drama

Cat on a Hot Tin Roof

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️1/2

Last year, the Royal Exchange had for its autumn offering of Tennessee Williams’ The Glass Menagerie, (it was originally scheduled for the stage in 2020 but was temporarily shelved due to Covid-19). The production garnered huge commercial and critical success. Hoping that lighting will strike twice, the Royal Exchange has once again turned to the great American playwright to kick off their spring programme with another Williams’ classic, Cat on a Hot Tin Roof.

Set over the course of one evening, the Pollit family has gathered at the huge family estate for their patriarch, Big Daddy’s (Patrick Robinson) double celebrations. First of all, it’s his 65th birthday, and secondly Big Daddy has received the news that he is cancer free following a health scare. However, the event isn’t the joyous affair one might expect.

First of all you have Big Daddy’s youngest son, Brick (Bayo Gbadamosi) a retired American Football star, who has recently injured his leg in an athletics accident, hobbling around on crutches.  This is the least of his worries, for he has descended into alcoholism following the death of his close friend Skipper. Adding to his woes is his wife Maggie, (Ntombizoda Ndlovu). With the pair trapped in a loveless, sexless marriage, with Maggie desperate to reignite the flames of passion and restore the marriage to its former glory, and hopefully produce a child.

Other attendees at the party are Brick’s older, ambitious brother Gooper (Daniel Ward), his scheming wife, Mae (Danielle Henry), and their five children or “no necks” as they are comically referred to throughout. The final family member is Big Mama (Jacqui Dubois), Big Daddy’s wife, who is trying to hold the family together unaware that her overbearing nature is doing more harm than good.

This play follows a three-act structure, with the first undoubtedly belonging to Ntombizoda Ndlovu, as Maggie.  She dives headfirst into Willams’ script with many, many monologues highlighting the troubles between her and Brick, and foreshadowing the drama that is about to unfold. It’s a mesmerising performance filled with heartbreak and humour, and one that will quite rightly earn Ntombizoda a great deal of plaudits.

The second act sees a standoff between Brick and Big Daddy, with a sombre, beautifully understated turn from Bayo Gbadamosi, going up against, powerhouse performance from Patrick Robinson, as the straight-talking father, ready to right his wrongs, for better or worse, now he has a new lease of life. Robinson, delivers some brutal dialogue with so much charisma, that you almost, (and I do stress almost ) side with Big Daddy.

The final act sees all the players gather for a restrained, darkly comedic showdown, which sees grievances aired and issues come to the fore. It may not be the big set-to, you would expect, the rather toned down conclusion is no less satisfying.

The production is not without flaws, the script is a seemingly never-ending torrent of monologues, which repeat the same thing over again, as Talking Heads said in the song Psycho Killer, “Say something once, why say it again?”. Whilst the play does offer an interesting take on mortality, grief, and wasted life to name but a few it certainly takes a long time making its point, some of Williams’ self-indulgent tendencies could do with a bloody good trim.

Director Roy Alexander Weise has done a fine job creating a claustrophobic environment for which this toxic group thrive in, as you would expect it’s a dramatic piece that never strays into melodrama and has more darkly comic humour than I certainly expected.

At over three hours long it’s a challenging watch, but one that rewards with enjoyable performances and some stringing lines of dialogue.

Cat on a Hot Tin Roof is on at the Royal exchange till 29th April, tickets available here.

Vignettes

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

Following a hugely successful run back in February of 2020, HER Productions in conjunction with Alex Keenlan, return to Hope Mill Theatre with a new set of Vignettes: a series of short plays from some of Manchester’s finest writers.

With six stories showcased, there is something for everyone, from family drama to sci-fi, kitchen sink to sitcom, all sharing the common theme of humanity. All have something to say about the world we live in.

It’s a smart choice to open with Fresh Meat: a sharp, fun story of empowerment as Abbi (Carrie Crookall) takes the plunge to visit a strip club, where she meets sassy dancer Frankie (Shireen Ashton). Despite their initial difference, the two ladies have more in common than they think. The script is packed with some punchy dialogue and two really fun performances.

The next offering  is Wildfires, a story looking at discovery and being out of your comfort zone. Niamh (Amy Gavin) reluctantly joins a retreat in the hope of making new friends and seeking out some answers, but things don’t quite pan out as they should. Again, a sharp, witty script with some solid work from the ensemble cast.

Closing the first act is XYV, a dystopian science fiction drama, which explores themes of gender, power, and the consequences of our actions. Performed by Elaine McNicol and Emily Dowson, with terrific sound design from Andrew Glassford, this bold, daring piece attempts to pack a great deal into its short running time.

