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.
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.
With the super talented Jez Butterworth’s latest offeringThe Ferrymancurrently wowing audiences and critics on Broadway, it’s always worth paying a visit to some of his earlier work and theWonderIfproduction ofButterworth’s first play,Mojo.
Originally set in the 1950’s seedy club scene of Soho, this version sees the action shift to the ecstasy-fuelled club scene of 1990’s Manchester. Manchester at the time resembled a Western,as rival gangs battledforcontrol of the doors and of course the drug scene, so thisnarrative shift works perfectly.
The first actopens at the Atlantic club and certainly belongstoPotts (Paul Jennings) and Sweets (Leigh Manning)as the pair muse about how the good times are coming back, especially with the potential success of Silver Johnny (Edrine Spencer), a local singer/dancer the boys helped to discover–things are certainly on the up.
Later clubskivvySkinny (Oliver Baines) and Baby (Scott Harrison)join the party. Early doors we can see cracks in the relationship of these four, as Baby’s toxic masculinity oozes out of him especially as it relates to his treatment of Skinny. However,the situation takes a more sinister turn with the arrival of the club manager Mickey (Miles Mooney) who informs the gang that club owner, and Baby’s father, Ezra has been murdered andis inthe bins outside the club.
Inaddition,their golden gooseSilver Johnny is missing.The gang decide to lay low in the club to see how thesituation playsout and defend theirterritory, but with tensions running high, personal vendettas, bruised egos, and certain group members manipulating the situation for their own gain,it’s pretty clear that not everything will endwellfor this dysfunctional quintet.
This is pitch black comedy that looks at the battle for supremacy and the pecking order of a group of wanna be tough guys: there is always ahierarchyin place. The script is packed with stinging dialogue and cutting oneliners,with a plenty of dark humour to boot.
All six performers work well as an ensemble, demonstrating who their character is and just where they fit into in the group’sstructure, I do think some of the performances could bereinedin a touch and played less for laughs as itlosessight of the more dramatic elements of the play. Inaddition,there are still references to the action taking place in London rather than it’s new setting of Manchester which did get a little confusing.
Overall this is an entertaining, engaging night at the theatre, withnumerous twistsandturns that will leave you guessing how it will end. In addition, the show has a killer soundtrack, featuring the likes of New Order, Joy Divisionand Happy Monday’s, that you really can’t go far wrong. This is a must for fans of the gangster genre, and anyone who likes their dialogue sharp and stinging, cutting straight to the bone!
Mojo is on at the Met Bar on the 21stand 22ndof July. Tickets available athere.
Something VERY exciting is heading our way this September; brand new musical & Juliet opens at Manchester’s Opera House ahead of a West End run and will aim to prove that there is life after Romeo when instead of giving up on life Juliet decides it’s time for her to get a life!
This vibrant new musical will feature not only songs from legendary writer Max Martin (Britney Spears’ “Oops… I Did It Again”, Backstreet Boys’ “Everybody”, Ellie Goulding’s “Love Me Like You Do”, and The Weeknd’s “I Can’t Feel My Face to name but a few) but also boasts a cast that literally reads like a who’s who of musical theatre including Miriam-Teak Lee (Hamilton, On The Town), Oliver Tompsett (Wicked, We Will Rock You, Kinky Boots), Cassidy Janson (Beautiful: The Carole King Musical, Chess) and Jordan Luke Gage (Bat Out Of Hell).
This timely and innovative new musical is directed by Luke Sheppard (In the Heights) with a book by David West Read (Netflix’s Schitt’s Creek) and choreography from the internationally renowned Jennifer Weber.
& Juliet looks set to be an iconic new production which best of all Manchester gets first!
Former Hamilton star and award-winning actress Miriam-Teak Lee will take on the role of Juliet as she escapes to Paris with her best pals in a bid to choose her own ending. We were lucky enough to catch up with Miriam-Teak Lee ahead of the show’s opening in Manchester to hear a little more about this revolutionary musical and what we can expect from this new kind of Juliet.
How is the classic story of Romeo & Juliet reimagined in & Juliet and how where does it start in terms of the original play?
