Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐⭐

The Dan Daw Show is not your usual evening at the theatre. Dwelling on the parallels between theatre and sex, it emphatically places a disabled body front and centre in a way that is seldom seen, especially not as an object of desire and power.

Just like a successful kink experience, theatre relies on mutual respect, appreciation of boundaries, and even – to some extent – suspension of disbelief. Both acts have the capacity to be performative and sincere in equal measure, and both are about the consensual, requited exchange of power. Bodies and limits, domination and submission, power and physicality.

(It begins to sound like a twenty-first century Jane Austen novel, doesn’t it?)

Above all though, a kink encounter and a performance are about consent, and that concept is appropriately foregrounded here. Daw takes pains to confirm that he has consented to everything presented in the show, and that this is the foundation of all that takes place. His chemistry with Christopher Owen, stylised as KrisX, is a bedrock of the show. Their empathy and understanding towards each other is truly aspirational, enough to prompt questions amongst the audience around what lessons we can learn from the pair.

When Daw says that ‘you are in safe hands’ at the start of the show, you believe him entirely, and this is integral to the success of the show. There are various scenes tonight which have the potential to make those uninitiated to the kink scene uncomfortable, but under Daw’s capable supervision everything feels completely secure. You are given the genuine option to leave at any time, but no one feels the need to do this, far too compelled by the events unfolding before them.

It feels important to mention that the evening never once feels voyeuristic. This is a remarkable achievement for a show that includes kink, dominant and submissive behaviour, suffocating, choking, and restraints as trigger warnings. This is achieved by the mutual consent of audience and performer, and by Daw’s unwavering earnestness. He is a truly remarkable performer.

-Daniel Shipman

The Dan Daw Show runs at HOME until Saturday 3 December 2022.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

Split Britches are Peggy Shaw and Lois Weaver – a legendary theatre duo who have been making work together for over 40 years. Their casual references to the longevity of this collaboration are reflected by the partnerships in the audience – spouses, siblings, and friends. The presence of one of my closest friends only added to the emotional resonance of the performance. After years of division via social distancing and Zoom, we are finally allowed to be present in theatres again. Together with our loved ones, and together with incredible performers.

According to Split Britches’ website, Last Gasp was conceived before the pandemic as an exploration of the demise of “ageing bodies, civil conversation, and a sustainable planet.” In a timely twist of fate, it ended up premiering as ‘Last Gasp: WFH’, demonstrating how legendary theatre troupes were subjected to the same restrictions as the rest of us.

Having seen Split Britches perform together before, I thought I knew what I was in for – a self-aware combination of broken theatrical convention and well-constructed comedy. I was wrong. Last Gasp intentionally raises so many questions and provides so few answers, but it will break your heart. The comedy is still present, but everyone in the room is acutely aware that there is little left to joke about. The content of the show is so disjointed that I couldn’t provide a brief summary that did it justice, but as a general indicator of the tone: this is Carly Simon and Bill Withers soundtracking the apocalypse.

Shaw and Weaver’s material candidly questions mortality in all senses – the mortality of performers, of the planet, and of the open political dialogue which has defined much of their career. Last Gasp also questions the existence of live performance itself. Whilst the audience might be expecting a show which includes both parties present on stage for the duration, the evening mainly consists of a solo performance by Weaver, accompanied by halting, glitching, digital monologues from Shaw.

It is a bold decision for a renowned duo to mount a show relying on technology for the presence of one member at this late stage in their career, but this is a testament to the restless inventiveness which characterises their work. Once Shaw does (briefly) appear, her words are genuinely devastating.

Appropriately, I couldn’t put it better than my friend’s candid remark as we left the theatre together: I’ve never known a performance to mean nothing and everything at the same time.

-Daniel Shipman

Catch Split Britches: Last Gasp at Contact until Thursday 1 December.

