Kayleigh Hawkins

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

The Loves of Others

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We’ve all been there, that awkward moment when you witness a couple have blazing row, it could be  friends of yours, or complete strangers, I once saw a couple verbally massacre each other in the snacks and nibbles isle at Tesco  the night before Christmas Eve, it was embarrassing, crass, but most of all entertaining. Well imagine that multiplied by three and the genesis of the latest offering from play write Alex Keelan, The Loves of Others.

Set during two separate dinner parties held a year apart, we are treated to an insight in the lives of 3 couple’s lives: we have the host and hostess of the party Max (Dan Jefferies) Leanne (Alexandra Maxwell), he’s a boozy hangover from the ‘Loaded’ generation, and she’s Hyacinth Bucket only on Facebook. There are Tina (Amy Forrest) and her partner Dave (William J Holstead), she has a few confidence issues, and he’s a bit laid back to deal with them. Finally there is Vic (Alice Proctor) and Ike (Kyle Walker), she’s strong willed and feisty, he’s a people pleaser. As both dinner parties continue, relationships become more fractured, friendships and boundaries are pushed to the limit.


The script is a fine blend of acerbic put downs, and on point observations, whilst at times dealing with dark subjects including abuse, grief and prejudice Whilst some may feel dissatisfied with the rather abrupt ending, I rather enjoyed that the play left it’s characters dealing with their issues as opposed to resolving them: like a snapshot into their world.

There are fine solid performances throughout from all 6 actors: however I find that none of their characters were particular likeable, just as you begin warming to one of them, they’ll do or say something that will just grate on you. Director Kayleigh Hawkins certainly works her cast hard; with full costume and scene changes throughout neither which detract from the story. There is no interval either so the play never loses momentum allowing the lighter moments to shine through, whilst enabling the tension build and the mood to darken.


The promotional material claims The Loves of Others to be “A Modern Northern Abigail’s Party”, which will certainly draw in the punters, but may also mean that the two could be unfairly compared. This is a funny, brave, ambitious, and at times miserable look at modern British life, a hark back to the Great British kitchen sink dramas, only replacing the kitchen sink with a selfie, and a bottle of vino! 

Herding Cats

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HerdingCatsPoster

Critically acclaimed Play With Fire Productions returned to Hope Mill Theatre this week with their new production, Herding Cats.

The play introduces us to Justine (Kayleigh Hawkins) and Michael (Daniel Bradford) two flatmates for whom life isn’t exactly the barrel of laughs they had wished for. Justine is eternally stressed about work and gets little chance to do much else. Due to her long hours and daily pressures she lives in an almost constant state of rage, where drink becomes her crutch but is often more faux than friend. Michael is her confidant, due to his agoraphobia he struggles to leave their flat, instead earning his living by offering phone sex to men such as Saddo (John Gully), an older man who gets his kicks from twisted fantasies about his own daughter. Michael always there ready to listen to Justine’s latest rant is the one person she feels she can rely on.

As Justine risks showing her vulnerability to her ex hippy boss whom she has unexpectedly grown attached to and Michael realises he perhaps needs Saddo’s calls more than Saddo needs him we start to realise just how fragile and desperately lonely they truly are. Writer Lucinda Coxon does not shy away from the awkward and uncomfortable, this piece is bold and in your face. Directorhas made great use of Hope Mill Theatre’s unique space, every inch of the floor is covered by a pacing and anxious Justine as she dissects her day in order to process the conversations and actions of her boss whom she struggles to understand. The cast deliver each scene with commitment and confidence, there are moments that challenge, do you look on or turn away? The production make you think beyond what you see acted out on stage as you recognise thoughts and feelings played out by Michael and Justine, as those seemingly with the upper hand may actually be the needy and the lonely of this world. Powerful, bold and dynamic theatre.

On at Hope Mill Theatre until Saturday 3rd June, tickets £12 can be found here http://hopemilltheatre.co.uk/events/herding-cats/