Reviews Archives - Page 26 of 28 - UPSTAGED MANCHESTER

REVIEW – Boeing Boeing (Oldham Coliseum)

May 16, 2015kristobel

Date: 15 may 2015

Upstaged rating:

Boeing Boeing written by Marc Camoletti and directed by Robin Herford is a superb example of a classic farce.

We’re in Paris and it’s the swinging sixties and Bernard, a batchelor and highly successful Parisian architect is flying by the tail wind of the Jet Age. With three fiancées, who are all air hostesses for different airlines and flying on different routes, he has managed to ensure that only one of the women is ‘at home’ in Paris at any one time. However, with the dawn of newer planes and faster aircraft, Bernard’s carefully timetabled system is put under severe pressure.

When Bernard’s friend Robert, who he hasn’t seen for ten years, arrives unexpectedly – he too is caught up in trying to preserve Bernard’s three-timing secret. Robin Simpson gives a high energy and hilarious performance as he desperately tries to keep each of his fiancées apart.

Under the slick direction of Robin Herford, the cast are all exceptional with impeccable timing and their performances clearly thrive with the laughter from the audience. Ben Porter as the awkward and eccentric Robert and Gilly Tompkins as long-suffering housemaid Bertha, give outstanding performances, working at breathtaking speed as they try to conceal Bernard’s wrongdoing.

The three air hostesses give sterling performances and as one door closes and another one opens – they do not miss a beat. Laura Doddington as the brassy, outspoken American fiancée Gloria and Maeve Larkin as the sophisticated Italian fiancée Gabriella. However, it is Sarah Lawrie who really makes the audience squeal with her interpretation of the manic and passionate German fiancée, Gretchen.

The Oldham Coliseum’s production of Boeing Boeing is glamorous, exhilarating and highly entertaining. And although the plot is arguably quite preposterous, we have to suspend all of our moral sensibility to fully appreciate the absurd setting, exaggerated characters and slapstick comedy. Once you’ve handed in all moral judgement at the box office, prepare to board Boeing Boeing, you will not be disappointed.

-Kristy Stott

Boeing Boeing is on at Oldham Coliseum until Saturday 6th June.

REVIEW – Different is Dangerous (The Lowry)

May 15, 2015kristobel

Date: 14 may 2015

Upstaged Rating:

Different is Dangerous aims to give a unique insight into the lives of the Asian community living in Leeds. Devised and performed by Fadia Qaraman and Nyla Levy of Two’s Company, the piece aims to explore multicultural life, the challenges of ethnicity and present the voices of Asian Leeds locals.

Qaraman and Levy use a combination of fictional monologues and a technique called headphone verbatim as a means of presenting these personal stories from within the Asian community living in Leeds. The idea is that the performers each wear a set of headphones which relays an audio script to them – each actor then aims to recite this audio script not only word for word but with exact precision, capturing the nuances and speech patterns of the original interviewee. The idea is that there is as much information embedded in the way somebody speaks as the words that they actually use.

Setting is very minimalist consisting of just four chairs and Qaraman and Levy only have 2 scarfs as props, but this is the idea of this type of theatre – it is not meant to be highly visual. Both performers shift between the different characters with ease as they tackle subjects such as unprovoked attacks, relationships and politics. The two creator-performers also reveal some controversial viewpoints as well as some lighthearted and humourous conversation.

Qaraman and Levy certainly manage to keep the audience listening throughout the full 50 minute experience. And despite the performance style not being highly visual, you do still manage to get lost in the everyday voices, opinions and beliefs of the community in Leeds.

Different is Dangerous certainly succeeds in getting people to think and discuss cultural identity in Britain, raising the profile of a topic that some people still feel uncomfortable talking openly about.

-Kristy Stott

REVIEW – RITES (Contact Theatre, Manchester)

May 14, 2015kristobel1 Comment

Date: 12 may 2015

Upstaged rating:

The Contact Theatre in Manchester is renowned for its high quality and diverse artistic programme. With experimental and bold theatre at it’s core, Contact Theatre has joined forces with the National Theatre of Scotland, acclaimed champions of storytelling and creative risk taking to produce this powerful new play, RITES.

RITES is a verbatim piece of theatre, borne out of interviews conducted with real people who have been directly affected or have some experience of Female Genital Mutilation (FGM). The people who were interviewed to make this production are from all over the UK and are FGM survivors, medical staff, health and social workers, activists and campaigners.

