With all of the big Christmas shows in full swing, it feels like a good time to look back at the highlights of a busy year for theatre in Manchester. Here are Upstaged Manchester’s theatrical highlights of 2016. Which shows would make your list?
Wit at The Royal Exchange
Julie Hesmondhalgh’s portrayal of Dr Vivian Bearing, an American Professor who finds herself diagnosed with advanced metastatic ovarian cancer, was striking and raw – nothing short of magnificent. Cancer is a hard subject matter to tackle on stage, especially in a performance as honest as this. Wit had everything. Powerful enough to make some cry and poignant enough to make everyone laugh, think and discuss.
I am just so pleased that The Girls is on its way to the West End and is set to open at London’s Phoenix Theatre from January 2017. The collaboration between Gary Barlow and Tim Firth is a perfect recipe for success. Hilarious and heartbreaking all at the same time, I spent most of Act 2 looking through a blur because my eyes were so teary from laughing and crying at the same time. Just fabulous.
Husbands & Sons at The Royal Exchange
Husband’s & Sons had the perfect line-up of creatives and performers – all of the best in the field working together on one show. Director Marianne Elliott, of War Horse and Curious Incident of the Dog in the Night-Time, at the helm of a truly phenomenal cast – including Ann-Marie Duff and Louise Brealey. Fused with Bunny Christie’s ingenious design, Husband’s & Sons was heartfelt and gritty. So good, I wanted to watch it all over again.
The Encounter at HOME
A strikingly different theatre experience to anything that I have witnessed before. Every member of the audience is issued with a set of headphones and using cutting edge audio technology is transported to the Amazonian rainforest and into the head of Loren McIntyre, a stranded photojournalist. The Encounter is gripping, an adventure story which gets inside your head. Literally.
Parade at Hope Mill Theatre
I always enjoy James Baker’s productions massively – with every show he raises the bar of the Manchester Fringe Theatre scene a little higher. Parade was nothing short of a triumph. The dimly lit, eerie walls of Manchester’s newest performance space, Hope Mill Theatre added a further dimension to the production – intimate and powerful, something quite special.
Origins at The Lowry Theatre
Origins by Animikii Theatre. Developed with The Lowry.
An intense new piece of physical theatre by Animikii Theatre Company exploring the story of the world’s first murderer: the killing of Cain by his brother Abel. Captivating storytelling communicated only through movement and sound. Adam Davies and Charles Sandford are highly skilled performers and with every detail loaded to perfection, Animikii Theatre Company are certainly ones I’ll be watching out for in the future.
Rambert: A Linha Curva at The Lowry
Now in their 90th year and still leading the dance world with their innovative and exhilarating dance works. A Linha Curva is sensual, witty and terribly good. The dancers are faultless, moving alongside each other in a truly intoxicating display. Rambert may be 90 this year but they show no sign of standing still.
Matthew Bourne’s The Red Shoes at The Lowry
Matthew Bourne’s The Red Shoes ~Ashley Shaw as Victoria Page~
The Red Shoes is a breathtaking balletic display – a beautifully tragic tale poignantly told. Terry Davies’ musical score, using the music of golden-age Hollywood, and Lez Brotherston’s ornate set and dazzling costumes ooze 1940’s glamour. Following it’s sell out run in 2016, it returns again to The Lowry in July 2017. So if you didn’t catch it this time round, get your ticket booked for next year!
With its irresistible Cy Coleman musical score, supervised by Nigel Lilley and directed by Mark Aspinall, played superbly by a live band; an ensemble that dazzle and a top-notch central performance from Kaisa Hammarlund – Derek Bond’s Sweet Charity is an absolute must-see. At the Royal Exchange until 28th January 2018 – there is still plenty of time to bag a ticket. You’re welcome.
REVIEWER: CIARAN WARD
A Streetcar Named Desire at The Royal Exchange
Sarah Frankcom’s adaptation of Tennessee Williams’ modern domestic tragedy, ‘A Streetcar Named Desire’, was an exhilarating piece of theatre that warranted much more than a five-week run. Maxine Peake’s effortless performance as the fallen Blanche DuBois was every bit as riveting and worthy of acclaim as her predecessors, Vivien Leigh and Gillian Anderson.
