Reviews Archives - Page 10 of 28 - UPSTAGED MANCHESTER

REVIEW: Opera North’s Don Giovanni at The Lowry, Salford

March 8, 2018March 9, 2018kristobel

Upstaged Rating:⭐⭐⭐⭐

One of Mozart’s most prominent operas, Don Giovanni thrusts into The Lowry, Salford in a masterful retelling of the story of the lascivious Don Juan. Performed as part of Opera North’s Fatal Passions season, this opera seems more relevant than ever to a modern audience, especially in light of the Harvey Weinstein sexual abuse allegations.

This legendary narrative follows the story of sleazy Don Giovanni, who defines himself by his ability to successfully seduce women. In this production, Don Giovanni is presented as a time-travelling love rat, who has the ability to travel to different eras to escape various awkward situations he manages to steer himself into. Following committing the murder of Il Commendatore, after forcefully trying to seduce his daughter, Donna Anna in the late 19th century – Don Giovanni flees the bloody scene and reappears once again in the 1950’s. Arriving in the midst of Masetto and Zerlina’s he once more causes a ruckus by making advances on the young bride. The sexual menace flees the scene and emerges in the present time 2018.

There are helpful surtitles, placed either side of the stage, to aid the audience in understanding Don Giovanni’s shift in temporality. Adding further depth to the narrative – it’s a clever device and signifies that Don Giovanni is incapable of changing his licentious ways.

William Dazeley’s Don Giovanni is twisted and cunning – I developed a real dislike for him and his antics. Don Giovanni travels with his resilient and faithful manservant, Leporello, played by John Savournin. The female performers really command in this performance – Jennifer Davis as Donna Anna and Elizabeth Atherton as Donna Elvira are both fascinating to listen to and watch. Kathryn Rudge shines as Zerlina – comically brilliant and flawless vocally as she performs a breathtaking aria while straddling her new husband.

Madeleine Boyd’s set and costume design is a real treat and frames the action perfectly. The use of puppetry and a portrait framing device adds further humour and breaks up the serious implications of Don Giovanni’s moral failure. All set to Mozart’s powerful and beautiful score, Opera North’s Don Giovanni is a really entertaining night out for seasoned opera lovers or those, like me, who are new to the genre.

-Kristy Stott

Opera North’s Don Giovanni runs at The Lowry, Salford until Friday 9th March 2018.

Review: Circle Mirror Transformation at HOME

March 8, 2018March 8, 2018kristobel

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

Circle Mirror Transformation is an unsatisfying play. This may seem like a strange (and harsh) way to begin a four-star review, but it is the feeling of dissatisfaction which struck me hardest as I left HOME after the show. This is not to say I didn’t enjoy it – as indicated by the favourable rating, I did. The whole cast put in understated, beautiful performances which suit Annie Baker’s writing perfectly. I just wish that the play spent less time showing us the routine of the drama games and more time allowing us to inspect the wonderfully flawed, three-dimensional characters which inhabit its world. Watching the cast finally count to ten as a group (as they have been trying to do since the opening moments) doesn’t provide the sense of catharsis that the play deserves.

Taking place in a drama workshop in a community centre somewhere in Vermont, Baker’s play is a gentle look at human interaction. Run enthusiastically but poorly by Marty, (Amelia Bullmore) the workshops are attended by four individuals, all of whom bring more than their fair share of emotional baggage to the sessions and proceed to have these rummaged through in a way that is not healthy in front of a group of relative strangers. It is a credit to the actors that, despite not truly liking any of the characters, I can say I wish I could spend more time in their company and learn more about what is making them tick.

As director, Bijan Sheibani ensures that the cast keep the show moving in the right direction but retains all the awkwardness one would expect in a series of drama workshops in which the participants have never met before. Samal Blak’s set design cleverly utilises mirrors to combat the seated circles which are ubiquitous to drama groups but not very friendly to an end-on stage.

Circle Mirror Transformation is, despite its flaws, a pleasant night at the theatre made all the more enjoyable by this wonderful, sensitive production.

-Daniel Shipman

Circle Mirror Transformation runs at HOME, Manchester until Saturday 17th March 2018.

