Reviews

Theatre Reviews

REVIEW – Leaper – A Fish Tale (The Lowry Theatre, Salford)

kristobel1 Comment
Leaper - The Fish Tale by Tucked In Theatre Company
Leaper – The Fish Tale by Tucked In Theatre Company
Thingstars: 

It’s quite alarming to find out that around 90% of global fish stocks are over-exploited, fully exploited or in recovery from exploitation. In severely depleted areas, the only way to restore fish stock is by introducing protected reserves. However, considering a massive 72% of our planet is water and only 4% of this is currently protected, it becomes evident that without urgent measures we may be the last generation to catch food from the oceans.

It’s really important to educate the younger generation to care for their planet from an early age and Tucked In Theatre Company explore this idea through their production of Leaper – A Fish Tale. There are no blinding statistics or complicated language but charming puppetry, original music and a set with a wonderful hand-crafted quality. The energetic cast of three: Lizzie Franks, Philip Bosworth and Robert Welling tell the story of Leaper the fish and the beautiful but perilous ocean world that she inhabits.

Through the eyes of a little girl, we follow Leaper on her journey to encounter the ever growing natural and man-made dangers in our ocean. After accidentally falling into the water to retrieve her dropped prawn cocktail crisp packet, the little girl makes friends with Leaper as they explore the waterways together, travelling from the tiny stream to the vast ocean and back again.

The young audience were engrossed by Claire Harvey’s wonderful puppet design featuring a school of fish, a noisy duck and a formidable brown bear. Jim Harbourne’s warm and upbeat musical score provided continuity and familiarity for the little ones and Annie Brooks’ design had a real home-made appeal. However, there was a lot of story to cram into a short running time of 60 minutes and with frequent set changes, some of the sections felt rushed. The young members of the audience would certainly benefit from a slower pace which would give them time to reflect and understand.

Following our visit to watch Leaper – A Fish Tale,  Thing 2 was busting with questions about fish and our oceans, proving that theatre can be a powerful way to tap into a child’s understanding of the world and our environment. Tucked In theatre have to be applauded for their imaginative approach in tackling a complex subject and their ability to make it accessible to children. After all, our children are the future generation and the earlier we educate them about our planet – the brighter their future.

-Kristy Stott

 Leaper is showing next at the Blackwood Miners Institute in Caerphilly on the 30th April 2016 and at 96 Shenley Road in Borehamwood on the 2nd May 2016.

 

REVIEW – King Lear (The Royal Exchange, Manchester)

kristobel
Don Warrington as King Lear and Miltos Yerolemou as The Fool.
© Jonathan Keenan
UPSTAGED RATING: 

Talawa Theatre Company has been making theatre since 1986 and to mark their 30th anniversary year, and to commemorate 400 years since Shakespeare’s death artistic director Michael Buffong returns to the play he first directed in 1994, King Lear.

In this co-production between Talawa Theatre, Manchester’s Royal Exchange and Birmingham Rep, Don Warrington steps into the royal breaches and takes on the title role. William Shakespeare’s story of a kingdom divided with devastating political and personal repercussions still remains highly pertinent to a modern audience. Striking a chord with a contemporary crowd particularly in the wake of Scottish Independence and the looming EU opt in or opt out discussion. Perhaps most poignantly, this production explores ideas around our aging society and dementia.

Entering to the single steady beat of the drum, Warrington appears wearing a heavy cloak and furs, every inch the look of a formidable leader. He traces the dominant character’s slow descent from greatness to confusion and shame.

“I have, so to speak, lost myself.”

Fists clenched desperately holding on to the sleeve of his robes indicative of his struggle to retain clarity in an increasingly murky world. There is some well-observed physicality from Warrington – his awkward gait and empty stare are all suggestive of a man battling with dementia. However, Warrington’s delivery of the text is lacking in fluidity which means that some of Shakespeare’s powerful rhetoric is lost at times and most particularly during the famous storm in the wilderness scene.

Signe Beckmann’s design is completely stripped back to an empty performance space with the characters dressed in period costumes, and the danger is that it all feels very habitual RSC and old fashioned. The combination of Johanna Tom’s atmospheric lighting design and Tayo Akinbode’s ethereal soundscape is a match made in heaven, especially during the apocalyptic downpour at the end of the first half.

