When I get the chance to watch an Opera North production at the Lowry, I jump at it. And with The Lyric full to the rafters, so does everybody else, it seems. Friday evening’s unusual double bill featured a bewitching piece of choreography by Phoenix Dance Theatre’s Haitian choreographer, Jeanguy Saintus, alongside Stravinsky’s pagan inspired and iconic The Rite of Spring, followed by a comic opera in one act, Puccini’s Gianni Schicchi. It was unorthodox, sure, but beautifully delivered and gifted the audience to a night of incredible variety and a rollercoaster of emotion.
On reading George Hall’s programme notes describe Stravinsky recalling a vision of ‘…a solemn pagan rite’ where sage elders ‘… watched a young girl dance herself to death.’, suddenly everything made sense. Stravinsky’s subsequent creation, which premiered in 1913, would not have been out of place in Manchester’s darkest underground nightclubs, with it’s muscular bass and thunderous percussion. Phoenix Dance Theatre’s diverse ensemble delivered an aggressively beautiful performance to match, completely at one with the rhythmically complex masterpiece, bursting with intensity and mind-blowing skill.
After the interval brought an opportunity to breathe and to reflect on an auditory and visual overload, Puccini’s Gianni Schicchi took up the mantle, with the murder of a rich relative for financial gain replacing pagan sacrifice. Both performances tackled the theme of death, but Gianni Schicchi, directed by Christopher Alden, did so with comedy and charm. The challenge of making an audience laugh when reading from subtitles was met by the excellent physical comedy of movement director and Buoso Donati, Tim Claydon, delivering plenty of laughs. The opera in one act provided a lighter, yet just as entertaining ending to the evening
Upstairs at the Gatehouse, Highgate – until 31st March 2019
Reviewed by Antonia Hebbert
4****
It’s a 1927 musical about cheese. And war, big business and love. It’s crackers, but strangely irresistible too.
So what has George and Ira Gershwin’s comedy (based on George S. Kaufman’s book) got to say to us today? Just imagine: the USA has slapped high tariffs on foreign imports. A ruthless American cheese manufacturer leans on the government to go to war to protect his sales. Citizens are whipped into a patriotic fervour by meaningless manipulative speeches. The President doesn’t know what’s going on. And then the US army finds itself in difficult mountain terrain, fighting an enemy it doesn’t understand. Well, thank goodness times have changed, eh?
At times this show seems eerily prophetic, but it’s all told in a very jaunty way, with a bright seven-piece band (directed from the keyboard by Bobby Goulder) keeping things moving along briskly. There is no stage, just a rectangular performance space with the audience on three sides. (Tip: the short sides don’t give a good view – it’s really a forward-facing show.) Set and props are minimal, and are carried on and off by the cast. Orley Quick’s choreography and Giulia Scrimieri’s costumes are beautifully stylish and effective. All the performances fizz. Richard Emerson has terrific suppressed energy as the wily cheese tycoon Horace J. Fletcher; Paul Biggin hits the right note of seriousness in the general daftness, playing Jim Townsend, the one person to oppose the war. Adam Scott Pringle and Charlotte Christensen give us a couple of charming little dances as thwarted lovers. Beth Burrows sings sweetly, Sammy Graham gives us a jolly tap routine. It’s bonkers and captivating.
All that said, it is an odd show. Some of the comedy doesn’t quite work. A lighthearted satire on war feels strange. At moments it has flashes of Gilbert and Sullivan, pantomime and the Marx Brothers. At others it feels like an uncertain prototype for Oh! What a Lovely War, which is a much darker and more focused satire on warfare. But it’s intriguing that it was written at all, when America was enjoying the boom years of the 1920s, and World War I still seemed like ‘the war to end all wars’. Amid the general, em, cheesiness, there’s enough truth and foresight to give it a bite. And you can’t help being swept up in the music, the songs, the stylishness and the fun. Mark Giesser directs.
Angry Alan is a strong piece of writing looking at how masculinity in modern men is being eroded by the feminist movement. In the good old days men went to work and provided for their family, they could complement a woman on her appearance, be chivalrous in their actions without fear of redress. But the advent of feminism and woman stepping out from kitchen men are having to fight harder to be heard. Divorced men struggle to connect with children they rarely see. Redundancy takes away a mans purpose to get up each day. Is it any wonder that male suicide is on the up?
