Reviews

Theatre Reviews

The Boy With Tape on his Face (The Lowry Theatre, Salford)

kristobel
tapeface
upstaged rating:

When I walked into the Lyric Theatre at The Lowry to watch The Boy With Tape on his Face, I really was not sure what to expect. I was aware that Sam Wills was a prop comic and I knew that this show would be performed with tape firmly stuck across his mouth. Normally, I would research but a theatre friend had told me that the less I knew about The Boy With Tape on his Face – the more I would enjoy it. 

Having won the prestigious Edinburgh Comedy Award Panel Prize in 2012, Wills has recently made the final of America’s Got Talent and has just announced that he has a 7-week residency at the Garrick Theatre, London through summer 2017. His humour is perfectly simple, laden with wit and thoroughly charming – it’s easy to understand why the show with no words has managed to get everybody else talking. Recently, he has renamed the show Tape Face.

As the show opens we find Tape Face in a setting resembling backstage at the theatre, presumably he is waiting for his call to perform. He rests in a tatty old armchair, listens to the wireless and takes the occasional cat nap. Luckily for us, his curtain call never comes and his own show begins to play out.

Audience participation is the key with this show and Tape Face manages to drive plenty of unsuspecting audience members to the stage. One of the great delights of his act is the way that he conveys feelings with a look – a cheeky shake of the head or an intense raise of the eyebrows. Using everyday objects he creates mini comic sketches which are fascinating to watch – one being a western style shootout reenacted with staples and balloons.

As each unknowing punter is plucked from their chair to join Tape Face on the stage they are particularly good sports. There is only admiration for the chap who finds himself auditioning for The Full Monty and the poor fellow who keeps finding himself brought up to the stage only to be sent back down again. 

Tape Face has a wonderful universal appeal about it – there are no language barriers because there are no words. I’ve deliberately written this review without going into too much detail about the show because I believe the less you know – the more you will enjoy it…

Go see!

-Kristy Stott

For Tape Face’s full tour listings click here. These listing include London’s Garrick Theatre from 6 June 2017.

REVIEW: Wind in the Willows (The Lowry Theatre, Salford)

kristobel1 Comment
Neil McDermott and the cast of Wind in the Willows © Marc Brennan
Neil McDermott and the cast of Wind in the Willows
© Marc Brennan
 Reviewer: megan hyland
upstaged rating: ⭐⭐⭐⭐⭐

The Wind in the Willows is a heart-warming and colourful musical based on the novel by Kenneth Grahame, produced by Jamie Hendry. It stars comedian and actor Rufus Hound as the sparky and bold speed enthusiast Mr Toad, alongside other familiar faces such as David Birrell (Midsomer Murders and Buried) as Mr Badger and Fra Fee (Les Miserables) as Mole. The musical tells the renowned story of friendship and adventure through beautifully orchestrated live music and the incredible dynamics of the cast. When Mr Toad is arrested and thrown in prison for the theft of a motor car, his lavish mansion is seized by the Wild Wooders, a fiendish band of woodland animals.

As Mr Toad, Hound steals the show with his quick humour and physicality. His boundless energy brings new life to the well-loved character, making him charming and likable despite his endless scheming. Although Hound may seem an usual choice for the role, none could have played it better. That being said, the rest of the cast fell far from short. Their command of the stage was masterful, and the singing in particular was captivating. Every harmony was perfectly blended and the actors seemed constantly in-tune with one another, working together to create a mesmerising production.

Other stand out performances were that of Neil McDermott and Sophia Nomvete. McDermott played the Chief Weasel, a cunning and cruel Wild Wooder. He was as menacing as he was exciting, and he brought up the energy of the other woodland creatures. As the strong and gutsy Mrs Otter, Nomvete delivered an amusing and engaging performance, playing the worried but protective mother who is no doubt familiar and lovable to us all.

However, it is the music, written by George Stiles and Anthony Drewe which makes this performance truly special. The songs are both uplifting and catchy, with a perfect combination of emotion and humour. They are heartfelt and sincere, without bringing down the general light mood of the production. Combined with the stunning sets and costumes designed by Peter McKintosh and Howard Harrison’s striking light design, it creates an enchanting atmosphere that is matchless.

