Kristy Stott Archives - UPSTAGED MANCHESTER

REVIEW: Black Men Walking (Royal Exchange, Manchester)

January 24, 2018January 26, 2018kristobel

Upstaged Rating:⭐⭐⭐⭐

Inspired by a real-life Sheffield-based Black men’s walking group, Black Men Walking is an influential and compelling brand new play written by Leeds-based rapper and theatre-maker Testament (aka Andy Brooks) in collaboration with Eclipse Theatre Company.

On the first Saturday of every month, a group of Black men meet to ramble through the Peak District. Taking in Yorkshire’s breathtaking landscape – it’s a way of escaping the day to day, making new friends and sharing their identity as Black and British together. The men talk about their own personal life experiences and discuss stories of the Black people who walked Yorkshire long before them; reaching as far back as Roman times, they claim it was an African who put the York into Yorkshire.

This particular Saturday it is just Thomas (Tyrone Huggins), Matthew (Trevor Laird) and Richard (Tonderai Munyevu) who show up for the monthly walk as the other group members have been deterred, due to the stormy weather forecast. The characters are beautifully layered, and each of their different experiences are explored, from difficult family relationships and music to racism and the way the media portray Black men.

Under Dawn Walton’s well-paced direction, Tonderai Munyevu gives a finely nuanced performance as Richard – fresh from a Star Trek convention and laden with a selection of chocolate bars, he is kind-natured and incredibly funny. Southerner Matthew is strongly portrayed by Trevor Laird – a doctor and family man, who is constantly receiving messages on his phone, hinting that he has some issues at home. Tyrone Huggins’ Thomas is the most senior member of the group, possibly showing early signs of memory problems and hallucinations associated with dementia. When the men find young millennial Ayeesha, played by the captivating Dorcas Sebuyange, on the top of the Peaks, their experience swiftly changes as the full complexities associated with being Black and British are unravelled.

Testament’s writing is poetic and punchy; honest and important; witty and urgent. Black Men Walking faces stereotypes head on and then blows them apart in order to present the real identities of Black people living in Britain today. This is a much-needed production which seeks to illuminate Black Britain’s important identities and missing histories.

-Kristy Stott

Black Men Walking runs at Manchester’s Royal Exchange until 3 February 2018.

Our favourite productions of 2017

December 23, 2017kristobel

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We’ve had premieres, modern adaptations and watched some shows receive West End transfers – the Manchester stages have been truly brilliant this year. Here is Upstaged Manchester’s round-up of theatrical highlights through 2017. Which shows would make your list?

The Suppliant Women at the Royal Exchange

The Suppliant Women was certainly one of the most extraordinary theatrical events that I have ever seen. Debating ideas of identity and asylum, the story strikes a shrill chord now – in our current migrant crisis – as it ever did over two thousand years ago. The most impressive aspect of this show was the chorus, made up of thirty-five girls aged between 16 and 26. Thrilling, shocking and painfully good. The Suppliant Women is just one jewel in what has been a bold and exciting season for the Royal Exchange.

The Father at Oldham Coliseum

It is rare that we experience dementia from the perspective of the person who is struggling with it, rather we experience it from the viewpoint of family members and carers. Oldham Coliseum triumphed in presenting The Father, a highly engaging but charming, heart-rending though witty, interpretation of Andre’s struggle with the disease. With a tremendous performance from Kenneth Alan Taylor, many people were left moved as the show came down. This was a flawless production that managed to get people talking, sharing and understanding dementia together.

The Band at The Opera House

The Band is a complete triumph – it’s not just a musical for Take That groupies, but a musical for anybody who grew up with a boyband. Tugging hard at your heartstrings and tickling your funny bone, with a sterling cast and Take That’s wonderful floor-fillers, I was thrilled to find out that the musical will tour for an extra year following the huge demand for tickets. Truly feel-good and fabulous.

Uncle Vanya at HOME

Director Walter Meierjohann brought this deeply layered and finely nuanced production to complete fruition. Fascinating and truly absorbing, every word managed to strike new meaning. Nick Holder’s Uncle Vanya straddled the tragicomic perfectly, giving the best Vanya that I have seen, and all of the ensemble gave top-notch performances. This interpretation of the Chekov favourite was completely consuming.

