Review

BRB – Cinderella

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brb-5Birmingham Royal Ballet triumphantly returns to the Lowry with David Bintley’s magical production of the classic and much loved fairy-tale ballet, Cinderella. Originally performed in 2010 and broadcast by the BBC as their 2010 Christmas ballet, Bintley’s award winning production features the complete original score by Russian composer Sergei Prokofiev delivered superbly by the Royal Ballet Sinfonia. Staying true to the Cinderella story, we meet the wicked stepmother, Cinderella’s two ugly sisters (who we of course love to hate), as well as the handsome prince and not forgetting her magically gifted fairy Godmother.

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We begin in the dark and dank depths of Cinderella’s kitchen dwelling where a bare foot Cinderella has been cast by her wicked stepmother and ugly sisters, her only purpose in life seemingly to serve them. Despite the bleak and depressing surroundings Jenna Roberts ensures Cinderella shines and her joyous and delicate performance is enchanting. She moves with poise and perfection, light on her feet and full of endearing charisma.

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The story telling in this production, as with all Birmingham Royal Ballet productions is wonderfully clear allowing for a beautifully paced performance where we move effortlessly from one piece to the next, eager for more. Complimenting this exceptional narrative is an impressive set and deliciously extravagant costumes both designed by John F. Macfarlane, familiar to audiences as designer of the BRB’s hugely popular Nutcracker. The excellent narrative also allows for some great comedy acting from Skinny (Samara Dowes) and Dumpy (Laura Purkiss), the ugly sisters. Both excel in their roles and their acting is wonderful, offering the audience laugh out loud moments each time they enter the stage they are a fantastic fun and absolutely adored by the audience.

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Perfectly partnering Jenna Roberts’ Cinderella is handsome Prince, William Bracewell. Strong and athletic Bracewell is perfection in the role and the two of them glide beautifully together, their pas de deux performed at the grand ball is utterly mesmerising, they delivery of Bintley’s choreography is precise and striking. As the clock strikes twelve the dreamlike scene begins to crumble as Cinderella dashes from the scene leaving only her sparkly slipper, cue a highly entertaining hunt for the wearer of the shoe.

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Birmingham Royal Ballet succeeds once more in making a production which is not only enchanting and utterly thrilling but accessible and appealing to all. It is wonderful to see a diverse audience from very young children to those senior in age all totally captivated by this stunning production.

Cinderella is a work of magic, enchanting and sublime, an absolute delight.

On at The Lowry until 4th March

http://www.thelowry.com/event/birmingham-royal-ballet-cinderella

 

 

Funny Girl

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Funny Girl

Hot on the heels of it’s much adored, critically acclaimed not to mention record breaking West End run, Funny Girl embarks on a 22 city UK and Ireland tour with Manchester being its first port of call. Boasting some of the most recognisable songs in entertainment history, Don’t Rain On My Parade and People, the hugely iconic show tells the story of the delightful Fanny Brice (Sheridan Smith) a lovable comedic singer and dancer striving for a leap across the water from Brooklyn to Broadway.

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The recent West End revival was the first since the original 1964 Broadway production transferred to the Prince of Wales Theatre with the one and only Barbara Streisand who then went on to immortalise the role on the silver screen, winning an Academy Award on her way. Big shoes to fill you might think? Enter Sheridan Smith! What a talent!

For anyone wondering how Fanny could be played by anyone other than Streisand wonder no more, book yourselves a ticket and see for yourself, Smith is quite simply perfection. Her characterisation and comedic timing is sublime, you can literally feel the audience fall more and more in love with her with every line she utters and every kooky facial expression she pulls, she is a true star. While she plays the clown perfectly she also has sass and class in bucket loads, she is utterly captivating. She gives the gutsiest of performances from belting out the iconic Don’t Rain On My Parade with heart and determination to her stunning rendition of The Music That Makes Me Dance beautifully tender and deeply moving. You literally cannot take your eyes off her. A personal highlight for me was You Are Woman, I Am Man, where she finally falls under Arnstein’s clutches, although who is seducing who is debatable, I had tears of laughter by the end of this riotous scene.