Upstaged Rating: ⭐⭐⭐⭐⭐

New Adventures and Matthew Bourne return to The Lowry with their Gothic take on the classic fairytale Sleeping Beauty. A firm favourite in the company’s repertoire and celebrating 10 years since it was first performed, this stylish and supernatural production reawakens for 2022. 

Fairies frolic, vampires lie in wait and true love conquers all.

Set to Tchaikovsky’s scintillating and magnificent musical score, Sleeping Beauty features a wonderful blend of classical and contemporary dance. Matthew Bourne is well known for reworking classic ballets into powerful and relevant performances – in this glamorous and innovative reimagining he has created a Gothic world – where fairies frolic, vampires lie in wait, and true love conquers all. 

With a narrative that spans a century – taking the audience from Edwardian times through to the modern day, the story is built around the romance between Princess Aurora and the palace gamekeeper, Leo. However, their love story is cut short when Princess Aurora pricks her finger – and the dark fairy, Carrabosse’s curse takes hold – sending the Princess to sleep for 100 years. Meanwhile, Carrabosse’s son, Caradoc has designs to wed the Princess when she wakes – however, her lengthy slumber can only be broken by her true love’s kiss, so Leo needs to find a way to still be around in 100 years…

As always with Matthew Bourne and New Adventures, the most striking feature is the individuality of the dancers and their outstanding talent as dynamic storytellers. Ashley Shaw shines as Princess Aurora, playful and dreamlike, with Andrew Monaghan as her true love Leo – their pas de deux at the end of Act II is delightfully expressive of young love. Paris Fitzpatrick shows his versatility as a dancer playing both malevolent Carabosse and her sinister son, Caradoc. Led by Dominic North’s Count Lilac, the winged fairies perform with passion, wit and vivacity. 

Majestic pillars and sumptuous gold curtains frame the stage. Transporting us through a variety of different settings – an opulent castle, a moon-lit woodland and a nightclub – from the Edwardian era to the present day, Lez Brotherston’s set and costume design (aided by a conveyor) is ingenious, slick and beautiful. 

There is no finer storyteller than Matthew Bourne.

New Adventures’ Sleeping Beauty is inventive and dreamlike, performed with grace and athleticism. Giving us all the visual clues we need to experience the age-old fairytale in a new and refreshing way – there is no finer storyteller than Matthew Bourne.

-Kristy Stott

Matthew Bourne’s Sleeping Beauty runs at The Lowry until Saturday 26 November 2022, before playing at Sadler’s Wells from 29 November 2022 – 15 January 2023.

Upstaged Rating: ⭐⭐⭐⭐⭐

Lean, mean and totally uncompromising, Frantic Assembly bring a newly updated and gritty version of Shakespeare’s Othello to The Lowry as part of their UK tour. Razor-sharp and captivating, Frantic Assembly’s pulsating and athletic physical style adds new depth to Shakespeare’s text.

This thrilling adaptation sees Shakespeare’s characters transported to a brutal gangland.

Rooted in the twenty-first century, this thrilling adaptation sees Shakespeare’s characters transported to a brutal gangland; a rundown pub somewhere in the North of England and its tenebrous car park become the setting for this violent and visceral production.

Michael Akinsulire takes the title role. Although physically commanding and eloquent, we witness the effect of Iago’s manipulative psychological attack. Othello’s insecurities – associated with his race, age and military service – become easy pickings for Iago. The seeds of doubt, regarding his relationship with Desdemona, are planted and Othello is sent off-kilter – wounded and vulnerable – he is capable of anything.

Shakespeare’s text cuts like broken glass alongside Frantic Assembly’s choreography – mesmerising, defined by a violent grace. Othello’s actions are driven by the characters around him and the way that they propel his downfall. Joe Layton’s power-hungry, gaslighting Iago reduces Akinsulire’s previously assured Othello into a state of lethal paranoia. Chanel Waddock’s street-sharp Desdemona is fresh from the East End of London and sits in a grubby toilet cubicle while confiding to her friend Emilia. This is a production drenched in violence and fear, and the insinuation of Desdemona’s betrayal only makes Othello more dangerous.    

