Octagon Theatre

Sones in His Pockets

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

After premiering at Cirencester’s Barn Theatre, before a sellout transfer to Belfast’s Lyric Theatre in 2022, Marie Jones’s 25th anniversary, award-winning Stones in His Pockets embarked on a limited regional UK tour stopping in Bolton for the next two weeks.

Set in a nameless town in picturesque County Kerry, a Hollywood film company has arrived to make a movie. The film offers great employability opportunities for the locals especially those selected to be extras; however, tensions soon arise as the reality of creating the ‘outsiders’ shiny Tinseltown version of Ireland forces the ‘natives’ to assess what’s real and what’s cinematic fantasy in their own worlds.

Told through the eyes of local extras Charlie Conlon (Gerard McCabe) and Jake Quinn (Shaun Blaney), this is a beautifully told and cleverly crafted production. While there have been some small updates to freshen the script the essence remains the same, as the frank observation on the film making industry, it’s impact on the rural community, and the heartfelt pursuance of one’s dreams remain.

Charlie’s DVD shop has gone bust; however he sees it as an opportunity to explore Ireland and focus on the script he hopes to pitch to the film makers, he meets Jake Quinn during filming as they both form part of a crowd scene, it is here that their friendship is set. Charlie is optimistic (some may say deluded) while Jake is rather resigned and more realistic having attempted to live his own American dream which sadly never materialised. The two provide a tremendous commentary about the drama unfurling around them in addition to taking on the role of every other character in the script. From English movie director Clem to the glamorous American lead Caroline, the two do it all via quick costume changes, sometimes merely the shift of a hat, and an impressive array of accents.

Both are superb, the energy, authenticity and believability of each character is incredible. Their comic timing and characterisation is sensational while their energy never wanes. The darker moments in the script are handled delicately and feel all the more poignant as they come unexpectedly amidst the comedy.

Director Matthew McElhinney, who is the son of the playwright Marie Jones and the play’s original director Ian McElhinney has crafted this piece with love and the audience reap the rewards. The pacing is perfect as we shift from hilariously comedic scenes to moments of penetrating social commentary which feel poignant and sensitively delivered. The staging featuring vibrant video design further adds to the quality of this joyous production.

This is theatre at it’s absolute best, heartfelt, enormously entertaining, hugely emotive and beautifully delivered. A total masterclass.

Stones in His Pockets is on at Octagon Theatre Bolton until Saturday 2nd November tickets available here.

Testmatch

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

I’ve watched a great many shows at the Octagon Theatre since its redevelopment and have always been impressed by the quality and variety of its output and I’m more than happy to say that writer Kate Atwell’s comedy/drama Testmatch continues this trend.

Testmatch begins in the present day, it’s England vs India and the stakes couldn’t be higher as it’s the final of the women’s Cricket World Cup final from England. However, rather inevitably, rain has stopped play. As the two teams sit and wait for the umpires decision on whether the game will continue or not. Some of the players from both teams shun the dressing rooms, instead opting to keep an eye on the conditions themself.

With no sign of play resuming, the opposing teams vent their frustrations at the situation, as well as bemoan/gloat on the balance of the match.  Soon the six women let their guards down and discuss other matters aside from the match, which include the passion they have for the sport, the rules of the game, and of course their personal lives and situations.

The six women present never use their names or nicknames, instead are identified by the squad number on the back of their shirts. Both of the team captain’s are present. India 1 (Aarushi Riya Ganja), the best bowler in the world right now, who needs the victory in her retirement match: and her opposite number, England 1 (Bea Svistunenko), the best with the bat for her country, but plagued with self doubt over fear of failure.

Also present are England 2 (Mia Turner) who is dealing with troubles off the field, as her recent relationship breakup is plastered over the front pages of gossip magazines and the tabloids. India 2 (Aiyana Bartlett) has to keep her sexuality secret for fear of the scandal it will cause. Finally there is India 3 (Tanya Katyal), whose love and passion for the game knows no bounds, and England 3 (Haylie Jones) who is just trying to make sure everyone gets along till play can resume.

