Reviews

Theatre Reviews

Review: The Winslow Boy at The Lowry, Salford Quays

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The Winslow Boy ©Alastair Muir
The Winslow Boy
©Alastair Muir
Reviewer: Megan Hyland
Upstaged Rating: ⭐⭐⭐⭐

Terrence Rattigan’s The Winslow Boy is a touching story of a father’s laboured fight to clear his son’s name after he is expelled from his naval college for stealing a five-shilling postal order. Based on the trial of George Archer-Shee, this production is a timeless portrayal of just how much a family will sacrifice for one another. And though the staple of the plot may seem simplistic, The Winslow Boy is, in fact, a complex tale of sacrifice, convictions and love.

Director Rachel Kavanaugh (The Wind in the Willows) has orchestrated a seamless and charming performance, inviting us into the Winslow’s microcosm of hardship and unwavering faith in the cause for good. The play is set entirely in one room of the Winslow home, which at first may seem rather limited, but in fact, makes the performance feel altogether more intimate and personal. Rather than follow titular character Ronnie Winslow to the courtroom, we hear about the outside world through the musings of the other characters, making the audience feel like another part of the family.

The cast is exceptional, bringing a new life and energy to Rattigan’s characters. Aden Gillett (The House of Eliott) commands the stage as Arthur Winslow, his bellowing voice and sharp-tongued wit capturing the audience. He begins the play as the authoritative archetype of an Edwardian father, however, he gradually breaks down this character in a beautiful portrayal of a father’s sacrifice for his son and his pride. Dorothea Myer-Bennett delivers another stand-out performance as Catherine Winslow, Ronnie’s strong-willed, suffragette sister. Told that she is fighting not one, but two lost causes – the case of her brother and women’s right to vote – no characters sacrifice more than she and her father. Myer-Bennett gives an emotionally raw performance as modern woman straddling the bridge between rigid values and change. As Catherine, she is both moving and inspiring, creating a character that still resonates and reminds us of the strength of the women that brought us where we are today.

Also to note is Michael Taylor’s beautifully meticulous set and costume design, bringing to life the Winslow’s Edwardian home and lifestyle. A particularly subtle but nice touch is how the costumes depict the Winslow’s gradually deteriorating wealth as they pump more money into the trial, as well as Arthur’s declining health. Little details such as this only add to the play’s authenticity, such as Tim Lutkin’s innovative lighting design, beautifully imitating the golden hue of a sunny afternoon in the second act.

The Winslow Boy is by no means a fast-paced production, however, it is an upliftingly charming slow-burner that is full of heart and honesty. Rattigan’s truly powerful dialogue, coupled with Kavanaugh’s subtle directing style create a piece that is undeniably touching and that audiences will not be quick to forget.

-Megan Hyland

The Winslow Boy plays at The Lowry, Salford Quays until Saturday 14th April 2018. 

Review: Spring Awakening at Hope Mill Theatre, Manchester

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Adam Dawson (Hanschen) and Luke Latchman (Ernst) in Spring Awakening at Hope Mill Theatre. Michael Wharley Photography
Credit: Michael Wharley

 

Reviewer: Elise Gallagher
Upstaged Rating: ⭐⭐⭐⭐

Spring Awakening takes us to the heavily censored and silent world of 19th century Germany where we follow a group of teenagers’ journey of discovery into themselves, their feelings and the world around them, with both beautiful and tragic consequences waiting in the wings.

The musical is based upon the 1891 Frank Wedekind play of the same name which was prompted by the influx of teenage suicides plaguing Germany and its devoutly Protestant way of life at the time.

It’s controversial subject matter; exploring motifs such as sexuality, puberty, rape, abortion, child abuse and homosexuality – meaning the play was often banned or strictly censored. Sounds quite heavy, doesn’t it? I thought so too, however it was far from it. Yes, the narrative had its share of pain and despair, however these scenes are handled and performed perfectly.

The casting process of this musical consisted of invited auditions in London and an open call in Manchester. As a result of this, two shining stars of the show were discovered.

Darragh Cowley plays our forward-thinking protagonist Melchior, and steals the show with a stand-out performance as well as pitch-perfect vocals and faultless dancing to match. Jabez Sykes, who plays Moritz, gives a fantastic performance as Melchior’s conflicted friend – shockingly, Spring Awakening is both of their professional debuts, and fantastic debuts at that – they are certainly ones to watch in the future.

Nikita Johal plays Wendla, young, naive and curious. Johal delivers a brilliant performance with breathtaking vocals which opened the show. However, the strongest vocalist by far was Sophia Simoes Da Silva, whose character Anna had little story but a lot to sing about.

