The Curious Incident of the Dog in the Night-Time has bounded into The Lowry Theatre in Salford on the last leg of its UK tour. Winner of 5 Tony Awards, this adaptation by Simon Stephens brings Mark Haddon’s original and poignant novel to the stage and it is an extraordinarily beautiful piece of theatre.
Christopher Boone is fifteen years old and lives with his dad in Swindon. He is a highly gifted mathematician who is sitting his A-Level in Maths three years earlier than most other young people. He is also a science boffin with an avid interest in space; he is a natural detective due to his exceptional intelligence and his ability to approach problems in a logical way. Christopher sees the world in a different way to most people because he has Asperger’s syndrome.
When Christopher discovers his neighbour’s dog, Wellington lying dead on the lawn impaled by a garden fork, he is driven to investigate the killing. Inspired by his hero Sherlock Holmes, using his systemic and methodical approach, Christopher decides to ignore his father’s order and set out to find out who killed Wellington.
This investigation uncovers further frightening revelations for Christopher as he struggles to make sense of the adult world that he has previously been shielded from.
Under Marianne Elliott’s masterful vision, Bunny Christie’s cubic set works perfectly to reflect the logic of Christopher’s mind and his fascination with the Pythagoras theorem – it is also completely functional, as a series of bright cubes are arranged to suggest a range of different settings and items – a classroom and a busy train station. The wonderful and moving performance is neatly contained within a massive mathematical grid which is animated by Finn Ross’ video design of constellations, maps and equations.
Joshua Jenkins gives a magnificent performance as Christopher – powerful, emotional and sometimes funny – we worry about him, we smile with him and we feel proud of him as he takes on the noise and bright lights of London. Geraldine Alexander narrates for us and echoes our emotions as we follow Christopher on his journey. Movement directors Scott Graham and Steven Hoggett choreograph energetic and compelling sequences which capture Christopher’s experiences perfectly – there are faultless time-lapses and instant scene changes.
The Curious Incident of the Dog in the Night-Time is a tremendous piece of theatre – a perfect collaboration with outstanding performances throughout. It is gripping and heartfelt – the perfect example of the power that theatre has to change the way that we view the world.
Go and see it.
-Kristy Stott
The Curious Incident of the Dog in the Night-Time runs at The Lowry, Salford until Saturday 21st November.
Pantomime is always a huge amount of fun for any creative team to work on and this year’s festive offering from the team at Oldham Coliseum is a sparkling example of this. Mother Goose offers all of the traditional pantomime fun – with audience interaction at its core, all your favourite current chart hits and hilariously messy slapstick – there is much for little ones and their grown-ups to enjoy this Christmas at Oldham Coliseum.
The story of Mother Goose has been co-written by Artistic Director Kevin Shaw and our nominal dame, Fine Time Fontayne – while the story maintains its timeless appeal, many of the comic sequences and gags zap the show giving a fresh take on the old classic tale. Mother Goose is poor until she finds Priscilla, a magical goose who lays golden eggs. Now that Mother Goose no longer has to worry about money – she wants to be young and beautiful – but will her new-found wealth, beauty and youth bring happiness?
This pantomime has a superb range of musical numbers ranging from contemporary pop music through to well known show tunes. With a funky soundtrack featuring The Jackson 5, Defying Gravity from Wicked and a humorous ditty which incorporates the names of stops on the Metrolink line – there is plenty for the audience to clap along to.
Fine Time Fontayne is a superb pantomime dame with an exceptional costume designer, Celia Perkins. With an array of over-the-top frocks and vibrant Doc Martens, Mother Goose could easily have been peeled from the pages of a story book. Under Kevin Shaw’s direction, costume changes occur off stage as well as in full view of the audience – in a clever illusion Mother Goose disappears through revolving doors only to reappear immediately looking just like Kim Kardashian. Well almost.
Alongside Fine Time Fontayne there is a host of Oldham Coliseum regulars – Richard J Fletcher is a comical success as the accident prone Billy Goose with Justine Elizabeth Bailey playing his sensible older brother Colin Goose. Andonis Anthony excels as evil baddie The Demon of Discontent – with no prompting needed to rally the audience into a booing and hissing frenzy. The chorus dancers deserve a special mention also, animated and light on their feet, filling the stage with energy.
Once again the Oldham Coliseum have egg-ceeded themselves and produced a most egg-cellent pantomime. With plenty of laugh out loud moments and opportunities to sing along, Mother Goose is packed with festive cheer and is certain to get all of the family warmed up and ready for Christmas.
-Kristy Stott
Mother Goose is on at Oldham Coliseum until Saturday 9th January 2016.
