Manchester Theatre Award Nominations Announced!

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Nearly 90 performers or productions have been chosen in more than 20 categories for the Manchester Theatre Awards, picked by a panel of 10 regional theatre critics.

The winners will be announced live on stage at a red carpet event at Manchester’s HOME venue on Friday March 17, hosted by comedian, actor – and playwright – Justin Moorhouse.

After watching more than 200 theatre performances throughout 2016 the MTA Panel has narrowed down a shortlist that honours everyone from established star names in main house productions, to complete newcomers.

In the past Manchester Theatre Awards have often gone to actors and actresses who go on to become household or even Hollywood names such as Andrew Garfield, so who knows what the future will hold for those who have been given the nod this year.

Leading the way this year is the Royal Exchange picking up a massive 20 nominations – a double celebration in what is their 40th anniversary year of bringing acclaimed productions to Manchester. This year’s categories for Best Actress and Best Production also see the Royal Exchange and the city’s shiny new HOME venue go head to head for the coveted trophies.

Great news for Manchester’s emergent Hope Mill Theatre making its mark on the award this year with a nomination in the Best Musical category for its regional premiere production of Parade. This brand new fringe venue, in an old mill in Ancoats, has staged several ambitious productions in 2016 and there is a wealth of exciting projects ahead for them in 2017.

One nominee Opening Night would love to see pick up a gong on the 17th March would be Lisa Maxwell who is nominated for Best Actress in a Visiting Production for her portrayal of Judy Garland in End of the Rainbow at the Opera House. Maxwell was mesmerizing at the Hollywood musical star in her later tragic years and it would be great to see her get the acclaim she deserves for the role.

All nominees are invited to the awards event and if you are a fan of the theatre and want to go along on the day you can get a ticket via the HOME website www.homemcr.org or by calling 0161 200 1500. Tickets are priced at £15.

See you there!

Manchester Theatre Award nominations in full…

Best Actor

Rob Edwards, To Kill A Mockingbird, Octagon Theatre, Bolton

David Neilson, Endgame, HOME, Manchester

Daniel Rigby, Breaking The Code, Royal Exchange, Manchester

Don Warrington, King Lear, Royal Exchange

 

Best Actress

Niamh Cusack, Ghosts, HOME

Kaisa Hammarlund, Sweet Charity, Royal Exchange

Julie Hesmondhalgh, Wit, Royal Exchange

Kathryn Hunter, The Emperor, HOME

 

Best Production

Breaking The Code, Royal Exchange

Ghosts, HOME

The Emperor, HOME

Wit, Royal Exchange

 

Best Supporting Actor

Daniel Crossley, Sweet Charity, Royal Exchange

Raad Rawi, Breaking The Code, Royal Exchange

Marc Small, To Kill A Mockingbird, Octagon Theatre

Miltos Yerolemou, King Lear, Royal Exchange

 

Best Supporting Actress

Natalie Dew, Breaking The Code, Royal Exchange

Sharon Duncan-Brewster, A Streetcar Named Desire, Royal Exchange

Natalie Grady, Martha Josie and the Chinese Elvis, Octagon Theatre

Amy Nuttall, The Winter’s Tale, Octagon Theatre

 

Best Visiting Production

946 – The Amazing Story of Adolphus Tipps, HOME

A Girl is a Half-Formed Thing, Lowry, Salford

Love’s Labour’s Lost / Much Ado About Nothing, Opera House

The Encounter, HOME

The James Plays, Lowry

 

Best Actor in a Visiting Production

Edward Bennett, Love’s Labour’s Lost / Much Ado About Nothing, Opera House

Rufus Hound, The Wind in the Willows, The Lowry

Simon McBurney, The Encounter, HOME

Michael Pennington, King Lear, Opera House

 

Best Actress in a Visiting Production

Lisa Dillon, Love’s Labour’s Lost / Much Ado About Nothing, Opera House

Aoife Duffin, A Girl Is A Half-Formed Thing, Lowry

Lisa Maxwell, End Of The Rainbow, Opera House

Zizi Strallen, Mary Poppins, Palace

 

Best Newcomer

Daisy Badger, Look Back In Anger, Octagon Theatre

Ben Hunter, The Girls, Lowry

Norah Lopez Holden, Ghosts, HOME

Kirsty Rider, Pride And Prejudice, Lowry

Holly Willock, The Wind In The Willows, Lowry

Young “Michael” cast, Billy Elliot, Palace

Young “Scout” cast, To Kill A Mockingbird, Octagon Theatre

 

Best Opera

Andrea Chénier, Opera North, Lowry

Billy Budd, Opera North, Lowry

Don Giovanni, ETO, Buxton Opera House

Tamerlano, Buxton Festival, Buxton Opera House

 

The Robert Robson Award for Best Dance

Akram Khan’s Giselle, Palace

Alvin Ailey American Dance Theater, Lowry

Nederlands Dans Theater 2, Lowry

The Red Shoes, Lowry

 

