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Forum Theatre, Malvern – 8th December 2023

Reviewed by Courie Amado Juneau

5*****

I have had the enormous pleasure of seeing the English Symphony Orchestra before and on each occasion they have given us an evening of sparkling musical pleasure. Tonight would prove to be no exception.

They opened with Brahms much loved Double Concerto. With a tune to knock your socks off right out of the blocks, the ESO impressed immediately with strident strings, muscular tutti and a precision of timing that has yet again blown me away.

Maja Bogdanović opening cello salvo was a virtuosic display designed to dazzle. I particularly enjoyed the double stopping, the strummed chords and harmonics. A master of her instrument, she makes it sing, roar and weep. There’s something about the cellos low notes dug into with gusto that stir the soul and give praise to the musical Gods.

Tonight’s other soloist, violinist Daniel Rowland, was equally compelling, the perfect partner with Maja, I loved his full throttled florid runs – especially as he did it with such apparent effortlessness. I also enjoyed his rock star like stage presence (think Slash with a violin). Both master musicians had great physicality and their timing with each other was precision itself; to an almost superhuman extent. They sounded like one soloist with 4 hands and two brains! The orchestra had perfect balance, bringing out ever nuance in the scores. The strings were particularly brilliant in both execution and sound. The Brahms middle movement was a soulful display of passion and drama. And the last movement had moments which to me sounded like a Poirot TV score (rather modern). An amazing work played flawlessly and the perfect way to start a concert! Daniel and Maja gave us an unexpected additional gift: Pēteris Vasks “Castillo Interior”. Two outer chorale like movements of aching beauty sandwiched a frantic middle movement. A magical piece which I will seek out again – Daniel told me that they have a recording of the work on Spotify.

After the interval it was Sibelius 5th Symphony. This early 20th Century work, gave us a totally different soundworld with the orchestra’s phenomenal brass section expanded to great effect. As in the first half, the entire orchestra sounded fantastic and those impressively crisp endings were awe inspiring, showing the intimate connection between players and Kenneth Woods masterful, sensitive conducting. The entire piece was a masterclass in tension building and, most satisfyingly, releases of epic proportions. Mr Woods had given us an entertaining talk regarding the concept of the final piece: “Fermeture” (an overture to end rather than open a programme) by Composer-in-Association Steve Elcock. This fabulous World Premiere was like a film score you might hear over end credits; with (to my ears) elements of Star Wars’s Stormtroopers, love themes, humour and romance… It was a most welcome addition and a piece that deserves to be heard repeatedly.

As ever, the ESO gave us a programme to thrill and delight with world class playing to rival any orchestra anywhere. We are fortunate to have such an exceptional Worcestershire based orchestra and I urge everyone with even the slightest interest in superb music making to catch their next concert. Once again (and until the next time) – Bravissimo!

The Lowry, Salford – until 7th January 2024

Review by Rebecca Hampson

4****

Based on the award-winning novel by Kate Pankhurst this musical adaptation of ‘Fantastically Great Women Who Changed The World’ highlights the incredible women who have inspired the way women are able to live today.

The musical introduces us to key women in history such as Frida Kahlo, Rosa Parks, Amelia Earhart, Marie Curie, Emmeline Pankhurst and more through pop style hits and synchronised dance routines giving each woman a new modern take through costume.

I was particularly impressed by the staging of this production with set being incorporated as a method of storytelling and introducing us to each new character.

This musical is reminiscent of the recent hit ‘Six’ which saw its success through audience participation which this show relies heavily on. Through asking us to sing and clap along I witnessed and heard many young girls and boys fully immersed in the story.

The show teaches us the importance of highlighting female power and acknowledging the incredible women who have paved the way for the life we are able to enjoy today. We may still have a way to go but this musical provides hope for our future generation as they fight for our equality.

I would recommend this show for anyone with a young child who will benefit greatly from the history it teaches.

The Other Palace Studio – until 7 January 2024

Reviewed by Claire Roderick

4****

This version of the Cinderella story is a blast – camp, catty and a wonderful celebration of musical theatre. Having seen writers Jodie Prenger and Neil Hurst’s Socially Distant Ball a few years ago, I was excited to see this updated production – and it did not disappoint.

