Author: kristobel

Review: Sunset Boulevard (The Palace Theatre, Manchester)

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Sunset Boulevard at Manchester's Palace Theatre
Sunset Boulevard at Manchester’s Palace Theatre
Guest Reviewer: Ciaran Ward
Upstaged Rating: 

Ria Jones and Danny Mac star in the Curve touring production of Sunset Boulevard, respectively portraying the faded silent film star, Norma Desmond, and the struggling Hollywood screenwriter, Joe Gillis. The musical, based on the 1950 Billy Wilder film, with music composed by Andrew Lloyd Webber, depicts the close-knit working relationship that both characters form, and the dire consequences that manifest from their alliance with each other.

Norma’s glamorous past is soon contaminated by the bleak stage lighting (designed by Ben Cracknell) and the melancholy score of ‘Once Upon a Time’ (directed by Adrian Kirk) – defining the state of depression that dominates the emotional depth of the character. A direct antithesis is provided through the bright spotlights and melodic harmonies inherent in the ‘This Time Next Year’ number, where almost all members of the ensemble cast look forward to the freedom that the future offers for their success.

The tragic underscores of Jones’ character generate a sense of heartfelt pathos among the audience. Her attachment to the past is compounded, in the narrative, through the vintage movie cameras that serve as a ubiquitous presence on stage; every time they come into focus, the audience is reminded that Norma is trapped within her former sense of stardom. Soon it becomes clear that this middle-aged woman is doomed to live in the shadow of the girl she once was, forever.

Joe’s response to this, in various moments of the play, is both cathartic and endearing. The Tango (choreographed by Lee Proud) that accompanies the ‘New Year Tango’ number, reflects the growing intimacy between the two characters and the ways in which Joe serves as a solace to the perturbed mind of Norma. Her suicidal tendencies become less pronounced as their attachment grows, with this substantiating a sense of ease and tranquillity in the conflict of the plot – one that makes the tragic climax so unanticipated.

Elements of foreboding, however, become predominant in the second act, with the detachment of Norma’s grand staircase into three distinct parts, paralleling her fractured relationship with Joe, and foreshadowing the three shots that resonate deeply in the penultimate scene. These elements provide the foundation for the iconic ‘I’m ready for my close-up’ moment in the dénouement, which Jones reinterprets to perfection, with this characterising the metamorphosis of the play, in the genre, from a musical to a tragedy.

-Ciaran Ward

Sunset Boulevard runs at Manchester’s Palace Theatre until Saturday 4th November 2017.

Review: What I Felt Whilst Under You ( Hope Mill Theatre, Manchester)

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Guest Reviewer: Megan Hyland
UPSTAGED RATING: ⭐⭐⭐⭐

In What I Felt Whilst Under You, David Gregan-Jones presents the beautifully crafted story of a husband struggling to conform to the restrictive stereotype of masculinity and a wife trapped in the tedium of suburban gossip, kid’s packed lunches and dull work parties. The play is set in Paul and Marie’s bedroom and begins with a compelling pre-show in which we watch Paul’s best kept secret unravel. But when Marie comes home early because she forgot something, she stumbles upon a side of her husband that she has never seen before. From that point onwards, we watch in real time as Marie struggles to come to terms with Paul’s secret, whilst also revealing some of her own.

Oliver Devoti gives an emotionally raw performance as Paul, breaking down the barriers of toxic masculinity and showing incredible vulnerability within the character. He is both powerful and enthralling in his delivery, drawing the audience’s empathy from the start. However, Clare Cameron certainly does not fall short here as Marie. Although as a character, Paul resonates more with the audience as he is at the forefront of the story, Cameron is equally as passionate in her execution. She brings a great depth to the character, exploring both her cynicality and sorrow. But for the play to work, the chemistry has to be there – and these two certainly have it. Whether they’re screaming at each other nose-to-nose or rolling over laughing, they tell a remarkably honest and believable tale of marriage. Their performances are so intense and intimate that at times as an audience member you almost as though you’re intruding.

