Author: FairyPoweredProductions

Hull New Theatre – until 8th July 2018

Reviewed by Catherine McWilliams

5*****

Towards the end of the performance Ben, our hero, says “Tonight was wicked” and the little girl behind me summed up the feelings of the packed Hull New Theatre when she shouted back “oh yeah it was!”

From start to finish this is a cracking play that all ages in the audience loved. The little girl next to me was about 4 years old and just couldn’t stay still while we were waiting for Gangsta Granny to start but once it started she was wrapped up in the entire performance and clearly loved every minute.

Gangsta Granny is superbly adapted from the David Walliams novel by Neal Foster and is another fabulous Birmingham Stage Company production. The scenery is very clever, with its movement being skillfully incorporated into the play, adding glitz and fun to a mundane task! The choreography ( Paul Chantry and Rae Piper) is excellent and adds some wonderfully funny moments to the performance.

Gangsta Granny tells the story of Ben (Tom Cawte) who lives with his Mum (Jenny Gayner) and Dad (Jason Furnival) who are desperate for him to be a dancer rather than the plumber he wants to be. Every Friday night Ben has to go to his Granny’s house whilst Mum and Dad go dancing. To Ben this is the worst night of the week as Granny is boring and her favourite food is …cabbage – cue major groans from the children! But Granny is the cabbage queen her recipes include cabbage pie, cabbage soup and cabbage crème brulee. Then Ben discovers that Granny is a jewel thief and he plans a spectacular robbery for them both. This is a story that every youngster can relate to, imagining themselves as Ben.

Tom Cawte is outstanding as Ben, he captures an 11 year old’s frustrations and gawky movements wonderfully and his facial expressions clearly showed what he was thinking without him uttering a word. His dance at the dance competition was inspired and had me laughing like a drain, but the youngsters around me were all rooting for Ben to do well and were screaming at the judges’ scores!

Lauren Taylor was a brilliant Granny, her performance was just right and never over the top. She showed us a full range of emotions beautifully, but had the children once she bottom burped! Her performance near the end was particularly touching.

Mum (Jenny Gayner) and Dad (Jason Furnival) hit it just right as a couple obsessed with dancing and “Strictly” and their car dance will stay with me – so funny.

Jason Furnival also provided the character for the children to shout at and hate as Mr. Parker. He was wonderfully obnoxious and played the part to perfection. I hadn’t even realised that he was also playing Dad until I read the programme, a superb contrast. The ensemble cast all play their parts to perfection, adding to the enjoyment as they quickly switch characters.

A superb night out at the theatre, this will leave you with a huge smile on your face and a lovely feeling in your tummy!! Whatever your age grab the chance to go and see Gangsta Granny, you will love it.

Arts Theatre  – until 26 August

1*

My first draft of this review was simply 3 letters and a question mark, but I have a word count to meet. Before I start, let me stress that I love a good jukebox musical, so I REALLY wanted Knights of the Rose to be great. Sadly, this show is the perfect example of jumping on the bandwagon after the phenomenal success of previous rock musicals – but the wheels have fallen off at high speed and this particular wagon is careering over a cliff.

Set in Arthurian England, the plot centres around the House of Rose, whose knights have been away fighting for years and return to their ladies. Then there’s a war with King Mordred of Avalon. Yes – you read that correctly. One of the love triangles in the show is inspired by Chaucer’s The Knight’s Tale, and there’s a legitimate/illegitimate/cousin thing going on as well.

Creator Jennifer Marsden has either read a lot of books or has a huge dictionary of quotations; either way, she has used as many borrowed lines as possible in her script. There are three pages of literary references in the programme – that’s THREE PAGES! – from Omar Khayyam to Wordsworth, via Shakespeare and Chaucer. It feels as if quotes were put in a lucky dip and drawn out at random for use, as they sit so mangled and awkwardly in the script. And if you’re going to include your own attempts at verse amongst such stellar literature, then it has to be better than the corny doggerel that serves as narration in this show. Throwing in copious thees, thous and alases doth not, alas, improve clunky verse.