Donald Sage Mackay who plays Roger, portrays this broken middle aged man who is looking for something to make him feel proud to be a man again, with great vigour and verve. With a simple set of a chair and a back drop screen showing different social media chats and interviews from some sharp talking men keeps the pace of this play fast and punchy.
The writing by Penelope Skinner is extremely observant of man’s plight in today’s society. A society that has become increasingly reliant on social media for information just seems to confuse more than inform many men. Questions of what men are about in our modern world and how young man are supposed to learn how to be men are asked and ends with a shocking answer.
This piece has humour and sentiment and leaves you thinking about how equal can men and women be as really they are two different species. A thought provoking play well worth a visit
Waitress is an irresistible dish of scrumptious music, bittersweet story and fluffy comedy that fills you with joy. Based on Adrienne Shelly’s 2007 film, the story of an unhappily pregnant waitress stuck in an abusive marriage beginning a relationship with her married gynaecologist doesn’t sound like your average stage musical plot. This shouldn’t work, but Sara Bareilles’ music and lyrics stirred together with Jessie Nelson’s book are the perfect recipe for a show served up perfectly by director Diane Paulus that leaves you laughing and sobbing in equal measure.
The experience begins the moment you walk into the theatre, with the aroma of mouth-watering pies baking wafting about. With columns of pies rotating either side of the stage as well, there were a few rumbling tummies before curtain up. Scott Pask’s slick but homely set design takes the cast from Joe’s Pie Diner to a lonely bus stop with seamless ease. As Jenna concocts her new pies to work through her troubles (her Betrayed By My Eggs Pie on having her pregnancy confirmed is my favourite) the flights of fancy as she dreams up the recipes are handled almost mystically by Choreographer Lorin Latarro, and throughout the show, the simple acts of breaking an egg or whisking the mix are represented beautifully and ritualistically as Jenna’s escape from the realities of her life by conjuring up memories of her mother, for whom baking was also an escape from her husband. Katharine McPhee captures Jenna’s mostly stoic hopelessness in a relatively quiet performance sprinkled with moments of perfect comic timing, until she starts belting out those amazing songs. Her character is the calm centre of the comic and often cartoonish storm around her, as the romantic lives of her friends Dawn (Laura Baldwin at her very best) and Becky (the showstopping Marisha Wallace) are explored to hilarious effect. Whenever Jack McBrayer is on stage as Ogie, Dawn’s online date, his goofy energy and charm is infectious. The men in Jenna’s life are clearly drawn, with Peter Hannah acing Earl’s pathetically needy and controlling nature without any need for explicit onstage violence and Shaun Prendergast’s grumpy Joe bringing a beautifully spiky warmth to the show. David Hunter is an outstanding Dr Pomatter, with enough awkward charm and comic chutzpah to keep his morally dubious decisions under the radar as he and Jenna attempt to hide their relationship from his exasperated nurse (the hysterical Kelly Agbowu).
Sara Bareille’s songs are gloriously catchy and the hook of Sugar, Butter, Flour is almost impossible to get out of your head. This fabulous mix of drab reality, abuse and immorality tempered with hope, dreams and humour that swings from sweet to pure filth all comes together to create one of the best shows on the West End this year. You’ll go back again and again, trust me – one slice won’t be enough.
Sedos never cease to amaze with their production values, creating polished shows that you forget are by an amateur company. For NTYK, the theatre is transformed into Sullivan Street Tavern in New York. Mingling at the bar with the regulars until last orders is rung to get the audience into their seats, the ambience is brilliant, and the set design team deserve at least 10 stars for their authentic and detailed realisation of a bar that is instantly recognisable to anyone who watches New York set TV shows. The staging is wonderfully thought out and director Dan Saunders has created a special atmosphere. During the interval, the bar opens again, and the cast stay in character chatting to the audience and setting up a few dramatic events. This is all done fantastically and is arguably the most enjoyable part of the show as the actual musical isn’t that exciting.
It could well be my age, but the plot about a couple in their late twenties breaking up because of their different expectations and then getting back together again because one of them has suddenly realised that growing up means letting go of some dreams and finding a new path through life is all a bit bland. This sort of story has been done so much better. Joshua Salzman and Ryan Cunningham have come up with some fun musical numbers, but nothing that will stay in your head for longer than the walk to the train station. The book is flimsy, and the short running time allows no believable character development, leaving Waverly and Luke’s attitude changes jarring and ridiculously obviously signposted. The cast deserve better.