First up following the interval is To Have and to Hold, a beautifully written, directed and performed piece focusing on the relationship between Ange (Joanne Heywood) and Barry (Shaun Hennessy), a pair of championship winning ballroom dancers stopped from doing the thing they love by an oh so familiar enemy. Containing some great gags and more laugh-out-loud one-liners, this is the perfect way to start act two.

The penultimate offering is, It’s a Pea Picking Privilege, a bitter sweet slice of social realism, as Aggie (Sophie Ellicott) and her daughter, Alice (Carla Rowe) discuss identity, and life’s struggles in a not-too-distant past. With a script filled with humour and pathos, it certainly leaves you wanting to learn more about this fractured mother and daughter unit.

The show closes with Signs, a look at loss, grief and forgiveness. Spiritualist Eileen (Wendy Albiston) works with sisters Amanda (Francesca White) and Jess ( Liz Simmonds) as they both deal with their sister’s illness in very different ways. Packed with emotion and a sprinkling of humour, this dark comedy seems the fitting finale to bring the production to a close.

Vignettes will have something for everyone, containing a tale or two that we can all relate to and a timely reminder that whilst live entertainment has been decimated throughout this pandemic, there are still stories to be told, with talented creative’s ready to tell them by whatever means they can.  

Vignettes is on at Hope Mill Theatre till 3rd July

Tickets available from: https://hopemilltheatre.co.uk/events/vignettes

C.O.N.T.A.C.T

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📷 Phil Tragen

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest


Over the last 14 months many of us have had a great deal of time to take stock and reflect on the world around us, so wouldn’t it be exciting to enter the head space of someone different for a short while, and become immersed in their world.

Well for 50 minutes you can, with the unique production of C.O.N.T.A.C.T brought to audiences by Aria Entertainment, WEF Productions and The Lowry, staged either at Media City and/or a Manchester City Centre.

We were told prior to the event to meet near the tram stop at Media City and to bring a brolly: this after all is Salford where the city and grey sky fit like hand in glove. In addition we were asked to download the C.O.N.T.A.C.T app for your smartphone of choice and to bring a set of earphones.

📷 Phil Tragen

We are soon introduced to Sarah (Chloe Gentles), a young women with a lot going on in her head: from the uncomfortable fitting of her bra to the odd feeling in the pit of her stomach, all the while taking in the sounds of the city, lost in her own little bubble.

However her world is soon turned on it’s head with the introduction of Raphael (Cellan Scott), a mysterious stranger who knows more about Sarah then she knows about herself.

Sarah and Raphael soon begin a journey of discovery and reflection which will change Sarah forever.

C.O.N.T.A.C.T was first performed in Paris at the height of the pandemic, moving to London last summer and garnering huge praise for it’s bold, innovative attempt to stage live theatre. After all we can’t order a drink without an app, so why shouldn’t we enjoy theatre in the same way?

📷 Phil Tragen

Both Gentles and Scott do not utter a world throughout, with both giving visual, expressive performances whilst their dialogue is drip fed into our conscious’ via the app. The two actors performances, in conjunction with the highly impressive 3-D sound design allow you to switch off and become totally immersed in Sarah’s world, so much so that as we strolled around the grounds of the Blue Peter Garden I became aware that I was part of the production, as baffled on lookers watched a group of people with headphones observing two others have a silent but very heated debate.

This unique, production is the perfect reminder of how much we need human connection and the importance of looking after not only ourselves but also looking out for others. No matter what challenges we may face, there can always be a solution found.

C.O.N.T.A.CT is on in Manchester and at Media city until the 27thJune. Tickets available at: https://thelowry.com/whats-on/contact-salford-quays/

Ghost Stories

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Finally, a decade after it’s theatrical premiere at Liverpool’s Playhouse Theatre, Ghost Stories is embarking on a full national tour, and trust me it was well worth the wait!

From the twisted minds of childhood friends Jeremy Dyson and Andy Nyman, comes the ultimate scary theatrical experience, that will chill to your core.

Both Dyson and Nyman are no strangers to horror and the supernatural: Dyson is arguably best known for his work with, The League of Gentleman. Whilst Nyman is an actor and writer, who recently starred opposite Renée Zellweger in the Oscar winning film Judy. However, it’s his previous work with Derren Brown, which undoubtedly feeds into this production.

