Author: kristobel

REVIEW – In The Vice Like Grip Of It (The Lowry Studio, Salford)

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in the vice
In The Vice Like Grip Of It

REVIEWER: CIARAN WARD

Upstaged Rating: 

With In the Vice Like Grip of It, IVO and Routes North have created a powerful piece of theatre that explores the strained relationship which both the state and the citizens share. Through the medium of ‘Him’ and ‘Her’, we realise that contemporary surveillance may not be as beneficial as it first seems, despite the dependence of it that has arisen from a post-9/11 world. After watching this play, we come to ask ourselves ‘Is constant observation an infringement of our privacy, and most importantly, our human rights?’

 Leigh Kelly and Jo Tyabji portray a couple who have just moved into their new house and are anticipating the arrival of a baby. Life is good, that is, until things are seen for how they really are: ‘Him’ is revealed to be an overzealous safety fanatic, choosing to install CCTV equipment to monitor his home. In this scenario, we see how ‘Him’ abuses this power to spy on ‘Her’, paralleling the methods that the state uses to maintain security, whilst also learning how this negatively affects the life of ‘Her’.

 The contrast between a normal day for the couple and the moments in which ‘Her’ shares her innermost thoughts and feelings is effectively achieved through use of careful lighting techniques, specifically designed by Hannah Blamire and aided by Ivan Mack. Bright lights during the main narrative of the play suppose everything is innocent, whilst the spotlight on the table during the monologues of ‘Her’ eradicate this – nothing is as it seems. The eerie atmosphere already established is complemented by the ubiquitous presence of a buzzing noise; moments of tension appear to be fuelled by it and the audience are immersed in the intensity too.

 Despite the edgy mood that prevails throughout, there are interspersed moments of humour that manage to break it and even induce the most stubborn of people to laugh. Physical theatre is also performed several times too: a testament to the proficiency of the actors who evidently display a natural chemistry during their performance.

 For a play that evokes a feeling of uncertainty in this age of ever-advancing technology and regular surveillance, it is still able to equip you with many intriguing thoughts and provide you with a good deal of entertainment, especially for something you may not usually consider watching.

 -Ciaran Ward

 Click here  to find out more about IVO theatre.

REVIEW – Husbands & Sons (The Royal Exchange, Manchester)

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Anne-Marie Duff as Lizzie Holroyd in Husbands & Sons.
© Manuel Harlan
UPSTAGED RATING: 

The Royal Exchange Theatre provides the perfect performance space for this compelling drama about a mining community living in a small village in Nottinghamshire in 1911. Following the lives of three different families over a period of three weeks, Husbands & Sons interweaves three of DH Lawrence’s masterpieces into one new play – and the result is nothing short of an absolute triumph.

From the minute the lighting rig is hoisted up, Husbands and Sons reveals a working class community surviving as best they can in the shadow of a miners strike. It’s a powerful depiction of three desperate households – The Holroyds, The Lamberts and The Gascoignes. While husbands and sons battle at the coalface, the focus lies on the women in this community. Despite the title, it is the wives, mothers and daughters stories which are subject to excavation.

Each household is separated in the performance space by a gridded iron walkway, although many of the characters are on stage in their respective homes at the same time. As the drama unfolds within each family, the audience can follow the goings-on in each household. This intelligent juxtaposition aids the narrative, building up tension and making it easy to follow, ensuring that each scene moves smoothly through to the next.

Husband’s & Sons has the perfect line-up of creatives and performers – it’s like getting all of the best in their field working together on one show. Olivier-Award winning Bunny Christie has designed the detailed set for the three households, complete with fire, running water and a caged sense of impending doom. Director Marianne Elliott, of War Horse and Curious Incident of the Dog in the Night-Time, is at the helm of a truly phenomenal cast.

Anne-Marie Duff is astounding as Lizzie Holroyd, the downtrodden wife of an alcoholic miner – arresting, believable and entirely gripping. Julia Ford masterfully plays frustrated Lydia Lambert, tolerating her obnoxious husband – she is a controlling mother who just wants a better future for her children. Louise Brealey shines as newly-wed, house proud Minnie Gascoigne, bringing a sense of spontaneity and innocence to the stage as she struggles to deal with the dark secrets in her marriage.