Scott Graham’s and Steven Hoggett’s incisive production is primal and hard-hitting. Laura Hopkins’ versatile set design places a pool table at the centre. The platform becomes a playground for violence and sex; the cues wielded as weapons. Gareth Fry and Hybrid’s dramatic and unbridled dance music soundtrack provides the perfect backdrop for Frantic Assembly’s physical-theatre style.

Utterly watchable and completely captivating.

Unapologetic and abrasive, running at just 110 minutes (with a 20-minute interval) this is an electrifying modern-day production of Othello. Shakespeare’s original text has been trimmed but this script is robust and piercing. Utterly watchable and completely captivating.   

-Kristy Stott

Frantic Assembly: Othello runs at The Lowry until Saturday 19 November 2022.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

Opera North return to The Lowry with Verdi’s La Traviata, which follows Violetta (Maire Flavin), a young, sociable courtesan who falls in love with Alfredo Germont (Oliver Johnston) but selflessly sacrifices their love at the request of his father. Violetta goes on to be publicly humiliated by Alfredo before dying in his arms.

As the centrepiece of the plot, there is a fine line to walk between the delicate, vulnerable, and ultimately sickly side of Violetta’s condition, and her innately sensual, powerful character. Flavin treads this fine line with ease, bringing the contrasting sides of the character to life with sensitivity whilst delivering a vocal performance that is both vulnerable and powerful in equal measure. It is a delight to witness.

Stephen Gadd’s performance as Alfredo’s father, Giorgio, captures the financial scheming of the parent determined to marry his other child to a wealthy family, but perhaps strays too far into the realm of pantomime villain. This is reflected by the audience booing when Gadd steps out for his bows. His voice is nonetheless a clear and formidable force across the second and third acts.

The rest of the central cast struggle slightly when competing with the sheer size of the orchestra, under the baton of Manoj Kamps. Whilst this is perhaps the largest pit I’ve ever had the privilege to hear, with all the attendant power and dynamism, it does have the effect of drowning out some of the vocal performances. This is a shame when it comes to the solo singers, but veers into the inexcusable when overpowering the chorus in Brindisi, one of the most famous melodies in operatic history.

The set – designed by Madeleine Boyd – starts strong with a projected eye capturing the voyeurism of the first act peering into one of Violetta’s parties but tails off into minimalism across the remaining acts. In a performance with two intervals to allow for set changes, there is little excuse for this.

Despite these quibbles, Alessandro Talevi’s direction ensures that this remains a lively and vibrant evening, with the orchestra rendering Verdi’s score beautifully.

-Daniel Shipman

Opera North present La Traviata at The Lowry until Thursday 17 November 2022.

Upstaged Rating: ⭐⭐⭐⭐

Oldham Coliseum’s Christmas show keeps getting better year after year. For 2022 our favourite panto team present the action-packed tale of Robin Hood. With a perfect blend of wonderfully wacky characters, thick and fast comic moments and all the trappings of a traditional festive show, Robin Hood is quite possibly the best panto we’ve seen on the Coliseum’s stage.

Quite possibly the best panto we’ve seen on the Coliseum’s stage.

Written by Chris Lawson and Fine Time Fontayne, the production is a delightful mash-up of two different stories – the legend of Robin Hood and the classic fairytale Babes in the Wood. Pantomime superstar Shorelle Hepkin gives another top-notch Principal Boy performance as Robin Hood. While, Liz Carney’s dastardly Sheriff wants Robin Hood out of the picture as she hatches a plan to kidnap the ‘Babes’ and claim their fortune.     

Nathan Morris gives a superb comic performance as The Sheriff’s dim-witted sidekick Failsworth and Ian Crowe elicits boos from the young audience as the evil Sir Guy of Gisbourne in his relentless pursuit of Maid Marion, sweetly played by recent graduate Sarah Pearson. The whole cast bounce off each other brilliantly – it’s clear that the show must have been a lot of fun to make and perform.