Best Musical

Billy Elliot, Palace

Parade, Hope Mill Theatre

Singin’ in the Rain, Octagon Theatre

Sweet Charity, Royal Exchange

The Wind in the Willows, Lowry

 

Best Fringe Production

 Boomtown Gals, Various venues

Die Diana, Bandit, Mugger and Thief, Manchester

Multi Story, Monkeywood, Various venues

The Trial, Hope Mill Theatre, Manchester

 

Best Fringe Performance

Joyce Branagh, Boomtown Gals, Various venues

Sam Grogan, Waiting Room, King’s Arms, Salford

William J Holstead, The Trial, Hope Mill Theatre

Leanne Martin, The Brink, King’s Arms

 

Best Studio Production

 Dirty Pakistani Lingerie, Lowry

Lemons Lemons Lemons Lemons Lemons, HOME

The Solid Life Of Sugar Water, Royal Exchange

Wish List, Royal Exchange

 

Best Actor in a Studio Production

 Alexander Gatehouse, Ventoux, Lowry

Joseph Quinn, Wish List, Royal Exchange Studio

Rex Ryan, Pilgrim, Lowry

 

Best Actress in a Studio Production

 Erin Doherty, Wish List, Royal Exchange Studio

Sarah Emmott, Declaration, Lowry

Georgia Henshaw, Bird, Royal Exchange Studio

Molly Vevers, Ross and Rachel, Lowry

 

Best New Play

A Pacifist’s Guide to the War on Cancer, HOME

Bird, Royal Exchange Studio

The Emperor, HOME

Wish List, Royal Exchange Studio

 

Best Design

Endgame, HOME

La Vie Parisienne, Royal Northern College of Music, Manchester

Singin’ In The Rain, Octagon Theatre

The Pitmen Painters, Coliseum, Oldham

 

Best Ensemble

946 – The Amazing Story of Adolphus Tipps, HOME

Singin’ In The Rain, Octagon Theatre

The Pitmen Painters, Coliseum

The James Plays, Lowry

 

Best Special Entertainment

An Anatomie In Four Quarters, Lowry

Cirque du Soleil – Amaluna, Trafford Centre

Summer, Autumn, Winter, Spring, Old Granada Studios

The Peony Pavillion, Lowry

 

Youth Panel Award

NOTHING – The Royal Exchange Theatre Young Company

The Secret Garden – Octagon Youth Theatre

The Factory – The Royal Exchange Theatre Young Company

The Siege of Christmas – Contact Youth Company with Swung Low

 

 

 

 

Sleepless

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Fresh from last weekend’s Strictly Come Dancing final, it’s been announced that Danny Mac and his real-life leading lady Carley Stenson, will be playing the roles of Sam and Annie in the world premiere of Sleepless, the new romantic musical based on the Tristar Pictures Inc. film Sleepless in Seattle.

With a book by Michael Burdett, music by Robert Scott and lyrics by Brendan Cull, the production will run at The Lowry, Salford from 25th to 29th April prior to a West End run.

Like the much loved movie, Sleepless tells the heart-warming tale of Sam, who moves to Seattle with his eight year-old son, Jonah, following the tragic death of his wife. When Jonah phones a radio show, Sam is forced to talk about his broken heart and sleepless nights live on air, and he suddenly finds himself one of the most sought after single men in America and a great news story for feisty journalist Annie on the opposite side of the country.  A fresh and lively book alongside a brand-new musical score bring this most timeless of romantic comedies to life on stage.

Danny Mac is best known for playing the role of Mark ‘Dodger’ Savage in Channel 4’s Hollyoaks. He was given his first professional role as Gavroche in Cameron Mackintosh’s touring production of Les Misérables, a role he reprised in London’s West End at the Palace Theatre in 1999.  After graduating from drama school, he went straight into Wicked at the Apollo Victoria.  Most recently, he played Warner in Legally Blonde at the Leicester Curve.

Carley Stenson played the role of Steph Cunningham in Channel 4’s Hollyoaks for 10 years. West End credits include starring as Elle Woods in Legally Blonde, Princess Fiona in Shrek The Musical and Lady of the Lake in Spamalot.  Carley also starred as Christine Colgate in the national tour of Dirty Rotten Scoundrels.

Danny Mac and Carley Stenson will be joined by Jennie Dale as Becky and Cory English as Rob. Jennie’s most recent theatre credits include Maggie Jones in 42nd Street (Théâtre du Châtelet, Paris) Deb in Elf (Dominion Theatre), Dora in Singin’ in the Rain (Théâtre du Châtelet, Paris) and Mae in The Pajama Game (Shaftesbury Theatre).  On television, Jennie has appeared in The Tracey Ullman Show and Victoria Wood’s Mid-life Christmas and What Larks.  Cory English can currently be seen in She Loves Me at the Menier Chocolate Factory.  His many previous musical theatre credits include Max Bialystock in the UK Tour of The Producers, Igor in Young Frankenstein and Max Bialystock in The Producers, both for Susan Stroman on Broadway, and Benny Southstreet in Michael Grandage’s West End production of Guys & Dolls.