This production makes for 3 hours of heartfelt and gritty viewing, though not without humour. With an outstanding cast and ingenious design, Husbands & Sons is an absolute must-see – bold, beautiful and perfectly staged in the Great Hall of Manchester’s Royal Exchange. And when that lighting rig falls, you wish that you could watch it all over again.

-Kristy Stott

Husbands & Sons is running at The Royal Exchange Theatre in Manchester until Saturday 19 March 2016.

REVIEW – Kite (The Lowry Theatre, Salford)

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The-Wrong-Crowds-Kite-_main
Upstaged Rating: 
Thingstars: 

Kite is a stunningly beautiful and inventive play from Devon based theatre company The Wrong Crowd. No spoken words are needed in this highly visual production, instead delightful puppetry, an enchanting soundtrack and movement bring the story of a young girl and her kite to life.

Following her mother’s death, a little girl (Charlotte Croft)  is transported from her home in a seaside town to live with her grandmother (Liz Crowther) in a small flat in London. Lonely and heavy hearted, her memories of the life she used to know and the environment around her begin to fade away. Until one magical night, she finds a handmade kite and patching up a hole in the wing, the two embark on a wild adventure together.

Thing 2 was gripped by the performance, his eyes darting to follow the wonderful kite flying about the stage. He even moved to sit on the stairs to get a better view of the action, reaching his hands out to try and reach the kite as it flew high above.

Kite is so pleasingly pretty and well-thought out – delicate choreography is balanced with striking imagery by performers Linden Walcott-Burton and Nicola Blackwell. With slick scene changes and clever lighting design, the performers reconfigure designer/ director Rachel Canning’s set to create a train carriage, a heavily packed tube and a small kitchen. Isobel Waller-Bridge’s atmospheric soundscape is perfectly suggestive for a young audience, fusing original spellbinding music with ambient sound.

A real highlight of the hour-long show comes towards the end of the production when puppets of the little girl and her grandmother dance along a beautifully lit backdrop of the London skyline.

Taking some of its inspiration from The Snowman and The Red Balloon, Kite is unpretentious and thoughtful – a wondrous example of children’s theatre. Each show also includes a post-show meet-up with the cast and their puppets. Little smiley faces and sparkly eyes greeted the performers, as the young audience were given the chance to see the puppets and talk to the performers about their show.

Throw caution to the wind and see Kite this weekend. It’ll be like a breath of fresh air on an otherwise rainy day in Salford.

 

-Kristy Stott

 Kite runs at the Lowry Theatre in Salford until Sunday 21 February 2016. 

To find out more about The Wrong Crowd Theatre Company and  national tour dates for Kite please click here.

 

REVIEW – Chip Shop Chips (The Hub in Salford/ The Lowry)

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chip shop chips
Chip Shop Chips – a new play by Becky Prestwich. Photo credit: Lucas Smith
 Upstaged Rating: 

There is a real hustle and bustle at The Hub, a Salford community centre, for Box of Tricks’ new production. Chip Shop Chips is a play with a difference – it’s fusion between theatre and food, dining and performance – tables are laid out with red and white check tablecloths and the audience sit around drinking tea out of polystyrene cups waiting for their fish supper. There is a warm, nostalgic atmosphere and a feeling of community as strangers strike up conversations with each other and share memories of their local chippy.  

It’s the grand reopening of Booth and Sons Fish & Chip Shop – the new ‘cod’ on the block and the new ‘plaice’ to be, or so Eric Booth hopes. Following the death of his father, 60-year-old Eric (Russell Richardson) returns home to take over the family chip shop business. Surely, with hardworking chippy apprentice Lee (Ben-Ryan Davies) by his side, nothing can go wrong?  However, when Eric’s first love Christine (Julie Edwards) walks in unexpectedly to the big opening night with her granddaughter Jasmine (Jessica Forrest), he is completely thrown. Over forty years have passed and neither are living the lives that they imagined that they would. Aside from the smell of salt and vinegar, there is also young love in the air as Lee and Jasmine, who remember each other from high school, explore the feelings of teenage romance.     