Reviewer – Elise Gallagher:

Yank! at Hope Mill Theatre

My first review for Upstaged and my introduction to a fantastic venue – Hope Mill Theatre. A fresh musical which I feel took everyone by surprise and has introduced a new chapter of theatre in Manchester. I was thrilled to hear that Yank! received a well-deserved West End transfer.

Jane Eyre at The Lowry

One of my favourite stories translated onto the stage – it broke my heart (but in a good way!) and did Charlotte Bronte justice. Adapting a novel for the stage is a challenging prospect, especially such a timeless classic like Jane Eyre.

Reviewer: Daniel Shipman

Cotton Panic (MIF) at Upper Campfield Market Hall

Manchester International Festival audiences who ventured away from Festival Square, down Deansgate to the atmospheric Upper Campfield Market Hall were rewarded with a powerhouse performance from Jane Horrocks in Cotton Panic. This linked Manchester’s industrial heritage to the US Civil War in a truly enlightening way, whilst also serving up an innovative, entertaining, genre-defying piece of theatre. For me, it was the highlight of the festival.

People, Places and Things at HOME

Following a 2015 debut at London’s National Theatre, the touring version of Headlong’s People, Places & Things opened at HOME in September 2017. A perfect example of how to bring quality theatre out of London, this production drew on seemingly limitless reserves of energy to propel the audience through a tale of addiction and recovery. Lisa Dwyer Hogg had big shoes to fill after Denise Gough won an Olivier in the central role, but the power and nuance of her performance blew me away.

How to Save the World Without Really Trying at HOME

This was my first experience of self-described ‘drag aliens’ Bourgeois & Maurice, and I am already a devoted fan. The chemistry between the two is as good as you will ever see on stage, and the songs are well-written and hilarious. Get along to one of their shows if you possibly can, and if not check out their albums on Spotify.

Merry Christmas to each and every one of you – thank you for all of your support this year.

Wishing you all the best in 2018.

-Kristy Stott

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REVIEW: Guys and Dolls (Royal Exchange, Manchester)

December 9, 2017December 9, 2017kristobel

Upstaged Rating:⭐⭐⭐⭐⭐

The Royal Exchange have pulled a Christmas cracker of a show this festive season with their lively and glamorous interpretation of Frank Loesser’s Guys and Dolls. With Michael Buffong at the helm, the action is set in the heart of the Harlem Renaissance, encapsulating the vigour of Black America at this time – this is feel-good, toe-tappingly fabulous theatre from beginning to end.

The action centres around the gambling world – where a roll of the dice can settle even the most awkward of arguments. With every new day comes a new hustle – but will their luck stick when they try to gamble with love?

With arguably the most beautiful cast that I have seen on stage in some time, vibrant musical numbers and slick scene changes – Talawa Theatre Co’s Guys and Dolls is charming, witty and packed with sentiment. Capturing the swing and soul of Harlem in the late 1930’s and the sensual, eclectic vibe of Havana – Kenrick ‘H20’ Sandy’s choreography is a delight. With a roll of the dice, ‘Luck Be A Lady’ is a swinging, clicking sensation and a gospel style ‘Sit Down, You’re Rockin’ The Boat’ exudes energy and fun, led with vigour by Ako Mitchell, as a towering Nicely-Nicely Johnson.

In a suit as blue as his name, Ashley Zhangazha is hugely charismatic as the infamous Sky Masterson – exuding boyish charm, holding the audiences gaze from the very start. Abiona Omonua shows versatility in her voice and gives a wonderfully nuanced performance as Salvation Army Sergeant Sarah Brown – demonstrating control in her mission to convert the gambling sinners of Harlem while also revealing her adventurous side in Havana.

Ray Fearon as Nathan Detroit and Lucy Vandi as cabaret singer Miss Adelaide, who has been waiting 14 years for a marriage proposal – share some poignant comic moments. Vandi’s ‘A Person Could Develop a Cold’ is a highlight – revealing the humour behind the tragic realisation of her situation in love.

Michael Buffong’s Guys and Dolls is the perfect celebratory Christmas production. Playing out in-the-round on the Royal Exchange’s iconic stage, you’ll be left with a spring in your step and a smile on your face long after leaving the theatre. This is a performance that should not be missed.

