Megan Hyland

The Global Playground (MIF21) at the Great Northern Warehouse

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Image courtesy of Chris Nash.

Reviewer: Megan Hyland

Upstaged Rating: ⭐⭐⭐

The Global Playground is a joyful exploration of interconnectivity and playfulness that is bound to bring a smile to your face – whatever your age. It follows the turmoil of cameraman Sean (Sean Garratt) as he tries to put together a film despite the mischievous antics of the cast members. Dancers Jahmarley (Jahmarley Bachelor), Annie (Annie Edwards), Kennedy (Kennedy Junior Muntanga) and Charmene (Charmene Pang) consistently divert the recording with their escapades as they explore the stage with childlike wonder – reminding Sean that sometimes we all need to let loose and have fun. 

The cast command every inch of the stage that they occupy with their captivating, natural fluidity of movement.

In doing so, the cast command every inch of the stage that they occupy with their captivating, natural fluidity of movement and motion. Gregory Maqoma’s choreography is the perfect blend of effortless fun and spectacular physicality, with the cast moving in unison to create beautiful, joyful dance sequences interspersed with everything from puppetry and ventriloquy to physical comedy to keep the youngsters in the audience engaged. And each of these elements is seamlessly incorporated by the magnificent cast. Sean Garratt is also fantastic as both the cameraman and the voice behind Terry the puppet and the camera itself, making their characters just as vibrant and lively as the rest of the cast. His comedic timing and physical comedy are excellent, particularly for younger audience members. 

Although, some children may struggle to engage with the longer sequences without an interest in dance. While captivating for older audiences, the contemporary elements may not be as engaging for younger, non-dance fans. However, for those interested in dance, this piece is the perfect blend of entertainment for both adults and children, combining stylised elements such as vogue with a fuzzy orange puppet called Terry. There are even educational elements, allowing children to learn about how films are made through watching the cast incorporate equipment such as lightboxes, tripods and reflectors. 

A carefree, bubbly performance for all ages.

The ways in which Guy Hoare’s light design and Maqoma’s choreography involve these in the dance sequences is truly mesmerising, with dancers using the reflectors to create dazzling displays that flood the theatre space with light. Each time, the cast interacts with the equipment in new and exploratory ways, whether it’s wearing lightboxes or turning the camera into a sinister monster. And all of this is tied together flawlessly by Ayanna Witter-Johnson’s music and the musical performance of Merlin Jones, providing the perfect connection between such stunning visuals and styles of movement. 

Every child will be able to see themselves represented on stage in a joyful way.

Most of all, The Global Playground reminds us that we could all benefit from returning to the wonder and playfulness with which we explored the world as children, as well as the freedom that it gave us. It is a carefree, bubbly performance for all ages that shows we are far better when we work together than apart – though does not fail to showcase the extraordinary individual talents of its cast. And with such a diverse cast and range of dance styles, it ensures that almost every child will be able to see themselves represented on stage in a joyful way. 

-Megan Hyland

The Global Playground runs at the Great Northern Warehouse until 18 July 2021. Happening as part of Manchester International Festival 2021.

Review: JB Shorts 19 at 53Two, Manchester

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Upstaged Reviewer: Megan Hyland
Upstaged Rating: ⭐⭐⭐⭐⭐

JB Shorts returns this year with another series of six excellent fifteen-minute short plays written by some of TV’s best writers. This year’s selection combines some intense and hilarious storylines, that capture the audienTickets are avce throughout.

I’ve Tried It Once, written by ex-Emmerdale writer Dave Simpson tells the comically honest story of Audrey (played by Victoria Scowcroft), who, after her husband’s passing, decides that it’s time to find out what she’s been missing. Featuring some outstanding character-acting from Shaun Hennessy, and a stunningly witty and sensitive performance from Scowcroft, I’ve Tried It Once is a stand-out performance that will have you laughing from start to finish.

This was followed by One of Our Boys, an intense performance about the return of injured soldier, Steve (Keaton Tyler Lansley). At times uncomfortable to watch, Lansley offers a powerful performance that grips the audience. However, the piece itself leaves some unanswered questions and ends on a rather abrupt note.

