The Lowry

Trainspotting – In conversation with director Adam Spreadbury-Maher

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Credit: Geraint Lewis

Fresh from its phenomenal success on a world tour, the smash hit immersive theatre production of Irvine Welsh and Danny Boyle’s iconic, generation defining Trainspotting comes to The Lowry Tue 6 – Sat 10 June.

 

The production captures the passion and the controversy of the famous novel, then globally successful film, and repackages it into a no-holds barred immersive show – the audience are literally part of the action, including the notorious “Worst Toilet in Scotland” scene!

 

Directed by Kings Head Theatre artistic director Adam Spreadbury-Maher in collaboration with Greg Esplin – the tour follows an eleven-week run at the Vaults and two sold-out seasons at the King’s Head Theatre.

 

Credit: Geraint Lewis

Opening Night got the chance to get up close with director Adam prior to the show coming to Salford.

 

ON: So what can we expect from this production of Trainspotting Adam?

 

ASM: For anyone who knows the film or the book you will know it’s an expansive story and covers a lots of times, places and people. We’ve only got seven actors so some of them do a bit of doubling and tripling up for us. Often we need the audience to become characters for us and sometimes they need to create extra bits of set for us. So, there’s a fair amount of being engaged with the piece and involved. It’s all about lots of fun which you will enjoy.

 

ON: What’s been the reaction from audiences who have seen it?

 

ASM: They loved it, it’s been amazing. You get all the fans of the film and the novel but you also see a completely new generation like 17 and 18 year olds who have just heard about the buzz on twitter and Instagram and are coming to check out what it is. There’s an amazing melting pot of people coming together to experience it.

Credit: Geraint Lewis

ON: How has it been for the actors being involved in such a ‘no-holds barred’ production?

 

ASM: We have a very brave and hard-working troupe of actors. It’s really wonderful to take a piece of theatre out from the proscenium arch where there’s a big gap between the audience and the piece and bring them right up close, I specialise in that kind of thing. For the actors there’s nowhere to hide and you can’t fake it, it’s got to be real.

 

ON: That’s quite a challenge isn’t it…

 

ASM: Yes, because it’s such a show that relies on the audience you never know what kind of show it’s going to be. The kind of audience that is there very much dictates how the it is going to go which is quite exciting but at the same time daunting.

 

ON: Were you a fan of Trainspotting before this?

ASM: I remember watching Trainspotting the film when I was 14 years old, it was one of the most incredible cinematic experiences I can remember from my childhood. Danny Boyle made a beautiful film, with a strong image about a character lying on the carpet in the lounge room just slipping down beneath the floorboards which was quite a toxic memory that has been imprinted on my mind.

 

ON: How do you feel about the show coming to The Lowry in June?

 

ASM: It’s always been my ambition to have my work at The Lowry and I can’t wait until we come there, especially as this marks my debut as a director.

 

We can’t wait for this production to come to Salford too. Choose to get your tickets now!

 

Trainspotting

Date: Tue 6 – Sat 10 June

Time: Tue – Sat 7pm. Fri & Sat 8.45pm.

Tickets: £22 – £27

Website

 

For full tour information, please visit trainspottinglive.com

 

Running time: 75 minutes – no interval

Warnings: Contains nudity, very strong language, heavy drug/needle use.

Age guidance: 16+

 

 

 

 

 

 

 

 

La Strada

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Ahead of a London run at The Other Palace this summer La Strada embarks on a small UK tour with the Lowry being one of the lucky theatres to host this magical production.

Based on the 1954 Oscar-winning film by Federico Fellini, La Strada is the story of young Gelsomina (Audrey Brisson) who is sold by her struggling mother to travelling strongman Zampano (Stuart Goodwin), she is to be his assistant, a post previously held by her sister Rosa who Zampano mysteriously tells us ‘Didn’t survive the winter’. Naïve Gelsomina is instructed to beat a drum and announce Zampano’s arrival whilst under constant and real the threat of being beaten until she gets it right, out of loyalty to her family and with a mission to understand what really did happen to her older sister Rosa, Gelsomina obeys, follows instruction and accompanies the bullish Zampano on his travels across Italy. Zampano frequently abandons Gelsomina overnight as he enjoys the hospitality of local women and more than a few jugs of wine, he is brutish and cruel yet she remains loyal and strives to please him. Things change when they join a travelling circus and Gelsomina meets Il Matto, The Fool (Bart Soroczynski) who has a long history of pressing Zampano’s buttons and pushing him just that bit too far. The Fool opens Gelsomina’s eyes to the fact that life is for living and that everything living and breathing has a purpose, no matter how insignificant it may seem, through their meeting we see Gelsomina find her inner strength and the courage to take back her life.

