Manchester

Rotterdam

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

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 Book of Mormon

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10-The-cast-of-The-Book-of-Mormon-Manchester-Palace-Theatre-Credit-Paul-Coltas

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.

📷 Paul Coltas

 

 

The Exonerated

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

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

Images by Shay Rowan Photography

Hobson’s Choice

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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.

 

Club Tropicana

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️1/2

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.

Club Trop 2

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.

Club Trop 1

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.

 

The King and I

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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 To Know 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.

 

Take That – Greatest Hits LIVE

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Writer Kate Goerner

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!

Further tour information can be found here.

Ghost

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Reviewed by Nikki Cotter

Opening night verdict ⭐️⭐️⭐️⭐️

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.

039_Ghost 2019_Pamela Raith Photography

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.

063_Ghost 2019_Pamela Raith Photography

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.

West Side Story

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07RET WestSideStory - Andy Coxon (Tony) & Gabriela Garcia (Maria) - image Richard Davenport of The Other Richard

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Expectation has been at an almighty high since West Side Story was announced as part of the Royal Exchanges Spring/Summer 2019 season. So successful of late has the theatre been at reimagining classic musicals the run had almost sold-out before the first preview even took place.

This epic tale based on Shakespeare’s Romeo & Juliet sees star-crossed lovers Tony and Maria fighting to be together in 1950’s Manhattan where warring gangs make the rules and stepping into enemy territory is strictly taboo. As a story there is everything from love and conflict to hope and heartbreak as the Sharks and Jets fierce rivalry shapes their very existence.

011RET WestSideStory -The Jets - image Richard Davenport of The Other Richard

Since it first premiered in 1955 Jerome Robbins choreography is something that’s always come as part and parcel of any West Side Story production. So iconic in its style it’s hard to imagine the Sharks and the Jets moving in any other way. Step forward Aletta Collins who not only takes on the challenge of reimagining the instantly recognisable choreography but does so in the most beautifully inspired way.

There are still enough elements of the original choreography to keep the traditionalists amongst us happy but these elements are now combined with a pulsating fusion of Latin, street, lindy hop, jazz and even a touch of northern soul to create the most vibrant melting pot of movement.

05RET WestSideStory - Gabriela Garcia (Maria) & Andy Coxon (Tony) - image Richard Davenport of The Other Richard

Director Sarah Frankom ensures this new choreography is allowed to take centre stage as moments of breath-taking beauty unfold; highlighted perfectly during the switch from punchy ensemble piece to the stillness of Tony and Maria’s first meeting which bursts with joyful innocence. A genuine moment of calm & purity during the heady tension of the dancehall scene.

The cast are outstanding and as an ensemble work together to perfection, fuelled by hatred, fear, anger, love and loss, they fizz with pent up emotion. The era is unspecific making it feel just as relevant today as it did 62 years ago as we seemingly are once again in the midst of a swathe of violent knife crime.

03RET WestSideStory - Andy Coxon (Tony) - image Richard Davenport of The Other RichardCROPPED

Andy Coxon finds the true heart of Tony, delivering a powerful and emotive performance; his rendition of Maria a real highlight while fellow lead Gabriela García is completely captivating as Maria. Her operatic vocals are note perfect and pure. Their duets are sublime while the innocence of their love is blissfully uplifting.

Jocasta Almgill is superb and sassy as streetwise Anita, Fernando Mariano makes for a passionate and proud Bernardo while Michael Duke as Riff is convincing and committed.

The cast make full use of Anna Fleischle’s innovative design which is skilfully lit by Lee Curran. They weave, jump and balance on Fleischle’s vertical geometric sets, one minute gone, the next high up emerging from the shadows. The balcony scenes in particular during Tonight really showing off the impressive staging of this piece as each character vies for the audience’s attention, from all sides of the theatre’s intimate space.

West Side Story ©The Other Richard

The eleven piece orchestra powerfully deliver Leonard Bernstein’s classic score with new arrangements by Jason Carr giving it a modern and fresh feel. Led by Tom Chester the score is packed with emotion and fundamental to the impact of this piece.

The Royal Exchange have created something truly special here, the standing ovation a clear indicator that this production marks another success for the innovative Manchester theatre makers. Bold, inspired theatre at its best.

West Side Story is on at the Royal Exchange until Saturday 25th May tickets can be found here.

Hair

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

 

Abigail’s Party

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

First premiered in 1977 at London’s Hampstead Theatre then broadcast on the BBC that same year, Mike Leigh’s ingenious Abigail’s Party brings to brilliant life the most painfully awkward cocktail party in the most hilarious & enthralling of ways.

Suburban housewife Beverly has set the scene for her soirée; she’s prepped the cheese & pineapple on sticks, switched on the fibre optic lamp & stocked the drinks cabinet in readiness for the arrival of new neighbours Angela (Vicky Binns) and Tony (Callum Callaghan). Also invited is neighbour Sue (Rose Keegan) who is escaping 15-year-old daughter Abigail’s party over at her own house. Beverly’s husband Lawrence (Daniel Casey) is also in attendance in between running errands while his wife prepares to schmooze.

