Home

Slot Machine Theatre with Turtle Key Arts present
Your Toys
Press Night: Sunday 24th September 2017, artsdepot

Turtle Key Arts, one of the UK’s most exciting creative producers, have partnered up with Slot Machine Theatre for Your Toys – a innovative family show that incorporates the children’s toys as puppets into the story.

Using their unique style of puppetry, original live music and quirky humour, Your Toys takes your beloved friend on a gigantic adventure. Enjoyed by both adults and children, there is no limitation to whose toy can take part. Everyone is invited to hand in their toy at the beginning of the show to see them included in this magical journey

Your Toys was developed by Slot Machine Theatre, an associate company at Norden Farm Arts Centre in Berkshire. Experimenting with the idea of creating a show that taps into children’s extensive imaginations, Your Toys brings to life the world that they only could imagine.

Nick Tigg, one of the Artistic Directors from Slot Machine Theatre comments, Having made a number of shows over that included puppetry we were struck by how strongly both children and adults relate to these make-believe beings – especially if the object being animated has some relationship with them already. Many children imagined their toy going on an adventure – and we loved this idea. Some children had fantastical suggestions about where these adventures might take place – in the mountains, a storm at sea, in the desert, flying with eagles. We also loved the idea of unlikely characters being thrown together and having to work as a team.

Your Toys is an accessible show and has worked really well when performed in Special Education Needs schools as part of Turtle Key Arts’ extensive work into forging the path for disabled and socially disadvantaged people by ensuring that participation and education is embedded into the heart of everything they do.

Development Director of Turtle Key Arts, Shaun Dawson, comments, “When Slot Machine Theatre first mentioned the concept of Your Toys we instantly loved it and wanted to make it a reality, now here we are touring it nationally and we’re looking forward to hearing the gasps of excitement, when their toy appears on stage, from hundreds more children.”

Magical, an ideal introduction to the theatre for children (The Stage)

Paperbark Theatre in association with Thinking Aloud and Theatre503 presents
The Dark Room
Theatre503, The Latchmere, 503 Battersea Park Road, London SW11 3BW
Wednesday 8th November – Saturday 2nd December 2017
Press Night: Monday 13th November, 7:45pm

This November, the UK premiere of Angela Betzien’s award-winning The Dark Room (Best New Australian Work, Sydney Theatre Awards) will be staged at Theatre503. This intricately layered psychological thriller takes a sober look at one of the devastating issues of contemporary Australian discourse – the abuse of defenceless children.

Deep into the night, in a run-down motel somewhere in central Australia, six lost souls collide in a distant tragedy of love sickness and social breakdown – only it’s not the same night. A teenage boy from a nearby country town longs for a stranger. Pregnant Emma longs for her husband, a country cop, drunk after his best friend’s wedding. Anni, a government youth worker accompanied by a withdrawn and violent fourteen-year-old girl, longs for the dawn. As the night draws on, each of them become trapped in a dark and dangerous territory, all searching for a way out.

Directed by Audrey Sheffield (Don Juan in Soho, Wyndham’s Theatre – understudy run; We Too Are Giants, Tricycle Theatre; Dead Funny, Vaudeville Theatre – understudy run), The Dark Room draws attention to the abuse, neglect and limited social care in remote communities in Australia. Betzien wrote the play after having witnessed first-hand the shortage of accommodation for children in care in these communities.

Betzien comments, I’m thrilled that Theatre503 are producing The Dark Room. This will be the first time the play will be performed beyond Australian borders. In Australia, we have a long and dark history of neglecting, abusing and forgetting the most vulnerable in our communities and it is this disturbing reality that formed on of the starting points for the play. I hope London audiences will find The Dark Room a haunting and illuminating theatrical experience.

Paperbark Theatre’s Shaelee Rooke comments, The Dark Room thrusts us into the heart of an isolated community in the Northern Territory of Australia. While the setting may seem incredibly foreign to a London audience, the issues that are addressed in the play are frighteningly familiar – police brutality, child abuse and a lack of social justice where it is needed most. I believe this is an important play and one that should reach far beyond the white sandy beaches of Australia.

The Dark Room explores the heartache and corruption of a far away, yet all too familiar world. It serves as a timely reminder that no matter how far apart we are in distance and time, we are all responsible for each other’s lives.

Edinburgh Playhouse – Tuesday 19th September 2017. Reviewed by Linda McLaughlan

5*****

 

The evening begins with the young Cilla singing in her bedroom like all teenagers like to do. The part being played by the very talented Kara Lily Hayworth, who provides the true reflection of Cilla’s Liverpudlian roots.

