Review

Relatively Speaking

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Relatively Speaking copyright: Nobby Clark

Alan Ayckbourn delivers a rip roaring comedy of errors in one of his early plays, Relatively Speaking. Currently on tour around the UK, the King of Farces work is a genius piece of writing that doesn’t fail to amuse almost 50 years after it first took to the stage.

The latest production stars famous faces Robert Powell and Liza Goddard as middle-class husband and wife Phillip and Sheila whose leisurely Sunday afternoon gets interrupted by a young man with a huge case of mistaken identity.

Set in the 60s the play opens to reveal a cramped bedsit where we find new lovebirds Ginny (Lindsey Campbell) and Greg (Anthony Eden).  Ginny is busy getting ready to visit her parents, whilst boyfriend Greg becomes increasingly annoying as he quizzes her over mysterious phone calls she has been getting, along with deliveries of flowers and chocolates.

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Ginny and Greg copyright: Nobby Clark

Lindsey Campbell and Anthony Eden are superb as the young couple both creating well rounded characters and delivering huge dualogues with ease. It’s often hard to keep the audience’s attention when there are only two actors onstage for such a lengthy time but Campbell and Eden manage to keep you transfixed and eager to find out what is going to happen next.

Peter McKintosh does a great job of the set design, capturing the period with garish yellow print wallpaper that wouldn’t look out of place on a sixties record sleeve and posters highlighting the popular films of the time like Breakfast at Tiffany’s and A Hard Day’s Night. There is an awkward scene change when we move from crammed city bedsit to the picturesque countryside involving a full curtain closure and music for at least a couple of minutes, so much so you feel it might be an early interval. It’s quite a dramatic move for director Robin Herford to make and does jar the action. However, as the curtains eventually re open, you can appreciate why this is necessary as there’s an impressive backdrop of a detached house complete with French doors, patio, and garden furniture.

This signals the action moving to the upmarket home of Philip and Sheila who are enjoying reading the Sunday papers in the garden.

On press night Liza Goddard was unable to play the role of Sheila so understudy Sarah Simpkins stood in for her, doing a sterling job. It’s not often nowadays to see productions that have understudies for every role but Relatively Speaking does just that with a full set of actors available should the need arise. Simpkins facial expressions are priceless as she tries her best to fathom why young Greg has turned up on their doorstep and even more so when Ginny follows soon after. The laughter from the audience is constant, especially as you move into the second half of the play and the farcically action reaches its heights. Robert Powell demonstrates his acting prowess playing the ageing businessman who delights in winding up both his wife and those around him with dry wit and amusing frustration. There’s a moment when it looks as if Powell will corpse at the hilarious antics on display but the Salford born actor shows his professionalism and manages to hold it together.

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copyright: Nobby Clark

Watching Relatively Speaking was the most fun I have had at the theatre in ages. Prepare to leave with sore sides from all the laughing you do during the two hours it is on stage. Thoroughly enjoyable, the play runs at The Lowry until Saturday 22nd October.

www.thelowry.com

 

Pride and Prejudice

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First published back in 1813, Jane Austen’s Pride and Prejudice marks the return of Regent’s Park Theatre to The Lowry for a third time following their hugely popular visiting productions of To Kill a Mockingbird and Lord of the Flies.

Austen’s classic comedy tells the much-loved story of the Bennett family and their five unmarried daughters. Mr and Mrs Bennett soon see an opportunity to rise through the ranks of society when the wealthy and devastatingly handsome Mr. Bingley and his friend, fellow eligible bachelor, (and even more wealthy) Mr. Darcy arrive in the area. The Bennet’s eldest daughter Jane soon catches the eye of Mr Bingley while the brooding Mr Darcy clashes with the Bennet’s feisty second daughter, Elizabeth, despite this, their paths are destined to repeatedly meet.

Adapted for the stage by Simon Reade and Directed by Deborah Bruce, the creative team have worked their magic on this production, delivering a bright and joyful reworking of Austen’s wonderful comedy. Set Designer Max Jones has created a remarkably effective revolving structure which works wonderfully well and allows the cast to glide with ease from the Bennett’s parlour at Longbourn to the grandeur of the ballroom at Netherfield Park.

