Reviews

Theatre Reviews

Brighton Rock – Week 53 at The Lowry

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Brighton Rock - Week 53 - The Lowry
Brighton Rock 2018
Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐

The Lowry’s Week 53 festival continues with this new adaptation of Brighton Rock. The festival theme of ‘coming of age’ seems to have been stretched pretty far in the search for content – I’m not sure Pinky’s violent adolescence speak to many people as a coming of age – but that doesn’t necessarily stand in the way of a good night of theatre.

Bryony Lavery’s snappy adaptation sheds light on the character of Ida, and Gloria Onitiri does this great justice. I’ve never been a huge fan of Brighton Rock as a novel or a film, but this foregrounding of a previously smaller character made the story much more accessible. The women of the piece are given an equal footing here where in the past they have been second class characters, and the story benefits hugely.

Sara Perks’ dynamic set design is used to great effect by the cast to tour us through the parades, pubs and piers of Brighton. This is topped off by Adam McCready’s evocative sound design, which fills the gaps left by the sparse, highly moveable set. Hannah Peel’s compositions alternately complement and overwhelm the scenes which they feature in – sometimes feeling perfectly at home and at other times lending the whole piece a slightly comic, over the top atmosphere.

The first act is excellent, but after a strong start, the second act loses some of the vital pacing and soon begins to drag. It doesn’t quite spoil the evening but it certainly had me checking my watch. The show is worth a visit for the new perspective it brings to the story, but be prepared for a slow second act.

-Daniel Shipman

Brighton Rock runs at The Lowry, as part of the Week 53 Festival, until  Saturday 26th May.

Review: #BeMoreMartyn – The Boy with the Deirdre Tattoo at Hope Mill Theatre

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#BeMoreMartyn at Hope Mill Theatre
Credit: Lee Baxter
Upstaged Rating: ⭐⭐⭐⭐

On the 22nd May 2017, 22 people were killed at an Ariana Grande concert at Manchester Arena by a suicide bomber. One of those people was 29 years old Martyn Hett – a Coronation Street obsessed PR specialist – unique, effervescent and determined – who had a bar in his Stockport flat,  a cat called Emily Bishop and a life-size cardboard cut-out of Gail Platt. In a tribute to Martyn and everything that he stood for, Hope Theatre Company set out to find out more about Martyn, the lives he touched, his friends and the experiences that they shared together through a fascinating, though heartfelt, verbatim performance.

Hope Theatre Company spoke to eight of Martyn’s closest friends and then used their exact words to present Martyn’s story and persona on stage. #BeMoreMartyn takes the audience on a journey through Martyn’s life – from Canal Street to Coronation Street, trips to Blackpool and his schooldays – celebrating divas on the way.

Gold lettering hangs at the back of the stage spelling out ‘The Frigg’. Apparently, Martyn had a bar in his flat where all his friends would head back to after a good night out. You can even tag yourself here on Facebook. Martyn really was a one-off – he was unafraid, he was bold and he celebrated life. Two television screens further aid the verbatim performance with clips of Martyn’s dalliances on TV, his soap icons and also footage which he had filmed himself.

The performance is genuinely funny, Martyn’s vigour, zest for life and mischief translates perfectly as each story unfolds. The cast of eight are all fascinating to watch – the authenticity and weight behind the words is palpable as each tries to capture the emotion, idiosyncrasies and stumbles in speech – this heightens the emotion particularly during the sad moments of reflection.

Ultimately, #BeMoreMartyn celebrates the life of one extraordinary person who touched the lives of so many people. People in the audience were audibly moved by the performance at points – there was laughter, the sound of deep sorrow and resolute nods of pride. One thing is for sure, following the tragic loss of Martyn, his friends have joined together to forge tenacious and supportive friendships. In the words of one of Martyn’s friends, “#BeMoreMartyn means to be fearless, be yourself and be proud of that.”

-Kristy Stott

#BeMoreMartyn runs at Hope Mill Theatre, Manchester until Saturday 26th May 2018.

Review: Hikikomori – The Shelter – Week 53 at The Lowry

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Hikikomori Création 2015 - TNG - Centre Dramatique de Lyon Mise en scène : Joris Mathieu Dispositif scénographique : Nicolas Boudier et JOris Mathieu CRéation Lumière : Nicolas Boudier
Credit: Nicolas Boudier
Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐⭐

It’s an exciting time to be a theatre goer. Technology is rapidly changing what it is possible to achieve on a stage, and companies like Haut et Court are making full use of these new opportunities with shows like Hikikomori.

