearly steals the shows.

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Mark Thomas has created simple but effective beige set with only a few paintings and different style chairs used to show off the personality of our protagonists.

I suppose, as all Art, the idea is to challenge and debate. This piece of Art certainly does that; love it or hate you won’t forget it in a hurry that’s for sure!

Art is on at the Lowry until the 31st March tickets available here

Hairspray

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Opening Night verdict ⭐️⭐️⭐️⭐️

Ever popular audience favourite Hairspray burst into Manchester last night for a fun, feisty and feel-good two week stop at the city’s Opera House theatre.

Multi-coloured and multi-layered this is an uplifting and vibrant production with a serious and important message at its heart. Based on the 1988 John Waters film, Hairspray follows Baltimore teenager, Tracy Turnblad’s dream to dance on The Corny Collins Show. Tracy isn’t as conventionally looking as the show’s usual crew and faces an uphill battle from the start. What begins as a burning ambition to win a role on her favourite teen show soon becomes a campaign for social change which sees Tracy crusade to promote racial integration as she battles not only bigots but body shamers too.

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Newcomer Rebecca Mendoza makes her professional debut and as the bright, bold and beautiful Tracy Turnblad with a big voice and personality to match her buoyant bouffant she perfectly embodies the impassioned teen. Her comedic acting really raises her performance from excellent to exceptional and she puff and pants to perfection every time teen idol Link Larkin (Edward Chitticks) comes near.

Annalise Liard-Bailey smashes her professional debut as Penny Pingleton, the stunning pairing of Liard-Bailey and Layton Williams being a real highlight of the show, Williams shines as Seaweed, ensuring all eyes are upon him as he twists and flips across the stage, both are an absolute joy to watch.

Brenda Edwards returns as the mighty Motormouth Maybelle and raises the roof with her soulful and emotional rendition of I know where I’ve been. While theatre has a job to entertain it also has important role in educating audiences, which Edwards and cast do so with gusto.

Matt Rixton (Edna) and Graham MacDuff (tonight covering the role of Wilbur) solidify their status as audience favourites with each outrageous and hilarious scene, they’re clearly having just as much fun on stage as the audience off stage as they delight and deliver in style.

While it promotes a message of equality and inclusion Hairspray does it with such wit and charm it is anything but preachy. Drew McOnie’s punchy choreography ensures the pace always remains high while Takis’ sets and costumes are bright, blingy and whisk us straight back to the sixties.

With a vibrant and memorable score including numbers such as You Can’t Stop the Beat, Welcome to the Sixities and Good Morning Baltimore Hairspray never fails to entertain as the audience leapt to their feet in approval. Empowering, uplifting and most of all enormously entertaining!

On at the Opera House until Saturday 7th April tickets available here.

Miss Saigon

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Based on Pucci’s heart-breaking 1903 opera, Madama Butterfly, Miss Saigon remains one of the most powerful and deeply moving musicals of all time, bold in its subject matter, this gritty and gut-wrenching story packs a punch as it carries you along on an epic and emotional journey.

Set during the final days of the Vietnam War, naive 17 year old Kim who tragically lost her family in the bloody battles is forced to take a job in a sleazy Saigon bar, managed by notorious pimp ‘The Engineer’ who revels in selling his girls to the highest bidder. GI John buys Kim for the night for his buddy Chris in a bid to take his pals mind off the horrors of war, resulting in a life-changing 24 hours that see Chris and Kim fall hopelessly in love. Tragedy however is ever present as Chris is ripped away from tragic lover Kim who finds herself cast out and desolate but never losing hope that one day Chris will return and meet the young son he doesn’t know he has fathered.

The themes of war, displacement and a warped almost grotesque American dream resonate strongly and are scarily poignant as gritty and emotive numbers playout beside glitzy showstopper “American Dream”. This revised 25th anniversary production loses nothing from the original 1990’s production which ran at London’s Theatre Royal Drury Lane for over 10 years and indeed is enhanced by advances in technology and added depth to the story. The helicopter scene is even more breath-taking as the desperate scenes below unfold and the misery of those left behind feels more urgent and hopeless.

