Salford

The Woman in Black

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It’s hard to believe that The Women in Black is celebrating its 30 year anniversary, such is its reputation and reverence it seems to have been around much longer. Doing for the horror genre what The Mousetrap has done for murder/mystery, the two plays are held in such high regard that seldom is mentioned of the shocks, frights, twists and turns: it is more just a case of take a seat and go along for the ride.

Based on the 1983 Novel by Susan Hill and adapted for the stage by the late Stephen Mallatratt, The Women in Black sees retired solicitor Arthur Kipps attempting to tell the terrifying story of his time at isolated and desolate Eel Marsh House, located in the market town of Crythin Gifford. To fully do justice to the horrors he encountered, Kipps enlists the assistance of an unnamed actor to help tell his tale. The two men are at odds with what they want from the experience: Kipps wants the courage to finally finish his story and put the nightmare behind him, whilst the keen actor wants to tell a fascinating tale using all the craft of theatre and performance at his disposal. What follows is a nightmarish journey filled with laughs and frights as we witness the full horror of Eel Marsh House and the sheer evil of The Women in Black.

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Both leads are outstanding: Matthew Spencer plays the confident unnamed actor, and the younger Arthur Kipps to perfection seamlessly drifting between brash showmen and a man trapped in a situation that is spiralling out of control. David Acton plays the older vulnerable Kipps as well as a variety of roles, both act as narrators throughout. Acton certainly borrows from Alec Guinness in Kind Hearts and Cornets to help with his transformation which is high praise indeed.

I would argue that the play has a third performer: the theatre itself. Within the first minute of the play Spencer strides from the back of auditorium and thus lets us know that space you occupy is part of the play and by design as the narrative progresses you aren’t safe in your seat either! Throughout the play you find yourself scanning the room to see where the next fright is coming. This is aided and abetted by some fantastic sound and lighting design from Gareth Owen and Kevin Sleep respectively.

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The script is surprisingly funny: punctured with humour, I laughed more in the first 15 minutes than I have at most supposed comedies; however this is a ploy, designed to sucker you in and make you complacent so that when the first scare comes it smacks you like a spade in the face. As the play progresses the laughs diminish and the frights more frequent.

It is a credit to not only the two leads: but Robin Herford’s direction that the play has the right balance of laughs, drama, and terror that keeps you keeps you on the edge of your seat throughout. It is a slow beginning but once it hits its stride and it’s thoroughly enjoyable.

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I’m not going to spoil any frights or big scares, however what I will say is that the reaction of some patrons sat around said a great deal: one lady said she nearly lost her lunch (and later claimed she almost had an even worse accident than being sick), several people gasped our Lord and saviours name and my arm has some heavy bruises where my friend held on during some of the more terrifying scenes.

The Women in Black is what great theatre should do: take you on a rollercoaster ride of emotions, at times makes you laugh at the same time as scare the life out of you. This is a truly outstanding piece of theatre and one that will still be celebrated in another 30 years time. If I could give one piece of advice if you are going to see it may I suggest getting rid of that old rocking chair… it’ll be for the best.

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The Women in Black is on at The Lowry until 25th March 2017, tickets are available here;

http://www.thelowry.com/events/woman-in-black

 

 

Hansel and Gretel

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Hansel and Gretel - Engelbert Humperdinck - Opera North - 2nd February 2017 Hansel - Katie Bray Gretel - Fflur Wyn Gertrud/Witch - Susan Bullock Peter - Stephen Gadd Sandman - Rachel J. Mosley Dew Fairy - Amy Freston Conductor - Christoph Altstaedt Dire

A STELLA Artois-swigging father, a confectionary house made of Nestlé Caramac and a witch with a Rupaul’s Drag Race-inspired wardrobe… It’s clear that Opera North’s production of Hansel and Gretel has two feet firmly planted in the 21st century rather than The Brothers Grimm’s latter-day Germany.

A scrumptious opera that totally satisfies our appetite for entertainment, Opera North are to be congratulated on a stupendously inventive production of the Engelbert Humperdinck classic. Hansel and Gretel, The Snow Maiden and Cinderella are part of a grand experiment that sees three ‘Deliciously Dark Fairy Tales’ from contrasting European traditions brought together in a single season – all of which are on at The Lowry this week.

Hansel and Gretel - Engelbert Humperdinck - Opera North - 2nd February 2017 Hansel - Katie Bray Gretel - Fflur Wyn Gertrud/Witch - Susan Bullock Peter - Stephen Gadd Sandman - Rachel J. Mosley Dew Fairy - Amy Freston Conductor - Christoph Altstaedt Dire

The action begins in suitably ‘Grimm’ surroundings, a kitchen-sink high-rise occupied by an empty fridge, two hungry children, the eponymous Hansel (Katie Bray) and Gretel (Fflur Wyn) and their despairing mother, Gertrud. When their chaotic play sends the contents of a milk jug flying, Gertrud sends Hansel and Gretel out into the woods to pick wild berries for the family supper. Their father, Peter (Stephen Gadd, who plays a wonderfully reeling drunken broom seller), is aghast when he returns home – revealing that the forest is home to an evil witch with ‘Satan’s eye and a heart of stone’. The two children awake the following day to find a magical house has appeared in the woods, constructed from Bird’s Custard and BN Biscuits. While they gorge from the fridge, the witch returns and fires up her oven… ready for a very special bake!