REVIEWER: DEMI WEST
GM Fringe 2016: Fast Fringe at The Dancehouse Theatre
The ‘GM Fringe 2016: Fast Fringe’ show was by far the most memorable comedy that I have enjoyed this year. The selection box of comedians kept the show fresh, each offering a diverse style of comedy that was sure to please all audience members. The Fast Fringe is a brilliant way to sample and discover different comedians, along with guaranteed laughs.
Merry Christmas to each and every one of you – thank you for all of your support this year.
The Emperor tells the story of the fall of the infamous Haile Selassie, Ethiopian Emperor between the years of 1930 and 1974. The play is based on Polish journalist Ryszard Kapuściński’s book, in which he interviewed the servants of Selassie after his downfall. It is a glimpse into a world of corruption, poverty and absolute power, through the eyes of those who worked under the Emperor throughout his tyrannical reign.
The shapeshifting Kathryn Hunter plays each character with such spirited passion and vigour, with no crossover in between, each character is a personality in their own right. Her voices and mannerisms bring the characters to life in an inspiring and vast performance, transforming herself completely. The limited costume and props leave the characterisation to fall into Hunter’s very capable hands, and she does not disappoint. Every character has their own tone, and she switches effortlessly between the emotionally raw and vulnerable to the closed off and political. Through every character, we were able to build our own image of the Emperor, making him almost as big of a presence as the characters on stage.
The combination of Hunter’s masterful character acting and Temesgen Zeleke’s beautifully haunting live music created the sombre yet heartfelt tale that ran alongside the Emperor’s dictation and downfall – the loyalty and love of his servants. Although the Emperor was the main focus of the production, you can’t help as an audience member to feel drawn to Hunter’s characters. She plays them with such vitality that it becomes difficult not to become immersed in their world. And although the story itself was deeply interesting, especially since it is so little known, the production itself was held up by Hunter’s incredible talent. Her performance was pivotal to the success of the play, as any other attempt at such a bold and demanding role possibly would have caused the whole production to fall flat.
Mike Gunning’s lighting and Paul Arditti’s sound combined with Walter Meierjohann’s poignant directing created an intense, albeit slightly bizarre show that is not to be missed. The quick changes in tone left audiences reeling, never quite sure whether they should be laughing or crying, but Hunter made it flow naturally. Temesgen Zeleke’s music and the inclusion of the Amharic language of Ethiopia in his side characters added a subtle authenticity to the piece, making it all the more credible.
The Emperor is an honest and engaging piece about a part of history that many people know little about, creating a lot of discussion. However, what stands out for many is Kathryn Hunter’s faultless performance and energy that carries the piece throughout.
Beyond Caring pulls the filthy wall away to reveal the reality of working life for the night shift workers on zero-hours contracts in a meat factory. Employed as cleaners on agency contracts, their work is physically demanding and repetitive and they don’t always get paid on time. Alexander Zeldin’s perception of life on the lowest rung of the employment ladder is precise, darkly comic and painstakingly accurate.
Designer Natasha Jenkins has managed to make Theatre 2 at HOME feel just like an industrial warehouse. Harshly lit by bright white strip lights from above, there is the smell of cleaning products and pungent damp mops in the air. We learn snippets about the characters lives during their 15-minute lunch breaks before they continue with the arduous task of cleaning the meat factory.
The whole piece has been devised by the company through investigation and talking to those who have experienced zero-hours contracts. The show centres around the introduction of three new agency workers to the soul-destroying and dingy walls of the factory: Grace (Janet Etuk), Susan (Kristin Hutchinson) and Becky (Victoria Moseley). Led by factory taskmaster Ian (Luke Clarke), the three women join with permanent employee Phil (James Doherty) to work the night shift. Hints are threaded throughout the script to indicate why the three are so desperate for the job – it’s authentic, real and at times, difficult to watch.
Luke Clarke’s supervisor Ian has a ‘David Brent’ air about him, conducting pointless team meetings and describing his self-indulgent spiritual beliefs; though despite the shades of black comedy, the piece takes the subject matter seriously. As somebody who has worked in a zero-hours environment, I could relate to the way he treated his workers, which made for uncomfortable but achingly real viewing.
“Where were you on June 15th 1996, when the bomb went off?”
It’s a question etched into most Mancunian’s minds and this year marks the twentieth anniversary of the 1996 Manchester bombing. That fateful day when the Provisional IRA detonated a 1500kg truck bomb on Corporation Street, in the heart of our city centre on a busy Saturday. It was the biggest bomb blast in Great Britain since World War II, damaging many landmark buildings and reducing others to rubble, it injured 212 people.
