STAGE REVIEWS
MY FAIR LADY BY CHATSWORTH PLAYERS - REVIEW
Background
Professor Higgins of Walpole Street, London, teaches phonetics. He claims that he can identify where people are from and where the influences originate in regard to the quirks of speech and language they have adopted. Therefore, when Higgins meets the young, Eliza Doolittle, a flower seller with a strong Cockney accent, he treats her like a social experiment. He believes that he can raise her position in London society if she were to lose the dialect and pronounce her vowels and enunciate her use of English language 'properly'.
My Fair Lady is a hugely popular musical first performed in 1956 with music composition by Loewe and book/lyrics by Lerner (Lerner & Loewe), a long running Broadway show also a famous Warner Bros. film (1964).
This story of Eliza and Professor Higgins however, originates from the play Pygmalion (published 1912) written by playwright George Bernard Shaw. Pygmalion for all intents and purposes is a feminist play and is still performed today. One hundred years or so since it premiered in Vienna it is vital to return to the text and use it as a creative source to continually fulfill Shaw's ambitions of exploring the subject of social inequality.
Comment
Shaw's divisive messages are not lost in My Fair Lady but the music somewhat sugar coats because the performances of the classic songs which includes “Wouldn’t It Be Loverly;” “I Could Have Danced All Night;” “The Rain in Spain” and “On the Street Where You Live.” is just pure entertainment.
Review
The theatre production of My Fair Lady by the Chatsworth Players is directed by Christine Heery and is wonderfully cohesive, one or two moments during the run of play caused slight distraction, otherwise the audiences' enthused engagement was total throughout.
Two pianists: Musical Director, Andrew Marples and Chris Flint play the whole score live and it is evident that the songs are well rehearsed by the musicians and actors alike. Additionally permissions acquired by Music Theatre International (MTI) allows the performance of music material which greatly enhances the show.
Petra Nolan (Eliza) performs her solo pieces with confidence and holds a steady pitch and Tom Sparks (Freddy), sings 'On the Street [...]' clearly and with much sincerity - beautiful!
The Professor Higgins character is given the most wicked and memorable lines and Chris Rooke clearly relished his delivery of them in role. The comedy interjection(s) however are from the Pickering and Doolittle characters in the main, played by the company's long time members Melvyn Osborne and Barrie Goodwin respectively; they prompt warmth and genuine appreciation for the unspoken aspects that one can attach to witnessing good acting skills: "Get me to the Church on Time" performed by Goodwin is a real highlight!
It was amusing for the reviewer (a southerner) to see northern players adopting long vowel sounds for art's sake.
Professor Higgins of Walpole Street, London, teaches phonetics. He claims that he can identify where people are from and where the influences originate in regard to the quirks of speech and language they have adopted. Therefore, when Higgins meets the young, Eliza Doolittle, a flower seller with a strong Cockney accent, he treats her like a social experiment. He believes that he can raise her position in London society if she were to lose the dialect and pronounce her vowels and enunciate her use of English language 'properly'.
My Fair Lady is a hugely popular musical first performed in 1956 with music composition by Loewe and book/lyrics by Lerner (Lerner & Loewe), a long running Broadway show also a famous Warner Bros. film (1964).
This story of Eliza and Professor Higgins however, originates from the play Pygmalion (published 1912) written by playwright George Bernard Shaw. Pygmalion for all intents and purposes is a feminist play and is still performed today. One hundred years or so since it premiered in Vienna it is vital to return to the text and use it as a creative source to continually fulfill Shaw's ambitions of exploring the subject of social inequality.
Comment
Shaw's divisive messages are not lost in My Fair Lady but the music somewhat sugar coats because the performances of the classic songs which includes “Wouldn’t It Be Loverly;” “I Could Have Danced All Night;” “The Rain in Spain” and “On the Street Where You Live.” is just pure entertainment.
Review
The theatre production of My Fair Lady by the Chatsworth Players is directed by Christine Heery and is wonderfully cohesive, one or two moments during the run of play caused slight distraction, otherwise the audiences' enthused engagement was total throughout.
Two pianists: Musical Director, Andrew Marples and Chris Flint play the whole score live and it is evident that the songs are well rehearsed by the musicians and actors alike. Additionally permissions acquired by Music Theatre International (MTI) allows the performance of music material which greatly enhances the show.
Petra Nolan (Eliza) performs her solo pieces with confidence and holds a steady pitch and Tom Sparks (Freddy), sings 'On the Street [...]' clearly and with much sincerity - beautiful!
The Professor Higgins character is given the most wicked and memorable lines and Chris Rooke clearly relished his delivery of them in role. The comedy interjection(s) however are from the Pickering and Doolittle characters in the main, played by the company's long time members Melvyn Osborne and Barrie Goodwin respectively; they prompt warmth and genuine appreciation for the unspoken aspects that one can attach to witnessing good acting skills: "Get me to the Church on Time" performed by Goodwin is a real highlight!
It was amusing for the reviewer (a southerner) to see northern players adopting long vowel sounds for art's sake.
A thoroughly enjoyable show so go see it if you can.
My Fair Lady at The Theatre at Chatsworth House this April.
Review by Theatre Critic Debra Hall who attended My Fair Lady at The Theatre at Chatsworth House on Thursday 11 April at 7.00pm
My Fair Lady at The Theatre at Chatsworth House this April.
**ENDS**
REFERENCES
Chatsworth Players programme My Fair Lady
Chatsworth Players My Fair Lady https://www.chatsworthplayers.com/myfairlady
What's On https://www.chatsworthplayers.com/whats-on
Google.com
Instagram https://www.instagram.com/debrahallcreative/
The Playbill Post https://playbill.com/production/my-fair-lady-touring
STAGE REVIEW - BLUE BEARD
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| Tristan Sturrock (Blue Beard) and Katy Owen (Mother Superior) Blue Beard a new play by Wise Children Written and Directed by Emma Rice Photographer Steve Tanner |
Led by writer and director, Emma Rice for touring theatre company Wise Children, this new play Blue Beard is a co-production that is flaunty, explicit, amusing and serious and, pretty much, all at the same time.
Based on Charles Perrault's Blue Beard (published 1697) there have been many retellings of the French author's creepy tale about a man with blue body hair from a child, who grew up to have money and a large house and who had many wives who had strangely disappeared.
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| Stephanie Hockley (Trouble), Patrycja Kujawska (Treasure), Robyn Sinclair (Lucky) in the stage production Blue Beard Photographer Steve Tanner |
In this new version Blue Beard is a magician and performs his stage act. Lucky marries Blue Bird in a whirlwind romance. She, her sister Trouble, along with their recently widowed mother, Treasure, enjoys partying at the marital home while Blue Beard is away. Lucky had been forewarned not to use the key and enter a room in the house that was out of bounds to her, which, and to her detriment, she does nonetheless. Together, Lucky, Treasure and Trouble make a stand against the perpertrator.
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| Adam Mirsky (Lost Brother) and Mirabelle Gremaud (Lost Sister) in stage production Blue Beard Photographer Steve Tanner |
A separate narative is knitted together by the Mother Superior character who acts as the narrator of both stories and through this character much of the comedy is channeled. She tells of a modern day Brother (Lost Brother) and sister (Lost sister) and the everyday lives of these siblings are juxtaposing and contrasting with the outrageous absurdity of the unfolding drama centred around Blue Beard and the three women.
The language references modern day, popular culture and colloquial terms are used, however the music and songs, along with the acrobatics and dance, adds more than just a splash of Commedia dell'Arte; portrayals are to this type.
The players are all clever, musically, playing various musical instruments... these performances are full on. The jokes and the knife throwing are fun; also the fight scene in slow motion - a wonderful ensemble of talented individuals whose timings are impeccable.
The comedy waxes and wanes and the momentum drops at times because of lengthy songs that are overly repetative. It is all deliberately unsettling and weird, especially when the focus switches from fiction to reality and the play addresses the abduction and comprised safety of women simply walking out or are in the domestic setting, going about their everyday in other words, but who fall foul at the hands of criminal men with dark and cruel intention.
Final scenes are highly charged and the air is thick with strained emotion in an attempt to hammer home the message that this has always happened and continues to happen to women. Chiming this old tale from seventeeth century with real-life women being attacked and murdered it is vital in its inventiveness to highlight this continuing scourge of society.
Cast
Blue Beard - Tristan Sturrock
Lost Brother - Adam Mirsky
Lost Sister - Mirabelle Gremaud
Lucky - Robyn Sinclair
Mother Superior - Katy Owen
Sister Susie of the Culcimer - Stu Barker
Treasure - Patrycja Kujawska
Trouble - Stephanie Hockley
**ENDS**
Review by Theatre Critic, Debra Hall who attended opening night of Blue Beard at The Birmingham Repertory Theatre, Birmingham UK at 7.30pm
REFERENCES
Emma Rice's Blue Beard Open the Bloody Door electronic programme
google.com
The Birmingham Repertory Theatre Your confirmation for the Opening Night of Blue Beard and production photographs (04 April 2024)
Pitt Education Charles Perrault https://sites.pitt.edu/~dash/perrault03.html
Wise Children
https://www.bluebeardonstage.com/wise-children
STAGE REVIEW - MINORITY REPORT
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| Jodie McNee as Julia Minority Report live on stage |
⭐⭐⭐⭐⭐
A play based on the 1956 sci-fi novella publication of The Minority Report by American author, Philip K. Dick (1928-1982) and adapted for stage by English actor and writer, David Haig, this production is a fantastic achievement - from early conception to its live performance...a monumental undertaking!
Setting is mid 21st-century, futuristic London. The first scene opens with a tenth anniversary event marking the start of the Precrime agency.
Over this past decade the Precrime programme have fitted the adult population with micro-implants. Feedback analysis, using advanced technology, have enabled individuals to be identified as having a criminal brain and so they are then singled out. These people may not be conscious of the fact that they have murderous intention, but the facility is able to establish this as true through a specific kind of brain activity each presents. Then, using methods of law enforcement and as part of the programme they are dealt with before the crime is committed.
The brain box behind Precrime is its founder and CEO, Julia Anderton and husband, George. Of course, there are those that protest against the implementation of the system, citing Julia and her organisation as a breach of human rights, accusing the agency as taking away peoples' freedom of thought.
Julia, on the other hand, believes her ideal as being pretty much foolproof and flawless and that the country has been a safer place since its introduction. Ironically, Julia herself is named in a written pre-murderer prophecy, so she is suddenly on the run in an effort to avoid her own system of criminalization doing its job on her. However, when her record reveals a minority report (an MR), she is forced to dig deeper into her organisation for answers.
Jodie McNee gives us a Julia with conviction and sincerity, and, as the story is from her character's viewpoint, we invest in her journey through. Julia, is very much the corporate figurehead with a strong will and a real belief in her creation. Those close however, harbour secrets and are skulduggery in action.
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| Jodie McNee as Julia, and Tanvi Virmani as the digital assistant, David The stage production of Minority Report 2024 |
Nick Fletcher slowing reveals George's dark horse characteristics and Tanvi Virmani as Julia's somewhat disengaged, digital assistant, is a delight and so are the illusions attached to David's appearances.
The full cast members provide some thrilling scenes with physical performances that are as equally impressive as the high quality dialogue spoken; with such a well devised and well written playscript and expert direction at its source this is in one (of two bigger reasons) as to why this is so good.
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| Members of the cast performing in the stage performance of Minority Report |
The second big reason to be impressed by this production is all one can attach to the work and creations of the creative and production teams. Spellbinding visual and sound effects accompany the players that the reviewer does not recall the stage in The House at Birmingham's Rep looking so excitingly monochromatic.
The stage has skyscrapers above and underground bunkers below. The story involves transportation and vehicles moving at the speed of the chase and design aspects and stage direction incorporates the sense of movement extremely well.
The sound is dynamic and at sometimes audio booms and is robotronic too. The designer's present colourful videos of newsflash stories as they break and use various light projection techniques and sound effects which overall creates the various mood, tone and are crucial elements to the flow of the story and for dramatic scenes.
Whether you're a sci-fi fan or not, know that Minority Report displays the very best of what theatre can offer.
REFERENCES
Google.com
The Birmingham Repertory Theatre Press Release for Minority Report 07 March 2024
The Birmingham Repertory Theatre newly approved production photos 08 March 2024
The Birmingham Repertory Theatre Minority Report The Major Sci-fi Thriller Live on Stage printed programme 2024
Super Summary https://www.supersummary.com/minority-report/summary/
STAGE REVIEW THE GLASS MENAGERIE
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| THE GLASS MENAGERIE UK TOUR 2024 Natalie Kimmerling (Laura) ⭐⭐⭐⭐⭐ Overview Director, Atri Banerjee gives a bold interpretation of this memory play, one which actor, Kasper Hilton-Hille as Tom Wingfield explains in his first scene narration. It is Tom's unfolding memories that relays the story of family dysfunction; the psychology is so intriguing. Amanda provided a safe, conventional, but restrictive life for Tom and his sister, Laura; nothing was spontaneous and everything was predictable and this is what drove Tom to distraction. He needed to keep away from the house day and night, whereas Amanda and Laura were largely confined to it. The home was not a healthy environment for Tom. We can make definite theme comparisons of this and Henrik Ibsen's nineteenth century play The Dolls House. Amanda, being a narcissitic individual, was full of contempt for her husband who had deserted them; she frequently accused Tom of being selfish like his father. Laura struggled with a disability and lacked confidence. Therefore, duty and responsibilities weighed heavy on Tom, who was frustrated at home, hated his job and so plotted his escape. Jim O'Connor is the remaining character from outside the family unit. Later, in the order of chronological events, he found himself at the Wingfield's home for a meal which evoked old memories for Laura.  Pictured the cast of The Glass Managerie : Zacchaeus Kayode (Jim O'Connor), Natalie Kimmerling (Laura Wingfield), Geraldine Somerville (Amanda Wingfield) Kasper Hilton-Hille (Tom Wingfield) Observations The Glass Menagerie is the work of American playwright Tennesse Williams (1911-1983) and is semi-autobiographical. Even so, reviewer noted some strong theme links with Ibsen as mentioned and with D H Lawrence's novella The Virgin and the Gypsy (p 1926). To explore these plot themes helps with the critiquing aspects of the play, so it is interesting that a simile Lawrence uses for his character, Cynthia ‘pure white snow-flower’ is a close match to O'Connor's Blue Rose nickname for Laura. Lawrence, in his novella, agrees that Cynthia would have added energy and 'flow' to the otherwise miserable Rectory, while Williams marks O'Connor's presence in the Wingfield's home as a highlight in an otherwise dull household. The most glaringly similar is that both works have a male character that has been romantised over and therefore been given elevated status in the eyes of young woman protaganist. In Lawrence's novella Yvette's reality is that her dark and mysterious hero is just plain, Joe, at the story's end. Similarly, for Laura, it turns out that O'Connor is not that remarkable, he's just ordinary, Jim, at the end of the day in a regular job with a fiance. Comment The careful placing of little blown glass figurines of animals and birds etc., around the circular stage are a metaphor for the fragility of the family, in particular the, Laura character. Reviewer wonders if it was right to be fretting and mindful not just of the delicacy of the glass ornaments but of the naked candle flames and their close proximity (at times) to players wearing flammable clothing. The waterfilled vases too, being at the feet of the players, who move inbetween all of these props with much dexterity. Therefore, on one hand a beautiful and atmospheric staging at low level but with intention perhaps, to create an unsettling air and which double up as feeble entrapments to fit with the core messages of the piece. Last but not at all least the dramaturgy one can attach to this has made a version of The Glass Menagerie that is the best of the best. Reviewer is a lover of a good stage drama and this play has it all; it is flawless and has moments of breathtaking beauty. The performances of all four cast members is wonderfully naturalistic. Hilton-Hille was visibly moved when he delivers Tom's emotional and sad soliloquy at the plays end, when, having made the break from his home long ago, suddenly arrives at a harsh reality in regard to his dear sister. **ENDS** Review by Theatre Critic, Debra Hall who attended The Belgrade Theatre, Coventry performance of The Glass Menagerie on Wednesday 20 March 2024 at 7.30 pm REFERENCES ANRPR The Glass Menagerie Press Performance Information (19 March 2024) ANRPR The Glass Menagerie production images (20 March 2024) The Belgrade Theatre What's On The Glass Menagerie https://www.belgrade.co.uk/events/the-glass-menagerie/ |
STAGE REVIEW ANIMAL FARM
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| The cast of Animal Farm Derby Theatre 2024 Photograph by Pamela Raith |
⭐⭐⭐⭐
Writer, George Orwell (1903-1950) presented his well documented theories of political manipulation in the unusual format of farm animals becoming self governing in his acclaimed novel Animal Farm. The dramatisation for stage is an adaptation by Ian Wooldridge.