The ensemble cast are all impressive and fearless throughout and all give remarkable performances. Miltos Yerolemou gives a well-balanced performance as The Fool, both humorous and touching; Alfred Enoch gives a mesmerising performance as Edgar – compassionate and honest, much in contrast to his brother Edmund, an ambitious opportunist, again played strongly by Fraser Ayres. Pepter Lunkuse shines as the good-hearted, youngest daughter Cordelia and Rakie Ayola and Debbie Korley give fully realised performances as bloodthirsty sisters, Goneril and Regan.

Philip Whitchurch as The Earl of Gloucester is outstanding with his gory ocular fate prompting the most audible response from the audience during the lengthy 3 and a half hour running time.

-Kristy Stott

King Lear is running at The Royal Exchange Theatre in Manchester until Saturday 7 May 2015.

REVIEW – Breakfast at Tiffany’s (The Lowry)

kristobel
Pixie Lott in Breakfast at Tiffany’s
© Sean Ebsworth Barnes
Upstaged Rating: 

Holly Golightly has aroused much discussion over the years, from the page of Truman Capote’s Novella to the big screen classic portrayal by Audrey Hepburn in the 1960’s. Now, Breakfast at Tiffany’s comes to The Lowry, Salford and we are transported back to Capote’s original 1940’s New York setting.

Pop star Pixie Lott steps into Audrey Hepburn’s ‘Givenchy’ shoes as the charming Holly Golightly. With authentic design by Matthew Wright, Lott certainly looks the part in her fabulous vintage wardrobe and super-sparkly diamonds – however, this is certainly an ambitious role for her first stage show.

Capote’s novella has been adapted for the stage by Olivier Award-winning playwright Richard Greenberg and revolves very much around the on-off romance between Holly and struggling young writer Fred (Matt Barber). Besotted and fascinated by the extroverted and effervescent Holly, Fred tells the story from his perspective and acts as narrator. Matt Barber puts in a brilliant performance, leading the audience through an array of emotions following his infatuation with Holly Golightly.

© Sean Ebsworth Barnes
Under Nikolai Foster’s direction, Robert Calvert puts in a sturdy performance as Golightly’s estranged husband Doc towards the end of Act One which just keeps us ticking over to Act Two. However, many of the other characters feel slightly underdeveloped, giving us little chance to really understand them. The balance on stage does seem a little skewed when a beautiful fluffy white cat (Bob The Cat) steals the stage from the main action.

Ben Cracknell’s vivid lighting design teamed with Matthew Wright’s authentic set and costume design is a real highlight and really gives the live performance a filmic edge.

Now, all the pre-show talk has been about Pixie Lott taking on the iconic role of Holly Golightly – there really is no doubt that she can sing. Strumming her acoustic guitar she performs 3 live songs, most notably ‘Moon River’ and she is soulful, engaging and unique.

This production of Breakfast at Tiffany’s is certainly a gem but is regrettably lacking the clarity and cut of a real Tiffany diamond.

-Kristy Stott

Breakfast at Tiffany’s is at The Lowry until Saturday 16th April 2016 and you can get your tickets here.

REVIEW – Horrible Histories: Groovy Greeks (The Lowry, Salford)

kristobel1 Comment
Horrible Histories: Groovy Greeks and Incredible Invaders
Upstaged Rating: 

THINGSTARS: 

Groovy Greeks is the energetic and informative new Horrible Histories show produced by The Birmingham Stage Company. Currently being performed in rep alongside Incredible Invaders, Groovy Greeks flies through thousands of years of Greek history faster than soaring Apollo on his fiery chariot.

Based on the brilliant books by Terry Deary, the CBBC show Horrible Histories has always been welcomed viewing in our house. Encompassing history, fun and gore, it is as much fun for parents as it is for children.

The energetic storytelling by the cast of four is really complimented by designer Jacqueline Trousdale’s 3D animation and the Bogglevision 3D specs which are handed out to the audience for the second half. The action is given a full seal of approval by the original author Terry Deary too, his familiar rich tone providing the voice of Zeus.

