Salford

Gods of Salford

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Back in 2019 I was lucky enough to see Stephen Fry’s Mythos shows. Fry gave a brief history of Greek mythology, regaling a captive audience with tales of spiteful gods, gruesome monsters and heroic mortals. Well, Sir Stephen may want to revisit the Lowry, as Zeus and Hera have arrived in Salford filled with malice and wrath!

Commissioned by the Lowry as part of their 25th Anniversary celebrations, Gods of Salford, sees ancient Greece relocated to the Greater Manchester city nestled on the banks of the river Irwell. The mortals work and toil away in order to pay tribute to the King and Queen of the Gods, Zeus (Emmerdale’s Anthony Quinlan) and Hera (West End star Laura Harrison). However, soon the humans grow tired of being at the whim of the Gods and a few brave individuals begin voicing their concerns about their treatment at the hands of the immortal rulers.

Zeus, upon hearing the discontent of the people, proposes a series of tasks whereby the humans could win their freedom. However, the humans soon realise that God’s don’t always play fair, whilst the omnipotent overlords soon learn that you underestimate human endeavour at your peril.

Not Too Tame are gaining a reputation for putting on fun, interactive shows that deliver a hugely entertaining night out and Gods of Salford carries on with that tradition. High energy, action packed and innovative, the myths and legends of ancient Greece are intertwined with stories of folklore from the pubs and streets of Salford.

The show has something for everyone: a punchy, witty script from Andrew Butler and Louise Haggerty, which playfully weaves the bizarre and absurdities of Greek Myth, with no nonsense Northern charm and honesty. Brutal one-liners and well observed social commentary mesh to make the classic underdog story.

Under director and co-writer Jimmy Fairhurst, we are treated to a cross between a Saturday night entertainment show and gladiator style combat as Zeus’ tasks are revealed. The show has the luxury of having a super talented cast of young actors at its disposal, giving performances packed full of energy and attitude. They fully embody the resilience and ‘never give up’ attitude at the heart of the story.

This innovative piece features impressive, choreographed set pieces, fine solo offerings, some ballet, contemporary dance, powerful vocal performances and even the theme tune to 80’s kids show Fun House for the nice little nostalgia hit.

Anthony Quinlan is an imposing figure of Zeus. It’s a turn packed full of menace, reminiscent of the local hardman you meet down the pub, who you want to be friends with only so he doesn’t smash you in the face, which he probably will do anyway.  He is more than matched by Laura Harrison’s devious Hera, her stunning vocals are equalled by her ruthless streak. Jimmy Fairhurst and Max Healey bring a touch of razzmatazz to the mischievous compares for the tasks, Hermes Alpha and Hermes Beta while ensemble cast of young adults all get their chance to shine right from the get-go.

The set looked fabulous as the Quays Theatre transforms into Mount Olympus, if Mount Olympus were a building site. Jen McGinley’s impressive set design looks both gritty and majestic, but also allows for the cast to interact with the audience, and the audience to feel they are part of the drama, not immune from the Gods’ wrath.

Tonight’s show did have a few issues: at times during the first 15 minutes, it was hard to hear some of the cast members due to the frenetic nature of the show, however this was a minor quibble and understandable when you have a 20+ strong cast zipping around the stage.

This is a joyous, fun filled night at the theatre which showcases the talents of some fine young adults and allows them to do what they love and perform, and they do so with so much gusto and energy. Every Not Too Tame production I’ve previously seen has plenty of heart, soul and takes enormous pride in its working-class roots, everyone involved should be proud of what they have achieved: it is a no-nonsense, highly entertaining night out, which the Gods would more than approve of…👍

Further info here.

A Christmas Carol

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There something so very special about A Christmas Carol, with its timeless story and perfect message for the festive season, this classic Dickens tale is a firm audience favourite. 

This Christmas, Hope Mill Theatre bring Scrooge’s redemption to magical life at The Lowry with the added twist of the Ebenezer Scrooge we all know and love becoming Evelina Scrooge, played superbly by Claire Moore. 

Seeing Scrooge as a woman offers an incredible opportunity to revisit a story we think we know so well and see it through fresh eyes as the tale takes on new meaning. We see an increased depth to Scrooge and gain a deeper understanding of what led to her life of stingy frugality. 

Set amidst the inky pages of a book this stunning musical adaptation is everything you want from a Christmas production. This traditional take oozes quality with its stunning set, impressive projections, wigs and costumes while the cast are truly phenomenal.

