Theatre

Vignettes 6

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Reviewed by Jodie Crawford

Opening Night ⭐⭐⭐⭐⭐

Vignettes returns to Hope Mill theatre with 6 exceptional pieces of theatre, which are short in minutes but packed with character, emotion and in parts good old Mancunian humour. These 6 pieces of stand alone theatre, are a celebration of the great talent that female identifying playwrights have to offer us in Manchester. The cast, production team, and direction live  up to the writing – each piece captivating in its own right. 

We begin Act 1 with Race for Life. Written by Christine Mackie, Directed by Joyce Brannagh. Our two main characters, Alice (Christine Mackie) and Stevie (Ellaney Hayden), have a chance encounter after taking part in their local Race for Life event. The two women have very different reasons for entering the event, but ultimately both women find something in the other that they were searching for. 

This piece is so beautifully and humorously written by the incredibly talented Mackie. The characters are so well connected and real. Often stories about women feature women who are downtrodden or who have achieved the unexpected. But this piece tells the story of two types of women that society don’t really talk about or identify with greatly. This story is about two women that people maybe don’t notice. There is a real vulnerability in both characters (not that they’d ever want you to see it). A well told story, with lots of heart and humour. 

Our second piece in Act 1 is a powerful piece written by Nasima Bee, and Directed by Nikki Mailer. Haiesha Mistry is a triumph in this piece. She just pulls you in from the minute she begins in her role of Ranad. She is mighty and strong. She fully encompasses this role and I was mesmerised by her from start to finish. Lamin Touray, as Ali, also works well on stage with Mistry. They together deliver a narrative about freedom, expression and the importance of having a voice. The written dialogue is compelling and is delivered with such energy. It is worth the ticket price alone to see this performance. 

The final piece of the first act is Interesting written by Alex Keenan and directed by Jess Gough. This piece is clever, well developed and insightful. It explores so many themes that are relevant with so many of us. The loss of a child in pregnancy, depression, marital difficulties and so much more. The character of Bo, the daughter of a counsellor, is played by the talented Eleanor Booth. Bo is angry and depressed, she is struggling to connect with her mother and in an act of childish retaliation towards her she impersonates her mother in an online counselling session. The couple attending the session, played by Stacey Harcourt and Barney Thompson, are experiencing so many emotions relating to the loss of a child in pregnancy at 5 months. The husband Max just can’t communicate how he is feeling and the wife Laura is desperate to talk about their loss. Bo’s prank doesn’t go to plan and exposes so many complex feelings and emotions for all three characters. A wonderfully written and acted piece that gives us insight into the difficulties experienced in grief and mental well being. 

Act 2 begins with Anatomy of Desire written by Obesi Osi-Lyere and directed by Justina Alna. This piece introduces us to HER played by the brilliant Ntombizodwa Ndlovu. HER is easy to identify with, HER is desperate to be successful, loved and respected, but things aren’t smooth sailing. HER takes us on a journey through time and events that are at times quite confronting. At times the chronology is hard to follow, but the acting is powerful and the main themes are present. I think we can all identify with the hopes and dreams of HER in this highly emotive piece of theatre. 

The second piece of Act 2 is one of the highlights of this entire production: Birds Don’t Run. They Fly. This beautifully crafted script is written by Lauren-Nicole Moyes and directed by Laura Woodward. Here we meet Ashleigh (Laurie Ogden) and Helena (Kate James), two women with a connection from school, reunited at a Blackpool Park Run. This piece starts with so much humour and banter, that when we begin to peel away the layers of these women’s armour we are aghast to the hidden reality they are in. 

I found this piece moving, confronting and heartbreaking. It is so cleverly constructed by Lauren-Nicole Moyes- the use of the bird analogies throughout is inspired. Both actors deliver exceptional performances, but Ogden was truly breathtaking in her portrayal of Ashleigh: this piece will stay with me for a long time. 

And the final play is Maharani of Manchester. Written by Anshan d’souza-lodhi and directed by Gituka Buttoo. Described in the programme as  “If the Godfather was a South Asian woman with morals.” This play takes place in the wilds of Rochdale. Here we meet Maharani (Ifeoma Uzo) who is determined to take Joshua (Raphael Santiago) out into the wild to see whether he is good enough for her daughter. Joining them on the expedition is Princess (Riah Amelle) who isn’t completely unbiased! This play is fun, simple and shows us that the truth is often the best place to start. 

