Live Theatre

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