Manchester

Bat Out Of Hell – The Musical

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Over 50 years in the planning and boy is it worth the wait, Jim Steinman’s Bat Out Of Hell – The Musical explodes into life from the minute you enter the theatre, the looming set is immense, the transformation of Manchester’s Opera House to accommodate this ground breaking world premiere is astonishing. The set designed by Jon Bausor uses every inch of height available; it is vast, intriguing and innovative. If you weren’t sure before you certainly are now, Bat Out Of Hell is without doubt the biggest theatre event of the year.

Set against the backdrop of a post-cataclysmic city we meet Strat (Andrew Polec) the forever young leader of The Lost, a tribe of wasted youth who will never grow old. Classed as mutants by Falco (Rob Fowler) the oppressive ruler of Obsidian, The Lost live for love, freedom and of course rock ‘n’ roll. Falco’s daughter Raven (Christina Bennington) gets a taste for life on the dark side when she meets Strat on the eve of her eighteenth birthday and from that moment on things will never be the same again.

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Telling Strat when he sneaks into her bedroom at Falco Towers, “If you don’t go ‘over the top,’ then how are you going to see what’s on the other side?” Raven and Strat begin their adventure and take the audience on the ride of their lives. The talent on stage is staggering, Andrew Polec embodies absolutely everything you would want from a rebellious, tribe leading, rock God, he is wild, wired, dangerous and utterly mesmerising. His performance is quite simply incredible, strutting and swaggering he draws you in and completely seduces you, the chemistry between him and Christina Bennington (Raven) is pure magic, their relationship a total meetings of minds. They perfectly illustrate the angst and heartache of forbidden love, Bennington’s vocals are heavenly, at first seemingly delicate and pure she soon morphs into the ultimate rock chick, the power in her voice is astonishing, we soon realise the wide-eyed innocent daughter of Falco and Sloane (Sharon Sexton) has been waiting to be corrupted as she discovers a whole new kind of freedom with Strat.

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Of course Strat and Raven’s relationship was never going to be accepted by Falco, who sets about destroying what they have found, trying to end things before they have even had chance to begin. Rob Folwer as Falco is exceptional, brooding and intimidating; he has great stage presence and a superb rock voice. Falco’s seemingly long suffering wife Sloane (Sharon Sexton) delivers a fine performance, constant cocktail in hand she is so bored with this life yet so tied to it she is lost in a seriously wretched place. Their scenes together offer some real stand out moments, Paradise By The Dashboard Light is a riot, raunchy, wild and superbly staged, they deliver the narrative exquisitely. Both give a deeply heartfelt performance of new song What Part of My Body Hurts the Most, emotional and moving the quality of the writing is so good even for a new song it feels strangely familiar.

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Danielle Steers and Dom Hartly- Harris as Zahara and Jagwire give knockout performances, powerful and emotionally charged their interpretation of Two Out Of Three Ain’t Bad is insanely good, they really feel the music and deliver Steinman’s lyrics with real heart and grit. Their second act performance of Real Dead Ringer For Love is bursting with attitude and sass, backed up by a magnificent ensemble who give absolutely everything to this production.

This is a piece that proudly showcases the talent on stage; Director Jay Scheib really has created something magical here. Cutting edge and dynamic choreography from Emma Portner compliments Steinman’s lyrics and Scheib’s direction perfectly and adds even more attitude to already explosive performances. Special mention also must go to Giovanni Spano (Ledoux) and Andrew Patrick-Walker (covering as Blake) who together with Dom Hartley-Harris deliver a strikingly heartfelt rendition of Objects In The Rear View Mirror May Appear Closer Than They Are.

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The staging of this production is truly something spectacular, designed by Jon Bausor, it’s a struggle to find words to do it justice, the set continually evolves to deliver more and more intricate layers and surprises you just didn’t see coming, add to this the innovative use of multiple screens and live filming projected over almost every inch of the set, it’s quite literally a multimedia masterpiece, it feels as if the set is alive, I’ve never experience staging like it, it’s such a visual feast. The beauty of this multi-layered, multi-levelled set is that it allows every person sat in any seat within the theatre to feel part of the production, in effect breaking down that third wall, you are scooped up into the action and fully immersed in the experience. Costumes from Meentje Nielsen combined with video design from Finn Ross and lighting design by Patrick Woodroffe further confirm the sheer quality of this production.