Director Adam Quayle makes full use of the whole performance space and as the gripping story of family and love unfolds in the chip shop, the audience become Eric’s customers, adding to the intimacy of the performance. There is an opportunity to take part in a chippy quiz, share your chip shop story and craft a hat out of newspaper. All of these activities are cleverly woven into the main narrative; sadly, in a room full of people rustling paper to make a hat, it was disappointing to see some of Becky Prestwich’s wonderful dialogue lost. However, with more experience in front of a live audience, this can be easily worked on. What makes this production so appealing is that  Box of Tricks have really challenged themselves and produced an immersive show with a lot of heart.

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Jessica Forrest and Julie Edwards in Chip Shop Chips Photo credit: Lucas Smith
The mouth-watering chippy set by designer Katie Scott provides the perfect backdrop for the brilliant cast of four. Julie Edwards gives a powerful performance as the shaky handed and lonely widow Christine, looking for one last adventure. Jessica Forrest shines as granddaughter Jasmine, intelligent and funny – her one liners had the audience in stitches. Russell Richardson is also strong as chip shop owner Eric, a jolly frontman for the business while balancing his inner grief. Ben-Ryan Davies warms as the supportive chip shop worker, tugging at our heart strings as the illiterate but kind-hearted Lee.

Chip Shop Chips is a fabulous show for everyone – those who are new to theatre and those seasoned theatre goers. It’s a superb evening and a joyous trip down memory lane, celebrating love through the ages and the nations favourite food.

-Kristy Stott

Chip Shop Chips is touring until 23rd March 2016 and you can see all tour dates and purchase tickets here.

REVIEW – The Gospel According to Jesus, Queen of Heaven (Queer Contact Festival, Contact Theatre)

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The gospel according to Jesus, Queen of Heaven
Jo Clifford in The Gospel According to Jesus, Queen of Heaven
Date: 14 February
Upstaged Rating: 

The sweet powdery scent of incense wafts past as the doors swing open at St. Chrysostom’s Church in Manchester. Framed by beautiful arches and stained glass windows, smiling faces welcome the audience in for an alternative service – The Gospel According to Jesus, Queen of Heaven by playwright and performer Jo Clifford. This thoughtful and engaging solo show re-imagines the Gospels with a transgender Jesus.

Running for approximately one hour, the performance begins with a sermon before the congregation is invited to each take a candle and move on to the brightly coloured rugs and cushions in the middle of the performance space.

When The Gospel According to Jesus, Queen of Heaven was first performed at Glasgay Festival in 2009, it was met with anger by some members of the Christian community and it was condemned by the Archbishop of Glasgow. Angry protesters picketed the Tron Theatre, without reading the script or seeing the show, with one remarking: “You don’t have to go near a sewer to know that it stinks.” I was pleased to see that Jo Clifford makes a powerful reference to this metaphor in the performance and by doing so refuses to be silenced and continues to resist any shame and fear surrounding trans people.

Jo Clifford has a wonderfully expressive tone of voice, moving from a calming whisper to a rich tone loaded with tension. Candles are lit in a kind of ritual throughout the performance – by this flickering candlelight, director Susan Worsfold conveys a sense of worship with intimacy.

The Gospel According to Jesus, Queen of Heaven is a passionate show and not without humour; throughout Clifford demonstrates the Christian value of acceptance and the show is delivered with a warm sense of friendship and tolerance.

By the end of the performance, many people in the audience were whispering “Amen” in reply to Jo Clifford’s prayer. The Gospel According to Jesus, Queen of Heaven is a moving and touching show, perfectly illuminating everyone’s right to live a life free of discrimination, which I’m sure left most of the audience reflective and hopeful for change.

 

-Kristy Stott

Interested in finding out more? To visit Jo Clifford’s blog click here.

REVIEW – The Pitmen Painters (Oldham Coliseum)

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James Quinn, Micky Cochrane, Simeon Truby, Jim Barclay in The Pitmen Painters at Oldham Coliseum © Joel C Fildes
James Quinn, Micky Cochrane, Simeon Truby, Jim Barclay in The Pitmen Painters at Oldham Coliseum
© Joel C Fildes
Upstaged rating: 

The Pitmen Painters is a true story following a group of men from the mining community as they rediscover and reflect on their world through art. Written by Lee Hall, best known for Billy Elliot, the play follows The Ashington Group from their first art appreciation class in the old army hut to exhibiting in national galleries and gaining critical acclaim.

