Interview | Circa Tsuica | Now or Never

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The circus is coming to town! Well more accurately, fabulous French circus company Circa Tsuica will be setting up camp in The Lowry Plaza ahead of their new show Now or Never with the MAPAS Jazz Band, Salford.

Watch the performers fly through the air, bounce around the big top and cycle on trick bikes all while belting out funky brass music!

First performance is Thursday 30th August and here at Opening Night we got the chance to talk to co-director and performer Tom Neal and workshop leader and performer Baptiste Bouquin to find out a little more about this spectacular show.

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First of all, what is Now or Never all about? What are you trying to achieve with the show?
Tom: Our first aim is to create a really great link between us and the audience – but also among the audience themselves. Everyone is individually welcomed and invited to share something to eat and drink. One way or another, we want everyone to become part of the show.

We perform a lot on bicycles because they are universal objects that everyone uses or sees on a daily basis. A bike is less abstract than a trapeze or teeterboard – though we perform on those too – and it’s great to show people just what can be done on one!

Live music, composed by Guillaume Dutrieux, is also very central in Now or Never. It’s not just as an accompaniment – we all play our instruments and do circus tricks at the same time. Blending the acrobatics and the music really enhances the way we reach the audience.

In the end what people usually remember is how close to us they feel – and that is reciprocal, we feel the same way too. This show is an ode to tolerance, sharing and living together in peace.

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The young musicians of the MAPAS Jazz Band, Salford are performing with you in the show, how have you worked together?

Baptiste:  Before the Circus arrives, we have had two sessions where we rehearse the sections of the show that they will play with us. We help them with the usual musical parameters – rhythm, sound, playing together etc – but also with the specific skills that they will need to be part of the show. They’ll need to know all the music by heart so they can interact with the others, they will have to move on stage, they will have to be characters (for example, they’ll be guests in a wedding scene). Some of the bands are surprised that they need performance as well as music skills!

When the circus arrives, we do the dress rehearsals in the Big Top with all the team. We want the young musicians to really make the most of the whole experience, not just be focussed on notes or sheets of music.

Maybe that’s what we want to share with them, that music is huge and there are so many different ways to perform it. In Now or Never, it’s linked to circus, to a relationship with others, to joy and risk. It’s not just about playing notes – even if I would prefer them to play the right ones!

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Now or Never takes place in Circa Tsuica’s travelling Big Top rather than a theatre. What difference does that make for you as performers? And what about for the audience?

Tom: Performing in a circus ring is very, very different to performing on a stage. There is no ‘cheating’ in a ring, the audience is all around you and there is nowhere to hide. All the action is in the centre so the the focus is greater. For the audience, every point of view is unique and close-up. For us, it is a challenge because we have to make every perspective interesting. At the same time, we can really feel the closeness of the audience which is a great pleasure. The audience can see each other and we like to play with that in the show. We change people’s perspective, get people talking to each other while eating some crepes, we want everyone to feel that they are invited to a giant party.

Baptiste: When the audience arrives they expect to just go and find their seats but, actually, it’s already like a party, or the main square of a village. There’s a buffet right in the middle of the track, people are offered drinks by the artists, they are welcomed. It’s a very warm atmosphere, the opposite of the pomp and circumstance of some theatres.

How do you work together to set up the tent – and the camp around it which you will live in while you are in town?

Tom: Well, setting up the tent and everything inside takes us about a day. It is usually a collaboration between us and a group of local people provided by the venue. I am the tent master and I explain to the locals how things should be done. In our group everyone knows what to do so it’s quite organic. If the location allows it we then place the caravans in which we live all around the Big Top to recreate a tiny village. Before and after the show the audience is invited to walk along them to share a glimpse of what our lives can be, since in “real life”, back in France, we live in the same village (but in houses now) and run our company together collectively.

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How does daily life work while you are there? Who does the shopping, the cooking, the washing? Do the kids go to school?

Tom: We have a very long preparation day before the show, we need to prepare the food and drinks we offer to the audience, clean the stage, wash the costumes, check the props, instruments and the bicycles, warm up, rehearse the music and the circus and so on… We also have our own showers and laundry in a semi-trailer, we have a cook preparing nice meals, a nanny, a teacher, with a mini-circus-tent-school, in order to be as autonomous as possible, so when I say we’re recreating a real village it is not a joke…

Is it true that once the tent is up, that there will be music rehearsals during the day that passerbys can come along and watch and listen to?