There is no doubt that the cast made for an incredibly strong ensemble, but I feel once some of this ensemble were put under the spotlight they showed themselves to be weak soloists for such high-impact songs.

Gabriella Slade creates a beautiful set which evolves seamlessly between the scenes (special note also goes to Nic Farman’s light design), similarly, the show would not have had half the impact it had if it were not for the tight choreography by Tom Jackson Greaves.

This is the seventh collaboration between Aria Entertainment and Hope Mill Theatre after previous successful productions such as Yank! I sincerely hope they continue to work together. Since its arrival in the city, Hope Mill Theatre has brought much needed fresh and original plays to its stage, the already high bar that Yank! left has been raised even further by the triumph that is Spring Awakening. Go and see it.

-Elise Gallagher

Spring Awakening runs at Hope Mill Theatre until Thursday the 3rd of May.

Review: The Flying Lovers of Vitebsk

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Kneehigh - The Flying Lovers of Vitebsk
Kneehigh – The Flying Lovers of Vitebsk
Upstaged Rating: ⭐⭐⭐⭐⭐

The beautifully told The Flying Lovers of Vitebsk by Kneehigh depicts the life and love of Russian-Yiddish artist Marc Chagall and his wife Bella. The love story is deliciously told and plays out against the backdrop of some of the most major historical events to happen in the twentieth century – from the Russian Revolution to the Communist pogroms and the Nazi’s systematic extermination of Jewish people.

Designer Sophia Clist has conjured up the uncertainty of the era with a climbing frame style set, slightly skewed with a sloping floor. The stage is visually striking with purple, green and yellow hues – Marc Antolin and Daisy Maywood, as Marc and Bella Chagall, move beautifully together in the space – their stylised physicality reminiscent of the weightlessness suggested in Chagall’s Expressionist paintings.

The whole story is told beautifully and vibrantly by the two actors, with two musician/ performers, Ian Ross and Andy Gow, providing a wonderfully folksy score and assisting at points throughout the show.

Perhaps the most special element of this production is the way that Emma Rice manages to weave different methods of storytelling fluidly together. The production starts with a beautifully delivered song rather as a musical would, and then manages to juxtapose direct dialogue, some wonderfully balletic sequences and some sharp visual imagery.

The Flying Lovers of Vitebsk presents a striking non-romanticised view of love and art in a stunningly sensual and passionate way. This is a truly unmissable show.

-Kristy Stott

Kneehigh’s The Flying Lovers of Vitebsk plays at HOME Manchester until Saturday 7th April 2018.

 

Review: Art at The Lowry, Salford Quays

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Art ©Matt Crockett
©Matt Crockett
Reviewer: Daniel Shipman
Upstaged rating: 

Contrary to the title, Art is not actually about art. It focuses more on the friendship between the three main characters, Serge, Marc and Yvan (Played by Nigel Havers, Denis Lawson and Stephen Tompkinson, respectively). Having known each other for 25 years, the bond between Serge, Marc and Yvan begins to disintegrate after Serge purchases a white painting for what Marc considers to be an obscene amount of money.

Under this relatively simple premise, Yasmina Reza’s play touches on friendship, aging and class as well as the titular theme of art. Reza covers these themes effortlessly, bringing to the play a lightness of touch that makes even the climactic argument joyous to watch. This is thanks, in no small part, to the gentle comedy which exists throughout the play – something which the audience seemed to adore.

All three actors carry reputations as seasoned performers and they live up to them here, although some dialogue is delivered at such impressive speed that it can be easy to lose track of what is actually being said. Despite this, all three actors put in excellent performances, crafting detailed, three-dimensional characters drawn from the rich amount of background material provided by Reza’s text.

 A word must be given to Christopher Hampton’s translation, which features some excellent comic phrasing and expertly disguises the fact that English is not the play’s first language.

 This production of Art seems mainly to cater to the older audiences drawn in by the reputations of the three stars, but there is something here for everyone who finds themselves questioning their friendships every once in a while.

-Daniel Shipman

Art runs at The Lowry, Salford Quays until Saturday 31st March 2018.

Review: Friends for All at Z-Arts

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Friends for All at Z-Arts. Photo credit: Stephen Benny
Friends for All at Z-Arts.
© Stephen Benny
Thingstars: 

Simon Mole is an acclaimed spoken word poet and theatre-maker who built his skills on the Brighton hip-hop scene. Since becoming a father, he has tapped into younger audiences – his show, Friends for All – is aimed at ages five and up and is about having the confidence to be yourself and stand up for what you believe in.