When the play begins, Fara (Paida Mutonono) asks us to “start by listening” and it is her direct story of FGM which forms the backbone of the production. The other characters that are presented to us also provide their viewpoints and share their stories which furthermore enriches the play giving it integrity, balance and depth. The four other members of the cast (Janet Kumah, James Mackenzie, Beth Marshall, Eleni Pavli) play a range of vibrant characters which include a group of Somali women swigging tea discussing western media and guests on a talk show with differing viewpoints. Director Cora Bissett and Co-creator Yusra Warsama’s staging does not demonise or judge victims of FGM but asks us to step back and understand a subject which is not as straightforward as we are led to believe.

RITES is an accomplished example of verbatim theatre – performances are all strong with each character’s mannerisms, stumble for words and idiosyncrasies adding to their credibility. And despite the heavy subject matter, the play does have a scattering of humour too particularly from female Muslim Chaplain Abhaya (Elena Pavli) and midwife Vanessa (Beth Marshall).

Jessica Worrall’s set design is perfectly simple allowing each of the characters and their narratives to shine through. Projections are used on stark white hospital screens, some are powerful signifiers such as razor blades whereas as others simply suggest Fara’s search for reason and truth with images of her google searches and tense skype calls to her mother.

After the 90 minutes of theatre, I walked out into Manchester with a different mindset on the subject of FGM and definitely a deeper understanding. I also felt hopeful for the future – FGM cannot be condoned but in order for us to change it, we have to step back, listen and gather facts so that we can challenge it and eventually put an end to this abusive practice.

-Kristy Stott

Rites is at Contact Theatre until 14 May 2015 (with a women only performance on 13 May at 12:30pm) before continuing its tour at Tobacco Factory Theatres, Bristol from 19 May -23 May 2015 and then Traverse Theatre, Edinburgh from 26 May- 30 May 2015.

-Kristy Stott

REVIEW – Jackie Hagan: Some People Have Too Many Legs (Contact Theatre, Manchester)

May 11, 2015kristobel1 Comment

Jackie Hagan: Some People Have Too Many Legs ©Lee Baxter — Jackie Hagan: Some People Have Too Many Legs
©Lee Baxter

Date: 9 may 2015

Upstaged Rating:

Contact Manchester’s Flying Solo Festival celebrates the ability of one artist to hold the stage and the interest of the audience for an entire performance. It makes for an intensive and rewarding experience for the theatre goers and this is particularly true of Jackie Hagan’s show, Some People Have Too Many Legs.

Just before Jackie starts her main show, she comes out onto the stage and introduces herself to the audience, who according to her, ‘look just like Facebook, little squares, only your faces are moving’. Her direct, honest and optimistic style makes her instantly likeable and when she tells us that she is pleased to be performing in the Contact Theatre on this side of Oxford Road, rather than residing as an inpatient over the road at the MRI- where she was 2 years ago when she developed blood clots in her right leg, we share her enthusiasm and appetite for storytelling and performance.

Jackie Hagan is a luminous storyteller, when she relays important happenings in her life – growing up, loss and grief and falling in love during challenging times – she does it with positivity and determination. She juxtaposes feelings of fear and sadness with her sparkly optimism and imagination – her well paced humour glitters throughout engaging our hearts and minds as we wonder what she might reveal to us next.

A white tent, equipped with fairy lights and white lace provide the staging for Jackie’s story. This setting works well as an intimate frame for flashbacks and as a stark and sterile backdrop for the hospital ward. Jackie explores the various coping methods that she found some comfort in when she became an amputee and she also animates a week by week account which assist us in understanding her experience. It is not self pitying but positive and uplifting especially when the performance becomes interactive and we are invited to open the envelopes that we were given at the start of the show. We all share in Jackie’s dream sequence as she holds up a handwritten banner which says “I know you have had to cope too.”

“You’ll notice that where most of you have got a tube of meat I’ve got a pillar of glitter”

Some People Have Too Many Legs is an inspirational show that can be appreciated by everyone. Jackie Hagan’s straight talking, bubbly and empowering persona translates well in performance – not every disabled person wants to be called brave or become a Paralympian. This show is testament that a very beautiful, amusing and cathartic piece of art can emerge from the most difficult of situations and sometimes we all have to “throw some glitter at it in the only way you can”.