Vignettes 6 is an incredible evening of a diverse selection of plays. Each wonderful in its own right. It is a feast of entertainment with something for everyone. So many characters delivered by an incredibly talented group of actors. An absolute celebration of 6 playwrights, telling six very different stories. How lucky we are to have this wonderful selection of theatre here in Manchester, all on one stage together. 

Vingettes is on at Manchester’s Hope Mill Theatre until 24th April tickets available here.

The Mousetrap

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Reviewed by Dan Grimes

Opening Night verdict ⭐⭐⭐

Agatha Christie’s The Mousetrap embarked on a triumphant 70th Anniversary tour two years ago and this week it takes a welcome sojourn at The Lowry’s Lyric theatre.

The Mousetrap really needs no introduction. The play has long since passed the point where it has become a brand in its own right, having played continuously on London’s West End for almost 72 years (COVID notwithstanding). In fact, the production now has its own catchy tagline. “Have YOUdunnit?” probes the poster on the way into the auditorium, reminding me that participation in the audience is as much about being part of a collective experience as it is about enjoying a well-crafted murder mystery.  

Now, having seen the play (for the first time I might add, and without any idea at the outset of WHOdunnit) I feel as though I have been initiated into a secret society which precludes me from giving away too much of the plot. However, I think it’s safe to state that the action centres on events that take place at Monkswell Manor Guest House, a newly opened hospitality venture run by relative newlyweds Mollie and Giles Ralston (Hollie Sullivan and Barnaby Jago) and involving their intake of idiosyncratic lodgers. As news spreads of a murder in London, this group of strangers find themselves snowed in at the remote countryside location. When a fresh-faced police sergeant arrives, the guests discover – to their horror – that one of them, is in fact, the one WHATdunnit.  

This touring production, with well-paced direction from Ian Talbot and Denise Salvey, does a very solid job of bolstering the Mousetrap brand. The staging is at the same time sumptuous and robust. The set elegantly recreates the interior of an English country manor house, complete with gothic oak panelling and stone architraves. The actors work the set hard throughout with doors slammed, staircases tramped, curtains yanked, and windows clambered through. However, testament to the skill of the designers and the construction engineers, there was not even a hint of a wobble. The costumes were in-keeping with the period and each outfit was precisely chosen to enhance the characterisations. Well-cut tailoring and hard-wearing fabrics, these clothes evoked a time before fashion became disposable. The props and furniture items were equally evocative of the time and similarly high quality, with every component coming together to create an overall sense of opulent dependability.

The lighting design was simple but effective. With all the action contained within the same box set, the use of wall lighting and lamps helped punctuate the passing of time and the way the ambient lighting gradually faded as the dark winter night drew in, created the right atmosphere to frame the suspense. I especially enjoyed the care taken over the critically timed blackout at the end of Act 1 with the remaining auditorium lighting also being temporarily dimmed to enhance the depth of the blackout and add to the disorientation.  Unfortunately, sound on this occasion was less reliable, with more than one occasion when miscued microphones pulled you out of the action. I was also a little disappointed with the realism of the snow used on stage. Seeing each newly arrived character lightly dusted with snow from the imminent blizzard was initially pleasing. Unfortunately, the fact that the snow lingered a little too long on clothes when characters were stood in front of the roaring fire, and that some of the dustings appeared more like dollops was ultimately more jarring than was likely intended.  

Performances from all eight actors admirably matched the solidity of their surroundings, with each actor delivering their own well-crafted characterisation. Stand-out performances came from Shaun McCourt as the eccentrically camp Christopher Wren, Amy Spinks as the enigmatic Miss Casewell and TV stalwarts Gwyneth Strong and Todd Carty as the acerbic Mrs Boyle and bumbling Major Metcalf respectively. However, the real star of our show was Hollie Sullivan who was pulled off the understudy bench to play Mollie Ralston. Hollie looked and sounded every inch the 1950s inheritress but also managed to find a depth of emotional connection to the role that caused her to shine that little bit brighter.

