Review: Kate O’Donnell: You’ve Changed (The Lowry, Salford Quays)

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

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

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

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

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

-Megan Hyland

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

Review: Hedda Gabler (The Lowry, Salford Quays)

HEDDA GABLER UK Tour 2017/2018 Royal National Theatre London PHOTO CREDIT: BrinkhoffMögenburg
HEDDA GABLER
UK Tour 2017/2018
Royal National Theatre London
PHOTO CREDIT: BrinkhoffMögenburg
Guest Reviewer: Gillian POtter-Merrigan
Upstaged Rating: ⭐⭐⭐⭐⭐
Creating a new version of a classic is always a mission fraught with danger.  Will the original mood of the play be lost in translation?  I am happy to report, that with a few minor details, the National Theatre’s new adaptation of Ibsen’s Hedda Gabler by Patrick Marber manages largely to retain the same malevolent and desperate tone as the original whilst updating the story both visually and adding another layer with the inclusion of musical interludes. 
Hedda is trapped in a marriage she despises – slowly losing her grip on herself and those around her. Lizzy Watts‘ Hedda is depicted with an underplayed desperation that remains just a whisper from insanity.  The whole cast move seamlessly from cowed to controlling within the narrative providing a fine ensemble performance.  However, Adam Best as Bract, the judge and some would say the jury on Hedda, stands out in his role as the eventual winner in the game of mental cat and mouse with a shocking denouement that drives Hedda to her last act of nonconformity albeit one which will create the scandal she has always feared.   
The desperation of the characters is palpable largely to a perfect set designed by Jan Versweyweld; a blank cold white box with the characters observed like rats trapped in a box.  Blinds filter the sun to become prison bars and the lighting is used by Verweywald to show the shifting dynamics within the group, especially the use of shadows. At the start, Hedda’s shadow looms large over the others but with her increasing inability to manipulate the story that unfolds her shadow decreases mirroring her own waning influence. The lighting as we watch Hedda breathe her last is particularly bleak.  The staging also cleverly extends to using the spaces within the auditorium to include the audience along with the placing of the actors on the stage, stepping forward only when their roles dictate.  This mechanism gives the play an almost doll’s house feel with characters being played with by both the audience and Hedda only when they are needed. 
A couple of things are confusing; if there is an entry screen for the front door why is other technology missing?  Also, the positioning of the entry screen largely obscures it from the audience.  However, these are merely footnotes in what is an unmissable provoking and entertaining retelling of Ibsen’s treaty on the female psyche. 
However these minor issues aside it is a mesmerising and reflective production and, unlike Hedda, you could wish for nothing more.
-Gillian Potter-Merrigan
Hedda Gabler runs at The Lowry, Salford Quays until 4th November 2017. 

 

Review: Superposition (The Lowry, Salford Quays)

© Sam Ryley
© Sam Ryley
Guest Reviewer: Elise Gallagher
Upstaged Rating: 

Spoken word, science and strip clubs combine to create Chanje Kunda’s one-woman cabaret show exploring the laws of attraction and the meaning of life.

Manchester poet, playwright and performance artist Chanje Kunda presents Superposition at the Lowry Theatre. Kunda took lessons in several disciplines of dance in the lead up to her show. Two are pole and lap dancing, which are commonly performed in certain venues for a particular clientele, but Kunda sets out to reinvent this.

“As a woman, I wanted to find out about the laws of attraction. I wanted to know how the universe works and about my place in the universe. So, I decided to ask these questions to a philosopher, to a physicist and to my son.”

Superposition is a frank, hopeful yet honest look at the questions that surround the universe, juxtaposed through the lens of lap dancing and quantum physics.

During one scene Kunda illustrates the similarities between the properties of particles and the routines of a nightclub. She explains that if the atom was a nightclub, “the nucleus would be dancing in the middle of the nightclub” whilst the electron would be orbiting the nucleus “getting to see the sexiness from all angles”. She explains this all whilst pole dancing, I must add.

The prospect of a show marrying poetry, pole dancing and particle physics to perform on stage is a daunting prospect, and it had the potential to go very wrong. However, it didn’t. The narrative pivoted between Kunda’s lessons in erotic dancing (including “floor fuckery”), the body positivity reflections against the backdrop of her life. And all seamlessly fused together in a dialogue of dance fusion, philosophy and music.

At one point Kunda empathises with a cat on heat and discusses the many questions life has to offer with her curious son. She then puts on the most glorious pair of ‘stripper shoes’ which she at first wobbles, unbalanced, in – but a short time later she is working the pole, transfixing the audience.

