Adapting Harper Lee’s Pulitzer Prize winning novel, To Kill a Mockingbird, for the stage is a brave decision to make. The novel has recently celebrated it’s 50th anniversary and besides being a staple on the GCSE curriculum, it has been translated into 40 languages and sold over 30 million copies worldwide. This humble, poignant and charming stage adaptation by Christopher Sergel pays homage to the legacy of the novel and everyone who has read it.
With simple staging the cast present the story of racial injustice in a small-town community in the Deep South. Lawyer Atticus Finch is in seek of the truth when he represents Tom Robinson, who stands accused of rape. The narrative is told through the eyes of his daughter, Scout who is a feisty and inquisitive young girl.
The play opens with the whole of the cast holding various editions and well thumbed copies of the novel in an acknowledgement to the text. Under Timothy Sheader’s skillful direction, the company then remain visible throughout the production, each holding and reading their copies of the book at each side of the stage. All costume changes are all performed with little fuss on stage, in a bid to create the insular society that the characters inhabit. And musician Luke Potter plays a colourful folk soundtrack composed by Phil King, which hints at the slow pace of life in Maycomb.
The simple stage design by Jon Bausor creates a perfect canvas for the storytelling to shine, as the cast read excerpts from the novel, staying true to the texts original form. Daniel Betts gives a captivating performance as Atticus Finch, particularly during the court scene. Scout (Rosie Boore), Jem (Billy Price) and Dill (Milo Panni) certainly impress, especially when so much hinges on the quality of the child actors in this production.
Perhaps my only qualm is that the production does take for granted that the audience have all read the text – Boo Radley’s character is not really explored enough for us to fear him and as a result the ending does lack some depth. Nevertheless, this is a production which is definitely worth seeing and not just by those studying for their GCSE’s.
Boeing Boeing written by Marc Camoletti and directed by Robin Herford is a superb example of a classic farce.
We’re in Paris and it’s the swinging sixties and Bernard, a batchelor and highly successful Parisian architect is flying by the tail wind of the Jet Age. With three fiancées, who are all air hostesses for different airlines and flying on different routes, he has managed to ensure that only one of the women is ‘at home’ in Paris at any one time. However, with the dawn of newer planes and faster aircraft, Bernard’s carefully timetabled system is put under severe pressure.
When Bernard’s friend Robert, who he hasn’t seen for ten years, arrives unexpectedly – he too is caught up in trying to preserve Bernard’s three-timing secret. Robin Simpson gives a high energy and hilarious performance as he desperately tries to keep each of his fiancées apart.
Under the slick direction of Robin Herford, the cast are all exceptional with impeccable timing and their performances clearly thrive with the laughter from the audience. Ben Porter as the awkward and eccentric Robert and Gilly Tompkins as long-suffering housemaid Bertha, give outstanding performances, working at breathtaking speed as they try to conceal Bernard’s wrongdoing.
The three air hostesses give sterling performances and as one door closes and another one opens – they do not miss a beat. Laura Doddington as the brassy, outspoken American fiancée Gloria and Maeve Larkin as the sophisticated Italian fiancée Gabriella. However, it is Sarah Lawrie who really makes the audience squeal with her interpretation of the manic and passionate German fiancée, Gretchen.
The Oldham Coliseum’s production of Boeing Boeing is glamorous, exhilarating and highly entertaining. And although the plot is arguably quite preposterous, we have to suspend all of our moral sensibility to fully appreciate the absurd setting, exaggerated characters and slapstick comedy. Once you’ve handed in all moral judgement at the box office, prepare to board Boeing Boeing, you will not be disappointed.
-Kristy Stott
Boeing Boeing is on at Oldham Coliseum until Saturday 6th June.
Different is Dangerous aims to give a unique insight into the lives of the Asian community living in Leeds. Devised and performed by Fadia Qaraman and Nyla Levy of Two’s Company, the piece aims to explore multicultural life, the challenges of ethnicity and present the voices of Asian Leeds locals.
