The Lowry

Review: Opera North – Fidelio at The Lowry

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Image courtesy of Opera North.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

We can finally go back inside a theatre! After 15 months of not being able to attend any indoor performances, the atmosphere among the audience at Opera North’s Fidelio is one of anticipation. What the audience lacked in numbers (due to social distancing), it made up for in enthusiasm, with passionate applause as soon as the cast took to the stage.

What the audience lacked in numbers (due to social distancing), it made up for in enthusiasm

Rather than a fully-fledged opera with costuming and set, this was more of a concert performance. In order to maintain social distancing on stage as well as in the audience, the orchestra (under conductor Paul Daniel) were out of the pit and on the stage itself, which allowed for a rare opportunity to appreciate precisely where each strain of music originated from. Between this and the lack of visual distraction, it is so much easier to appreciate Beethoven’s score here, and allow yourself to be swept along with the music.

It is perhaps wise to focus more on the music than understanding the intricacies of the plot, which are pretty absurd at times. Broadly, it follows a woman called Leonore (Rachel Nicholls) who disguises herself as a man called Fidelio and takes up a job as a jailer’s assistant, in order to infiltrate the jail and free her imprisoned husband Florestan (Toby Spence).

The small cast of just seven primary performers are all wonderful to hear live

There are various other elements to the plot, such as a love triangle between another jailer, the jailer’s daughter, and ‘Fidelio’, but these seem strangely disconnected from the main plot and serve more as distractions than anything else. I imagine this is down to the lack of proper staging, which would perhaps have served to glue the whole thing together into a more cohesive whole. Nonetheless, the small cast of just seven primary performers are all wonderful to hear live and they tie in beautifully with the orchestra.

-Daniel Shipman

Opera North: Fidelio will next play at the Royal Concert Hall in Nottingham on 19 June 2021.

REVIEW: Toast (part of Week 53) at The Lowry

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Toast at The Lowry Credit: The Other Richard
Toast at The Lowry Credit: The Other Richard

Upstaged Rating: ⭐⭐⭐⭐⭐

The theme for The Lowry’s Week 53 Festival is ‘Coming of Age’ and Toast, the award-winning food memoir by Nigel Slater, fits the bill perfectly. This moving autobiography, exploring the formative years of one of the nation’s favourite foodies, has been adapted for the stage by Henry Filloux-Bennett. Told through the eyes of a young Nigel, the playfulness of the writing translates flawlessly to stage in this striking, incredibly moving and always relatable production.
This production is beautifully sentimental and laced with nostalgia – every detail within the writing is brought out through the clever design and staging. An assortment of kitchen chairs make up the seating for the audience – jam tarts are delicately placed on each chair giving the audience an inviting welcome. Libby Watson’s set is beautifully childlike and twee as if it has been peeled from a warm and fuzzy memory. Kitchen cupboards open, shut and slide to create fluid scene changes – there really is some delicious choreography here.
All of the cast are astounding: Sam Newton (The Curious Incident of the Dog in the Night-time) is instantly likeable as Nigel and plays the part with just the right amount of precociousness. Addressing the audience directly and frequently breaking the fourth wall, Newton is utterly charming and comical. The other members of the cast play a number of characters each – Lizzie Muncey shows great emotion as Nigel’s mum at the start of the play before swiftly taking on the playful role of Nigel’s school pal and his harsh but hilarious school teacher. Marie Lawrence really shines as Aunty Fanny, with her squelchy jelly secrets, and Nigel’s detestable step-mother Joan. Stephen Ventura puts in an excellent performance as Nigel’s dad and Andy Brady plays a range of roles demonstrating his versatility as a performer.
Director Jonnie Riordan has worked with Food Director James Thompson to incorporate smell and taste into the performance and this is a complete multi-sensory triumph. There are some sweet treats for the members of the audience – no spoilers here – but there is a wonderful Walnut Whip moment.

Toast will be sure to evoke foodie memories in all of us – whether that is sherry trifle, old-fashioned corner shop sweets or Angel Delight. Food has the ability to transport us to a memory or safe place. Toast is also much more than this – it’s about love, loss, family and growing up. A beautiful production that will warm your cockles like a freshly baked jam tart.

-Kristy Stott

Toast runs at The Lowry until 2 June 2018.