The story of Cilla of late teenage years continue as she meets with friends in the local dance hall and takes to the stage for the occasional appearance not truly believing that her voice is star quality. In an era when the music industry was experiencing the rise of the Beatles and Gerry and the Pacemakers, Cilla was fortunate to mingle in the circles of the upcoming stars. Coming from a traditional northern family Cilla was brought up by hard working parents who wanted the best for her. Her mother believing that working in an office was the perfect future for her as a stable job. Cilla was given the opportunity to audition for Brian Epstein and this was a disaster

After her backing group for the audition the Beatles played in the wrong key and this knocked her confidence. Fortunately for the British public her friends and more importantly Bobby Willis who had been trying to woo Cilla for a while encouraged her to take a payed slot in one of the local dance halls with the Big Three as her backing group. The Blue Angel Jazz club would be the launching pad for Cilla has Epstein seen her singing confidently and at ease and made a point of speaking to her parents and signing her to his record company Parlophone.

The rest you could say was history after a disappointing first record her single Anyone who had a Heart and You’re My World put Cilla’s name in lights. Her background and roots kept her in touch with the public and she was taken into everyone’s hearts.

Bobby Willis played by Carl Au, another amazing talent, stood by Cilla’s seat as she toured and hit the big time. After what Cilla felt was a disaster in New York on the Ed Sullivan Show Bobby and Cilla went their separate ways for a while, with Cilla believing that she was the star and Bobby should not even be thinking of signing his own record deal with Epstein, a position Bobby had already turned down. Cilla soon realised how much she missed Bobby and their love story was rekindled and they went on to spent many happy years together and Cilla always remained her bubbly positive self throughout her career.

The evening was amazing with pine-tingling performances from Kara who portrayed the life of Cilla so expertly and helped the audience remembered the late star with laughter and joy, just as Cilla would have wanted. A northern lass who was taken to the hearts of many regardless of age or background, and a legacy who will be remembered as one of the great voices to come out of Liverpool on par with all the other greats. A first class evening that should be enjoyed by everyone.

Bread & Roses Theatre, 17 – 27 September.  Reviewed by Claire Roderick

2**

Choosing to stage a play about the sisters Constance Markievicz and Eva Gore-Booth as your first production is a brave step by Urania. These political radicals and anti-imperialist feminists aren’t the most familiar names on people’s historical radar. When I told my work colleagues what the play was about, the common answer was “Oh yes, weren’t they Irish?”

Urania state in the play text that their aim is to create non-linear and non-narrative theatrical experiences, but I am afraid this production just felt non-theatrical. I have no problem at all with using verbatim text and found footage, but Constance & Eva in its current form is more akin to an overlong multimedia installation in an art gallery rather than a satisfying theatrical experience.

The use of film and sound can add so much to a production, but some of the choices made here were baffling. The director obviously wanted to highlight parallels between the sisters campaigning and activism and what women face in the modern world, but tagging on film of the Palestinian conflict and protest marches at the end felt clumsy and clunky. There seemed to be more thought put into using different technologies than the script – how using cassette tapes to play interviews relates to the sisters’ time or the present is a mystery to me. The staging also did not help. The traverse succeeded in separating the sisters, but also meant that from some seats in the second row of the theatre, whole scenes occurred where you couldn’t see the actor as they spoke sitting on the floor.

Hannah Berry as Eva and Charlotte Gallagher as Constance were committed, but their characterisation was quite blank. Although when I did crane my neck and saw Gallagher’s face as she reacted to Eva’s letters, I saw some emotive expressions, but this was the only time. I am sure that both actors are talented, so why weren’t they allowed to flesh out the characters? Instead, the women remained ciphers. Whether this was a directorial decision by Luke Davies or a collaborative decision, I’m unsure, but it fitted in with the entire feel of the production. These were two passionately committed women, but this show is devoid of passion and fire, and politically toothless. To state in the first scene that the play wants to make clear who these characters are and then just brush quickly over their achievements is a huge missed opportunity. I can understand why the company wanted to concentrate on the letters between the sisters when Constance was imprisoned after the Easter Rising, but these scenes need a lot of work to create dramatic impact. The one time the characters actually touch, which should have been charged with tension and emotion, was a damp squib, as the actors had nothing upon which to build.

Urania’s intention with Constance & Eva is worthy and interesting, but the production needs a complete overhaul to develop into entertainment rather than a dry as dust documentary.

