Live Theatre

A Christmas Fair

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Not Too Tame have built up quite the reputation for putting on fun, interactive shows that deliver an entertaining night out. For the latest offering, a reworking of playwright Jim Cartwright’s A Christmas Fair, in collaboration with Oldham Coliseum, the interaction and fun are present, but so is something a little grittier.

Set in the beautiful Chadderton Town Hall, we are introduced to a community group attempting to organise the annual Christmas fair. There is the Elvis loving Town Hall Caretaker (Lee Toomes), who isn’t filled with Christmas cheer at all, and just wishes that people would clear up after themselves. Next up is the fair’s organiser-in-chief, Veronica (Samantha Robinson), who wants the fair to be just like her, perfect in every way. Next up is the fun loving cycling enthusiast Vicar (Dickon Tyrell), who is roped in, despite having the Christmas sermon to write. 

Then there is cafe worker and all round good egg, Lucy (Kelise Gordon-Harrison), who is fully into the Christmas spirit and happy to help in any way she can. And finally there is out-of-town writer, Johnny (Paddy Stafford), whose cynicism and sharp tongue threatens to derail everything.

As the quidditative quintet begin setting up the hall making it look festive, with a Christmas tree and stalls, we learn a bit about each of them. However, later, when the fair has closed and the clean up begins, we learn that each one has a story to tell of Christmas’s gone by that isn’t quite as in keeping with the joyous, festive time of year.

This is very much a play of two very different acts. The first, a fun-filled hour where we are introduced to our characters and their foibles. All this is mixed in with festive-fun, with sing-along carols, festive readings from the works of Dylan Thomas and Charles Dickens, and possibly one of the most impressive and quick Christmas decorations performed in live theatre. Add in the mix a possible blossoming love story between the younger characters Johnny and Lucy, and it sets up for what promises to be a memorable show.

However, the warning signs were there in the first act, and the second act takes a darker turn, with lengthy monologues, involving loneliness, crime and murder. Whilst some of the stories successfully highlight that not everyone will be celebrating this Christmas, some felt they a little more development.

Lee Toomes is in fine form as the fed-up but kind hearted caretaker, and is the glue that holds everything together. He’s the most rounded of the five characters. Kelise Gordon-Harrison brings the energy as the lovely, infectious Lucy. She’s perfectly paired with Paddy Stafford’s misery, Johnny. The chemistry between the pair is engaging and their duet on Fairy Tale of New York is a treat. You just wish there was a bit more of their story.

Samantha Robinson is brilliant as Veronica. She nails the festive officiousness; it’s a great comedic turn, that could in lesser hands irritate, but never does.  She strikes the balance between comedy and anguish perfectly. Dickon Tyrell’s turn as the Vicar is somewhat restrained until his Christmas monlogue, which, despite being one of the grimmer stories, his charismatic turn makes it an engaging watch. They are supported by a fine group of young actors for some of the song and dance numbers, which enhances your viewing.

As always with Not Too Tame, there is a spot of audience participation, in this case we are required to peruse the Christmas fair during the interval. The cast set up the fair during the first half of the performance and this is just a nice touch that adds an extra layer to the show.

Overall this is a well-acted, clever production that is at times funny and poignant. Whilst it won’t leave you with a warm Christmas glow, it’s well worth a watch and offers something a little different for the Greater Manchester theatre scene this Christmas.

A Christmas Fair on at Chadderton Town Hall until 2nd January tickets are available here.

The Merchant of Venice 1936

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

When picking a film at the cinema, we often like to know what genre of film we’re
off to see, so hopefully there’ll be no nasty surprises for us. Surely the same would
have been said when William Shakespeare was knocking out plays with such
gusto. One play that has often proved difficult to pigeonhole is The Merchant of
Venice, listed as a comedy, mainly because there is a wedding, a spot of farce
and (spoiler alert), no one dies!

However, over time the play has been reappraised due to its problematic
antisemitism. Director Brigid Larmour and Tracy-Ann Oberman are the latest to
tackle this troublesome play, their ambitious artistic choices pay dividends
with this bold, thought-provoking adaptation.

