Author: kristobel

Review: Friends for All at Z-Arts

kristobel
Friends for All at Z-Arts. Photo credit: Stephen Benny
Friends for All at Z-Arts.
© Stephen Benny
Thingstars: 

Simon Mole is an acclaimed spoken word poet and theatre-maker who built his skills on the Brighton hip-hop scene. Since becoming a father, he has tapped into younger audiences – his show, Friends for All – is aimed at ages five and up and is about having the confidence to be yourself and stand up for what you believe in.

Originally commissioned for the V&A as part of their You Say You Want a Revolution? exhibition, Friends for All tells the story of Lexi who is 8 years old and finds it hard to make new friends at school. Inspired by her grandad’s hippy stories of revolution from the 60’s, we follow Lexi as she decides to fight the powers that be – her class teacher Mr Marsh and the class bully Suzy.

Simon Mole engages with the audience from the outset and manages to keep the young audience enthralled for the whole 45-minute duration of the show. Talking to the young theatre-goers as they enter the auditorium – he immediately taps into their imaginations – and when he steps on stage, they hang onto every word. Throughout the show, Mole encourages interaction – using the audience to generate the soundscape of a school playground or participate in a simple revolutionary dance move – the little-ones in the audience really get stuck in.

Friends for All uses simple but effective video projections designed by Andrew Crofts to further illustrate the story for the young spectators. Images of Lexi, her grandad and her class at school are projected onto white blocks which are moved easily around the performance space. Pleasingly, these video projections are not too prescriptive and allow the young audience to use their imaginations and curiosity to understand the powerful yet simple narrative.

Friends for All encourages our children to hear and see for themselves, to ask questions and then seek to find their own conclusions. Performance and art is perhaps the most powerful medium that we have in encouraging change and revolution and this charming production pitches this idea perfectly to young minds.

-Kristy Stott

Friends for All is currently touring the UK. You can find full tour dates and venues on the Half Moon Theatre website.

 

 

Review: East is East at Bolton Octagon

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East is East ©Richard Davenport
East is East
©Richard Davenport
Reviewer: Karen Clough
Upstaged Rating: ⭐⭐⭐⭐⭐

Ayub Khan Din’s 1996 play, based on his own experience of growing up in a multicultural family, tells of the conflict around values, belonging and identity that characterised his youth. Set in Salford in the 1970s, yet no doubt full of current relevance, East is East follows the struggles of each family member in negotiating their place in the home and in the community.

Quintessentially Northern mother, Ella Khan (Jane Hazlegrove), strives to raise her family in the face of prejudice and ignorance and the unrealistic expectations of her husband, George (Kulvinder Ghir). Misguided, hypocritical, tyrannical, though well-intentioned, George wants his children to grow up as model Pakistani Muslims. He hasn’t reckoned for their identification with British youth and Western culture and their desire for choice. The story follows his attempts to impose Pakistani tradition on his children, to fit with a culture not entirely their own, culminating in a family battle around arranged marriage plans for his sons. Ella has her work cut out to fight her children’s corner, accommodate her husband’s wishes and find a way to keep the peace.

Within a script and performance filled with so many well-crafted characters, Jane Hazlegrove’s portrayal of Ella is a show-stealer for me. She authentically captures Ella’s earthy North Manchester, working-class resolve and spirit. Kulvinder Ghir’s pig-headed George, Claire Hackett’s look-on-the-bright-side Auntie Anne are fabulous, as are the passionate portrayals of the individual and often-boisterous Khan children (Uzair Bhatti, Jatinder Shera, Akshay Gulati, Shila Iqbal, Mitesh Soni).

It’s visually era-authentic. The set (Amanda Stoodley) compliments the Octagon’s round perfectly to give fly-on-the-wall access to life in the Khan family home. Quick set and lighting (Aideen Malone) changes transform it into the family chip shop, which works smoothly enough in a small stage space.