Brighton Rock – Week 53 at The Lowry

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Brighton Rock - Week 53 - The Lowry
Brighton Rock 2018

Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐

The Lowry’s Week 53 festival continues with this new adaptation of Brighton Rock. The festival theme of ‘coming of age’ seems to have been stretched pretty far in the search for content – I’m not sure Pinky’s violent adolescence speak to many people as a coming of age – but that doesn’t necessarily stand in the way of a good night of theatre.

Bryony Lavery’s snappy adaptation sheds light on the character of Ida, and Gloria Onitiri does this great justice. I’ve never been a huge fan of Brighton Rock as a novel or a film, but this foregrounding of a previously smaller character made the story much more accessible. The women of the piece are given an equal footing here where in the past they have been second class characters, and the story benefits hugely.

Sara Perks’ dynamic set design is used to great effect by the cast to tour us through the parades, pubs and piers of Brighton. This is topped off by Adam McCready’s evocative sound design, which fills the gaps left by the sparse, highly moveable set. Hannah Peel’s compositions alternately complement and overwhelm the scenes which they feature in – sometimes feeling perfectly at home and at other times lending the whole piece a slightly comic, over the top atmosphere.

The first act is excellent, but after a strong start, the second act loses some of the vital pacing and soon begins to drag. It doesn’t quite spoil the evening but it certainly had me checking my watch. The show is worth a visit for the new perspective it brings to the story, but be prepared for a slow second act.

-Daniel Shipman

Brighton Rock runs at The Lowry, as part of the Week 53 Festival, until  Saturday 26th May.

Review: Hikikomori – The Shelter – Week 53 at The Lowry

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Hikikomori Création 2015 - TNG - Centre Dramatique de Lyon Mise en scène : Joris Mathieu Dispositif scénographique : Nicolas Boudier et JOris Mathieu CRéation Lumière : Nicolas Boudier
Credit: Nicolas Boudier

Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐⭐

It’s an exciting time to be a theatre goer. Technology is rapidly changing what it is possible to achieve on a stage, and companies like Haut et Court are making full use of these new opportunities with shows like Hikikomori.

The plot revolves around Nils – a teenage boy who decides to lock himself in his room – and his parents, but the plot here takes a back seat to intelligently designed atmosphere. Upon entering the theatre, audience members are given a headset which plays the interior monologue of one of the three characters, but you don’t know which until the show begins.

This lack of narrative or certainty creates a productive disorientation – it allows you to empathise with Nils’s isolation or his parents’ confusion so much more deeply than even the best acting, as you are sincerely feeling those same emotions yourself.

You quickly become invested in your assigned character – knowing only their thoughts and motivations and being forced to guess those of the other characters. This emulates the frustrations of real adolescence. My headphones were linked to Nils, and his justifications made his outlandish behaviour seemed almost normal, whilst those listening to other narratives perhaps thought he was a cruel monster to his parents.

The acting is almost secondary to this genius device, but the delicate touch which all three performers apply compliments it perfectly. Marion Talotti as the mother is a particular joy to watch. Similarly, Nicholas Thevenet’s score – a gentle hum of electronic rhythms and broken melodies – provides the ideal aural complement to the sparse set (Nicolas Boudier, Joris Mathieu).

Hikikomori is a sonic, visual and theatrical feast – the absolute best of what you want to see when you take a chance on new theatre.

-Daniel Shipman

Hikikomori runs at The Lowry’s Week 53 Festival and you can check out full festival listings here.

 

Review: Seven Inch (Week 53) at The Lowry

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Fat Roland - Seven Inch - part of Week 53 at The Lowry
Fat Roland – Seven Inch – part of Week 53 at The Lowry

Reviewer: Demi West
Upstaged Rating: ⭐⭐⭐⭐⭐

Fat Roland is a comedic onslaught of musical puns, cultural references, and audience interaction. Taking place in a single, hand-scrawled, cartoonish set, the monologue leads the audience through a narrative centred around the trials and tribulations of being a record shop owner in the digital age. Throughout the performance, we’re guided through Fat Roland’s internal debate surrounding updating his shop to something more fashionable and millennial-friendly. Slop anyone?