Qaraman and Levy use a combination of fictional monologues and a technique called headphone verbatim as a means of presenting these personal stories from within the Asian community living in Leeds. The idea is that the performers each wear a set of headphones which relays an audio script to them – each actor then aims to recite this audio script not only word for word but with exact precision, capturing the nuances and speech patterns of the original interviewee. The idea is that there is as much information embedded in the way somebody speaks as the words that they actually use.
Setting is very minimalist consisting of just four chairs and Qaraman and Levy only have 2 scarfs as props, but this is the idea of this type of theatre – it is not meant to be highly visual. Both performers shift between the different characters with ease as they tackle subjects such as unprovoked attacks, relationships and politics. The two creator-performers also reveal some controversial viewpoints as well as some lighthearted and humourous conversation.
Qaraman and Levy certainly manage to keep the audience listening throughout the full 50 minute experience. And despite the performance style not being highly visual, you do still manage to get lost in the everyday voices, opinions and beliefs of the community in Leeds.
Different is Dangerous certainly succeeds in getting people to think and discuss cultural identity in Britain, raising the profile of a topic that some people still feel uncomfortable talking openly about.
The Contact Theatre in Manchester is renowned for its high quality and diverse artistic programme. With experimental and bold theatre at it’s core, Contact Theatre has joined forces with the National Theatre of Scotland, acclaimed champions of storytelling and creative risk taking to produce this powerful new play, RITES.
RITES is a verbatim piece of theatre, borne out of interviews conducted with real people who have been directly affected or have some experience of Female Genital Mutilation (FGM). The people who were interviewed to make this production are from all over the UK and are FGM survivors, medical staff, health and social workers, activists and campaigners.
When the play begins, Fara (Paida Mutonono) asks us to “start by listening” and it is her direct story of FGM which forms the backbone of the production. The other characters that are presented to us also provide their viewpoints and share their stories which furthermore enriches the play giving it integrity, balance and depth. The four other members of the cast (Janet Kumah, James Mackenzie, Beth Marshall, Eleni Pavli) play a range of vibrant characters which include a group of Somali women swigging tea discussing western media and guests on a talk show with differing viewpoints. Director Cora Bissett and Co-creator Yusra Warsama’s staging does not demonise or judge victims of FGM but asks us to step back and understand a subject which is not as straightforward as we are led to believe.
RITES is an accomplished example of verbatim theatre – performances are all strong with each character’s mannerisms, stumble for words and idiosyncrasies adding to their credibility. And despite the heavy subject matter, the play does have a scattering of humour too particularly from female Muslim Chaplain Abhaya (Elena Pavli) and midwife Vanessa (Beth Marshall).
Jessica Worrall’s set design is perfectly simple allowing each of the characters and their narratives to shine through. Projections are used on stark white hospital screens, some are powerful signifiers such as razor blades whereas as others simply suggest Fara’s search for reason and truth with images of her google searches and tense skype calls to her mother.
After the 90 minutes of theatre, I walked out into Manchester with a different mindset on the subject of FGM and definitely a deeper understanding. I also felt hopeful for the future – FGM cannot be condoned but in order for us to change it, we have to step back, listen and gather facts so that we can challenge it and eventually put an end to this abusive practice.
-Kristy Stott
Rites is at Contact Theatre until 14 May 2015 (with a women only performance on 13 May at 12:30pm) before continuing its tour at Tobacco Factory Theatres, Bristol from 19 May -23 May 2015 and then Traverse Theatre, Edinburgh from 26 May- 30 May 2015.
Contact Manchester’s Flying Solo Festival celebrates the ability of one artist to hold the stage and the interest of the audience for an entire performance. It makes for an intensive and rewarding experience for the theatre goers and this is particularly true of Jackie Hagan’s show, Some People Have Too Many Legs.
Just before Jackie starts her main show, she comes out onto the stage and introduces herself to the audience, who according to her, ‘look just like Facebook, little squares, only your faces are moving’. Her direct, honest and optimistic style makes her instantly likeable and when she tells us that she is pleased to be performing in the Contact Theatre on this side of Oxford Road, rather than residing as an inpatient over the road at the MRI- where she was 2 years ago when she developed blood clots in her right leg, we share her enthusiasm and appetite for storytelling and performance.