The last performance before the interval was Our Club, about two passionate football supporters, Emma (Sonia Ibrahim, Coronation Street) and Stig (Paul William Fox, The Syndicate) who just want answers from club employee, Caroline (Sandra Cole). Writer Ben Tagoe presents us with familiar characters that we can both empathise and laugh with. The characters are funny without crossing the line of becoming caricatures of working class people that are merely used for comic relief. Instead, they are likable and real.

After the interval, JB Shorts opens back up with The Stretch, by BAFTA-award winning writer Joe Ainsworth (Holby City). One of the more serious performances of the night, we follow Lee (James Lewis) along his ten-year prison sentence. Ainsworth’s writing is exceptional, written entirely in rhyme which makes the performance more impactful and emotive. Lewis is magnificent, stunning the audience with his ability to convey so much raw emotion in a mere fifteen minutes. Among the other performances of the night, it feels much more intimate and stripped back, but that’s part of its charm.

Following, James Quinn (Early Doors) returns to JB Shorts this year with Equivalent, in which he also stars as Pickering, alongside Meriel Schofield (Last Tango in Halifax) as Shirley. Pickering and Shirley are waiting in a café, while one of them tries desperately to fill the silence. What follows, while unexpected, is a hilarious and witty dialogue that makes it one of the stand-out performances of the night. Quinn’s writing flows naturally and has audience members in fits of laughter, in a nicely rounded and charming piece.

The night closes on an all time high, with a fifteen-minute adaptation of War and Peace by Peter Kerry and Lindsay Williams. This performance surprised me, as it didn’t appeal to me to begin with. However, from the moment that it began, I was completely captivated by it. Kerry and Williams – along with director, Joyce Branagh – have created a magnificently ridiculous performance that will have you laughing throughout. It is light-hearted, hilarious and completely absurd in the best possible way. The cast have remarkable comedic timing and never threaten to take themselves too seriously. The performance is side-splittingly funny and is a tremendous way to round off the night.

This year’s JB Shorts is just as unmissable as the last, showcasing some magnificent local talents in an unforgettable evening. When it comes to short plays, JB Shorts has proved once again that it really is the best of the best.

-Megan Hyland

JB Shorts 19 runs at 53Two, Manchester until 5th May 2018. Tickets are available here.

Review: Ceci n’est pas Noire and Clay at The Lowry, Salford Quays

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Systems-Lab. The Lowry.
Systems-Lab. The Lowry.

Reviewer: Megan Hyland
Upstaged Rating:⭐⭐⭐

In Ceci n’est pas Noire (This is not Black), Alesandra Seutin is bold, colourful and fearless. She explores her African and European background through an innovative blend of dance, spoken word, song and theatre. She moves effortlessly around the stage, commanding every inch of it with her fluid movements and vibrant personality. She mixes humour and sincerity, drawing the audience in as she lays out the rules. However, from that moment on, attention begins to waver.

The transitions between movement and other art forms felt awkward and stilted, especially when compared to the fluidity of Seutin’s movements. And though from the start, the piece promised to be an insightful celebration of culture and belonging, the overall message was lost. Although towards the end of the piece, the message did start to be developed, the piece seemed to finish almost too abruptly, leaving the message feeling unfinished and altogether less impactful. However, there is still something to be said for the way that Seutin is unapologetically herself and the effort with which she undertakes the performance.

Clay also began very promisingly, combining the contemporary dance skills of Asha Thomas and flamenco talents of Yinka Esi Graves with the artistry of flamenco guitarist Guillermo Guillen. The synchronisation and intensity of their movements is striking, seamlessly combining their differing styles into a fiery, passionate piece. The live music of Guillermo Guillen adds feverish excitement, although even his talented strumming could not stop the performance from falling flat in places.

Once again, the overall story of the piece was lost in translation, though that is not to say that the piece was not enjoyable. It contained some particularly exciting and intricate moments, though the pace at times was lost. And although the production was not entirely seamless, the combination of the talents of Graves, Thomas and Guillen is faultless.

Despite the confusion surrounding the overall message of the two pieces and some pacing issues, the effort and commitment of these women is undeniable. Throughout both pieces, their sheer determination is clearly visible, as is their talent. This magnificent celebration of several different cultures and art forms is sharply unique.

-Megan Hyland

Ceci n’est pas Noire and Clay runs at The Bernie Grant Arts Centre, London on Saturday 17th March 2018.

