Review: Minefield at HOME

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

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

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

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

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

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

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

-Megan Hyland

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

Review: The Flying Lovers of Vitebsk

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: Friends for All at Z-Arts

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.

 

 

Our favourite productions of 2017

20171223_133820

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

Kenneth Alan Taylor in The Father at Oldham Coliseum © Joel C Fildes
Kenneth Alan Taylor in The Father at Oldham Coliseum
© Joel C Fildes

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

Yank! at Hope Mill Theatre, Manchester © Anthony Robling
Yank! at Hope Mill Theatre, Manchester
© Anthony Robling

 

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

© Charl Marais
© Charl Marais

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

upstagedlogo

Review: Hot Brown Honey (HOME, Manchester)

© Dylan Evans
© Dylan Evans
UPstaged Reviewer: Megan Hyland
UPstaged Rating: ⭐⭐⭐⭐⭐

From the moment the women of Hot Brown Honey take to the stage, they immediately command your attention and awe. This award-winning show is an explosion of female rage against the systems that have held them back for so long and it is entirely unapologetic about it. It combines an eclectic range of dance, circus, striptease and song to deliver a truly powerful message that holds nothing back.

Kim Bowers a.k.a. Busty Beatz is the queen bee, here to educate and liberate us all. Armed to the teeth with striking quotes from fellow artists and activists, a pair of comedy breasts and some impressive rhymes, she does just that. From her position atop the hive, she fills the room with a volcanic energy and takes no prisoners. And as creator, musical director, composer and sound designer, she and fellow creator, director, choreographer and designer Lisa Fa’alafi have created a truly ground-breaking production unlike anything you’ve ever seen before – but will definitely want to see again.

However, beyond the colourful creativity and fun of the performance, there are some particularly poignant moments such as Crystal Stacey’s beautifully heart-stopping aerial piece about sexual assault. In another powerful piece, we see each of the women bring their cultures to life on stage, embracing their heritage through costume, dance and music. This show pushes all the boundaries and smashes every stereotype, fighting for the place of women of colour on stage and within society. It is a fierce, political battle cry that creates discussion and evokes feeling. It talks openly about every issue that it raises and teaches you that if you’re not angry already then you should be.

Hot Brown Honey is an independent feminist masterpiece that will make you think and leave you buzzing. The talent and confidence of these women is mesmerising, from Ofa Fotu’s stunningly soulful voice to Hope Hammi’s blazing beatboxing skills. And if that wasn’t enough to convince you, Hot Brown Honey is selling merchandise, the proceeds from which go towards funding childcare for the working mothers of the cast. It is an empowering must-see performance full of laughter, joy and truth that is entirely faultless and will have you out of your seat joining in. In the words of the mother – fighting the power never tasted so sweet.

-Megan Hyland

Hot Brown Honey runs at HOME, Manchester until 23 December 2017. 

Review: Dick Whittington (Opera House, Manchester)

Dick-Whittington-Opera-House-Manchester-
GUest REviewer: Ciaran Ward
Upstaged Rating: ⭐⭐⭐

From the initial curtain rise, the Manchester Opera House’s production of Dick Whittington had all the makings of a classic pantomime. With colourful costumes and rudimentary set designs (designed by Mike Coltman and Ian Westbrook/3D Creations, respectively), along with several esteemed faces from the entertainment industry in starring roles (Doctor Who star John Barrowman, and veteran comedians The Krankies), everything seemed to align with the conventions of the medium. However, a couple of scenes into the play, what could have been a fantastic show for children soon transformed into a smutty production for the attention of adults, with a series of sexual innuendos plaguing the subsequent dialogue for the remaining two hours.

 Whilst double entendres are a notable feature of pantomimes, anything filtered for the understanding of adults in this production became thinly-veiled upon the addition of lewd gestures, often on the part of Barrowman or Jimmy Krankie. What may have served as a form of entertainment in the 1980s, with The Krankies’ double act as a father and son, quickly developed into an uncomfortable experience for anyone with young children, as many references to their marital relations slipped out during moments when real-life husband and wife Ian and Janette Trough broke character.

 Despite disregarding its younger audiences with its adult content, the production redeemed itself through remaining fundamentally entertaining. Slapstick elements were rife in various scenes – particularly during a lyrically updated rendition of The Twelve Days of Christmas, where the main characters each threw away items of rubbish from under the sea whilst playfully hitting each other with the objects. An abundance of pyrotechnics (produced by Le Maitre) and a 3D video projection (supplied by Blue-i Technology Ltd) composed a greater visual aesthetic, forming the enchanting aspects of the show and conveying the wonder of the theatre for the younger audiences.