-Kristy Stott

You can visit Jackie Hagan’s blog if you click here.

REVIEW – The Woman in Black (The Lowry)

April 29, 2015kristobel

Date: 28 APRIL 2015

Upstaged Rating:

Susan Hill’s well known thriller novel, The Woman in Black, adapted for the stage by Stephen Mallatratt, relies heavily on the audiences imagination to create the eerie tension and spine-tingling fear that it is renowned for. Interestingly the show first premiered in the intimate setting of the 70 seat studio at The Stephen Joseph Theatre in Scarborough in 1987, before transferring to The West End.

Set in the 1950’s, the story unfolds in an empty Victorian theatre, where Arthur Kipps, now an old man, has hired a young actor to help to re-enact a manuscript that he has written about a ghostly, supernatural experience he endured as a young solicitor.

After an initial, but drawn out, disagreement over Arthur Kipps’ performance style, the two men agree to dramatise the story. The Actor (Matt Connor), playing a young Kipps and Arthur Kipps (Malcolm James) taking on the additional characters in the spooky tale.

Following this protracted introduction, the story that we have been waiting for finally begins. Under the direction of Robin Herford, the two actors give impressive performances and manage to generate some sense of tension as they illustrate Arthur Kipps’ spine-chilling experiences. However, this feeling of horror and uneasiness manages to get somewhat lost in the expanse of The Lowry’s Lyric theatre, giving way to audience laughter instead of gasps of horror.

The set design by Michael Holt and lighting design by Kevin Sleep deserve curtain calls in their own right. The artistic and resourceful use of lighting, sound effects and essential props was highly effective in aiding the narrative – transporting us from place to place and from character to character in a matter of seconds. And it was this which really tinkered with the audiences perception and created an unsettling atmosphere.

There are a few moments in this play that do make even the toughest and baddest of horror fans jump out of their seats, however, for the most part the production does not invest enough in the audiences imagination to generate a real chill of terror. Although, Act II does heat up with tension, the dark robed spectre does not live up to expectations and with echoes of the infamous Scream movie mask and halloween fancy dress, she isn’t a particularly scary prospect. Interestingly, the most unnerving scenes are the ones in which the low lighting and clever set designs leave your eyes searching for her silhouette in the shadows.

The Woman in Black isn’t particularly scary but it certainly is an amusing night of entertainment.

-Kristy Stott

The Woman in Black runs at The Lowry, Salford until 2 May 2015 and then continues its UK tour at New Theatre, Cardiff from 5 May until 9 May 2015. For more UK tour dates for The Woman in Black please click here.

REVIEW – Swanhunter (The Lowry)

April 26, 2015kristobel

Adrian Dwyer as Lemminkäinen with ‘The Devil’s Horse’ © Richard Davenport — Adrian Dwyer as Lemminkäinen with ‘The Devil’s Horse’
© Richard Davenport

Date: 25 APRIL 2015

Upstaged Rating:

THINGSTARS:

Opera North are passionate about making opera that appeals to the whole family, for children to understand and enjoy just as much as the adults. In this production, Opera North have collaborated with The Wrong Crowd Theatre Company to bring the story of Swanhunter to life. Under the direction of Hannah Mulder, the story is masterfully told by the cast of six, in a simple but highly effective way. The tale is full to the brim with mystical beasts, spooky landscapes and other-worldly characters which heightens its appeal to older children, over the age of 7.

Four backpackers sit around a warm fire as they begin tell the story of the Swanhunter, this campfire tale eagerly becomes a re-enactment of the story of Lemminkainen’s quest to the North to find a wife. This frame story can’t claim to be the most original or inventive but, it is charming and a familiar setting for most of the audience.

During Lemminkainen’s (Adrian Dwyer) quest to find a wife he uses his voice to sing his way out of any trouble – overcoming growling dogs, the Devil’s Elk and the Devil’s Horse – however, will the final task of shooting the Swan (Suzanne Shakespear) that lives on Death’s river prove too much for him?

Ann Taylor as Mother ©Richard Davenport — Ann Taylor as Mother
©Richard Davenport

Luckily, he has cast a spell on a knife and stabbed it into his mother’s door – this knife will let his mother know if he gets into trouble. As with all children’s opera, we need a happy ending and so it is Lemminkainen’s mother, sung emotively by Ann Taylor, who comes to his rescue. Adrian Dwyer is strong and animated in the role of Lemminkainen, although maybe a little too mature for the role of the young man in search of a bride.

