Daniel Shipman Archives - UPSTAGED MANCHESTER

Review: Everything All Of The Time at Contact

October 8, 2021October 8, 2021kristobel

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

For a theatre so dedicated to amplifying the voices of young people, it feels appropriate that Contact have decided to re-open after their £6 million refurbishment with a show from their young company. After several years away from the building, it would have been easy to return with a gentle ‘welcome home’ piece and ease back into things – but after the past 18 months, CYC are feeling anything but gentle.

A supremely talented group of young people.

Much of the sixty-minute running time is given over to dance, with choreography by Yandass Ndlovu, and there is no doubt that this is a supremely talented group of young people. Taking inspiration from sources like the rigid ‘hands, face, space’ message which has become ubiquitous over the past 18 months and the claustrophobia of being stuck inside for months at a time, the company conjure a retrospective of sorts to the political, health and climate crises that have been vying for our attention.

As you can imagine, the mood is almost uniformly sober, but is punctuated by occasional glimmers of light in the form of short monologues reflecting on the lighter moments of the year. One breathless summary blending timelines of personal and political is particularly entertaining, whilst also making you realise what a saturated period of history we’re living through.

The standard of young performers and theatre-makers in Manchester remains sky-high.

Whilst the individual sections are powerful, the show is, unfortunately, less than the sum of its parts, primarily due to a lack of cohesive direction which could have been provided with a little more central guidance from director Matt Fenton. With shows like this, there is a fine line to tread between allowing the company to explore ideas and express themselves and aiming at an organised final product.

Despite this, it is heartening to see that the standard of young performers and theatre-makers in Manchester remains sky-high despite the limitations that have been placed on the industry – long may it continue.

-Daniel Shipman

Everything All Of The Time runs at Contact until Saturday 9 October.

Notes on Grief (MIF21) at Manchester Central

July 7, 2021July 7, 2021kristobel

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐

‘If we love, we grieve. That’s the deal. That’s the pact. Grief and love are forever intertwined.’ So says Nick Cave, a man writing about grief more vividly and eloquently than anyone else currently alive (for my money, at least.) A similar sentiment is the ultimate destination and realisation of Chimamanda Ngozi Adichie’s Notes on Grief, one of the flagship performances as part of the 2021 incarnation of the Manchester International Festival.

The text of the piece is taken verbatim from a New Yorker written by Adichie in the aftermath of her father’s passing in 2020. Whilst the death itself was not covid related, the grieving process for a family spread over several continents was inevitably seriously hampered by the ongoing pandemic.

One of the most timely commissions in the history of the festival.

Whilst a magazine article about grief may not sound like fertile ground for a compelling piece of theatre, Rae McKen’s staging of the text converts the extremely personal events detailed into something more universally recognisable, especially after an 18-month period in which so many of us have lost loved ones and been denied the catharsis of communal grief. In this way, this is one of the most timely commissions in the history of the festival.

Michelle Asante’s central performance representing Adichie is strong, natural, and allows easy empathy from the audience.

Michelle Asante’s central performance representing Adichie is strong, natural, and allows easy empathy from the audience, which is essential to the function of a piece this intimate. However, the frequency of stumbled lines makes it difficult to remain entirely immersed at times. The supporting multi-roling of Uche Abuah and Itoya Osagiede is a great boon to the world building, and their changing dialects (coached by Mary Howland) are remarkably strong.

The sound design (Edward Lewis) is sparse yet emotive and impactful and augments the text beautifully. It blends well with the movement (Yami Löfvenberg), however some sections of movement feel contrived and almost amateurish, especially towards the beginning of the piece.

So Notes on Grief is not without flaws, but its heart shines through – bruised and beaten by the cacophony of grief but not dimmed, and able to outshine any of the imperfections which might have a greater impact on lesser work.

-Daniel Shipman

Notes on Grief plays at Manchester Central until 17 July 2021.

Review: Opera North – Fidelio at The Lowry

June 17, 2021June 17, 2021kristobel

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

We can finally go back inside a theatre! After 15 months of not being able to attend any indoor performances, the atmosphere among the audience at Opera North’s Fidelio is one of anticipation. What the audience lacked in numbers (due to social distancing), it made up for in enthusiasm, with passionate applause as soon as the cast took to the stage.

