Contrary to the title, Art is not actually about art. It focuses more on the friendship between the three main characters, Serge, Marc and Yvan (Played by Nigel Havers, Denis Lawson and Stephen Tompkinson, respectively). Having known each other for 25 years, the bond between Serge, Marc and Yvan begins to disintegrate after Serge purchases a white painting for what Marc considers to be an obscene amount of money.
Under this relatively simple premise, Yasmina Reza’s play touches on friendship, aging and class as well as the titular theme of art. Reza covers these themes effortlessly, bringing to the play a lightness of touch that makes even the climactic argument joyous to watch. This is thanks, in no small part, to the gentle comedy which exists throughout the play – something which the audience seemed to adore.
All three actors carry reputations as seasoned performers and they live up to them here, although some dialogue is delivered at such impressive speed that it can be easy to lose track of what is actually being said. Despite this, all three actors put in excellent performances, crafting detailed, three-dimensional characters drawn from the rich amount of background material provided by Reza’s text.
A word must be given to Christopher Hampton’s translation, which features some excellent comic phrasing and expertly disguises the fact that English is not the play’s first language.
This production of Art seems mainly to cater to the older audiences drawn in by the reputations of the three stars, but there is something here for everyone who finds themselves questioning their friendships every once in a while.
-Daniel Shipman
Art runs at The Lowry, Salford Quays until Saturday 31st March 2018.
Puccini’s Madama Butterfly tells a story of the marriage between American Navy Lieutenant Pinkerton (Merunas Vitulskis) and young geisha Cio-Cio-San (Anne Sophie Duprels), or Madama Butterfly, whilst he is based in Nagasaki in 1904. To Pinkerton, it’s a marriage of convenience; his purchased bride a temporary aesthetic addition whilst in Japan. To Cio-Cio-San, it’s a marriage of true and enduring love – she readily accepts the role of subservient and dedicated wife. Madama Butterfly is a tragedy full of inequality, exploitation and unrequited love, featuring cross-continent and cross-cultural disparities. Pinkerton, charmed by the novel beauty of his 15-year-old bride, is her ‘rescuer’ from life as a poor geisha. Rejected by her community, she commits to her ‘heroic’ Western husband, with a newfound sole purpose as his love and wife.
The audience follows Butterfly’s foreseeable abandonment, denial, naivety and pain in discomfort. She dutifully waits for Pinkerton, watching every ship come and go, for 3 long years. Her pain is softened by their son (Oliver Chambers) and the idyllic delusion that Pinkerton will come back to her. She is his wife and true love, after all? The audience dreads what they know is more likely – he returns, but not to her. Worse, he returns with his ‘proper’ American wife and Butterfly is the last to know. Vitsulkis’ performance as Pinkerton is particularly strong in the final scenes, where the consequences of his flippancy and meaning of Butterfly’s love become clear upon her suicide.
Duprels gives a wonderful performance as Madama Butterfly, evoking her character’s emotions in the audience through her remarkable voice and performance. In Act II, as she excitedly prepares for Pinkerton’s return, Duprels made me hopeful he loved her too, whilst I braced myself for the predictable disappointment. This includes a beautifully constructed scene (Tim Alberry, Peter Mumford, Maxine Braham) between Butterfly and her servant, Suzuki (fantastically portrayed by Ann Taylor), who despairs as she reluctantly helps Butterfly fill the home with petals.
The audience enjoyed robust vocal and acting performances, accompanied by a first-class orchestra (David Greed, Andrew Long, Martin Pickard), across the rest of the cast. Peter Savidge’s Sharpless and Joseph Shovelton’s Goro proved especially popular.
As a newcomer to Opera, I had doubts whether I would be able to follow the story, feel entertained or engaged by the style. Opera North declare an inclusive ethos and promote their work as accessible to all – with their informal approach, simplistic set design (Hildegard Bechtler) and helpful translation displays, I think they successfully achieve this. Madama Butterfly is a captivating and moving production, go and see it and prepare to enjoy it whether you’re an Opera veteran or novice. I suggest you take tissues!