The story unfolds in a small mining town in Northumbria called Ashington. It’s 1934 and a group of miners decide to hire a professor, Robert Lyon (Cliff Burnett) to teach an art appreciation evening class. Headed up by no-nonsense union man George (Jim Barclay) the group of men soon abandon the theory of art in favour of practice. Amusing and moving, under Kevin Shaw’s light directorial hand, The Pitmen Painters shines a light on a group of ordinary men who achieve unprecedented things.

Joe Strathers-Tracey’s framed projections of the original Ashington Group artwork hang at the back of the stage – depicting images inspired by a 1930’s coalfield community. It’s a thought-provoking reminder of the cultural and economic barriers that can stand in the way of achieving individual potential and expression.

The cast are brilliant and there is a real sense of camaraderie throughout with some superb individual performances. Jim Barclay gets plenty of laughs from the Northern crowd as the sharp-toned leader of the group and, in contrast, Simeon Truby plays the most promising artist of the group Oliver with sensitivity and focus. Helen Kay impresses as the bohemian art-lover Helen Sutherland and Maeve O’Sullivan adds a jot of cheekiness to the stage as the art student come life model, Susan. Cliff Burnett leads as the eccentric but humble art professor Robert Lyon,  with Luke Morris, James Quinn and Micky Cochrane completing an assured line-up.

The Pitmen Painters is perfect programming for the Oldham Coliseum and is certainly worth catching. Perhaps what makes this story so brilliantly charming is that it is a true story about a group of working-class men. The real warmth in The Pitmen Painters lies in the Ashington Group’s true friendship as they embark on a discovery of themselves and each other through art.

-Kristy Stott

The Pitmen Painters is on at Oldham Coliseum until Saturday 27th February 2016 and you can get tickets here.

REVIEW – Macbeth (HOME, Manchester)

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John Heffernan and Anna Maxwell in Macbeth at HOME, Manchester
© Richard Hubert Smith
Date: 2 February 2016
Upstaged Rating: 

 2016 marks the 400th anniversary year of William Shakespeare’s death and so it seems fitting that HOME are kicking off their new season with an intense, engaging and unsettling adaptation of the Bard’s Macbeth.

Directed by Carrie Cracknell and Lucy Guerin, this production is startlingly different to any other versions of Macbeth I have seen before. It’s a highly visual production exploring the main themes of Macbeth’s breakdown and the supernatural through a fusion of Shakespeare’s original words and stunning choreography.

The stage is set like a concrete tunnel – there is no muddy battlefield and death does not occur by the sword. Lizzie Clachan’s claustrophobic but clever set design shifts and opens to reveal torture rooms where executions are carried out by suffocation or electrocution. Bodies wrapped in plastic bags and duct tape are moved about the stage; plastic bags are used to suffocate and transparent plastic suits are worn by the soldiers. There is a lot of plastic used in this production – even the tablecloth in the banquet scene is sterile, wipe-down plastic – all fully suggestive of the unnatural world that Macbeth inhabits and the supernatural theme running through the original text.

The Witches -Clemmie Sveaas, Jessie Oshodi and Ana Beattriz Meireles
© Richard Hubert Smith

Neil Austin’s eerie lighting design really intensifies the production, clinical blue-white lights cast menacing silhouettes and flash lighting reveals bursts of violence and brutality. Lurking in the depths are the three Witches Ana Beatriz Meireles, Jessie Oshodi and Clemmie Sveaas. A dominant force, they use little speech but contort and glide unpredictably about the stage – the few words and sounds they make are woven into their fluid movements. And this production is at its best when the text and movement are fully integrated.

John Heffernan impresses as Macbeth, his physicality perfectly representative of a man overrun by mania. Fully committed to the requirements of this adaptation – from the erratic behaviour and uncontrollable laughter in the banquet scene to the measured low pitch tone of his soliloquies. Anna Maxwell Martin’s Lady Macbeth is cool, sensual and pleasingly peculiar but at times appears constricted by the Shakespearean verse.

This is an engaging, unsettling and scary reimagining of William Shakespeare’s Macbeth. The elements of movement and dance are the real merit of this production – high quality and executed powerfully. Compelling choreography to the beat of the iambic pentameter.

