Author: kristobel

The Global Playground (MIF21) at the Great Northern Warehouse

kristobel
Image courtesy of Chris Nash.

Reviewer: Megan Hyland

Upstaged Rating: ⭐⭐⭐

The Global Playground is a joyful exploration of interconnectivity and playfulness that is bound to bring a smile to your face – whatever your age. It follows the turmoil of cameraman Sean (Sean Garratt) as he tries to put together a film despite the mischievous antics of the cast members. Dancers Jahmarley (Jahmarley Bachelor), Annie (Annie Edwards), Kennedy (Kennedy Junior Muntanga) and Charmene (Charmene Pang) consistently divert the recording with their escapades as they explore the stage with childlike wonder – reminding Sean that sometimes we all need to let loose and have fun. 

The cast command every inch of the stage that they occupy with their captivating, natural fluidity of movement.

In doing so, the cast command every inch of the stage that they occupy with their captivating, natural fluidity of movement and motion. Gregory Maqoma’s choreography is the perfect blend of effortless fun and spectacular physicality, with the cast moving in unison to create beautiful, joyful dance sequences interspersed with everything from puppetry and ventriloquy to physical comedy to keep the youngsters in the audience engaged. And each of these elements is seamlessly incorporated by the magnificent cast. Sean Garratt is also fantastic as both the cameraman and the voice behind Terry the puppet and the camera itself, making their characters just as vibrant and lively as the rest of the cast. His comedic timing and physical comedy are excellent, particularly for younger audience members. 

Although, some children may struggle to engage with the longer sequences without an interest in dance. While captivating for older audiences, the contemporary elements may not be as engaging for younger, non-dance fans. However, for those interested in dance, this piece is the perfect blend of entertainment for both adults and children, combining stylised elements such as vogue with a fuzzy orange puppet called Terry. There are even educational elements, allowing children to learn about how films are made through watching the cast incorporate equipment such as lightboxes, tripods and reflectors. 

A carefree, bubbly performance for all ages.

The ways in which Guy Hoare’s light design and Maqoma’s choreography involve these in the dance sequences is truly mesmerising, with dancers using the reflectors to create dazzling displays that flood the theatre space with light. Each time, the cast interacts with the equipment in new and exploratory ways, whether it’s wearing lightboxes or turning the camera into a sinister monster. And all of this is tied together flawlessly by Ayanna Witter-Johnson’s music and the musical performance of Merlin Jones, providing the perfect connection between such stunning visuals and styles of movement. 

Every child will be able to see themselves represented on stage in a joyful way.

Most of all, The Global Playground reminds us that we could all benefit from returning to the wonder and playfulness with which we explored the world as children, as well as the freedom that it gave us. It is a carefree, bubbly performance for all ages that shows we are far better when we work together than apart – though does not fail to showcase the extraordinary individual talents of its cast. And with such a diverse cast and range of dance styles, it ensures that almost every child will be able to see themselves represented on stage in a joyful way. 

-Megan Hyland

The Global Playground runs at the Great Northern Warehouse until 18 July 2021. Happening as part of Manchester International Festival 2021.

Review: Bloody Elle at the Royal Exchange

kristobel
Bloody Elle
Image Credit: Pippa Rankin

Reviewer: Elise Gallagher

Upstaged Rating: ⭐⭐⭐

Bloody Elle, a gig musical, is the first piece of performance to see the Royal Exchange Round in over 14 months. 

Performed and written by Lauryn Redding, the piece is a one-woman show telling the story of Elle, exploring her growth, queer love and identity. The autobiographical piece is made up of a jigsaw of monologue, commentary with Kae Tempest-like delivery, impressions and live music performance. 

Redding carries the show with a likable cheek, easily navigating the hurdles COVID-19 presents, side sweeping her way into every other character involved in her story, complete with accent and mannerisms. The only character she doesn’t do this frequently for or stops doing this for altogether is Eve – her love. Ultimately Redding gives her voice life at the end of the play, which echoes around the round. 

The set (Amanda Stoodley) is made up of a series of black platforms of differing heights which have a white paint splatter effect across their tops. It’s a very simple set-up with pub-style tables and stools (complete with tea lights in frosted holders) orbiting the stage, making Elle the centre of our universe. 