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Both opening and closing this production is the delightfully dramatic Mrs Bennett announcing “It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.” Played by Felicity Montagu, this role couldn’t have been better cast; she is everything you’d wish for in a ‘Mrs Bennett’, brash, attention-seeking, uncouth and ridiculously excitable. Her shameless attempts to get her daughters married off are hilarious; Montagu was made for this role and carries it off to perfection. In contrast to Mrs Bennett is the reserved, thoughtful and long suffering Mr Bennett, played wonderfully by Matthew Kelly, he is the calm to Mrs Bennett’s storm, the pairing of the two actors is a delight to watch.

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The five actresses playing the Bennett girls each offer something different and ensure that each sister has their own strong identity and characterisation, amazingly several of the girls are making their professional debuts. Tafline Steen who takes on the tough role of Elizabeth does so with ease, she is sublime. Feisty and passionate, and just as headstrong and determined as Austen wrote her. Steen’s performance is outstanding, an actress no doubt headed for big things, she is truly exceptional.

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Her clashes with Mr Darcy, played by the broodingly handsome Benjamin Dilloway are realistic and believable; the change in her emotions is moving to watch. Mr Darcy is another hard role to deliver, a fine balance to get right, by Act II we see Dilloway convey the warmer side of Darcy that Austen’s reader adore and yearn for and the side ultimately we knew was there all along . Special mention must go to Steven Meo with his riotous interpretation of Mr Collins the clergyman, irritating, try hard and totally nauseating, the last person you’d ever want around, he is hilarious, utterly brilliant to watch. Also praise for Leigh Quinn who takes on two roles, Mary Bennett and Annabel De Bough, although smaller roles she absolutely shines in each.

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Pride and Prejudice is a classy production, accessible and fresh. An complete joy for Austen’s fans, it’s also is the perfect introduction to those dipping their toe for the first time. Delightfully entertaining with laugh out loud moments and a superb cast, an absolute must see!

On at The Lowry until Saturday 15th October

http://www.thelowry.com/event/pride-and-prejudice

Rehearsal for Murder

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From the writers of Murder, She Wrote, Richard Levinson and William Link and produced by Bill Kenwright, Rehearsal for Murder arrives at the Opera House for a week long run. With an all-star cast the show is a well-acted and entertaining whodunnit that will have you scratching your head and realising what a dreadful Detective you’d make!

With numerous plot twists and a good dollop of red herrings Rehearsal for Murder creates suspense and intrigue along the way. Alex Ferns most famously known for playing psychotic Trevor in Eastenders plays Alex Dennison, a writer who exactly one year ago on opening night tragically lost his future bride and leading lady of his new play, Monica Wells, Susie Amy. Monica dies in suspicious circumstances after the opening night party following a mysterious phone call. Convinced she was in fact murdered Alex sets the scene to replay events of that night with all who were involved in order to discover what really happened.

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Set inside an empty theatre the play uses a series of flashbacks to retell the story to great effect; the cast give strong performances with Ferns delivering delightfully unhinged grieving fiancé to great effect. Anita Harris makes for a fine theatre producer, in the role of Bella Lamb, dramatic, sassy and fabulous darling! Former Emmerdale favourite Peter Amory gives a great performance as David Mathews, a slightly seedy leading man….or so we are lead to believe. And of course where there is a leading lady there has to be a fame hungry starlet waiting in the wings, Sophie Powels plays Monica’s understudy Karen Daniels, could the opportunity of seeing her name in lights lead her to commit the crime?

Lighting designer Douglas Kuhrt has done a fine job in adding to the mysterious atmosphere and chillingly lights our deceased leading lady as she appears silently on stage reminding us why we’re here. Rehearsal for Murder is a gentle evening of murder mystery and as the suspense intensifies the calibre of the cast can be seen, a very well-acted and enjoyable production. So…..whodunnit? Well you’ll have to go and see it to find out!

Tuesday 11th October-Saturday 15th October, Opera House, Manchester

http://www.atgtickets.com/shows/rehearsal-for-murder/opera-house-manchester/

 

 

 

Stripped Back, Elaine Paige Review

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RE: Elaine Paige 2016 - announcement & on sale

Elaine Paige Stripped Back Tour

Elaine Paige stepped onstage at the Bridgewater Hall to a rapturous applause last night as she treated Manchester fans to her latest tour Stripped Back. Looking a vision in lilac, Britain’s Queen of musical theatre belted out the tracks of her youth from some of her favourite songwriters including Nilsson and Webb. It was a night full of memories for Paige as she regaled the audience with amusing anecdotes of going on a date with Paul Simon and almost passing out with excitement as she met her idol Paul McCartney.