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Bat Out Of Hell is astonishingly good theatre, immersive, incredible and utterly mind-blowing, there is no doubt in my mind that Manchester has witnessed history in the making tonight. This is a journey that is only just beginning, the success of this show is unlimited, a stunning production with the most sublime of casts, a monster of a hit, which oozes world wide appeal. Spellbindingly epic, an absolute must-see!

Verdict: Undoubtedly 5 star theatre, bold, dynamic and sexy as hell! *****

Tickets available here; http://www.atgtickets.com/shows/bat-out-of-hell/opera-house-manchester/

 

Grease

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Almost 50 years since it was first imagined by Jim Jacobs and Warren Casey, Grease The Musical still has huge audience appeal, for us oldies who share happy memories of dancing round their bedrooms pretending to be Rizzo mid ‘Sandra Dee’ to a new younger audience who simply can’t resist a bit of Greased Lightnin’.

The original 1994 London production has been revived by producers Paul Nicholas and David Ian ahead of a 10 month long UK and Ireland tour and boasts some big names on the bill, Tom Parker of The Wanted, Danielle Hope, Winner of BBC’s Over The Rainbow, veteran musical theatre star Darren Day and actress Louisa Lytton of Eastenders fame. Add to this direction from David Gilmore and choreography from Arlene Phillips and you have all the ingredients for an audience hit.

Danny & Sandy Photo by Paul Coltas

There were some nerves on show for Tom Parker who makes his musical theatre debut as Danny Zuko, next to cool as a cucumber Danielle Hope who made for an absolutely brilliant Sandy, Parker grew with confidence during the performance and is backed up by an impressive bunch of T-Birds with Michael Cortez giving a charismatic performance as Sonny, Tom Senior a suitably saucy Kenickie and Ryan Heenan and Oliver Jacobson delivering some great comedic moments as Doody and Roger. Of course where we find T-Birds we also find Pink Ladies, Louisa Lytton makes for a great Rizzo, full of attitude and sass her acting ability seriously impresses, while her voice isn’t as strong as the rest of her girl gang her feisty performance and slick dancing embody absolutely the rebellious Rizzo we all know and love so well. Pink Ladies Rhiannon Chesterman (Frenchy), Rosanna Harris (Jan) and Lauren Atkins (Marty) are all exceptional; they each deliver fine performances and suit their roles perfectly.

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When the ensemble cast are on stage is when this production is at its absolute best, from bursting onto the stage full of confidence and attitude for Grease Is the Word right through to the classic You’re The One That I Want, Arlene Phillips’ choreography is slick and delivered with precision, the stage literally lights up with each of these brilliantly staged scenes. The school dance scene is particularly impressive with a great performance from Natasha Mould as the infamous Cha Cha. We also see Darren Day as both Teen Angel/Vince, Day’s vocals are strong and he has huge audience appeal however there’s a couple of odd moments where he breaks into a Jim Carey ‘The Mask’ impression then later Austin Powers, something I’d hope is ditched as the show develops it just didn’t fit with the production whatsoever.

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This is a production that delivers some brilliant performances, as the cast grow in confidence over the next ten months it will no doubt develop into a finely greased machine (sorry I couldn’t resist) with ensemble pieces really packing a punch, and sublime vocals from the seriously talented Danielle Hope, Grease is a fabulous fun night out that will leave you on a high, reminiscing about your very own days as a teen angel.

On at The Palace Theatre until Saturday 25th March tickets available via the link below;

http://www.atgtickets.com/shows/grease-2017/palace-theatre-manchester/

 

Manchester ADP team up with The Oldham Coliseum

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Great news for budding Manchester actors as 2017 sees the  Manchester theatre scene more thriving and alive than ever. With the announcement of a Northern Rep, independent venues Hope Mill Theatre and 53two supporting new work, there’s never been a better time to be an artist in this city.

Now Manchester ADP (Actors, Directors & Producers) is making is making its mark on The Oldham Coliseum stage. The group was formed over a year ago by Diana Atkins, who wanted to create a forum where people met regularly to read scripts. She was shocked to find that nothing like this existed, so reached out to the Manchester theatre community to gather interest and was naturally inundated. Manchester-based Producer, Hannah Ellis Ryan came on board to help launch the group and, since then, there’s over 1000 creatives on their books.

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Manchester ADP produce script-reading performances twice a month at The Kings Arms in Salford and have performed at The Lowry, staging a “Next Steps” event, gathering over £2500 in donations from the community, including the screenwriter of Doctor Who and Queer As Folk, Russell T Davies.