& Juliet reimagines the ending to Romeo and Juliet and asks, what if this was just the beginning for Juliet. & Juliet is a play within a play so it starts with Shakespeare (Oliver Tompsett) telling his fellow actors the ending to his new play Romeo and Juliet, when Anne Hathaway, Shakespeare’s wife (Cassidy Janson) hears, she asks why don’t we rewrite that ending… and continue on. She explains that Juliet is still young and has her whole life ahead of her, so why would she kill herself because of one boyfriend. So as she takes the quill and begins to write, we see Juliet at Romeo’s tomb, distraught and contemplating with the dagger. At which point she sings “Hit Me Baby One More Time” as she looks to the stars to “give her a sign”.
Juliet sounds like a strong, independent character and a really inspiring role model to women. What does it feel like to play such an exciting lead role in a brand new musical?
It feels incredible to play such a strong character. I genuinely believe that Juliet has always had strength but that isn’t necessarily explored in depth in the original Romeo and Juliet, so it is amazing to be able to tell a story that puts a magnifying glass on Juliet’s inner power and journey to self discovery. It’s important that young girls have someone to look up to, to be influenced by, and I really feel that Juliet could really be the inspiration that they need. To know that they can do anything they put their mind to, that they can be in the driving seat of their own life and that there is no limit to their greatness!
Performing in Hamilton must have been an incredible experience. Was this your West End debut and how did this role help prepare you for playing Juliet?
My actual first West End Debut was playing Claire DeLoone in Leonard Bernstein’s On The Town at Regent’s Park Open Air Theatre in Summer 2017. And I was awarded Best Actress in a Musical for that role at The Stage Debut Awards which was incredible. So that role, coupled with being a cover of all the Schuyler Sisters in Hamilton really did prepare me for playing Juliet. It taught me about constantly being aware of all the actors on stage, using my initiative when things went wrong, bouncing off people’s energy, staying true to my character but allowing myself to discover new nuances and relationships, even in the moments when I’m not speaking or singing. And it taught me that the power of whatever you feel on that stage is whatever the audience feel, so never deprive them of the truth.
The musical features an incredible score from prolific songwriter Max Martin. What is your favourite track to perform on stage and why?
With the public performances we have been doing recently, I have been performing Roar quite a lot and that is such a powerful moment in the show for Juliet. I love performing that song because it is the pinnacle moment for Juliet in her search for self discovery. She literally realises in real time the kind of person she used to be, how she used to “bite her tongue and hold her breathe” constantly trying to please others, and this is a moment where she says I am going to do as I please and you are all going to watch me succeed! It’s such an empowering moment in the show and the audience will feel that too!
What can you tell us about what your costume style in & Juliet?
I LOVE the costume designs by Paloma Young, I cannot wait for everyone to see them. It’s a very clever mix of Renaissance and modern day. We have included use of the tight bodices with corsets but shorter skirts and a sporty flare. It’s iconic!
How much choreography can we expect to see in & Juliet and what kind of dance genres have the creative team drawn upon to create a fresh new musical style?
There is so much choreography in this show by the incredible Jennifer Weber! There is definitely a hip hop/commercial/new age style to the choreography that works so effortlessly with Luke Sheppard’s brilliant direction to further the story, to transport us and to absolutely engulf us in this world of wonder!
Why do you think Manchester audiences in particular will love the musical?
Manchester is the home of music, seeing so many great artists go there and perform there. I think Manchester will receive the show incredibly and we can’t wait for them to see it first!
What three words would you use to describe & Juliet?
Revolutionary! Spectacle! Inspiring!
Shakespeare and pop music are a unique combination! How do the two blend together?
It combines the greatest pop writer of the 16th/17th century with one of the greatest pop writers of the 20th/21st century. So I think it’s a pretty iconic blend and one that will stick in people’s minds for years to come!
Finally, what can audiences expect when they come and see & Juliet?
They can expect to see a whole new outlook on Juliet Capulet, they can expect to have an incredible night, they can expect to laugh their socks off and go on a journey filled with all their favourite songs, sung in a completely different way with a whole new meaning. It’s a show not to be missed!