On a foundation of comedy and juxtaposed family dynamics, the story regularly reminds us of issues which are no laughing matter. Domestic violence, racism, Islamophobia, class and chauvinism themes run deep and regularly jolt the audience into harsh realities. Serious issues and strong sentiment are surrounded by humour, without detracting from characters’ frustrations, abuses or hardships – Khan Din doesn’t try to sugar-coat the message, but doesn’t let it overshadow themes of humanity and hope either. This warts-and-all style and relatability of themes to today’s society give East is East ongoing appeal.

This is a lively, provocative and heartening classic, written, performed and re-created (Ben Occhipinti) with charm and brutal honesty.

-Karen Clough

East is East runs at Bolton’s Octagon Theatre until Saturday 14th April 2018. 

EASTER WEEKEND: Feelgood bring their Classical Family Easter Concerts to Heaton Park

kristobel
© Manchester City Council
© Manchester City Council
Written by Freya Lewis
This Easter weekend, Heaton Park brings us a second series of Classical Family Concerts from Feelgood on the 1st and 2nd April. The brilliant cacophony of music will fill Heaton Hall once again after last year’s resounding success and will feature two classical concerts and the Music Box Children’s Show, for younger audiences.
 
Feelgood Theatre Productions was formed in 1994, and remains the Official Theatre Partner with Manchester City Council for Heaton Park, and are now well established for their unforgettable past performances.
 
The Classical Concerts will feature the Royal Northern College of Music’s singing stars (Jenny Carson as soprano, Thomas D Hopkinson as bass, and Dan McDwyer as tenor), along with the Vine Quartet, conducted by Alex Robinson, following their debut at the Cheltenham Festival.
© Feelgood Theatre
© Feelgood Theatre
The Classical Concerts will tell the tale of the Egerton family’s musical past at Heaton. Actress Fanny Kemble, a famous Hall visitor, will be played by Caroline Clegg as she unfolds the artistic musical storytelling of history. This also covers the infamous visitors of the Hall such as The Duke of Wellington, Charles Halle and Seymor Egerton’s Wandering Minstrels Orchestra that first opened at London’s Royal Albert Hall.
 
Audiences will gain the rare opportunity to wander the  ‘closed’ Heaton Hall. Exploring the building, they will reach the elegant Music Room where they will be treated to an array of music from Handel and Verdi to Gilbert and Sullivan.
 
Caroline Clegg, Artistic Director of Feelgood Theatre Productions said: “Heaton has a distinguished musical heritage and I want to celebrate it and ensure that we can build a future legacy in the park… I know classical music is not everyone’s cup of tea but those who came last year were totally immersed in the combined beauty of the hall and the music – I urge you to give it a go.”
 
The Music Box – Three Stories About Home is a brand new show, for younger audiences aged 3-10 years, by the critically acclaimed Kate Romano. A world of wonder and curiosity unfurls around the tale of a fortune teller, three children and their extravagant adventures. The Vine Quartet combine, magical storytelling with shadow play and music from Bartok to Debussy. The perfect introduction to classical music perfect – with free cupcakes and an Easter Egg Hunt.
 
These Easter Concerts mark the beginning of Feelgood’s 2018 programme in the park. The proceeds Romeo and Juliet in the summer, a Halloween Show, a very special Manchester Peace Song Cycle in November, and a new Christmas extravaganza.
CLASSICAL CONCERTS:
Sunday 1st April 3 pm & Monday 2nd April 5 pm (Duration 1 hr 20 mins)
Tickets start at £16.00/ £12.00 conc.
 
THE MUSIC BOX CHILDREN’S SHOW
Monday 2nd April 12 noon and 2 pm (Duration 50 mins)
Tickets start at £15.00 for 1 child and 1 adult.
  • Free cupcakes for all children. 
  • Tickets for both events are also available in person from Heaton Farm Centre Café (cash only). Children must be accompanied by an adult.  Children, please bring a cushion to sit on so you can sit at the front.
  • The venue is wheelchair accessible and seated.

