Author: FairyPoweredProductions

WHATSONSTAGE ANNOUNCE RESULTS OF POLL ON THE NATION’S FAVOURITE SHOWTUNES

Leading theatre website, WhatsOnStage, launched a poll to find the nation’s favourite showtunes. With thousands of votes cast, the clear winner was “One Day More” from Les Miserables – reflecting the show’s huge popularity as the West End’s longest running musical, opening in 1985. It continues to play to packed houses today.

Les Miserables had 7 songs in the top 100, only eclipsed by the US phenomenon Hamilton with 8 songs – the latter opens next month in London at the Victoria Palace Theatre.

Wicked also performed strongly, with 4 songs in the top 100. The top composers were Lin Manuel Miranda with 10 songs, Claude-Michel Schönberg and Andrew Lloyd Webber both with 9 songs, followed by Stephen Sondheim and Alan Menken with 5 songs each.

WhatsOnStage’s Chief Operating Officer Sita McIntosh said today, “We had an unprecedented response to our top 100 showtunes of all time poll and the result shows that people’s favourite musical songs are a wonderfully varied mix. Tunes from shows such as Les Miserables and Hamilton, Wicked and Company, In the Heights and Matilda sit happily side by side.

“There were several appearances of songs from shows that have been recently revived – including Follies and Gypsy – as well as old school classics such as West Side Story. The list also clearly demonstrates the appetite for Hamilton, which is due to open in London next month. And isn’t it great to see a tune from new American musical Dear Evan Hansen – which hasn’t yet made it over to these shores – alongside veteran towering greats in the top ten? “

THE TOP 100:

1 “One Day More” from Les Miserables

2. “Defying Gravity” from Wicked

3. “The Phantom of the Opera” from The Phantom of the Opera

4. “Bring Him Home” from Les Miserables

5. “Being Alive” from Company

6. “Alexander Hamilton” from Hamilton

7. “Seasons of Love” from Rent

8. “Waving Through a Window” from Dear Evan Hansen

9. “Don’t Rain on My Parade” from Funny Girl

10. “Tonight” from West Side Story

11-20

11. “Rose’s Turn” from Gypsy. 12. “Do You Hear the People Sing?” from Les Miserables. 13. “Music of the Night” from Phantom. 14. “For Good” from Wicked. 15. “On My Own” from Les Miserables. 16. “Memory” from Cats. 17. “I Dreamed a Dream” from Les Miserables. 18. “Stars” from Les Miserables. 19. “Somewhere” from West Side Story. 20. “My Shot” from Hamilton.

21-30

21. “No Good Deed” from Wicked. 22. “Send in the Clowns” from A Little Night Music. 23. “Springtime for Hitler” from The Producers. 24. “50 Percent” from Ballroom. 25. “Heaven On Their Minds” from Jesus Christ Superstar. 26. “Losing My Mind” from Follies. 27. “Wait for It” from Hamilton. 28. “Anthem” from Chess. 29. “I’m Here” from The Color Purple. 30. “And I Am Telling You” from Dreamgirls.

31-40

31. “Falling Slowly” from Once. 32. “Gethsemane” from Jesus Christ Superstar. 33. “Non-Stop” from Hamilton. 34. “Sit Down You’re Rocking the Boat” from Guys and Dolls. 35. “Burn” from Hamilton. 36. “The Wizard and I” from Wicked. 37. “This is the Moment” from Jekyll & Hyde. 38. “When I Grow Up” from Matilda. 39. “Yorktown” from Hamilton. 40. “96000” from In the Heights.

41-50

41. “Anything Goes” from Anything Goes. 42. “Don’t Cry For Me Argentina” from Evita. 43 “Quiet” from Matilda. 44. “Raise You Up” from Kinky Boots. 45. “The Sound of Music” from The Sound of Music. 46. “You’ll Never Walk Alone” from Carousel. 47. “A Weekend in the Country” from A Little Night Music. 48. “All That Jazz” from Chicago. 49. “Listen” from Dreamgirls. 50. “Do Re Mi” from Sound of Music.