& Juliet plays at the Manchester Opera House from Tuesday 10th September until Saturday 12th October tickets available here.
Theatrical royalty and original Miss Saigon Lea Salonga brought her sensational one-woman show to Manchester’s Opera House over the weekend as part of her current UK tour. Rescheduled from February due to an unfortunate skiing accident Salonga quickly proved to an excited Manchester audience that she was more than worth the wait.
Opening with the Nina Simone classic Feeling Good Salonga sets the tone for the evening, slick, sharp and effortlessly brilliant. Accompanied by a six-piece band which includes Musical Director Larry Yurman whom worked with Salonga back in her Les Misérables Broadway days the talented musicians accompany her beautifully. Each piece is perfectly paced while the incredible acoustics within the Opera House make it feel as though she is singing directly to each and every person there. The impressive lighting design adds to the visual appeal of the show while Salonga’s vocals really do speak for themselves.
Incredibly warm and charismatic her frequent exchanges with the audience between numbers further add to the charm of her incredible performance, already enraptured with her judging from the enthusiastic applause even before the first note was sung Salonga further seals the deal when she announces “Manchester, you are giving me life right now”.
The varied set list caters wonderfully for all tastes; there’s lashings of musical theatre numbers including Les Misérables, Miss Saigon, Company and Hamilton as well as a brilliant selection of contemporary songs ranging from Tracy Chapman’s Fast Car to perhaps rather surprisingly One Direction’s Story Of My Life which is delivered with warm emotion.
Of course no performance would be complete without Salonga treating audiences to pieces from the Disney productions she famously voiced. Her performance of Reflection from Disney’s Mulan allows for a significant introductory speech about the importance of representation and visibility and how honoured she feels to represent not just Asian women on stage but an ‘badass Asian warrior’.
From Reflection Salonga moves poignantly into Train’s Drops of Jupiter which she dedicates to all those who have been affected by cancer after revealing that the Grammy award-winning song was written by lead singer Pat Monahan after the loss of his mother.
Act 1 comes to a close with an absolute fan favourite which Salonga describes as ‘the gift that keeps on giving’; a song she has sung many hundreds of times but one which walloped her emotionally the first time she sang it after the birth of her now 13 year old daughter. I’d Give My Life For You sounds as fresh and as devastating today as it did 30 years on from those first days of Miss Saigon rehearsals.
Act 2 opens with a lively delivery of Another Hundred People from Stephen Sondheim’s Company swiftly followed by a spectacular rendition of Let It Go from Disney’s Frozen which Salonga wittily describes as a song ‘you simply can’t escape from’ while inviting the eager audience to join in with the chorus to which they happily oblige.
The addition of a stripped back acoustic version of A-ha’s Take On Me is a real highlight of the show, showcasing not only Salonga’s incredible range and control but also the sheer talent of guitarist Chris Allard. Next comes a haunting rendition of Burn from Lin-Manuel Miranda’s smash-hit Hamilton a work she describes as ‘absolute genius’ and a show she has seen three times.
Salonga’s first stint as a Disney Princess was voicing Aladdin’s Princess Jasmine which resulted in one of the most successful duets in cinematic history, A Whole New World. Salonga takes this opportunity to ask for a volunteer to join her on stage in delivering the iconic song. Audience member Mark Cunningham, a dedicated fan since he first saw Salonga in Miss Saigon back in 1989 when he was just 14 is the lucky person chosen and delivers an impressive rendition of the much loved piece, complementing Salonga wonderfully. The pair thrill the audience with the duet receiving one of the warmest responses of the evening; an unforgettable opportunity for Mark as well as a heart-warming moment for the watching audience.
Salonga brings the show to a close with a medley of Les Misérables numbers I Dreamed A Dream and On My Own. The first Asian actress to play the roles of Eponine and Fantine on Broadway Salonga leaves the audience speechless with her goose bump inducing, note perfect delivery.
Salonga thankfully sticks with the tradition of delivering an encore and reappears to thunderous applause as she bursts into a celebratory performance of This Is Me from The Greatest Showman followed by her final song for the night, Whitney Houston’s Greatest Love of All.