The plot revolves around Nils – a teenage boy who decides to lock himself in his room – and his parents, but the plot here takes a back seat to intelligently designed atmosphere. Upon entering the theatre, audience members are given a headset which plays the interior monologue of one of the three characters, but you don’t know which until the show begins.

This lack of narrative or certainty creates a productive disorientation – it allows you to empathise with Nils’s isolation or his parents’ confusion so much more deeply than even the best acting, as you are sincerely feeling those same emotions yourself.

You quickly become invested in your assigned character – knowing only their thoughts and motivations and being forced to guess those of the other characters. This emulates the frustrations of real adolescence. My headphones were linked to Nils, and his justifications made his outlandish behaviour seemed almost normal, whilst those listening to other narratives perhaps thought he was a cruel monster to his parents.

The acting is almost secondary to this genius device, but the delicate touch which all three performers apply compliments it perfectly. Marion Talotti as the mother is a particular joy to watch. Similarly, Nicholas Thevenet’s score – a gentle hum of electronic rhythms and broken melodies – provides the ideal aural complement to the sparse set (Nicolas Boudier, Joris Mathieu).

Hikikomori is a sonic, visual and theatrical feast – the absolute best of what you want to see when you take a chance on new theatre.

-Daniel Shipman

Hikikomori runs at The Lowry’s Week 53 Festival and you can check out full festival listings here.

 

Review: Seven Inch (Week 53) at The Lowry

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Fat Roland - Seven Inch - part of Week 53 at The Lowry
Fat Roland – Seven Inch – part of Week 53 at The Lowry
Reviewer: Demi West
Upstaged Rating: ⭐⭐⭐⭐⭐

Fat Roland is a comedic onslaught of musical puns, cultural references, and audience interaction. Taking place in a single, hand-scrawled, cartoonish set, the monologue leads the audience through a narrative centred around the trials and tribulations of being a record shop owner in the digital age. Throughout the performance, we’re guided through Fat Roland’s internal debate surrounding updating his shop to something more fashionable and millennial-friendly. Slop anyone?

Before the show even begins, the audience is fascinated by the set design, which is simple but complex, the black and white squiggles being plenty to look at before the spoken-word artist comes onto the stage. The bold shapes and thick outlines on the shop’s furniture are reminiscent of something that 80s Will Smith would have rapped in front of for a music video, giving the performance an air of nostalgia. Fat Roland works in unison with the unique set design, tying in the records titles on display with his narrative, utilising everything that was visible to the audience. Whilst the set doubles as props, Roland has his own collection of 2d drawings, including realistic photos of popular celebrities, ensuring that the jokes are perfectly supplemented throughout.

The sound design for the performance works well, as it’s synchronised with the narrative and Roland’s movements. From songs that complement specific pieces of the narrative, to an advertising piece that seems too eager to wait its turn, the sounds amplify the comedic effect of the overall show and stay true to Fat Roland’s previous career as a DJ. Fat Roland holds the show together with impeccably timed reactions to the sounds being played, provoking an impressive response from the audience.

A casual mood was upheld from start to finish, with the audience being invited to answer questions, participate in pieces of the narrative, and even look after some of the props. It is clear that Fat Roland is more than familiar with performance, knowing exactly how to get the room roaring with laughter, from start to finish.

To conclude, the show is a fantastic combination of comedy, cartoons, and creativity, and is great for those looking for something uplifting and entertaining throughout. The independent nature of the show gives it a refreshing, homemade feel that makes it refreshing and engaging.

Check out full Week 53 Festival listings here.

Review: Jesus Hopped the ‘A’ Train at HOME

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Jesus Hopped the 'A' Train pic 01 - Alastair Gillies (Valdez) and Faz Singhateh (Lucius Jenkins)

 

 

 

 

 

 

 

 

Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐

As Childish Gambino’s This is America plays during the interval, you can’t help but notice how well timed this production of Stephen Adly Guirgis’s Jesus Hopped the ‘A’ Train by Elysium Theatre really is. Detailing the interactions of two prisoners – one on trial for murder, one already convicted – the play takes a long hard look at race, religion and violence in America, and it doesn’t like what it finds. Tragically, it was written 18 years ago but so little has changed it could have premiered yesterday.

