Month: March 2018

Manchester Theatre Awards

In association with Target Live

Winners announced at ceremony held at The Lowry

• HOME leads the way with five awards for its productions and performers
• Sheridan Smith and Danny Mac win for their starring roles in hit musicals
• Drama, dance, opera, fringe theatre and panto all represented at the awards, the most significant annual theatrical prize-giving outside London

Sheridan Smith and Danny Mac were among the winners at the Manchester Theatre Awards – which were announced at The Lowry.

Presented by comedian Justin Moorhouse, the annual awards – the most important theatrical prize-giving outside London – honoured productions seen in Greater Manchester during 2017.

HOME led the way with five awards, with the rest of the honours largely even among the area’s other venues including two for Oldham Coliseum, two for the Royal Exchange Theatre and other awards going to productions and performers at The Lowry, the Palace Theatre and Opera House, Hope Mill Theatre, Contact, Royal Northern College of Music and Greater Manchester Fringe festival.

Janet Suzman was named Best Actress for Rose at HOME while Kenneth Alan Taylor won Best Actor for The Father at Oldham Coliseum – which also won the Best Production prize.

Best New Play was won by Rosie Fleeshman for Narcissist in the Mirror, part of Greater Manchester Fringe.

The big shows on the touring circuit visiting Manchester in 2017 were also honoured, with Michael Harrison, David Ian and Curve’s production of Andrew Lloyd Webber’s Sunset Boulevard winning Best Musical, and its star Danny Mac scooping Best Actor in a Visiting Production for his role as Joe Gillis. Sheridan Smith was named Best Actress in a Visiting Production for her star turn as Fanny Brice in the West End-turned touring production of Funny Girl.

The star-studded pantomime Dick Whittington, produced by Qdos and which featured John Barrowman and The Krankies, scooped the Best Special Entertainment prize.

The Robert Robson Award for Dance was taken by English National Ballet for their Double Bill at the Palace Theatre while Opera North’s The Snow Maiden at The Lowry won the opera prize, renamed this year The Philip Radcliffe Award for Best Opera, in memory of the late arts journalist and one of the founders of the Awards

Scott Hunter won Best Newcomer for his performance in Yank! at Hope Mill Theatre, a role he also reprised in the West End when the show transferred there last year.

The MTA judging panel includes a group of enthusiastic young critics who contribute to deliberations and reviews and have their own dedicated award for youth performances. This prize was won by Singin’ in the Rain by the Royal Northern College of Music Young Company.

Also presented on the day was the Stage Door Foundation award that was given to JB Shorts, the Reallife Theatre company platform for playlets written and performed by industry professionals, which started life at the Joshua Brooks pub in the city and are now performed at the 53Two fringe venue.

Special Achievement Awards were given to Barrie Rutter, founder and former artistic director of Northern Broadsides, and Anne Hornsby of Mind’s Eye audio describers which celebrated its 25th anniversary last year.

Presenters of the awards included BBC Breakfast hosts Charlie Stayt and Naga Munchetty, former Coronation Street cast including Tupele Dorgu and Eric Potts, television and stage actress Roxanne Pallet and Dinnerladies star Sue Devaney.

Guests were also treated to performances during the ceremony by comic singer songwriter Daniel Cainer, performance poetry by Alex Slater and Rosie Fleeshman and Opera North’s Marie Claire Breen and Dean Robinson who performed arias from Don Giovanni.

The list of winners in full can be found below.