Review: The Audit (The Lowry, Salford)

March 1, 2018kristobel

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

A play which goes into the details of the economics behind the 2008 banking crisis might sound like a pretty dull way to spend an evening, so credit to Proto-Type Theatre for not shying away from this as a subject matter.

The Audit is a mixture of spoken word, performance, soundscapes and videos. Despite this abundance of material on stage, it never feels as though the audience is being assaulted with information. This is no mean feat considering the company communicates the economic details of the crisis in staggeringly in-depth detail. The wit and intelligence behind the spoken word sections really help here – I felt I could have listened to them for the full running time.

In the days leading up to The Audit, I had been wondering whether the banking crisis really could act as source material for a truly relevant piece of theatre. After all, it began a decade ago at this point and, for me at least, was beginning to fade into history. But then, just hours before the show began, both Toys R Us and Maplin announced they were going into administration and I was reminded that we are still suffering from the after-shocks of the events around which the play revolves. As they say in the show, Wall Street isn’t so far away after all.

So how do the company turn the dull and depressing facts of the banking crisis into entertainment? With theatre of course! Small props such as briefcases, coats and money (lots and lots of it) help the two performers turn the grim reality of the event into dark humour for the audience’s enjoyment. The piece only begins to falter when we are left too long without the intervention of some kind of humour. One particular section, roughly two-thirds of the way in, comes dangerously close to sounding like an economics lecture rather than a piece of theatre.

Despite this, The Audit is worth a watch if only because of how creatively it manages to balance entertainment and education.

-Daniel Shipman

Review: Birmingham Royal Ballet: Sleeping Beauty (The Lowry, Salford)

March 1, 2018kristobel

Reviewer: Demi West

Upstaged Rating: ⭐⭐⭐⭐

Birmingham Royal Ballet brings the beloved fairy tale, Sleeping Beauty, to life in a dazzling fantasy spectacle. Sir Peter Wright’s version of the story is as close to the original 1890 version as possible, recreating the original Russian choreography – offering a glimpse into history and culture while retaining relevance and enjoyment.

The performance takes place over four parts, the prologue, followed by three acts, which follow the story of Sleeping Beauty as modern audiences have come to know it. The prologue depicting the christening of baby Aurora is one of the weaker parts of the performance, but it built eager anticipation for the antagonist Carabosse and her haunting command of the scene. The following two acts – Aurora pricking her finger, and the prince waking her from her slumber – were as to be expected, flawless and compelling. However, most of the spectacle came from the final act, Aurora’s wedding, which was filled with an ensemble of fairy tale characters each offering a unique individualistic performance. A highlight being Puss in Boots, as not only was the choreography strikingly different, the music took on a refreshing and appropriate shift in style.

Throughout the various acts, one highlight remained: the performance of Aurora by Delia Mathews. The choreography of her character offered a platform to showcase thrilling feats of power and dedication, and Mathews stepped up to the challenge. Her performance left me bewildered and astonished, an emotion felt by the audience as a whole. However, Aurora as the protagonist can only demand the pedestal if the performance of her peers is of equal stature, and they too did not disappoint. While they do not receive the limelight to showcase themselves they created the world for her to perform. The set design, the costume, the characters, and the music all blended to create truly a delightful vision. The set and costumes looked tangible and realistic, leaving the impression that they were relics of the time they depict. The music captured the characters and the world they inhabit beautifully, and the cast that inhabited here were the perfect visualisation for this multigenerational story.

In conclusion, the Birmingham Royal Ballet should be proud of the show they have created. They have proven that while we may have changed a lot since 1890, what was beautiful then, is still beautiful now. Catch the show while you can at the Lowry Theatre in Manchester.

-Demi West

Birmingham Royal Ballet’s Sleeping Beauty runs at The Lowry until Saturday 3rd March 2018.

Review: On the Outskirts of a Large Event at HOME, Manchester

February 22, 2018kristobel

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

On the Outskirts of a Large Event is the debut touring production of Sheffield-based theatre company The Bare Project. It features two performers – Nicola Blackwell and Rose Gray – their on-stage relationship has obviously had a lot of work put into it. Despite being given almost no information about the characters throughout the course of the play, the dynamic way the two interact is constantly interesting to watch.