In their reworking, The Merchant of Venice 1936, the action is shifted to London’s
East End: where the rise of Oswald Mosley’s British Union of Fascists sees the
persecution of the local Jewish community. Here Oberman’s Shylock runs her
money-lending business. She is a strong, feisty Jewish businesswoman, who’s
devotion to her faith is only matched by her love for her family, especially her
daughter, Jessica (Gráinne Dromgoole) evident in a beautifully staged family
gathering at the start of the production.

Shylock is approached by Bassanio (Gavin Fowler), a socialite who has designs
on a wealthy heiress, Portia (Georgie Fellows). Bassanio, asks his friend, Antonio
(Joseph Millson), a local merchant and member of the BUF, to act as a guarantor
in order for him to secure a loan from Shylock. Antonio and Shylock despise each
other, yet the savvy money lender agrees to the loan, but the price Antonio must
pay if he is late with the repayment is a pound of his own flesh. As tensions rise in
the community, romances blossom, and fortunes fall, whilst Shylock and Antonio
are heading for a collision that neither are willing to back down from.

Oberman’s steely Shylock anchor’s the production from the outset, her revenge
mission sets the tone for the unpleasantness that follows. It’s a performance filled
with passion and swagger, ensuring that when the inevitable sucker punch comes you feel her heartbreak all the more. She is more than equalled by Millson’s slimy,
restrained but no less menacing black-shirted Antonio. They are supported by a tremendous cast, with special mentions for Evie Hargreaves’ portrayal of Mary Gobbo (also in a duel as Nerissa) who manages to get under your skin with her treacherous ways. Whilst Georgie Fellows, excels as the thoroughly unpleasant Portia.

Under Brigid Larmour stewardship the production thrives in its 1936 setting. It’s a
harsh world, where you are on high alert ready for the situation to escalate. It’s a
testament to the cast and direction that when that moment comes it rather takes you by surprise.

Liz Cooke’s grimy set design works tremendously well at selling the audience the
fear, and isolation of Cable Street. Whilst her costume design especially for the
more affluent characters look stunning: they dazzle as they showcase not just their
wealth, but their prejudices too. The production is intercut with video footage of the rise of the BUF, on the march through Britain. It’s a terrifying yet timely reminder of a part of Britain’s past that some conveniently choose to forget.

Despite the unsatisfying end to Shakespeare’s play, Larmour and Oberman give
us an optimistic conclusion, with a Oberman delivering a personal powerful
message of unity that will remain with me for some time to come and goes to
highlight the importance of theatre to not just entertain but remind us what it is to be
human.

The Merchant of Venice 1936 runs until 1st March, tickets are available here.

The Shark is Broken

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐

Hard to imagine really that a mechanical shark by the name of Bruce, very nearly killed the Hollywood blockbuster, even before anyone knew what a Hollywood blockbuster was. Bruce was one of the main stars of the first Hollywood mega movie: Jaws. Bruce had a habit of breaking down on a regular basis, leading to several halts in production, and a great deal of frustration from his fellow co-stars. But how do a trio of actors pass the time, when cooped up on a small fishing boat? They argue, they drink, they gamble and get on each other’s nerves!

Co-written by Joseph Nixon and Ian Shaw, son of Robert Shaw, The Shark Is Broken is set in 1974, on the Orca, the fishing boat used in the film. Here we find the three principal actors, Roy Scheider (Dan Fredenburgh), Richard Dreyfuss, (Ashley Margolis) and Robert Shaw (Ian Shaw), struggling to fend off boredom, as Bruce is repaired. They discuss their careers, their families, and gamble. However not all is plain sailing, and soon tempers fray, with Scheider playing peacekeeper to the warring Dreyfuss and Shaw, with the former feeling disrespected by Shaw. Whilst Shaw sees Dreyfuss as arrogant, more interested in fame than the craft of acting.