Orange Tree Theatre presents in association with the National Theatre and the Royal Exchange Theatre –POMONA–
UPSTAGED RATING:
Alastair McDowall’s Pomona was first performed in the round at the Orange Tree Theatre in 2014 before transferring to the National Theatre in 2015. Now, it plays in the main stage at Manchester’s Royal Exchange which is a stone throw away from Pomona island where the play is set.
The play opens with a peculiar parka and pants wearing character called Zeppo giving a comically long-winded account of a famous scene from ‘Indiana Jones and the Raiders of the Lost Ark’ to Ollie, a young woman who is searching for her missing twin sister. With a mouthful of chicken nugget Zeppo (Guy Rhys) tells Ollie (Nadia Clifford) that he owns the whole city but doesn’t get involved with anything and offers the scene from Indiana Jones to highlight why some things should just be left well alone.
Under Ned Bennett’s stylish direction, what follows is a series of scenes leading up to the disappearance of Ollie’s sister. This whole narrative is segmented and does not follow a simple linear structure – it’s more like a jigsaw puzzle which the audience have to try and piece together. Exploring themes around sub-culture, gaming and the sinister underworld, Pomona is a brutal and gritty sci-fi thriller.
Georgia Lowe’s stripped set design complements McDowall’s dark story thread which charts flashbacks to Ollie’s sister meeting Fay (Rebecca Humphries) when she gets a job in a brothel; we also encounter Gale ( Rochenda Sandall) a seemingly powerful presence in the criminal underworld and two security guards Charlie (Sam Swann) and Moe (Sean Rigby). Alongside this we meet squeaky and mouse-like Keaton (Sarah Middleton) who meets with Charlie regularly for a game of Dungeons and Dragons. Sam Swann is particularly impressive as oddball Charlie and provides some very funny moments amidst the hopelessness.
Some theatre goers may find Pomona hard going – there is frequent strong language and the characters inhabit a place which some of the audience may prefer not to visit. As the play progresses the outlook for the characters becomes bleaker and the line between fantasy and reality more blurred. There is a sense of confusion and a lot of questions still remain unanswered by the end of the play. Ultimately, Pomona is a powerful, menacing and intelligent piece of work by Alastair McDowall.
-Kristy Stott
Pomona is running at The Royal Exchange Theatre in Manchester until Sunday 21 November 2015.
Being a huge fan of Sheffield based experimental theatre company Forced Entertainment – I was very keen to find out more about their first production for young people, The Possible Impossible House.
The Possible Impossible House –Forced Entertainment–
Upstaged Rating:
THINGSTARS:
The Possible Impossible House is a wonderful exploration of the power of storytelling and a lesson for all, young and old, in setting your imagination free. The magical adventure begins as we travel down the long winding corridors of The Possible Impossible House. Claire Marshall is our guide and she leads us through the twisting passageways. When we reach the library we meet a little girl who is sketched onto a blank page in an algebra book. This endearing little doodled character is desperately missing the matching scribbled spider who used inhabit the opposite page – we are invited to join her on her mission to find her little eight legged friend.
It’s essentially a two hander with Claire Marshall recounting the story to the audience while Cathy Naden provides the humorous soundtrack. Comedy is created through storyteller, Claire and sound-maker, Cathy as they both compete to take control of the story. Both performers are supported by wonderfully scruffy illustrations by VlatkaHorvat as our journey spans elaborate marble ballrooms, secret cupboards and black holes and we meet an array of familiar but surprising creatures – talking animals, a not-so-very-frightening-ghost and an army of dancing soldiers.
“I really liked Cathy. She made me laugh when she interrupted and when she ate celery and pretended to be a mouse…everybody was laughing!”
–Thing 1 (aged 9)
The storyline is beautifully childlike, as if penned by a 7 year old, it’s spontaneous and imaginative. Under Tim Etchells’ direction, Horvat’s magical doodles are projected on to large pieces of torn brown cardboard all going to prove that good quality children’s theatre does not have to rely on lavish sets or costumes.
This production is as much fun for the adults in the audience as it is for the little ones. As always Forced Entertainment blow apart our traditional expectations of theatre- which is children’s theatre in this case. The result is witty, engaging theatre that doesn’t patronise – layered with irony and humour and pitched at a level that both children and adults can appreciate.
The Proper Job Theatre Company arrived at The Lowry Theatre in Salford with their spine chilling Nosferatu just in time for All Hallows’ Eve. Their latest touring production, Nosferatu is written by acclaimed poet and broadcaster Ian McMillan and takes its inspiration from the 1922 German Expressionist film of the same name and the novel Dracula by Bram Stoker.