With the Wind in the Willows, Julian Fellowes has expertly crafted a magical tale of the power of friendship. It is perfect for families and children, although I would recommend it to anyone who is looking for a few hours of lighthearted fun and music. Without a doubt, this is the musical production of the year.

– Megan Hyland

Wind in the Willows is at The Lowry, Salford until Sunday 6th November 2016 and you can get your tickets here.

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Showing as part of Family Arts Festival. Please click here for more information.

 

 

REVIEW: Zoe Lyons – Little Misfit (The Lowry, Salford) 

kristobel
zoe_lyons_main
reviewer: megan hyland
upstaged rating:

Known for her regular appearances on TV comedy shows such as Mock the Week and Live at the Apollo, Zoe Lyons is back with her new tour, Little Misfit. First performed at the Edinburgh Fringe this year, Little Misfit is a sensational and exciting hour of reflective and at times quite political comedy. Lyons perfectly balances her personal experiences and world issues, making her performance current and relevant as well as warm and engaging. Rising comic Will Duggan supported Lyons, with twenty minutes of dry and often dark humour that sets him apart from other comedians. His performance was encouraging and involving, with a combination of hilarious prepared material and some equally funny audience interactions.

In a profession that is still disappointingly lacking in female performers, Lyons shows us exactly why there should be more celebrated female comedians. Although the audience was smaller than deserved, Lyons created entertaining atmosphere despite the fact that her comedy is perhaps better suited to a bigger audience. She commands the stage and the attention of the audience with great physicality and her ability to immerse us in her world.

Having watched her on TV, there’s a certain familiarity with Lyons’ comedy. Her quirky style and bold personality creates her own unique stage persona that is easily recognisable and makes her immediately stand out. However, even if you have never seen Lyons perform before – on TV or otherwise – her comedy is both inviting and inclusive, welcoming younger and older audiences. Some anecdotes and jokes however were also familiar, having heard them before from some of Lyons’ other material. Despite this, the show was packed with enough fresh material for this not to distract.

At times the transitions between jokes felt slightly forced, and the show itself ended very abruptly, as it was paced so rapidly that it felt as though it should have slowed to a more gradual end, or perhaps ended on a bigger or more memorable note. It felt as though the show just stopped mid flow on a joke that didn’t quite live up to the rest of the performance. However, despite having seen only short snippets of Lyons’ comedy before, even this hour-long performance felt too short, and perhaps the feeling of abruptness was simply due to wanting the performance to continue.

Little Misfit is a hilarious and charming hour of intelligent comedy that is guaranteed to put a smile on your face. Zoe Lyons has mastered the art of comedy and created her own familiar comedic style that is as funny as it is thought-provoking.

-Megan Hyland

Zoe Lyons continues to tour through to May 2017 – click here for more info and to get your tickets.

REVIEW: Be My Baby (The Lowry, Salford)

kristobel
Be My Baby at the Lowry Theatre Salford till Saturday 8th October 2016
Be My Baby at the Lowry Theatre Salford until Saturday 8th October 2016
upstaged rating:

There is no bigger story than a mother being made to give up her baby for adoption and this is exactly the premise of Amanda Whittington’s play, Be My Baby. Set in the so-called swinging sixties, a defining decade when young people were just being given a voice and expression, mother and baby homes still existed. It is difficult to comprehend that just 50 years ago an unmarried pregnant woman would be shipped off to one of these homes to give birth to her child in secret, for fear that a baby born ‘out of wedlock’ would bring complete shame on her family. Propelled by society and their fear of the unknown, the girls would sign their baby over for adoption before even experiencing childbirth or seeing their babies face.

Despite dealing with a bleak subject matter, Be My Baby is packed full of laughter, light and a wonderfully evocative soundtrack. The music serves as a brilliant contrast to the harsh subject matter, serving to lighten the tone and transport us back to the 1960’s.