There is a great deal to enjoy and admire about this production. The script is funny, witty and packed with cracking gags and one-liners. Opening with a nod to John William’s famous score, we see a shark fin, gliding through the ocean projected on a screen at the back of the stage, and soon any dramatic tension disappears as the shark breaks down, it’s a superb joke that sets the tone for the show. Other standout big laughs come when Scheider rules out doing a sequel to Jaws, which of course he did. Another highlight is Shaw’s making reference to Steven Spielberg’s next project: “Aliens? What next, dinosaurs?”

It’s a classic situation comedy set up, as three very different people find themselves in a cramped environment and the script plays up to this throughout. Duncan Henderson’s Orca recreation is beautifully claustrophobic, and dingy, as the cast clamber over it and at times each other.  It looks so authentic that at times you almost smell the stench of fish guts and hard liquor coming from the stage.

The cast are in form throughout: it’s quite disconcerting how captivating Ian Shaw’s portrayal of his father is. Obviously, the close resemblance helps, but this is a performance filled with fire and passion as Shaw doesn’t flinch from showing his father’s battle with his demons including alcoholism, insecurities and disdain for elements of his profession that provided well for him and his family. It’s a towering presence that commands your attention throughout.

Equally impressive is Ashley Margolis’s unflattering portrayal of Richard Dreyfuss, filled with a nervous energy and self-doubt that in lesser hands could have been grating, but he navigates that tightrope perfectly. Finally there is a Dan Fredenburgh’s excellent understated, if slightly under-written turn as Schieder, who is essential in keeping proceedings grounded. Special mention to Carole Hancock’s whose flawless make helps to transform the actors into mirror images of the stars they are portraying.

The play tackles some weighty issues such Shaw’s alcoholism, and how it wasn’t just Bruce that was causing issues with production. It alludes to the well documented issues Dreyfuss would have with cocaine addiction in later years. One touching scene where the men bond over issues with their father’s is well played out, and one of the show’s highlights, you just wish there was a bit more of this depth in places

This is a funny, sharp insight into the magic of Hollywood, understandably executed with a great deal of love and affection for its subject matter. Fans of Jaws, and the Hollywood movie machine will undoubtedly love it. There is something for everyone to enjoy from the towering performances, high quality production values, all anchored by a sharp, poignant and well-crafted script.

The Shark is Broken is on the Lowry till 8th February tickets available here.

Frank 4 Sophie 4 Eva

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

As the interval started a lady sat in front of me and said to her friend “There is something in there I think everyone can relate to”. The more I thought about this, the more she was bang on the money. Frank 4 Sophie 4 Eva is an honest, sometimes hilarious, occasionally uncomfortable look at the struggles and pitfalls of married life.

We are first introduced to Sophie (Alexandra Maxwell) and later Frank (Simon Naylor) as they attend a couples therapy session. Frank’s lateness starts the session off on the wrong foot and things go from bad to worse as there are petty squabbles a plenty to be had over personal hygiene habits and each other’s minor irritations. However the crux of their problems stems from sex, or lack of it.

Frank cannot understand why Sophie no longer wants to be intimate with him, when he is still madly in love with his wife. His frustrations are further exacerbated by the fact that Sophie may not be attracted to him, but seems to have a lot of time for Scottish beefcake Jamie from TV show Outlander or that she changes her personality everytime they bump into her old boyfriend when shopping in Tesco.

What starts off as childish bickering turns into a game of one-upmanship between the pair, where it soon becomes more serious, eventually with both leaving the session with the outcome neither wanted. The second act takes place in a bar three years after the session where we get to catch up with the warring couple, but to say any more would spoil the show.

The play is anchored by two outstanding central performances. Simon Naylor is in fine form as loutish Frank, clearly relishing the spicey dialogue. However the shift from male bravado, to a caring, lost sensitive soul is one that feels natural and thoroughly believable.

Alexandra Maxwell is equally impressive as the hard-faced, cold Sophie. She more than holds her own in the verbal jousts, however it takes a little more time for her to show her vulnerability, it’s a subtle, measured turn. The pair have exceptional chemistry and this is the bedrock of the whole show.   