Bram Stoker’s Dracula charts the journey of the Demeter as it sets sail for Whitby from Varna, Transylvania. The ship leaves with its full complement of crew only to arrive without them – the captain is still onboard but he is dead and strapped to the wheel and in place of his crew, there is a strange cargo of wooden boxes. The tale of Nosferatu unpicks the chilling fate of these sailors in the last hour before the sun rises.
Considering that this play is based on one of the most iconic monsters of all time -Dracula -very little happens in the running time of 80 minutes. The crew are waiting for the dawn which brings sunlight and safety from the mysterious and evil cargo that lurks below deck. McMillan’s language is poetic and uses some powerful imagery – however, at times the language felt repetitive which resulted in a feeling of detachment from the characters and their plight.
The highlight of this production was the beautiful musical accompaniment played by Anna Scott – both haunting and atmospheric. Through the simple combination of her skilled cello playing and her melodious soprano voice she did manage to conjure up the eerie atmosphere of the of the fateful night onboard the Demeter.
-Kristy Stott
Nosferatu visits The Plowright Theatre in Scunthorpe on the 30th October and Square Chapel Centre for the Arts in time for Halloween on the 31st October 2015.
It’s pretty apt that the newest theatre in Manchester brings one of the first great works of theatre, Aeschylus’ The Oresteia to its stage. The Oresteia, a Greek tragedy, is a trilogy which first saw the light of day back in 458 BC when it was performed in Athens at the Festival of the god Dionysus. This festival involved pitting poet against poet – a much grander version of the poetry slam competitions that we have today – needless to say Aeschylus’ The Oresteia was triumphant, taking home first-place.
Director Blanche McIntyre uses a gripping and fast paced translation written by Ted Hughes. It’s well condensed which sees the epic trilogy clipped down into a single play of highlights running at around 1 hour 45 minutes.
Hughes’ language is bold and concise and McIntyre’s direction gives a powerful hit of sharpened stage imagery. Laura Hopkins’ design is stark, the action taking place on a stage loaded with dark gravel – it’s as if the dust has fallen on humanity. When Lyndsey Marshal’s powerful but softly spoken, Clytemnestra insists her husband Agamemnon to join her, four of her servants serve to scrape the dirt away with their fingers to reveal a pathway of crimson.
A fringe curtain of metal chains shimmers and clinks behind each character as they exit through it to kill or be killed. It’s ominous and volcanic, there’s a sense of impending doom – that an eruption could occur at any minute.
What is perhaps so special about this production is the chorus which is made up of fifty six Greater Manchester residents. The two choruses, separated into male and female, seek to bridge the gap between the bloody private lives we see on stage and their public implications. Interestingly, possibly one of the most striking images throughout the whole of the production is that of the furies, played by the members of the community chorus – with their jerky movements they contort their limbs about the stage, long dark hair covering their faces.
What would the world be like if we could annihilate pornography? How different would our world be if we could ban online porn and just start again? It’s an interesting debate and the subject of Rash Dash Theatre Company’s current production, We Want You To Watch.
Helen Goalen and Abbi Greenland give energetic and versatile performances – every word and movement is loaded with freshness and spontaneity. First they are CID investigating the brutal sexual torture of a dental student – they interview their male suspect arguing that his addiction to hardcore porn was the motive for the attack. The language is striking, intense and sickening. A few moments later, they are assisting each other with the zips on their ball gowns as they prepare to interrogate the Queen and cajole her into signing a decree to abolish porn. There’s dynamic physical imagery here as the three dance to Beyonce’s Run the World, waving huge flags amongst a colourful burst of confetti.
Each main section is punctuated by the two performers talking directly to the audience through a microphone – it’s random, it slows the pace slightly and serves to keep the audience prepared and alert for their next chunk of the extreme. Designer OliverTownsend has framed the performance space with a scaffold construction. The top platform is labelled like a supermarket shelf and it is laden with cans of SEX.
Fellswoop theatre have collaboration at their heart – working as a creative team consisting of a director, two performers and a musician – their main aspiration is to fully integrate the music with the drama so that it becomes a key character in the production. Ghost Opera is their latest show and part of the ‘Developed With The Lowry’ programme.
The story is led by the interaction between two strangers at a spa. She is staying at the spa and he is a pool boy who delivers fresh bottled water to her room. All of the action takes place in the spa bedroom. Both characters seem to be battling their own internal demons – the woman consumed by her feelings surrounding her dying mother and the boy with his obsession with singer Chet Eternity. Both characters play out a series of role plays where they either become ‘Julie’ by putting on a Ossie Clark style teal dress or ‘Chet’ by donning a short black jacket. These interactions between the two characters become increasingly blurred and more baffling throughout the play.
