Theatre Archives - Page 2 of 5 - UPSTAGED MANCHESTER

REVIEW – Chotto Desh (The Lowry, Salford)

May 4, 2016May 5, 2016kristobel

Chotto Desh © Richard Haughton

Thingstars:

Chotto Desh is being performed as part of the Week 53 festival at The Lowry Theatre in Salford. The innovative festival seeks to bring together contemporary dance, visual arts, music and theatre in interactive installations, exhibitions and performances.

We were thrilled to find out that the Akram Khan Company were taking part in the festival with a new adaptation of their Olivier Award-winning DESH, suitable for children aged 7+ and their families. This is the first ever family show created by Akram Khan and I was very excited to introduce Thing 1, who loves to dance, to some of Akram Khan’s work.

Chotto Desh meaning ‘small homeland’ in Bengali, is the perfect blend of dance, clever animation and simple storytelling set to the beat of an original soundtrack. The narrative is beautifully painted and is pitched at the ideal pace and level for older children to enjoy and understand, detailing a young British man’s dreams, curiosities and memories on his journey to find home. Despite being born in London, Akram has roots in Bangladesh and the Philippines – we follow him on his journey from Britain to Bangladesh and back again; we understand his aspiration to be a dancer and we explore a magical world of memories and stories as they unfold to us.

The show is stunningly performed by Dennis Alamanos – the dynamic and detailed choreography fuses classical Indian Kathak with ballet and contemporary dance. With references to Michael Jackson, breakdancing and street dance – we can understand how popular culture influenced Akram’s childhood. Alamanos’ movement fuses perfectly with the voiceovers and dream-like moving images. Children’s mouths were agape at the enchanting animation – as Akram comes face to face with a crocodile and stares in awe at an elephant before sprinting away from an approaching tiger.

There is such fluidity with the whole performance which also aids little ones understanding and there is a perfect scattering of humour. It was pleasing to see so many children engaging with the performance and enjoying such a breathtaking piece of choreography. Chotto Desh is the perfect mix of storytelling and dance, loaded with innocence and affection, making it fitting for young minds.

Chotto Desh is a beautiful adventure for children aged 7+ and their grown-ups – thrilling, poignant and brilliant. It certainly encouraged us to think about our own home and family and the aspirations that drive us forward.

-Kristy Stott

Chotto Desh runs at the Lowry in Salford until 4 May 2016.

REVIEW – Origins (The Lowry)

May 3, 2016May 9, 2016kristobel

Origins by Animikii Theatre.
Developed with The Lowry.

Upstaged Rating:

This new piece of physical theatre by Animikii Theatre Company explores the story of the world’s first murderer: the killing of Cain by his brother Abel. The result is an intense hour of gripping storytelling communicated only through movement and sound.

Co-created by Henry McGrath and Adam Davies, who also plays Abel, Origins probes the psychological and divine relationship between the two brothers and examines the reason that the two became such hateful enemies.

The brothers relationship is well mapped from the start with Abel (Adam Davies) and Cain (Charles Sandford) engaging in enjoyable and boisterous brotherly games. Oscar Thompson’s ominous musical score resonates powerfully, from the sound of a maternal heartbeat to a discordant boom, giving further depth and meaning to the skilled physicality.

Charles Sandford as Cain towers over Adam Davies’ Abel and appears as the dominant brother from the very start. Cain proves to be diligent crop farmer and Abel a shepherd but the power balance is shifted once Abel makes a more pleasing sacrifice to their god. Could jealousy be the motivation for the murder? Did Cain feel a loss of self-esteem which powered him to kill his brother? Animikii aim to look beyond the monster that Cain appears to be and deliver a portrait of his dreams, passions and the motivations that lead him to commit fratricide.

Adam Davies and Charles Sandford are highly skilled performers and gripping to watch. Bare-chested they deliver an agile performance demonstrating precision, spatial awareness and creativity.