REVIEW: The Addams Family (The Lowry Theatre, Salford Quays)

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The Addams Family at The Lowry Theatre, Salford © Matt Martin
The Addams Family at The Lowry Theatre, Salford
© Matt Martin

reviewer: Megan Hyland
Upstaged Rating: 

Over 50 years on from the airing of the TV show of the same name, The Addams Family: the Musical Comedy is a refreshing look at our favourite kooky family. The story centres around a grown-up Wednesday’s newfound romance, with the Addamses preparing to welcome the family of her new boyfriend for dinner. However, there is a secret looming that threatens the foundations of multiple relationships, and as the night descends into chaos more destructive secrets are revealed.

Although her storyline centres on a love story, Wednesday Addams fans need not despair, as her character remains every bit as daring and discontented as ever. In fact, although the story is an original, written by Marshall Brickman and Rick Elice, the characters are still just as familiar. And this is – in part – due to the attentiveness of the all-star cast. Cameron Blakely and Samantha Womack  (of Eastenders fame as Ronnie Mitchell) star as Gomez and Morticia Addams, reviving their passionate and enduring romance. A sultry highlight is their tango scene, both expertly choreographed and performed. Blakely’s energy and stage presence, however, is unmatched. He bursts into every scene with endless vitality, with incredible comedic timing and physicality. But, in terms of vocal ability, Carrie Hope Fletcher stands out. The YouTuber and stage star belts out original songs such as Pulled and Crazier Than You with effortless precision as Wednesday, although the rest of the cast are not far behind. Throw in a captivating ensemble cast plus an outstandingly funny and highly eccentric performance from comedian and actor Les Dennis as Uncle Fester, and you’re left with a strong, compelling cast.

But what really brings to life these beloved characters is the work behind the scenes. Diego Pitarch’s breath-taking costumes give these iconic characters an elegant revamp, without leaving their renowned styles behind. And the astonishing set design breathes life back into the Addams family home. Filled with brilliant one-liners, running gags and dark humour, this musical comedy is skilfully written, with quirky and heartfelt original songs written by Andrew Lippa. Although the story features a love-story, the real focus is on the importance of truth in relationships. And while this may seem simplistic in nature, it is accentuated by the peculiar and whimsical characters, as well as the wacky world that they inhabit.

The Addams Family musical is a spooky and freakish production that welcomes people familiar with these characters and those new to the story.

-Megan Hyland

The Addams Family runs at The Lowry Theatre, Salford until Saturday 9th September 2017.

REVIEW: My Country; A Work in Progress (HOME, Manchester)

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© Sarah Lee
© Sarah Lee

reviewer: Megan Hyland
upstaged rating: 

In the wake of the political chaos of Brexit and the overhanging general election, My Country; a work in progress offered an insightful look at the divided opinions of our society. Unfortunately, it failed to deliver. Written by poet laureate Carol Ann Duffy, the play centres around six regions of Great Britain coming together to form a meeting in anticipation of the vote to leave or remain in the European Union. They bring with them the views and opinions of several people from their respective regions, in the hope that their voices will be heard. Taken from real interviews, these voices range from a 13-year-old boy from Wales to an 88-year-old immigrant in the East Midlands.

Penny Layden stars as Britannia, our disheartened and shaken country struggling to cope with the disconnections that divide it. Representing Westminster, Layden effortlessly portrays the politicians that lead us through Brexit and the aftermath of the vote. However, it is Christian Patterson that offers the most engaging performance as Cymru. His remarkable transitions between various characters are the most noteworthy, with each one coming to life individually. The enthusiasm with which he plays each character is admirable, although, the cast as a whole still gives a commendable performance. They work in tandem together to create a seamless and often astonishingly humorous performance. Their incredible effort and ability does not go unnoticed in this production, with their dynamic being a testament to the unity that the play aims to promote.

However, it seemed that perhaps an additional cast member was lacking, as although the play promotes itself as representing the views of the country as a whole, there was a lack of representation on stage for the North West. Particularly as the performance took place in this region, it seemed unusual not to have it mentioned.

Nevertheless, it is the unbiased and relatively diverse presentation of views in the play that make it particularly appealing. It offers the unfiltered, unflinching opinions of the general public on perhaps the most widely discussed topic of the past year. And although some of the words spoken are particularly hard-hitting and heavy in nature, Carol Ann Duffy’s wonderful wit and dry humour lighten the tone perfectly.