Now, ANU Productions and Manchester’s newest theatre HOME collaborate to stage On Corporation Street, a thoughtful and deeply engaging performance which propels the audience through a series of meetings with those affected by the bombing on June 15th 1996. These are real Mancunian stories, framed by shards of glass and the image of the one red postbox left standing amid the entire devastation.
Taking our seats in HOME’s darkened theatre, that lorry is on the stage – reddish orange front cab and the hazard lights flashing. Individual characters enter and the ensemble move slowly – their voices drowned out by the deafening, reverberating noise. An emergency siren disrupts the performance and we are all evacuated from the theatre – stepping into the backstage area we are invited to meet those affected by the blast.
It’s a powerful theatrical work of art – watching a film documenting the effects of the blast on our city we are abruptly interrupted by one of the bombers who, sharpening our senses to his motivations behind the act of terror, ushers us along a stark brick corridor. More highly personal encounters follow – a young 18-year-old shop worker recalls his experience on returning from the basement of the department store, eyes wide and tearful. We are shifted up in a lift to meet a Northern Irish nurse, angry and fearful, feeling ashamed of her accent and a frustrated business owner who is waiting to get the keys back to her shop.
Throughout our journey within the performance space, we can hear noises which serve to disorientate us further – snippets of news relevant to Euro 96, music and arguing. It all serves to create a fully immersive and interactive environment, unsure of who we will encounter next.
At the close of the performance, we are regurgitated back out on to Whitworth St West with a proud 2016 Manchester skyline welcoming us. Fabulous old architecture punctuated with the new and with Beetham Tower staring impressively down on us, it is incredible and hopeful to see how much our city has healed since the bombing on 15th June 1996.
Are you looking for the best theatre and creative activities taking place in Greater Manchester during Easter? Look no further.
We’ve compiled a list of the best theatre shows and creative activities for all of the family.
The Easter holidays run through from Monday 4th April until Friday 15th April 2016 – for most schools. This list covers all family fun happening from March through to mid-April.
HOME, Manchester
Into The Hoods: Remixed Photo Credit: Hugo Glendinning
Into The Hoods: Remixed is the new updated hip-hop version of the Sondheim classic. Set in the ‘Ruff Endz Estate’, the story follows two lost school children who have been tasked to find an iPhone as white as milk, trainers as pure as gold, a hoodie as red as blood and some weave as yellow as corn. Along the way, they meet DJ Spinderella, wannabe singer Lil Red, vivacious rapper Rap On Zel, budding music producer Jaxx and embark upon a storybook adventure into the heart of a pulsating community!
Into The Hoods: Remixedis recommended for ages 7 + and is at HOME, Manchester from 6th April to 9th April 2016.
A live adaptation of E. Nesbitt’s classic story The Railway Children (U) will be broadcast at HOME on the 28th March 2016 at 11:30 am.
While you’re at HOME why not take a look at the current exhibition –Designs for Living: Clare Dorset and Chery Tenneson which is recommended for families. Admission is FREE and it opens from 11 am each day.
Oldham Coliseum
How The Koala Learnt to Hugcomes to Oldham Coliseum on Wednesday 30th March 2016. Recommended for ages 3 and over, it’s a charming production based on the book by Steven Lee. With puppet characters, great stories, sing-along songs, superb games and first class hugging all you’ll need are your ears…and your arms!
The Edge Theatre and Arts Centre, Chorlton
Back by popular demand…The Boy Who Bit Picasso returns to The Edge in Chorlton on ‘Easter’ Saturday.
The Boy Who Bit Picasso come to The Edge in Chorlton. Photo Credit: Geraint Lewis
The story is inspired by Antony Penrose’s book which follows the story of Tony who becomes friends with Pablo Picasso.
This show promises a lot of interaction as the audience are invited to take part in a variety of art and craft activities. Suitable for everyone aged 4 and up, there will be plenty of storytelling and music as the children are introduced to one of the twentieth century’s most influential artists, Pablo Picasso.
The Boy Who Bit Picasso comes to The Edge Theatre and Arts Centre in Chorlton on Saturday 26th March 2016 with 2 showings at 11 am and 2 pm.