Before the show even begins, the audience is fascinated by the set design, which is simple but complex, the black and white squiggles being plenty to look at before the spoken-word artist comes onto the stage. The bold shapes and thick outlines on the shop’s furniture are reminiscent of something that 80s Will Smith would have rapped in front of for a music video, giving the performance an air of nostalgia. Fat Roland works in unison with the unique set design, tying in the records titles on display with his narrative, utilising everything that was visible to the audience. Whilst the set doubles as props, Roland has his own collection of 2d drawings, including realistic photos of popular celebrities, ensuring that the jokes are perfectly supplemented throughout.

The sound design for the performance works well, as it’s synchronised with the narrative and Roland’s movements. From songs that complement specific pieces of the narrative, to an advertising piece that seems too eager to wait its turn, the sounds amplify the comedic effect of the overall show and stay true to Fat Roland’s previous career as a DJ. Fat Roland holds the show together with impeccably timed reactions to the sounds being played, provoking an impressive response from the audience.

A casual mood was upheld from start to finish, with the audience being invited to answer questions, participate in pieces of the narrative, and even look after some of the props. It is clear that Fat Roland is more than familiar with performance, knowing exactly how to get the room roaring with laughter, from start to finish.

To conclude, the show is a fantastic combination of comedy, cartoons, and creativity, and is great for those looking for something uplifting and entertaining throughout. The independent nature of the show gives it a refreshing, homemade feel that makes it refreshing and engaging.

Check out full Week 53 Festival listings here.

Review: This House at The Lowry, Salford

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Credit: Johan Persson
Credit: Johan Persson

Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐⭐⭐

James Graham’s This House is a play that does not do things by halves. Set in the hung parliament of the late 1970s, it covers a wide range of themes, such as the divisive nature of party politics, and the often devastating effect of political life on the people who lead it. Similarly expansive is the variety of moods which Graham manages to cram into an evening – characters range from sympathetic portrayals of tragic figures which truly pull at the heartstrings, to out and out caricatures which break the tension and bring belly laughs to the whole theatre. Not bad for a show based around parliamentary procedure, a subject which could easily have been dull enough to cause drowsiness.

 This production, directed by Jeremy Herrin and Jonathan O’Boyle, avoids the issues that so often arise in touring productions. It never once feels like you’re receiving the ‘light’ version of the show, where extraneous elements like live music have been replaced by cheaper options like recorded sound. Quite the opposite, this show feels right at home in the Lowry’s Lyric theatre, as if in the middle of an extended run rather than a first night in one of many touring venues.

 Each and every member of the cast deserves a mention by name, but as it sprawls to 19 people, that isn’t really feasible. However, Orlando Wells deserves a special mention, whose tragi-comic portrayal of John Stonehouse had me howling with laughter and pausing for thought within the same act. The sheer amount of roles played by each performer is astounding, with most actors having more parts than I can count on one hand. Despite this, I was never once left wondering quite who was being portrayed – admittedly, the regional accents tread the line between hilarious and unforgivable at times, but they served their purpose.

 This House has aged like a fine wine. References to the original referendum on Europe, economic crisis and ‘election fatigue’ are received knowingly by an audience who has experienced them first hand. All of this contributes to the miraculous feat of making a play about events which occurred over 40 years ago feel totally contemporary and relevant.

-Daniel Shipman

This House runs at The Lowry, Salford Quays until Saturday 28th April 2018.

Review: The Little Mermaid at The Lowry, Salford Quays

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The Little Mermaid at The Lowry
The Little Mermaid at The Lowry
©Robert Day

Reviewer: Demi West
Upstaged Rating:⭐⭐⭐⭐

At first, Metta’s Little Mermaid may seem like a simplified interpretation of the Hans Christian Andersen classic, but beneath the surface lies a magical concoction of trapeze, aerial, and acrobatics. This beautiful reinvention of the popular tale presents the perfect mixture of expression through movement and vocals, whilst being engaging for all ages.

Little Mermaid is composed of a varied selection of circus arts, which harmoniously collaborate to create a mystical illustration of the classic tale. From elegant yet risky trapeze to nerve-wracking stunts, the variety of skills on display were enough to keep the audience on the edge of their seats, whilst still creating a beautiful presentation. If the spinning bodies and nimble leaps were not enough, the musical talent of the cast members was certain to leave anyone astounded. The blend of classical vocals, string instruments, and seamless acrobatics create the perfect recipe for a contemporary twist on a well-loved fairy tale.