Salonga thrills effortlessly from start to finish, her voice smooth as honey is as powerful as it is perfect. Thirty years of entertaining audiences have cemented her as without doubt one of the most extraordinary talents in the world today. Her warmth and talent combined with a varied and accessible set list ensures her appeal endures while she no doubt gains new fans along the way.
With limited dates left on this current tour we suggest you summon your inner badass and get booking tickets ASAP!
Further information and tour dates for Lea Salonga can be found here.
Every once in while a play comes along that really strikes the right chord, one that you would encourage as many people as possible to go and see, writer Jon Brittain’s Rotterdam is that play!
First performed in 2015, this Olivier Award winning play offers an honest, raw portrayal of gender dysphoria and the impact that it can have not just on the individual but their loved ones as well.
Set in the Dutch city of Rotterdam, a vibrant port town where people come and go as much as the cargo that passes through its docks; however, this isn’t the case for Alice (Rebecca Banatvala) and her partner Fiona (Lucy Jane Parkinson).
The pair have been living there for seven years now, with both trying to come to terms with who they are. It’s New Years Eve and Alice has finally decided to come out as gay to her parents, with much encouragement from Fiona. However, before Alice undertakes this brave step, Fiona also has a confession to make that she wishes to be recognised as a man and would like to be called Adrian from now on.
This revelation has a huge impact on the pair and their relationship as Adrian seeks acknowledgement from a world that he sees will not accept him as a man, whilst Alice questions her own sexuality. Through their journey of discovery, the pair are supported by Lelani, (Stella Taylor) Alice’s free-spirited work colleague, who has more than friendship on her mind as it pertains to Alice. Making up the quartet, is Josh (Paul Heath) Fiona/Adrian’s brother who is also the former boyfriend of Alice.
This could so easily fall into a ‘preachy’ message driven play about transgender issues, instead focusing on the impact Adrian’s decision to transition impacts on those around him. The script handles its subject intelligently and sensitively, whilst pulling no punches. There are moments of levity throughout with some sharp, funny throw away lines.
The cast under Donnacadh O’ Brian, skilful direction are superb, with Parkinson giving a raw at times feral turn as Adrian: filled with conflict and heartbreak. Whilst Banatvala is also outstanding giving a more restrained but no less gut-wrenching turn as Alice. Both Taylor and Heath are on good form in their supporting roles, with the pair turning in great comedic performances, demonstrating a gift for timing and delivery.
There are some plot contrivances that test plausibility, such as Josh’s decision to stick around despite losing the women he loves to his sibling, but this is a minor quibble on what is a weighty, heartfelt, powerful piece of theatre that will make you laugh and may even cause you to get the odd bit of sand in your eye too.
Transgender issues despite having some media coverage are still hugely unrepresented. Productions like Rotterdam are much needed and important to help educate and hopefully create more positive conversations. This however is not the shows key drawing power, that comes because it is a beautifully told story about the struggles of relationships and real life that will resonate with us all.
Rotterdam is at the Manchester Opera House till 15th June. Tickets available here.
The cast of Book Of Mormon Manchester – Credit Paul Coltas
Reviewed by Nikki Cotter
Opening Night verdict ⭐️⭐️⭐️⭐️⭐️
Ever since those first whispers of “The Mormons are coming” way back in November, excitement levels have been sky high for the multi-award winning, (Tony’s, Olivier’s and Grammy’s to name but a few) smash-hit Broadway musical’s Manchester arrival.
Penned by South Park creators Trey Parker and Matt Stone along with Robert Lopez co-creator of Avenue Q as well co-writer for songs from Disney’s Frozen and Coco you quickly get the idea that this is going to be one seriously creative and wildly outrageous piece of theatre…and you wouldn’t be far wrong.
From the minute the bright-eyed, Colgate smiling, super-positive Mormons take to the stage with witty opening number Hello! you know you’re in for quite the ride, so buckle up, embrace the outlandish and leave the easily-offended at home.