Tom: Sure, we’re always happy to welcome people to have a peep when we rehearse, so come along if you hear noises in the Big Top…

Now or Never opens on Thursday 30 August and runs until Saturday 1 September tickets are available here.

Adults £16, Under 16’s £13 – Family tickets sold in 4’s (minimum 1 adult) £12.25

 

The Nature of Forgetting

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Tom is preparing for his 55th birthday; Tom also has early onset dementia. As he dresses for his party, with each touch of fabric threads of memoires begin to stir; we follow his minds recollections and failing retentions over the next 75 minutes through an exploration of memory, friendship, love and the fragility of human life.

Established in 2009, Theatre Re is a London-based international ensemble creating moving and incredibly poignant explorative theatre which pushes the boundaries of mime and physicality. The company move together effortlessly as beloved memories play out patchily while others remain strong, taking Tom right back to his school days, to sharing his first kiss through to enjoying his wedding day.

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The fluid execution of each scene allowing the peaks and troughs of Tom’s life to play out in front of us. Tom’s mind may be weakening as shown through the stuttering and stalling of particular memories as scenes blur and frustrations rise where the simple becomes complex but the person at the heart of it remains.

Alex Judd’s beautiful composition becomes almost an additional character, stirring and atmospheric it flows beautifully through the fluid memories and punctuates the distorted, splintered recollections.

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The show’s creator and director, Guillaume Pigé takes on the title role of Tom, delivering the complex choreography with ease. Timing here is everything and the small ensemble cast don’t miss a beat as this moving exploration of dementia as seen through the eyes of a sufferer offers a stage for soon to be forgotten memories.

Fast-paced and poignant, Theatre Re succeed entirely in delivering a thought-provoking and impactful piece of theatre. Tom may seem broken but his inner-strength and the person he was remain despite his failing, weakening mind.

Theatre Re have one more performance of The Nature of Forgetting at the Lowry on Wednesday 13th June at 1.30pm, tickets available here.

Karl Marx comes to Manchester!

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Karl Marx reincarnated for Manchester audiences in one-man show, Marx In Soho.

The 5th May marked in an incredible two hundred years since Karl Marx was born, marking the occasion, renowned historian and activist Howard Zinn’s brilliant, timely one-man show, described as a passionate, funny and moving defense of Karl Marx’s life and political ideas will head to Manchester following a successful run in New York.

Marx In Soho, a play dedicated to the revolutionary thinker will embark on a six-week tour of the UK opening at Brighton Fringe 2018 on the 17th May before heading to Manchester for performances at Manchester, Chetham’s Library on June 2nd and the King’s Arms on June 9th and 10th.

Zinn reincarnates Marx and lands the prominent thinker for one night only in present day Soho, New York, where, during the course of the play, he confronts issues such as American education, the super rich ruling class, corporate mergers, prisons, and the media.

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Celebrated actor Bob Weick (Terra Nova, Circle Mirror Transformation) takes on the role of Marx, a part he has played for the past 7 years performing the piece over 300 times across the United States from Maine to California. The two-time Barrymore nominee is excited to be finally bringing the production to UK audiences:

“I’m delighted MARX IN SOHO is coming to the UK as it is a place where both Marx and his philosophic collaborator Engels spent most of their lives. They walked these streets, studied in the libraries, drank in the pubs, and learned of the struggles of the working poor and dedicated their lives to doing something about it.

“It will be exciting that we will be addressing these issues on the tour, especially in Manchester and London, around places they even frequented themselves.”

 

UK TOUR DATES:

Brighton Fringe, May 20-28

Manchester, Chetham’s Library, June 2 tickets available here

Manchester, King’s Arms, June 9 and 10 tickets available here.

London, The Space, June 12

London, Etcetera Theatre, June 17

London, Upstairs at the Gatehouse, June 20-22

The Game of Love and Chai

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Opening Night verdict ⭐️⭐️⭐️1/2

Nigel Planer creatively reimagines Pierre de Marivaux’s 1730 play The Game of Love and Chance in this modern day, fun and farcical incarnation, The Game of Love and Chai.