Sooha Kim captures perfectly the trusting innocence of Kim; the changes she goes through are dramatic and desperately tragic. From giddy and gleefully in love to a woman shattered by desperation and the grief of abandonment, she remains hopeful and strong to the end, fiercely determined to give her son the life she knows he truly deserves.

Ashley Gilmour makes for a strong and entirely convincing Chris, dependable and sure his steely attitude turns to mush in the presence of Kim who captures his heart entirely. Their duets together are perfection and offer a beacon of hope in the midst of the desperate scenes to follow.

Red Conceptión’s commitment to the role of the Engineer is impressive, sleezy, sneering yet full of charm his cheeky winks and witty quips ensure the audience love to hate him as his eternal optimism he’ll make it to the USA drives him through.

Zoë Doano’s portrayal of Ellen is sensitive and believable. The addition of Ellen’s song ‘Maybe’ allows the audience to see her as more than just Chris’ new wife (who lets be honest we all kind of hated) and gives a new empathy and understanding of the impossible situation she finds herself in.

As with all Cameron Mackintosh productions the quality shines through, touring productions can often feel a little pinched compared to their West End equivalents however there is no such worry here. The sets are as lavish as Claude-Michel Schöenberg and Alan Boubill’s score is sublime, in this gripping and heartbreakingly beautiful show packed full of passionate emotion. While there are scenes to warm your heart there are those which will also smash it into pieces and leave you barely able to take a breath as you reach for the tissues while this sensationally spine-tingling and unforgettable story unfolds. Has Manchester already seen the best production of 2018? Quite possibly, get yourselves to the Palace theatre to find out!

On at Manchester’s Palace Theatre until Saturday 12th May tickets available here.

Cinderella

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Cinderella Image 11 - Credit David Munn Photograph

Panto isn’t just for Christmas at the Theatre Royal in St Helens with Regal Entertainments continuing their tradition of regular school holiday pantomimes with this Easter’s offering of Cinderella.

The theatre continues its run of attracting well-known names to St Helens with Lee Latchford-Evans from cult pop group Steps taking the role of Prince Charming.

A trained actor as well as singer, Latchford-Evans showed off an easy likeable charm as the Prince as well as a predictably good singing voice.

Georgina Parkinson was a sweet-voiced Cinders with funny man Lewis Devine returning as Buttons following his stint at The venue at Christmas, and proving just as popular with audiences this time.

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Resident dame Si Foster (who also co-writes with Ben Ebgelen) and Mark Newall take on the role of Kendall and Kylie the Ugly Sisters – a brilliant double act who throw plenty of shade and wow in a series of tremendously tacky frocks and wicked weaves. Watch out for the Bags for Life gag – bravo!

Samantha Palin is a warm and distractedly dotty Fairy Godmother, with big hair and bling that wouldn’t look out of place on a Real Housewife of Cheshire. And Andrew Geater is a dashing if somewhat snooty Dandini – they both have fantastic voices and get their moments to shine vocally.

I’m a sucker for the traditional panto transformation scene that usually closes Act 1 and the show certainly doesn’t disappoint here with a gorgeous mix of ballet, baby animals (courtesy of the charming juvenile dancers) and yes – real Shetland ponies! (One of these makes a hilarious reappearance in Act II that had my young co-reviewer in stitches and that I know he will be talking about for days to come.)

Cinderella Image 10 - Credit David Munn Photograph

All of the music is incredibly well chosen. From 80s anthems like Holding Out For a Hero and Love Lifts Us Up (Where We Belong) to musical theatre floor fillers like One Night Only and Fabulous Baby, every song was a total crowd pleaser.

And needless to say Step’s fans won’t go away disappointed with a medley of their biggest hits featuring to the audience’s total delight.

Add to this beautiful and vibrant costumes, charming sets and a brilliantly funny and topical script (anyone who has ever pleaded with ‘Alexa’ will appreciate one gag in particular) that will appeal to all ages, adds up to a warm and witty show that will leave you feeling fuzzy inside.

And with ticket prices starting at an incredibly reasonable £13 – this is a high quality family pantomime at applaudingly affordable prices.

A cracking treat for Easter!

On until Sunday 15th April, tickets available here.