Laura Ellis (Waverly), Bobbi Mair (Lisa) and Chris Foxwell (Luke) and Luke James Leahy (Darren) are all on top form, doing all they can to make their cliched characters relatable, and showing great vocal skills. The ensemble cast do sterling work in their non-speaking roles during the performance, with lovely visual clowning, and go to town in the interval as they are given the opportunity to flesh out their characters.
A fantastic experience and production with a fine cast let down by the material. It’s a shame the company couldn’t just riff along with the audience for longer – that was the most entertaining part of the show.
‘The Thunder Girls,’ is the debut play by Manchester local Melanie Blake, starring four female actors over the age of 50, and will have its will preview run at The Lowry Tue 24 – Sat 28 September.
On International Women’s Day Mina Anwar is announced as the second of four actors to star in the all-female cast of ‘The Thunder Girls.’ West End Star Mina Anwar is best known for her roles in ‘Everybody’s Talking about Jamie’ and ‘The Thin Blue Line.’ She will star alongside Coronation Street star Beverley Callard, with two more of the all-female cast still to be announced.
‘The Thunder Girls’ is a true celebration of women, with all four of The Thunder Girls female actors over 50, one of the most under-represented demographics in the UK entertainment industry
Mina Anwar takes on the role of Carly, the youngest member of The Thunder Girls and the peace maker of the group. Fiercely loyal and level headed, Carly has always been the beating heart of The Thunder Girls. Now in her 50s, Carly has finally found her voice – but at the band reunion from hell will Carly be the one to bring the group together? Or will the bitter betrayal she faced at the hands of corrupt music industry, force her hand? Carly has always played it nice and paid the price, but now that a second chance is on the table, justice could be sweet.
‘The Thunder Girls’ follows an ‘80s girl group reuniting 30 years after greed, envy and egos tore their friendship and the band apart. The play focuses on what goes on during the night from hell when lead singer Chrissie tries to reunite the band she dumped. Chrissie is desperate to salvage herself from bankruptcy after being conned out of her fortune by her toy boy husband. But is there a fee which can heal the wounds? Or maybe some friendships never die, even if you want them to?
They say write about what you know, and as one of the UK’s most powerful music managers, Melanie has lived and breathed The Thunder Girls. Melanie came from nothing but was inspired by Jackie Collins’ books and ‘80s television to believe that she could become whoever she wanted to be. She started her career at Top of the Pops working with the biggest names in showbiz from Destiny’s Child to The Spice Girls
Mina Anwar said: “I met Melanie Blake, the author of the fabulous Thunder Girls stage play and novel, at a party recently. “Oh wow, Mina! I can’t believe you’re here!” she exclaimed excitedly “I’m just about to send you a play that I wrote with you in mind!
“She continued to tell me the story of The Thunder Girls, a successful girl group from the ‘80s who had split and gone their separate ways and who reunite at a dinner party many years later to discuss the chance for a sensational comeback – and, oh my word, what a dinner party it is it is! Full of stories of love, loss and betrayal, power games and passion, friendship and heartbreak. Funny, feisty, moving and intriguing. I couldn’t put it down! I’m so excited to be part of this incredible project.
“I’m thrilled to be the 2nd of The Thunder Girls to be announced and especially today on International Women’s Day. This show is a game changer. It’s written by a woman, about four empowering, authentic, funny and truthful female characters, all over 50, that dare to embrace their middle age and yet never fall victim to clichés or stereotypes. It is such a refreshing change to be sent a script like this. I believe that anyone, men and women alike, will fall in love with these women as I have done. It’s just a cracking good story!”
Angela Squire, Producer, said: On a day which celebrates women, we are thrilled to announce Mina Anwar is joining the cast of The Thunder Girls, a brand new play written by a woman, starring women, produced and directed by women. Let’s celebrate breaking through the glass ceilings.