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Smith is joined by a fine cast who add to the joy of this brilliant production, the dashingly handsome Nick Arnstein, Fanny’s gambling chancer of a husband is played wonderfully by Chris Peluso. The show also has many impressive chorus numbers which are beautifully choreographed by Lynne Page and delivered with precision by the hardworking ensemble. The trio of Fanny’s Mother and neighbours, Mrs Brice, Mrs Strakosh and Mrs Meeker are terrifically entertaining (Rachel Izen, Myra Sands, Zoe Ann Brown). With stunning costumes from Matthew Wright and set design from Michael Pavelka, Funny Girl delivers everything you would hope for and more. It is no surprise that the audience leap to their feet during the finale, this show and Smith truly deserving of the full standing ovation they received.

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If Manchester didn’t feel lucky enough to be the opening stop on the tour then the we must be pinching ourselves knowing that Funny Girl complete with Sheridan Smith will be returning to close the tour in August, tickets are available now but will no doubt be snapped up so act quick! Funny Girl is just magical, an absolute triumph! A five star masterpiece!

http://www.atgtickets.com/shows/funny-girl/palace-theatre-manchester/

Palace Theatre – Saturday 18th February – Saturday 25th February 2017

Returning Monday 7th August – Saturday 19th August 2017

 

Dark Hearts of Space – The Lowry

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Dark Hearts of Space, realised and perform by Dasha Rush & Stanislav Glazov explores offered visuals and sounds which filled the stage as the cinematic images were visualised through a double screen. Projectors filled the syc back stage and a huge gauze screen up stage giving a 3 dimensional effect which was was highly engaging. The 40 minute performance displayed a way to escape, a space to expand your mind, it was ever so cool.

The experience was a visual play of many different black hole creations which credits the visual Graphic Designer Stanislav Glazov the male part of this charming duo, as later in after show talk we hear that the technology and artistry is extremely advanced. To an untrained eye, it was a little disparate. The shift of ideas felt more of a scratch performance making the whole experience very open ended and non-directional and I didn’t feel a connectivity to couple that with a philosophical notion or spiritual notion, the abstract determined non attachment to the ideas that were playing out.

Dasha Rush played an electronic sound score that washed over the subconscious mind and supported the visual lead, I found this quite meditative. A unique piece in which the cosmic space created in this collaboration was at times spellbinding.

 Guest reviewer, Kate Jackson

 

Chitty Chitty Bang Bang

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Last month Amazon Prime launched Jeremy Clarkson and Co’s latest offering, The Grand Tour: which in effect is three big kids getting into scrapes at home and abroad with cars. Well that isn’t too dissimilar to the plot for the Ian Fleming, penned Chitty Chitty Bang Bang. However that’s where the similarities end and quite frankly the world is a better place for it.

The 1968 film version is as much a part of Christmas as the Queen’s speech, turkey dinner and indigestion so it seems only right that this much loved classic is The Lowry’s big show for Christmas wonderfully brought to life the West Yorkshire Playhouse.

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Set in 1919 we find the rather eccentric widowed father, Caractacus Potts trying to forage enough money to save a bent and broken race-car from the scrap heap. Chitty Chitty Bang Bang has become the beloved plaything of his two children Jeremy and Jemima. However the family soon find themselves in great danger as the evil Baron and Baroness Bombast of Vulgaria also have designs on the former Grand-Prix winning race car: dispatching a couple of dodgy spies, the might of the Vulgarian navy and the truly terrifying Childcatcher. Can the Potts family save themselves and their beloved car? Will they all live happily after? Here’s hoping!

Director James Brining has the monumental task of transferring the magic of the film onto the stage and it’s fair to say he pulls it off magnificently. Aided and abetted by designer Simon Higlett and video designer Simon Wainwright, Higlett’s set design is wonderful: from the Potts family windmill house to the Baron’s fortress – they are all stunning. Wainwright’s video is first class as it manages seamlessly to transfer us from one location to the next: one minute we’re on an idyllic drive through the countryside and the next you’re involved in a gun battle at sea.