-Kristy Stott

Macbeth is on at HOME, Manchester (2 Tony Wilson Place, M15 4FN) until Saturday 6th February 2016 and you can click here for tickets.

REVIEW – WIT (The Royal Exchange, Manchester)

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Julie Hesmondhalgh in WIT at the Royal Exchange, Manchester ©Jonathan Keenan

Upstaged Rating: 

Wit is Margaret Edson’s Pulitzer Prize-winning play, a humorous, emotional and ultimately devastating story set in the final few hours of Dr Vivian Bearing’s life.

Dr Vivian Bearing is an American Professor of 17th-century poetry specialising in the metaphysical works of John Donne. A brilliant university lecturer and scholar, she now finds herself diagnosed with advanced metastatic ovarian cancer. While in university she was the tough teacher; now as an inpatient in a university teaching hospital she is the one being examined and studied.

Julie Hesmondhalgh is magnificent in the title role of Dr Vivian Bearing, playing out the final hours of Vivian’s life and also flashbacks to her past. Despite tackling the a subject as harrowing as cancer, Wit is delivered with a brittle humour resisting any kind of sentimentality – with Vivian realising, towards the end, that she prefers kindness to intellectualism. Her slim frame is covered by 2 hospital gowns and she wears a pink baseball cap on her hairless head – she is articulate and chooses the words she uses with care. Brutally announcing ‘I will never forget the time that I found out I had cancer’ the stage turns and we are transported back to when she first received the prognosis from Dr Kelekian (Tom Hodgkins).

Hannah Clark’s set design of a revolving stage and blue-green walkway and swing doors is perfectly suggestive of a sterile hospital environment. Chairs, hospital beds and IV poles are wheeled and passed urgently about the stage as clinical observation is pitted against the raw human emotion of Hesmondhalgh’s shattering performance.

Raz Shaw‘s direction is paced and perceptive and the supportive cast are also strong – Esh Alladi is superb as purposeful clinical fellow Dr Jason Possner MD, lacking empathy and communication skills – he brands the bedside manner course at med school ‘a colossal waste of time’. In contrast, Jenny Platt as Nurse Susie Monahan offers an alternative presence – finding time to moisturise Vivian’s hands when talking becomes difficult. Julie Legrand is impressive as the university academic who first taught Vivian about Donne and the power of punctuation.

Manchester’s Royal Exchange has certainly started the new year with a cracking show and  Julie Hesmondhalgh gives a striking performance at the centre of it. Cancer is a hard subject matter to tackle on stage, especially in a performance as honest as this – Wit may make some cry but it will definitely make everyone laugh, think and discuss.

-Kristy Stott

Wit is at the Royal Exchange until Saturday 13th February 2016 and you can get your tickets here

Big Fish Little Fish Family Rave

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Photo Credit : Kristy Stott

Since Big Fish Little Fish launched in Manchester in November 2015 their family raves have proven to be the hottest ticket in town. Always a sell-out gig, with tickets selling out for the Manchester January event in 15 minutes – once you’ve been you will know why.

With creative and exciting family fun at their core, Big Fish Little Fish host day-time dance music events which are as much about the parents as they are about the children – it’s like being at a mini festival, right in the middle of Manchester. Designed to attract the post-rave generation of parents and their offspring – it’s cool, social and there is probably no better place for it than Chorlton. We were lucky enough to bag tickets so we schooled our little fish together, and mooched on down to Chorlton Irish Club to experience the vibe for ourselves.

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‘The Parachute Dance’ is a highlight.               Photo credit : Kristy Stott
The events are recommended for families with children under the age of 8 as many of the activities are designed for younger ones. These 2-4 hour party people have taken care of everything with a secure buggy park outside and a baby chill out area upstairs. Although many of the rave parents took to the dancefloor with their babies in a sling or in arms. It’s good for mum and dad and the babies certainly enjoyed the sensory stimulation from bubble machines and roving colourful club lights. The club classics are also played at a lower level which suits little ones and parents too – great to see fellow Chorltonites striking up banter with each other. Did I mention that there is also a licenced bar?

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Photo Credit : Kristy Stott
For those who need a quieter area – there is a chill out area complete with books; for those creative minds, there are some super craft activities too – many of the children enjoyed the scribble wall and playdoh. There was also the opportunity to create your own tie or add a temporary tattoo to complete your look.