East Is East

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EIE

Opening Night verdict ⭐️⭐️⭐️⭐️

Set in Salford in the 1970’s, East Is East is a powerfully sharp and deeply moving story of an Anglo-Pakistani family struggling to find their place not only in society but also within their own four walls.

Patriarch George (Kulvinder Ghir) rules his family with an iron fist, emotional torment and physical threats are his go to methods for gaining respect from his wife and his frustrated children who are desperate to make their own way in the confused world they’re struggling to make sense of.

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Mother Ella (Jane Hazlegrove) loves them fiercely and longs for her husband to love their children for who they are and allow them to explore the opportunities their Western lifestyle allows. The family is fractious and fraught as siblings squabble desperate for release from the pressure of their fathers imposed conformity.

Kulvinder Ghir is outstanding as George, warm and loveable one moment, seething with explosive anger the next. He takes George to breaking point with sensitivity and conviction. Ultimately a frightened man, lashing out at those he loves most due to his pride, his fears and his need for control.

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Jane Hazelgrove impresses as ballsy mum Ella, with a heart full of love for her children and a genuine loyalty towards husband George, her portrayal is believable and honest. The scenes between Ella and Auntie Annie (Claire Hackett) are playful and fun, putting the world to rights over a steaming hot brew being the order of the day.

Each of the children are well cast and deliver their differing roles convincingly, torn between love for their family and their desperation for their own identities they bicker and squabble yet love each other fiercely. This is an enormously talented ensemble cast each and every individual excels with special mention to Shila Iqbal as foul mouthed Meenah who shines as the sassy sole female of the siblings.

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Director Ben Occhipinti guides his cast beautifully ensuring Ayub Khan Din’s sharp script is delivered with maximum impact and perfect pace. The laughs which come thick and fast are perfectly interjected with dramatic action which stops you in your tracks, witty dialogue is interrupted by heart-breakingly poignant moments which silence and shock.

The production superbly explores themes of culture, identity, family and acceptance. It may be set in the 70’s but these themes still resonate strongly today. In our modern world with there’s often thinly veiled pretences at multiculturalism East Is East feels relevant, current and is an important story to tell. The laughs plentiful, are balanced beautifully with ‘hold your breath’ heart stopping moments of raw emotion in this slick and superbly delivered production. Sharp, honest and boldly brilliant.

On at the Octagon theatre until Saturday 14th April tickets available here.

Fat Friends the Musical

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Opening Night verdict ⭐️⭐️⭐️⭐️

It’s clear from the moment the curtain raises revealing a row of lycra clad bottoms that writer Kay Mellor’s intention is to deliver belly laughs and plenty of them.

Based loosely on Mellor’s hugely successful TV series which ran from 2000-2005 the show tells the story of lovable Leeds lass Kelly (Jodie Prenger) who despite being a size 20 buys a size 16 wedding dress which she WILL slim into by the time she walks up the aisle to marry nice but dim fiancé Kevin (Andrew Flintoff). An unexpected moment on live TV leaves Kelly committed to a challenge in which shady slimming guru Julia Fleshman (Natasha Hamilton) guarantees the wedding of her dreams if she completes her weight loss challenge whatever the consequences.

Prenger is perfectly cast as lead Kelly, incredibly likeable and entirely believable she brings great warmth and humour to the role portraying the perfect Yorkshire lass who just wants her happy ending. Her comedic timing is impeccable, her voice rich and pure as she puts her heart and soul into Kelly, ensuring the audience fall in love completely with this loveable lass.

Andrew Flintoff’s stage debut is impressive, receiving a roar of approval upon taking the stage he rises to the occasion as hapless Kevin desperate for fiancé Kelly to realise he loves her just the way she is.

Composer Nick Lloyd Webber’s score is uplifting and light, gelling perfectly with Mellor’s witty lyrics and offering some really memorable moments in the show, the ode to Chocolate being a particular stand out moment leaving many an audience member wishing they’d worn their waterproof mascara as tears of laughter roll down smiling faces.

Running alongside the central storyline are several other subplots which add to the depth of the piece and offer their own laugh out loud as well as tender moments too. Natalie Anderson and Jonathan Halliwell charm the audience entirely as Lauren and Paul with their ‘will they won’t they’ dilemma, Lauren being a Jewish Zumba instructor/wedding dress owner and salsa king Paul, a Vicar who can swivel his hips with more gusto than Ricky Martin.