Last year The Oldham Coliseum Theatre became a financial sponsor of ADP and partner, offering opportunities, advice and space for events. Their greatest partnership, however, is yet to come, with the staging of ‘What The Dickens?’ on the Coliseum main stage this May. ADP will stage four responses to ‘Hard Times’, the main stage production, commissioning four of their trusted writers to respond to the classic, under the mentorship of Associate Artistic Director Chris Lawson and professional directors.

Chris Lawson said:

 “The Oldham Coliseum Theatre are proud to continue to support the great work of Manchester ADP, ‘What the Dickens?’ is a unique opportunity to bring the ADP community to our main stage. We are committed to supporting new work and pieces in response to ‘Hard Times’ feels like the right way to do this, with themes and issues that continue to resonate today.”

The four writers are Naomi Sumner, of Brush Stroke Order, Alexandra Keelan, writer of Angel in the House, Kevin McMahon, prominent Irish writer, and Kenton Thomas, writer of ADP favourite: ‘My Man’. The writers will bring a distinct, diverse voice to the world of ‘Hard Times’ under the direction of Joyce Branagh, Martin Gibbons, Adam Quayle and Rose Van Leyenhorst.

‘Hard Times’ will be staged like never before under the direction of Lawson, to root its relevance to 2017 in this current economic and political climate. Alongside Manchester ADP’s responses, this partnership promises to be something special for the North West, offering an in-depth Q&A on the Monday evening.

Tickets are now on sale at: http://www.coliseum.org.uk/plays/what-the-dickens/

What The Dickens?

Monday 22nd May, 7:30pm

The Oldham Coliseum

Tickets: £5

Get involved with Manchester ADP here: www.manchesteradp.com

 

 

 

 

 

Ali MacGraw & Ryan O’Neal back together in LOVE LETTERS

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Ali MacGraw, Ryan O'Neal

Photo credit: Austin Hargrave

Hollywood legends Ali MacGraw and Ryan O’Neal are back together once more to star in the upcoming UK tour of LOVE LETTERS, celebrated playwright A.R. Gurney’s enduring romance about first loves and second chances. Following a critically-acclaimed Broadway run and sell-out US Tour, the production comes to the UK for a twelve-week tour, opening on Monday 11 September 2017 at the Theatre Royal Bath.

Ryan O’Neal and Ali MacGraw are best known for their onscreen pairing in the well-known weepy, Love Story back in 1970 – where Ryan was chosen from more than 300 hopefuls to play the role of Oliver Barrett opposite Ali in the film, proving to be his big break.

47 years on they have another story to tell, in LOVE LETTERS…

Andrew Makepeace Ladd III (O’Neal) wrote his first letter to Melissa Gardner (MacGraw) to tell her she looked like a lost princess; they were both seven years old. For the next fifty years, through personal triumphs and despair, through wars and marriages and children and careers, they poured out their heartfelt secrets to each other. They defied a fate that schemed to keep them apart, and lived for the one most meaningful thing, their undying love for each other.

Producer David Ian said: ‘I am absolutely thrilled to be bringing two such huge stars to the UK in this wonderful and moving play. Ali MacGraw and Ryan O’Neal ‎are true Hollywood legends and it will be very special indeed to see them live on stage together’.

LOVE LETTERS comes to Manchester’s Opera House from 20-25 November 2017.

Etta James show to visit North West!

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The smash-hit show, At Last – The Etta James Story, is set to tour later this month starring the sensational Vika Bull; marking its UK debut on the 28th March when it opens at Liverpool’s Epstein Theatre, the show also stops off in Manchester on 10th April at Royal Northern College of Music.

Following its world premiere in Melbourne in 2013 At Last – The Etta James Story has since packed theatres throughout Australia and New Zealand. In 2016 the show returned to Melbourne for a sell-out season at The Arts Centre and July saw the show triumph for a third season at The Sydney Opera House.

The show tells the story of soul legend Etta James’ turbulent life and features some of her most beloved songs including Tell Mama, Something’s Got A Hold On Me, Sugar On The Floor, the heart rending I’d Rather Go Blind, plus her iconic signature song At Last and much more. Vika puts her heart and soul into this unforgettable show and is joined on stage by some of Australia’s finest and funkiest musicians.