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

kristobel
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: Frankenstein at The Royal Exchange

kristobel
Frankenstein at The Royal Exchange
Credit: Johan Persson
Upstaged Rating: ⭐⭐⭐

Frankenstein, a new adaptation written by April De Angelis, brings Mary Shelley’s sci-fi horror novel to life on the Royal Exchange’s stage. It’s been two hundred years since Mary Shelley penned the dark, gothic tale of Victor Frankenstein and his macabre creation, but it continues to captivate audiences. Danny Boyle’s production of Frankenstein at the National immediately springs to mind – now, Matthew Xia brings the ultimate tale of horror to Manchester.

Perhaps most pleasingly, there is no green body paint or bolts through the neck – and any remnants of the 1930’s Hollywood monster movies are far removed. Director Matthew remains faithful to Shelley’s original text and skillfully transfers the same narrative framing device to deliver the moments from the novel, to the stage. This works really well – the shifts in time are seamless as Victor Frankenstein ( Shane Zaza) recounts his story, an ambitious scientist and his grotesque creation, to Captain Robert Walton (Ryan Gage).

Ben Stones’ design sits somewhere within the eighteenth century – the costume designs are beautifully exciting – powdered wigs, bustles, breeches and short naval jackets. However, the main attraction and the audience’s curiosity surrounds the depiction of The Creature (Harry Attwell). A lightning bolt strikes and after a tense blackout, he is revealed to us. Swathed in layers of dusty black fabrics, he is scarred and stitched with bulging yellow eyes and tangles of hair. Asymmetric and twitching with claw-like fingers – he is uncomfortable, unloveable and perhaps too articulate.

The staging and the design are steeped in the eighteenth century, which although is pleasing to the eye, limits the production somewhat. The theatricality is present- the costumes are stunningly detailed, Johanna Town’s wonderfully nightmarish lighting design and the gore, oh the gore – severed limbs, bones and blood-stained rags. For me though, there was too little metaphor offered as a commentary on the world today and the themes which resonate strongly in modern times – ethics surrounding cloning, genetics and artificial intelligence. Nevertheless, the Royal Exchange has succeeded in bringing psychologically unnerving horror to their stage. With an underlying sense of uneasiness, Frankenstein is guaranteed to make you jump out of your skin on more than one occasion.

-Kristy Stott

Frankenstein runs at Manchester’s Royal Exchange until 14 April 2018.

Review: Rasa & Contact: Handlooms at The Alankar House of Sarees

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Handlooms at Contact
© Benji Reid
Reviewer: Daniel Shipman
Upstaged Rating:⭐⭐⭐⭐

After the success of Queer Contact festival and She Bangs the Drums, Contact continues to demonstrate that theatres don’t need a fixed location to thrive. Next up in their innovative ‘In the City’ season is Handlooms, a site-specific performance about a mother and son running a shop selling saris.

 The show begins as the audience are ushered into Alankar, a functioning sari shop on Curry Mile which last year celebrated forty years of business. As you enter the shop, having met at a restaurant just down the road, you are greeted by Neeta Sharma, (Rani Moorthy) who guides you to the audience area and encourages you to explore the shop and touch the wide variety of saris on display. Before the action has even begun, I was sold on the stunning beauty of these garments, making it so much easier to empathise with Neeta’s son Rajesh (Ashraf Ejjbair) as he espouses the beauty of the sari.

 Written by Rani Moorthy and co-produced by her Rasa theatre company, the play deals with the changing experience of British Asians, who are increasingly turning away from the sari in favour of more Western styles of dress. On a personal level, this is creating a crisis for the Sharmas as they face the demise of their family business. They take two different approaches to saving the shop, and the resulting generational conflict between Rajesh and Neeta is given added emotional weight by the fact that you are surrounded by the sights, smells and textures of an authentic environment. This kind of connection to history could not be conjured by even the most talented set designer.