Origins is a tremendous and gripping piece of physical theatre, intense and biblical in the grand sense. With every detail loaded to perfection, Animikii Theatre Company are certainly ones to watch and I can’t wait to hear about their future projects.

-Kristy Stott

Origins continues to tour through May 2016: Visiting the Southbank Centre, London on the 4th and 5th May. The tour visits the Rainhall Centre in Barnoldswick, The Bureau in Blackburn, The Barbour Institute in Tattenhall, The Goodwill Hall in Faddiley and the Unity Theatre in Liverpool. Please click here for more info and tickets.

REVIEW – Leaper – A Fish Tale (The Lowry Theatre, Salford)

April 25, 2016kristobel1 Comment

Leaper - The Fish Tale by Tucked In Theatre Company — Leaper – The Fish Tale by Tucked In Theatre Company

Thingstars:

It’s quite alarming to find out that around 90% of global fish stocks are over-exploited, fully exploited or in recovery from exploitation. In severely depleted areas, the only way to restore fish stock is by introducing protected reserves. However, considering a massive 72% of our planet is water and only 4% of this is currently protected, it becomes evident that without urgent measures we may be the last generation to catch food from the oceans.

It’s really important to educate the younger generation to care for their planet from an early age and Tucked In Theatre Company explore this idea through their production of Leaper – A Fish Tale. There are no blinding statistics or complicated language but charming puppetry, original music and a set with a wonderful hand-crafted quality. The energetic cast of three: Lizzie Franks, Philip Bosworth and Robert Welling tell the story of Leaper the fish and the beautiful but perilous ocean world that she inhabits.

Through the eyes of a little girl, we follow Leaper on her journey to encounter the ever growing natural and man-made dangers in our ocean. After accidentally falling into the water to retrieve her dropped prawn cocktail crisp packet, the little girl makes friends with Leaper as they explore the waterways together, travelling from the tiny stream to the vast ocean and back again.

The young audience were engrossed by Claire Harvey’s wonderful puppet design featuring a school of fish, a noisy duck and a formidable brown bear. Jim Harbourne’s warm and upbeat musical score provided continuity and familiarity for the little ones and Annie Brooks’ design had a real home-made appeal. However, there was a lot of story to cram into a short running time of 60 minutes and with frequent set changes, some of the sections felt rushed. The young members of the audience would certainly benefit from a slower pace which would give them time to reflect and understand.

Following our visit to watch Leaper – A Fish Tale, Thing 2 was busting with questions about fish and our oceans, proving that theatre can be a powerful way to tap into a child’s understanding of the world and our environment. Tucked In theatre have to be applauded for their imaginative approach in tackling a complex subject and their ability to make it accessible to children. After all, our children are the future generation and the earlier we educate them about our planet – the brighter their future.

-Kristy Stott

Leaper is showing next at the Blackwood Miners Institute in Caerphilly on the 30th April 2016 and at 96 Shenley Road in Borehamwood on the 2nd May 2016.

REVIEW – King Lear (The Royal Exchange, Manchester)

April 13, 2016kristobel

Don Warrington as King Lear and Miltos Yerolemou as The Fool.
© Jonathan Keenan

UPSTAGED RATING:

Talawa Theatre Company has been making theatre since 1986 and to mark their 30th anniversary year, and to commemorate 400 years since Shakespeare’s death artistic director Michael Buffong returns to the play he first directed in 1994, King Lear.

In this co-production between Talawa Theatre, Manchester’s Royal Exchange and Birmingham Rep, Don Warrington steps into the royal breaches and takes on the title role. William Shakespeare’s story of a kingdom divided with devastating political and personal repercussions still remains highly pertinent to a modern audience. Striking a chord with a contemporary crowd particularly in the wake of Scottish Independence and the looming EU opt in or opt out discussion. Perhaps most poignantly, this production explores ideas around our aging society and dementia.