The play deals, in a unique and strange way, with issues of climate change, populism and memory. Handouts given to the audience labels The Bare Project’s style of theatre as ‘magic realist and experimental’ and this is an effective way of describing the stylistic nature of the production.

The play does not totally reject the notion of a plot, but it certainly doesn’t tell a story in any straightforward manner. Opening with the character of Lucien regaining consciousness after a mysterious head injury, the audience are forced to experience the disorientation of having almost no facts to cling to. This is a clever device, enabling empathy in the absence of any established character, but the cryptic nature of the dialogue quickly becomes quite irritating.

The piece also contains a nod to the role that the media has to play in issues such as the demonisation of immigrants. The quickfire, hysterical and almost non-sensical headlines read out by the two performers are hilarious for reasons I can’t quite put my finger on, perhaps because they helped the audience realise how close to absurd the real world is.

My personal highlight of the piece was the projections, provided by Will Monks. Cast on to five tall pieces of translucent material which were suspended from the ceiling, these complemented the action perfectly and provided a gorgeous backdrop which I could have stared at for hours. The set, featuring a large circle of grey sand, was another of the play’s strong suits.

If you’re tired of conventional plot and character, On the Outskirts of a Large Event will be a welcome change.

-Daniel Shipman

On the Outskirts of a Large Event runs at HOME, Manchester until Saturday 24th February 2018 – tickets are available here.

The Bare Project are also running a ‘Theatre, Democracy and Imagination’ Workshop of The Bare Project, led by Artistic Director Malaika Cunningham, on Friday 23 Feb at 5pm (tickets £3).

Review: The Newspaper Boy at 53Two, Manchester

February 21, 2018February 21, 2018kristobel

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Reviewer: Daniel Shipman

Upstaged Rating:⭐⭐⭐⭐

First of all, congratulations to Queer Contact on a hugely successful tenth anniversary festival. Manchester is home to some brilliant queer performance – of which The Newspaper Boy is just one example – and Contact are doing a stellar job of bringing this to a wider audience.

Set in 1992, the play tells the story of Christian (Daniel Maley) who lives with his single mother, Sharon (Samantha Siddall) and is frequently visited by his grandmother, Jean (Karen Henthorn). Aged fifteen, Christian lands a role on the nation’s favourite soap opera and begins exploring a hedonistic lifestyle with his castmate Mandy (Hollie-Jay Bowes) and her foster brother, 21-year-old Max (Sam Retford). Christian develops a relationship with Max which causes scandal in the national newspapers and rocks Christian’s home life and his career.

The play engages with themes like the difficulties of coming out and homophobic legal inequality, especially in the age of consent (which was not equalised until 2000). Forgive me if that sounds like a heavy night at the theatre, it is quite the opposite. Chris Hoyle’s writing ensures that the play balances these themes with the perfect amount of humour. Even in the darkest moments, a genuine belly laugh is never far away. Hoyle’s eye for the mannerisms of working-class Manchester is outstanding. Simon Naylor’s direction is strong, and the use of the ensemble to establish the hectic set of a soap opera works particularly well.

My main criticism would be the almost total disappearance of Max and Mandy in the second act. It is interesting to see the effect that being forcibly outed by national newspapers has on Christian, but I longed to see what impact the story had on Max as well.

Despite disappearing in the second act, special mention must go to Bowes who turns Mandy from what could have been a spoilt, irritating character in to an absolute joy to watch. Bowes makes the most of every line and it results in some glorious moments. Similarly, Henthorn transforms the character of Jean from stereotypical nana to a source of both humour and heart in the production.

All in all, The Newspaper Boy is a gripping story, well written and featuring a host of brilliant performances. What more could you ask for?

-Daniel Shipman

The Newspaper Boy runs at 53Two, Manchester until 24th February 2018

PREVIEW: The Kitchen Sink at Oldham Coliseum

February 6, 2018kristobel

Tom Wells’ The Kitchen Sink opens at Oldham Coliseum this Friday

Written By Freya Lewis

The Kitchen Sink Runs at Oldham Coliseum from Friday 9th February – Saturday 24th February.