The majority of praise, however, has to go to the writing. Although the set-up is simplistic – two actors and one set for an hour and twenty minutes – the story’s heart bursts through, keeping the audience gripped throughout. The play deals with a lot of heavy topics such as mental health, sexuality and toxic masculinity, but it does so delicately and masterfully with an injection of humour every so often to lighten the mood. David Gregan–Jones’ quick wit and skilful writing is at the epicentre of the play’s brilliance, though there are some pacing problems in parts where some tension-building pauses went on just slightly too long. A simple but charming detail is the subtle uses of lighting, sound and music by Liz Barker to create fireworks outside and the radio in the background. It’s not much, but it really heightens the raw emotion of the scenes.

Overall, What I Felt Whilst Under You is a compelling and elegant exploration of many modern-day issues that both men and married couples must face. In a charming little theatre in Ancoats, David Gregan-Jones will both captivate and educate you.

– Megan Hyland

What’s On: The WHY? Festival at Manchester’s Contact Theatre

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Written by freya Lewis

This Saturday 21st October, to add to an already exciting season, The Contact Theatre, renowned Mancunian creative space and home of the arts and young people, hosts the WHY? Festival in its third year of production. What’s Happening for the Young?

Jude Kelly, Artistic Director of Southbank Centre, London, brings her creation inspired by the United Nations Convention on the Rights of Children, to Manchester, offering our young people a celebration of their rights and capabilities, offering inspiration: we can make change in our world.

This hosts a range of events, involving workshops, talks, activities and debates, all discussing the rights and lives of young people. Meet activists, policy makers, inspiring young people, artists and journalists as creativity meets a hunger for social change.

This year, WHY? explores the history of protest songs and offers the opportunity to write one. It hosts a beatboxing workshop discussing gender bias. Thirty Pound Gentleman will also attend, hosting a debate surrounding Manchester’s politically radical heritage, from Anarchist-Punks to the Suffragettes.

This includes a forum for children, young people, parents, teachers and professionals to learn about and celebrate the rights of young people everywhere.

To finish the day with a bang, BAC Beatbox Academy will perform ‘Frankenstein’ exploring what it takes to make a monster in 2017 in a suitably named compilation of music and theatre. Or, Young Identity, a group of fierce Mancunian poets, will perform ‘Hatch’ perfectly capturing the fears of existentialism and our world coming to an end.

The Contact Theatre is renowned for its amazing work with marginalised groups, and it’s important to remember that the youth today are a large part of this demographic, who WHY? encourages to be excited and savvy about their environment and lifestyle.. Since the Theatre’s reinvention in 1999, the people there have worked incredibly hard to make the work better for the 13-30 year olds of Manchester.

Please visit the website below for more information, which will provide you information on the (often free) events it involves.

‘Hatch’ features at £10/£6 conc. at 7:30pm
‘Frankenstein’ features at £7/£4 conc. at 6pm
Both performances can be booked at the Contact Theatre’s box office, or from calling 01612740600 or through the Contact Theatre website.

– Freya Lewis

 

Review: Joseph and the Amazing Technicolour Dreamcoat (The Palace Theatre, Manchester)

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Guest Reviewer: Karen Clough
Upstaged Rating: 

Joseph and the Amazing Technicolour Dreamcoat, one of the first productions borne of the Andrew Lloyd-Webber and Tim Rice partnership in the 1970s, is making as colourful an appearance as you might expect at Manchester’s Palace Theatre.

The story is adapted from the Bible’s book of Genesis, in which Joseph is one of 12 sons of Jacob. Joseph, a dreamer, attracts jealousy and contempt from his brothers, who fear that their father favours him and that the gift of his coat of many colours symbolises this. When Joseph dreams he is destined to rule them, they cannot risk that it may be prophetic, so fake his death and sell him as a slave, in the hope he’ll never be seen again.