What the audience lacked in numbers (due to social distancing), it made up for in enthusiasm

Rather than a fully-fledged opera with costuming and set, this was more of a concert performance. In order to maintain social distancing on stage as well as in the audience, the orchestra (under conductor Paul Daniel) were out of the pit and on the stage itself, which allowed for a rare opportunity to appreciate precisely where each strain of music originated from. Between this and the lack of visual distraction, it is so much easier to appreciate Beethoven’s score here, and allow yourself to be swept along with the music.

It is perhaps wise to focus more on the music than understanding the intricacies of the plot, which are pretty absurd at times. Broadly, it follows a woman called Leonore (Rachel Nicholls) who disguises herself as a man called Fidelio and takes up a job as a jailer’s assistant, in order to infiltrate the jail and free her imprisoned husband Florestan (Toby Spence).

The small cast of just seven primary performers are all wonderful to hear live

There are various other elements to the plot, such as a love triangle between another jailer, the jailer’s daughter, and ‘Fidelio’, but these seem strangely disconnected from the main plot and serve more as distractions than anything else. I imagine this is down to the lack of proper staging, which would perhaps have served to glue the whole thing together into a more cohesive whole. Nonetheless, the small cast of just seven primary performers are all wonderful to hear live and they tie in beautifully with the orchestra.

-Daniel Shipman

Opera North: Fidelio will next play at the Royal Concert Hall in Nottingham on 19 June 2021.

Review: Burnout at 3MT

August 24, 2018kristobel

Guest Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

Mental health is a tricky subject to write about in any context, let alone make theatre about. And yet, despite this difficulty, we all know that it is necessary to keep talking about it in order to dispel the myths and the stigma surrounding the topic.

With Burnout, emerging playwright Selina Helliwell does a great job of dealing with this problem. The play follows one night in a 24-hour gym as the members and the staff come to terms with the disappearance of Raf, a regular gym-goer. Whilst the reasons for his disappearance remain ambiguous, the strain exposes the problems and fears which the characters have been hiding. Despite this dark set-up, Burnout juggles humour and pathos to keep the audience entertained without straying from the central theme. This is helped by a well-paced script which never lingers too long on any character.

If anything, this does become a problem after a while. The play touches on the struggles faced by all seven characters, but a short running time of just over an hour meant that some relationships felt rushed. I wanted to spend more time getting to know the characters, and so the play would perhaps have benefitted from having a smaller cast.

The performances are strong, with Elise (Helliwell) and Daniel (Tom Sullivan) forming a solid core for the cast to work around. Whether talking to each other or directly to the audience through monologues, each performer expresses the worries of their character in a way that allows the audience to understand and identify with them.

Burnout is not without its problems, but it is a great example of how theatre can deal with challenging issues and still entertain.

-Daniel Shipman

Burnout runs at 3MT, Manchester until Saturday 25th August 2018.

Review: Happy days at the Royal Exchange

May 31, 2018May 31, 2018kristobel

Happy Days at Manchester's Royal Exchange Credit: Johan Persson/ — Happy Days at Manchester’s Royal Exchange
Credit: Johan Persson/

Reviewer: Daniel Shipman
Upstaged Rating: ⭐⭐⭐⭐

Happy Days is one of the jewels in Samuel Beckett’s mightily impressive crown. A two-hander which primarily focuses on the simple but comforting routine of Winnie – who is buried up to her waist, then up to her neck in soil – it presents a mammoth challenge to any actress. As you might expect, Maxine Peake, under Sarah Frankcom’s direction, meets this challenge head-on and gives a perfectly-measured powerhouse performance.

The huge mound of soil necessary for this play makes it a bold choice for the Royal Exchange’s in-the-round stage, but Naomi Dawson’s set design makes light work of what could have been a major problem. The rotating set and camera trained on Peake’s face ensure that every seat feels like a front-row without sacrificing the liveness of the theatrical exchange.

The slowly, constantly turning mound perfectly echoes the circular nature of the character’s dialogue, and indeed her life – slowly accumulating soil, like emotional baggage, until she is quite literally up to her neck in it. This also acts as a subtle memento mori, lending the evening an almost imperceptible air of sorrow and impending doom that intentionally never quite materialises.

The tight close-up on Peake’s face in the second act raises a tricky mix of the challenges presented by both live and filmed acting, but she relishes this challenge. Here, Winnie’s discomfort is palpable despite the rictus grin she occasionally plasters across her face in a vain attempt to disguise it. She is torturously close but physically unable to reach the comforts of routine provided by her bag, or even the possibility of final release offered by her revolver.

