MAME

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In the same week they celebrate their 4th birthday Hope Mill Theatre open their biggest and most ambitious show to date. Tony award-winning Broadway musical Mame hasn’t been seen in the UK since it’s original 1969 West End production starring the late, great Ginger Rodgers, but Hope Mill Theatre and Aria Entertainment don’t do things by halves. Teaming up with Ray Rackham Theatrical collectively they have created quite simply their most impressive and jaw-droppingly brilliant production since opening their doors in 2014.

Beginning in 1920’s New York City Mame Dennis really is the belle of every ball. Life truly is a banquet for Mame and her party loving friends so when her deceased brother’s 10 year old son Patrick is thrust into her care you may think the party may be over but then you haven’t met the magnificent Mame.

Even when she loses her fortune in the Wall St crash she perseveres with irrepressible positivity and her own unique sense of style, whoever let getting repeatedly fired get in the way of living their life anyway? Spanning several years through relationships, love and loss Mame captivates entirely, her exuberant soul is addictive, she thrills, delights, excites and entertains along the way.

Hope Mill Theatre has been transformed for this enchanting revival. Philip Witcomb’s design ensures that the intimate space seems to open up before your eyes as the jaw-dropping first number begins. Nick Winston’s choreography is sublime; transporting the audience from a rainy Manchester to a glittering Broadway with each full-out and fabulous number. Winston who also directed the piece leaves the audience open-mouthed at the sheer scale and brilliant of the production, it feels lavish, luxurious and deliciously decadent.

Tracie Bennett is entirely mesmerising as Mame she absolutely gives her everything to the role and is truly brilliant. Hilariously comedic one moment and utterly gut-wrenching the next her delivery of If He Walked Into My Life is spellbinding.

The pairing of Bennett and Harriet Thorpe who takes on the role of bosom buddy Vera is nothing short of iconic. They are a joy to watch as they barb off each other with booze fuelled brilliance. Tim Flavin is a suave and sophisticated Beauregard, the connection between Flavin and Bennett feels warm and genuine.

Special mention must also go to junior cast member Lochlan White who at tonight’s performance played Young Patrick. Demonstrating fine acting skills, a pitch perfect voice and the kind of charisma Mame would be proud of.

Every member of this talented cast deserves high praise. They work together in such slick harmony that each scene flows seamlessly into the next yet feels full of surprises. They deliver Nick Winston’s choreography to dazzling perfection, teamed with Tim Mitchell’s impressive lighting design and strong musical direction from Alex Parker each ensemble number packs a powerful and perfect punch.

The boldness and bravery shown by Katy Lipson of Aria Entertainment and Joseph Houston and William Whelton of Hope Mill Theatre in bringing this all-new revival to such vibrant life must be commended. How lucky we are in a Manchester to have such committed and passionate theatre makers.

Mame is an absolute triumph, dazzling, daring and utterly delightful, world-class theatre right on our doorstep. A perfectly peachy slice of theatrical heaven. Mame feels like the start of something very, very special and I for one am here for the ride!

Catch MAME at Hope Mill Theatre until Saturday 9th November tickets available here.

Hope Mill Theatre | A Factory of Creativity |

Joseph Houston and William Whelton at Hope Mill Theatre. Photo Phil Tragen Photography

Hope Mill Theatre moved from private ownership to operating as a registered charity this week. The charity – A Factory of Creativity will operate the award-winning theatre which was founded by William Whelton and Joseph Houston in 2015, with the support of a board of trustees, made up of individuals who have supported the venue since it opened. Whelton and Houston will continue in their roles of Executive Director and Artistic Director respectively with the board of trustees supporting and guiding the charity as it moves forward.

In a joint statement Whelton and Houston said: “Hope Mill Theatre was set up four years ago with a £10K start up loan and has been operating since then as an independent business, receiving no local or national funding. In a small amount of time we have grown rapidly and have struggled to keep up with the expectations and sheer demand of operating such a large endeavour. It has become increasingly hard to support the level of work that we produce in-house as well as supporting a thriving arts community locally.