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As we all know the car is the star of the show but it is supported by some fine performances. Jason Manford in the lead as Caractacus Potts is likable as the doting father, he brings warmth and charm to the role: sometimes he grins and gurns a bit too much, maybe he was channelling his inner Dick Van Dyke, but that was Mary Poppins not Chitty Chitty Bang Bang. However Manford’s main strength lies in his singing voice: he is a very talented singer indeed highlighted in the beautiful Hushabye Mountain. Charlotte Wakefield is on good form as the fabulously named Truly Scrumptious bringing a touch of spirit and zest to the role. The on stage chemistry between the two is a joy to watch, especially during Doll on a Music Box. The Potts children are delightful, played by three teams rotating nightly they give a beautiful performance.

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There are also fine performances from Sam Harrison and Scott Paige as the Vulgarian spies Boris and Goran, both are great fun and very nearly steal the show as they get all the best lines and lots of laughs. There are some jokes which are pretty near the knuckle but will fly over the younger audience members heads and amuse the adults; they had both audience members young and old alike howling with laughter. Claire Sweeney is fabulous as Baroness Bomburst with her exaggerated accent and almighty performance of The Bombie Samba. Phill Jupitus offers a bizarre turn as Baron Bomburst: flip-flopping between over exuberance and looking completely disinterested: frequently breaking between his over the top Vulgarian accent to a dead-pan delivery. It’s not abundantly clear what he is trying to achieve by this but it certainly is what can best be described as a ‘Marmite’ performance. Jos Vantyler is outstanding as the Childcatcher, helped along with a wonderful piece of lighting from Tim Mitchell; we have a villain as wicked, as sinister and even more terrifying than the original.

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There were a few technical difficulties on the night which stopped the show for roughly 10 minutes which upset the momentum slightly, however the cast carried on like true professionals. The main problem with the show is its pacing: acts one and two are quite bloated and do become slightly drawn out at times. Whilst the ending seems slightly rushed with the payoff not justifying the lengthy build up. Overall this a good solid family fun show, filled with fun and adventure, it just needed a few more thrills and spills, it is probably not suitable for young children as it will not keep them engaged for the duration of its running time.

Judging by the impromptu audience clap-along as soon the signature Chitty Chitty Bang Bang tune is played there is plenty of love for our “fine four fender friend”, she just needs to heed the warning of those motorway signs about tiredness.

Chitty Chitty Bang Bang is on at The Lowry Theatre till the 15th Jan 2017

http://www.thelowry.com/event/chitty-chitty-bang-bang

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.

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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/

The Peony Pavilion

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In heading to The Lowry for The National Ballet of China’s production of The Peony Pavilion , I knew could expect excellence but had no other preconceived idea. I guess the introduction to the evening prepared for something different, the choreographer introducing his cast and the story was quite different, enigmatic and totally charming. I felt closer to the story already. Often described at the Chinese Romeo and Juliet, The Peony Pavilion tells the story of a young girl, Du Liniang who falls into a slumber and dreams of falling in love with a young scholar, Liu Mengmei.

The opening solo dance was effortless and quite beautifully abstract, stunning choreography from Fei Bo . A central square which changed throughout the play as dreamspace or prison or a solitary confinement was a minimalist design which made the lines across the stage so clean.

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The set was stunning, for most of the play there was a huge branch which embodied the back half of the stage sitting on a high diagonal which gave a poetic presence of absence, confirming the nature of seasonal change when leaves leave before new buds can grow.

The costumes were stunning especially the chinese opera singer Jia Pengfei who moved like a geisha and gave the most interesting performance of the evening, she dressed and undressed seamlessly describing time or drawing a warning. They were jaw dropping with elaborate, finely detailed embroidery of classical chinese flowers at times she took shape of rose through the movement of her material. The tiny chiffon layers of the ensemble followed the whipping of pirouettes or lame duck sequenced complex choreography.

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There’s a sense the company is moving with this piece into a modern classical style, a mixture of classical contemporary techniques interwoven into the ballet, the theme of marrying pointe work with bare feet wasn’t as interesting choreographically as it may have tried to be.