-Kristy Stott

Guys and Dolls HAS NOW BEEN EXTENDED and runs until 3rd February 2018.

REVIEW: Dick Whittington (Oldham Coliseum, Oldham)

November 14, 2017December 15, 2017kristobel

Simeon Truby as King Rat at the Oldham Coliseum. © Joel C Fildes — Simeon Truby as King Rat at the Oldham Coliseum.
© Joel C Fildes

Upstaged Rating: ⭐⭐⭐⭐

The team at Oldham Coliseum always deliver a Christmas cracker with their traditional, cheeky pantomime fun and this year is no exception. The talented team of familiar faces are back to showcase all of the traditional elements of pantomime. With plenty of audience engagement, hilariously messy slapstick, innuendo for the grown-ups and sweeties for the little ones – there is plenty for the whole family to enjoy this festive season at Oldham Coliseum.

Penned by director Kevin Shaw and Fine Time Fontayne, Dick Whittington (Nina Shadi) follows a simple narrative about a young man from Oldham who travels South to seek his fortune. Driven by the belief that the streets of London are paved with gold – he soon finds out that they are overrun with rats but tries to make the best of it when he meets Alice (Shorelle Hepkin), the daughter of bumbling Sir Ivo Fitzwarren (Ralph Birtwell).

It’s great to see Fine Time Fontayne back as the pantomime dame, following his injury last year – he is truly entertaining and strikes a real chord with the audience. With an array of fabulous food-themed costumes and vibrant Doc Martens, designer Celia Perkins has really excelled herself this year. In fact, the whole show looks as though it has been peeled from the pages of a children’s picture-book, providing a pleasing backdrop for the pantomime mayhem and magic to play out.

Alongside Fine Time Fontayne there is a host of fabulous Oldham Coliseum panto favourites – Richard J Fletcher is a comical success as Silly Billy Suet and is always a hit with the young crowd; Liz Carney takes on three larger-than-life roles – showcasing her ability to slip between costumes and accents, she is a triumph as Fairy Godmother Nell, Captain Bonny and the Sultana of Morocco. Simeon Truby gets the crowd going as evil baddie King Rat – his Rat Out Of Hell Meatloaf cover is definitely a highlight of the night and gets a pleasing cheer from the audience before they remember to boo and hiss. Miley Rose impresses as somersaulting Tom the Cat.

Oldham Coliseum’s Dick Whittington is everything that a pantomime should be. With plenty of laugh-out-loud moments, David Bintley’s lively musical score and the opportunity to interact with the performance – all taking place in an ideal sized theatre, where everyone feels part of the action. Dick Whittington is packed with festive magic, mischief and good old-fashioned fun – the perfect production to share with all of the family this Christmas.

-Kristy Stott

Dick Whittington runs at Oldham Coliseum until 13th January 2018 and you can get your tickets here.

REVIEW: Uncle Vanya (HOME, Manchester)

November 9, 2017kristobel

Upstaged Rating:

Taking inspiration from the 100th anniversary of the Russian Revolution, HOME Manchester present Andrew Upton’s beautifully touching translation of Anton Chekov’s Uncle Vanya.

Over one hundred and fifty years have passed since Chekov’s birth and his plays have become almost as much part of British theatre’s repertoire as Shakespeare. Uncle Vanya is a complete masterpiece – portraying a society on the brink of change and an uncertain political climate – it was a revolutionary play for its time, written twenty years before the Russian Revolution. Most startlingly, to a modern audience, Uncle Vanya offers a timely commentary about the world we inhabit right now.

Director Walter Meierjohann has brought this deeply layered and finely nuanced production to complete fruition. Fascinating and truly absorbing, every word resonates and strikes new meaning – Meierjohann has teased and provoked to create a stunning theatrical feast which resonates powerfully with a contemporary audience.

Nick Holder’s Uncle Vanya straddles the tragicomic, playing the title role in a way Chekov would have applauded. Emerging as a yawning buffoon, then doe-eyed and needy, as he fawns over the Professor’s beautiful wife, Yelena. Holder interweaves comedy and anguish perfectly giving the best Vanya that I have ever seen.

