Punk Rock

Salford Uni

Reviewed by Matt Forrest

Opening Night verdict 2.5 Stars

Based in Salford, the Almost Theatre Company have given a platform to some super talented young actors, writers, directors and back stage crews. They have a diverse back catalogue of shows that include Rent, Sweeny Todd and Dr Faustus. Clearly, this is a company willing to take risks, and this trend is continued with their latest offering Punk Rock.

Set in the Library of a six-form college in Stockport, we are introduced to six students: some are friends, some are foes, but all have their problems. There is new girl Lilly (Verity Lynn-Williams), struggling to find her feet at a new school, her shy boyfriend (Neil Boardman) and his friend Bennett (Josh Bratherton), a bully and borderline psychopath. Then there is Cissy (Georgia Davis), Bennett’s girlfriend who is feeling the pressure from her parents to get good grades and her best friend Tanya (Charlotte McClintock), who has a crush on one of her teachers. The final pair is Chadwick (Joel Conlon), a loner but academically gifted and William (Chris Woods), the joker filled with hopes and dreams, but desperate for acceptance.

We see the class mates converse with each other, their interactions mainly having a negative impact on each of them, their circumstances and their mental health. Inevitably the constant struggle and torment that each member of the group are going through leads one of them to snap, which has devastating consequences for all concerned.

Punk Rock offers somewhat of a mixed bag; it’s a bold, unflinching play that attempts to address some of the mental health issues affecting young people today, and for that it should be commended. The cast are strong, with each one putting in decent turns as the troubled troupe. Occasionally some cast members do go slightly over-the-top in their performances and more must be made of the subtleties and nuisances of their characters for the play to have more impact. All seven-cast members (Patrick Cerra plays two supporting roles) are clearly talented and have a bright future ahead of them.

Where the production suffers is in its tone. It doesn’t get that balance between comedy and drama right. If it wants to be taken as a serious piece of theatre, then it needs to lose the jokey introduction, and decide what you want the audience to take away from the show. The script needs to be tighter as some of the dialogue is on the clunky side.

Overall, this production has good intentions and certainly deserves an audience. It is a shining example of just how much the Almost Famous Theatre Company has at their disposal.

Punk Rock is at Salford Universality Media City Campus until Saturday 9th February

 

 

Annie

Annie 2

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Nikolai Foster’s revival of family favourite musical Annie has gone from strength to strength since it first debuted at the West Yorkshire Playhouse back in 2011. With a sell-out UK tour in 2015/16 followed by an extended run in the West End plus a recent sell-out season in Toronto all safely tucked under its belt; Annie is back on the road for 2019 opening a new UK tour here in Manchester.

Set in New York during the Great Depression it is indeed a hard-knock life for 11 year old orphan Annie who finds herself living in miserable, gin-swilling Miss Hannigan’s all-girl orphanage. Consumed with a fierce determination to find her real parents Annie manages to escape the boozy clutches of Miss Hannigan when she is picked to spend Christmas at the residence of famous billionaire, Oliver Warbucks. However Miss Hannigan and her good-for-nothing brother Rooster aren’t quite done with orphan Annie and set about trying their best to get in the way of her happy ending.

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Based on Harold Gray’s Little Orphan Annie comic strips the original musical opened on Broadway in 1977, it is however the 1982 film starring Albert Finney, Bernadette Peters and Eileen Quinn that remains most firmly etched in many people’s minds. It was without doubt one of the most worn out VHS tapes in my house, my sisters and I knowing every line, my eldest sister can still be called upon to belt out a deafening rendition of ‘Rover, why not think it over?’ should the need arise. With clearly many other Annie fans at the Opera House tonight it’s a welcome relief to see that director Nikolai Foster’s production respects the audiences love for this piece and has kept the changes to a minimum. It is still packed full of unforgettable classics including Hard Knock Life, Tomorrow, Easy Street and Little Girls while Miss Hannigan remains gin-guzzlingly awful but has a new technicoloured vibrancy about it.

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Its colourful escapism is reflected in Colin Richmond’s intricate set and costume design, jigsaw pieces scattered across the set reflecting Annie’s journey as piece by piece her life and identity come together all beautifully lit by Ben Cracknell. Yes at times it is schmaltzy but heck if Annie can make the President of the United States sit up and listen just imagine what she could do if unleashed into Brexit negotiations!