At the end of the rabbit hole that Kunda has sent us down she studies her audience and says, “I’m letting you watch me because you paid,” and in that moment we are forced to think about the politics and conflict of ownership, the policing and imposed restrictions of bodies and more importantly, the politics of black women’s bodies. When asking to pick out a lap dancer, Kunda looks for one with a “badonk-donk bum”, only there were none; instead, the lap dancer had breasts that even gravitational force couldn’t pull down. In the body confidence workshop she attended, where they were all asked to undress, and she was the only black female, she was staggered to see that their pubic hair was like down or fur rather than the texture of her own.

I imagine, it goes without saying, that this kind of show is an acquired taste. However, behind the poetry, the pole, and the heels there is a rawness which laces between the words and the movement and transcends boundaries.

The show circles around and around, looping upon itself – but it isn’t repetitive. My only qualm with the performance as a whole was that sometimes Kunda was overshadowed by the volume of the music.

In an age where women’s eroticism is often portrayed quite cheaply, Kunda searches for a new way to elevate and celebrate it – through the disciplines of science, spirituality and sensuality. The hour passed very quickly.

-Elise Gallagher

Further UK tour dates for Superposition can be found here.

REVIEW: Andrew Lawrence: The Hate Speech Tour (The Lowry, Salford Quays)

 ANDREW-LAWRENCE-THE-HATE-SPEECH-TOUR
upstaged rating: 

Andrew Lawrence’s The Hate Speech Tour mocks the obsession with political correctness, whilst dealing with the difficulties of fatherhood, as well as everyday life. The show is not for the easily offended – with the comedian delivering jokes that insult people from all walks of life. It was made clear in the show’s introduction that the comedian’s material offered a dark alternative to pre-watershed comedy, requesting all sensitive ‘idiots’ to leave the room.

The overall tone was set in the first half of the show, with Andrew working the audience with some classic front row interaction, in which he declared his hatred for those who don’t turn up for his shows. He didn’t beat around the bush in regards to the fact that comedy is his main source of income, addressing the point that the audience makes up his pay check, and that he sees ‘pound signs’ as seats fill up. This gave off the impression that Andrew’s comedy was genuine, rather than a built up illusion of perfectly rehearsed jokes, as well as breaking the cliché’s of performers in the entertainment industry.

This was followed by Andrew’s opinions on being a comedian, parenting stories, which were met with a dark twist, and issues with the obsession over political correctness. This backlash against P.C was an ongoing feature throughout the show, which was driven by crude humour and unpopular stereotypes, which offered a different angle to the typical “special snowflake” orientated material that dominates the media. Andrew’s resentments towards P.C culture was developed with an anecdote of his own personal experiences of being boycotted from inner comedy circles, as he has often been shunned and even banned from performing at venues due to his unusually anti-left views.

The only noticeable downsides to the act were the stumbles between gags, which were unexpected due to Andrew’s 14-year career. These stumbles were filled with stutters and re-hashed phrases that took away from the flow of the show and the comedic effect. However, this wasn’t detrimental to the act, as his care-free attitude and relaxed demeanour gave of an air of confidence and experience.

Overall, despite giving the audience “68%”, as opposed to the “110%” given by baby-faced comedians, Andrew Lawrence gave a well performed, alternative night of comedy, which offered a refreshing change of pace.

-Demi West

Andrew Lawrence continues The Hate Speech Tour throughout April and May 2017. You can find dates, information and tickets by clicking here.

Our Favourite Productions of 2016

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With all of the big Christmas shows in full swing, it feels like a good time to look back at the highlights of a busy year for theatre in Manchester. Here are Upstaged Manchester’s theatrical highlights of 2016. Which shows would make your list?

 Wit at The Royal Exchange

Julie Hesmondhalgh’s portrayal of Dr Vivian Bearing, an American Professor who finds herself diagnosed with advanced metastatic ovarian cancer, was striking and raw – nothing short of magnificent. Cancer is a hard subject matter to tackle on stage, especially in a performance as honest as this. Wit had everything. Powerful enough to make some cry and poignant enough to make everyone laugh, think and discuss.

The Girls at The Lowry Theatre

The Girls at The Lowry, Salford © John Swannell
© John Swannell

 

I am just so pleased that The Girls is on its way to the West End and is set to open at London’s Phoenix Theatre from January 2017. The collaboration between Gary Barlow and Tim Firth is a perfect recipe for success. Hilarious and heartbreaking all at the same time, I spent most of Act 2 looking through a blur because my eyes were so teary from laughing and crying at the same time. Just fabulous.