First up we meet The Trojans, a clever skit on The Simpsons complete with Homer, Marge, Bart, Lisa and Mr. Burns. Next up, following a quick and seamless change, we have The ‘Hungry’ Games. The show uses many popular family TV shows to guide us through the history of Ancient Greece – we see Greece’s greatest thinkers collide in the Big Brother House and we vote for the most talented omnipotent power in ‘The God’s Have Talent’ – will our winner be a hip-hop Athena or a Lily Allen-esque Aphrodite?

What is perhaps so special about Horrible Histories on stage, is the interaction between the performers and the audience. Under Neal Foster’s clever direction, the performers keep their young (and old) crowd engrossed throughout the whole show – whether it is inviting a willing audience member to the stage, a mass singalong or making the crowd part of the chorus in an Ancient Greek Drama.

Considering the popularity of Horrible Histories, I was surprised to see that there were a lot of empty seats in the Lyric Theatre on the night that I attended. Maybe this was a reflection on playing Groovy Greeks alongside Incredible Invaders and the cost involved in purchasing tickets for both shows. Nevertheless, it was evident that the diverse audience were gripped for the full two hours running time.

Playing to a predominantly young audience has to be one of the most challenging but arguably, one of the most rewarding jobs in theatre. Groovy Greeks has a brilliantly entertaining cast who bounce off each other and enthuse their audience with vigour and curiosity. Any show that manages to tap into the minds of our young historians and future creatives must be celebrated and Groovy Greeks does just that.

-Kristy Stott

Horrible Histories: Groovy Greeks and Incredible Invaders is at The Lowry, Salford until Saturday 9th April 2016 and you can get your tickets here.

REVIEW – The Witches (The Lowry)

kristobel
Sarah Ingram in The Witches © Catherine Ashmore
Sarah Ingram in The Witches
© Catherine Ashmore
Upstaged Rating: 

THINGSTARS: 

Roald Dahl’s wonderful and vibrant stories have captured the imaginations of millions of children (and adults) across the world. Translated into 58 different languages, Dahl’s rich and impressive portfolio has been successfully adapted for stage and screen over the years. The Witches has always been a favourite in our house, fascinating, terrifying and always prompting curious questions, and it translates perfectly to the stage in this adaptation by David Wood.

“Horrible things can be exciting”

An 8-year-old Boy goes to live with his cigar-puffing Grandma in Norway following the death of his parents. An expert on witches, his Grandma has many fascinating stories to tell and explains to him how to spot a witch. To honour his parents last wish, Boy and his Grandma return to England so that he can continue his education and it is here that he comes across some of the cruellest and most powerful child-hating witches.

Under doctor’s orders, Grandma (Karen Mann) and Boy (Fox Jackson-Kenn) take a trip to Bournemouth to allow Grandma time to recover from a bout of pneumonia. It is highly unfortunate that their home in Bournemouth, The Hotel Magnificent, is also the venue for the annual witches AGM. Under the guise of the Royal Society for the Prevention of Cruelty to Children, the Hotel Magnificent houses some of the most prolific witches in the world and the most feared Grand High Witch (Sarah Ingram).

Under Nikolai Foster’s impressive and paced direction, this production is a scream from beginning to end. The talented cast of seven play a multitude of characters between them as well as playing a range of instruments.  

Fox Jackson-Keen plays Boy, a versatile performer – he engages skilfully with the audience using puppetry and acrobatics, giving the show an interactive dimension. The relationship between the two friends, Boy and chocolate-chomping Bruno (Kieran Urquhart) is touching and hilarious. Superb physicality and super sparkly costumes allow several of the cast to slip between roles – most notably, Elexi Walker is a complete howl as the feisty Liverpudlian, Mrs Jenkins. Headed up by Sarah Ingram’s brilliantly terrifying Grand High Witch, sniffing and squealing, the small coven of witches contort about the stage itching and scraping their skin – perfectly peculiar and comical.

Isla Shaw’s delicious costume design of larger-than-life sparkles and neon brights works wonderfully alongside the simple set design, clever projections and special effects. The witches scaly scalps, which are exposed in the 1990 film adaptation, are covered by wacky headdresses, designed by Diana Hudson, seeking to engage the young audience rather than alienate and upset.

Nikolai Foster has seasoned the recipe just right for this production – a little dose of fear, a lot of heart and lashings of humour. The Witches is a truly fantastical show and a marvellous introduction to theatre for many of the younger audience members. With a first half of 45 minutes and a second half of 30 minutes, it’s the perfect show for children over the age of 7.  