M-Jae – Cleopatra, Issac – Kevin Clay, Conner Peirson in The Book Of Mormom, Manchester, Palace Theatre Credit Paul Coltas
The story introduces us to Elders Price (Kevin Clay) and Cunningham (Conner Peirson) a mismatched pair thrust together on their Mormon mission to convert the natives of a country far flung from Salt Lake City (no spoilers here), despite knowing nothing about the country nor the traditions or beliefs of the locals who live there. While Elder Price feels his mission is to “Blow God’s freakin’ mind” Elder Cunningham lies…a lot; what could possible go wrong?
From the off The Book Of Mormon pokes wicked and downright profane fun at every stereotype imaginable; nothing is off-limits in this all-out comedy assault and the audience lap up every close to the bone second of it.
The bouncy, infectious score with lyrics to make your toes curl is as outrageous as it is brilliant. There’s a genius borrowing from several other musicals: hilarious hints of The Sound of Music’s ‘I Have Confidence’ can be heard during ‘I Believe’ while ‘Joseph Smith American Moses” is a riotous, profanity laden homage to ‘The Small House of Uncle Thomas’ from The King and I; as for the jaw-droppingly offensive yet hysterically funny Hasa Diga Eebowai, The Lion King’s Mufasa would be turning in his buffalo trodden grave.
Nicole-Lily Baisden and Conner Peirson Book of Mormon, Manchester, Credit Paul Coltas
This ‘borrowing’ sends up other musicals so brilliantly yet feels incredibly original; at one point during ‘You and Me (But Mostly Me) you are almost prepared for Elder Price to rise up Elphaba style a la Wicked.
Kevin Clay is outstanding as Elder Price, full of ego and bursting with confidence his self belief seemingly unshakable. Conner Peirson makes for a perfect sidekick as Elder Cunningham so desperate is he to please that his wild exaggerations and implausible bending of the truth brings its own type of bedlam to proceedings. The two together are an absolute joy, their love/hate relationship being the backbone of the story and they deliver it with heart-warming conviction, ultimately teaching both characters a generous life lesson.
Nicole-Lily Baisden shines as Nabulungi, sweet yet sassy she brings a wide-eyed innocence to the role making her duet with Peirson during ‘Baptize Me’ all the more entertaining.
The cast of The Book of Mormon Manchester – Palace Theatre, credit Paul Coltas
Special mention must also go to Will Hawksworth and his outstanding troop of Mormons, every scene they feature in is perfection with Turn It Off and I Am Africa being two of the standout moments of the night, camp, completely over the top and laugh out loud funny.
There is not one weak link in this entire company, with many cast members taking on several parts and delivering each to the highest of standards with the vocal arrangements and choreography taking this production to the next level.
While the show happily tears through taboos with all the subtlety of Satan at a baptism its ultimate message is one of faith. Yes it’s outlandish, yes it’s irreverent but the core message is that it really doesn’t matter what you believe in just as long as you believe in something, be that yourself, your community or each other. While it pokes fun at organised religion it makes clear the message that faith is no bad thing once you see past the bonkers constraints that surround it.
The cast of The Book of Mormon Manchester – Palace Theatre, credit Paul Coltas
Rarely do you see a whole theatre leap to their feet but judging by tonight’s thunderous standing ovation The Book of Mormon is without doubt the hottest ticket in town. Riotous fun from start to finish, believe the hype this is without doubt a little piece of heaven on earth.
Outrageous and original this sensational production will leave you desperate to convert to that marvellous Mormon tribe!
The Book Of Mormon is on at Manchester’s Palace Theatre until Saturday 24th August, tickets available here.
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.
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.
Innovative adaptations and the Royal Exchange Theatre go hand in hand; just looking at this week’s Autumn/Winter programme announcement confirms the theatre’s reputation as bold decision makers who delight in mixing things up. Interestingly Hobson’s Choice doesn’t relocate too far from its Salford origins, settling on the streets of a fledgling Northern Quarter but it’s reimagining by playwright Tanika Gupta brings a fresh vibrancy to this classic Northern comedy. The Hobson’s are now an enterprising Ugandan-Asian family running a tailor’s business in the city’s 1980’s backstreets thanks to the diamonds Mrs Hobson (then Patel) managed to smuggle out of Uganda in a batch of pakoras.