Writer Ian Watson’s clever, punchy script has a trojan horse quality to it. It lulls you in at first with some caustic one-liners as Sophie and Frank trade shots, which are at times gross, scathing but hilarious, with no subject off limits – porn, haemorrhoids and toilet habits are all covered to brilliant comic effect. However throughout there is a gradual shift in tone, and eventually the play makes observations about mental health, sexual abuse and trauma, handling them in a sensitive yet unsentimental way. Whilst at first it may come across as ‘laddish even, crude’, it certainly softens towards the conclusion.

With such strong themes running through the show it’s great to see that the run is in partnership with Andy’s Man Club, a suicide prevention charity doing a great work across the UK.

This is a sharp, entertaining and intelligent comedy/drama that comes from a good place. By the end you want more and genuinely care for its characters, which for me is the hallmark of a great production.

Frank 4 Sophie 4 Eva is at 53two until 8th November, tickets available here.

For more information about Andy’s Man Club visit: https://andysmanclub.co.uk/

Cluedo 2

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

Following the huge success of Cluedo (stage play), writers Maurice Gran and Laurence Marks have followed it up with the rather aptly named Cluedo 2, which hopefully will contain more mayhem, more murders, as well as some laughs.

This time around the action takes place in the ‘Swinging Sixties’, at the country estate of fading rockstar, Rick Black (Liam Horrigan), as he is about to offer an exclusive first airing of his latest album. In attendance are Black’s shady American manager Colonel Mustard (Jason Durr), Black’s wife, the scheming socialite Mrs Peacock (Hannah Boyce) and Black’s friend and tech expert, Professor Plumb (Edward Howells).

In addition, there is the seemingly ever-present housekeeper, Mrs White (Dawn Buckland) and interior designer, Miss Scarlett, (Ellie Leach), who has been brought in to give the crumbling manor house a bit of a makeover. Later they are joined by Wadsworth (Jack Bennett), a jobbing actor typecast as a butler, and finally the Reverend Green (Gabriel Paul), a friend and musical collaborator of Rick Black.

As more guests arrive, the body count increases, and soon everybody becomes a suspect. Everyone has a motive, and everyone has the means, but will they all survive long enough to catch the killer?

Cluedo 2, is very much a mixed bag, it does a great job of introducing all the familiar tropes associated with the boardgame: each of the characters are given a fresh take, subverting expectation, but still present are the classic murder weapons and rooms within the manor house.

Writers Gran and Mark’s script is fun throughout but doesn’t always deliver the big laughs that it needs. There are no wasted lines, and every bit of dialogue could be a clue, so be sure to pay attention! I expected more bite from the team behind one of my favourite sitcoms, The New Statesman. Director Mark Bell, arguably best known for directing The Play That Goes Wrong has tried to incorporate what worked so well on the Mischief Theatre smash hit into Cluedo 2, with again, mixed results: there are elements of farce, quick gags, and physical comedy which work well, you just wish there was more of it.

What this production does have is several strong performances. Dawn Buckland steals nearly every scene as the no nonsense Mrs White, she has the lion’s share of the best lines, and she delivers them with exceptional comic timing. Equally impressive is Jack Bennett as the former butler-turned actor, now playing a butler, Wadsworth. It’s a great comedic turn full of energy, which demands your attention throughout.

There are strong performances from Liam Horrigan as Rick Black as well as several other characters (no spoilers) who fully invest into the silliness you expect from the show. Hannah Boyce is in fine form as the mean, selfish Mrs Peacock.

The big draws for the productions are former Heartbeat star Jason Durr, who goes OTT as the big Texas music manager Colonel Mustard; it’s a performance as absurd as it is enjoyable. Whilst former Coronation Street and 2023 Strictly Come Dancing winner, Ellie Leach makes a fine stage debut as Miss Scarlett.

Whilst never hitting the big laughs, there are enough gags and comedic set-pieces to keep you entertained for the two-hour running time, and despite a slow start, the pace quickens as soon as the body count rises, leading to a suitably absurd and thoroughly satisfying conclusion.

Cluedo 2 is at the Lowry till 6th April. Tickets available here.