When Mary (Jess Cummings) is brought into the mother and baby convent by her mother, Mrs Adams (Susan Twist) she shares a dormitory with her beloved record player and Queenie. Jess Cummings shines as the respectable grammar school girl who finds herself pregnant and shipped off to the home, even before her father can find out.

At the centre of the performance is Coronation Street’s Brooke Vincent, in her stage debut as tough mum-to-be Queenie. Giving a very well rounded natural performance, showing heart and impeccable comic timing, Vincent impresses as the hardened young character. Ruth Madoc is quite formidable as the matron of the mother and baby convent. Detached and stern, she gives a wonderfully subtle performance – her maternal instinct just simmers, hinting that she knows more about the way the girls are feeling than she alludes to.

The ensemble cast all give excellent performances throughout, notably Josie Cerise and Eva McKenna, with some of the most poignant sections during their daily chores in the convent laundry. Shrouded by the sheets pegged up to dry, they sing along to their favourite songs and flick through teenage annuals – all trying to come to terms with their changing bodies and myths surrounding childbirth.

Some of the scene changes were very laboured (pardon the pun) at times, particularly in the second half, which did detract from some of the more emotional scenes. However, I’m sure Kirstie Davis is fine tuning this already – leaving the audience to enjoy the powerful performances and emotive subject matter.

-Kristy Stott

Be My Baby is on at the Lowry Theatre Salford until Saturday 8th October 2016 and you can click here to get your tickets.

REVIEW: The Emperor (HOME, Manchester)

kristobel
Kathryn Hunter in The Emperor © Simon Annand
Kathryn Hunter in The Emperor
© Simon Annand
reviewer: Megan Hyland
upstaged rating: 

The Emperor tells the story of the fall of the infamous Haile Selassie, Ethiopian Emperor between the years of 1930 and 1974. The play is based on Polish journalist Ryszard Kapuściński’s book, in which he interviewed the servants of Selassie after his downfall. It is a glimpse into a world of corruption, poverty and absolute power, through the eyes of those who worked under the Emperor throughout his tyrannical reign.

The shapeshifting Kathryn Hunter plays each character with such spirited passion and vigour, with no crossover in between, each character is a personality in their own right. Her voices and mannerisms bring the characters to life in an inspiring and vast performance, transforming herself completely. The limited costume and props leave the characterisation to fall into Hunter’s very capable hands, and she does not disappoint. Every character has their own tone, and she switches effortlessly between the emotionally raw and vulnerable to the closed off and political. Through every character, we were able to build our own image of the Emperor, making him almost as big of a presence as the characters on stage.

The combination of Hunter’s masterful character acting and Temesgen Zeleke’s beautifully haunting live music created the sombre yet heartfelt tale that ran alongside the Emperor’s dictation and downfall – the loyalty and love of his servants. Although the Emperor was the main focus of the production, you can’t help as an audience member to feel drawn to Hunter’s characters. She plays them with such vitality that it becomes difficult not to become immersed in their world. And although the story itself was deeply interesting, especially since it is so little known, the production itself was held up by Hunter’s incredible talent. Her performance was pivotal to the success of the play, as any other attempt at such a bold and demanding role possibly would have caused the whole production to fall flat.

Mike Gunning’s lighting and Paul Arditti’s sound combined with Walter Meierjohann’s poignant directing created an intense, albeit slightly bizarre show that is not to be missed. The quick changes in tone left audiences reeling, never quite sure whether they should be laughing or crying, but Hunter made it flow naturally. Temesgen Zeleke’s music and the inclusion of the Amharic language of Ethiopia in his side characters added a subtle authenticity to the piece, making it all the more credible.

The Emperor is an honest and engaging piece about a part of history that many people know little about, creating a lot of discussion. However, what stands out for many is Kathryn Hunter’s faultless performance and energy that carries the piece throughout.

-Megan Hyland

The Emperor is at HOME, Manchester until Friday 30th September 2016.