The US flag looms large over the rear of the stage in Louis Price’s design, a constant reminder of how the country in which it is set has a huge influence on the events of the play. You would struggle to imagine it being transplanted to Britain, or anywhere else for that matter.

The acting here is excellent. The play runs for two hours with no frills to distract the audience, and all parts demand a lot from their respective performers, but every member of the cast delivers the goods. Alastair Gillies makes a skin-crawling Valdez and Danny Solomon presents Angel Cruz as one of the most well realised, three-dimensional characters I have ever seen on a stage.

Unfortunately, they are limited in what they can achieve by the writing. For what it achieves in character building, it lacks in dialogue. Several scenes spend far too long chasing their own tail, taking us around in circles and really testing the patience of the audience. The humour lands well but is too few and far between to really engage the audience and see them through the tougher moments in the play.

On the strength of the performances, I cannot help but recommend Jesus Hopped the ‘A’ Train, but be sure to take your patience with you!

-Daniel Shipman

Jesus Hopped the ‘A’ Train at HOME until Saturday 19th May 2018.

Review: Dollywould at HOME

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Dollywould at HOME
Dollywould at HOME
Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐⭐⭐

Dressed as a pair of tits (literally), Sh!t Theatre attempt to tackle topics as diverse as: ‘Dolly Parton, cloning, branding, immortality and death’ according to the flyer. This might sound like a lot of disparate material for a one-hour show, but Rebecca Biscuit and Louise Mothersole make it feel as light as a feather.

As if the show needed any more material, Dollywould is also about how far people are willing to go for their idols – a particularly hilarious section involves the two listing the expenses they racked up on their research trip/pilgrimage to Dollywood. (Having just travelled all the way to New York for a David Bowie exhibition, I can empathise.)

The heavier themes mentioned above might sound as if they have no place in a show this joyous and celebratory, but they stem from Dolly the sheep (the first mammal ever to be cloned), who was named after Dolly Parton – it might sound like a tenuous link but Biscuit and Mothersole draw out a surprising number of parallels between the two. Dolly’s many drag impersonators are cast as her clones, who have become ‘more Dolly than she is’, in the words of the show. The wigs that the duo wear look at first like especially cheap imitations of Dolly’s manicured hair-do, but time reveals them to be a nod to Dolly the sheep as much as Dolly the singer.

The two performers bring to the show such sincerity, likeability and genuine liveness that you almost feel as if you could jump up on the stage with them and they would just carry on performing around/with you. Theatre like this is anything but sh!t.

 

-Daniel Shipman

Dollywould plays at HOME until Saturday 5th May 2018.

Review: JB Shorts 19 at 53Two, Manchester

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Upstaged Reviewer: Megan Hyland
Upstaged Rating: ⭐⭐⭐⭐⭐

JB Shorts returns this year with another series of six excellent fifteen-minute short plays written by some of TV’s best writers. This year’s selection combines some intense and hilarious storylines, that capture the audienTickets are avce throughout.

I’ve Tried It Once, written by ex-Emmerdale writer Dave Simpson tells the comically honest story of Audrey (played by Victoria Scowcroft), who, after her husband’s passing, decides that it’s time to find out what she’s been missing. Featuring some outstanding character-acting from Shaun Hennessy, and a stunningly witty and sensitive performance from Scowcroft, I’ve Tried It Once is a stand-out performance that will have you laughing from start to finish.

This was followed by One of Our Boys, an intense performance about the return of injured soldier, Steve (Keaton Tyler Lansley). At times uncomfortable to watch, Lansley offers a powerful performance that grips the audience. However, the piece itself leaves some unanswered questions and ends on a rather abrupt note.

The last performance before the interval was Our Club, about two passionate football supporters, Emma (Sonia Ibrahim, Coronation Street) and Stig (Paul William Fox, The Syndicate) who just want answers from club employee, Caroline (Sandra Cole). Writer Ben Tagoe presents us with familiar characters that we can both empathise and laugh with. The characters are funny without crossing the line of becoming caricatures of working class people that are merely used for comic relief. Instead, they are likable and real.