Entering to the single steady beat of the drum, Warrington appears wearing a heavy cloak and furs, every inch the look of a formidable leader. He traces the dominant character’s slow descent from greatness to confusion and shame.

“I have, so to speak, lost myself.”

Fists clenched desperately holding on to the sleeve of his robes indicative of his struggle to retain clarity in an increasingly murky world. There is some well-observed physicality from Warrington – his awkward gait and empty stare are all suggestive of a man battling with dementia. However, Warrington’s delivery of the text is lacking in fluidity which means that some of Shakespeare’s powerful rhetoric is lost at times and most particularly during the famous storm in the wilderness scene.

Signe Beckmann’s design is completely stripped back to an empty performance space with the characters dressed in period costumes, and the danger is that it all feels very habitual RSC and old fashioned. The combination of Johanna Tom’s atmospheric lighting design and Tayo Akinbode’s ethereal soundscape is a match made in heaven, especially during the apocalyptic downpour at the end of the first half.

The ensemble cast are all impressive and fearless throughout and all give remarkable performances. Miltos Yerolemou gives a well-balanced performance as The Fool, both humorous and touching; Alfred Enoch gives a mesmerising performance as Edgar – compassionate and honest, much in contrast to his brother Edmund, an ambitious opportunist, again played strongly by Fraser Ayres. Pepter Lunkuse shines as the good-hearted, youngest daughter Cordelia and Rakie Ayola and Debbie Korley give fully realised performances as bloodthirsty sisters, Goneril and Regan.

Philip Whitchurch as The Earl of Gloucester is outstanding with his gory ocular fate prompting the most audible response from the audience during the lengthy 3 and a half hour running time.

-Kristy Stott

King Lear is running at The Royal Exchange Theatre in Manchester until Saturday 7 May 2015.

REVIEW – Dirty Pakistani Lingerie (Touring – The Lowry, Salford)

March 10, 2016kristobel

Aizzah Fatima in Dirty Pakistani Lingerie ©Elisse Lesser — Aizzah Fatima in Dirty Pakistani Lingerie
©Elisse Lesser

UPSTAGED RATING:

Written and performed by Aizzah Fatima, Dirty Pakistani Lingerie finally landed in Greater Manchester last week after a considerable tour around the globe. Winning several awards and the approval of theatre critics, this one woman show has been well received at the Edinburgh Fringe as well as across America, Pakistan and Turkmenistan.

Poised to the backdrop of post 9/11 America, Dirty Pakistani Lingerie explores the stories and experiences of six different Pakistani-American women. The six female characters were developed from a series of interviews that Fatima conducted with women in the New York and New Jersey area. Developed by Erica Gould, Aizzah Fatima plays the diverse range of personas with superb physicality, smoothly shifting from one to the next and juxtaposing the deeply moving with the infectiously comical. Six-year-old Zahra, who likes roti at home but just wants a sandwich at school like Emma K, shares the same stage as hilarious sixty-year-old Asma who is desperately ringing ads from the Urdu Times Matrimonial section in the hope of finding her daughter an impressive suitor.

Dirty Pakistani Lingerie probes important issues surrounding the notion of a hyphenated identity and blows apart some of the myths and preconceptions surrounding women of Pakistani descent. It’s a universal issue and not just one that is relevant to Pakistani-American women. Aizzah Fatima’s bold writing fuses with Erica Gould’s intelligent direction to open a dialogue about the struggle to assimilate Western society while preserving the culture of origin, as Fatima highlights – ‘you grow where you are planted’. All of the women we meet in this production occupy a junction between two very different cultures.

This entertaining and meaningful production has more mileage than the current running time of 65 minutes, there is room for the characters to be fleshed out even more and I would be keen to see it undergo further development.

Perhaps most poignantly, Dirty Pakistani Lingerie celebrates and presents real Muslim American women – seeking to shatter any stereotypes by giving women of South Asian descent, who are often underrepresented in theatre, a voice.