Originally commissioned for the V&A as part of their You Say You Want a Revolution? exhibition, Friends for All tells the story of Lexi who is 8 years old and finds it hard to make new friends at school. Inspired by her grandad’s hippy stories of revolution from the 60’s, we follow Lexi as she decides to fight the powers that be – her class teacher Mr Marsh and the class bully Suzy.

Simon Mole engages with the audience from the outset and manages to keep the young audience enthralled for the whole 45-minute duration of the show. Talking to the young theatre-goers as they enter the auditorium – he immediately taps into their imaginations – and when he steps on stage, they hang onto every word. Throughout the show, Mole encourages interaction – using the audience to generate the soundscape of a school playground or participate in a simple revolutionary dance move – the little-ones in the audience really get stuck in.

Friends for All uses simple but effective video projections designed by Andrew Crofts to further illustrate the story for the young spectators. Images of Lexi, her grandad and her class at school are projected onto white blocks which are moved easily around the performance space. Pleasingly, these video projections are not too prescriptive and allow the young audience to use their imaginations and curiosity to understand the powerful yet simple narrative.

Friends for All encourages our children to hear and see for themselves, to ask questions and then seek to find their own conclusions. Performance and art is perhaps the most powerful medium that we have in encouraging change and revolution and this charming production pitches this idea perfectly to young minds.

-Kristy Stott

Friends for All is currently touring the UK. You can find full tour dates and venues on the Half Moon Theatre website.

 

 

Review: East is East at Bolton Octagon

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East is East ©Richard Davenport
East is East
©Richard Davenport
Reviewer: Karen Clough
Upstaged Rating: ⭐⭐⭐⭐⭐

Ayub Khan Din’s 1996 play, based on his own experience of growing up in a multicultural family, tells of the conflict around values, belonging and identity that characterised his youth. Set in Salford in the 1970s, yet no doubt full of current relevance, East is East follows the struggles of each family member in negotiating their place in the home and in the community.

Quintessentially Northern mother, Ella Khan (Jane Hazlegrove), strives to raise her family in the face of prejudice and ignorance and the unrealistic expectations of her husband, George (Kulvinder Ghir). Misguided, hypocritical, tyrannical, though well-intentioned, George wants his children to grow up as model Pakistani Muslims. He hasn’t reckoned for their identification with British youth and Western culture and their desire for choice. The story follows his attempts to impose Pakistani tradition on his children, to fit with a culture not entirely their own, culminating in a family battle around arranged marriage plans for his sons. Ella has her work cut out to fight her children’s corner, accommodate her husband’s wishes and find a way to keep the peace.

Within a script and performance filled with so many well-crafted characters, Jane Hazlegrove’s portrayal of Ella is a show-stealer for me. She authentically captures Ella’s earthy North Manchester, working-class resolve and spirit. Kulvinder Ghir’s pig-headed George, Claire Hackett’s look-on-the-bright-side Auntie Anne are fabulous, as are the passionate portrayals of the individual and often-boisterous Khan children (Uzair Bhatti, Jatinder Shera, Akshay Gulati, Shila Iqbal, Mitesh Soni).

It’s visually era-authentic. The set (Amanda Stoodley) compliments the Octagon’s round perfectly to give fly-on-the-wall access to life in the Khan family home. Quick set and lighting (Aideen Malone) changes transform it into the family chip shop, which works smoothly enough in a small stage space.

On a foundation of comedy and juxtaposed family dynamics, the story regularly reminds us of issues which are no laughing matter. Domestic violence, racism, Islamophobia, class and chauvinism themes run deep and regularly jolt the audience into harsh realities. Serious issues and strong sentiment are surrounded by humour, without detracting from characters’ frustrations, abuses or hardships – Khan Din doesn’t try to sugar-coat the message, but doesn’t let it overshadow themes of humanity and hope either. This warts-and-all style and relatability of themes to today’s society give East is East ongoing appeal.

This is a lively, provocative and heartening classic, written, performed and re-created (Ben Occhipinti) with charm and brutal honesty.

-Karen Clough

East is East runs at Bolton’s Octagon Theatre until Saturday 14th April 2018. 

Review: Ceci n’est pas Noire and Clay at The Lowry, Salford Quays

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Systems-Lab. The Lowry.
Systems-Lab. The Lowry.
Reviewer: Megan Hyland
Upstaged Rating:⭐⭐⭐

In Ceci n’est pas Noire (This is not Black), Alesandra Seutin is bold, colourful and fearless. She explores her African and European background through an innovative blend of dance, spoken word, song and theatre. She moves effortlessly around the stage, commanding every inch of it with her fluid movements and vibrant personality. She mixes humour and sincerity, drawing the audience in as she lays out the rules. However, from that moment on, attention begins to waver.

