Sarah Frankcom

Robin/Red/Breast

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It would be fair to say that over the last decade, actor Maxine Peake has been involved in some of the boldest, most unique and much discussed pieces of theatre to grace the stages and spaces of Manchester. Peake, along with fellow collaborators Sarah Frankcom and Imogen Knight, are the co-founders of MAAT (Music, Art, Activism and Theatre) whose body of work has been showcased in the city for well over a decade with the promise of being brave and innovative and something that will live long in the memory. Recent efforts have included Percy Bysshe Shelley’s The Skriker and a look back at the singer, Nico’s 1968 album The Marble Project for their project The Nico Project.

For their latest offering the group, along with writer Daisy Johnson, bring us Robin/Red/Breast: a reimagining of John Bowen’s folk horror classic Robin Redbreast first broadcast on the BBC in 1970 as part of the Play for the Day series.

The action focuses on Norah (Peake) a writer who, following the end of a relationship, has decided to escape the rat race and move out to the country. There she buys a little cottage in the heart of a little village. The cottage may not be perfect, with it’s wasps and mice infestation, but it’s hers. However things soon turn sour as the city outsider’s presence soon draws the ire of the villagers, who interfere in and around the cottage on a regular basis. The only distraction from this comes in the form of Robin (Tyler Cameron) , a local woodsman and towering figure of a man, who seems as interested in Norah as she is with him. As Norah and Robin’s relationship grows so do the hostilities from the village and its residents leading to a battle for Norah’s mind, body and soul.

At the time of its broadcast, the original Robin Redbreast was compared to the 1971 cinema masterpiece The Wickerman. I haven’t seen the original Robin Redbreast, but I have seen The Wickerman, and themes of fertility, power and isolation are present there and are present here. However there are tips of the hat to other staples, Rosemary’s Baby and the more recent Midsommar. However, rather surprising for me was the presence of Sam Peckinpah’s notorious British western Straw Dogs.

What this production does so well right from the start is nurtures and cultivates the feeling of impending doom with with the arrival of a 10 strong all female brass band, complete with striking red and white majorette outfits playing a haunting piece that conjure up images of sacrifice: it really is as stunning as it is unsettling.

Upon entering the theatre the audience are given a set of headphones, which are used for the first act. We are introduced to Norah, who silently demonstrates life in her new home and with the addition of the headphones we get to hear Norah’s inner thoughts and feelings –  about how she ended up here and also what she thinks about her new neighbours. Norah doesn’t prove to be the most reliable of witnesses. Her actions often betray her thoughts, and sets up a nightmare that is about to unfold.

At a running time of 55 minutes right through, this is a compelling watch, with creatives at the top of their game. Maxine Peake is a tour-de-force, giving a performance dripping in physicality and raw emotion. The sequence between her and Tyler Cameron are beautifully choreographed. The sound design by Pete Malkin superbly blends the tranquillity of birdsong with the harshness of Norah’s rejection. Whilst Gazelle Twin’s composition is suitably unnerving and on one occasion physically unsettling, this (un)holy marriage with Carol Jarvis’ arrangement works well throughout.

This is at times a tough, unrelenting watch, with plenty of scope for interpretation. A bold, visceral piece of theatre sees creative talent at the top of their games creating a piece of theatre that will be talked about for many years to come.

Robin/Red/Breast is on till 26th May. Tickets are available here.

Work It Out

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Many of us have been there, stood in a random community centre or school hall early evening, trainers on, ancient leggings dug out of a long-forgotten drawer as we await the arrival of the class instructor and just hope they’re not quite as bouncy as we’ve imagined. 

It’s the perfect material for a piece of theatre, from the characters we meet to the problems and predicaments they find themselves in. It’s something we can relate to, empathise with, and laugh along with as we reflect on our own brushes with ‘fitness’. Writer Eve Steele (who also stars in the production as Siobhan) has taken this basic premise a step further with the exercise class being one specifically for people who have been referred due to the mental health challenges they face.

This distinct group of characters go on a unique and engaging journey, from beginning as strangers who struggle to be in the same room together to becoming their own unique and fiercely proud community. Each has their own story and moment to shine as the weeks pass by and the heart of each character is carefully revealed. From alcoholism to hoarding, sexual abuse to overeating the issues they’ve face are many, however together they find a sense of belonging and a genuine sense of purpose without this production ever feeling cliche.

Writer Eve Steele and Director Sarah Frankcom have lovingly worked with these characters to ensure they are relatable, believable and touch the hearts of the audience in ways we don’t see coming. The subtleties of their journeys collectively make for a powerful, emotive piece of theatre packed with heaps of heart and humour.