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During a long and tumultuous career that saw her win six Grammy Awards and a star on The Hollywood Walk Of Fame, Etta James has influenced a vast array of artists from Diana Ross, Janis Joplin, Stevie Wonder, The Rolling Stones and Rod Stewart and is acknowledged as inspiring the careers of a new generation of singers from Christina Aguilera, Joss Stone, Adele and the late Amy Winehouse. Sadly, Etta’s frantic recording and touring schedule coincided with her ever-growing addiction problems and over time she not only sang the blues…she lived the blues. Mercifully, her passion for life and strength of character saw her conquer her demons and she continued to record and perform into her seventies.

“Phenomenal vocals – outstanding!” Broadway World

Tuesday 28th March, Epstein Theatre, Liverpool www.epsteinliverpool.co.uk

Monday 10th April, Royal Northern College of Music, Manchester www.rncm.ac.uk

 

 

 

 

 

 

 

Yank! Preview

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On March 9th award-winning venue Hope Mill Theatre will host the European Premiere of the much anticipated Yank! A moving World War II love story which will examine what it means to be a man, to be in love, and explore the struggles simply being in love can bring.

Based on the 2010 Off-Broadway production written by David Zellnik with a score created by his brother Joseph Zellnik the musical transports us back to the unforgettable sounds of the 1940’s, focussing on the life of Stu (Scott Hunter) who is called up to serve for his country. Stu meets and falls in love with all-American guy Mitch (Barnaby Hughes) and so begins a tougher and more emotional fight than Stu ever expected to be facing.

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Yank! will be the third in-house production delivered by the hugely successful paring of Hope Mill Theatre and Aria Entertainment, who brought runaway hit Parade and cult classic Hair to Manchester audiences last year. This pairing is clearly one which understands the importance of getting things absolutely right, they put their heart and soul into delivering emotional, powerful, dynamic and beautiful productions, the prospect of them handling something with issues so current and so important is utterly thrilling. Add to this the fact that James Baker (director of Parade) is at the helm along with the addition of a third co-producer, Ben Millerman from Mr Millerman Presents and you soon realise that this is going to be something very special, without doubt crafted with love.

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We were lucky enough to join the cast for a preview at Hope Mill Theatre and hear from director James Baker who shared just how thrilled he is to be given the opportunity to tell such a beautiful story and really examine what it means to love in a time when division is so rife.

“I read the musical and just absolutley adored it, I think for me it’s important that when I pick up a musical, I absolutely  fundamentally love the story, for me it’s always about the story and Yank! has such a beautiful story. It’s about two people, two men that fall in love in World War II  in America, that alone is an exciting prospect, a gay love story set in World War II, that was enough to hook me in, but then the layers, the questions, the things that it asks, made me think there’s much, much more to this musical”

The cast delivered several of the shows musical numbers including the beautiful Rememb’ring You, My Soldier and Your Squad Is Your Squad each of which were absorbing and really gave a taste for this vibrant and dynamic production. Scott Hunter and Barnaby Hughes’ voices perfectly complimented each other, rich and powerful with an enormous amount of warmth. Sarah Louise Young the only female in the production sounded exquisite as she delivered her piece with real emotion and heart.The 12-strong cast are hugely talented and totally committed to doing justice to this emotive and bold piece of theatre, we fully expect Yank! to follow in the footsteps of Parade and Hair in firmly placing Hope Mill Theatre on the cultural map as a groundbreaking and innovative venue and one of Manchester’s brightest and boldest assets, roll on opening night!

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Yank! will run for four weeks from Thursday 9th March to Saturday 8th April at Hope Mill Theatre. Tickets are available now. Previews £15, all other performances £16-£22

www.hopemilltheatre.co.uk

Target Live to open Manchester Office

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Fantastic news for the Manchester theatre scene today as Marketing and PR agency Target Live announce they are to open a new Manchester office.

 

The newly established team is made up of three firm favourites from the Manchester theatre marketing and PR scene, Emma King, former marketing manager at ATG, who takes on the role of account director for marketing. Emma is joined by Anna Whitwood, who was a founding member of AKA North and is current marketing and communications manager for Manchester’s Palace Theatre and Opera House, and Kate Goerner, who has been press officer for the Palace Theatre and Opera House for the past eight years.

 

Bought by global communications firm Havas Group last year, the new Manchester team will be based at Havas Village on Princess Street, right in the heart of the city.

 

Describing Manchester as “a high priority” for the company, Havas Media Group chief executive Paul Frampton highlights the importance of Manchester not only in the North West but also nationally as a hub for not only touring productions but new and innovative pieces of theatre.