There is still a central love story, duplicity, mistaken identity, class system and buckets of laughs while modern themes and Bollywood beats are introduced as well as an Uber driver and a delight in Primark purchases.

Swapping 18th-century French nobility for modern-day British Asians makes for a fresh take on a traditional classic. The plot is a fairly simple one, wealthy widow Kamala-Ji (Goldy Notay) wants to see her daughter Rani (Sharon Singh) marry successful local businessman Raj (Adam Samuel-Bal), head-strong solicitor Rani however is unimpressed at the convention of marriage so decides to take some control of the situation switching places with her nice-but-dim cousin Sita (Kiren Jogi) ahead of Raj’s visit, little does she realise that Raj has had the same idea and his Uber driver, Nitin (Ronny Jhutti) will be stepping into Raj’s shoes for the occasion.

The cast are clearly having a lot of fun in this colourful and creative production. Adam Samuel-Bal and Sharon Singh make for a believable coupling, caught up in their own plotting their chemistry is genuine and joyful. Ronny Jhutti, wide-boy and Uber driver extraordinaire and Kiren Jogi, the beautician with a bigger personality than her luscious lashes treat the audience to plenty of laughs as the chaos and comedy ensues. The addition of Bollywood music lifts the production while Goldy Notay as Kamala-Ji presides over affairs with authority, prosecco in hand.

Not all the jokes land but the all-round theme of this production is farcical fun with a capital F, in that it succeeds. The last-minute change to 18th-century dress seems unnecessary and out of place in this modern reimagining. All in all the scamming, scheming and big personalities in this production will entertain with some great comedic timing delivered to hilariously dramatic effect.

On at The Lowry until Saturday 31st March tickets available here.

Interview | Lloyd Gorman | The Jungle Book

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Rudyard Kipling’s beloved family classic The Jungle Book comes to The Lowry from Tuesday 2nd to Sunday 7th May.

The family favourite originally written back in 1894 has been reimagined and innovatively delivered in this all new production by an award winning creative team which includes playwright Jessica Swale, director Max Webster and internationally renowned songwriter Joe Stilgoe. While the story remains the same there is a new emphasis on acceptance, inclusivity and belonging all set to an uplift and incredibly catchy score.

Opening Night were lucky enough to watch a performance of this vibrant new production at Liverpool’s Everyman theatre ahead of it’s arrival at the Lowry and grab a quick chat with Lloyd Gorman who plays Shere Khan after watching the show.

ON: What what a costume and what a character, we absolutely loved your Shere Khan!

LG: Thank you, it’s quite a costume isn’t it, I really didn’t expect it, it’s brand new, it used to be more biker style and I went for a fitting for this new one and it was a case of ‘Wow that’s a statement and a half!’ it’s a really fun costume to wear especially playing such a great character.

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ON: It must be great playing the baddie?

LG: Yes, it’s so much fun, especially such an out and out baddie who doesn’t in any way try to hide his purpose, he is straight up clear upon his need for revenge, he really believes he needs to write the wrongs of mankind, he’s been mistreated by man but seems to have developed into a bit of a misunderstood tortured soul, verging on a bit of a psychopath ha ha. An awful lot of fun to play.

ON: Is it a challenge to create something different with a story that so many people already know well.

LG: For us as a Company we’ve never felt that challenge, I haven’t for example seen the Disney film for a long, long time, nor have I seen the live action version so I didn’t feel any pressure to be different myself. For us it feels such a unique and special production that although we have the stock characters it feels very fresh and new.

ON: While watching we felt there was a real message of positivity and acceptance, could you tell us a little more about your take on this?

LG: Theatre works on so many different levels and people will take different things from it but as long as it’s giving out a message that is relevant to where we are in life now it will always be relatable, Mowgli has been made very gender unspecific so we never refer to Mowgli in any male or female pronouns, it’s also about celebrating difference which is such a huge issue in the UK at the moment, difference is seen my some people as being wrong or bad and we should stick to our own etc, I think theatre is vital in times like this to show the beauty of difference and to say no, remember that diversity is a massive benefit to us all, to the world and all of our lives. The Jungle Book is the perfect vehicle to do that through a wonderful story that while it entertains it also uplifts and educates. Children often hear many negative things about different cultures so it’s lovely to be part of something so inclusive and positive.

