Maxine Peake

Robin/Red/Breast

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It would be fair to say that over the last decade, actor Maxine Peake has been involved in some of the boldest, most unique and much discussed pieces of theatre to grace the stages and spaces of Manchester. Peake, along with fellow collaborators Sarah Frankcom and Imogen Knight, are the co-founders of MAAT (Music, Art, Activism and Theatre) whose body of work has been showcased in the city for well over a decade with the promise of being brave and innovative and something that will live long in the memory. Recent efforts have included Percy Bysshe Shelley’s The Skriker and a look back at the singer, Nico’s 1968 album The Marble Project for their project The Nico Project.

For their latest offering the group, along with writer Daisy Johnson, bring us Robin/Red/Breast: a reimagining of John Bowen’s folk horror classic Robin Redbreast first broadcast on the BBC in 1970 as part of the Play for the Day series.

The action focuses on Norah (Peake) a writer who, following the end of a relationship, has decided to escape the rat race and move out to the country. There she buys a little cottage in the heart of a little village. The cottage may not be perfect, with it’s wasps and mice infestation, but it’s hers. However things soon turn sour as the city outsider’s presence soon draws the ire of the villagers, who interfere in and around the cottage on a regular basis. The only distraction from this comes in the form of Robin (Tyler Cameron) , a local woodsman and towering figure of a man, who seems as interested in Norah as she is with him. As Norah and Robin’s relationship grows so do the hostilities from the village and its residents leading to a battle for Norah’s mind, body and soul.

At the time of its broadcast, the original Robin Redbreast was compared to the 1971 cinema masterpiece The Wickerman. I haven’t seen the original Robin Redbreast, but I have seen The Wickerman, and themes of fertility, power and isolation are present there and are present here. However there are tips of the hat to other staples, Rosemary’s Baby and the more recent Midsommar. However, rather surprising for me was the presence of Sam Peckinpah’s notorious British western Straw Dogs.

What this production does so well right from the start is nurtures and cultivates the feeling of impending doom with with the arrival of a 10 strong all female brass band, complete with striking red and white majorette outfits playing a haunting piece that conjure up images of sacrifice: it really is as stunning as it is unsettling.

Upon entering the theatre the audience are given a set of headphones, which are used for the first act. We are introduced to Norah, who silently demonstrates life in her new home and with the addition of the headphones we get to hear Norah’s inner thoughts and feelings –  about how she ended up here and also what she thinks about her new neighbours. Norah doesn’t prove to be the most reliable of witnesses. Her actions often betray her thoughts, and sets up a nightmare that is about to unfold.

At a running time of 55 minutes right through, this is a compelling watch, with creatives at the top of their game. Maxine Peake is a tour-de-force, giving a performance dripping in physicality and raw emotion. The sequence between her and Tyler Cameron are beautifully choreographed. The sound design by Pete Malkin superbly blends the tranquillity of birdsong with the harshness of Norah’s rejection. Whilst Gazelle Twin’s composition is suitably unnerving and on one occasion physically unsettling, this (un)holy marriage with Carol Jarvis’ arrangement works well throughout.

This is at times a tough, unrelenting watch, with plenty of scope for interpretation. A bold, visceral piece of theatre sees creative talent at the top of their games creating a piece of theatre that will be talked about for many years to come.

Robin/Red/Breast is on till 26th May. Tickets are available here.

Betty! A sort of Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

In their local village hall, The Dewsbury Players: a unique blend of am-dram performers, have come together to celebrate their finest export and local hero, Betty Boothroyd, the first female Speaker of the House of Commons and arguably one of politics most fascinating characters.

With their individual visions on how best to do Miss Boothroyd justice, not to mention their wildly varied beliefs, the players are committed to uniting artistically to create a musical Dewsbury will never forget. The problem is, director Meredith (Maxine Peake) has falsely informed the BBC that the group offer a tad more diversity and community value than in reality; so, when BBC exec Adrita (Lena Kaur) turns up to rehearsals things take a rather creative and chaotic turn.

This play-within-a-play created by Maxine Peake and Seiriol Davies (who also stars as Calvin) is a riot. It’s bonkers, brilliant fun with a gorgeous message of love and acceptance at its heart. There’s laugh out loud political parody and some absolute genius lines while the script touchingly shines a light on each of the wonderful characters making up the group. Their observations on life are spot on, sharp, witty and entirely relatable.

The musical numbers are where the creative team have really had some fun, poking a gentle ribbing at traditional musicals; there’s enthusiastic choreography, musical theatre clichés and heart-warming solos all delivered with tongue firmly in cheek. Musical director Sarah Dyer leads a slick four-piece band who demonstrate an incredible range as they deliver both rousing ballads and rock-tastic numbers with precision.