From Claire Moore as Scrooge right down to Team Holly’s Marnie Fletcher as an 8 year old Eveline, this cast is second to none. Their vocals are sublime while the ensemble deliver George Lyons choreography to perfection. 

Director Joseph Houston alongside co-director William Whelton have created a production that would be at home on any West End stage, how lucky we are to have it right here in Salford.

Scrooge’s night of reckoning begins with a visit from a ghostly Jacob Marley, played superbly by Barry Keenan. His words ring true as the clock strikes one and the Ghost of Christmas Past (Mari McGinlay) appears. McGinlay is wonderful, full of memories and merriment as she reminds Scrooge of monumental moments from past which seem long buried by the Scrooge of present. Both painful and perfect memories emerge culminating in a celebratory scene at the Fezziwig’s Annual Christmas Ball.

This big company number is tremendous, showcasing George Lyons’ choreography while allowing Alan Menken and Lynn Ahrens stunning music the ideal opportunity to shine. Alexander Evans and Josie Benson play the perfect hosts as Mr and Mrs Fezziwig, comedic and commanding.

Next we meet James Hume as the Ghost of Christmas Present. Hume is an absolute joy while the staging of his scenes is a total triumph and a real highlight in an already wonderful show. His witty approach combined with a stunning company number will live long in the memory.

As Josie Benson returns to the stage as the Ghost of Christmas Future we see Evelina Scrooge repent as she lightens and brighten before us. Claire Moore shows such incredible versatility in her characterisation, from the cantankerous early Scrooge to the jovial Scrooge of the finale she takes us with her, every step of the way on this heartwarming journey. 

The entire company all deserve high praise, their vocals are breathtaking while their skilful set changes become beautifully crafted choreography. Special mention must go to Matthew Jeans and Team Holly’s Joel Tennant whose pairing as Bob Cratchit and Tiny Tim is a joy.

From Andrew Exeter’s stunning set design to Alex Musgrave’s rich lighting magic has been made. The band led by Joseph Clayton solidify the sheer quality of this production.

After 9 award-winning years producing their own in-house productions, this is the first Hope Mill Theatre have created and produced for another venue and to say the bar has been set high would be a wild understatement. A Christmas Carol : The Musical is sublime. It will lift your spirits, warm your heart and remind you just how magical live theatre can be, sensational!

A Christmas Carol : The Musical is on at The Lowry until Sunday 5th January tickets available here.

2:22 A Ghost Story

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Having wowed the West End with multiple record-breaking runs as well as an ongoing UK tour that continues to sell out, 2:22 returns to The Lowry for another two-week run and judging by tonight’s standing ovation a third visit would be most welcome.

Written by award-winning writer Danny Robins, this supernatural thriller is fast becoming a modern classic, with its clever narrative and inspired cast changes keeping audiences on their toes.

The action takes place over one evening at the home of Sam (George Rainsford) and Jenny (Fiona Wade). Having recently moved into an old house with their baby daughter Phoebe, extensive renovations have begun. Amidst the sleepless nights and with her husband away with work, Jenny has begun to experience some strange goings on, footsteps heard in daughter Phoebe’s room and the sound of a male crying, more curiously always at the same time, 2:22.

When Sam return’s home the couple host a dinner party inviting Sam’s university friend Lauren, (Vera Chok) and her new partner Ben (Jay McGuiness). When Jenny reveals the mysterious goings on to the group husband Sam is sceptical, insisting there must be logical explanations. Support comes primarily from Lauren and Ben, with Ben particularly having a keen interest in the supernatural. Jenny convinces the group to stay up until 2:22 so they can witness for themselves the scary shenanigans.

It’s here that Danny Robins brilliant script really shines, witty and sharp the tension builds as you wait for the jumps that this clever script continually threatens. Act 1 sets the scene while Act 2 ramps up the scares impressively. This is not just a ghost story but an exploration on humans, their beliefs, struggles, strengths and weaknesses. The digital clocks displaying the time ticking towards 2:22 brilliantly aid the uneasy feeling that something bad is about to happen.

Fiona Wade is excellent as Jenny, filled with angst and frustration she portrays the character with believable authenticity. George Rainsford is equally as impressive as the initially arrogant and unlikeable Sam, his journey from start to finish shows an interesting exploration of character which he delivers convincingly. Vera Chok as booze loving Lauren increases the drama as we see her shift from confident to emotionally crushed while Jay McGuiness as Ben brings heaps of charm, humour and likeability as the working-class outsider of the middle-class group.