A large part of what makes Annie so endearing is of course the kids in the show and they really do make this production. Taziva-Faye Katsande is a charming and confident Annie supported perfectly by Team Chrysler for this evenings press night, each girl is outstanding bursting with life and vibrant energy with little Orla McDonagh threatening to steal the show as Molly on what is her professional debut.

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Anita Dobson makes for a cranky and world weary Miss Hannigan while Alex Bourne as Daddy Warbucks transforms before our eyes from hardnosed business man to smitten adoptive father. The ensemble deliver Nick Winston’s inventive choreography with sass and style adding exuberant energy to the much-loved musical numbers.

Annie is feel-good family fun, a real celebration of courage and innocent optimism as well as a wonderful reminder to us all that when the hard knocks come we need to find our inner strength and fight back remembering what seems impossible today will look different tomorrow. Joyful family entertainment with a great story at it’s heart.

On at The Opera House until Saturday 16th February tickets available here.

 

 

 

Jersey Boys

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Being the proud winner of 57 major international awards including the Olivier Award for Best New Musical brings about a huge amount of expectation; does this current Jersey Boys tour deliver? Yes, absolutely yes, and then some, and then a little bit more, the thunderous standing ovation at Manchester’s Palace Theatre confirming this for anyone still in any doubt.

Jersey Boys tells both the on and off-stage story of the original Four Seasons; Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi who together took the world by storm, selling a whopping 175 million records worldwide as well as being inducted into the Rock and Roll Hall of Fame, all before they hit 30. This exhilarating musical leaves no stone unturned as the highs, lows, heartaches, fears, joys and the all-important music come together in one seriously sensational show.

The structure is clever with the story being divided into ‘four seasons’ each narrated in turn by a different member of the quintet; offering an opportunity for several unique versions of events making for compelling viewing.

This is no bubble-gum jukebox musical, the journey we see Franki Valli (Michael Watson), Bob Gaudio (Declan Egan), Tommy DeVito (Peter Nash covering on press night) and Nick Massi (Lewis Griffiths) go on its intense, exhilarating and absorbing, there is so much to enjoy about this show it’s difficult imaging anyone not getting swept away by this slick and stylish production.

The four leads are outstanding, their harmonies sublime as they deliver hit after hit with perfection. With an epic back catalogue including Beggin’, Sherry, Walk Like A Man, December, 1963 (Oh What a Night), Big Girls Don’t Cry, Let’s Hang On (To What We’ve Got), Bye Bye Baby, Can’t Take My Eyes Off You and Working My Way Back to You the music in this show takes some beating. The lyrics are used to progress the story while the different take from each of the boys on the same situations offers a real honesty and moves the action along nicely.

This current production written by Marshall Brickman and Rick Elice, with music by Bob Gaudio and lyrics by Bob Crewe is staged by the entire original Broadway creative team and it shows. The music alone is enough to sell the show but what you get is so much more as the emotion and energy of the piece takes hold.

Peter Nash opens the show confidently as Tommy DeVito, perfectly embodying the role, brimming with style and swagger, a commanding performance laying it out from the start that this ain’t gonna be no walk in the park. Declan Egan comes next as Bob Gaudio, charismatic, charming and brings a lot of fun to the role. Lewis Griffith’s most recently seen in Manchester as Dirty Dancing’s Jonny Castle makes for a complex and compelling Nick Massi while Michael Watson simply soars as Frankie Valli, mastering that iconic falsetto perfectly. The four leads are supported by a strong ensemble cast who help take this show to the next level, giving high-energy performances and complimenting the lead vocals beautifully.

It comes as no surprise that Jersey Boys has now been seen by over 25 million people worldwide, while the music itself is standalone brilliant add to this the sharp book and slick staging and you have the recipe for the perfect night out. Electrifying theatre which will no doubt keep the music of Frankie Valli and The Four Seasons alive for a whole new generation.

Jersey Boys runs at Manchester’s Palace Theatre until Saturday 16th February tickets available here.

 

Off Cut Festival | Manchester

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If you want to see the finest in new short plays where you as an audience member can influence which winners will be offered the opportunity to develop their piece into a fully-staged production with Manchester Actors’ Platform then get yourself down to 53two this week.

