Salford

REVIEW: Jane Eyre (The Lowry Theatre, Salford)

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© Brinkhoff/Mögenburg
© Brinkhoff/Mögenburg
reviewer: Elise Gallagher
upstaged rating: 

Following a critically acclaimed run at London’s National Theatre, Wednesday the 12th April saw Salford’s Lowry Theatre fling open its doors to the Bristol Old Vic’s stage adaptation of Jane Eyre.

2017 marks the 170th anniversary of the publication of Charlotte Brontë’s most famous piece, a tale of passion, justice and madness set against the backdrop of Yorkshire’s haunting moors. Director Sally Cookson’s adaptation is set amongst a bare wooden frame, with platforms on varying levels used throughout the performance. Adapting a novel for the stage is a challenging prospect, especially such a timeless classic – however, Cookson states that by not approaching the piece as a costume drama, allowed the company to explore the themes and get the heart of both the story and the characters in a theatrical way. Choosing to adopt an authentic set and period costume would have suffocated the story Cookson says, and in doing so would have killed the magic.

One thing must not go without note, the production is a mammoth one, a total of three hours, plus a 15-minute interval. Initially, the adaptation was presented in two parts when performed at the Bristol Old Vic, however shifting to London and beginning a UK tour has seen the production travel as a single performance.

Although I would say that this running time could have been cut down, I’m quite glad it wasn’t. The story didn’t seem rushed or forced in any way but flowed just as naturally as the icy winds that haunt the place.

The cast are outstanding. Nadia Clifford played a phenomenal Jane, I particularly admired how she seamlessly progressed from the loud and defiant girl to the calm yet highly ambitious Governess, craving more for herself in life. The shift was subtle and expertly done.

Tim Delap takes on the role of Mr Rochester and does an incredibly successful job portraying the infamously complicated and troubled character. The chemistry between Delap and Clifford is incredible, both played their parts to the standard of any die-hard Brontë fan.

Evelyn Miller deserves a lot of praise rotating between the characters of Bessie, Blanche Ingram and St. John; such versatility should be applauded. Of course, Ben Cutler as Mr Rochester’s dog Pilot granted the audience much needed light comedic moments to punctuate the brooding of his owner.

Even now, whilst I sit writing this I have the almost unfathomable voice of Melanie Marshall dancing around my head. She is present throughout the show, either singing from one of the bare platforms or lurking towards the back, always watching. In all honesty, I was surprised when I realised she was playing the role of Bertha Mason, Rochester’s estranged wife. Her omnipresent voice sent chills down the audience but also left us with mouths wide in awe. Performing songs such as Noël Coward’s Mad About the Boy and Gnarls Barkley’s Crazy in such a haunting way, enabled the modern pieces to blend perfectly with the classic tale. Her recurring presence only heightened the anticipation for the clash between her and our protagonist.

On taking my seat I noticed that there was a small set up for musicians included on the stage. My heart fell initially, dreading that this adaptation would include Disney-like songs for our characters. Thankfully, I was pleasantly surprised. The band was made up of three musicians (Matthew Churcher, Alex Heane, and David Ridley) who did an exceptional job in supplying a score to the piece, as well as taking on characters such as school children and coach passengers. The first coach journey threw me at first with the abrupt change in tone but then continued to work incredibly well – not distracting from the drama of the stage at all, only heightening it.

Charlotte Brontë did long for the story’s narrative to play out from the book, and although it sadly did not replicate her own life, it certainly deserves its place on the stage. The production received a well-deserved standing ovation from the crowd, I suggest you see it.

-Elise Gallagher

Jane Eyre runs at the Lowry Theatre, Salford until Saturday 15th April 2017. The tour continues at Sheffield’s Lyceum Theatre from 18th – 22nd April. More tour dates/ venues can be found here.

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

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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.

REVIEW: Shappi Khorsandi – Oh My Country

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shappi-khorsandi
reviewer: demi west
upstaged rating: 

Shappi Khorsandi’s ‘Oh My Country!’ tour hit the stage at the Lowry Theatre in Salford for the final destination of 2016. The comedian and author, who continues to tour through 2017, celebrates her 40th year in Britain by expressing her love for her adopted land through a series of comedic, satirical anecdotes.