Melanie Blake said: To be returning to my home city 25 years since I left with my debut play premiering at The Lowry is an honour and a privilege – and proof that dreams really can come true. It’s taken nearly two decades to bring The Thunder Girls play and book to the public and I can’t wait to come home and see the audiences’ reaction to this strong female narrative. It’s time we saw more strong female leads in theatre and my play is about four incredibly powerful and empowered women and I can’t wait to see it staged in Salford.”
Listings Information The Thunder Girls Dates: Tue 24 – Sat 28 September Times: 8pm. Wed & Sat 2pm. Tickets: £20.50 – £28.50 Website
The Master of the House runs the local Mill. Currently the workers on strike and the Master is away negotiating with the Unions. The play is set in the kitchen of the manor. The 3 cast members play the Master’s daughter, the kitchen maid & the Master’s aid.
The story is of a scandalous love triangle. With emphasis on the forbidden love between the Master’s daughter and the Master’s favoured aid. This act is based on the book written by August Strindberg in the 1800’s. This adaptation by Zinnie Harris is based in Scotland in the 1920’s.
Lorn MacDonald as John left you feeling flabbergasted with his intensity and how easy he could convert between the two contrasting internal characters of this familiar role. In some of the raunchier scenes, you were left feeling like you should advert your eyes whilst simultaneously not being able to look away as the bubbling chemistry between Lorn and Hiftu Quasem as Miss Julie was palpable. Helen Mackay as Christina, her face is extremely expressive which is highly effective in portraying all the feelings that the jilted fiancé goes through whist maintaining her dignity.
The simple set design of the range, Belfast sink, a table with chairs left the floor open for the actors to take the centre stage whilst impeccably depicting the era in which the scene is set. The minimal yet effective score in line with the lighting techniques, only emphasised the crews acting ability.
I would highly recommend that you go see this play. You will not be disappointed.
SHIRLEY BALLAS TO STAR IN HIPPODROME’S JACK AND THE BEANSTALK
Shirley Ballas will be swapping the Strictly dancefloor for the Hippodrome stage later this year to star in the theatre’s annual pantomime.
Darlington Hippodrome are delighted to announce Shirley Ballas will star in the festive family pantomime Jack and the Beanstalk as Mother Nature, helping Jack outwit the evil giant and win fame, fortune and the hand of the girl he loves.
Having danced since the age of seven, Shirley has taken the dancing world by storm. She is 3 time ‘British Open to the World’ Latin American Champion, 10-time US Latin American Champion, and multiple-times British National Champion. By 21, Shirley had won nearly every major title she competed in worldwide. She is the only person to have ever won the ‘British Open to the World’ Latin American Championships in Blackpool with two different partners and reached the finals an impressive 17 times. Shirley still remains the youngest ever female to reach the ‘British Open to the World’ Dance Championship finals.
Since hanging up her competition heels twenty years ago, Shirley has gone on to forge a hugely successful career as one of the top Ballroom and Latin teachers and adjudicators in the world. She brings her immense expertise and experience to the judging panel of BBC’s primetime show Strictly Come Dancing, where she has been Head Judge since 2017. In addition to her role on Strictly, Shirley has been seen giving masterclasses and commentating on the American series Dancing with the Stars, is a frequent panellist on Loose Women, was the subject of BBC1’s Who Do You Think You Are?, joined ITV’s This Morning team presenting the feature Matchmaker Mountain, and climbed Kilimanjaro for Comic Relief’s Return to Kili. Last year Shirley made her pantomime debut for producers Qdos Entertainment in Liverpool, winning acclaim from audiences and critics alike.
Jack and the Beanstalk will be produced by Qdos Entertainment, the world’s biggest pantomime producer, and the team behind Darlington’s annual pantomime, who guarantee another must-see production packed with audience participation, sensational music and dancing, jaw-dropping special effects and fantastic festive entertainment suitable for all ages.
Jake Hine, Executive Producer for Qdos Entertainment, said: “I’m thrilled that we have managed to tempt Shirley out from behind the Strictly judging desk to show Darlington audiences just why she’s considered one of the world’s finest dancers. After her debut in pantomime for us last year I know Hippodrome audiences will enjoy yet another fantastic show this festive season.”
Darlington Hippodrome Director Lynda Winstanley said: “Strictly Come Dancing is one of the most popular programmes on television so who better to star in Darlington’s best pantomime than head judge Shirley Ballas. I’m sure Darlington audiences will be as excited as we are to see Shirley tripping the light fantastic on the Hippodrome stage.”