Jackie Hagan is a luminous storyteller, when she relays important happenings in her life – growing up, loss and grief and falling in love during challenging times – she does it with positivity and determination. She juxtaposes feelings of fear and sadness with her sparkly optimism and imagination – her well paced humour glitters throughout engaging our hearts and minds as we wonder what she might reveal to us next.
A white tent, equipped with fairy lights and white lace provide the staging for Jackie’s story. This setting works well as an intimate frame for flashbacks and as a stark and sterile backdrop for the hospital ward. Jackie explores the various coping methods that she found some comfort in when she became an amputee and she also animates a week by week account which assist us in understanding her experience. It is not self pitying but positive and uplifting especially when the performance becomes interactive and we are invited to open the envelopes that we were given at the start of the show. We all share in Jackie’s dream sequence as she holds up a handwritten banner which says “I know you have had to cope too.”
“You’ll notice that where most of you have got a tube of meat I’ve got a pillar of glitter”
Some People Have Too Many Legs is an inspirational show that can be appreciated by everyone. Jackie Hagan’s straight talking, bubbly and empowering persona translates well in performance – not every disabled person wants to be called brave or become a Paralympian. This show is testament that a very beautiful, amusing and cathartic piece of art can emerge from the most difficult of situations and sometimes we all have to “throw some glitter at it in the only way you can”.
-Kristy Stott
You can visit Jackie Hagan’s blog if you click here.
Now in its fifth year, it’s a week-long run of amazing solo and one-to-one live art, spoken word, comedy, dance and theatre performances. And this year Contact Theatre have a bold line-up of artists including Chris Brett Bailey, Jackie Hagan, Keisha Thompson, Cheryl Martin, Jamie Lewis Hadley and the vacuum cleaner, as well as premières from last year’s Contact Flying Solo commission winners Louise Orwin and Ester Natzijil.
For those fancying a bit of Shakespeare -Northern Broadsides production of King Lear is at The Lowry from 5th May until 9thMay 2015. Renowned for their down-to-earth performance style, Northern Broadsides have won over a whole new generation of Shakespeare fans. And if you want to treat yourself to a rock ‘n’ roll musical inspired by Shakespeare’s The Tempest, the Olivier Award winning rock spectacular Return to the Forbidden Planet blasts into The Palace Theatre, Manchester from 4th May until 9th May 2015.
The premiere of Jim Cartwright’s The Ancient Secret of Youth and the Five Tibetansstarring Denise Welch, Tom Mannion, Eric Potts, Lauren Drummond, and Matt Tait is running at Bolton Octagon until 23rd May 2015.
Box of Tricks Theatre Company present Plastic Figurines at The Lowry on the 6th May and 7th May 2015.
“Mum told me that there was something in his brain that was different, she said that he liked to put his toys in lines and that was a symptom or whatever. I used to go in his room and see all his stuffed animals in a line and I’d mess them up. I’d mess the line up.”
Inspired by events in the writer, Ella Carmen Greenhill’s own life, Plastic Figurines is a funny and moving new play that explores autism and the relationship between siblings with very different views of the world.
From 10th May- 17th May…
The story of the greatest middleweight never to be champion, Len Johnson ‘Fighter’is showing at Studio Salford in The Kings Arms in Salford from 11th May until 13th May.
RITES is on at Contact Theatre from 12th May until 14th May.It is a powerful and provocative new production exploring the deep-rooted cultural practice of Female Genital Mutilation, a local and national issue in the UK. With a strong creative team behind this production, it is a verbatim piece based on interviews with girls, women and professionals who have been affected by the practice.
Told by an Idiot and The Royal Exchange present The Ghost Train from 14th May until 20th June 2015.
Told by an Idiot return to the Royal Exchange, bringing their trademark wit, flare and theatrical invention to this blisteringly funny take on the classic ghost story.
Newly opened HOME on First Street in Manchester kicks off with the world premiere of The Funfair on 14th May until 13th June. Featuring a live band playing a soundtrack of iconic tracks, The Funfair promises to be a theatrical experience that will immerse you in all the colour, chaos and fun of the fair.
Meanwhile, Boeing Boeing opens at Oldham Coliseum on the 15th May and runs until 6th June 2015.