Overview
The pigs possess higher intelligence than the other animals and so they set about putting forward seven commandments as a code to live by in order to achieve a life on the farm that would work for all. Therefore, in the beginning, all the animals share an ideology. They believe, in the absence of humans, that liberation and freedom will be achieved and that their farm society will be equal. After Old Major (Polly Lister) dies, a hierarchical.jpeg) |
| Ida Regan as Napolean (centre) and Killan McCardle (Squealer) Animal Farm at Derby Theatre 2024 Photograph by Pamela Raith |
Later, the pigs move into the farmhouse and gain human like privileges for themselves while others do the hard graft. Along the way it is clear that Mollie (Amy Drake) misses human interaction too much; Snowball (Samater Ahmed) is used as a scapegoat for every wrong doing; Boxer (Sam Black) is put upon; and so it goes...divide and rule tactics where those who waver or who do not comply to the rules are made examples of or become enemies of the 'state'. Squealer (Killian McCardle) helps to deliver the brainwashing messages to the subservients who do all the work and are hungry and suppressed. Gradually the commandments are 'rewritten' intepreted to suit an agenda. Animal Farm is a parable that represents the totalitarism rule and its crudity.
Comment
As well as serving the bold entrances of the speech making pig bosses, and, likewise, the swift exits of those dispatched, a row of tall revolving panels are multifunctional with each having a written commandment on its front in lettering that glows in the dark stage setting, a static set installation with moving parts that allows a certain flow and energy to the storytelling.
The pigs and the work horses are identified by sculptured head pieces worn by the actors and which also form part of the staging as they hang suspended on wires like creepy masks, other characters are identified mainly through props and through devised movement and action.
The music is interesting in composition and lively; the players give accomplished performances of the songs.
The Director, Iqbal Khan's, says in his notes, that his aim was to find (along with the company and creatives) imaginative and meaningful ways to retell the story and this has been achieved because despite its fatalistic context this play is amusing at times and completely enthralling.
Review by theatre critic, Debra Hall, who attended the press night performance of Animal Farm at Derby Theatre on 29 February, 2024 at 7pm
References
Derby Theatre INVITE REMINDER - ANIMAL FARM at Derby Theatre (08 Feb 2024)
Derby Theatre Animal Farm production photography (21 Feb 2024)
Derby Theatre programme Animal Farm (2024)
Derby Theatre https://derbytheatre.co.uk/event/animal-farm/
google.com
23 February 2024
.jpg)
A Midsummer Night's Dream
The Royal Shakespeare Theatre, Stratford Upon Avon (until March 2024)
Directed by Eleanor Rhode
⭐⭐⭐⭐⭐
Using a popular French phrase to describe key elements of this production of The Bard's A Midsummer Night's Dream seems a little out of place, but the direction and input of illusion designer, John Bulleid, definitely adds a certain 'je ne sais quoi' to this play.
The RSC company have created an unmissable version of 'Dream' with high quality stage management and live music that is so in tuned with the actors as they perform it is wonderful to behold.
The human characters are placed in modern day. The dress and the hairstyles suggests New Romantics 1980s, the synthesizer sound (popular in music at the time) is another clue to that end. Nevertheless it is a time that pre dates mobile phones because, after all, this is a famous tale centred around miscommunication and escapsim at its core.
As for the presentation of the fantasy world (the so called dream world) with those wonderful fairy characters - this is one of the loveliest visual experiences one could wish to see live. Rosie Sheehy completely captivates as Puck.
It is the enchantments in ‘Dream’ which messes with the minds and love interests of the characters and with all of the misunderstanding and confusion which goes hand in hand with that; there is much scope for the comedy to really come into play. Ryan Hutton is particularly animated and playful with his portrayal of Lysander.
The really funny lines and action is attached to the tradespeople playing amateur 'troupe' members who put on their play (within the play), led, of course, by star of stage, screen, film and radio Mathew Baynton who is an absolute hoot as Bottom, he, Helen Monks as Peter Quince, Mitesh Soni as Flute; Premi Tamang as Starveling, Laurie Jamieson as Snug and Emily Cundick as Snout are hugely entertaining.
No negatives, this is a production that is expertly directed and is artistically perfect!
Review by Theatre Critic, Debra Hall who attend the Royal Shakespeare Theatre, Stratford Upon Avon, on Thursday 22 February 7.15 pm
References
Hall, D.
https://notcompulsory.blogspot.com/2023/07/shakespeares-midsummer-nights-dream.html
The Royal Shakespeare Company (RSC) production photography image file (19 Feb)
The Royal Shakespeare Company (RSC) A Midsummer Night's Dream printed programme (2024)
The Royal Shakespeare Company (RSC) https://www.rsc.org.uk/whats-on
https://supernaturaldesharnia.weebly.com/the-actors.html
STAGE REVIEW SHREK THE MUSICAL
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| Brandon Lee Sears (Donkey) and Antony Lawrence (Shrek) in Shrek the Musical UK and Ireland Tour 2023-4 Photography Marc Brenner |
The story order of the Dreamworks' film Shrek (2001) is structured pretty well here, but Shrek The Musical gives us real-life versions of much loved, fictional characters that were created using CGI animation techniques for film, and so it is quite a challenge for anyone to emotionally invest in a stage version concept like this. Secondly, with original music with loud vocals and awful lyrics the songs are instantly forgettable there is not much to love on that score.
Nevertheless, when I attend a family show like this one I try to park the critic and appeal to my inner child. Unfortunately, though I tried, this production had little that truly gladdened me or warmed my heart.
I end this short review with mentions of the positives: everyone attached to this production is extremely hard working and they put in the effort 100%, there is much energy, movement and dance, the staging; the lighting; the video projection techniques and the puppetry are fabulous.
**ENDS**
Review by Theatre Critic, Debra Hall who attended The Belgrade Theatre in Coventry on Thursday 01 February 2024 at 7.00 pm
REFERENCES
Shrek on Tour https://shrekuktour.com/
The Belgrade Theatre Press Release SHREK THE MUSICAL - PLAYING AT THE BELGRADE THEATRE 30 JANUARY - 4 FEBRUARY 2024 including production photography
Oct 31 2023
The Belgrade Theatre https://www.belgrade.co.uk/events/shrek-the-musical/
STAGE REVIEW OF THE WORLD PREMIÈRE MURDER IN THE DARK
Teaser Trailer MURDER IN THE DARK
Original Theatre at YouTube
REVIEW
⭐⭐⭐⭐
Murder in the Dark is a new play by writer, Torben Betts and is an Original Theatre touring co-production; directed by Philip Franks.
After bashing the car into a dry-stone wall, the somewhat hungover and unhinged, Danny Sierra, his young partner, Sarah and his long time estranged family members are forced to seek refuge in Mrs Bateman’s old farmhouse dwelling on a wintry night. Creepy and strange happenings occur and there is high tension between this group that have been thrown together. They cannot escape the bolt hole they find themselves in, because nothing is quite as it appears to be.
Danny is an immodest individual and had managed to escape the confines of family and responsibility for many years, so here he is forced to face his brother, his ex and his son in close quarters. The setting is traditional, however this is a modern take on a popular play theme, the references are colloquial and the dialogue a little cheesy but this is intentional because this is dark comedy.
On one hand if you happen to have a keen eye for solving plots then the unexpected may turn out to be as expected and somewhat unsurprising. However readers, know this much, there is more that is mysterious here than there is that is straightforward. After all, this is a ghost story rather than a murder mystery and one that is well procured for its audience and has many theatrical elements.
A great theatre production that does not disappoint. The actor's performances are exacting with each cast member being refined in their roles.
Cast
Tom Chambers (Danny Sierra)
Susie Blake (Mrs Blakemore)
Laura White (Sarah)
Owen Oakeshott (William)
Rebecca Charles (Rebecca)
Jonny Green (Jake)
ensemble and understudy members Sasha Brooks and Cameron Falconar
Review by theatre critic, Debra Hall who attended the world première of Murder in the Dark at Derby Theatre UK on 15 Jan 2024 – 7.30pm
After bashing the car into a dry-stone wall, the somewhat hungover and unhinged, Danny Sierra, his young partner, Sarah and his long time estranged family members are forced to seek refuge in Mrs Bateman’s old farmhouse dwelling on a wintry night. Creepy and strange happenings occur and there is high tension between this group that have been thrown together. They cannot escape the bolt hole they find themselves in, because nothing is quite as it appears to be.
Danny is an immodest individual and had managed to escape the confines of family and responsibility for many years, so here he is forced to face his brother, his ex and his son in close quarters. The setting is traditional, however this is a modern take on a popular play theme, the references are colloquial and the dialogue a little cheesy but this is intentional because this is dark comedy.
On one hand if you happen to have a keen eye for solving plots then the unexpected may turn out to be as expected and somewhat unsurprising. However readers, know this much, there is more that is mysterious here than there is that is straightforward. After all, this is a ghost story rather than a murder mystery and one that is well procured for its audience and has many theatrical elements.
A great theatre production that does not disappoint. The actor's performances are exacting with each cast member being refined in their roles.
Cast
Tom Chambers (Danny Sierra)
Susie Blake (Mrs Blakemore)
Laura White (Sarah)
Owen Oakeshott (William)
Rebecca Charles (Rebecca)
Jonny Green (Jake)
ensemble and understudy members Sasha Brooks and Cameron Falconar
Review by theatre critic, Debra Hall who attended the world première of Murder in the Dark at Derby Theatre UK on 15 Jan 2024 – 7.30pm
Derby Theatre press information TWELVE ANGRY MEN and MURDER IN THE DARK (09 Jan 2024)
Original Theatre Company production programme (2024)
Online
Derby Theatre
https://derbytheatre.co.uk/event/murder-in-the-dark/
Original Theatre Company
https://originaltheatre.com/productions/murder-in-the-dark
YouTube Original Theatre Company https://www.youtube.com/watch?v=5EJu7GmAfi4&t=60s
CINDERELLA A DERBY THEATRE PRODUCTION 2023
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Áine O’Neill-Mason as Gab (Cinderella) and Jason Yeboa (Micah)
| at Derby Theatre 2023 Photography Graeme Braidwood |
Annie Siddons' quality writing has provided a solid foundation for this excellent show. She has taken the bare bones of the original theme/characters and created a completely new version of Cinderella. The production team at Derby Theatre has made some excellent decisions and this is demonstrated in the direction, staging and set design, but mostly in the casting of Áine O’Neill-Mason as Gab (Cinderella) along with seven impressive and versatile professional actors/musicians and also a group of young performers that make up the ensemble.
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Pictured left to right Roxana Bartle, Áine O’Neill-Mason, Nicholas Shaw, |
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Jason Yeboa , Purvi Parmar, Actor and Musician - Nicholas Shaw and |
The inclusion of the North Derbyshire's regional dialogue and references really resonated and this Cinderella has elements of magic and enchantment that young children will welcome and look for in the storytelling, however there is no Disney signature in this play.
Eventually, the mystical elements aids the coming together of the fiesty protanganist Gab and the young railway industrialist, Micah, but also adds to misunderstanding and confusion along the way, all of which allows scope for comedy to befall. The play's content and conclusion will please an audience consisting of persons of school age to old age any day of the week.
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Purvi Parmar (Dorcus) |
What a surprise this new version of the Cinderella story is! This publication joins the full set of positive reviews of the Christmas play Cinderella at Derby Theatre until December 31st 2023.
Review by theatre critic, Debra Hall who attended the matinee performance of Cinderella at Derby Theatre on 13 December 2023 - 2.30pm
References
Braidwood, G.
Derby Theatre Cinderella at Derby Theatre - a striking new version by Annie Siddons press release 13 Nov 2023
Derby Theatre website
Siddons, A https://www.anniesiddons.co.uk/about/
01 December 2023
made at cuRVE PRODUCTION OF EVITA - STAGE REVIEW
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Martha Kirby (Eva Perón )
Evita at The Curve Theatre, Leicester
Photograph by Marc Brenner
⭐⭐⭐⭐⭐
This Made at Curve production of Tim Rice and Andrew Lloyd Webber’s Evita is directed by the Curve’s Artistic Director, Nikolai Foster and is simply too good to miss; runs until 13 January 2024.
Che (Tyrone Huntley) is the narrator. Huntley is an extremely talented performer who delivers the whole of the narration in song.
Back in time and the story tracks the young teenager, Evita, then Eva Duarte, played by Martha Kirby who possesses a strong vocal range and whose wardrobe is sleek and elegant, as is her hair, so much to admire about Kirby in the lead role.
Evita shrugs off the stigma attached to her impoverished beginnings. The story centres on her motivation to fufill dreams of becoming an actress. She begins by running away from her village for a new life in Buenos Aires with her singer boyfriend, Magaldi (Dan Partridge).
Evita secures acting roles, she and Magaldi are history and as the story goes she's somewhat promiscuous at this time. She embraces the growing attention that comes her way and when she achieves more renowed success as a radio actress her public profile is raised. Evita is photographed and followed everywhere, though she is not liked by everyone. Multimedia techniques are used to project large scale close ups of live camera filming that allows an intimate portrayal of Kirby in character.
Life takes a twist however, when Evita meets Colonel Juan Perón (Gary Milner) and Milner is ideally cast for the role. Evita has her eye on her man and sends his mistress packing. Chumisa Dornford-May, having trained in Musical Theatre, is pitch perfect when she sings Another Suitcase in Another Hall with such heart, having lost out to Evita she is left wondering what happens next in her life.
The line in the repeated feature song Don't Cry for me Argentina suggests that Evita couldn't stay all her life down at heel and that was enough to drive her, despite, it seems, hurting people on her way up.
Subsequently, the soldier (Perón) and the actress (Evita) marry and she is supportive in her husband's election candidacy as promised. Perón takes up the presidency, while Evita proves to be more popular with the people than he. Socially they benefitted under their governance, Evita constantly visible and hard working, tirelessly rallying for support, though dissidents who asked questions or delved too deep were silenced so there was a dark side to their union.
Evita dies young and at her peak from a terminal illness which she chose to hide for as long as was possible. A powerful women in Latin America, Argentina was a country devasted by her loss. The somberity of the closing scene is spellbinding as the stage light softens to a golden glow.