Sleepless

The Lowry, Salford

Tue 25– Sat 29 April 2017

7.30pm (Wed & Sat 2pm)

Tickets: £24 – £53.50 (Including booking fees)

Box office: 0843 208 6000

http://www.thelowry.com/event/sleepless

 

Witness

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Creator: Kate Jackson

Cast: Bettina Carpi, Jacqueline McCormick, Malachi Simmons, Lauren Tucker

Creatives: Mike Dunn, Rosalind Noctor, Richard Owen, Daniel Thomas

Witness is a truly unique immersive piece of work which sees performers and audience travel together through the stunning grounds at Tatton Park whilst offering an intimate and personal experience which explores the senses and draws you into the performances in an engaging and mesmeric way.

A beautiful cast of artists guided by Kate Jackson have explored immersive dance, focussing on the experience a performance offers an audience if delivered in a stripped back, raw and honest way. As an audience we are asked to surrender to our senses, to the sounds offered through the audio provided via individual headsets and to follow where we are led. We are guided and encouraged to trail their stories as we travel through this extraordinary all immersive experiences. Creator Kate truly gives her audience the opportunity to immerse themselves into the performance wholeheartedly, it almost feels like you are the only person there, observing the emotional performances as you travel from merry-go-round, to Stately Home gardens, to café effortlessly.

Kate has guided her performers through an exploration of well-being, mental health awareness and looked at depression, anxiety and isolation thinking about how all of these elements affect our lives, our interactions and our emotions. Inviting the audience to become aware of their own feelings and senses through interaction with the artists at one point makes for a very poignant moment in the evening, as I am led blindfolded through the courtyard my sense are on high alert as I experience a total trust in performer Malachi Simmons to guide me safely. A truly beautiful piece of work which not only delivers a powerful messages but challenges its audience.

 

 

Aladdin

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If you’re looking for a cracker of a show complete with flying carpet, dazzling costumes and laughs a plenty then look no further than Manchester’s Opera House where Aladdin has landed for the festive season!

Before the curtain goes up the audience are buzzing with excitement, eagerly awaiting their opportunity to boo, cheer and yell out the traditional ‘It’s behind you!’ that’s part and parcel of any good panto and boy is this a good one!

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The evil Abanazar (John Thomson) sets the scene by rubbing his ring (ooh-err) until fabulously flamboyant Genie of the Ring (Sherrie Hewson) appears all glitter and sequins and ready for some comedy capers. Cue Magician Neil Henry (Wishee Washee) who transports us to Old Peking with some festive tricks and so the fun begins as we meet our hero Aladdin (Ben Adams) and his larger than life washerwoman Mother the hilarious, Queen of all Pantomime Dames, Widow Twanky (Eric Potts).

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Writer/Director and Widow Twanky, Eric Potts has come up with an absolute gem of a panto, with all the usual thrills you’d expect from Aladdin, Chinese laundry hijinks where poor PC Pong (Phil Holden) gets more than he bargained for after wrestling with the mangle, menacing meddling from the evil Ababazar and enough brilliant local references to keep you giggling for days, Potts and Producers First Family Entertainment have gone the extra mile by sprinkling more sparkle on this production than even the Strictly final will see.

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Ben Adams makes for a brilliant Aladdin, cheeky, likeable and engaging, his voice is fantastic and he delivers each number with effortless style, he’s also rather easy on the eye which didn’t go amiss amongst the Mums in the audience! John Thomson and Sherrie Hewson make for a great comedy duo in their scenes together, it’s clear to see they are loving every minute of this show just as much as the audience watching, which makes you enjoy it just that little bit more. Bringing everything together in his own spectacular way is the marvellous Eric Potts, his Widow Twanky left me with streaked mascara and aching sides, he truly is Pantomime royalty, with perfect comedy timing and the most lavishly flamboyant costumes (designed by John Brooking) he lights up the stage and is an absolute joy to watch.

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Aladdin is pure fun-packed escapism with gag after gag that will have you laughing your socks off, the great performances and stunning sets will keep the little ones totally engaged while the cheeky jokes and knowing winks will have Mum and Dad sniggering all the way home. An absolute corker!

On at the Opera House until Saturday 8th Jan

http://www.atgtickets.com/shows/aladdin/opera-house-manchester/

 

 

Chitty Chitty Bang Bang

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Last month Amazon Prime launched Jeremy Clarkson and Co’s latest offering, The Grand Tour: which in effect is three big kids getting into scrapes at home and abroad with cars. Well that isn’t too dissimilar to the plot for the Ian Fleming, penned Chitty Chitty Bang Bang. However that’s where the similarities end and quite frankly the world is a better place for it.

