Author: kristobel

Review: Jesus Hopped the ‘A’ Train at HOME

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Jesus Hopped the 'A' Train pic 01 - Alastair Gillies (Valdez) and Faz Singhateh (Lucius Jenkins)

 

 

 

 

 

 

 

 

Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐

As Childish Gambino’s This is America plays during the interval, you can’t help but notice how well timed this production of Stephen Adly Guirgis’s Jesus Hopped the ‘A’ Train by Elysium Theatre really is. Detailing the interactions of two prisoners – one on trial for murder, one already convicted – the play takes a long hard look at race, religion and violence in America, and it doesn’t like what it finds. Tragically, it was written 18 years ago but so little has changed it could have premiered yesterday.

The US flag looms large over the rear of the stage in Louis Price’s design, a constant reminder of how the country in which it is set has a huge influence on the events of the play. You would struggle to imagine it being transplanted to Britain, or anywhere else for that matter.

The acting here is excellent. The play runs for two hours with no frills to distract the audience, and all parts demand a lot from their respective performers, but every member of the cast delivers the goods. Alastair Gillies makes a skin-crawling Valdez and Danny Solomon presents Angel Cruz as one of the most well realised, three-dimensional characters I have ever seen on a stage.

Unfortunately, they are limited in what they can achieve by the writing. For what it achieves in character building, it lacks in dialogue. Several scenes spend far too long chasing their own tail, taking us around in circles and really testing the patience of the audience. The humour lands well but is too few and far between to really engage the audience and see them through the tougher moments in the play.

On the strength of the performances, I cannot help but recommend Jesus Hopped the ‘A’ Train, but be sure to take your patience with you!

-Daniel Shipman

Jesus Hopped the ‘A’ Train at HOME until Saturday 19th May 2018.

Review: Dollywould at HOME

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Dollywould at HOME
Dollywould at HOME
Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐⭐⭐

Dressed as a pair of tits (literally), Sh!t Theatre attempt to tackle topics as diverse as: ‘Dolly Parton, cloning, branding, immortality and death’ according to the flyer. This might sound like a lot of disparate material for a one-hour show, but Rebecca Biscuit and Louise Mothersole make it feel as light as a feather.

As if the show needed any more material, Dollywould is also about how far people are willing to go for their idols – a particularly hilarious section involves the two listing the expenses they racked up on their research trip/pilgrimage to Dollywood. (Having just travelled all the way to New York for a David Bowie exhibition, I can empathise.)

The heavier themes mentioned above might sound as if they have no place in a show this joyous and celebratory, but they stem from Dolly the sheep (the first mammal ever to be cloned), who was named after Dolly Parton – it might sound like a tenuous link but Biscuit and Mothersole draw out a surprising number of parallels between the two. Dolly’s many drag impersonators are cast as her clones, who have become ‘more Dolly than she is’, in the words of the show. The wigs that the duo wear look at first like especially cheap imitations of Dolly’s manicured hair-do, but time reveals them to be a nod to Dolly the sheep as much as Dolly the singer.

The two performers bring to the show such sincerity, likeability and genuine liveness that you almost feel as if you could jump up on the stage with them and they would just carry on performing around/with you. Theatre like this is anything but sh!t.

 

-Daniel Shipman

Dollywould plays at HOME until Saturday 5th May 2018.

Review: JB Shorts 19 at 53Two, Manchester

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Upstaged Reviewer: Megan Hyland
Upstaged Rating: ⭐⭐⭐⭐⭐

JB Shorts returns this year with another series of six excellent fifteen-minute short plays written by some of TV’s best writers. This year’s selection combines some intense and hilarious storylines, that capture the audienTickets are avce throughout.

I’ve Tried It Once, written by ex-Emmerdale writer Dave Simpson tells the comically honest story of Audrey (played by Victoria Scowcroft), who, after her husband’s passing, decides that it’s time to find out what she’s been missing. Featuring some outstanding character-acting from Shaun Hennessy, and a stunningly witty and sensitive performance from Scowcroft, I’ve Tried It Once is a stand-out performance that will have you laughing from start to finish.

This was followed by One of Our Boys, an intense performance about the return of injured soldier, Steve (Keaton Tyler Lansley). At times uncomfortable to watch, Lansley offers a powerful performance that grips the audience. However, the piece itself leaves some unanswered questions and ends on a rather abrupt note.

The last performance before the interval was Our Club, about two passionate football supporters, Emma (Sonia Ibrahim, Coronation Street) and Stig (Paul William Fox, The Syndicate) who just want answers from club employee, Caroline (Sandra Cole). Writer Ben Tagoe presents us with familiar characters that we can both empathise and laugh with. The characters are funny without crossing the line of becoming caricatures of working class people that are merely used for comic relief. Instead, they are likable and real.

After the interval, JB Shorts opens back up with The Stretch, by BAFTA-award winning writer Joe Ainsworth (Holby City). One of the more serious performances of the night, we follow Lee (James Lewis) along his ten-year prison sentence. Ainsworth’s writing is exceptional, written entirely in rhyme which makes the performance more impactful and emotive. Lewis is magnificent, stunning the audience with his ability to convey so much raw emotion in a mere fifteen minutes. Among the other performances of the night, it feels much more intimate and stripped back, but that’s part of its charm.