Air Play is a stunning 60-minute circus-style adventure for absolutely everybody from ages 6 -106. This beautiful show is currently in the midst of an international tour, playing only 4 UK venues and we were lucky enough to catch it at The Lowry, Salford Quays. It would be fair to say that the husband and wife team, Seth Bloom and Christina Gelsone of Acrobuffos, held the audience, which included a lot of children, mesmerised throughout.
This two-hander follows the surreal journey of two siblings through a land of air as they turn familiar objects into complete works of art. The premise of the show is very simple – there is balloon play, huge kites of glimmering fabric, glitter and packing peanuts suspended in the air. However, the presentation is highly accomplished and wonderfully conceived and the result is magical – straddling clowning and circus with modern art, pure imagination and sprightly humour.
Huge canopies of gold and red silk dance in the wind – reminiscent of watching the flames in a fire or the clouds in the sky – as your imagination runs free trying to make sense of the images they create. An errant balloon strays far so from the stage that the audience becomes part of the spectacle in batting it back to the performers. A breathtaking night sky and a huge snow globe take over the performance space – the audience are all gripped.
Thing 2 loved the simple storytelling and slapstick style humour, particularly when the performers each disappeared inside a balloon. Bloom and Gelstone frequently break the fourth wall and invite the audience into their world – climbing among the audience interacting with children and adults, everybody gets the opportunity to be part of the magic.
The musical soundtrack is delightful – incorporating many different music styles from around the world, it sets the pace and mood for each section in the show. This is a show without spoken word which makes it a universal piece, language really is no barrier here. Both performers are skilled storytellers – their physicality and facial expressions communicate everything that the audience needs to know.
Featuring a winning blend of visual masterpieces and playful storytelling, Air Play is a heartfelt poetic performance guaranteed to enchant and amaze the young and the young at heart.
Metta Theatre are front runners in cross art form theatre practice and this week they’ve somersaulted into The Lowry, Salford with their refreshing and radical interpretation of Rudyard Kipling’s classic tale, The Jungle Book.
Using a vibrant and intoxicating fusion of hip-hop, street dance, circus and storytelling, Metta’s Jungle Book is suitable for all ages 8 and up. Thing 1 (age 11), a dancer and Thing 2, (almost 8 and a keen back flipper) were gripped by the acrobatics, agility and aerial hoop display. The production swaps the original setting of the Indian jungle for the mean streets of the urban jungle in Britain, which may initially be a strange concept for younger children who are big fans of the cute Disney version. Though pleasingly, Metta Theatre challenge the well-loved tale and turn it on its head. Quite literally.
Adapted by Metta’s visionary director, Poppy Burton-Morgan – Mowgli (Nathalie Alison) is a lively young girl with a shock of black hair who has been brought up by Akela (MattKnight) and his pack of skateboarding wolves, after finding herself abandoned. The beat-loving bin man Baloo (StefanoAddae) delivers a prologue which serves introduce the audience to each of the characters – be prepared for a graffiti artist Baghera (Kloé Dean), a pole-dancing Kaa (Ellen Wolf) and an intimidating ‘bone-breaking’ (wince) Shere Khan (Kaner Scott). It’s a clever conceit – each of the main characters are still present but they have been reshaped to reflect multi-cultural Britain and the way society views those who go against the grain.
Designer William Reynolds’ effective set of street lamps and barriers is perfectly suggestive of the concrete jungle and provides the perfect playground for the performers to dangle, pivot and climb.
Kendra J Horsburgh’s striking choreography sees the performers fill the stage with flair and grace. Ellen Wolf displays remarkable strength and mastery as she curls and hangs from a street lamp as Kaa and Matt Knight’s Akela demonstrates superb acrobatics and street-dance skills. Nathalie Alison shines as Mowgli – weaving, spinning and balancing with absolute finesse and beauty.
The Jungle Book positively bursts with creativity, talent and passion. Each performer excels at their own individual skill and as each character, but the ensemble are at their most impressive when they occupy the stage together. This is a highly captivating show for younger theatre goers to enjoy, though cleverly, it offers a more mature social commentary on the Kipling classic – making it suitable for children and adults alike.
-Kristy Stott
The Jungle Book runs until Saturday 2nd September 2017 at The Lowry Theatre, Salford.
