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Apollo Theatre, London – until Sunday 28 April 2024

5*****

The Mind Mangler returns to the West End with his brand new show: The MInd Mangler – Member of the Tragic Circle.  

Originally just part of the Magic Goes Wrong show.  Henry Lewis has taken his creation onto further heights, expanding The Mind Mangler to a 2 hour long show.

Full of his own self importance and brimming with confidence The Mind Mangler (Keith to his friends) performs his show with help from the audience including Brian, Paul and Clive (Jonathan Sayer) who had never met the Mind Mangler before, the show included guessing deep dark secrets, predictions and tricks. Including help from real audience member Jess and singer Sam Bailey, both of which he correctly guessed their deepest secrets

Henry Lewis rattled off his performance with just a touch of magic but this a show that “goes wrong” and it goes wrong in such a clever way. With the Mind Mangler soon going from pompous to irate as the tricks go wrong and things begin to fall apart. Beware audience participation and the shovel-nosed guitar fish! But there’s a lot of heart and poignant moments in the midst of the hilarity.  And at the heart of the it, this show is about friendship

With Ben Hart acting as magic consultant to the show, you know that it’s going to be good and the act carries on from Magic Goes Wrong which was written by Penn and Teller, alongside the genius of Mischief – Henry Lewis, Henry Shields and Jonathan Sayer.  And its produced by Kenny Wax, who always has the golden touch and clearly recognised genius when he produced The Play That Goes Wrong many years ago.  This show is also a tribute to the late Steve Brown who composed the music for lots of Mischief shows

I’m lucky that I saw Magic Goes Wrong on tour and the one hour taster of The Mind Mangler at the Edinburgh Fringe.  Now running at two hours with an interval, the show has grown to total brilliance.  Yes, I am a fan of Mischief and have been since The Old Red Lion, but I think with The Mind Mangler they have reached their zenith. With the chaos, unpredictability and so much laughter I genuinely think that The Mind Mangler might be my favourite Mischief show of the lot

Baron’s Court Theatre, London – 23rd March 2024

Reviewed by Amelia O’Loughlin

3***

X by Alastair McDowall, performed by KDC* 

Delving into the bunker of Baron’s Court Theatre, you really feel you’re leaving the world behind, and that continues to be true when the lights come up on a bleak and minimal set – a spaceship that’s settled on Pluto – and has ceased all contact with earth. Tensions are high from the get go. An X on the wall, in human blood, tells us we’re in for violence, and as fraught conversations ensue it’s clear that insanity is bubbling away beneath their mundane, everyday tasks. A group of scientists who seemingly would never cross paths in the real world attempt to navigate an enclosed space, with an unknown amount of “time” stretched ahead of them. Time has been warped on this spaceship – the comforting structures of time, as we know it on earth, are not to be underestimated. Joanna Mills’ performance as Mattie is one that deserves particular attention; her subtleties and emotional complexities were delivered accurately and measuredly, exhibiting a strong relationship with McDowall’s pacey and punchy writing. 

Frustratingly, the other actors, who were very well cast, were poorly directed. Their physicality and movement on stage was passable but the real problem was their diction. The incessantly high-pitched and high-volume ranting and raving made their journeys impossible to follow or be interested in – they began angry and ended angry, there was no relationship or character arc, and so investment into their lives was lost very early on. That said, the actors gave the performance high energy and much commitment. 

As the crew’s grasp on reality truly wanes, varying levels of conflict and nostalgia erupt from them – one by one – their wishes, wants, dreams, flaws and vulnerabilities come to the surface. They attack one another because they have nowhere else to direct their frustration. They hold onto the past because the future’s so disastrous. Their respective truths are outed. The play closes and we’re left with the questions: how necessary is the (taken-for-granted) system of time to humanity’s sanity & survival? And, will we forever be living in the past and future if the present is not all it was cracked up to be? 