Overall, this was an extremely competent production with excellent staging and well delivered performances. That being said, I was left feeling much more enrolled than entertained. I can now say that I have ‘dunnit’ and I will dutifully keep its secret locked in my heart as bid, but overall it was an experience more akin to visiting Madame Tussauds than watching an edge-of-the-seat thriller penned by the Queen of Crime. Whilst I appreciated the craftsmanship and I’m glad to have ticked it off the bucket list, it all felt a bit lacklustre in the end. Very much like the solid oak table mentioned in the script, the play is undoubtedly a genuine antique but it may now be starting to show some signs of woodworm.  

Agatha Christie’s The Mousetrap (70th Anniversary Tour) runs at The Lowry, Salford, from Monday 8th to Saturday 13th April 2024. Tickets are available here.

Peter Pan Goes Wrong

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Reviewed by Gill & Freddie Selkirk

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Mischief Theatre Company are the hilarious gift that keeps on giving, from their original offering, The Play That Goes Wrong to this current UK Tour of Peter Pan Goes Wrong it seems everything they touch turns to comedy gold.

Like the multi award-winning Play That Goes Wrong, Peter Pan Goes Wrong focusses on the Cornely Drama Society and their valiant attempt to deliver J.M. Barrie’s classic, Peter Pan, which of course gets a chaotic and calamitous Mischief Theatre makeover.

This play within a play introduces us to our cast who quite literally live and almost die by the mantra ‘the show must go on!’. With ambition that far outweighs their actual talents the scene is set for two hours of malfunctioning sets, lack of ability, faulty electrics and some painfully close near-misses as our players go about delivering their lines to hilarious effect. There are clashing egos, intense insecurities as well as unwanted affections within the company, all of which add to the glorious chaos of the piece.

Gareth Tempest portrays Jonathan who is our self-obsessed, narcissistic Peter Pan. With an eye for the ladies and an inability to fly in a straight line he continually plunges the show into absolute chaos. Wendy (a very keen to please Sandra) is played brilliantly by Ciara Morris, her enthusiasm paired with her exuberant arm waving never tire. Jack Michael Stacy, as Chris the director (who also plays Captain Hook and Mr Darling) displays a brilliant lack of self-awareness. His continued instance on treating the play as a serious piece and increased disappointment with both his fellow cast members and the audience who clearly don’t agree is genius.

Matthew Howell is superb as Robert (co-director/Nana the Dog, Peter’s shadow) with an ego bigger than Neverland he has the audience in the palm of his hand while Theo Toksvig-Stewart as Max, (playing Michael Darling/mermaid/the crocodile), has a soft-spot for Sandra and is only in the show because his uncle is financing it.

Dennis (Clark Devlin) offers some real comedy moments as he’s fed his lines through a very unreliable headset while Jamie Birkett as Annie (playing Mrs Darling, Lisa, and a superbly funny Tinkerbell) has more consume changes than a pantomime dame. Jean-Luke Worral as the narrator though blighted with technical issues, still adds a touch of sparkle every time he appears, pertified actor Lucy (Rosemarie Akwafo) has trouble finding her voice while Jake Burgum tries to keep it all together as stage manager Trevor, resulting in almost as much unforgettable stage time as the stars of the show themselves.

This really is a comic masterpiece; it’s fast pace never wanes while the gags and physical humour come thick and fast. It’s slapstick central and the audience lap it up, you’re just about recovering from one laugh when the next quickly and hilariously presents itself. Every cast member gets their moment to shine thanks to the witty writing and brilliant direction. High praise must also go to Simon Scullion’s impressive set design, its adaptability and revolve adding superbly to the carefully choreographed chaos.

Mischief Theatre have once again produced a comedy classic, which will appeal to all ages and leave you belly laughing long after the curtain call. My almost 11 year old, Freddie said it was the best thing he’s ever seen at the theatre, “I laughed from the very start to the very end, it’s ridiculously funny.”

Peter Pan Goes Wrong is on at Manchester’s Opera House until Sunday 31st March tickets are available here.

Sister Act

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

The sisters are well and truly back in the habit as they take the theatre world to heaven in this UK & Ireland tour which runs right through to the autumn. 

This musical remake of the much-loved 1992 movie tells the story of Deloris Van Cartier, (Landi Oshinowo) a sassy entertainer in downtown Philadelphia who witnesses her married boyfriend, Curtis Jackson (Ian Gareth-Jones), murder one of his motley crew. In an inspired choice Deloris is put into witness protection at a city convent where she soon starts spicing up the lives of her fellow sisters, much to the dismay of their Mother Superior (Sue Cleaver). 