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Audrey Brisson is superb as Gelsomina, she perfectly embodies the shy and awkward young girl, she is captivating and engages the audience from her first moments on stage, her whole body is used to create this beautiful and frightened character, you believe her entirely and are desperate for her to succeed and to fly. Her development throughout the piece is a joy to watch, as her confidence grows and she starts to believe she matters and truly has a purpose in life. In contrast Stuart Goodwin’s Zampano is vulgar and unfeeling, he delivers the role of the yobbish strongman so convincingly you find yourself desperate for him to get his comeuppance. Bart Soroczynski is a delight in the role of The Fool, with superb circus skills he is utterly captivating, he is weary of being a clown yet if not a clown what else would he be? He finds humour in the irony of his life and pokes fun at not just himself but all around him, his sees humour where there is none, making you feel that for The Fool life has become a tragic cycle of painting a smile on his face yet insdide his heart aches.

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La Strada was devised by the entire company within the rehearsal rooms, with a guide on where they wanted the story to go, collectively the entire company worked together to decide how this piece got there, creating with it a real unity amongst the company. It is a beautifully dynamic and wholly enchanting piece of theatre, further evidence of just how thrilling and forward-thinking Director Sally Cookson’s work is. The piece is enthralling and utterly captivating, with an ensemble cast who move together so effortlessly it is at times as if they are as one. The talent of the actor-musicians on-stage outstanding. Cookson’s superb direction allows for her cast to really deliver the most perfect of productions. Katie Sykes’ stripped back set allows scenes to flow effortlessly into one another, while the cast use every inch of the stage in this physical and multi-layered production. La Strada is a delight, Cookson’s storytelling so rich that I literally didn’t want this production to end; it is a work of real beauty, full of heart, a true theatre gem.

On at the Lowry until Saturday https://www.thelowry.com/events/la-strada

 

BREAKIN’ CONVENTION ’17 brings its beats to The Lowry

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JustDance by Belinda Lawley

Just Dance, image credit: Belinda Lawley

Sadler’s Wells’ critically acclaimed international festival of hip hop dance theatre, Breakin’ Convention, is back, with performances from UK and international companies and crews.

 

Following the annual festival at Sadler’s Wells over the May bank holiday (Saturday 29 April – Monday 1 May), Breakin’ Convention is now touring for a second consecutive year and comes to The Lowry, Salford Quays this weekend Friday 19 & Saturday 20 May.                                              

 

Now in its 14th year, the production is once again hosted and curated by Associate Artist Jonzi D who has changed the profile and influenced the development of the UK British hip hop dance and theatre scene over the last two decades.

jonzi D by Belinda Lwley

Jonzi D, image credit: Belinda Lawley

Breakin’ Convention is one of the world’s greatest celebrations of hip hop culture.

 

The tour line-up includes Soweto Skeleton Movers who mix comedic contortionism with the Pantsula dance style native to the townships of South Africa and perform to Kwaito music, a form of Afro house.

Breakin Convention 30 April 2017 at Sadlers Wells theatre.

Soweto Skeleton Movers, image credit: Paul Hampartsoumian

Joining them is Canadian group Tentacle Tribe, the Montreal-based dance company. Tentacle Tribe creates uncommon dance works with a contemporary twist using conceptual hip hop and influences from all types of earthly creatures.

tentacle_tribe_7 by Paul Hampartsoumian

Tentacle Tribe, image credit: Paul Hampartsoumian

Completing the international line up are Just Dance from South Korea with an updated vision of Korean shamanistic mask performance. Live Korean drumming accompanies a crew of poppers and B-boys, with many with world titles to their name.