 The play is performed through head-mics, enabling the actors to roam around the shop and its dressing rooms whilst still being heard. Under Alan Lane’s direction, this is used to create moments of both comedy and poignancy. An unseen fumble between Rajesh and his aunt in a dressing room is an early highlight, but this later gives way to a truly heart-wrenching conversation with an illegal immigrant who has been brought in as a backroom worker.

 Whilst Handlooms attempts to cram a lot into its short running time – I’ve mentioned nothing of the mainly unspoken sub-plot around Rajesh wearing the saris himself – it is bursting with heart and this makes it an utter joy to watch.

-Daniel Shipman

Handlooms runs until 24th March. Click here for more info and for tickets.

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.

 

Review: Opera North’s Madama Butterfly at The Lowry, Salford

kristobel
© Opera North
© Opera North
Reviewer: Karen Clough
Upstaged Rating: ⭐⭐⭐⭐

Puccini’s Madama Butterfly tells a story of the marriage between American Navy Lieutenant Pinkerton (Merunas Vitulskis) and young geisha Cio-Cio-San (Anne Sophie Duprels), or Madama Butterfly, whilst he is based in Nagasaki in 1904. To Pinkerton, it’s a marriage of convenience; his purchased bride a temporary aesthetic addition whilst in Japan. To Cio-Cio-San, it’s a marriage of true and enduring love – she readily accepts the role of subservient and dedicated wife. Madama Butterfly is a tragedy full of inequality, exploitation and unrequited love, featuring cross-continent and cross-cultural disparities. Pinkerton, charmed by the novel beauty of his 15-year-old bride, is her ‘rescuer’ from life as a poor geisha. Rejected by her community, she commits to her ‘heroic’ Western husband, with a newfound sole purpose as his love and wife.

The audience follows Butterfly’s foreseeable abandonment, denial, naivety and pain in discomfort. She dutifully waits for Pinkerton, watching every ship come and go, for 3 long years. Her pain is softened by their son (Oliver Chambers) and the idyllic delusion that Pinkerton will come back to her. She is his wife and true love, after all? The audience dreads what they know is more likely – he returns, but not to her. Worse, he returns with his ‘proper’ American wife and Butterfly is the last to know. Vitsulkis’ performance as Pinkerton is particularly strong in the final scenes, where the consequences of his flippancy and meaning of Butterfly’s love become clear upon her suicide.

Duprels gives a wonderful performance as Madama Butterfly, evoking her character’s emotions in the audience through her remarkable voice and performance. In Act II, as she excitedly prepares for Pinkerton’s return, Duprels made me hopeful he loved her too, whilst I braced myself for the predictable disappointment. This includes a beautifully constructed scene (Tim Alberry, Peter Mumford, Maxine Braham) between Butterfly and her servant, Suzuki (fantastically portrayed by Ann Taylor), who despairs as she reluctantly helps Butterfly fill the home with petals.

The audience enjoyed robust vocal and acting performances, accompanied by a first-class orchestra (David Greed, Andrew Long, Martin Pickard), across the rest of the cast. Peter Savidge’s Sharpless and Joseph Shovelton’s Goro proved especially popular.

As a newcomer to Opera, I had doubts whether I would be able to follow the story, feel entertained or engaged by the style. Opera North declare an inclusive ethos and promote their work as accessible to all – with their informal approach, simplistic set design (Hildegard Bechtler) and helpful translation displays, I think they successfully achieve this. Madama Butterfly is a captivating and moving production, go and see it and prepare to enjoy it whether you’re an Opera veteran or novice. I suggest you take tissues!