The transitions between movement and other art forms felt awkward and stilted, especially when compared to the fluidity of Seutin’s movements. And though from the start, the piece promised to be an insightful celebration of culture and belonging, the overall message was lost. Although towards the end of the piece, the message did start to be developed, the piece seemed to finish almost too abruptly, leaving the message feeling unfinished and altogether less impactful. However, there is still something to be said for the way that Seutin is unapologetically herself and the effort with which she undertakes the performance.

Clay also began very promisingly, combining the contemporary dance skills of Asha Thomas and flamenco talents of Yinka Esi Graves with the artistry of flamenco guitarist Guillermo Guillen. The synchronisation and intensity of their movements is striking, seamlessly combining their differing styles into a fiery, passionate piece. The live music of Guillermo Guillen adds feverish excitement, although even his talented strumming could not stop the performance from falling flat in places.

Once again, the overall story of the piece was lost in translation, though that is not to say that the piece was not enjoyable. It contained some particularly exciting and intricate moments, though the pace at times was lost. And although the production was not entirely seamless, the combination of the talents of Graves, Thomas and Guillen is faultless.

Despite the confusion surrounding the overall message of the two pieces and some pacing issues, the effort and commitment of these women is undeniable. Throughout both pieces, their sheer determination is clearly visible, as is their talent. This magnificent celebration of several different cultures and art forms is sharply unique.

-Megan Hyland

Ceci n’est pas Noire and Clay runs at The Bernie Grant Arts Centre, London on Saturday 17th March 2018.

Review: Rasa & Contact: Handlooms at The Alankar House of Sarees

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Handlooms at Contact
© Benji Reid
Reviewer: Daniel Shipman
Upstaged Rating:⭐⭐⭐⭐

After the success of Queer Contact festival and She Bangs the Drums, Contact continues to demonstrate that theatres don’t need a fixed location to thrive. Next up in their innovative ‘In the City’ season is Handlooms, a site-specific performance about a mother and son running a shop selling saris.

 The show begins as the audience are ushered into Alankar, a functioning sari shop on Curry Mile which last year celebrated forty years of business. As you enter the shop, having met at a restaurant just down the road, you are greeted by Neeta Sharma, (Rani Moorthy) who guides you to the audience area and encourages you to explore the shop and touch the wide variety of saris on display. Before the action has even begun, I was sold on the stunning beauty of these garments, making it so much easier to empathise with Neeta’s son Rajesh (Ashraf Ejjbair) as he espouses the beauty of the sari.

 Written by Rani Moorthy and co-produced by her Rasa theatre company, the play deals with the changing experience of British Asians, who are increasingly turning away from the sari in favour of more Western styles of dress. On a personal level, this is creating a crisis for the Sharmas as they face the demise of their family business. They take two different approaches to saving the shop, and the resulting generational conflict between Rajesh and Neeta is given added emotional weight by the fact that you are surrounded by the sights, smells and textures of an authentic environment. This kind of connection to history could not be conjured by even the most talented set designer.

 The play is performed through head-mics, enabling the actors to roam around the shop and its dressing rooms whilst still being heard. Under Alan Lane’s direction, this is used to create moments of both comedy and poignancy. An unseen fumble between Rajesh and his aunt in a dressing room is an early highlight, but this later gives way to a truly heart-wrenching conversation with an illegal immigrant who has been brought in as a backroom worker.

 Whilst Handlooms attempts to cram a lot into its short running time – I’ve mentioned nothing of the mainly unspoken sub-plot around Rajesh wearing the saris himself – it is bursting with heart and this makes it an utter joy to watch.

-Daniel Shipman

Handlooms runs until 24th March. Click here for more info and for tickets.

Review: Opera North’s Un ballo in maschera at The Lowry, Salford

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Opera North's Un ballo in maschera
© CLIVE BARDA/ArenaPAL
Reviewer: Elise Gallagher
Upstaged Rating: ⭐⭐⭐

Opera North closed its residency at the Lowry Theatre with Un ballo in maschera, rated as one of Verdi’s best creations.

However, the UK’s relationship with the tragedy has been rather dramatic over the past decade after stagings in London were met with little praise. This is Opera North’s first production of the piece and a rather successful first draft.

The heart of the story follows King Gustavo and his doomed love triangle involving his most loyal friend, and his wife. King Gustavo is painted as a free-thinking, open-minded, kind-hearted and popular ruler, however, what makes him so is not explored. Likewise, the motivations of the conspirators out to murder him were vague – even upon revelation they had little impact and no footing which could prove either confusing or distancing to the audience.

