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REVIEW – The Gospel According to Jesus, Queen of Heaven (Queer Contact Festival, Contact Theatre)

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The gospel according to Jesus, Queen of Heaven
Jo Clifford in The Gospel According to Jesus, Queen of Heaven
Date: 14 February
Upstaged Rating: 

The sweet powdery scent of incense wafts past as the doors swing open at St. Chrysostom’s Church in Manchester. Framed by beautiful arches and stained glass windows, smiling faces welcome the audience in for an alternative service – The Gospel According to Jesus, Queen of Heaven by playwright and performer Jo Clifford. This thoughtful and engaging solo show re-imagines the Gospels with a transgender Jesus.

Running for approximately one hour, the performance begins with a sermon before the congregation is invited to each take a candle and move on to the brightly coloured rugs and cushions in the middle of the performance space.

When The Gospel According to Jesus, Queen of Heaven was first performed at Glasgay Festival in 2009, it was met with anger by some members of the Christian community and it was condemned by the Archbishop of Glasgow. Angry protesters picketed the Tron Theatre, without reading the script or seeing the show, with one remarking: “You don’t have to go near a sewer to know that it stinks.” I was pleased to see that Jo Clifford makes a powerful reference to this metaphor in the performance and by doing so refuses to be silenced and continues to resist any shame and fear surrounding trans people.

Jo Clifford has a wonderfully expressive tone of voice, moving from a calming whisper to a rich tone loaded with tension. Candles are lit in a kind of ritual throughout the performance – by this flickering candlelight, director Susan Worsfold conveys a sense of worship with intimacy.

The Gospel According to Jesus, Queen of Heaven is a passionate show and not without humour; throughout Clifford demonstrates the Christian value of acceptance and the show is delivered with a warm sense of friendship and tolerance.

By the end of the performance, many people in the audience were whispering “Amen” in reply to Jo Clifford’s prayer. The Gospel According to Jesus, Queen of Heaven is a moving and touching show, perfectly illuminating everyone’s right to live a life free of discrimination, which I’m sure left most of the audience reflective and hopeful for change.

 

-Kristy Stott

Interested in finding out more? To visit Jo Clifford’s blog click here.

REVIEW – Macbeth (HOME, Manchester)

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John Heffernan and Anna Maxwell in Macbeth at HOME, Manchester
© Richard Hubert Smith
Date: 2 February 2016
Upstaged Rating: 

 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. Lizzie Clachan’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.

The Witches -Clemmie Sveaas, Jessie Oshodi and Ana Beattriz Meireles
© Richard Hubert Smith

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, Jessie Oshodi 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.

REVIEW – WIT (The Royal Exchange, Manchester)

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Julie Hesmondhalgh in WIT at the Royal Exchange, Manchester ©Jonathan Keenan

Upstaged Rating: 

Wit is Margaret Edson’s Pulitzer Prize-winning play, a humorous, emotional and ultimately devastating story set in the final few hours of Dr Vivian Bearing’s life.

Dr Vivian Bearing is an American Professor of 17th-century poetry specialising in the metaphysical works of John Donne. A brilliant university lecturer and scholar, she now finds herself diagnosed with advanced metastatic ovarian cancer. While in university she was the tough teacher; now as an inpatient in a university teaching hospital she is the one being examined and studied.

Julie Hesmondhalgh is magnificent in the title role of Dr Vivian Bearing, playing out the final hours of Vivian’s life and also flashbacks to her past. Despite tackling the a subject as harrowing as cancer, Wit is delivered with a brittle humour resisting any kind of sentimentality – with Vivian realising, towards the end, that she prefers kindness to intellectualism. Her slim frame is covered by 2 hospital gowns and she wears a pink baseball cap on her hairless head – she is articulate and chooses the words she uses with care. Brutally announcing ‘I will never forget the time that I found out I had cancer’ the stage turns and we are transported back to when she first received the prognosis from Dr Kelekian (Tom Hodgkins).

