Reviewer: Ciaran Ward

Upstaged rating: ⭐⭐⭐⭐

In 2019, a gendered reimagining of Hamlet is no longer unprecedented territory within Manchester theatre: following Maxine Peake’s esteemed portrayal of the tragic hero in Sarah Frankcom’s 2014 production, such a concept has been firmly embedded within the public consciousness. As such, GirlGang Manchester’s and Unseemly Women’s all-female production does not feel particularly revolutionary. Wisely avoiding the complexities of gender swapping all the play’s characters, Kayleigh Hawkin’s direction is free to navigate and interpret the tragedy in this authentic and invigorating production.

Eve Shotton mesmerises the entire audience in her captivating performance as Hamlet; she glides effortlessly between the comedic inconstancy and the indignant ferocity that the role naturally demands. The dramatic fervour of her performance is consolidated by a strong supporting cast: the disturbed Ophelia (Maryam Ali), valiant Horatio (Sophie Giddens), and resolute Laertes (Zoey Barnes) all help to untap the play’s dramatic potential. Also worthy of note is Amy Gavin (Clown 1) who deftly sustains an impertinent bravado throughout the Gravediggers’ scene.

For those who are familiar with the layout of Hope Mill Theatre, the confined space of the stage could be seen as a hindrance for a production like Hamlet, given the intense action that takes place throughout the runtime. The production is conscious in its use – and lack of – space, with Movement Director Tilda O’Grady envisaging this problem and utilising the somewhat cramped space to her advantage. Placing characters in close proximity to each other during heated discussions and directing an increasingly erratic Hamlet to push herself into other character’s faces, emphasises the tense and provocative atmosphere that swiftly develops within the Danish court.

Though the gender of the performers did not have a significant impact upon the play, some performances in the first half did feel somewhat forced, with male characters often displaying overtly masculine mannerisms (such as manspreading when seated and gripping other male characters in a bear hug). Here, the production suffered through an almost pantomimic exaggeration where a more neutral performance would have sufficed. Thankfully, these issues became less pronounced in the second half, with the actors delivering a more comfortable and natural performance after the interval.

Discounting moments in between scenes where characters unnecessarily stride across the stage to the rhythm of Eliyana Evans’ incongruous sound design, this production of Hamlet asserts itself as the authentic, entertaining and thrilling rendition that it consciously aims to be.

-Ciaran Ward
Hamlet runs at Hope Mill Theatre until Saturday 11 May 2019.

Upstaged Rating: ⭐⭐⭐⭐⭐

2019 is the year of the West Side Story revival. Leicester Curve has announced the iconic musical as their Christmas production; Ivo van Hove is working on a Broadway reimagining with choreographer Anne Teresa De Keersmaeker and Stephen Spielberg is set to make a new film version. Proudly, Manchester’s Royal Exchange is running in front with fresh and contemporary Converse clad choreography by Aletta Collins.

Arguably West Side Story is one of the most dynamic and dazzling Broadway productions. Director Sarah Frankcom is never one to shy away from big American classics. Revered for her perceptive reimaginings of A Streetcar Named Desire, Our Town and more recently, Death of a Salesman – West Side Story is her first major musical production. And it is nothing short of a complete triumph.

Anna Fleischle’s moveable climbing frame design intelligently maximises the floor space of the Royal Exchange. This production is all about the new dance moves – beautifully balletic and loaded with emotion. Twisted. Coiled.

The casting of this production is top-notch. Mexican born Gabriela Garcia shines as Maria. Deceptively delicate and diminutive, she also shows strength, youthfulness and resilience. Andy Coxon has endless appeal as Tony. These two performers make a delightful pairing on Bernstein’s much-loved musical score. Gripping. Goosebumps.

On the night I attended, West Side Story played to a packed house with many in the audience singing and swaying along – obviously the musical score features all of the well-loved songs – ‘Maria’, ‘America’, ‘Somewhere’ and ‘Tonight’. The show came down to tumultuous applause, some tears and a well-deserved standing ovation. There aren’t many tickets left for the run (if any, I’m afraid), I just hope the Royal Exchange extend this production because it is truly fabulous.