The 2018 Manchester Theatre Awards are in association with Target Live, who managed the PR for the awards. With offices in London and Manchester, Target Live is the UK’s only full service live events marketing agency offering Marketing, Media, Social Media, PR, Design and Digital.

http://www.manchestertheatreawards.com

@MTAwards

#McrTA2018

Manchester Theatre Awards – Winners in Bold

Actress in a Leading Role

Karen Henthorn, Spring and Port Wine, Oldham Coliseum

Lisa Dwyer Hogg, People, Places & Things, HOME

Nina Hoss, Returning to Reims, Manchester International Festival

Janet Suzman, Rose, HOME

 

Actor in a Leading Role

Cliff Burnett, Hard Times, Oldham Coliseum

Jason Merrells, Uncle Vanya, HOME

Kenneth Alan Taylor, The Father, Oldham Coliseum

Ashley Zhangazha, Guys And Dolls, Royal Exchange

 

Actress in a Supporting Role

Alison Halstead, The House of Bernarda Alba, Royal Exchange

Kate Kennedy, Twelfth Night, Royal Exchange

Kerry Peers, The Father, Oldham Coliseum

Katie West, Uncle Vanya, HOME

 

Actor in a Supporting Role

Tom Michael Blyth, Hard Times, Oldham Coliseum

David Fleeshman, Uncle Vanya, HOME

Andrew Sheridan, People, Places & Things, HOME

 

Actress in a Visiting Production

Ria Jones, Sunset Boulevard, Palace Theatre

Laura Pitt-Pulford, Nell Gwynn, The Lowry

Natalie Radmall-Quirke, The Weir, Oldham Coliseum

Sheridan Smith, Funny Girl, Palace Theatre

 

Actor in a Visiting Production

Danny Mac, Sunset Boulevard, Palace Theatre

Graham McDuff, Thoroughly Modern Millie, Palace Theatre

Sean Murray, The Weir, Oldham Coliseum

 

Ensemble

Oh What A Lovely War, Oldham Coliseum

Operation Black Antler, HOME

The Suppliant Women, Royal Exchange

 

Performance in a Fringe Production

Rosie Fleeshman, Narcissist in the Mirror, Greater Manchester Fringe

Amie Giselle-Ward, Little Women – The Musical, Hope Mill Theatre

Alexandra Maxwell, The Loves of Others / Freak, Greater Manchester Fringe

Danny Solomon, Days Of Wine And Roses, 53TWO

 

Performance in a Studio Production

Rhodri Meilir How My Light Is Spent, Royal Exchange

Lucy Jane Parkinson, Joan, Contact

Keisha Thompson, Man On The Moon, Contact

Alex Walton, From Ibiza to the Norfolk Broads, The Lowry

 

Robert Robson Award for Dance

Debut, Acosta Danza, The Lowry

English National Ballet double bill, Palace Theatre

Ghost Dances, Rambert Dance, The Lowry

Leviathan, James Wilton Dance, Contact

 

Design

Jenny Melville (set) and Lysander Ashton (video), Paul Auster’s City of Glass, HOME

Bunny Christie, People, Places & Things, HOME

Alex Lowde, Persuasion, Royal Exchange

Yael Bartana, What If Women Ruled the World?, Manchester International Festival

 

Fringe Production

Bad Advice, Greater Manchester Fringe

Gypsy Queen, Hope Mill Theatre

The Marriage of Kim K, Greater Manchester Fringe

Moth, Hope Mill Theatre

 

Musical

Funny Girl, Palace Theatre

Jim Steinman’s Bat out of Hell the Musical, Opera House

Sunset Boulevard, Palace Theatre

Yank!, Hope Mill Theatre

 

New Play

Gypsy Queen, writer Rob Ward, Hope Mill Theatre

How My Light Is Spent, writer Alan Harris, Royal Exchange

Narcissist in the Mirror, writer Rosie Fleeshman, Greater Manchester Fringe

Narvik, writer Lizzie Nunnery, HOME

 

Newcomer

Gemma Dobson, Rita, Sue and Bob Too, Octagon Theatre Bolton

Scott Hunter, Yank!, Hope Mill Theatre

Vinay Lad, The Railway Children, The Lowry

 

The Philip Radcliffe Award for Opera

Cendrillon, Royal Northern College of Music, RNCM

La Cenerentola, Opera North, The Lowry

Opera North Little Greats, Opera North, The Lowry

The Snow Maiden, Opera North, The Lowry

 

Production

The Father, Oldham Coliseum

People, Places & Things, HOME

Rose, HOME

The Suppliant Women, Royal Exchange

 