 

Target Live’s current clients include Bill Kenwright a firm favourite on the touring scene, revival musical 42nd Street which begins previews at the Theatre Royal Drury Lane in March and Opera North who regularly visit the Lowry with their touring productions.

 

We’d like to wish Target Live, Emma, Anna and Kate every success in this exciting new venture, a team we have always enjoyed working with, we’re thrilled to hear this wonderful news!

 

 

 

Billy Elliot – The Musical

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Billy is from a place where the men don’t dance, end of story, but, with a gritty determination, and an undeniable charm plus more talent than most of us have in our little fingers, he sets out to prove his doubters wrong by breaking the mould and going all the way.

Billy Elliot the Musical is a total phenomenon which has been seen by almost 11 million people across five continents and has won over 80 awards internationally, including an almighty 10 Tony Awards and a hugely impressive 5 Olivier Awards. Based on Lee Hall’s 2000 film, set in a northern mining town against the background of the 1984/’85 miners’ strike, the story revolves around Billy, who trades his boxing gloves for ballet shoes and soon discovers a passion for dance that ultimately changes not just his but the lives of his family and community forever.

So ingrained was life in the pits that son’s followed in their father’s footsteps, proud to do so and loyal to their communities. The impact of Maggie Thatcher and her Conservative Government on these communities is something that will never be forgotten and for most certainly not forgiven. Billy Elliot tells the story of a boy with a talent who wants out of the hardships of life in a mining town but needs the support and the backing of the proud men he adores yet watches become more and more broken by the oppressions of the state.

Billy Elliot does not shy away from the reality of the hardship and ill-treatment of the working classes during the miners’ strike of ‘84/85 and this only makes it more powerful and spellbinding. The contrast of the softness and innocence of the children in tutu’s dancing amongst the striking miners and heavy handed baton-wielding Police is powerful and emotive, reminding me of days in the 80’s when my sisters and I would help my Father seal envelops to send for job after job after first striking then being made redundant, unsuccessful time after time, yet never giving up.

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Billy Elliot is a story of hope, with emotional highs and heart-breaking lows, it is utterly absorbing. it will make you laugh out loud as well as pause an take The talent on stage is simply mind-blowing. With four Billy’s cast on the tour, tonight is the turn of Lewis Smallman to show us he truly was born to boogie. I don’t think any words could do justice to just how incredibly talented this young actor is, the challenges of the role are immense, not only do the boys need to have excellent contemporary dance, tap and ballet skills, but they’ve got to be able to sing and act and all with a Geordie accent! Lewis is totally mesmerising, his sheer talent and commitment to the role brought me to tears as I watched him move, he made for the perfect Billy.

As well as Lewis all the children in the cast are magnificent, with special mention going to Samuel Torpey Billy’s cross-dressing best friend Michael, whose duet with Lewis Smallman on Expressing Yourself is just perfection, funny, fabulous and full of razzle-dazzle, no doubt we will be seeing much more of this incredible talent, a true star in the making, he has the x-factor in bucket loads! Evie Martin takes on the role of Debbie with all the cheeky wit you’d hope for, she is fantastic, sassy and witty with just the right amount of attitude. The adult cast are exceptional too, lump in the throat moments between Billy and his dead Mum are at juxtapose with the scenes of violence and intimidation on the picket line. Annette McLaughlin as Mrs Wilkinson is outstanding, firm and feisty she truly believes in Billy, the scenes between the two are incredibly powerful as she offers a little of the Mother’s touch missing from Billy’s life. Martin Walsh as Billy’s Dad and Scott Garnham as Tony, Billy’s brother are real and believable, hardened by life and the rough hand they have been dealt yet when it comes down to it their love for both Billy and each other shines through.

Billy Elliot Tour

Everything about this production for me was perfection, from Elton John’s sublime score, to the incredible lighting design from Rick Fisher, and as for Peter Darling’s choreography, wow! Totally awe-inspiring, complex and compelling, expressive and moving, I barely blinked for fear of missing anything it just is that good.

Billy Elliot is an absolute triumph of a show, heart-warming, inspiring and utterly mesmerising, it’s very rare you see a whole audience leap up in appreciation but I absolutely guarantee by the time the curtain falls you will be on your feet roaring for more!