Following, James Quinn (Early Doors) returns to JB Shorts this year with Equivalent, in which he also stars as Pickering, alongside Meriel Schofield (Last Tango in Halifax) as Shirley. Pickering and Shirley are waiting in a café, while one of them tries desperately to fill the silence. What follows, while unexpected, is a hilarious and witty dialogue that makes it one of the stand-out performances of the night. Quinn’s writing flows naturally and has audience members in fits of laughter, in a nicely rounded and charming piece.

The night closes on an all time high, with a fifteen-minute adaptation of War and Peace by Peter Kerry and Lindsay Williams. This performance surprised me, as it didn’t appeal to me to begin with. However, from the moment that it began, I was completely captivated by it. Kerry and Williams – along with director, Joyce Branagh – have created a magnificently ridiculous performance that will have you laughing throughout. It is light-hearted, hilarious and completely absurd in the best possible way. The cast have remarkable comedic timing and never threaten to take themselves too seriously. The performance is side-splittingly funny and is a tremendous way to round off the night.

This year’s JB Shorts is just as unmissable as the last, showcasing some magnificent local talents in an unforgettable evening. When it comes to short plays, JB Shorts has proved once again that it really is the best of the best.

-Megan Hyland

JB Shorts 19 runs at 53Two, Manchester until 5th May 2018. Tickets are available 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: Minefield at HOME

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Minefield at HOME
Minefield
©Tristram Kenton
Reviewer: Megan Hyland
Upstaged Rating: ⭐⭐⭐⭐

In 1982, six war veterans fought on separate sides of the Falklands/Malvinas war. Now, in Minefield, they stand together on stage to tell their stories. In an honest and emotional piece that takes no sides and holds no judgement, these men explore what it means to be a veteran and the burdens that they carry.

Each of the men enters the performance with remarkable honesty. Lou Armour and Marcelo Vallejo stand out for the ways in which they bare their emotions and talk of their struggles after the war. Armour tells of how, for many years, he was haunted by the memory of an Argentine soldier that he killed. He speaks of how he could not forget holding the man in his arms, and the guilt that he felt for mourning the enemy. Vallejo tells of his struggles with addition and hatred of anything English. He speaks very candidly of how he could not abide to hear the language spoken or even watch English television shows. They all speak with such refreshing vulnerability that it is difficult not to be moved by their stories.

One aspect that adds to the honesty of this piece is that none of the men try to hide their resentment, or pretend to look upon the war with fondness. Minefield takes no moral high-ground and holds no biases, instead presenting six mean who have had a terrible, but shared experience. Because despite clinging to their principles and not having a shared language among them, there is a mutual understanding between these men that transcends all barriers.

That is not to say, however, that the performance is all hard-going. In fact, each of the men brings their own individual humour and talent to the performance. David Jackson has the audience laughing with his sharp wit and satirical performance as Margaret Thatcher, while Sukrim Rai performs a beautiful rendition of a Nepalese song. Though it has to be said that Ruben Otero’s drumming brings a new energy to the performance, as he, Gabriel Sagastume and Vallejo perform some Beatles classics in imitation of Otero’s tribute band, the Get Back Trio.

Stylistically, the performance is quite individual but beautifully put together. The men create their own sound effects to imitate the stomping of boots on gravel and explosions, invite us to leaf through Argentinian war magazines, and even project pictures of themselves from the war. It is a deeply personal portrayal of their stories but makes the performance more intimate and raw. Unfortunately, the piece came to rather an abrupt end, but this can be easily forgiven for it followed a particularly poignant musical monologue from Armour.

Minefield is a testament to the strength of these men and the breaking of the stigma that surrounds war veterans. It is refreshing to see such men talk with so much openness about the emotional consequences that they have suffered and to break down the romanticism of war that is still depicted today. This piece takes no sides, and in doing so it presents these men onstage not as opponents, but as equals. For although they were as rivals thirty-six years ago, their lives are forever intertwined, creating a comradery between them that is undeniable.

-Megan Hyland

Minefield runs at HOME until Saturday 14th April 2018 and is being performed as part of the Viva Festival 2018. Full Viva 18 listings can be found here.

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: Spring Awakening at Hope Mill Theatre, Manchester

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Adam Dawson (Hanschen) and Luke Latchman (Ernst) in Spring Awakening at Hope Mill Theatre. Michael Wharley Photography
Credit: Michael Wharley

 

Reviewer: Elise Gallagher
Upstaged Rating: ⭐⭐⭐⭐

Spring Awakening takes us to the heavily censored and silent world of 19th century Germany where we follow a group of teenagers’ journey of discovery into themselves, their feelings and the world around them, with both beautiful and tragic consequences waiting in the wings.

The musical is based upon the 1891 Frank Wedekind play of the same name which was prompted by the influx of teenage suicides plaguing Germany and its devoutly Protestant way of life at the time.