Versatile with sharp comic timing, Sophie Ellicott puts in a charismatic and animated performance as Ellen A Dale and the magical Fairy of the Woods. While, Charlie Ryan gets to showcase a fabulous range of costumes and deliver the punchy one-liners as the Dame, Nurse Nellie. William Travis’ silly and eternally hungry Friar Tuck keeps the audience on their toes by calling out every time he steps on stage.

David Bintley’s soundtrack pushes everything along at a joyous pace.

With a lively musical score covering everything from Dolly Parton and George Ezra to Dear Evan Hanson, David Bintley’s soundtrack pushes everything along at a joyous pace. Award-winning designer Celia Perkins’ set looks as though it has been peeled from the pages of a children’s picture book and her bright costumes are a highlight too.

Uplifting and packed with belly laughs, Robin Hood is everything that a family Christmas show should be. With slapstick routines, cheeky ad-libs for the grown-ups and sweeties for the little ones, Oldham Coliseum offers a top-notch pantomime that everybody can enjoy.

It’s been a tough time for our friends at Oldham Coliseum. The theatre, which has been at the heart of Oldham life for over 135 years, has recently been denied Arts Council Funding for the coming year; funding which it has received for decades. As one of only 32 producing theatres in England, and the only surviving theatre in the borough – in an area that has been identified as a ‘levelling up’ area for culture by the government – we believe that Oldham Coliseum and its work – its quality theatre alongside its outreach work and education – is vital to the community of Oldham, and further afield.

Robin Hood could be the theatre’s best panto yet.

We love Oldham Coliseum’s pantomime – it has always been a highlight of the festive season. With a pleasing price tag and taking place in an ideal-sized performance space, where everybody has the opportunity to interact with the show – Robin Hood could be the theatre’s best panto yet. And there’s never been a more important time to support this fantastic Northern theatre.

-Kristy Stott

Robin Hood runs at Oldham Coliseum until 7 January 2023.

Upstaged Rating: ⭐⭐⭐⭐

Load those splurge guns, grab your feather headdresses and get yourself down to Fat Sam’s Grand Slam. One of the most well-loved musicals, Bugsy Malone plays at Manchester Opera House and it’s a brilliant show for the whole family.

Set in Prohibition-era 1920s New York, Bugsy Malone is a slapstick musical comedy that follows the rivalry between two street gangs. Many will be familiar with Alan Parker’s beloved 1976 film; packed with catchy songs, it launched the careers of Jodie Foster and Scott Baio. Now, a wonderful revival of the acclaimed Lyric Hammersmith Theatre production embarks on a nationwide tour.

A unique and hilarious gangster spoof, Bugsy Malone sees children take on the lead parts in the story. Backed up by an animated and energetic adult ensemble, loaded machine guns are replaced with splurge guns and custard pies, and the blood splatter is switched for whipped cream.

In a city of half-witted mobsters, madcap hoodlums and sassy showgirls, speakeasy owner Fat Sam and debonair gang leader Dandy Dan are at odds. When Fat Sam’s empire comes under threat, he calls upon Bugsy Malone, a smooth-talking and well-intentioned boxing promoter to help him out.

Boasting a wonderful canvas of memorable songs – including ‘Fat Sam’s Grand Slam’, ‘My Name is Tallulah’ and ‘You Give A Little Love’ – by Oscar winner Paul Williams, Bugsy Malone is a wholesome, fun production packed with great performances.

Drew McOnie’s slap-stick inspired choreography is a real delight, from the superbly animated ‘We Could Have Been Anything’ to the athletic ensemble performance of ‘So You Wanna Be A Boxer’. And John Bausor’s costumes capture 1920s America and further add to the parody – mini-mobsters command in sharp pinstripe suits and sequinned dancers sparkle with the glitz and glamour of the era.