On at the Palace Theatre until Saturday 28th January tickets available here;

http://www.atgtickets.com/shows/billy-elliot/palace-theatre-manchester/

Much Ado About Nothing – Opera House

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Now that we have witnessed the Royal Shakespeare Company’s Edward Bennett electrocuted inside a giant Christmas tree, the festive season can officially begin!
What better way to mark the conclusion of 2016 – and the 400th anniversary of Shakespeare’s death – than with two of the Bard’s best-loved comedies, played on consecutive nights at the Opera House Manchester, with the same cast?
Director Christopher Luscombe and production manager Paul Hennessey’s grand experiment examines the long-rumoured synergies between Love’s Labour’s Lost and Much Ado About Nothing – setting them in the same country estate (modelled on Charlecote Park, near Shakespeare’s Stratford-upon-Avon) and bookmarking them in summer and winter, before and after the Great War. 
Both deliver a witty, sparring couple; a supporting cast of characters that include a policeman, a curate and many domestic servants; masked encounters between lovers; and – one of Shakespeare’s favourite devices – endless cases of mistaken identity. 
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Associate director Guy Unsworth concludes that Shakespeare ‘deliberately shows us two sides of the same coin’ and ‘does indeed want us to view them as an extended double-bill’… Mark thee well!
Anon – immersing ourselves in Much Ado About Nothing’s wintry scenes on a cold Mancunian night – we encounter fast-talking, resolutely single bachelorette Beatrice (Lisa Dillon), who declares: ‘I had rather hear my dog bark at a crow than a man swear he loves me’. The equally marriage-adverse Benedick (Edward Bennett) has just returned from the war, yet it is Beatrice’s quick-fire degradations of his character – spoken at a masked dance – that leave him mortally wounded. 
Their union seems doomed until their eavesdropping antics reveal a surprising fact… they are each madly in love with the other. These revelatory conversations – staged by Benedick and Beatrice’s family and friends, for their benefit – are some of the funniest scenes in the production. Bennett’s comedic antics inside the family Christmas tree solicit great guffaws of appreciation from the audience; it feels inevitable when he breaks the fourth wall – dissolving into barely suppressed laughter himself.  
In another plot, Beatrice’s cousin Hero (Rebecca Collingwood), who radiates chastity and goodness, is due to be married to besotted Claudio (Tunji Kasim); however, he jilts her at the altar when her name is sullied by an accusation of infidelity. With Beatrice and Benedict’s – and Hero and Claudio’s – unions both hanging in the balance, could it be that all hopes rest on hapless constable Dogberry (Nick Haverson) riding to the rescue?
Gripped in a fit of body spasms and crashing around the set, it feels as though he is perilously close to tumbling from the stage; Haverson gives every fibre of his being to the slapstick comedic stylings of Dogberry. Along with Lisa Dillon, his performance is a highlight among the sublime cast – assembled by Gabrielle Dawes and Helena Palmer.  
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Designer Simon Higlett has created a sumptuous Christmas card-style stage – rich, festive and twinkling. His team seamlessly interchange between the house and its grounds by virtue of a large sliding truck and the sub-stage trap. It’s as ingenious as it is beautiful – complemented by Melody Wood’s sumptuous period costumes that brilliantly encapsulate fashion on the cusp of the 1920s. 
This is the second time that composer Nigel Hess has scored the two plays for the RSC, but with exception of a couple of affection quotes, he has revisited them again with completely new music. To further explore the cohesion between the comedies, he uses musical cross-references between the two productions. It’s a triumph, with nuances that complement the on-stage gusto and frivolity to perfection. 
Christmas is a season of laughter and good cheer – and you will find both in these sparkling, immaculate productions by one of our nation’s greatest treasures: the Royal Shakespeare Company. 
Love’s Labour’s Lost and Much Ado About Nothing are on at Opera House Manchester until Saturday, 3 December.

George’s Marvellous Medicine

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Photo by Mark Douet

Since 1992 The Birmingham Stage Company have produced more Dahl shows than any other company in the world. Their recent hit shows have included Horrible Histories and the world premiere of Gangsta Granny by David Walliams. Now the company brings George’s Marvellous Medicine to audiences across the UK, stopping at Manchester’s Opera house for 5 dates, running until 19th November.

Olivier award-winning David Wood’s adaptation of this Ronald Dahl classic is perfect in every way, ensuring fans of the original book are not disappointed and children can happily join in reciting the many humorous lines at every stage of the production. Dubbed the ‘National children’s dramatist’ by The Times it is clear that the task of bringing Dahl’s eccentric characters to life is in very safe hands with Woods.

The story centres around likable lad George, played energetically here by Ed Thorpe, and his desire to turn his grumpy and mean Grandma into a much lovelier relative who treats him with love and showers him in kindness. There are some hilarious dream sequences which bring George’s inner thoughts to life and even see Grandma twerking!