*fairypowered would like to point out that the reviewer did not stay to watch the second half of the production, so this is not a fair review. fairypowered does not condone reviewers leaving a production half way through and would like to apologise to the everyone concerned for the rudeness of the reviewer concerned

Upstairs at the Western, Leicester – 21st March 2024

Reviewed by Amarjeet Singh

5*****

I wasn’t quite sure of what to expect from tonight’s performance but had high hopes as I was informed that Charlotte had been invited back to perform a set, after bowling audiences over. She did not disappoint.

A heady mix of musical delights and memory lane meanderings, Mrs Beaver took us on a poignant journey through her life using the magical mediums of comedy and cracking songs. A soundtrack to her very colourful and interesting life, she drew us in with tales of teenage angst, heartfelt stories of friendship and the bumpy but beautiful road to becoming a Beaver.

From Bassey to Dion, Queen to as many of the musicals she could fit in, Charlotte fully deserved her standing ovation and cries for an encore, which she kindly obliged. Her audience engagement was tremendous, natural, and warm, we were laughing and crying in equal measures. I would not be surprised to see this as a touring show in the future.

National Centre for Early Music, York – 22 March 2024

5*****

This beautiful converted church was the perfect backdrop for Rebecca Caine and her Dividing Day concert.

Build has a journey of self discovery, it contained some glorious singing and a lot of interesting anecdotes about her life from Rebecca herself.

Nathan Martin expertly played the piano from Bernstein to Yeston, via Bucchino, Guettel, La Chiusa, Sondheim and Weill.

Bedecked in the first act in a red sparkly dress and the black and silver in the second, her dresses shone like her talent.

Caine kept telling us she was old, in the intimacy of the performance space I can confirm that she’s not.  Not a line or a wrinkle in sight and a soaring soprano voice as harmonious as it’s always been.

It might have been a tiny audience, but Caine’s exquisite vocals completely filled the space, without the use of a microphone.  Just a stunning performer using her powerful vocals to entertain.

THE SPACE THEATRE, LONDON – UNTIL 30th MARCH 2024

Reviewed by Jackie Thornton

3***

Three young women, similar in age, identically dressed in flowing black skirts and neatly pinned dark tresses, take to the sparse, dimly lit stage with balletic movements. They are related – a mother and her two daughters – yet scarcely knew one another and this eighty-minute feminist ghost story, co-written/produced by performer Kaya Bucholc and first time playwright Will Wallace, will tell us why. It imagines the reunion of 18th century intellectual radical and mother of Western feminism, Mary Wollstonecraft (Megan Carter), and her two daughters, illegitimate love-child Fanny Imlay (Bucholc) and the world famous author of Frankenstein, Mary Shelley (Rachael Reshma). Kay Brattan’s skilful direction uses the petty squabbling between sisters Fanny and Mary to good effect, bringing light to what is predominantly a therapy session exposing bitter grief, jealousies and deep-seated insecurities. It’s Fanny who most wants to be heard and who can blame her? How can she ever feel good enough with such a gifted mother and sister? Voices leap out of the shadows as Mary, Mary and Fanny weave behind and around the audience, creating an unsettling soundscape that feels like it’s travelling across time.

The show is at its best when pockets of history like Mary Wollstonecraft working as a governess to spoilt children or the harrowing birth of Mary Shelley are realised as live scenes. It’s in these spaces, more so than the monologues, however fervent, that we feel more connected to these women’s experiences. What this show from creatives BiLLO Studio and Little Lion Theatre Company does wonderfully is give heart and soul to these pioneering female creatives and thinkers, all too often forgotten by history, and reminding us how their struggles have paved the way for men and women to live as equals, or at least aspire to do so. Mary Wollstonecraft advocated for a woman’s right to earn and make a decent living that could support herself and her family and it is in this spirit that
Mary’s Daughters has partnered with charity You Make It, who empower young unemployed and underemployed women to access the social, cultural and economic life of their city. A fitting legacy for three women so ahead of their time.

Forum Theatre, Malvern – 21st March 2024

Reviewed by Courie Amado Juneau

5*****

Malvern Concert Club always presents programmes which reach for the sky, filling the musical firmament with the brightest stars. Tonight we were graced with the presence of violinist Elena Urioste and pianist Tom Poster with an exciting presentation of lesser known works.