Her unwavering love for ‘Cloud Rises’, the choreography for her looking over her kingdom, and the warm light mimicking a soft pink sunset were show highlights.

Redding does an incredible job of conducting the show alone. However, for a performance entirely focused and delivered by one person, it felt as if the show was hindered in its flow. The set design is from one palette occasionally punctuated with white light. The choreography, rhythm, and at times even the lyrics, are repeated throughout the piece, giving the performance a repetitive feel. 

Director and Joint Artistic Director of the Royal Exchange Bryony Shanahan returns with her winning formula of live music, last seen with the haunting, show-stealing score of Wuthering Heights by Sophie Galpin & Becky Wilkie. The show is at its strongest with Redding’s amazing vocal performances which lace her monologue. 

With gig musicals, it’s hard to hit the perfect note – but despite this, Bloody Elle marks a safe return for the Exchange.

-Elise Gallagher

Bloody Elle plays at the Royal Exchange Theatre, Manchester until 7 July 2021.

Review: Opera North – Fidelio at The Lowry

kristobel
Image courtesy of Opera North.

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

We can finally go back inside a theatre! After 15 months of not being able to attend any indoor performances, the atmosphere among the audience at Opera North’s Fidelio is one of anticipation. What the audience lacked in numbers (due to social distancing), it made up for in enthusiasm, with passionate applause as soon as the cast took to the stage.

What the audience lacked in numbers (due to social distancing), it made up for in enthusiasm

Rather than a fully-fledged opera with costuming and set, this was more of a concert performance. In order to maintain social distancing on stage as well as in the audience, the orchestra (under conductor Paul Daniel) were out of the pit and on the stage itself, which allowed for a rare opportunity to appreciate precisely where each strain of music originated from. Between this and the lack of visual distraction, it is so much easier to appreciate Beethoven’s score here, and allow yourself to be swept along with the music.

It is perhaps wise to focus more on the music than understanding the intricacies of the plot, which are pretty absurd at times. Broadly, it follows a woman called Leonore (Rachel Nicholls) who disguises herself as a man called Fidelio and takes up a job as a jailer’s assistant, in order to infiltrate the jail and free her imprisoned husband Florestan (Toby Spence).

The small cast of just seven primary performers are all wonderful to hear live

There are various other elements to the plot, such as a love triangle between another jailer, the jailer’s daughter, and ‘Fidelio’, but these seem strangely disconnected from the main plot and serve more as distractions than anything else. I imagine this is down to the lack of proper staging, which would perhaps have served to glue the whole thing together into a more cohesive whole. Nonetheless, the small cast of just seven primary performers are all wonderful to hear live and they tie in beautifully with the orchestra.

-Daniel Shipman

Opera North: Fidelio will next play at the Royal Concert Hall in Nottingham on 19 June 2021.

REVIEW: Petrichor with The Lowry

kristobel
Image courtesy of ThickSkin.

Upstaged Rating: ⭐⭐⭐⭐

During the period of lockdown and the closure of theatres, artists and companies have been driven to find new ways to reach out to their audiences. Interesting new forms of art have emerged in the drive to connect, create and stay cultured. Artists and companies have been compelled to think outside the box and take their practice into new areas.

This new virtual reality show, Petrichor,  by Manchester-based theatre company ThickSkin uses digital technology to create a 360° virtual performance space for the audience. 

The show can be experienced in-person inside the foyer at The Lowry (socially distanced and Covid-safe) or on your own in the comfort of your own home. For the performance, you are required to wear a VR headset. I chose to experience the performance at home: I received my cardboard headset, assembled it (comes with simple instructions) and settled down to watch the performance.

Featuring two performers, Ayesha Fazal and Dominic Coffey, the performance fuses physicality and storytelling with animated projections and a brand-new soundscape to create a cinematic experience for the audience. Set in the dystopian parallel universe of Petrichor, the performance examines themes around human connection, escape and a world without artistic expression. Using starkly repetitive choreography and an industrial-inspired soundtrack, the two personas subscribe to the cyclical existence of work, eat and sleep. 

That is…until a chance meeting brings them together and offers them a glimpse of what life could be like on the other side…

Enveloping and wholly engaging, the performance takes place around the audience. As a spectator, you find yourself choosing to turn your head to follow the action. Directed by Jonnie Riordan and Jess Williams, it’s a clever concept which is well-executed by ThickSkin and their filmic collaborators TripleDotMakers.