53Two, Albion Street, Manchester.  18th September 2017.  Reviewed by Julie Noller

5*****

53Two was a new venue for me, wow what a perfect place, welcoming and inviting, cosy yet expansive. We were a small audience with just 3 rows of 8 seats and some smaller tables and chairs looking like a club set up. Periodically you could hear the rumble of the trams overhead but it didn’t detract from the performance, the cavenous feel of the old arches aided the sound effects.

Royal Vauxhall more than met my expectations, it was naughty but hilarious, extremely well acted with any slips easily covered with ad libs. The acting was delivered from the stage and from within the audience itself, some even being included. I never thought I’d have Freddie Mercury singing directly to me!

Royal Vauxhall is basically 3 extremely well loved and well known characters from 1980’s Britain. Each facing their own demons and battles from within themselves. Desmond O’Connor dons the moustache and tight trousers of Freddie Mercury he is also the talented writer and composser, Joe Morrow in the best possible taste as Kenny Everett and Carrie Marx sweet and devilish as Princess Diana. I was only a young child (ahem) in the 1980’s and as such I had no concept of the story unfolding. I watched with wide eyed innocence picking snipets out from the story, why they dressed Diana as a king, understanding how different and yet how alike they all were, Kenny facing the guilt of his catholic upbringing yet not knowing how to accept himself and sinking further into depression, Diana who felt the depression of living a life she hated without the freedom of expression or indeed feeling loved, Freddie who lived to express himself on stage yet lived with the fact he had Aids and faced discrimination should the public who adored him found out.

Of course this tour coincides with the 20th Anniversary of Diana’s death, it is long enough for people not to be outraged at seeing Diana portrayed as bored, naughty, guilt free. For those men in the audience this is quite possibly the closest you’ll get to an Ann Summers party, rude words, skits and silly games abound. The ruder version of Blankety Blank had us in stitches and poor Stew who was pulled out of the audience, normally I’d say lucky was the guy who got to introduce himself to ‘disguised’ Diana sitting amongst us but his partner wasn’t too impressed. The portrayal of RVT (Royal Vauxhall Tavern) is as I’d imagine and quite possibly true to the era, loud, brash, fun with a capital F.

Coming towards the end of the musical we see a subtle change in our 2 male characters, Kenny sinking lower, dependant on drugs to just be him. The sketch with him on a drug fuelled high is quite possibly the best of the night. Freddie continues to struggle to admit he’s dying and why. Diana has the biggest change from the meek and mild quipping about horses, to bold and proud singing ‘Don’t fuck with Diana’. We then hear the genuine announcements of each persons death, how sad, how different each one was. But then back to humour with the waiting area of Heaven still Freddie and Kenny are bickering. Then in walks Diana once again a looking a little lost, but wait shes fasttracked through the pearly gates. Her explanation ‘must be Dodis Dad, he’s very influential’

We left and spent the entire journey home discussing what we’d seen, debating how much if any could be true. But does it matter? No it’s just brilliant escapism, I haven’t laughed so loud in ages. If you want fun, inclusive theatre, talented actors, good story, naughtiness and a little education thrown in, then this is a must see. I would without doubt go and see it again.

Marble Arch Theatre – booking until 17 February.  Reviewed by Claire Roderick

5*****

The Deep South has come to London, with a sign saying welcome to New Orleans above the entrance, Five Guys Named Moe isn’t just a show, it’s a party. Arrive early to enjoy the 1940’s style cocktail bar (with live band above it that have the audience singing along in the interval) and carry on partying after the show until 11.

Staging the show in a Speigeltent allows this production to completely reinvent itself, and director Clarke Peters has embraced the opportunity to immerse the audience in the show, with those nearest the stage in the pit at club tables, surrounded by a revolve/walkway with further seating around that. My one word of warning to the vertically challenged is DON’T book seats in rows D or E of the stalls. If there are tall people in front of you, you won’t see a thing. The front of house staff (the friendliest and most helpful in London) will reseat you if possible, but if it’s a full house, you’re scuppered.

Clarke Peters loving tribute to the songs of Louis Jordan has the feel of a musical revue rather than a deep plot, but that if fully and humorously acknowledged with groaned lines like “Oh no, that sounds like a cue for another song”, and characters sweetly apologising for any misogynistic lyrics.

Nomax (Edward Baruwa – wonderfully dishevelled and shuffling compared to the Moes) is a drunken bum, whose girlfriend has finally had enough and dumped him. As he drowns his sorrows with music and drink, five guys burst out of his radio and furniture and try to show him the error of his ways. The second act shifts to the Moes’ cabaret at The Funky Butt Club, with Nomax sitting in the audience as the Moes do their thing. That’s about it. The show touches on Nomax’s possible alcoholism, but the Moes main aim is to get Nomax to stop taking his girl for granted.