With an excellent plot twist, masses of misdirection and swathes of suspense 2:22 is a brilliantly crafted piece of theatre. Entertaining, well-acted and surprising right to the end, it’ll make you think twice about things that go bump in the night.

2:22 is on at The Lowry until Saturday 15th June tickets available here.

Pride and Prejudice* (*sort of)

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

One things us Brits love is a bit of Pride and Prejudice, from BBC dramas to cinematic adaptations there’s a whopping appetite for Jane Austen’s iconic novel. However, it’s time for Colin Firth and his soggy shirt to step aside as this fabulous all-female cast prepare to retell events in their own unique and hilarious style.

Taking on the role of servants this five-strong company deliver their inventive spin on Austen’s work complete with befitting karaoke classics as they play the part of each character in this fast and furious homage. A little bit miffed that they never get to play characters with any depth or complexity, let alone enjoy a much longed for happy ending they set about righting this wrong to hilarious effect.

The fast-paced production is razor sharp from the off, there’s quick changes a plenty as the comedic chaos unfolds.

Directors Isobel McArthur and Simon Harvey never allow the pace to drop resulting in a hugely entertaining and surprisingly accurate piece of theatre. It’s daft, dynamic and oozes cheeky charm.

The cast complement each other perfectly, never once losing their stride, their comic timing is exceptional while their delivery of the multiple karaoke classics will make you wish you were heading to the nearest bar after the curtain call. Some of the song choices are an absolute stroke of genius making me wish there were a few more bangers to enjoy.

Each of the five cast are superb, taking on multiple characters with apparent ease. Dannie Harris’ fizz guzzling potty mouthed Mrs Bennet is a scream while her dashing Mr Darcy is every bit the mysterious and misunderstood man of the hour. Emmy Stonelake makes for a superb Elizabeth Bennet, her strong Welsh accent adding to her brilliant comedic delivery, she’s a no nonsense, tell it like it is kind of girl who certainly isn’t wasting her time holding out for a hero.

Megan Louise Wilson is super sweet as lovesick Jane in complete constant to imposing her Lady Catherine De Bourgh who gets one of the biggest laughs of the night. Lucy Gray shows incredible versatility as the lonely and longing Charlotte Lucas one moment followed by snide, spoil Caroline Bingley the next, while Leah Jamieson ramps the humour to another level with her ingenious characterisation of Mr Collins, drab, dull and desperate highlighting just how utterly absurd the minimal rights of women back then were.

Pride and Prejudice* (*sort of) is a joy: clever, current and absolutely hilarious. It takes the traditional and tips it on its head. This reinvented classic will no doubt become a firm favourite on the theatre scene as this new tour and talented cast enjoy standing ovations night after night. Perfect escapism that will leave you with a smile on your face and a strong urge to head to the nearest karaoke bar.

Pride and Prejudice* (*sort of) is on at The Lowry until Saturday 21st January, tickets available here.

📢 Casting Call 📢

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You could be the next star on The Lowry’s stage in the hit musical ‘Innit’ 

The Innit For Young People Charity is looking for the lead male, Ashley, and lead female, Stacey, age range 18-25 of their musical ‘Innit’ coming to The Lowry next September. 

‘Innit’, set in Salford, follows the life of Ashley Thomas through dysfunction and turmoil as he finds himself framed for a crime that he didn’t commit. 

The production is set up to spark creativity and hold up a mirror to society, whilst young people get to enjoy a fully relatable piece of contemporary theatre. 

Innit For Young People is a registered charity, aiming to tackle the increasing number of school exclusions in England, head-on. They plan to deliver a relatable educational programme and workshops for ALL children aged 12-14 by offering the opportunity for them to visit The Lowry Theatre to see ‘Innit’ for free. 

Micky Dacks, CEO of Innit For Young People said: “Young people deserve to experience the exhilaration of theatre in the same manner as any other member of society can, without being excluded by virtue of their often-unfortunate circumstances.” 

The deadline for audition tapes is the 1st November, with workshops for the shortlisted actors on both the 6th and 13th of November. 

Micky added: “We’re going to make two dreams come true and that’s just the start.”

HOW TO SEND IN:  

Send in your casting tape via WHATSAPP with the word ‘AUDITION’ to 07366444972.  