The whole thing is taken so seriously and is so po-faced that the musical numbers are ridiculously out of place. A knight is wooing his princess with verilys and forsooths and suddenly asks “Would you dance, if I asked you to dance?” and probably says a few more lines before the music for “Hero” begins, but it’s inaudible over the laughter from the audience. A death scene turns to comedy gold as a knight turns mournfully to the audience and starts singing “He ain’t Heavy, He’s my Brother”, and the list goes on. Incongruous lines from Shakespeare shoehorned into scenes begin to draw groans and stifled laughter as the show progresses and it finally dawns on the audience that this is NOT a comedy. The lack of diversity on stage will probably be a big talking point, but it is shocking that a female writer could create such insipid female characters.

The talented cast are committed and soldier on through this quagmire of verbal sludge. They are much too good for this show, with the fantastic Oliver Savile, Chris Cowley, Ruben Van keer and Matt Thorpe managing to rise above the content, even with the misjudged pitching of the musical numbers. Poor Cowley has to sing his big villain solo after being seemingly transported to a pantomime – with green and red lighting and skull warrior dancers that King Rat would be proud of. The songs included are great but disappear during the second act to be replaced by more classical numbers as the show suddenly begins to take itself even more seriously, which didn’t seem possible before the interval.

Knights of the Rose is a weird and woeful hybrid of low budget 1950s “Merrie Olde England” films and a particularly ill-judged themed episode of Glee. Not bad enough to be brilliant. Just bad.

 Soho Theatre – until 21 July

Reviewed by Claire Roderick

4****

Elliot Warren’s debut play is full of fire, fury and fizzling fun. The inhabitants of an East End estate vent their spleens in lyrical monologues as the threat of bulldozers loom over them.

Tel (Elliot Warren), lives with his girlfriend Kel (Olivia Brady) and his brother Reiss (Michael Jinks) in the flat belonging to Kel’s Grandad (Nick T Frost). Their downstairs neighbour is dealer Jamal (Alessandro Babalola). The characters are confrontational and in your face from the outset, describing their lives and confrontations with unapologetic candour.

Warren’s writing is lyrical and exciting, full of Shakespearean beauty and modern filth. This is Berkoff’s East for the 21st century, but with more warmth and heart. As the characters pour their hearts out revealing secrets about their lives, amongst the violence and shouting, there is always room for the silliness and humour that keeps families together. Stereotypes presented by the media about inner city estates are tackled and celebrated with a giant “up yours” to gentrification, and the sense of unromanticised pride in their community shines through.

Directed by Warren and Brady, the play is slick and full of movement, with Warren never still, portraying Tel as a dangerous caged animal. Brady’s Kel is a hoot, but equally powerful as she defends her way of life. Frost’s fantastic Grandad is instantly recognisable, all bad jokes and reminiscing about the past as he sits in his dressing gown. Jinks is wonderful as Reiss, hiding his fabulous life in Soho from his brother and squeezing every drop of emotion from his monologues. Babalola is phenomenal as Jamal – physically intimidating and terrifying, but finally revealing the lost little boy trapped in a life he hasn’t chosen. His sudden swings from defensive aggression to honest innocence are a joy to behold.

Brave, brilliant and slightly bonkers – Flesh and Bone is a must see.

Horrible Histories takes over Alexandra Palace this Christmas!

 

London is in for a treat this Christmas with a special production of HORRIBLE HISTORIES – HORRIBLE CHRISTMAS playing at the Alexandra Palace Theatre from 13 to 30 December 2018. The producers behind the Olivier award nominated Gangsta Granny and the celebrated Horrible Histories stage shows, including Barmy Britain in the West End, are bringing this festive favourite to London for three weeks over the holiday period.

When Christmas comes under threat from a jolly man dressed in red, it’s up to one young boy to save the day – but can he save Christmas? From Victorian villains to Medieval monks, Puritan parties to Tudor treats, Horrible Histories take you on a hair-raising adventure through the history of Christmas in the company of Charles Dickens, Oliver Cromwell, King Henry VIII, St Nicholas and Rudolph the Red Nosed Reindeer as they all join forces to save the festive season!