 

The UK tour also offers local dance companies the opportunity to perform alongside the International acts. Local crews for The Lowry dates include:

 

Friday 19 May: 01612twelve95, Chad Taylor Dance, Fidget Feet, Shockout Arts

Saturday 20 May: Explosive, Lauren ‘Fidget’ Haywood, LadyBoy, Stage Pro Academy

 

 

Tickets on sale now https://www.thelowry.com/events/breakin-convention

 

Sukanya

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Sukanya

To say that Sukanya is Ravi Shankar’s only opera, while true, gives a misleading impression of his talent and influence on world music. Knowing he began writing it in the eighth decade of his life tells us more about his enthusiasm for music and his constant desire to find new ways to express this. It was to be his final work, and one can only imagine the weight of that in the hands of David Murphy, who completed the opera alongside Shankar’s daughter, Anoushka. Almost five years after Shankar’s death Murphy conducts the London Philharmonic for the opera’s premiere performances – the second of which is at The Lowry, Salford.

It feels like a true celebration, both of a life and of a true fusion of West and Eastern traditions. It opens with a solo sitar, the instrument for which Shankar was best known. Hearing Parimal Sadaphal play is probably as close as we’ll get to experiencing how Shankar might have interpreted it, given that he was taught by Shankar himself from the age of seven.

Sadaphal sits to one side of the foot of a wide staircase that opens to raised platform. At the other side sits Ashwani Shankar on the shehnai, an Indian instrument, like an oboe. The orchestra is seated on the stage and includes musicians playing the tabla, mridangam and ghatam percussion.

The scene is finally set using projections onto a backcloth, which take us from a night sky to a jungle, a palace and at one point we are in a room with photos of the maestro himself on the wall. Five classical Indian dancers, wearing ghungrus foot bells and five singers tell the story, supported the BBC singers chorus on both sides of the platform.

Visually there is a lot going on. At first it feels like the five singers are having to battle for attention. But, perhaps because in essence it is a simple static scene the atmosphere settles quickly and the overwhelming sense is one of space and rest. There are some wonderfully peaceful moments in the music as well as moments of vibrancy and joy that make you almost want to jump out of your seat and join in.

The story is based on a tale taken from an ancient Sanskrit, Mahābhārata. It tells a young princess, Sukanya whose destiny leads her to marry an old sage, Chyavana she finds in the woods, and her love is such that it restores both his youth and the sight to his bleeding eyes.

Shankar, who was 30 years older than his widow, Sukanya is said to have seen a connection between this ancient myth and his own life. The opera is named after his widow and it is as much a love letter to her as it is to his music.

The story itself is stretched to its limits, and there is one scene where Chyavana (Alok Kumar) sings to Sukanya (Susanna Hurrell) about the differences between Eastern and Western music, where we feel we’re being lectured to rather than entertained.

On the whole, this mythical love story is presented with a lightness of touch. The passion it creates is for the music and Shankar’s legacy is a genuine fusion of Eastern and Western traditions that feels a natural harmony.

Guest reviewer Carmel Thomason

 

 

The Toad Knew

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James Thierrée comes from an impressive artistic dynasty; most famously his grandfather was Charlie Chaplin, whilst great-grandfather was playwright Eugene O’Neill, creativity no doubt flows through his veins.

A child of the circus Thierrée brings his sixth production from his Compagnie du Hanneton The Toad Knew to the Lowry this week for 2 performances only.

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Six kidnapped siblings are trapped in a cobwebbed and dusty space, a skeletal staircase rises from the floor, a long forgotten tap drips somewhere in the distance. A wandering singer roams the stage, powerful and beguiling her vocals are jumbled and bluesy as they accompany the crackling soundtrack.

Thiérrée is the master of this show and acts out some brilliantly comedic sight gags which have the audience roaring with laughter, visually this piece is beautiful. Whilst his fellow performers wriggle and writhe the slapstick moments are those that shine brightest and thrill the audience.

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The full height of the Lowry’s lyric theatre is used to maximum effect as a collection of lights hover above our performers, influencing and affecting their behaviour. One performer weaves through the wires and cables that control the assent and descent of the lights with ease and real beauty, tangled amidst the power of the kaleidoscope.

Whilst the piece is visually beautiful it is at times a little frustrating, occasionally feeling that just as sections are gaining momentum they end rather than reaching their full potential and deliver the wow the audience is waiting for. Whilst a very entertaining piece the lack of punch means the production delivers more of a fizz rather than the bag that the talent on stage are clearly capable of. At 90 minutes straight through this is an interesting and charming piece with some moments of pure genius and impressive physical theatre, with just a few tweaks here and there it could be magnificent.