Tom Wells is one of the UK’s most innovative and intriguing young writers, and The Kitchen Sink is what struck him into status in the theatre world, leading to his Most Promising Playwright Award at the Critics’ Circle Awards and the George Divine Award for Most Promising Playwright, plus a nomination for Most Promising Playwright at the Evening Standard Theatre Awards.

Sponsored by the New Charter group, this follows, from the same team, Tom Wells’ Jumpers for Goalposts in 2016; Director Chris Lawson and Designer Anna Reid.

The play presents us with a wild look into an unusual family situation, along with an amazing northern cast. A hilarious, modern family drama that makes us think what family really means when one has huge dreams in a little town. Chris Lawson commented: “Tom Wells writes stories that matter; we relate to them because they reflect real life.”

Sue Devany, star of Dinnerladies, Casualty and Coronation Street maintains her Oldham roots as Kath. She said “When I knew my favourite local theatre, Oldham Coliseum, was doing The Kitchen Sink by Tom Wells I was over the moon… It’s a play full of hope, humour and love.”

The play also features This Is England’s Will Travis, Hollyoak’s David Judge, alongside the outstanding young talent of Sam Glen and Emily Stott.

Here we have a Japanese Christmas Dinner and a gangster gran, along with maybe a little too much of Dolly Parton. And, of course, the kitchen sink.

The Kitchen Sink follows Kath, working two jobs with an interesting cooking passion as she attempts to keep her family on track. Her husband, Martin’s milk float is falling apart along with his business. Billy’s lost confidence in his painting and Sophie’s dreams of becoming a Ju Jitsu teacher have crumbled after punching her sensei in the face.

This charming Oldham theatre is sure to impress, and this beautiful Northern tale of a regular, extraordinary family is unmissable.

-Freya Lewis

Review: Hamlet at The Lowry, Salford Quays

February 1, 2018kristobel

Guest Reviewer: Ciaran Ward

Upstaged Rating:⭐⭐⭐⭐⭐

Following on from a critically successful production of Hamlet in 2016, the Royal Shakespeare Company opens their 2018 tour of the play at The Lowry, bringing forth the return of Paapa Essiedu as the eponymous character and a vibrant reinterpretation of one of the Bard’s most renowned tragedies.

The five-act play – following Hamlet’s efforts to avenge the late King of Denmark (portrayed by Ewart James Walters) by murdering his usurping uncle Claudius (Clarence Smith) – finds itself in a contemporary setting through Simon Goodwin’s thoughtful direction. Despite the prevalence of modern clothing and objects, the play retains its originality by conforming to the prosody of Shakespeare’s text – enabling Goodwin to punctuate the plight inherent in Ophelia’s (Mimi Ndiweni) verse and the comic moments of the Gravedigger’s (also played by Walters) prose.

Though the mournful dénouement stands out in the performance, the juxtaposition elicited through the liveliness of the percussive and woodwind instruments (directed by Phil James) that recurs throughout the scenes, guarantees the construction of a rounded theatrical experience for the audience. The director ensures that the expanse of the stage is effectively utilised, with the growing emotional distance present between Hamlet and the other characters, often being symbolised through their physical distance on stage.

The protagonist’s soliloquies are executed with significant flair throughout. The hesitation of Hamlet’s question ‘to be, or not to be’ is casually expressed in a vein counter to the often melodramatic approach taken by other actors – epitomising Essiedu’s unique take on the role. An emphasis is subsequently placed upon this hesitation, with the climax depicting Hamlet holding a gun to his uncle’s head, serving as a powerful cliff-hanger that precedes the interval of the play.

The visual aesthetic of the production is never compromised: elaborate set designs ranging from the King’s materialistic court to the minimalistic graveyard are skillfully crafted by Paul Wills, thereby illustrating a world both mesmerising and frightening. Kev McCurdy’s work as Fight Director deserves equal praise, with the fight between Hamlet and Laertes (Buom Tihngang) instigating the suspense that lasts until the curtain fall.

For any production of Shakespeare’s plays, performance is key. This production, however, not only boasts engaging performances but situates them in a dynamic theatrical setting –enabling the entire cast and crew to assert this show as a compelling production that reflects the virtues of the theatre.

