REVIEW: Les Misérables at The Lowry

The Company – Les Misérables UK Tour 2022 – Image credit: Danny Kaan

Upstaged Rating: ⭐⭐⭐⭐⭐

From the moment the lights go down and the orchestra begins to play right through to the thunderous applause and standing ovation, this phenomenal production is passionate, intense and utterly captivating. Bringing some of the most iconic songs in musical theatre, set in revolutionary France telling the story of Jean Valjean, Les Misérables is the longest-running musical in the history of the West End.

This phenomenal production is passionate, intense and utterly captivating.

Spanning almost three hours (with a 15-minute interval), it’s a real investment. However, every moment of this show packs a punch – not a second is spared. For those who haven’t seen the show before – it’s completely sung – the whole thing. Delivered with towering intensity and operatic beauty, Les Misérables boasts belting tunes, stunning multi-layered vocal arrangements and an extraordinary cast. This musical hits you right in the heart.

Ian Huges (Thenardier) and Helen Walsh (Madame Thenardier) – Les Misérables UK Tour 2022 – Image credit: Danny Kaan

Based on the historical novel by Victor Hugo, the action takes place over three decades and explores themes around love, loss, revolution, justice and faith. Taking on the central role of Jean Valjean, Dean Chisnall gives an extraordinary and dynamic performance. Audible sniffs from the audience could be heard during his prayer-like solo ‘Bring Him Home’. Katie Hall’s ‘I Dreamed a Dream’ generated a similar response; her voice was out-of-this-world. And Nathania Ong portrayed beauty and fragility as Éponine – her expressive solo of unrequited love ‘On My Own’ reduced me to a shuddering wreck. Nic Greenshields gave a striking performance as the terrifying antagonist Javert – his solo ‘Stars’ was another breathtaking moment in this production. Ian Hughes and Helen Walsh, as Thénardier and Madame Thénadier respectively, inject some beautiful comedic moments into the production, of course, ‘Master of the House’ was another highlight and went down a storm with the audience on the night I attended.

This musical hits you right in the heart.

Stand-out performances from the whole ensemble, an imposing, though impressively slick, set design that moves seamlessly from one scene to the next, and an atmospheric lighting design and use of visual projections, make this production of Les Mis world-class. I’d go and watch it all again in a heartbeat.

-Kristy Stott

Les Misérables runs at The Lowry until 23 April 2022.

REVIEW: Aladdin at Oldham Coliseum

Upstaged Rating: ⭐⭐⭐⭐

Following the pantomime hiatus of 2020 because of ‘you-know-what’, we’re thrilled that the Oldham Coliseum Christmas show returns for 2021. For many families, festive theatre is inextricably tied up with panto – and if like us, you’re looking for traditional pantomime fun – Oldham Coliseum is THE place to go. 

If like us, you’re looking for traditional pantomime fun – Oldham Coliseum is THE place to go. 

Dust off your magic carpet for the mystical story of Aladdin, written by former Dame and long-time co-writer Fine Time Fontayne and the Coliseum’s Artistic Director, Chris Lawson. Featuring two magical entities – the Jinn of the Lamp (Marc Zayat) and the Spirit of the Ring (Alex Phelps) – the tale follows the familiar Aladdin story, only with an Oldham twist.

Panto villain Abanazar has been replaced by Aunty Banazar (Liz Carney), who arrives from Rochdale in search of Aladdin (Shorelle Hepkin) and the magic lamp. Instructing Aladdin to enter the cave of treasures to get the lamp for her, the evil Aunt tricks Aladdin and locks him inside the cave. Helped by the Spirit of the Ring, Aladdin conjures up Marc Zayat’s splendid Jinn of the Lamp, a fantastical rapping hippy. Meanwhile, on the outside, Aunty Banazar has kidnapped Aladdin’s love interest Princess Jasmine ( Dora Rubinstein) and is holding her hostage in the depths of the old Belle Vue Funfair. 

Image credit: Darren Robinson

Interacting with the audience throughout the show, the cast all sparkle with energy and enthusiasm. Oldham panto regular Richard J Fletcher is a comedy hit as Dame Widow Twanky; super smiley and vocally brilliant Sam Glen springs into the role of Wishee Washee and Shaun Hennessy gets lots of laughs as The Emperor.