%20and%20Gary%20Milner%20(Juan%20Per%C3%B3n)%20-%20Photography%20by%20Marc%20Brenner.jpg)
Gary Milner (Juan Perón) and Martha Kirby (Eva Perón )
Evita at The Curve Theatre, Leicester
Photograph by Marc Brenner
%20and%20the%20cast%20of%20Evita%20-%20Photography%20by%20Marc%20Brenner%20(1).jpg)
Tyrone Huntley (Che) and the cast of Evita
at The Curve Theatre, Leicester
Photograph by Marc Brenner
Production is dedicated to the memory of The Curve Theatre's casting director, Kay Magson 13 January, 1962 - 7 September 2023-
Review by theatre critic Debra Hall who attended press night at The Curve Theatre, Leicester, on 01 December 2023 7.00 pm
Curve Theatre
FULL CAST ANNOUNCED FOR EVITA
Curve Theatre printed programme
Lloyd-Webber, A. Instagram (2023)
STAGE REVIEW TONY! (THE TONY BLAIR ROCK OPERA)
from TONY! (The Tony Blair Rock Opera)
Photograph by Mark Senior
Beyond the wild characterisations, the daft comedy; the dressing up and the one-liners - in other words Harry Hill's signature comedy style that we know and most of us love; there is incredible intellect and self confidence in his writing and in Peter Rowe's theatrical direction.
This is however, a musical comedy, with live music on stage performed by musical director: Oli Jackson (keyboard) and muscians David Guy (guitar/bass) and Harry Bent (drums). The tunes, composed by Steve Brown, provide an operatic timbre at times; high tempo and dynamic, and with Brown's clever lyrics that complements Hill's comedy flavour. This work, for comparison's sake, has a Joe DiPietro ring to it but without the Americanisms, the humour is truly British.
Scenes are fast paced with some delightful all-round performances by the cast in terms of linguistic, musical and visual display. Ex-prime minister, Tony (Blair) is satirically portrayed, as are public and political figures we attach to Blair's backstory and his time in office. Under the cover of music and entertainment all of characters are extreme versions of themselves in real life as satire goes.
Blair's persona is mimicked so convincingly by actor, Jack Whittle displaying a toothy smile and an unblinking stare. There is a growing foreboding in the characterisation however because we know how it goes. The young, Tony is a dreamer for doing something great, summed up in the song 'I'm Gonna be Somebody'. Hill and Brown are playful with this well documented period when the stars aligned for Blair, when Labour were elected two times in succession before 2003, largely due to the party's charismatic leader.
More madcap and mayhem happens in Act 2 with some amusing, almost pantomime antics happening that relate to true world events of the early noughties. The songs Sex it Up and He's a Liar are clues as to how Hill and Brown, as dramatists, have imagined parliamentary matters, in particular regard to Blair's support for the US and the war on terror.
Deliberate is its anachronistic feel, this show is able to pull no punches in its core message. Joking aside, globally, people continue to live under the influences of egocentric leaders.
The thing is this play really makes you stop to really think about the man, Tony Blair, his actions and style of premiership and his legacy. This is a comedy but something really hits home; make no mistake about that.
The party political/power crazy system in our country had Blair's position as Labour party leader and prime minister go unchallenged because Gordon Brown was in waiting, so that clouded the matter! MPs and the members were either in the Brown camp or the Blair camp. At the time of the 2005 election opposition parties were in disarray, therefore, despite everything that had happened under his watch in terms of deceit, Blair managed to secure a third term in office.
This play serves as a word of caution about the importance of the mark one makes on a ballot paper in a general election, because whatever your political leanings are and whatever the reasoning is behind your vote remember:
'... if it is true that we get the leaders we deserve, then I fear that the very last laugh may be on all of us.' Peter Rowe (Director)
CAST
Tony Blair
Jack Whittle
Peter Mandelson
Howard Samuels
Cherie Blair
Tori Burgess
Gordon Brown
Phil Sealey
Neil Kinnock
Martin Johnston
John Prescott
Rosie Strobel
Robin Cook
Sally Cheng
Princess Diana
Emma Jay Thomas
**ENDS**
Review by theatre critic, Debra Hall who attended the press night performance of TONY! (The Tony Blair Rock Opera) on Tuesday 12 September 7:30 pm at Derby Theatre, Derby
References
Derby Theatre website https://derbytheatre.co.uk/
Derby Theatre Press notification (Sept 06)
Nicholson Green Productions/Park Theatre programme (2023)
Photograph Mark Senior08 September 2023
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| Pictured: Joseph Black as Landlord, Ida Regan as Lotty, and Saxophonist Marcus Joseph Photograph by Grant Archer |
4 Walls is a Derby Theatre Production as part of Derby CAN (Derby Creative Arts Network):
'... where organisations create theatre and live events in partnership with people who live in Derby and surrounding areas' Derby Theatre (2023)
A show that is obviously popular with those attached to the Hip Hop community of Derby City. The turn out was high to see writer Rukus Watson's first play 4 Walls; an exploration of the meaning of 'home'.
A show that is obviously popular with those attached to the Hip Hop community of Derby City. The turn out was high to see writer Rukus Watson's first play 4 Walls; an exploration of the meaning of 'home'.
4 Walls presents the narratives of individuals from families, friends and neighbours who share common ground in Derby.
There are dramatic scenes, drama that depicts death and violence, but there are light moments too especially in the Act I, and some storytelling is thought provoking.
The winning content is the music and movement. This play has great energy. Joseph Black as Landlord has a voice that is distinct in pitch and his delivery really drives the mood and emotional heart of this play. Black's warmth and informality resonated with the audience, who responded to his invitations to sing along to known songs, and, despite the stifling heat in the auditorium, people were in good spirits and hugely supportive.
The remaining six professional cast members including Timotei Cobeanu and Jerone March-Reid, show great versatility in their performances. The vocal harmonies led by the seriously soulful, Donna Briscoe Greene are special.
The beats play their part too and the community ensemble cast demonstrates an intuitiveness to the rhythm and to the Hip Hop format that complements the lead actors.
The stage set, video and projection work, sound and lighting is masterful.
A community arts project done good!
**ENDS**
Review by Theatre Critic, Debra Hall who attended the press night performance of 4 Walls on Friday 08 Sept 7.00 pmReferences
baby people https://www.babypeople.co.uk/
Derby Can https://derbytheatre.co.uk/about-us/what-we-do/project-derby-can/
Derby Theatre Press Release 4 WALLS (August 2023)
Derby Theatre website https://derbytheatre.co.uk/event/4-walls-2023/
Derby Theatre 4 Walls programme (2023)
STAGE REVIEW NOISES OFF
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| Actor Simon Coates as Frederick Fellowes playing Philip Brent in Noises Off At Birmingham Repertory Theatre |
'A professional production with an exceptional cast'
This is a period piece belonging to late, last century, a couple of decades or so before smart phones and minimalist living were a thing and when people were more inclined to eat sardines rather than avocados. This play is a classic, theatrical farce where all the many doors are utilised to allow players to make their entrances and exits at timely and untimely moments for comedy's sake.
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| The Cast of Noises Off which includes actor and TV personality and presenter, Matthew Kelly as Selsdon Mowbray (and as the burglar) Birmingham Repertory Theatre Aug/Sept 2023 |
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| Actors Daniel Rainford and Nikhita Lesler in Noises Off (2023) |
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| A scene from Act II of Noises Off Photograph by Pamela Raith |
Act II: and the real Noises Off cast continue to perform as members of the fictional theatre company including stage-hands of whom we have been introduced. It is during the tour, at a matinee performance (which we do not see) we learn more of the dysfunction, the personalities, the mix of dynamics and of the gossip and antics that goes on behind (and beyond) the dressing room of the members themselves.
Dramatic irony elements occur in this act as the Noises Off audience knows, to some degree, the action and lines of fictional play having seen their rehearsal of it in the first act. Therefore, some of this has stuck in the mind and so there is a consciousness of something familiar being played out 'at a distance' and out of sight during Act II. However, due to the clever switch of the set at the first interval break (from front view to back view), the performance of the characters' play, is playing second fiddle to the off stage/backstage shenanigans and this is the main focus of this act.
As expected, the whole thing comes crashing down! The timings are all out of kilter, props are not where they should be when and accidents occur. Lucy Robinson as Belinda (as Flavia) is working at improvising, others simply stand dumb struck and bewildered and Dotty appears to have given up the ghost with her character, Mrs Clackett (Liza Goddard).
Negative Comment
Despite the clever structure of this play and all the good work associated with all the fabulous elements of a farce to be enjoyed in this production, the script itself, in today's world, is unappealing and in Act I particularly is a little dull.
Positive Comment
Act II counterbalances any negativity felt after Act I, not in regard to the script as mentioned, but purely in terms of physical performances. The timings and tussles really work, as do the miming sequences. The mimes which convey pain, jealousy, anger and frustration in a backstage setting with a 'No Noise' ruling is incredible.
References
Birmingham Repertory Theatre - Press Release Noises Off (July 2023)
Birmingham Repertory Theatre Noises Off production photography (Aug 2023)
Production Photography by Pamela Raith
The Rep programme Noises Off (2023)
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| Actors Lisa Ambalavanar as Brooke Ashton (playing Vicki) and Dan Fredenburgh as Garry Lejeune (playing Roger) in Noises Off |
As expected, the whole thing comes crashing down! The timings are all out of kilter, props are not where they should be when and accidents occur. Lucy Robinson as Belinda (as Flavia) is working at improvising, others simply stand dumb struck and bewildered and Dotty appears to have given up the ghost with her character, Mrs Clackett (Liza Goddard).
Negative Comment
Despite the clever structure of this play and all the good work associated with all the fabulous elements of a farce to be enjoyed in this production, the script itself, in today's world, is unappealing and in Act I particularly is a little dull.
Positive Comment
Act II counterbalances any negativity felt after Act I, not in regard to the script as mentioned, but purely in terms of physical performances. The timings and tussles really work, as do the miming sequences. The mimes which convey pain, jealousy, anger and frustration in a backstage setting with a 'No Noise' ruling is incredible.
**ENDS**
Review by theatre critic, Debra Hall who attended press night of Noises Off at The Birmingham Repertory theatre, on Tuesday 29 August, 2023 at 7pm
References
Birmingham Repertory Theatre - Press Release Noises Off (July 2023)
Birmingham Repertory Theatre Noises Off production photography (Aug 2023)
Production Photography by Pamela Raith
The Rep programme Noises Off (2023)
SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM - CHATSWORTH PLAYERS
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| Chatsworth Players perform A Midsummer Night's Dream by William Shakespeare pictured are members of the cast A Summer 2023 touring production |
⭐⭐⭐⭐⭐
Shakespeare's amusing tale of mix up and mayhem has been toured across open air venues of the North Peak District by Chatsworth Players this July. The reviewer attended the final date in Darley Dale where company members gave quality performances despite having to deal with cloud bursts of heavy rain and dampness underfoot.
Chris Rooke plays Oberon, King of the Fairies, he and G. Day as Hermia, are transfixing in their delivery of poetic speech.
The troope of actors from the playscript itself have country dialects and provide much of the comedy; with Stuart McLean being everything you'd want Bottom to be.
Most scenes take place within the forest, in Act 3, after the enchantment of Lysander (Will Cousins) and Demetrius (Tom Dawes) has occurred, they are both pursuing the confused Helena (Mia Luft) who is unaware of the reasons behind her new popularity. Hermia tussles with all three and is both hurt and offended in equal measures.
Some notable performances by the youngsters in the cast - wonderful! However, the talent of S. Day as Puck is the key performance. Day's body pose, balance and voice intonation is exceptional and he plays violin (in a fiddle style) like a dream! Turn up the volume of the insta video that appears at the foot of this review and listen out for it.
Costume and make-up is authentic, in fact, all the design elements work for its outdoor presentation with tech staff operating the light and sound from the back of a van.
This is not the first open air theatre tour by Chatsworth Players but it is their first production of a Shakespeare play. The company, which consists of a mix or its original core members and many who have joined along the way, are consistently presenting a varied mix of hugely entertaining stage shows, expertly led by director, Lindsay Jackson.
A Midsummer Night's Dream is so special and it is firmly rooted in the fantastical experience it provides. This comedy favourite feels earthy and ancient. The whole play is closely associated around the traditions we attach to folklore, but its exploration of people's sense of duty to their elders and the pains of young love and rejection is timelessly human.
Some notable performances by the youngsters in the cast - wonderful! However, the talent of S. Day as Puck is the key performance. Day's body pose, balance and voice intonation is exceptional and he plays violin (in a fiddle style) like a dream! Turn up the volume of the insta video that appears at the foot of this review and listen out for it.
Costume and make-up is authentic, in fact, all the design elements work for its outdoor presentation with tech staff operating the light and sound from the back of a van.
This is not the first open air theatre tour by Chatsworth Players but it is their first production of a Shakespeare play. The company, which consists of a mix or its original core members and many who have joined along the way, are consistently presenting a varied mix of hugely entertaining stage shows, expertly led by director, Lindsay Jackson.
A Midsummer Night's Dream is so special and it is firmly rooted in the fantastical experience it provides. This comedy favourite feels earthy and ancient. The whole play is closely associated around the traditions we attach to folklore, but its exploration of people's sense of duty to their elders and the pains of young love and rejection is timelessly human.
Theatre critic, Debra Hall, attended the performance as a press guest at The Whitworth Centre, Darley Dale, Derbyshire on Saturday 15 July 2023 at 7.00pm
STAGE REVIEW - I, DANIEL BLAKE
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| Actor, David Nellist is Daniel Blake (Dan) I, Daniel Blake Image: Pamela Raith Photography |
⭐⭐⭐⭐⭐
'This work does not necessarily serve to convince that the story of those portrayed in fiction reflects the real lives of people seen as vulnerable members of society, what it is effective and successful in doing is inviting the empathic engagement of its audience' Debra Hall, theatre critic
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| The cast of the stage version of I, Daniel Blake 2023 and features a projected image of the tweet by Conservative MP, Damien Green following the release of the 2016 film Image: Pamela Raith Photography |
The focus is particularly on the current cost-of-living crisis and what could be deemed the bias and complacency of Conservative politicians and decision makers in regard to jobs, health and social care. The unsympathetic detachment of handlers attached to implement the government led policies and systems is also highlighted, the kind of which we have all experienced, to some degree, even if its when channelling legislative queries through impersonal call centre operations.
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| Pictured is Briony Corrigan (Katie), Jodie Wild (Daisy) and David Nellist (Daniel/Dan) Image: Pamela Raith Photography |
The shared environment, the personal struggles, the hurt pride and the guarded responses of both Dan and Katie, and their interactions with each other, are the main threads of storyline action. For sure the performances of actors David Nellist (Daniel/Dan) and Briony Corrigan (Katie) are rivetingly intense.
Jodie Wild gives a naturalistic portrayal of the mature, beyond-her-years school girl, Daisy. Through the Daisy character, there is a window into the life of a what a poverty-stricken household looks like and how that impacts on a minor.
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| Pictured Kema Sikazwe as China From I, Daniel Blake Image: Pamela Raith Photography |
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| David Nellist (Daniel Blake) and Janine Leigh (Sheila) from the stage production I, Daniel Blake Image by Pamela Raith Photography |
One of Janine Leigh’s characters in the play is Sheila, Dan’s snipey and indifferent interviewer at the job centre; similarly, fellow ensemble cast member, Mickey Cochrane, also presents a ‘jobs-worth’ type in the earlier scene mentioned, when Dan first meets Katie: Act I.