The script is entirely relatable for anyone who has ever been on a diet (and let’s face it that pretty much covers us all). The scenes at the slimming class bring nods of familiarity and whispers of recognition from the audience as weigh-in cards are presented and slimmers de-robe before stepping onto the scales of doom.

The ensemble cast work together wonderfully creating a warm and family like atmosphere. It’s clear from the writing that Kay Mellor has an enormous amount of love for these characters, they are rich and relatable, the dialogue sharp and incredibly witty. Moving from ‘you need to be slim to be happy’ to ‘love who you are’ the message is predictable but nonetheless hugely enjoyable and entirely heart-warming.

Enormously entertaining, chock-full of laughs yet touching and tender, Fat Friends the Musical is a full-fat feast of tip-top fun!

On at the Opera House until Saturday 24th March tickets available here.

Interview | Lloyd Gorman | The Jungle Book

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JB

Rudyard Kipling’s beloved family classic The Jungle Book comes to The Lowry from Tuesday 2nd to Sunday 7th May.

The family favourite originally written back in 1894 has been reimagined and innovatively delivered in this all new production by an award winning creative team which includes playwright Jessica Swale, director Max Webster and internationally renowned songwriter Joe Stilgoe. While the story remains the same there is a new emphasis on acceptance, inclusivity and belonging all set to an uplift and incredibly catchy score.

Opening Night were lucky enough to watch a performance of this vibrant new production at Liverpool’s Everyman theatre ahead of it’s arrival at the Lowry and grab a quick chat with Lloyd Gorman who plays Shere Khan after watching the show.

ON: What what a costume and what a character, we absolutely loved your Shere Khan!

LG: Thank you, it’s quite a costume isn’t it, I really didn’t expect it, it’s brand new, it used to be more biker style and I went for a fitting for this new one and it was a case of ‘Wow that’s a statement and a half!’ it’s a really fun costume to wear especially playing such a great character.

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ON: It must be great playing the baddie?

LG: Yes, it’s so much fun, especially such an out and out baddie who doesn’t in any way try to hide his purpose, he is straight up clear upon his need for revenge, he really believes he needs to write the wrongs of mankind, he’s been mistreated by man but seems to have developed into a bit of a misunderstood tortured soul, verging on a bit of a psychopath ha ha. An awful lot of fun to play.

ON: Is it a challenge to create something different with a story that so many people already know well.

LG: For us as a Company we’ve never felt that challenge, I haven’t for example seen the Disney film for a long, long time, nor have I seen the live action version so I didn’t feel any pressure to be different myself. For us it feels such a unique and special production that although we have the stock characters it feels very fresh and new.

ON: While watching we felt there was a real message of positivity and acceptance, could you tell us a little more about your take on this?

LG: Theatre works on so many different levels and people will take different things from it but as long as it’s giving out a message that is relevant to where we are in life now it will always be relatable, Mowgli has been made very gender unspecific so we never refer to Mowgli in any male or female pronouns, it’s also about celebrating difference which is such a huge issue in the UK at the moment, difference is seen my some people as being wrong or bad and we should stick to our own etc, I think theatre is vital in times like this to show the beauty of difference and to say no, remember that diversity is a massive benefit to us all, to the world and all of our lives. The Jungle Book is the perfect vehicle to do that through a wonderful story that while it entertains it also uplifts and educates. Children often hear many negative things about different cultures so it’s lovely to be part of something so inclusive and positive.

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ON: How did you first become involved in theatre?

LG: I went to youth theatre in Norwich there is an excellent youth theatre there, I started when I was 9, it became my entire social life. There were two things I watched around a similar time, Return to the Forbidden Planet and The Buddy Holly Story, I can’t remember which was first but I just remember watching and thinking ‘this is fantastic, if I could be in anything like this where I get to play guitar and play around in front of so many people I would be so lucky’. I worked ushering, through my teenage years which I think is a great way of keeping in with what’s happening in theatres while you’re training too.

ON: The audience response today in Liverpool was fantastic, has that been the same for other venues?