As the long wait continues, tensions begin to rise, not just from the desire to win, but from  allegations of cheating and as well as racism, which spill over into a shocking confrontation and sets up a very unexpected change of direction for the production’s second part.

There is so much to admire about Testmatch. Kate Atwell’s script is as hilarious as it is thought provoking. At first packed with great one liners and risque dialogue, we are treated to a sneak-peek into the life of professional sports people. However this is somewhat of a red herring, as the play moves into darker territory, with prejudice and colonialism discussed in a thought provoking and rightly confrontational manner. 

Under Diana Page’s slick direction the production is always engaging and holds your attention throughout. The ensemble cast are superb, striking the right balance between comedy and drama, never straying into melodrama. It was a pleasure to see a cast bringing out the best in each other which makes for captivating viewing.

I’m not going to discuss the play’s second act in any detail, but it really is a shift in pace with a different set of characters (played by the same cast), and a different setting, however still continuing the themes from act 1. Just to say it’s a smart, ambitious and a bold choice, which is at first quite jarring, but brilliantly pays-off.  

This is an entertaining and enjoyable night at the theatre, that sadly highlights some of the issues that still blight our society today. Whilst the English weather is certainly hampering the current cricket season, get on down to the Octagon, where there is plenty of high quality drama on display, why not bring your cricket whites and pads too, you may even get a game during the interval if you’re lucky!

Teatmatch is at the Bolton Octagon until the 1st June. Tickets available here.

Little Shop of Horrors

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

At the start of April the world witnessed the unusual phenomenon of a total solar eclipse. This rare occurrence plunged parts of North America into total darkness. It’s probably too early to tell if that event has led to any strange goings on: a martian invasion or even the introduction of a “strange and interesting plant” into the echo’s system. I mention the latter because this is the premise of one of the Octagon Theatre’s big spring shows, Little Shop of Horrors.

Set in 1950’s New York, we are transported to the dark side of the city, Skid Row, where we meet timid florist Seymour, (Oliver Mawdsley). Seymour works for the rather unpleasant Mr Mushnik (Andrew Whitehead), who blames his failing shop on the meek botanist. To add to Seymour’s worries, he is desperately in love with his friend and work colleague, Audrey (Laura Jane Matthewson). However, Audrey is blinded to his affection due to her turbulent relationship with the sadistic dentist Orin Scrivello, (Matthew Ganley).

However soon the fortunes of Mushnik’s soon change when Seymour discovers an unusual looking plant. Naming it Audrey II the strange flower soon becomes a media hit, bringing in more customers, more money as well as bringing Audrey and Seymour closer together. However, following an accident with a rose bush, Seymour soon learns that Audrey II has an appetite for something a little stronger than Miracle Grow. With Seymour running out of veins he looks at other means to feed the wanting weed, but the big question is, is it worth it for fame, fortune and him landing the girl of his dreams?

What absolute joy this production is: jam packed with great catchy tunes and a super talented cast, this is another triumph for the Octagon Theatre.

Oliver Mawdsley is in fine form as Seymour, showcasing great comic timing and a fine singing voice to boot. Laura Jane Matthewson is equally impressive as Audrey, with the pair’s stunning duet on Suddenly Seymour being just one of the production’s several highlights.

Matthew Ganley is suitably deranged and perfectly OTT as cruel Orin Scrivello DDS and very nearly steals the show, however the undoubted star is of course Audrey II, masterfully controlled by puppeteer Matthew Hewood, and superbly voiced Anton Stephans. His vocals on Feed Me (Get it) and Suppertime are sublime.

Musical director, Levi Van Warmelo has done a great job with the score, who along with drummer Migdalia Van Der Hoven and the supporting cast do a great job transitioning  between slow tempo tunes and funky upbeat numbers.