It would do the show a disservice to offer a review complete with plot synopsis and spoilers, the less you know going in beforehand the better. So, this review like a government investigation into Russian donors to the Conservative Party will be heavily redacted.

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Beginning with a lecture from Professor Goodman (Joshua Higgott), Goodman specialises in the study of the supernatural, especially debunking people’s stories, or exposing fakers and frauds. However, of all the cases that he has investigated there have been three that have stuck with him.

The first is that of security guard, Tony Matthews (Paul Hawkyard), and his unsettling final shift. The second is that of teenager, Simon Rifkind (Gus Gordon) and the strife his troublesome car gets him into. Finally, businessman, Mike Priddle (Richard Sutton) and the events that lead up to a family tragedy.

Can Professor Goodman offer up a rational explanation behind each of these stories, if so what can be?

If the aim of Ghost Stories is to have you jumping out of your skin then it achieves its goal ten times over, like a rollercoaster the thrills come thick and fast, just when you think you’re safe there’s another scare right around the corner. It’s not all shocks, there are several laughs too, with a pitch-black script and lots of fun gags, horror and comedy have often made strange bed fellows, Ghost Stories undoubtedly have got the balance spot on.

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With a production of this nature it of course relies hugely on its creative team and high production values and what they have created is something quite special. With James Farncombe’s lighting design, sound design by Nick Manning, then add into the mix Jon Bausor’s impressive set design and you have an atmospheric, gasp-inducing full-on sensory experience.

The cast are on fine form, Higgot has an engaging stage presence as our guide to the paranormal, whilst the three storytellers each bring something different to their tale. There’s comedy, drama, and terror from each turn but all done very differently, which is a credit to all three actors as well the sublime writing and direction.

This is so much more than a fright-fest: it’s smart, innovative and most of all an enormously fun piece of theatre that pulls out all the stops to give you a night out that will live long in the memory.

Ghost Stories is at the Lowry until the 22nd February 2020 tickets available here.

 

 

 

The Last Quiz Night On Earth

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

If it were your last night on earth, how would you spend it? Surely, with friends, family, neighbours maybe even complete strangers? How about with all of these whilst participating in a pub quiz? A pub quiz probably wouldn’t be your first thought when faced with your imminent doom, but The Last Quiz Night on Earth may just change your mind!

With an asteroid hurtling towards the earth, and all hope gone, landlady Kathy (Meriel Schofield), and quizmaster, Rav (Shaban Dar) decide the best way to go out is by throwing a quiz and we’re all invited. However, with the pending apocalypse, it’s inevitable that the night won’t run smoothly and the arrival of Kathy’s estranged brother, Bobby (Chris Jack), as well as of Rav’s ex-childhood sweetheart, Fran (Amy Drake) throw a spanner in the works. Will the sibling rivalry and matters of the heart get in the way of the sports round? Will we crown a quiz champion before our untimely demise and just which team will have the best name?

Writer Alison Carr and director Hannah Tyrrell-Pinder have created a fun, innovative slice of a theatre, packed full of comedic set pieces, great one liner and a pinch of high drama. In its rather unique setting the play tackles issues such as redemption, forgiveness, and tolerance. However, there is an extra dimension  to the performance, as it’s fully interactive, the quiz is real, so you’ll need a quiz team, think of a witty team name (my personal favourite this evening was Salford Analytica) and you may even be called on for a bit of audience participation, you could end up playing Paul, Kathy’s no good ex!

The cast are on fine form, Schofield is the show’s heart and soul, holding the production together, Dar injects some razzmatazz and sparkle as our quiz master general, with Drake showing  a gift for comedy and Jack adding a touch of intrigue and pathos as Bobby. All four have great chemistry and with one another, and because of the interactive nature, adlib and bounce off the audience and get them involved whilst staying tight to the script.

Some of the more interactive elements can prove a bit tricky, as it’s staged in a real pub, depending on where you sit it, you can miss some of what’s going on. With this being a quiz, the competitive aspect can grip some audience members and cause a distraction from the action, it does give the show an air of authenticity but can frustrate in places.

Sound designer Chris James adds depth to proceedings with an apocalyptic sound scape, that includes a War of the World inspired radio broadcast. In addition, there is a tongue-and cheek soundtrack featuring the likes of REM, Europe, and Lisa Stansfield that will raise a smile throughout.

The show resembles an episode of a sitcom, more than it does a piece of theatre, which is meant as compliment, The Last Quiz Night On Earth is a fun, entertaining night out, which makes you wish you had more time with Kathy and the gang, but sadly the giant rock hurtling towards you the Earth has other plans. So, enjoy their company whilst you can! Ps Sue Pollard, if you go, you’ll know.