LG: Yes, we’ve had very loyal and really warm audiences, the shows have been busy and reactions have been amazing, audience have been so open with their reactions particularly at the end of the show her in Liverpool they’re happy to whoop and whistle, it’s a great feeling.

ON: You’re working with an award-winning creative team, how has that experience been?

LG: It’s been great, I was really excited about working with this team, the production has developed so much, what we have now is so so different to what we started with because the team were so involved with the rehearsal process that things could be adapted or changed almost immediately. They have also been so incredibly giving with their advice and guidance and rewrote parts where they have felt were needed, it’s been amazing to see the speed at which the show has developed.

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ON: You’re involved in quite a dramatic fight scene how did you work on that?

LG: Kate the fight director led us through a great dialogue of exactly what would happen, so by the time it came to physically act out the scene we knew it very well so it didn’t feel like choreography. It’s a lot of fun to do, I’ve never had to strangle anyone in the air on stage before and I’m sure it will be the only time I get to do it, so a great challenge and lots of fun!

ON: Do you have a favourite character in the show?

LG: Balloo, he’s brilliant, there was also a character which got cut that was a tap dancing porcupine I really enjoyed that character. I also absolutely love our version of Mowgli it’s such a solid and strong character.

ON: Finally are you looking forward to performing at The Lowry?

Yes absolutely, I’ve only ever performed in the Studio so I can’t wait to return and perform in the Lyric, the last thing I saw there was Slavas Snow Show which I loved, I love Salford and Manchester, I was in Bolton recently and that whole area is just wonderful, I’m really looking forward to my time there.

The Jungle Book opens at The Lowry on Tuesday 2nd May tickets available here.

 

 

Matthew Bourne’s Cinderella

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Matthew Forrest

From the moment the curtain rises on Matthew Bourne’s Cinderella, you could be forgiven for thinking you were at the cinema and not at the ballet: for this is the level of detail that Bourne has pains-takingly crafted into this beautiful, dark fairy-tale that recrates the horror of a blitz battered Britain.

The Bother’s Grimm classic is given the Bourne treatment as we are transported to London, 1940: Cinderella, is still the down-trodden, skivvy to her wicked step-mother Sybil, and her loathsome step-children whilst also caring for her invalid war-hero father, Robert. However a chance meeting with Harry, an RAF pilot, whilst a welcome intervention from Cinderella’s guardian Angel, sees Cinderella off to the ball.

With all the perils that exists in war-time London: from rabid gangs, air-raids and not to mention you’re own step-family trying to murder you, will Harry and Cinderella share their happy ever after?

This was my first experience of the ballet and I absolutely loved it. Bourne has taken a tale we’re all enormously familiar with and made it his own: filled with a great deal of warmth, humour and a very real sense of urgency and peril, Cinderella is outstanding. Ashley Shaw is perfectly cast as Cinderella: we see her transform from shy, meek girl, to a beautiful strong woman, whilst she maintains a sense of resilience that runs through her performance from start to finish. One scene involving her dancing with both a mannequin and Harry as a mannequin dummy is full of humour and passion, and if any one scene were to encapsulate this show then this would be it.

Andrew Monaghan is solid as the handsome pilot Harry: fully committed in his love for Cinderella and the feeling of desperation of having lost her. Anjali Mehra is fantastic as Sybil, the evil step-mother: suitably wicked whilst strangely alluring, clad in black throughout she certainly has fun with the role. However for me, the production is anchored by Paris Fitzpatrick who is not only Cinderella’s ‘fairy Godmother’ but also an angel of death looming over proceedings: imagine the grim-reaper only with some splendid dance moves and better threads! You’re never quite sure from his appearance if it will signify pain or pleasure.

The show would certainly warrant a second viewing as there so much going on, perfectly exemplified during The Café de Paris section, a drunken dance towards the end of the scene. In addition, there are several blink and you’ll miss them comic interludes from the salvation army and a child being admonished by his mum.

This is almost more a love letter to cinema than a ballet, with Bourne paying homage to classic films of the 1940’s, however undoubtedly there is the influence of modern day directors like Tim Burton and Guillermo del Toro. This is fully apparent in the fabulous set and costume design by Lez Brotherston: so vivid and full of life: on one hand there is the cold great nightmare that is Cinderella’s life in stark contrast to the extravagance and lavish of the ball at the Café de Paris.