Hannah Clark’s set design of a revolving stage and blue-green walkway and swing doors is perfectly suggestive of a sterile hospital environment. Chairs, hospital beds and IV poles are wheeled and passed urgently about the stage as clinical observation is pitted against the raw human emotion of Hesmondhalgh’s shattering performance.

Raz Shaw‘s direction is paced and perceptive and the supportive cast are also strong – Esh Alladi is superb as purposeful clinical fellow Dr Jason Possner MD, lacking empathy and communication skills – he brands the bedside manner course at med school ‘a colossal waste of time’. In contrast, Jenny Platt as Nurse Susie Monahan offers an alternative presence – finding time to moisturise Vivian’s hands when talking becomes difficult. Julie Legrand is impressive as the university academic who first taught Vivian about Donne and the power of punctuation.

Manchester’s Royal Exchange has certainly started the new year with a cracking show and  Julie Hesmondhalgh gives a striking performance at the centre of it. Cancer is a hard subject matter to tackle on stage, especially in a performance as honest as this – Wit may make some cry but it will definitely make everyone laugh, think and discuss.

-Kristy Stott

Wit is at the Royal Exchange until Saturday 13th February 2016 and you can get your tickets here

Big Fish Little Fish Family Rave

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Photo Credit : Kristy Stott

Since Big Fish Little Fish launched in Manchester in November 2015 their family raves have proven to be the hottest ticket in town. Always a sell-out gig, with tickets selling out for the Manchester January event in 15 minutes – once you’ve been you will know why.

With creative and exciting family fun at their core, Big Fish Little Fish host day-time dance music events which are as much about the parents as they are about the children – it’s like being at a mini festival, right in the middle of Manchester. Designed to attract the post-rave generation of parents and their offspring – it’s cool, social and there is probably no better place for it than Chorlton. We were lucky enough to bag tickets so we schooled our little fish together, and mooched on down to Chorlton Irish Club to experience the vibe for ourselves.

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‘The Parachute Dance’ is a highlight.               Photo credit : Kristy Stott
The events are recommended for families with children under the age of 8 as many of the activities are designed for younger ones. These 2-4 hour party people have taken care of everything with a secure buggy park outside and a baby chill out area upstairs. Although many of the rave parents took to the dancefloor with their babies in a sling or in arms. It’s good for mum and dad and the babies certainly enjoyed the sensory stimulation from bubble machines and roving colourful club lights. The club classics are also played at a lower level which suits little ones and parents too – great to see fellow Chorltonites striking up banter with each other. Did I mention that there is also a licenced bar?

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Photo Credit : Kristy Stott
For those who need a quieter area – there is a chill out area complete with books; for those creative minds, there are some super craft activities too – many of the children enjoyed the scribble wall and playdoh. There was also the opportunity to create your own tie or add a temporary tattoo to complete your look.

Photo Credit: Kristy Stott
Photo Credit: Kristy Stott

Giant balloons and glow sticks make the dance floor fun for the little people while the grown-ups fully appreciate tunes by DJing duo Heavy Feet. Every event has a theme too – this particular event was a ‘Hat and Moustache’ rave with prizes for the most creative headpieces.

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Healthy treats from The Nice Lolly Co to keep everybody happy…
Prior to becoming a big hit up North, Big Fish Little Fish have been running events in and around London as well as hosting gigs at Camp Bestival and Kendal Calling. And now they are branching out all the time with gigs planned for Edinburgh and Cardiff.

If you want to be one of the first to know about Big Fish Little Fish events – you can sign up to their mailing list here.

 

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My Favourite Productions of 2015

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My Favourite Productions of 2015

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

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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.

Boeing Boeing at Oldham Coliseum

© Joel C Fildes

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.

 

Beautiful Thing at The Lowry

© Anton Belmonte

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.

Wicked at The Lowry

Emily Tierney as Glinda & Ashleigh Gray as Elphaba. ©Matt Crockett
Emily Tierney as Glinda & Ashleigh Gray as Elphaba. ©Matt Crockett

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. 

Wishing you all the best in 2016.