OR  

Send in your casting tape via WETRANSFER to auditions@i4ypc.org.uk  

Casting tapes should include a brief introduction about yourself.  

(Include your name, location and the most interesting fact about yourself,   

followed by your choice of 3 lines from either Ashley’s or Stacey’s monologue.) 

Tapes should be a maximum of 60 seconds.   

Anything longer will not be watched.  

First 250 entries are guaranteed an audition.  

Fantastically Great Women Who Changed the World

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on the award-winning book by suffragette descendant Kate Pankhurst, adapted by Chris Bush and Miranda Cooper, Fantastically Great Women who Changed The World is an inspirational and empowering celebration of our strong sisters from history told in an inventive and engaging way.

This pacey production (75 minutes straight through) introduces us to schoolgirl Jade who has somehow managed to get left behind on her school trip, finding herself outside the Gallery of Greatness where a new exhibition is being prepared. Jade goes on a journey of self-discovery as she searches for advice amid her parents’ divorce from the many fantastically great women from history who come to life from the exhibition walls.

Kudzai Mangombe is superb as Jade, her portrayal of a young girl searching for her place in the world is both relatable and honest. Her journey is enriched and encouraged by her encounters with the likes of Emmeline Pankhurst, Freda Kahlo, Rosa Parks and cross channel swimmer Gertrude Ederle, portrayed brilliantly by Kirstie Skivington, Jade Kennedy, Renée Lamb and Christina Modestou.

Each actress takes on several roles as well as multiple costume changes, kick-ass choreography and some seriously stunning vocals, this all-female cast and accompanying band leave the audience in no doubt of the power of women. They light up each scene with high energy and skilful enthusiasm ensuring the attention of even the youngest theatre goer never wanes.

This is exactly the type of show young people should be seeing, it’s a wonderful whizz though history but never feels rushed with each character given ample time and space to tell their story. There’s comedy and colour throughout as well as poignancy and powerful moments which are treated with sensitivity and care.

As I watched, inspired by both the stories and performers delivering them, it struck me just how little as a woman in her early 40’s I’d been taught about females throughout my education, (bearing in mind I studied History to A-level standard) I’d only ever learnt about Anne Frank, educating myself further once I became an adult. Knowing there are brilliant productions like this bringing incredible women to the forefront in such a fun and accessible way fills me with hope for our future fantastically great generations.

Inspirational storytelling, filled with heart, colour and charisma, Fantastically Great Women is an absolute joy!

Fantastically Great Women Who Changed the World is on at The Lowry until Saturday 9th April with the tour continuing across the country until Sunday 17th July, tickets and further infomation are available here.

The Hound of The Baskervilles

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Back in July 2021 Artistic Director at the Octagon Theatre, Lotte Wakeham, chose The Hound of the Baskervilles to open the revamped theatre in Bolton.  Directed by Wakeham, it proved to be a smart choice, as it received huge critical acclaim and was the perfect way to showcase the talent at the Octagon. On the back of its success the production is now undertaking a nationwide tour hitting The Lowry, Quays Theatre this week for a run of shows that will delight and entertain!

Under the stewardship of UK tour director, Tim Jackson and adapted for the stage by Steven Canny and John Nicholson, the plot remains faithful to Sir Arthur Conan Doyle’s original. Sherlock Holmes and faithful companion Dr Watson are recruited to investigate the mysterious death of Charles Baskerville. Has Baskerville fallen victim to the infamous Baskerville curse that has befell so many of his ancestors, or is there a more rational explanation?

Those expecting a faithful and straight laced reworking of this classic tale are in for a shock. This is an innovative, funny and downright absurd reworking of one of Conan Doyle’s best loved works. Within the opening five minutes our trio of actors break ‘the fourth wall’ and directly address the audience to explain that for both artist and financial reasons the three of them will bring all the characters to life.

What follows is a comedy masterclass from the three leads, Nial Ransome, plays it relatively straight as the rather dim-witted Dr Waton, whilst Jake Ferretti and Serena Manteghi are a force of nature, as they undertake the majority of the character swapping, with Ferretti playing Sherlock Holmes, as well as various suspects. Whilst Manteghi, plays the role of Sir Henry Baskerville, the heir to the Baskerville fortune, and the next in line to be ‘bumped off’, as well various other Baskerville family members and three subtly different Dartmoor Yokel’s.