 The entertainment factor of the show, heightened by Tommy the Tabby Cat’s (portrayed by Ryan Kayode) Mancunian accent and Whittington’s inability to comprehend it, is sadly compromised by several cultural references to the real world. Allusions to Barrowman having had plastic surgery, and the listing of his television credits spanning from Torchwood to Arrow, instead of being apt improvisations, ultimately detract from the relatively undiscernible plot. Though Barrowman’s remains a great performer, exemplified through his frequent musical solos, his stage presence and charisma does little to rectify the transgressions the pantomime makes throughout its runtime.

-Ciaran Ward

Dick Whittington runs at Manchester’s Opera House until 7th January 2018.

REVIEW: Evita (Palace Theatre, Manchester)

 © Keith Pattison
© Keith Pattison
Guest REviewer: Karen Clough
Upstaged Rating: ⭐⭐⭐⭐

Evita tells the story of Eva Peron, who grew up in poverty in Argentina and found fame and adoration as an actress. She used her notoriety to highlight the struggles of less fortunate Argentinians, married a powerful military figure and went on to lead beside him as first lady when he was made President.

It’s suggested this role served her own need for love and adoration as much as it served the people’s need for hope and change. The significance of Eva’s appearance and her yearning for affection and validation from the people are themes which re-emerge throughout the show.

Set against the surrounding political unrest in Argentina in the 1940s-50s, many topics, such as sexism, objectification of women, social division and corruption are touched upon, and no doubt hold current relevance for a modern audience. Eva knows too well that her physical appeal can be used as a vehicle, to propel herself into a position of influence, as the face and heart of her country. 

Visually, this is a sophisticated production. The combined efforts of the set design (Matthew Wright), wardrobe team (Caroline Hannam, Caroline Heppell, Katie Bell, Billie Sanger, Hannah Forbes), choreographers (Bill Deamer, Kylie Anne Cruickshanks), orchestra (David Cullen) and lighting design (Tim Oliver, Mark Howett), ensure the audience are treated to a real ‘show’ experience. Under Bob Tomson and Bill Kenwright‘s direction, everyone and everything looks and sounds the part for a high-end stage musical.

As would be expected from a Lloyd -Webber & Rice production, the musical numbers keep on coming – 28 in total. If you struggle to stay with back-to-back singing, bear with it in the first half, it’s quite full-on. Helpfully, narration by Che (Gian Marco Schiaretti) joins things up very nicely. Often Eva’s biggest critic, he mingles smoothly between scenes and invites us to look beneath her polished, altruistic exterior. 

Madalena Alberto is a captivating and expressive Eva Peron, from ambitious teenager to passionate leader through to Eva’s ultimate frailty. Jeremy Secomb is strong as her militarised husband, Juan Peron. Their duet ‘You Must Love Me’ is a touching moment, where Secomb lets the more vulnerable side of the President show through.

‘Rainbow High’ provides a great example of the skilful choreography and visual appeal of the show. Alberto holds the audience in goose-bumped silence during her powerful and glamorous balcony performance of Evita hit, ‘Don’t Cry For Me, Argentina’.

This is a good, well put together and entertaining Evita with convincing performances which do not disappoint. 

-Karen Clough

Evita continues to tour the UK through 2018. Further tour dates can be found here.

REVIEW: Guys and Dolls (Royal Exchange, Manchester)

© Manuel Harlan
© Manuel Harlan
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: Kate O’Donnell: You’ve Changed (The Lowry, Salford Quays)

Kate O'Donnell in You've Changed at The Lowry, Salford Quays.
Kate O’Donnell in You’ve Changed at The Lowry, Salford Quays.
Reviewer: Megan Hyland
Upstaged Rating: ⭐⭐⭐⭐⭐

Kate O’Donnell quite literally bares all in her new show, You’ve Changed, a hilarious and honest account of her transition in 2003. Using the backdrop of the 1930s to add a unique twist, O’Donnell explores how transitioning fourteen years ago felt a lot more like transitioning in the 1930s. And although the show itself is only an hour long, there isn’t a topic left untouched in this unapologetic story of what being transgender and transitioning is really like.