With Reuben Speed’s simple but dazzling costumes and set – wheelie toilets! – this show is all about the writing and the performances, and the cast play a belter. May Tether’s Cinderella (dressed in a trashy pastiche of Carrie Hope Fletcher’s ALW outfit) is a feisty heroine who can more than hold her own against her awful stepsisters, Fanny (Veronica Green) and Vajayjay (Imelda Warren-Green). This dreadful duo steals every scene, with Veronica Green the sharp and terrifying one and Warren-Green the clueless and cruel sister. They work brilliantly as a team, and their audience interaction is a big hit. Warren-Green is hilarious with her gormless expressions and gait like a Thunderbird with their strings cut. Keanna Bloomfield plays Buttons and the Prince with an arch charm and makes the most of every joke about theatrical budgets and doubling roles. Director Lizzy Connolly turns the constraints of the tiny stage into a running joke and keeps the pacy onslaught of jokes and set pieces ticking along enjoyably.

Prenger and Hurst pack the traditional story of poor Cinders going to the ball and finding her Prince Charming with enough theatrical references to delight the most avid musical theatre fan. There are random lyrics spoken as dialogue and comic versions of numbers from favourite musicals like Hamilton and Six. Warren-Green delivers the traditional patter song with befuddled panache, using the names of theatre shows instead of the usual sweet brands – simply brilliant. A fantastic visual joke featuring the act 2 opening of Jamie Lloyd’s Sunset Blvd. introduces a very random guest star, and Cinders’ increasingly disgruntled fairy godmother appears onscreen with a fabulous cameo from the uncredited original Vajayjay.

You’ll laugh, you’ll groan, you’ll check every crisp packet carefully. A Very Very bad Cinderella is a bijou and bawdy bundle of Christmas joy.

Hull New Theatre – until 9th December 2023

Reviewed by Cath Wright

5*****

The Centre for Contemporary Storytelling presented Turn & Face The Strange The Mick Ronson Story at the Hull New Theatre last night (sponsored by University Quarter and MRN Print). The show is written and produced by Garry Burnett and Rupert Creed and it is Gary and Rupert who are the narrators for the show. From the start it is quite clear that all in the show have an abiding love for Mick Ronson, the man, and for his music, and this results in the most fabulous show.

This is a carefully crafted and unusual show telling the story of Mick Ronson’s life, full of anecdotes from those who knew him, both as recorded soundbites and live in the theatre. Interspersed within the story is the music and oh my word can the Turn & Face The Strange band play, this was some of the very best live music I have heard in a very long time. Four large photos of Mick form a backdrop to the stage together with a screen on which photos and videos relevant to the point in Mick’s life appear. Mick also appears on screen in clips as he talks about various periods in his life, what becomes clear very quickly is that he was a very humble and self-effacing man.

The show takes us from Mick’s humble roots and show how his ethic for hard work was inherited from his Dad, with his Mum fostering his love of music, buying him his first piano. We move on to his involvement in local bands and his first attempt to break into music in London – he was back in Hull in six months and working as a gardener for Hull City Council! John Cambridge (last night’s drummer) then tells the story of how he introduced Mick to David Bowie, and the rest as they say is history.

Turn & Face The Strange delves into the musical influences of Mick and then looks at how these led to his later musical arrangements for David Bowie and others. It also shows clearly that this was a man who never forgot his roots or lost his generosity of spirit.

The band were superb, the sound produced simply sublime. Emily Hanover, Chris Heron, Rebecca Draper, and Catherine Ackroyd were the string quartet opening the show beautifully and providing wonderful backing throughout. Keith “Ched Cheesman (lead guitar), John Cambridge (drums), John Bentley (bass), Phil Keech (keyboards), Kristian Eastwood (lead vocals), Bobby Joyce (guitar and vocals) and Annabel Etheridge (vocals) were just fabulous, tight knit and clearly bouncing off one another and loving every minute of their performance. Keith “Ched” Cheesman played some of the most breath-taking solos on his guitar, just mind-blowing, add in his anecdotes (as he joined Mick Ronson in the local band The Rats back in 1968) and you realise what a privilege it was to see him on the stage. The band played 17 songs, including Jean Genie (Bowie), Jack and Dianne (John Mellencamp), Perfect Day (Reed) and Heroes (Bowie).