Once again, Celia Perkins’ wonderful picture-book set design is a real treat and David Bintley’s lively musical score bounces along with many current hits and some older classics. There are plenty of opportunities to sing and dance along and all of the usual pantomime traditions are observed (oh yes they are).

An upbeat, hilarious show packed with charming performances and utter professionalism.

Energetic performances, fabulous costumes and a genuinely witty script (with gags for kids and grown-ups) – all in a theatre where everybody feels part of the action – Aladdin at Oldham Coliseum is an upbeat, hilarious show packed with charming performances and utter professionalism.

-Kristy Stott

Aladdin plays at Oldham Coliseum until Saturday 8 January 2022.

Review: Everything All Of The Time at Contact

Image credit: Fotocad

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

For a theatre so dedicated to amplifying the voices of young people, it feels appropriate that Contact have decided to re-open after their £6 million refurbishment with a show from their young company. After several years away from the building, it would have been easy to return with a gentle ‘welcome home’ piece and ease back into things – but after the past 18 months, CYC are feeling anything but gentle. 

A supremely talented group of young people.

Much of the sixty-minute running time is given over to dance, with choreography by Yandass Ndlovu, and there is no doubt that this is a supremely talented group of young people. Taking inspiration from sources like the rigid ‘hands, face, space’ message which has become ubiquitous over the past 18 months and the claustrophobia of being stuck inside for months at a time, the company conjure a retrospective of sorts to the political, health and climate crises that have been vying for our attention. 

Image credit: Fotocad.

As you can imagine, the mood is almost uniformly sober, but is punctuated by occasional glimmers of light in the form of short monologues reflecting on the lighter moments of the year. One breathless summary blending timelines of personal and political is particularly entertaining, whilst also making you realise what a saturated period of history we’re living through. 

The standard of young performers and theatre-makers in Manchester remains sky-high.

Whilst the individual sections are powerful, the show is, unfortunately, less than the sum of its parts, primarily due to a lack of cohesive direction which could have been provided with a little more central guidance from director Matt Fenton. With shows like this, there is a fine line to tread between allowing the company to explore ideas and express themselves and aiming at an organised final product.  

Despite this, it is heartening to see that the standard of young performers and theatre-makers in Manchester remains sky-high despite the limitations that have been placed on the industry – long may it continue.

-Daniel Shipman

Everything All Of The Time runs at Contact until Saturday 9 October.

Review: Everybody’s Talking About Jamie at The Lowry

Image credit: Matt Crockett

Upstaged Rating: ⭐⭐⭐⭐⭐

If there was any show to break my 18-month theatre hiatus – it had to be this one. Explosive. Emotional. Empowering. Everybody’s Talking About Jamie is one of the biggest productions to head to Manchester since the pandemic.

Explosive. Emotional. Empowering.

The show first wowed audiences at Sheffield Crucible in 2017 before transferring to the West End later that year. Since then, the musical has taken the entertainment world by storm with a big-screen adaptation, Everybody’s Talking About Jamie: The Movie, hitting Amazon Prime later this month and a North American premiere planned for next year. And once you’ve seen the show…you’ll realise…that it’s no wonder everybody’s STILL talking about Jamie. 

Inspired by a 2011 BBC real-life documentary, ‘Jamie: Drag Queen at 16’, Everybody’s Talking About Jamie charts the story of Sheffield teenager Jamie New and his journey ‘out of the darkness’ to become a drag queen.

With an explosive ensemble opening – ‘And You Don’t Even Know It’ –  it’s clear that the show is going to be fabulous and feel good. Magnetic, sparkling and consuming, I felt invested in Jamie’s story from the get-go. Tom MacRae’s snappy and witty script is kept bang up-to-date with a good dose of Covid-related humour. Anna Fleischle’s set and costume design complement the high-energy production – transitions between scenes are smooth and aided by clever video projections. Dan Gillespie Sells’ musical score is a real highlight too – catchy pop-perfection – you’ll be humming it for days afterwards.