There’s Rebecca (Raffie Julien), who is deaf and refuses to speak who brings along her Grandma Marie (Eithne Browne), Rebecca gradually finds freedom and confidence as the weeks progress while Marie evolves from angry and anxiety ridden to loving, caring and contemplative. Shaq, portrayed sensitively by Dominic Coffey is a care-leaver who is struggling to survive in a wholly unsuitable home environment. His moving dance solo to a jazz version of Radiohead’s Creep is a real highlight of the show.

Eva Scott’s portrayal of Colette a shy, sensitive soul who struggles with body image is deeply moving, seeing her find her place and purpose within the group as they bid to secure funding feels like a monumental triumph. Aaron McCusker’s journey as Rob is perhaps one of the most profound, his transformation is poignantly realised in the final touching scenes as Siobhan (Eve Steele) with whom Rob has become close takes a step back from the group while her personal progress stalls. Class leader Alice (Elizabeth Twells) who seems so composed and complete at the start goes on her very own unique journey of vulnerability where she too realises, she needs the strength of the group to get her through.

The powerful final scenes illustrate both the positive change community and inclusion can bring while exposing the stark reality of the damage done to a society failed by ineffective Governments and underfunded services. The focus on individual stories brings a real sense of hope to this piece as the characters unify becoming closer and tighter as the weeks go by.

Work It Out is on at HOME until Saturday 16th March https://homemcr.org/theatre/

Betty! A sort of Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

In their local village hall, The Dewsbury Players: a unique blend of am-dram performers, have come together to celebrate their finest export and local hero, Betty Boothroyd, the first female Speaker of the House of Commons and arguably one of politics most fascinating characters.

With their individual visions on how best to do Miss Boothroyd justice, not to mention their wildly varied beliefs, the players are committed to uniting artistically to create a musical Dewsbury will never forget. The problem is, director Meredith (Maxine Peake) has falsely informed the BBC that the group offer a tad more diversity and community value than in reality; so, when BBC exec Adrita (Lena Kaur) turns up to rehearsals things take a rather creative and chaotic turn.

This play-within-a-play created by Maxine Peake and Seiriol Davies (who also stars as Calvin) is a riot. It’s bonkers, brilliant fun with a gorgeous message of love and acceptance at its heart. There’s laugh out loud political parody and some absolute genius lines while the script touchingly shines a light on each of the wonderful characters making up the group. Their observations on life are spot on, sharp, witty and entirely relatable.

The musical numbers are where the creative team have really had some fun, poking a gentle ribbing at traditional musicals; there’s enthusiastic choreography, musical theatre clichés and heart-warming solos all delivered with tongue firmly in cheek. Musical director Sarah Dyer leads a slick four-piece band who demonstrate an incredible range as they deliver both rousing ballads and rock-tastic numbers with precision.

Maxine Peake leads this ensemble cast brilliantly, firstly as demanding director Meredith, sniping constantly at her cast despite desperately needing them to fulfil her dramatic ambitions. Then second act she is transformed into the straight-talking, charismatic Boothroyd ready to take on the House in the challenges that befall her.

Co-writer Davies is a treat as Calvin, bursting with enthusiasm and a mediator to all, he delivers some of the shows most memorable and outrageously over the top moments brilliantly. Eva Scott portrays Angela, Meredith’s subdued and self-conscious daughter beautifully, showing her versatility throughout as she channels her inner confidence spurred on by the arrival of former friend Adrita.

Joan Kempson displays sharp comic timing as Hazel, the salt of the earth grandma who blasts out the one-liners and is poles apart from condescending Meredith. Carla Henry is a joy as Tracy, a former West End star who’s light still shines in Dewsbury despite her issues with her hubby at home and her weak ankle. I cried laughing at her Ian Paisley, no spoilers here but I’ll never hear Riverdance and not think of her performance. Lena Kaur’s take on BBC exec is spot on whilst her second act transformation is inspired.

Betty! A sort of Musical does exactly what it says on the tin, gives you a belly full of laughs and leaves you with a smile on your face. There are musical numbers which could maybe benefit from a little trimming, but this is a minor quibble on what’s a brilliantly entertaining show. This heady reminder of days when politicians stood for decency and duty is a whirlwind of hilarious, heart-warming fun. A welcome and well observed reminder of the importance of community and common ground.

Betty! A sort of Musical is on at the Royal Exchange until Saturday 14th January tickets available here.

Images Johan Persson