Chekhov’s work is always about the ensemble and there is a host of top-notch performances in this production. Katie West gives us a gentle, diligent and honest Sonya against Hara Yannas’ beautifully elegant but idle Yelena. David Fleeshman’s gout-ridden Professor is suitably embittered by the onset of old age; Jason Merrells is brilliant as Astrov, a character who was viewed as a visionary and radical outsider at the time the play was first written; now, Astrov and his passionate appeals to plant seeds, nurture our environment and take responsibility for our society, strikes a resounding chord.

A self-playing piano haunts the characters from the back of the stage and provides a melancholic musical score composed by Marc Tritschler. The unkempt estate that the characters inhabit is suggested perfectly by Steffi Wuster’s minimalist though effective set design.

This production is completely consuming. Like a beautiful meal, I leave HOME feeling content and full with no bitter aftertaste.

-Kristy Stott

Uncle Vanya runs at HOME, Manchester until Saturday 25th November 2017 and you can get your tickets here.

REVIEW: Get A Clue ( The Arden School of Theatre: The Waterside Theatre, Manchester)

November 6, 2017kristobel

Get A Clue by The Arden School of Theatre, Manchester

Upstaged Rating: ⭐⭐⭐⭐

Get A Clue is the latest performance piece produced and performed by the third year BA (Hons) Dance and Performance students at The Arden Theatre School. The whole hour-long piece has been choreographed in just four weeks as a collaboration with international choreographer and dance storyteller, Cindy Claes.

Armed with detective style magnifying glasses, realms of unsolved case papers and a lifetime supply of paperclips, the talented ensemble present an alternative perspective on the life of a crime-solving detective. Fusing spoken word with hip-hop, dancehall and contemporary dance, the performers fill the space with energy and a good dose of wit as they showcase their skills.

The performance commences with our lead detective and her portfolio of unsolved cases – in a beautifully stylised and rhythmical sequence each file is presented to her. Uttering the subject of each case, the dancers slam each heavy pile of papers down in front of the detective. My only qualm is that this opening section may have been stronger if it had taken place in the middle of the stage.

Slowly, our detective feels the pressure of her increasingly heavy workload – she appears to become more concerned with the way that her papers are held together, than with the actual content of each case. Will she ever find her missing papers clips? Are her deceptive colleagues hiding the paper clips from her?

Paper fills the stage as it is thrown around in a display of disorganisation and madness creating a visual display of unease and chaos. Our dishevelled detective lies sprawled on the floor in the centre. Beautifully simple but powerful imagery.

There are some delightful sequences when the whole company is on stage together. The line-up was a highlight for me – simple choreography and clever storytelling by the ensemble. There is also some entertaining slapstick storytelling as two of the detective’s assistants quarrel over a chair. Each facial expression by the cast further adds to the narrative.

A dance off between our lead detective and a rival detective was particularly pleasing – confined to the simple ‘click’ – how far could these two take this basic movement to appear better than the other? Georgina Thompstone certainly shines as being a capable dancer and skilled storyteller.

This was a wonderfully entertaining showcase from a group of highly talented young dancers, who have a very bright future ahead of them. Well done!

-Kristy Stott

REVIEW: Khloé Kardashian ( The Arden School of Theatre: Waterside Theatre, Manchester)

October 14, 2017October 17, 2017kristobel1 Comment

upstaged rating:

The opening words of Chekhov’s play, The Three Sisters are projected at the back of the stage before we are introduced to a man in a mouse suit who calmly describes our journey to the theatre today. The Three Sisters is set in a Russian provincial town but we are sat in a black box theatre in the centre of Manchester. Devised and performed by the students at The Arden, Khloé Kardashian explores the real time and space of performance.

Working with the live-art and experimental theatre group, Sleepwalk Collective, the current cohort of the BA (Hons) Theatre and Performance at The Arden, have created a deeply profound contemporary piece, which certainly encourages the audience to search for their own narrative outside of the confines of the performance space.

Using a Christopher Brett Bailey inspired soundscape, beautifully overwhelming and uneasy at times, we are introduced to six different personas (Paul Burke, Tristan Chadwick, Lily Rae Hewitt Jasilek, Sam Lowe, Frank Macdonald and Kate Smith) – their voices are only ever heard when they speak down a microphone.