Featuring hits from the 60s, 70s and 80s such as Carole King’s One Fine Day, Donna Summer’s MacArthur Park and the Beatles’ Yesterday the concert was a step away from what we are used to hearing from the diva and for the first 30 minutes there was hardly a show tune in sight.

Defying her 68 years Paige shimmied through song after song, hitting some huge notes along the way. Despite everything though it all felt a bit flat, what the crowd really wanted to hear was some of her famous hits and it looked like they might be going home disappointed.

Luckily they got their wish as Elaine began to talk about the time she sung the duet I Know Him So Well with Barbara Dickson. There was an excited buzz of anticipation as the band began to play the intro and the audience came alive, mesmerised by her performance. This is where Elaine is truly at home, every note fitting her voice like a glove.

By the end of the show you feel like you have spent over an hour and a half with a friend and it seemed that Paige felt the same. The classy star was humbled at the standing ovation she received and looked like she truly enjoyed her time on the stage.

A few people left before the encore. Big mistake. With her biggest hit Memory from Cats and With One Look from Sunset Boulevard as part of the set list, it’s a moment you don’t want to miss.

Elaine continues her 23 date tour next weekend as she plays Southend Cliffs Pavilion.

Tickets on sale now

WWW.GIGSANDTOURS.COM • 0844 811 0051

WWW.TICKETMASTER.CO.UK • 0844 826 2826.

 

Keep Dancing

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With this year’s Strictly now in full swing, dance fever has struck once again! If the week long wait for the celebrities and professionals to hit the dancefloor is just too much then shimmy down to the Palace theatre for dance extravaganza, Keep Dancing!

Starring ex-Strictly pro’s Robin Windsor and Anya Garnis with guest celebrity and 2012 winner, Louis Smith (who gets a huge cheer from the audience); Keep Dancing is an explosion of sequins, salsa and some seriously impressive hip swivelling! Showcasing everyone’s favourite dances from the Tango to the Charleston and everything in between, Keep Dancing is a delightfully entertaining production which will thrill all the diehard dance fans amongst us.

The stars of the show are undoubtedly Robin and Anya, performing both pieces with the ensemble dancers as well as some exquisite solo pieces; they truly give a masterclass in dance with each discipline just as impressive as the last. The speed and agility in which they move is incredible, they are true professionals and utterly mesmerising, if I even attempted some of the intricate routines they glide through I’d end up in A&E with at the very least a dislocated hip and several broken bones.

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Interspersed between the dance numbers are beautiful musical and vocal pieces, singers Adam Warmington, Harriette Virginia Mullen and the superb Lisa-Marie Holmes were excellent, delivering gorgeously reworked versions of well-known classics which offered the dancers the perfect soundtrack to showcase their skills. The set design is simple and effective with staircases on both sides leading to an upper deck for the singers/musicians, teamed with dramatic and atmosphere lighting the scene is perfectly set.

The choreography team of which Robin and Anya are a part of have done an incredible job in delivering a tight and engaging show, jam-packed with top class routines, a particular highlight for me was the all-male paso, totally stunning and as dramatic as any good paso should be, add to that the bare chest of Robin Windsor and the swooning soon began!

If you’re looking for a fun night out, teaming with sensational routines and stunning choreography then Keep Dancing more than hits the mark, fun, flirty and totally FAB-U-LOUS!  

Palace Theatre, Manchester – Tues 4th-Sat 8th

http://www.atgtickets.com/shows/keep-dancing/palace-theatre-manchester/

 

All Or Nothing – The Mod Musical

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Telling the story of The Small Faces rise to fame from a wannabe rhythm and blues band up until their much documented break-up on stage at Alexandra Palace, All Or Nothing is an engaging and hugely entertaining new musical.

With a book by Carol Harrison and directed by Pat Davey, All Or Nothing delves into the troubled past of a band who started out as fresh faced and full of attitude teenagers who wanted to change the ‘Mersey-beat’ scene and deliver something fresh, raw and exciting. We follow the band as they change from cheeky newcomers into a top sellers racking up iconic hits including Itchycoo Park, Lazy Sunday, Sha La La La Lee and of course All Or Nothing until years of constant working, exhausting touring, clashes of ego and general disillusionment with life at the top takes its tragic toll.