-Kristy Stott

West Side Story plays at the Royal Exchange until 25 May.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

At first glance, a one-hour performance which claims to cover the disparate topics of bananas, capitalism, masculinity and King Kong might seem to be lacking focus a little (or a lot). The genius of Kingdom – from Barcelona-based theatre company Señor Serrano – is that these topics soon begin to seem like totally logical bedfellows.

Using a live-feed camera, a keyboard, a guitar, some microphones and a huge variety of props, the five performers create ‘cinema-in-real-time’ which is then projected on the back wall of the stage. This provides fertile territory for humour; stray limbs pass through otherwise serious shots, and bananas appear at every possible juncture. These cinematic sequences are interspersed with banana-based songs which zip through English, Spanish and Chinese lyrics seemingly at random but are always enjoyable.

The only significant downside is that viewing angles for this feat of theatrical ingenuity are highly restricted from the stalls. Whilst audience members in the circle can see what is being filmed to create the live footage, those in the stalls are confined to only seeing the resulting footage and are consequently left feeling a little excluded at times.

Despite this minor niggle, most of Kingdom manages to achieve that all too elusive balance of interesting and entertaining. Occasional sections don’t manage to achieve either, but luckily the short running time ensures that better material is always just around the corner. The show pulls out some genuinely interesting historical nuggets, frames them in intelligent ways and yet never once comes anywhere near being dry or dull.

Just once you think you’ve worked out the formula for this show, the company pull the rug from under you and end with an increasingly intense, almost ritualistic dance routine, accompanied by loud dance music, smoke and confetti cannons. You will leave the theatre wanting more. And also wanting a banana.

-Daniel Shipman

Kingdom runs at HOME Manchester until Saturday 13th April.

Upstaged Rating: ⭐⭐⭐⭐

Beauty and the Beast is certainly a ‘tale as old as time’, and in this beautiful interpretation by Birmingham Royal Ballet the magical relationship between Belle and the Beast appears more captivating than ever.

Since it was first created in 2003, David Bintley’s Beauty and the Beast has become a timeless classic in the Birmingham Royal Ballet’s repertoire. The honest and charming narrative makes it the perfect ballet for younger dance enthusiasts, and the masterful, heartfelt solos and tender pas de deux are sure to leave any audience member feeling warm and fuzzy – touched by a sprinkling of ballet magic. This fairytale production is presented as part of Bintley’s final season with the company.

Philip Prowse’s wonderfully gothic set design is ingeniously layered – opening and closing like a storybook to transform a dark, misty woodland into the interior of the Beast’s castle. The eerie lighting design by Mark Jonathan moves smoothly through the shadows of an enchanted forest to the warmth of candlelight inside the castle. Accompanied by a live orchestra with the Royal Ballet Sinfonia, Canadian composer Glenn Buhr’s specially commissioned rich musical score offers the perfect backdrop for Bintley’s animated choreography.

Yvette Knight dances Belle with elegance and vulnerability – a truly stunning performance. Brandon Lawrence’s Beast portrays muscular agility and humility. Balancing grace with storytelling – the pas de deux between Belle and the Beast are truly dazzling.

Every year, I look forward to Birmingham Royal Ballet’s performance at The Lowry and this year is no exception. With a playful dash of humour, Beauty and the Beast is sure to lift the heaviest of hearts – leaving seasoned ballet lovers and dance newbies with a spring in their step all the way home.

-Kristy Stott

Beauty and the Beast runs at The Lowry until Saturday 23 March 2019.

Reviewer: Megan Hyland

Upstaged Rating: ⭐⭐⭐⭐⭐

Fat Blokes is not your typical dance show. It’s witty, queer, honest, and uncomfortable in all the right places. It’s nothing you expect it to be, but everything that it should be. Scottee, Asad Ullah, Joe Spencer, Gez (Graham Mercer) and Sam Buttery take to the stage to tell you their stories and break down your preconceptions about what it means to be fat. They are here to bare their souls and their bodies, and they’re not apologising for either.

Director and performer Scottee has created a striking blend of personal and political, using dance and monologue to depict the performers’ experiences. The monologues in this performance are hard-hitting and powerful, from Asad’s emotional confession about his relationship with his father, to Sam’s recollection of a Soho attack that will leave you shifting in your seat. As much as the show is about pride and anger, it’s also about vulnerability. These men may command the stage with their bold personalities, but they also captivate you with raw emotion. This blend of bravado and sensitivity is carried off expertly, rather than creating a jarring jump-cut between touching personal stories and confident strutting to blaring music, Scottee has threaded this performance together so that the tone flows seamlessly.