Following in the footsteps of likeable household-name ‘Josephs’ spanning four decades, Joe McElderry (of X-Factor) has stepped into Joseph’s Dreamcoat and seemed to be thoroughly enjoying it.

After a leisurely start, the large and enthusiastic cast and choir (Stagecoach Chester and Wirral choir) were revealed on a stage filled with glitz, colour and bold lighting (Sean Cavanagh, Nick Richings). The impressively co-ordinated choir brushed off a curtain malfunction with true ‘show must go on’ professionalism.

The entire script is sung, the story joined up by a vibrant and cheery-voiced narrator, Trina Hill. Within a bizarre show, the narrator helpfully keeps the audience in the loop of the story amidst a buzzing, constantly moving and singing stage crowd (Bill Kenwright, Henry Metcalfe). At times this was overwhelming, McElderry’s presence lost in the mayhem of comic inflatable sheep, Elvis (Ben James-Ellis), Egyptians, a golden motorcycle, curious handmaiden (Anna Campkin, Sallie-Beth Lawless, Gemma Pipe) wardrobe choices, Joseph’s range of skirts and, not forgetting, The Coat (Phil Murphy). McElderry did well to recover command of the stage and audience attention as the lead and gave undeniably strong renditions of the show’s best-known hits, ‘Close Every Door to Me’ and the finale ‘Any Dream Will Do’.

This is a chaotic, cheery and at times disorienting whirlwind of a show, performed by a cast who seemed to fully recognise and laugh along at the boldness and absurdity threaded through it. The youngest and oldest in the audience showed their appreciation the most. Take your children or your grandmother – they’ll be dancing in the aisle, or sitting with their hands high and their heads swaying by the end.

-Karen Clough

REVIEW: Khloé Kardashian ( The Arden School of Theatre: Waterside Theatre, Manchester)

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upstaged rating: 

The opening words of Chekhov’s play, The Three Sisters are projected at the back of the stage before we are introduced to a man in a mouse suit who calmly describes our journey to the theatre today. The Three Sisters is set in a Russian provincial town but we are sat in a black box theatre in the centre of Manchester. Devised and performed by the students at The Arden, Khloé Kardashian explores the real time and space of performance.

Working with the live-art and experimental theatre group, Sleepwalk Collective, the current cohort of the BA (Hons) Theatre and Performance at The Arden, have created a deeply profound contemporary piece, which certainly encourages the audience to search for their own narrative outside of the confines of the performance space.

Using a Christopher Brett Bailey inspired soundscape, beautifully overwhelming and uneasy at times, we are introduced to six different personas (Paul Burke, Tristan Chadwick, Lily Rae Hewitt Jasilek, Sam Lowe, Frank Macdonald and Kate Smith) – their voices are only ever heard when they speak down a microphone.

Reminiscent of Forced Entertainment, particularly Bloody Mess, the costumes worn by each of the performers suggest narratives for their personas. We have the darkly comical mouse with his deadpan delivery; we wonder if the elegant lady in the red dress is somehow connected to the dapper gentleman with the cummerbund. A pregnant F1 pit girl totters along pushing a small television into the view of the audience.  As the audience, we are encouraged to be active in drawing the dots on these fragmented narratives. The whole production is carefully and intelligently sculpted – there is always something different for the audience to cast their eye over.

Khloé Kardashian is a densely layered and poignant performance piece, occupying the space between text and performance – it seeks to deconstruct Chekhov and expose the illusion associated with such a naturalistic performance style. A props table is packed full of antiquities in stark view of the audience. One performer toasts a piece of bread before another chews on a cracker as he reels off Facebook-style memes into the microphone. Every little sound is heightened here – it feels awkward, fascinating and strangely entertaining.

As the darkness falls at the end of the performance to the sound of the haunting and relentless slow clap, I wondered if some themes could be excavated further as individual performance pieces. Such an absorbing performance with definite scope for further development.