Reminiscent of Forced Entertainment, particularly Bloody Mess, the costumes worn by each of the performers suggest narratives for their personas. We have the darkly comical mouse with his deadpan delivery; we wonder if the elegant lady in the red dress is somehow connected to the dapper gentleman with the cummerbund. A pregnant F1 pit girl totters along pushing a small television into the view of the audience. As the audience, we are encouraged to be active in drawing the dots on these fragmented narratives. The whole production is carefully and intelligently sculpted – there is always something different for the audience to cast their eye over.

Khloé Kardashian is a densely layered and poignant performance piece, occupying the space between text and performance – it seeks to deconstruct Chekhov and expose the illusion associated with such a naturalistic performance style. A props table is packed full of antiquities in stark view of the audience. One performer toasts a piece of bread before another chews on a cracker as he reels off Facebook-style memes into the microphone. Every little sound is heightened here – it feels awkward, fascinating and strangely entertaining.

As the darkness falls at the end of the performance to the sound of the haunting and relentless slow clap, I wondered if some themes could be excavated further as individual performance pieces. Such an absorbing performance with definite scope for further development.

-Kristy Stott

The Jungle Book (The Lowry Theatre, Salford Quays)

August 31, 2017kristobel

Metta Theatre's The Jungle Book ©Richard Davenport — Metta Theatre’s The Jungle Book
©Richard Davenport

upstaged rating:

Metta Theatre are front runners in cross art form theatre practice and this week they’ve somersaulted into The Lowry, Salford with their refreshing and radical interpretation of Rudyard Kipling’s classic tale, The Jungle Book.

Using a vibrant and intoxicating fusion of hip-hop, street dance, circus and storytelling, Metta’s Jungle Book is suitable for all ages 8 and up. Thing 1 (age 11), a dancer and Thing 2, (almost 8 and a keen back flipper) were gripped by the acrobatics, agility and aerial hoop display. The production swaps the original setting of the Indian jungle for the mean streets of the urban jungle in Britain, which may initially be a strange concept for younger children who are big fans of the cute Disney version. Though pleasingly, Metta Theatre challenge the well-loved tale and turn it on its head. Quite literally.

Adapted by Metta’s visionary director, Poppy Burton-Morgan – Mowgli (Nathalie Alison) is a lively young girl with a shock of black hair who has been brought up by Akela (Matt Knight) and his pack of skateboarding wolves, after finding herself abandoned. The beat-loving bin man Baloo (Stefano Addae) delivers a prologue which serves introduce the audience to each of the characters – be prepared for a graffiti artist Baghera (Kloé Dean), a pole-dancing Kaa (Ellen Wolf) and an intimidating ‘bone-breaking’ (wince) Shere Khan (Kaner Scott). It’s a clever conceit – each of the main characters are still present but they have been reshaped to reflect multi-cultural Britain and the way society views those who go against the grain.

Designer William Reynolds’ effective set of street lamps and barriers is perfectly suggestive of the concrete jungle and provides the perfect playground for the performers to dangle, pivot and climb.

Kendra J Horsburgh’s striking choreography sees the performers fill the stage with flair and grace. Ellen Wolf displays remarkable strength and mastery as she curls and hangs from a street lamp as Kaa and Matt Knight’s Akela demonstrates superb acrobatics and street-dance skills. Nathalie Alison shines as Mowgli – weaving, spinning and balancing with absolute finesse and beauty.

The Jungle Book positively bursts with creativity, talent and passion. Each performer excels at their own individual skill and as each character, but the ensemble are at their most impressive when they occupy the stage together. This is a highly captivating show for younger theatre goers to enjoy, though cleverly, it offers a more mature social commentary on the Kipling classic – making it suitable for children and adults alike.

-Kristy Stott

The Jungle Book runs until Saturday 2nd September 2017 at The Lowry Theatre, Salford.

REVIEW: Silver Lining (The Lowry Theatre, Salford Quays)

April 5, 2017kristobel

Silver Lining - A new comedy by Sandi Toksvig © Mark Douet — Silver Lining – A new comedy by Sandi Toksvig
© Mark Douet

upstaged rating:

Storm Vera is battering the UK and people are being evacuated from their riverside homes following the imminent threat of severe flooding. With the promise that emergency services are on their way, five older age ladies wait patiently on the first floor of the Silver Retirement Home in Gravesend for help to arrive. As time ticks on and the water level rises it becomes apparent that the women have been forgotten about.