Horrible Christmas is full of jokes, songs and hysterical historical facts. It’s great entertainment for all the family from ages 5 to 105 (106-year-olds may not like it).

Horrible Christmas is directed by Neal Foster (original director Phil Clark), designed by Jackie Trousdale with music by Matthew Scott, lighting by Jason Taylor, sound by Tom Lishman and choreography by Rae Piper and Paul Chantry. The cast includes Chris Gunter, Neal Foster, Laura Dalgleish, Ashley Bowden and Erika Poole.

So come and join us in a hair-raising adventure through the history of the festive season and help save us all from a Horrible Christmas!

 

Listings info:                                                                                                        

Birmingham Stage Company and Derby Theatre present Horrible Christmas at

Alexandra Palace Theatre, Alexandra Palace Way, London, N22 7BB

 

13 Dec 2018 – 30 Dec 2018

School Performances during school term

Tuesdays to Thursdays – 10am & 1.30pm

Saturdays 2.30pm & 6.30pm and Sundays 11am & 3pm

 

Public performances

Tuesdays to Thursdays Times vary – Performances at 10.30am, 1.30pm/2.30pm and 6.30pm/7pm

Saturdays 2.30pm & 6.30pm, Sundays 11am & 3pm

Box office:

theatre.alexandrapalace.com

See Tickets – 0871 220 0260

TICKET PRICES

Public performances – Tickets £18.30 – £35.35

A SEARCH FOR THE RAILWAY CHILDREN

 

A leading Leeds youth theatre academy is looking for young performers – experienced and beginners – to star in a show that will be staged at Scarborough’s Open Air Theatre in August this year.

On Stage Academy is based at The Carriageworks Theatre in Leeds city centre; it regularly puts out calls for new stars – but this one is quite different.

“Three years ago our patron impresario, Tony Peers, invited the students of On Stage Academy to perform at the Family Fun Day – and he was so impressed he invited us back!” explains Academy Principal Liz Coggins.

Tony Peers has been in showbusiness for over 50 years as a performer and producer. Often referred to as Mr Scarborough, he produces numerous summer shows and pantomimes around the UK.

“I’m a firm believer in giving young talent a chance and I try to cast newcomers in most of my productions,” he says. “To have On Stage Academy on board with OAT is wonderful for all involved.”

On Stage Academy is booked to perform a potted and narrated musical version of The Railway Children on the afternoon of Monday August 27^th, and in the lead up to the show will host a summer holiday workshop for the young actors.

“This year we need a much larger cast and so are throwing our doors open to budding stars aged five to 16 years old; we are looking for leading roles and ensemble – all are welcome, and training will be given,” Liz continues.

“We appreciate it’s the holiday season and understand that some will need to miss the odd rehearsal, but the team and I will work with all the performers to ensure everyone is up to speed and confident so please don’t let that put you off.”

Rehearsals will take place once a week from July 18^th until August 22^nd at The Carriageworks Theatre in Leeds and will include training in singing, acting and movement.

“For young people to have the chance to perform on this outdoor stage is incredible,” Liz concludes. “They will be following in the steps of stars such as Little Mix, Olly Murs, Elton John and Jess Glynne – it’s a great experience and one they’ll never forget.”

If you know somebody aged between five and 16 years old who would like to take part in the stage production contact:

On Stage Academy:  onstagetheatreartsacademy@gmail.com / 0113 262 8033

Bill Kenwright presents
Iwan Rheon in 
FOXFINDER
by Dawn King

• OLIVIER AWARD-WINNER IWAN RHEON STARS IN DAWN KING’S DYSTOPIAN THRILLER AT THE AMBASSADORS THEATRE FROM 6 SEPTEMBER 2018 UNTIL 5 JANUARY 2019

• DIRECTED BY RACHEL O’RIORDAN FOXFINDER WILL HAVE ITS OFFICIAL PRESS NIGHT ON 13 SEPTEMBER

Dawn King’s Foxfinder will have its West End premiere at the Ambassadors Theatre from 6 September 2018 for a strictly limited season until 5 January 2019. Olivier Award-winner Iwan Rheon (Game of Thrones’ Ramsay Bolton, Misfits) will star in the unsettling and darkly comic drama directed by Rachel O’Riordan whose production of Killology at the Royal Court won the 2018 Olivier Award for Outstanding Achievement in Affiliate Theatre. Further casting will be announced at a later date.