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ON: How did you first become involved in theatre?

LG: I went to youth theatre in Norwich there is an excellent youth theatre there, I started when I was 9, it became my entire social life. There were two things I watched around a similar time, Return to the Forbidden Planet and The Buddy Holly Story, I can’t remember which was first but I just remember watching and thinking ‘this is fantastic, if I could be in anything like this where I get to play guitar and play around in front of so many people I would be so lucky’. I worked ushering, through my teenage years which I think is a great way of keeping in with what’s happening in theatres while you’re training too.

ON: The audience response today in Liverpool was fantastic, has that been the same for other venues?

LG: Yes, we’ve had very loyal and really warm audiences, the shows have been busy and reactions have been amazing, audience have been so open with their reactions particularly at the end of the show her in Liverpool they’re happy to whoop and whistle, it’s a great feeling.

ON: You’re working with an award-winning creative team, how has that experience been?

LG: It’s been great, I was really excited about working with this team, the production has developed so much, what we have now is so so different to what we started with because the team were so involved with the rehearsal process that things could be adapted or changed almost immediately. They have also been so incredibly giving with their advice and guidance and rewrote parts where they have felt were needed, it’s been amazing to see the speed at which the show has developed.

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ON: You’re involved in quite a dramatic fight scene how did you work on that?

LG: Kate the fight director led us through a great dialogue of exactly what would happen, so by the time it came to physically act out the scene we knew it very well so it didn’t feel like choreography. It’s a lot of fun to do, I’ve never had to strangle anyone in the air on stage before and I’m sure it will be the only time I get to do it, so a great challenge and lots of fun!

ON: Do you have a favourite character in the show?

LG: Balloo, he’s brilliant, there was also a character which got cut that was a tap dancing porcupine I really enjoyed that character. I also absolutely love our version of Mowgli it’s such a solid and strong character.

ON: Finally are you looking forward to performing at The Lowry?

Yes absolutely, I’ve only ever performed in the Studio so I can’t wait to return and perform in the Lyric, the last thing I saw there was Slavas Snow Show which I loved, I love Salford and Manchester, I was in Bolton recently and that whole area is just wonderful, I’m really looking forward to my time there.

The Jungle Book opens at The Lowry on Tuesday 2nd May tickets available here.

 

 

Nina – A Story About Me and Nina Simone

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Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Francesca Eagleton

We were definitely left ‘feeling good’ after Olivier-award nominated actress Josette Bushell-Mingo brought her one-woman show, ‘Nina – A Story About Me and Nina Simone’ to the Lowry Theatre.

Originally performed in 2016 at the Unity Theatre in Liverpool, Nina – a story about me and Nina Simone toured across Sweden last year before starting its 2018 UK tour here in Salford.

The show opens with Bushell-Mingo painting a picture of a civil rights rally in Harlem, New York, during the early 1960’s – a time of promised revolution for the oppressed black citizens of America.

Featuring an outstanding repertoire of Nina Simone hits including; Mississippi Goddam, Sinnerman, Ain’t Got No (I Got Life) and Feeling Good. Bushell-Mingo had the Lowry audience in the palm of her hand, as she retold important chapters of her life and connection to the legendary artist and civil rights activist. She begins by singing Simone’s 1969 single, Revolution but stops in her tracks.

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“The truth is I don’t think a revolution has happened yet.” Bushell-Mingo explains that it has been over 150 years since the singing of the Thirteenth Amendment and the abolishment of slavery, but society still struggles with racial inequality. “How did we come to a time when we have to say Black Lives Matter?” She begins reciting a list of names of black people, including Martin Luther King Jr and Stephen Lawrence who were all persecuted and murdered.

Laquan McDonald is part of that list, an unarmed teenager who was shot 16 times by a police officer in Chicago in 2014 – his name is repeated throughout the show. Signifying this moment in history, Bushell-Mingo stamps her foot, counting them off every time, to represent each individual gunshot. Followed by silence, which while unsettling to the audience captured the injustice perfectly without the need for words.