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On at the Lowry this evening 7.30pm https://www.thelowry.com/events/the-toad-knew

Extra matinee of The Play That Goes Wrong!

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Due to enormous demand an additional matinee performance of the West End and Broadway hit The Play That Goes Wrong has been added to the Lowry run on Friday 9th June at 2pm!

The multiple international award winning production will entertain north west audiences for a week long run from Monday 5th-Saturday 10th June, this highly physical comedy delivers the finest of slapstick humour and has audiences literally rolling in the aisles as the bonkersly brilliant cast act up a storm on stage.

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The play introduces The ‘Cornley Polytechnic Drama Society’ who are attempting albeit disastrously to put on a 1920s’ murder mystery, but as you would guess (and secretly hope), everything that can go wrong ultimately does, as the accident prone thespians battle on against all the odds to get to their final curtain call.

The Play That Goes Wrong is an absolute riot of expertly choreographed mayhem and side-splitting silliness, a huge audience pleaser an absolute barrel of laughs.

Tickets available via the following link https://www.thelowry.com/events/the-play-that-goes-wrong

Running Time: 2 hours & 5 minutes including 1 interval Suitable for ages 8+.

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Flare 2017 launch

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Flare

Flare International Festival of new theatre which is taking place across the city between 4th -8th July announced an inspiring and innovative full programme line up this afternoon.

Acting as a platform for some of the most talented national and international theatre makers and featuring around 60 of the best new international artists Flare 17 promises to be a unique and exciting celebration of new theatre. The full programme includes performances, workshops, feedback sessions as well as parties for both performers and audiences alike.

Artistic Director Neil Mackenzie explained the importance of programming international work, “It is our aim as an international festival and as advocates of emerging experimental theatre to bring together the international community of radical theatre artists to inform and enrich theatre practice in this country”

Flare 17 will take place at various venues across the city including HOME, Royal Exchange Theatre, The Lowry, Contact, Martin Harris Centre and 70 Oxford St and will present an ambitious programme of work from across Europe. Highlights announced today include:

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Party by Spanish/Brazillian artists Beaches – An immersive dance and audio show for 10 spectators at the time. Alluding to elements of our collective memory and popular culture, the piece creates a utopian simulation of a night out, one that functions as a detonator for hacking the senses of the spectator, blurring the limits between reality and representation.

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Blind Cinema by Britt Hatzius – In the darkness of a cinema space, the audience sits blindfolded. Behind each row of audience members is a row of children who, in hushed voices, describe a film only they can see. Accompanied by the soundtrack (which has no dialogue), the whispered descriptions are a fragile, fragmentary and courageous attempt by the children to make sense of what they see projected on the screen. In focusing on that which lies beyond the sense of sight, the attention switches between the world of the film, guided by the whispering voice, and the shared physical space of the cinema. For these performances the children will come from St Brigid’s RC Primary in Beswick, and Beaver Road Primary in Didsbury.

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Grand Applause by Guillem Mont de Palol & Jorge Dutor – An extraordinary on-stage exhibition of performance and visual art, presented in the form of the opera – Carmen. In the opera, Don José falls in love with Carmen who becomes infatuated with the bullfighter Escamillo. Don José’s love quickly turns to violent jealousy. He tracks Carmen down and kills her.

On a stage that is wired for sound, Grand Applause offers a stirring soundtrack, a live chorus and a choreography of artworks, by three artists: Norberto Llopis in the role of Carmen, Luis Urculo in the role of Don José and Bernhard Willhelm as the toreador Escamillo. After their huge hit #losmicrófonos at FLARE15, irrepressible theatrical mavericks Guillem Mont de Palol and Jorge Dutor are back, but on a much bigger scale…

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Molar by Quim Bigas Bassart – A much acclaimed and highly energetic interactive solo performance about happiness, and the way we move and are moved. A favourite at festivals across Spain, this is a performance that reflects on the commercialisation of human emotion, and is presented for free in the Great Hall of the Royal Exchange in Manchester.