TOP TIP: Be sure to wear play clothes because it could get messy
Lullaby Lane is a unique theatrical experience for children aged from 3-6 which fuses the energy and vibe of a music gig with the intimacy of theatre. It’s a charming little tale exploring childhood memories of forgotten friends, cherished toys and music-making. Featuring vibrant characters and Fran Wyburn’s original musical score, Lullaby Lane provides a great introduction for children to experience an array of string instruments, including banjo, harp, ukulele and guitar. Lovely running time of 45 minutes – perfect for little people.
Mum’s The Word Comedy Club is the comedy gig designed for parents of babies aged 18 months and under. Hosted by comedian and new Mum, Katie Mulgrew, it’s a relaxed affair – feel free to feed, change and nurse your baby. However, the acts do perform their usual adult material so if you have an exceptionally bright 18-month-old or a mimicker, I’d probably avoid. There is a strict policy and only babies under 18 months will be permitted.
Presented by Katie Mulgrew, Mum’s The Word Comedy Club is at The Edge in Chorlton on Friday 1st April 2016 with little ones going free.
The Lowry, Salford
Calling all Michael Morpurgo fans! Where My Wellies Take Me comes to The Lowry, Salford this March. Interweaving poems and songs, we follow 9-year-old Pippa on a May Day ramble through the beautiful English countryside. Based on Clare and Michael Morpurgo’s book, Where My Wellies Take Me is a lively show celebrating the beauty of nature.
SPECIAL ANNOUNCEMENT: Michael Morpurgo will be available to meet and greet members of the audience after the performance!
We’re super excited about Roald Dahl’s The Witches flying into The Lowry at the end of March. Adapted by David Wood and directed by the fabulous Nikolai Foster, Dahl’s scariest book is brought to life.
Featuring a talented bunch of actor-musicians, an original score and mind boggling illusions, The Witches promises to be a terrifying treat for all the family. Watch the trailer…if you dare…
The Witches is at The Lowry, Salford from 21st March to 26th March 2016.
And for younger ones… Peppa Pig, George and the rest of the crew are back in Salford for their brand new live stage show, Peppa Pig’s Surprise.
Enjoy fun, games and surprises in this charming, colourful show with new songs and new life-size puppets. Running at 1 hour and 20 minutes, Peppa Pig’s Surprise promises to be the perfect theatre show for all pre-schoolers.
Join Unlimited Theatre forPlay Dough at The Lowry on 2nd April 2016 at 4 pm. Recommended for ages 7 and up, Play Dough is a playfully interactive show for young people 7+ and their families about the value of money. Hosts Queenie and TooMuch will lead your team through a series of high-energy games while telling you their story, and everything they know about how money really works.
The Battle of Hastings -Groovy Greeks and Incredible Invaders – Horrible Histories Photo credit: Mark Douet
Horrible Histories needs no introduction. It’s a fabulous show and this edition focuses on the Groovy Greeks and the Incredible Invaders. We’ll be there – who wants to join us?
“The sun did not shine. It was too wet to play. So we sat in the house. All that cold, cold, wet day.”
From the moment his tall, red and white-striped hat appears around the door, Sally and her brother know that The Cat in the Hat is the most mischievous cat you will ever meet. With the trickiest of tricks and craziest of ideas, he turns Sally and her brothers rainy afternoon into an amazing adventure. But what will mum say when she gets home?
The Cat In The Hat is the perfect first theatre experience for children aged 3 and up and it is at The Lowry, Salford from the 11th to 13th April 2016.
A must-see for all dancers aged 3-133…
Tessa Bide brings her solo show, The Tap Dancing Mermaid to The Lowry, Salford on Sunday 17th April 2016.
Stick your 50ps to the bottom of your shoes and gather round to hear the Moon’s magical story about a tap dancer who creeps out of her house every night to dance to the sounds of the sea. Marina Skippett has been forbidden to dance at home by her tractor-sized Aunty. Follow her exciting adventure with stunning puppetry, live music and tap dancing.
Z-Arts, Hulme
Engine House, the company behind critically acclaimed productions of Red Riding Hood and Flat Stanley join forces with “Britain’s favourite literary lunatics” LipService (Maggie Fox and Sue Ryding) to create a brand new show for children and their families, adapted for the stage by Olivier Award-winning writer Mike Kenny. Suitable for children over the age 4, Snow White is a magical and comic re-telling of the much-loved fairytale.
Snow White comes to Z-Arts, Hulme on the 19th March 2016.
You can also join in at the FREE Brother’s Grimm Fun Day at Z-Arts – craft, drama and storytelling – on 19th March from 12noon-4pm and it is suitable for all ages. Hurrah!