After the interval, JB Shorts opens back up with The Stretch, by BAFTA-award winning writer Joe Ainsworth (Holby City). One of the more serious performances of the night, we follow Lee (James Lewis) along his ten-year prison sentence. Ainsworth’s writing is exceptional, written entirely in rhyme which makes the performance more impactful and emotive. Lewis is magnificent, stunning the audience with his ability to convey so much raw emotion in a mere fifteen minutes. Among the other performances of the night, it feels much more intimate and stripped back, but that’s part of its charm.

Following, James Quinn (Early Doors) returns to JB Shorts this year with Equivalent, in which he also stars as Pickering, alongside Meriel Schofield (Last Tango in Halifax) as Shirley. Pickering and Shirley are waiting in a café, while one of them tries desperately to fill the silence. What follows, while unexpected, is a hilarious and witty dialogue that makes it one of the stand-out performances of the night. Quinn’s writing flows naturally and has audience members in fits of laughter, in a nicely rounded and charming piece.

The night closes on an all time high, with a fifteen-minute adaptation of War and Peace by Peter Kerry and Lindsay Williams. This performance surprised me, as it didn’t appeal to me to begin with. However, from the moment that it began, I was completely captivated by it. Kerry and Williams – along with director, Joyce Branagh – have created a magnificently ridiculous performance that will have you laughing throughout. It is light-hearted, hilarious and completely absurd in the best possible way. The cast have remarkable comedic timing and never threaten to take themselves too seriously. The performance is side-splittingly funny and is a tremendous way to round off the night.

This year’s JB Shorts is just as unmissable as the last, showcasing some magnificent local talents in an unforgettable evening. When it comes to short plays, JB Shorts has proved once again that it really is the best of the best.

-Megan Hyland

JB Shorts 19 runs at 53Two, Manchester until 5th May 2018. Tickets are available here.

Review: This House at The Lowry, Salford

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Credit: Johan Persson
Credit: Johan Persson
Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐⭐⭐

James Graham’s This House is a play that does not do things by halves. Set in the hung parliament of the late 1970s, it covers a wide range of themes, such as the divisive nature of party politics, and the often devastating effect of political life on the people who lead it. Similarly expansive is the variety of moods which Graham manages to cram into an evening – characters range from sympathetic portrayals of tragic figures which truly pull at the heartstrings, to out and out caricatures which break the tension and bring belly laughs to the whole theatre. Not bad for a show based around parliamentary procedure, a subject which could easily have been dull enough to cause drowsiness.

 This production, directed by Jeremy Herrin and Jonathan O’Boyle, avoids the issues that so often arise in touring productions. It never once feels like you’re receiving the ‘light’ version of the show, where extraneous elements like live music have been replaced by cheaper options like recorded sound. Quite the opposite, this show feels right at home in the Lowry’s Lyric theatre, as if in the middle of an extended run rather than a first night in one of many touring venues.

 Each and every member of the cast deserves a mention by name, but as it sprawls to 19 people, that isn’t really feasible. However, Orlando Wells deserves a special mention, whose tragi-comic portrayal of John Stonehouse had me howling with laughter and pausing for thought within the same act. The sheer amount of roles played by each performer is astounding, with most actors having more parts than I can count on one hand. Despite this, I was never once left wondering quite who was being portrayed – admittedly, the regional accents tread the line between hilarious and unforgivable at times, but they served their purpose.

 This House has aged like a fine wine. References to the original referendum on Europe, economic crisis and ‘election fatigue’ are received knowingly by an audience who has experienced them first hand. All of this contributes to the miraculous feat of making a play about events which occurred over 40 years ago feel totally contemporary and relevant.

-Daniel Shipman

This House runs at The Lowry, Salford Quays until Saturday 28th April 2018.

Review: Minefield at HOME

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Minefield at HOME
Minefield
©Tristram Kenton
Reviewer: Megan Hyland
Upstaged Rating: ⭐⭐⭐⭐

In 1982, six war veterans fought on separate sides of the Falklands/Malvinas war. Now, in Minefield, they stand together on stage to tell their stories. In an honest and emotional piece that takes no sides and holds no judgement, these men explore what it means to be a veteran and the burdens that they carry.

Each of the men enters the performance with remarkable honesty. Lou Armour and Marcelo Vallejo stand out for the ways in which they bare their emotions and talk of their struggles after the war. Armour tells of how, for many years, he was haunted by the memory of an Argentine soldier that he killed. He speaks of how he could not forget holding the man in his arms, and the guilt that he felt for mourning the enemy. Vallejo tells of his struggles with addition and hatred of anything English. He speaks very candidly of how he could not abide to hear the language spoken or even watch English television shows. They all speak with such refreshing vulnerability that it is difficult not to be moved by their stories.