Image credit: Matt Crockett

From the moment Layton Williams steps on stage as Jamie, he shines bright. Brilliant, sassy, loveable and effervescent. Softly spoken, he plays the role with a delicate vulnerability and loads of charm. There isn’t a weak link in the supporting cast either: Shane Richie as Jamie’s mentor Hugo aka drag queen Loco Chanelle; Shobna Gulati as quick-witted family friend Ray and Sharan Phull as Jamie’s best friend Pritti. Amy Ellen Richardson gives an outstanding performance as Jamie’s mum Margaret – her tear-inducing, goosebump-producing rendition of ‘He’s My Boy’ was so phenomenal, I found myself stifling my sobs. 

‘He’s My Boy’ was so phenomenal, I found myself stifling my sobs.

With a live band suspended high on stage, stunning choreography, superb pacing and top-notch direction by Jonathan Butterell, Everybody’s Talking About Jamie received a well-deserved standing ovation on the night I attended. It’s sparkles, sequins and heels but it’s also a wonderful feel-good story about growing up, acceptance and taking care of the people you love.

-Kristy Stott

Everybody’s Talking About Jamie runs at The Lowry, Salford until Sunday 12th September 2021.

Waiting for Hamlet at GOAT Mcr

Image credit: Waiting for Hamlet

Reviewer: Elise Gallagher

Upstaged Rating: ⭐⭐⭐⭐⭐

Winner of the Kenneth Branagh New Drama Writing Award, Waiting for Hamlet is a play set in purgatory. King Hamlet and his fool Yorick find themselves ghoulish spectators waiting for a cause.

King Hamlet has arrived freshly murdered by his brother whilst Yorick has occupied the place for over twenty years, keeping watch. Having failed to open the door to both heaven and hell King Hamlet is insistent on going back to the other side, only Yorick isn’t so sure. 

Both Tim Marriott (King Hamlet) and Nicholas Collett (Yorick) give fantastic performances.

Marriott’s King Hamlet is ludicrous and self-centered, likening himself to Christ whilst Collett portrays a wise fool. Throughout the course of the play, you soon wonder whether the jester’s hat is sitting on the wrong head. 

Both Tim Marriott (King Hamlet) and Nicholas Collett (Yorick) give fantastic performances.

The duo are immediately in character upon arrival, providing the perfect match to one another, verbally sparring. Quite like how you might imagine limbo, the stage is bare and sparse with just a small amount of boxes the characters sometimes sit on, exasperated with the other. 

With well over 4,000 lines and around 30,000 words, Hamlet is Shakespeare’s longest play. However, with a running time of only 50 minutes, this arguable prequel covers a lot of ground. 

David Visick’s script is undoubtedly the star of the show – within such a short space of time the duo’s after-life commentary spans and loops around topics such as politics, religion, nature and hierarchy, sometimes stepping into the realm of poetry. However, it is important to note that a good script can only truly shine with an equal performance. Marriott and Collett rise to the challenge with ease.

David Visick’s script is undoubtedly the star of the show.

It made me smile to think that King Hamlet’s famous speech from beyond the grave actually came from his ex-jester’s mind.

This understated play is a love letter to the bard, a masterclass in how to bring a new dimension into a well-known tale and ultimately, a demonstration of how to find the comedy in one of Shakespeare’s most famous tragedies.

-Elise Gallagher

The Summer Shakespeare Festival runs at GOAT Mcr (Great Open Air Theatre, Manchester) situated in the amphitheatre at the Great Northern Warehouse, 235 Deansgate until 15 August 2021.

Much Ado About Nothing at The GOAT Mcr

Image credit: The Cream Faced Loons

Reviewer: Elise Gallagher

Upstaged Rating: ⭐⭐⭐⭐

One of Shakespeare’s most performed comedies Much Ado About Nothing centres on two very different romantic pairings but rather than told by the bard, The GOAT Manchester have decided to let the city’s watchmen take it upon themselves to tell their tale. 

Led by Dogberry (Sean Henry) and followed obediently by Oatcake (Kyle Fisher) and Seacoal (Abey Bradbury) the performance takes on the vein of a village amateur dramatics society where the fashionably late Friar Francis (Gemma Whiteley) takes charge of the session with an unimpressed Verges (Harry Mace) joining them. 