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| Mickey Cochrane as Homeless Man from the play I, Daniel Blake image: Pamela Raith Photography |
Cochrane also portrays a hard-working, small business owner who, arguably, harbours prejudiced views. He also plays a homeless man, a non-verbal character huddled in a doorway when he first appears, until the moment when Dan spray paints his rights as a human and a citizen across public property. Cochrane owns the stage at this point, when he jumps to his feet, arms flaying in the air, and delivers the most incredible and rousing speech in support of Dan and the stand that he’d made; an incredible moment which prompted spontaneous applause.
To conclude:
the audience was unequivocally impressed by the production, clearly so, using the standing ovation at the play’s end as a measure. Nellist took a little time at curtain call to recover from the intensity of his performance.
As we filed out most of us were strangely subdued, some audience members still crying and upset, some overheard voicing their anger and frustration about the state of the country. This is without doubt a hugely important play and one that will always provoke strong emotional responses from its audience.
As we filed out most of us were strangely subdued, some audience members still crying and upset, some overheard voicing their anger and frustration about the state of the country. This is without doubt a hugely important play and one that will always provoke strong emotional responses from its audience.
**ENDS**
Review by theatre critic, Debra Hall who attended the press night showing I, Daniel Blake at The Birmingham Repertory Theatre on Wednesday 14 June at 7.45pm
References
Birmingham Repertory Theatre - Press Release and production photography I, Daniel Blake (June 2023)
Birmingham Repertory Theatre
Dave Johns
THE BEEKEEPER OF ALEPPO
Alfred Clay as Nuri and Roxy Faridany as AfriThe Beekeeper of Aleppo
'They might keep us, they might send us backAnd until they do, we wait'. The Beekeeper of Aleppo, 2023, stage production
⭐⭐⭐⭐The Beekeeper of Aleppo is a Nottingham Playhouse world premiering/touring production; a stage adaptation by Nesrin Alrefaai and Matthew Spangler, from the novel of the same title by author, Christy Lefteri. Directed by Miranda Cromwell.
Acknowledging that this stage production in association, is the reviewer's first exposure to the narrative attached to 'The Beekeeper...' , so sees this as a love story at its very heart, and one which tells of the near past, the present, and uncertain future for character, Nuri ( Alfred Clay) and wife, Afra (Roxy Faridany) living in their Syrian homeland, and their beyond displacement.
Roxy Faridany (Afri) Alfred Clay (Nuri) and Joseph Long (Mustafa)The Beekeeper of Aleppo
The couple's plight is backwards traced and ongoingly tracked. Therefore, scenes constantly switch from them living everyday lives before the war; their experiences of the cause and conflict in Syria and its effects there. The subsequent decison to escape from near certain death (for Nuri), and to follow their perilous journey across land, borders and sea(s) in an effort to join cousin, Mustafa (Joseph Long) in the UK.
This is an important, dramatic piece of work, the play's subject of exploration juxataposes with the cruel reality for many refugees and asylum seekers of the modern day. Topics include weapon deployment, the death and destruction of war, murderous acts, inhumanity and cruelty; life threatening danger; treacherous individuals and gangs; unscrupulous money makers. The storylines also highlight the legal constraints and the serious lack of empathy and support for people in such desperate circumstance.'For the majority of us who live life without conflict, tyranny and manipulation overshadowing our every day, we need a different perspective like this to remind us to be more mindful of the plight of others'. Debra Hall, 2019, Theatre Critic
It will move one to tears to watch this wonderful ensemble cast deliver a sensitive tale of hardship and endurance. The practitioners have applied techniques and the actor's practice have achieved much of what is difficult to convey, because what this play is doing is blurring the lines between reality and fiction, and as one watches - we acknowledge the truth of the matter, which begs the question: What is to be done?
**ENDS**
Review by theatre critic, Debra Hall, who attended The Belgrade Theatre on Wednesday 24 May at 7.30pm
References
ANRPR,The Belgrade Theatre The Beekeeper of Aleppo press release 25 April 2023
Hall, D, critic, A Thousand Splendid Suns Theatre review, Not Compulsory Blog. 09 May 2019
Alrefaai, N. A Crisis in Syria: From the Constitution to the Streets, LSE , April 2023.
The Beekeeper of Aleppo production images 25 April 2023
https://www.amazon.co.uk/www.google.com
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Alfred Clay as Nuri and Roxy Faridany as Afri The Beekeeper of Aleppo |
'They might keep us, they might send us back
And until they do, we wait'. The Beekeeper of Aleppo, 2023, stage production
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Roxy Faridany (Afri) Alfred Clay (Nuri) and Joseph Long (Mustafa) The Beekeeper of Aleppo |
'For the majority of us who live life without conflict, tyranny and manipulation overshadowing our every day, we need a different perspective like this to remind us to be more mindful of the plight of others'. Debra Hall, 2019, Theatre Critic
It will move one to tears to watch this wonderful ensemble cast deliver a sensitive tale of hardship and endurance. The practitioners have applied techniques and the actor's practice have achieved much of what is difficult to convey, because what this play is doing is blurring the lines between reality and fiction, and as one watches - we acknowledge the truth of the matter, which begs the question: What is to be done?
**ENDS**
Review by theatre critic, Debra Hall, who attended The Belgrade Theatre on Wednesday 24 May at 7.30pm
References
Hall, D, critic, A Thousand Splendid Suns Theatre review, Not Compulsory Blog. 09 May 2019
The Beekeeper of Aleppo production images 25 April 2023
https://www.amazon.co.uk/
www.google.com
STAGE REVIEW MOTHER GOOSE AT LEICESTER CURVE
Ian McKellen in Mother Goose
Tour 2022/23
Photograph by Manuel Harlan
⭐⭐⭐⭐⭐
Mother Goose
Written by Jonathan Harvey
Directed by Cal McCrystal
Main players Ian McKellen and John Bishop
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| Oscar Conlon-Morrey as Jack and Ian McKellern as Mother Goose Photograph by Manuel Harlan |
The Mother Goose show opened in Brighton early December 2022, and continues to tour until mid April 2023, following the older tradition of long running christmas pantomimes. The show feels fresh however; it feels like a party!
A variety of phrases in the script call for audience response, and so this is a wonderful conventional piece of the genre. This is no straight forward panto, there is much, much more, with various aspects of stage performance injecting delight and maintaining a happy mood throughout, and in relaxed and unfussy ways almost; a professional production.
We see a mix of animals, with hand puppets and props. Movement is energetic, flexible, and sometimes graceful: with modern day and classical dance moves to pop and showtime tunes, with all the cast performing together in specially choreographed styles. The poise of Genevieve Nicole and Anna-Jane Casey, duly noted.
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| Sharon Ballard (Encanta) and Karen Mavundukure (Malignia) Photograph by Manuel Harlan |
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Pictured is Adam Brown as King of Gooseland and Anna-Jane Casey as Cilla Quack Photograph by Manuel Harlan |
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| John Bishop in Mother Goose Photograph by Manuel Harlan |
Mother Goose is showing at Leicester's Curve Theatre until Sunday 19th. Check the website for future tour dates.
**ENDS**
References
Programme Mother Goose (2022)
Leicester Curve's Mother Goose Press Release e-mail 15 March 2023 with production photography
https://www.google.com/
February 23, 2023
THE WORLD PREMIERE OF THE WAY OLD FRIENDS DO - STAGE REVIEW
%20+%20James%20Bradshaw%20(Edward)%20%20-%20The%20Way%20Old%20Friends%20Do%20-%20credit%20Darren%20Bell.jpg) |
| Ian Hallard (Peter) and James Bradshaw (Edward) in The Way Old Friends Do Photograph by Darren Bell |
Written by Ian Hallard
Directed by Mark Gatiss
REVIEW:⭐⭐⭐⭐⭐
It is world premiere time, at Birmingham's Repertory theatre, UK, of The Way Old Friends Do - until Sat March 04 2023.
It is 2015, and ex-school friends, Peter and Edward, meet up at Peter's place after a long estrangement. Wine and memory sharing soon relaxes any tensions, and they find themselves reminicsing about Peter's passion and his nerdy obssession for ABBA. The reunion results in further meetings to build on the idea of them forming an ABBA tribute band with the two performing as drag artist versions of Abba's Agnetha and Frida.
Other characters are introduced as the couple's vision is made a reality. Peter's friend, Sally is the stage hand, and Jodie and Mrs Campbell are willing to cross-dress and perform as Bjorn and Benny. The initial intention being to be a one-off performance, however, an after show visit from, Christian. alters plans going forward and changes group dynamics.
%20sat%20down%20%20-%20The%20Way%20Old%20Friends%20Do%20-%20credit%20Darren%20Bell.jpg) |
| Andrew Horton is Christian in The Way Old Friends Do Photograph by Darren Bell |
Admirable, naturalistic performances by James Bradshaw, Donna Berlin and Andrew Horton playing Edward, Sally and Christian respectively, and it was hugely apparent that the audience adored Rose Shalloo as Jodie and Tariye Peterside as Mrs Campbell - two incredibly funny actors! As for Hallard, well he appears to transition from apologetic Peter to an emotionally unleashed, sparkly Agnetha, stomping around in full Abba insignia - a wonderful overall performance of a character created from his own imagination!
%20+%20Ian%20Hallard%20(Peter)%20hug%20%20-%20The%20Way%20Old%20Friends%20Do%20%20-%20credit%20Darren%20Bell.jpg) |
| Donna Belin (Sally) and Ian Hallard (Peter, as Agnetha) The Way Old Friends Do Photograph by Darren Bell |
‘Just write what you know’ is often the advice given to a writer stumped for ideas, and, of course, the artistic world in which both Ian Hallard and Mark Gatiss inhabit must give rise to ideas that form some pretty fabulous interpretations of all kinds of stuff that they know about already, or are exposed to through their creative lives and work experiences.
Hallard states that The Way Old Friends Do is not autobiographical, but it is a heartfelt nod to a long, understanding friendship (from boys to men), while equally celebrating Hallard’s fandom, held since childhood, for ABBA and their music. The play, in which Hallard performs as the key character, Peter, demonstrates his knowledge of the gay scene, and reveals his skills as a playwright. There is playfulness in his writing and a wicked sense of humour, resulting in a laugh out loud comedy.
The reviewer cannot recall being in the company of such a colourful audience before, and with director, Mr Gatiss seated among us on press night, it felt a very special night, one worthy of unleashing this rather cheekily rude, highly entertaining, stage play, to future world stages. The best of luck with it!
%20+%20Rose%20Shalloo%20(Jodie)%20+%20Sara%20Crowe%20(Mrs%20Campbell)%20+%20James%20Bradshaw%20(Edward)%20-%20The%20Way%20Old%20Friends%20Do%20-%20credit%20Darren%20Bell.jpg) |
| Production shot of The Way Old Frends Do Photograph by Darren Bell |
Note: the voices of Miriam Margolyes (Nan) and Paul O'Grady (Radio DJ) feature.
Review by theatre critic, Debra Hall (favourite Abba song The Name of the Game) who attended the press night performance of The Way Old Friends Do at Birmingham Repertory Theatre (The Rep) on Wednesday 22nd February, 2023 at 7.00pm
References
Birmingham Rep. Souvenir Brochure The Way Old Friends Do (2023)
Birmingham Rep The Way Old Friends Do Press Release e-mail 20th February 2023 with production photography
Birmingham Rep What's on The Way Old Friends Do https://www.birmingham-rep.co.uk/whats-on/the-way-old-friends-do-2/
https://www.google.com/
STAGE REVIEW WODEHOUSE IN WONDERLAND
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| Actor, Robert Daws, In Wodehouse in Wonderland Photograph by Pamela Raith |
⭐⭐⭐⭐⭐
It is not a Bertie Wooster narration, this one, but his creator’s life story. Actor, Robert Daws, in the role of author Pelham. G. Wodehouse (P.G. Wodehouse), tells of his life from his English schoolboy days, to living an exiled, sedate, later life in America.
Wodehouse’s (would be) biographer, he refers to as Mr Phillips (who we do not see) is conducting a series of interviews with the author in his Long Island home in the 1950s. Wodehouse’s responses are told in a set of monologues, layer-upon -layer, the stories of his life and career are entwined with Daws reading passages from his character's published works, and performing songs written by famous 20th-century American composers.
Writer, William Humble, opens up the idea that Wodehouse was not a serious thinker, but a happily married man and a lover of the characters he created. A man who was misunderstood by the efforts he made to please and to amuse his public. A man who carried sadness but chose to hide it, and a writer who was a winner, and a loser too, in regard to his use of the English language.
This is a period play based on Wodehouse’s own writing and what is recorded about him. One of the most fascinating things to learn, was the mentions of his working contemporaries, by whom, it seems, he was harshly judged at times.
There is still much love and adoration for the late author, a humorist and jokesmith, a knight of the British Empire; and for his Jeeves and Wooster fictional stories: a humorous light on the musings of a fictional, Edwardian middle class set up.
This one-man performance of William Humble’s play Wodehouse in Wonderland is so cleverly delivered and produced an entertaining evening of escapism. Thank you Robert Daws and team.
**ENDS**
Review by theatre critic, Debra Hall who attended the press night performance of Wodehouse in Wonderland at Derby Theatre, on Monday 13 Feb 2023 7.30pm
References:
Derby Theatre (2022) What's On
Twitter.com @GylesB1 https://twitter.com/GylesB1/status/1623806618184957952?s=20&t=fcgu6hF4O_soTVZMgTrNgg
www.google.com
STAGE REVIEW OF SHAKESPEARE'S MUCH ADO ABOUT NOTHING AT BIRMINGHAM REP 2022
%20in%20Much%20Ado%20About%20Nothing.%20Photo%20by%20Johan%20Persson..jpg) |
| Dan Parr as Don Pedro Photograph by Johan Persson |
This is a Sheffield Theatres and a Ramps on the Moon adaptation and one which involves a wider partnership and community, it is skillfully directed by Robert Hastie.
It is a long play, just short of three hours, as it includes a lengthy introduction by the cast which is an important pre requisite because of the information it conveys. The cast are a mix of deaf; neurodiverse; disabled and non- disabled performers. By the end of their introduction the audience is clear about who is who, and the format and detail of just how the stage activities and various roles will deliver this suprising, and unique version, of 'Much Ado...'
As a Shakespearean comedy, this play, of course, constitutes a degree of language complexity already, yet to incorporate British Sign Language (BSL), audio description and captioning and to give players extra tasks, in order to channel everything clearly, and to make the play totally accessible for all is no mean feat. The collaborative work involved here is admirable.
'Besotted young couple Claudio and Hero have fallen fast and are quickly engaged. Not everyone finds romance so straightforward – Benedick balks at the very thought of it and Beatrice agrees with him, on that if nothing else. But somewhere in this world, there’s someone for everyone, even if they’re right under your nose.' Ramps on the Moon (2022).
It is a long play, just short of three hours, as it includes a lengthy introduction by the cast which is an important pre requisite because of the information it conveys. The cast are a mix of deaf; neurodiverse; disabled and non- disabled performers. By the end of their introduction the audience is clear about who is who, and the format and detail of just how the stage activities and various roles will deliver this suprising, and unique version, of 'Much Ado...'
As a Shakespearean comedy, this play, of course, constitutes a degree of language complexity already, yet to incorporate British Sign Language (BSL), audio description and captioning and to give players extra tasks, in order to channel everything clearly, and to make the play totally accessible for all is no mean feat. The collaborative work involved here is admirable.