-Kristy Stott

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REVIEW – Into The Woods (The Royal Exchange, Manchester)

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Into The Woods — The Royal Exchange, Manchester
© Jonathan Keenan
DATE: 9 december 2015
UPSTAGED RATING: 

Manchester’s Royal Exchange Christmas production is always a welcomed alternative to the traditional festive fare and this year Artistic Director Matthew Xia has taken on the Stephen Sondheim spectacular, Into The Woods. With a notoriously challenging musical score that makes even highly accomplished musicians run for the hills, Manchester’s Royal Exchange makes Into the Woods look like a walk in the park. Laden with wit, plenty of trees and stellar performances throughout –  the execution and delivery of this contemporary fairytale adventure is superb.

With music and lyrics by Stephen Sondheim and the book by James Lapine, Into The Woods takes the main characters from Little Red Riding Hood, Jack and the Beanstalk, Rapunzel and Cinderella and intertwines each of their fairytale quests. The musical is tied together with an original story about a baker, his wife and their wish to start a family. As the result of a witch’s curse, the couple are childless and their only hope is to reverse the evil spell by venturing into the forest to track down a list of ingredients.

The show runs at a lengthy three hours – the first act is a complete joy ending on a high with every character getting their wish. The second act sees a darker evaluation and the arrival of a giant, with booming voiceover by Maxine Peake, who threatens to undo all of the good work.

Into The Woods — The Royal Exchange, Manchester
© Jonathan Keenan

Puppeteer Rachel Goodwin moves the emaciated Milky White perfectly with David Moorst playing foolish Jack. Prepare yourself for Natasha Cottriall’s Little Red Riding Hood’s encounter with Michael Peavoy’s Wolf which is hilariously funny – with a clever illusion that will keep you guessing.

Award-winning actress Gillian Bevan becomes The Witch and intelligent costume design means she carries an impressive vegetable patch around with her too. Note-perfect performances from Francesca Zoutewelle as Cinderella and Isabelle Peters as the disturbed but angelic-voiced Rapunzel. The show is packed with laughs throughout but comic highlights are definitely reached during the ‘Agony’  duet between Rapunzel’s Prince, Marc Elliott and Cinderella’s Prince, Michael Peavoy.

Suitable for ages 10 and up, Matthew Xia’s Into The Woods is a triumph – with its glorious Sondheim musical score, arranged by Julian Kelly and played superbly by a live band, with top-notch performances all round – it should certainly be on your must-see list this Christmas.

-Kristy Stott

Into The Woods is running at The Royal Exchange Theatre in Manchester until Saturday 16 January 2016.

REVIEW – Snow Queen (The Z-Arts Centre, Manchester)

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Snow Queen at Z-Arts Centre in Hulme, Manchester.
Snow Queen at Z-Arts Centre in Hulme, Manchester.
Upstaged Rating: 

THINGSTARS:  

One of my earliest theatre memories is playing the part of Gerda in a very traditional production of Hans Christian Anderson’s Snow Queen. It’s always been one of my favourite stories and so I was particularly excited to hear that it would be the Christmas production at Manchester’s family-friendly Z-Arts this year. With the intelligent fusion of live performance, puppetry and digital storytelling – Z-Arts are nothing short of triumphant with their refreshing twist on the classic fable of the Snow Queen.

Set in the modern day, looked-after child Kai (Gordon Millar) is afraid that he may have to leave the comfortable home which he shares with his foster parent Aunty Jayne (Denise Kennedy) and Gerda (Nisa Cole), her adopted daughter. Kai is a keen gamer and uses his alternative existence in cyberspace to escape the reality that he may have to return to live with his father in the future. Becoming increasingly withdrawn from his beloved Gerda and spending longer time gaming, makes him susceptible to the evil Snow Queen (Bryony Thomas), a super virus intent on entering our world through Kai. Gerda sets out to rescue Kai from the clutches of the Snow Queen by following him into his alternative digital world.