Hari Hobson (Tony Jayawardena) is a firm believer in what we’d now describe as wildly out-dated attitudes, his social standing means the world to him, a world in which he thinks women should be seen but preferably not heard and that at age 30 any female is well and truly past her prime. He delights in reminding his daughters that it is indeed a man’s world whilst he attempts to keep up appearances as head of the household despite it being clear for all to see that eldest daughter Durga (Shakini Peiris) clearly rules the roost.
His second generation daughters are desperate to break the mould, led by eldest sister Durga who has grown increasingly sick and tired of being the brains behind the business with little in gratitude or reward.
Tanika Gupta’s innovative adaptation enriches the story with well-timed humour, sparkling exchanges and touching sincerity which are made all the better by the well-researched Ugandan-Asian historical references. The strength of the cast is key to the success of this piece with each and every cast member giving a performance that is second to none.
Tony Jayawardena is outstanding as the ill-tempered family patriarch Hari who revels in his adopted Britishness yet despairs when his daughters attempt to explore their new culture. His comedic timing is perfection particularly during his superb exchanges with eldest daughter Durga (Shakini Peiris). They butt heads throughout with both hilarious and touching consequences.
Shakini Peiris is commanding as determined and hardworking Durga, the real innovator in the family. She convinces entirely as ambitions Durga whilst achieving a relatable balance of frustration and love for her infuriating father.
Special mention must go to Esh Alladi whose portrayal of introverted tailor Ali Mossop is an absolute joy. The journey he goes on is remarkable, starting out as a quaking bundle of nerves he is shaped with genuine tenderness by Durga, never losing his warmth and innocent charm and providing the audience with some of the best laugh out loud moments in the production.
Rosa Maggiora’s set design uses the Exchange’s unique space to great effect with Matt Haskins lighting design adding atmosphere and depth to proceedings.
This brilliantly portrayed and beautifully developed comedy piles on the laughs while director Atri Banerjee also ensures the moments of calm and consideration are allowed to gently develop. Family life in all its ugly complexities and wonderful contradictions are exposed in this delightful production. There is very little to criticise here, a slight lull in pace during Act II perhaps but this really is a minor quibble. This is an innovative and fresh take on a classic Northern tale with storytelling brought to beautiful and brilliant life by a skilled cast and creative team. Uplifting and joyous theatre told with true heart.
Catch Hobson’s Choice at the Royal Exchange until Saturday 6th July tickets available here.
The cheesy, cheery and oh so cheeky Club Tropicana sashayed its way into Manchester this week taking audiences right back to the 80’s with an outrageously camp night of good natured theatre escapism.
Bride Lorraine’s (Karina Hind) hair may be big but her doubts are even bigger as with a little help from her friends she decides to play runaway bride and head to her honeymoon with the girls for some sun, sea and soul searching.
Heartbroken groom Olly doesn’t need much convincing that a little break in the sunshine could be what he needs to forget being jilted at the alter and you guessed it, heads with his pals to the same hotel! Add to this their arrival coincides with that of a mystery hotel inspector, hotel owners who are secretly in love and an ill-tempered Spanish housekeeper and you’ve got a great recipe for a night of hilarious mischief and raucous mayhem.
Fan favourite Joe McElderry is at the helm of the production as entertainment host Garry; camp, colourful and absolutely chockfull of charisma he is every inch a star performer. From teaching the audience a Macarena style dance routine at the start of Act I to leading the cast in an 80’s singalong he more than rises to the occasion. Oozing charm and bursting with talent his panto style interaction is lapped up while he takes every opportunity to prove what a vocal talent he is in the multiple 80’s classics which come thick and fast in this jukebox jape.
Kate Robbins is hilarious as Spanish housekeeper Consuela, full of sarcasm and dry wit she proves what a talented character actress she is, her scene stealing performance is lapped up by the audience who are treated to several of her most loved impersonations.
Former Sugababe Amelle Berrabah is in fine voice as hotel owner Serena, her strong vocals if anything are a little underused while Nye Rees does a fine job of covering for Neil McDermott who is unable to perform tonight.
Nick Winston’s choreography adds sass to the production and offers something visually solid when the paper thin plot needs a boost. The ensemble scenes are high energy and delivered with enthusiasm and precision by the incredibly talented cast.