The script in conjunction with energetic performances of the three actors is the main strength to show. Paying homage to silent cinema, slapstick and the ‘whodunit’, Canny and Nicholson have taken Conan Doyle’s to be frank ridiculous plot and ramped it up to 11, allowing for even more absurdity, from OTT accents (not Canadian as Manteghi as points out), dance routines, and farce. Often throughout the show I was reminded of the productions of the Spymonkey theatre company, albeit a more toned down, child friendly version.

This is a fast paced, fun filled at times surreal show, which gives an irrelevant take on this world famous piece of literature. The only rational explanation is to go see the show at your nearest convenience!

The Hound of the Baskervilles is on at the Lowry till Saturday 5th February. Tickets can be found here.

The Play That Goes Wrong

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Reviewed by Nicky Jones

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Tony-award winning The Play That Goes Wrong is always undoubtably going to provide a night of hysterical laughter and shock moments – and the Cornley Polytechnic Drama Society are currently back at The Lowry with their production Murder at Haversham Manor!

It’s no secret that things are going to go wrong, and as you take to your seat the disasters have already begun. A Duran Duran CD and Winston the dog are lost within the auditorium and a frantic search for them has begun. The fourth wall is broken and audience participation is encouraged from the moment you take your seat, and that’s when you know this is not going to be any ordinary murder mystery…

Laughter takes over the auditorium before the lights have even gone down. The technicians are working away on-stage, repairing bits of the set which already aren’t staying where they’re supposed to. Once the lights go down, we are welcomed by the Director Chris Bean (Tom Bulpett) and once we hear the alternative names of some of their past productions (James, Where’s Your Peach?, Cat, The Lion and the Wardrobe), we know that things may not go quite as planned.

Throughout the play we are introduced to the society members, and it’s incredible how much hilarity they bring to the stage. These include first time performer Max Bennett, who plays Cecil Haversham (Tom Babbage), Sandra Wilkinson as the newly widowed Florence Colleymoore (April Hughes), and Dennis Tyde as Perkins (Edward Howells). In addition, they are supported by the technical crew of Trevor (Gabriel Paul) and Annie (Laura Kirman) – whose backstage roles may have to be left behind more than once during the performance.

It’s one of those productions that you could see over and over again, and each time you see it you’ll spot more hilarious moments, catch more witty lines and laugh even harder. At the beginning of act two, you think to yourself “the set is already barren and hanging by its hinges, how much more wrong can it go?!”. As the set crumbles around the actors, the comedy gets more and more chaotic. Props are bursting into flames, the study has collapsed onto the ground below, actors are getting knocked out – and you cannot quite believe that this is all happening in front of your eyes.

The comedic timing of the actors is impeccable, and the fun they are having on stage really shines through into the audience. It’s an absolute delight of a show, and will bring a smile to faces of all ages.

Mischief Theatre’s A Play That Goes Wrong is at The Lowry until Sunday 22nd August – https://thelowry.com/whats-on/the-play-that-goes-wrong/

C.O.N.T.A.C.T

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📷 Phil Tragen

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest


Over the last 14 months many of us have had a great deal of time to take stock and reflect on the world around us, so wouldn’t it be exciting to enter the head space of someone different for a short while, and become immersed in their world.

Well for 50 minutes you can, with the unique production of C.O.N.T.A.C.T brought to audiences by Aria Entertainment, WEF Productions and The Lowry, staged either at Media City and/or a Manchester City Centre.

We were told prior to the event to meet near the tram stop at Media City and to bring a brolly: this after all is Salford where the city and grey sky fit like hand in glove. In addition we were asked to download the C.O.N.T.A.C.T app for your smartphone of choice and to bring a set of earphones.

📷 Phil Tragen

We are soon introduced to Sarah (Chloe Gentles), a young women with a lot going on in her head: from the uncomfortable fitting of her bra to the odd feeling in the pit of her stomach, all the while taking in the sounds of the city, lost in her own little bubble.

However her world is soon turned on it’s head with the introduction of Raphael (Cellan Scott), a mysterious stranger who knows more about Sarah then she knows about herself.

Sarah and Raphael soon begin a journey of discovery and reflection which will change Sarah forever.

C.O.N.T.A.C.T was first performed in Paris at the height of the pandemic, moving to London last summer and garnering huge praise for it’s bold, innovative attempt to stage live theatre. After all we can’t order a drink without an app, so why shouldn’t we enjoy theatre in the same way?