-Karen Clough

 

REVIEW: Opera North’s Don Giovanni at The Lowry, Salford

kristobel
Don Giovanni at The Lowry, Salford
Opera North’s Don Giovanni
© Robert Workman

 

Upstaged Rating:⭐⭐⭐⭐

One of Mozart’s most prominent operas, Don Giovanni thrusts into The Lowry, Salford in a masterful retelling of the story of the lascivious Don Juan. Performed as part of Opera North’s Fatal Passions season, this opera seems more relevant than ever to a modern audience, especially in light of the Harvey Weinstein sexual abuse allegations.

This legendary narrative follows the story of sleazy Don Giovanni, who defines himself by his ability to successfully seduce women. In this production, Don Giovanni is presented as a time-travelling love rat, who has the ability to travel to different eras to escape various awkward situations he manages to steer himself into. Following committing the murder of Il Commendatore, after forcefully trying to seduce his daughter, Donna Anna in the late 19th century – Don Giovanni flees the bloody scene and reappears once again in the 1950’s. Arriving in the midst of Masetto and Zerlina’s he once more causes a ruckus by making advances on the young bride. The sexual menace flees the scene and emerges in the present time 2018.

There are helpful surtitles, placed either side of the stage, to aid the audience in understanding Don Giovanni’s shift in temporality. Adding further depth to the narrative – it’s a clever device and signifies that Don Giovanni is incapable of changing his licentious ways.

William Dazeley’s Don Giovanni is twisted and cunning – I developed a real dislike for him and his antics. Don Giovanni travels with his resilient and faithful manservant, Leporello, played by John Savournin. The female performers really command in this performance – Jennifer Davis as Donna Anna and Elizabeth Atherton as Donna Elvira are both fascinating to listen to and watch. Kathryn Rudge shines as Zerlina – comically brilliant and flawless vocally as she performs a breathtaking aria while straddling her new husband.

Madeleine Boyd’s set and costume design is a real treat and frames the action perfectly. The use of puppetry and a portrait framing device adds further humour and breaks up the serious implications of Don Giovanni’s moral failure. All set to Mozart’s powerful and beautiful score,  Opera North’s Don Giovanni is a really entertaining night out for seasoned opera lovers or those, like me, who are new to the genre.

-Kristy Stott

Opera North’s Don Giovanni runs at The Lowry, Salford until Friday 9th March 2018.

Review: Circle Mirror Transformation at HOME

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© Marc Brenner
© Marc Brenner
Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐⭐

Circle Mirror Transformation is an unsatisfying play. This may seem like a strange (and harsh) way to begin a four-star review, but it is the feeling of dissatisfaction which struck me hardest as I left HOME after the show. This is not to say I didn’t enjoy it – as indicated by the favourable rating, I did. The whole cast put in understated, beautiful performances which suit Annie Baker’s writing perfectly. I just wish that the play spent less time showing us the routine of the drama games and more time allowing us to inspect the wonderfully flawed, three-dimensional characters which inhabit its world. Watching the cast finally count to ten as a group (as they have been trying to do since the opening moments) doesn’t provide the sense of catharsis that the play deserves.

 Taking place in a drama workshop in a community centre somewhere in Vermont, Baker’s play is a gentle look at human interaction. Run enthusiastically but poorly by Marty, (Amelia Bullmore) the workshops are attended by four individuals, all of whom bring more than their fair share of emotional baggage to the sessions and proceed to have these rummaged through in a way that is not healthy in front of a group of relative strangers. It is a credit to the actors that, despite not truly liking any of the characters, I can say I wish I could spend more time in their company and learn more about what is making them tick.

 As director, Bijan Sheibani ensures that the cast keep the show moving in the right direction but retains all the awkwardness one would expect in a series of drama workshops in which the participants have never met before. Samal Blak’s set design cleverly utilises mirrors to combat the seated circles which are ubiquitous to drama groups but not very friendly to an end-on stage.

 Circle Mirror Transformation is, despite its flaws, a pleasant night at the theatre made all the more enjoyable by this wonderful, sensitive production.

-Daniel Shipman

Circle Mirror Transformation runs at HOME, Manchester until Saturday 17th March 2018.