-Ciaran Ward

Review: Nina – A Story About Me and Nina Simone at The Lowry, Salford Quays

January 31, 2018kristobel

Guest Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐⭐

Nina – A Story About Me and Nina Simone is not a tribute concert or a jukebox musical based on Simone’s songs. It is a powerful and totally contemporary take on racial politics, which utilises the potent political element in Simone’s music that you may not have even noticed was there. The show is effectively an 80-minute monologue, interspersed with songs. As the title suggests, it is intensely personal and could not be performed by anyone else

From the moment Josette Bushell-Mingo coolly strolls on to the stage whilst the house lights are still up, it is clear that you are about to witness a masterclass in audience engagement. Before a word is spoken or a note is played, Bushell-Mingo’s casually confident demeanour has the audience on her side. Whilst this is an extraordinary feat, it is also totally necessary for this piece to work. The first few lines set the scene of a Nina Simone concert in 1969 and the audience responds to each line with applause and cheers like the crowd at a concert would.

The stage is set up simply, as if for a concert – there is a double bass (played by Neville Malcolm), drums (Shaney Forbes) and a piano (Shapor Bastansiar) all in front of a large curtain which doubles as a screen for projections. In the final number, the band are named one-by-one and receive rapturous applause. It is thoroughly deserved, they provide the perfect musical backing to some of the finest moments in the show, with Bushell-Mingo twirling enchanting shapes around the stage as if channelling the spirit of Nina Simone herself.

Despite the heavy politics of the evening, and the message that very little has changed in terms of society’s inherent racism in the decades since Simone’s protest songs were first written and sung, the show mainly stays surprisingly light. The only exception to occurs roughly halfway through, following an archive clip of Simone saying she wishes she could take up a gun against the racists of the southern states. Even in this, a grim subject covered in a simple yet very powerful way, Bushell-Mingo continually appeals to the audience, asking them ‘stay with me’.

It works. The performers and audience come out the other side feeling as though they have truly experienced a transformation together. And at the final bows, the multiple standing ovations and shouts of ‘more!’ show just how much the audience enjoyed it.

-Daniel Shipman

Nina runs at The Lowry until 3rd February 2018 and you can get your tickets here.

REVIEW: Black Men Walking (Royal Exchange, Manchester)

January 24, 2018January 26, 2018kristobel

Upstaged Rating:⭐⭐⭐⭐

Inspired by a real-life Sheffield-based Black men’s walking group, Black Men Walking is an influential and compelling brand new play written by Leeds-based rapper and theatre-maker Testament (aka Andy Brooks) in collaboration with Eclipse Theatre Company.

On the first Saturday of every month, a group of Black men meet to ramble through the Peak District. Taking in Yorkshire’s breathtaking landscape – it’s a way of escaping the day to day, making new friends and sharing their identity as Black and British together. The men talk about their own personal life experiences and discuss stories of the Black people who walked Yorkshire long before them; reaching as far back as Roman times, they claim it was an African who put the York into Yorkshire.

This particular Saturday it is just Thomas (Tyrone Huggins), Matthew (Trevor Laird) and Richard (Tonderai Munyevu) who show up for the monthly walk as the other group members have been deterred, due to the stormy weather forecast. The characters are beautifully layered, and each of their different experiences are explored, from difficult family relationships and music to racism and the way the media portray Black men.

Under Dawn Walton’s well-paced direction, Tonderai Munyevu gives a finely nuanced performance as Richard – fresh from a Star Trek convention and laden with a selection of chocolate bars, he is kind-natured and incredibly funny. Southerner Matthew is strongly portrayed by Trevor Laird – a doctor and family man, who is constantly receiving messages on his phone, hinting that he has some issues at home. Tyrone Huggins’ Thomas is the most senior member of the group, possibly showing early signs of memory problems and hallucinations associated with dementia. When the men find young millennial Ayeesha, played by the captivating Dorcas Sebuyange, on the top of the Peaks, their experience swiftly changes as the full complexities associated with being Black and British are unravelled.

Testament’s writing is poetic and punchy; honest and important; witty and urgent. Black Men Walking faces stereotypes head on and then blows them apart in order to present the real identities of Black people living in Britain today. This is a much-needed production which seeks to illuminate Black Britain’s important identities and missing histories.

-Kristy Stott

Black Men Walking runs at Manchester’s Royal Exchange until 3 February 2018.