Tim Mitchell

MAME

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In the same week they celebrate their 4th birthday Hope Mill Theatre open their biggest and most ambitious show to date. Tony award-winning Broadway musical Mame hasn’t been seen in the UK since it’s original 1969 West End production starring the late, great Ginger Rodgers, but Hope Mill Theatre and Aria Entertainment don’t do things by halves. Teaming up with Ray Rackham Theatrical collectively they have created quite simply their most impressive and jaw-droppingly brilliant production since opening their doors in 2014.

Beginning in 1920’s New York City Mame Dennis really is the belle of every ball. Life truly is a banquet for Mame and her party loving friends so when her deceased brother’s 10 year old son Patrick is thrust into her care you may think the party may be over but then you haven’t met the magnificent Mame.

Even when she loses her fortune in the Wall St crash she perseveres with irrepressible positivity and her own unique sense of style, whoever let getting repeatedly fired get in the way of living their life anyway? Spanning several years through relationships, love and loss Mame captivates entirely, her exuberant soul is addictive, she thrills, delights, excites and entertains along the way.

Hope Mill Theatre has been transformed for this enchanting revival. Philip Witcomb’s design ensures that the intimate space seems to open up before your eyes as the jaw-dropping first number begins. Nick Winston’s choreography is sublime; transporting the audience from a rainy Manchester to a glittering Broadway with each full-out and fabulous number. Winston who also directed the piece leaves the audience open-mouthed at the sheer scale and brilliant of the production, it feels lavish, luxurious and deliciously decadent.

Tracie Bennett is entirely mesmerising as Mame she absolutely gives her everything to the role and is truly brilliant. Hilariously comedic one moment and utterly gut-wrenching the next her delivery of If He Walked Into My Life is spellbinding.

The pairing of Bennett and Harriet Thorpe who takes on the role of bosom buddy Vera is nothing short of iconic. They are a joy to watch as they barb off each other with booze fuelled brilliance. Tim Flavin is a suave and sophisticated Beauregard, the connection between Flavin and Bennett feels warm and genuine.

Special mention must also go to junior cast member Lochlan White who at tonight’s performance played Young Patrick. Demonstrating fine acting skills, a pitch perfect voice and the kind of charisma Mame would be proud of.

Every member of this talented cast deserves high praise. They work together in such slick harmony that each scene flows seamlessly into the next yet feels full of surprises. They deliver Nick Winston’s choreography to dazzling perfection, teamed with Tim Mitchell’s impressive lighting design and strong musical direction from Alex Parker each ensemble number packs a powerful and perfect punch.

The boldness and bravery shown by Katy Lipson of Aria Entertainment and Joseph Houston and William Whelton of Hope Mill Theatre in bringing this all-new revival to such vibrant life must be commended. How lucky we are in a Manchester to have such committed and passionate theatre makers.

Mame is an absolute triumph, dazzling, daring and utterly delightful, world-class theatre right on our doorstep. A perfectly peachy slice of theatrical heaven. Mame feels like the start of something very, very special and I for one am here for the ride!

Catch MAME at Hope Mill Theatre until Saturday 9th November tickets available here.

The Great Gatsby

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The Great gatsby, NORTHERN BALLET:Jay Gatsby; TOBIAS BATLEY,Daisy Buchanan; MARTHA LEEBOLT, Myrtle Wilson; VICTORIA SIBSON, Tom Buchanan; KENNETH TINDALL,Nick Carraway; GIULIANO CONTADINI, Jodan Baker; HANNAH BATEMAN, George Wilson; BENJAMIN MITCHELL, You

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on F. Scott Fitzgerald’s classic novel The Great Gatsby, Northern Ballet bring the roaring twenties to the Lowry’s lyric stage this week in all it’s seductive, extravagant glory.

David Nixon OBE’s ballet which first premiered in 2013 uses all the ingredients of F. Scott Fitzgerald’s lively novel to tell this vibrant narrative through impressive and expressive choreography. One thing Northern Ballet do exceptionally well it is tell a story & this exhilarating production further rubber stamps their status as dynamic and creative storytellers.

The Great gatsby, NORTHERN BALLET:Jay Gatsby; TOBIAS BATLEY,Daisy Buchanan; MARTHA LEEBOLT, Myrtle Wilson; VICTORIA SIBSON, Tom Buchanan; KENNETH TINDALL,Nick Carraway; GIULIANO CONTADINI, Jodan Baker; HANNAH BATEMAN, George Wilson; BENJAMIN MITCHELL, You

Sir Richard Rodney Bennett CBE’s musical score adds a cinematic feel to this piece offering a rich variety of sounds and styles which the Northern Ballet sinfonia deliver to perfection under the expert guidance of conductor John Pryce-Jones. So sublime is this score it feels like the dancers float from scene to scene as one delicious arrangement rolls into another.

Jérôme Kaplan’s minimalist set is lit to atmospheric perfection by Tim Mitchell as shafts of light cast dancing shadows across the stage.

This fast paced & vibrant piece does not scrimp on the spectacular, Gatsby’s soirées are the ultimate in elegance with slick delivery of tangos and charlestons from the company while the intimate pas de deux’s between Daisy and Gatsby are delivered with precision and passion by Antoinette Brooks-Daw and Ashley Dixon.