Despite its 1940’s setting this production has a very modern feel to it: with some strong female characters throughout from Cinderella herself, to fighting military women, there is also a same sex relationship between a soldier and step-brother which would have of course been illegal back then.

Cinderella has something for everyone: from ballet aficionados to ballet virgins like myself you cannot help but bowled over by the fantastic choreography and the rich engaging timeless story telling.

Matthew Bourne’s Cinderella is on at the Lowry until Saturday 17th March tickets available here.

The Importance of Being Earnest

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matthew Forrest

It has to be said I was approaching The Importance of Being Earnest with some degree of in trepidation: my only other encounter with the play occurred some 25 years previous with a rather tepid class reading by 9J at St Gregory’s Roman Catholic High School: It would be fair to say that it was a lack-lustre affair, and my Algernon Moncrieff was poor by anyone standards. To be told by our English teacher that this was a ‘comedy’ was an insult – we didn’t laugh once.

I’m happy to say Director Alastair Whatley’s take on the Oscar Wilde’s classic lays that ghost firmly to rest: this adaptation is bold, bright and full of life which will leave you grinning from ear-to-ear.

The plot focuses on two-men-about town, Algernon Moncrieff (Thomas Howes) and Jack Worthing (Peter Sandys-Clarke) both have created a fictional double life for themselves which allows them to get out of social occasions on a whim, and visit the country/city whenever they fancy. However both men’s double-lives land them in hot-water as affections of two ladies come into play, Miss Gwendolen Fairfax (Kerry Ellis) and Cecily Cardew (Louise Coulthard), have both fallen for Earnest Worthing, the fictional alter ego/brother created by Jack.

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Howes is on great form playing the devilishly mischievous Moncrieff, lapping it up as he gets to eat lot of muffins and use the stage as his own sofa: the dream job! He is the perfect foil for Sandys-Clarke who’s up-tight Jack, attempts to keep his dignity whilst his world crashes in around him.

Coulthard is excellent in the role of exceedingly clever if slightly unhinged Cecily, Coulthard plays the part with comedic perfection. West End and Broadway favourite Kerry Ellis is equally as good in the somewhat less ‘showy’ role of Gwendolen, (her first straight play in this her 20th year in the business). There is more than a hint of Blackadder’s Queenie in both performances which is high praise indeed. A scene between the two where a slice of cake, is used as a weapon is an absolute treat and is surely the most passive-aggressive afternoon tea I’ve ever seen.

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Gwen Taylor puts a unique spin on the arrogant, seemingly omnipotent but ignorant Lady Bracknell giving the character a hint of warmth and humanity, which makes some of her more unique lines of dialogue all the more absurd.

The Costumes and set design by Gabriella Slade are full bright colours which really stand out, that coupled with the gusto of the performances give the production a burst of energy.

Wilde’s writing certainly has stood the test of time, with a play about social etiquettes and living a double life who knows what he would make of today’s social media obsessed world.

With a great deal of relevance today this is a fun entertaining night out, that will leave you with a smile on your face and the sudden urge to go get a muffin! Suitably spiffing!

The Importance of Being Earnest is on at the Manchester Opera House till the 17th March tickets available here.

 

The Sound of Music

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Opening Night verdict ⭐️⭐️⭐️⭐️

Manchester’s Palace Theatre well and truly came to life last night as the audience leapt to their feet to give the stars of The Sound of Music, most notably Lucy O’Byrne (Maria) and Megan Llewellyn (Mother Abbess) a well-deserved standing ovation.

Set in Austria in 1938 on the eve of the Anschluss which saw Austria unite with Germany as a country under the Third Reich, the threat of the Nazis is ever presents as we follow the Von Trapp’s from the grandeur of their comfortable beginnings to their daring escape from the Nazis.

Lucy O’Byrne takes on the iconic role made famous by Julie Andrews in the 1965 film with charm and charisma. Gentle and kind but with a steely strong will she faces her fears head on as after being appointed Governess, she gently guides the Von Trapp’s from the limbo of grief after losing their mother to living life to its absolute fullest, all through the medium of song, well this is a musical after all!