Ghost Opera is quite difficult to follow and understand although this is no reflection on the actors, Nina Logue and Hal Kelly, who are clearly very talented and are working very hard to create some kind of narrative.There is a need for a tighter directorial focus from Bertrand Lesca – some sections felt awkward and forced and I found myself getting distracted as I searched for a meaningful plot. However, Nina Scott’s japanese inspired set is effective and utilised well by the actors and Edmund McKay’s smooth lighting design moves through from ambient to haunting and from night to day with ease.
The musical score composed by Ben Osborn and Josephine Stephenson is expressive and menacing. Played by the Quatuor Van Kuijk string quartet, the powerful music certainly adds intensity to the production, though further confuses my understanding of the narrative as it can be an overwhelming presence at times.
I left The Studio at The Lowry feeling confused by Ghost Opera – certainly more cohesion and focus is needed to make the production more meaningful for the audience.
-Kristy Stott
Ghost Opera is visiting the Bikeshed Theatre in Exeter from 20th – 24th October 2015 and then the New Diorama Theatre, London from 27th-31st October 2015 and Warwick Arts Centre on 4th November 2015.
There is the eerie flickering of candlelight and the faint sound of Edwardian music hall as we walk into Manchester’s Royal Exchange Studio and take our seats. Barber Owain Sawyers (Gary Lagden) is tending to his client – he’s comfortable with using a cut-throat razor as he spruces up his latest victim customer and it soon becomes apparent that Sawyers doesn’t shy away from a spot of dentistry either…
“If you’re sure that Ghosts aren’t real,
If your Nerves are made of Steel,
If you’re brave and if you dare,
Come sit upon the Barber’s Chair.”
Written and directed by Lewis Gibson, The Chair is set in a barber shop in an creepy Cardiff port called Tiger Bay. Our barber and accomplished storyteller Sawyers is assisted by his aide Hans (Christopher Preece) and together they animate stories of mermaids, ancient Egypt and mysterious tales of wonder and suspense.
Gary Lagden keeps the diverse audience captivated with his skilfull storytelling – he moves through from Sawyers’ Welsh lilt to take on a range of different accents and physicalities as each twisted and chilling tale unfolds before us. The poetic and haunting performance is heightened by Louie Whitmore’s ghostly set and the macabre musical score played by versatile performer Christopher Preece. The shadowy set doubles up to provide a spooky soundscape – an upright piano howls unconventional chords to build suspense before it transforms into a ship’s sail and a large drum provides the uneasy beat of a blue moon.
Director Gibson folds the audience into the action as a few willing members step up to take a seat in the barber’s chair – there’s the offer of a trim and even a dram of whisky for some enthusiastic volunteer. Lagden’s Sawyers often looks out into the crowd and refers to us as sailors or ancient skeletons; sometimes he holds our gaze for a millisecond longer than is comfortable and it all adds to the unsettling atmosphere. My son, Thing 1 looked curious but equally terrified when Sawyers made his way over to him and my other son, Thing 2 averted his gaze for fear that he would be next. Both Things, aged 9 and 6, were compelled by the performance of The Chair from start to finish.
The Chair
at the Royal Exchange, ManchesterThe pace of the production is pleasing too – there is a humorous ditty about anatomy and surgery just before the mirror takes centre stage for the grand finale. No spoilers here.
The Chair is a thrilling hour long journey of creepy magic, adventure and storytelling that is suitable for all ages from 7 upwards.
-Kristy Stott
The Chair is running at The Royal Exchange Theatre in Manchester until Sunday 18 October 2015.
Your car is starting to get iced up in the morning, you’ve turned your central heating on and your local shop has made room on the shelves for fiery orange pumpkins, massive tubs of jelly sweets and…mince pies???
It can only mean one thing…
We’ve rounded up the best theatrical events happening for families across Manchester this October…
The Lowry
As always The Lowry, Salford have a fantastic offering this October, especially during the half term week which runs from Sunday 25th October – Saturday 31st October.
Hurricane Boyis first up with 2 showings, on Sunday 18th October. Running at just under an hour and recommended for ages 5 and upwards – Hurricane Boy features physical storytelling alongside live music and it has received some great reviews so far from little ones and their families.
There’s all round entertainment from your TV favourites Milkshake Live! on Monday 26th October at 2pm. If your children are a little older, Morgan & West at 7pm may be more up their street – with a combination of illusion and all-round silliness, they guarantee a magic show that is suitable for all of the family, ages 5 and up.