Throughout the performance Janna May, Zweyla Michell Dos Santos and Chardi Shaw showcase their talents as the do-wop trio Chiffon, Crystal and Ronnette, acting as our guides around Skid Row as the drama unfolds. Not only do these actors have tremendous voices, and a commanding stage presence, they are also talented musicians pitching in on guitar, bass, and keyboards.

All that said, the show isn’t without its flaws: I did find the closing sequences between Audrey, Audrey II and later Seymour and Audrey II looked awkward. In addition, the subject matter of domestic violence does make it unsuitable for younger audience members.

This is a highly entertaining, joyous night at the theatre, filled with black comedy, catchy toe-tapping tunes and plenty of bite!

Little Shop of Horrors is at the Octagon Theatre till May 18th tickets available here.

Spring and Port Wine

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

What better place to revive this Bill Naughton classic, than his home town of Bolton, and in the beautiful setting of The Octagon Theatre. This venue compliments the play greatly: bringing us into the bossom of the Crompton family home. Here we meet the Cromptons: four adult children still living at home and their seemingly polar opposite parents – Daisy (Mina Anwar) and Rafe (Les Dennis).

The Crompton household is ruled by the iron fist of patriarch Rafe. It is where every penny is checked and accounted for, nobody goes without, and everyone contributes. While the siblings in the house feel bullied and stifled by their father and sorry for what their mother puts up with: Rafe, in his mind, feels like he is protecting his family and keeping them from hardship. Quite the opposite to their nosey and overfamiliar neighbour Betsy-Jane (Isabel Ford), who lives her life hiding behind the curtains in order to avoid the last person she borrowed a fiver from.

As the play begins, a series of events unfold, after youngest daughter Hilda (Natalie Blair) refuses to eat her Friday night tea of herring, much to her fathers annoyance. The consequences of this act of defiance are felt by all family members throughout the play. 

The script is sharp and witty. The set is well thought out and works so well in the round. There is much nostalgia with the set and costumes and music too. 

The cast are excellent, they tell the story so well. It is warm and funny and at times heartbreaking. And although this play is set in a time gone by, there are so many themes that we can identify with in our own more modern family lives. The lack of communication, parental disapproval, unconditional love and sibling rivalry.

Mina Anwar is outstanding as Daisy Crompton, she is hilarious when she needs to be, vulnerable in moments and at times you can feel her warmth wrap around you like the big hug only a mother could give. She and Les Dennis work wonderfully together on stage, and really engage us as an audience. Dennis shines when the armour of his character softens.

All four of the Crompton siblings should be congratulated in their performances, from Natalie Blair’s hilarious expressions and mannerisms of Hilda, to Gabriel Clark and Harold Ryan’s characterisations of the Crompton brothers, to Monica Sagar’s beautifully performed interpretation of serious sister Florence. Adam Fenton is excellent as the fiancé of Florence, who is seemingly the first person to stand up to Rafe. While the greatest laughs went to Isabel Ford for her hilarious portrayal of Betsy-Jane.

This play, performed 60 years after it was written doesn’t break down any barriers, or challenge our thinking in anyway, but it entertains, it’s wholesome, heartwarming and it’s told very well, by an excellent cast and in a fabulous setting. I laughed and laughed and I can’t think of a better reason to visit Bolton on a Tuesday night.

Spring and Port Wine is on at The Octagon until Saturday 4th March tickets available here.

All images by Pamela Raith Photography

Brief Encounter

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️


In 1945 Brief Encounter hit the British cinema screens for the first time. Based on the one act play by Noel Coward called Still Life and directed by David Lean, the film was a huge commercial and critical success. It regularly features in polls as being one of the greatest British films of all time.

Over the years there have been numerous radio, TV – and even an operatic version of this timeless classic. There has also been numerous theatrical offerings too and this latest production has come from Director Paul Robinson adapted for the stage by writer Emma Rice. This production sets out to captivate audiences of all ages at Bolton’s Octagon Theatre, where it embarks on a three week run.