I love it when the music is given an introduction on stage – not only does it give us some context to the pieces and why they were chosen but also a chance to get to know our performers. First up was Tom introducing the first half of the show…

…kicking off with Mendelssohn’s Violin Sonata in F (1838). A really lovely work, the first movement has a breathless ending which is charming and this charm continues into the lilting Adagio second movement. The final movement blossoms out with a speed and technical prowess that dazzles in a daring display from tonight’s artists.

It was no surprise during the evening to learn that Elena and Tom had recorded together as they had a natural rapport with a lot of eye contact producing a real intimacy. The balance between them was perfect, they dovetailed with crisp phrasing that brought out the clarity of the music, shining individually whilst also making the other half of the team shine brightly. Bringing the best out of each other sounds like the perfect duo I would say.

Mélanie Bonis’s Violin Sonata in F sharp minor, Op.112 (1923) was next. To me, a rather sad sound-world with a haunting, unfulfilled yearning in the opening movement. After moving through more confident and further sorrowful territory the clouds parted for a quirky finale that had a child like innocence to it.

After the break, Elena outlined the duo’s mission to introduce us to works by lesser known composers and established composer’s overlooked gems. A laudable goal that we can all applaud. And I was so glad they were on this mission as the next piece up was…

Amy Beach’s Romance, Op.23, written in 1893 but sounding way more modern than that. Romance is the perfect title for this work – it’s gorgeous! My favourite piece of the night. Imagine an old Hollywood black and white film where the lovers have a tearful farewell on a train platform… The final violin note supported by piano chords is to die for! Beautiful.

The final piece on the programme was Grieg’s Violin Sonata No.1 in F, Op.8 from 1865. A deceptive opening on the piano leads you to believe we are in for a quiet revelry but the violin soon lets fly with an open, light theme. This work definitely saves the best for last – as in the final movement a breathless ending with pizzicato violin leads to an impassioned series of chords. A joyous way to conclude the evening.

The multiple ovations were thoroughly deserved and we were rewarded with Tom’s own arrangement of “Over The Rainbow”; in probably the best version I’ve ever heard. It sounded fresh and felt like the Ferrero Rocher at the end of a sumptuous dinner party. And this time we really were being spoiled.

Stunning playing, wonderful musicianship, an interesting and well thought out programme. A flawless evening’s entertainment and I thank them both for introducing me to Amy Beech. Just another perfect musical evening in Malvern

Windsor Theatre Royal – until Sat 23rd March 2024

Reviewed by Carly Burlinge

3***

The Haunting is from the ghost stories of Charles Dickens – adapted by Hugh Janes. It tells the story of Lord Gray (Neil James) whilst at his fathers deteriorating mansion after his death. He employs David Filde (Ross Muir) to catalogue his family’s very outstanding library, In order to get the estate settled.

As David works his way through cataloguing it becomes apparent that all is not as it seems. When books begin to fall from the shelves and sinister sounds and voices asking for help tend to appear at night with further strange going-ons. Along with Twitcher Lord Gray’s coachman telling him that the house is haunted and that he shouldn’t be  staying the night. David begins to wonder exactly what threatening secrets the house may hold. He tries to speak to Lord Gray regarding the strange happenings but Grey seems to have an answer for everything and thinks of David as foolish and believes that even his coachman Twicher, loves to tell a great tale at times and should not be listened to! As the evening unravels, his mind begins to change when the unexplained begins to occur more than once. Things start to get far more spookier with books falling from the shelves and a ghostly woman in a torn wedding dress (Char Brickes) appearing before their eyes. Together they work as a team to discover why the unsettling appearances continue to happen.

The two actors played a great contrast between one another with Lord Gray being quite the sceptic and with David playing quite an enthusiastic character regarding the supernatural, balancing them out nicely. I felt that the first half was a little slow but picked up a better pace throughout the second half which was enjoyable to watch.

I have to admit there were a few twists at the end making it up to you to draw your own conclusion, as I found that there were some questions that seemed to be unanswered.
The sound affects added to the dramatic atmosphere alongside the stage which provided everything you needed for a haunted house.