For a taster of this FIVE STAR show, please watch HOME‘s trailer…

REVIEW: I, Myself and Me (The Lowry Theatre, Salford)

kristobel
i_myself_and_me_main
reviewer: Ciaran ward
upstaged rating: 

For anybody who is not accustomed to solo shows, I, Myself and Me (created, written and performed by Rachael Young), serves as a delightful introduction to the form, one that is as entertaining and captivating as any other genre of theatre. With generous and well-interspersed portions of humour, paired with the thoughtful inclusion of audience participation, Young’s autobiographical material is expressed in a medium that encapsulates the struggles any single woman in their late thirties can encounter on a day-to-day basis.

Standing on a set (designed by Naomi Kuyck-Cohen) that comprises of a neglected garden, a palm tree, various plant pots and two microphone stands, Rachael Young gives the audience an insight into her life. Learning that she is someone with Caribbean lineage and a working class background allows everyone to engage with her, creating a rapport that engenders an honest and comfortable atmosphere. Through this, she imparts some personal recollections, ranging from the comical anecdote that details her using said palm tree in the absence of a real partner at a school dance, all the way to the heartfelt confession that she didn’t visit her mother’s grave for eleven years.

This sentimentally is explored further in Young’s building up of the garden: an emotional endeavour that is revealed to be an homage to the garden her mother took pride in maintaining. In the background, video footage (edited by Lucy Skilbeck) is projected onto a pull-out screen as she does this, presenting a journey of her buying flowers and finally visiting her mother’s grave.

A dramatic shift in the format of the piece (metamorphosing into one that is reminiscent of a television game show) is introduced when a member of the audience, named Kash, joins Young on stage. Here, the former attempts to help the latter with two challenges, the first entailing the both of them running a lap ‘faster than Usain Bolt’ on the floor, with the second involving Kash navigating the blindfolded Young around a series of mini cacti. The contrast in lighting (designed by Alyssa Watts and Eva G Alonso) aids this transformation, with a spotlight on Young being replaced by stark floodlighting in moments of physical activity.

I, Myself and Me may be a solo show, but it is in no way uniform in nature. The unique performance offered by Young and the unconventional dramatic techniques featured makes for a diverse and compelling interactive monologue.

-Ciaran Ward

You can see Rachael Young performing a work in progress of her new show OUT at the  Steakhouse Live Festival in  Richmix, London on Friday 14th October 2016.

 

REVIEW: Rambert: A Linha Curva plus other works (The Lowry Theatre, Salford)

kristobel
A scene from Frames by Rambert Dance Company ©Tristram Kenton
A scene from Frames by Rambert Dance Company
©Tristram Kenton
upstaged rating: 

Now in their 90th year, Rambert continue to lead the dance world with their exhilarating and  innovative dance works. Back in 1966, the company changed their artistic focus from classical to contemporary. Always forward thinking, they commission the most exciting choreographers, composers and designers and give them the freedom to lead wherever their vision and imagination takes them.

To celebrate their 90th year in true Rambert style, the world-class dancers are presenting three contrasting works at The Lowry, Salford. Opening with the world premiere of Malgorzata Dzierzon’s Flight, followed by Frames choreographed by Alexander Whitley and ending with the beautiful, vibrant and sexy A Linha Curva.

Malgorzata Dzierzon used stories and dialogue about travel, migration and shifting space as inspiration for Flight. It’s a captivating vision set to Kate Whitley’s evocative soundtrack, delivered by the company with fluidity and grace. A revolving set design accompanied by Luke Halls’ video projection creates an eerie atmosphere, drawing our attention to the pace at which we move through our everyday lives. Paul Koegan’s smart lighting design works perfectly alongside the dancers, creating sharp powerful silhouettes during the stunning duet between Miguel Altunaga and Liam Francis.

Frames provides a fascinating contrast, exploring themes of permanency and the dance space or theatre as a construction site. With set design by Revital Cohen and Tuur Van Balen, the performance space is transformed into a white box as the dancers construct their performance within it. The sound of metal bars clashing and Daniel Bjarnason’s industrial-esque soundtrack heighten the senses as the dancers hold the audience’s gaze, moving with agility and strength. Who knew that you could make dancing with metal structures look easy and stunningly beautiful? 