The supporting comedian Tom Lucy made sure that the audience was ready for Shappi with his dry, awkward humour, and interaction with the crowd. Lucy’s humour, driven by conversation with audience members, resulted in the crowd emitting spouts of laughter at the comedian’s unorthodox approach to comedy. Despite Tom being just nineteen, he delivered his jokes with confidence, succeeding in warming the audience up and leaving me wanting to see more.

Shappi took us on a journey and started the show with how she came to be in the UK, and ending it with tales from more recent times, including the clashes of culture between her two young children. This throughline runs throughout the show, often coming back to her children who both carry characteristics of their mothers cultural heritage. If you are someone who has followed Shappi throughout the duration of her career, you will know that anecdotes concerning her children are something that feature frequently throughout her shows. Nevertheless, the ongoing theme of culture and identity offers something fresh to longstanding fans, who are used to the idea of culture popping up occasionally, but not completely driving a show.

The linear narrative worked well, as it gave the show consistency and told Shappi’s story of embracing and accepting both sides of her heritage. This gave the show a personal touch, but could often lose its comedic effect, with some anecdotes coming to an end with no punchline at all. However, this did help to set the overall tone of the show, which was mainly concerned with nationality and what it means to be British.

The show did seem to be significantly lower on comedy than Shappi’s other performances and was motivated by stories rather than her usual material. Regardless of this new approach, the show still offered some of Shappi’s best jokes, expressed in her usual theatrical style.

Whether you are new to Shappi or have followed her career for a while, ‘Oh My Country!’ offers something fresh and enjoyable for all types of audience members. For me, Oh My Country is arguably one of Shappi’s most intimate and personal tours yet.

-Demi West

Shappi Khorsandi’s -Oh My Country continues to tour through 2017. Click here for more information and to buy tickets.

REVIEW: Matthew Bourne’s The Red Shoes (The Lowry Theatre, Salford)

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Matthew Bourne's The Red Shoes ~Ashley Shaw as Victoria Page~
Matthew Bourne’s The Red Shoes
~Ashley Shaw as Victoria Page~
upstaged rating: 

2017 marks the 30th year anniversary for New Adventures and to celebrate this milestone Sir Matthew Bourne brings the first full-length ballet adaptation of Hans Christian Andersen’s fairy tale The Red Shoes to the stage. The Red Shoes is one of the lesser known of Andersen’s stories but it strikes a resounding chord with the dancing world; it has been a 20-year ambition of Bourne’s to revive the Academy Award-winning 1948 film storyline for his audience.

The ballet tells the much-loved story of Victoria Page (Ashley Shaw), a young dancer who is torn between fulfilling her dream and falling in love. Victoria dreams of being the greatest dancer in the world but when she falls for the struggling composer Julian Craster (Chris Trenfield), she finds herself caught in the midst of a battlefield between her love and her one true love, which is to dance.

When Victoria puts on the vivid red ballet shoes, given to her by the commanding ballet impresario Boris Lermontov (Sam Archer), she is unable to stop dancing until the shoes are removed from her feet. Strikingly set against Lez Brotherston’s stylish monochrome backdrop, Ashley Shaw moves passionately with technical brilliance and much like the red ballet shoes on her feet, she is intoxicating to watch – graceful and passionate en pointe.

Chris Trenfield demonstrates strength and agility as a dancer and storyteller through his sensitive and charming portrayal of love interest, Julian Craster. Sam Archer’s imperious Boris Lermontov offers a striking contrast – ambitious, pushy and marked. Commanding the stage, the red shoes become a tool of seduction; their trailing red ribbons indicative that all may not end well.

Throughout the performance my eye was drawn to Liam Mower as gregarious Ivan Boleslawsky – agile, fun and bold  – Mower is just mesmerising to watch.

Sir Matthew Bourne’s choreography is elegant and super stylish, and the company deliver with precision and wit. Bourne is a unique storyteller who is never afraid to challenge himself – it is this which makes every production he takes on a triumph.