Unfortunately, as a whole, My Country fell short of expectations. There was an overhanging sense that it could have gone further with certain aspects, and disappointingly, there was no overall message to be taken away, giving the play as a whole no sense of closure. However, the talent of the cast is undoubtable, as is the incredible writing of Carol Ann Duffy.

-Megan Hyland

My Country runs at home until Saturday 22nd April 2017 and you can get your tickets here.

REVIEW: The Commitments (The Palace Theatre, Manchester)

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The Commitments © Johan Persson
The Commitments
© Johan Persson

upstaged rating: 

Based on the 1991 film and Roddy Doyle book of the same name, The Commitments is an outstanding must-see musical like no other. For those unfamiliar with the much-loved story, the plot follows a dysfunctional soul band from Dublin, Ireland – by the name of The Commitments – and their journey to become “the world’s hardest working band”. Live on stage, the cast performs several classics from the film – such as ‘Mustang Sally’ and ‘Try a Little Tenderness’ – as well as other soul songs that weren’t featured in the film.

Deco (Brian Gilligan), in The Commitments © Johan Persson
Deco (Brian Gilligan), in The Commitments
© Johan Persson

Brian Gilligan stars as the lead singer of the Commitments, Deco Cuffe. Both Gilligan’s vocal talent and stage presence are striking, and he brings great likability to the infamous Deco. As the frontman, he is perfectly cast – Gilligan steals every scene that he appears in. However, the rest of the cast offer equally faultless performances. As a group, they work together as a boundlessly energetic network, overloaded with enthusiasm.

Stand-out performances are delivered by Gilligan, Sam Fordham and the girls – Amy Penston, Leah Penston and Christina Tedders. Sam Fordham is the confrontational and paranoid bodyguard (and backup drummer) Mickah, whose performance provides a lot of laughs. And although the girls are intended to be backing singers, their incredible voices are rightfully paraded, with the characters often stealing the limelight from the arrogant Deco and letting their voices be heard. Their performances are perfectly synchronised, and they bring glamour to the otherwise charmingly unrefined group. Even Kevin Kennedy, better known for his role as Curly Watts in Coronation Street was unrecognisable as Jimmy’s dad and the caretaker.

And while the musical is a terrific nod to the iconic film and book, it also stands alone as an astounding production in its own right. Director and choreographer Caroline Jay Ranger has put together a spectacular blend of meticulously choreographed performances and quick-witted, engaging scenes. With Soutra Gilmour using both skilful set design and simplistic costuming to bring 1986 Dublin to life on stage.

Although the Commitments has a particularly large cast and crew, their efforts are all reflected in the sheer brilliance of the production. On its opening night in Manchester, the performance received a standing ovation, and it’s not difficult to see why. Within the cast, there is not a single weak link, with each of them putting an astonishing amount of enthusiasm and effort into their performance. The atmosphere is electric, and the musical is a credit to, what are perhaps, theatre’s hardest working cast and crew.

-Megan Hyland

The Commitments runs at Manchester’s Palace Theatre until 8th April 2017. The production continues at the New Victoria Theatre in Woking from 17th-22nd April 2017.

The Woman in Black (The Lowry, Salford Quays)

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A scene from The Woman In Black by Susan Hill @ Fortune Theatre. Directed by Robin Herford (Taken 26-07-16) ©Tristram Kenton 07/16 (3 Raveley Street, LONDON NW5 2HX TEL 0207 267 5550 Mob 07973 617 355)email: tristram@tristramkenton.com
©Tristram Kenton 

upstaged rating:

Based on Susan Hill’s novel of the same name, The Woman in Black is a chilling horror story that was adapted for the stage over 27 years ago. And yet, the late Stephen Mallatratt’s adaptation remains as poignant and terrifying as it has for many years. For those unfamiliar with the plot, the play follows former lawyer Arthur Kipps, an elderly man haunted by the past and desperate to have his story told. He seeks the help of an actor, who agrees to play Kipps in a re-telling for his family and friends. Together, they perform Kipps’ tale of a secluded manor, a town struck by terror, and the reoccurring appearance of a mysterious woman in black with a wasted face.