The company occupies and makes use of all space around them. There are no structural props in the performance space, just a fancy dress rail and costume box. The giddy characters whip around the venue in between audience rows, and even scare a spectating dog.

The giddy characters whip around the venue in between audience rows, and even scare a spectating dog.

The performance is completely over the top, but brilliantly so. A performance highlight was the ghoulish surprise of Don John complete with a plague mask, black cape and clawed plastic hands. His pantomime villain-esque presence and voice – the work of two of the cast – make his limited on-stage presence larger than life. 

The skillful ensemble of 5 actors expertly juggle multiple amounts of physical comedy alongside Shakespearean prose. After a slow start, the performance really gathers pace and sets its own rhythm, complete with acoustic guitar performances and trumpet playing. Bradbury, Henry and Mace demonstrate a masterclass in doubling whilst Fisher punctuates his performances with cartoon-like slapstick. 

A deliciously funny retelling of a Shakespeare classic.

This performance is a pay-what-you-can production and is a part of GOAT Mcr’s Summer Shakespeare Festival, which will be taking place at the Great Northern Warehouse’s Amphitheatre. Unless you are like me where our performance was interrupted by torrential rain. GOAT Mcr quickly got everyone inside into a dry indoor space and kicked off the show – the cast took off again seemingly unbothered by the false start. 

Although Manchester may have not have blessed the company with good weather, come rain or shine this production delivers a deliciously funny retelling of a Shakespeare classic – just don’t forget your raincoat!

-Elise Gallagher

Much Ado About Nothing runs at GOAT Mcr (Great Open Air Theatre, Manchester) situated in the amphitheatre at the Great Northern Warehouse, 235 Deansgate until 15 August 2021. Tickets are sold on a Pay-What-You-Can basis.

Notes on Grief (MIF21) at Manchester Central

Image credit: MIF21/ Notes on Grief

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

‘If we love, we grieve. That’s the deal. That’s the pact. Grief and love are forever intertwined.’ So says Nick Cave, a man writing about grief more vividly and eloquently than anyone else currently alive (for my money, at least.) A similar sentiment is the ultimate destination and realisation of Chimamanda Ngozi Adichie’s Notes on Grief, one of the flagship performances as part of the 2021 incarnation of the Manchester International Festival.

The text of the piece is taken verbatim from a New Yorker written by Adichie in the aftermath of her father’s passing in 2020. Whilst the death itself was not covid related, the grieving process for a family spread over several continents was inevitably seriously hampered by the ongoing pandemic.

One of the most timely commissions in the history of the festival.

Whilst a magazine article about grief may not sound like fertile ground for a compelling piece of theatre, Rae McKen’s staging of the text converts the extremely personal events detailed into something more universally recognisable, especially after an 18-month period in which so many of us have lost loved ones and been denied the catharsis of communal grief. In this way, this is one of the most timely commissions in the history of the festival.

Michelle Asante’s central performance representing Adichie is strong, natural, and allows easy empathy from the audience.

Michelle Asante’s central performance representing Adichie is strong, natural, and allows easy empathy from the audience, which is essential to the function of a piece this intimate. However, the frequency of stumbled lines makes it difficult to remain entirely immersed at times. The supporting multi-roling of Uche Abuah and Itoya Osagiede is a great boon to the world building, and their changing dialects (coached by Mary Howland) are remarkably strong.

The sound design (Edward Lewis) is sparse yet emotive and impactful and augments the text beautifully. It blends well with the movement (Yami Löfvenberg), however some sections of movement feel contrived and almost amateurish, especially towards the beginning of the piece.

So Notes on Grief is not without flaws, but its heart shines through – bruised and beaten by the cacophony of grief but not dimmed, and able to outshine any of the imperfections which might have a greater impact on lesser work.

-Daniel Shipman

Notes on Grief plays at Manchester Central until 17 July 2021.

The Global Playground (MIF21) at the Great Northern Warehouse

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: Mr Popper’s Penguins at Waterside

Mr Popper's Penguins at Waterside
Image courtesy of Waterside

Upstaged Rating: ⭐⭐⭐⭐

Adapted from popular children’s book by Richard and Florence Atwater, Mr Popper’s Penguins certainly lends itself brilliantly to being adapted as a musical for the stage. The story proved its popularity back in 2011 when it was released as a feature film with Jim Carrey taking the title role. With music reminiscent of golden era MGM, romance and charming penguin puppetry, this brilliant stage adaptation by Pins and Needles Productions, recommended for ages 3 and up, makes the perfect festive treat for families this Christmas.