“Hope Mill Theatre is now in a very crucial stage of its journey with many exciting opportunities, as well as an ever-evolving and developing local landscape. We, along with our small team, recognise the importance of having the venue expand, which will allow us to focus more on nurturing new work and supporting artists.  It is our ambition to secure the venue’s home for many years to come and well as engaging more with our community and making our work accessible to varied audiences. We believe moving forward as a charity will allow us to achieve these ambitions.”

Hope MIll Theatre Patrons

The theatre will continue to build on its acclaimed partnership with Katy Lipson of Aria Entertainment, with Hope Mill Theatre and Aria continuing to work together in the future, both at Hope Mill Theatre and around the UK, with their most ambitious show to date – Mame starring Tracie Bennett – which has it’s official opening this week.

Also announced is the news that award-winning writer Russell T Davies and stage and screen actress Denise Welch are to join Olivier Award-winning actress Tracie Bennett as a patrons of the theatre.

Russell T Davies said: “I’m thrilled and honoured to become a patron of Hope Mill Theatre.  It’s an amazing place, and I’ve followed Joe and Will’s journey right from the start. Their productions are wonderful, and I love their support for new writers and talent.  I think the future’s full of Hope!”

Denise Welch said: “I’m delighted to become a patron of Hope Mill Theatre. My love of theatre was formed in a company that started like this one and I’m thrilled to be a small part of Joe and Will’s journey. Coming to Hope Mill is not just a night at the theatre – it’s an experience from the minute you arrive, and the productions are first class. Exciting and vibrant…..just like me!”

Tracie Bennett said: “Being from the north myself, it is awe-inspiring to see the true and heartfelt passion and vision of mavericks Joe and Will, and the work they have done in creating Hope Mill Theatre. I had been following their work and have admired from afar the creation of this exciting new venue. I have long thought that a project of this ilk was a long time coming to Manchester. The work they are doing for regional theatre and musical theatre is extremely exciting not only for the city of Manchester but also the industry itself.”

First look photos -MAME *Credit Pamela Raith

In the first few months as a charity, there are planned funding applications to fund the purchase and upgrade of lighting and sound equipment. A ‘fund a chair’ scheme will be launched to help replace the venue’s current seating – to help make watching theatre at Hope Mill a more comfortable and accessible experience.  There are plans to also apply for funding to install hearing loops in the venue, as well as an upgrade of the ticket system used to improve the booking experience. There are also plans to launch ‘Friends of Hope Mill Theatre scheme.

Whelton and Houston concluded: “It’s now time to allow Hope Mill Theatre to grow and flourish as it enters the next phase of its very exciting future, regionally and nationally.”

 For more information on Hope Mill Theatre please visit Hope Mill Theatre

 

 

 

 

 

 

 

 

 

Danny and the Deep Blue Sea

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Written in 1984 by John Patrick Stanley, Danny and the Deep Blue Sea is a intensely compelling study of two lonely lives, both trapped in desperate and destructive spirals of self-loathing who come together in search of both companionship and redemption.

Volatile Danny (Danny Solomon) speaks with his fists, lashing out at anyone and everyone in a bid to protect his fractured self. He is unpredictable and alarming yet somehow Roberta (Hannah Ellis Ryan) is not afraid. Burdened by her own trauma she is riddled with self-hatred and a warped sense of a need for punishment for her abusive past.

A simple set of scattered bar furniture and an old mattress complete with crumpled bedclothes make to the set. A glimmer of moonlight seeps in from above while a porcelain doll dressed in white offers a hint of Roberta’s past.

As the barbed bickering deepens into aggressive exchanges a sharing of secrets begins allowing both characters to develop unpredictably. Danny’s vulnerability begins to show as his defences slip while their fleeting post-coital redemption shows their shared desperation for elusive love and happiness. They are messed up, bad, burdened and bruised yet touchingly real and heart-achingly raw.