Janet Bird’s inspired set transports us right back to the 70’s as knowing giggles ripple through the audience from the off when Beverly enters the chintzy wood panelled living room cigarette in mouth, gin in hand, decked head to toe in garish paisley she glides around the stage to the sensuous sounds of Donna Summer.

Some spikey exchanges take place between Beverly and husband Lawrence before their guests arrive offering the opportunity for our brash hostess to really come into her own. She is liberal with both the booze and her opinions as some of the small talk soon begins to sting.

Jodie Prenger is exceptional as the infamous Beverly, getting more and more grotesquely brilliant as the gin flows. So versatile in her skills she embodies the desperate housewife to perfection. Daniel Casey gives a great performance as Lawrence keeping his pent-up irritation with wife Beverly hidden to begin with until pushed to breaking point when things quickly start to unravel.

Vicky Binns as Angela is eager to please her new neighbour, her genuine naivety and optimism making her all the more endearing. Her inane chatter leads to some terse tellings off from frustrated husband Tony whom Callum Callaghan portrays convincingly.

Rose Keegan shines as fifth party guest Sue, quiet and polite despite some overly familiar probing questions she gives a hilarious performance as the single guest caught in the middle of two clearly unhappy couples.

Director Sarah Esdaile at times focuses less on the uncomfortable interactions and undercurrent of frustration & more on the humour of the piece. Traditionally tense moments are played a little more for laughs than they were in the famous Alison Steadman led version, this does dilute the emotional impact of the ending a little however with such superbly executed performances the is no doubt that this is an enormously entertaining piece.

Although Abigail’s Party is very firmly set in the 1970’s its genius lies in its hilarious and at times painfully honest study on human interaction, ambition and all the complexities that come with it. Littered with laugh out loud humour and moments to make your toes curl Abigail’s Party is wonderfully entertaining theatre with themes as relevant today as they were 40 years ago, the most eventful party you’ll ever be invited to.

Abigail’s Party is on at Manchester’s Opera House until Saturday 13th April tickets available here.

Trainspotting Live

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Reviewed by: Michelle Eagleton

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There’s no denying that Irvine Welsh’s cult novel Trainspotting made a huge mark on the Nineties generation. His book charting the antics of drug fueled youths in Scotland hit the shelves in 1993 with the Danny Boyle film coming three years later, making an overnight star of Ewan MacGregor. Trainspotting Live, currently on tour, takes the story to another level and whether you are fans or newbies to the tale of Renton, Tommy, Sick Boy and Begbie it is an immersive experience like no other.

The King’s Head Theatre and In Your Face Theatre are at the helm of this ground breaking production which has made Manchester’s former bus quarters, the Mayfield Depot, its home for their run in the city. The vast venue is the ideal location for the raw material on display with its exposed brickwork and abandoned warehouse feel adding to the atmosphere and giving the impression of you entering an underground rave from the start.

TRAINSPOTTING LIVE

Trainspotting Live CREDIT Geraint Lewis

Convention goes out of the window as soon as you enter…Glo bands replace tickets and there’s no seat reservations, the choice is yours where you perch for the 75 minutes duration of the play (I’d avoid anywhere near the exposed loo as ‘the worst toilet in Scotland’ scene gets a little messy). If you are easily offended then this maybe isn’t the show for you…nakedness is a plenty, as is the swearing and sex. Don’t get me wrong though it’s all in context and is played out with such raw energy and realism from the five-strong cast that you are seriously swept away with them on an emotional rollercoaster that sees you witness their chemical highs and the subsequent sombre come downs.

TRAINSPOTTING LIVE

Trainspotting Live CREDIT Geraint Lewis

Greg Esplin delivers a powerful performance as Tommy, Renton’s best mate who suffers the consequences of the drug scene. His descent from fun loving chappy to distraught junkie is mesmerising to watch.

The last time Trainspotting Live toured there was a cast of seven which meant there were two females sharing the roles on offer, with the cast cut down the weight falls on to the only woman in the line-up Lauren Downie to step up to the plate. Downie rises to the challenge and is outstanding in her plethora of roles each one carefully crafted, especially Renton’s Mum which she plays with such painstaking desperation.

TRAINSPOTTING LIVE

Trainspotting Live CREDIT Geraint Lewis

It would be wrong not to mention all of the actors who make up the cast as they are a hugely talented bunch. Oliver Sublet (Begbie), Michael Lockerbie (Sick Boy) and, stand in for press night, Dean Gribble (Renton) put in stellar performances that are fizzing with realism.

Each performance of Trainspotting Live is unique as it very much relies on the reactions of the crowd who have turned out to see it. Part of the fun is watching people’s faces as they witness some of the shocking scenes on display and the humorous interaction between the actors and the audience is priceless. The show manages to balance the darkest of themes with lighter shades of humour and the sheer speed at which the productions runs echoes the film perfectly.

Don’t ‘choose something else’…choose Trainspotting Live before it heads off to its next station.

Runs at Mayfield Depot until 21st April

Tickets available via http://www.trainspottinglive.com/#buytickets