Terry Davies’ new musical score, using the music of golden-age Hollywood composer, Bernard Herrmann, is an absolute delight. Managing to juxtapose the romantic, heart-achingly beautiful with the more playful, comical numbers – the New Adventures Orchestra deliver with gusto. Lez Brotherston’s ornate revolving theatre set design and dazzling costumes inspired by 1940’s glamour contrast strikingly against Duncan McLean’s Burton-esque video projection. 

The Red Shoes is a breathtaking balletic display – a beautifully tragic tale poignantly told.

But don’t just take my word for it – go and see for yourselves.

-Kristy Stott

The Red Shoes runs at The Lowry Theatre, Salford until Saturday 3rd December 2016 and you can get your tickets here.

The Boy With Tape on his Face (The Lowry Theatre, Salford)

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tapeface
upstaged rating:

When I walked into the Lyric Theatre at The Lowry to watch The Boy With Tape on his Face, I really was not sure what to expect. I was aware that Sam Wills was a prop comic and I knew that this show would be performed with tape firmly stuck across his mouth. Normally, I would research but a theatre friend had told me that the less I knew about The Boy With Tape on his Face – the more I would enjoy it. 

Having won the prestigious Edinburgh Comedy Award Panel Prize in 2012, Wills has recently made the final of America’s Got Talent and has just announced that he has a 7-week residency at the Garrick Theatre, London through summer 2017. His humour is perfectly simple, laden with wit and thoroughly charming – it’s easy to understand why the show with no words has managed to get everybody else talking. Recently, he has renamed the show Tape Face.

As the show opens we find Tape Face in a setting resembling backstage at the theatre, presumably he is waiting for his call to perform. He rests in a tatty old armchair, listens to the wireless and takes the occasional cat nap. Luckily for us, his curtain call never comes and his own show begins to play out.

Audience participation is the key with this show and Tape Face manages to drive plenty of unsuspecting audience members to the stage. One of the great delights of his act is the way that he conveys feelings with a look – a cheeky shake of the head or an intense raise of the eyebrows. Using everyday objects he creates mini comic sketches which are fascinating to watch – one being a western style shootout reenacted with staples and balloons.

As each unknowing punter is plucked from their chair to join Tape Face on the stage they are particularly good sports. There is only admiration for the chap who finds himself auditioning for The Full Monty and the poor fellow who keeps finding himself brought up to the stage only to be sent back down again. 

Tape Face has a wonderful universal appeal about it – there are no language barriers because there are no words. I’ve deliberately written this review without going into too much detail about the show because I believe the less you know – the more you will enjoy it…

Go see!

-Kristy Stott

For Tape Face’s full tour listings click here. These listing include London’s Garrick Theatre from 6 June 2017.

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.

 

 

REVIEW: Zoe Lyons – Little Misfit (The Lowry, Salford) 

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zoe_lyons_main
reviewer: megan hyland
upstaged rating:

Known for her regular appearances on TV comedy shows such as Mock the Week and Live at the Apollo, Zoe Lyons is back with her new tour, Little Misfit. First performed at the Edinburgh Fringe this year, Little Misfit is a sensational and exciting hour of reflective and at times quite political comedy. Lyons perfectly balances her personal experiences and world issues, making her performance current and relevant as well as warm and engaging. Rising comic Will Duggan supported Lyons, with twenty minutes of dry and often dark humour that sets him apart from other comedians. His performance was encouraging and involving, with a combination of hilarious prepared material and some equally funny audience interactions.

In a profession that is still disappointingly lacking in female performers, Lyons shows us exactly why there should be more celebrated female comedians. Although the audience was smaller than deserved, Lyons created entertaining atmosphere despite the fact that her comedy is perhaps better suited to a bigger audience. She commands the stage and the attention of the audience with great physicality and her ability to immerse us in her world.