We’re Stuck!is a theatre show recommended for ages 8-11. Join Dr Volcano and the robots on a special adventure into the heart of a top-secret research institute, where cutting edge scientists need your help tackling some extremely tricky problems. Running at 70 minutes, this interactive show promises to stretch your brain in unexpected directions.
This show is recommended for ages 8-11 due to the content and some of the problem-solving tasks, it is not advisable to buy tickets for anyone below this age range.
We’re Stuck! is at Z-Arts, Hulme from 12th April -16th April.
In addition to the performance, our friends at Z-arts have teamed up with China Plate and Manchester Science Festival to bring you a series of fun events and activities across the Easter holidays to tackle some extremely tricky maths, science and art conundrums! Why not work on your comedy skills with the We’re Stuck comedy week?
For families with children 8+ and children under 8, there will be free activities on Friday the 15th April! No need to book in advance, turn up on the day to get involved! Click here for info.
Waterside Arts Centre, Sale
Gorilla by Anthony Browne comes to Waterside Arts Centre, Sale from the 2nd April to 4th April 2016. Running at just 50 minutes and recommended for the ‘nearly fours’ and up, Gorilla has a really impressive creative team behind it. The story is based on an award-winning picture book by former Children’s Laureate Anthony Browne and it is brought to you by the team who produced Charlie and Lola’s Best Bestest Play and James and The Giant Peach. Take a look at the trailer…
If you missed Snow White at Z-Arts – you get another chance to catch the Olivier Award-winning writer Mike Kenny’s magical and comic adaptation of the classic fairytale.
Snow White comes to Waterside Arts, Sale on the 12th and 13th April 2016.
Lullaby Lane comes to Waterside Arts, Sale on the 10th April 2016.
There’s another chance to experience the charming Lullaby Lane at if you missed it the first time round at The Edge in Chorlton.
The Royal Exchange
The Royal Exchange is home to Flying Saucers every Sunday. The events, activities and workshops for under 11s include storytelling sessions, craft workshops, Hard Hat Sundays and entertainment for all the family. Some workshops are age-restricted and ticketed, so it’s a good idea to book in advance as they can be very popular. Around The World in 60 Minutes is taking place on Sunday 20th March 2016 and is suitable for ages 5-8, costs £3.00 a child and adults are free. Booking is strongly recommended.
Find out more by clicking here or give the Royal Exchange box office a call on 0161 833 9833 – they’re a friendly bunch.
Trafford Music Service
The service is offering an Easter music schoolsuitable for primary school children (from reception to year 6), running for 3 days from 4th April to 6th April 2016. During the course children will be given the opportunity to sing as well as play a selection of instruments including the violin, ukulele, guitar, recorder, fife and percussion.
The course costs £35 per day and runs from 9:00 am until 3:00 pm. All instruments are provided, all you need to do is provide a packed lunch.
Join everyone for an afternoon of storytelling at the Octagon Theatre. During Storyplay: Beauty and The Beast, your little ones will be transported on a literary journey of fun and adventure – meeting all of their favourite characters, brought to life by actors from the Octagon Company.
Meet in the relaxed play area in the Octagon Bar at 4:30pm on Friday 15th April 2016. Recommended for families of all ages and costs £4 per child with a free adult place per child.
The Macbeth Curse engulfs the Octagon in Bolton from 19th April to 23rd April 2016.Written by Terry Deary, author of Horrible Histories The Macbeth curse promises to be a perfect introduction to the magic and madness of Shakespeare. Recommended for ages 7 and up and with a running time of 60 minutes. Each showing also includes a 20 minute Q&A session after each performance.
Manchester Museum
Two FREE events are happening at Manchester Museum as part of the Greater Manchester On Film Festival (GMOFF) . While you’re paying Stan the T-Rex a visit, why not catch a FREE screening of Jurassic Park (suitable for ages 9+) or Jurassic World (suitable for 12+)?
Jurassic Park screens at 11 am on 2oth March and Jurassic World screens at 2 pm. Hit the links to book your FREE tickets through Eventbrite. There is also junk modelling from 1 pm so why not have a go at making your own junk model dinosaur to take home?
The Whitworth
Another fantastic FREE event as part of the GMOFF at The Whitworth on Saturday 26th March 2016.