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The show is narrated by an older, no longer with us, Steve Marriot (Chris Simmons) looking back at the story of his life while his younger self performs in front of him, his narration is witty, revealing and brings a great pace to the production. Thoughtful and at times nostalgic, Simmons gives an outstanding performance, we see him go from light-hearted, dancing round the stage to crumbling before our eyes as the lifestyle becomes too much for his younger self, the liquor bottle becomes his constant companion as he smokes and drinks himself past the point of no return.

The use of an on-stage narrator works extremely well, Simmons swiftly creates a warm relationship with the audience and gently guides us through his compelling tale.

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The four cast members playing The Small Faces are excellent, Kenney Jones, (Drew-Levi Huntsman) Ian McClagan (Joshua Maddison), Ronnie Lane (Joshua Dowen) and Steve Marriot (Tim Edwards). All four act and play throughout, their musical pieces are tight and their scenes together authentic from bright-eyed wannabee hit makers to worn out and irritated popstars, each cast member gives their absolute all.

Special mention must go to Carol Harrison who as well as writing the book delivers a moving performance as Kay Marriot, mother of Steve. Carol delivers not only comedy and plenty of laugh out loud moments but also emotional and intense moments as she sees the tragedy that is unfolding before her.

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Rebecca Brower’s set is simple and effective, allowing the music and story to take centre stage here. This isn’t a musical with narrative dropped in around it; it’s a well written play which uses the music of its subject to great effect. With authentic 60’s clothing as well as props this is a piece that has been developed with true love and affection. The ensemble are excellent, playing various roles with some great comedic timing. The audience lapped up the witty jokes and cheeky quips and many a sound of recognition was heard as the cast kicked into one of The Small Faces classics. All Or Nothing makes for a fabulous night out, fun, feisty and totally fabulous!

On at Buxton Opera House until Weds 5th Oct

Manchester Opera House 18th Oct – 22nd Oct

http://www.allornothingthemusical.com/tickets.html

 

 

English National Ballet – Giselle

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Choreographed and Directed by Akram Khan, with co-production from Manchester International Festival and Sadlers Wells, Giselle is quite simply magnificent. Having seen the classical ballet only once before being asked to choreograph this new interpretation, Akram Khan has created something so special and unique I would have happily stayed in my seat and waited the 24 hours until the next performance just for the chance to see this magical piece again.

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Powerful, emotive and hauntingly beautiful. Khan has taken Giselle, originally choreographed in 1842 by Jules Perrot and Jean Coralli and brought it bang up to date, expanding it’s themes of love, betrayal, reality, the afterlife, money, power and the injustice that comes with not having either, so apt for the times we live in. Khan’s Outcasts are a community of peasant migrant workers disposed of by their employers and banished behind a thick and impenetrable wall, their only use now seemingly is to entertain the factory Landlords ,should their elitist former employers so desire.

Despite this dark and desolate life refugee Giselle (Alina Cojocaru) still finds hope and a love to cling to in the form of Albrecht (Issac Hernandez), a wealthy suitor who has crossed the line after becoming transfixed by Giselle’s beauty. Their love affair sadly has not gone unnoticed by Hilarion (Cesar Corrales) a peasant ‘fixer’ who shifts his allegiance from his community to the wealthy Landlords for his own gain, Hilarion will set about to ensure that Giselle and Albrecht do not get their happy ending.

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Vincenzo Lamagna’s reworking of Adolphe Adam’s score injects drama and grit with its powerful industrial presence, paired beautifully with Mark Henderson’s dynamic lighting design and Academy Award winning Tim Yip’s epic visual design and incredible costumes this production is destined to become a modern classic, a piece you would happily return to time and time again and discover something new on each visit. It is quite simply breath-taking; the skill on show left me speechless.

In Act II we see Giselle arrive in the afterlife, a ghost-factory inhabited by the Wills, (haunted spirits of the ill-treated factory girls) their en pointe work is dazzling, they appear to hover ghost like en masse, powerful and dark they are completely hypnotic with their tumbling unkempt waist length hair and tattered, rag-like dresses. Khan isn’t afraid to use long dramatic silences where you find yourself holding your breath afraid to break the silence yet desperate for the next mesmerising move from the stunning Company.

Bold and inspiring, Giselle more than deserved the standing ovation it received. Special mention must go to Principles, Alina Cojocaru, Issac Hernandez, Cesar Corrales and Begona Cao, all gave exquisite and unforgettable performances. My advice would be to beg, steal or borrow to get a ticket to this truly ground-breaking and achingly brilliant production.