51-60

51. “Everything’s Coming Up Roses” from Gypsy. 52. “Ring of Keys” from Fun Home. 53. “For Forever” from Dear Evan Hansen. 54. “Friend Like Me” from Aladdin. 55. “Summertime” from Porgy and Bess. 56. “I Am What I Am” from La Cage Aux Folles. 57. “I Know Him So Well” from Chess. 58. “If I Loved You” from Carousel. 59. “La Vie Boheme” from Rent. 60. “Take Me Or Leave Me” from Rent.

61-70

61. “Once and For All” from Newsies. 62. “Revolting Children” from Matilda. 63. “Santa Fe” from Newsies. 64. “Satisfied” from Hamilton. 65. “She Used To Be Mine” from Waitress. 66. “Singin’ in the Rain” from Singin’ in the Rain. 67. “Til I Hear You Sing” from Love Never Dies. 68. “Tomorrow” from Annie. 69. “The Room Where it Happens” from Hamilton. 70. “Gold” from Once.

71-80

71. “If I Were a Rich Man” from Fiddler on the Roof. 72. “Everyone’s a Little Bit Racist” from Avenue Q. 73. “Bui Doi” from Miss Saigon. 74. “Circle of Life” from The Lion King. 75. “I’m Still Here” from Follies. 76. “Javert’s Soliloquy” from Les Miserables. 77. “Luck Be A Lady” from Guys and Dolls. 78. “Make Them Hear You” from Ragtime. 79. “Man Up” from Book of Mormon. 80. “Stars and the Moon” from Songs For a New World.

81-90

81. “Out There” from The Hunchback of Notre Dame. 82. “Put on Your Sunday Clothes” from Hello, Dolly!. 83. “Run Freedom Run” from Urinetown. 84. “Suddenly Seymour” from Little Shop of Horrors. 85. “Sunday” from Sunday in the Park With George. 86. “Ol Man River” from Show Boat. 87. “Wouldn’t It Be Loverly” from My Fair Lady. 88. “Wishing You Were Somehow Here Again” from Phantom of the Opera. 89. “You Can’t Stop the Beat” from Hairspray. 90. “All That Matters” from Finding Neverland.

91-100

91. “America” from West Side Story. 92. “Any Dream Will Do” from Joseph and the Amazing Technicolour Dreamcoat. 93. “Aquarius” from Hair. 94. “As Long As He Needs Me” from Oliver!. 95. “Breathe” from In the Heights. 96. “Cabaret” from Cabaret. 97. “Cell Block Tango” from Chicago. 98. “Dead Girl Walking” from Heathers. 99. “And Eve Was Weak” from Carrie the Musical. 100. “Electricity” from Billy Elliot.

Grand Opera House York – until Saturday 25th November.  Reviewed by Michelle Richardson

4****

Based on George Bernard Shaw’s play Pygmalion, Pick Me Up Theatre brings My Fair Lady to the stage at the Grand Opera House in York this week.

Most of us know the tale of Eliza Doolittle (Toni Feetenby) and her transformation from the cockney flower girl into an elegant lady, tutored by the smug and pompous Professor Henry Higgins (Rory Mulvihill), who is a linguistics expert. Egged on by Colonel Pickering (Mark Hird), they make a wager on whether or not Higgins will succeed and turn Eliza into a lady able to mix with royalty.

All Eliza wants to do is to own her own flower shop as opposed to selling flowers in the street, struggling to make a living. Eliza agrees to take lessons with Higgins, in fact she approaches him and offers to pay before moving into his house at 27a Wimpole Street, in the belief she will better herself and increase her chances in opening her own shop.

Before her transformation, Eliza is loud and brash, and cries like a strangled cat when things go wrong, wiping her nose on her sleeve in the process, but this all changes after her elocution lessons with Higgins. In fact, she is mistaken for European royalty following her transformation and outing at the Embassy Ball, a success all round, or is it?