The 1968 film version is as much a part of Christmas as the Queen’s speech, turkey dinner and indigestion so it seems only right that this much loved classic is The Lowry’s big show for Christmas wonderfully brought to life the West Yorkshire Playhouse.

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Set in 1919 we find the rather eccentric widowed father, Caractacus Potts trying to forage enough money to save a bent and broken race-car from the scrap heap. Chitty Chitty Bang Bang has become the beloved plaything of his two children Jeremy and Jemima. However the family soon find themselves in great danger as the evil Baron and Baroness Bombast of Vulgaria also have designs on the former Grand-Prix winning race car: dispatching a couple of dodgy spies, the might of the Vulgarian navy and the truly terrifying Childcatcher. Can the Potts family save themselves and their beloved car? Will they all live happily after? Here’s hoping!

Director James Brining has the monumental task of transferring the magic of the film onto the stage and it’s fair to say he pulls it off magnificently. Aided and abetted by designer Simon Higlett and video designer Simon Wainwright, Higlett’s set design is wonderful: from the Potts family windmill house to the Baron’s fortress – they are all stunning. Wainwright’s video is first class as it manages seamlessly to transfer us from one location to the next: one minute we’re on an idyllic drive through the countryside and the next you’re involved in a gun battle at sea.

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As we all know the car is the star of the show but it is supported by some fine performances. Jason Manford in the lead as Caractacus Potts is likable as the doting father, he brings warmth and charm to the role: sometimes he grins and gurns a bit too much, maybe he was channelling his inner Dick Van Dyke, but that was Mary Poppins not Chitty Chitty Bang Bang. However Manford’s main strength lies in his singing voice: he is a very talented singer indeed highlighted in the beautiful Hushabye Mountain. Charlotte Wakefield is on good form as the fabulously named Truly Scrumptious bringing a touch of spirit and zest to the role. The on stage chemistry between the two is a joy to watch, especially during Doll on a Music Box. The Potts children are delightful, played by three teams rotating nightly they give a beautiful performance.

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There are also fine performances from Sam Harrison and Scott Paige as the Vulgarian spies Boris and Goran, both are great fun and very nearly steal the show as they get all the best lines and lots of laughs. There are some jokes which are pretty near the knuckle but will fly over the younger audience members heads and amuse the adults; they had both audience members young and old alike howling with laughter. Claire Sweeney is fabulous as Baroness Bomburst with her exaggerated accent and almighty performance of The Bombie Samba. Phill Jupitus offers a bizarre turn as Baron Bomburst: flip-flopping between over exuberance and looking completely disinterested: frequently breaking between his over the top Vulgarian accent to a dead-pan delivery. It’s not abundantly clear what he is trying to achieve by this but it certainly is what can best be described as a ‘Marmite’ performance. Jos Vantyler is outstanding as the Childcatcher, helped along with a wonderful piece of lighting from Tim Mitchell; we have a villain as wicked, as sinister and even more terrifying than the original.

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There were a few technical difficulties on the night which stopped the show for roughly 10 minutes which upset the momentum slightly, however the cast carried on like true professionals. The main problem with the show is its pacing: acts one and two are quite bloated and do become slightly drawn out at times. Whilst the ending seems slightly rushed with the payoff not justifying the lengthy build up. Overall this a good solid family fun show, filled with fun and adventure, it just needed a few more thrills and spills, it is probably not suitable for young children as it will not keep them engaged for the duration of its running time.

Judging by the impromptu audience clap-along as soon the signature Chitty Chitty Bang Bang tune is played there is plenty of love for our “fine four fender friend”, she just needs to heed the warning of those motorway signs about tiredness.

Chitty Chitty Bang Bang is on at The Lowry Theatre till the 15th Jan 2017

http://www.thelowry.com/event/chitty-chitty-bang-bang

Billy Elliot – The Musical

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Billy is from a place where the men don’t dance, end of story, but, with a gritty determination, and an undeniable charm plus more talent than most of us have in our little fingers, he sets out to prove his doubters wrong by breaking the mould and going all the way.

Billy Elliot the Musical is a total phenomenon which has been seen by almost 11 million people across five continents and has won over 80 awards internationally, including an almighty 10 Tony Awards and a hugely impressive 5 Olivier Awards. Based on Lee Hall’s 2000 film, set in a northern mining town against the background of the 1984/’85 miners’ strike, the story revolves around Billy, who trades his boxing gloves for ballet shoes and soon discovers a passion for dance that ultimately changes not just his but the lives of his family and community forever.

So ingrained was life in the pits that son’s followed in their father’s footsteps, proud to do so and loyal to their communities. The impact of Maggie Thatcher and her Conservative Government on these communities is something that will never be forgotten and for most certainly not forgiven. Billy Elliot tells the story of a boy with a talent who wants out of the hardships of life in a mining town but needs the support and the backing of the proud men he adores yet watches become more and more broken by the oppressions of the state.

