Nothing but the Roof

NothingButTheRoof-HopeMill-2

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

The Return of The Soldier

Pic copyright Phil Tragen 28.08.18

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Writer Nikki Cotter

Based on the 1918 novella of the same name by Rebecca West, The Return of The Soldier is an emotive new British musical brought to atmospheric and achingly beautiful life in Hope Mill Theatre’s intimate space.

The fourth of this year’s five in-house musicals from the award-winning pairing of Hope Mill Theatre and Katy Lipson tells the story of a soldier returning from WWI who is suffering from memory loss, or as we now know it a symptom of PTSD. Rather than returning to the wife he no longer remembers he returns to his first love who now married herself has never quite forgotten the joyful days they shared. What follows is a tender and fascinating story as the pain of unexpressed emotion has far-reaching and heart-wrenching effects.

Pic copyright Phil Tragen 28.08.18

Tim Sanders’ beautifully crafted book and lyrics are delicately directed by Charlotte Westenra, paired with Charles Miller’s stunning score, The Return of The Soldier is quite simply, beautiful.

The simplicity of the piano and cello ensure this new chamber musical packs and emotional punch delivered in the most exquisitely affecting of ways, highlighted magnificently by Aaron J Dootson’s lighting design.

Chris Jenkins gives a commanding performance as returning soldier Christopher Baldry, lost in what he remembers as his idyllic past, he convincingly switches from harsh and abrasive in his confused present to playful and mellow in his reignited past, illustrating the complexity and tragedy of the effects of war perfectly.

Pic copyright Phil Tragen 28.08.18

Tessa Kadler impresses greatly as Chris’ forgotten wife Kitty, last seen at Hope Mill Theatre in Pippin, Kadler’s portrayal of a wife grieving for a husband who is still very much alive is both powerful and impassioned, her despair at the rejection she feels channelled into a determination to fix this desperately sad situation. Kadler sings beautifully with warmth and emotion, a contrast to her seemingly cold nature and a hint of what is to come.

Naomi Slights is perfectly cast as Margaret Grey, the working class first love of Captain Baldry. She delicately manoeuvres between being a loyal and committed wife to Mr Grey (Marc Pickering) and embracing the opportunity to feel alive again with Christopher Baldry. Her characterisation is impressively strong and draws you in entirely as she journeys from ecstatic highs to guilt ridden lows with just the right amount of measured energy for the demands of this complex and emotional role.

Pic copyright Phil Tragen 28.08.18

Marc Pickering gives a masterclass in acting in his character portrayals of both William Gray the loveable, dependable, safe, pickle-making husband of Margaret and Dr Gilbert Anderson the eccentric, highly animated and incredibly amusing Freudian-esque psychoanalyst, his performance as both characters is utterly joyful to watch.

Esme Sears shines in the role of Christopher’s dedicated cousin Jenny, the story dictates she is more an observer than a character who drives the story but her emotional connection to the other characters adds depths and richness to the emotion of this fascinating story in which she ultimately plays an important part. Sears portrayal is delicate and gently determined delivered with striking style.

Pic copyright Phil Tragen 28.08.18

The Return of The Soldier demonstrates perfectly how compelling quality storytelling can be, there is no need for flashy chorus numbers here as the superb acting, sublime score and delicate direction combine to create a cleverly constructed, tender and absorbing story. Kudos to producers Hope Mill Theatre, Aria Entertainment and Guy James Theatrical Ltd for once again bringing bold and inspiring new work to the forefront.

Full of heart and achingly beautiful, The Return of The Soldier is a simply stunning must-see.

The Return of The Soldier is on at Hope Mill Theatre until Saturday 29th September, tickets can be found here.

*Photo credits Phil Tragen

The Return of the Solider |Rehearsal Pics

Soldier 3

Rehearsal images have been released for The Return of the Soldier, the fourth in-house production of 2018 from the award-winning pairing of Joseph Houston and William Whelton, co-founders of Hope Mill Theatre and producer Katy Lipson, from Aria Entertainment. The successful trio who will be teaming up once again with producer Guy James.

The much anticipated musical, an adaptation of Rebecca West’s remarkable novella written at the end of World War One, with music by Charles Miller and a book & lyrics by Tim Sanders will open at the Ancoats venue on Thursday 6th September and run until Saturday 29th September before transferring to New Wolsey Theatre, Ipswich from Monday 1st until Saturday 8th October.

The talented cast will bring this compelling story of war to a whole new generation. The cast of five is made up of Chris Jenkins (tick, tick…BOOM! and Billy Elliot the Musical) will play Christopher, Tessa Kadler (Pippin, Carousel) as Kitty, Marc Pickering (HBO’s Boardwalk Empire and Universal Pictures’ Les Misérables) as William/ Dr Anderson, Esme Sears (A Little Night Music, Parade) will play Jenny and Naomi Slights (Priscilla, Queen of the Desert, Mamma Mia!) takes on the role of Margaret.