-Kristy Stott

Dirty Pakistani Lingerie continues its tour at Unity Theatre, Liverpool on 1st April 2016, The Rainhall Centre, Barnoldswick on 8th April 2016, Burnley Arts Centre on 9th April 2016 and The Bureau Centre for the Arts, Blackburn on 10th April 2016. Click on the venues to get your tickets.

REVIEW – Kite (The Lowry Theatre, Salford)

February 20, 2016kristobel

Upstaged Rating:

Thingstars:

Kite is a stunningly beautiful and inventive play from Devon based theatre company The Wrong Crowd. No spoken words are needed in this highly visual production, instead delightful puppetry, an enchanting soundtrack and movement bring the story of a young girl and her kite to life.

Following her mother’s death, a little girl (Charlotte Croft) is transported from her home in a seaside town to live with her grandmother (Liz Crowther) in a small flat in London. Lonely and heavy hearted, her memories of the life she used to know and the environment around her begin to fade away. Until one magical night, she finds a handmade kite and patching up a hole in the wing, the two embark on a wild adventure together.

Thing 2 was gripped by the performance, his eyes darting to follow the wonderful kite flying about the stage. He even moved to sit on the stairs to get a better view of the action, reaching his hands out to try and reach the kite as it flew high above.

Kite is so pleasingly pretty and well-thought out – delicate choreography is balanced with striking imagery by performers Linden Walcott-Burton and Nicola Blackwell. With slick scene changes and clever lighting design, the performers reconfigure designer/ director Rachel Canning’s set to create a train carriage, a heavily packed tube and a small kitchen. Isobel Waller-Bridge’s atmospheric soundscape is perfectly suggestive for a young audience, fusing original spellbinding music with ambient sound.

A real highlight of the hour-long show comes towards the end of the production when puppets of the little girl and her grandmother dance along a beautifully lit backdrop of the London skyline.

Taking some of its inspiration from The Snowman and The Red Balloon, Kite is unpretentious and thoughtful – a wondrous example of children’s theatre. Each show also includes a post-show meet-up with the cast and their puppets. Little smiley faces and sparkly eyes greeted the performers, as the young audience were given the chance to see the puppets and talk to the performers about their show.

Throw caution to the wind and see Kite this weekend. It’ll be like a breath of fresh air on an otherwise rainy day in Salford.

-Kristy Stott

Kite runs at the Lowry Theatre in Salford until Sunday 21 February 2016.

To find out more about The Wrong Crowd Theatre Company and national tour dates for Kite please click here.

REVIEW – Chip Shop Chips (The Hub in Salford/ The Lowry)

February 19, 2016kristobel

Upstaged Rating:

There is a real hustle and bustle at The Hub, a Salford community centre, for Box of Tricks’ new production. Chip Shop Chips is a play with a difference – it’s fusion between theatre and food, dining and performance – tables are laid out with red and white check tablecloths and the audience sit around drinking tea out of polystyrene cups waiting for their fish supper. There is a warm, nostalgic atmosphere and a feeling of community as strangers strike up conversations with each other and share memories of their local chippy.

It’s the grand reopening of Booth and Sons Fish & Chip Shop – the new ‘cod’ on the block and the new ‘plaice’ to be, or so Eric Booth hopes. Following the death of his father, 60-year-old Eric (Russell Richardson) returns home to take over the family chip shop business. Surely, with hardworking chippy apprentice Lee (Ben-Ryan Davies) by his side, nothing can go wrong? However, when Eric’s first love Christine (Julie Edwards) walks in unexpectedly to the big opening night with her granddaughter Jasmine (Jessica Forrest), he is completely thrown. Over forty years have passed and neither are living the lives that they imagined that they would. Aside from the smell of salt and vinegar, there is also young love in the air as Lee and Jasmine, who remember each other from high school, explore the feelings of teenage romance.