Enjoy a screening of the stop-motion animation Fantastic Mr Fox (PG) in The Whitworth’s Grand Hall. After the film, there is also the opportunity to take part in a family art activity led by The Whitworth. You will be able to have a go at making 3D art inspired by Mr Fox and co. and the wildlife in Whitworth Park. Recommended for ages 7+ and all under 16’s must be accompanied by an adult.
Interested? Booking in advance is a must. Hit the link!
National Football Museum
Finally, for budding footballers – courtesy of the GMOFF, there is a FREE screening of Carlitos and the Chance of a Lifetime at the National Football Museum on Sunday 27th March 2016. The screening starts at 11 and is recommended for ages 9 and over – however, it is a Spanish film with English subtitles which many younger children will struggle to follow. Under 16’s must be accompanied by an adult and any adults must be accompanied by a child. You can book through Eventbrite here.
Upstaged Manchester would like to wish you all a happy Easter and it would be super to hear your views on any of the shows or activities.
Please tweet your mini reviews to @UpstagedMCR #upstagedfamily
A curtain featuring a pretty painted seaside picture lifts slowly to reveal Tom Piper’s suitably grimy set – rusty, damp and closed off from the world. There are two small windows offering a peek outside, but you’ll need a ladder to reach them and a cloth to clean them. Samuel Beckett’s Endgame is an extraordinary piece of writing, a classic of modern theatre and this collaboration between the Citizens Theatre and HOME is as vital and as macabre as it should be.
Taking on the roles of chair bound and blind master Hamm and his dutiful servant Clov are Coronation Street favourites, David Neilson aka Roy Cropper and Chris Gascoyne, who plays Peter Barlow. Existing somewhere between life and death, far from the cobbles and chatter of Weatherfield, Hamm (David Neilson) and Clov (Chris Gascoyne)are inextricably bound to one another and spend their existence verbally brawling at each other. Hamm’s parents, Nagg (Peter Kelly) and Nell (Barbara Rafferty) occupy two bins on the stage offering Hamm a glimpse of memory and nostalgia.
Director Dominic Hill brings out every bit of detail in the script, finding new subtlety and absolute meaning in the bleak and absurd world that the characters inhabit. Endgame is not without humour – dark but strangely uplifting at the same time, and it is this ambiguity, masterfully brought out by Hill, that makes it so compelling.
Neilson and Gascoyne give striking physical performances throughout, their peculiar and repetitive traits build upon Beckett’s very particular stage directions. Chris Gascoyne’s timing and physicality as Clov is superb; unable to sit down and constantly threatening to leave, he excels in bringing out the elements of slapstick. David Neilson is brilliant as Hamm, intelligent and matter-of-fact, nothing is rushed here and every word is loaded with meaning.
I read somewhere that Gascoyne and Neilson, having been in Coronation Street, are hoping to bring in an audience who possibly haven’t been to the theatre or haven’t seen any of Beckett’s work before, which is a really positive thought. On the evening that I attended, I was thrilled to sit next to the world’s leading Beckett scholar James Knowlson OBE – a personal friend of Beckett and writer of his biography, Damned to Fame. Amidst the noisy applause, James Knowlson was shouting his approval and later described the production to me as ‘extraordinary’. Now that has to be a worthy testimonial.
-Kristy Stott
Endgame is on at HOME, Manchester (2 Tony Wilson Place, M15 4FN) until Saturday 12th March 2016 and you can click here for tickets.
2016 marks the 400th anniversary year of William Shakespeare’s death and so it seems fitting that HOME are kicking off their new season with an intense, engaging and unsettling adaptation of the Bard’s Macbeth.
Directed by Carrie Cracknell and Lucy Guerin, this production is startlingly different to any other versions of Macbeth I have seen before. It’s a highly visual production exploring the main themes of Macbeth’s breakdown and the supernatural through a fusion of Shakespeare’s original words and stunning choreography.
The stage is set like a concrete tunnel – there is no muddy battlefield and death does not occur by the sword. LizzieClachan’s claustrophobic but clever set design shifts and opens to reveal torture rooms where executions are carried out by suffocation or electrocution. Bodies wrapped in plastic bags and duct tape are moved about the stage; plastic bags are used to suffocate and transparent plastic suits are worn by the soldiers. There is a lot of plastic used in this production – even the tablecloth in the banquet scene is sterile, wipe-down plastic – all fully suggestive of the unnatural world that Macbeth inhabits and the supernatural theme running through the original text.