This is not a show that takes itself too seriously, but that doesn’t mean that it’s not a show to be taken seriously. These men are not afraid to have a laugh at the audience, or at themselves, but they are not here to be laughed at. This isn’t just a show for the audience, or for fat people around the country – this is a show for them, the performers. These men are opening themselves up and exploring their relationships with their bodies night by night, guaranteeing that every show will be unique, as these relationships are ever-changing.

Fat Blokes is a breath of fresh air. These men do not hold anything back, and what I liked most about the show was the sense of comradery and friendship between them. They help and support each other throughout the performance, encouraging one another to be vulnerable but also to be proud. They laugh with one another, and help each other through the difficult moments. For some of them, this is a celebration of their body, of self-love, others are still trying to get there. And for all, it’s a big fat revolution.

-Megan Hyland

Fat Blokes runs at HOME Manchester until Saturday 23 March 2019.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

Walking up the steps of Yang Sing, a restaurant on the edge of Chinatown, it is easy to see that From Shore to Shore will be no ordinary night at the theatre. (Indeed, it’s not at the theatre at all.) The show takes interviews with Chinese people living in Britain to tell three differing life stories which are blended together to create a snapshot of contemporary Chinese identity.

These are stories that are often mined for their comedy but are here presented in a more appropriate tragi-comic tone. Mary Cooper’s writing cleverly uses signposting to historical events – such as the Cultural Revolution and Tiananmen Square protests – to help contextualise the action. This shows that the stories on display here are not stand-alone tales but are representative of more universal themes in the lives of Chinese migrants.

The play is not located in a functioning Chinese restaurant as a gimmick – the audience are served food both before and after the show. The soup, which is served just as the show begins, works as much more than a tasty treat (although it is delicious.) The characters make various references to food, and especially soup, as a source of comfort and a symbol of safety. Having just enjoyed it for ourselves, these references are so much more evocative.

Douglas Kuhrt’s lighting design breaks the action up, keeping scenes cleanly divided in the absence of any significant scenery. There are no illusions that this was ever intended to be a theatre space. The environment is far from ideal, but the cast nimbly zip between the chairs of the audiences as they enter and exit the stage and soldier on through noisy disruptions, making the best of the situation.

The show sometimes struggles with the balance between stereotypes and the reality of the lived experience of much of the Asian diaspora. Fierce parents, emotionally distant grandparents, and children put to work in takeaways, it’s all here. The opportunity to share a meal with fellow audience members at the end of the show goes some way to clearing up this problem though. One of my fellow diners said that some of the events of the show were, at times, painfully recognisable. This format of having a conversation with other audience members at the end of the show is a real triumph and adds immeasurably to the enjoyment of the evening.

It is certainly true that stories such as these are woefully under-represented in British theatre. Despite its flaws, From Shore to Shore does a good job of beginning to redress this imbalance.

-Daniel Shipman

From Shore to Shore runs at Yang Sing, Manchester until Saturday 16 March 2019 before heading to Angel Restaurant, Liverpool. For more tour dates click here.

Upstaged Rating: ⭐⭐⭐⭐⭐

Back in 2010, writer and poet Inua Ellams was handed a leaflet about a pilot project which aimed to teach barbers the very basics of counselling. And it was this concept which inspired him to write the completely brilliant Barber Shop Chronicles. Throughout the show, there is a resounding sense that Ellams depicts real African men, the men he actually met during weeks of research travelling through the African continent. And the result is a nuanced tapestry of black male lives and experiences – soulful, heart-warming and generously entertaining.

Celebratory and upbeat; political and confessional, the barber shop chair offers a degree of intimacy. Generations of African men have gathered in barber shops to put the world to rights. A place for banter and social interaction – a place to get your hair cut – but perhaps most importantly, a place to keep in touch with global goings-on.

Barber Shop Chronicles is set in six different barber shops, South London, Lagos, Johannesburg, Accra, Harare and Kampala, over the course of one day. Hopping from location to location, it explores the role of the barber shop in these African men’s lives. Perceptive and flying free from political correctness, Ellams’ dialogue is sharp and laugh-out-loud funny.