After a chance meeting in a train station cafe, a local GP, Alec (Pete Ashmore) and respectable housewife, Laura (Anne-Marie Piazza) set out on a journey of passion and forbidden love; doomed to fail from the start. Both are married, both have children and both are upstanding pillars of the community. Will the world around them, and more importantly they themselves, accept the love they have for one another?

Key to the success of this fabulous production is its pacing; the story has time to breathe. That, coupled with the undoubted chemistry between the two leads, ensures you care about the two lovers. You feel their pain, anguish and like our “Romeo and Juliet”, as one character points out, you want a different outcome for the two, even though you know it’s never going to happen. There’s brilliant storytelling, excellently executed throughout this production which is packed with emotion and a great deal of style.

The really production works if you fully invest in the predicament that Alec and Laura find themselves in; Pete Ashmore and Anne-Marie Piazza draw you in perfectly. Nothing flashy or over-the-top, just raw, honest emotion. They both capture the fun and tenderness their tryst has produced, as well the guilt and hurt that it also brings.

It’s not just the Alec and Laura affair that’s in play here. There is also the blossoming romance between cafe owner Myrtle Bagot ( Natasha Lewis) and ticket inspector Albert Godby (Robert Jackson), as well as the courtship between cafe worker, Beryl, (Lara Lewis) and train porter Stanley (Joey Hickman). These are both played mainly for laughs bringing lots of joy throughout the first act. It’s during act two where the drama kicks in.

The supporting cast like the leads are superb, not only playing the aforementioned characters, but numerous other characters who, great or small, all impact Alec and Laura’s relationship. In addition to this, the cast along with musical director, Alex Weatherall, perform some Noel Coward and Simon Slater penned numbers including a stunning rendition of Go Slow Johnny and a slow, haunting performance of A Room with a View.

Other musical highlights included a version of George Formby’s Leaning on a Lamppost at the start of the show which brought on a pleasing, impromptu audience sing-along. As well as a fun saxophone trombone face off between Jackson and (Natasha) Lewis.

Setting the play ‘in the round’ is more a blessing than a curse. With most of the action taking place in the train station cafe, stage designer Jessica Curtis has created a multipurpose set: the cafe’s chairs, counter piano, and serving counter double up as a restaurant, and family home. The ‘in the round’ setting gives the production an energy and vibrance, some genuinely unexpected and innovative touches. My only small complaint is that sometimes the vocals on some of the musical numbers were a bit of a challenge to hear.

This is a timeless tale told with heart, soul and plenty of style, well worth a ‘little’ dalliance to the theatre.

Brief Encounter is at the Octagon Theatre, Bolton until 5th November. Tickets available here.

The Book Thief

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Originally programmed for Spring 2021 before Covid was even a word in our vocabulary, The Book Thief has finally had its world premiere at Bolton’s Octagon Theatre and gosh was it worth the wait.

Set in Nazi Germany during WWII, The Book Thief tells the powerful tale of Liesel Meminger who we first meet as a young child, sent to live with a foster family in a desperate bid by her parents to protect her from the creeping evil taking over the country. Liesel’s lower social class means the only way she can get her hands on the literary escapism she yearns for is by stealing it, she is a child without words but through love they will come. Her first opportunity presents itself from the pocket of a gravedigger as her brother is buried, and so the Book Thief is born.

Markus Zusak’s global best-seller is such a beautiful story it feels like it was always destined to make the leap from page to stage especially after being given the Hollywood treatment back in 2013. It is such a beloved book this new musical had to be treated with the utmost care and respect, something director Lotte Wakeham and the creative team have done with abundance, it is quite simply, stunning.

Jodi Picoult and Timothy Allen McDonald have adapted Zusak’s work faithfully doing absolute justice to the globally adored novel while Elyssa Samsel and Kate Anderson have gifted the piece with stunning melodies and exquisite songs that gently entwine themselves into the narrative.