Hansel and Gretel - Engelbert Humperdinck - Opera North - 2nd February 2017 Hansel - Katie Bray Gretel - Fflur Wyn Gertrud/Witch - Susan Bullock Peter - Stephen Gadd Sandman - Rachel J. Mosley Dew Fairy - Amy Freston Conductor - Christoph Altstaedt Dire

Opera North veteran Fflur Wyn, and Katie Bray, of the company’s Albert Herring and The Barber of Seville, are delightful together – playful, charming and utterly believable as children. Their deftness with a video camera adds to the production’s signature special effect: freestyle camera footage – captured by the actors in real-time – which is livestreamed and magnified onto the walls of Giles Cadle’s pared-down set (that also features in The Snow Maiden and Cinderella). A masterful stroke by video designer Ian William Galloway, the hand-held camera acts as a supporting cast member in its own right; it boasts two particular ‘wow’ moments: the children’s journey through the forest and the big reveal of the witch’s house, which solicited audible gasps of delight.

Hansel and Gretel - Engelbert Humperdinck - Opera North - 2nd February 2017 Hansel - Katie Bray Gretel - Fflur Wyn Gertrud/Witch - Susan Bullock Peter - Stephen Gadd Sandman - Rachel J. Mosley Dew Fairy - Amy Freston Conductor - Christoph Altstaedt Dire

When not doubling up as Gertrud, Susan Bullock plays the witch with a pantomime villain’s relish, brandishing her whisk as a wand and spooning her fattening concoction into Hansel, all with a wicked twinkle in her eye. Costume designer Christina Cunningham’s and wigs and makeup supervisor Kim Freeland’s choices for this role are perfect, complementing Bullock’s characterisation and adding to the overall comedic effect.

Both conductor Christoph Altstaedt and director Edward Dick have made their company debut this season; their energy, inventiveness and commitment to making opera more accessible to a modern audience shows. There is so much to love about this enchanting production, which marries a lively score, sparkling duets and trios, characterful performances and cutting-edge video technology with a well-loved, timeless fairy tale.

Tickets for Opera North’s productions of Hansel and Gretel, Cinderella and The Snow Maiden are available for purchase at http://www.thelowry.com/events/category/Opera

Reviewer: Michelle Ewen

BRB – Cinderella

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

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

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

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

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

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

On at The Lowry until 4th March

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

 

 

Mind the Gap – Mia

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

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

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

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

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Kill The Beast – Don’t Wake The Damp

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After delighting audiences (me included) with previews earlier this year before heading up to the Edinburgh Fridge and receiving 4 and 5* reviews like they were going out of fashion, not to mention the small matter of wining The Stage Edinburgh Award, glorious comedy quintet and Lowry Associate Artists Kill The Beast, return to The Lowry with their revamped and rebooted Don’t Wake The Damp.

Set in a crumbling concrete tower block, doomed for destruction by the almighty Council planning department due to the rising of some devilishly dangerous damp we find our heroin June (Natasha Hodgson). Former Science-Fiction screen siren now more at home cradling a casserole June is determined neither the Damp nor the Council will take her down. After kidnapping Council worker Terry Brambles (needs must….we’ve all been tempted right?) June is unwillingly thrust into the company of her nerdy and narcissistic neighbours to tackle the deadly damp that’s rising all around them.

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Directed by Clem Garritty who also co-writes with performers David Cumming, Oliver Jones, Zoe Roberts and Natasha Hodgson, Don’t Wake the Damp it a riotous jape full of glorious gags, bonkersly brilliant songs and electric performances. The team are fantastic, playing weirdly wonderful characters to perfection; their strong characterisation makes even the most deliciously daft totally lovable. The writing is brilliant; the speed at which the gags come is seriously quick, you’ve barely stifled your snorts from one joke and you’re laughing your socks off at the next. The use of projected animations designed by Alex Purcell displayed on three large moveable screens behind the performers allow this quick paced piece to move from scene to scene effortlessly and adds perfectly to the unique charm of this retro sci-fi comedy mash-up.

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There isn’t a more marvellous way to while away an evening than in the company of Kill The Beast, an absolute treat from start to finish, get yourself to The Lowry before the Damp overcomes us all! On until Saturday 29th October, tickets available below!

http://www.thelowry.com/event/dont-wake-the-damp1

To a Simple Rock’n’Roll … Song – Michael Clark

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Commissioned by the Barbican, London, To a Simple Rock’n’Roll … Song is a three act work showcasing Michael Clark’s signature choreography, precise, clean and always meticulous.