All in all it  was an enjoyable night out at the beautiful Windsor Theatre as always.

York Theatre Royal – Thursday 21st March 2024

Reviewed by Michelle Richardson

4****

On Thursday evening I had the pleasure of watching Le Navet Bete, back on the York Theatre Royal’s main stage, with their brand-new show King Arthur. Throw out anything you know, or think you know, about the King and his knights. This tale of King Arthur is a fresh, bonkers, and reimaging of the legend we all know, from this touring physical theatre company.

Three inept squires, played by Nick Bunt, Al Dunn and Matt Freemen, are all suffering the effects from the night before. There is a realisation that they have gotten into a bit of bother, all three are in the stocks with the front row chucking rotten vegetables at them. With Queen’s “I Want to Break Free” playing, we find out what they are wearing, think back to the iconic video and you get the gist, until Matt reveals himself, a flesh-coloured bodysuit complete with a detachable willy, a sight to behold.

Dave the Rave has promised the young King Arthur, that he, along with his two hapless cronies Edgar and Osbert, will put on a show of all things great about the King and Camelot. There is a huge problem, they can’t act for toffee, and there is nothing about the King or Camelot that is worth mentioning. They need to come up with ideas fast, as the ever-changing deadline approaches.

The three energetic actors take on the roles of Merlin, a underwear boiling madman, Lancelot, a fusspot of a chef with a terrible French accent, a flighty Guinevere, all the would be knights, evil Morgana and Mordred, and of course King Arthur himself, who is played by both Nick and Al. They must beef up the characters to make them show worthy.

The costume and character changes are achieved with lightning speed, exiting through a curtain to entering through a door as a completely different person. It is all absolutely nuts, a whirlwind of stories, and such a feat that they can all pull it off, with enormous help from Fi Russell, the Stage Manager, and the production team, with such aplomb.

You can’t help but laugh along at the slap stick comedy and be amazed at some of the stunts. All three display superb physicality, though Matt is probably the most daring, jumping, tumbling around on set, but Nick and Al aren’t far behind him. You can feel the close bond between the three.

I really enjoy this type of theatre and I have previously seen a couple of their shows, I am a fan of their work. Though this had some great skits, and I enjoyed all the madness and mayhem, at times I think the need to get the joke across was a bit too drawn out, it could have been sharper, they didn’t need to try so hard. The show is still damn funny.

Le Navet Bete (The Daft Turnip) command the stage with their infectious energy and this show is a must for all fans of physical comedy theatre, suitable for all ages. I look forward to their next production and all their antics.

Showing in York until Saturday 23rd March and touring throughout the UK

THE LOWRY THEATRE, SALFORD – 20TH MARCH 2024

REVIEWED BY MIA BOWEN

5*****

Pietro Mascagni’s youthful one-act masterpiece, “Cavalleria Rusticana,” is frequently paired with Leoncavallo’s “Pagliacci,” earning the nickname “Cav ‘n Pag” from opera enthusiasts who see them as inseparable. It was a pleasant change to see Opera North break this convention by staging “Cavalleria Rusticana” alongside Sergei Rachmaninov’s rarely heard “Aleko”, written when he was only 19 years old. Both operas, directed by Karolina Sofulak, highlight the exhilarating and powerful performances of Opera North’s 36-strong chorus and 60-piece orchestra, under the baton of conductor Antony Hermus.

“Cavalleria Rusticana” is performed in Italian and “Aleko” in Russian, with English subtitles displayed on screens, both sides of the stage. The two plots are tragic stories of murder, penned during the late years of the 19th century. Mascagni’s richly orchestrated score features some of the most famous melodies in classical music, including the Easter Hymn and the poignant orchestral Intermezzo. Rachmaninov’s music for Aleko, while less intense, also explores themes of adultery, betrayal, and vengeance in a compelling way.

In both operas, a jealous husband commits murder upon discovering his wife’s infidelity: in Cavalleria Rusticana, he kills her lover, while in Aleko, he kills both of them.