Every inch of this production feels of the highest quality from Nic Farman’s atmospheric lighting design to Samuel Wilde’s exquisite puppetry, every detail has been crafted to perfection.

Narrating the piece and guiding us through is ‘Death’, portrayed wonderfully by Ryan O’Donnell. Full of warmth, wit, wisdom and warnings, Death reminds us he’ll visit us all one day but the living we do before he arrives is what really counts. O’Donnell is entirely convincing in the role, commanding our attention yet generously guiding our focus to the story unfolding before us.

The role of Liesel is tonight played by Niamh Palmer who is outstanding. On stage for almost the entirety of the evening she embodies the Liesel millions of readers have fallen in love with. Her voice is superb while her acting convinces entirely. The scenes between those she grows to love are meaningful and heartfelt making the themes of love, language and mortality all the more poignant.

This evening’s Rudy is a wonderful Charlie Murphy, he is pure joy on stage & bursts with charisma. His scenes with Niamh Palmer are both heartwarming and heartbreaking.

Jack Lord and Danielle Henry as Hans and Rosa Humbermann bring wonderful wit and warmth while Daniel Krikler as Max Vandenberg adds a genuine depth to the piece as the stark reality of life in Nazi Germany plays out. His poignant delivery of ‘Hello, Stars’ offering a whole new meaning to the words since we first heard them at the start of the piece sung so sweetly by Liesel.

While the leads are outstanding this is a true ensemble production, each and every member of the cast give their all. They deliver Tom Jackson Greaves’ stunning choreography with precision; at times it’s joyful, light and celebratory, others, each and every motion portrays the gut-wrenching pain of persecution and loss. The storytelling through movement combined with the powerful script and score make for a perfect marriage, communicating to the audience clearly and carefully.

While there is an ever present feeling that mortality may never be too far away this is a truly beautiful story of hope and the power we all have through the words we use & the choices we make. Words of love not hate, seeds of kindness, a reminder to look to the stars and to never let evil win.

The Book Thief is a total triumph, full of heart, humour and hope. There was laughter, tears and a swelling of genuine emotion as the thundering standing ovation was received. Everything about this show says West End transfer, it’s a truly special piece of theatre which deserves to be seen far and wide. Superb.

The Book Thief is on at Bolton’s Octagon theatre until Saturday 15th October tickets available here.

One Man, Two Guvnors

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Back in early spring 2020, I was fortunate to attend the season launch for the reopening of the Octagon, which included the programme for the year ahead through to 2021. Instantly one production stuck out, writer Richard Bean’s smash-hit One Man, Two Guvnors. We’re all fully aware what happened next, just under two years have passed and finally the production arrives on the Octagon stage and boy was it worth the wait!

Based on the Servant of Two Masters, a 1743 comedy by the Italian playwright Carlo Goldoni. Set in 1960’s Brighton, One Man, Two Guvnors follows the escapades of dim-witted chancer Francis Henshall (Jordan Pearson) who has somehow landed the job as a hired goon for East End gangster Roscoe Crabbe. All is not what it seems with Roscoe, Roscoe is dead and this is actually his twin sister, Rachel Crabbe (Siobhan Athwal) who is impersonating her dead brother in order to cash in some of brothers debts, so she and her lover, Stanley Stubbers (Laurie Jamieson), can start afresh. To further complicate matters Stubbers’ is responsible for Roscoe’s death.

Francais spots an opportunity to earn a few extra quid and more importantly have a decent meal, working a second job as Stubbers valet. Stubbers is on the run from the law for murder and is just bidding his time to reunite with Rachel. Can Francais keep his two employers from finding out his deception long enough to earn a big pay and end his 16 hours without eating?

Under the direction of Lotte Wakeman with Bean’s near flawless script this is as good as theatre gets and a real treat for comedy fans. Slapstick, farce and some killer one-liners, the show has something for everyone. The beauty lies in the fact that you’re never quite sure where the show is going, such is it’s anarchic nature which really adds to the fun.