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Finishing the show with a selection of Simone’s finest compositions, supported by an exceptional live band; Shapor Bastansiar (musical director and pianist), Shaney Forbes (Drums) and Neville Malcom (Bass). Bushell-Mingo brings the house down with her exquisite powerhouse voice, quite rightly receiving a standing ovation.

She might say, ‘I’m Nina Simone’s understudy” but this is so much more than a straight up tribute performance, it’s a performance full of fire, fury and a whole lot of sass. But it also leaves you feeling strong and empowered – everything that Nina Simone was.

Catch this powerful and soulful show at the Lowry Theatre before it finishes it’s run on February 3rd tickets available here.

Doctor Doolittle heads to The Lowry!

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A brand new stage production of Leslie Bricusse’s family favourite Doctor Dolittle will be heading to The Lowry for Christmas 2018!

Produced by Music & Lyrics Limited who recently brought The Addams Family and Chitty Chitty Bang Bang to the Salford venue, Doctor Dolittle will stay for the entirety of the festive season opening on Tue 11th December 2018 and running through to Sat 5th January 2019.

This all new production which will feature stunning visual puppetry, a stunning soundtrack including Academy award-winning “Talk To The Animals” as well as the hilarious Pushmi-Pullyu and Dolittle’s trusty sidekick Polynesia the parrot.

Booking is now open for Lowry members with general sale soon to follow, more information can be found here

Hound of the Baskervilles

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Reviewed by Matt Forrest

Over the years there has been many interpretations of Sir Arthur Conan Doyle’s The Hound of the Baskervilles – at least 20 TV and film adaptations alone, not to mention countless theatrical productions. However I challenge anyone to say they have seen anything quite like Northern Rep’s version of this classic tale… and if you don’t believe me, the proof is currently at the King’s Arms for all too see. 

Arriving at the King’s Arms, Salford for a two week run, this fun filled murder mystery focuses on the mysterious death of Sir Charles Baskerville and the apparent threat to the heir of the Baskerville estate, Henry Baskerville. Super sleuth Sherlock Holmes and his trustee sidekick Dr Jane Watson travel from their home on Baker Street all the way to the Devonshire moors, where they encounter all manner of suspects, with even more suspect accents! Can our daring duo not only solve the case but also survive the horrid hell hound? Time will of course tell. 

Those expecting a faithful and straight laced reworking of this classic tale are in for a shock. This is an innovative, funny and downright brilliant reworking of this classic tale. All parts are played by two hugely talented actors in Michael Justice and Angela Hazeldine. The performances alternate with two other actors, so it’s pot luck as to who you’ll get, however this is the second time I have seen this production with different cast members and in no way has it detracted from my enjoyment – if anything, it’s all the better as it keeps things fresh and slightly unexpected. The script is packed full of so many double entendres and just plain daft gags that maybe it should be called Carry on up the Baskervilles. However the joy really comes from Justice and Hazeldine’s adlibbing and doing their best to put the other off their stride.  

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Granted, they play fast and loose with the original story and by the end the convoluted plot becomes secondary as the show becomes an excuse to have a bloody good giggle.  A spot of audience participation is required and the audience tonight got into the swing of things, laughter is most definitely the order of the day. 

As I said earlier, this was my second time seeing this production and each time has been something different: the first time there were some children in attendance and the second there were none, but both performances were adapted to make all feel welcome, with the first performance being more child friendly, without losing any of the humour. 

It’s the job of any critic to critique any show as honestly as possible, however sometimes there’s no harm in leaving it to audience members to have the final say: I got talking to a lovely couple during the interval and the gentlemen claimed he’s been watching shows with his wife for over 45 years, this he told me is only second show he hasn’t fallen asleep in during all that time and I can assure you he made it through the second half too! 

Go and see this riotous romp at your nearest opportunity – you certainly won’t be disappointed! Fun, filthy and downright fabulous! 

Hound of the Baskervilles is on at Kings Arms till the 25th November 

Tickets available from: http://www.kingsarmssalford.com/whats-on/ 

 

Slava’s Snow Show

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Created by Slava Polunin back in 1993, Slava’s Snow Show has been seen across the world from Argentina to Australia winning multiple awards along the way.