Both Danny Solomon and Hannah Ellis Ryan convince entirely in their roles. As an audience member you are in that bar in the Bronx with them, you feel every moment of heartache in the bedroom and share in their despair and awkward humour. Director Daniel Bradford ensures the emotional charge of both performances slaps you in the face keeping you guessing throughout, never knowing where these tormented souls will take you next. Drowning in despair one moment while gleefully flinging arms around each other the next. Powerful and affecting theatre once again from Play With Fire Productions.

Catch Danny and the Deep Blue Sea until Thursday 12th September at Hope Mill Theatre tickets available here.

Jerry Springer The Opera

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Newly formed theatrical company Northern Ricochet – made up of James Baker, Tom Chester and Bill Elms – don’t do things by halves. Taking the bold step of reviving controversial musical Jerry Springer The Opera as their first company production, they’re sending a clear message to the theatre world that there is a new, ambitious, creative and proudly Northern kid on the block.

Auditions were held in the North – including an open-call casting whilst the opportunity for local in-training actors to make up the onstage choir was offered. The result of this is a sensational piece of theatre packed full of humour, hilarity and genuine heart.

Written by Richard Thomas and Stewart Lee, Jerry Springer The Opera debuted at the National Theatre in 2003 – winning four Olivier Awards including Best New Musical and courting controversy at every turn. This revived production staged in the intimate Hope Mill Theatre allows the audience for Jerry Springer The Opera and Jerry Springer the talk show to become one as audience members sit on opposite sides of the theatre while the cast perform in-between them – giving this production an immersive and atmospheric feel.

James Baker directs the show in such a bold way that as an audience we’re whipped into a “Go Jerry” frenzy before the main man has even stepped foot on stage. The company do an excellent job of building the bubbling excitement ahead of our host’s grand arrival – led brilliantly by Warm Up Man Tom Lloyd, who whets our appetites for what’s to come: reminding us exactly who are the good guys and who we should be reserving our biggest boos for.

Once the infamous Jerry (Michael Howe) makes his grand entrance, we see him play host to three sets of guests who are all too willing to reveal their deepest darkest secrets via soaring profanity-laden arias and wickedly brilliant ballads. Bickering bubbles into bitch fights – leaving security guard Steve (Kai Jolley) to step in and calm the chaos.

Amidst the snarling and sniping Jerry expertly stirs the pot – gently probing his simmering guests and pushing them that little bit further… giving the audience that extra bit more. Things go a tad too far and Act II finds Jerry hosting the ultimate showdown: the Devil versus Jesus. Should Jerry refuse to host this clash of the titans, he’ll burn in Hell forever in a most uncomfortable and ‘barb-baric’ way!

This cast is without doubt one of the most impressive you’re ever likely to see. The ensemble pieces literally raise the roof off Hope Mill Theatre. Each voice is sheer perfection – coming together to create the most beautiful of sounds. Add to this perfectly judged comedic timing delivered with vibrant energy and you have an irresistibly entertaining piece of theatre. Every member of this cast gives their all – each offering something uniquely special and truly memorable.

Michael Howe embodies Jerry Springer perfectly, with every knowing shake of the head, contemplative hand on the chin and nuanced raise of an eyebrow; he is Jerry to a T.

Tom Lloyd makes for a fabulously extra Warm Up Guy while his Satan in Act II is deliciously devilish. David Burilin’s Jesus is pouty and petulant while Matt Bond’s God really hasn’t got time for this shit.

Cici Howells’ voice is sublime as both Shawntel and Eve while Andrew Patrick-Walker has moves Ru Paul herself would be proud of.

With such strong voices and powerful performances the score could easily become lost; however, Tom Chester ensures his band of six are perfectly pitched. The music – together with the rich mix of voices – really is heavenly.

This production has been brought bang up to date and feels frighteningly in-line with the chaotic times we live in. Hillbilly Chucky wears a ‘Make America Great Again’ cap while gun control statements are made alongside caricatures of Trump. The desire to feel superior and the joy in public humiliation raises questions about just how civilised we really are.

Yes it’s profane, yes it’s irreverent but every profanity is worth it for the absolute pleasure this production brings. You’ll shriek with laughter one minute and be stunned into silence by the sheer talent on display the next in this joyful and vivid piece. Cleverly crafted and outrageously naughty, this wild romp of a production will both amuse and impress as once again Jerry reminds us all to “Take care of yourself and each other”.