Noises Off

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Slip the word meta into conversation and most people may think you were talking about Mark Zuckerberg’s name for Facebook, and lots of other stuff in the ‘meta-verse’ I don’t understand, and quite frankly have no interest in understanding either! The meta I wish to talk about relates to Noises Off, a play within a play, from the pen of  playwright Michael Frayn, that is as clever and smart as it is silly and absurd, and I absolutely loved it!

First performed in 1982, Fryan’s script focuses on Britain’s obsession with farce, and the sex comedies of the 60’s and 70’s such as the Carry On and Confession films. He has taken some of these familiar elements and crafted a piece of work that still has a place in modern Britain, some 40 years on and the result is a riot from start to finish.

Noises Off  focuses  on a small touring theatre company as they attempt to bring their production of Nothing On to the stage. We see the production at three different stages of its lifespan. The first being the final rehearsal before opening night as director Lloyd Dallas (Simon Shepherd), attempts to get something half decent from his woefully  underprepared cast.

We are slowly introduced to this cast of misfits each with their own little quirk and foibles: First there is Dotty Otley (Liza Goddard), the star of the show, who has pumped a lot of her own money into the production. Next is the leading man, Garry Lejeune (Dan Fredenburgh) , a good actor, prone to bouts of jealousy. They are joined by Brooke Ashton (Lisa Ambalavanar) an inexperienced actress, who will plough through her lines regardless of what is going on around her.

Other cast members include: Belinda Blair (Lucy Robinson), a professional to the hilt, as well as being a hopeless gossip. Also there is Frederick Fellows (Simon Coates) a rather slow creature, low on confidence after his wife left him. The final actor making up the cast of Nothing On is Selsdon Mowbray (Matthew Kelly), a seasoned actor whose hearing problem matches his drink problem. The are joined by the easily flustered duo of Poppy Norton-Taylor (Nikhita Lesler) and Tim Allgood (Daniel Rainford) as the assistant stage manager and manager, with both also on hand as understudies should any misfortune befall the cast.

From the rehearsal space of Act 1, we are transported to back stage mid-tour for Act 2, where the cast and creatives’ personal lives and animosity towards each other are impacting the show, finally reaching it’s crescendo during the final act, which takes place on the final week of the tour.

Despite an initial gentle start, where characters are introduced and various plot strands are seeded,  Fryan’s script pokes fun at the genre with its more than familiar tropes of affairs, middle-aged men wandering around with their pants round their ankles,and young women managing to walk around with very little clothing. Don’t get me wrong there are gags-a-plenty in the first act, but nothing on the scale of what happens next.

It’s following the interval where we are treated to a tour-de-force of brilliant physical comedy from the entire cast beautifully directed by Lindsay Posner and choreographed by Ruth Cooper-Brown. As the illicit backstage shenanigans and petty squabbles begin to seep into the performances front-of-house, we have everything from shoe laces tied together, to prickly cactuses, at times it’s hard to keep track of what’s going on at such a frenetic pace, but it’s a visual feast, and worth the price of admission alone.

It’s easy to see why Noises Off has survived for so long as all the right ingredients are there: a smart, intelligent script which never seems dated or out of touch, a fantastic ensemble cast, who just know how to do comedy, who all get their moment to shine and finally a wonderfully directed series of set pieces that will tickle every funny bone they can reach. With all that is going in the world, Noises Off is just the tonic that is needed for 2 ½ of silly escapism.

Noise Off is at the Lowry until Saturday 21st October. Tickets available here.

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.

Electric Rosary

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️1/2

Writer Tim Foley’s new play, Electric Rosary had quite the inception, back in 2017 it won the Bruntwood Prize Judge’s Award and now it arrives at the Royal Exchange Theatre for a three-week run. This sci-fi comedy promises something original and something we had no idea we needed in our lives till now, nuns and robots sharing the stage for the first time!

Set in the dilapidated grounds of St Grace’s convent, a depleted troop of nuns are struggling to keep the convent afloat. Whilst the recent passing of the mother superior has left the nuns in a state of flux as to who will lead them through these are turbulent times. In addition, the convent had set up strong ties with a missionary in Ecuador which all the nuns have dreamt about visiting, however with funds so low this seems highly unlikely.