Tickets and full listings are available now via www.flarefestival.com

 

Casanova

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Set against the backdrop of 18th Century Venice and Paris, we meet passionate, adventure seeker, Casanova, a man consumed by his desire to experience life at its fullest and most satisfying without question.

Hugely respected for their narrative based work, critically acclaimed Northern Ballet breathe life and skilful artistry into this new production created by award-winning choreographer Kenneth Tindall. Together with Ian Kelly, Tindall devised the original scenario for this fresh and enthralling piece from sections of Casanova’s memoirs, revealing more of the man than just the legendary lover we are all so familiar with. We meet Casanova on a more human level and see how his priest training is thwarted due to the constant distractions of both his mind as well as his body.

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Tindall’s stunning and innovative choreography captivates from start to finish, sensual and thrilling the powerful scenes featuring the corps de ballet move from contemporary to classical with ease, the two marry beautifully together. Tindall’s choreography is electrifying, the traditional pas de deux are there and are entirely fizzing with emotion and sensuality, as Casanova (Giuliano Contadini) is seduced by M.M (aristocratic nun and mistress to Cardinal de Bernis) in a staged seduction the passion between them is intense, they move as one and thrill with their skill and precision. In contrast to this as Casanova dances with his true love Henriette (Hannah Bateman) we see a new tenderness and real depth of heartfelt desire, stark contrast to the frenzied passion we have witnessed before. Giuliano Contadini is sublime as Casanova, dashingly handsome and physically perfect with just the right amount of cheeky swagger.

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The striking set and costumes designed by Christopher Oram are partnered perfectly by Alastair West’s stunning lighting design, atmospheric and dramatic it is truly spectacular, we see shafts of light streaming through church windows breathing fresh hope of liberty, more than the strict life of the church to a young and curious Casanova. The original score by modern classical, film and television composer Kerry Muzzey, is delivered superbly Northern Ballet Sinfonia.

Special mention must go to the brilliance of the staging during the prison of the Inquisition scene; a corner of a giant gilt frame is lowered towards Father Balbi (Jeremy Curnier) as he is tortured by the Inquisition in order to force a confession naming Casanova, enormously powerful and visually absolutely magnificent.

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Northern Ballet once again prove just how exciting and dynamic as a company they truly are. Casanova is utterly mesmerising, the piece literally smoulders as bodies slip and slide together flawlessly. Tindall has created a perfect work, creating a ballet that pushes the boundaries and delivers dance in a wholly stunning and accessible form. As the piece draws to a close and Casanova’s life flashes before him we are able to reflect on this truly remarkable production, an absolute must see.

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On at the Lowry until Saturday, tickets available here http://www.thelowry.com/events/casanova

Casanova – Preview

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Internationally and critically acclaimed company Northern Ballet brings the World Première tour of Casanova to the Lowry’s Lyric theatre next week, inviting audiences to unmask and be seduced by history’s greatest lover, the passionate, scandalous and oh so seductive Giacomo Casanova.

Consumed by his desires, which ultimately lead to him living a life of scandalous and hedonistic excess resulting in his imprisonment and exile, Casanova is a deliciously sensual piece which will thrill and enthral audiences in equal measure. Well known for their bold and dynamic works Northern Ballet have once again put their innovative and unique stamp on a classic story breathing life and spectacular artistry into this new piece. We are delighted to bring images from the rehearsal rooms to you today which truly illustrate the visual delight which awaits Lowry theatre goers next week.

Choreographed by award-winning Kenneth Tindall, most recently nominated for Best Classical Choreography and the Emerging Artist Award at the 2015 National Dance Awards, the production will be set to an original score by modern classical, film and television composer Kerry Muzzey, played live by the superb Northern Ballet Sinfonia, whisking theatre goes to 18th century Venice, where this thrilling piece will awaken our senses and delight in its magnificence.

This sumptuous spectacle which will be performed at the Lowry from 3rd – 6th May, is the first of an unprecedented three full-length World Premières to be held by Northern Ballet in 2017 which also include the much anticipated World Premières of The Boy in the Striped Pyjamas and The Little Mermaid, further evidence of Northern Ballet’s dedication to pushing the boundaries when it comes to delivering dance in its most stunning of forms.