It’s controversial subject matter; exploring motifs such as sexuality, puberty, rape, abortion, child abuse and homosexuality – meaning the play was often banned or strictly censored. Sounds quite heavy, doesn’t it? I thought so too, however it was far from it. Yes, the narrative had its share of pain and despair, however these scenes are handled and performed perfectly.

The casting process of this musical consisted of invited auditions in London and an open call in Manchester. As a result of this, two shining stars of the show were discovered.

Darragh Cowley plays our forward-thinking protagonist Melchior, and steals the show with a stand-out performance as well as pitch-perfect vocals and faultless dancing to match. Jabez Sykes, who plays Moritz, gives a fantastic performance as Melchior’s conflicted friend – shockingly, Spring Awakening is both of their professional debuts, and fantastic debuts at that – they are certainly ones to watch in the future.

Nikita Johal plays Wendla, young, naive and curious. Johal delivers a brilliant performance with breathtaking vocals which opened the show. However, the strongest vocalist by far was Sophia Simoes Da Silva, whose character Anna had little story but a lot to sing about.

There is no doubt that the cast made for an incredibly strong ensemble, but I feel once some of this ensemble were put under the spotlight they showed themselves to be weak soloists for such high-impact songs.

Gabriella Slade creates a beautiful set which evolves seamlessly between the scenes (special note also goes to Nic Farman’s light design), similarly, the show would not have had half the impact it had if it were not for the tight choreography by Tom Jackson Greaves.

This is the seventh collaboration between Aria Entertainment and Hope Mill Theatre after previous successful productions such as Yank! I sincerely hope they continue to work together. Since its arrival in the city, Hope Mill Theatre has brought much needed fresh and original plays to its stage, the already high bar that Yank! left has been raised even further by the triumph that is Spring Awakening. Go and see it.

-Elise Gallagher

Spring Awakening runs at Hope Mill Theatre until Thursday the 3rd of May.

Review: The Flying Lovers of Vitebsk

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Kneehigh - The Flying Lovers of Vitebsk
Kneehigh – The Flying Lovers of Vitebsk
Upstaged Rating: ⭐⭐⭐⭐⭐

The beautifully told The Flying Lovers of Vitebsk by Kneehigh depicts the life and love of Russian-Yiddish artist Marc Chagall and his wife Bella. The love story is deliciously told and plays out against the backdrop of some of the most major historical events to happen in the twentieth century – from the Russian Revolution to the Communist pogroms and the Nazi’s systematic extermination of Jewish people.

Designer Sophia Clist has conjured up the uncertainty of the era with a climbing frame style set, slightly skewed with a sloping floor. The stage is visually striking with purple, green and yellow hues – Marc Antolin and Daisy Maywood, as Marc and Bella Chagall, move beautifully together in the space – their stylised physicality reminiscent of the weightlessness suggested in Chagall’s Expressionist paintings.

The whole story is told beautifully and vibrantly by the two actors, with two musician/ performers, Ian Ross and Andy Gow, providing a wonderfully folksy score and assisting at points throughout the show.

Perhaps the most special element of this production is the way that Emma Rice manages to weave different methods of storytelling fluidly together. The production starts with a beautifully delivered song rather as a musical would, and then manages to juxtapose direct dialogue, some wonderfully balletic sequences and some sharp visual imagery.

The Flying Lovers of Vitebsk presents a striking non-romanticised view of love and art in a stunningly sensual and passionate way. This is a truly unmissable show.

-Kristy Stott

Kneehigh’s The Flying Lovers of Vitebsk plays at HOME Manchester until Saturday 7th April 2018.

 

Review: Art at The Lowry, Salford Quays

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Art ©Matt Crockett
©Matt Crockett
Reviewer: Daniel Shipman
Upstaged rating: 

Contrary to the title, Art is not actually about art. It focuses more on the friendship between the three main characters, Serge, Marc and Yvan (Played by Nigel Havers, Denis Lawson and Stephen Tompkinson, respectively). Having known each other for 25 years, the bond between Serge, Marc and Yvan begins to disintegrate after Serge purchases a white painting for what Marc considers to be an obscene amount of money.

Under this relatively simple premise, Yasmina Reza’s play touches on friendship, aging and class as well as the titular theme of art. Reza covers these themes effortlessly, bringing to the play a lightness of touch that makes even the climactic argument joyous to watch. This is thanks, in no small part, to the gentle comedy which exists throughout the play – something which the audience seemed to adore.

All three actors carry reputations as seasoned performers and they live up to them here, although some dialogue is delivered at such impressive speed that it can be easy to lose track of what is actually being said. Despite this, all three actors put in excellent performances, crafting detailed, three-dimensional characters drawn from the rich amount of background material provided by Reza’s text.

 A word must be given to Christopher Hampton’s translation, which features some excellent comic phrasing and expertly disguises the fact that English is not the play’s first language.

 This production of Art seems mainly to cater to the older audiences drawn in by the reputations of the three stars, but there is something here for everyone who finds themselves questioning their friendships every once in a while.

-Daniel Shipman

Art runs at The Lowry, Salford Quays until Saturday 31st March 2018.