Set in Harrow during the summer of 1916, The Return of the Soldier is an intensely bitter-sweet tale, dissecting the very different love of three women for one man. When Christopher returns from the front, shell-shocked and with memory loss, there are profound consequences for all three women and their love. In the end, only an extraordinary sacrifice will restore the fragile status quo.

Soldier

The Return of the Solder will be directed by Charlotte Westenra, musical direction by Daniel Jarvis, choreography by Matthew Cole, lighting design by Aaron J Dootson, sound design by Findlay Claydon, set and costume design by Simon Anthony Wells/Leah Sams with casting by Jane Deitch.

Tickets for The Return of the Soldier are available here.

 

The Pride | Cast Announced

Pride 3

‘It was the first time, when we were together; when we were embracing that I felt that I had a pride. A pride for the person I was.’

Ahead of starting rehearsals next month, Green Carnation Company has announced their cast for Alexi Kaye Campbell’s powerful debut production, The Pride which will open at Hope Mill Theatre on Tuesday 16th October.

Pride

Simon Hallman plays Oliver, in the 1950s portrayed as a quietly confident gay writer paralleled by his modern day counterpart who is a self-destructive whirlwind of casual sex and witty one-liners. Gareth George plays Philip who in both time periods plays the object of Oliver’s affection, both as an adulterous husband in the 1950s and as his boyfriend in the modern day. Joanna Leese plays Sylvia, who in both time periods is fated to always introduce Oliver and Philip to each other, but longs for her own freedom and independence. Joining the trio is Alex Thompson whose multiple roles include a comic rent boy with a taste for dominance, a laddish sports editor and a psychiatrist.

Switching between alternate timelines of 1958 and 2008, The Pride follows a love triangle between three characters and the different routes their lives could take, dependent on the decade they were born in.

Deeply moving and with a razor sharp-wit, this debut piece from Alexi Kaye Campbell examines changing attitudes to sexuality, looking at intimacy, identity and the courage it takes to be who you really are, celebrating the ideals of gay pride and challenging ideas of shame and the worth we put on ourselves.

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Director Dan Jarvis says “As we move past the anniversary for the decriminalisation of homosexuality in England and Wales, the relevance of this phenomenal play seems more striking than ever. Whether they inhabit the 1950s or modern day, these characters are so human and identifiable and are all searching for a way out of loneliness. Their need to find a connection that allows them to feel pride in themselves is something we can all relate to.”

The production will also work with recent LIPA design graduates Frankie Gerrard and Joe Roberts to create a shifting, ethereal, colour-saturated production that pays homage to the subtly queer cinema of Todd Haynes and Tom Ford.

It is directed by North West Theatre Director Dan Jarvis, and produced by Associate director Dan Ellis.

The Pride runs at Hope Mill Theatre from Tue 16 – Sat 20 October tickets available here.

Closets

Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Nikki Cotter

Written by Lloyd Eyre-Morgan and Neil Ely, Closets is an emotive and colourfully courageous journey of self-discovery, strength and celebration.

It’s 1988 and 16 year old Henry (Sam Redford) is struggling to express freely who he is for fear of his bolshy Mum’s (Hayley Tamaddon) refusal to accept his sexuality. In a desperate bid to disappear and escape the daily battles Henry steps inside his closet, travelling forward in time to the very same bedroom 20 years later where he finds shy, tormented Ben (Lloyd Daniels). The year may be different but the difficulties are the same. So begins a coming-of-age journey of exploration as Hope Mill Theatre becomes the scene of the 1969 Stone Wall Riots, Ben’s school toilets and modern day Manchester as the boys travel through time experiencing life defining moments along the way.

Closets is a cleverly constructed, deeply emotive and heart-warmingly joyful piece of theatre. The story touches on many relatable themes such as bullying, suicide and first love as we are swept along on a rollercoaster on emotions. The lovingly crafted script focusses not only on challenges faced by the LGBTQ+ community but examines changing attitudes across the years in an honest and relatable way.

Sam Retford is exceptional as Henry, hard to believe this is his musical debut; his performance is confident and assured, engaging the audience entirely. Complementing Retford perfectly is X-Factor’s Lloyd Daniels, as the quiet but tormented Ben whose heartfelt delivery of Neil Ely, Lloyd Eyre-Morgan and Jack Bennetts lyrics packs an emotional punch.

Hayley Tammerdon shines as Henry’s Mum Susan, confused and angry she gives an honest & engaging portrayal of a mother who is ultimately scared of losing her son. Adding many delightful slices of humour is the sensational Sophie Ellicott, she brings genuine wit and laugh out loud joy to the production, her delivery of Protection is a real highlight of the show.

Special mention must also go to powerhouse Kim Tatum, her soulful delivery and witty one-lines add further depth and poignancy to the story.