This nun on the run is reborn as Sister Mary Clarence, taking us on a glorious adventure, where the black and white of convent life is gradually and often hilariously transformed into vibrant technicolour, where Delores helps the sisters to secure their future and find their own voices while offering an opportunity to discover where she fits in, in this crazy world.

Returning as the iconic Deloris Van Cartier, Landi Oshinowo is superb. She more than does justice to the role. Her voice is sensational, full of power and smooth as silk she belts out the big numbers with ease, while she delivers writers Bill and Cheri Steinkellner’s script with both style and sensitivity. Deloris’ changing relationship with Mother Superior (Sue Cleaver) is a wonderful thread that weaves throughout the story, there’s huge support for Cleaver in the audience and she convincingly shows her acting chops through the transitional journey she goes on.

Eloise Runnette makes for a hugely impressive Sister Mary Robert, she gives an authentic and memorable performance, fully immersing herself in the role as she quietly blossoms before our eyes. Special mention must also go to Alfie Parker as Eddie who comes close to stealing the show during his crowd pleasing solo, as well as nuns Sister Mary Lazarus (Julie Stark) and Sister Mary Partick (Isabel Canning) both are fantastic.

With its heavenly score from Alan Menken, Alistair David’s upbeat choreography as well as hilarious and heartwarming moments throughout, this fan favourite musical will have you praying for more. The infusions of gospel, soul, disco and Motown blend seamlessly to create a wonderfully uplifting score. While there’s a part of you that wishes they’d suddenly burst into ‘I Will Follow Him’ the group numbers more than make up for this. The ensemble pieces really elevate this show, at times when the pace begins to slow a little you know the next cleverly choreographed scene is just around the corner.

Sister Act is a hugely entertaining, camp, colourful celebration of friendship and finding one’s purpose. This enormously talented cast will raise your spirits and warm your heart with this joyful production. 

Sister Act is on at Manchester’s Palace Theatre until Saturday 30th March tickets 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/

Pretty Woman

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Following successful runs on Broadway and in London’s West End, Pretty Woman arrives in Manchester this week as part of its first ever UK tour.

The musical stays faithful to the iconic 1990 movie starring Julia Roberts and Richard Gere, much to the delight of the audience who clearly revel in the nostalgia of the familiar.

For those unfamiliar (and I can’t imagine there are many) this is a classic Cinderella story with a twist, the twist being our ‘Cinderalla’, Vivian, is a sassy sex worker on the Hollywood Boulevard and our Prince Charming, Edward, is a money motivated entrepreneur, neither are looking for love but can just about cope with a week of no strings company.

Taking on the role of Vivian Ward at tonight’s performance Paige Fenlon captures the essence of the character so iconically created by Julia Roberts brilliantly. She draws the audience in, getting them on side immediately with her warmth and wit. Her confident delivery of ‘I Can’t Go Back’ is a real highlight while her characterisation guarantees we all fall completely in love with her Vivian.

Ben Darcy makes for a wonderful Edward, ensuring the audience soon warm to him once his walls begin to come down. His vocals really shine while he makes Edward’s journey convincing and thoroughly enjoyable. The two have great on stage chemistry ensuring we’re really rooting for their happy ever after.

Previous Strictly champion Ore Oduba is a huge asset to this production as (Happy Man/Mr Thompson). A versatile performer with heaps of charisma he is a real joy to watch. Popping up when you least expect him to, each scene he delivers with a confident ease, endearing him wonderfully to this engaged audience. His pairing with Noah Harrison as bell-boy Giulio, is inspired. The talented pair really elevate this production, each scene more brilliant than the last, I wouldn’t say no to a Mr Thompson and Giulio spin-off, they are superb!

Special mention must also go to Natalie Paris who blows us away with her stunning vocals as Vivienne’s best friend, Kit De Luca. She really is a world class talent and adds to this production enormously.

Director and choreographer Jerry Mitchell ensures this faithful retelling gives fans of the film everything they’d hope for in musical form. The iconic lines are there as are the classic scenes we all know and love. The opera scene particularly is stunning with Lila Falce-Bass and Josh Damer-Jennings delivering pitch perfect performances.

Pretty Woman ticks all the boxes for a perfect night of theatre escapism. It doesn’t take itself too seriously and delivers a super fun show as a result. It will entertain, charm and uplift you, make no mistake!