Jerry Springer The Opera is on at Hope Mill Theatre until Saturday 31st August tickets available here.

Applications Now Open For Hope Aria Academy September Intake

William Whelton, Katy Lipson and Joseph Houston. Founders of Hope Aria Academy in Manchester

Following a hugely successful inaugural 12-week programme Hope Aria Academy have now opened applications for their Autumn/Winter intake.

The Manchester based part-time drama course focuses on acting, singing and dancing with students able to choose to take classes in all three disciplines or opt for single modules in one specific area.

Hope Aria Academy founders Katy Lipson, Joseph Houston and William Whelton all have backgrounds in Musical Theatre training and are currently full time producers and theatre owners.

The second course which will begin in September is tailored for individuals who have either already trained professionally and are looking for a fresh approach to training within a smaller more focused atmosphere, individuals who are not yet ready to make the leap to full time drama training and require further tuition, and mature students who have experience in musical theatre and want to re-skill to return to the industry.

Students will also be introduced to the wider creative industry with regular guest teachers in all three disciplines of acting, singing and dance. There will be one full scholarship place available, funded by Hope Aria Academy, with auditions for this taking place in August, date TBC.

Patron of Hope Aria Academy, actress Hayley Tamaddon

Stage and screen actress Hayley Tamaddon is patron of Hope Aria Academy and taught a workshop as part of the last programme.

Hayley said: “I’m thrilled to be a patron of Hope Aria Academy. The work they produce is outstanding. Ranging from dance to musical theatre to tv acting, the students here are taught everything to do with this wonderful profession we call show business! And I’ll look forward to doing a spot more teaching there myself in the new term!”

Hope Aria Academy’s next intake will launch on Monday 16th September 2019 and run on Monday (dance), Tuesday (singing) and Wednesday (acting) evenings from 6.30pm to 9.30pm at Hope Aria House, Unit 15 Wellington House, Manchester, M40 7FS. Students can take the full course or can opt for single modules.

More information on Hope Aria Academy, fees and how to apply can be found here.

 

The Exonerated

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Since its premiere off-Broadway in 2002 Jessica Blank and Eric Jensen’s The Exonerated has been performed all over the world picking up multiple awards along the way and even making it onto the big screen in the 2005 film starring Susan Sarandon and Danny Glover.

This ambitious adaptation embraces the nation’s current obsession with binge-worthy true-crime Netflix style documentaries by cleverly combining recorded first person accounts with live theatrical flashbacks of interrogations, murders, court scenes and the grim reality of life on death row.

Jessica Stanton’s innovative design places audiences as central observers as a Netflix style menu dominates the large screen above the stage. The click of a remote control can be heard as this evening’s viewing selection is made. Audiences sit either side of a central stage which is surrounded by prison style wire fencing and rough barbed wire, only glimpsing sight of each other when the stark interrogation lighting illuminates the space.

Grant Archer’s documentary style film feels authentic and grips from the start as the lives of the wrongly convicted play out before us. The fusion of film and live action works exceptionally well as the six extraordinary stories of those wrongfully sentenced to death unfold.

Joseph Houston has directed the pre-recorded interviews in such a way that they feel entirely genuine, the pain, the emotion and most touchingly the hope expressed by each character is as fascinating as it is moving.

The live action scenes work superbly well, adding depth and authenticity to the harrowing accounts of injustice, exposing the corruption of the authorities and their manipulation of these damaged individuals. The shattering and lasting impact of their lost years on Death Row bringing devastation not only to themselves but to the lives of their friends and families also.

Charles Angiama as Delbert takes on a measured narrator style role, the Texan who spent many years on death row for a rape and a murder he did not commit guides the audience throughout, observing with us the injustices and manipulation taking place. He weaves together the other five stories as the rest of the small cast take on several roles bringing life and vision to the harrowing real-life stories.