-Kristy Stott

 

REVIEW: English National Ballet – Song of the Earth/ La Sylphide (The Palace Theatre, Manchester)

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English National Ballet: Song of the Earth/ La Sylphide © Jason Bell
English National Ballet: Song of the Earth/ La Sylphide
© Jason Bell
guest reviewer: demi west
upstaged rating: 
Ballet. One of the most renowned and beautiful cultural practices performed throughout the world. The English National Ballet (ENB) is without a doubt, one of the highest respected programmes for continuing the visibility of one of the most delightful of artistic expressions. With the longevity of excellence that the ENB has endured, one is left with a level of high expectation, and anticipation, and the ENG is creating a spectacle of ballet with its offering of not one, but two productions back to back. From the 11th to the 14th at the Manchester Palace Theatre, audiences can experience Sir Kenneth MacMillan’s much-celebrated Song of the Earth, to coincide with his 25th anniversary of his passing, and a faithfully accurate version of the 1830s classical production, La Sylphide.
The first of the two performances, Song of The Earth, is more of a contemporary production than its counterpart of the night. It offers a more primal show, one that is stripped down to its bare bones, with its lack of set design and modest costume, this story is told through the basics; movement and sound. What it managed to do with this, however, was to create a mesmerising, simple, yet complex narrative that beautifully fused the very fundamental essence of what ballet is; dance. The music of Mahler’s song cycle, Das Lied von der Erde, performed live by the English National Ballet Philharmonic, harmonised perfectly with the sequences unfolding on stage, sequences that present not just the beauty of movement, but the pure power, stamina and discipline of the art form itself.  All of these elements come together to create a compelling story of, life, death and renewal, through three central characters, a Woman, A Man, and an ‘enigmatic Messenger’, in a show of pure expressionism through sensational audible visuality.
The second of the performances, La Sylphide, is a classical ballet, and what we have come to expect. However, that is not to say this is without merit, as it achieves to create a beautiful show, with lavish, outstanding set designs, enhanced by the sensational costume design, all encompassed by the breath-taking performances and musicianship.  What is witnessed, is a story of love, fantasy, humour and tragedy, which aforementioned is all held together by the truly impeccable work of the ENB. Not one element of the show is the star, the production itself is the star – a platform showcasing some of the most spectacular talent a stage has shown. What was created is something to be proud of, and I celebrate what the ENB has achieved with this show, and highly recommend that you try to see it whilst you can.
-Demi West
ENB’s Song of the Earth/ La Sylphide runs at Manchester’s Palace Theatre until Saturday 14th October 2017.

REVIEW: Son of a Preacher Man (Palace Theatre, Manchester)

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Son of a Preacher Man. (Image may be subject to copyright).
Son of a Preacher Man.
(Image may be subject to copyright).
Reviewer: Megan Hyland
upstaged Rating: ⭐⭐

Son of a Preacher Man is jukebox musical featuring the hits of 60’s songstress Dusty Springfield – written by Warren Brown and choreographed by Strictly Come Dancing judge Craig Revel Horwood. It tells the story of three heart-broken strangers trying to find solace in the site of the former record store the Preacher Man. However, instead of the wise and charismatic Preacher Man that once owned the store, they are met with his introverted son, Simon. But is there enough of his father’s knowledge in him to help these lovesick strangers get their lives back on track?


Diana Vickers of X Factor fame stars as Kat, a young woman that is grieving the loss of her gran. And while Vickers cannot be faulted in terms of singing ability, her acting performance felt forced and awkward. However, this could simply be due to the overall dry nature of the writing, as each of the characters were as remarkably bland as one another, no matter how hard the cast tried to inject personality into them. The musical featured quite a promising cast, with Debra Stephenson (Coronation Street), Ian Reddington (Doctors and Shameless) and Michael Howe starring alongside Vickers, though even the talent of the cast could not save this uninspiring production.