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The second half gave rewarding performances in a lead male solo and ghost duets . The huge cast gave a warm performance, the stage rained with peony petals, changed into a forest environment where the ensemble played with trailing green neon light in a poi like chained ball which left resonance in the space as they moved.

It was a charming portrayal of the story, striking and utterly captivating.

 

Love’s Labour’s Lost

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A wonderful additional to this years offerings celebrating 400 years since the death of William Shakespeare, The RSC bring not one but two of the Bard’s works to Manchester this Christmas time. Love’s Labour’s Lost and Much Ado About Nothing, argued by some that the latter is another name for Shakespeare’s missing play, Love’s Labour’s Won, the similarities between the two are plentiful, both being set on a large county estate, sparring couples, masked encounters, mistaken identities and of course hilarious high jinx including overheard and secretly observed sonnets. Playing back to back at Manchester’s Opera House before heading to the Theatre Royal Haymarket , both productions are an absolute triumph.

Opening with the King of Navarre (Sam Alexander) and his three Lords, Berowne (Edward Bennett), Longaville (William Belchambers), and Dumaine (Tunji Kasim), swearing an oath  which includes avoiding contact with women for a lengthy three years, shortly followed by the arrival of the beautiful Princess of France (Leah Whitaker) and her ladies Rosaline (Lisa Dillon), Katharine (Rebecca Collingworth) and Maria (Paige Carter) it soon becomes clear this was an oath that was never going to easily run it’s course. Cue much merriment and classic Shakespearean rhyme while completly against their oath the Lords fall in love with the ladies and of course the King with the Princess.

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Don Armado (John Hodgkinson), a Spaniard visiting the King’s court, is also hit by Cupid’s bow, but rather than with a Lady of the court he is taken by Jaquenetta, (Emma Manton) a local dairymaid who has recently been found cavorting with Costard (Nick Haverson) the gardner. So ensues the writing of love notes, delivered of course to the wrong recipient. The unconventional courtships continue with a wonderful scene where we see the King and his Lords disguising themselves as travelling Muscovites which leads to hilarious scenes of Russian dancing and the ladies switching identities themselves through the swapping of favours received by the Lords and the use of elegant masks.

Working with the same company of actors and setting both plays either side of the Great War adds real poignancy to the ending of Love’s Labour’s Lost, sometimes described at the ‘unfinished play’ the merriment and frivolity of the play comes to an abrupt end when the King and his Lord’s head off to war, much as life for many must have been as their young men suddenly headed off to the battlefields of Northern France.

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The cast are exceptional, the talent on stage an absolute joy to watch, from Edward Bennett’s brilliant Berowne to John Hodgkinson’s hilarious Don Armado the comic timing and delivering of the Bard’s script is just perfection. Special mention to Peter McGovern whose Moth was magnificent, not to mention his Hercules in the ‘Nine Worthies’ which had the audience in hysterics.

Visually stunning, Simon Higlet’s set is outstanding, with scene changes flowing beautifully due to the ingenious use of a large sliding truck and sub-stage trap. Where Much Ado is festive and twinkling, Love’s Labour’s Lost takes place in the summertime of 1914 when skies are blue and poppies, in a nod to the impending Great War are plentiful. Melody Wood’s luxurious costumes are delightful, perfectly encapsulating the period. The use of music by Nigel Hess, directed by Bob Broad, further enhances this production, filmically underscoring certain moments and offering some challenging vocal pieces which the cast embrace wonderfully.

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Love’s Labour’s Lost is an absolute joy, highly entertaining and wonderfully acted. Playing at Manchester’s Opera House until Saturday 3rd December.

http://www.atgtickets.com/shows/loves-labours-lost/opera-house-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.

Hair The Musical

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Following on from the phenomenal success of Parade earlier this year, Hope Mill Theatre and Aria Entertainment have teamed up once again to bring to cult classic and perhaps the most iconic of all rock musicals Hair to Manchester.