Feetenby delivers a superb performance as the leading lady, her transformation is wonderful to watch and the work and effort put into her role with the changing of character and accents is amazing. She seamlessly delivers both parts with equal success. This is the third time she has played Eliza Doolittle over the years and you can tell how comfortable she is with the role. Mulvihil was convincing playing the arrogant, controlling, sometimes awkward and yet ultimately charming role of Professor Henry Higgins. His treatment of Eliza at time is so belittling and condescending, trying to really disguise his true feelings, you couldn’t help but love and loathe him at the same time. Just like Feetenby, My Fair Lady is not new to him having previously played Higgins in an earlier production. The lead characters were superb, perfectly cast and performed with great voices.

I must also mention Sam Hird as Freddy Eynsford-Hill, the lovelorn young chap in love with Eliza, his singing just blew me away, what a voice!

The stage was well used and the choreography was excellent, especially considering the amount of performers there were on stage. The costumes were also excellent, at times beautiful, and the amount of changes that all the cast had was staggering, how all managed that so successfully is a feat on its own. All I can say is that the back of house did a fantastic job and a huge well done must go to all who we never get to see.

It is always great to hear live music at theatre show and this was no exception, though at times I did find the orchestra to be overly loud and not necessarily always consistent in their playing. Saying that it did not detract from the singing or overall effect of the show. I did also find that there were a couple of scenes that really dragged on just a bit too long for me, which made for a very long show.

Overall the large cast worked well on stage, with near flawless performances by all. I’m always amazed at how supposedly amateur productions put on such professional shows and I had to keep reminding myself that it was in fact an amateur show, the only way I could tell was because of the very large cast. It was a credit to the well-loved film, and a brilliant display of teamwork and how amateur theatre should be done.

23rd MARCH – 15th APRIL 2018

TICKETS ON SALE FRIDAY 24th NOVEMBER AT 8.00AM

STARRING

TORVILL & DEAN

AS TOUR HOSTS AND HEAD JUDGES

The Dancing on Ice Live UK Tour will be skating back across the country next year, starring the legendary Jayne Torvill and Christopher Dean.  Following a four year break, this spectacular new show will perform all over the UK throughout March and April 2018.  Tickets for this live extravaganza will go on sale at 8.00am on Friday 24^th November.

Joining Torvill & Dean on tour will be a host of celebrities and professional skaters from the new Dancing on Ice series, which starts on ITV in January next year.  Jayne & Chris will host the tour once more and take up their new roles as Head Judges.  The King and Queen of Ice will be on hand to give their expert critical feedback and their all-important scores to the celebrities and their skating partners.

In addition to the scores from the Ice Panel Judges, arena audiences can text vote from their mobile phones for their favourite skating couple.  Audience votes will then be added to the scores from the Judges to decide the overall celebrity winning couple.  They will then take to the ice to perform a magical finale. 

Jayne Torvill and Christopher Dean said: “We are delighted that Dancing on Ice Live is touring again next year.  We really enjoyed hosting the last tour in 2014, so we’ll be doing that again, plus we’re taking on our new roles as Head Judges.  The tour has struck such a huge chord with audiences around the country ever since it began in 2007 and we can’t wait to be back on the road in 2018, with a bigger and better live show for all the family to enjoy.”

The 27 show spectacular will open at The SSE Arena, Wembley on 23 March.  The tour will then visit some of the biggest entertainment venues across the UK, including Sheffield’s FlyDSA Arena, Newcastle’s Metro Radio Arena, Manchester Arena, the SSE Hydro in Glasgow and a homecoming at Nottingham’s Motorpoint Arena.  The tour culminates at the Arena Birmingham on 15 April.

Tickets for DANCING ON ICE LIVE TOUR 2018

will be on sale from Friday 24^th November

23 – 25 March             London: The SSE Arena, Wembley             0844 815 0815

(Friday 23^rd at 7.30pm, Saturday 24^th at 2.30pm & 7.30pm, Sunday 25^th at 1.30pm & 6.30pm)

27– 29 March             Sheffield: FlyDSA Arena                                0114 256 5656

(Tuesday 27^th at 7.30pm, Wednesday 28^th at 7.30pm, Thursday 29^th at 7.30pm)

30 March – 01 April    Newcastle: Metro Radio Arena                    0844 493 6666

(Friday 30^th at 7.30pm, Saturday 31^st at 2.30pm & 7.30pm and Sunday 1^st at 1.30pm)

03 – 04 April                Manchester Arena                                         0844 847 8000