Special Entertainment

Dick Whittington, Opera House

Running Wild, The Lowry

The Toad Knew, The Lowry

Under Glass, Clod Ensemble,The Lowry

 

Studio Production

From Ibiza to the Norfolk Broads, The Lowry

Joan, Contact

Man On The Moon, Contact

Swansong, The Lowry

 

Target Live Award for Best Visiting Production

La Strada, The Lowry

My Country; a Work in Progress, HOME

Nell Gwynn, The Lowry

The Weir, Oldham Coliseum

 

Youth Panel Award

There is a Light/BRIGHTLIGHT, Contact Young Company

Singin’ in the Rain, RNCM Young Company

Tis Written in the Stars, Oldham Theatre Workshop, Oldham Coliseum

 

 

 

 

Jermyn Street Theatre – until 31 March.  Reviewed by Claire Roderick

4****

Proud Haddock’s production of WH Auden and Christopher Isherwood’s lyrical play opens with a spotlight on a clock whose hands never move. With an onstage stage evoking music hall and village hall productions, the timelessness of the seemingly bucolic setting of Pressan Ambo is firmly established, along with the depressingly repetitive nature of human history that makes the warnings in this satire about the interwar period in Europe recognisable today. Fuelling suspicion and hatred of anyone who is different, scorn of expert opinion, angry nationalism, manipulation by the press – they are all here.

Every year, a man from Pressan Ambo is chosen to leave the village and search for Francis Crewe, the heir to Honeypot Hall, who disappeared ten years ago. His reward will be the hand of Iris Crewe. This year, Alan Norman is chosen, and sets off in the company of the dog who wanders the village, renamed Francis by Alan.

On the boat to the continent, Alan meets two journalists, who, spotting a story, accompany him on his quest. He visits the brutal but image conscious monarchy of Ostnia and the highly politicised lunatic asylum of Westland before finding a previous searcher from Pressan Ambo in the red-light district, finding out that his quest has been in vain, Francis never left England. After establishing the idea that England is better than these other countries – this could never happen here – Auden and Isherwood rip this assumption to shreds in the latter part of the play.

Auden and Isherwood’s script is full of biting humour, some daft rhyming couplets and passages of lyrical narrative beauty, and director Jimmy Walters allows the plot to unfold with smooth scenery changes and cast choreography, maintaining the feel of Edwardian theatre and enhanced by Jeremy Warmsley’s evocative music. The songs in the play are a delight, and the cast deliver them with gusto. Pete Ashmore is the calm centre of the play, keeping Alan the sanest character on view, while Edmund Digby Jones is brilliantly over the top in his various unsavoury roles – delivering a chillingly convincing and familiar religious/political speech as the vicar rallying his Lads of Pressan. Eva Feiler steals every scene, sometimes with a mere twitch, in a multitude of roles, also providing wonderful piano accompaniment.

This fine production chooses the “happier” ending to the story of Alan and Francis, but still ends on a depressingly low-key note of warning to the audience – “This may happen any day…”

Jack Studio Theatre – until 17 March.  Reviewed by Claire Roderick

4****

I must admit, I was a bit worried when I saw that Stuffed was about a couple’s struggle with fertility. I had plenty of tissues at the ready, expecting a little melodrama, but Stuffed is wonderfully uplifting and funny. Lucy Joy Russell and Holly McFarlane have written an intelligent and insightful play packed with belly laughs but still emotionally focused on the couple’s pain. The tone is set in the tongue in cheek presentation explaining IVF using extremely literal slides.

40-year-old Kim and Jack have been through a few rounds of IVF and are trying everything to discover if there is a particular reason they can’t have children. After a chance meeting with old university friend Grace, the couple renew their bond with Grace and her husband Colin, who are shocked that they want children. Seeing their friends’ children and reminiscing about their youth makes Kim begin to question every life choice she made, begins to blame herself for wasting precious time, and question whether she is a real woman if she isn’t a mother.