Pretty Woman The Musical is on at Manchester’s Palace Theatre until Saturday 16th March, tickets available here.

The Wizard of Oz

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Continuing their ever-popular offering of half term pantos Regal Entertainment bring The Wizard of Oz to St Helens Theatre Royal this February.

This reimagined version of the 1939 Hollywood film adds plenty of panto elements to the classic story resulting in an entertaining treat for all the family.

While the Wizard of Oz isn’t traditional panto fodder this version cleverly reworks the original story ensuring there are plenty of opportunities for booing the Wicked Witch, cheering for Dorothy and shouts of ‘It’s behind you’. There’s even a blast from super soakers during the show, you have been warned!

Theatre Royal regular Maddie Hope Coelho slips perfectly into the ruby slippers. She’s a fabulous Dorothy with a voice to match as she delivers the iconic ‘Somewhere Over the Rainbow’ with effortless ease. Michael Alan-Bailey is a highly entertaining Scarecrow, his natural comedic ability is lapped up by the audience while his close to the bone jokes give the adults in the audience more than a giggle or two. Lewis Canning makes a strong professional debut as the Tin Man while Benjamin Keith’s Cowardly Lion is great fun.

Hayley Russell as Glinda and Abigail Middleton as the Wicked Witch have great banter as they bounce off each other with their rhyming sparring. Middleton laps up the boos from the audience and is clearly enjoying every minute of wickedness. While Warren Donnolly makes up the company as the wonderful Wizard of Oz.

As well as songs from the original film and various hit musicals there’s a sprinkling of modern pop songs that the little ones particularly enjoy. The use of a TikTok routine to the tune of Dua Lipa Dance the Night during the traditional ‘Ghost and Ghoulies’ scene is a big hit with my mini reviewers while a scene between the Scarecrow (Michael Alan-Bailey) and the Wicked Witch (Abigail Middleton) which uses multiple songs in response to her attempts to control him had us in stitches.

There’s strong support from both the senior and juvenile dancers who deliver Nazene Dannielle’s chorography with great enthusiasm. While Regal Entertainments Ltd costumes and lavish scenery really add to the impact of the show.

Theatre Royal once again deliver a fun-packed production that will be enjoyed by young and old alike.

The Wizard of Oz is on at St Helens Theatre Royal until Sunday 18th February tickets available here.

Noises Off

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Noises Off has arrived in Chester as part of a major UK tour following a sell-out West End run at the Phoenix Theatre. This clever play within a play follows the on and off-stage antics of a small theatre company as they attempt to bring their production of Nothing On to the stage.

As the story unfolds the audience is treated to a masterclass in farce. There are comedy mishaps a plenty, carefully choreographed calamities and superbly orchestrated chaos in this much-loved piece. First performed in 1982 this Michael Frayn play continues to bring in the audiences. It is fast paced, well delivered, and brilliantly directed.

Initially gently introducing us to the characters during their final rehearsal before their opening night, we quickly realise that director Lloyd Dallas (Simon Shepheard) well and truly has his work cut out.

Firstly, there’s Dotty Otley, (played by Liza Goddard) she has pumped a lot of her own money into the show and is keen to get things right. Next up is Garry Lejeune, (played tonight superbly by Mark Middleton), a talented actor with a simmering rage and jealous streak that may just be his and the rest of the casts undoing. Brooke Ashton (Lisa Ambalavanar) joins the cast as an inexperienced actress who will deliver her lines with gusto regardless of the mayhem that surrounds her.

They are joined by fellow cast members Belinda Blair (portrayed brilliantly by Lucy Robinson) a terrible gossip who loves to plant little seeds of scandal amongst the company. Frederick Fellows (Simon Coates) who is lacking in confidence since his wife left him but determined that the show must go on, and finally Selsdon Mowbray (Paul Bradley) whose hearing problems paired with his love of a tipple or two result in some hilarious moments in the script. There’s strong support also from backstage staff Daniel Rainford as Tim and Nikhita Lesler as Poppy.

We move from the hopeless final rehearsal in Act 1 to the back-stage antics during a mid-tour performance in Act 2 as the pressure amongst the cast and creatives nears boiling point, setting us up perfectly for a finale of fireworks. While Act 1 gently sets the scene introducing us to the players, Act 2 takes this production to another level, one that will leave you in awe of the skill and timing of this talented cast.