Recommended for those aged 13 and up, the show runs at approximately 30 minutes.  Perhaps most importantly, at a time when human connection feels more vital than ever, Petrichor offers an immersive,  accessible and unique way to experience theatre.

-Kristy Stott

Petrichor runs at The Lowry until 1 November 2020 and then at Oldham Coliseum from 20-21 November 2020. Full tour details are here.

Opera North: The Turn of the Screw at The Lowry

kristobel
Image courtesy of Tristram Kenton .

Upstaged Rating: ⭐⭐⭐⭐

Reviewer: Daniel Shipman

The music in Britten’s Turn of the Screw suits the haunting, ambiguous atmosphere of Henry James’ original text perfectly. Whilst opera may not seem the ideal medium for a story that relies so much on interpretation, the small cast and tight focus on plot in Myfanwy Piper’s libretto make this an interesting subversion of a usually epic form.

Briefly, Turn of the Screw follows a governess who takes charge of two young children whose guardian wants no contact with them. Whilst initially happy, the governess soon discovers dark secrets from the past which still haunt the house in the form of ghosts. If this sounds deliberately obtuse, it is intentional on James’ part. The lack of certainty contributes to the uncanny atmosphere.

The lack of male voices before the introduction of Peter Quint’s character gets rather harsh and grating after a while, but this is more of a problem in the first act than the second. The voices of Flora (Jennifer Clark) and Miles (Tim Gasiorek) as the two children act as a gentle, melodic counterbalance to this. Gasiorek, in particular, is stunning as Miles, with his sensitive portrayal of surely the most nuanced pre-teen character in any medium.

Set and lighting work together in building the feeling of vague unease which is so essential for this piece to work. The visual manipulation of linear planes in the set is the work of a true expert, and the correction of this at the plot’s denouement is a masterly representation of what is going on beneath the surface of these events.

The subtlety and vagueness of this piece won’t suit all tastes, but the pairing of James’ story and Britten’s score is an inspired one.

-Daniel Shipman

Opera North: The Turn of the Screw plays next at the Theatre Royal Nottingham on 19 March 2020.

Opera North: The Marriage of Figaro at The Lowry

kristobel
Image courtesy of Opera North

Upstaged Rating: ⭐⭐⭐

Reviewer: Daniel Shipman

Opera North have a long history of making classic opera accessible without ever dumbing it down – the company first tackled Mozart’s The Marriage of Figaro in 1979. This 40+ years of experience shines through in their approach to the convoluted plot, one which has enough instances of mistaken identity to make even Shakespeare blush.

Heather Lowe as a notably androgynous Cherubino steals the show, bringing a blend of sincere desire and impeccable comic timing which exemplifies a perfectly balanced approach to de Ponte’s libretto. Despite featuring Figaro’s name in the title, this is an ensemble piece that relies on a consistent cast – something which isn’t always present in this production. Whilst every member is undeniably talented, some lack the charm and character which are necessary to make a three-hour opera truly enjoyable.

The approach to gender, power and morality are understandably dubious, given that the plot is around 250 years old at this point. However, Opera North manage to tread the fine line of preserving the integrity of the original intention whilst adding a modern perspective that allows us to laugh at the naivety and folly of the past.

I must also give a mention to James Farncombe’s lighting which sprinkles visually stimulating moments throughout the piece before providing the celebratory climax which also functions as the ending.

It is sometimes hard to hear the cast above the orchestra, and this does hinder the audience’s comprehension of an already difficult plot. For the most part, the emotive vocal talents of the ensemble mitigate this problem, but it occurs slightly too often to be ignored.

The problems of this production don’t detract from its successes, but they do prevent it from truly sharing to the heights which it had the potential to. Nonetheless, it is still perfectly enjoyable for a beginner or a seasoned opera viewer.

-Daniel Shipman

Opera North’s The Marriage of Figaro runs until Saturday 14 March 2020.

Insane Animals at HOME

kristobel
Insane Animals at HOME. Image courtesy of Drew Forsyth.