First performed at London’s Finborough Theatre in 2011, Foxfinder opened to rave reviews and won Dawn King the 2013 Royal National Theatre Foundation Playwright award, a Pearson Award Bursary as Playwright-in-Residence at the Finborough, the Papatango Theatre Company new writing competition and the Off West End award for Most Promising Playwright.

On the play’s Finborough premiere the Guardian’s Michael Billington said “King’s play shines out like a beacon […] it remains an arresting and individual work that haunts the mind long after you’ve seen it.”

England is in crisis. Fields are flooded, food is scarce and fear of the red beast grips the land. 

William Bloor, a foxfinder, arrives at Judith and Samuel Covey’s farm to investigate a suspected fox infestation. The Covey’s harvest has failed to meet their target and the government wants to know why. Trained from childhood, William is fixated on his mission to unearth the animals that must be to blame for the Covey’s woes. But as the hunt progresses, William finds more questions than answers…

Iwan Rheon trained at the London Academy of Music and Dramatic Art (LAMDA) and made his professional stage debut in Eight Miles High at Liverpool’s Royal Court Theatre, before his breakthrough role as the haunted, suicidal Moritz in the musical Spring Awakening, for which he won the 2010 Olivier Award for Best Supporting Actor in a Musical.

In 2009, Iwan joined the cast of E4’s BAFTA award-winning superhero drama Misfits which to date has been broadcast in 100 territories. Iwan returned to the stage in 2010 in the National Theatre Wales’ production of John Osborne’s The Devil Inside Him and in 2011, Aleksey Scherbak’sRemembrance Day at the Royal Court Theatre. He made his cinematic debut in Resistance, a 2011 Welsh film based on the novel by Owen Sheers starring Andrea Riseborough and Michael Sheen. Other film work includes Wild Bill, Wasteland, Daisy Winters and The Liberator.

Between 2013 and 2016 Iwan played the villainous Ramsay Bolton in HBO’s multi-award winningGame of Thrones. Other television credits include ITV’s Vicious, opposite Ian McKellen, Derek Jacobi and Frances de la Tour, BBC One’s Our Girl, Netflix sci-fi thriller Residue, and for Sky One Rivierawith Adrian Lester and Julia Stiles, and Adolf The Artist alongside Rupert Grint. Most recently Iwan played the lead role in Marvel’s ABC drama series Inhumans and it has just been announced he will be playing Mötley Crüe’s guitarist, Mick Mars, in biopic The Dirt alongside Douglas Booth. Iwan will also be seen in the forthcoming films Berlin, I Love You and as the lead in WWII thriller Hurricane.

Dawn King is an award-winning writer working in theatre, film, TV and radio. Dawn’s 2013 playCiphers, a co-production between Out Of Joint, the Bush Theatre and Exeter Northcott, toured the UK and has been produced internationally. Ciphers was longlisted for the James Tait Black drama prize 2014 and is currently being adapted into a screenplay for Cowboy Films. Her most recent stage play, a major new adaptation of Aldous Huxley’s Brave New World, was a co-production between the Royal and Derngate Theatre and the Touring Consortium, and toured the UK in 2015.

Dawn’s short film The Karman Line, starring Olivia Colman and Shaun Dooley, played festivals around the world and won eighteen awards including Best Short Film at the British Independent Film Awards, and was nominated for a BAFTA. Currently, Dawn is working on two plays; The Light andSalt, which is a commission from the National Theatre and will be performed by youth theatre groups around the country as part of Connections 2019. She also writes regularly for radio and has had radio plays broadcast on BBC Radio 4, 4 Extra and BBC Radio 3.