In Cavalleria Rusticana, the main roles are taken on by talented singers known for their powerful vocals that captivate the entire audience, from those in the front row to the farthest seats in the theatre. Andrés Presno impresses with his dark and rich Italian tenor as Turiddù. Giselle Allen delivers a flawless soprano performance as Santuzza, effortlessly rising above the full choir and orchestra during the magnificent Easter Hymn, showcasing the best in the production. I got goosebumps!

In Aleko, soprano Elin Pritchard shines brighter than others on stage with her powerful and pure vocals. She immerses herself in the role with exceptional passion and skill.

The two dance sequences in Aleko are usually performed as beautiful interludes or balletic showcases. These are a standout element for me as Sofulak successfully maintains a high level of dramatic tension. In the first dance, the chorus members provocatively engage with each other. The more unrestrained second dance shows them dancing frenziedly in a dervish-like manner.

This double bill is powerfully effective with dramatic themes that create an intriguing and entertaining night at the opera.

ROYAL EXCHANGE THEATRE, MANCHESTER – UNTIL 13TH APRIL 2024

REVIEWED BY ZOE BROWN

4****

A Taste of Honey by Shelagh Delaney tells the story of an unconventional mother and daughter relationship in late fifties poverty-stricken Salford. Helen, played by Jill Halfpenny, is a single mother who seems to run from man to man, constantly rejecting the welfare or emotional needs of her teenage daughter, in an endless pursuit of something and somewhere better round the corner. ‘The peculiar thing about Salford is that it’s like this terrible drug, you really perhaps want to get away from it, but you can’t, and a lot of people want to get away from Salford’ explains Delaney in a documentary for BBC four. Much like the people of Salford, Delaney writes about her characters being pushed and pulled by their environment, desperate to get away, but ultimately never leaving.

Delaney’s Helen is a restless woman, eager to be alive and retain her vitality, whose actions see her always on a downwards trajectory. In contrast her daughter (Rowan Robinson) who longs to put down some roots and despite recognising Salford as decaying and dirty, wants to stay and build a life for herself, (maybe just not in the dump of a flat they find themselves in at the opening of the play). When Helen leaves Jo again to run off and marry her latest ‘beau’ Jo is left to fend for herself and meets a passing Sailor, Jimmy, upon the dirty docklands of the Manchester Canal. Jimmy, played by Obadiah, woos her with a promise of marriage on his next return and Jo is left to carry his unborn child. Alone and pregnant Jo befriends Geoffrey, who she invites to live with her and who, despite being homosexual, very much cares for, and wants to take care of Jo and her baby.

The concluding scene is a bitter end where we find Jo, alone again, pregnant much like her own mother Helen was when she left to fend for herself whilst pregnant with Jo. This circular story is observational genius by writer Delaney and no less relevant today than it was at the time of writing.

Rowan Robinson’s debut theatrical performance at the Exchange is a fantastically stubborn and petulant young woman who often hides her true feelings behind a sarcastic quip. Jill Halpenny’s portrayal of an uncaring mother Helen is manipulative, fiery and vivacious. She takes us on a wonderful journey with her character to become somewhat remorseful and maternal, even if it is too late and still hidden in the swift snipes towards Jo and her ‘companion’ Geoffrey.

David Moorst’s Geoffrey is believable, funny and heart breaking to watch as he carries the weight of his sexuality and the dynamics of the, at times, scary and confusing mother/daughter relationship he finds himself in the middle of.

Nisha Smith’s entrancing singing weaves between the scenes with a jazzy rendition of ‘Dirty Old Town’ in reverence to the poverty-stricken industrial area of Salford in which the play is set.

The play was written in the ‘kitchen sink’ era however the Exchange’s version swings perhaps a little more toward comedy with theatrical asides and a sending up of some of the deadpan retorts. This said there is a vitality to the performances that means the time, sitting at just over 2hrs and 45mins flies by. An entertaining and thought-provoking production that brings to mind the ongoing themes of a broken societal system with a lack of education, funding and opportunity for working class people in this country, at a time when poverty in England is at a 30 year high and rising.

CONTENT WARNINGS – Contains derogatory language, racial slurs, smoking, and haze.