The Three Minute Theatre, based in Afflecks Arcade present a FREE event, Three Friends and you, on 14th May 2015 – it’s an evening of spoken word with a focus on mental health, in support of Mental Health Awareness week.
Winner of the Best Studio Production Award at The Manchester Theatre Awards, He Had Hairy Hands returns to The Lowry on the 15th and 16th May 2015. It’s described as Hammer Horror meets the Wicker Man, Scooby Doo and The League of Gentlemen…
Other hot picks on at The Lowry this week are Different is Dangerous on the 14th May2015 and Edinburgh Fringe sell-out, So It Goes on the 15th May 2015.
From 18th May -25th May…
The Call of Nature by Mike Heath runs for 7 nights from 18th May 2015 until 24th May 2015 in The Cellar at The Kings Arms, Salford. You are strongly recommended to get your tickets early for this event, as due to the intimate performance space, there will only be 18 tickets available per night.
Harper Lee’s much loved story – To Kill a Mockingbird is running at The Lowry from 19th May until 23rd May 2015.
Cuddles, the story of Eve a 13 year old vampire, is guaranteed to give you shivers in The Studio at The Royal Exchange from the 19th May until 23rd May 2015.
Billed as one of the best musical theatre nights of the year and acclaimed by critics and audiences alike, Dirty Rotten Scoundrels arrives at The Opera House Manchester on the 20th May and runs until 30th May 2015.
And if you didn’t catch Len Johnson ‘Fighter’ at Studio Salford earlier in the month – it is showing again at Bolton Octagon on the 20th and 21st May 2015.
The 56 arrives at The Studio in The Lowry Theatre on the 23rd May 2015, retelling the stories of those involved in the Bradford City Fire in 1985.
The Southbank Centre’s Alchemy Festival comes to Oldham on 23rd May 2015.With events taking place in and around Oldham Coliseum.
I’ll be doing another post with theatre and entertainment ideas for the family during the May half term – but for now there is The Journey Home at Z-Arts on the 23rd May 2015. It’s suitable for ages 2+ and is based on the book by Frann Preston -Gannon. There is also One Little Word, a beautiful story about friendship suitable for ages 3+, at The Lowry on the 24th and 25th May 2015.
From 26th May onwards…
Judy – The Songbook of Judy Garland is on at The Palace Theatre, Manchester from the 28th May until 30th May 2015. Along with never before seen film highlights and interviews, Judy’s dazzling songbook is brought to life by the creme of London’s West End.
On the 29th and 30th May 2015 HOME and Rosie Kay Dance Company present5 Soldiers – The Body is the Frontline – it’s site specific with the Rusholme Army Reserve Centre providing the appropriate backdrop for a piece that weaves a story of physical transformation, helping us to understand what makes a soldier and how the experience of warfare affects those that choose to put their life on the line.
Susan Hill’s well known thriller novel, The Woman in Black, adapted for the stage by Stephen Mallatratt, relies heavily on the audiences imagination to create the eerie tension and spine-tingling fear that it is renowned for. Interestingly the show first premiered in the intimate setting of the 70 seat studio at The Stephen Joseph Theatre in Scarborough in 1987, before transferring to The West End.
Set in the 1950’s, the story unfolds in an empty Victorian theatre, where Arthur Kipps, now an old man, has hired a young actor to help to re-enact a manuscript that he has written about a ghostly, supernatural experience he endured as a young solicitor.
After an initial, but drawn out, disagreement over Arthur Kipps’ performance style, the two men agree to dramatise the story. The Actor (Matt Connor), playing a young Kipps and Arthur Kipps (Malcolm James) taking on the additional characters in the spooky tale.
Following this protracted introduction, the story that we have been waiting for finally begins. Under the direction of Robin Herford, the two actors give impressive performances and manage to generate some sense of tension as they illustrate Arthur Kipps’ spine-chilling experiences. However, this feeling of horror and uneasiness manages to get somewhat lost in the expanse of The Lowry’s Lyric theatre, giving way to audience laughter instead of gasps of horror.