For five years, the Off Cut Festival has been one of the UK’s most successful platforms for undiscovered writing, acting and directing talent, the festival now has a new northern home and takes place between 22nd and 25th January.

Over the past few weeks, 15 brand new short plays from writers around the country have been rehearsed and reworked by Manchester’s finest up-and-coming directors and actors, ready to be performed to audiences over three nights. They will be shown over three nights with five plays performed each night, the audience will be asked to vote for their favourite plays each night. The top two from each group will then go through to be performed again on the last day of the festival, Saturday 25th January. The audience will then vote on the plays again alongside a panel of industry professionals who will also be selecting their favourites to decide the winner.

Producer Simon Naylor from Manchester Actors’ Platform and FOUNDation/53two said “OFFCUT fills a hole that has long been empty. It embraces all of the qualities we strive for in independent and fringe theatre and provides the perfect platform to showcase and launch careers alongside celebrating the brilliant spirit and bond that this city has.”

The performances have been broken down into the following groups

22nd Jan – 7:30pm

Home Fires Burning by Kevin Cuffe

Summerland by Brian Coyle

The Fish and the Sea by Jeff Nolan

Born on the Right Side by Maddie Wakeling

Grow by Gemma Langford

 

23rd Jan – 7:30pm

Home by Alexandra Keelan

Best Friends by Lewis Charlesworth

FOMO by Curtis Cole

Here We Are by Anne Price

There’s a Fly in My Room by Rachel McMurray

 

24th Jan – 7:30pm

Tortoise by Naomi Westerman

Tremble by Rob Johnston

To Sleep by Stephanie Lacey

Granola by Gemma Whiteley

Click by Chantelle Dusette

 

GRAND FINAL

25th Jan – 7:30pm

The six plays, chosen by the audience over the previous three nights, are performed again. From them, the winner of the Audience Award for Favourite Play will be developed and fully-staged at 53two.

Tickets are £8 per show

£24 for OFFCUT PASS to all 4 nights

Available here.

Unwaged tickets at £2 available every

Släpstick

 

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

 

It’s traditional this time of the year to take in a family show to keep young and old alike entertained for a couple of hours or so, with pantos a plenty and musicals on mass, you may want something a little quirky, a bit different: step forward Släpstick.

 

Släpstick are a Dutch musical theatre troupe who present a love letter to the golden age of silent cinema: Buster Keaton, Spike Jones, Laurel & Hardy, to name but a few, are all represented here. The five–man group create a musical hall experience like no other, playing well over a 100 instruments between them: all this mixed together creates a unique and original experience that will have you grinning from ear-to-ear.

 

 

The show begins when you’re queuing to get into the theatre as you meet some of the cast members in various guises. However when the show starts properly, we are introduced to a wide range of colourful comedy characters, from a fast talking American showman to an injured swan and a barbershop quintet whose numbers reduce throughout the night due to a series of unfortunate accidents. There are German versions of Bohemian Rhapsody and Up Town Funkwhich are inexplicably hilarious. 

 

The show is like an episode of Monty Python’s Flying Circus, absurd, silly and packed full of great physical and visual gags: you’re never sure where it will take you. There are call backs to previous jokes, there quite literally is something for everyone.

All five performers are super talented musicians and entertainers: there isn’t a musical instrument that these guys don’t play: from a flying double bass, to the swan egg whistle (yes you have read that correctly) – if it can make a sound, they’ll play it.

 

 

It’s not just music that makes the show but the art of playing the clown, with each member of the group involved in some fantastic physical set pieces, from an unflattering seduction scene using Italian and Spanish loves songs that pretty much turns into an episode of the much loved and much missed BBC sitcom Bottom.

 

Some routines do out-stay their welcome a little bit too much and the show could do with a slight trim off its running time, but these are minor quibbles for what is a clever, at times touching and often astonishing piece of work that will entertain young and old alike, and is the perfect Christmas show for those who fancy something a little different. The shows finale quite literally brings the house down and ends the show with a standing ovation and a huge audience pillow fight: well I did say this was something a little different!

 

Släpstick is at Home till the 22nd December tickets available here.  

 

The Nature of Forgetting

The Nature of Forgetting, credit Danilo Moroni 5

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

the nature of forgetting, credit danilo moroni

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

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

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

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From 10am on Tue 12 Jun, you can get a free child’s ticket (age 16 and under) to one of 40+ London theatre shows, including Aladdin, Bat Out Of Hell, Wicked, Brief Encounter, and Les Misérables, throughout August when you buy a full-priced adult ticket via the Kids Week website.