-Kristy Stott

The Witches is at The Lowry, Salford until 26th March 2016.

REVIEW – The Encounter (HOME, Manchester)

kristobel
Simon McBurney in The Encounter at HOME, Manchester © Robbie Jack
Simon McBurney in The Encounter at HOME, Manchester
© Robbie Jack
Upstaged Rating: 

The Encounter is an adventure story which gets inside your head. Literally. Every member of the audience is issued with a set of headphones and using cutting edge audio technology we are transported to the Amazonian rainforest where we find ourselves inside the head of Loren McIntyre, a stranded American photojournalist.

In 1969, photographer Loren McIntyre was dropped into a remote part of the Brazilian rainforest to make contact with the Mayoruna people for a feature he was working on for the National Geographic. Tracing McIntyre’s steps into the dense Amazon rainforest, Simon McBurney gives an immensely powerful solo performance. By combining 3D audio technology with dynamic storytelling, The Encounter is an intense and intimate show which weaves its way into your mind, becoming as much about the storytelling as the narrative itself.

Simon McBurney’s performance is a true tour de force, his rich and complex storytelling draws us close, in the same way that photojournalist McIntyre became compelled by the Mayoruna. Creating the Amazonian soundscape from everyday objects and familiar vocal sounds – a whistle and the beat of his chest quickly becomes a repetitive dance ritual; the rustle of a crisp packet, a fire and the sound of a water bottle, a noisy ground underfoot. It’s totally immersive and remarkable piece of theatre – the sounds of the jungle take over your mind and the intensity is immense, like a mosquito buzzing close to your ear.

Due to the intelligent use of technology, the audience experiences the same kind of heightened consciousness as McIntyre feels in the jungle. At the start of the production, McBurney presents all of the technology to us and explains how he is going to use it in the show. It’s a fascinating insight into the creative audio capability and knowing how McBurney plans to deliver the show does not detract from the effect it has on our imaginations.

The Encounter is a richly layered exploration of the importance of stories, the fascination with different cultures and the influence of time and technology upon our lives. A unique and wonderfully intoxicating two hours in McBurney’s company is time well spent.

-Kristy Stott

The Encounter is running at HOME until 19 March 2016. Click here for tickets.

REVIEW – Our Gracie (Oldham Coliseum)

kristobel
Our Gracie at Oldham Coliseum
© Joel C Fildes
Upstaged Rating: 

Oldham Coliseum are certainly bound to excite their friendly Northern crowd with a brand-new stage production celebrating the life and talent of Dame Gracie Fields. Hailing from Rochdale, Gracie labelled herself as Britain’s most popular female entertainer of all time. It’s a big label and she’s a big character and there is no better place to stage the premiere of Philip Goulding’s new musical than ‘up’ at Oldham Coliseum.

Born just a short distance away from Oldham Coliseum above her grandmother’s chippy, Dame Gracie Fields first performed in the theatres of Oldham and Rochdale. The story of the local mill girl who became an international star continues to inspire many performers today.

Our Gracie is written in the style of the old music hall and incorporates live music and toe-tapping song along with movement and feel-good banter. Philip Goulding’s clever script documents Gracie Fields’ vibrant and inspirational life using her own words and infectious personality. The production transports us back to the Oldham Repertory Theatre Club of the 1960’s where we are ready to welcome Gracie Fields to the stage.

Sue Devaney as Gracie Fields (2)
Sue Devaney as Gracie Fields Photo Credit : Joel C Fildes

Sue Devaney takes on the title role and gives a phenomenal performance as Dame Gracie Fields; her beaming smile and rich Northern tone perfectly capture the down-to-earth personality and charming stage persona of the Rochdale-to-Hollywood star. What makes Devaney’s performance so special is her ability to connect with her audience, which arguably was also Gracie Fields’ greatest talent. Many of the audience sing and clap along enthusiastically as she belts out Sing As We Go, The Biggest Aspidistra In The World, Walter, Walter and her most famous signature tune Sally.