Mick Ronson died far too young at the age of 46, and although he was a “musician’s musician”, he is not as well-known as he should be and this show helps to shout his legacy to the roof tops. Mick Ronson is one of Hull’s heroes, a working-class lad who did well and mixed with other incredible musicians, however this is not just a story for Hull but one that any music lover would enjoy, three hours of stories, reminiscences, and the most incredible music. The programme states that this might be the show’s final run, if you get the chance to see it somewhere do not even hesitate just grab a ticket.

Laurels Theatre Whitley Bay – until 23rd December 2023

Reviewed by Sandra Little

4****

This latest offering from Laurels Theatre is an adaptation by Chris Foxon of The Watch House which is a story written by acclaimed local author Robert Westall.

The story is set in Tynemouth and most of the action takes place around the Watch House. This is a building in Tynemouth with a great deal of maritime history associated with coastguards and the rescue of sailors shipwrecked on the River Tyne.

The play begins when Ann (Aoife Kennan) is taken to Tynemouth to stay with her aunt Prudie (Catherine Dryden) and uncle Arthur (Donald McBride) while her mum ( also played by Catherine Dryden) returns to London to deal with her divorce. Arthur is keen to share the history of the Watch House with Ann and she finds herself fascinated by his stories from the past of shipwrecks and rescues. Ann becomes drawn to the Watch House and whilst spending time there alone, she witnesses strange flickering lights and unexplained ghostly happenings.

As the play progresses Ann experiences more strange and unexplained ghostly encounters and becomes keen to understand the secrets of the Watch House. Ann is helped along the way in her quest by a rather eccentric friend Timmo ( played by Catherine Dryden) who she meets at a local church disco. Da Souza ( also played by Catherine Dryden) a local priest, also becomes involved in unravelling these ghostly mysteries and helping Ann to understand her experiences.

In the second half of the play Donald McBride takes on the role of Geordie which transpires to be two spirits from the past that are pivotal in unlocking the intriguing secrets buried in the Tyne and the Priory graveyard. Eventually explanations are given, the story unravels and the significance of two ghosts namely Henry Cookson and Major Scobie Hague is revealed.

This adaptation of Robert Westall’s tale is currently being performed in a small room in a quirky little theatre in Whitley Bay, with few props and only three actors! However, an atmosphere of warmth was created from Arthur and Prudie’s characters which contrasted sharply with the very chilling atmosphere created by props, lighting and a fascinating storyline which links the ghosts and their story from the past to Ann’s difficulties in dealing with her parents’ divorce.

I did enjoy this performance and I could see it being performed successfully in bigger venues than Laurels. Being close to the actors added to the atmosphere of this spooky offering. Donald McBride was very convincing as an old Geordie gadgee, Aoife Keenan’s facial expressions portrayed her emotions clearly and Catherine Dryden worked exceptionally hard to switch between four characters. I do think this play will achieve further success.

N B gadgee is a dialect word for an older Geordie male.

The Rose Theatre, Kingston – until Sunday 7 January 2024

Reviewed by Carly Burlinge

5*****

By J.M Barrie, in a new version by Evan Placey 

The Rose Theatre brings you their Christmas production, outstanding once again, with only a handful of professional actors accompanied by some very talented young performers, that truly had some exceptional acting skills. Showing a strong performance throughout, with a bond that was clear to see.  

The magical story of Peter Pan that we all know, and love was shown before our eyes, with new elements introduced making it that little bit more special and kicking off the Christmas season with a bang!