The production is anchored by a powerhouse performance from Jordan Pearson who is engaging throughout, his childlike innocence is infectious, as he is driven by hunger, never fully aware or concerned by the chaos he has created.  

Pearson is supported by strong performances from the ensemble cast, with Lauire Jamieson getting the lion’s share of the best lines as slightly unhinged toff, Stanley Stubbers. Whilst Javier Marzan as the hapless waiter Alfie, and Qasim Mahood, as the jilted actor, Alan Dangle, both put in superb physically comedic turns.

I cannot recommend this production enough, over-the-top, ridiculous fun from start to finish that will have you grinning from ear-to-ear, an absolute must-see!

One Man, Two Guvnors is at the Bolton Octagon until the 25th June, tickets available here.

Kes

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️


‘You can’t train them, Kestrels, they’re the hardest bird to train…’

Adapted for the stage by Robert Alan Evans, ‘Kes’ is based on Barry Hines’ 1968 much loved and adored classic ‘ A Kestrel for a Knave.’ Set in a small mining town in South Yorkshire, Kes follows fifteen year-old Billy Casper, who is emotionally and physically mistreated by his mother, his school and society in general. A by-product of our unjust and discriminatory class system, Billy lives a pretty desolate life, until he finds meaning in rearing and training a kestral. Kes is a story of youth, social injustice, and humanity…

In his Director’s note, Banerjee explains, ‘…this isn’t Kes as we know it’ and he’s correct; this is a bold conceptual visceral piece of art, which most certainly maintains the essence of Hinde’s modern classic at it’s core, but with a raw modern twist. Banerjee has successfully assembled a talented team both on and off stage, who execute well to create this brave modern piece; Braithwaite’s beautifully rich and deeply moving sound composition is definitely a highlight and is really rather impressive and impactful throughout. This coupled with Field’s and Platt’s atmospheric set design and lighting design respectively, provide a wonderful back drop for this story to be reborn in a new imaginative theatrical way.

Although at times the piece can feel a little too abstract, making it hard to fully engage with, maintain focus and follow as the scenes and characters develop and interchange abruptly, the skilful actors continue to draw us back in time and time again for the duration of this one hour performance. All three performers work extremely hard throughout and their stage presence is quite remarkable. Each individual takes full ownership of and graces the space with finesse, allowing the story-telling of this powerful tale to unfold with style, poise and a whole lot of heart.

Whilst set in the 1960s, the themes of Kes most definitely still resonate in a 2022 post pandemic modern society. At the route, the same profound questions, of the same injustices, of the same failing social class system are still being explored, and therefore the story is still very much as relevant, fitting and powerful for today’s present-day audience as it was over 50 years ago.

A special mention has to go to Bolton Octagon. They’ve done a wonderful job with the opening of their brand new building;the welcome was warm, the space was inviting, it is everything regional theatre should be and boy how lucky are we to have this here in the North West, right on our doorsteps!

The Octagon Theatre and Theatre by the Lake’s Kes is a dark, powerful and bolshy adaptation of a much loved classic that certainly packs a heart felt punch.

Catch ‘Kes’ at the Octagon Theatre until Saturday 2nd April tickets available here.

Or at Theatre by the Lake from Wednesday 6th- Saturday 30th April tickets available here.

The Hound of The Baskervilles

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Alison Ruck

As one of the first full scale productions to grace the newly refurbished Bolton Octagon stage, I was very excited to head to the theatre for a night of comedy brilliance with The Hound of The Baskervilles.

The Octagon has just undertaken a million-pound refurbishment, set to improve accessibility, visitor experience and backstage facilities. And oh yes was it worth it, it looks amazing, the place is pristine, modern and beautiful. The Octagon has really upped it’s game and I cant wait to see what amazing work they produce going forward.