 

Six of Oldham Rep’s finest support Devaney in presenting the fascinating life of Dame Gracie Fields – playing a variety of roles between them, they present the intriguing characters that influenced Gracie during her vibrant life. As well as providing a wonderful live soundtrack, the talented company introduce us to George Formby, Laurence Olivier and Liberace. Often breaking the fourth wall to speak directly to the audience – it’s refreshing and engaging and there is a powerful harmony between the audience and the performers. Liz Carney has a wonderfully sweet tone and gives a dedicated and wonderfully comic performance; Ben Stock generates genuine laughter from the spirited crowd as dedicated pianist Harry and flamboyant showman Liberace.

The music hall style is possibly not for everyone, packed with silly gags and an exaggerated acting style, but the Oldham crowd seemed to enjoy it on the night I attended. Regardless of this, Our Gracie is a wonderful trip down memory lane, filled with nostalgia and warm sentiment.

-Kristy Stott

Our Gracie runs until 26th March 2016 at the Oldham Coliseum and you can click here to get your tickets.

REVIEW – Dirty Pakistani Lingerie (Touring – The Lowry, Salford)

kristobel
Aizzah Fatima in Dirty Pakistani Lingerie ©Elisse Lesser
Aizzah Fatima in Dirty Pakistani Lingerie
©Elisse Lesser
UPSTAGED RATING: 

Written and performed by Aizzah Fatima, Dirty Pakistani Lingerie finally landed in Greater Manchester last week after a considerable tour around the globe. Winning several awards and the approval of theatre critics, this one woman show has been well received at the Edinburgh Fringe as well as across America, Pakistan and Turkmenistan.

Poised to the backdrop of post 9/11 America, Dirty Pakistani Lingerie explores the stories and experiences of six different Pakistani-American women. The six female characters were developed from a series of interviews that Fatima conducted with women in the New York and New Jersey area. Developed by Erica Gould, Aizzah Fatima plays the diverse range of personas with superb physicality, smoothly shifting from one to the next and juxtaposing the deeply moving with the infectiously comical. Six-year-old Zahra, who likes roti at home but just wants a sandwich at school like Emma K, shares the same stage as hilarious sixty-year-old Asma who is desperately ringing ads from the Urdu Times Matrimonial section in the hope of finding her daughter an impressive suitor.

Dirty Pakistani Lingerie probes important issues surrounding the notion of a hyphenated identity and blows apart some of the myths and preconceptions surrounding women of Pakistani descent. It’s a universal issue and not just one that is relevant to Pakistani-American women. Aizzah Fatima’s bold writing fuses with Erica Gould’s intelligent direction to open a dialogue about the struggle to assimilate Western society while preserving the culture of origin, as Fatima highlights – ‘you grow where you are planted’. All of the women we meet in this production occupy a junction between two very different cultures.

This entertaining and meaningful production has more mileage than the current running time of 65 minutes, there is room for the characters to be fleshed out even more and I would be keen to see it undergo further development.

Perhaps most poignantly, Dirty Pakistani Lingerie celebrates and presents real Muslim American women – seeking to shatter any stereotypes by giving women of South Asian descent, who are often underrepresented in theatre, a voice.

-Kristy Stott

Dirty Pakistani Lingerie continues its tour at Unity Theatre, Liverpool on 1st April 2016, The Rainhall Centre, Barnoldswick on 8th April 2016, Burnley Arts Centre on 9th April 2016 and The Bureau Centre for the Arts, Blackburn on 10th April 2016. Click on the venues to get your tickets.

REVIEW – Romeo and Juliet – Birmingham Royal Ballet (The Lowry)

kristobel
Birmingham Royal Ballet - Romeo and Juliet © Andrew Ross
Birmingham Royal Ballet – Romeo and Juliet
© Andrew Ross
Upstaged Rating: 

Birmingham Royal Ballet Company make a pleasing return to the Lowry in Salford to continue their Shakespeare Season which commemorates the 400 year anniversary since William Shakespeare’s death. There is no better adaptation to bring to the stage then Kenneth MacMillan’s much celebrated classic interpretation of Romeo and Juliet, which is still as fresh and as exhilarating as when it was first performed in 1965.

The tale of the star-crossed lovers is set to Sergei Prokofiev’s magnificent score, featuring ‘Dance of the Knights’ which many will recognise as the opening theme tune of BBC television show The Apprentice. However, there are no novices in this beautiful production, only stand-out performances from emotive storytellers loaded with technical brilliance.