Director Rachel O’Riordan is the artistic director of the Sherman Theatre, Cardiff (The Stage Awards’ 2018 Regional Theatre of the Year) and was previously artistic director of Perth Theatre and founding artistic director of Ransom Productions, Belfast. In 2016 her production of Iphigenia in Splott transferred from the Sherman Theatre to the National Theatre and toured the UK. The critically acclaimed production also won Best New Play at the UK Theatre Awards and the James Tait Black award. Other theatre credits include Killology (Sherman Theatre/Royal Court Theatre – Olivier Award for Outstanding Achievement in Affiliate Theatre), Unfaithful (Traverse Theatre), The Seafarer (Perth Theatre/Lyric, Belfast), Carol Ann Duffy’s Grimm Tales (Library Theatre Manchester, M.E.N. Best Family Show award winner), and Hurricane (Soho Theatre). At the Sherman Theatre Rachel has directed Bird (also at Manchester Royal Exchange), The Cherry Orchard adapted by Gary Owen, The Weir (also at Tobacco Factory Theatre) and Arabian Nights(Wales Drama Award winner for Best Show for Children and Young People).

Foxfinder is designed by Gary McCann with lighting design by Paul Anderson. Simon Slater is composer and sound designer for the production.

LISTINGS
FOXFINDER
The Ambassadors Theatre
West Street
London WC2H 9ND

Thursday 6 September – Saturday 5 January
Press Night: Thursday 13 September 7pm

Monday – Saturday 7:45pm
Wednesday & Saturday 3pm

Christmas Schedule: Extra matinee: Wednesday 19 December, Friday 28 December & Wednesday 2 January 3pm
Matinee only: Monday 24 December & Monday 31 January 3pm
No performances Tuesday 25 – Wednesday 26 December, Tuesday 1 January

Ticket Prices: From £25 (previews up to £20 off)

www.theambassadorstheatre.co.uk
Box Office: 020 7395 5405

www.foxfinder.co.uk
Twitter: @foxfinderplay
Instagram: @foxfinderplay
Facebook: @Foxfinderplay

OPPORTUNITY FOR YOUNG THEATRE LOVERS AT FAMOUS YORK ATTRACTION

 

The York Dungeon is offering a 4 week masterclass in theatre, costume and make-up.

A new series of workshops is launching this September in York, and it’s aimed at young people with a love of theatre, who want to either gain or enhance skills, an experience they won’t find at any other out of school club.

“The Dungeon Academy”, a new initiative from The York Dungeon is exclusively for those aged 12 – 16 years of age who want to learn the art of ‘Scary fun’.

As most York residents know, The York Dungeon features a team of live actors who have to perform a variety of different shows every single day. Now they want to pass their ability on to the next generation, and they hope this academy will be the perfect stepping stone.

“Our actors are some of the most talented around,” says Performance Manager, John Andrews, “for those who do The Dungeon Academy, they’ll be learning everything our actors have to, including how to do the iconic Dungeon make-up, dress as our characters and, of course, perform a selection of our famous shows”.

Over the 4 weeks, participants will train with professional Dungeon actors, learning everything there is to know about performing in the Dungeon.

Once the course is over, participants will be able to perform a final performance in front of their friends and family, inside The Dungeon itself. There are only 12 spaces available for this year’s academy, with a special early-bird offer for those who book and pay up to 4 weeks before the start of September.

Spaces are £100 (£75 early-bird) per person for 4 Workshops every Saturday from 8th – 29th September 2018. Each workshop lasts 3 hours starting at 9am.

For those who wish to book a slot, visit: https://www.thedungeons.com/york/en/what-is-the-dungeon/the-dungeon-academy/

Bristol Hippodrome – until 6th July

Review by Nicky Wyatt

5*****

Oh my word. My first visit to the ballet and I was absolutely mesmerised! Such beautiful dance with amazing story telling.

A story of young love played out with , fun, naughtiness and grace.

The opening music to this story sets the mood, sat just a few rows from the orchestra I initially thought it may be a bit overpowering but I need not have worried, under the watchful eye and superb conducting of Barry Wandsworth , it was a delight to listen too.

The story divided into three acts is about a young couple that catch each other’s eye and begin to fall in love. The path of true love often meets with a disapproving parent and this is true for this young couple also.