This sounds a little grim, but the writing is so natural and relatable that you are invested in these characters within a few minutes. Kim and Jack’s hiding behind banter and tasteless jokes is underpinned by the look of longing and loss that creeps over Kim’s (Faye Maughan) face in quieter moments. Maughan, almost constantly onstage, gives a quietly passionate performance, portraying the strength and roiling emotions of Kim as each round of IVF fails. Ben Scheck gives strong support as Jack, excelling in the more serious and less showy scene where the couple decide their future. Alexander Tol and co-writer Holly McFarlane have the best lines in the show, he as laid-back Colin, and she as Kim’s mum and dreadful dinner party guest Carole.

Played against a black backdrop, with colour coded chair coverings and costumes signalling where each scene is set, director Rory Fairbairn allows the narrative to flow coherently, with scene changes accompanied by a nostalgic soundtrack from the characters’ university days. The play ends with a note of hope and self-acceptance that makes you want to cheer. What more could you ask for?

Lowry, Salford – 7 March 2018.  Reviewed by Marcus Richardson

5*****

My second night in a row at the opera I saw Don Giovanni by Mozart, the company Opera North brought the show to The Lowry. The show follows a comical tale of a man who aims to seduce as many women as possible, and doesn’t care about the negative consequences. As they travel through time they are chased by two women and a husband to get their revenge on Don Giovanni.

The Cast features a lot of talented people, from the character who takes the name play Don Giovanni played by William Dazeley, and his servant Leporello played by John Savournin the iconic duo both gave an amazing performance that commanded the stage and made the audience laugh with the witty humour and canes becoming erect, yes that what I said. Their singing skills were absolutely stunning and they created a lot of the comedy with their voices, a scene that just made me laugh when these two were on stage was when they were talking about all the women Don Giovanni slept with, I was crying from laughter. The trio of Donna Anna played by Jennifer Davis and her husband Don Ottavio played by Nicholas Watts and Donna Elvira a woman abandoned by Giovanni played by Elizabeth Atherton, the skill of all of these singers is phenomenal with the powerful female vocals and use of layering their voices to create out of this world performances. The whole cast was amazing and everyone made my night including each member of the 1950s chorus.

The Conductor, Matthew Kofi Waldren, made sure the orchestra worked with the singers, the whole orchestra worked so well and in time I’m sure Mozart would be impressed. The set was one of the most creative and interesting use of a panel with a picture frame in the middle where the actors would use during some scene changes, actors would have mini bodies in this frame and also wig heads to represent all the women Giovanni has slept with. Everything looked beautiful and nothing was out of place, the costumes were no exception with each capturing each different time period perfectly.

Madama Butterfly flew to the top of my favourite Opera but was knocked down after 24 hours, by Don Giovanni, I loved the tongue-in-cheek comedy and every single aspect of the performance. As part of the Opera North trio at the Lowry including Madama Butterfly and Un Ballo In Maschera, I’ve been blown away by the first two shows and I’m excited to see the third show on Saturday.

IGNITE THE INFERNO. FEEL THE FEVER.

LIKE NEVER BEFORE!

BILL KENWRIGHT

by special arrangement with the ROBERT STIGWOOD organisation presents

A NEW PRODUCTION OF THE HIT MUSICAL

SATURDAY NIGHT FEVER

Based on the Paramount/RSO Film and the story by Nick Cohn

Adapted for the stage by Robert Stigwood in collaboration with Bill Oakes

 

 

 

Marking 40 years since its famous UK cinema release, SATURDAY NIGHT FEVER is reimagined and revitalised in a big new music and dance spectacular.

 

The 1977 Travolta classic movie was an instant hit when it was released in cinemas, and the album is still one of the best-selling movie soundtracks of all time.

Whilst paying homage to the movie, this new stage version also promises

more drama, more music and hot new choreography, which is sure to have audiences on their feet and dancing the night away!