The play centres around the troubled relationship between Emmanuel (Anthony Ofoegbu), the owner of the Three Kings barbershop and Samuel (Mohammed Mansaray), a talented barber and son of Emmanuel’s oldest friend. There’s plenty of subtext going on. Samuel believes his dad was wrongly driven out of the business and his resentment builds against the compassionate Emmanuel throughout the duration of the play, revealing climactic revelations for the audience.

Every member of this dynamic cast, many playing more than one role, are utterly memorable. On the night I attended, the spontaneous laughter and standing ovation were testament to this. Demmy Ladipo was particularly hilarious as Mohammed, telling stories of his latest dalliances, holding the barber shop and the audience with his preacher style delivery. The play raises many questions around male relationships; the importance, meanings and origins of language and dialect; culture versus race; and questions of how you break-down a casting agent’s idea of ‘strong, black masculinity’.

Director Bijan Sheibani stages this spirited production wonderfully. The inclusive and affectionate atmosphere is set from the start – music pounds as audience members are invited to sit (or dance) on stage with the performers. Each change of scene is punctuated by vibrant well-choreographed pieces, chanting and song. Rae Smith’s set aids the audience’s whereabouts – a huge wire globe hangs above the stage, lighting up each different country.

Barber Shop Chronicles is a hugely impressive production. Life-affirming and vivid. Putting lives on stage which have not been seen there before. Go!

-Kristy Stott

Barber Shop Chronicles runs at the Royal Exchange Theatre until 23 March 2019.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

Igor Stravinsky’s The Rite of Spring is known for having almost caused a riot at its Parisian premiere in 1913. It was such a drastic change from anything which had come before it that the more traditional members of the audience felt they were being mocked by the jarring dynamics, competing time structures and dissonant melodies of the ballet’s score. Over 100 years later, it is precisely these qualities which make The Rite of Spring such a draw.

This evening’s production, a joint effort between Opera North and Phoenix Dance Theatre is marvellous. Under the baton of Garry Walker, the orchestra sound wonderful and bring Stravinsky’s score to life in glorious technicolour. It is at turns moving and dissonant, disturbing and triumphant. Most film music of the twentieth century owes a huge debt to this piece.

The dancers are equally skilled, bringing Jeanguy Saintus’s new choreography to the stage with the chaotic energy that the piece demands. Designed by Yann Sabra, the costumes begin in monochrome and slowly give way to small bursts of colour, cleverly echoing the visuals of spring. This is not a spring of lambs and daffodils though. Stravinsky draws on pagan rituals of sacrifice which are also associated with the season to create something which is an altogether darker affair than the usual connotations of light and rebirth which the season has.

The ballet is paired here with Gianni Schicchi, a short operetta by Puccini which is a based on an excerpt from Dante’s Divine Comedy. The paring of the two is an inspired choice. Created just a couple of years apart, the Puccini shows how much music sounded at the time, which helps to illustrate what a radical departure the orchestrations of The Rite of Spring truly were.

Puccini himself attended a performance of the first production of The Rite of Spring and declared it to be the work of a madman, but in hindsight, it has fared much better than Gianni Schicchi. This production is modern dress, with the implication that the themes of greed and love are timeless, although this is inconsistently applied which reduces the effect somewhat.

The real problem with Gianni Schicchi (aside from being placed after the superior work rather than before) is that the translations which appear on screens at either side of the stage are witless and only one level above having run the libretto through Google translate. This would be a problem anywhere but has an especially severe impact on the audience’s ability to enjoy the comedy here.

An uneven pairing then, but a thoroughly enlightening and enjoyable evening nonetheless. Both works serve as great entry points to their respective mediums, but Stravinsky’s ballet would be more likely to cultivate a new generation of fans than Puccini’s opera.

-Daniel Shipman

Opera North: The Rite of Spring/ Gianni Schicchi will visit the Theatre Royal in Newcastle on 16 March and the Theatre Royal, Nottingham on 22 March. Visit Opera North’s website for more information.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

Opera North’s new production of Mozart’s The Magic Flute takes the composer’s final opera and brings out the fantastical and often comedic elements of what can at times be a dark story – several characters contemplate suicide on stage, but this version avoids ever feeling bogged down in these darker moments.