With Easter approaching acting mother superior, Elizabeth (Jo Mousley) may have a solution to their problems in the guise of a council funded robot, Sister Mary (Breffni Holahan). Whilst young nun Theresa ( Saroja-Lily Ratnavel) is made up with android Mary, older nuns, Phillippa (Suzette Llwellyn) and Constance (Olwen May) are more sceptical.

The views of the nuns seemingly represent their views of the outside world in general, as the use of robots as workers is commonplace in this world, with some members of the public protesting about the “reapers” as they are called, and as the protests head closer to the convent what will the nuns do about it, and just how will they solve a problem like Mary?

This is a bold, unique at times hilarious production, with some fantastic performances, and razor-sharp script. However, the further you dive into the narrative the darker it becomes, exploring themes such as tolerance, the over reliance on artificial intelligence, and other factors that divide us.

The play opens like an extended episode of Victoria Wood’s classic sitcom, Dinner Ladies, sweet, charming and hilariously funny packed full of well observed punchlines. There numerous strong comedic set pieces as Sister Mary adapts to her new environment and how it reacts to her. However, it’s the final act where the tone shifts becoming more of a thriller.

I felt that the production somewhat loses its way a little after the interval, which is a real shame, it would benefit from another edit. It does manage to get back on track though with a powerful, haunting final 30 minutes. The ensemble cast are excellent throughout: Saroja-Lily Ratnavel gives a fantastic performance, as the innocent, sweet natured Sister Theresa, displaying a gift for comedy. Breffni Holahan as Sister Mary, commands the stage, demanding your attention throughout, with a very physical performance. Olwen May is in fine form as the strong yet cynical world-beaten Sister Constance. In addition, there is a powerful performance from Yandass Ndlovu in two very different yet pivotal roles

This is a strong showing from all six actors who all work hard throughout with each one getting their moment to shine. Electric Rosary despite some minor flaws is a hilarious, ambitious production with a great deal to say about modern times and well worth a watch.

Electric Rosary is at the Royal Exchange Theatre till the 14th May tickets available here.

The Hound of The Baskervilles

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Back in July 2021 Artistic Director at the Octagon Theatre, Lotte Wakeham, chose The Hound of the Baskervilles to open the revamped theatre in Bolton.  Directed by Wakeham, it proved to be a smart choice, as it received huge critical acclaim and was the perfect way to showcase the talent at the Octagon. On the back of its success the production is now undertaking a nationwide tour hitting The Lowry, Quays Theatre this week for a run of shows that will delight and entertain!

Under the stewardship of UK tour director, Tim Jackson and adapted for the stage by Steven Canny and John Nicholson, the plot remains faithful to Sir Arthur Conan Doyle’s original. Sherlock Holmes and faithful companion Dr Watson are recruited to investigate the mysterious death of Charles Baskerville. Has Baskerville fallen victim to the infamous Baskerville curse that has befell so many of his ancestors, or is there a more rational explanation?

Those expecting a faithful and straight laced reworking of this classic tale are in for a shock. This is an innovative, funny and downright absurd reworking of one of Conan Doyle’s best loved works. Within the opening five minutes our trio of actors break ‘the fourth wall’ and directly address the audience to explain that for both artist and financial reasons the three of them will bring all the characters to life.

What follows is a comedy masterclass from the three leads, Nial Ransome, plays it relatively straight as the rather dim-witted Dr Waton, whilst Jake Ferretti and Serena Manteghi are a force of nature, as they undertake the majority of the character swapping, with Ferretti playing Sherlock Holmes, as well as various suspects. Whilst Manteghi, plays the role of Sir Henry Baskerville, the heir to the Baskerville fortune, and the next in line to be ‘bumped off’, as well various other Baskerville family members and three subtly different Dartmoor Yokel’s.

The script in conjunction with energetic performances of the three actors is the main strength to show. Paying homage to silent cinema, slapstick and the ‘whodunit’, Canny and Nicholson have taken Conan Doyle’s to be frank ridiculous plot and ramped it up to 11, allowing for even more absurdity, from OTT accents (not Canadian as Manteghi as points out), dance routines, and farce. Often throughout the show I was reminded of the productions of the Spymonkey theatre company, albeit a more toned down, child friendly version.