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Giselle, The Palace Theatre, 27th Sept-1st October 2017

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

The Community Centre

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Engine House Theatre, International Anthony Burgess Foundation, Manchester

Written by Nicola Gardner (who also takes on two roles in this new production) Directed by John Klark and Produced by Darren Adams, The Community Centre gives us a hilarious account of a day in the life of a local Community Centre and all the madness that comes with it. With diverse characters and lots of laugh out loud moments, The Community Centre is a riot of the familiar ridiculousness of day to day life down at the local Community hub.

Receptionist and self-declared Manager Precious played by writer Nicola Gardner, rules the Centre like an old school mistress with threats to bar anyone misbehaving as she ‘Has the power, you know’ I absolutely adored Precious, such a brilliant character and so well acted by Nicola, she perfectly recreated that ‘power gone to their head’ type character we’ve all no doubt come into contact with at some point in our lives, the audience lapped up her ‘service with a (sinister) smile’ such a great character I’d love to see more of.

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The play is performed in the thrust formation, meaning that the audience sit on two opposing sides of the theatre with a runway style stage running through the centre, with action taking place both in the centre and at either end of the ‘runway’. At one end we have Bev and Anisha, played by Lynne Payne and Sayera Haque, employed by the Community Centre to look after the Community Farm animals, both however are much, much better at taking extended tea breaks and having a good old gossip about their love lives than they are at actually doing any work. Their conversations were brilliantly written, many a giggle of recognition rippled through the audience as they reflected on their disastrous love lives from speed dating to borderline stalking of clearly uninterested men who they hilariously assumed were just playing hard to get.

At the other end of the Community Centre we have Sister Johnson (Linda Hargreaves), Sister Richards (Nicola Gardner, Brother Leroy (Tony McPherson) and Brother Myers (Declan Wilson) four friends who while away their days making use of the centres gas and electric whilst sharing a tot of rum and the playful banter only true friends can have. All four actors excelled in their roles, witty, entertaining and totally loveable. Moving between the two groups, broom in hand is hopeless Caretaker Robbie, (Mike Coombes)  white as snow yet desperately trying to convince both himself and those around him that he’s black, frequently asking his spirit guide Bob (Marley) whom he has a shrine to, for guidance and clarity. Despite his ridiculous swagger and Bob Marley hat complete with dreadlocks, you can’t help but love the hapless Robbie and will him to succeed.

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The Community Centre succeeds in demonstrating to us all that despite our differences and quirks we are basically all the same; we are all seeking out comfort and happiness through our meaningful connections with others. A real fun piece of theatre, with many laugh out loud moments, the production will leave you feeling smiley and thoroughly entertained, as the late great Bob Marley would say, ‘Let’s get together and feel alright’

Tickets are £10/£8 for concessions and the show runs until Saturday 24th September.

Schools/BSL Interpreter: Friday 23 September 2016, 14:00

http://www.communitycentre.org.uk/

 

Sunny Afternoon, Opera House, Manchester

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The Sixties weren’t the era dubbed ‘swinging’ for nothing. It was the time of great music being born and bands like the Beatles and the Rolling Stones were holding court to the screaming masses. There was another band on the block though shaping the sound of the Sixties, made in Muswell Hill, London and going by the name of The Kinks.

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Sunny Afternoon pays homage to the four young cockney lads who made up that band famous for singing simple songs about life in London and what a wonderful time it was. The musical, penned by original band member Ray Davies, first took to the stage in 2014 and since then has enjoyed a successful run in the West End bagging itself four Oliviers on the way, including Best New Musical. Manchester now gets the chance to cast its eye on the show becoming the first stop on its premiere UK Tour, with a week long run at the Opera House.

Unlike other musicals that feature the back catalogues of songs from famous bands (We Will Rock You-Queen, Mama Mia-ABBA) Sunny Afternoon uses all the well-known hits in a biographical way charting the creation of The Kinks and the ups and downs they encounter as they embark on stardom.

Ryan O’Donnell puts in a captivating performance in the lead role of Ray Davies, the reluctant pop star more at home composing songs than on tour singing them. His vocals are pitch perfect and executed with such raw emotion you really feel he means every word.