The Great gatsby, NORTHERN BALLET:Jay Gatsby; TOBIAS BATLEY,Daisy Buchanan; MARTHA LEEBOLT, Myrtle Wilson; VICTORIA SIBSON, Tom Buchanan; KENNETH TINDALL,Nick Carraway; GIULIANO CONTADINI, Jodan Baker; HANNAH BATEMAN, George Wilson; BENJAMIN MITCHELL, You

Minju Kang and Mlindi Kulashe also impress as Myrtle and her husband George while Abigail Cockrell and Harris Beattie bring a genuine poignancy to proceedings as young Daisy and young Gatsby respectively.

Northern Ballet succeed beautifully in capturing the emotion and passion of the determined Gatsby all set against a backdrop of whirling jazz, bubbling corruption and sizzling encounters. A triumphant, emotive retelling of an American classic.

The Great Gatsby is on at The Lowry until Saturday 11th May tickets available here.

There will be a post-show talk in the theatre on Fri 10 May

Chitty Chitty Bang Bang

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chitty

Last month Amazon Prime launched Jeremy Clarkson and Co’s latest offering, The Grand Tour: which in effect is three big kids getting into scrapes at home and abroad with cars. Well that isn’t too dissimilar to the plot for the Ian Fleming, penned Chitty Chitty Bang Bang. However that’s where the similarities end and quite frankly the world is a better place for it.

The 1968 film version is as much a part of Christmas as the Queen’s speech, turkey dinner and indigestion so it seems only right that this much loved classic is The Lowry’s big show for Christmas wonderfully brought to life the West Yorkshire Playhouse.

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Set in 1919 we find the rather eccentric widowed father, Caractacus Potts trying to forage enough money to save a bent and broken race-car from the scrap heap. Chitty Chitty Bang Bang has become the beloved plaything of his two children Jeremy and Jemima. However the family soon find themselves in great danger as the evil Baron and Baroness Bombast of Vulgaria also have designs on the former Grand-Prix winning race car: dispatching a couple of dodgy spies, the might of the Vulgarian navy and the truly terrifying Childcatcher. Can the Potts family save themselves and their beloved car? Will they all live happily after? Here’s hoping!

Director James Brining has the monumental task of transferring the magic of the film onto the stage and it’s fair to say he pulls it off magnificently. Aided and abetted by designer Simon Higlett and video designer Simon Wainwright, Higlett’s set design is wonderful: from the Potts family windmill house to the Baron’s fortress – they are all stunning. Wainwright’s video is first class as it manages seamlessly to transfer us from one location to the next: one minute we’re on an idyllic drive through the countryside and the next you’re involved in a gun battle at sea.

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As we all know the car is the star of the show but it is supported by some fine performances. Jason Manford in the lead as Caractacus Potts is likable as the doting father, he brings warmth and charm to the role: sometimes he grins and gurns a bit too much, maybe he was channelling his inner Dick Van Dyke, but that was Mary Poppins not Chitty Chitty Bang Bang. However Manford’s main strength lies in his singing voice: he is a very talented singer indeed highlighted in the beautiful Hushabye Mountain. Charlotte Wakefield is on good form as the fabulously named Truly Scrumptious bringing a touch of spirit and zest to the role. The on stage chemistry between the two is a joy to watch, especially during Doll on a Music Box. The Potts children are delightful, played by three teams rotating nightly they give a beautiful performance.

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There are also fine performances from Sam Harrison and Scott Paige as the Vulgarian spies Boris and Goran, both are great fun and very nearly steal the show as they get all the best lines and lots of laughs. There are some jokes which are pretty near the knuckle but will fly over the younger audience members heads and amuse the adults; they had both audience members young and old alike howling with laughter. Claire Sweeney is fabulous as Baroness Bomburst with her exaggerated accent and almighty performance of The Bombie Samba. Phill Jupitus offers a bizarre turn as Baron Bomburst: flip-flopping between over exuberance and looking completely disinterested: frequently breaking between his over the top Vulgarian accent to a dead-pan delivery. It’s not abundantly clear what he is trying to achieve by this but it certainly is what can best be described as a ‘Marmite’ performance. Jos Vantyler is outstanding as the Childcatcher, helped along with a wonderful piece of lighting from Tim Mitchell; we have a villain as wicked, as sinister and even more terrifying than the original.

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There were a few technical difficulties on the night which stopped the show for roughly 10 minutes which upset the momentum slightly, however the cast carried on like true professionals. The main problem with the show is its pacing: acts one and two are quite bloated and do become slightly drawn out at times. Whilst the ending seems slightly rushed with the payoff not justifying the lengthy build up. Overall this a good solid family fun show, filled with fun and adventure, it just needed a few more thrills and spills, it is probably not suitable for young children as it will not keep them engaged for the duration of its running time.

Judging by the impromptu audience clap-along as soon the signature Chitty Chitty Bang Bang tune is played there is plenty of love for our “fine four fender friend”, she just needs to heed the warning of those motorway signs about tiredness.

Chitty Chitty Bang Bang is on at The Lowry Theatre till the 15th Jan 2017

http://www.thelowry.com/event/chitty-chitty-bang-bang