Silver Lining is a new comedy by the writer, actor, presenter and political activist Sandi Toksvig which explores the lives of five extraordinary yet forgotten older women. With only one young agency carer Hope Daley (Keziah Joseph) to assist them, the ladies realise their only chance of survival is to pull together and forge their own ‘sink or swim’ escape.

Sandi Toksvig took her inspiration for the play from the observation that there are many hugely talented older age female artists competing for very few interesting roles. The play really is a celebration of older women taking to the stage. However, despite the pressing, current and liberating subject matter, in a time of a social care crisis, Silver Lining still manages to limit itself with stereotypes of older age women. And certainly, the first Act feels mechanical, propelled by gags about death and bowels.

It isn’t really until Act Two that we really begin to get under the skin of the characters with the fruition of their ‘Great Escape’ mission. Sheila Reid gives a sparkling performance as leopard print wearing, selfie taking Gloria. Reid is suggestive of the colourful and indulgent life that the ex-barmaid has lived – boldly cracking sexual taboo’s not normally spoken about by older women. Perhaps most notably there is a beautiful monologue given by Amanda Walker as St Michael which gives a poignant description of life from the perception of somebody with dementia.

There is plenty of charm and warmth to be found in the chemistry between each of the performers. Michael Taylor’s intricate residential home set design sums up the functional, oppressive environment that the women inhabit; Mark Doubleday’s lighting design works with Mic Pool’s clever sound design to create the illusion of a storm wreaking havoc outside. Aside from this, Silver Lining isn’t quite watertight and lacks the lustre that the title promises.

-Kristy Stott

Silver Lining runs at The Lowry until Saturday 8th April 2017 and tickets are available here.

REVIEW: Birmingham Royal Ballet’s Cinderella (The Lowry Theatre, Salford)

March 2, 2017March 2, 2017kristobel

Birmingham Royal Ballet - Cinderella ©BILL COOPER — Birmingham Royal Ballet – Cinderella ©BILL COOPER

upstaged rating:

Conjuring up all of the charm, magic and celebration of the fairytale, Birmingham Royal Ballet’s Cinderella is an absolute delight. With David Bintley at the helm, the enchanting story of Cinderella is brought to the stage in a celebration of ballet, childhood stories and the idea that our wildest dreams can come true.

Staged over three acts, the Birmingham Royal Ballet present the timeless tale of Cinderella in their traditional but nonetheless awe-inspiring fashion. Poor Cinderella spends most of her days in the scullery answering to her cruel stepmother and her ugly step-sisters. Marion Tait as the Stepmother, flanked by the two ugly stepsisters, is suitably prickly and unkind to Cinderella. Samara Downs gives an admirable comic performance as Skinny alongside Laura Purkiss as cake-scoffing Dumpy. With impeccable timing, the three characters add some wonderful slapstick moments – their wit and foolery providing a striking contrast against the elegance and poise of the pas de deux between Cinderella, danced faultlessly by Jenna Roberts, and The Prince played with charisma and athleticism by William Bracewell.

Set design by John F. MacFarlane complements each section of the ballet perfectly – the grey, dank kitchen where Cinderella serves her stepfamily contrasts with the picture book beauty and infinity of the starry sky on the night she meets The Prince. MacFarlane’s costume design is imaginative – frogs, lizards and mice grace the stage, tutu’s twinkle in the ensemble under David A. Finn’s clever lighting design.

Birmingham’s Royal Ballet’s Cinderella was well received, by an audience of all ages, on the night that I attended. The familiar and charming tale of Cinderella and her Prince make this show more accessible to younger ballet lovers or those attending the ballet for the very first time. This enchanting production is a balletic feast of technical brilliance, striking scenery and scintillating costume. Set to Prokofiev’s spellbinding score, stunningly played by the Royal Ballet Sinfonia, there is much to enjoy in this breathtaking production.

-Kristy Stott

Birmingham Royal Ballet’s Cinderella is at The Lowry, Salford until Saturday 4th March 2017 and you can get your tickets here.

The tour continues at Theatre Royal Plymouth from 8th-11th March and Sunderland Empire from 16th -18th March.