Billy Elliot does not shy away from the reality of the hardship and ill-treatment of the working classes during the miners’ strike of ‘84/85 and this only makes it more powerful and spellbinding. The contrast of the softness and innocence of the children in tutu’s dancing amongst the striking miners and heavy handed baton-wielding Police is powerful and emotive, reminding me of days in the 80’s when my sisters and I would help my Father seal envelops to send for job after job after first striking then being made redundant, unsuccessful time after time, yet never giving up.

Billy Elliot Tour

Billy Elliot is a story of hope, with emotional highs and heart-breaking lows, it is utterly absorbing. it will make you laugh out loud as well as pause an take The talent on stage is simply mind-blowing. With four Billy’s cast on the tour, tonight is the turn of Lewis Smallman to show us he truly was born to boogie. I don’t think any words could do justice to just how incredibly talented this young actor is, the challenges of the role are immense, not only do the boys need to have excellent contemporary dance, tap and ballet skills, but they’ve got to be able to sing and act and all with a Geordie accent! Lewis is totally mesmerising, his sheer talent and commitment to the role brought me to tears as I watched him move, he made for the perfect Billy.

As well as Lewis all the children in the cast are magnificent, with special mention going to Samuel Torpey Billy’s cross-dressing best friend Michael, whose duet with Lewis Smallman on Expressing Yourself is just perfection, funny, fabulous and full of razzle-dazzle, no doubt we will be seeing much more of this incredible talent, a true star in the making, he has the x-factor in bucket loads! Evie Martin takes on the role of Debbie with all the cheeky wit you’d hope for, she is fantastic, sassy and witty with just the right amount of attitude. The adult cast are exceptional too, lump in the throat moments between Billy and his dead Mum are at juxtapose with the scenes of violence and intimidation on the picket line. Annette McLaughlin as Mrs Wilkinson is outstanding, firm and feisty she truly believes in Billy, the scenes between the two are incredibly powerful as she offers a little of the Mother’s touch missing from Billy’s life. Martin Walsh as Billy’s Dad and Scott Garnham as Tony, Billy’s brother are real and believable, hardened by life and the rough hand they have been dealt yet when it comes down to it their love for both Billy and each other shines through.

Billy Elliot Tour

Everything about this production for me was perfection, from Elton John’s sublime score, to the incredible lighting design from Rick Fisher, and as for Peter Darling’s choreography, wow! Totally awe-inspiring, complex and compelling, expressive and moving, I barely blinked for fear of missing anything it just is that good.

Billy Elliot is an absolute triumph of a show, heart-warming, inspiring and utterly mesmerising, it’s very rare you see a whole audience leap up in appreciation but I absolutely guarantee by the time the curtain falls you will be on your feet roaring for more!

On at the Palace Theatre until Saturday 28th January tickets available here;

http://www.atgtickets.com/shows/billy-elliot/palace-theatre-manchester/

The Peony Pavilion

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In heading to The Lowry for The National Ballet of China’s production of The Peony Pavilion , I knew could expect excellence but had no other preconceived idea. I guess the introduction to the evening prepared for something different, the choreographer introducing his cast and the story was quite different, enigmatic and totally charming. I felt closer to the story already. Often described at the Chinese Romeo and Juliet, The Peony Pavilion tells the story of a young girl, Du Liniang who falls into a slumber and dreams of falling in love with a young scholar, Liu Mengmei.

The opening solo dance was effortless and quite beautifully abstract, stunning choreography from Fei Bo . A central square which changed throughout the play as dreamspace or prison or a solitary confinement was a minimalist design which made the lines across the stage so clean.

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The set was stunning, for most of the play there was a huge branch which embodied the back half of the stage sitting on a high diagonal which gave a poetic presence of absence, confirming the nature of seasonal change when leaves leave before new buds can grow.

The costumes were stunning especially the chinese opera singer Jia Pengfei who moved like a geisha and gave the most interesting performance of the evening, she dressed and undressed seamlessly describing time or drawing a warning. They were jaw dropping with elaborate, finely detailed embroidery of classical chinese flowers at times she took shape of rose through the movement of her material. The tiny chiffon layers of the ensemble followed the whipping of pirouettes or lame duck sequenced complex choreography.

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There’s a sense the company is moving with this piece into a modern classical style, a mixture of classical contemporary techniques interwoven into the ballet, the theme of marrying pointe work with bare feet wasn’t as interesting choreographically as it may have tried to be.

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The second half gave rewarding performances in a lead male solo and ghost duets . The huge cast gave a warm performance, the stage rained with peony petals, changed into a forest environment where the ensemble played with trailing green neon light in a poi like chained ball which left resonance in the space as they moved.

It was a charming portrayal of the story, striking and utterly captivating.