 

Opening in London at the New Wimbledon Theatre on 30 August 2018, a nationwide tour includes Liverpool, Birmingham, Bristol, Aylesbury, Glasgow, Edinburgh, Llandudno and Cardiff.

 

SATURDAY NIGHT FEVER tells the story of Tony Manero, and his reckless, yet thrilling road to dancing success. It features the Bee Gees greatest hits including Stayin’ Alive, How Deep Is Your Love, Night Fever, Tragedy and More Than a Woman as well as 70’s favorites Boogie Shoes, Disco Inferno and many more.

More exciting announcements soon.

 

LISTINGS

SATURDAY NIGHT FEVER

UK TOUR

 

DATES & VENUES:

 

New Wimbledon Theatre 30 August – 8 September	atgtickets.com/newwimbledontheatre 0844 871 7646
Liverpool Empire Theatre 11 – 15 September	atgtickets.com/liverpoolempire 0844 871 3017
Birmingham Alexandra Theatre 25 – 29 September	atgtickets.com/newalexandratheatre 0844 871 3011
Bristol Hippodrome Theatre 2 – 6 October	atgtickets.com/bristolhippodrome 0844 871 3012
Aylesbury Waterside Theatre 9 – 13 October	atgtickets.com/aylesburywatersidetheatre 0844 871 7607
Glasgow Kings Theatre 16 – 20 October	atgtickets.com/kingstheatre 0844 871 7648
Edinburgh Playhouse Theatre 23 – 27 October Llandudno Venue Cymru 13 – 17 November	atgtickets.com/edinburghplayhouse 0844 871 3014 venuecymru.co.uk 01492 872000
Wales Millennium Centre 27 November – 1 December	wmc.org.uk 029 20636464

Further dates to be announced.

Website: www.kenwright.com

Hen and Chicken, Highbury – 7 March 2018.  Reviewed by Sharon Hinds Kennedy

2**

The Theatre of Heaven and Hell presents Dario Fo’s Abducting Diana

This production took place at the Hen and Chicken Theatre Bar in Highbury and Islington, London. The theatre is above a fun and busy bar which could not be heard upstairs in the theatre. The theatre itself is small and intimate with raised seating facing a small performance area. Lighting was very good as was the use of the performance area. Props consisted of a table, a couple of chairs and a very large freezer chest (big enough to fit a large man inside!). Scene changes were cleverly accomplished by the removal of dust sheets that had been thrown over the aforementioned props before the play began.

The performance begin with the main character guiding a blindfolded man, for whom she has plans of a sexual nature. It appears she picked up this man randomly at a club. Before anything can happen between them, their intimacy is disturbed by a gang of gas mask wearing kidnappers. It soon turns out that the gang believe they have kidnapped a millionaire business woman and proprietor of a tabloid newspaper.

The performance starts off with a hilarious and entertaining scene, when they find out they have actually got the businesswoman’s body double. The first half is very funny, with the use of cardboard cut out masks to conceal the identity of the kidnappers.

However the play soon descends into farce as the incompetence of the kidnappers becomes apparent as Diana takes control of the gang to discover who is behind her kidnap and it becomes apparent they really do have the real Diana.

Just over a third of the way through the farce becomes strangely dark and loses it’s way. There is a point where a character stands on chair in a Christ like manner glowing in red light and babbles incoherently, a strange motif in a farce. After this mysterious and slightly confusing act, the play resumes its previous comedic nature. But then a twist as it ends with two dark endings.

At times the script was rather cheesy and it seemed unable to decide what genre it was aiming to place itself under.

Edinburgh Playhouse – until 24 February 2018.  Reviewed by Linda McLaughlan

5*****

This new production by Bill Kenwright of the Von Trapp family is a true version of how the family who were fierce opponents of the developing Nazi regime fled their be-loved Austria but by bringing Maria and music into the family helped ease the burden of their oppression’s.

At the beginning of the performance we see Maria played by Lucy O’Byrne as a young Novice from a Benedictine Convent enjoying some time in the Mountains she has grown up knowing. Precious time away from the strict religious life she has devoted herself too. Maria is given the task of becoming a Governess for the seven Von Trapp children.