This is a fast paced, fun filled at times surreal show, which gives an irrelevant take on this world famous piece of literature. The only rational explanation is to go see the show at your nearest convenience!

The Hound of the Baskervilles is on at the Lowry till Saturday 5th February. Tickets can be found here.

The Lion, The Witch and The Wardrobe

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In the novel series, A Song of Fire and Ice, it was often said that “Winter is coming”. Well, over in Narnia winter has well and truly arrived and never has it looked so spectacular!

For the holiday season, the Lowry are staging Sally Cookson’s adaptation of C S Lewis’s family favourite, The Lion, the Witch and the Wardrobe which is a visual feast for the eyes.

Sticking relatively close to the source material, this musical production is set during World War Two and follows the evacuation of the Pevensie children: Peter, (Ammar Duffus) Edmund, (Shaka Kalokoh) Susan (Robyn Sinclair) and Lucy (Karise Yansen) from London to Scotland, to the home of the rather odd, but whimsical Professor Kirk (Johnson Willis).

Whilst exploring the house the youngest sibling, Lucy is drawn to the wardrobe where she discovers a gateway to the cold, bleak land of Narnia. There she meets the kindly but scared faun, Mr Tumnus (Jez Unwin). Here Mr Tumnus tells Lucy that Narnia is being held hostage by the White Witch, who has placed the land under a curse destined to experience the harshness of winter forevermore.

Lucy goes back to her family, but none of them believe her. She later returns through the wardrobe followed by Edmund, however Edmund meets with The White Witch (Samantha Womack) who with the temptation of Turkish Delight, decrees that Edmund must bring his brother and sisters to meet her.

Eventually all Pevensie children land in Narnia, where they encounter Mr and Mrs Beever (Sam Buttery and Christina Tedders respectively) as well as a whole host of woodland creatures who are part of the rebellion, battling to end the tyranny of the White Witch and bring about the return of their leader, the lion, Aslan (Chris Jared). With the battle lines drawn it’s time for the children to pick their sides for the ultimate battle of good versus evil.

This is a show packed full of quality with top-end production values which allows the audience to be transported between blitz time Britain and the fantasy world of Narnia. From the fantastic puppetry work of Toby Olié and Max Humphries responsible for the beautiful, graceful, Aslan to the amazing work of Joanna Coe and Susanna Peretz in the costume and make up department who bring the creatures of Narnia to life, from the plucky forest freedom fighters to the haunting, grotesque disciples of The White Witch.

With a production of this scale there are huge expectations of magic, fantasy and huge set pieces which are more than met. The first meeting with The White Witch as she arrives on a huge chariot is excellently executed, as is The White Witch’s elevation to the skies of Narnia covering the stage below with a blanket of snow. These are just two of the numerous awe-inspiring moments.

It’s not just visually where the production excels, Benji Bower and Barnaby Race’s blend of folk and roots compositions work beautifully well, giving the production a human, rustic quality.

In addition there is a superb cast, at first it’s always quite jarring seeing adults playing children, but you soon forget this as we see the four children go from somewhat annoying teenagers to ‘badass’ heroes. Chris Jared, working side-by-side with the puppet incarnation of Aslan, gives the beast an authority and dignity, obviously with Aslan there are comparisons to Christ, but Jared’s lion is more Churchillian, with his roaring battle cry.

With Samantha Womack’s White Witch, we have a cold, icy villain, void of emotion, this along with her movement around the stage seemingly gliding, yet stalking make her a truly memorable villain.

It’s shows like this that make going to the theatre one of the most joyous experiences we can have; The Lion, the Witch and the Wardrobe will captivate and enthral audiences from 9 to 90. I’ve no doubt the film version will be on TV during the festive season but treat yourself to this theatrical production and you won’t be disappointed.

The Lion, the Witch and the Wardrobe is at the Lowry until the 15th January 2022 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