For a story that centres around love, Son of a Preacher Man paints a very superficial and idyllic picture of relationships, not only this, but their love stories lack the heart and passion of Dusty’s music, with the sentiments of her songs are often lost in the way that they are forced into scenes. The scenes themselves felt disjointed and somewhat unfinished, with many of them lacking a climax or focus, often relying on cheap laughs such as a poorly-written cleaner character played by Jon Bonner in drag. The arrangement of the musical felt rather bizarre and clumsy, often leaving the audience confused with its attempts to force any deeper meaning into the storyline. In fact, many audience members chose to abandon the show during the interval.

However, to end on a positive, the live music was faultless, despite the loss of meaning. A group of on-stage musicians performed effortlessly soulful renditions of Dusty’s classics – if only the storyline had been able to match up. And bringing some spirit to the otherwise stagnate performance were the Cappuccino Sisters (played by Michelle Long, Kate Hardisty and Cassiopeia Berkeley-Agyepong), though even their playful, bubbly characters often bordered on over-the-top.

Overall, Son of a Preacher Man leaves audience members feeling entirely unenthused, with the show losing momentum as even the cast seem to feel the sense of defeat. And as a tribute to Springfield, it fell entirely flat, leaving behind any important aspects of her quirky individuality.

-Megan Hyland

Son of a Preacher Man runs at Manchester’s Palace Theatre till 30th September 2017 and continues to tour the UK until July 2018. For further tour dates and venues click here.

REVIEW: The Band (The Manchester Opera House, Manchester)

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Faye Christall as Young Rachel (centre) with Five To Five as The Band in The Band, credit Matt Crockett
Upstaged Rating: 

Huge crowds gathered outside of Manchester’s Opera House this week for the press night of The Band, the new musical written by Tim Firth, featuring the music of Take That. Many Take That fans had queued outside for hours in the hope that they would catch a glimpse of co-producers Gary Barlow, Howard Donald and Mark Owen on the red carpet.

This is not just a musical for Take That groupies, but it’s a musical for anybody who grew up with a boyband. This is a musical which celebrates the music of Take That and so much more besides. Littered with warm nostalgia from the outset – fond memories of Top of The Pops, reading your weekly issues of Smash Hits and the days when we covered every inch of our bedroom wall in posters.

This musical is really very special and the standing ovations at every performance in Manchester so far are a testament to that.

The play tells the story of five friends. We are first introduced to them as teenagers in 1992 before the fast forward button is pressed and we see them reunited as 40-something women desperate to rekindle the feelings of their youth.

The show opens with a teenage Rachel (Faye Christall) setting the scene for her love of The Band. It’s as if through listening to their music The Band really come to life in her bedroom as she gets ready for school. Her older self, played by Rachel Lumberg, looks on fondly as she remembers her youth.

Packed with stellar performances from all of the characters from both eras. And perhaps what is most striking to me, is that these characters are completely accessible as real women. Heather as a teenage rebel (Katy Clayton) contests to shock her friends with the biggest revelation as her older self (Emily Joyce) twenty-five years later. The super fit could-be Olympic diver, Claire (Sarah Kate Howarth) has to face her pals years later, after an unhealthy relationship with food.

The Five to Five lads, stars of BBC talent show Let it Shine, sparkle in every scene that they are in. With their stunning harmonies, they do not detract from the narrative but fully showcase the wonderful soundtrack and celebrate the music of Take That.

Jon Bauser’s stage design is phenomenal – the transition between the two eras is the slickest that I have ever seen. Complete with pyrotechnics, Relight My Fire is a real showstopper when we see the girl’s bus ride home spectacularly transform into a raging chariot. The whole theatre singing the words to the Take That floor-filler, the atmosphere electric.

Ultimately it is the memorable and loveable female characters that shine on stage – the music just makes them sparkle even brighter. 

The Band is a complete triumph. This musical tugs hard at your heartstrings and tickles your funny bone. And the good news is that co-producers David Pugh and Dafydd Rogers announced that the musical will tour for another year following the huge demand for tickets. Go and get yours!

-Kristy Stott

The Band runs at Manchester’s Opera House until 30th September 2017 before transferring to Sheffield’s Lyceum Theatre from 4th-14th October 2017. The tour continues through until July 2018 and you can check out the tour dates and venues here.