'Besotted young couple Claudio and Hero have fallen fast and are quickly engaged. Not everyone finds romance so straightforward – Benedick balks at the very thought of it and Beatrice agrees with him, on that if nothing else. But somewhere in this world, there’s someone for everyone, even if they’re right under your nose.' Ramps on the Moon (2022).
%20and%20Daneka%20Etchells%20(Beatrice)%20in%20Much%20Ado%20About%20Nothing.%20Photo%20by%20Johan%20Persson.%20(2).jpg) |
| Pictured Guy Rhys (Benedick) and Daneka Etchells (Beatrice) Photograph by Johan Persson |
%20in%20Much%20Ado%20About%20Nothing.%20Photo%20by%20Johan%20Persson..jpg) |
| Fatima Niemogha as Donna Joanna Photograph by Johan Persson |
Much of the comedy and comedic tension we can attach to the 'webs being weaved' and to the true-to-form characterisation of people involved in affairs of the heart and those who stir up trouble. All summounting to the misunderstanding and turmoil in Act IV and in Act V.
%20in%20Much%20Ado%20About%20Nothing.%20Photo%20by%20Johan%20Persson..jpg) |
| Kit Kenneth as Balthasar Photograph by Johan Persson |
The hands on action and the technical installations makes it a busy stage at times, but the musicianship and the purest of vocal clarity of Kit Kenneth (Balthasar) is an excuse to just focus and enjoy.
A talented cast, who communicate wonderfully, twinned with an inventive creative team, who, along with everybody else involved, have created a version of Shakespeare's Much Ado About Nothing that is a fine example of diverse involvement in theatrical production, and, whereas, this work can not be described as ground breaking anymore (because the pioneers in the field have paved the way already) this production however, has already achieved a wide reach and the tour will achieve it even more so.
Review by theatre critic, Debra Hall who attended The Birmingham Repertory Theatre on the press night of Wednesday 05 Oct at 7 pm
Resources
Production programme (2022)Sheffield Theatres and Ramps on the MoonOnline
Ramps on the Moon (2022) https://www.rampsonthemoon.co.uk/
STAGE REVIEW THE SHAWSHANK REDEMPTION
Joe Absolom as Andy Dufresne and Ben Onwukwe as Red in The Shawshank Redemption at Derby Theatre this September and touring
Image - Twitter.com (2022) @BehindTheArras
A memory play: an adaptation, based on Stephen King’s 1982 novella Rita Hayworth and The Shawshank Redemption, as was the feature film The Shawshank Redemption (1994).
The play opens with Red's narration in which he introduces himself, other prison inmates, and sets the scene of life inside 'Shawshank' (a maximum-security prison), in doing so he references everything in the past participle (he describes actions and events that have already happened) - the signature of a memory play.
It is however, Andy Dufresne’s story which dominates. Therefore, Red’s recollections of prison life soon gives way to the present tense upon the arrival of Dufresne. All the cruelties and alarming injustices bestowed upon Dufresne over the course of his incarceration unfold in this 2 hour 10 mins long stage play
It is a flawless script by Owen O’Neill and Dave Johns and it is followed to the tee. It is also evident that the play’s direction mirrors much in-scene content of the famous film in terms of structure, movement and styling. Which will be viewed as a win by many.
It is a compelling work of fiction, and there are strong and disturbing themes, plus a huge, plot twist, so it is not an easy piece.
One can appreciate that Joe Absolom has to be acting subtly, overall, in the portrayal of the mild-natured, educated and intelligent, Dufresne, and it is no mean feat to obtain a certain believability in the scenes his character falls victim to horrendous injustice and abuse.
A talented cast, and all players reveal the traits of the good and bad of their characters, portraying institutionalised men, regretful men, or plain evil men; impressive performances all round. Recommended!
At Derby Theatre until 17 September 2022 with a number of tour dates following
Review by Theatre Critic, Debra Hall who attended Derby Theatre on Tuesday 13 September at 7.30pm
References
Bill Kenwright Ltd (2022) https://www.kenwright.com/
Derby Theatre (2022) https://www.derbytheatre.co.uk/shawshank-redemption-0
Image - Twitter.com (2022) @BehindTheArras https://twitter.com/BehindTheArras
The play opens with Red's narration in which he introduces himself, other prison inmates, and sets the scene of life inside 'Shawshank' (a maximum-security prison), in doing so he references everything in the past participle (he describes actions and events that have already happened) - the signature of a memory play.
It is however, Andy Dufresne’s story which dominates. Therefore, Red’s recollections of prison life soon gives way to the present tense upon the arrival of Dufresne. All the cruelties and alarming injustices bestowed upon Dufresne over the course of his incarceration unfold in this 2 hour 10 mins long stage play
It is a flawless script by Owen O’Neill and Dave Johns and it is followed to the tee. It is also evident that the play’s direction mirrors much in-scene content of the famous film in terms of structure, movement and styling. Which will be viewed as a win by many.
It is a compelling work of fiction, and there are strong and disturbing themes, plus a huge, plot twist, so it is not an easy piece.
One can appreciate that Joe Absolom has to be acting subtly, overall, in the portrayal of the mild-natured, educated and intelligent, Dufresne, and it is no mean feat to obtain a certain believability in the scenes his character falls victim to horrendous injustice and abuse.
A talented cast, and all players reveal the traits of the good and bad of their characters, portraying institutionalised men, regretful men, or plain evil men; impressive performances all round. Recommended!
At Derby Theatre until 17 September 2022 with a number of tour dates following
**ENDS**
Review by Theatre Critic, Debra Hall who attended Derby Theatre on Tuesday 13 September at 7.30pm
References
Bill Kenwright Ltd (2022) https://www.kenwright.com/
Derby Theatre (2022) https://www.derbytheatre.co.uk/shawshank-redemption-0
Image - Twitter.com (2022) @BehindTheArras https://twitter.com/BehindTheArras
29 jULY 2022
STAGE REVIEW OF BUGSY MALONE, BIRMINGHAM UK 2022
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| Birmingham Repertory Theatre 2022, Bugsy Malone |
⭐⭐⭐⭐⭐
Bugsy Malone is a real delight, it is a Birmingham Repertory Theatre main stage event while the spotlight is on the city itself, as it plays host to The Commonwealth Games 2022. This fabulous feel-good show is vibrant and beautiful and mirrors Birmingham city’s vibrancy and candescence in the present moment.
The ’Bugsy’ formula, of course, stems from the gangster musical movie of 1976 written and directed by Alan Parker (1944-2020) and co-produced by David Puttnam. A quirky, unique and memorable movie because of Parker’s decision to cast children
as main players.
This stage version, directed by Sean Holmes so intuitively, has an ensemble adult cast who appear alongside a group of youngsters of tender age; all of whom show great talents as performers, with perfect timing, intonation, charisma and panache, all rather necessary attributes for a musical with American composer, Paul William’s wonderful score.
This play has the essential design elements which complement the script. It is like a moving storyboard; like a live comic book almost:
It's the ‘roaring twenties’ in a neighbourhood in downtown New Jersey, with feuding gangster gangs up to no good. Fat Sam (Albie Snelson) heads one side; Dandy Dan (Desmond Cole) heads the other.
Albie Snelson in
Bugsy Malone (stage)
Photograph by Johan Persson
Desmond Cole and Georgia Pemberton
Bugsy Malone (stage)
photograph by Johan Persson
As gang member(s) from either side falls foul, the scenes are closed with a flash from a reporter’s camera, with every dead man rising and signing off with defeated exclamation 'Oh Man! Before exiting the stage.
There is no gun fire and fake blood however, in this show it is all cream splatters, pies, and lollipops. Bugsy Malone (Gabriel Payne) frequently visits the Speakeasy bar, he meets Blousey (Mia Lakha) who is a wannabe singer looking for work. Blousey dreams of Hollywood and in Bugsy’s effort to earn a few bucks and help fulfil her wishes, he gets caught up in doing a couple of jobs for Fat Sam.
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%20&%20Georgia%20Pemberton%20by%20Johan%20Perrson.jpg)
,%20Gabriel%20Payne%20(Bugsy)%20by%20Johan%20Persson.jpg) |
| Young actors Gabriel Payne and Mia Lakha Bugsy Malone (stage) photograph by Johan Persson |
The music is live, and four musicians play the original songs from William’s movie soundtrack using a doubling of tripling of music instruments synonymous to the jazz sound, additionally Gavin Hibberd and Dan Boardman are a brass playing duo. All six play under the expert direction of Connagh Tonkinson (on piano). All songs and the musical performance has the jazz quality and reverberation spot on. The highlights include the music and dance performance of the songs Bad Guys and So You Wanna Be A Boxer which involve more of the ensemble, and noteworthy solo performances of Tomorrow by Fizzy (Aidan Oti) and Lakha’s stunning Ordinary Fool. Also, the wonderful choreography, 1920’s costume, and Art Deco settings that really make this play zing with energy and razzmatazz.
 |
| Performance of Bad Guys Bugsy Malone (STAGE) Photograph by Johan Persson |
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| Pictured Aidan Oti in Bugsy Malone (stage) Photograph by Johan Persson |
This show has wide appeal, and it runs at The Rep for the duration and beyond the length of the Commonwealth Games 2022 - in Birmingham until August 14th.
Review by Theatre Critic, Debra Hall who attended the press night performance of Bugsy Malone on Friday 29 July 2022 at 19.00 hrs
**ENDS**
References
A Birmingham Rep production programme (2022) Bugsy Malone
Persson, J. production photography (2022) Bugsy Malone
Online
https://www.google.com/
https://www.youtube.com
STAGE REVIEW HOME GIRL AT DERBY THEATRE
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| CAST MEMBERS OF HOME GIRL play at Derby Theatre Summer 2022 |
Stage Review of HOME GIRL
‘Much positivity in the room on press night’ Debra Hall theatre critic.
There are many individuals and groups that are represented in this wonderful celebration of community and collaboration, with the arts funded Future Creatives young performers project sitting at the heart of it all. A project in which:
'...each young person is being mentored by a professional who works and specialises in each area’.
Therefore, all agents involved albeit professionals, creatives; technical staff; care-experienced young people and young theatremakers, have worked proudly and supportively together to bring Alex Wheatle’s story, Home Girl, to stage.
Naomi, a teenage girl in the care system, meets with her social worker, Louise, who assigns her to temporary foster care. Naomi settles in with the Golding family quite nicely. Mrs Golding recognises Naomi’s natural talent for dance and signs her up to dance classes. Therefore, Naomi’s placement appears to be successful, until a visitor to the Golding household casts doubt on the situation.
Naomi’s loneliness and insecurities are revealed throughout, and a Meercat softie acts as her comforter. The Meercat is dually represented, a cast member appears alongside in these scenes.
The narrative is designed to be light in mood, and so the difficult scenes are only momentarily sombre. The tragic elements are told by memory recall, or are relayed by characters after an ‘event’ has taken place. Comedy seems to take precedence; however, it does feel wrong to laugh sometimes.
Music and dance are the real fun elements, and modern day moves and grooves are set to disco music of the 70s.
When the summary of Naomi’s story to date is recognised and her optimism for a bright future is conveyed at the play's end, it was obvious that the emotions of some members of the ensemble cast were visibly stirred. After all, Home Girl was due to be performed at Derby Theatre during summer 2021, but had to be cancelled, so acknowledging that all concerned must be thrilled to see it finally happen. A high percentage of the audience too, were openly demonstrating just how invested they are in Home Girl.
08 July, 2022 at 19.00 hrs.
This review of Home Girl by Theatre Critic, Debra Hall, who attended the press (and the first of two) performances at Derby Theatre
Alex Wheatle (writer)
Nathan Powell and Sarah ‘Rain’ Kolawole (stage adaptors)
Sarah Brigham and Bryn Holding (co-directors)
Kevin Jenkins (Set and Costume Designer)
Lucy James and Rukus (Sound Design and Composers)
Alexandra Stafford (Lighting Designer)
Natasha Cover (Assistant Director)
Lucy Wild (Movement Directors) plus the Future Creatives creative team.
Future Creatives
the Home Girl project is an initiative which offers a range of performance and hands-on opportunities for young people aged 14-25 to be involved in different stages of the creative and production process, including performance, set and costume design, lighting, production, marketing, film and photography. Future Creatives is part of Reimagine, one of 5 National pilot programmes, funded through Arts Council England and DMCS as part of the Youth Performance Partnership Fund.
Our Future Creatives young performers are: Paisley, Sharyna; Georgia Anderson; Tom Carlisle; Drew Green; Bry Griffths; Alex Etheridge; Zoe Fowkes; Ursule Jancenkovaite; Shannon John; Oliver Manley; Chloe Ridgers; Scarlett Robinson-Stanley and Riley Sheehan-Moore.
The Future Creatives working as part of the creative team are Anisa Archer (Writer); Nicole Chang (Costume Designer); Sam Evans (Lighting Designer); Jamie Hallett (Producer); Emma White (Set and Costume Designer) and Essa (Filmmaker).
References:
Derby Theatre Press release 22nd June 2022: Home Girl by Alex Wheatle MBE Produced in collaboration with care-experienced young people
Online:
Derby Theatre https://www.derbytheatre.co.uk/
Therefore, all agents involved albeit professionals, creatives; technical staff; care-experienced young people and young theatremakers, have worked proudly and supportively together to bring Alex Wheatle’s story, Home Girl, to stage.
Naomi, a teenage girl in the care system, meets with her social worker, Louise, who assigns her to temporary foster care. Naomi settles in with the Golding family quite nicely. Mrs Golding recognises Naomi’s natural talent for dance and signs her up to dance classes. Therefore, Naomi’s placement appears to be successful, until a visitor to the Golding household casts doubt on the situation.
Naomi’s loneliness and insecurities are revealed throughout, and a Meercat softie acts as her comforter. The Meercat is dually represented, a cast member appears alongside in these scenes.
The narrative is designed to be light in mood, and so the difficult scenes are only momentarily sombre. The tragic elements are told by memory recall, or are relayed by characters after an ‘event’ has taken place. Comedy seems to take precedence; however, it does feel wrong to laugh sometimes.
Music and dance are the real fun elements, and modern day moves and grooves are set to disco music of the 70s.
When the summary of Naomi’s story to date is recognised and her optimism for a bright future is conveyed at the play's end, it was obvious that the emotions of some members of the ensemble cast were visibly stirred. After all, Home Girl was due to be performed at Derby Theatre during summer 2021, but had to be cancelled, so acknowledging that all concerned must be thrilled to see it finally happen. A high percentage of the audience too, were openly demonstrating just how invested they are in Home Girl.
08 July, 2022 at 19.00 hrs.
This review of Home Girl by Theatre Critic, Debra Hall, who attended the press (and the first of two) performances at Derby Theatre
**ENDS**
Alex Wheatle (writer)
Nathan Powell and Sarah ‘Rain’ Kolawole (stage adaptors)
Sarah Brigham and Bryn Holding (co-directors)
Kevin Jenkins (Set and Costume Designer)
Lucy James and Rukus (Sound Design and Composers)
Alexandra Stafford (Lighting Designer)
Natasha Cover (Assistant Director)
Lucy Wild (Movement Directors) plus the Future Creatives creative team.