There are 172,000 tickets available in total (this includes adult and child tickets) through Kids Week and you can book until the offer ends on Fri 31 Aug – some shows have excluded days and the offer will end once all tickets are sold.

Last year, 104,839 tickets sold within the first 24 hours, so you’ll need to go quick if you’re after a particular performance!

There are no booking or postage fees, and you can save £11.50-£80 depending on the show and seats you choose. You can also get 50% off for up to two more children per adult, so what are you waiting for!

Head to Kids Week for further information and to check out the available shows!

 

Aspects of Love | Cast and Creatives announced

Aspects

An exciting cast and creative team has been announced for Hope Mill Theatre and Aria productions hotly-anticipated, intimate revival of Andrew Lloyd Webber’s romantic classic Aspects of Love, which runs as the award-winning Ancoats theatre from Thursday 5th July until Thursday 9th August.

The talented company of 10 includes both Olivier Award nominees and West End regulars as well as young talent making their professional debuts will be directed by Jonathan O’Boyle whose recent credits include Pippin (Hope Mill Theatre/ Southwark Playhouse, London), Hair (Hope Mill Theatre/The Vaults, London) and Resident Director of An American in Paris (Dominion Theatre, London).

Making up the cast is Kimberly Blake (Half a Sixpence, Barnum) who plays Giulietta, Jason Kajdi (Our House, Assassins), in the role of Hugo, Felix Mosse (The Rocky Horror Show) as Alex, Julia J Nagle (An American in Paris) as Elizabeth/ensemble, Minal Patel (The Secret Garden, Bend it Like Beckham) as Marcel, Jerome Pradon (Jesus Christ Superstar, Pacific Overtures – Olivier Award Nominee 2003) as George and Kelly Price (That Day We Sang, A Little Night Music – Olivier Award Nominee 2010) in the role of Rose. Making their professional debuts in the production are Rosie Cava-Beale, ensemble, Jack Churms, as Jerome/ensemble and Eleanor Walsh as Jenny/ensemble.

Following Aspects of Love at Hope Mill Theatre is The Return of the Soldier that runs from Thursday 6 to Saturday 29 September and A Christmas Story The Musical that runs from Friday 26 October to Saturday 1 December.

Tickets available here.

 

Art

Art

Opening Night verdict ⭐️⭐️⭐️

Reviewed by Matt Forrest

It’s nearly 25 years since the Yasmina Reza short play Art made its theatrical debut in Paris and judging by the anticipation and buzz around the Lyric theatre this evening, it would appear the play still has a huge drawing power. However, the big question is, is it still worth the hype and praise? Or is it a bit like the Cecilia Giménez restoration of the Fresco, and doesn’t deliver what is promised?

The plot focuses on three life- long friends, Serge, Marc and Yvan. Serge, a wealthy divorcee with a supposed penchant for modern art, decides to spend £200,000 on a painting of a white canvas. His friend Marc takes great offense by this show of extravagance.  Marc believes Serge is, either going mad, having a sly dig at him, or is just plain foolish for making such an inane purchase. Marc  enlists the help of Yvan, their down trodden people-pleasing friend to either get to the bottom of their friend’s behaviour, or at least get him onside with his assessment that the painting “is shit”.

As the debate rages between Serge and Marc, and Yvan’s piggy-in-the-middle stance on proceedings, it would appear that this rather bland, neutral piece of art exposes some home truths and harsh realities that threatens to blow the lid off their friendship once and for all.

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Art proved to be a bitter-sweet night at the theatre, with more to say about the insecurities and foibles of middle-class-white men than a critique of modern art. The script is razor-sharp, filled with stinging- barbs and some cracking set pieces that include possibly the funniest olive eating scene I have witnessed and a finale that drew loud, audible gasps from the assembled audience. The trouble is that the 2 of the 3 characters are quite loathsome and that you really don’t care about them, their friendship or the painting.