This brilliantly bonkers show feels spontaneous and free with clever improvisation from Slava’s troop of clowns; adults and children alike are captivated by this enthralling and imaginative piece.

Lead clown Assissiai guides us through the evening via a series of scenes which surprise and engage the senses, moving from gentle, precise mimes to loud blaring snowstorms in an instant this multi-sensory piece keeps the audience engaged from start to finish.

There is a rich mix of sketches which don’t shy away from the darker emotions of life but offer reflective moments as we observe Assissiai and his bemusement at the world, he is pensive and poetic, juxtaposed to this are the green clowns who accompany him throughout the piece, loud, silly and hilariously mischievous.

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The beauty of this show is the variety and joy it brings; from quiet pensive moments to the jubilant festival atmosphere at the finale this show is inclusive and wonderfully interactive. Nobody in the stalls escapes the giant cobweb which is pulled across the entire audience, tangling them up creating a giddy delight, nor do many escape a soaking from the clowns who clamber across the audience, their broken umbrellas spouting sprays of water onto the squealing spectators beneath them.

You can’t helped but be whisked up in this magical spectacle as the audience is encouraged to be free and act very differently than they usually would at the theatre. Joy spreads through the audience as the finale builds, the energy of the performers is infectious.

Slava’s aim was to ‘…help the spectators be released from the jail of adulthood…to create a show that would take us back to our childhood dreams’ as adults and children joyfully play together in the snow, shrieking with delight as giant bouncing balls approach it is abundantly clear he has more than achieved his aim. Fantastic family fun!

★★★★

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On at the Lowry until Sunday 29th October tickets available here www.thelowry.com/events/slavas-snow-show

 

The Kite Runner

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Based on Khaled Hosseini’s 2003 international best-selling novel which was adapted for the screen in 2007 and following a hugely successful West-End run, The Kite Runner arrives at the Lowry this week, its second stop as part of an extensive UK tour.

First produced in the United States back in 2009, Matthew Spangler’s adaptation is as beautiful and breath-taking as fans of the book would have hoped, with rich storytelling via lead character Amir’s non-stop narrative, Director Giles Croft ensures The Kite Runner is a powerful and cleverly delivered theatrical experience.

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There are no gimmicks needed as the compelling and haunting story is sensitivly told. Amir and Hassan are opposites in every way, Amir is privileged, Hassan his servant, poor, illiterate yet fiercely loyal. As Afghanistan their homeland is about to be torn apart by war, so too is their unique friendship.

While there are many elements which make up this unforgettable piece it is ultimately a story about a young boy’s guilt and later journey towards redemption. After witnessing a tragedy as a child which impacts profoundly on the lives of the core characters, Amir is forever burdened by his guilty secret, knowing he chose not to speak up to stop the heart-breaking act. Even moving to the other side of the world to start a new life doesn’t enable him to escape the dark and crippling secret. As we follow his journey, his plea for forgiveness captures the true heart of this incredibly rich and utterly captivating production.

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David Ahmad as Amir delivers a powerful and extremely moving performance, on stage for the entire production his clear narration allows the piece to flow gently and build dramatically as tragedy unfolds and secrets are revealed. Emilio Doorgasingh is perfectly cast as Baba, Amir’s Father, he embodies the character entirely, from strong proud, privileged Pashtun to elderly and infirm immigrant, Doorgasingh is superb. Jo Ben Ayed’s portrayal of both Hassan and Sorab is deeply touching and incredibly powerful, mild and submissive yet unshakeably loyal to his friend Amir.

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The set is simple yet hugely effective, dominated by a fan-shaped kite and evocative screen projections from William Simpson, guiding the audience softly from Kabul to San Francisco. The whole production is gently underscored by live tabla player, Hanif Khan, whose music stirs emotion and adds further authenticity to the piece.

Emotional, deeply moving and beautifully staged, The Kite Runner runs at The Lowry until Saturday 7th October tickets available here www.thelowry.com/events/the-kite-runner

Stick Man

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“Stick Man, I’m Stick Man, I’m Stick Man, that’s me.”