Director Lindsay Posner and choreographer Ruth Cooper-Brown ramp up the action in Act 2 as the cast bounce from one disaster to the next barely giving the audience time to catch their breath. Going way beyond missed lines as the carnage takes hold. This is a very traditional farce and certainly appeals to its target audience giving them exactly what they came for, laughs and plenty of them. While some of the elements may feel a little dated, scantily clad attractive female character, trousers round the ankles of male characters multiple times (and with multiple characters) and a rather stereotypical appearance from a Sheik and his wife, there’s no denying the quality of this production.

Noises Off is without doubt a comedy classic that will have audiences returning again and again. Entertaining, expertly delivered escapism.

Noises Off is on at Chester’s Storyhouse Theatre until Saturday 10th February tickets available here.

The Time Machine

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Reviewed by Dan & Jacob Grimes

Opening Night verdict ⭐️⭐️⭐️⭐️

Direct from its London festive run at Park Theatre, Original Theatre’s hit comedy The Time Machine comes to Salford to help deliver some post-Christmas cheer to audiences.

Based (very loosely) on H.G. Wells original novel by the same name the play reads like a love letter to the genre with elements from every well-known time travel tale of the last century and a quarter cleverly woven into the piece. From Groundhog Day to Back To The Future via Quantum Leap the writers Steve Canny and John Nicholson are clearly superfans of this reference material. However, despite familiar anchor points throughout, the whole thing, when put together, was constantly surprising. Without giving too much away (which I’m not sure I could, even if I wanted to) you spend most of act one feeling like you have seen this before, with elements of high farce like in The Play That Goes Wrong or gentle parody like in The 39 Steps. Yet, you enter the interval wrong-footed and act two pinballs you through a trippy fever-dream, which comes across as a combination of a Royal Society Christmas Lecture and a Monty Python sketch.

Apart from being very funny, the play is also quintessentially British and taps into that madcap, nerdy, eccentricity that we wear like a cosy cardigan, replete with leather arm patches.

The staging was simple but effective, with heavy reliance on an intricate array of props which the actors dealt with skilfully. The costumes had a cobbled-together quality, with period jackets and bustles worn over jogging bottoms and trainers, which worked perfectly for the bargain basement vibe that I’m sure the director Orla O’Loughlin and the design team were aiming for.

Light and sound had a similarly lo-fi feel but were expertly cued in sync with the comedy. The whole thing, in fact, was harmoniously well-executed and just like Acorn Antiques or Les Dawson’s piano playing you were left admiring the skill required, from performers and creatives alike, to give something the illusion of shoddiness when it was impeccably tight.

The stand-out aspect of the production, by far, was the three talented performers. This was a true ensemble piece with George (George Kemp) portraying the instantly recognisable, public-school poseur, Amy (Amy Revelle), the highly-strung rep actor with irritatingly lefty sensibilities, and Michael (Michael Dylan), the comedic stooge, acting as the butt of the joke. Whilst each of the characters fit cosily into a recognisable stereotype, the actors had an earnestness to their delivery which only added to the comedy – especially as the bizarreness crescendos. 

The supporting cast was played by the audience and be prepared, the fourth wall is well and truly knocked through. On this point, and this is primarily a personal preference issue, whilst some of the audience participants absolutely added to the delightfully bonkers feel by virtue of their pleasantly baffled demeanour, others (usually those a little TOO willing to volunteer) became a little grating. This always feels like the dice-roll when audience participation is encouraged and, credit to the performers, they did a grand job of weeding out the more insistent elements.

Overall, this was an incredibly enjoyable and unique theatre experience and if you are looking for a night of mind-bending quantum physics offset by some great gags, all-round silliness and reflections on existentialism then look no further.

Steven Canny and John Nicholson’s The Time Machine – A Comedy, runs at The Lowry, Salford, from Tuesday 23rd to Saturday 27th January 2024 tickets available here.

The National Lottery’s Big Night of Musicals

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Now a much-welcome fixture to lift the January spirits, the National Lottery’s Big Night of Musicals returned to the AO Arena in Manchester on Monday evening – bringing once again some spectacular musical theatre performances expertly compared by seasoned pro Jason Manford.

Featuring a mix of absolute classics to more modern hits, the evening was a big-budget affair that saw some of the biggest and best shows in London and on the road performing alongside a full size orchestra and host of talented singers.