Jack and the Beanstalk runs at Darlington Hippodrome from Friday 6 December 2019 to Sunday 5 January 2020. For full details and to book visit www.darlingtonhippodrome.co.uk or call 01325 405405.
Wise Children, a novel by Angela Carter, follows the life’s of two showgirl twins Nora and Dora. An exiting journey into entertainment, family and all the bits in between. Directed by Emma Rice, we are given a performance with gender and race blind casting. Something that lends itself to the beauty of of the piece. A tale of twins from twins, two brother who couldn’t be more different and two sisters who dress and act very similar.
Gareth Snook plays the older version on Dora, on stage for most of the play with the sister Nora played by Etta Murfitt. The two take us down memory lane telling stories of their childhood and singing along the way. The story telling aspect of the play suits the aesthetic. Both Snook and Murfitt do a great job of working with each other to make a believable bond and characters that are entertaining. The highlight of the acting in the show was from both show girls Nora and Dora played by Omari Douglas and Melissa James, this is where we are given raunch and funny interaction between the twins. Douglas plays an adventurous Nora who is entertaining along side Dora who seems the more calmer of the two. The whole cast just jumps between playing characters at different points in their characters life, each actor does a great job of creating a character that fits in place and gives the show a vaudeville vibe from showgirls to catchy songs.
The set really appeals to me, there is no hiding the fact that they are on a stage, everything seems out in the open. However the centrepiece is this caravan on stage that is used throughout the play with cleaver hidden set changes behind the caravan. There is no denying that the set is visually appealing, something that follows with the costumes on stage, with the razzle and dazzle mirrored in the music and energy throughout the play.
I loved this show, the first act was much more entertaining, however the second act touches upon issues that aren’t always obvious in the first act. This tale of two daughters wanting to be recognised by their father is a true journey through the ages with styles in costumes and music. It asks the question on what is more important, family or fame. We see characters fail and we see characters rise but who are the happy ones.
A brand new mobile app provides background information, learning resources and even drama exercises based on Shakespeare’s language and stagecraft. The app runs alongside the current touring co-production of Much Ado About Nothing by Northern Broadsides and New Vic Theatre.
By scanning a map of Messina, where the action is based, students, audiences and lovers of the Bard can “lean in and listen” to the play’s back stories, immersing themselves in an interactive, augmented reality tour of key locations from the play.
As they move around the city through the screen of their mobile device, they can watch videos and listen to music, enhancing their understanding and enjoyment of the production, which is set in the 1940s after World War II.
The app, which is available at the App Store (Apple) and Google Play (Android), and augmented reality content are the result of a collaboration between Northern Broadsides, Filament Projects, Stute Theatre and augmented reality specialists ooh-AR.
Further to the new app, actress Sophia Hatfield, who is playing Margaret and a member of the Watch in the show, has written A Muddle In Messina, a new storytelling piece aimed at school children aged 4 – 11, which will play in libraries alongside the tour. The interactive map and performance work in tandem to create a world of music, language and so much more.
Everyone who attends A Muddle In Messina will receive a printed map so they can enjoy the Augmented Reality content on their very own devices.
A pdf of the map is also available at www.northern-broadsides.co.uk/education/. Download the Much Ado About Nothing AR app, print out the map and put it flat in front of you before scanning it.
Northern Broadsides Artistic Director Conrad Nelson said
This Spring we tour our critically acclaimed production of Shakespeare’s, Much Ado about Nothing. It’s been my desire to explore the effective marriage between digital content and the live theatre experience and I am delighted to be working with Filament Projects, Stute Theatre and Ooh-AR in launching our first interactive, augmented reality app. This will run in conjunction with the excellent Northern Broadsides on-line education pack written by award winning playwright, Deborah McAndrew and a new live show, Muddle in Messina, written by Sophia Hatfield. This production for 4-11 year olds will tour to libraries across the UK. It is an ambitious project that has received support from ACE and generous donations from trusts and individuals for which, many thanks.
The Northern Broadsides and New Vic Theatre co-production of Much Ado About Nothing will be touring nationally until May 25. For further information visit www.northern-broadsides.co.uk
The projects are supported by the Arts Council England and the Community Foundation for Calderdale.
