Who knew that we could take a trip around the world without even having to leave Salford?
Laura Eason’s fast-paced adaptation of the Jules Verne’s classic novel sailed into Salford last night, as it continues its Christmas run at the Lowry theatre.
The 1872 classic tells the story of the mysteriously wealthy Phileas Fogg (Andrew Pollard), who puts his life savings on a bet that he can travel around the world in just 80 days, whilst avoiding the devious Inspector Fix (Dennis Herdman), who believes he’s a bank robber.
Passepartout is Fogg’s lovable companion, played by Michael Hugo who certainly knows how to steal a show. Hugo and Passepartout are a match made in heaven, superbly displaying his skills as an actor, from martial arts to his improvisation with unfortunate members of the audience – which was particularly impressive.
Director, Theresa Heskins pieced the whole show together in a staggering 25 days and the hard work has truly paid off as she’s transported the classic book onto stage effortlessly.
The brilliance that is set designer, Lis Evans can’t go unmentioned either. Evans easily transports us around the globe with her simplistic set design of suitcases and maps. These objects may seem relatively uninteresting, however in this case with the help of choreographer Beverly Edmunds, the duo manage to turn a set of old battered suitcases into stairs, trains and even boats with the blink of an eye.
A talented ensemble of only eight actors play a globe’s worth of more than 100 different characters. The strong cast work like a well oiled machine, switching seamlessly between not only characters but countries too. One moment we’re in France and the next (with a change of a hat) we’re whisked away to Italy.
The intimate Quays Theatre at the Lowry is the perfect setting for this well-loved classic. Even without the use microphones and an audience filled with young children, sound projection was never an issue.
Eight actors, 125 characters, eight countries, six trains, five boats, four fights, a circus and an elephant all crammed into a two-hour show – we’re exhausted just thinking about it.
You can join Philleas Fogg and Passepartout in their race against time at the Lowry Theatre until January 7th 2018 tickets available here.
*Reviewed by Opening Night guest reviewer Francesca Eagleton*
Bob Tomson and Bill Kenwright’s Evita is full of life and energy: the story is so exhilarating, told at such a breakneck speed that you hardly have time to breath. Madalena Alberto plays Evita with a great deal of sass and attitude juxtaposed with beautiful elegance and grace. It’s little wonder the people of Argentina fell for her charms on the basis of this exceptional performance. Alberto’s rendition of Don’t Cry for me Argentina is simply spine-tingling. Alberto is supported by a great cast; Gian Marco Schiaretti is on fine form as Che, acting as our guide and the shows conscience his presence looms over the production providing humour and a certain degree of menace. In addition Jeremy Secomb is equally as good as Juan Perón; a stern imposing figure whom like the rest of us falls under Evita’s spell.
A special mention to for Cristina Hoey, whose rendition of Another Suitcase in Another Hall, very nearly steals the show. However what stood out most for me, was Bill Deamer’s fantastic and intricate choreography on the big ensemble numbers such as And the Money Keeps Rolling In (and out ) and A New Argentina: add into the mix the bright, colourful costumes and extravagant set design and you cannot help but be impressed by the energy and vibrancy of it all.
Evita is on at the Palace Theatre Manchester till the 9th December tickets available 
Paul is stuck in a failing school which doesn’t even rank high enough to receive an Ofsted rating while Gordon has progressed to headmaster at the nearby snooty Oakmoor Prep. Oakmoor excels every Christmas with the most extravagant of nativities while St Bernadette’s can’t even muster a one star review, cue head teacher Mrs Bevan (JemmaChurchill) instructing Mr Maddens to lead this year’s nativity with the help of clueless new classroom assistant Mr Poppy (Simon Lipkin). Daniel Boys is exceptional as Mr Maddens, delivering a perfectly judged performance, warm and charismatic yet enormously frustrated with his lot. Boys is endearing and hugely likeable as we see his character soften and develop under the influence of the bonkers but brilliant Mr Poppy.
Sidekick to Boys is Simon Lipkin who is perfectly cast as the brilliant Mr Poppy, a big kid with an even bigger heart, his enthusiasm and energy is infectious. He portrays the lovable Mr Poppy superbly; he is incredibly funny, demonstrating a very natural comedic ability that leaves the audience roaring with laughter every time he takes to the stage, an absolute joy.
Each character is so wonderfully defined from the camp and catty local theatre critic (Jamie Chapman) to the power obsessed Mr Shakespeare (Andy Brady), this is storytelling to perfection, with every cast member an absolute delight to watch. David Woodhead’s set as you would hope is a sparkling spectacular sight, versatile and inventive, beautifully lit by Tim Mitchell.
Nativity strikes the perfect balance between being a real show stopping spectacle and delivering genuinely real, relatable and honest theatre. It’s uplifting, hilariously funny and enormously entertaining. Your heart will be warmed and your funny bone well and truly tickled by this sparkly, joyful, festive treat. The standing ovations will no doubt be repeated night after night as this real gem of a production warms hearts with every performance, my only criticism would be that we only get to have it in Manchester for one week, please Nativity! The Musical, come back soon!
Kara Lily Hayworth more than succeeds in stepping into Cilla’s footsteps, having won the role through a tough open audition process, Hayworth belts out showstopper after showstopper with ease and oozes style. With stunning vocals, perfect Cilla like mannerisms and a flawless Scouse accent her performance is superb. When Hayworth closes Act I with Cilla’s 1964 number one hit ‘Anyone Who Had a Heart’ she literally brings the house down, goose-bump inducing brilliance, expertly delivered.
Cilla the musical has clearly been a labour of love for director Bill Kenwright, offering audiences a charming and nostalgic walk down memory lane, act one for me lingers slightly too long in the Cavern days, although the performances are exceptional (Michael Hawkins as John Lennon is fantastic) the pace becomes a little slow, shaving a couple of the songs from this section wouldn’t be of any detriment to the story and would keep the audience fully engaged for the duration. That said, Cilla the Musical is a fantastically fun show, which at its heart is ultimately a love story, not one love story but several, the love story of Bobby and Cilla, Cilla’s love for the music, Brian’s love for his artist, Brian and Bobby’s at times love/hate relationship with each other and even our love for the Scottie Road girl who rose from rags to riches but always remained true to her Liverpudlian roots.