Beckett’s penchant for repetition is deployed perfectly, giving rise to comedy in the first act and pathos in the second. The production pulls off this impressive tonal shift without losing the heart of the characters. Remarkably, Peake even transfers Winnie’s nervous shake from her upper body in to her jaw.

Some of the potential tenderness of Winnie and Willie’s relationship is sacrificed in the first act in search of laughs, and this puts a small dent in the emotional sledgehammer that is the second act. But realistically, you’re unlikely to see a finer performance all year.

-Daniel Shipman

Happy Days runs at the Royal Exchange until 23rd June 2018.

Brighton Rock – Week 53 at The Lowry

May 24, 2018kristobel

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: Hikikomori – The Shelter – Week 53 at The Lowry

May 19, 2018kristobel

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: This House at The Lowry, Salford

April 25, 2018kristobel

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: The Audit (The Lowry, Salford)

March 1, 2018kristobel

Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐

A play which goes into the details of the economics behind the 2008 banking crisis might sound like a pretty dull way to spend an evening, so credit to Proto-Type Theatre for not shying away from this as a subject matter.

The Audit is a mixture of spoken word, performance, soundscapes and videos. Despite this abundance of material on stage, it never feels as though the audience is being assaulted with information. This is no mean feat considering the company communicates the economic details of the crisis in staggeringly in-depth detail. The wit and intelligence behind the spoken word sections really help here – I felt I could have listened to them for the full running time.

In the days leading up to The Audit, I had been wondering whether the banking crisis really could act as source material for a truly relevant piece of theatre. After all, it began a decade ago at this point and, for me at least, was beginning to fade into history. But then, just hours before the show began, both Toys R Us and Maplin announced they were going into administration and I was reminded that we are still suffering from the after-shocks of the events around which the play revolves. As they say in the show, Wall Street isn’t so far away after all.

So how do the company turn the dull and depressing facts of the banking crisis into entertainment? With theatre of course! Small props such as briefcases, coats and money (lots and lots of it) help the two performers turn the grim reality of the event into dark humour for the audience’s enjoyment. The piece only begins to falter when we are left too long without the intervention of some kind of humour. One particular section, roughly two-thirds of the way in, comes dangerously close to sounding like an economics lecture rather than a piece of theatre.

Despite this, The Audit is worth a watch if only because of how creatively it manages to balance entertainment and education.

-Daniel Shipman

Review: Nina – A Story About Me and Nina Simone at The Lowry, Salford Quays

January 31, 2018kristobel

Guest Reviewer: Daniel Shipman

Upstaged Rating: ⭐⭐⭐⭐⭐

Nina – A Story About Me and Nina Simone is not a tribute concert or a jukebox musical based on Simone’s songs. It is a powerful and totally contemporary take on racial politics, which utilises the potent political element in Simone’s music that you may not have even noticed was there. The show is effectively an 80-minute monologue, interspersed with songs. As the title suggests, it is intensely personal and could not be performed by anyone else

From the moment Josette Bushell-Mingo coolly strolls on to the stage whilst the house lights are still up, it is clear that you are about to witness a masterclass in audience engagement. Before a word is spoken or a note is played, Bushell-Mingo’s casually confident demeanour has the audience on her side. Whilst this is an extraordinary feat, it is also totally necessary for this piece to work. The first few lines set the scene of a Nina Simone concert in 1969 and the audience responds to each line with applause and cheers like the crowd at a concert would.

The stage is set up simply, as if for a concert – there is a double bass (played by Neville Malcolm), drums (Shaney Forbes) and a piano (Shapor Bastansiar) all in front of a large curtain which doubles as a screen for projections. In the final number, the band are named one-by-one and receive rapturous applause. It is thoroughly deserved, they provide the perfect musical backing to some of the finest moments in the show, with Bushell-Mingo twirling enchanting shapes around the stage as if channelling the spirit of Nina Simone herself.

Despite the heavy politics of the evening, and the message that very little has changed in terms of society’s inherent racism in the decades since Simone’s protest songs were first written and sung, the show mainly stays surprisingly light. The only exception to occurs roughly halfway through, following an archive clip of Simone saying she wishes she could take up a gun against the racists of the southern states. Even in this, a grim subject covered in a simple yet very powerful way, Bushell-Mingo continually appeals to the audience, asking them ‘stay with me’.

It works. The performers and audience come out the other side feeling as though they have truly experienced a transformation together. And at the final bows, the multiple standing ovations and shouts of ‘more!’ show just how much the audience enjoyed it.

-Daniel Shipman

Nina runs at The Lowry until 3rd February 2018 and you can get your tickets here.