Though the subject matter is intense and the corruption utterly horrifying the production is delivered in a way which allows for a heart-warming portrayal of the human ability for hope even in the most desperate of situations. Sunny Jacobs being the most perfect example of this: a gentle mother of two who lost not only 16 years of her life to Death Row but even more tragically her beloved husband whose wrongful execution was made all the more horrific when the electric chair malfunctioned. Pippa Winslow’s performance as the good-natured hippie is exceptional, portraying her class and composure to perfection.

The Exonerated directed by Joseph Houston. Hope Mill Theatre Manchester. Photo Shay Rowan

This inspired and impressive adaptation telling six interwoven stories marks a bold innovation in story-telling theatre. The decision to mix live theatre with pre-recorded footage pays off adding an element of authenticity to proceedings. The second half feels a little screen heavy compared to the first but this does not take away from the power of the piece. While you go into the production expecting to hear about harrowing miscarriages of justice you don’t quite anticipate the impact these stories of survival and hope will have, a true testament to the quality and care that’s been put into this inspired and innovative production.

The Exonerated is on at Hope Mill Theatre until Sunday 16th June, tickets available here.

Images by Shay Rowan Photography

Hair

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

This inventive production of Hair The Musical has been on quite a journey these past few years, from first opening at the intimate Hope Mill Theatre back in 2016 to a sell-out London run winning a WhatsOnStage Award along the way; it now makes its return to Manchester opening at the city’s Palace Theatre as part of an extensive 50th anniversary UK tour.

Set in New York’s East Village at a time when the emerging youth counterculture was rejecting mainstream America and growing increasingly disenfranchised by the controversial war in Vietnam, Hair still remains one of the most iconic rock musicals of all time. A tribe of free thinkers who turned their backs on convention creating their own family in which to belong, advocates of peace, love and liberal thinking. Central to the story is the plight of Claude (portrayed brilliantly by Paul Wilkins) torn between rejecting his military drafting and embracing this non-violent, peace loving tribe.

Very much an ensemble production Hair showcases a cast of incredible talent. Opening number Aquarius vibrantly and powerfully sets the scene, drawing the audience into this joyous celebration of love, freedom and pacifism right from the start. Maeve Black’s beautiful set design and costumes transforming the Palace Theatre into a psychedelic heaven lit to perfection by Ben M Rogers.

Director Jonathan O’Boyle ensures the audience are taken along for the ride involving them in this exuberant trip on multiple occasions. Jake Quickenden as Berger confidently leaps into the stalls in little more than a thong while Tom Bates takes great delight in perching on an audience members knee during his hilarious performance as Margaret Mead.

Paul Wilkins heads up the strong cast proving what a talent he is in the role of Claude. Thrown into turmoil at the life changing decision he faces, his anguish and torment delivered with passionate energy. Jake Quickenden makes for a confident and flamboyant Berger, athletically strutting around the stage dishing out powerful vocals along the way. Daisy Wood-Davis shines in the role of Sheila, her voice as powerful as it is beautiful.

Tom Bates has the audience in the palm of his hand as Margaret Mead while Natalie Green as soulful Cassie is a joy. Other notable performances in this excellent ensemble are Alison Arnopp as the enigmatic Jeanie, Aiesha Pease whose rich tones warm the soul and Bradley Judge who is enormously entertaining as Woof.

The cast work together superbly and all deserve praise, they deliver William Whelton’s inspired choreography to perfection, often moving as one, pulsing together in perfect harmony. Musical Director Gareth Bretherton leads the small group of on stage musicians confidently ensuring this electrifying score is given the platform it deserves.

While the themes may not be so shocking to audiences now in more free-thinking, accepting times its message still remains enormously relevant; the despicable quote from Donald Trump heard ringing through the auditorium at the very start proving this point entirely.

Hair gives a touchingly symbolic reminder of the fact that we really are just one tribe. Its hippie, trippy vibe is deliciously infectious bringing every audience member to their feet in celebration of this triumphant piece of theatre while the power of final song Let The Sun Shine In offers hope and proves just how powerfully emotive theatre can be. Hair’s transition from Hope Mill Theatre to the much larger stage of the Palace theatre is seamless as this beautifully crafted and joyously affecting theatre absolutely lets the sun shine in.