 

Love’s Labour’s Lost

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A wonderful additional to this years offerings celebrating 400 years since the death of William Shakespeare, The RSC bring not one but two of the Bard’s works to Manchester this Christmas time. Love’s Labour’s Lost and Much Ado About Nothing, argued by some that the latter is another name for Shakespeare’s missing play, Love’s Labour’s Won, the similarities between the two are plentiful, both being set on a large county estate, sparring couples, masked encounters, mistaken identities and of course hilarious high jinx including overheard and secretly observed sonnets. Playing back to back at Manchester’s Opera House before heading to the Theatre Royal Haymarket , both productions are an absolute triumph.

Opening with the King of Navarre (Sam Alexander) and his three Lords, Berowne (Edward Bennett), Longaville (William Belchambers), and Dumaine (Tunji Kasim), swearing an oath  which includes avoiding contact with women for a lengthy three years, shortly followed by the arrival of the beautiful Princess of France (Leah Whitaker) and her ladies Rosaline (Lisa Dillon), Katharine (Rebecca Collingworth) and Maria (Paige Carter) it soon becomes clear this was an oath that was never going to easily run it’s course. Cue much merriment and classic Shakespearean rhyme while completly against their oath the Lords fall in love with the ladies and of course the King with the Princess.

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Don Armado (John Hodgkinson), a Spaniard visiting the King’s court, is also hit by Cupid’s bow, but rather than with a Lady of the court he is taken by Jaquenetta, (Emma Manton) a local dairymaid who has recently been found cavorting with Costard (Nick Haverson) the gardner. So ensues the writing of love notes, delivered of course to the wrong recipient. The unconventional courtships continue with a wonderful scene where we see the King and his Lords disguising themselves as travelling Muscovites which leads to hilarious scenes of Russian dancing and the ladies switching identities themselves through the swapping of favours received by the Lords and the use of elegant masks.

Working with the same company of actors and setting both plays either side of the Great War adds real poignancy to the ending of Love’s Labour’s Lost, sometimes described at the ‘unfinished play’ the merriment and frivolity of the play comes to an abrupt end when the King and his Lord’s head off to war, much as life for many must have been as their young men suddenly headed off to the battlefields of Northern France.

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The cast are exceptional, the talent on stage an absolute joy to watch, from Edward Bennett’s brilliant Berowne to John Hodgkinson’s hilarious Don Armado the comic timing and delivering of the Bard’s script is just perfection. Special mention to Peter McGovern whose Moth was magnificent, not to mention his Hercules in the ‘Nine Worthies’ which had the audience in hysterics.

Visually stunning, Simon Higlet’s set is outstanding, with scene changes flowing beautifully due to the ingenious use of a large sliding truck and sub-stage trap. Where Much Ado is festive and twinkling, Love’s Labour’s Lost takes place in the summertime of 1914 when skies are blue and poppies, in a nod to the impending Great War are plentiful. Melody Wood’s luxurious costumes are delightful, perfectly encapsulating the period. The use of music by Nigel Hess, directed by Bob Broad, further enhances this production, filmically underscoring certain moments and offering some challenging vocal pieces which the cast embrace wonderfully.

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Love’s Labour’s Lost is an absolute joy, highly entertaining and wonderfully acted. Playing at Manchester’s Opera House until Saturday 3rd December.