📷 Phil Tragen

Both Gentles and Scott do not utter a world throughout, with both giving visual, expressive performances whilst their dialogue is drip fed into our conscious’ via the app. The two actors performances, in conjunction with the highly impressive 3-D sound design allow you to switch off and become totally immersed in Sarah’s world, so much so that as we strolled around the grounds of the Blue Peter Garden I became aware that I was part of the production, as baffled on lookers watched a group of people with headphones observing two others have a silent but very heated debate.

This unique, production is the perfect reminder of how much we need human connection and the importance of looking after not only ourselves but also looking out for others. No matter what challenges we may face, there can always be a solution found.

C.O.N.T.A.CT is on in Manchester and at Media city until the 27thJune. Tickets available at: https://thelowry.com/whats-on/contact-salford-quays/

An Evening With Bruce Dickinson in Salford

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Legendary Iron Maiden lead singer BRUCE DICKINSON is today delighted to announce a very special one man show for Summer 2021 – which comes to The Lowry on August 4.

‘An Evening With Bruce Dickinson’ is Bruce’s first-ever UK spoken word tour and follows sold-out shows across Europe and Australia.

This unmissable six-date tour – peppered with anecdotes from Bruce’s extraordinary life both on and off-stage, and delivered in his own inimitable anarchic style – visits Brighton, Salford, Bradford, Nottingham, Birmingham and London in August.

‘AN EVENING WITH BRUCE DICKINSON’ – FEATURING Q&A

 SIX 2021 UK SHOWS ANNOUNCED ON SPOKEN WORD TOUR

LIVE NATION today announces a very special Evening With show by IRON MAIDEN singer, BRUCE DICKINSON on his first-ever UK spoken word tour.

THE SUMMER 2021 DATES ARE:

AUG 1       BRIGHTON               THEATRE ROYAL

AUG 4       SALFORD                 THE LOWRY

AUG 5       BRADFORD              ST GEORGE’S HALL

AUG 8       NOTTINGHAM          THEATRE ROYAL

AUG 9       BIRMINGHAM           THE ALEXANDRA

AUG 10     LONDON                   O2 SHEPHERD’S BUSH EMPIRE

Tickets go on general sale at 10am, Thursday April 29 via ticketmaster.co.uk

The Red Shoes

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THE RED SHOES

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

When Matthew Bourne’s New Adventures premiered The Red Shoes in 2016 it stunned audiences and critics alike, winning two Olivier Awards as well as the LA Critics’ Award for both choreography and set and costume design. Returning for 2019 this breathtakingly beautiful piece of theatre proves to be as timeless a classic as ever.

Based on the 1948 Powell and Pressburger film which drew it’s inspiration from Hans Christian Andersen’s story The Red Shoes this perfectly paced production is rich in indulgent theatricality, sweeping you up on a joyous, heart-wrenching, mesmerising journey from the moment Benard Herrmann’s stunning score with orchestrations from Terry Davies begins.

THE RED SHOES

The Red Shoes tells the powerful story of young ballerina Victoria Page (Ashley Shaw) who swiftly rises to the position of principal dancer after her recent arrival at an established ballet company. Her success brings her to the attention of both composer Julain Craster (Dominic North) and also that of the dance company’s powerful impresario Boris Lermontov (Adam Cooper). With the first there is a genuine truth and innocence with the second the lure of higher artistic achievement pulls like a magnet, which ignites a battle between ambition and true love.

Ashley Shaw makes a welcome return to the role of Victoria Page a role she originated in 2016; her performance feels entirely authentic as she weaves her way through a whole spectrum of emotions capturing euphoria and bliss just as convincingly as she portrays terror and furious anger. This authentic emotion paired with her exquisite technique and precise delivery is nothing short of magnificent, embodying the young dancer to perfection. Her performance during The Ballet of The Red Shoes is mesmerising as she is firstly enthralled by then ultimately captured by the shoes, she tells the story movingly and with her whole being.

THE RED SHOES

Adam Cooper’s Boris Lermontov is strong and domineering, seductive in both his power and precision, he stalks the stage bringing an ever-present feeling of temptation and danger while Dominic North’s portrayal of struggling composer Julian Craster is a joy to watch, his solo piece in Act One develops a strong characterisation which he maintains superbly throughout

Bourne’s skilful storytelling and his unbeatable attention to detail matched with a company of dancers at the absolute top of their game ensures that this production enthrals entirely. From playful scenes on the French Riviera to intensely passionate duets every element of choreography is slick, masterful and exciting while every single person on stage gives an impressive and fully developed performance. It is such a visual treat almost cinematic at times that one viewing doesn’t feel like enough, every scene could stand alone and happily satisfy any theatre goer.