The Mikado or ‘The Town of Titipu’ was first produced in 1885 and first ran for a mammoth 672 nights making it one of Gilbert and Sullivan’s most popular plays. Set in the rather bizarre world of Titipu our protagonist Nanki-Poo (Richard Munday) falls in love with a girl named Yum-Yum (Alan Richardson) but both are tragically betrothed to others. One is bound to the Lord High Executioner Ko-Ko (David McKenchnie) whilst Nanki-Poo is entrapped by the formidable Katisha (Alex Weatherhill).
The adaption is set in a private school camping trip which I must admit, I did not realise until I read it in the programme. I feel the production was supposed to be contextualised within a certain setting, however, I felt it was staged rather randomly in a wood far away from any towns or villages. However, the ambience that the set created was a success as it only heightened the hilarity on stage.
Director Sasha Regan stated that ultimately the tale was written as a way to poke fun at the establishment. She felt that Gilbert and Sullivan put their very English society on the stage to take the mickey in their original version of The Mikado, a sentiment which reverberates in Sasha Regan’s all-male production.
Alan Richardson shocked the audience with his vocal range, I was in complete disbelief when he first hit his high note. His performance easily stole laughter from the audience. David McKechnie played a magnificent Ko-Ko, who seemed to toy with physical comedy with ease. His performance in ‘As Some Day It May Happen’ was a show highlight. Alex Weatherhill also did a fantastic job in his role as Katisha.
However, it was Jamie Jukes who played Pitti-Sing who was the stand out performer for me. His performance was effortless and I found my eye would wander to him and Richard Russell Edwards (Peep-Bo) whenever they were on stage. The two bounced off one another and make a perfect double act.
This was my first time going into a Gilbert and Sullivan production and I would say that it is an acquired taste. It took me a little longer than usual to truly settle down into the performance. This is the perfect show for anyone who wants to leave their worries at the stage door and truly have fun, although it may be a step too silly for some.
I was seated next to an older gentleman who sang and danced throughout the entire performance with a huge grin on his face. He wasn’t alone in his glee.
-Elise Gallagher
The Mikado runs in The Quays Theatre at The Lowry until Saturday 29 July 2017.
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.
Storm Vera is battering the UK and people are being evacuated from their riverside homes following the imminent threat of severe flooding. With the promise that emergency services are on their way, five older age ladies wait patiently on the first floor of the Silver Retirement Home in Gravesend for help to arrive. As time ticks on and the water level rises it becomes apparent that the women have been forgotten about.
Silver Lining is a new comedy by the writer, actor, presenter and political activist SandiToksvig which explores the lives of five extraordinary yet forgotten older women. With only one young agency carer Hope Daley (Keziah Joseph) to assist them, the ladies realise their only chance of survival is to pull together and forge their own ‘sink or swim’ escape.
Sandi Toksvig took her inspiration for the play from the observation that there are many hugely talented older age female artists competing for very few interesting roles. The play really is a celebration of older women taking to the stage. However, despite the pressing, current and liberating subject matter, in a time of a social care crisis, Silver Lining still manages to limit itself with stereotypes of older age women. And certainly, the first Act feels mechanical, propelled by gags about death and bowels.
It isn’t really until Act Two that we really begin to get under the skin of the characters with the fruition of their ‘Great Escape’ mission. Sheila Reid gives a sparkling performance as leopard print wearing, selfie taking Gloria. Reid is suggestive of the colourful and indulgent life that the ex-barmaid has lived – boldly cracking sexual taboo’s not normally spoken about by older women. Perhaps most notably there is a beautiful monologue given by Amanda Walker as St Michael which gives a poignant description of life from the perception of somebody with dementia.
There is plenty of charm and warmth to be found in the chemistry between each of the performers. Michael Taylor’s intricate residential home set design sums up the functional, oppressive environment that the women inhabit; Mark Doubleday’s lighting design works with Mic Pool’s clever sound design to create the illusion of a storm wreaking havoc outside. Aside from this, Silver Lining isn’t quite watertight and lacks the lustre that the title promises.
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.
Conjuring up all of the charm, magic and celebration of the fairytale, Birmingham RoyalBallet’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.
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.