Lise ( Céline Ditton) sets about her morning chores in the hope that she will see her hearts want Colas (Tyrone Singleton). As they have missed each other she leaves him a ribbon tied in a lovers knot which he finds and attaches to his staff. Later that morning they manage to meet up in secret and perform the most amazing dance with the ribbon. It’s cheeky a little bit naughty but it is the dance of lovers, it ends with them having a made a cats cradle! So clever is the choreography of this show. Caught by her mother Simone (Rory Mackay) who gives Lise the job of churning butter, she of course gets some help from Colas. It’s not long before the village girls want Lise to come and play , chores abandoned she does just that. Again caught by her mother she is saved from being chastised any further when guests arrive.

Thomas (Valentin Olovyannikov) the vineyard owner wants Lise to marry his son Alain (James Barton). He tries to get her attention with his Hop,Skip,Jump way and although she thinks he is funny albeit clumsy she’s not interested her heart has already been captured.

It’s harvest time, all the workers stop for break and a dance ensues led by Colas it’s a fun dance. Alain and Lise dance together with respective parents watching on. She only has eyes for Colas and seeks his attention. Not to be beaten Alain decides to play the flute sadly he’s not very good and the others tease him. As he is swept away to avoid any more embarrassment the stage is left clear for Colas and Lise to dance. The dancing continues with all joining in, two spectacular routines are the Maypole and the Clog dance so fast and clever, again superb choreography! Dancing comes to an abrupt halt as a storm blows in the special effects here are amazing.

The final act sees Lise back indoors with mother who is awaiting the arrival of Alain with his father and the notaries to formalize the wedding. Simone leaves Lise alone but not trusting her, she locks her in alone or is she? The dancing and giving of scarves in this scene is just stunning. When everyone arrives at the house and Simone gives Alain the key to Lise bedroom door they all get a bit of a shock as she isn’t there alone.

Love wins through on the day and celebrations begin.

The facial expressions and movements between these dancers was truly wonderful too see. As I said at the beginning I was absolutely mesmerised from start to finish and left with the biggest smile.

Shakespeare’s Rose Theatre York  – until Sunday 2nd September 2018.

Reviewed by Michelle Richardson

4.5****

The theatre is Europe’s first ever pop up Shakespearean theatre, though there have been a few worldwide. Set within a Shakespearean village, offering good old Yorkshire food and drink, it is only open until 2nd September and has taken over part of the historic Clifford’s Tower car park.

The theatre itself is amazing, from the outside with it’s angular construction, to inside with scaffolding all around, which doesn’t look out of place. Seats are staggered around a pit, where you can buy “groundling” tickets for only £12.50, and then an impressive wooden stage with large double doors in the centre, a balcony above, two staircases each side with entrances beneath, allowing the actors to come and go. Musicians, sat even higher, in the gods.

A Midsummer Night’s Dream, directed by Juliet Forster, Associate Director of York Theatre Royal, is the second of the four Shakespearean shows that I will be seeing, and the one I was most looking forward to seeing, after previously catching a couple of adaptations of this bizarre comedy. The cast were the same as Macbeth, the four Shakespearean plays have two lots of casts, each performing in two plays. This must be a challenge having to switch between the two shows, in this case I had seen Macbeth the previous evening and saw this show the following afternoon, not a lot of respite.

On a midsummer’s night Hermia and her lover Lysander flee from Athens and Demetrius – the man Hermia’s father favours as a son-in-law. Demetrius follows, pursued by Helena who loves him in spite of being spurned in favour of Hermia. On the same night Bottom and his friends leave Athens to find somewhere quiet to rehearse their play which is to be performed at the wedding feast of Duke Theseus. Drawn into the woods they enter a world of magic, mystery and wonder.

For this production the roles of the King and Queen of the fairies were gender reversed, Anthony Bunsee playing Titania, the Queen, and Amanda Ryan Oberon, the King. It made no difference at all to the characters and in fact provided a comic turn in Titania’s interaction with Bottom later on in the show. With Puck, an energetic Clare Corbett, and the fairies whizzing around the stage, we are treated to an athletic and sometimes acrobatic display, with ropes and ribbons, as well as utilising the scaffolding in the seated area. The costumes of the fairies were quite devilish, looking like impish goats is the best I can describe. The fairies were superb, the mannerisms, postures and movements were wonderful to watch, especially Gareth Aled, who was compelling to watch, just like little devil.