Director Adam Quayle makes full use of the whole performance space and as the gripping story of family and love unfolds in the chip shop, the audience become Eric’s customers, adding to the intimacy of the performance. There is an opportunity to take part in a chippy quiz, share your chip shop story and craft a hat out of newspaper. All of these activities are cleverly woven into the main narrative; sadly, in a room full of people rustling paper to make a hat, it was disappointing to see some of Becky Prestwich’s wonderful dialogue lost. However, with more experience in front of a live audience, this can be easily worked on. What makes this production so appealing is that Box of Tricks have really challenged themselves and produced an immersive show with a lot of heart.

Jessica Forrest and Julie Edwards -CSC-Dress-HE4A1942-WEB — Jessica Forrest and Julie Edwards in Chip Shop Chips Photo credit: Lucas Smith

The mouth-watering chippy set by designer Katie Scott provides the perfect backdrop for the brilliant cast of four. Julie Edwards gives a powerful performance as the shaky handed and lonely widow Christine, looking for one last adventure. Jessica Forrest shines as granddaughter Jasmine, intelligent and funny – her one liners had the audience in stitches. Russell Richardson is also strong as chip shop owner Eric, a jolly frontman for the business while balancing his inner grief. Ben-Ryan Davies warms as the supportive chip shop worker, tugging at our heart strings as the illiterate but kind-hearted Lee.

Chip Shop Chips is a fabulous show for everyone – those who are new to theatre and those seasoned theatre goers. It’s a superb evening and a joyous trip down memory lane, celebrating love through the ages and the nations favourite food.

-Kristy Stott

Chip Shop Chips is touring until 23rd March 2016 and you can see all tour dates and purchase tickets here.

REVIEW – The Pitmen Painters (Oldham Coliseum)

February 10, 2016kristobel

James Quinn, Micky Cochrane, Simeon Truby, Jim Barclay in The Pitmen Painters at Oldham Coliseum © Joel C Fildes — James Quinn, Micky Cochrane, Simeon Truby, Jim Barclay in The Pitmen Painters at Oldham Coliseum
© Joel C Fildes

Upstaged rating:

The Pitmen Painters is a true story following a group of men from the mining community as they rediscover and reflect on their world through art. Written by Lee Hall, best known for Billy Elliot, the play follows The Ashington Group from their first art appreciation class in the old army hut to exhibiting in national galleries and gaining critical acclaim.

The story unfolds in a small mining town in Northumbria called Ashington. It’s 1934 and a group of miners decide to hire a professor, Robert Lyon (Cliff Burnett) to teach an art appreciation evening class. Headed up by no-nonsense union man George (Jim Barclay) the group of men soon abandon the theory of art in favour of practice. Amusing and moving, under Kevin Shaw’s light directorial hand, The Pitmen Painters shines a light on a group of ordinary men who achieve unprecedented things.

Joe Strathers-Tracey’s framed projections of the original Ashington Group artwork hang at the back of the stage – depicting images inspired by a 1930’s coalfield community. It’s a thought-provoking reminder of the cultural and economic barriers that can stand in the way of achieving individual potential and expression.

The cast are brilliant and there is a real sense of camaraderie throughout with some superb individual performances. Jim Barclay gets plenty of laughs from the Northern crowd as the sharp-toned leader of the group and, in contrast, Simeon Truby plays the most promising artist of the group Oliver with sensitivity and focus. Helen Kay impresses as the bohemian art-lover Helen Sutherland and Maeve O’Sullivan adds a jot of cheekiness to the stage as the art student come life model, Susan. Cliff Burnett leads as the eccentric but humble art professor Robert Lyon, with Luke Morris, James Quinn and Micky Cochrane completing an assured line-up.

The Pitmen Painters is perfect programming for the Oldham Coliseum and is certainly worth catching. Perhaps what makes this story so brilliantly charming is that it is a true story about a group of working-class men. The real warmth in The Pitmen Painters lies in the Ashington Group’s true friendship as they embark on a discovery of themselves and each other through art.