Photo by Jeff Spicer/Getty Images for The National Lottery

Tanisha Spring and Dom Simpson gave an absolutely gorgeous performance of ‘Your Song‘ from the current West End hit Moulin Rouge. With thousands of mobile phones lighting up the arena, it was a really beautiful moment.

The Broadway hit Hadestown is due to open this side of the pond soon, so it was a really exciting moment getting to watch the first UK TV performance of the West End cast as they performed ‘Wait For Me’.

Photo by Jeff Spicer/Getty Images for The National Lottery

The cast of the critically-acclaimed immersive revivial of Guys & Dolls, lead by Cedric Neal as Nicely Nicely Johnson raised the roof and audiences to their feet with the brilliant number ‘Sit Down You’re Rocking the Boat’.

Daniel Boys popped down the road from the Palace Theatre to give a crowd-pleasing turn as King George III with ‘You’ll Be Back’ from Hamilton, showing again what a gift of a number for a performer that song is.

Photo by Jeff Spicer/Getty Images for The National Lottery

Another clear winner was the quartet of Jean Valjean’s from Les Miserables (Milan van Waardenburg, Alfie Boe, Killian Donnelly, Pete Jöback) singing a specially-arranged version of the beautiful ‘Bring Him Home’. 

Another iconic show performing to big cheers was The Phantom of the Opera – John Robyns and Lily Kerhoas clearly enjoying belting out the famous title number to a 12,000 audience.

Photo by Jeff Spicer/Getty Images for The National Lottery

And plenty of shows heading towards Manchester in the next few months also got a chance to show what audiences can look forward to.

Curve’s production of A Chorus Line heads to The Lowry in July, ahead of a London run, and the dazzling full company performance of the show-stopping ‘One’ was a highlight of the evening.

Photo by Jeff Spicer/Getty Images for The National Lottery

The tour of Disney’s Aladdin heads to the Palace Theatre in May and Genie Yeukayi Ushe gave a brilliantly high energy rendition of ‘Friend Like Me’.

There was also a glimpse of new musicals to look forward to this year – including 42 Balloons which comes to The Lowry in April.

Other shows performing included clear audience favourite Everybody’s Talking About Jamie, new musical Mrs Doubfire, as well as classics Grease and Wizard of Oz, both of which come to Manchester this year.

(Photo by Jeff Spicer/Getty Images for The National Lottery)

And the show also shone a welcome spotlight on the important work done by the National Lottery in funding theatres and theatre programmes around the country. Also highlighted time and time again was the important of supporting your local regional theatre.

 You can catch the show on BBC One and Iplayer this Saturday – it genuinely is a must-watch for musicals fans.

Fantastically Great Women Who Changed the World

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Fantastically Great Women is based on the book by Kate Pankhurst. Oh, that name rings a bell doesn’t it? Although not a direct descendant of The Great Emmmeline, Kate is in fact a distant relative. With connections like that it is no surprise that Kate has written about so many women in history that have changed and shaped the world. 

Director Amy Hodge and the creative team have taken Kate’s books and woven lives of these great women together through music, humour, history and plenty of pizzazz! 

In the opening scenes we meet Jade ( Georgia Grant-Anderson) who is on a school trip to a museum and gets separated from the group. Jade is going through some personal issues and is feeling vulnerable and unheard. She finds herself in the gallery of greatness, where her adventure really begins. 

She meets at array of great women, each has a lesson for Jade and gives her guidance on how she too can make an impact on the world around her.

This is hands down one of the greatest family shows I’ve seen. It’s got everything: a magnificent cast, live musicians, creative costumes, an interactive stage, catch songs, and so much more. The depiction of the characters is so imaginative and informative. We learn things while also being entertained and being able to follow a strong narrative. The whole cast is astonishingly good. 

Elena Breschi’s colourful and mesmerising performance as Frida Kahlo is truly magnificent. My 7 year old was transfixed from the moment she came onto the stage and chatted about her for the entire way home in the car.

Jennifer Caldwell, is a brilliantly enigmatic Emmeline Pankhurst, in her military gear and rapping in Deeds Not Words (my favourite number of the show). Chloe Hart is just perfect, I’m lucky enough to have seen Chloe in a few different shows and she never disappoints. Her vocals are outstanding, she is dynamic and entertaining throughout the whole show. I’m a big fan! 