Directed by Sean Holmes, the universally brilliant cast is comprised of an adult ensemble and younger actors taking the lead roles. Gabriel Payne’s Bugsy is confident and charismatic, while Albie Snelson as Fat Sam is gifted with superb comic timing and is hugely entertaining to watch. Fayth Ifil shines as Tallulah with a voice more mature than her years and Delilah Bennet-Cardy’s Blousey is played with the perfect balance of sassy and sweet. 

Passionate with many laugh-out-loud moments, it’s clear to see that this production has been so much fun to make. With a running time of 2 hours (including an interval) and ticket prices starting at just £13.00, Bugsy Malone offers a memorable family theatre trip that won’t break the bank.

-Kristy Stott

Bugsy Malone runs at Manchester Opera House until Saturday 12 November 2022.

Upstaged Rating:⭐⭐⭐

Reviewer: Daniel Shipman

HOME’s newest offering is a science-fiction reimagining of Chekov’s The Cherry Orchard. This production relocates the original text from a turn-of-the-century Russian farm to a spaceship, the serfs converted to the ship’s lower deck workers who go their whole lives without ever looking out of a window.

The plot concerns the overly complacent Captain Prema Ramesh (Anjali Jay), part of a long line of clones who have been running the ship for generations – great importance is placed on their birth right to act as captains and custodians of the vessel, and that their decisions should not be questioned by the inferior ‘down-decker’ workers. However, the final goal of their mission is still many generations in the future, and with resources running low on the ship former down-decker Abinash Lenka (Maanuv Thiara) is elected as the new captain and decides to end the failing voyage prematurely by landing on a nearby hospitable planet.

Whilst Vinay Patel’s reimagined script pulls some interesting points out of the original text, these are all used far too sparingly. It feels like an attempt at Chekov’s masterful subtlety, but the balance isn’t quite struck here and the result feels more like the bare bones of a play than a finished production. There are so many threads which are alluded to but then don’t go anywhere – an interesting romance with the ship’s AI assistant, a vanity-driven side mission from which the captain has just returned, the ethics of cloning – the list goes on. Perhaps the most famous trope in theatre is Chekov’s gun – if you show a gun in the first act then it must be fired in the fourth. Unfortunately, that gun has been loaded with blanks here.

The setting of a spaceship is cleverly rendered in Rosie Elnile’s slowly rotating, Tardis-inspired set, but outside of that the sci-fi elements are drastically underutilised – this is a shame as it has the potential to be such a fruitful source of interesting theatrical moments.

One of the few places it is used well is in the character of the robot butler Feroze (Hari Mackinnon). Usually, the idea of robots on stage is anathema to me, but this is perhaps the first time I’ve seen it pulled off successfully. Mackinnon’s physicality is arresting to watch. He also brings some much-needed comedy to the otherwise rather stern proceedings, whilst also providing pathos as he is left alone on the ship in the play’s final moments.

Despite this, by the end of the show the atmosphere in the theatre makes it feel a little like being in space yourself.

– Daniel Shipman

The Cherry Orchard runs at HOME Manchester until 19 November 2022.

Upstaged Rating: ⭐⭐⭐

Set against the majesty of the Serengeti Plains and celebrated for songs like ‘Circle of Life’ and ‘Hakuna Matata’, The Lion King is undoubtedly a hugely popular musical. Receiving its premiere on Broadway in 1997, the show has been seen by a whopping 110 million people in 100 cities around the world. Now in its 25th year, the show graces Manchester’s Palace Theatre for an extended run of 19 weeks.

Visually spectacular from the get-go – it’s clear to see that the show’s undisputed appeal lies in its design. Kaleidoscopic, striking and magical, the scenic design by Richard Hudson and costume, masks and puppetry by Julie Taymor and Michael Curry are rooted in sheer brilliance. A feast for the eyes.