Peter Pan (Kaine Ruddach) arrives at Wendy’s window to whisk her off to the world of Neverland, playing a vibrant full of life character never wanting to grow up. Only for Wendy to discover that being a grown up around the lost boys is a lot more stressful than she thought, which opens up her eyes towards her feelings for her mother, because after all everyone needs some “Mummy Time”. She was a delight to watch throughout with a wonderful singing voice.

Captain Hook / Mrs Darling (Michelle Bishop) gave a strong performance, very dramatic and stern. She had a lot to offer as a pirate with her trusty side kick Smee (Dominic Rye), who played a simple but amusing character bringing laughter across the audience with his stupidity.

The Lost Boys were just exceptional to watch; so many varied characters that gave an awesome performance with their amazing catchy songs and dance moves, whilst bouncing off of each other, making the audience smile and laugh throughout

The Pirates, well what can I say? They offered much personality, were witty and creative. Their intelligence seemed questionable at times only providing more comedy to the show.

Tigerlilly (Shona Maggo) played her normal part as an outsider but willing to help in any situation.

The set was enchanting and magical, with the little details making it so much more. The little ship that sits in the background, the hook for the window latch, the twinkling stars upon the ceiling and the puppetry, with Nanna the dog and the incredible Tinker Bell. I really loved the expressions of the handlers, who were so involved, just remarkable! It was lovely looking across the theatre to see big smiling faces and laughter from both adults and children, whilst they absorbed the captivating scene before them. 

I took my 11-year-old daughter with me, her opinion on this show was “their voices were amazing, strong and powerful. I loved the first song with catchy lyrics and outstanding moves. I especially loved the magical waves and props, everything in my eyes was just magical.” 

What an outstanding performance by all! A truly magical experience that really gets you into the Christmas spirit – well worth a watch! 

STORYHOUSE, CHESTER – UNTIL SATURDAY 6TH JANUARY 2024

REVIEWED BY MIA BOWEN

5*****

Most people are familiar with the classic tale of Cinderella, but have you ever wondered how things would unfold if Cinderella had a good relationship with her stepsisters, if Cinderella and the Prince went on an adventure after the ball, if the wicked Stepmother had dark magical powers, and if the Prince were the one to lose a shoe?

This production of Cinderella certainly delivered on its promise of providing the audience with a ball! Director Hannah Noone has joined forces with Samantha O’Rourke, a writer from Cheshire, to produce a fresh new show. Although it bears a resemblance to a traditional pantomime, this production astutely reverses the classic rags-to-riches tale, presenting a brilliantly reimagined narrative and delves much deeper and explores more significant themes. This captivating story will truly engage both the young and old with its unexpected twists and turns. It’s not just Cinderella who experiences romance; other characters also find love in the most adorable manner and (almost) everyone gets a happy ending!

The stage brimmed with an abundance of talent, the versatile cast of ten were vibrant, larger than life and full of personality. Their true brilliance shone through in this performance, as they exuded energy and enthusiasm throughout. They showcased their skills in acting, playing instruments, and some even taking on multiple roles.

Paul Isaiah Isles showcased an exquisite choreography, complemented by a remarkable Christmas show soundtrack compiled by Barnaby Southgate. The show features an impressive selection of twenty great songs, including timeless classics like Abba’s “Dancing Queen,” Madonna’s “Material Girl”, Bee Gees’ “Night Fever” and B52’s “Love Shack”.

If you’re seeking something a bit more unconventional than the customary Christmas pantomime, Cinderella is definitely the show that suits your taste! You will have a ball!

During my visit to the Storyhouse Theatre, I was delighted to find out that they have two different auditorium layouts in their main theatre. This innovative feature enables them to host a diverse range of shows, including large-scale West End productions, as well as more intimate performances, like a Christmas family Pantomime.

I absolutely adored this production of Cinderella at Chester’s Storyhouse!

ROYAL EXCHANGE THEATRE, MANCHESTER – UNTIL 13th JANUARY 2024

REVIEWED BY ZOE BROWN

4****

Known for staging the unconventional at this time of the year, the Royal Exchange Manchester’s Christmas offering, Noel Coward’s Brief Encounter, is a refreshing take of that all-time classic film of 1945. Emma Rice’s stage adaptation has been transformed by director Sarah Frankcom for this version, which only includes original Noel Coward songs throughout, such as ‘Mad About the Boy’ and ‘Sail Away’. It also incorporates an original jazz score from Musical Director Matthew Malone and a live band on stage throughout.