Act I: Satie Studs/Ogives Composite is set to the piano music of Erik Satie. The dancers execute the intricate choreography well and the piece flows as individuals contort themselves into complex and arresting positions. Each chord is matched by uniform movement complemented by the body hugging white and black bodysuits adorned by each dancer.

In Act II: Land, Clark sexes things up with PVC flares and pelvic thrusts all set to the Punk tunes of Patti Smith. The piece is sharp and sassy, with the strength and agility of the dancers on full display. Gritty and suggestive, fully of confidence and swagger, Act II is greeted with whoops and cheers from the audience.

Set entirely to the music of David Bowie titled, “my mother, my dog and CLOWNS!” (lyrics from the much loved Life On Mars), Act III is vibrant, exciting and a fitting climax to the works. Dancers dash around the stage in firstly gleaming gunmetal bodysuits to the sounds of Bowie’s last work Blackstar then later fiery vibrant orange ombre suits to the iconic 1973 sounds of Aladdin Sane. The piece is packed with energy, the choreography bold and engaging, a befitting end to the night.

http://www.michaelclarkcompany.com/

 

Michael Clark Company – ‘to a simple, rock ‘n’ roll…song.’ £15 ticket offer!

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Co-produced by the Barbican, Michael Clark Company and Théâtres de la Ville de Luxembourg, Michael Clark Company returns to The Lowry on Wed 19 October with a new work ‘to a simple, rock ’n’ roll . . . song.’ the third act of which is set to the music of David Bowie, including the title track from his final album, Blackstar.

The performance, which will also feature Future Legend, Chant of the Ever Circling Skeletal Family and Aladdin Sane is the Company’s first at The Lowry since 2013. Steve Cowton, head of theatre operations at The Lowry, said:

“Michael Clark has an excellent reputation for collaborating with artists, designers, writers and musicians to help introduce dance to new audiences. He’s also no stranger to Bowie, whose music his company has performed to many times before. Blackstar is already part of music history and I am proud that The Lowry is able to bring this new work to North West audiences for this one-off performance.”

On at The Lowry, Salford Quays, Weds 19th October, 8pm, follow the link below and enter BOWIE in the discount/promo code box for £15 tickets!

http://www.thelowry.com/event/michael-clark-new-work-2016

 

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

Matthew Bourne’s, The Red Shoes

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29th Nov – 3rd Dec, The Lowry, Salford

Based on the Academy Award-winning film by Michael Powell and Emeric Pressburger and the much loved Hans Christian Andersen fairytale with music by Bernard Herrmann, New Adventures will bring their World Premiere of Matthew Bourne’s new production, The Red Shoes to Salford this November. The show will run at The Lowry from Tue 29 November to Saturday 3 December 2016.

Supported by Arts Council England, The Red Shoes has seduced audiences and inspired generations of dancers with its tale of obsession, possession and one girl’s dream to be the greatest dancer in the world. Victoria Page lives to dance but her ambitions become a battleground between the two men who inspire her passion.

Creating the coveted role of Victoria Page will be the Australian dancer and New Adventures Principal, Ashley Shaw. Ashley is currently wowing audiences in her breath-taking performance as Aurora in Matthew Bourne’s “Sleeping Beauty”. She has been dancing with New Adventures since 2009 performing many of the Company’s leading female roles including “Nutcracker!”, ‘Lana’ in “The Car Man”, ‘Kim’ in “Edward Scissorhands” and the title role in “Cinderella”. This will be her first created role in a new production.

Matthew Bourne said: “It has been a long held ambition of mine to bring “The Red Shoes” to the stage as a dance/drama. It is set in the theatrical world of a touring dance company. It is actually about dance and dancers, a world that we all understand so well. However, the film’s genius is to make that theatrical world at times surreal, larger than life and highly cinematic. My challenge will be to capture some of that surreal, sensuous quality within the more natural theatre setting. It has also long been an ambition of mine to bring the incomparable music of Bernard Herrmann to the stage. It has been fascinating to discover how much of this music lends itself to story-telling through dance and this production will, I believe, be the first full length ballet to celebrate his unique music.”

Matthew Bourne’s magical new adaptation of the legendary Powell and Pressburger film reunites him with his regular collaborators and New Adventures Associate Artists and the team that brought you the world wide hit, “Sleeping Beauty”; Lez Brotherston (set and costumes), Paule Constable (lighting) and Paul Groothuis (sound).

This World Premiere is set to a new score arranged by New Adventures Associate Artist, Terry Davies using the mesmerizing music of golden-age Hollywood composer, Bernard Herrmann (most famous for his collaborations with Alfred Hitchcock, Orson Welles and Martin Scorsese), whose work ranges from the witty and playfully robust to the achingly romantic and bittersweet.

An intoxicating drama where life imitates art with fateful consequences; The Red Shoes will dazzle your senses and break your heart.

Tue 29 Nov – Sat 3 Dec 2016

http://www.thelowry.com/event/the-red-shoes

 

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