Rachael Canning’s clever puppetry and design uses the camper’s circle of tents to bring the narrative into full realisation. All framed by a simple backdrop of mountains, a tent becomes a body for the Devil’s Elk and two rucksacks become the bodies of two fraught snarling dogs.

Jonathan Dove’s music is beautiful, conducted by Justin Doyle, it moves through from the frightening low tones of death to the high piercing notes of the swan’s aria sung beautifully by Suzanne Shakespeare.

Running at around 70 minutes, Swanhunter is a fantastic opportunity for the whole family to experience opera together.

“ I liked all of the puppets, especially the scary ones and the music was really creepy at the start which made me feel excited. I couldn’t believe how high the lady sang as she moved the swan around beautifully on the stage. I found the story really easy to follow because the cast always sang what was happening a few times so that I could understand.”

Thing 1 (age 9)

-Kristy Stott

Swanhunter continues its run at The Alnwick Playhouse on the 26th and 27th April before calling in at The Queen’s Hall, Hexham on the 29th and 30th April 2015. For more details on the tour please click here.

REVIEW – The Rolling Stone (Royal Exchange)

April 25, 2015kristobel

Fiston Barek as Dembe & Faith Omole as Wummie © Jonathan Keenan

Date: 24 april 2015

Upstaged rating:

The Rolling Stone written by Chris Urch was a Bruntwood Prize Winner in 2013 – now it runs in rep alongside Anna Karenina at Manchester’s Royal Exchange. Set in Uganda, where it is illegal to have a homosexual relationship, it tells the story of Dembe who has fallen in love with Irish doctor, Sam. The play centres around the true story of Ugandan newspaper, The Rolling Stone which used its front page to out gay men by publishing their names, addresses and photographs. This publicised witch-hunt incited violence against these men, their families and anybody who supported them.

“The Lord wants us to be truly who we are”

Joanna Scotcher’s set is perfectly stark, a blue carpeted stage with a simple raised platform in the centre, provides the perfect foundations for Chris Urch’s sensitive, honest and thought provoking script. Richard Owen’s lighting design is tasteful and stylish throughout – opening the production with a soft blue light, as the cast of six sing in beautiful harmony, their voices flood the stage, ironically, it all feels calm and utopian.

Robert Gilbert as Sam and Fiston Barek as Dembe ©Jonathan Keenan — Robert Gilbert as Sam and Fiston Barek as Dembe
©Jonathan Keenan

The scenes between Dembe (Fiston Barek) and his lover, Sam (Robert Gilbert) feel natural and playful – when they are on stage together there is a great chemistry and it is these sections which generate laughter from the audience. Barek is superb in portraying Dembe’s coming of age, balancing youthful wit with bravery and sensitivity, in a society where he is fearful of his own identity. When Dembe’s brother Joe (Sule Rimi) is made pastor of the local parish, the circle of scrutiny moves uncomfortably closer to Dembe and his family. Ellen McDougall’s direction is masterfully reflective of the kind of society that the characters inhabit – the actors sit with the audience when they are not on stage, watching Dembe’s every move.

“God is a fallacy. It is us that judge one another”

The Rolling Stone is expertly cast with every member of the production giving an outstanding performance. Despite, her lack of voice, Ony Uhiara shines as the mute character Naome, who is overshadowed by her mother, Mama played by Donna Berlin. Faith Omole impresses as Wummie, Dembe’s twin sister, a victim of her society in her own right when she forfeits her education to aid her brother.

The Rolling Stone is a powerful production and highly compelling viewing. Chris Urch’s writing really draws its audience in, this is a real edge-of-your seat captivating drama, where we can engage with the characters, empathise with their predicaments and wish that we could influence their futures.

The Rolling Stone is running at The Royal Exchange in Manchester until the 1st May 2015.

-Kristy Stott

REVIEW – Shooting With Light (The Lowry Studio)

April 24, 2015kristobel

Date: 22 April 2015

Upstaged Rating:

As the audience take their seats for Idle Motion’s Shooting With Light, I could hear some deep in discussion about photography – not just the technical intricacies but how it makes them feel. When the play opens with a scene revealing the discovery of a boxed set of negatives, it is reflective of the need to unearth the past through photography, shining some light on the stories of conflict and war, life and death, that need to be heard. Gerda Taro was the first female photojournalist who lost her life on the front-line and she is brought to light in this powerful, beautiful and passionate production.