Neil Austin’s eerie lighting design really intensifies the production, clinical blue-white lights cast menacing silhouettes and flash lighting reveals bursts of violence and brutality. Lurking in the depths are the three Witches Ana Beatriz Meireles, JessieOshodi and Clemmie Sveaas. A dominant force, they use little speech but contort and glide unpredictably about the stage – the few words and sounds they make are woven into their fluid movements. And this production is at its best when the text and movement are fully integrated.
John Heffernan impresses as Macbeth, his physicality perfectly representative of a man overrun by mania. Fully committed to the requirements of this adaptation – from the erratic behaviour and uncontrollable laughter in the banquet scene to the measured low pitch tone of his soliloquies. Anna Maxwell Martin’s Lady Macbeth is cool, sensual and pleasingly peculiar but at times appears constricted by the Shakespearean verse.
This is an engaging, unsettling and scary reimagining of William Shakespeare’s Macbeth. The elements of movement and dance are the real merit of this production – high quality and executed powerfully. Compelling choreography to the beat of the iambic pentameter.
-Kristy Stott
Macbeth is on at HOME, Manchester (2 Tony Wilson Place, M15 4FN) until Saturday 6th February 2016 and you can click here for tickets.
It has been an exciting year for Upstaged Manchester and I feel blessed and nostalgic as I remember the productions that have lifted my heart, helped me to question and generally captivated me this year. Here is a list of my theatrical highlights for 2015.
Yen at The Royal Exchange
I couldn’t shake this 2013 Bruntwood Prize Winner by Anna Jordan for quite a while – it left my mind doing somersaults. Jordan’s phenomenal writing and her vivid characters combined with Ned Bennett’s clever direction and Georgia Lowe’s sparse set design gave an unforgettable fusion of total brilliance.
Nirbhaya at The Contact Theatre
This brave, real and haunting piece of work, exploring the effect of the brutal attack that Jyoti Singh endured on board a bus in Delhi on December 16th 2012, stopped me in my tracks and left me speechless. A perfect example of the role that theatre has in spreading an important message and how art can bring about change.
Shooting With Light at The Lowry
This is by far the best production I have ever seen in the Lowry Studio – slick choreography and an atmospheric soundscape. Idol Motion will certainly be a theatre company that I will be looking out for in 2016.
The Rolling Stone at The Royal Exchange
The Rolling Stone had me captivated – on the edge of my seat throughout. With outstanding performances from all, Chris Urch’s Bruntwood Prize Winner about the persecution of gay men in Uganda stays with you for a long time. I am so pleased that it is being performed at Orange Tree Theatre in January and February of 2016.
I had never seen a farce done well – until I saw this version of Boeing Boeing directed by Robin Herford. An energetic production with an outstanding cast – their timing and delivery was impeccable. It really lifted my heart to see the performance propelled along by gasps, laughter and impromptu applause from the audience.
The combination of Jonathan Harvey’s brilliant writing and Nikolai Foster’s intelligent direction managed to bring out every nuance in the script – I found myself noticing elements that I hadn’t fully appreciated in previous interpretations. 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.
Kafka’s Monkey at HOME
What an accomplished performer Kathryn Hunter is – such a rich tone and incredible physicality. Masterfully directed by Walter Meierjohann, I feel blessed to have witnessed a performance like this – this show certainly put Manchester’s new arts space HOME on the map.
Golem at HOME
A true theatrical spectacle and a perfect amalgam of animation, live performance, music and claymation. Golem was like nothing that I had ever seen before – sharp interaction between the performers, Paul Barritt’s eye-popping animation and Lillian Henley’s brilliant silent movie-esque score.
The Curious Incident of the Dog in the Night-Time at The Lowry
The Curious Incident of the Dog in the Night-Time is a tremendous piece of theatre – a perfect collaboration with outstanding performances throughout. Gripping and heartfelt – the perfect example of the power that theatre has to change the way that we view the world.
Well, I’m a big fan of Wicked and despite having seen the production before it just gets better and better for me every time. With magnificent music and lyrics, Wicked is a theatrical feast for your eyes, ears and hearts.
Merry Christmas to each and every one of you – thank you for all of your support this year.
I was thrilled to attend HOME in Manchester last night to watch the weird and wonderful production, GOLEM by theatre company 1927 Productions. Following rave reviews at the Young Vic and then the West End, I was eager to find out what the Northern audience would make of this unique piece of theatre which fuses animation, live performance, music and claymation.