The five Moes, Big Moe (Horace Oliver), Know Moe (Dex Lee), Little Moe (Idriss Kargbo), Four-Eyed Moe (Ian Carlyle) and Eat Moe (Emile Ruddock) are sublime. Choreographer Mykal Rand has created some intricate numbers, with a beautifully authentic and timely feel, and the cast make it all look ridiculously effortless. Dex Lee’s splits are a thing to behold, and Kargbo is a whirlwind on stage – just wait until you see his hat collection! Each Moe gets his own solo numbers, and the voices are as good as the dancing. Standouts for me were Ruddock’s smooth rendition of Don’t Let The Sun Catch You Cryin’, a gloriously silly Ain’t Nobody Here But Us Chickens, and a magical medley including Is You Is Or Is You Ain’t My Baby? All the songs are phenomenal, with lots, especially in the second act, instantly recognisable. Jordan’s influence on jazz, R&B and rock and roll is legendary, and every number gets your foot tapping. There is a lot of audience participation, developing a real party atmosphere.

Five Guys Named Moe is feel-good entertainment at its best – joyous and celebratory, this is the best party in London. Let’s face it, when the cast lead the entire audience in a conga line to the bar at the interval, you know that everyone’s having a blast. Get a ticket and warm the cockles of your heart this Winter.

Quays Theatre, The Lowry, Manchester – Thursday September 14th 2017.  Reviewed by Julie Noller

4****

I arrived at The Lowry and indulged in a spot of people watching, I surveyed the audience gathered to enter and noted a very eclectic range of ages. Always a good indicator of just what would be expected. As was the stage set up – I forgive the delay in start, artists need their time to prepare. The stage was basic stripped back, just a simple chair wearing a jacket (I wondered if Charlie Fink would maybe get cold) a microphone and very dark hazy lighting with added smoke. It brought to mind roadhouse venus across America or pre smoking ban Britain, I felt transported into club culture.

Charlie didn’t only sing he acted. He used his guitar to interact on a very personal level with the audience, songs ranged from folky to upbeat especially when performing ‘the hit’ the song which his character Frank hates, Charlie isn’t the performer he’s Frank the troubled singing star who is seeking a way out of life. Talented as a songwriter he keeps a notebook for his scribbles. Our introduction to Frank is when the hugely talented Rona Morison arrives on stage I instantly warmed to her character with her scotish lilt, she was bright yet vulnerable looking for the fun in life and finding her soulmate in Frank. He was however at the time hanging on a window ledge having forgotten he’d order room service.

We are then taken on a rollercoaster journey are they discussing Franks wake? He’s dead? He’s not dead? He’s missing? Blink and you might just miss the clues.

Cover My Tracks was emotional, moving, clever and intelligent, I was genuinely moved by the raw stripped back emotion. There were moments when the air inside the auditorium was electric the pause was noticable to feel.

It was funny with witty one liners, it was prophetic and political bringing our senses to the fact that Frank/Charlie was a member of a band. I like theatre that makes me question things – was it semi autobiographical? Given that it was extremely well written by David Greig, I just don’t know but it’s an interesting thought. It made you think about life in the digital age, how easy is it to disappear? In an age where life is played out by the small devices pressed into hands. We’re given a visual shake up, Joni Mitchell would have been taking selfies, Neil Young would’ve posted about a protest petition. It’s a rather depressing and sobering thought. Which is rather the aim of the play.

As is life, it moves on, it continues quite often on a different path to the one we believed we were following, the search for Frank shows us that, oh and the god (dog for those not in the know) Dionysus who must be fed and looked after. The search takes us from Ireland to Scotland, thanks to a simple flyer found in Franks jacket pocket, to the goat farm. Finally to remote woodlands, retracing steps would she find her Frank and be able to regain her song? As much as we love to cheer on the underdog you feel every step taken, her depression deepens. Finally Frank appears but it’s not a happy ending reunion, she does however find his notebook and agree to finish his songs, Frank fades from stage leaving his guitar and is finally replaced. Its not the big lavish polished performance that you quite often see in theatres but Cover My Tracks, I loved with the same passion as the performers gave, shining out with life that is far from perfect but is genuine and heartfelt. At 70 minutes it’s not an epic show but my bum was firmly glued in my seat to see Rona Morison bring the curtain down.