Shakespeare is it not, nor is it trying to be and judging by the riotous standing ovation Club Tropicana will keep audiences entertained even when the drinks aren’t free. While the plot may be as shallow as a paddling pool and as predictable as Brits abroad tucking into a full English the audience are getting exactly what they came for, feel-good, frivolous fun and are loving every minute of it.
Club Tropicana is on at Manchester’s Opera House until Saturday 8th June, tickets available here.
Bartlett Sher’s production of the Rodgers and Hammerstein classic which wowed both New York and London audiences opened at Manchester’s Opera House this week; its first stop on an extensive UK and Ireland tour which sees the multi-award winning production hitting the road until May 2020.
Starring Jose Llana direct from Broadway as The King of Siam and Annalene Beechey from the West End production as Anna, The King and I remains without doubt one of the all-time greats from the golden age of musicals.
Featuring a company of over 50 as well as a full-scale orchestra no expense has been spared in ensuring this lavish production impresses from the moment the overture begins.
Following the death of her beloved husband, English widow Anna takes on the job as teacher to the King of Siam’s children. She soon discovers however that the job isn’t entirely what she expected as she ends up teaching not only the King’s many children but several of his wives too. Further complications arise when the house she was promised fails to materialise and conflict begins with the stubborn King: a dictator whose command all must obediently obey.
Although set in the 1860’s the story is still surprisingly relevant as we see Anna set about changing the King’s old fashioned and out dated views on women. While there is an element of civilised Westerner going to the East to teach what is decent and right the context here feels more like a meeting of minds proving both can learn from and benefit each other.
Michael Yeargan’s exquisite set design combined with Catherine Zuber’s sumptuous costumes mark this production out from the start as a lavish and beautifully enthralling revival.
Christopher Gattelli’s additional choreography breathes new life into Jerome Robbins original 1950’s choreography adding a fresh vibrancy which the strong ensemble deliver with impressive precision.
Annalene Beechey is everything you’d wish for as Anna: wonderfully engaging, gracious and warm, with a strong sense of self while gifted with the most sublime voice she embodies to perfection the compassionate teacher.
Jose Llana equally impresses as the King of Siam. Brilliantly sharp and incredibly witty he has a playful, cheeky charisma winning the audience over in an instant despite his characters archaic opinions on women.
The connection between the two feels genuine and well developed cementing the climactic scene as they waltz around the stage during Shall We Dance? as one of the most joyful moments you’re likely to witness in the theatre.
They are supported by a superbly talented supporting cast with special mention going to both Cezarah Bonner as Lady Thiang, Aaron Teoh as Prince Chulalongkorn and Kamm Kunaree as Tipton.
High praise must also go to the incredibly talented children in the show who together with Beechey deliver a delightfully endearing version of audience favourite Getting ToKnow You while Billy Marlow impresses enormously as young Louis Leonowens.
The pace of this rich production is consistent throughout with the significance of the story convincingly expressed. The King and I proves there is no puzzlement in its status as a timeless classic: this is a truly epic and joyous production both visually and musically. Thrilling in its scale and spectacular in its delivery, the King and I is a dazzling must-see.
The King and I is on at Manchester’s Opera House until Saturday 11th May here.
Regular readers of Opening Night will know that we’re pretty big fans of The Band, the musical based around the songs of Take That.
Combining a moving coming-of-age story of acceptance and loving yourself with the many hits of Gary, Robbie, Howard, Mark and Jason was a recipe for theatre magic in our (often tear-filled) eyes.
But disclaimer, we were fans of the group itself first – so as such here at Opening Night we were looking forward to going back to The Band’s roots thanks to Take That’s current Greatest Hits 2019 tour. Always theatrical, always dramatic – what would the group have in store this time?
The tour, which is in Manchester all this week, followed their recent album Odyssey – itself a tribute to those hits, reimagined.
Looming over proceedings is a giant orb, recreated from the from the Odyssey album cover, in spectacular fashion. Part stage, part projections, it really is a spectacular backdrop to the show.