Deborah Vale is Grandma and plays the role very much in the mould of 90s sitcom favourite Hyacinth Bucket. Not only is there a strong resemblance to Hyacinth but the likeness between George’s Mum and Grandma is uncanny until you realise it goes deeper than that – the actresses are actually identical twin sisters in real life – perfect casting!

The packed house of children and parents lap up the slapstick action as George is left alone to give Grandma her medicine and he systematically goes from room to room in the house filling a huge pan with crazy ingredients to replace it with his own special potion.

“Grandma, if you only knew what George has in store for you” is met with screams of delight and derision.

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Photo by Mark Douet

 

Grandma’s transformation is worth the price of a ticket alone as she gulps down George’s marvellous medicine and grows 30 foot tall in the blink of an eye. The children in the audience are amazed and enthralled at the sight, with wide eyes and open mouths as Grandma’s head crashes through the roof of the house. Hats off, or should we say roof’s off, to Jaqueline Trousdale who has designed a very clever set which enables the magic of this book to make an effortless transition from page to stage.

George’s Marvellous Medicine is everything a children’s show should be, with its eccentric humour and larger than life characters providing 90 minutes of non-stop entertainment for all the family.

George’s Marvellous Medicine runs at the Opera House, Manchester until Sat 19 Nov

www.atgtickets.com/manchester 

 

Hope Mill Theatre and Aria Entertainment announce triple 2017 musical bill!

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The hugely successful partnership between leading London-based theatre production company Aria Entertainment and Hope Mill Theatre one of Manchester’s newest arts venues which brought us the much loved Parade earlier this year looks set to go from strength to strength with the announcement an impressive trio of shows for 2017.

Headed up by Manchester-born Producer and Company Director Katy Lipson, Aria Entertainment originally joined forces with Hope Mill Theatre, based in a Grade II listed mill in Ancoats and brainchild of Joseph Houston and William Whelton, back in January 2016 to spearhead the venue as a platform to showcase, and bring both new and revival musical theatre to the North. Further cementing their commitment to the partnership came in today’s announcement of their three exciting headline musicals for 2017 – Yank!; The Stationmaster; and Little Women.

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Yank! is a World War Two love story, with book and lyrics by David Zellnik and music by his brother Joseph. It tells the story of Stu, a scared mid-western youngster who is called up in 1943. He becomes a photographer for Yank Magazine, the journal ‘for and by the servicemen’. With a score that pays homage to the timeless music of the 1940s, the musical explores what it means to be a man, and what it is to fall in love and struggle. Yank will also be produced with Ben Millerman and directed by James Baker who also directed the almighty Parade.

Yank! will run from 9 March to 8 April 2017.

The Stationmaster is a musical Aria Entertainment first produced a workshop production of in 2015 as part of their annual From Page To Stage Festival Of New Musicals. The musical is inspired by Horvath’s Judgment Day, translated by Christopher Hampton with a book by Susannah Pearse and Music and Lyrics by Tim Connor. Set in a small town in the Lake District in 1958, railway stationmaster Thomas Price is the pillar of his local community. But when a young woman unexpectedly arrives on the platform, his well-ordered life begins to unravel. The Stationmaster will be directed by Bronagh Lagan.

The Stationmaster will run from 7th September to 30th September 2017.

Little Women will make its UK premiere at Hope Mill Theatre from 9th  November to 9th December 2017. The musical originates from a book by Allan Knee, with lyrics by Mindi Dickstein and music by Jason Howland. Based on Louisa May Alcott’s classic 1869 semi-autobiographical novel, Little Women follows the adventures of the March sisters Jo, Meg, Beth and Amy. Jo is trying to sell her stories for publication, but the publishers are not interested – her friend Professor Bhaer, tells her that she has to do better and write more from herself. Begrudgingly taking this advice, Jo weaves the story of herself and her sisters and their experience growing up in Civil War America. . This will be the UK premiere of the Broadway musical which starred Sutton Foster who was nominated for a Tony Award for her performance and will no doubt be a highly anticipated production.

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Aria Entertainment’s Producer and Company Director Katy Lipson said of todays announcement;

“I am absolutely delighted to announce our 2017 season at Hope Mill Theatre, Manchester. I am also excited to be on-board as resident producer on all in-house musical productions and to lead our vision on producing exclusively musical theatre with a focus on new musicals. We hope through our productions of Yank!, The Stationmaster and Little Women, we can bring even more audiences into the theatre to discover the intimacy and wonderful work we are investing in.”