Elsa and Anna glide in on Wednesday 28th October for ANOTHER Singalong Frozen. Do we ever tire of singing along to Frozen?? On the same day we have a Julia Donaldson and Axel Scheffler classic flying in – The Scarecrows Wedding. Now, we’ve been to see a number of these Donaldson classics transferred from page to stage and they are always a hit with young audiences. The Scarecrows Wedding runs from 28th October until 1st November and is recommended for those aged 3 and up.
The Scarecrows Wedding –The Lowry
Now, who loves dinosaurs?
Dinosaur Zoois fabulous, it really is. I took my Thing 2 when he was 3 and he was gripped throughout. Fresh from attacking the West End, Dinosaur Zoo stomps into TheLowry from the 30th October until the 1st November.Read our last review here…
Z-Arts
You need to be quick for this one…on 10th October Flyaway Katie, suitable for ages 2-7, is at Z-Arts in Hulme. Based on the popular children’s book by Polly Dunbar and presented by Long Nose Puppets and Manchester Literature Festival – it’s been described as ‘magical and beautiful’ (The Guardian). Also, Bear and Butterfly zooms in on Wednesday 28th October, suitable for ages 4-7, it explores themes around love, loss and friendship when a bear and a caterpillar become friends. Flyaway Katie and Bear & Butterfly are showing as part of the UK wide GetCreative Family Arts Festival. Hit the link to find out more about events happening around Greater Manchester and beyond…
Film Club happens at Z-Arts on Saturday 24th October with showings of The Princess & The Frogat 1:30pm and The Wizat 3:30pm.
We’re Stuck is being presented as part of Manchester Science Festival 2015 on the Wednesday 28th and Friday 30th October. It’s your chance to get involved in shaping and developing this interactive new show which focuses on how great and how utterly rubbish our brains are at maths. It’s free and suitable for children aged 7-11 and their grown-ups.
The Possible Impossible House by Forced Entertainment at Z-Arts
Now Forced Entertainment are one of my favourite theatre companies, at the forefront of contemporary theatre and I am thrilled that they are presenting a children’s show on Halloween. The ACTUAL All Hallows Eve – 31st October – at Z-Arts. It’s called The Possible Impossible Houseand it’s their first children’s show – suitable for ages 6 and up. You also get a free ticket to Z-Arts Halloween Party if you book for the show.
The Royal Exchange
On Monday 12th October at 1pm the Royal Exchange are host to Michael Rosen: Children’s Poetry Event. It’s part of the Manchester Literature Festival event and tickets are only £4. Michael Rosen is one of the well known figures in the children’s book world, publications include: We’re Going on a Bear Hunt and This is Our House. Sadly, my children are in school on this day – however, the event may be of interest to my home ed friends.
The Chair The Royal Exchange
The Chair creeps into the Royal Exchange from the 14th October to the 18th October -recommended for ‘brave souls’ over the age of 7. With live music, songs and a cut-throat razor…book at your own peril.
The Edge Theatre & Arts Centre, Chorlton
A good selection of children’s theatre as always at The Edge. Rosie’s Magic Horse gallops in on the 17th October and is recommended for ages 3-8 years of age. Strictly Balti is suitable for older children over the age of 11, exploring ideas of identity on 23rd October. Next up we have the The Toothy Adventures of Davy Denture (for ages 3-7) on the 27th October and The Adventures of Pom ( for ages 0-4) on the 28th October.
Waterside Arts Centre, Sale
And in case you can’t make those dates above…Waterside Artsgives us another chance to catch Rosie’s Magic Horse on the 11th October and Strictly Balti on the 21st October.
We’re Going on a Bear Hunt –Waterside Arts Centre–
In addition to this, Little Angel Theatre presents family favourite, We’re Going on a Bear Hunt from the 17th October until the 20th October. With a super running time of 45 minutes, it’s just perfect for those little fidgets aged 2 and over.
The ‘Half Term Show’ at Waterside Arts is The Elves & The Shoemakerrunning from 29th October until the 1st November, recommended for those aged over 3. And for those little pickles aged 0-18 months there is 16 Singerson the 30th October – its a combination of music and signing woven into a sparkling little show for babies.
The Met in Bury
Gulliver — The Big Telly Theatre Company –The Met, Bury–
For ages 12 and up Gulliversails into The Met in Bury on Tuesday 27th October. Followed by We Are Bronte on the 28th October, which is again suitable for ages 12+.
The Toothy Adventures of Davy Denture –The Met, Bury–