Future Creatives
the Home Girl project is an initiative which offers a range of performance and hands-on opportunities for young people aged 14-25 to be involved in different stages of the creative and production process, including performance, set and costume design, lighting, production, marketing, film and photography. Future Creatives is part of Reimagine, one of 5 National pilot programmes, funded through Arts Council England and DMCS as part of the Youth Performance Partnership Fund.
Our Future Creatives young performers are: Paisley, Sharyna; Georgia Anderson; Tom Carlisle; Drew Green; Bry Griffths; Alex Etheridge; Zoe Fowkes; Ursule Jancenkovaite; Shannon John; Oliver Manley; Chloe Ridgers; Scarlett Robinson-Stanley and Riley Sheehan-Moore.
The Future Creatives working as part of the creative team are Anisa Archer (Writer); Nicole Chang (Costume Designer); Sam Evans (Lighting Designer); Jamie Hallett (Producer); Emma White (Set and Costume Designer) and Essa (Filmmaker).
References:
Derby Theatre Press release 22nd June 2022: Home Girl by Alex Wheatle MBE Produced in collaboration with care-experienced young people
Online:
Derby Theatre https://www.derbytheatre.co.uk/
24 May 2022
Stage Review : Would You Bet Against Us?
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| Paul Hunter The writer and performer of Would You Bet Against Us? A Told by An Idiot production The Door at The Birmingham Repertory theatre May/June 2022 Photography by Manuel Harlan |
🏆🏆🏆🏆🏆
You do not have to be an Aston Villa supporter, or have interest in the game, to enjoy and appreciate Paul Hunter’s autobiographical stage play ‘Would you Bet Against Us?’ . Hunter is also the main player/actor in this delightful, humorous, (sometimes sombre), personal account of one man. A celebration of family and a shared love of football in equal measures.
Hunter, in a 'conversation with himself' online, acknowledges his acting strength comes from being ‘the short bloke from Birmingham’ (Facebook Watch, 2021.), this idea, rather than opting for a classical style delivery is his forte. My theatre buddy and I (the reviewer) always enjoy the comedy and physicality of Hunter’s performances. In this piece Hunter interweaves all of his honed skills, giving a personal recollection in regard to the lead up to ‘the Villa’s’ European Cup 1 – 0 win against Bayern Munich in 1982. This play also reveals the laughter and the pains attached to chasing an early desire to do drama and to be an actor.
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| KYLL THOMASCOLE (he/him), LORI HOPKINS (she/her), PAUL HUNTER (he/him) Writer, Director and Performer, HEATHER LAI (she/her) Would You Bet Against Us? A Told by an Idiot/Birmingham Rep production Photography by Manuel Harlan |
In his own mimicable style Hunter has great observational fun recalling publicised news attached to the run up to the cup event. This includes Hunter performing monologues as manager, Ron Saunders. He also details the shock departure of Saunders before the big match itself. In other words, performing alongside his supporting ensemble cast of three dynamic, young actors, he is able to celebrate the evocation of the game at what could be deemed a golden time in the club’s history when key players were Dennis Mortimer and Tony Morely. This is Hunter sharing his first-hand memories of his club in entertaining ways utilising a small, but beautifully made rod puppet and handmade props to help things along.
A play that is full of heart, energy and surprise!
Showing at The Birmingham Repertory Theatre until 04 June 2022.
CAST
PAUL HUNTER (he/him) Writer, Artistic Director and Performer
LORI HOPKINS (she/her)
HEATHER LAI (she/her)
KYLL THOMASCOLE (he/him)
DIRECTORS
MICHAEL VALE (he/him) Associate Director
URSULA MARTINEZ (she/her) Associate Director
RACHEL LEONARD (she/her) Puppetry Director
TECHNICAL CREW AND CREATIVES
SOPHIA CLIST (she/her) Set & Costume Designer
LUCY ADAMS (she/her) Lighting Designer
ESTHER KEHINDE AJAYI Sound Designer & Composer
ETTA MURFITT (she/her) Dance Choreographer
LYNDIE WRIGHT Puppet Designer and Maker
Stage Review by critic Debra Hall who attended the press night performance of 'Would You Bet Against Us? at The Door, The Birmingham Repertory Theatre on Monday 23 May 7.00 pm
REFERENCES
A Birmingham Rep and Told by an Idiot production (2022). ' Would you Bet Against Us?' Sheet Information.pdf file
Harlan, M. (2022) ' Would you Bet Against Us?' production photography
Hunter, P. (2021) 'Paul Hunter in Conversation With Himself'. Facebook https://www.facebook.com/watch/?v=1058105497997346
**ENDS**
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| The cast of four: The Three Musketeers Theatre Company Le Navet Bete |
Le Navet Bete’s take on the story of d’Artagnan and his wacky heroics as he travels to Paris to become a musketeer, is a whizzing through of the whole story, comically, and we thank them for it.
A talented, ensemble cast of just four performers: Dan Bianchi, Nick Bunt, Al Dunn and Matt Freeman.
Every so often theatreland gets a completely different retelling of a familiar narrative, through physical theatre, farcical comedy; slapstick, or whichever. Reviewer has critiqued some joyously funny and imaginative shows of this ilk, and others which have not quite managed to keep up the comedy momentum for the duration. This falls somewhere in the middle, and where the work is extremely well observed, with some really skillful physical antics and amusing moments, this is predominantly pantomime in reviewer's opinion. Highlights are:
1. the choreographed sword fight, where a quick switch of tabards the musketeers become their opponents at the same time [giggling now at the thought of it]; this scene is so cleverly executed, and, 2. There is much fun attached to the cardinal (who will never gets his angel wings). His lines are deliciously devilish!
This theatre company’s version of The Three Musketeers has only been in existence since 2019. Even so, it must be wonderful for the company to finally see their touring production getting ‘wind in its sails’ and having their ‘buckles swashed’ at last. Stage performances are happening across UK theatres throughout 2022. Writer and director is John Nicholson. The choreographer: Lea Anderson MBE. The set designer, Ti Green.
This theatre company’s version of The Three Musketeers has only been in existence since 2019. Even so, it must be wonderful for the company to finally see their touring production getting ‘wind in its sails’ and having their ‘buckles swashed’ at last. Stage performances are happening across UK theatres throughout 2022. Writer and director is John Nicholson. The choreographer: Lea Anderson MBE. The set designer, Ti Green.
**ENDS**
Review by theatre critic, Debra Hall who attended press night of The Three Musketeers at Derby Theatre, on 24 February 2022 at 7.30pm
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| Pictured: Jake Ferretti as Sherlock Holmes and Niall Ransome as Dr. Watson Photography by Pamela Raith |
⭐⭐⭐⭐
This is a farcical type stage adaptation of Sir Arthur Conan Doyle's famous Sherlock Holmes novel: The Hound of the Baskervilles, directed, on tour, by Tim Jackson. Original direction from Lotte Wakeham.
Holmes decides to investigate the mysterious death of Sir Charles Baskerville down in South West England. Dr Watson, along with the last remaining heir of the Baskerville Estate, canadian Sir Henry, go on ahead to Dartmoor - leaving Holmes in Baker Street (or so it seems). However, with rumours of a dark and fearsome creature running loose and howling on the moors at night, Holmes and Watson are challenged somewhat in protecting Sir Henry and in solving the case.
 |
| Pictured: Jake Ferretti, Niall Ransome and Serena Manteghi |
in The Hound of the Baskervilles
Photography by Pamela Raith
This production is wonderfully lively, and has many funny moments. An ensemble cast of just three talented actors who undertake swift costume changes; quick character switches; as well as move the staging and deftly utilise the props, in rapidly changing scenes.
The trio have incredible comic timing and energy, and develop an affinity with their audience in naturislistic ways. A tip of the deer-stalker hats to Jake Ferretti, Serena Manteghi and Niall Ransome.
All involved have had a cheeky, theatrical spree with this . A great team effort!
Note: 'Designer is David Woodhead, Lighting Designer is Derek Anderson, Sound Designer is Andy Graham, Costume Supervisor is Chrissy Maddison and Production Manager is Tammy Rose'.
All involved have had a cheeky, theatrical spree with this . A great team effort!
Note: 'Designer is David Woodhead, Lighting Designer is Derek Anderson, Sound Designer is Andy Graham, Costume Supervisor is Chrissy Maddison and Production Manager is Tammy Rose'.
The Hound of the Baskervilles is a touring production. Review is by theatre critic, Debra Hall who attended the press night on 08 February at The Belgrade Theatre, Coventry 7.30pm
**ENDS**
25 January 2022
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| Pictured: Dennis Skinner Image Source Derby Theatre |
⭐⭐⭐⭐⭐
There is a sensational mock-up of a miners' welfare club installed at Derby Theatre until February 5th to house the play called 'The Palace of Varieties'. Jen McGinley's set is a master construction the theatre's stage has been transformed beyond recognition. The walk to the entrance opens up to a fully functioning bar, seating, and bar games, and even has the resident DJ in the corner.
This Derby Theatre production is a focus on the life and times of the socialist MP, and ex-miner in fact, Dennis Skinner (played wonderfully by actor, Gareth Williams). The arrangement of the set doubles up to accommodate Skinner making his presence known, in sharp-witted and sometimes belligerent ways, while seated (and moving through) the House of Commons during the decades of being the elected member of Parliament for Bolsover, Derbyshire.
Playwright, Kevin Fegan, has struck the right note on the play’s theme of that ole British obsession with class, and the testy spirit of his central, real life character. The director and teams have taken up the mantle and run with the idea of juxtaposing the entertainment culture of a club for the workers, with the pure theatre within 'The House' which can often occur between opposing political parties. Skinner would react to the debating, prompting and cajoling his counterparts, often revelling in the reactions he could provoke, whether positive or negative, which earned him recognition as 'The Beast of Bolsover'. While on the other hand, it is not surprising that Skinner "is a man with a passion for Nature and a soul who loves to sing''. He loves to sing the kind of songs from the clubs.
A private man. A sensitive man at times, who had suffered sadness around his first family, and been witness to mining community hardships and to shocking pit related accidents.
Lisa Allen and Jack Brown play mutiple characters that give heart and humour to Skinner's biographical elements. They perform, along with Williams, a series of fast moving scenes and deliver cleverly contructed dialogue, with a-cappella interspersing. A fabulous show!
**ENDS**
Review by theatre critic, Debra Hall who attended the press night performance of The Palace of Varieties at Derby Theatre 7.30pm on Tuesday 25 January
Kent Okwesa as Tachia in THOUGH THIS BE MADNESS
a Mandala Theatre Company production
⭐⭐⭐
A stark and intense representation of the lives of disenfranchised and excluded young people. Portraying Tachia in particular, and his gradual assimilation in to the underbelly world of a London borough’s dark and dangerous society. Where, despite his resisting, he is in a state of being recruited and groomed by street gang members that are up to no good.
Tachia is a loner. His home life is erratic. He is falling under the radar. By day, he is registered to attend Mr Jones’ English classes, along with Mickey and Cass. Mainstream education has failed them, therefore, Mr Jones has his work cut out to handle the unruliness and to engage the trio in study. However, the plot and characters of Shakespeare’s Hamlet resonates with Tachia. He quotes poetic lines, and eloquently too, which reveals an intelligent young man hiding behind his sully behaviour.
The spoken word forms part of the script and when the players are mic’d up (whether it be in Mr Jones’ class, or narrated from the side-line), the message is powerful. As one expects the rapping poetry is hard hitting and aggressive. The language is not always clear or understood, but the protesting is full of emotion and energy.
The subject is heavy, and there is, of course, a dark tone. A repetitiveness of short scenes happens, and the repositioning of the blocks within an unmoving set, which, and the reviewer acknowledges, is a frequently used format in drama and improvisation etc., However, I think I speak for everyone in attendance last bight, that one scene in the classroom, when the thick air of intensity (present throughout) lifted momentarily, was a reprise that we all welcomed with every one of us omitting a chuckle out loud.
This production will be of interest and will bring about educational benefits for a specific kind of target audience of young, vulnerable/impressionable individuals, and will be a good fit as part of a community engagement involving young people (13+) in the raising of awareness of street crime and gang culture happening within deprived, urban areas.
For some who fall outside of the targeted demographic this will be less of an education and more a welcome exposure to creativity of high quality within the art of writing, poetry, and spoken-word performance - a genre which is becoming increasingly popular and taking its place on main stage more and more.
A Mandala Theatre Company Production
Writer Avaes Mohammad
DirectorYasmin Sidhwa
CastKent Okwesa as TachiaZak Wadley as Mickey/Gang Member 1Jason Adam as Mr Jones/Gang Member 2Yanexi Enriquez as Cass/Mother/Gang Member 3
Review by theatre critic, Debra Hall who attended the press night performance of Though This Be Madness at The Belgrade Theatre, Coventry (B2 stage) at 7.45pm on Wednesday 20 October 2021
**ENDS**
18 Sept. 2021REVIEW - Fashion Spies by Quick Duck Theatre
⭐⭐⭐
I have just spent a peculiar hour in the Piccolo tent at The Festival Garden in Coventry watching the ensemble cast of three perform the wacky, but highly imaginative Fashion Spies, written by Will Jackson of Quick Duck Theatre.
My press guest and I were guided to front row seats and handed props, and stickers which we were instructed to wear bearing the names 'Agent Pants' and 'Agent Fingers'. We were wondering, straightaway, how much 'just for fun' type participation was going to be called on us (and from other members of a small audience), inside the performance space on this Saturday afternoon.
The scene is set in the rural, Burnwell Upon Twynee, (the unlikeliest place to hold a major fashion event), and, unfortunately, some designer fashion pieces have gone missing. A spy operation are on the case. However, it is Emily (from the office), in her effort to prove her worth as a spy, who calls on members of the audience to help her with her mission. Our joint actions with the props were then incorporated in scenes at the direction of the characters.
It is rather complicated to tell anymore about the story.
The Cast of Fashion Spies
Image source: https://twitter.com/
However, I can discuss the concept and the viewing experience, and reveal that both are madcap and disjointed (and deliberately so in the case of the concept).
The energy and effort from the three performers is admirable. I liked the movement, but was disappointed that dance did not feature more. Problems from being seated along the front row meant that players were performing too close at times. I imagine that being seated in the third or fourth row from the stage, at least, may have provided a better experience in both an acoustic sense and a visual sense. We could have still taken part as others did.
Thankfully, no one was hauled on stage. It was an all round, group effort, between the players and the other audience members, which was very different, (like playing a game almost), and so was rather fun!
**ENDS**
Review by theatre critic, Debra Hall, who attended as a press guest the performance of Fashion Spies at The Assembly Festival Garden, Coventry at 5.40pm
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| Kent Okwesa as Tachia in THOUGH THIS BE MADNESS a Mandala Theatre Company production |
⭐⭐⭐
A stark and intense representation of the lives of disenfranchised and excluded young people. Portraying Tachia in particular, and his gradual assimilation in to the underbelly world of a London borough’s dark and dangerous society. Where, despite his resisting, he is in a state of being recruited and groomed by street gang members that are up to no good.Tachia is a loner. His home life is erratic. He is falling under the radar. By day, he is registered to attend Mr Jones’ English classes, along with Mickey and Cass. Mainstream education has failed them, therefore, Mr Jones has his work cut out to handle the unruliness and to engage the trio in study. However, the plot and characters of Shakespeare’s Hamlet resonates with Tachia. He quotes poetic lines, and eloquently too, which reveals an intelligent young man hiding behind his sully behaviour.
The spoken word forms part of the script and when the players are mic’d up (whether it be in Mr Jones’ class, or narrated from the side-line), the message is powerful. As one expects the rapping poetry is hard hitting and aggressive. The language is not always clear or understood, but the protesting is full of emotion and energy.