Most likely most people who have or know young children will be familiar with the heart-warming and witty work of Julia Donaldson and her illustrator Alex Scheffler (The Gruffalo, Room on the Broom)

One of the duo’s most popular works, Stick Man – the 2008 tale of a good natured wooden fellow separated from his home and family (which will be extra familiar to many thanks to the recent hit Christmas TV version) – has been brought alive on stage by Scamp Theatre, and is back at the Lowry this weekend.

For anyone yet to experience the bittersweet tale of Stickman, it centres around our eponymous hero who lives in his Family’s tree with his “stick lady love and his stick children three.”

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Upon waking early one morning, Stick Man goes for a jog, before being caught up in a serious of misadventures involving dogs, swans, children and the elements, which serve only to take him further from home.

“Will I ever get back to the family tree?” He wonders? (If only he’d hit the snooze button instead! 

The wonderfully inventive production sees three talented performers play all the roles, along with a mixture of puppets and props – everything from wellies to umbrellas, beach balls and rolls of cardboard are pressed into action to tell the tale on stage.

Christopher Currie brings a nice sense of bewilderment and frustration to the title role, while Euan Wilson and Kate Maylon have great fun bringing all the other characters to life. All three give a masterclass in physical and vocal comedy.

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There’s live music and clever sound effects, and some witty and seriously catchy songs too – the opening number in particular is a total ear worm that I’m confident will be in my head for days.

Absolutely not a panto, there’s still a bit of audience participation and forays into the auditorium by the cast.

And there’s just the right amount of peril without being too worrying for little ones – my almost three year old Godson did slide off his booster seat and onto my lap when Stick Man was caught up in the choppy ocean, but that was as scary as things got.

And being the only one of Donaldson and Scheffler’s tales that is set at Christmas, complete with a scene stealing cameo from the big red man himself, the production has a gloriously festive feel, 

“Again” was the immediate verdict from my little reviewer, as the lights went up in the Quays Theatre.

This really is a beautiful and thoughtful piece of children’s theatre, which treats both the much-loved source material, and young audiences, with the respect they deserve.

For further tour dates head to http://www.scamptheatre.com

 

 

 

BRB – Aladdin

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Birmingham Royal Ballet returns to the Lowry’s Lyric theatre this week with their magical, family-friendly production of Aladdin. Taken from the stories of the Arabian Nights, David Bintley’s splendid version of this classic tale, with music by the BAFTA award-winning Carl Davis chose Salford to begin their Autumn/Winter ’17 season.

This enchanting production perfectly balances humour with beautiful chorography, and explores aspects of the tale that audiences may not have been aware of. The story begins with a young, cheeky Aladdin (Mathias Dingman) escaping the clutches of the palace guards with the help of the mysterious Magician, the Mahgrib (Iain Mackay), who subsequently tricks Aladdin into entering the dark cave on his behalf to retrieve the lamp.

BRB AA 2

Each Act has its own crescendo which does not fail to dazzle the audience. The Cave of Riches at the end of Act I, is one of exquisite beauty, in which mischievous Aladdin is surrounded by an array of dancing gems who demonstrate a wide range of styles and techniques much to the delight of the audience. The gems lead Aladdin to the old lamp which places him on a road to riches and leads him to his true love, princess, Badr al-Budur (Momoko Hirata).

The sets and costumes become more vibrant and luxurious as the story unfolds, and as Aladdin himself becomes more accustomed to his life of luxury under the brilliantly blue Djinn of the lamp (played by Tzu-Chao Chou). The performance would not be the same without the dazzling orchestra conducted by Paul Murphy and led by Robert Gibbs, which adds to the atmosphere immensely, allowing the performance to swap and change between suspense and humour seamlessly.

BRB AA1

This production is bound to astonish audiences of all ages, with its delightful and superbly delivered chorography, technicoloured sets, sumptuous costumes and enchanting score. Birmingham Royal Ballet once again prove why they are one of the most loved and celebrated companies around, visually stunning, highly entertaining and not to be missed!

On at The Lowry until Saturday 23rd of Sepember tickets available here http://www.thelowry.com/events/aladdin

Reviewed by Emily Cotter