That said there is no shortage of star-power on display here: Dennis Lawson is clearly having a ball as cantankerous Marc, delivering most of the plays most venomous lines with real gusto. Nigel Havers does what he does best as the suave, extravagant Serge, a role we are all too familiar with seeing him play, but he does it so well. However the biggest applause for the night was saved for Stephen Tompkinson, whose speech mid-way through is comedy gold, and his turn as the well -meaning wet blanket Yvan very nearly steals the shows.

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Mark Thomas has created simple but effective beige set with only a few paintings and different style chairs used to show off the personality of our protagonists.

I suppose, as all Art, the idea is to challenge and debate. This piece of Art certainly does that; love it or hate you won’t forget it in a hurry that’s for sure!

Art is on at the Lowry until the 31st March tickets available here

Interview | Lloyd Gorman | The Jungle Book

JB

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

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

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

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

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

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ON: It must be great playing the baddie?

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

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

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

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

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

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ON: How did you first become involved in theatre?

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

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

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

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

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

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

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

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

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

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

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

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

 

 

Interview | Kerry Ellis | The Importance of Being Earnest

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Broadway and West End star Kerry Ellis arrives in Manchester next week with Oscar Wilde’s brilliant and hugely funny The Importance of Being Earnest in which she takes on the role of Gwendolen.

Starring alongside the legendary Gwen Taylor as the formidable Lady Bracknell, Susan Penhaligon as the luckless Miss Prism plus Downton Abbey favourite Thomas Howes as Algernon this will be Kerry’s first role in a straight play after an impressive and enormously successful 20 years in musical theatre.

We caught up with Kerry ahead of the show opening at Manchester’s Opera House on Tuesday 13th March to hear all about the play, her impressive career and her thoughts on taking on this new challenge.

ON: This is a real change for you, are you enjoying the experience?

KE: It’s the first play I’ve ever done really, I did do a short play with Trevor Nunn as a bit of a try out, but this is the first major play I’ve done and I’m really proud of it, I’m with a team of people who are just wonderful. Gwen Taylor is just a dream, the whole cast are great. To get to do an Oscar Wilde and a comedy as my first play has just been wonderful, I just love it. The audiences have been brilliant, it’s been very special so far, I’m absolutely loving it.

ON: Are you finding much difference between working on a straight play compared to a musical?

KE: Of course there’s the obvious with no music but yes it is quite different, with musicals there’s always so much going on, big sets and big ensembles, lots of music, songs to learn but with a play it’s literally you and your voice, your dialogue and just a few other people on stage with you. Essentially we’re doing the same thing and telling a story but it does feel quite different, we have different scenes which of course happens in both plays and musicals so the essence is the same but there’s definitely a difference.

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ON: From the production shots it appears the play will be traditionally staged are you enjoying wearing the costumes?

KE: They are stunning, they were made by Camden Costumes, they’ve all been tailor-made to us, the fabrics are amazing, the productions shots look great and show just how beautiful they are, I just feel very fortunate to wear them, the last time I wore costumes of this style was back when I was in My Fair Lady. My character Gwendolen is from a very well-to-do- family so they fit just perfectly with her character. The two dresses that I have are incredible and the hats, just phenomenal. Earnest does take me back to my My Fair Lady days as there definitely are some similar themes. What I love about this production is just how funny it is, the class system and the ridiculous things we do are to be laughed at, sitting in corsets drinking tea, it’s so silly really.

ON: You’re working with a hugely talented cast, have they offered any advice?

KE: Just watching them has been incredible, particularly Gwen who has just had her 79th birthday, I’m sure she won’t mind me sharing that information. To watch her work and be in a rehearsal room with somebody of such talent and experience and to watch her go through the same kind of things we all go through, the developments, the confidence on one night, the self-doubt on another night, seeing how she reacts to an audience, how much she cares about the show, watching her work has been very educational and I feel privledged to be in her presence. I know that probably sounds a bit cheesy but it really has been an incredible privilege to work with her.

ON: You’re celebrating 20 years what are you career highlights?

KE: There are so many, what’s interesting about doing this 20th anniversary tour is I didn’t even realise it had been 20 years, it was my manager who suggested calling it my 20th anniversary tour and I said ‘don’t be so ridiculous it can’t even be close to that’. Looking back over things I’ve done and asking audiences what they’ve seen me in and enjoyed it’s amazing what people come out with, things I’ve forgotten I’ve even done, I don’t know how I fitted everything in. I feel very fortunate that I’m still doing what I love doing and this anniversary tour is to celebrate that and to give something back to the people who have supported me over the years, I’m loving it. To do it alongside the play is wonderful.