O’Byrne’s vocals are faultless, her voice smooth and soothing with beautiful clarity. Her interactions with her fellow cast members particularly the seven Von Trapp children, heart-warming and joyful. She has genuine warmth and succeeds entirely in making the role her own. Instantly likeable she captivates entirely.

The Von Trapp children played by three sets of children throughout the tour are the marching machines the Captain has trained who burst with energy and enthusiasm the minute Maria plays the first chord of Do-Re-Mi. They shine on stage and are a delight to watch. Special mention goes to Katie Shearman who portrays eldest daughter Liesl with real emotion, her duet with Rolf (Jordan Oliver) a real highlight.

Neil McDermott is an aloof and distant Captain Von Trapp who transforms into a loving and generous father, it is a somewhat instant transformation that feels a little forced and awkward, he seems much more comfortable however in Act II and demonstrates real and heart-felt emotion towards his children, his new wife and his beloved Austria.

A real highlight are the sisters of the Abbey, proving that Rodgers and Hammerstein’s melodic score remains as timeless as ever. Their ensemble performances are exquisite with the cherry on the cake being the breathtakingly beautiful performance from Megan Llewellyn who receives one of the biggest cheers of the night at the curtain call. The power and beauty in her voice is awe-inspiring.

From stunning costumes to Gary McCann’s intricate and sweeping set this is a lavish and hugely entertaining production. Featuring classic after classic such as the delightful My Favourite Things, the charming The Lonely Goatherd and the inspiring Climb Ev’ryMountain, The Sound of Music has it all. There are a few numbers which will be unfamiliar to many, mostly those sung by Elsa Schraeder (Kara Lane) and Max Detweiler (Howard Samuels) cut unfortunately from the film but making a very welcome return to this production and adding depth to the characters. Lane and Samuels make for a great duo, bouncing of each other wonderfully in each of their scenes together.

Visually beautiful and packed with powerful performances, The Sound of Music does not disappoint. This heart-warming tale with an important message at its core will entertain both young and old alike, ensuring this classic will easily remain an audience favourite for many, many more years to come. You’ll leave the theatre with a smile on your face and a warmth in your heart.

On at the Palace theatre until Saturday 17th March tickets available here.

Circle Mirror Transformation

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Photo credit: Marc Brenner

Photo credit: Marc Brenner

Opening Night rating ⭐️⭐️⭐️⭐️

Bijan Sheibani is at the helm of a triumph as Circle Mirror Transformation, Annie Baker’s award-winning play, gets its Northern Premiere on HOME’s stage. Sheibani’s sensitive direction presents audiences with a simple yet thought provoking production, played out by a stellar cast including seasoned performers Amelia Bullmore and Con O’ Neill.

Set in Vermont, New England it focuses on a creative adult acting class where five unlikely strangers, from different walks of life, meet at their local community centre. Over six weeks of drama exercises and games their lives become entangled and transformed in the most humorous and moving ways.

Photo credit: Marc Brenner

Bullmore is perfectly cast as the gentle free-spirited drama teacher Marty who has enthusiastically put together the unique group. She is joined by O’ Neill who plays newly divorced Schultz, struggling to come to terms with his marriage breakdown, Sian Clifford as unlikely siren Theresa, Yasmin Paige, self-conscious high school student Lauren, and Anthony Ofoegbu as Marty’s subdued husband, James.

Together the stalwart actors form a tight ensemble where everyone has their moment to shine as they carefully peel through each layer of their characters. There’s a real truth in their performances which engages the audience throughout and, along with Sheibani’s use of Baker’s lengthy pauses, also helps to highlight the believability of the piece. It is a welcome decision to have no interval during the one hour forty-five minute duration of play as it would have broken the fluidity that is so beautiful about the piece.

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You can fully understand why Circle Mirror Transformation was voted one of the top 10 plays of 2009 by the New York Times, Time Out, and The New Yorker – it washes over you, making you smile, laugh and feel a sense of connected emotion which leaves you feeling hugely satisfied.

Runs at HOME until Saturday 17th March

https://homemcr.org/production/circle-mirror-transformation/