On at Manchester’s Palace Theatre until Saturday 13th April tickets available here.

 

RAGS

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Aria Entertainment and Hope Mill Theatre are never ones to shy away from a challenge; turning a former cotton mill into an award-winning producing house a clear testament to their drive and determination; so it comes as no surprise that not only have they taken on the challenge of reimaging lesser known musical RAGS but have the added coup of legendary Broadway composer Stephen Schartz’s invaluable presence in the rehearsal rooms.

With a book by Joseph Stein (Fiddler On The Roof) music by Charles Strouse (Annie) and lyrics from Stephen Schwarz (Wicked) RAGS seems like it should have always been a hit yet the success never quite came. This UK premiere of a new version with a revised book by David Thompson directed by Hope Mill regular Bronagh Lagan sets about altering the destiny of RAGS and ensuring this relatively unknown musical is given the platform it deserves.

The joyful wit and melodic dialogue of Joseph Stein remain however David Thompson’s revisions allow the story to be told anew as we follow Jewish immigrant Rebecca (Rebecca Trehearn) as she bids to find a new life and a secure future for her and son David (Lochlan White) in America. Their penniless arrival at Ellis Island looks set to dictate their fate until kind-hearted Bella (Lydia White) whom Rebecca strikes up a friendship with on the journey convinces her father Avram (Michael S. Siegel) to vouch for the desperate pair. Rebecca and David are given a place to stay and her skills as a seamstress soon secure her employment however she is never far from rough seas as although the American dream may seem within reach it certainly won’t be without sacrifice leading to a battle of identity amidst a struggle of cultural assimilation.

The subject matter may sound heavy but it is treated with such love and warmth that light and dark marry beautifully with comedic and heart-warming moments shining through the emotional and poignant.

Rebecca Trehearn is pure star quality; she captures the gut-wrenching anguish of Rebecca with perfection and her determination to succeed in this hostile new world is profoundly moving. Her vocals are pitch perfect throughout while her stunning rendition of Children Of The Wind would melt the coldest of hearts, to see it delivered in such an intimate setting as Hope Mill is breath-taking.

Lydia White is superbly cast as Bella, her friendship with Rebecca feels believable and pure while her thrill at the prospect of the new life within her grasp is inspiring. Sam Peggs plays Bella’s love interest Ben with an innocent joy while Robert Tripolino as Italian trade unionist Sal makes for a wonderfully dramatic and entirely committed champion of both workers and human rights.

Heartening comedy is injected by the pairing of savvy widow Rachel (Valda Aviks) and Bella’s world-weary father Avram (Michael S. Siegel) the duo making for a wonderful comic double act. Special mention must also go to Lochlan White who at this evening’s performance played Rebecca’s son David, confident and charismatic as the young Jewish boy.

This is a real ensemble piece with praise being deserved by each and every member of the cast who bring this story to vibrant life with their stunning vocals and heartfelt performances, several doubling up as on stage musicians. Stephen Schwartz’s soaring score offers a real feast of fusion, in effect a melting pot of styles just like New York City both then and now.

Gregor Donnelly’s suitcase stacked set design and Derek Anderson’s atmospheric lighting combine perfectly to further bring this emotional story to life.

RAGS is beautifully executed theatre which will sweep you away with its gritty and poignant storytelling. The themes feel current and entirely relatable, the cast could easily be singing Make America Great Again rather than Take Our Country Back as the characters battle for acceptance and a sense of belonging in a hostile and at times cruel new world.  The team have got this new version just right with the talented cast doing total justice to the cleverly crafted piece. Important and affecting theatre delivered with genuine heart.

RAGS is on at Hope Mill Theatre until Saturday 6th April tickets available here.

 

 

Jerry Springer – The Opera heads to Manchester’s Hope Mill Theatre

Newly formed production company Northern Ricochet today announced their first project, bringing an all new production of the award-winning musical Jerry Springer – The Opera to Manchester; almost 15 years since it was last performed in the UK.