Having watched her on TV, there’s a certain familiarity with Lyons’ comedy. Her quirky style and bold personality creates her own unique stage persona that is easily recognisable and makes her immediately stand out. However, even if you have never seen Lyons perform before – on TV or otherwise – her comedy is both inviting and inclusive, welcoming younger and older audiences. Some anecdotes and jokes however were also familiar, having heard them before from some of Lyons’ other material. Despite this, the show was packed with enough fresh material for this not to distract.

At times the transitions between jokes felt slightly forced, and the show itself ended very abruptly, as it was paced so rapidly that it felt as though it should have slowed to a more gradual end, or perhaps ended on a bigger or more memorable note. It felt as though the show just stopped mid flow on a joke that didn’t quite live up to the rest of the performance. However, despite having seen only short snippets of Lyons’ comedy before, even this hour-long performance felt too short, and perhaps the feeling of abruptness was simply due to wanting the performance to continue.

Little Misfit is a hilarious and charming hour of intelligent comedy that is guaranteed to put a smile on your face. Zoe Lyons has mastered the art of comedy and created her own familiar comedic style that is as funny as it is thought-provoking.

-Megan Hyland

Zoe Lyons continues to tour through to May 2017 – click here for more info and to get your tickets.

REVIEW: I, Myself and Me (The Lowry Theatre, Salford)

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i_myself_and_me_main
reviewer: Ciaran ward
upstaged rating: 

For anybody who is not accustomed to solo shows, I, Myself and Me (created, written and performed by Rachael Young), serves as a delightful introduction to the form, one that is as entertaining and captivating as any other genre of theatre. With generous and well-interspersed portions of humour, paired with the thoughtful inclusion of audience participation, Young’s autobiographical material is expressed in a medium that encapsulates the struggles any single woman in their late thirties can encounter on a day-to-day basis.

Standing on a set (designed by Naomi Kuyck-Cohen) that comprises of a neglected garden, a palm tree, various plant pots and two microphone stands, Rachael Young gives the audience an insight into her life. Learning that she is someone with Caribbean lineage and a working class background allows everyone to engage with her, creating a rapport that engenders an honest and comfortable atmosphere. Through this, she imparts some personal recollections, ranging from the comical anecdote that details her using said palm tree in the absence of a real partner at a school dance, all the way to the heartfelt confession that she didn’t visit her mother’s grave for eleven years.

This sentimentally is explored further in Young’s building up of the garden: an emotional endeavour that is revealed to be an homage to the garden her mother took pride in maintaining. In the background, video footage (edited by Lucy Skilbeck) is projected onto a pull-out screen as she does this, presenting a journey of her buying flowers and finally visiting her mother’s grave.

A dramatic shift in the format of the piece (metamorphosing into one that is reminiscent of a television game show) is introduced when a member of the audience, named Kash, joins Young on stage. Here, the former attempts to help the latter with two challenges, the first entailing the both of them running a lap ‘faster than Usain Bolt’ on the floor, with the second involving Kash navigating the blindfolded Young around a series of mini cacti. The contrast in lighting (designed by Alyssa Watts and Eva G Alonso) aids this transformation, with a spotlight on Young being replaced by stark floodlighting in moments of physical activity.

I, Myself and Me may be a solo show, but it is in no way uniform in nature. The unique performance offered by Young and the unconventional dramatic techniques featured makes for a diverse and compelling interactive monologue.

-Ciaran Ward

You can see Rachael Young performing a work in progress of her new show OUT at the  Steakhouse Live Festival in  Richmix, London on Friday 14th October 2016.

 

REVIEW: Birmingham Royal Ballet: Shakespeare Dream Bill (The Lowry, Salford)

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Wink Birmingham Royal Ballet © Andrew Ross
Wink
Birmingham Royal Ballet
© Andrew Ross
upstaged rating:      

2016 marks four hundred years since the death of William Shakespeare and Birmingham Royal Ballet continue their celebration of the world’s most prolific dramatist with Shakespeare Dream Bill. The production presents three contrasting works, from contemporary to classical, in a Shakespeare-themed feast of balletic brilliance.