The main and only flaw with this production is that the narrative is that of a familiar one. The story of the Little Mermaid is ripe for this style of production, thus ultimately lends itself perfectly to what unfolds visually. However, it leaves a sense of dissatisfaction as the end product feels ‘safe’ and predictable, as opposed to the effect that adaptations of other fairy tales may have had. Despite this, it was clear to see why Metta Theatre chose to illustrate the Little Mermaid, as the performance style and skills on display were expressed nicely within the narrative.

The performance is without an interval, leaving the audience submerged in the depths of the ocean, as the cast members use the graceful strength of one another to emulate the weightlessness of an underwater setting. This uninterrupted flow of plot allows the audience to experience the story as it runs its course, flawlessly moving between actions as the characters float across the stage.  Combined with the running time of seventy minutes, the continuity of Little Mermaid made for the perfect viewing experience for the children in the audience, whilst still being a spectacle that kept adults mesmerised.

This spellbinding production of Little Mermaid is the perfect blend of circus and musical theatre and is the perfect showcase for the talents of the cast. Metta’s production gave a new lease of life to the Little Mermaid story and provides an alternative viewing experience that will keep the little ones entertained throughout.

-Demi West
The Little Mermaid runs at The Lowry until Saturday 14th April 2018.

Review: The Winslow Boy at The Lowry, Salford Quays

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The Winslow Boy ©Alastair Muir
The Winslow Boy
©Alastair Muir

Reviewer: Megan Hyland
Upstaged Rating: ⭐⭐⭐⭐

Terrence Rattigan’s The Winslow Boy is a touching story of a father’s laboured fight to clear his son’s name after he is expelled from his naval college for stealing a five-shilling postal order. Based on the trial of George Archer-Shee, this production is a timeless portrayal of just how much a family will sacrifice for one another. And though the staple of the plot may seem simplistic, The Winslow Boy is, in fact, a complex tale of sacrifice, convictions and love.

Director Rachel Kavanaugh (The Wind in the Willows) has orchestrated a seamless and charming performance, inviting us into the Winslow’s microcosm of hardship and unwavering faith in the cause for good. The play is set entirely in one room of the Winslow home, which at first may seem rather limited, but in fact, makes the performance feel altogether more intimate and personal. Rather than follow titular character Ronnie Winslow to the courtroom, we hear about the outside world through the musings of the other characters, making the audience feel like another part of the family.

The cast is exceptional, bringing a new life and energy to Rattigan’s characters. Aden Gillett (The House of Eliott) commands the stage as Arthur Winslow, his bellowing voice and sharp-tongued wit capturing the audience. He begins the play as the authoritative archetype of an Edwardian father, however, he gradually breaks down this character in a beautiful portrayal of a father’s sacrifice for his son and his pride. Dorothea Myer-Bennett delivers another stand-out performance as Catherine Winslow, Ronnie’s strong-willed, suffragette sister. Told that she is fighting not one, but two lost causes – the case of her brother and women’s right to vote – no characters sacrifice more than she and her father. Myer-Bennett gives an emotionally raw performance as modern woman straddling the bridge between rigid values and change. As Catherine, she is both moving and inspiring, creating a character that still resonates and reminds us of the strength of the women that brought us where we are today.

Also to note is Michael Taylor’s beautifully meticulous set and costume design, bringing to life the Winslow’s Edwardian home and lifestyle. A particularly subtle but nice touch is how the costumes depict the Winslow’s gradually deteriorating wealth as they pump more money into the trial, as well as Arthur’s declining health. Little details such as this only add to the play’s authenticity, such as Tim Lutkin’s innovative lighting design, beautifully imitating the golden hue of a sunny afternoon in the second act.

The Winslow Boy is by no means a fast-paced production, however, it is an upliftingly charming slow-burner that is full of heart and honesty. Rattigan’s truly powerful dialogue, coupled with Kavanaugh’s subtle directing style create a piece that is undeniably touching and that audiences will not be quick to forget.

-Megan Hyland

The Winslow Boy plays at The Lowry, Salford Quays until Saturday 14th April 2018. 

Review: Ceci n’est pas Noire and Clay at The Lowry, Salford Quays

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Systems-Lab. The Lowry.
Systems-Lab. The Lowry.