Jane Linz Roberts’ set design moves fluidly to suggest a range of different settings – Aunty Jayne’s home, a range of eclectic settings in cyberspace and the Snow Queen’s ice palace. Powerful and highly effective digital projections by Cubic Flowers suggest the atmosphere perfectly – as we shiver through an ice cold blizzard and avert our eyes from the swarm of spiders. Humorous puppets by Liz Walker in the form of farting frogs, Robber Girl, and snowflake soldiers Derek and Keith make many children and their grown-ups giggle.

Bryony Thomas’ Snow Queen is a true villain, moving like an arachnid around the stage – low to the ground and contorted – just the right amount of horror for a young audience. Thing 1 and Thing 2 were impressed by Gordon Millar’s performance as Kai. Nisa Cole also played the young Gerda well and Ebony Feare and Denise Kennedy demonstrated their versatility playing a range of diverse characters between them.

Writer Philip Osment and director Jonathan McGrath have certainly delivered a fantastic family friendly show for Z-Arts this December. Following the show, Thing 1 and Thing 2 prompted a discussion about fostering and adoption, proving that theatre can educate as well as entertain.

-Kristy Stott

The Snow Queen glides to Z-Arts from the 3rd – 13th December 2015. For more information and to book tickets please click here.

This Christmas Z-Arts want to offer children in care FREE tickets – but they need your help.

Z-Arts have produced a cracking show with a difference – Hans Christian Andersen’s SNOW QUEEN becomes an evil online virus and the heroes, Kai and Gerda are brought together within the care system. It’s a story of friendship triumphing against all odds.

To help support Z-Arts as they seek to raise just £6 per child please click here.

 

 

REVIEW – Pomona (The Royal Exchange, Manchester)

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Orange Tree Theatre presents in association with the National Theatre and the Royal Exchange Theatre --POMONA--
Orange Tree Theatre presents in association with the National Theatre and the Royal Exchange Theatre
–POMONA–
UPSTAGED RATING: 

Alastair McDowall’s Pomona was first performed in the round at the Orange Tree Theatre in 2014 before transferring to the National Theatre in 2015. Now, it plays in the main stage at Manchester’s Royal Exchange which is a stone throw away from Pomona island where the play is set.

The play opens with a peculiar parka and pants wearing character called Zeppo giving a comically long-winded account of a famous scene from ‘Indiana Jones and the Raiders of the Lost Ark’ to Ollie, a young woman who is searching for her missing twin sister. With a mouthful of chicken nugget Zeppo (Guy Rhys) tells Ollie (Nadia Clifford) that he owns the whole city but doesn’t get involved with anything and offers the scene from Indiana Jones to highlight why some things should just be left well alone.

Under Ned Bennett’s stylish direction, what follows is a series of scenes leading up to the disappearance of Ollie’s sister. This whole narrative is segmented and does not follow a simple linear structure – it’s more like a jigsaw puzzle which the audience have to try and piece together. Exploring themes around sub-culture, gaming and the sinister underworld, Pomona is a brutal and gritty sci-fi thriller.

Georgia Lowe’s stripped set design complements McDowall’s dark story thread which charts flashbacks to Ollie’s sister meeting Fay (Rebecca Humphries) when she gets a job in a brothel; we also encounter Gale ( Rochenda Sandall) a seemingly powerful presence in the criminal underworld and two security guards Charlie (Sam Swann) and Moe (Sean Rigby). Alongside this we meet squeaky and mouse-like Keaton (Sarah Middleton) who meets with Charlie regularly for a game of Dungeons and Dragons. Sam Swann is particularly impressive as oddball Charlie and provides some very funny moments amidst the hopelessness.

Some theatre goers may find Pomona hard going – there is frequent strong language and the characters inhabit a place which some of the audience may prefer not to visit. As the play progresses the outlook for the characters becomes bleaker and the line between fantasy and reality more blurred. There is a sense of confusion and a lot of questions still remain unanswered by the end of the play. Ultimately, Pomona is a powerful, menacing and intelligent piece of work by Alastair McDowall.

-Kristy Stott

Pomona is running at The Royal Exchange Theatre in Manchester until Sunday 21 November 2015.

REVIEW – The Possible Impossible House (The Z-Arts Centre, Manchester)

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Being a huge fan of Sheffield based experimental theatre company Forced Entertainment – I was very keen to find out more about their first production for young people, The Possible Impossible House.