For those that need to be reminded, this is a story of an unexpected and sudden romance between two respectable married people who meet quite by chance and fall deeply and hopelessly into forbidden love. Yet it is also an exploration of love in other forms, love grown through flirty familiarity between colleagues, young lovers experiencing the unfamiliar and heightened throws of a first crush, and the love of a mother and her children.

If the intense romantic drama of the film was too much, fear not, for this production is laced with humour and music and dance. Lots of impressive and lively dance that gets the audience clapping along, oh, and the singing is exquisite!

It primarily tells the tale of Laura (Hannah Azuonye) and Alec (Baker Mukasa) who have a brief encounter on a Thursday in the tearoom of Milford Junction train station. Over the course of the following months a deeply intense romance blossoms. However, the forbidden nature of this out-of-wedlock romance and the pressure to hide oneself within their ordinary lives proves too much.

Coward also observes love in different forms and from different societal classes, and this show celebrates that, through the ensemble cast of characters that sit within the same demographics. Casting by Hannah Williams allows these various characters to thrive. I particularly enjoyed the vivacious café manager (Christina Modestou) whose ‘I’m No Good at Love’ was so powerful. Paired with playful Train Conductor Albert (Richard Glaves) they made a good match. Young, shy Beryl (Ida Regan) was charming to watch and yet sang with a surprisingly dynamic voice. Georgia Frost showed her acting versatility, able to switch from the lustful Stanley to the frightful Bill with ease, and totally believable as both.

Azuonye’s Laura was wonderful to watch as her journey unfolded, she held the stage with her grace and was utterly believable as the guilt of her indiscretions grew. Unfortunately, I wasn’t convinced by the love affair of Laura and Alec (Baker Mukasa) as they didn’t seem to have the chemistry you would expect from such an intense coupling.

The dance and voice skills of the cast were amazing. They had the ability to shine in their individual solo moments yet support each other particularly in their harmonies and dance numbers.

The musical talents of Matthew Malone, Alice Phelps, Sam Quinn and Jenny Walinetski elevated this production from musical to a musical masterclass. The combined original score by Malone and sound design by Russell Ditchfield, using elements of musical avant-garde, enhanced the mood and accentuated moments in the performance, particularly the use of sound to note the blossoming romance between Laura and Alec. Having a live band on stage added a pleasing refined grace to the show which meant that when a character had a solo you were almost lifted out of the train station and into a jazz club.

If you’re looking for a Christmas show with period sophistication, then you could do no better than go the Exchange to see this production.

WHAT’S IN STORE FOR 2024
AT THE LYCEUM

Find out what’s in store for 2024 at the Lyceum Theatre. The new year will see a host of dazzling touring productions, perfect as a Christmas gift or a treat to

WHAT’S IN STORE FOR 2024
AT THE LYCEUM

Find out what’s in store for 2024 at the Lyceum Theatre. The new year will see a host of dazzling touring productions, perfect as a Christmas gift or a treat to beat the January blues.

From Tuesday 9 – Saturday 13 January, the Lyceum welcomes the return of The Nutcracker, presented by The International Classic Ballet Theatre. A spectacular family favourite and the perfect introduction to classical ballet, Tchaikovsky’s delightful score is performed by a live orchestra, to tell the enchanting tale of Clara’s adventures with her Nutcracker Prince.

From the aisle to the isles, the official Stock Aitken Waterman musical I Should Be So Lucky runs from Tuesday 16 – Saturday 20 January. Featuring the soundtrack of a generation with music from pop royalty including Kylie Minogue (I Should Be So Lucky), Rick Astley (Never Gonna Give You Up), Jason Donovan (Especially for You), Bananarama (Love In The First Degree), this hilarious and heart-warming new musical is about family, friends, love and great times. 