This new revival will entertain audiences over a four-week run this summer from Thursday 8th until Saturday 31st August with tickets going on sale today at 10am.

Jerry Springer – The Opera proves nothing is off limits with its tap-dancing KKK members, provocative dancing stripper as well as the ultimate battle of good versus evil between God and the Devil.

The original show caused a storm when it first opened in the UK back in 2002 with this new revival promising the same raucous energy not to mention chaos and debauchery.

The show will be the first from new production company Northern Ricochet formed by James Baker (Parade, Yank), Tom Chester (Parade, Mamma Mia) and Bill Elms (Epstein The Man Who Made The Beatles, Twopence To Cross The Mersey). The trio aspire to passionately produce quality theatre in the north, for the north whilst using northern creatives, actors and voices.

James Baker said: “Jerry was ground-breaking and placed a mirror up to the audience. A mirror of reflection and a possibility for us to learn something. The big question is, have we learned anything? Sadly not, and I’d argue we’re even more divided than before. Prejudice still remains within race, sexuality and equality. Just because we don’t see it, doesn’t mean it doesn’t exist. I think we’ve just got better at pretending all is more harmonious. We’ve become even better actors than those in the Jerry show. Reality has become even more blurred. It’s time to hold that mirror back up. We are bringing you a fresh version of Jerry. One that is again a provocation but also a reflection of our times. We aim to create a movement.” 

Tickets for Jerry Springer The Opera are on sale now and can be booked here.

Facebook: /JerrySpringerManchester

Twitter: @JSTOMANC #JERRYJERRY

Stephen Schwartz Q&A at Hope Mill Theatre

Katy Lipson of Aria Entertainment and Joseph Houston and William Whelton of Hope Mill Theatre today announce An Evening With Stephen Schwartz, which will take place in Manchester on Sunday 17th February.

A drinks and finger buffet will begin at 6pm followed by a showcase of the multi-award winning lyricist and composer’s best loved works as well as Schwartz’s first ever UK panel discussion about his life and his work.

With a back catalogue which includes the critically acclaimed shows Wicked, Pippin and Godspell as well as contributing to the lyrics for the films Pocahontas, The Hunchback of Notre Dame as well as songs from The Prince of Egypt this will be a night not to be missed!

All proceeds from ticket sales will go towards Hope Aria’s 2019 season which opens with Schwartz’s RAGS from 2nd March until 6th April.

Tickets for the Hope Mill Theatre event which include a drinks reception and buffet are priced at £45 and can be purchased here.

 

 

 

Putting It Together

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

While the West End enjoys a triumphant Sondheim revival in the form of Marianne Elliot’s gender-swap Company, us Northerners can also delight in a Sondheim sensation as Hope Mill Theatre, Aria Entertainment & Neil Eckersley bring us a fabulous festive treat with the cleverly constructed and enormously entertaining Putting It Together.

Set at a festive cocktail party in a Manhattan loft apartment, two couples socialise together while Andrew Gallo acting as narrator observes their interactions & anticipates their unraveling with a knowledgable word to the audience as the story develops.

The very first scene, Invocations and Instructions to the Audience from The Frogs clearly lays this out as a night of pure enjoyment, so sit back, relax & let the remarkable talent of this fine cast paired with the music and lyrics of the mighty Stephen Sondheim entertain you.

The construction of this show taking numbers from several different productions is absolute genius, as songs we know and love are given new meaning while some of the lesser known tracks are given a platform to be heard.

As the lives of the characters mixed with their human complexities intertwine songs are used to great effect to portray the emotional longing of each character.

Hello Little Girl from Into The Woods is given a whole new twist as Gavin Jones lusts after Simbi Akande in a daring attempt at seduction while Pretty Women (also from Sweeny Todd) becomes a gentle, tender and touching love song, delivered beautifully by Alex Cardall and Gavin James.

Described as a ‘musical review’ created to showcase Sondheim’s work the plot is never intended to thicken much but this really feels unimportant when you have the opportunity to sit and listen to five stunning actors at the absolute top of their game deliver the most brilliant, beautiful lyrics accompanied by sublime music played on-stage by the enormously talented Michael Webborn.