Leah Vassel stole my heart as Rosa Parks, so gentle and powerful, she had us all hanging on to her every word. 

Millie Kiss is simply wonderful in her adult stage debut as Anne Frank, and Georgia Grant-Anderson is divine, she has so much talented. She carried us through the narrative from start to finish, we laughed with her, felt empathy towards her and generally just wanted to be a little bit like her. 

The cast work so well together. This is the strongest cast of this show that I have seen. And I would keep going back to see them again and again.

I loved everything about this and will be singing the songs for months to come – until, I no doubt, go and see it again. 

Every single girl, woman, and ally should go and see this show and maybe then, together we can make a little difference too. Each of us a fantastically great woman in our own right. 

Fantastically Great Women is on at The Lowry until Sunday 7th January tickets available here.

Quiz

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

If there are two types of television programmes we love: the classic quiz show and a good courtroom drama are right up there, well imagine the two combined, but live on stage. Add into the mix the fact that it’s a real life incident focusing on one of television’s most infamous moments and you have the recipe for writer James Graham’s Quiz.

First performed in 2017 and later adapted for the small screen in 2020, Quiz is part way through a nationwide tour, and has arrived at the Lowry’s Lyric Theatre this week.

This is the story of Charles Ingram or the “Coughing Major” as he was dubbed, who along with his wife Diana, and fellow contestant, Tecwen Whittock were found guilty of cheating on, Who Wants to Be a Millionaire?  following the army officer’s appearance in 2001.

The action takes place in the courtroom and at first looks at the case for the prosecution, whilst at the same time examining the genesis of the ‘millionaire’ format, that would go on to be a global phenomenon. During the trial we learn of an underground quizzing network designed to infiltrate the show’s rather lax vetting procedures, as well as several recreations to incidents from the show involving the Ingram’s and their extended family.

Following the interval we are treated to the case for the defence, where we see the Ingram’s prepare for Charles’ Who Wants to Be a Millionaire?  appearance, helped by his wife Diana, a quiz enthusiast, who encourages her husband to entertain the audience in order to remain in the millionaire hot seat. We get to see the toll the accusations and trial has on the couple, as the pair are ridiculed and abused by the press and public, as well as more direct action against them in their family home.

Writer James Graham’s has created a funny, entertaining and at times poignant show, dripping with nostalgia. It’s a mixture of great one liners and pitch perfect, absurd visual gags, the Ingram’s swatting up session being one of many highlights.

It also offers up a brutal critique on ruthless television executives and the treatment of their contestants and their audiences.  We are also given a brief history of the origins of reality television which for better or worse have become a firm fixture of our viewing habits.

The show is anchored by three superb central performances. Rory Bremner is in great form as ‘millionaire’ host Chris Tarrant, mimicking Tarrant’s facial expressions, mannerisms, and diction to perfection. On this performance alone it’s easy to see why Bremner is still regarded as one of the nation’s most revered impressionists. His casting certainly adds star power and some heft to proceedings.  Lewis Reeves gives an equally impressive turn as the awkward, shy major, at times, it’s a measured, subtle performance which helps garner sympathy and also helps to throw some shade on the trial verdict.

There is also an impressive turn from Charley Webb, making her stage debut, as Diana Ingram. Webb gives Ingram warmth and depth, playing her more as a loving wife and quiz fanatic rather than the criminal mastermind, some media outlets would have you believe at the time. It’s a surprising interpretation, but certainly one that pays dividends and more than adds to your enjoyment.

Directors Daniel Evans and Seán Linnen have created a slick, fast paced production that always entertains and engages. There is a nice touch with an interactive keypad, as we are invited to take part in the quiz ourselves, but more importantly give our judgement on the Ingram’s. The quiz element of the show certainly brought out the competitiveness of the audience in Salford, as at various times answers could be heard muttered throughout the theatre, adding to the show’s charm and authenticity.

Robert Jones’ unique stage design sees the courtroom setting seamlessly morph into television studio, complete with the Who Wants to Be a Millionaire? hot seat and dazzling studio lights, adding to the flow and tempo of the production.

This is a joyous, entertaining take on a story that for a time gripped the entire nation offering something a little different. If the question is, should you go to watch Quiz? then the response is clear “YES, and that’s my final answer!”

Quiz is on at the Lowry’s Lyric Theatre until 28th October. Tickets available at here.