Husbands & Sons at The Royal Exchange

Husband’s & Sons had the perfect line-up of creatives and performers – all of the best in the field working together on one show. Director Marianne Elliott, of War Horse and Curious Incident of the Dog in the Night-Time, at the helm of a truly phenomenal cast – including Ann-Marie Duff and Louise Brealey. Fused with Bunny Christie’s ingenious design, Husband’s & Sons was heartfelt and gritty. So good, I wanted to watch it all over again.

The Encounter at HOME

A strikingly different theatre experience to anything that I have witnessed before. Every member of the audience is issued with a set of headphones and using cutting edge audio technology  is transported to the Amazonian rainforest and into the head of Loren McIntyre, a stranded photojournalist. The Encounter is gripping,  an adventure story which gets inside your head. Literally.

Parade at Hope Mill Theatre

I always enjoy James Baker’s productions massively – with every show he raises the bar of the Manchester Fringe Theatre scene a little higher. Parade was nothing short of a triumph. The dimly lit, eerie walls of Manchester’s newest performance space, Hope Mill Theatre added a further dimension to the production – intimate and powerful, something quite special.

Origins at The Lowry Theatre

Origins by Animikii Theatre. Developed with The Lowry.
Origins by Animikii Theatre.
Developed with The Lowry.

An intense new piece of physical theatre by Animikii Theatre Company exploring the story of the world’s first murderer: the killing of Cain by his brother Abel. Captivating storytelling communicated only through movement and sound. Adam Davies and Charles Sandford are highly skilled performers and with every detail loaded to perfection, Animikii Theatre Company are certainly ones I’ll be watching out for in the future.

 

Rambert: A Linha Curva at The Lowry

Now in their 90th year and still leading the dance world with their innovative and exhilarating dance works. A Linha Curva is sensual, witty and terribly good. The dancers are faultless, moving alongside each other in a truly intoxicating display. Rambert may be 90 this year but they show no sign of standing still.

Matthew Bourne’s The Red Shoes at The Lowry

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

The Red Shoes is a breathtaking balletic display – a beautifully tragic tale poignantly told. Terry Davies’ musical score, using the music of golden-age Hollywood, and Lez Brotherston’s ornate set and dazzling costumes ooze 1940’s glamour. Following it’s sell out run in 2016, it returns again to The Lowry in July 2017. So if you didn’t catch it this time round, get your ticket booked for next year!

Sweet Charity at The Royal Exchange

Kaisa Hammarlund in Sweet Charity © Richard Davenport
Kaisa Hammarlund in Sweet Charity
© Richard Davenport

With its irresistible Cy Coleman musical score, supervised by Nigel Lilley and directed by Mark Aspinall, played superbly by a live band; an ensemble that dazzle and a top-notch central performance from Kaisa Hammarlund – Derek Bond’s Sweet Charity is an absolute must-see. At the Royal Exchange until 28th January 2018 – there is still plenty of time to bag a ticket. You’re welcome.

REVIEWER: CIARAN WARD

A Streetcar Named Desire at The Royal Exchange

Sarah Frankcom’s adaptation of Tennessee Williams’  modern domestic tragedy, ‘A Streetcar Named Desire’, was an exhilarating piece of theatre that warranted much more than a five-week run. Maxine Peake’s effortless performance as the fallen Blanche DuBois was every bit as riveting and worthy of acclaim as her predecessors, Vivien Leigh and Gillian Anderson.

REVIEWER: DEMI WEST

GM Fringe 2016: Fast Fringe at The Dancehouse Theatre

The ‘GM Fringe 2016: Fast Fringe’ show was by far the most memorable comedy that I have enjoyed this year. The selection box of comedians kept the show fresh, each offering a diverse style of comedy that was sure to please all audience members. The Fast Fringe is a brilliant way to sample and discover different comedians, along with guaranteed laughs.

Merry Christmas to each and every one of you – thank you for all of your support this year. 

Wishing you all the best in 2017.

-Kristy Stott

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

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.

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

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

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: The Shawshank Redemption (The Lowry, Salford)

The Shawshank Redemption © Mark Yeoman
The Shawshank Redemption
© Mark Yeoman
reviewer: megan hyland
upstaged rating: 

Adapted by Owen O’Neill and Dave Jones from Stephen King’s critically acclaimed novel and the iconic 1994 film, the Shawshank Redemption tells the familiar story of Shawshank Maximum Security Penitentiary. Whether you know the story or not, this production is accessible for all audience members, with its hard-hitting and emotional performances drawing you in from the beginning.

thumbnail_Paul NichollsThe play follows Andy Dufresne, (played by Paul Nicholls) an intelligent and charismatic banker imprisoned for the double murder of his wife and her lover. The story is beautifully narrated throughout by his fellow prisoner Red – played by Ben Onwukwe who brings brilliant animation and magnetism to the well-loved character. Throughout the twenty years in which the play is set, we see Andy interact and develop relationships with his fellow prisoners – played by an outstanding supporting cast – all the while forming a rather resourceful plan.