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ON: What can audiences expect from your concert?

KE: A little bit of a trip down memory lane, there are some classics in there I can’t not sing Gravity and songs from We Will Rock You, but I am essentially singing lots of new things from my new Golden Days album. I’m also working on some new music with Frank Wildhorn who worked with Whitney Houston so there’s some of that in there so it’s really a celebration of then and what I’m doing now as well. I like to bring people new things and take them on a bit of a journey.

ON: After such an incredible 20 years in the industry do you have any advice for young performers?

KE: I feel very fortunate that I love doing what I do, I’ve made a passion for it and you have to as there are times like now when you’re touring and are away from your family, I’ve got two young boys so I’m away from them and my husband and I do have to make those sacrifices, you do have to love it and you have to make sacrifices for it, you have to have drive for it because it’s tough and it’s brutal and competitive and all of those things but it is the best job in the world. I don’t think you ever tire from hearing an audience reaction, people say it’s in your blood and I really do believe that. I was speaking to Brian May recently, we often talk when we’re on tour as we both understand how it feels, we were emailing the other night while he’s away in Australia and asking the silly little things like ‘how’s your hotel room?’ but it’s those things that really help when you’re away from your family.

ON: Are you looking forward to coming to Manchester?

Yes, I love Manchester, I was there not too long ago with Wonderland, I always have a great time there, the city is great, the people are wonderful and the theatres are fabulous, the shopping too of course is wonderful!

Tue 13 – Sat 17 March, Opera House tickets available here.

 

Trump – The Musical

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Trump – The Musical. 53Two Manchester

Director: Kyle Williams

Writer: Laurence Peacock

Reviewer: Matthew Forrest

The Blowfish Theatre is carving out quite the reputation for themselves: First there was Boris-The Musical, and now we have Trump – the Musical. It’s a hard task to make some of these influential people of power any more ridiculous than they are or god forbid, they may even show them in a more positive light, however writer Laurence Peacock walks the tightrope between the two and manages to create fun-filled night out.

The plot may at first seem too far-fetched to comprehend but with all that has gone on in the world, nothing would surprise me! It’s 2020 and Donald Trump (David Burchhardt) is running for election and is planning to make America great again (again!) However he has a few issues to contend with: an infatuated Vladimir Putin (Natasha Lanceley), a maniacal Kim Jong-un (Lanceley again in a dual role) and his plan to blow up the moon and of course his biggest issue: the loss of his mobile phone. Meanwhile over in the UK, which is now just England and Northern Ireland, King Nigel Farage (Kyle Williams) plans to invade Scotland, as the UK is on its uppers as a result of Brexit. Only two people can save the day: Rod (Polly Bycroft-Brown) press sectary to Trump and Roger Lavery (Laurence Peacock) Chief Minister to King Nigel: however Lavery has his own sinister agenda.

This is a political-comedy with plenty of bite poking fun at both the late and right: at times it’s absurd and a bit silly with a plot that is nonsense, but don’t let that fool you – some of the gags are bang on point: there are jokes about the treatment of disabled people, racism and immigration which are near-the-knuckle, but rather sadly aren’t too far from the truth; surely good theatre/comedy should entertain but also open up channels of debate and Trump – The Musical does that.

The ensemble cast are on great form: all over-the-top in their lampooning: Burchhardt has the easiest job of playing the narcissist Trump. He really can’t go wrong, whilst Williams is having a ball as the foul-mouthed Farage. However it’s the performances of Lanceley and Bycroft-Brown that really standout; both have a gift for comedy that shines through.

There are some great musical numbers in there, courtesy of musical director Dominic Lo, who also plays Putin’s aid Sergei. Make America Great Again! (Again!) and The New Good Old Days certainly have a satirical edge to them, but stand-out for me is Rootin’ for Putin, which is simply fantastic because of its absurdity.

Overall this is a hilarious, fun filled night out that will have you grinning throughout. A bit like an episode of the Thick of It, only laced with LSD. It’s a must for fans of musicals and satirical comedy, however if you’re easily offended still go along anyway – you’re in for a treat!

For more tour dates of Trump – The Musical visit: http://www.blowfishtheatre.weebly.com/trump.html