You’ve Changed combines some truly transfixing dance routines skilfully choreographed by Lea Anderson, the music of the 1930s and O’Donnell’s effortless sense of humour and sincerity to create an entertaining and insightful performance. In collaboration with her trans-led theatre company Trans Creative, the show aims to both encourage and empower other members of the trans community, whilst also educating cisgender audiences – and it does exactly that. O’Donnell takes us through every step of her transition, beginning with the moment that she said it out loud for the first time in her friend’s living room to name change documents and the cost of her surgery.

However, it is O’Donnell’s dazzling personality and humour that is the real heart of the show. She holds the audience in the palm of her hand, keeping you on the verge of tears or uncontrollable laughter at any giving moment. She commands effortless control, drawing the audience in from the moment she steps onstage dressed as Fred Astaire to the very last moment where she remerges as Ginger Rodgers. And although there are parts that may feel slightly disjointed and perhaps rough around the edges, O’Donnell’s intelligent and witty storytelling ultimately distracts and leaves you with a smile.

All in all, You’ve Changed delivers some truly powerful messages about what it’s really like to be trans and transitioning, which despite O’Donnell’s transition being almost fourteen years ago, still remain relevant today. It will make you laugh, think and maybe even cry. But the main takeaway is the question that O’Donnell herself asks – she’s changed, but have you? I certainly have.

-Megan Hyland

You’ve Changed runs at The Lowry, Salford until Saturday 11th November 2017 and continues the tour to Birmingham’s SHOUT Festival on 17th November and Lancaster Arts Centre on 1st December 2017.

Review: Spamalot ( Palace Theatre, Manchester)

Spamalot at The Palace Theatre, Manchester until 11th November 2017
Spamalot at The Palace Theatre, Manchester until 11th November 2017
Guest Reviewer: karen Clough
Upstaged Rating: ⭐⭐⭐⭐⭐

Eric Idle’s stage adaptation of the 1975 film ‘Monty Python and the Holy Grail’ offers all the satire, ridiculousness, mockery and hilarity you might bargain for, and then some.

Whether you’re an existing fan of Monty Python or not, this show makes for a laugh-out-loud night of ingeniously perceptive slapstick entertainment. Eric Idle has captured the essence of Monty Python in this superbly constructed musical version, demonstrating the most natural understanding of what really does make people laugh. First appearing on stage in 2004, Spamalot stands the test of time by combining classic comedy with currently themed script tweaks, which connect it with the present.

Spamalot is the calamitous tale of King Arthur (Bob Harm) and his incompetent knights (Steven Arden, Jonathan Tweedie, Norton James, Marc Akinfolarin) in their search for the Holy Grail. Struggling to command the respect of his subjects as a credible king, Arthur recruits the knights of the round table on his travels, each of them possessing a unique ineptness and comedic appeal.

Fans of Monty Python and the newly-acquainted alike will appreciate the embedded fun-poking at the ‘terribly Britishness’ of it all, the coconut shell horses, the set, props and the genre of musical theatre itself. All of this is accompanied by an equally amusing song list (John du Prez & Eric Idle) including the quintessential Monty Python anthem ‘Always Look on the Bright Side of Life’ (music directed by Dean McDermott).

This production is not just intelligently written (Eric Idle), it is slickly directed (Daniel Buckroyd), choreographed (Ashley Nottingham) and designed (Sara Perks) – it’s as good as musical comedy pandemonium gets. This is enabled by outstanding casting, their chemistry and a shared sense of fun literally radiating from the stage. The performances of each are of such a high and comparable standard that favouritism proves a struggle. Whilst there is too much brilliance to justly mention, I doubt the comic-timing of Bob Harms’ (King Arthur) imaginary horse-handling paired with Rhys Owen’s (Patsy) command of coconut shell hooves could be bettered! Vocal performances are also of great quality across the cast, with Sarah Harlington as the divaesque Lady of the Lake leading the way.

Prepare for audience interaction, high jinks, ad-lib, more irony than you can shake a stick at and a revolving door of laughter and thoroughly enjoyable idiocy.

I agree with John Cleese, it really is “the silliest thing I’ve ever seen”. It’s also ridiculously brilliant. I left the show with a warmed, laughter-aching face, I’m smiling as I write this review. Don’t let this humour masterpiece pass you by.

-Karen Clough

Spamalot runs at Manchester’s Palace Theatre until Saturday 11th November 2017.