Upstaged Rating: ⭐⭐⭐⭐⭐

Reviewer: Daniel Shipman

Following their last visit to HOME in 2017, Bourgeois and Maurice (George Heyworth and Liz Morris) return with their first full-length musical. The step up from alternative cabaret duo to full-blown musical theatre could have been a stumbling block, but this pair have nailed it. With its blend of science fiction, myth, sex and a killer soundtrack, this is Rocky Horror for the 21st Century, a camp cult classic in the making.

Split between ancient Mesopotamia and the modern-day, (it makes sense in context, I promise) Insane Animals attempts to get to the heart of what it means to be human and why it feels like we’re all getting it so wrong at the moment. Touching on mortality, civilisation, trans-humanism and the nature of storytelling itself, one might think the evening would feel overladen with weighty ideas. This couldn’t be further from the truth – the show breezes from one hilarious musical number to the next so easily that you don’t realise how much is happening.

The sheer volume of information which is transmitted through the lyrics of ‘Welcome to Today’ left me breathless from watching it, so props to the pair for following it with the rest of the second act without fainting. Unusually for a two-hour-plus musical, there really isn’t a weak number amongst the entire song list, which is a credit to Heyworth and Morris as both writers and performers.

An absurdly talented collection of actor-musicians make up the rest of the cast, with voices which, frankly, would leave most big-budget West End shows in the dust. The set (Michael Hankin) and costumes (Julian Smith) are as glittery and fabulous as you would expect for a show this flamboyant.

This is the show that cements Bourgeois and Maurice as top tier artists, and I cannot wait to see where the drag aliens take us next on their quest to save humanity from itself.

-Daniel Shipman

Insane Animals runs at HOME Manchester until Saturday 14 March 2020.

Birmingham Royal Ballet: Swan Lake at The Lowry

kristobel
Birmingham Royal Ballet’s Swan Lake. Photo courtesy of Andrew Ross.

Upstaged Rating: ⭐⭐⭐⭐⭐

This season the Birmingham Royal Ballet bring Swan Lake to The Lowry, Salford; a personal favourite of mine and arguably the most famous ballet in the classical repertoire.

Ballet lovers are in for a treat. However, whether it’s your first visit to the ballet or your eighty-third, this production of Swan Lake tells the iconic story beautifully making it suitable for everyone to enjoy. Following the appointment of Carlos Acosta CBE as Company Director earlier this year, the Birmingham Royal Ballet bring an unmissable revival of Peter Wright and Galina Samsova’s 1981 production of this popular classic; one of the finest you will ever see.

Told in four acts with two intervals, Swan Lake depicts the story of Prince Siegfried’s love for a beautiful princess named Odette. Odette has been cursed by the evil sorcerer Baron von Rothbart and must spend her days as a swan, only returning to human form between midnight and dawn. The sorcerer’s wicked enchantment can only be broken if someone who has never loved before swears an oath of undying love. However, Rothbart further complicates the lovers by introducing a beautiful black swan, Odile.

Prima ballerina, Momoko Hirata is captivating in the twin roles of Odette and Odile; contrasting the feather-soft innocence and purity of Odette with the seductive and calculating Odile. A dramatic Act III sees Hirata perform an impressive 32 fouette turns, which was met with huge applause on the night I attended. The whole company are outstanding – but the harmony between the two principles during their pas de deux is spectacular. César Morales, as Prince Siegfried, demonstrates strength, energy and passion; both dancers are masterful storytellers.

Philip Prowse’s set design is majestic and detailed from the grand setting of the reception at the castle to the haunting embankment at dawn. The costume design is a marvel – rich attire for the regal scenes, yet the dancers move with ease. The twinkling white tutu’s worn by the swans give a stark contrast against the medieval backdrop of black and gold opulence. Peter Teigan’s lighting design complements the graceful magic on stage by conjuring up a sense of autumn and the haze of sunlight drifting through the trees; the cascading dry ice creates a haunting lakeside setting for the shimmering and spectacular female corps de ballet.

The twinkling formation of the tutued swans and wonderful sound of the soft padding of pointe shoes fully supported by Tchaikovsky’s powerfully lyrical score, delivered by the Royal Ballet Sinfonia, make for a thrilling, awe-inspiring and faultless production.

-Kristy Stott

Birmingham Royal Ballet: Swan Lake runs at The Lowry, Salford until Saturday 7 March 2020.