One aspect that adds to the honesty of this piece is that none of the men try to hide their resentment, or pretend to look upon the war with fondness. Minefield takes no moral high-ground and holds no biases, instead presenting six mean who have had a terrible, but shared experience. Because despite clinging to their principles and not having a shared language among them, there is a mutual understanding between these men that transcends all barriers.

That is not to say, however, that the performance is all hard-going. In fact, each of the men brings their own individual humour and talent to the performance. David Jackson has the audience laughing with his sharp wit and satirical performance as Margaret Thatcher, while Sukrim Rai performs a beautiful rendition of a Nepalese song. Though it has to be said that Ruben Otero’s drumming brings a new energy to the performance, as he, Gabriel Sagastume and Vallejo perform some Beatles classics in imitation of Otero’s tribute band, the Get Back Trio.

Stylistically, the performance is quite individual but beautifully put together. The men create their own sound effects to imitate the stomping of boots on gravel and explosions, invite us to leaf through Argentinian war magazines, and even project pictures of themselves from the war. It is a deeply personal portrayal of their stories but makes the performance more intimate and raw. Unfortunately, the piece came to rather an abrupt end, but this can be easily forgiven for it followed a particularly poignant musical monologue from Armour.

Minefield is a testament to the strength of these men and the breaking of the stigma that surrounds war veterans. It is refreshing to see such men talk with so much openness about the emotional consequences that they have suffered and to break down the romanticism of war that is still depicted today. This piece takes no sides, and in doing so it presents these men onstage not as opponents, but as equals. For although they were as rivals thirty-six years ago, their lives are forever intertwined, creating a comradery between them that is undeniable.

-Megan Hyland

Minefield runs at HOME until Saturday 14th April 2018 and is being performed as part of the Viva Festival 2018. Full Viva 18 listings can be found here.

Review: The Little Mermaid at The Lowry, Salford Quays

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The Little Mermaid at The Lowry
The Little Mermaid at The Lowry
©Robert Day
Reviewer: Demi West
Upstaged Rating:⭐⭐⭐⭐

At first, Metta’s Little Mermaid may seem like a simplified interpretation of the Hans Christian Andersen classic, but beneath the surface lies a magical concoction of trapeze, aerial, and acrobatics. This beautiful reinvention of the popular tale presents the perfect mixture of expression through movement and vocals, whilst being engaging for all ages.

Little Mermaid is composed of a varied selection of circus arts, which harmoniously collaborate to create a mystical illustration of the classic tale. From elegant yet risky trapeze to nerve-wracking stunts, the variety of skills on display were enough to keep the audience on the edge of their seats, whilst still creating a beautiful presentation. If the spinning bodies and nimble leaps were not enough, the musical talent of the cast members was certain to leave anyone astounded. The blend of classical vocals, string instruments, and seamless acrobatics create the perfect recipe for a contemporary twist on a well-loved fairy tale.

The main and only flaw with this production is that the narrative is that of a familiar one. The story of the Little Mermaid is ripe for this style of production, thus ultimately lends itself perfectly to what unfolds visually. However, it leaves a sense of dissatisfaction as the end product feels ‘safe’ and predictable, as opposed to the effect that adaptations of other fairy tales may have had. Despite this, it was clear to see why Metta Theatre chose to illustrate the Little Mermaid, as the performance style and skills on display were expressed nicely within the narrative.

The performance is without an interval, leaving the audience submerged in the depths of the ocean, as the cast members use the graceful strength of one another to emulate the weightlessness of an underwater setting. This uninterrupted flow of plot allows the audience to experience the story as it runs its course, flawlessly moving between actions as the characters float across the stage.  Combined with the running time of seventy minutes, the continuity of Little Mermaid made for the perfect viewing experience for the children in the audience, whilst still being a spectacle that kept adults mesmerised.

This spellbinding production of Little Mermaid is the perfect blend of circus and musical theatre and is the perfect showcase for the talents of the cast. Metta’s production gave a new lease of life to the Little Mermaid story and provides an alternative viewing experience that will keep the little ones entertained throughout.

-Demi West
The Little Mermaid runs at The Lowry until Saturday 14th April 2018.