The set design by Michael Holt and lighting design by Kevin Sleep deserve curtain calls in their own right. The artistic and resourceful use of lighting, sound effects and essential props was highly effective in aiding the narrative – transporting us from place to place and from character to character in a matter of seconds. And it was this which really tinkered with the audiences perception and created an unsettling atmosphere.
There are a few moments in this play that do make even the toughest and baddest of horror fans jump out of their seats, however, for the most part the production does not invest enough in the audiences imagination to generate a real chill of terror. Although, Act II does heat up with tension, the dark robed spectre does not live up to expectations and with echoes of the infamous Scream movie mask and halloween fancy dress, she isn’t a particularly scary prospect. Interestingly, the most unnerving scenes are the ones in which the low lighting and clever set designs leave your eyes searching for her silhouette in the shadows.
The Woman in Black isn’t particularly scary but it certainly is an amusing night of entertainment.
-Kristy Stott
The Woman in Black runs at The Lowry, Salford until 2 May 2015 and then continues its UK tour at New Theatre, Cardiff from 5 May until 9 May 2015. For more UK tour dates for The Woman in Black please click here.
Opera North are passionate about making opera that appeals to the whole family, for children to understand and enjoy just as much as the adults. In this production, Opera North have collaborated with The Wrong Crowd Theatre Company to bring the story of Swanhunter to life. Under the direction of Hannah Mulder, the story is masterfully told by the cast of six, in a simple but highly effective way. The tale is full to the brim with mystical beasts, spooky landscapes and other-worldly characters which heightens its appeal to older children, over the age of 7.
Four backpackers sit around a warm fire as they begin tell the story of the Swanhunter, this campfire tale eagerly becomes a re-enactment of the story of Lemminkainen’s quest to the North to find a wife. This frame story can’t claim to be the most original or inventive but, it is charming and a familiar setting for most of the audience.
During Lemminkainen’s (Adrian Dwyer) quest to find a wife he uses his voice to sing his way out of any trouble – overcoming growling dogs, the Devil’s Elk and the Devil’s Horse – however, will the final task of shooting the Swan (Suzanne Shakespear) that lives on Death’s river prove too much for him?
Luckily, he has cast a spell on a knife and stabbed it into his mother’s door – this knife will let his mother know if he gets into trouble. As with all children’s opera, we need a happy ending and so it is Lemminkainen’s mother, sung emotively by Ann Taylor, who comes to his rescue. Adrian Dwyer is strong and animated in the role of Lemminkainen, although maybe a little too mature for the role of the young man in search of a bride.
Rachael Canning’s clever puppetry and design uses the camper’s circle of tents to bring the narrative into full realisation. All framed by a simple backdrop of mountains, a tent becomes a body for the Devil’s Elk and two rucksacks become the bodies of two fraught snarling dogs.
Jonathan Dove’s music is beautiful, conducted by Justin Doyle, it moves through from the frightening low tones of death to the high piercing notes of the swan’s aria sung beautifully by Suzanne Shakespeare.
Running at around 70 minutes, Swanhunter is a fantastic opportunity for the whole family to experience opera together.
“ I liked all of the puppets, especially the scary ones and the music was really creepy at the start which made me feel excited. I couldn’t believe how high the lady sang as she moved the swan around beautifully on the stage. I found the story really easy to follow because the cast always sang what was happening a few times so that I could understand.”
Swanhunter continues its run at The Alnwick Playhouse on the 26th and 27th April before calling in at The Queen’s Hall, Hexham on the 29th and 30th April 2015. For more details on the tour please click here.
The Rolling Stone written by Chris Urch was a Bruntwood Prize Winner in 2013 – now it runs in rep alongside Anna Karenina at Manchester’s Royal Exchange. Set in Uganda, where it is illegal to have a homosexual relationship, it tells the story of Dembe who has fallen in love with Irish doctor, Sam. The play centres around the true story of Ugandan newspaper, The Rolling Stone which used its front page to out gay men by publishing their names, addresses and photographs. This publicised witch-hunt incited violence against these men, their families and anybody who supported them.