O’Donnell previously performed as the alternate Ray during Sunny Afternoon’s West End run and it’s great to see him bag the role for good as part of the UK tour. His co-stars are equally as talented, Mark Newham putting every ounce of energy he has into playing Ray’s younger brother Dave, as he manically strums the bass guitar and behaves like a childish rock star vying to be centre of attention with his frenzied antics.

Garmon Rhys is believable as shy bassist Peter Quaife but it’s Andrew Gallo who almost steals the show as the bands percussionist Mickey Avery, performing an impressive drum solo that seems to go on forever, to the delight of the audience.

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One of the refreshing things about Sunny Afternoon is that it isn’t a musical full of bubble gum sweetness and karaoke classics. At times it’s gritty, the music is raw, and there’s more than a sprinkling of expletives in the script.

There’s some wonderful moments to watch out for, from the goosebump inducing guitar strumming of You Really Got Me to the poignant a cappella version of another of The Kinks greatest hits, Days.

If you weren’t a fan of The Kinks before, you will leave the theatre wanting to hear more of their music but not before jumping to your feet to dance along to their toe tapping tracks in the show’s rousing encore. A standing ovation well deserved, congratulations Ray Davies, you really got me!

Sunny Afternoon – Opera House, Manchester
Friday 19 to Saturday 27 August
For more tour information www.sunnyafternoonthemusical.com

Sister Act, The Palace Theatre, Manchester

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Returning to Manchester after her triumphant spell in the Bodyguard, Alexandra Burke proves this diva is here to stay as she delivers all the sass and attitude that makes Deloris Van Cartier such a loveable and unforgettable character.

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Directed and Choreographed by Strictly legend Craig Revel Horwood, Sister Act tells the story of wannabee singer Deloris who sees a little too much during a late night discussion between her married boyfriend Curtis (Aaron Lee Lambert) and his no good cronies, one of which he believes has ratted him to the cops. Deloris flees for her own safety and finds sanctuary in the local Convent under the instruction of local cop and former school friend Eddie (Jon Robyns). Life as a Nun is a million miles from her usual liquor swilling, cigarette smoking, good time gal days but that irrepressible Deloris spirit soon has chance to shine when she’s given the opportunity to work with the choir of Nuns who currently sound like a cat’s chorus.

Burke is perfect in the role of Van Cartier, with just the right amount of sass and diva attitude she also has a lot of fun with this role and her comedic side is given the opportunity to shine, add to it that voice and wow, we have our star!

Burke is complemented by a strong cast; the Nuns really do take this production to the next level, each of their scenes is full of joy and every actress gives their absolute all. Notable performances come from Karen Mann as Mother Superior whose stern guidance despite frustration after frustration eventually develops into a solid bond, and the fabulous Sarah Goggin whose is a joy to watch as Sister Mary Robert, gaining in confidence with more than a little guidance from her new found sister. Jon Robyns makes for a great Eddie and you’re desperately willing him and Deloris to get together pretty much from the start of the show.

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The choreography is fun and flirty and further adds to the laughs this production provides, Matthew Wrights set and costume design works well transporting us from 1970’s nightclub to quiet Convent with ease. The one thing that distracted me a little during this production was the use of actor-musicians, whilst this works wonderfully for some shows for me I wanted my Nuns giving it their all for the fabulous choreography rather than being distracted from their booty shaking by playing the trumpet, but that comes down to personal taste and that being said everyone on stage absolutely excelled at both.

Sister Act is fun and totally fabulous; Burke’s voice is big, bold and beautiful, a heavenly production with bucket loads of feel good factor!

On at the Palace until Saturday 3rd September

Tickets available here http://www.atgtickets.com/shows/sister-act/

 

 

The Wind In The Willows, Press Launch

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Adapted for the stage by Oscar-winning screenwriter and Downton Abbey creator Julian Fellows and Olivier Award-winning composer and lyricist team George Stiles and Anthony Drewe, (collaborators on international hit musical Mary Poppins) brand new stage musical The Wind in the Willows is soon to come to life on the Lowry stage.

Kenneth Grahame’s much loved classic tells the tale of the vibrant Mr Toad, played by Rufus Hound, as he embarks on many an adventure with his trusted companions Ratty (Thomas Howes) and Mole (Fra Fee), there will be scrapes and predicaments along the way with Toad getting himself in a pickle on more than one occasion, but true friendship and a sense of belonging will prevail making this new production an absolute theatrical treat not to be missed!