The Mother Abbott played by Pippa Winslow in her role portraying the strict Religious figure who through her experience takes advice from the other nuns, but at the same time knowing how Maria ticks and why she finds the convents rules hard to adhere too at times. The Mother Abbott and Maria are both local girls who before taking up religious order, both had similar ideas as described in the song My Favourite Things it shows that they both look outside the convent at their past lives.

The story continues with Maria being introduced to the Von Trapp children by their father Naval Captain Von Trapp played by Neil McDermott. His strict approach shows the audience how he summons his children and staff by the use of a whistle, much to the horror of Maria who promptly refuses to be summoned this way. This causes a little discord with the Captain but he learns to get used to it.

Maria introduces the children to the wonders of singing and music by going through the musical scale Do Re Me which the children take to very well. At first the children are sceptical about a new Governess and at first consider their tricks to get hid of her but hey soon realise that Maria wants to be their friend rather than a teacher/governess. This is seen when the eldest child confides in how she feels about a local boy Rolf Gruber who finds reasons to return to the Von Trapp home delivering telegrams.

The range of music takes the audience through the story of the family’s joys and sorrows and the hardships they overcome together with the favourites such as Sixteen Going On Seventeen, The Lonely Goatherd, So Long Farewell and Climb Every Mountain

This arrangement brought freshness to the night and added a classic touch. Songs which everyone recognised allowed the audience to participate by clapping and singing throughout the performance. I would recommend that everyone makes a family night of going to the Playhouse to enjoy this performance of a classic movie played out on the stage. The evening concluded with a much deserved standing ovation and a fantastic opening performance which everyone associated with the

Production team and performers should be very proud of themselves delivery a truly spectacular performance from the youngest star to well established performers who bring a wealth of experience and talent to the show

York Theatre Royal until Saturday 17th March 2018. Reviewed by Michelle Richardson

3 ½ ***

York Light Opera Company bring the musical fable of Broadway, Guys and Dolls, by Frank Loesser, Jo Swerling and Abe Burrows, to the stage at York Theatre Royal.

The show opens with a lively dance number where the stage is full of the hustle and bustle of 1950’s New York. The story revolves around two couples, a crazy mixed bunch of gamblers, a gangster, some street missionaries and beautiful showgirls, The Hot Box Girls.

Nathan Detroit (Andy Roberts), is intent on setting up an illegal craps game and needs to find somewhere to host it, a place where he won’t be caught out, much to the disapproval of his fiancée of 14 years, Miss Adelaide (Rachael Wilkinson), a cabaret singer. He has somewhere in mind but has to fork out $1000, money he just does not have. He comes up with the idea of making a bet that he cannot lose, is there such a thing (?), with Sky Masterson (George Morgan), who will bet on anything and usually wins. The bet involves Masterson convincing Salvation Army Sergeant Sarah Brown (Annabel Van Griethuysen) to accompany him on a date to Havana. Needless to say, the charming Masterson, in all his bravado, manages to pull it off, but beneath the veneer we can see a softer side and the obvious chemistry between the characters.

The large ensemble cast showed great chemistry, that word again, worked well together and looked like they were having a blast. The orchestra, conducted by John Atkin, were uplifting and a real asset to the whole performance.

The four leads hold their own throughout the show. Roberts plays Detroit as a cheeky, loveable chancer that you can’t help siding with. Wilkinson plays his long suffering fiancée, with her squeaky New York accent, with a vulnerability and sweet innocence, belying the fact that she is a cabaret singer. Morgan and Van Griethuysen are making their first appearances with York Light, both who I would love to see again. The two, but especially Van Griethuysen, gave great vocal performances and I have already mentioned showed a lovely chemistry together and I really wanted the “guy” to get the “doll”.

There were a few teething problems on the opening night, namely the noisy scene changes from behind the curtain and a couple of mike hiccups. I’m glad to say that they weren’t too much of a distraction and I’m sure will improve as the run continues.