Set in New York’s East Village in the 6o’s at a time when the counter culture of a freedom and peace loving youth was emerging, Hair remains as current and relevant today as it was back in 1967 when it burst onto the New York theatre scene with its message of love, peace and a rejection of conservative America, in particular the controversial Vietnam war. Through Hair we meet a tribe of hippies who passionately believe in a ‘Make Love, Not War’ way of life, turning their backs on the expectations of their families and society and creating their own free love and liberal environment in which to belong. At the heart of the story is Claude and his battle to resist his draft to the army, does he do as his friends have done and live the life he chooses or does he succumb to society’s expectations, rejecting his beliefs of pacifism and freedom by serving for his Country in Vietnam.

The intimate staging of Hope Mill Theatre is perfect for this innovative production. Bold, bright and brilliant Hair is an absolute triumph, each and every member of the cast is exceptional, from the opening number, the much loved Aquarius the cast draw you in and immediately you wish you were part of their tribe. Engaging and totally absorbing Director Jonathan O’Boyle and Choreographer William Whelton have guided this talented cast in the most delightful way, each individual member is given the opportunity to shine, showcasing their incredible talent and then together as an ensemble the impact of the cast as a whole is mesmerising. The staging perfectly sets the scene for this great production, upon entering you are immediately immersed into a colourful, safe and relaxed space, with blankets scattered about in a nod the the original productions be-in. Add to this a stunning score from Galt MacDermot delivered superbly by a small band of five led wonderfully by Musical Director Gareth Bretherton.

It seems almost unfair to single anyone out for special praise from this unbelievably talented tribe but Ryan Anderson – Berger, Liam Ross-Mills – Woof, Robert Metson – Claude, Laura Johnson – Sheila and Natalie Green – Mom deliver their roles with a passion thats so wonderful to see. Special mention must also go to Hope Mill Theatre owners Joseph Houston and William Whelton, their drive and determination to bring such quality and innovative theatre to Manchester must be commended, making theatre accessible and more affordable is hugely admirable and they are truly deserving of all the success that has come and no doubt will continue to come their way. The announcement of 2017’s musical theatre programme again in partnership with the wonderful Aria Entertainment has us counting down the days until their next opening night! (Yank! On 9th March in case you’re wondering!)

Hair is an absolute must see, a triumphant piece of theatre, uplifting, absorbing and beautifully symbolic, a timely reminder that love is way more powerful than hate, and ultimately we are all one tribe who really should just love each other.

Hair runs at Hope Mill Theatre until Saturday 3rd December, tickets available here;

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

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 

 

Billy Budd – Opera North

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The good ship Opera North has sailed into Salford Quays with its stellar performance of Benjamin Britten’s ‘Billy Budd’ – a tale of high drama on the high seas aboard The Indomitable.

Ensconced in the bowels of The Lowry, with a superb view of Leslie Travers’ ‘handsome’ set, you are immediately transported back to 1797 by Captain Edmund Fairfax Vere (Alan Oke) – reflecting on the arrival of Able Seaman Billy Budd (Roderick Williams), who has been pressganged into joining the fight against the ‘Frenchies’.

Uncommonly beautiful – and possessing a disarming goodness – Billy endears himself to all classes of men… except the dastardly Master-at-Arms John ‘Jemmy Legs’ Claggart (Alastair Miles). Recruiting the services of a reluctant Novice (Oliver Johnston), whose spirit he has broken by a brutal flogging, cruel Claggart plots Billy’s downfall with a maniacal zeal…

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The stage is set for a titanic clash of good and evil, as The Indomitable presses on into enemy territory through a cloak of mist – a fitting metaphor for Captain Vere’s clouded conscience as he presides over the climatic court hearing to determine Billy’s fate.

An immersive, dramatic tale with themes that are as enduring as the classics Captain Vere frequently calls to mind, ‘Billy Budd’ is stupendously entertaining – an affecting character study of the intrinsically good, the duplicitously evil and the tormented adjudicator.