And what a show! It’s as nostalgic as you’d expect – but with dazzling hi-tech staging that means the material and performances never feel old hat.
In fact it feels like the freshest tour in a while – while being a genuine love letter to a 30 year career.
There’s a feeling of the passing of the decades that’s reflected throughout the evening in the staging – from the Seventies-style Evel Knievel jumpsuits the lads wear to open the show (to the uplifting Greatest Day) to the monochrome Sixties section, the Eighties hair metal motorcycle tribute and a nice nod to the Nineties.
The hits are all there – with some real ‘lump in the throat’ moments on the big screen like a video of Robbie performing Everything Changes, or the Bee Gees in How Deep is Your Love.
We even got Mark singing Babe, a beautifully stripped back version of Pray with sign language (although we did miss the Pray dance!) and Lulu – YES LULU – joining Gary, Mark and Howard for Relight My Fire.
The evening ended in magical fashion with Rule The World complete with fireworks.
So while Opening Night hopes to see The Band hit our stages again some day, Take That prove that the original is usually the best!
Although it seems like five minutes ago it’s actually an incredible 8 years since Ghost the Musical first premiered in Manchester before opening in London’s West End ahead of a successful Broadway transfer and judging by audience responses at the Palace Theatre the love for this classic story shows no sign of waning.
Based on Bruce Joel Rubin’s iconic 1990 film, starring Patrick Swayze, Demi Moore and Whoopi Goldberg, Ghost tells the tragic love story of Brooklyn residents Sam (Niall Sheehy) and Molly (Rebekah Lowings) whose lives are cruelly torn apart when Sam is heartbreakingly murdered in a street robbery gone wrong. As Sam watches the scene of his death from a distance, stuck between two worlds he realises what at first seemed like a tragic accident is anything but and his beloved Molly is now in danger too. In order to find his own peace he must find a way to connect with and ultimately protect his love from beyond the grave, cue Oda Mae Brown an outrageous and questionable psychic who has made a living off receiving messages from the dead and passing them onto their living relatives for a fee of course; Problem is she’s never actually connected to anyone from the afterlife until now.
Rebekah Lowings is hugely endearing as Molly, tentatively attempting to navigate life after the loss of her soulmate she skilfully takes us along for the turbulent ride. Her voice is beautiful; she delivers each solo with fabulous control. The chemistry between Lowings and Niall Sheehy feels genuinely convincingly further adding to the emotion and impact of this production. Sheehy is lively and charismatic as Sam, his commitment to protecting Molly from danger genuinely touching.
Jacqui Dubois is brass, bold and boisterous as Oda Mae Brown, her razor sharp comedic timing is a joy to watch and her hilarious interactions with Sheehy are a real highlight. The scene where we first meet her and her two abetting sisters Louise (Jochebel Ohene MacCarthy) and Clara (Sadie-Jean Shirley) is hilarious with their exaggerated gestures and punchy harmonies.
Special mention must also go to Sergio Pasquariello and Jules Brown who both impress as evil duo Carl and Willie.
Impressive set and costume design from Mark Bailey adds to the slickness and authenticity of this production while Dan Samson’s sound design although vibrant occasionally overpowers the vocals of the performers. Nick Richings lighting design really makes this piece stand out visually, particularly impressive is the way Sam is lit once he passes from the real world.
The production translates exceptionally well from screen to stage with the addition of some great illusions from Richard Pinner delivered convincingly by an excellent cast.
Ghost will please fans of the original film and is also strong enough as a standalone production for those coming to the show with fresh eyes. It’s heavy on both emotion and humour while the dramatic and engaging story unfolds. There’s love, hope, comedy, deception and drama all neatly packed into this impressive production and while Dave Stewart’s songs may not be the most memorable they are enjoyable and beautifully delivered.
This reworked incarnation directed by Bob Tomson feels faithful and impressive. Gone is the celebrity casting allowing this production the delivery it deserves ensuring Ghost once again cements itself as a modern theatre classic. Hugely entertaining theatre which engages on every level and will leave you with more than a little tear in your eye.
Ghost the Musical is at the Palace Theatre until Saturday 20th April tickets available here.
Opening Night 