The subject is heavy, and there is, of course, a dark tone. A repetitiveness of short scenes happens, and the repositioning of the blocks within an unmoving set, which, and the reviewer acknowledges, is a frequently used format in drama and improvisation etc., However, I think I speak for everyone in attendance last bight, that one scene in the classroom, when the thick air of intensity (present throughout) lifted momentarily, was a reprise that we all welcomed with every one of us omitting a chuckle out loud.
This production will be of interest and will bring about educational benefits for a specific kind of target audience of young, vulnerable/impressionable individuals, and will be a good fit as part of a community engagement involving young people (13+) in the raising of awareness of street crime and gang culture happening within deprived, urban areas.
For some who fall outside of the targeted demographic this will be less of an education and more a welcome exposure to creativity of high quality within the art of writing, poetry, and spoken-word performance - a genre which is becoming increasingly popular and taking its place on main stage more and more.
A Mandala Theatre Company Production
Writer
Avaes Mohammad
Director
Yasmin Sidhwa
Cast
Kent Okwesa as Tachia
Zak Wadley as Mickey/Gang Member 1
Jason Adam as Mr Jones/Gang Member 2
Yanexi Enriquez as Cass/Mother/Gang Member 3
Review by theatre critic, Debra Hall who attended the press night performance of Though This Be Madness at The Belgrade Theatre, Coventry (B2 stage) at 7.45pm on Wednesday 20 October 2021
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| The Cast of Fashion Spies Image source: https://twitter.com/ |
11 SEPT 2021
STAGE REVIEW - EAST IS EAST
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| Sajit played by Noah Manzoor East is East (2021) Image by : Pamela Raith |
⭐⭐⭐⭐⭐
Introduction
It is twenty-five years since Tamasha, the Royal Court, and Birmingham Repertory Theatre premiered East is East at The Rep. This year, on its 25th anniversary, this National Theatre/The Rep production sees the play by Ayub Khan Din, back on stage at The Rep where it all started.
Once Khan Din’s creation, (based on his own life experiences), was unfettered in 1996, he went on to write the screenplay adaptation for the famous 1999 film, directed by Damien O'Donnell, bearing the same name.
East is East explores two main themes. The first is the trials and tribulations of being a first generation Pakistani immigrant to Britain. Secondly, the kind of challenges children of mixed race marriages faced living in working class communities during the 1970s.
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| George played by Tony Jayawardena East is East (2021) Image: by Pamela Raith |
Overview
Set in Salford, England in the early 1970s and George Khan struggles every day with his feelings of displacement from his homeland. In his mind, Pakistan has come to be a country where religion, business and family made more sense to him than modern day Britain.
Having migrated at the time of the India and Pakistan partition, his years living in England had seen marriage to Ella, resulting in six children (five boys and one girl) and the ownership of a fish and chip shop business.
Troubles over Kashmir are suddenly all over the news and George is particularly tense and short fused with his family.
Ella and the children have their gripes with George too. Ella is often forced to confront him about the impact of his culture and faith on the family and about his unfair expectations on them all; but she confides in (Auntie) Annie about her insecurities.
The children have their own issues, growing up with parents of different ethnicities the clashes of culture happen both in the home and on the outside of it. Everyone are spirited individuals trying to make their own way; beginning to pursue their own dreams. Though life appears overwhelming for the youngest child, Sajit, who hides from the chaos in the hood of his old parka coat.
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| Pictured : Amy-Leigh Hickman (Meenah), Gurjeet Singh (Tariq), Joeravar Sangha (Maneer) Adonis Jenieco (Saleem) |
Comment
This is a modern classic, a period piece now, with a linear narrative. It is a family story predominantly. The content flips between political seriousness and humorous people observations. There is light and shade to the tone of the piece, from the colloquial, the cheerful, and the cheeky one-liners, to scenes of frustration resulting in some physical ‘lashings out’ and one extraordinary moment of horrible violence a husband places on his wife.
The set includes the video projection of black and white photographic images of streets and shops in Northern England and signage relating to the content of the play, also some colour in Islamic designs. These appear on a number of installed screens of various sizes, designer: Bretta Gerecke. Some well sourced and manufactured (for purpose) props also feature strongly.
However, it is the language one attaches to this comedy drama that is its prize formula. The dialogue raises East is East to the popular heights it has achieved as a complete work. There were a few slips of the tongues on press night, but the players marshal the vocabulary (including the swearing) so well. They deliver the lines with energy, enthusiasm and heart. There are so many great lines in fact, and one might know them by heart already if they have watched the film a few times.
All performances are confrontational when they have to be; feeling when they have to be; and always engaging, so, congratulations to director, Iqbal Khan and teams, and well done to all members of the cast.
Cast
Amy-Leigh Hickman - Meenah Khan
Irvine Iqbal - Doctor/Mr Shah
Tony Jayawardena - George Khan
Adonis Jenieco - Saleem Khan
Rachel Lumberg - Auntie Annie
Noah Manzoor - Sajit Khan
Joeravar Sangha - Maneer Khan
Gurjeet Singh - Tariq Khan
Sophie Stanton - Ella Khan
Assad Zaman - Abdul Khan
**ENDS**
Review by theare critic, Debra Hall, who attended the press night performance of East is East at Birmingham Repertory Theatre 7.00pm on 10 Sept 2021.
References
Online:
Birmingham Repertory Theatre (2021) East is East https://www.birmingham-rep.co.
National Theatre (2021) East is East https://www.nationaltheatre.org.uk/shows/east-is-east
STAGE REVIEW – THE CAT AND THE CANARY
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| Britt Ekland (Mrs Pleasant) and Tracy Shaw (Annabel West) in the touring production of The Cat and The Canary 2021: Image source: https://www.derbytheatre.co.uk/cat-and-canary |
Comment: ‘Theatrics aplenty – great fun!’
This is a comedy thriller in a mansion house setting - South West England; between the wars.
It is twenty years (to the day) after the passing of the wealthy eccentric, Mr West. At the invitation of West’s lawyer, Mr Crosby (Eric Carte), and his loyal, live-in housekeeper Mrs Pleasant (Britt Ekland); six of West’s descendants are summonsed to meet at the house on the moors - where the revealing of the beneficiary/beneficiaries of West’s wealth happens.
Characters include: Harry (Gary Webster); Susan (Marti Webb) and her niece, Cicily, (Nikki Patel); Charlie (Ben Nealon); Paul (Anthony Costa) and Annabel (Tracy Shaw). The latter being the only person who shares the surname, West with the late benefactor.
Dramatic irony does not feature in this thriller. There is nothing we (the audience) knows about, that characters themselves do not. However, we do know the reason why no one is allowed to leave the house this stormy night. It is a proper guessing game this one. It is not intensely thrilling, but it is fun!
The conclusion is more amusing, than startling. However, what is startling, are the sound effects; this show includes some extremely loud bangs.
The cast consists of many actor veterans of stage, TV, and film. This will not win any awards, but the there’s a degree of professionalism in the performance that is evident.
A good, all-round entertaining production.
Review by theatre critic, Debra Hall – who attended the press night of The Cat and The Canary on 08 Sept 2021, at Derby Theatre, Derby at 7.30 pm
References:
Hall, D. (2014) Review of : 'Black Coffee' tssreviews.com
ONLINE
Derby Theatre (2021) Cat and Canary https://www.derbytheatre.co.uk/cat-and-canary
Bill Kenwright Ltd. (2021) The Cat and the Canary https://www.kenwright.com/portfolio/the-cat-and-the-canary/
The Urban Collective (2021) Gary Webster - The Cat and the Canary https://www.urban-collective.co.uk/news/Gary_Webster_-_The_Cat_and_the_Canary/
Bill Kenwright Ltd. (2021) The Cat and the Canary https://www.kenwright.com/portfolio/the-cat-and-the-canary/
The Urban Collective (2021) Gary Webster - The Cat and the Canary https://www.urban-collective.co.uk/news/Gary_Webster_-_The_Cat_and_the_Canary/
01 August 2021
Heroes - The Play
by Gerald Sibleyras (original title 'Le Vent des Peupliers') 2003
Translated by Tom Stoppard 2005
This Production by Chatsworth Players Summer 2021 -
Directed by Lindsay Jackson
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| stage prop from HEROES by Chatsworth Players 2021 photograph Debra Hall |
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| Chris Pawley (Henri), Barrie Goodwin (Gustave), Tim Warburton (Philippe) photograph source: Chatsworth Players https://bit.ly/2WJnuAD |
REVIEW ⭐⭐⭐⭐⭐
This touring production of 'Heroes' is the Chatsworth Player's first open-air theatre production. A tentative dipping of the toes into the performance waters again, after Covid, and the lifting of restrictions.
Heroes has a cast of just three (a stone dog being the fourth protagonist), minimising the numbers of performers required for the company's first live production since the staging of A Christmas Carol, 2019 .
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'Heroes' - the play at The Whitworth Centre, Derbyshire Photograph: Debra Hall |
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The park grounds at the Whitworth Centre, Derbyshire Photograph by Debra Hall |
This is a comedy with so much heart. The three ole boys meet daily on the terrace of the retirement home for ex-soldiers. The pragmatic, Henri (Chris Pawley) includes (in his daily routine) a walk away from the home despite having a lame leg. Henri is...the realist.
Whereas, Gustave (Barrie Goodwin) is the rebel in the camp. He is the cutting one, the one with the controlling personality. He is the pessimist. Nevertheless, it is all a front really, because Gustave has lived the fullest life of the three. Yet his bravado is only on the face of things. Gustave is the biggest dreamer, but the most fearful.
As for Philippe (Tim Warburton) he is the peace keeper, he is the easy going one with a cheeky side, though, sadly, he lives with shrapnel embedded in his skull which causes him to have frequent black-outs.
Now picture the characteristics of these three residents and imagine them as young men fighting on the front-line, WWI. This is what the writing cleverly demonstrates. In our minds' eye we can almost match the three personalities and place them as youngsters caught up in terrible conflict. We can almost imagine the three lost souls living in hell almost, and how they, as individuals, coped or did not cope whichever the case. This play is simply a juxtaposition of these men in place and time, one side is presented and one imagined. If the lines weren't so amusing, it is enough to make you weep.
Of course, you go see a play like this and you're not expecting a scene bursting production, nevertheless the delicacy of this story is quite breathtaking. How best to tell a story about three WWI survivors, now veterans in a home in the late 1950s? Well, firstly, it's the award-winning script that is masterful playwriting Also, the no fuss direction and the pared down production, plus three players embodying the three characters wonderfully.
We see the men's mental and physical scars left over from army service. We see their passions as well as their anxieties laid bare, but, mostly, we see their dreams and expectations diminishing, all of it in ways that are sad but humorous at the same time - that's the clever bit. Lovely work!
**ENDS**
Review by Theatre Critic, Debra Hall who attended the performance of HEROES as a press guest on Saturday 31 August, at The Whitworth Centre, Derbyshire
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Saturday Evening at the Whitworth Centre Photograph by debra hall |
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The War Memorial at the Whitworth Centre Park and Grounds, Darley Dale. photograph by debra hall |
REFERENCES
The Chatsworth Players (2021) Printed Programme Heroes
ONLINE
Facebook.com Chatsworth Players https://www.facebook.com/chatsworthplayers/photos/a.324850547855787/1563312597342903/
If you’re free on Friday get yourself to this first outing of a rather special show by @ZooIndigo people @DerbyTheatre @IngoodcoEM #DepartureLounge21 ….. https://t.co/U7TYgtEB6S
— Maison Foo (@maisonfoo) July 12, 2021
16.07.2021
Having fulfilled the second of my In Good Company's Departure Lounge 2021 review's booking of the week, at Derby Theatre. It is time to reflect on Zoo Indigo's live show 'Don't Leave Me This Way', and how this fabulous little Anglo/German theatre company handle the subject of what they call 'britizenship'.
REVIEW ⭐⭐⭐⭐
When friends and family members haven't shared experiences and memories, collectively, things can get lost in translation and there can be a gulf between the generations. This is an exploration of being shaped by a displaced parent(s) on one hand, and an insight where certain factors pertaining to a country can attach itself to its citizens, often leaving them to face prejudiced behaviour or be open to pre-conceived attitudes.
National communities, who move to other countries, strive to gain settled status and achieve a sense of belonging. Our group of creatives in this instance, have made this hour-long entertaining show, which tells their own stories of coming to England from other European based roots, and how that has impacted on their lives. They do this spectacularly, by multi-media and multilingual means, plus performance skills including violin playing, movement and dance. The Eurovision Song Contest is a loose thread that runs through. 'Competition' is a main theme actually, as is 'cultural identity' and 'stigma'.
It is also a bit of a giggle, they haven't taken themselves too seriously. Goodness knows how the connections between satire, a song contest, and social discourse were made in order to entertain. However, they've achieved it wonderfully.
Another successful collaboration In Good Company. Well done!
**ENDS**
A captioned and sign language interpreted performance
Review by Theatre Critic, Debra Hall who attended the performance of Don't Leave Me This Way 16.07.2021 1pm at Derby Theatre.
15.07.2021
'A Good Neet Aht' is the first of two short reviews where I critique two live performances attached to Derby Theatre's Departure Lounge 2021 festival for contemporary theatre. This show, like the second live show tomorrow (Friday 16th July 2021), explores the feeling of belonging and equally not belonging in a place.
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| Staging of A Good Neet Aht Derby Theatre |
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| A Good Neet Aht by Phil Green |
Review ⭐⭐⭐⭐⭐
The northern England topics that writer and performer, Phil Green covers are plentiful. Through comedy and utilising multimedia the Wakefield born and raised, Green, delivers a series of autobiographical monologues with the help of black and white TV comedy clips, and camera projections to re-enact TV commercials advertising beer brands. Also, various props are used for mapping out scenes and as prompts etc., Green does a few wardrobe changes to imitate people in his story, including stand-up comedians from the old comedy clubs.
The 1968 Rugby League Cup Final is just one background filling storyline that Green choses to demonstrate details about his Yorkshire roots. What his performance does is the clever job of linking his personal memories involving family with all their amusing quirks, contextually, with the question his one man show explores, and that is: What is Northern?
This is a great little show, a little sweary, and a little bit rude but if you were a teenager in the 1970s, this show sends you right back there. Whatever your age however, you will find this show is very funny. Because if life and family; relationships, and social circumstantial overview that stereotypifies people is something you enjoy, then this will pull at the heartstrings. Green's more serious undertone, disguised under his razor sharp observations, is also relatable if you happen to have ever felt that burning desire, or the outright necessity, to breakaway from a place in order to grow.
Well written, expertly devised and performed by Phil Green.
**ENDS**
Phil Green now resides in The Midlands, in his main job he is a programme leader/lecturer BA (Hons) Theatre Arts at University of Derby
A Sign language interpreted performance (SLIP)
Review by Theatre Critic, Debra Hall who attended the performance of A Good Neet Aht 15.07.2021 12 noon.
05 March 2020
STAGE REVIEW - MACBETH
Pictured: Paul Tinto as Macbeth and Ewan Somers as Macduff
⭐⭐⭐⭐
There have been a good few oblique versions of Macbeth (aka The Scottish Play for superstitious reasons). These 'off the wall' versions have incorporated an array of different art forms and styling. Whereas this Queen’s Theatre Hornchurch and Derby Theatre co-production conforms very much to the traditional.