Home, Manchester – 14 September 2017.  Reviewed by Marcus Richardson

4****

Wedding is a contemporary physical theatre piece set in a dystopian world, offering the audience an entertaining performance with powerful and meaningful scenes. The play opens up with an actor coming down a slide and entering this new world and given a job straight away, a note to add is that there were several languages used in the play from French to German and even Arabic, this is an interesting concept as we focus more on the actors bodies and the stage rather than the words spoken, at first we were listening to this actress on stage who spoke German and the audience laughed due to her energy and confusion on what was happening.

The main aspect of this performance is the use of body and manipulation and creativity of telling a story, if I could pin point one exact scene in the play, it would be between a man and a woman’s relationship and how it’s breaking down the contemporary use of dance linking in with props that were on large poles which flowed along with the scene and when needed the actor would interact with them. This creativity is something I love to see in theatre and it didn’t look out of place whatsoever.

This play has a lot of symbolism and meaning to it, so it would be stupid without talking about a character who is homeless and lives in a suitcase (strange I know) with his family, at first his entrance is comical and you are made to believe he is the fool of the play, but his story develops into this energetic tale of survival. The scene with him in often had me lost into the play and I forgot I was in a theatre.

The Manchester Home Theatre is new to me since moving to a new city and from what I’ve seen I’m my first week of living here I can say that I will most definitely be watch more theatre by the Gecko Company and at home theatre. If you as a theatre goer want to feel the way I feel and see new and exciting theatre go and watch The Wedding at Home theatre Manchester.

Jack Studio Theatre, 7 – 23 September.  Reviewed by Claire Roderick

4****

The sidelining of the arts in schools and the government’s obsession with forcing the STEM subjects upon uninterested students is alarming for everyone involved in education. At a time when KS1 staff are being encouraged to use art, drama, music and rhythm to aid mindfulness, thinking skills and creativity across the entire curriculum, once the children are of an age to be tested, tested and tested again, all of these theories and methods are deemed irrelevant and the pressure builds as school life gets more and more regimented with minimal opportunities for relief. The AC Group’s new musical tackles this issue with humour, and some cracking tunes.

With books hanging from the ceiling, and instruments all around the stage, as you wait for the show to begin you may start to wonder whether the State of Things will be Matilda on steroids, or The History Boys on speed. Turns out it’s somewhere smack bang in the middle. There’s the camaraderie as the children band together to defy and take on authority figures, but also the melancholic awareness that things don’t really change as they are too young for their opinions to be respected.

When they find out that their academy is cutting music provision, the seven members of the GCSE class decide to do something about it. Appeals to the head teacher fail, so they begin a campaign on social media. As in any show set in a school, the characters are a Breakfast Club-lite mix. There’s the posh, rich Adam (Elliot Clay) who is mooning after the enigmatic Ruth (Hana Stewart) – their repeated moments of almost, but not quite, kissing are written sweetly, with a hilarious evening in his bedroom writing a letter to the head as the rest of the cast sing a Barry White style song encouraging her to “take my sonnet, go down on it” amongst other suggestions. Rugby player Will (James William-Pattison), who has no filter whatsoever and is crude, funny and sexually confused; bass player Sam (Peter Cerlienco), the cool one who looks and acts like he’s in a real rock band; geeky and intense Kat (Nell Hardy) who knows deep down that nobody actually NEEDS a viola player in a band; and soppy lovebirds Jaz (Rosa Lukacs) and Beefy (Toby Lee) who can’t keep their hands off each other, complete the band.

The cast are all full of energy, and are talented musicians. Completely believable as hormonal teenagers, each cast member manages to make an impact on this fine ensemble piece. William-Pattison grabs the most laughs as Will, with some wonderful drunk acting, while Clay’s facial expressions as he struggles to talk to Ruth are a joy. And Hana Stewart’s voice – fabulous!

Elliot Clay’s music and lyrics (he’s a talented young man) are catchy and memorable, with a couple of lovely ballads which build to powerful emotional endings, and a fantastic singalong finale that ensures the audience leaves buzzing. One of the funniest songs has the cast smilingly and sweetly insulting the head, Maggie, as Kat earnestly delivers her statement to Maggie (a coherent and well thought out piece about the benefits of music education) which ultimately falls on deaf ears.

Thomas Atwood’s book is full of wit, and lots of authentic teenage sarcasm. The political points are mostly delivered with fatalistic humour without becoming preachy (as well as education cuts, child carers and the changing goalposts of disability benefits crop up) and the teenagers’ realisation of their own impotence and despair at the older generation’s mistakes isn’t overdramatised, making their acceptance of their fate credible and satisfying. There isn’t a happy ending for these characters, just an uncertain future, but one filled with hope.

The State of Things is a fantastic new home grown musical, demonstrating EXACTLY why music education is so important. Get down to the Jack and join in the fun.