Hannah Clark’s set was vast, its enormity further amplified by the lack of furniture, very sterile or dark in some cases. The sets and costumes melt together – dusty grey three-piece suits, belted macs, and homburg hats taking the characters away from a particular time or place. Dated, but not bound to a date.

Opera North have chosen to adopt Verdi’s original version of the text, based upon the assassination of Gustav III of Sweden at a masked ball in Stockholm.

I expected that the presence of a masked ball would ramp up the dramatics of the third act, however despite the striking plum costumes, powdered white faces and wigs, its climax felt underwhelming.

Anything but underwhelming was Richard Farnes’ conducting. The former Music Director for Opera North made a welcome return delivering a score laced with fragility and drama.

Tereza Gevorgyan gave a stellar performance as Oscar, providing very much needed light comedy in a bleak narrative. Equally as good was Phillip Rhodes who plays the role of Count Anckarström, a loyal friend turned husband hell-bent on revenge. His portrayal is weighted heavily with warmth, which I feel Rhodes struggled to shake off to convey convincing malice.

Patricia Bardon brought fortune-teller Ulrica to life, complete with beret and neck scarf. Bardon is considered a rarity these days, a true contralto. Adrienn Miksch plays the role of torn Amelia excellently, her voice intense and wide-ranging.

Opera North only have two performances left of Un ballo in maschera: the first on the 17th of March at Nottingham Theatre Royal, and the 24th of March at Newcastle Theatre Royal. It is an enjoyable performance which runs away with time.

-Elise Gallagher

Catch Opera North’s Un ballo in maschera at Nottingham Theatre Royal and Newcastle Theatre Royal later this month.

 

Review: Opera North’s Madama Butterfly at The Lowry, Salford

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© Opera North
© Opera North
Reviewer: Karen Clough
Upstaged Rating: ⭐⭐⭐⭐

Puccini’s Madama Butterfly tells a story of the marriage between American Navy Lieutenant Pinkerton (Merunas Vitulskis) and young geisha Cio-Cio-San (Anne Sophie Duprels), or Madama Butterfly, whilst he is based in Nagasaki in 1904. To Pinkerton, it’s a marriage of convenience; his purchased bride a temporary aesthetic addition whilst in Japan. To Cio-Cio-San, it’s a marriage of true and enduring love – she readily accepts the role of subservient and dedicated wife. Madama Butterfly is a tragedy full of inequality, exploitation and unrequited love, featuring cross-continent and cross-cultural disparities. Pinkerton, charmed by the novel beauty of his 15-year-old bride, is her ‘rescuer’ from life as a poor geisha. Rejected by her community, she commits to her ‘heroic’ Western husband, with a newfound sole purpose as his love and wife.

The audience follows Butterfly’s foreseeable abandonment, denial, naivety and pain in discomfort. She dutifully waits for Pinkerton, watching every ship come and go, for 3 long years. Her pain is softened by their son (Oliver Chambers) and the idyllic delusion that Pinkerton will come back to her. She is his wife and true love, after all? The audience dreads what they know is more likely – he returns, but not to her. Worse, he returns with his ‘proper’ American wife and Butterfly is the last to know. Vitsulkis’ performance as Pinkerton is particularly strong in the final scenes, where the consequences of his flippancy and meaning of Butterfly’s love become clear upon her suicide.

Duprels gives a wonderful performance as Madama Butterfly, evoking her character’s emotions in the audience through her remarkable voice and performance. In Act II, as she excitedly prepares for Pinkerton’s return, Duprels made me hopeful he loved her too, whilst I braced myself for the predictable disappointment. This includes a beautifully constructed scene (Tim Alberry, Peter Mumford, Maxine Braham) between Butterfly and her servant, Suzuki (fantastically portrayed by Ann Taylor), who despairs as she reluctantly helps Butterfly fill the home with petals.

The audience enjoyed robust vocal and acting performances, accompanied by a first-class orchestra (David Greed, Andrew Long, Martin Pickard), across the rest of the cast. Peter Savidge’s Sharpless and Joseph Shovelton’s Goro proved especially popular.

As a newcomer to Opera, I had doubts whether I would be able to follow the story, feel entertained or engaged by the style. Opera North declare an inclusive ethos and promote their work as accessible to all – with their informal approach, simplistic set design (Hildegard Bechtler) and helpful translation displays, I think they successfully achieve this. Madama Butterfly is a captivating and moving production, go and see it and prepare to enjoy it whether you’re an Opera veteran or novice. I suggest you take tissues!

-Karen Clough