http://www.atgtickets.com/shows/loves-labours-lost/opera-house-manchester/

Much Ado About Nothing – Opera House

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Now that we have witnessed the Royal Shakespeare Company’s Edward Bennett electrocuted inside a giant Christmas tree, the festive season can officially begin!
What better way to mark the conclusion of 2016 – and the 400th anniversary of Shakespeare’s death – than with two of the Bard’s best-loved comedies, played on consecutive nights at the Opera House Manchester, with the same cast?
Director Christopher Luscombe and production manager Paul Hennessey’s grand experiment examines the long-rumoured synergies between Love’s Labour’s Lost and Much Ado About Nothing – setting them in the same country estate (modelled on Charlecote Park, near Shakespeare’s Stratford-upon-Avon) and bookmarking them in summer and winter, before and after the Great War. 
Both deliver a witty, sparring couple; a supporting cast of characters that include a policeman, a curate and many domestic servants; masked encounters between lovers; and – one of Shakespeare’s favourite devices – endless cases of mistaken identity. 
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Associate director Guy Unsworth concludes that Shakespeare ‘deliberately shows us two sides of the same coin’ and ‘does indeed want us to view them as an extended double-bill’… Mark thee well!
Anon – immersing ourselves in Much Ado About Nothing’s wintry scenes on a cold Mancunian night – we encounter fast-talking, resolutely single bachelorette Beatrice (Lisa Dillon), who declares: ‘I had rather hear my dog bark at a crow than a man swear he loves me’. The equally marriage-adverse Benedick (Edward Bennett) has just returned from the war, yet it is Beatrice’s quick-fire degradations of his character – spoken at a masked dance – that leave him mortally wounded. 
Their union seems doomed until their eavesdropping antics reveal a surprising fact… they are each madly in love with the other. These revelatory conversations – staged by Benedick and Beatrice’s family and friends, for their benefit – are some of the funniest scenes in the production. Bennett’s comedic antics inside the family Christmas tree solicit great guffaws of appreciation from the audience; it feels inevitable when he breaks the fourth wall – dissolving into barely suppressed laughter himself.  
In another plot, Beatrice’s cousin Hero (Rebecca Collingwood), who radiates chastity and goodness, is due to be married to besotted Claudio (Tunji Kasim); however, he jilts her at the altar when her name is sullied by an accusation of infidelity. With Beatrice and Benedict’s – and Hero and Claudio’s – unions both hanging in the balance, could it be that all hopes rest on hapless constable Dogberry (Nick Haverson) riding to the rescue?
Gripped in a fit of body spasms and crashing around the set, it feels as though he is perilously close to tumbling from the stage; Haverson gives every fibre of his being to the slapstick comedic stylings of Dogberry. Along with Lisa Dillon, his performance is a highlight among the sublime cast – assembled by Gabrielle Dawes and Helena Palmer.  
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Designer Simon Higlett has created a sumptuous Christmas card-style stage – rich, festive and twinkling. His team seamlessly interchange between the house and its grounds by virtue of a large sliding truck and the sub-stage trap. It’s as ingenious as it is beautiful – complemented by Melody Wood’s sumptuous period costumes that brilliantly encapsulate fashion on the cusp of the 1920s. 
This is the second time that composer Nigel Hess has scored the two plays for the RSC, but with exception of a couple of affection quotes, he has revisited them again with completely new music. To further explore the cohesion between the comedies, he uses musical cross-references between the two productions. It’s a triumph, with nuances that complement the on-stage gusto and frivolity to perfection. 
Christmas is a season of laughter and good cheer – and you will find both in these sparkling, immaculate productions by one of our nation’s greatest treasures: the Royal Shakespeare Company. 
Love’s Labour’s Lost and Much Ado About Nothing are on at Opera House Manchester until Saturday, 3 December.

Cinderella

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Cinderella at The Bolton Octagon

photo credit: Richard Davenport

Hats off to the Bolton Octagon for always trying to push the boundaries when it comes to their Christmas shows. From Alice in Wonderland to last year’s BFG the northern theatre has shunned the traditional panto and instead presented their audiences with contemporary productions to delight them over the festive season. You’d be forgiven for thinking they had changed tact this year with Cinderella being their production of choice for 2016 but, as ever with the Octagon, it has a clever twist!

Told through the eyes of five charismatic rats;  Whiskers (Alexander Bean), Claws (Alicia McKenzie), Teeth (Anne O’Riordan), Tail (Felicity Sparks) and Ears (Tomas Wolstenholme) this is a modern day version of the fairy-tale classic, jam-packed with live music and audience participation.

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photo credit: Richard Davenport

The show starts with the rats lamenting over the fact that Cinderella has left them to go and live a new life at the Palace. One by one the energetic rodents don costumes to take on different roles and explain just how Cinders went from rags to riches.

All five actors excel at creating some well-rounded characters but the leader of the pack has to be Anne O’Riordan who puts in a sparkling performance as Teeth. ‘Pocket rocket’ O’Riordan is delightful as she exudes cheekiness and has both the children and adults laughing along at her facial expressions and ‘dodgy’ dancing.

The cast of six is completed by Lucy Faint as Cinderella whose northern accent brings a down to earth charm to the role and she manages to make her both vulnerable and straight-talking. There’s some great moments when Faint journeys into the audience sitting next to them to sing a song, making the children’s jaws drop as a result.

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photo credit: Richard Davenport

Don’t be fooled by Ellen Nabarro’s set design, (which at first glance looks like a cluttered space filled with a centrepiece of musical instruments from piano to xylophone), everything used to dress the stage cleverly doubles up as a prop or a costume and can be returned back to the set when it’s finished with. The lighting is one of the true stars of this production though as the stage transforms into a magical space filled with hundreds of lightbulbs, topped off by a huge glitterball hanging from the ceiling and even lights in Cinders ballgown!

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photo credit: Richard Davenport

If you are looking for something a bit different this Christmas then look no further, the Bolton Octagon’s blown the cobwebs off an old fashioned fairy-tale and produced a great offering for all the family.

Cinderella runs at the Bolton Octagon until 14th January 2017

www.octagonbolton.co.uk

 

 

 

 

Hair The Musical

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Following on from the phenomenal success of Parade earlier this year, Hope Mill Theatre and Aria Entertainment have teamed up once again to bring to cult classic and perhaps the most iconic of all rock musicals Hair to Manchester.