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Producer Jamie Hendry values so highly the joy of this classic novel that copies have been sent to each school within the cities this World Premiere tour will take in, introducing a whole new generation to the fun and frolics of the flamboyant Mr Toad and his long suffering friends.

This week the cast and creative team gave a lucky few a sneak preview into what we can expect when the show opens on 27th October at the Lowry. Sassy Sophia Nomvete who will be taking on the role of Mrs Otter thrilled with her song, fast, fun and totally fabulous! Fra Fee recently seen playing Courfeyrac in the Les Miserables movie plays Mole, a soft, kind and gentle creature, his voice when singing his song about Home is just perfection, I literally didn’t want him to stop singing. Changing the tempo after Mole’s calming piece is Neil McDermott who portrays Chief Weasel, with just the right amount of swagger and attitude, McDermott makes it clear that his mischievous Weasel won’t give Toad, Ratty and Mole and easy ride.

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I spoke to Thomas Howes about his excitement to be making his musical theatre debut and getting back to the stage after many years doing film and TV. As soon as he heard about this new project he knew absolutely had to get involved, as the creative team described, this is a show for all generations, for Howes it will be an opportunity for his young nephews to come and see him in a family friendly professional role, something he is massively looking forward to. After auditioning then having several call-backs Howes contacted Julian Fellows who was unaware he was auditioning to say he’d got the part and got a huge, ‘Well done’ from the much respected writer who he had previously worked with on Downton. For Howes the generosity of Ratty is something which enormously appealed, despite Ratty’s stiff upper lip his caring nature and generosity shines through. A highlight for Howes being the song ‘A friend is still a friend’ which he feels will really strike a chord with audiences and highlights one of the most important themes running through the show, that being friendship and the importance of having and being a friend.

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The Wind in the Willows looks set to become an absolute smash hit, judging on this preview I have no doubt the show will become a runaway success, the excitement felt at the preview filtered from the cast and creatives to each and every audience member, it is clear that this is going to be something very special.

After the show’s stop at the Lowry it will hopefully head to the West End to further wow audiences. Tickets are available now and are selling fast for this perfect family tale of fun and friendship, book now to avoid disappointment and bag one of the hottest tickets of the year.

The Wind in the Willows – Thursday 27th October until Sunday 6th November

http://www.thelowry.com/event/the-wind-in-the-willows2

King Lear, Opera House, Manchester

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An exciting addition to the current offerings celebrating 400 years since the death of William Shakespeare is Director Max Webster’s touring production of King Lear with the mighty Michael Pennington wearing the tragic Kings crown.

Pennington gives an absolute masterclass in classical acting, he is utterly mesmerising, angry and fierce one moment, fragile and vulnerable the next, he draws the audience in and you quickly forget there are a few hundred other theatre goers around you.

The transition from powerful tyrant at the start of the play where Lear wrongly disowns adoring daughter Cordelia (Beth Cooke) to the final scenes where we see him broken and maddened by sorrow is enormous, captivating and totally heart-breaking. Misjudging his two eldest daughters loyalty, Lear finds himself increasingly desperate, stripped of his wealth and majesty, the respect he was once shown is now forgotten and he is left to live with the past mistakes he has made.

In addition to Pennington’s fine performance is a very strong cast who each in turn deliver fantastic performances. Lear’s two eldest daughters, Goneril and Regan are played expertly by Catherine Bailey and Sally Scott, an evil duo who grow increasingly twisted with the power bestowed upon them. Similarly the warped relationship between brothers Edgar (Gavin Fowler) and Edmund (Scott Karim) is played out perfectly, the villainy of Edmund leading to the brutal demise of his own father Gloucester (Pip Donaghy) offers Edgar the opportunity to secretly nurse and care for the Father he was forced through the evils of his brother to flee.

2. King Lear_Michael Pennington and Beth Cooke c Marc Brenner-1974

Adrian Linford’s set is sparse but effective, allowing the actors to be the firm focus of this production. At just under three hours including an interval it is not a short production by any means but Director Max Webster maintains a great pace and flow which combined with the fine performances on stage keep you totally engaged.

Although one of Shakespeare’s most bloodthirsty tragedies, this excellent production offers wit, humour and many moving moments, it is beautifully accessible Shakespeare, unpretentious, poignant and totally gripping.

On at the Opera House until Saturday 4th June, tickets available here; http://www.atgtickets.com/shows/king-lear-2016/opera-house-manchester/