Maxine Peake leads this ensemble cast brilliantly, firstly as demanding director Meredith, sniping constantly at her cast despite desperately needing them to fulfil her dramatic ambitions. Then second act she is transformed into the straight-talking, charismatic Boothroyd ready to take on the House in the challenges that befall her.

Co-writer Davies is a treat as Calvin, bursting with enthusiasm and a mediator to all, he delivers some of the shows most memorable and outrageously over the top moments brilliantly. Eva Scott portrays Angela, Meredith’s subdued and self-conscious daughter beautifully, showing her versatility throughout as she channels her inner confidence spurred on by the arrival of former friend Adrita.

Joan Kempson displays sharp comic timing as Hazel, the salt of the earth grandma who blasts out the one-liners and is poles apart from condescending Meredith. Carla Henry is a joy as Tracy, a former West End star who’s light still shines in Dewsbury despite her issues with her hubby at home and her weak ankle. I cried laughing at her Ian Paisley, no spoilers here but I’ll never hear Riverdance and not think of her performance. Lena Kaur’s take on BBC exec is spot on whilst her second act transformation is inspired.

Betty! A sort of Musical does exactly what it says on the tin, gives you a belly full of laughs and leaves you with a smile on your face. There are musical numbers which could maybe benefit from a little trimming, but this is a minor quibble on what’s a brilliantly entertaining show. This heady reminder of days when politicians stood for decency and duty is a whirlwind of hilarious, heart-warming fun. A welcome and well observed reminder of the importance of community and common ground.

Betty! A sort of Musical is on at the Royal Exchange until Saturday 14th January tickets available here.

Images Johan Persson

Beryl

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

The sport of cycling is currently in the midst of a golden age here in the UK.  Through their exploits at the Olympics and the Tour du France, cyclists such as Sir Chris Hoy, Sir Bradley Wiggins, Chris Froome and Laura Kenny (was Trott) have become household names and an  inspiration to thousands of people across the land. However, way before any of these came along, Britain had Beryl Burton and Beryl was every bit a hero as these fine riders.

Beryl is the fascinating true story of a strong independent Yorkshire lass, who  refused to be beaten and did things her way. She won countless championships, set records, broke records, and managed to stay at the top of her game for 25 years. 

Flora Spencer-Longhurst and Vicky Binns bring Beryl to life, with Longhurst as the child Beryl who contracts St Vitus’s Dance aged 10. The illness caused a weakening of the heart and a loss of control of the limbs. The infection saw the young girl confined to hospital for nine months, as well as having a huge impact on her confidence. 

When she leaves school, Beryl meets Charlie Burton (Chris Jack), a local lad with an interest in cycling. Charlie’s passion becomes Beryl’s obsession and soon she is competing in races, first at county level,  then nationally, and inevitablycompeting at the cycling world championships, all this whilst holding down a full time job and raising a family. 

At first glance this is the classic underdog story we are so familiar with, but dig a little deeper and you couldn’t be further from the truth. This woman was always going to be a success through hard work, guts, determination and sheer bloody mindedness: success was never in doubt.  Maxine Peake’s script is a love letter to this unique, amazing lady filled with warmth, humour and plenty of charm. It ditches the usual sporting clichés in favour of celebrating its subject and having fun.

Under the excellent direction of Kimberley Sykes, the cast of four are in fine form, injecting plenty of spirit into the production and all showing a gift for comedy. Vicky Binns puts in a strong, feisty turn as the adult Beryl – she really gets to the heart of what spurs her on. 

Chris Jack is equally fine as Charlie, turning in a warm, heartfelt performance as the devoted Charlie. Flora Spencer-Longhurst is clearly having fun as the young Beryl and later Beryl’s daughter Denise: her facial expressions alone are worth the price of admission. Finally, Matthew Heywood plays pretty much every other character in the play including an overzealous German fan and a rather dour Yorkshire copper. Heywood like his fellow cast members puts a great comedic performance.

All four should be commended for their work as this is a physically demanding show, with lots (and I do mean lots) of cycling, think a spin class with a plot and you’re on the right track! As each cast member dart about the theatre and hop on the strategic placed bikes around the theatre you become immersed in their world.

There is very much a ‘punk’ vibe to the production, cast members often break the fourth wall, coming out of character to address the audience and each other. The use of contemporary pop songs despite not being of that era, and the cast’s DIY approach to special effects creating their own inclement weather using a leather blower and some water pistols give the production a carefree, easy going charm.

This is an inspirational story delivered in a funny, touching but never sentimental fashion. Old and young alike will find something to admire about the show which will certainly leave you wanting to find out more about Beryl and her extraordinary achievements, whilst it may inspire you to dig out your Raleigh Chopper from the shed. Beryl’s story is ripe for a silver screen adaptation so catch it Bolton whilst you can.

Beryl is at the Bolton Library and Museum till the 19thOctober. Tickets available here.