The Last Quiz Night on Earth is on at The Welcome Inn before touring until 11th April. Tickets available here.

 

 

 

 

 

 

 

Letter To Boddah

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In the song Hey, Hey, My My (Out of the Blue) Godfather of grunge Neil Young muses the statement: “It’s better to burn out, than to fade away”.  Sadly, this was a question posed in Kurt Cobain’s suicide letter, tragically titled Letter to Boddah.

Writer Sarah Nelson has used this desperately heart-breaking event as the inspiration behind her play, also titled Letter to Boddah. Set entirely in the disabled toilet of a Tesco store, we find childhood friends Billy (Sam Glen) and Neil (Jordan Reece): the pair are dressed in full military combats, armed to the teeth and carrying a ruck sack packed full of explosives ready to blow up the supermarket, its customers, and if necessary themselves.  What has brought these two to this point? Is there any going back for the pair?

Nelson has written a pitch-black comedy drama which explores themes of friendship, grief, domestic abuse and lost potential. Taking a setting more associated with that of a British ‘sitcom’, we are treated to some razor-sharp one-liners and darkly comedic dialogue, mixed with moments of heartbreak, as well as a few twists that will have you on the edge of your seat.

Both leads are excellent. Sam Glen puts in an intense, gut-wrenching turn as grief-stricken Billy, whilst Jordan Reece plays Neil to perfection, striking the right balance between comedy sidekick and unhinged psychopath.  The chemistry between the two is outstanding and fully believable, which makes their actions seem all the more desperate. The two manage to captivate and entirely hold your attention throughout.

This is an important production that addresses issues of male depression and suicide, as well as containing strong political themes of globalisation, and commentary on a lost generation without a voice. Powerful, dark, shocking and packed full of humour, with a finale filled with tension. This is an outstanding piece of work that deserves to be seen by as many people as possible, and on the strength of the quality on display tonight, will surely find an audience.

Letter to Boddha is on at the Edinburgh Fringe throughout August at C CUBED (Venue 50) daily at 1:15pm tickets available here.

 

Rotterdam

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Every once in while a play comes along that really strikes the right chord, one that you would encourage as many people as possible to go and see, writer Jon Brittain’s Rotterdam is that play!

First performed in 2015, this Olivier Award winning play offers an honest, raw portrayal of gender dysphoria and the impact that it can have not just on the individual but their loved ones as well.

Set in the Dutch city of Rotterdam, a vibrant port town where people come and go as much as the cargo that passes through its docks; however, this isn’t the case for Alice (Rebecca Banatvala) and her partner Fiona (Lucy Jane Parkinson).

The pair have been living there for seven years now, with both trying to come to terms with who they are. It’s New Years Eve and Alice has finally decided to come out as gay to her parents, with much encouragement from Fiona. However, before Alice undertakes this brave step, Fiona also has a confession to make that she wishes to be recognised as a man and would like to be called Adrian from now on.

This revelation has a huge impact on the pair and their relationship as Adrian seeks acknowledgement from a world that he sees will not accept him as a man, whilst Alice questions her own sexuality. Through their journey of discovery, the pair are supported by Lelani, (Stella Taylor) Alice’s free-spirited work colleague, who has more than friendship on her mind as it pertains to Alice. Making up the quartet, is Josh (Paul Heath) Fiona/Adrian’s brother who is also the former boyfriend of Alice.

This could so easily fall into a ‘preachy’ message driven play about transgender issues, instead focusing on the impact Adrian’s decision to transition impacts on those around him. The script handles its subject intelligently and sensitively, whilst pulling no punches. There are moments of levity throughout with some sharp, funny throw away lines.

The cast under Donnacadh O’ Brian, skilful direction are superb, with Parkinson giving a raw at times feral turn as Adrian: filled with conflict and heartbreak. Whilst Banatvala is also outstanding giving a more restrained but no less gut-wrenching turn as Alice. Both Taylor and Heath are on good form in their supporting roles, with the pair turning in great comedic performances, demonstrating a gift for timing and delivery.

There are some plot contrivances that test plausibility, such as Josh’s decision to stick around despite losing the women he loves to his sibling, but this is a minor quibble on what is a weighty, heartfelt, powerful piece of theatre that will make you laugh and may even cause you to get the odd bit of sand in your eye too.