Matthew Spencer stars as the dynamic and keen young actor, who plays Arthur Kipps in their re-telling of Kipps’ story. Despite the history of the play, Spencer breathes new life into the character and offers immense likability. As the actor, he is bold and theatrical, as Kipps, reserved and distressed. Through him, we are able to share Kipps’ trepidation and horror. However, David Acton, who plays an elderly, tormented Arthur Kipps, offers an equally exceptional performance. He brings a remarkable fragility to the character and displays some skilful character acting with the roles that Kipps plays within the story, such as the tortured land agent, Mr Jerome and the rather unforthcoming trap driver, Keckwick. The shared narration between him and Spencer was both thoroughly detailed and thrillingly suspenseful.

However, it was the interactions between Acton and Spencer on stage that were most noteworthy. Despite the suspense of the play, there were interludes of charming humour in the scenes that they shared, whichever characters they were playing. Which in part is due to the captivating writing. Stephen Mallatratt’s adaptation is a great testament to the remarkable quality of his writing and paired with the direction of Robin Herford, they have created a heart-pounding and terrifying spectacle.

Although it takes a little while for the story itself to begin, this re-telling of the classic novel is both timeless and imaginative. And despite the simplicity of the set and costumes, the creative uses of lighting by Kevin Sleep and the reliance upon audience imagination create the horrifying scenes that Acton and Spencer describe. And while the use of a play-within-a-play can often fall flat, this unsettling tale does anything but.

-Megan Hyland

The Woman in Black runs at The Lowry Theatre, Salford until Saturday 25th March and you can click here for tickets.

REVIEW: The Curious Incident of the Dog in the Night-Time (The Lowry, Salford)

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The Curious Incident of the Dog in the Night-Time© Brinkoff - Moegenburg
The Curious Incident of the Dog in the Night-Time© Brinkoff – Moegenburg

guest reviewer: megan hyland
upstaged rating: 

The Curious Incident of the Dog in the Night-Time is Simon Stephens’ charming adaptation of Mark Haddon’s novel of the same name. The story of Christopher Boone is one that has touched many people over the years, telling of an intelligent and inquisitive 15-year-old with Asperger’s Syndrome. The play begins with the murder of his neighbour’s dog, Wellington. Upset by Wellington’s death, Christopher vows to find the murderer, but on the way ends up uncovering more secrets than he set out to.

Scott Reid (Still Game, Line of Duty) stars as Christopher in his most challenging role yet, delivering an authentic and emotional performance. His incredible capability is undeniable in this stunning piece, bringing new life to the much-loved character. There are some particularly beautiful scenes in which Reid acts alongside the supporting cast in a series of physical theatre routines that show the audience what the world is like in the mind of somebody with Asperger’s Syndrome.  And despite the limited space of the stage, the cast are able to create a truthful and open world that explores family, mathematics, the universe and everything in between. David Michaels stars as Christopher’s father, Ed, giving a poignant and genuine performance that displays the struggles of a single parent. Supported by the delightful ensemble cast, this is a seamless production, with the cast working together to create an original and extraordinary piece.

Director Marianne Elliot has helped to create a heart-warming and moving production, with skilful use of a seemingly simplistic set. The music of Adrian Sutton and lighting design of Paule Constable also masters communication of both intensity and warmth, resulting in an exciting piece. But despite some sensitive and emotional scenes, Stephens’ dialogue is often incredibly humorous, breathing life into the well-known characters.

Despite having seen the play before, the Curious Incident of the Dog in the Night-Time still offered a new and sensational execution of the critically acclaimed novel. And as a widely loved story, it is recommendable to anyone that is looking for a production that is both intelligent and surprising.

-Megan Hyland

The Curious Incident of the Dog in the Night-Time is on at The Lowry, Salford until Saturday 4th February 2017 and you can get your tickets here. The production continues to tour throughout 2017 and you can click here for the full UK tour details.

REVIEW: The Trial (HOME, Manchester)

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people-zoo-the-trial-image

reviewer: megan hyland
upstaged rating: 

The Trial is a thrillingly absurd adaptation of Franz Kafka’s novel of the same name, adapted by People Zoo Productions. Josef K, honourable citizen and profoundly innocent man, is told on the morning of his birthday that he has been arrested. The audience follows K as he tries to prove his innocence to the unjust and strange legal system that he finds himself entangled in. But not knowing what he stands accused of, and fighting against an unidentified, immeasurable power, how much is his innocence really worth?