And just as you think the performance could not get any better… A Linha Curva, choreographed by Itzik Galili, explodes onto the stage, giving a powerful  injection of colour and carnival to the evening. The audience begin to join in, clapping and bobbing, whooping and cheering to the sound of the samba beat. The live percussion musicians are elevated above the dance space, upbeat and vibrant they use a range of instruments, their voices and their bodies to create the dynamic soundtrack. It’s sensual, witty and terribly good – the dancers are faultless as they move alongside each other in a truly intoxicating display.

There’s a true sense of celebration throughout the performance and during the standing ovation, which is very well deserved for Britain’s oldest dance company. Rambert may be 90 this year but they show no sign of standing still.

-Kristy Stott

Rambert: A Linha Curva plus other works is at The Lowry until Friday 30th September 2016 and you can get your tickets here.

 

 

 

 

REVIEW: Birmingham Royal Ballet: Shakespeare Dream Bill (The Lowry, Salford)

kristobel
Wink Birmingham Royal Ballet © Andrew Ross
Wink
Birmingham Royal Ballet
© Andrew Ross
upstaged rating:      

2016 marks four hundred years since the death of William Shakespeare and Birmingham Royal Ballet continue their celebration of the world’s most prolific dramatist with Shakespeare Dream Bill. The production presents three contrasting works, from contemporary to classical, in a Shakespeare-themed feast of balletic brilliance.

American choreographer Jessica Lang’s Wink serves an elegant entree inspired by the language of The Bard’s sonnets. Set to Jakob Ciupinski’s new score, both the music and the movement echo the structure of the sonnets. Surreal and captivating, the piece takes its title from the first line of sonnet 43, ‘When most I wink, then do mine eyes best see.’ The graceful performance is framed by Mimi Lien’s set of rotating boards which switch from black to white representing the blink of an eye. Stylish and contemporary, Peter Teigan’s lighting design and Alfie Jones’ voiceover add further clarity to this faultless display.

José Limón’s The Moor’s Pavane subtitled ‘Variations on the theme of Othello’, distils the tangled tragedy of Othello into a tightly knit and thrilling one-act piece. The four dancers: Tyrone Singleton (Othello), Iain Mackay (Iago) , Delia Mathews (Desdemona) and Samara Downs (Emilia) sweep and glide in Pauline Lawrence’s medieval inspired gowns. Moving in a circular motion about a dark stage, they are enmeshed. Othello’s white handkerchief is passed between them to Henry Purcell’s baroque score.

The Dream concludes the triple bill with a good dose of magic and wit as the company revive Sir Frederick Ashton’s 1964 interpretation of A Midsummer Night’s Dream. With Peter Farmer’s leafy woodland setting and John B Read’s dramatic lighting design, the company fill the stage with elegance and jest.  

I was very surprised to see a few empty seats on the night I attended as the Birmingham Royal Ballet usually, and rightfully, attract a full house. Perhaps the idea of Shakespeare fused with ballet felt quite daunting for some, which is quite a shame as The Birmingham Royal Ballet’s Shakespeare Dream Bill is pure perfection- a stunning display of agility, beauty and technical wisdom. This production is a superb evening out for all ages and whether you are a seasoned theatre-goer or on your first trip to the ballet, the Birmingham Royal Ballet’s Shakespeare Dream Bill is a dazzling visual feast.

-Kristy Stott

The Birmingham Royal Ballet’s Shakespeare’s Dream Bill is on at The Lowry Theatre, Salford until Saturday 17th September 2016 and you can get your tickets here.

 

 

REVIEW: My Big Fat Jobseeker’s Wedding (The Lowry, Salford)

kristobel
My Big Fat Jobseekers Wedding at The Lowry, Salford
My Big Fat Jobseekers Wedding at The Lowry, Salford
Reviewer: demi west
upstaged rating: 

Adult themed pantomime My Big Fat Jobseeker’s Wedding is the latest production from Manchester based theatre group Ard Knox. It invites the audience into the life of a stereotypical council estate family, where money is tight, and drama lurks around every corner.