(Tuesday 3^rd April at 7.30pm and Wednesday 4^th April at 2.30pm & 7.30pm)

06 – 08 April                Glasgow: SSE Hydro                                      0844 395 4000

(Friday 6^th at 7.30pm, Saturday 7^th at 2.30pm & 7.30pm, Sunday 8^th at 1.30pm)

10 – 12 April                Nottingham: Motorpoint Arena                  0843 373 3000

(Tuesday 10^th at 7.30pm, Wednesday 11^th at 7.30pm and Thursday 12^th at 7.30pm)

13 – 15 April               Arena Birmingham                                        0844 338 8000

(Friday 13^th at 7.30pm, Saturday 14^th at 2.30pm & 7.30pm, Sunday 15^th at 1.30pm & 6.30pm)

Tickets: £35 – £65 (bands venue dependent) 

The O2 prices are £36 – £66 (Inclusive of a £1 per ticket venue facility fee)

All ticket prices are subject to a booking fee

To book tickets or for further information visit: www.dancingonicetour.co.uk 

Facebook:           /dancingonicetour

Instagram:          @DancingOnIceTour

Twitter:                @DOI_Tour

Hashtags:            #DOITour

                                #DancingOnIceTour

Emma Rice’s production of Noël Coward’s ‘Brief Encounter’ to play The Lowry

Brief Encounter
Tue 20 – Sat 24 February 2018

Kneehigh’s production of Noël Coward’s ‘Brief Encounter,’ adapted and directed by Emma Rice, will play The Lowry (Tue 20 – Sat 24 February 2018) before a West End run. 

The award-winning Kneehigh Theatre production will be produced by David Pugh & Dafydd Rogers, Jenny & Steve Wiener and The Old Vic. 

Emma Rice said, “I’ve always loved getting lost in the dark, and the cinema is one of the best places to do it.  However, a film doesn’t change.  It carries on whether you are there or not; performances are captured forever, never altering. 

“My production of ‘Brief Encounter’ combines the romance of cinema with all that live theatre can offer; magic, passion, surprise, suggestion and naughtiness.  I carry this show in my heart and couldn’t be more excited to return to this heart-pounding production. Radical and romantic, nostalgic but oh, so relevant – let passions ignite!”

Producers David Pugh & Dafydd Rogers said, “Emma Rice’s award-winning theatrical production of Brief Encounter is one of the highlights of our producing career. It is incredibly exciting to bring it to The Lowry before a West End run. Our wonderful stage production of ‘Brief Encounter’ switches between live action and film, so we will once again be turning the cinema into a theatre especially for this show.

“We are very proud to be working again with Emma on this spellbinding production, which we hope a new generation will now have the chance to see, as well as those who may have missed it the first time or loved it so much they just have to come back and see it again.”

A chance meeting in a railway station café where they were brought together by Laura ‘getting a little piece of grit in my eye’, led to one of the most haunting and heart-breaking love stories ever told.  The award-winning Kneehigh production of Noël Coward’s ‘Brief Encounter,’ which was originally produced at Birmingham Repertory Theatre, triumphed in the West End in 2008 and subsequently received great critical acclaim on Broadway and went on to tour worldwide.  It was described by Ben Brantley in the New York Times as ‘surely the most enchanting work of stagecraft ever inspired by a movie.’

‘Brief Encounter’ will be directed by Emma Rice, designed by Neil Murray, with lighting by Malcolm Rippeth, original music by Stu Barker, sound by Simon Baker and projection by Gemma Carrington & Jon Driscoll.

Metro Radio Arena, Newcastle – Saturday 1st December 2018

Jeff Wayne’s Musical Version of The War of The Worlds – Alive on Stage returns to UK arenas next year to celebrate its 40th ANNIVERSARY, at the Newcastle Metro Radio Arena on Saturday 1st December 2018.

Conducted by Jeff Wayne, with the 9-piece Black Smoke Band and 36-piece ULLAdubULLA Strings, the most ambitious production yet will ‘break through the fourth wall’ to bring the action closer to the audience for a most captivating and immersive experience.