The story follows Prince Tamino (Kang Wang) as he sets out to rescue Princess Pamina (Vuvu Mpofu) at the request of her mother, the Queen of the Night (Samantha Hay). Tamino soon discovers that the situation is not as clear cut as it first seems, but we are still granted our fairy tale happily ever after. Jeremy Sams’s English translation is witty and timeless with rhymes which frequently elicit laughs and land satisfyingly on the ear.

James Brining’s direction gives the production modern flourishes without ever feeling gimmicky. The projections, designed by Douglas O’Connell, lend a fantastical element to the events which occur on stage but the perspective is occasionally thrown off for anyone who is not sat directly facing the stage, which is a significant oversight in a production of this scale. Colin Richmond’s set opens the show brilliantly, although the re-positionable white walls which make up the set for much of the second act soon become quite tiresome and bland to look at when compared to the fantasy and variety of the first act.

As the Queen of the Night, Samantha Hay lends the production a gorgeous and powerful voice with the stage presence to match. Her delivery of one of most Mozart’s iconic arias is nothing short of breathtaking. However, the show is well and truly stolen by Papageno (Davan Ring). Despite being consigned to a sub-plot in which he is in constant pursuit of a wife, Ring elicits by far the biggest cheer at the end of the evening and it is well deserved. His comic interludes are the most enjoyable part of the performance by far.

The production is not without problems but still has the potential to be enjoyable for newcomers and seasoned opera-goers alike.

-Daniel Shipman

The Magic Flute runs at The Lowry until Saturday 9th March 2019.

Guest Reviewer: Elise Gallagher

Upstaged Rating: ⭐⭐⭐⭐⭐

Wise Children is the ultimate love letter to theatre. Complete with stars, spotlights, showgirls and Shakespeare – this is a spectacle to behold.

The date is the 23rd of April, The Bard’s birthday, but more importantly, it’s the 70th birthday of Dora and Nora Chance – living together ‘on the wrong side of the river’. Meanwhile, there’s another birthday party taking place on the other side of the river, that of the greatest actor of his generation, Melchior Hazard – who also happens to be the Chances’ father; or is he?

Wise Children is an explosion of sheer theatrical joy – celebrating all things showbusiness, family, fame, and forgiveness, but ultimately hope. With the highs of the narrative, there’s an equal share of desperate lows – death, deceit and vulnerability.

Angela Carter’s 1991 novel, illustrating a dynasty of theatrical royalty, meets its match in Artistic Director Emma Rice – who was formerly the Artistic Director of Shakespeare’s Globe. Rice’s vision brings the work to life, taking up every inch of the stage and choreographed to the second. Amongst the plethora of theatrical spectacles, Rice also adds puppetry into the mix, adding yet again, another dimension to the narrative.

It’s hard to pinpoint individual cast members performances as I adored them all. Sam Archer and Ankur Bahl were fantastic as feuding adolescent brothers. I especially loved the showgirl-era Nora and Dora, portrayed by Omari Douglas and Melissa James, who found real balance in their performances as teenage girls, high on success and stardom, but also as two very vulnerable and curious girls trying to make sense of it all. The two were sensational.

Mike Shepherd and Paul Hunter made the night’s perfect comedy double act, particularly as the show’s stagehands. Shepherd was actually sweeping the stage and adjusting one of the bulbs on the show’s starrily lit signs above the floor. Gareth Snook (Dora Chance) and Etta Murfitt (Nora Chance) made fantastic sisters, bouncing off one another with their memories.

Katy Owen as Grandma Chance completely stole the show for me. A true matriarch, complete with a purple beehive, diamante nipples, and quick wit, she was a highlight of the show for me.

It’s also important to note that this show is held together by an array of music, all of which is performed impeccably by the on-stage band (led by Ian Ross) who weave in and out of the chorus. Patrycja Kujawska, a central member of the cast, also provided musical support with her violin, whilst juggling her three other roles seamlessly.

I’d be interested to find a theatre lover who doesn’t love this show – it really has everything you’re looking for in a performance.

-Elise Gallagher

Wise Children runs at HOME Manchester until Saturday 2nd March 2019.