As the story spun it was a joy to watch Hermia, Amy Lennox, becoming more deranged and dishevelled, running away Lysander, whilst being chased by Demetruis, Mark Holgate, who in turn is being pursued by the desperate Helena, Olivia Onyehara. The four actors interact well together and, in the end, you can’t help having a lovestruck struck smile on your face when all comes right.

The biggest draw of the show though must really go to Paul Hawkyard as Bottom. He is a mountain of a man who preens his way through the role, imitating valiant poses, wanting to dominate the play that him and his friends are rehearsing. Donning a donkey head when he is enchanted by Puck, we are treated to several donkey noises during his dialogue, creating much merriment within the audience. His interaction with Titania was hilarious, maybe enhanced by us knowing that Titania was being played by a man. The play ends with Bottom and friends performing their play for the wedding, and of course Bottom tries to takeover. This provided the biggest laugh of all, mostly because of the wall, played by Robin Simpson. Rina Mahoney as Quince, the playwright of their play, was also very engaging and funny to watch.

A Midsummer Night’s Dream is really quite bizarre, but it works and at times is truly funny. This is certainly the more user friendly of the Shakespearean plays I have seen and maybe a good opener for anyone wanting to see if they like his plays. With a strong cast this is surely worth your time.

Shakespeare’s Rose Theatre York – until Friday 31st August 2018.

Reviewed by Michelle Richardson

4****

The theatre is Europe’s first ever pop up Shakespearean theatre, though there have been a few worldwide. Set within a Shakespearean village, offering good old Yorkshire food and drink, it is only open until 2nd September. I was looking forward to visiting the theatre after seeing it being built over the last few weeks, taking over part of Clifford’s Tower car park.

I am going to make an admission now, I don’t believe I have ever read or seen any adaptation of Macbeth, on screen, and definitely not a live show before. Shock horror I know. Obviously, I was aware of certain aspects of the tale, the witches for one, and the decent into madness off Macbeth, so in some respects saw the show “blind”. Macbeth, directed by Damien Crueden, the Artistic Director of York Theatre Royal, is the first of the four Shakespearean plays I will be seeing.

The theatre itself is amazing, from the outside with it’s angular construction, to inside with scaffolding all around, which doesn’t look out of place. Seats are staggered around a pit, where you can buy “groundling” tickets for only £12.50, and then an impressive wooden stage with large double doors in the centre, a balcony above, two staircases each side with entrances beneath, allowing the actors to come and go. Musicians, three I believe, sat even higher, in the gods.

With the beating of the drums and the opening bloody battle scene, along with smoke coming up through the stage floor, I could feel my heart pumping seeing the action unfold before my eyes, what a buzz that was. With the battle won Macbeth has his head turned by the witches with a prophecy that he will soon be Thane of Cawdor and later King. Consumed by ambition and spurred into action by his wife, Lady Macbeth, he murders King Duncan, taking the crown for himself. Wracked with guilt and paranoia, what unfolds is a tale of betrayal and madness full of death.

Working without microphones, occasionally the vocals were somewhat muffled, but this didn’t detract from the performance, and overall their projection was magnificent. All the acting was superb and one of the most memorable moments for me was when Banquo is set upon, the slashing of his legs before his ultimate death, made me cringe in my seat. Another was when Macbeth could see Banquo’s ghost all around him, much to the bemusement of all around him. The desent into madness of Macbeth, his seeing ghosts, his betrayal of those around him, was quite riveting. Richard Standing was excellent, but so we’re all the cast.

During the interval a few of the cast mingled with the groundings and all I could hear was, is your sword real, and can I touch it? During the whole performance the pit was used for comings and goings and must have been a great for those stood in that area. The music and bounding of the drums were so very effective, especially during the gory battle scenes and murders, very powerful and atmospheric.