The show, which is mixed live in Surround Sound, will also feature Liam Neeson in 3D holography, the incredible 3-tonne 35-foot tall Martian Fighting Machine firing real flames, the incineration of a cast member in full view of the audience, and a ground-breaking levitation effect! Full cast to be announced soon!

Nearly 40 years on, Jeff Wayne’s double album has grown into a true classic, and has sold over 15 million records worldwide, with two International hit singles – ‘Forever Autumn’ and ‘The Eve of The War’, spending over 330 weeks in the UK album charts. It has also won two prestigious UK Ivor Novello Awards, the US Best Recording in Science Fiction and Fantasy, and for Jeff, Classic Rock’s ‘Showman of The Year’ Award.

DON’T MISS your chance to experience this spectacular Arena production and join the 40 YEAR celebrations!

Jeff Wayne said: “In June 1978 my original double album was released. I had no idea if it would vanish as quickly as one can say… “ULLAdubULLA!” But here I am today, soon to be celebrating its

40th Anniversary throughout 2018, culminating in what I believe will be the most exciting arena tour we’ve ever performed. No one would have believed…

Tickets will go on sale Friday 24th November 2017 and are available online, from the booking hotline number 0844 493 6666 or in person from the Metro Radio Arena Box Office. Please note venue facility and booking fees will apply.

Tickets are available from:-

• Credit Card Booking and Information Line 0844 493 6666
• The Metro Radio Arena Newcastle Box Office (Mon – Fri: 10.00am – 4.00pm, Sat: 11.00am – 2.30pm)
• Internet Site:- www.metroradioarena.co.uk
• Group Bookers should call (0191) 260 6006
• Accessible Bookings should call 0844 493 6666 for further details

SUMMER HOLIDAY

A BRAND NEW PRODUCTION OF THE FEEL- GOOD MUSICAL FEATURING CLIFF RICHARD’S CLASSIC HITS

WILL TOUR THE UK IN 2018/19

Based on the iconic 1960’s film starring Cliff Richard and The Shadows this brand new stage musical includes all of the number one hits from the movie, plus some additional Cliff Richard classics. The famous red double-decker bus with make its first stop at the Liverpool Empire on 8 May 2018 before touring the UK.

Summer Holiday tells the story of Don and his fellow London Transport mechanics as they journey together in a red double-decker bus through Paris, the Alps, Italy and Greece. Along the way they pick up a girl singing group and a young American pop star who is on the run from her domineering mother!

This hit – filled musical features many of 1960’s biggest songs including In the Country, Summer Holiday, Travellin’ Light, Bachelor Boy, Move It, Living Doll, The Young Ones and On the Beach.

Tickets for Summer Holiday are on sale now. Star casting to be announced.

WEBSITE| TWITTER

SUMMER HOLIDAY

Stage Adaptation by Michael Gyngell and Mark Haddigan

Based on the film SUMMER HOLIDAY, Directed by Peter Yates

Screenplay by Ronald Cass and Peter Myers

By special arrangement with StudioCanal

Orchestrations by Keith Strachan

Presented by arrangement with

Music Theatre International (Europe) Limited

On behalf of Josef Weinberger Limited

Executive Producer

David King

Director and Choreographer

Racky Plews

SUMMER HOLIDAY – 2018 UK TOUR DATES

Tuesday 8 – Saturday 12 May                                                     Box Office: 0844 871 3017

Liverpool Empire                                                                              Website: www.atgtickets.com/liverpool

Tuesday 15 – Saturday 19 May                                                   Box Office: 0844 871 7652

Milton Keynes Theatre                                                                  Website: www.atgticket.com/miltonkeynes

Tuesday 22 – Saturday 26 May                                                   Box Office: 0844 871 7645

New Victoria Theatre, Woking                                                   Website: www.atgtickets.com/woking

Tuesday 29 May – Saturday 2 June                                           Box Office: 01904 623568

York Theatre Royal                                                                          Website: www.yorktheatreroyal.co.uk

Tuesday 5 – Saturday 9 June                                                       Box Office: 020 3285 6000

Churchill Theatre, Bromley                                                          Website: www.churchilltheatre.co.uk