The main story is set in the 1930’s and it is essentially a love story between Gerda, a German refugee and Andre, a budding Hungarian photographer. Through their shared love of photography, Gerda gives Andre the confidence to sell his work under the alternative name of Bob Capa and he teaches her how to use a camera. Meanwhile, a parallel story about Capa’s brother, Cornell, runs neatly alongside the main love story. This story is set at a later date and long after Capa’s death when Cornell, an old man, struggles to find a missing box of Capa’s negatives.

Sophie Cullen’s performance as Taro is spirited and charming – she conveys Gerda Taro’s positivity, independence and bravery well. Some of the scenes between Taro and Bob Capa, played by Tom Radford, are particularly poignant and well choreographed and their relationship is believable – from the moment they connect over a roll of film to the tense scene when Taro chooses to return to capture the Spanish Civil War.

The atmospheric soundscape by Chris Bartholomew really aids the narrative – moving through from the romantic and nostalgic to the claustrophobic and loud which suggests the chaos and brutality of war. The choreography in the physical sections is slick, and despite the parallel story and frequent flashbacks everything moves fluidly and without confusion. Most importantly, there is a real sense that Idle Motion worked collaboratively with Grace Chapman, Sophie Cullen, Nathan Parkinson, Ellie Simpson, Julian Spooner and Kate Stanley all devising, writing and directing, as well as 4 of these members performing also.

Ellen Nabarro’s set is minimalist with a grid of little doors forming the backdrop for a lot of the action. It is clever staging and with the help of the lighting design by Greg Cebula, film and photographs, it easily suggests an apartment window, a fridge, a cinema screen and a phone booth with ease. The cast move around the stage beautifully, with the physical sections adding a further dimension to the play -not only by aiding the passage of time and guiding the audience through the story but in the way that they felt as though they were choreographed with a photographers eye in mind.

Idol Motion really impressed with Shooting With Light – they are definitely a company I’ll be looking out for in future and I can’t wait to see what they come up with next.

-Kristy Stott

Shooting With Light is running in The Lowry Studio until Friday 24th April

REVIEW – JB Shorts 13 (Joshua Brooks)

April 20, 2015kristobel

John Catterall and David Crellin in Coalition Nightmare

Date: 16 april 2015

Upstaged Rating:

After 12 sell-out seasons, JB Shorts is back with its thirteenth edition. For those who aren’t familiar with JB Shorts – it is an evening of 6 brand new plays, each of 15 minutes duration, written by respected television writers. JB Shorts was first produced in 2009 and has built up a brilliant reputation and received widespread critical acclaim – this live entertainment bonanza continues to brighten up the dark cellar of Joshua Brooks pub in Manchester city centre with two editions each year.

First up is Talk Talk, a two hander written by Catherine Hayes and directed by Liz Stevenson. What first appears as an abstract conversation between Mathilda (Sheila Jones) and Ellie (Jennifer Hulman) about currency and post codes actually transpires to be a very peculiar job interview.

Karaoke Cara, written by Trevor Suthers and directed by Barry Evans, is up next. When snotty Michael (Bill Bradshaw) tries to snoop on his widowed and aristocratic father’s new love interest he gets more than he bargains for. Encouraged by his super-posh friend Jeremy (Aaron Cobham), the story takes a humorous twist when his fathers new girlfriend Cara (Denise Hope), shop worker and karaoke singer, manages to get the upper hand on the pompous pair. Bradshaw and Cobham’s exaggerated upper class accents, which did slip at times, masked some of the promising humour in the script.

Number three is Chris Thompson’s Safe in Our Hands. Directed by Alyx Tole, it is a left wing Dickensian expression about the state of the NHS. When Bunyan (Ralph Casson) complains about pains in his chest, three ghosts visit him – the first his dead mother Bev (Joyce Branagh) who gives him a dressing down with a fine performance; secondly, upper-class Bullingham (Jack Dearsley) appears as a representative of capitalism trying to flog elements of the NHS to Bunyan; finally, he’s joined by the ghost of Branston (Ethan Holmes) who tries to convince him to purchase private health care while dressed as a Virgin air hostess. It’s all very entertaining and relevant to the general election next month.