As Rafiki’s spine-tingling solo voice calls out, percussionists play African drums from the boxes in the auditorium and the theatre is filled with colour. Birds swirl overhead, an array of manipulated animal puppets – big and small – herd up onto the stage. And as the ensemble belt out ‘The Circle of Life’ – it certainly triggers a heady mix of tense anticipation and warm nostalgia.   

With over 50 performers in the cast, the show feels at its strongest during the ensemble pieces. Although the show lacks energy in parts, there are notable individual performances from Thandazile Soni as the old, wise mandrill Rafiki; both Young Simba and Young Nala were dynamic and passionate young performers, and comedy double act Alan McHale and Carl Sanderson, as Timon and Pumbaa respectively.

A wonderful synthesis of global theatre. Musically, The Lion King brings a homage to the heartlands of Africa in Lebo M and Mark Mancina’s stirring chants and mesmorising ensemble pieces, while the Western numbers by Elton John and Tim Rice give a familiar nod to the successful film.

Unfortunately, the brilliance of the ensemble pieces and the masterful design feel hampered by a thin plot and superficial characterisation. With a couple of references to the north of England woven into the script – Bury Market and Salford – everything felt untimely panto-ish. I suppose it’s (almost) the right time of year for it – but with such a dazzling show, set in Africa, do we really need reminding of our drizzly Mancunian setting?  

Although The Lion King left me a little cold, I have no doubt that the sheer spectacle, easy-to-follow narrative and Disney film appeal will make it a hot ticket for families of young children.

-Kristy Stott

The Lion King runs at the Palace Theatre, Manchester until 11 March 2023.

Upstaged Rating: ⭐⭐⭐⭐⭐

Since the Royal Exchange announced their new season back at the end of 2021, I’ve been eagerly awaiting this production. Adapted for the stage by Jack Thorne, Let The Right One In is everything I envisioned it could be and much more. Suitably timed for Halloween, the performance delivers – it’s brutal, jumpy and at times, quite bloody – but it’s also threaded with innocence, sweet humour and heart. 

Let The Right One In is bloody unmissable.

Based on the 2008 Swedish cult film, which in turn was inspired by John Ajvide Lindqvist’s 2004 novel, Let The Right One In centres around the burgeoning relationship between a 12-year-old boy, Oskar (Pete MacHale) and a centuries-old vampire child, Eli (Rhian Blundell). 

Set in Blackeburg, a suburb of Stockholm, where a series of murders have taken place, Oskar is struggling with his own problems. Experiencing relentless harassment at school, he finds escapism in stealing sweets from his local shop and imagining his revenge on the bullies. His reenactments on the climbing frame close to where he lives attract the attention of his new neighbour, Eli. Although Oskar notices that Eli smells a little bit strange, the two find a common ground in their otherness and a deep friendship begins to develop.  

Charismatic Pete MacHale gives a wonderfully childlike performance as Oskar and Rhian Blundell plays Eli with an untamed charm, almost like a wild animal – intensely wide-eyed, claw-like hands and limby; both utterly compelling. Directed by Bryony Shanahan, they clamber on the climbing frame, communicate by morse code and share genuinely tender moments together.

Brutal, jumpy and at times, quite bloody – but it’s also threaded with innocence, sweet humour and heart.

The production shines in its pacing and design, which really utilises the theatre’s in-the-round staging. Amelia Jane Hankin’s design sees large props are wheeled on and off stage – large wooden boxes, a confectionary kiosk and a climbing frame, and different settings are intelligently created including an icy forest, Oskar’s bedroom and a swimming pool. Sound design by Pete Malkin builds tension – from haunting melodies to retro synths – it all feels otherworldly, though nostalgic, in the same vein as Stranger Things.

The show makes the most of the horror genre too – right from the get-go. Expect squirting stage blood, strobe lighting and proper jumpy moments. Let The Right One In is bloody unmissable.

-Kristy Stott

Let The Right One In runs at the Royal Exchange, Manchester until 19 November 2022.