Tuesday 12 – Saturday 16 June                                                  Box Office:  0844 871 3011

New Alexandra Theatre, Birmingham                                     Website: www.atgtickets.com/birmingham

Tuesday 19 – Saturday 23 June                                                  Box Office: 0844 871 3014

Edinburgh Playhouse                                                                     Website: www.atgtickets.com/edinburgh

Tuesday 26 – Saturday 30 June                                                  Box Office: 01752 267222

Theatre Royal, Plymouth                                                              Website: www.theatreroyal.com

Tuesday 17 – Saturday 21 July                                                    Box Office: 0844 871 7650

Theatre Royal, Brighton                                                                                Website: www.atgtickets.com/brighton

Tuesday 24 – Saturday 28 July                                                    Box Office: 0844 856 1111 ON SALE SOON

Blackpool Winter Gardens                                                           Website: www.wintergardensblackpool.co.uk

Tuesday 30 July – Saturday 4 August                                       Box Office: 0844 848 2700

Leeds Grand Theatre                                                                     Website:www.leedsgrandtheatre.com

Tuesday 22 – Saturday 27 August                                               Box Office: 01702 351135

Cliffs Pavilion, Southend                                                               Website: www.southendtheatres.org.uk

Tuesday 4 – Saturday 8 September                                          Box Office: 01322 220000 ON SALE SOON

Orchard Theatre, Dartford                                                           Website: www.orchardtheatre.co.uk

Tuesday 11 – Saturday 15 September                                     Box Office: 01244 409113 ON SALE SOON

Chester Storyhouse                                                                        Website: www.storyhouse.com

Tuesday 18 – Saturday 22 September                                     Box Office: 0844 871 7646 ON SALE SOON

New Wimbledon Theatre                                                             Website: www.atgticket.com/wimbledon

Tuesday 25 – Saturday 29 September                                     Box Office: 01325 405405 ON SALE SOON

Darlington Hippodrome                                                                                Website: www.darlingtonhippodrome.co.uk

Tuesday 2 – Saturday 6 October                                                                Box Office: 0844 871 7649 ON SALE SOON

Regent Theatre, Stoke                                                                  Website: www.atgtickets.com/stoke

Tuesday 23 – Saturday 27 October                                           Box Office: 0844 871 7607 ON SALE SOON

Aylesbury Waterside Theatre                                                     Website www.atgtickets.com/aylesbury

Tuesday 30 October – Saturday 3 November                       Box Office: 0844 871 7647 ON SALE SOON

Kings Theatre, Glasgow                                                                 Website: www.atgtickets.com/glasgow

FURTHER DATES FOR 2018 AND 2019 TO BE ANNOUNCED SOON

Lyric Theatre, The Lowry, Manchester – 18th November 2017.  Reviewed by Julie Noller

5*****

This was my first taste of Opera, it was also the matinee performance from The Little Greats selection of short operas by England’s national opera company in the north – Opera North. It was refreshing to see so many young faces in the audience, all delighting in taking in the sight of the orchestra warming up. Conducted by Martin Andre the sounds were delightful to listen to.  At only 45 minutes long with no interval, it’s the perfect introduction for those young faces and indeed myself.

Having read the synopsis before arriving at the theatre and noting that L’Enfant et les Sortileges was a tale firstly written by Colette over 100 years ago as The Great War was bringing Europe to its knees. I simply wasn’t expecting upon curtain up to be met by cast in bright colours attempting to take a selfie, it could be said that boys will be boys no matter what year this is. Although Revel had not added his musical touches until 1924, If you are to dig deeply into the emotions, you could say there are parables of Europe being destroyed, of deep mistrust, hatred. Yet it must’ve been so refreshing in 1925 at that first Monte Carlo performance to watch a child learning to trust himself and care of others once again. I wonder did they view the child as Europe at war or simply a child? This is where my puzzlement comes in, is this simply the story of a child quite like my own stamping their feet at the thought of more homework, throwing a temper tantrum leading to total mental exhaustion and dreams of the animals and people around them all of whom have been hurt. We must praise the voices the exceptional singing all in French – impressive, even more impressive was my ability to recognise words after all these years. Thank You equally to The Lowry for the two screens either side of the stage with Engish translations on them for those of us slow with French to English – although my enjoyment of the opera was not entirely dependent on this, it did enhance it.