Transgender issues despite having some media coverage are still hugely unrepresented. Productions like Rotterdam are much needed and important to help educate and hopefully create more positive conversations. This however is not the shows key drawing power, that comes because it is a beautifully told story about the struggles of relationships and real life that will resonate with us all.

Rotterdam is at the Manchester Opera House till 15th June. Tickets available here.

 

 

 

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The Mousetrap

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The Mousetrap,

The Mousetrap: The Lyric Theatre, The Lowry.

Reviewed by Matt Forrest

Reviewed13/05/19

Opening Night star rating: ****

About 25 years back I was watching a TV programme staring Paul Kaye as comic creation Dennis Pennis, a rogue TV presenter who pranked the great and good of the 90’s celebrity world. It wasn’t just famous people who Pennis targeted, but everyday folk too. On one occasion he accosted some old ladies as they were about to see The Mousetrap and committed the cardinal sin of revealing who the killer was!  As a teenager it was hilarious, if slightly mean spirited yet little did I realise that many years later I’d be going to see probably the world’s most famous “whodunit” already knowing the ending. (Shame on you Paul Kaye).

You see despite a near 70 year run and smashing a whole host of records, Agatha Christie’s The Mousetrap has one of the best kept secrets in theatreland. The fact that it still has the ability to shock and surprise in the modern world shows just how revered the play is and on the basis of tonight’s production it’s easy to see why.

It begins at Monkswell Manor, a converted guest house in the country ran by a young couple, Mollie and Giles Ralston (Harriet Hare and Nick Biadon). They are preparing for the arrival of their first guests to the house, but a nasty snowstorm is hampering their preparations. At the very start of the performance we hear the news through the radio that a woman named Maureen Lyon has been murdered in London. This broadcast is repeated as the guests been to arrive: who include Major Metcalf (John Griffiths), a mischievous architect named  Christopher Wren (Lewis Chandler), a no nonsense battle-axe of a women in Mrs Boyle (Gwyneth Strong), the private and guarded Miss Casewell (Saskia Vagncourt-Strallen), and finally the Mr Paravicini (David Alcock) a mysterious traveller who is caught up in the snow storm.

As the weather worsens word reaches the house that the police are sending an officer, a Sergeant Trotter (Geoff Arnold). When Trotter arrives, he explains that there is a link between the recently diseased Mrs Lyons and Monkswell Manor, his theory is later proven when one of the guests is strangled. The big question is will Trotter be able to solve the mystery before the killer strikes again?

The Mousetrap,

What instantly strikes you about this production is just how much fun it is and that’s down to the direction of Gareth Armstrong: he allows the cast to play it straight when required but also to poke fun at the genre, never really taking itself too seriously. The ensemble cast are superb, traversing the tightrope between ‘hamming it up’ and paying respect to this well-established theatrical institution.

As one might expect with an Agatha Christie, the script is littered with clues, red herrings and the key element of suspense that will keep you guessing throughout. There is some rather clunky and at times dated dialogue which the cast play for laughs, albeit with dead pan seriousness, which again only adds the enjoyment.

Because the murder mystery genre is one, we are so familiar with, it’s easy to forget that Christie is arguably the main reason we know its troupes so well, however director Gareth Armstrong has manged to keep it fresh, entertaining and certainly well worth catching. Despite knowing the identity of the villain, it still managed to come as a surprise which is of course down to Christie’s criminal mind. Based on this production The Mousetrap still has plenty of life in the old girl yet, unlike the late Mrs Lyons!

The Mousetrap is on at the Lyric Theatre, the Lowry till 18th May. Tickets available here:

https://thelowry.com/whats-on/the-mousetrap/

 

 

 

 

Punk Rock

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Salford Uni

Reviewed by Matt Forrest

Opening Night verdict 2.5 Stars

Based in Salford, the Almost Theatre Company have given a platform to some super talented young actors, writers, directors and back stage crews. They have a diverse back catalogue of shows that include Rent, Sweeny Todd and Dr Faustus. Clearly, this is a company willing to take risks, and this trend is continued with their latest offering Punk Rock.

Set in the Library of a six-form college in Stockport, we are introduced to six students: some are friends, some are foes, but all have their problems. There is new girl Lilly (Verity Lynn-Williams), struggling to find her feet at a new school, her shy boyfriend (Neil Boardman) and his friend Bennett (Josh Bratherton), a bully and borderline psychopath. Then there is Cissy (Georgia Davis), Bennett’s girlfriend who is feeling the pressure from her parents to get good grades and her best friend Tanya (Charlotte McClintock), who has a crush on one of her teachers. The final pair is Chadwick (Joel Conlon), a loner but academically gifted and William (Chris Woods), the joker filled with hopes and dreams, but desperate for acceptance.