Set in New York’s East Village in the 6o’s at a time when the counter culture of a freedom and peace loving youth was emerging, Hair remains as current and relevant today as it was back in 1967 when it burst onto the New York theatre scene with its message of love, peace and a rejection of conservative America, in particular the controversial Vietnam war. Through Hair we meet a tribe of hippies who passionately believe in a ‘Make Love, Not War’ way of life, turning their backs on the expectations of their families and society and creating their own free love and liberal environment in which to belong. At the heart of the story is Claude and his battle to resist his draft to the army, does he do as his friends have done and live the life he chooses or does he succumb to society’s expectations, rejecting his beliefs of pacifism and freedom by serving for his Country in Vietnam.

The intimate staging of Hope Mill Theatre is perfect for this innovative production. Bold, bright and brilliant Hair is an absolute triumph, each and every member of the cast is exceptional, from the opening number, the much loved Aquarius the cast draw you in and immediately you wish you were part of their tribe. Engaging and totally absorbing Director Jonathan O’Boyle and Choreographer William Whelton have guided this talented cast in the most delightful way, each individual member is given the opportunity to shine, showcasing their incredible talent and then together as an ensemble the impact of the cast as a whole is mesmerising. The staging perfectly sets the scene for this great production, upon entering you are immediately immersed into a colourful, safe and relaxed space, with blankets scattered about in a nod the the original productions be-in. Add to this a stunning score from Galt MacDermot delivered superbly by a small band of five led wonderfully by Musical Director Gareth Bretherton.

It seems almost unfair to single anyone out for special praise from this unbelievably talented tribe but Ryan Anderson – Berger, Liam Ross-Mills – Woof, Robert Metson – Claude, Laura Johnson – Sheila and Natalie Green – Mom deliver their roles with a passion thats so wonderful to see. Special mention must also go to Hope Mill Theatre owners Joseph Houston and William Whelton, their drive and determination to bring such quality and innovative theatre to Manchester must be commended, making theatre accessible and more affordable is hugely admirable and they are truly deserving of all the success that has come and no doubt will continue to come their way. The announcement of 2017’s musical theatre programme again in partnership with the wonderful Aria Entertainment has us counting down the days until their next opening night! (Yank! On 9th March in case you’re wondering!)

Hair is an absolute must see, a triumphant piece of theatre, uplifting, absorbing and beautifully symbolic, a timely reminder that love is way more powerful than hate, and ultimately we are all one tribe who really should just love each other.

Hair runs at Hope Mill Theatre until Saturday 3rd December, tickets available here;

http://hopemilltheatre.co.uk/events/hair/

George’s Marvellous Medicine

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Photo by Mark Douet

Since 1992 The Birmingham Stage Company have produced more Dahl shows than any other company in the world. Their recent hit shows have included Horrible Histories and the world premiere of Gangsta Granny by David Walliams. Now the company brings George’s Marvellous Medicine to audiences across the UK, stopping at Manchester’s Opera house for 5 dates, running until 19th November.

Olivier award-winning David Wood’s adaptation of this Ronald Dahl classic is perfect in every way, ensuring fans of the original book are not disappointed and children can happily join in reciting the many humorous lines at every stage of the production. Dubbed the ‘National children’s dramatist’ by The Times it is clear that the task of bringing Dahl’s eccentric characters to life is in very safe hands with Woods.

The story centres around likable lad George, played energetically here by Ed Thorpe, and his desire to turn his grumpy and mean Grandma into a much lovelier relative who treats him with love and showers him in kindness. There are some hilarious dream sequences which bring George’s inner thoughts to life and even see Grandma twerking!

Deborah Vale is Grandma and plays the role very much in the mould of 90s sitcom favourite Hyacinth Bucket. Not only is there a strong resemblance to Hyacinth but the likeness between George’s Mum and Grandma is uncanny until you realise it goes deeper than that – the actresses are actually identical twin sisters in real life – perfect casting!

The packed house of children and parents lap up the slapstick action as George is left alone to give Grandma her medicine and he systematically goes from room to room in the house filling a huge pan with crazy ingredients to replace it with his own special potion.

“Grandma, if you only knew what George has in store for you” is met with screams of delight and derision.

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Photo by Mark Douet

 

Grandma’s transformation is worth the price of a ticket alone as she gulps down George’s marvellous medicine and grows 30 foot tall in the blink of an eye. The children in the audience are amazed and enthralled at the sight, with wide eyes and open mouths as Grandma’s head crashes through the roof of the house. Hats off, or should we say roof’s off, to Jaqueline Trousdale who has designed a very clever set which enables the magic of this book to make an effortless transition from page to stage.

George’s Marvellous Medicine is everything a children’s show should be, with its eccentric humour and larger than life characters providing 90 minutes of non-stop entertainment for all the family.

George’s Marvellous Medicine runs at the Opera House, Manchester until Sat 19 Nov

www.atgtickets.com/manchester