The Child (Wallis Giunta) is present throughout the entire performance, you see him angry, defiant, scared and finally accepting of his life and of those lives around him. It was a very brave decision to wear a blue football kit in Manchester, but no one complained. Our other characters each took on multiple roles, each connected. Ann Taylor we saw as The Childs Mother ‘Maman’, the childs favourite chinese cup as he desperatly tried to piece it back together and also as the squirrel, injured and hurt with the child wanting to ease the pain. Fflur Wyn had made me giggle when she first appeared in a pink velour tracksuit, smoking a cigarette, Vicky Pollard anyone? She represented both the fire and the princess who the child lost due to his inability to protect her. Quirijin de Lang played out the dance of the frisky Tom cat well, ignoring the child as insignificant. Typical Cat, basically is what any cat owner would say, we are but mere servants to their demands. I do believe the biggest laughs came from both children and adults alike, albeit for different reasons – when John Graham-Hall appeared as Tea Pot, in his words black and shiny. To children he looked silly holding the lid with his spout, well that’s where the adults laughed at the extremely phallic placement. We all understood the child’s depression upon arithmetic appearing and firing those hard sums at him, how is he expected to know these things, why should he? The Child manages to learn a valuable life lesson at the end, don’t destroy those closest to you, for you will need them. He calls out for his Mother and after helping the injured squirrel the animals of the forest see the goodness in him and help him to reach her.

Would I go to another matinee performance at The Lowry? Absolutely. Would I watch another operatic performance? Yes certainly, I liked the way I felt puzzled, questioned. Did I need to think too deeply into history and time or is The Child just another child questioning us parents as children will continue to do. I guess as with all art, interpretation is down to the individual and I look forward to hearing what you thought when you see L’Enfant et les Sontileges. To those who don’t watch opera because its confusing or just for posh people, then I challenge you to let go of your poor judgements. These shorts are perfect at just 45 minutes long, slightly longer than a soap opera (note the name). I enjoyed this challenge today and who knows maybe I’ll see you at the next performance.

Jack Studio Theatre – until 2 December.  Reviewed by Claire Roderick

4****

The Importance of Being Earnest is familiar material to lots of theatre goers, so seeing a new production can sometimes feel like visiting an old friend. Not much has been changed in this production, except for the addition of some musical numbers to bookend acts and scenes by a ukulele playing butler (Daniel Desiano-Plummer – who also does some pokerfaced scene stealing silent background nonsense). Dan Gillingwater’s naïve monochrome set, dominated by a giant version of Earnest’s calling card, also serves to highlight the cartoonish obsession with style and status of the characters, but apart from that, Sarah Redmond directs a traditional version of the play that allows Oscar Wilde’s scathing wit and satire to shine.

The first act, where Algie (Daniel Hall) and Earnest/John (Riley Jones) share their deceits involving imaginary brother Earnest and invalid friend Bunbury that allow them to escape their responsibilities is always slow to build, but Hall is delightfully foppish, and Jones is full of bristling energy as he changes from lovesick suitor to exasperation as things hurtle out of his control. As Lady Bracknell, Harriet Earle isn’t quite imposing enough for my tastes, she wisely underplays the handbag line, but doesn’t seem to get into full flow until the second act. It is Sophie Mercell as Gwendolen and Emily-Rose Clarkson as Cecily who dominate this production as the objects of the gentlemen’s affections. Mercell gives Gwendolen a terrifying self-assuredness, and Clarkson excels in physical comedy, adding extra girlish glee to Cecily’s words. Their performances in the scene where they first meet, and they go from polite social manners to fierce animosity as they realise that they are both engaged to Earnest are hysterical. Rounding off the cast are Scott Barclay as a suitably bumbling as Dr Chasuble, and Kate Sandison as a spiky Miss Prism.

Whilst the satire may be dated, certain issues still ring true today, and the playfulness, humour and cleverness of Wilde’s writing mean that this play is always worth revisiting. An excellent and assured production of a wonderful comedy. Well worth a look.