Photo Credit: Kristy Stott
Photo Credit: Kristy Stott

Giant balloons and glow sticks make the dance floor fun for the little people while the grown-ups fully appreciate tunes by DJing duo Heavy Feet. Every event has a theme too – this particular event was a ‘Hat and Moustache’ rave with prizes for the most creative headpieces.

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Healthy treats from The Nice Lolly Co to keep everybody happy…
Prior to becoming a big hit up North, Big Fish Little Fish have been running events in and around London as well as hosting gigs at Camp Bestival and Kendal Calling. And now they are branching out all the time with gigs planned for Edinburgh and Cardiff.

If you want to be one of the first to know about Big Fish Little Fish events – you can sign up to their mailing list here.

 

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REVIEW – The Girls (The Lowry)

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The Girls at The Lowry, Salford © John Swannell
The Girls at The Lowry, Salford
© John Swannell
Date: 19 January 2016
Upstaged Rating: 

Get a ticket and go and see The Girls. It is a phenomenal production. A thunderous applause and a well deserved standing ovation greeted the passionate performers and production crew on the press night. Being able to witness everybody around you in the stalls leap to their feet, cheering and clapping is a rare occurrence and a worthy testimony to show how fabulous The Girls really is. Just go.

The Girls is a heartwarming, super charming and quintessentially English new musical inspired by the true story of Yorkshire’s real Calendar Girls – a group of Women’s Institute members who, in memory of one of their husbands, produce a nude calendar to raise money for Leukaemia Research. This new musical charts the journey of a group of ordinary ladies as they achieve something incredible and explores the effect that their strength has on everyone around them.

The writing collaboration between the master of popular songwriting, Gary Barlow and Tim Firth who wrote the film and the play for Calendar Girls, is a perfect recipe for success. Add some outstanding performers to the mix and you have a musical which is not only highly entertaining but one which fully connects with its audience. Hilarious and heartbreaking all at the same time, I spent most of Act 2 looking through a blur because my eyes were so teary from laughing and crying at the same time.

Robert Jones’ set design of olive green drawers and cupboards is suggestive of quaint, rural England. Providing the perfect canvas for the action to unfold, whether indoors or on a Yorkshire hill top, in this close-knit and supportive community.

Tim Firth, Gary Barlow & the original Calendar Girls credit Matt Crockett
The Original Calendar Girls     ~The Girls at The Lowry, Salford~   – Credit Matt Crockett

 

This production is packed full of superb musical numbers with that unmistakeable Barlow hook, the lyrics are loaded with wit and most importantly we can relate to them. ‘Who Wants a Silent Night?’ is delivered with pizzazz by parish organist and single mother Cora (Claire Machin). Retired school teacher Jessie (Sara Kestelman) sings a poignant and uplifting ballad about growing older, ‘What Age Expects’ which was a highlight for me. With tunes so catchy and memorable many of the audience left humming and singing their way out of the theatre.

Joanna Riding is outstanding as Annie – putting on a brave face as her husband John (James Gaddas) battles against cancer. Their partnership on stage is believable and touching; humorous and real – providing the hope and inspiration for the calendar girls extraordinary triumph. Claire Moore gives an energetic, brave and brilliant performance as close friend Chris – she is immediately likeable, defiant and loyal – she is not afraid to speak out against the traditional Women’s Institute values, but she does so with humour and conviction which the audience laugh, clap and cheer along with.

The leader of the Women’s Institute Marie, played admirably by Harriett Thorpe, struggles to get the women to fall in line with her ideas. Ex air-hostess and golf enthusiast Celia played brilliantly by Vivien Parry and struggling alcoholic Ruth, played with expert timing by Debbie Chazen complete the line-up. The tightly woven sub-plot featuring Chris’ son Danny (Ben Hunter), love interest Jenny (Chloe May Jackson) and his best friend Tommo (Josh Benson) gives a further injection of comedy and shows the effect that the women’s bravery and influence can have on the younger generation.

The Girls is a fantastic musical – I really hope that it gets a well-deserved airing in the West End – but don’t just take my word for it – go see for yourselves.

 

 

 

 

 

 

-Kristy Stott

The Girls is at The Lowry until Saturday 30th January 2016 and you can get your tickets here.