But anyway, back to The Hound of The Baskervilles. With a cast of only 3, the adaptation of Arthur Conan Doyle’s classic adventure tells the story of one of Sherlock Holmes’ most popular case. The famous pair of Sherlock and Watson are asked to unravel the mystery surrounding the untimely death of Sir Charles Baskerville, and with rumours of a cursed giant hound on the loose, they must act fast to save the Baskerville family’s last remaining heir.

The trio of talented actors play a variety of roles throughout the show, incorporating a multitude of accents, costumes, and physicality to differentiate. Polly Lister plays Sir Henry Baskerville (amongst many others), Octagon Youth Theatre alumni, Reuben Johnson is the famous Sherlock Holmes (amongst many others), and Simon Kane is Mr Watson, who is the only constant in his role throughout.


The multi-rolling was brilliant, each one portrayed with dazzling humour and distinguish. One of my favourites wasMiss Cecile Stapleton played by The Octagon’s very own, Reuben, his flirty mannerisms combined with some brilliantly written comedy created the perfect, mysterious other woman. 

All three actors were outstanding, their perfect comedy timing and exuberance created farcical brilliance which at times had me crying laughing, particularly at the scenes with the dummies (no spoilers) which had the whole audience in stiches. The cast have great chemistry on stage and even when speaking to the audience (or breaking the fourth wall for those who like technical terms) the comedy was very natural and raw, flowing from ‘break out’ to ‘acting’ effortlessly whilst keeping the comedy simple and easy.

The production, directed by Lotte Wakeham, was minimal yet clever staging, making use of only a few items of set that immediately help place a scene and the clever use of props that not only keep you with the story but add subtle moments of humour within the scenes. Similarly, the costumes, designed by David Woodhead allowed you to differentiate between characters even through the quick changes and role swaps, each one accentuated each character perfectly, which was further emphasised by the fantastic actors.

When you’re not laughing away, you’re sucked into the world of Holmes and Watson through the twists and turns of the plot. I was unfamiliar with the production, so I was utterly entranced by the ‘who did it’ drama and was even surprised by the findings of the detective pair.

This adaption of The Hounds of The Baskervilles was the perfect blend of farcical comedy and mystery drama. A fun show, sure to have you howling with laughter (pun intended)from start to finish.

The Hound of The Baskervilles is on at Octagon Theatre, Bolton until Saturday 7th August tickets available https://octagonbolton.co.uk

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.

The Importance of Being Earnest

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Opening Night verdict ⭐️⭐️⭐️1/2

Reviewed by Nikki Cotter

While the Octagon Theatre undergoes an extensive refurbishment the company are performing in various venues across the town, one of the most impressive and merely a stones throw from the theatre itself is the beautiful Albert Halls. Part of the Town Hall the impressive Albert Halls acts as a perfectly fitting backdrop for Oscar Wilde’s much-loved Victorian comedy.

Our two protagonists, the dashing upper class cad Algernon (Jack Hardwick) and the seemingly more upstanding Jack Worthing (Dean Fagan) lead double lives in a bid to have some fun away from the strict social constraints of Victorian Britain whilst attempting to court the affections of headstrong City girl Gwendolen (Elizabeth Twells) and pouting country princess Cecily (Melissa Lowe) all of course to the distasteful displeasure of the domineering Lady Bracknell (Sarah Ball).

The play moves at a good pace once you get used to the slightly echoey acoustics within the lofty Albert Halls; Director Suba Das and designer David Woodhead have injected a real sense of style into this production. The stage resembles a photographer’s studio giving the cast opportunities to strike a pose and wink knowingly at the audience during some of the most quotable lines while the production opens with catwalk style vogueing from the cast by way of introduction.

Confusion and deception are the order of the day as we romp from the city to the countryside in this stylish interpretation. Jack Hardwick is exceptional as a flirty and flouncing Algernon. Hugely charismatic and convincingly charming you can’t help but root for this idle scamp. Dean Fagan’s contrastingly sensible Jack compliments Hardwick’s Algernon perfectly and the two bounce off each other offering some great comedy highlights.