Direct from The London Palladium, Join Dorothy, Toto, and friends on an unforgettable adventure down the yellow brick road with a sensational new production of The Wizard of Oz. Featuring the iconic original score from the Oscar-winning MGM film and starring RuPaul’s Drag Race UK winner and Dancing On Ice star The Vivienne as The Wicked Witch Of The West, this spectacular production will be truly magical for all the family. From Tuesday 30 January – Saturday 3 February.

Bursting with razor-sharp wit and classic British humour, Drop the Dead Donkey: The Reawakening is live on stage for the very first time from Tuesday 6 – Saturday 10 February. 30 years since the launch of the trailblazing, smash-hit TV series, the Globelink News team are back, starring the original cast members Susannah Doyle, Robert Duncan, Ingrid Lacey, Neil Pearson, Jeff Rawle, Stephen Tompkinson and Victoria Wicks in this brand-new topical commentary on the cutthroat world of 24-hour news.

From Tuesday 13 – Saturday 17 February comes the stage phenomenon that has taken the West End by storm, 2:22 A Ghost Story. Written by Danny Robins, this edge-of-your-seat, supernatural thriller stars Jay McGuiness (The Wanted), Fiona Wade (Emmerdale), George Rainsford (Casualty) and Vera Chok (Hollyoaks) in an adrenaline-filled night where secrets emerge and ghosts may or may not appear… What do you believe? And do you dare discover the truth?

Following their multi award-winning sell-out success with The Play That Goes Wrong, Mischief return with their riotous spin on a timeless classic, the West End smash hit Peter Pan Goes Wrong. The members of the Cornley Drama Society are back on stage, battling technical hitches, flying mishaps and cast disputes as they attempt to present J.M Barrie’s much-loved tale. But will they ever make it to Neverland? Running from Monday 19 – Saturday 24 February.

All productions are on sale now. Tickets can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.

Northern Stage Newcastle – until 6th January 2024

Reviewed by Sandra Little

5*****

By Sally Cookson, Adam Peck and the Original Company

Directed by Jake Smith and Katy Weir

This retelling of a traditional fairytale is the Christmas family offering from Northern Stage. The programme for Cinderella describes the play as, “ a fairytale but not as you know it” and whilst the basic elements of the Cinderella story that we do know and love are present, there are also some interesting interpretations and additions to the original tale. The setting for this production is not what might be expected as much of the action takes place in a forest. Birds play a key role in the telling of the story and puppetry is used effectively. There is only one “ugly” stepsister (Peace Oseyenum) in this production and a rather unpleasant stepbrother ( David Fallon). Doc Martens have a very important role in this offering and there is no glass slipper in sight.

Ella ( played by Evlyne Oyedokun) is treated unkindly by her stepmother (Zoe Lambert) and forced by her to live amongst the cinders. However, Ella is not the downtrodden character one might expect and in fact she is quite a feisty young lady who plays tricks on her step siblings. We learn that Ella loves nature and she spends quite a lot of time in the forest where a chance encounter provides her with a ticket for a party at the palace. Although there is no fairy godmother in Northern Stage’s version to help Ella go to the party there is a happy ending and the chance encounter in the forest turns out to be a meeting with the prince, played by Charlie Venables.

Although this production is most definitely not a traditional pantomime, some elements of pantomime are successfully woven into the story. There is a good smattering of fun and audience participation; there are baddies in the cast to dislike and we see great comedy routines included alongside a sprinkling of magic and love to help the story along. Following a pantomime theme there are also some fabulously flamboyant costumes which deserve a mention and add glamour as well as comedy to the performance.

This Christmas production from Northern Stage includes some high energy song and dance routines that add a further dimension to a very enjoyable piece of entertainment. Both children and adults in the audience seemed to thoroughly enjoy this show and all of the main performers played great parts. It would be unfair to single out any one member of cast however there was a great dance routine from the prince in his pyjamas, Ella was a strong and determined young lady and Ella’s step mum and siblings were suitably unpleasant and funny in equal measure. If you are looking for some family Christmas entertainment I would certainly recommend a visit to Northern Stage.