Golem is like nothing I have ever seen before. It is a potent 90 minute brew of witty animation and quirky physicality – the sharp interaction between the performers and Paul Barritt’s eye popping animation is skilful and is carried along smoothly by LillianHenley’s brilliant silent movie-esque score.
Greeted by the voiceover ‘We live in a world where people want for nothing, we are safe and secure – we are progressive’ we are introduced to the family, librarian Annie (Charlotte Dubery), her nerdy brother Robert (Shamira Turner) and their Granny (RoseRobinson).They are a creepy looking crew who look as though they have been peeled from the pages of a Roald Dahl book. Annie fronts a punk band called Annie and the Underdogs, whose members consist of her gawky brother Robert and their equally awkward looking peers.
Writer and director Suzanne Andrade turns the Jewish myth of bumbling clay monster Golem into a modern day commentary on consumer capitalism, when Robert visits the sleazy inventor Phil Sylocate (Will Close) to purchase a Golem of his very own.
Golem, with the silky voice of Ben Whitehead from Wallace and Gromit, reminds me of Tony Hart’s Morph except considerably more well endowed. At first the heavy setted clay creature seems kind and helpful when he speeds through Robert’s work ‘backing up the back-up’ at the technology company. Though, it soon becomes apparent that Golem is a strike at technology and and how quickly it can take over. With Robert now a more fashionable version of himself and with a girlfriend in tow – it’s only a matter of time before Golem version 2 is released ‘ Move with the times or you’ll be left behind’ it repeats – speedier, compact and even more controlling.
Golem manages to integrate every single artistic element immaculately – from the writing to the lighting scheme. The animation becomes a character of its very own – with the actors popping their heads through windows and doors in the screen as the Looney Tune style spotlight finds them. The energetic cast of five play many different characters between them with Lillian Henley and Will Close also nipping about to play the live soundtrack on the keyboard and drums either side of the stage.
Golem is a true theatrical spectacle, inventive and perfectly synchronised – but don’t just take my word for it, go see for yourselves…
Manchester’s newest arts centre HOME thrust open its doors for its official HOMEwarming celebration last week. Following the merger between the Manchester’s Cornerhouse and Library Theatre Company, the first theatre production at the new venue is perhaps a fitting fusion of old and new. The Funfair is Simon Stephens‘ new version of Ödön von Horváth‘s masterpiece, Kasimir and Karoline. There has been a huge build-up for this production and the stakes have been set quite high and sadly, The Funfair does not live up to its expectations.
Directed by Walter Meierjohann, The Funfair follows twenty four hours in the lives of two young lovers who are on the verge of splitting up. Cash (Ben Batt) has recently lost his job as a chauffeur and now fears that he will lose his girlfriend, Caroline (KatieMoore) too. In a strange and twisted parallel relationship, Frankie Marr (Michael Ryan) and Esther (Victoria Gee) already inhabit the lowest depths of despair, a world of unemployment, anger and dirt – surviving in the only way that they can.
Set in Manchester, to the backdrop of the recession and massive social unrest, the characters are unable to free themselves from the disorientating reality of the funfair. TiGreen‘s dark and distorted stage design suggests the hopeless and cyclical world which the characters fight to exist in – a revolving stage, haunting carousel and dark figures watching on from the hidden corners in the set, all manage to create an unsettling and uncomfortable atmosphere, complemented by Mike Gunning’s lighting design.
The Funfair is relentlessly bleak and despite the odd grasp at humour and the wonderful live band playing a soundtrack of popular songs – it is awkwardly politically defined and too repetitive. There is little hope for any of the characters, who are reduced to caricatures, particularly the women who are victims of abuse and are objectified in an uncomfortable sexist world. Victoria Gee’s portrayal of Esther is perhaps the only exception to this – her impressive performance is stripped back, we care about her and she gives us the only shard of hope for the future.
The Funfair is a bold first production by HOME which makes me feel thrilled to be part of the Manchester theatre scene. However, it left me feeling as if I had overindulged in candyfloss and then taken the wildest ride on the waltzers. A sensory overload but nevertheless an arresting showcase for HOME’s production capabilities which makes me very excited for the future.
-Kristy Stott
The Funfair is on at HOME, Manchester (2 Tony Wilson Place, M15 4FN) until 13 June 2015.
SPECIAL ANNOUNCEMENT: Michael Morpurgo will be available to meet and greet members of the audience after the performance!
Tessa Bide brings her solo show, 