The Possible Impossible House --Forced Entertainment--
The Possible Impossible House
–Forced Entertainment–
Upstaged Rating: 

THINGSTARS:  

The Possible Impossible House is a wonderful exploration of the power of storytelling and a lesson for all, young and old, in setting your imagination free. The magical adventure begins as we travel down the long winding corridors of The Possible Impossible House. Claire Marshall is our guide and she leads us through the twisting passageways. When we reach the library we meet a little girl who is sketched onto a blank page in an algebra book. This endearing little doodled character is desperately missing the matching scribbled spider who used inhabit the opposite page – we are invited to join her on her mission to find her little eight legged friend.

It’s essentially a two hander with Claire Marshall recounting the story to the audience while Cathy Naden provides the humorous soundtrack. Comedy is created through storyteller, Claire and sound-maker, Cathy as they both compete to take control of the story. Both performers are supported by wonderfully scruffy illustrations by Vlatka Horvat as our journey spans elaborate marble ballrooms, secret cupboards and black holes and we meet an array of familiar but surprising creatures – talking animals, a not-so-very-frightening-ghost and an army of dancing soldiers.

“I really liked Cathy. She made me laugh when she interrupted and when she ate celery and pretended to be a mouse…everybody was laughing!”

–Thing 1 (aged 9)

The storyline is beautifully childlike, as if penned by a 7 year old, it’s spontaneous and imaginative. Under Tim Etchells’ direction, Horvat’s magical doodles are projected on to large pieces of torn brown cardboard all going to prove that good quality children’s theatre does not have to rely on lavish sets or costumes.

This production is as much fun for the adults in the audience as it is for the little ones. As always Forced Entertainment blow apart our traditional expectations of theatre- which is children’s theatre in this case. The result is witty, engaging theatre that doesn’t patronise – layered with irony and humour and pitched at a level that both children and adults can appreciate.

-Kristy Stott

You can catch The Possible Impossible House at Lancaster Arts at Lancaster University on the 12th December. 

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The Snow Queen glides to Z-Arts from the 3rd – 13th December 2015. For more information and to book tickets please click here.

REVIEW – Nosferatu (The Lowry)

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Nosferatu at The Lowry, Salford ©2015 Richard Mulhearn. ALL RIGHTS RESERVED
Nosferatu at The Lowry, Salford
©2015 Richard Mulhearn. ALL RIGHTS RESERVED
Date: 29 october 2015
Upstaged Rating: 

The Proper Job Theatre Company arrived at The Lowry Theatre in Salford with their spine chilling Nosferatu just in time for All Hallows’ Eve. Their latest touring production, Nosferatu is written by acclaimed poet and broadcaster Ian McMillan and takes its inspiration from the 1922 German Expressionist film of the same name and the novel Dracula by Bram Stoker.

Bram Stoker’s Dracula charts the journey of the Demeter as it sets sail for Whitby from Varna, Transylvania. The ship leaves with its full complement of crew only to arrive without them – the captain is still onboard but he is dead and strapped to the wheel and in place of his crew, there is a strange cargo of wooden boxes. The tale of Nosferatu unpicks the chilling fate of these sailors in the last hour before the sun rises.

Considering that this play is based on one of the most iconic monsters of all time -Dracula -very little happens in the running time of 80 minutes. The crew are waiting for the dawn which brings sunlight and safety from the mysterious and evil cargo that lurks below deck. McMillan’s language is poetic and uses some powerful imagery – however, at times the language felt repetitive which resulted in a feeling of detachment from the characters and their plight.

The highlight of this production was the beautiful musical accompaniment played by Anna Scott – both haunting and atmospheric. Through the simple combination of her skilled cello playing and her melodious soprano voice she did manage to conjure up the eerie atmosphere of the of the fateful night onboard the Demeter.

-Kristy Stott

Nosferatu visits The Plowright Theatre in Scunthorpe on the 30th October and Square Chapel Centre for the Arts in time for Halloween on the 31st October 2015.