London tenor Oliver Johnston’s depiction of the wretched Novice is worthy of individual praise for the haunting inflection he lends to every perfectly-pitched note. Crouched face-down, bloodied from flogging and shrouded by the threat of his own demise, he is mesmeric – offering a sensitive counterpoint to the frequent bluster of the ranking commanders he serves.

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Stephen Richardson’s Dansker, Daniel Norman’s Red Whiskers and David Llewellyn’s Squeak all serve the production well, with characterful performances that add welcome touches of lightness and humour, while Alastair Miles’ Claggart skilfully delivers a contemptible villain without dipping into pantomime territory. (Boos at the final curtain aside!)

Roderick Williams, as the titular Billy Budd, is effused with the requisite air of unsullied innocence – boasting all the likeability of the character he inhabits. Sitting alone, illuminated by a sole spotlight, he is particularly memorable – taking the audience by the hand on his journey from sorrow through to noble acceptance of his fate.

Beautiful to look at, in the style of a Renaissance painting, the ensemble segments offer a wonderful opportunity to appreciate Leslie Travers’ costumes – a palette of muted greys and creams enlivened by the blues, golds and reds of the officers’ jackets – while the masterful lighting design of Thomas C. Hase brings the pared-back set dramatically to life with every developing plot twist.

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Of course, the musical brilliance of the show is underpinned by the accomplished orchestra, conducted by Garry Walker and led by David Greed, who became (at that time) the youngest leader in the country when he joined the Orchestra of the Opera North in 1978; also, the chorus, which has been restored to its full complement of 36 full-time members (no small feat in the challenging financial climate the arts face). A much-deserved ovation as the curtain came down marked the audience’s appreciation.

Director Orpha Phelan last worked with Leslie Travers on Bellini’s ‘I Capuleti e i Montecchi’ in 2008. Together, they can feel very proud to have created a wonderfully entertaining and visually stunning rendition of ‘Billy Budd’ – a quarter of a century since it was last staged by Opera North.

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Sang in English – with subtitles for the deaf, deafened and hard of hearing – this is an extremely accessible performance that both novice and veteran opera-goers can enjoy alike.

‘Billy Budd’ will next be staged at The Theatre Royal in Nottingham on 17 November at 7pm. Click to book: https://www.operanorth.co.uk/productions/billy-budd

 

Mind the Gap – Mia

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Formed in 1988, Mind the Gap is England’s largest learning disability theatre company that creates work for both UK and international audiences. As part of their Daughters of Fortune series, Mia, aims to explore the subject of people with Learning Disabilities becoming parents, expose the myths and expand on the truths.

Mia has just found out she is pregnant, how will she cope? Can she afford it? Will she make a good mum? What if she screws it all up? Questions all new parents would ask themselves, the only difference being non learning disabled parents have the right to make their own choices about their child and are at the heart of all decisions made. Having a Learning Disability means Mia will have to face many assessments, endless meetings and potentially fight for the right to keep her own child, as currently around 40% of parents with a Learning Disability have their child removed, although advocacy groups estimate this figure to be closer to 90%.

Such a monumental subject matter could have the potential to be heavy and difficult to discuss, however Mind the Gap excel at making this sensitive subject accessible and manage perfectly to approach things from a no nonsense and honest point of view. They bring their own unique brand of humour which cleverly pokes fun at the ridiculous and absurd way in which people with Learning Disabilities are at times treated. Director/Devisor Joyce Nga Yu Lee has worked with her performers to deliver a thought-provoking and powerful piece. The four actors Alan Clay, Anna Gray, JoAnne Haines and Alison Short each offer something uniquely special to the production. Each excelling in several roles and delivering with confidence a compelling and engaging piece of theatre. The mock quiz show section Don’t Drop The Baby was a particular highlight, funny and engaging whilst still delivering an important and strong message. With a great amount of well-timed humour, Mia will make you laugh just as much as you’ll feel tears welling as the cast open up about how it feels to be a person with a Learning Disability who may ultimately not have the final say in such a life changing and monumental decision.

Mia is a wonderful piece of theatre, bold, absorbing and engaging, an absolute must see and a credit to all involved.

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