Ashley M A Walsh’s score creates the perfect soundtrack to this relevant and thought-provoking journey through both hostile and happy times. The 13 original songs ranging from up beat pop numbers to contemporary ballads evoke the sounds of the 80’s perfectly. While Joseph Thomas perfectly lights William Whelton’s punchy choreography.

Closets strikes the perfect balance, delivering both humour and powerful drama, highs are beautifully woven into emotion lows ensuring the story is told with sensitivity and real heart. There is little to criticise here, a quickening up of a couple of scene changes and some tightening tweaks here and there would very quickly take this already brilliant show to the next level, but none of this affects your enjoyment of this uplifting piece of theatre in which the message of love and loving freely is strong, powerful and perfectly judged.

Closets is on at Hope Mill Theatre until Thursday 23rd August, tickets available here.

Interview | Jonathan O’Boyle | Aspects of Love

With music by Andrew Lloyd Webber and lyrics by Don Black and Charles Hart, Aspects of Love has been wowing audiences at Manchester’s Hope Mill Theatre. Now as it approaches its final week of performances we caught up with Director Jonathan O’Boyle to hear a little more about his experience directing his third production at the award-winning Ancoats theatre.

Opening Night: How familiar with Aspects of Love were you before joining this production? Is it a show you’ve always wanted to work on?

Jonathan O’Boyle: I’ve always loved the score of Aspects, but I’ve never seen it on stage. I grew up listening to mix tapes of musicals, several being Andrew Lloyd Webber compilations. So invariably Love Changes Everything was on there. I grew up seeing his work and when I trained as an actor, I wanted desperately to be in one of his shows. Now, as a director, it’s an honour to be working on one of his shows. Aspects has a fantastic story and a brilliant score. To me, it’s his most narrative, actor driven show and this really appealed to me. We treated it like a play, where the characters just happened to be singing rather than speaking.

ON: How do you approach directing a new and reimagined production of a classic show like Aspects of Love?

Jonathan: I wanted it to be intimate. Now, I know everyone always says ‘intimate and stripped back’ but that’s really what I wanted and how I saw the show. The audience at the Hope Mill is so close to the action they can touch the actors. This influenced the design. I wanted the audience to be on stage with actors. Many of the locations in Aspects happen to be in cafes, so we decided to have a couple of the front rows of seats at cafe tables as if they were part of the action.

We then approached the rehearsals as if we were working on a play. We looked at character, character backstories, timelines and what the characters wanted and how they went about achieving this. This really deepened the actors connection to the material.

ON: Did the intimate space the production would be presented in play a major part in your directing decisions?

Jonathan: Absolutely. You have to respond to the space you’re directing in, and the Hope Mill is a very specific space with its own unique challenges. I think about the space at every stage of the process, from the casting to the design to the lighting rig to the sound design. Every choice I make has to be for the theatre.

ON: The reviews have been absolutely phenomenal, people are really responding to the show, this must be very gratifying to the cast and creative team?

Jonathan: It’s been incredible yes. We’re all thrilled with how it’s gone down. I’m so proud of the brilliant cast and creative team. We had a joyous rehearsal process (one of my favourite so far) and we said – if no one gets it, at least we had a great time rehearsing it! Thankfully, the audiences are responding to it in the way I’d hoped. I’m in constant awe of the cast and their talent.

We never presume it’s going to be good. In fact, I never know what the audiences are going to make of it or how it’s going to be received until we get an audience in the room. I trust my instinct and hope it resonates with people.

ON: This is your third production at Hope Mill Theatre – what makes this space/team so appealing to direct in?

Jonathan: I love the theatre and the team there. They’re all so welcoming and it’s always a pleasure being back. I’m from Derbyshire myself but my parents grew up in Salford and Rochdale, so I’ve been going to Manchester all my life. I love the vibe and the people there, so Manchester feels like my second home.

ON: Your previous shows at Hope Mill – Hair and Pippin – have both transferred to London. How much of a challenge was restaging them for London? Do you have a favourite of the three?

Jonathan: It is challenging re-staging for a different venue, primarily because the space is never the same and there are often idiosyncrasies that pop up here and there. What’s so brilliant though, is revisiting the material with the company and developing the show even further. You’re able to improve on things from the first time and the actors often find a deeper connection with the show and their characters.

They’re all so different! They had different challenges and were very different in tone. It’s hard to pick between them because I loved all three companies.

ON: What’s next for you?

Jonathan: I’m currently directing the UK Tour of Rain Man starring Mathew Horne and Ed Speleers. Then later in the year I’ll be directing the UK premiere of Ken Urban’s A Guide for the Homesick at Trafalgar Studios and Peter Pan at The Park this Christmas.

Catch Aspects of Love at Hope Mill Theatre until 9th August tickets available here.

Aspects of Love

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

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ON at Hope Mill Theatre until