Elizabeth Twells is in fine form as the determined Gwendolen. Strong and sassy she is a force to be reckoned with, the engagement scene is an absolute comedic delight while Melissa Lowe embraces the opportunity to play the brattish but ballsy Cecily with gusto.

There’s a slowing of pace during some of the scenes with Lady Bracknell, despite Sarah Balls’ authoritative performance some of her dialogue is lost due to the wordier nature of her lines in the expanse of the Albert Halls. The classic “A handbag?” however is delivered to perfection and gets the generous reaction it deserves.

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Vicky Entwistle and David Cardy as Miss Prism and Dr Chasuble bring an endearing frivolity to proceedings while Dan Shearer happily carries out his instructions as the put upon butler in various stages of undress.

Act I at more than an hour and a half does have the audience shifting in their seats a little while Act II at 35 minutes absolutely sails by, something a tweak or two could easily remedy.

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This stylish piece of theatre works and works well; it is fun, frivolous and delivered with a playful conviction. Another success for the Octagon Theatre in this faithful production dusted with a sprinkling of creative surprises.

Catch The Importance of Being Earnest at the Albert Hall until Saturday 15th June here.

 

 

 

The Last Yankee

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

UK theatre goers have seemingly been having an affair with the works of American writer Arthur Miller for decades now. The National Theatre has staged more productions of Miller’s plays than any other writer apart from Shakespeare, which is an impressive feat indeed.

Director David Thacker during his time as the Director of the Young Vic in London staged nine Arthur Miller plays seven of which he directed himself: one of these works The Last Yankee, was a huge commercial and critical success and now 26 years later Thacker reprises his role bringing the play to the impressive Bolton Library Theatre.

Set in an American psychiatric hospital, we are introduced to two married couples: Patty Hamilton (Juliet Aubrey) and her carpenter husband, Leroy Hamilton (David Ricardo-Pearce). We also have successful business man John Frick (Patrick Poletti) and his wife Karen (Annie Tyson). The two couples are polar opposites: the Hamilton’s have seven children and are just financially struggling to keep their heads above water. Whilst the Frick’s have no children yet a vast wealth at the disposal. Despite their differences the two couples have one thing in common, depression, anxiety and a self-loathing that threatens to not just wreck their marriages but destroy them individually as well.

Miller has crafted a near perfect fable of the chase for the American dream and how quickly it can go sour, whilst raising some important issues about mental health and its treatment. The script is measured and refreshingly low-key, the dialogue is terse and pulls no punches: there is nothing ‘showy’ or flash just an honest, gut wrenching account of a struggle that is becoming more and more prevalent in modern society with each passing day. Despite its weighty subject there is also a great deal of black humour adding a touch and of warmth and a much-needed respite from the drama.

The four leads are superb, the interactions between Poletti and Ricardo-Pearce in the first act sets the tone for the production, Poletti is solid as the snobbish know-it-all, yet clueless, Frick, whilst Ricardo-Pearce gives subtle, weathered performance as the blue collar all American.

Aubrey and Tyson are equally good as Patty and Karen, who’s unlikely friendship is the heartbeat of the production. Aubrey is captivating, filled with nervous energy, that is at times unsettling, whilst Tyson cuts a tragic figure and as the loveable Karen, a performance filled with whimsy and heartbreak in equal measure.

Thacker’s simple but effective directions works beautifully with Ciaran Bagnall’s intriguing set design: throughout performance we see a patient lying motionless in hospital bed, never mentioned or referred to, the proverbial elephant in the room and a damning critique of how we treat mental illness and our attitudes to mental health. This marries perfectly with the wall of mirrors back drop, distorting both perception and reality.

This is a thought-provoking essential production that despite its weighty subject is engaging and accessible, with the time flying by. A production that is superbly acted, powerful, and certainly a relevant message for our times: everything dramatic theatre should be.

The Last Yankee is at Bolton Library Theatre until 16th March tickets available here.