The all-male cast offer a range of powerful and gripping performances, from the quiet and bumbling but lovable librarian ‘Brooksie’, played by Andrew Boyer to the terrifying and sinister prison tormenters Rooster and Bogs, played by Jeff Alexander and Sean Croke, whose performances were exceptional and uncomfortably convincing. The entire cast had incredible physicality and great chemistry, particularly between Nicholls and Onwukwe, who bring both humour and charm to their characters. Nicholls gave a charming and likable performance as Andy, effortlessly transitioning from Andy’s distanced and quiet personality to bold, raw performances with Jack Ellis’ performance as Waden Stammas being the perfect menacing contrast. Each scene was thick with tension, but the hard topics especially were handled effortlessly and tension was quickly diffused with wonderfully dry humour.

Gary McCann’s set and costume design although simplistic added greater authenticity to the story, and allowed it not to distract or take away from the incredible acting performances. Although the costumes and set design were reminiscent of the 1994 film of the same name, they were magnificent in their own right. Paired with Dan Samson’s eloquent sound design, they create a genuine and intimidating prison atmosphere.

Transferring this story to the stage can’t have been an easy task, but director David Esbjornson has done a faultless and beautiful job. The cast bring a new life to the familiar roles, without leaving behind the story we’re familiar with. And although not a light-hearted watch, the play tells a riveting and heartfelt story of friendship, strength and hope that resonates with the audience.

-Megan Hyland

The Shawshank Redemption runs at The Lowry Theatre, Salford until Saturday 10th September 2016 and you can get your tickets here.

REVIEW: Gangsta Granny (The Lowry Theatre, Salford)

Birmingham Stage Company's Gangsta Granny by David Walliams. ©Mark Douet
Birmingham Stage Company’s Gangsta Granny by David Walliams.
©Mark Douet
upstaged rating: 

The Lowry fizzes with excitement with the arrival of the Birmingham Stage Company’s adaptation of David Walliams’ much-loved Gangsta Granny.

Since 2008 David Walliams has taken the children’s literary world by storm – writing nine children’s books and selling more than 12.5 million copies worldwide. Children (and grown-ups) love his books and it was clear to see that this stage show was also well received. Gangsta Granny has been a staple read in our house- the immersive sheer brilliance of Walliams’ wit has ignited our imaginations and prompted conversation. While the stage show doesn’t offer the same enveloping delight as diving into the original, the charm and excitement of the live stage match the vigour and flamboyance of Walliams’ writing.

Adapted by Neal Foster, Gangsta Granny tells the story of Ben (Ashley Cousins) and the relationship that he has with his little scrabble playing, cardigan wearing, cabbage chomping Granny (Gilly Tompkins). Ben loathes having to stay at his boring Granny’s house every Friday when his Mum (Louise Bailey) and Dad (Benedict Martin) go to watch their Strictly Stars Dancing show.

Vibrant and colourful, each character looks as though they have sprung from the pages of Tony Ross’ wonderful illustrations. Travelling around on her motorised scooter we soon learn that Granny is not as boring as we have been led to believe. Action packed and dream-like with a wicked brilliance, Gangsta Granny is poignant with some top-trumping wit and offers a thoughtful twist as Ben comes to realise that beyond the drab exterior, his gran is wild and adventurous.  

‘It’s important to follow your dreams Ben, it’s all you’ve got to guide you.’

Jacqueline Trousdale’s set is colourful and snappy, the simple design makes scene changes swift and fluid. Jak Poore’s ballroom themed musical composition is lively and comical, adding further depth to the production.

© Mark Douet
© Mark Douet

 

Gangsta Granny is fun and fast paced and the perfect outing for children, parents and grannies. It continues to tour right through summer  2017 – running at 2 hours and 10 minutes, it is the ideal treat for those children who read, share and love Walliams’ writing.

-Kristy Stott

Gangsta Granny gets a WEST END transfer! Catch David Walliams’ Gangsta Granny at The Garrick Theatre, London from 26th July 2017 to 3rd September 2017- tickets are available here.

Gangsta Granny continues to tour the UK right through to September 2017. Click here to find your nearest venue and book tickets.