“The Lord wants us to be truly who we are”
Joanna Scotcher’s set is perfectly stark, a blue carpeted stage with a simple raised platform in the centre, provides the perfect foundations for Chris Urch’s sensitive, honest and thought provoking script. Richard Owen’s lighting design is tasteful and stylish throughout – opening the production with a soft blue light, as the cast of six sing in beautiful harmony, their voices flood the stage, ironically, it all feels calm and utopian.
The scenes between Dembe (Fiston Barek) and his lover, Sam (Robert Gilbert) feel natural and playful – when they are on stage together there is a great chemistry and it is these sections which generate laughter from the audience. Barek is superb in portraying Dembe’s coming of age, balancing youthful wit with bravery and sensitivity, in a society where he is fearful of his own identity. When Dembe’s brother Joe (SuleRimi) is made pastor of the local parish, the circle of scrutiny moves uncomfortably closer to Dembe and his family. Ellen McDougall’s direction is masterfully reflective of the kind of society that the characters inhabit – the actors sit with the audience when they are not on stage, watching Dembe’s every move.
“God is a fallacy. It is us that judge one another”
The Rolling Stone is expertly cast with every member of the production giving an outstanding performance. Despite, her lack of voice, Ony Uhiara shines as the mute character Naome, who is overshadowed by her mother, Mama played by Donna Berlin. Faith Omole impresses as Wummie, Dembe’s twin sister, a victim of her society in her own right when she forfeits her education to aid her brother.
The Rolling Stone is a powerful production and highly compelling viewing. Chris Urch’s writing really draws its audience in, this is a real edge-of-your seat captivating drama, where we can engage with the characters, empathise with their predicaments and wish that we could influence their futures.
The Rolling Stone is running at The Royal Exchange in Manchester until the 1st May 2015.
As the audience take their seats for Idle Motion’s Shooting With Light, I could hear some deep in discussion about photography – not just the technical intricacies but how it makes them feel. When the play opens with a scene revealing the discovery of a boxed set of negatives, it is reflective of the need to unearth the past through photography, shining some light on the stories of conflict and war, life and death, that need to be heard. Gerda Taro was the first female photojournalist who lost her life on the front-line and she is brought to light in this powerful, beautiful and passionate production.
The main story is set in the 1930’s and it is essentially a love story between Gerda, a German refugee and Andre, a budding Hungarian photographer. Through their shared love of photography, Gerda gives Andre the confidence to sell his work under the alternative name of Bob Capa and he teaches her how to use a camera. Meanwhile, a parallel story about Capa’s brother, Cornell, runs neatly alongside the main love story. This story is set at a later date and long after Capa’s death when Cornell, an old man, struggles to find a missing box of Capa’s negatives.
Sophie Cullen’s performance as Taro is spirited and charming – she conveys Gerda Taro’s positivity, independence and bravery well. Some of the scenes between Taro and Bob Capa, played by Tom Radford, are particularly poignant and well choreographed and their relationship is believable – from the moment they connect over a roll of film to the tense scene when Taro chooses to return to capture the Spanish Civil War.
The atmospheric soundscape by Chris Bartholomew really aids the narrative – moving through from the romantic and nostalgic to the claustrophobic and loud which suggests the chaos and brutality of war. The choreography in the physical sections is slick, and despite the parallel story and frequent flashbacks everything moves fluidly and without confusion. Most importantly, there is a real sense that Idle Motion worked collaboratively with Grace Chapman, Sophie Cullen, Nathan Parkinson, Ellie Simpson, Julian Spooner and Kate Stanley all devising, writing and directing, as well as 4 of these members performing also.
Ellen Nabarro’s set is minimalist with a grid of little doors forming the backdrop for a lot of the action. It is clever staging and with the help of the lighting design by Greg Cebula, film and photographs, it easily suggests an apartment window, a fridge, a cinema screen and a phone booth with ease. The cast move around the stage beautifully, with the physical sections adding a further dimension to the play -not only by aiding the passage of time and guiding the audience through the story but in the way that they felt as though they were choreographed with a photographers eye in mind.
Idol Motion really impressed with Shooting With Light – they are definitely a company I’ll be looking out for in future and I can’t wait to see what they come up with next.
-Kristy Stott
Shooting With Light is running in The Lowry Studio until Friday 24th April