Buy your tickets now for what will be undoubtedly one of the most visually spectacular events of the year. Tickets are available via the following link; https://www.thelowry.com/events/casanova

 

 

Ghost

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Bill Kenwright Productions brings Ghost the Musical to the Lowry stage this week as the last stop on its UK and Ireland tour which began at the New Wimbledon Theatre back in September 2016.

Based on Bruce Joel Rubin’s much loved 1990 film, starring the legendary Patrick Swayze, Demi Moore and Whoopi Goldberg, with music by Eurythmics’ Dave Stewart, and lyrics from Grammy Award winner Glen Ballard, Ghost the Musical tells the tragic love story of Brooklyn residents Sam (Andy Moss) and Molly (Kelly Hampson) whose lives are torn apart when Sam is tragically murdered in the street in a robbery gone wrong. As Sam watches the scene of his death from a distance he realises he has become stuck between two worlds, torn away from his idyllic life and one true love, Sam soon realises this was no tragic accident and his beloved Molly too is in danger, he must find a way to connect and ultimately protect her. His method of protection takes on the form of the outrageous, hilarious and hugely entertaining psychic and spiritual healer, Oda Mae Brown (Jacqui Dubois).

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Kelly Hampson covering the role of Molly tonight on behalf of the indisposed Carolyn Maitland (get well Carolyn) does a fine job, her voice is sweet and strong and the chemistry between her and Sam (Andy Moss) endearing, she embodies the grief of losing her lover tenderly and with real heart. Moss makes for an enormously likeable Sam, fun, playful, and full of life, making the scenes where he realises he has died all the more poignant. His commitment to protecting his love from danger is hugely moving while his interactions with Oda Mae (Jacqui Dubois) are simply brilliant. Dubois was born to play Oda Mae Brown, bold, brash, outrageous and full of attitude she is a joy to watch with razor sharp comic timing Whoopi Goldberg would be proud of.

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The staging of this production allows for some clever effects and the strong supporting cast directed by Bob Thomson deliver fine performances with special mention to both James Earl Adair and Gerry Lee Netley who play the hospital ghost and subway ghost superbly.

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Ghost is a highly entertaining show, with beautiful music and solid performances, you will most certainly laugh, quite probably cry and as soon as you get home will be digging out that old DVD when you remember just how much you love this beautiful story. An engaging and beautifully delivered production.

On at the Lowry until Saturday 29th April, tickets available here!

https://www.thelowry.com/events/-ghost-the-musical

 

Running Wild

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War Horse author Michael Morpurgo has created yet another stunning story which has now been adapted for stage, this time aimed at a younger audience.

Running Wild tells the tale of 9-year old Lilly (Jemima Bennett) who is struggling to come to terms with recent death of father, a soldier in Afghanistan. To ease her loss her Grandma suggests she takes a trip with her Mum to Indonesia for Christmas to make new memories and get the chance to ride her favourite animal, the elephant. When a tsunami hits the island though tragedy strikes again and Lilly is whisked off into the jungle on the back of Oona the elephant and about to face some of the biggest challenges of her life.

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Morpurgo based Running Wild on real life events he read about in a newspaper back in 2004, when a tsunami hit Sri Lanka killing over 300,000 people. Out of all that tragedy came a shining light – an uplifting story of a little boy who got stranded in the jungle after the elephant he was riding on charged off as soon as the quake hit, saving the boys’ life in the process.

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In the stage adaption by Samuel Adamson the boy in the book becomes a girl, played during this Children’s Touring Partnership production by three alternate young actresses. Jemima Bennett played Lilly on the night we saw Running Wild and gave a polished performance as the feisty tomboy. Bennett takes on the huge role with a professionalism beyond her young years, and demonstrates Lilly’s sheer determination to survive everything the jungle throws in her way.

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There’s a plethora of spectacular puppets on display created by former War Horse Puppetry designers and directors Fin Caldwell and Toby Olie; from Sumatran tigers, to crocodiles and Orangutans. All of them are beautiful crafted and expertly handled by the talented team of puppeteers that bring them to life onstage and give them a heart and soul.

James Whiteside compliments the thrilling action with his atmospheric lighting design which evokes the mood changes of each scene perfectly. Whiteside effectively uses frantic flashes of strip lighting to signify danger and beautiful firefly-esq lights that highlight moments of serenity.