The play is centred in the family sitting room, which is reminiscent of The Royle Family, setting the scene perfectly for the cliché type of humour that’s on offer. The formula that is used does not bring anything new to the genre, and nor does it particularly do well what it intends in the first place. This is by no means down to the acting, which offered a clear visual rapport, showing how much the cast have spent time together, really helping to create the friendships on stage.

The failed gags, however, are down to the poor writing, and jokes were often relying on simple gags and toilet humour which was both predictable and forgettable and felt as though it was aiming for cheap laughs. The script also offered a very incohesive narrative which felt as though it was written with scenes in mind rather than the whole story,  rather a stitch together of random characters and scenes into a form of linear narrative. However this was hidden by some overarching jokes throughout, like the chat room on the laptop, which helped bring together the story in some way, but it did not deny the outlandish random plot points that made no sense.

Despite that the characters were stereotypes, they were very good stereotypes, resulting in people relating them to someone they knew, which made them funnier. However, some characters again were completely out of place and ruined the believability of the other characters. For example, the son was a ‘cowboy’, relying on Sergio Leone references as jokes were completely out of place for a northern working class sitcom style play, which overall tarnished the suspension of disbelief.

Overall My Big Fat Jobseeker’s Wedding was a big fat random collage of cheap jokes and crude humour, that I’m sure would suffice for a quick laugh while drinking with a couple of friends, but would leave no further than that, as it falls flat in offering nothing more than a cheap attempt at Mrs Brown’s Boys.

-Demi West
You can find out more about Ard Knox Theatre Company by clicking here.

REVIEW: The Shawshank Redemption (The Lowry, Salford)

kristobel
The Shawshank Redemption © Mark Yeoman
The Shawshank Redemption
© Mark Yeoman
reviewer: megan hyland
upstaged rating: 

Adapted by Owen O’Neill and Dave Jones from Stephen King’s critically acclaimed novel and the iconic 1994 film, the Shawshank Redemption tells the familiar story of Shawshank Maximum Security Penitentiary. Whether you know the story or not, this production is accessible for all audience members, with its hard-hitting and emotional performances drawing you in from the beginning.

thumbnail_Paul NichollsThe play follows Andy Dufresne, (played by Paul Nicholls) an intelligent and charismatic banker imprisoned for the double murder of his wife and her lover. The story is beautifully narrated throughout by his fellow prisoner Red – played by Ben Onwukwe who brings brilliant animation and magnetism to the well-loved character. Throughout the twenty years in which the play is set, we see Andy interact and develop relationships with his fellow prisoners – played by an outstanding supporting cast – all the while forming a rather resourceful plan.

The all-male cast offer a range of powerful and gripping performances, from the quiet and bumbling but lovable librarian ‘Brooksie’, played by Andrew Boyer to the terrifying and sinister prison tormenters Rooster and Bogs, played by Jeff Alexander and Sean Croke, whose performances were exceptional and uncomfortably convincing. The entire cast had incredible physicality and great chemistry, particularly between Nicholls and Onwukwe, who bring both humour and charm to their characters. Nicholls gave a charming and likable performance as Andy, effortlessly transitioning from Andy’s distanced and quiet personality to bold, raw performances with Jack Ellis’ performance as Waden Stammas being the perfect menacing contrast. Each scene was thick with tension, but the hard topics especially were handled effortlessly and tension was quickly diffused with wonderfully dry humour.

Gary McCann’s set and costume design although simplistic added greater authenticity to the story, and allowed it not to distract or take away from the incredible acting performances. Although the costumes and set design were reminiscent of the 1994 film of the same name, they were magnificent in their own right. Paired with Dan Samson’s eloquent sound design, they create a genuine and intimidating prison atmosphere.

Transferring this story to the stage can’t have been an easy task, but director David Esbjornson has done a faultless and beautiful job. The cast bring a new life to the familiar roles, without leaving behind the story we’re familiar with. And although not a light-hearted watch, the play tells a riveting and heartfelt story of friendship, strength and hope that resonates with the audience.

-Megan Hyland

The Shawshank Redemption runs at The Lowry Theatre, Salford until Saturday 10th September 2016 and you can get your tickets here.