Green Door at The Kings Arms, Salford

kristobel
Green Door by Ann Brown

Reviewer: Rachel Foster

Upstaged rating: ⭐⭐⭐⭐

Green Door is a one-woman (Arts Council funded) play created by Ann Brown (who also plays herself) and Made It Theatre. It’s about a woman who falls in love, gets married and sadly the fairytale of the white picket fence isn’t quite what’s expected, or what she gets.

This play is the full version of an earlier preview which was based on Ann’s life events, starting when she’s divorced, in her 30’s and on holiday meets Danny a man with shiny shoes who initially seems to be prince charming but turns out to be a ‘wolf in sheep’s clothing.’

Brown has a great delivery from the get-go that brings this pared-back strikingly honest play to life. She gives the audience a glimpse into her world, with witty commentary on the working-class nuclear family. It’s simple but effective.

The play explores her relationship with her parents (her Dad has Alzheimer’s disease), uses music to show the entertainment carefree side of the situation.

Her careful choice of words, relayed in such an honest open way, makes a big impact on the audience. How fun everything is at first with dancing and holidays. Danny seems to be the perfect romantic, hanging on her every word, sharing her love for rock n roll and Shakin’ Stevens.

Things inevitably take a turn for the worse when he dumps her cruelly just before Valentine’s Day…with more to come. It highlights how women often feel that ‘something just isn’t right’, dealing in the emotional, rather than logic.

It’s also important to mention the healing process, so the play’s theme is not all doom and gloom, a phoenix rising from the ashes as it was. Brown was consumed with fear she was challenged to face it by her therapy group. Public speaking was her Achilles heel. From not daring to say boo to a goose she has overcome this (stemming from coercive control and gaslighting). Thus her being here tonight to perform her play. She’s nothing to hide behind in the glare of the stage lights. But she’s here to tell her story, and as she gains momentum will keep telling it again and again and again.

This is a different take on the play to the preview – it seems rawer – Ann is still tackling a lot of the pain and the destruction that hampered her life. Briefly, Brown bravely lets us in on it all. Let’s hope more people find the strength to do this and even those that don’t, can’t fail to be inspired.

Green Door is a really powerful and positive play about overcoming adversity; with a special message saying no matter how alone you feel, there is always someone who cares. Sadly, the domestic violence statistics in this country tell us that Ann is not alone in suffering, and that is why she is using theatre as a tool to get her message and voice to reach as many people as possible.

-Rachel Foster

You can catch Green Door next at Square Chapel Arts, Halifax on Thursday 2 April 2020.

The Strange Tale of Charlie Chaplin and Stan Laurel at HOME

kristobel

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

Veteran comedy theatre troupe Told by an Idiot are no strangers to physical comedy, creating inventive, energetic live performances since 1993. They state that their work aims to ‘inhabit the space between laughter and pain’, and so there is seemingly no better fit for their work than the lives of dual showbusiness legends of Charlie Chaplin and Stan Laurel. Whilst they are renowned for hilarity, there is pain behind the public persona – Chaplin’s mother was admitted to an asylum in whilst he was still a child.

This one act, silent movie-style performance is based on a boat journey the two took together before they became international stars but is based more on playful fiction than strict fact. The company uses this as a springboard for comedic vignettes pulled from the past and future of the two performers, with inventive and impressive transitions between the ‘present’ and the flashbacks/forwards.

Certain sections of the show do run too long without a specific gag, which gives the show the air of a showcase of the cast’s considerable musical and physical talent rather than a cohesive comedy. A stricter edit of the material would reduce the running time to something slightly more tolerable and improve the overall flow. That said, I cannot deny the pleasure which is to be found in watching Amalia Vitale’s impeccably observed Chaplin explore the stage with that iconic walk.

The dry spells do little to detract from the high moments. Paul Hunter’s direction betrays his decades of experience as director and performer of first-class stage comedy and it perfectly suits the slapstick style of this piece.

For the most part, the way the company negotiates the lack of dialogue is ingenious but there were occasionally confused mumbles from an audience that was straining to keep track of the loose plot in the absence of dialogue. This doesn’t affect the final reception though, which is one of thunderous applause and appreciation.

Whilst the show might be flawed, it is an affectionate and utterly charming tribute to two era-defining greats of comedy.

-Daniel Shipman

The Strange Tale of Charlie Chaplin and Stan Laurel runs at HOME until Saturday 8 February 2020.