Reviewer: Megan Hyland
Upstaged Rating:⭐⭐⭐

In Ceci n’est pas Noire (This is not Black), Alesandra Seutin is bold, colourful and fearless. She explores her African and European background through an innovative blend of dance, spoken word, song and theatre. She moves effortlessly around the stage, commanding every inch of it with her fluid movements and vibrant personality. She mixes humour and sincerity, drawing the audience in as she lays out the rules. However, from that moment on, attention begins to waver.

The transitions between movement and other art forms felt awkward and stilted, especially when compared to the fluidity of Seutin’s movements. And though from the start, the piece promised to be an insightful celebration of culture and belonging, the overall message was lost. Although towards the end of the piece, the message did start to be developed, the piece seemed to finish almost too abruptly, leaving the message feeling unfinished and altogether less impactful. However, there is still something to be said for the way that Seutin is unapologetically herself and the effort with which she undertakes the performance.

Clay also began very promisingly, combining the contemporary dance skills of Asha Thomas and flamenco talents of Yinka Esi Graves with the artistry of flamenco guitarist Guillermo Guillen. The synchronisation and intensity of their movements is striking, seamlessly combining their differing styles into a fiery, passionate piece. The live music of Guillermo Guillen adds feverish excitement, although even his talented strumming could not stop the performance from falling flat in places.

Once again, the overall story of the piece was lost in translation, though that is not to say that the piece was not enjoyable. It contained some particularly exciting and intricate moments, though the pace at times was lost. And although the production was not entirely seamless, the combination of the talents of Graves, Thomas and Guillen is faultless.

Despite the confusion surrounding the overall message of the two pieces and some pacing issues, the effort and commitment of these women is undeniable. Throughout both pieces, their sheer determination is clearly visible, as is their talent. This magnificent celebration of several different cultures and art forms is sharply unique.

-Megan Hyland

Ceci n’est pas Noire and Clay runs at The Bernie Grant Arts Centre, London on Saturday 17th March 2018.

Review: Opera North’s Un ballo in maschera at The Lowry, Salford

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Opera North's Un ballo in maschera
© CLIVE BARDA/ArenaPAL

Reviewer: Elise Gallagher
Upstaged Rating: ⭐⭐⭐

Opera North closed its residency at the Lowry Theatre with Un ballo in maschera, rated as one of Verdi’s best creations.

However, the UK’s relationship with the tragedy has been rather dramatic over the past decade after stagings in London were met with little praise. This is Opera North’s first production of the piece and a rather successful first draft.

The heart of the story follows King Gustavo and his doomed love triangle involving his most loyal friend, and his wife. King Gustavo is painted as a free-thinking, open-minded, kind-hearted and popular ruler, however, what makes him so is not explored. Likewise, the motivations of the conspirators out to murder him were vague – even upon revelation they had little impact and no footing which could prove either confusing or distancing to the audience.

Hannah Clark’s set was vast, its enormity further amplified by the lack of furniture, very sterile or dark in some cases. The sets and costumes melt together – dusty grey three-piece suits, belted macs, and homburg hats taking the characters away from a particular time or place. Dated, but not bound to a date.

Opera North have chosen to adopt Verdi’s original version of the text, based upon the assassination of Gustav III of Sweden at a masked ball in Stockholm.

I expected that the presence of a masked ball would ramp up the dramatics of the third act, however despite the striking plum costumes, powdered white faces and wigs, its climax felt underwhelming.

Anything but underwhelming was Richard Farnes’ conducting. The former Music Director for Opera North made a welcome return delivering a score laced with fragility and drama.

Tereza Gevorgyan gave a stellar performance as Oscar, providing very much needed light comedy in a bleak narrative. Equally as good was Phillip Rhodes who plays the role of Count Anckarström, a loyal friend turned husband hell-bent on revenge. His portrayal is weighted heavily with warmth, which I feel Rhodes struggled to shake off to convey convincing malice.

Patricia Bardon brought fortune-teller Ulrica to life, complete with beret and neck scarf. Bardon is considered a rarity these days, a true contralto. Adrienn Miksch plays the role of torn Amelia excellently, her voice intense and wide-ranging.

Opera North only have two performances left of Un ballo in maschera: the first on the 17th of March at Nottingham Theatre Royal, and the 24th of March at Newcastle Theatre Royal. It is an enjoyable performance which runs away with time.

-Elise Gallagher

Catch Opera North’s Un ballo in maschera at Nottingham Theatre Royal and Newcastle Theatre Royal later this month.