Mr Popper is a painter and decorator and lives with Mrs Popper in a small American suburb called Stillwater. Nothing really happens in Stillwater and Mr Popper has dreams of being an explorer in Antarctica. Fascinated with the South Pole, spending every spare moment reading about it – he decides to pen a letter to his idol Admiral Drake, to tell him how wonderful he thinks penguins are.

Soon after Admiral Drake responds to the mailing by sending a huge penguin-sized crate by return – Mr and Mrs Popper’s predictable daily life takes a sudden but exciting change as they soon find themselves chasing a rookery of penguins around their home.

A super talented cast of four tell the succinct and highly entertaining story well – with performers doubling up as puppeteers for the mischievous penguins Captain Cook and Greta, designed by Nick Barnes. Musical numbers composed by Luke Bateman and written by Richy Hughes are catchy and appeal to the young audience; there is a magical snow shower and a penguin dance that the whole auditorium can get involved with too.

Mr Popper’s Penguins has the perfect running time of around 60 minutes – just long enough to keep those imaginative little minds transfixed. If you look below the funny feathery surface there is also quite an inspiring message for you to take away too – the importance of having dreams and how something totally unexpected can suddenly land and change the course of your life forever.

A gorgeous show, Mr Popper’s Penguins is guaranteed to warm your cockles this winter.

-Kristy Stott

Mr Popper’s Penguins runs at Waterside, Sale until Tuesday 31 December 2019.

REVIEW: Out of Order at HOME

Forced Entertainment's Out of Order. Credit: Hugo Glendinning
Forced Entertainment’s Out of Order ~ Credit: Hugo Glendinning ~

Upstaged Rating: ⭐⭐⭐⭐

Clowns usually elicit a range of emotional responses from their audiences – laughter, warm nostalgia and sometimes fear – it’s all in their job description. However, in Forced Entertainment’s new show, Out of Order, the troupe of clowns, dressed in matching burgundy suits and smeared white face paint, are plunged into the depths of chaos and confusion. Drawing on some of the traditional elements of clowning, Forced Entertainment have devised a show which breaks, twists and subverts our expectation of clowning. This is clowning. Forced Entertainment style.

Out of Order is different from any of the company’s previous work in that it uses no spoken word. Six straight-faced clowns find themselves on a minimalist stage, furnished only with a wooden table and a set of chairs. Each clown takes a seat before they quickly find themselves embroiled in a series of fights, either as the clown picking the fight or as the one trying the break up the fight. It’s all very physical – overturning tables and lobbing of chairs – clutching, grappling and sweaty – and it is mesmerisingly exhausting to watch. The heavy breathing and dripping faces are real; Forced Entertainment aren’t a young company and each spat tires them. Stuck in the cyclical ritual of the game, they continue…

This show has no spoken content, and as with most of Forced Entertainment’s work, the audience is encouraged to search for their own meaning from what they see on stage. Adding drollness, the music propels the performance along; the chorus of ‘Someone’s Gonna Cry’ by Val Martinez is repeated as the soundtrack to each new fight, while later in the show the sound of Strauss’ familiar waltz is accompanied more balletic, though still as aggressive, episodes of movement. Bursts of energy and frustration are ground down by uncomfortable moments of stillness and anticlimax.

Running at 90 minutes, Out Of Order can easily be read as a metaphor for our time – the toing and froing of Brexit negotiations, political buffoonery and follow-the-leader mass consumerism. Most symbolically, after all of the mayhem and disarray, the performance ends with the slap of a limp balloon on an abandoned stage.

What was most encouraging was the number of young students in the audience on the night that I attended. Many of which were on their feet to give a standing ovation at the end of the performance. Inspiring and hopeful.

-Kristy Stott

Out of Order runs at HOME until Friday 15 November 2019. There is a post-show discussion with Tim Etchells on Thursday 14 November.