We see the class mates converse with each other, their interactions mainly having a negative impact on each of them, their circumstances and their mental health. Inevitably the constant struggle and torment that each member of the group are going through leads one of them to snap, which has devastating consequences for all concerned.

Punk Rock offers somewhat of a mixed bag; it’s a bold, unflinching play that attempts to address some of the mental health issues affecting young people today, and for that it should be commended. The cast are strong, with each one putting in decent turns as the troubled troupe. Occasionally some cast members do go slightly over-the-top in their performances and more must be made of the subtleties and nuisances of their characters for the play to have more impact. All seven-cast members (Patrick Cerra plays two supporting roles) are clearly talented and have a bright future ahead of them.

Where the production suffers is in its tone. It doesn’t get that balance between comedy and drama right. If it wants to be taken as a serious piece of theatre, then it needs to lose the jokey introduction, and decide what you want the audience to take away from the show. The script needs to be tighter as some of the dialogue is on the clunky side.

Overall, this production has good intentions and certainly deserves an audience. It is a shining example of just how much the Almost Famous Theatre Company has at their disposal.

Punk Rock is at Salford Universality Media City Campus until Saturday 9th February

 

 

Nothing but the Roof

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Opening Night verdict ⭐️⭐️⭐️

Reviewer: Matt Forrest

Writer: Adam Colclough

Director: Adam Colclough

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

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

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

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

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

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

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

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

Love from a Stranger

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Stranger 1

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

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

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

Stranger 2

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

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

Stranger 3

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

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

Stranger

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

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

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

Hope Studios

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1 Photo Credit Shay Rowan

MEET, REHEARSE, CREATE

An new and exciting addition to the city opens its door for business this month! Hope Studios comes from a collaboration between the award-winning Hope Mill Theatre, Play With Fire Productions and Aria Entertainment. The new independent rehearsal workspace based will be based in the Northern Quarter and will be open to performing arts, television and production companies based in the city, or visiting Manchester from across the country.

Located on Newton Street, Hope Studios takes over the first floor of Marlsboro House, the building that used to be home to Sunshine Dance Studios, and will offer up to six studio spaces with accessible prices. With the growing number of theatre, television and dance companies relocating and visiting Manchester every year, the team found that there was a gap in the market for affordable rehearsal spaces.

8Photo Credit Shay Rowan

Drawing on years of experience, Hope Studios understands the needs of rehearsing companies, and the team has created a collaborative and creative space, incorporating Play With Fire’s extensive Play Library for actors to borrow scripts for rehearsal or simply reading in the comfortable communal area. It plans to become a community and networking space for the performance sector, and offer development support.

Joseph Houston, Artistic Director of Hope Mill Theatre and partner of Hope Studios said: “There is such need for studio space like this in the city as the rising number of creatives making work in Manchester is at an all time high.”  He goes on to say: “It is an extremely exciting time in Manchester for the theatre industry. Artists are realising this is the place to be and we hope that Hope Studios meets a much needed requirement for quality, accessible rehearsal studios for people to create their work.” He added: “We are thrilled to be partnering up with Hannah and Dan from Play With Fire Productions, an incredibly exciting company that has staged two major productions at Hope Mill, and Katy Lipson of Aria Entertainment, who has been our in house producer at Hope Mill since we opened last year and has collaborated on all the musicals.”

13 Photo Credit Shay Rowan

Katy Lipson from Aria Entertainment comments: “I am proud to not only be resident producer of Hope Mill Theatre but now a third partner in this fantastic venture in Manchester’s Northern Quarter; A hub of creative individuals and companies working under one roof is just what Manchester needs and I am thrilled to be part of it.”

Hannah Ellis from Play With Fire Productions and partner of Hope Studios comments: “We are so proud and excited to be working with Hope Mill and Aria to offer these studios. As a producing body for the last four years, finding rehearsal space is often the most stressful element of any project. This is a worthy and vital new project; filling an important gap in the Manchester creative scene. We want Hope Studios to be a thriving hub of creativity, with not just rehearsal space, but also community areas, a marketing aid, lessons, collaborations and much more.”

7 Photo Credit Shay Rowan

Hope Studios will be officially available for bookings in March 2017 through their website www.hopestudios.co.uk

Address: 52 Newton Street, M1 1ED