-Kristy Stott

The Pitmen Painters is on at Oldham Coliseum until Saturday 27th February 2016 and you can get tickets here.

REVIEW – WIT (The Royal Exchange, Manchester)

January 28, 2016kristobel

wit-handsup-large_trans++qVzuuqpFlyLIwiB6NTmJwViJj1eTvcjzL4JkNP_PJEs — Julie Hesmondhalgh in WIT at the Royal Exchange, Manchester ©Jonathan Keenan

Upstaged Rating:

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

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

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

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

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

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

-Kristy Stott

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

My Favourite Productions of 2015

December 23, 2015kristobel

My Favourite Productions of 2015

It has been an exciting year for Upstaged Manchester and I feel blessed and nostalgic as I remember the productions that have lifted my heart, helped me to question and generally captivated me this year. Here is a list of my theatrical highlights for 2015.

Yen at The Royal Exchange

I couldn’t shake this 2013 Bruntwood Prize Winner by Anna Jordan for quite a while – it left my mind doing somersaults. Jordan’s phenomenal writing and her vivid characters combined with Ned Bennett’s clever direction and Georgia Lowe’s sparse set design gave an unforgettable fusion of total brilliance.

Nirbhaya at The Contact Theatre

This brave, real and haunting piece of work, exploring the effect of the brutal attack that Jyoti Singh endured on board a bus in Delhi on December 16th 2012, stopped me in my tracks and left me speechless. A perfect example of the role that theatre has in spreading an important message and how art can bring about change.

Shooting With Light at The Lowry

16789555470_68d2879d42_o

This is by far the best production I have ever seen in the Lowry Studio – slick choreography and an atmospheric soundscape. Idol Motion will certainly be a theatre company that I will be looking out for in 2016.

The Rolling Stone at The Royal Exchange

The Rolling Stone had me captivated – on the edge of my seat throughout. With outstanding performances from all, Chris Urch’s Bruntwood Prize Winner about the persecution of gay men in Uganda stays with you for a long time. I am so pleased that it is being performed at Orange Tree Theatre in January and February of 2016.

Boeing Boeing at Oldham Coliseum

I had never seen a farce done well – until I saw this version of Boeing Boeing directed by Robin Herford. An energetic production with an outstanding cast – their timing and delivery was impeccable. It really lifted my heart to see the performance propelled along by gasps, laughter and impromptu applause from the audience.

Beautiful Thing at The Lowry

The combination of Jonathan Harvey’s brilliant writing and Nikolai Foster’s intelligent direction managed to bring out every nuance in the script – I found myself noticing elements that I hadn’t fully appreciated in previous interpretations. This production felt like a celebration and a salute to how far rights for gay, lesbian and transgender people have come over the last 20 years, and a recognition that we still have a fair way to go.

Kafka’s Monkey at HOME

What an accomplished performer Kathryn Hunter is – such a rich tone and incredible physicality. Masterfully directed by Walter Meierjohann, I feel blessed to have witnessed a performance like this – this show certainly put Manchester’s new arts space HOME on the map.

Golem at HOME

A true theatrical spectacle and a perfect amalgam of animation, live performance, music and claymation. Golem was like nothing that I had ever seen before – sharp interaction between the performers, Paul Barritt’s eye-popping animation and Lillian Henley’s brilliant silent movie-esque score.

The Curious Incident of the Dog in the Night-Time at The Lowry

The Curious Incident of the Dog in the Night-Time is a tremendous piece of theatre – a perfect collaboration with outstanding performances throughout. Gripping and heartfelt – the perfect example of the power that theatre has to change the way that we view the world.

Wicked at The Lowry

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

Well, I’m a big fan of Wicked and despite having seen the production before it just gets better and better for me every time. With magnificent music and lyrics, Wicked is a theatrical feast for your eyes, ears and hearts.

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

Wishing you all the best in 2016.

-Kristy Stott