Joseph Houston, Artistic Director of Hope Mill Theatre, added:

“We are absolutely thrilled to announce our 2017 season of musicals in collaboration with our resident producer Katy Lipson. All three titles are extremely exciting not only for Hope Mill Theatre – but for the musical theatre industry. Staging the UK premiere of two exciting shows such as the Off-Broadway musical Yank! and Broadway hit Little Women solidifies the theatre’s vision for producing never been seen before works and, the staging of new British musical The Stationmaster, we show our commitment to supporting new British musicals. These titles are sure to cement Manchester and the North’s position as a key driving force in musical theatre.”

To conclude the partnership’s programme for 2016, opening this weekend for Aria Entertainment and Hope Mill Theatre is cult classic musical, Hair, the story of a group of peace-loving hippies living in the shadow of the Vietnam War.

Previews begin on Saturday 12th and Sunday 13th November, followed by a three-week run from Tuesday 15th November to Saturday 3rd December. Tickets available via the link below;

http://hopemilltheatre.co.uk/events/hair/

LISTING INFORMATION

YANK!

9 MARCH – 8 APRIL 2107

On sale Thursday 10 November 2016

THE STATIONMASTER

7 SEPTEMBER – 30 SEPTEMBER 2017

On sale soon

LITTLE WOMEN

9 NOVEMBER – 9 DECEMBER 2017

On sale soon

http://www.hopemilltheatre.co.uk

 

Jim Steinman’s Bat Out Of Hell – The Musical

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Originally released in 1977, Jim Steinman’s Bat Out Of Hell has sold an eye-popping 50 million copies worldwide, making it one of the best-selling albums of all time, if this wasn’t impressive enough 16 years later Bat Out Of Hell II was released, which produced the unstoppable hit I Would Do Anything For Love (But I Won’t Do That).  In 2006 Steinman and Meatloaf triumphed again with the release of Bat Out Of Hell III: The Monster Is Loose. Excitingly for us these three almighty collections with the addition of a newly written chapter have been translated into a new musical which will make its world premiere at Manchester’s Opera House on 17th February 2017 before heading to London’s West End for a limited season.

Originally called Neverland, and based on a futuristic version of Peter Pan which Steinman work-shopped in 1974, Bat Out Of Hell – The Musical has been many years in the planning. Set against the backdrop of a post-cataclysmic city adrift from the mainland we meet Strat (Andrew Polec) the forever young leader of The Lost who has fallen for Raven (Christina Bennington), daughter of Falco (Rob Fowler), the oppressive ruler of Obsidian, who has been locked away in the palace towers. The show takes us on an adventure of romance, rebellion and rock and roll, which features many of the monster hits we all know and love including You Took The Words Right Out Of My Mouth, Bat Out Of Hell, I Would Do Anything For Love (But I Won’t Do That) and Two Out Of Three Ain’t Bad, as well as two previously unreleased songs, What Part of My Body Hurts the Most and Not Allowed to Love.

Manchester was treated to a preview of the show this week when the cast descended on Albert Schloss to perform three tracks from the upcoming show, full of energy and sounding incredible, Polec lead the charge as Manchester audiences were given a taste of what to expect when the show premieres in February. Directed by award-winning theatre and opera director Jay Scheib, Bat Out Of Hell – The Musical is no doubt set to become a theatrical triumph , vibrant, sassy and full of attitude, the cast delivered each song with passion and were brimming with energy and the self-assured confidence you’d wish for from any rock star.

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Adding his support to the new musical was the legendary Meatloaf who spoke of his passion for the music of his great friend Jim Steinman;

“This has been Jim’s dream for 50 years, he wrote Who Needs the Young when he was only 19 years old! The genius of Jim Steinman added to the passion and meaning he puts into his music combined with the feeling it gives you is immeasurable.  Bat Out Of Hell doesn’t belong to me, it doesn’t belong to Jim it belongs to each and every one who listens to it, who performs it, it belongs to you, and now it needs to belong to Andrew Polec who will in turn make it belong to the audience”

Tickets are available now via http://www.atgtickets.com/shows/bat-out-of-hell/opera-house-manchester/

Website: www.batoutofhellmusical.com

17 February – 29 April 2017

Opera House, Manchester

Performances: Mon-Sat at 7.30pm, Thurs & Sat at 2.30pm (no matinee on Sat 18 February)

Tickets: from £17.50