PREVIEW: THE BAND at The Manchester Opera House OPENS TOMORROW

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There is just over twenty-four hours to go until the most eagerly awaited new musical – written by the award-winning Tim Firth (The Girls- Musical 2015) and featuring the music of Take That – goes in front of The Manchester Opera House audience for the first time.

The show begins in Manchester tomorrow, 8th September with national press night on Tuesday 26 September.

THE BAND is a new musical about what it’s like to grow up with a boyband. For five 16-year-old friends in 1992, ‘the band’ is everything. Fast forward twenty-five years on and we are reunited with the group of friends, now 40-something women, as they try once more to fulfil their dream of meeting their heroes.

The Band is being played by young performers AJ Bentley, Nick Carsberg, Curtis T Johns, Yazdan Qafouri and Sario Solomon, who, as Five to Five, won BBC’s Let It Shine and the chance to star in the musical.

THE BAND Five to Five © Jay Brooks
THE BAND
Five to Five © Jay Brooks

The Band will be running at The Manchester Opera House from Friday 8th September all the way through till 30th of September, before embarking on a major UK tour until July 2018. Excitement is building fast with advance box office sales already topping a record-breaking £10MILLION.

Tickets for this hotly-anticipated show are available to book online from atgtickets.com/manchester or by calling the box office on 0844 871 3018 (fees may apply).

For full tour listings please click here.

REVIEW: The Addams Family (The Lowry Theatre, Salford Quays)

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The Addams Family at The Lowry Theatre, Salford © Matt Martin
The Addams Family at The Lowry Theatre, Salford
© Matt Martin
reviewer: Megan Hyland
Upstaged Rating: 

Over 50 years on from the airing of the TV show of the same name, The Addams Family: the Musical Comedy is a refreshing look at our favourite kooky family. The story centres around a grown-up Wednesday’s newfound romance, with the Addamses preparing to welcome the family of her new boyfriend for dinner. However, there is a secret looming that threatens the foundations of multiple relationships, and as the night descends into chaos more destructive secrets are revealed.

Although her storyline centres on a love story, Wednesday Addams fans need not despair, as her character remains every bit as daring and discontented as ever. In fact, although the story is an original, written by Marshall Brickman and Rick Elice, the characters are still just as familiar. And this is – in part – due to the attentiveness of the all-star cast. Cameron Blakely and Samantha Womack  (of Eastenders fame as Ronnie Mitchell) star as Gomez and Morticia Addams, reviving their passionate and enduring romance. A sultry highlight is their tango scene, both expertly choreographed and performed. Blakely’s energy and stage presence, however, is unmatched. He bursts into every scene with endless vitality, with incredible comedic timing and physicality. But, in terms of vocal ability, Carrie Hope Fletcher stands out. The YouTuber and stage star belts out original songs such as Pulled and Crazier Than You with effortless precision as Wednesday, although the rest of the cast are not far behind. Throw in a captivating ensemble cast plus an outstandingly funny and highly eccentric performance from comedian and actor Les Dennis as Uncle Fester, and you’re left with a strong, compelling cast.

But what really brings to life these beloved characters is the work behind the scenes. Diego Pitarch’s breath-taking costumes give these iconic characters an elegant revamp, without leaving their renowned styles behind. And the astonishing set design breathes life back into the Addams family home. Filled with brilliant one-liners, running gags and dark humour, this musical comedy is skilfully written, with quirky and heartfelt original songs written by Andrew Lippa. Although the story features a love-story, the real focus is on the importance of truth in relationships. And while this may seem simplistic in nature, it is accentuated by the peculiar and whimsical characters, as well as the wacky world that they inhabit.

The Addams Family musical is a spooky and freakish production that welcomes people familiar with these characters and those new to the story.

-Megan Hyland

The Addams Family runs at The Lowry Theatre, Salford until Saturday 9th September 2017.