THE RED SHOES

Lez Brotherston award-winning set design is immediately striking and wonderfully effective. Allowing the audience access to both onstage and off-stage scenes via a grand revolving sumptuously curtained frame which almost feels like it pirouette’s before your eyes, drawing you into the very heart of the drama, lit beautifully by Paule Constable.

The Red Shoes is a unique piece of theatre in which every element has been crafted with such love and care that the end result is an unquestionably perfect piece of theatrical magic. Bourne’s wonderfully clear storytelling ensures that anyone dipping their toe into the dance world would find the show accessible while seasoned fans of his work will revel in the thrill of having another dazzling piece to enjoy, a masterpiece!

The Red Shoes is on at The Lowry until Saturday 30th November, tickets available here.

 

 

 

 

Measure for Measure

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Hey, have you heard the one about the powerful older man who offered a young woman help in return for sexual favours? You’d be forgiven for thinking I’m speaking of the latest scandal to engulf Westminster or Hollywood but I’m referring to the plot of William Shakespeare’s Measure for Measure.

Measure for Measure is the is the final production for the Royal Shakespeare Company’s mini residency at the Lowry. Despite being four years shy of its 400-year anniversary this is a story that arguably has more resonance now than it ever has: the ill treatment of women and abuse of power by unscrupulous and seemingly omnificent men.

Set in Vienna at the turn of the 20th century, the Duke of Vienna has taken a sabbatical, leaving his deputy, Angelo in charge. Angelo is harsh and swift at implementing law and order to the city, while a young man Claudio, falls foul of the new changes to the law. He is sentenced to death for impregnating  his fiancé.  Claudio’s Sister Isabella, who is training as a nun hears of her brother’s plight and is soon up before Angelo pleading for her sibling’s life. The interim leader agrees to clemency in return Isabella must sleep with him. Isabella is repulsed by the very notion of this, but what can she do? Go up against the most powerful man in the city, it’s her word against his and who would believe her.  Isabella soon encounters a kindly friar, who agrees to assist  her with a plot to bring down Angelo, however the friar is really the Duke of Vienna returning to the area so he can get a a true measure of the city.

It is easy to see why this is referred to as one of Shakespeare’s more “problematic” works. On the one hand, this is a story about the abuse of power, as well as the wretched treatment of women. Whilst at the same to there are some comedic elements to the production in the form of the Duke’s deception and host of colourful yet despicable characters including the cunning pimp, Pompey, and slimy sycophant Lucio.  Director Gregory Doran manages to reign in all these elements to tell an engaging, fluid, and entertaining story, which does not shy way from the more despicable facets of the narrative.

Sandy Grierson is fantastic as loathsome Angelo; there is an understated menace to his performance, helped by the fact that he has more a passing resemblance to a certain Russian head-of-state.  Antony Byrne is also on fine form as the Duke, he is both strong and flawed, whilst his exchanges with Joseph Arkley’s Lucio offer up some of the productions lighter moments. However, at the centre of the production is exceptional performance by Lucy Phelps as Isabella, sometimes strong, sometimes vulnerable, it is her angst riddled turn that highlights the gravitas of the situation.

The superb acting works hand in hand with the high production values, there is very little in the way of set set design; instead, a change of location is signified by the use of projected images at the back of the stage.  Save for a few chairs and the use of two-way mirrors, set design is minimal which if anything intensifies the claustrophobia of the situation. The stage at the Lowry seemed to grow, as the narrative continues leaving the characters firmly in the spotlight, with no place to hide. In addition, the score by composer Paul Englishby, opens with a beautiful waltz, but soon shifts into darker territory, providing a sense of menace and foreboding.

Despite being on uncomfortable ground with its subject matter, this is an accessible, engaging production that is made even more fascinating by its relevance today. This may not be one of the ‘bards’ best-known plays but it is filled with twists and turns, none more so than the close 10 seconds of the play which add to the cynical nature to this intelligent piece

Measure for Measure is at the Lowry till 5th October. Tickets available:  here.

Tags: Measure for Measure, William Shakespeare, Gregory Doran, Drama, Theatre, Sandy Grierson, Antony Byrne, Lucy Phelps, Joseph Arkley