Guys and Dolls is really just a sweet tale about saints and sinners, but ultimately redemption, that in parts made me laugh out loud, what more could you ask?

Clapham Omnibus, London- Until 9th March.  Reviewed by Sabrina Fancy

4 ****

Fat rascals have created another brilliant production in Tom and Bunny Save the World!

Set in the UK, this is a tongue and cheek musical about diverse group of people who are trying to flee zombies who have taken over the UK and are in search of a cure for a zombie-apocalypse infested UK.

There are several queer characters with a cast of strong, fierce women! I love a good female heroine! Fat Rascals, the brilliant production company behind the show are renowned for creating fresh and funny feminist theatre-which is a real rarity in musical theatre!

The show centres around free loving Bunny (played by Robyn Grant) and Oxford graduate geek Tom (Jamie Mawson) The 2 of them form an unlikely team to make the journey up to Yorkshire. Mawson and Grant have a great on stage, presence. The other cast members deliver an equally brilliant performance as well and are real standouts, despite not being the leads.

The show pokes fun at the UK’s regional stereotypes, which is very amusing. The musical numbers are short, but punchy and all of the cast members had great vocals – especially Robyn Grant (Bunny). It is difficult not to enjoy this. With Zombies, and catchy folk tunes this is something unique. The dialogue was also very witty along with the musical score. I genuinely feel that this is a supremely talented cast. I also loved the understated political elements that were subtly weaved into the framework of the production.

My only complaint of Tom and Bunny Save The World, was that it was only an hour long, which left me wanting more! However, this is a great testament for the quality of the production.

If you can manage to catch Tom and Bunny, expect lots of laughs, madness and catchy folk tunes performed by a very talented cast. This is the third production that I have seen by Fat Rascals and I always leave with a smile on my face. I give this 4 stars.

 

The Vaults Festival, London – 7 March 2018.  Reviewed by Brian Gordon

5*****

The Vaults Festival has been running since 2011 and is now an exciting and vibrant collective of events and activities spread in the bowels of the tunnels below Waterloo Station. Easily accessed and a truly inviting atmosphere the festival has show after show in amongst the bars, food and social areas of this unique environment. Shows running until 18th March means you still have the chance to catch this event.

OK Bye is being delivered on its opening night like it had been running from the start of the festival. RedBellyBlack Theatre Companies production and arrangement was top draw with a cleverly articulated story of the goodbye. The recollection and reflection along with the story telling of the loss of a parent. The matriarch figure who was the glue in the siblings’ relationships is gone. Caring, death, grief and time are portrayed with the clever use of choreography, none dialogue, music and a little singing and dancing to great effect. Simple and yet effective lighting and set enabled the cast to deliver a funny and yet thought-provoking narrative to living life whilst working hard and working happy, as well as being knocked by the crackles of grief.

Wrestling with the nuances of not being guided and finding a new world order the rhythm of life has changed and will never be the same again. The eldest and only daughter April played by Kate Goodfellow gives a wonderful performance throughout with humour and poignance balanced whilst also able to deliver a lip-synched discussion over the weight of the world being on a pigeon’s shoulders…! Pete the older brother is portrayed by Sam Cornforth with hilarious and endearing quality. The baby of the family, university drop out Oli is delivered by Oscar Scott-White and is intriguing within the dynamic. Forced together again by tragedy and finding a new rhythm in life, its challenging having to be the grown up….

Musically accompanied from within view by Andrew Armfield and ably supported by Abi Toghill and Sally Colletts production this show uses a mix of techniques and craftsmanship to deliver a unique performance. Over played interviews, light boxes, dance and novel physical comedy to name but a few. You will sympathise, laugh, understand and be intrigued as you watch this hour of real moments with people.

I would recommend heading down the Vaults Festival to see this or indeed a selection of the shows on offer amongst the labyrinth of entertainment and art. OK Bye is a five star production running until 11 March 18 and for less than a tenner you will get a show that you will chat about for days for its unique story telling…