William J Holstead stars as the protagonist, displaying remarkable physicality and masterful control, telling the story of one man’s desperation in an emotional and thoroughly committed performance. Holstead acts as a guide for the audience through this peculiar situation that K has found himself in, and as quickly as Holstead has built up the character in the opening scenes, he begins to tear him down, as we see just how far one man will go to prove his innocence. In such a dark and disturbing narrative, however, the rest of the cast provide some much-needed comic relief, all acting in multirole, with Adrian Palmer and Sarah Legg standing out in particular. Palmer’s excellent character acting and Legg’s performance as K’s moralistic and over-sexed landlady are outstanding.

The play itself can only be described as bizarrely entertaining, with well-written and clever dialogue that keeps the audience engaged even despite the nonsensicalness of the plot. The remarkable humour and intrigue that the first act creates outweigh the unusualness of the storyline, and instead supply it with a strange charm. The second act, however, is incredibly intense, with some exceptional performances and gripping scenes that send some powerful messages that are still relevant today.

Director Craig Sanders has created a wonderfully offbeat dark comedy, managing to portray both the nostalgia and relevance of Kafka’s work on the stage. Paired with the intense music of Dennis Tjoik and the simplistic but expressive set design, the effect is a thought-provoking combination of surrealism and farce. These are two things that the play combines effortlessly, transitioning frequently between slapstick humour and highly intense scenes with ease and fluidity. And although the storyline itself is quite non-traditional and perplexing, once the eccentricity of the production itself is embraced, it makes for a captivating and unusually amusing watch.

-Megan Hyland

The Trial is performed as part of PUSH Festival at HOME, Manchester. PUSH Festival runs from 14th January – 28th January 2017 and the full festival brochure is available by clicking here.

REVIEW: Wind in the Willows (The Lowry Theatre, Salford)

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Neil McDermott and the cast of Wind in the Willows © Marc Brennan
Neil McDermott and the cast of Wind in the Willows
© Marc Brennan

 Reviewer: megan hyland
upstaged rating: ⭐⭐⭐⭐⭐

The Wind in the Willows is a heart-warming and colourful musical based on the novel by Kenneth Grahame, produced by Jamie Hendry. It stars comedian and actor Rufus Hound as the sparky and bold speed enthusiast Mr Toad, alongside other familiar faces such as David Birrell (Midsomer Murders and Buried) as Mr Badger and Fra Fee (Les Miserables) as Mole. The musical tells the renowned story of friendship and adventure through beautifully orchestrated live music and the incredible dynamics of the cast. When Mr Toad is arrested and thrown in prison for the theft of a motor car, his lavish mansion is seized by the Wild Wooders, a fiendish band of woodland animals.

As Mr Toad, Hound steals the show with his quick humour and physicality. His boundless energy brings new life to the well-loved character, making him charming and likable despite his endless scheming. Although Hound may seem an usual choice for the role, none could have played it better. That being said, the rest of the cast fell far from short. Their command of the stage was masterful, and the singing in particular was captivating. Every harmony was perfectly blended and the actors seemed constantly in-tune with one another, working together to create a mesmerising production.

Other stand out performances were that of Neil McDermott and Sophia Nomvete. McDermott played the Chief Weasel, a cunning and cruel Wild Wooder. He was as menacing as he was exciting, and he brought up the energy of the other woodland creatures. As the strong and gutsy Mrs Otter, Nomvete delivered an amusing and engaging performance, playing the worried but protective mother who is no doubt familiar and lovable to us all.

However, it is the music, written by George Stiles and Anthony Drewe which makes this performance truly special. The songs are both uplifting and catchy, with a perfect combination of emotion and humour. They are heartfelt and sincere, without bringing down the general light mood of the production. Combined with the stunning sets and costumes designed by Peter McKintosh and Howard Harrison’s striking light design, it creates an enchanting atmosphere that is matchless.

With the Wind in the Willows, Julian Fellowes has expertly crafted a magical tale of the power of friendship. It is perfect for families and children, although I would recommend it to anyone who is looking for a few hours of lighthearted fun and music. Without a doubt, this is the musical production of the year.

– Megan Hyland

Wind in the Willows is at The Lowry, Salford until Sunday 6th November 2016 and you can get your tickets here.

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Showing as part of Family Arts Festival. Please click here for more information.