Paul Andrews’ stunning and detailed design conjures up all of the hustle and bustle of Verona amidst the feud of the two rival families – The Montagues and The Capulets. Like a medieval masterpiece framed by a proscenium arch, the dancers glisten under John B Read’s lighting design.

AR1_9582.jpg
Birmingham Royal Ballet – Romeo and Juliet © Andrew Ross

Momoko Hirata impresses as the dainty, vulnerable but determined Juliet – a masterful storyteller and graceful dancer. From jesting with her nurse, who is brilliantly played by Ruth Brill, to the final harrowing scene when she finds Romeo lying cold next to her in the charnel house. Hirata handles the transitions between the varying emotions superbly in this beautiful but ill-fated love story. Joseph Caley is well cast as Romeo, charming and impulsive in love – Caley expresses the immaturity of young love during his brief passage from boyhood to death.

The Birmingham Royal Ballet’s Romeo and Juliet is a stunningly impressive production. With Prokofiev’s epic musical score delivered powerfully by the Royal Ballet Sinfonia, Kenneth MacMillan’s acclaimed choreography and Paul Andrews’ picture-perfect design, the talented company deliver a beautiful performance of the most tragic love story ever told.

-Kristy Stott

Birmingham Royal Ballet’s Romeo and Juliet continues at the Lowry until Saturday 5th March 2016. 

With First Steps: A Child’s The Dream on Friday, March 4 at 1 pm. A delightful ballet adaptation of A Midsummer Nights Dream recommended for ages 3-7.

 

REVIEW – Endgame (HOME, Manchester)

kristobel
Endgame by Samuel Beckett Presented by HOME Manchester and the Glasgow Citizens Theatre. © Tim Morozzo
Endgame by Samuel Beckett
Presented by HOME Manchester and the Glasgow Citizens Theatre.
© Tim Morozzo
Upstaged Rating: 

 A curtain featuring a pretty painted seaside picture lifts slowly to reveal Tom Piper’s suitably grimy set – rusty, damp and closed off from the world. There are two small windows offering a peek outside, but you’ll need a ladder to reach them and a cloth to clean them. Samuel Beckett’s Endgame is an extraordinary piece of writing, a classic of modern theatre and this collaboration between the Citizens Theatre and HOME is as vital and as macabre as it should be.

Taking on the roles of chair bound and blind master Hamm and his dutiful servant Clov are Coronation Street favourites, David Neilson aka Roy Cropper and Chris Gascoyne, who plays Peter Barlow. Existing somewhere between life and death, far from the cobbles and chatter of Weatherfield, Hamm (David Neilson) and Clov (Chris Gascoyne)are inextricably bound to one another and spend their existence verbally brawling at each other. Hamm’s parents, Nagg (Peter Kelly) and Nell (Barbara Rafferty) occupy two bins on the stage offering Hamm a glimpse of memory and nostalgia.

Director Dominic Hill brings out every bit of detail in the script, finding new subtlety and absolute meaning in the bleak and absurd world that the characters inhabit. Endgame is not without humour – dark but strangely uplifting at the same time, and it is this ambiguity, masterfully brought out by Hill, that makes it so compelling.

Neilson and Gascoyne give striking physical performances throughout, their peculiar and repetitive traits build upon Beckett’s very particular stage directions. Chris Gascoyne’s timing and physicality as Clov is superb; unable to sit down and constantly threatening to leave, he excels in bringing out the elements of slapstick. David Neilson is brilliant as Hamm, intelligent and matter-of-fact, nothing is rushed here and every word is loaded with meaning.

I read somewhere that Gascoyne and Neilson, having been in Coronation Street, are hoping to bring in an audience who possibly haven’t been to the theatre or haven’t seen any of Beckett’s work before, which is a really positive thought. On the evening that I attended, I was thrilled to sit next to the world’s leading Beckett scholar James Knowlson OBE – a personal friend of Beckett and writer of his biography, Damned to Fame. Amidst the noisy applause, James Knowlson was shouting his approval and later described the production to me as ‘extraordinary’. Now that has to be a worthy testimonial.

-Kristy Stott

Endgame is on at HOME, Manchester (2 Tony Wilson Place, M15 4FN) until Saturday 12th March 2016 and you can click here for tickets.