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Running Wild isn’t a sugar coated ‘George of the Jungle’ story you might expect it to be, in parts it is quite upsetting and, for the younger children in the audience, a bit scary (I’d advise to ignore the guidance of age 6+ to be safe and take those aged 8 upwards). However, it is also a play that excites with its adventure and manages to leave both children and adults with some important moral messages about our society today and our relationship with animals.

Runs at The Lowry, Salford until 22nd April. Tickets available here; http://www.thelowry.com/events/running-wild

 

 

Jane Eyre

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First staged at the Bristol Old Vic, where the story was performed over two evenings, director Sally Cookson brings her acclaimed production on tour, presenting Bronte’s much loved classic as a thrilling and inventive performance beautifully staged in the Lowry’s Lyric theatre.

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While many will be familiar with the story of Jane Eyre for some it’s one of those novels that you may have always intended to read but never quite got there, it is the biography of orphan girl Jane Eyre (Nadia Clifford) and bares striking similarity to Brontë’s own life, raised in the North of England Jane is taken in by her Uncle after the heartbreaking death of her parents, much to the disgust of his cruel wife, Jane’s Aunt, Mrs Reed (Lynda Rooke). When Jane’s Uncle becomes unwell, he asks Mrs Reed to promise to raise Jane as her own, sadly although she provides a house for Jane to dwell in she certainly doesn’t offer the love and warmth of the promised home subjecting Jane to a life of misery and abuse from not just her Aunt but her Cousins as well. At 10 years old she shipped off to Lowood, a school for orphaned girls, where she continues to experience a cruel and unforgiving life, despite this Jane manages to form a strong bond with her school friend Helen Burns (Hannah Bristow), tragedy however is never far away and Jane suffers more gut-wrenching loss.

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Eventually Jane becomes a teacher at Lowood but yearns for change and adventure, she advertises herself as a Governess and is soon summoned to Thornfield Hall to educate Edward Rochester’s (Tim Delap) French ward Adele. As the developing friendship between Jane and Rochester begins to build strange happenings within the house start to occur risking both the safety and the future of both Jane and Rochester.

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The staging of this production is immediately striking upon entering the theatre; set designer Michael Vale uses wooden pallets to create various levels and platforms accompanied by multiple ladders and steps which are used to maximum effect by the cast. Aideen Malone’s lighting design is bold and dynamic, creating and changing the atmosphere dramatically throughout the production.

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The small cast take on a multitude of roles throughout the play and are magnificent, their characterisation outstanding and utterly captivating. They strive to ensure we see Brontë’s work is just as relevant today as it was then; they deliver each and every character with commitment and style. The piece feels fresh and inspiring as the spirited and strong Jane fights for her own freedom and fulfilment. Jane is told early on in the play after being punished by her Aunt in the red room, “Perhaps you should learn to keep your passions under control” something we soon realise is a thing Jane in order to be true to herself could never do. Nadia Clifford is superb in the role of Jane, yearning for liberty and adventure her spirit is strong and her need for fulfilment, physically, spiritually and mentally never wavers. Clifford is mesmerising, charismatic and captivating you immediately warm to her and are desperate for her to succeed. Sally Cookson uses several cast members to verbalise Jane’s inner thoughts, this works beautifully, illustrating just how strong and determined Jane truly is as she battles with herself to do what she believes is right as heart-breaking as it may be.

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Melanie Marshall as Bertha Mason, the ‘lunatic in the attic,’ is superb, frequently appearing through musical interludes her vocals are hauntingly brilliant and pack a real punch. The effect feels almost like a musical narrative, with hugely inventive and highly original song choices that flow beautifully from one scene to the next offering more depth to an already magnificent production. The entire cast give their all; they make for a tight ensemble and move fluidly from one role to the next, accompanied by on stage musicians who add a further creative layer to this inventive piece.

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Jane Eyre is a truly exceptional piece of theatre, groundbreaking and utterly captivating. Brontë’s much loved masterpiece is delivered with freshness and intelligence, you can’t help but think how pleased she would be to see her Jane portrayed with such heart and soul. The National Theatre in partnership with Bristol Old Vic once again succeed in bringing a true masterpiece to life, full of passion, intensity and originality, an absolute must see.

Photo credits Brinkhoff/Mögenburg

On at the Lowry until Saturday 15th April https://www.thelowry.com/events/jane-eyre