The pace is fast & once we start we gallop through, each piece thrilling in equal measure. Bronagh Lagan’s confident direction paired with William Whelton’s impressive choreography drives the piece from start to finish; Bang from A Little Night Music performed by Andrew Gallo, Simbi Akande and Alex Cardall perfectly illustrating this, punchy and powerful.

Special mention must go to Lauren James Ray whose delivery of Getting Married Today absolutely brings the house down, impressive throughout her wit and acting are both superb, she is a joy to watch.

Every member of this small cast delivers and then some as they work their way through each musical number; each track feels real, authentic and is honestly delivered. Sondheim’s lyrics so slick and witty ensuring we travel each emotional step with the characters.

Putting It Together is the festive treat you didn’t quite realise you needed but once you’ve sat and enjoyed a sublime evening in the company of this stellar cast you’ll be without doubt wanting to come back for more.

Joyfully entertaining from start to finish.

Putting It Together is on at Hope Mill Theatre until Saturday 24th November tickets available here.

The Pride

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

Using Alexi Kaye Campbell’s debut play to mark their own debut production, new theatre company Green Carnation present The Pride, an affecting, powerful and poignant piece of theatre.

Focusing on two separate Britain’s, that of the repressive 1950’s and the supposedly liberal 2008. Three central actors, (Gareth George, Simon Hallman and Joanna Leese) play the identically named but hugely different characters of each era with a forth actor (Alex Thompson) playing a trio of strong supporting roles.

Designer Frankie Gerrard centres the action during both eras within a sitting room setting, a slight shift of furniture and a roll of the clouds via simple hanging drapes indicating the changing days.

We firstly meet 1950’s Phillip (Gareth George) an unfulfilled, middle-class, married estate agent who gets introduced by wife Sylvia (Joanna Leese) to well-travelled, articulate yet lonely Oliver (Simon Hallman) for whom she is illustrating his most recent children’s novel. An immediate attraction is felt between the two men as secrets are kept and truths lie unspoken, Phillip’s true self being denied and suppressed with devastating consequences.

In 2008 Oliver is so free sexually it is damaging the one person he truly loves resulting in him losing partner Phillip due to his need for risqué sex with strangers and posing the question is 2008 Oliver just as detached from his true-self as 1950’s Phillip?

Sylvia shifts from 1950’s actress turned illustrator whose mental health problems are hinted at to forthright friend whom both Oliver and Phillip both turn to, an ally and advocate in both era’s.

Simon Hallman excels as Oliver, while rigid and desperately lonely in the 1950’s he transforms into a sexually liberated yet painfully shambolic character come 2008. Hallman adds emotional depth to the outrageously promiscuous Oliver and a heart-felt desperation to 1950’s Oliver who yearns to feel love.

Gareth George’s 1950’s Phillip convincingly bubbles with violent frustration while his 2008 self is calm and composed, at complete contrast to hedonistic partner Oliver.

Joanna Leese impresses as Sylvia giving an emotional and committed performance, the scene where she gently confronts her husbands lover heartbreaking in its honesty. Elsewhere Alex Thompson injects some great comic relief in his three varying roles of rent boy, wide-boy magazine editor and 1950’s aversion therapist, his superb comedic acting changing the tone of an early scene entirely.

Director Dan Jarvis along with co-director Dan Ellis have succeeded in bringing this thought-provoking revival bang up to date. As Campbell’s script cleverly weaves history together the characters although hugely different feel on many levels connected as the heartbreaking fears of loneliness resonate in both era’s. There are moments when the pacing could improve slightly with Act I feeling much longer than Act II but this is a minor quibble.

Shifts in attitudes from the 1950’s to 2008 while abundantly clear cannot remove the fear of being unloved as this insightful drama explores not just what it is to truly be yourself but that cost at which for many this comes.

With beautifully poignant writing and impressive performances The Pride examines and explores without sugarcoating.

Important, rewarding and impressive theatre.

On at Hope Mill Theatre until Saturday 20th October more information can be found here.