Illusion written by Diane Whitley and directed by Alice Bartlett, was the highlight of the night for me. Through the interval the cast roam the crowd performing card tricks which paved the way for the Victoria magic show which followed. A renowned magician, Mafeking (James Lewis) has disappeared during one of his shows and his comrade Archie (Haydn Holden) organises a spooky séance to try to find out what has happened to him. All of the cast put in strong performances namely, Vanessa Hehir, Emma Laidlaw, Alex Phelps and Joe Slack and the staging for the magic tricks is well executed and managed.

Number five was A Muslim, a Jew and a Christian Walk into a Room written by Nick Ahad and directed by Max Shuell which depicts an Orwellian state where religious expression has been outlawed. The three characters David (Garry Hayden), Qadir (Kamal Kaan) and James (Murray Taylor) meet in secret to pray. However, a clever turn in the plot reveals that one of the characters is not how he appears.

Coalition Nightmare was the final short of the night, written by Dave Simpson and directed by James Quinn, it depicts the nightmarish prospect of UKIP managing to swing the balance of power in a hung parliament. There are good performances all round, Jack (David Crellin), Ted (John Catterall) and Charlotte (Jenny May Morgan) stealing the show with a well observed and well timed representation of a newsreader.

JB Shorts never disappoints, however, this time it seemed to be overloaded with political material due to the general election next month. And with the election propaganda being forced down our throats at the moment, I would have welcomed more escapism, like Diane Whitley‘s Illusion, with open arms.

-Kristy Stott

JB Shorts 13 is on at Joshua Brooks until Saturday 25th April. Tickets cost £7.00.

REVIEW – Beautiful Thing (The Lowry)

April 14, 2015kristobel

Thomas Law & Sam Jackson © Anton Belmonte

Date: 13 april 2015

Upstaged rating:

Jonathan Harvey wrote Beautiful Thing when he was just 24 years old. The production first premiered in 1993 at the Bush Theatre and now this critically acclaimed award-winning play, directed by Nikolai Foster, returns to the stage at The Lowry.

Heated by the backdrop of a glorious summer, Beautiful Thing is an urban love story which captures how it feels to be a teenager, coming of age and the pangs of first love. Troubled teen Jamie (Sam Jackson) lives with his feisty mum, Sandra (Charlie Brooks) on a rundown council estate in South East London. When his neighbour and classmate Ste (Thomas Law) gets beaten so badly by his alcoholic father one night, Sandra suggests he stay with them and sleep ‘top-to-tail’ with Jamie.

Charlie Brooks’ comedy timing as the loud, brash, attention seeking Sandra is highly entertaining, particularly when all five characters are on stage together. Vanessa Babirye is outstanding in the role of Leah, the Mama Cass obsessed neighbour – she steals the show completely when she takes LSD, dresses up in Mama Cass attire and believes that she is the dead singer. And Sandra’s ‘artist’ boyfriend Tony (Gerard McCarthy) also puts in a superb performance as the latest in transient string of lovers.

Both actors, Sam Jackson and Thomas Law play the bedroom scenes with the right amount of teeny awkwardness. Jamie appears quite brave about his sexuality whereas Ste comes across as more vulnerable – their scenes together are well played with the right balance of fuzzy warmth and sexual tension.

Ben Cracknell’s balmy lighting design complements Colin Richmond’s gritty, urban set design, which includes a rising platform which offers itself as a bed and an outside air vent which swiftly transforms into a bedside table.

Jonathan Harvey’s writing is still immensely brilliant and still relevant; Nikolai Foster’s direction manages to bring out every nuance in the script and I found myself noticing elements that I hadn’t fully appreciated in any of the previous interpretations that I have seen. This production felt like a celebration and a salute to how far rights for gay, lesbian and transgender people have come over the last 20 years, and a recognition that we still have a fair way to go. It all stands to prove that this love story between two working class boys is still as beautiful and as powerful as when it was first written over two decades ago.

Beautiful Thing is at The Lowry, Salford until Saturday 18th April. There will be a post show Q & A with the cast on Thursday 16th April – hosted by Manchester Pride and chaired by British Actor and Writer Arthur Bostrom (‘Allo, Allo!). This event is free to ticket holders.

-Kristy Stott