American choreographer Jessica Lang’s Wink serves an elegant entree inspired by the language of The Bard’s sonnets. Set to Jakob Ciupinski’s new score, both the music and the movement echo the structure of the sonnets. Surreal and captivating, the piece takes its title from the first line of sonnet 43, ‘When most I wink, then do mine eyes best see.’ The graceful performance is framed by Mimi Lien’s set of rotating boards which switch from black to white representing the blink of an eye. Stylish and contemporary, Peter Teigan’s lighting design and Alfie Jones’ voiceover add further clarity to this faultless display.

José Limón’s The Moor’s Pavane subtitled ‘Variations on the theme of Othello’, distils the tangled tragedy of Othello into a tightly knit and thrilling one-act piece. The four dancers: Tyrone Singleton (Othello), Iain Mackay (Iago) , Delia Mathews (Desdemona) and Samara Downs (Emilia) sweep and glide in Pauline Lawrence’s medieval inspired gowns. Moving in a circular motion about a dark stage, they are enmeshed. Othello’s white handkerchief is passed between them to Henry Purcell’s baroque score.

The Dream concludes the triple bill with a good dose of magic and wit as the company revive Sir Frederick Ashton’s 1964 interpretation of A Midsummer Night’s Dream. With Peter Farmer’s leafy woodland setting and John B Read’s dramatic lighting design, the company fill the stage with elegance and jest.  

I was very surprised to see a few empty seats on the night I attended as the Birmingham Royal Ballet usually, and rightfully, attract a full house. Perhaps the idea of Shakespeare fused with ballet felt quite daunting for some, which is quite a shame as The Birmingham Royal Ballet’s Shakespeare Dream Bill is pure perfection- a stunning display of agility, beauty and technical wisdom. This production is a superb evening out for all ages and whether you are a seasoned theatre-goer or on your first trip to the ballet, the Birmingham Royal Ballet’s Shakespeare Dream Bill is a dazzling visual feast.

-Kristy Stott

The Birmingham Royal Ballet’s Shakespeare’s Dream Bill is on at The Lowry Theatre, Salford until Saturday 17th September 2016 and you can get your tickets here.

 

 

REVIEW: My Big Fat Jobseeker’s Wedding (The Lowry, Salford)

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My Big Fat Jobseekers Wedding at The Lowry, Salford
My Big Fat Jobseekers Wedding at The Lowry, Salford
Reviewer: demi west
upstaged rating: 

Adult themed pantomime My Big Fat Jobseeker’s Wedding is the latest production from Manchester based theatre group Ard Knox. It invites the audience into the life of a stereotypical council estate family, where money is tight, and drama lurks around every corner.

The play is centred in the family sitting room, which is reminiscent of The Royle Family, setting the scene perfectly for the cliché type of humour that’s on offer. The formula that is used does not bring anything new to the genre, and nor does it particularly do well what it intends in the first place. This is by no means down to the acting, which offered a clear visual rapport, showing how much the cast have spent time together, really helping to create the friendships on stage.

The failed gags, however, are down to the poor writing, and jokes were often relying on simple gags and toilet humour which was both predictable and forgettable and felt as though it was aiming for cheap laughs. The script also offered a very incohesive narrative which felt as though it was written with scenes in mind rather than the whole story,  rather a stitch together of random characters and scenes into a form of linear narrative. However this was hidden by some overarching jokes throughout, like the chat room on the laptop, which helped bring together the story in some way, but it did not deny the outlandish random plot points that made no sense.

Despite that the characters were stereotypes, they were very good stereotypes, resulting in people relating them to someone they knew, which made them funnier. However, some characters again were completely out of place and ruined the believability of the other characters. For example, the son was a ‘cowboy’, relying on Sergio Leone references as jokes were completely out of place for a northern working class sitcom style play, which overall tarnished the suspension of disbelief.

Overall My Big Fat Jobseeker’s Wedding was a big fat random collage of cheap jokes and crude humour, that I’m sure would suffice for a quick laugh while drinking with a couple of friends, but would leave no further than that, as it falls flat in offering nothing more than a cheap attempt at Mrs Brown’s Boys.

-Demi West
You can find out more about Ard Knox Theatre Company by clicking here.