Intentionally, the director, Douglas Rintoul has worked to a devised system of presentation, geared for those studying Macbeth and being mindful to present its audience with a down-to-earth version. What you get here is a straightforward telling with nothing eccentric in regard to the theatrical devices deployed.
This decision however, means that the performances and the technical work involved, needs to ‘hit the floor running’ in order to be successful in sealing the deal when it comes to presenting those tense and tragic moments convincingly. Remembering too, that because of the complexities of the language (as beautiful and poetic as it is) can only partly attune us to those long monologues in some strange sense; making it a challenging undertaking, and not one for the faint hearted.
Therefore, though this production may not be total in its ability to enthrall; the result is a ‘classic’ Macbeth. It is one that educates; one which deftly delivers those complex lines entwined in naturalistic action and movement.
The battle, the fighting, and murderous acts are told in shadow play techniques. The stage lighting is set low during mournful moments, and in scenes with the three weird sisters (the Witches).
Pictured: Phoebe Sparrow as Lady Macbeth
The Witches, of course, are fabulous characters to have ever been imagined, however the character of Lady Macbeth is arguably, more vital. Played by Phoebe Sparrow who has acquired a nice balance of the passion and malevolent side of her character; with enough womanly resourcefulness and ultimate remorsefulness to nail her portrayal.
Pictured: Paul Tinto in the Queen's Theatre Hornchurch and Derby Theatre co-production of Macbeth (the Scottish Play)
Scottish Actor, Paul Tinto, has great voice, and is energetic and engaging in his acting as he takes us on his main character journey. From loyal, brave, and successful Macbeth, through his gradual transistion to tryranny - Tinto plays him with necessary attitude and defiance.
The ensemble are well sourced from a pool of professional and experienced acting talents from across the UK, playing the many key characters that structures Macbeth; and the minor characters who help to make it exceptional in and amongst all of the drama. This includes an amusing drunk, a nervy doctor, and three spell-binding sisters. Look out for the relative newcomer to the profession, Colette McNulty, she is definitely one to watch in the future.
There are no weak performances. Every player demonstrates a skill for memory and competent delivery of the dialogue and speech; and so, on that score alone, this is a fine example of Macbeth played in the purest of form.
CAST
Paul Tinto (Macbeth) – credits include: National Theatre of Scotland, BBC TV, Film (Sam Mendes)
Phoebe Sparrow (Lady Macbeth) – credits include: Queen’s Theatre Hornchurch, ITV, Film (Marc Price)
Adam Karim (Banquo) – credits include: Manchester Royal Exchange, BBC TV, Film
Ewan Somers (Macduff) – credits include: Belgrade Theatre Coventry/Glasgow Citizens Theatre, Sony/Starz/Leftbank TV
Tilda Wickham (Malcolm) – credits include: Hampstead Theatre, BBC TV and Radio
Members of the Ensemble
Rikki Chamberland (Angus/Porter/Fight Captain)
Martin Johnston (Duncan/Old Man/Doctor)
Connie Walker (First Witch/Lennox/Gentlewoman)
Danielle Kassarate (Lady MacDuff/Second Witch)
Colette McNulty (Third Witch/Donalbain/Murderer 2/Young Soldier)
Daniel Kendrick (Captain/Seyton)
David Nellist (Ross/Murderer 1)
Note: depending on the venue the characters of Fleance and Young Macduff are played by child performers.
Review by theatre critic Debra Hall who attended the press night performance of Macbeth at Derby Theatre on 04 March 2020 7.30pm
Production Photography by Mark Sepple
**ENDS**
STAGE REVIEW - A LITTLE SPACE
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| "The four walls of the apartment are unbearably claustrophobic for one, and another is literally screaming with anxiety!" words from Debra Hall's review of 'a little space' |
⭐⭐⭐⭐
Gecko and Mind The Gap have come together for a second association, this time to present ‘a little space’.
This is a devised piece drawn on the performers’ own experiences. The focus, it seems, is to do with what is gained and what is missing in the lives of individuals living in an apartment block when they connect and disconnect in different ways.
Some people come together for coffee or to share a meal in cramped conditions. A girl is needy for attention while her boy just wants to watch TV. The four walls of the apartment are unbearably claustrophobic for one, and another is literally screaming with anxiety!
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| "what is gained and what is missing in the lives of individuals living in an apartment block when they connect and disconnect in different ways" words from Debra Hall's review of 'a little space' |
This piece is open to interpretation and this brings about many interesting connotations. We consider what is enough for one may not be enough for another. Some may think eating alone is weird; others may relish the opportunity of a night in on their own. Some may feel they want to hide in a corner, another may simply be working at developing a positive relationship with his or herself.
It is not always clear as to what is happening, but we do sit and wonder if it is right to spend time following one’s own passions while a partner is feeling isolated.
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| "... wonder if it is right to spend time following one’s own passions while a partner is feeling isolated" words from Debra Hall's review of 'a little space' |
Many considerations come to mind when you are watching and the strong message coming through is that it can sometimes be difficult to come to terms with one's reality when stuck in seclusion.
Therefore, for around 60 minutes, we too became lost in thought while staring at a dark stage, with the small lights illuminating. It’s like driving in the dark. It is mesmerising, though about 10 minutes too long for the eyes to be so fixed.
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| "we too became lost in thought while staring at a dark stage, with the small lights illuminating" words from Debra Hall's review of 'a little space' |
The patterns of the dynamic dance movements, are repetitive, with outstretched arms being thrown upwards, outwards and then at angles with a wonderful twisting of the body in gracefulness. In these physical moves and in sensory ways the disconnect, the fears, the insecurities, and the unions/reunions of people in these tower block residences are portrayed.
The movement often follows the inhaling and exhaling of the breath which maintains a steady pacing. This quiet whispering breaks, on wild occasions, into fanatic chaos like that of a manic mind. The beat of the spatial music and grating noises, the echoing and the banging of water pipes, together with orchestral tunes form part of a sound design overall that is truly wonderful.
The five members of the cast are absolutely captivating. A beautifully crafted theatrical piece. Well done all!
Review by Theatre Critic Debra Hall who attended the press night showing of a little space at Derby Theatre on Thursday 27 Feb 7.30 pm
Photography by Tom Woollard
About the companies:
Gecko is ‘an award winning, internationally-acclaimed physical theatre company’. Gecko works across diverse age groups, nationalities and forms. The company tours nationally and internationally and continues to develop strong partnerships around the world.
Mind The Gap ‘is a company considered a beacon for learning disability arts and artists’ based in Bradford UK, its work includes award-winning touring productions, interactive workshops, and large scale outdoor spectacles.
**ENDS**
26 Feb 2020
Stage Review: The Strange Tale of Charlie Chaplin and Stan Laurel
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The Strange Tale of Charlie Chaplin and Stan Laurel A Told by and Idiot and Theatre Royal Plymouth co - Production |
⭐⭐⭐⭐
It was always a sure-fire certainty that Paul Hunter (Artistic Director at Told by an Idiot Theatre Company) was going to step up and compile something like this. His fascination with physical comedy, and his keen eye for detail is happily conveyed in this piece with extraordinary insightfulness.
This play tracks Charlie Chaplin as a young man (having obtained some fame as a music hall entertainer in England) embarking on a tour. The staging is used in clever ways to tell snippets of Charlie’s life leading up to this. Portraying certain hardships of his Victorian childhood, his early introduction to stage; the time of his actual physical birth in fact! As well the set is utlised to convey life onboard ship and to fast forward to moments in Charlie’s later life. Also to convey aspects of the working life of Arthur Stanley Jefferson (aka Stan Laurel). Because the main theme of the play is to do with Chaplin’s real-life association with Stan. Not a lot of people will know that both of these comedy geniuses were part of Fred Karno’s Comedy Troupe; before Chaplin became the king of silent film and Stan went on to form his comedy partnership with Ollie. What a piece of factual knowledge to design a work of theatre around!
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| Nick Haverson as Fred Karno |
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| Amalia Vitale as Charlie Chaplin |
The whole thing is mimed pretty much, speech is absent and the piano keys are played in a way that punctuates the action in all of those vital moments in which dialogue would usually deliver the explanation. Flash point and time-frame information is projected in phrases or a short sentence(s) onto a curtain front. Therefore, it is just like watching a silent movie in regard to format and styling – very clever! Paul Hunter’s signature and spirit is all over the direction. He is the master of quiet subtlety in physical comedy; in collaboration here with Joe Houben, this pair, alongside other creative talents, have arrived at something quite special.
A few small negatives: there are times where momentum is lost and the players seem to give a ‘break-a-leg’ effort in trying to maintain the high standard overall, and, in parts, the story telling is obviously making sense to the people involved; but is not always translating with clarity for those looking on. It could be a little shorter too, (runs for 90 minutes straight through).
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| Sara Alexander in a scene as Charlie's Mother (away from the piano) |
Nevertheless, the cast is four brilliant souls performing with great movement, timing, strength and energy. It must have taken hours upon hours to perfect with all the intentional haphazardness made to look unintentional. The funny walks, the ill-fitting clothes, the balancing acts, the facial contortions; all the pretence and the slapstick fun happen to the tune of music hall style songs arranged by Sophie Cotton, part of a music score composed by Zoe Rahman, and delivered live on piano, so adeptly, by the multi-talented Sara Alexander.
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Amalia Vitale as Charlie Chaplin and Jerone Marsh-Reid as Stan Laurel
Dance moves choreographed by Nuna Sandy
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Enjoy Nick Haverson playing all his characters with such great heart and personality. Admire the physical expression in Jerone Marsh-Reid's acting and ditto all of this in regard to the performance of Amalia Vitale as Charlie. Furthermore, it has to be said, that no stage actor comes to the reviewer's mind who has undertaken a stage role which encompasses a full set of all-round theatrical skills as masterfully as Amalia manages here.
Review by theatre critic, Debra Hall who attended the press night performance at Birmingham Repertory Theatre (The Studio), on Tuesday 25 February at 7.45pm
Photography by Manuel Harlan
**ENDS**
Stage Review - HOLES
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| James Backway as Stanley and Leona Allen as Zero in the Nottingham Playhouse Production of HOLES (photography by Manuel Harlan) |
⭐⭐⭐⭐⭐
It is hard to believe that over 20 years has passed since the first publication of this gritty, children’s novel (that adults enjoyed too). 2003 saw the release of the film (with such a memorable cast), adapted by the author of Holes himself, Louis Sachar.
Know that ‘Holes’ has become a school curricular text because its multi-layered story gives rise to the exploration of social injustices including racism and oppression.
This story is much more than an off-beat adventure set in the desert, and is one which translates to stage very nicely. This Adam Penford staging of Sachar’s own adaptation, is currently undertaking its first UK tour; and there’s something quite magical about it with many special theatrical touches.
In the direction, Penford hasn’t left one stone unturned (excuse the pun). He allows the storytelling to freely unfold. The performers respond naturistically in changing scenes that range from the slow-burn to the deeply dramatic. Where the unexplained is left hanging, and tension rises and falls.
Content includes the hard graft of doing unskilled work in scorching heat where water is rationed. There’s also idle chat, and a large degree of digging; grappling; pulling; pushing; pissing and bad behaviour. There are untrustworthy authoritarian types; and those with deep-rooted discriminations. The times when the "pot boils over" (as it often does); there are always consequences.
The play also includes a great deal of physicality, comedy and fun. The romance and spirit of communities is represented in music, song, dance and celebration.
The reviewer became lost in the experience, especially in Act II and was not aware of any cues or operational stuff happening so recommends this as thoroughly enjoyable watching.
Whether you are a young adult seeking a nostalgic evening’s entertainment; a teenager looking at attending an event; a teacher looking to link the study of Holes with a relateable out-of-classroom activity for pupils, or a theatre goer in general who enjoys an array of skills on show i.e great design (great lighting, great sets and props etc.,) I urge you to see this play if you can.
Review by theatre critic, Debra Hall who attended the press night showing of 'Holes' at The Belgrade Theatre, Coventy on 19 Feb 2020 7pm
29 January 2020
**ENDS**
Stage Review THE CROFT at DerbyTheatre
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| Caroline Harker as Suzanne and Lucy Doyle as Laura in The Croft - A stage play by The Original Theatre Company |
⭐⭐⭐
This is a new play, and a debut play for writer, Ali Milles.
The croft welcomes Laura back; back to what is her family-owned holiday home in the Scottish Highlands. This time she brings her partner, Suzanne with her for a get-away-from-it-all break; or so Laura thinks. On arrival, she immediately feels full-on enthusiastic to be there, while Suzanne has her reservations.
It’s an old dwelling place with history attached, and as the scenes play out, we get to know three other female inhabitants from long past and near present and through all points of view (first, second and third person).
A high level of foreshadowing in the theatrics are deployed., this twinned with a certain ambiguousness of action and dialogue, are all designed to engage audience curiosity.
Therefore, from the start it’s all a bit creepy, and one wonders immediately how far is this play going to properly spook. Therefore, it is intriguing, and remains intriguing until the end; this is the main positive about it.
As a screenplay this could work very well for a filmmaker, but as a stage play however, it is not a great fit. Despite all the theatrical related expertise attached to this - in the story building, the character building, the tension building - even with that level of intrigue withstanding throughout - it is a little repetitive and slow unfortunately, and the action in scenes irritates at times.
It seems that perhaps, Ali Milles had a number of ideas for a story and threw them all in the mix. The script includes: Cancer, Gay Love, Mental Health, tangled relationships; these are all subjects within. Then, on top of all of that, there’s an old witchy tale shadowing the present-day happenings.
Based on a true story; publicity states. Reviewer wonders where any truth could lie in this, and asks: Is one supposed to be empathic for some/or all characters? Are characters from the different timeframes connected? Are some characters evil, possessed, aggressive, narcissistic? Or should they be viewed as persecuted, misunderstood individuals? What is the emotional draw to the croft for the three women? Why is it none of them want to leave it?
Therefore, from the start it’s all a bit creepy, and one wonders immediately how far is this play going to properly spook. Therefore, it is intriguing, and remains intriguing until the end; this is the main positive about it.
As a screenplay this could work very well for a filmmaker, but as a stage play however, it is not a great fit. Despite all the theatrical related expertise attached to this - in the story building, the character building, the tension building - even with that level of intrigue withstanding throughout - it is a little repetitive and slow unfortunately, and the action in scenes irritates at times.
It seems that perhaps, Ali Milles had a number of ideas for a story and threw them all in the mix. The script includes: Cancer, Gay Love, Mental Health, tangled relationships; these are all subjects within. Then, on top of all of that, there’s an old witchy tale shadowing the present-day happenings.
Based on a true story; publicity states. Reviewer wonders where any truth could lie in this, and asks: Is one supposed to be empathic for some/or all characters? Are characters from the different timeframes connected? Are some characters evil, possessed, aggressive, narcissistic? Or should they be viewed as persecuted, misunderstood individuals? What is the emotional draw to the croft for the three women? Why is it none of them want to leave it?
It is all a bit vague and the storylines are not that sophisticated. This play can leave one with more questions than answers; but maybe that is the intention.
A professional cast of five. Reviewer names Caroline Harker (Suzanne/Ruth) and Drew Cain (David/Alec) for best performances.
The many props are deliberately placed, and their functions are well designed. And, if you do end up seeing this touring show in your city or town, you will witness that the designers and makers have done a fantastic job with the set design of the inside and roofspace of a renovated croft building (crofts are old agricultural buildings in Scotland, many have been converted into homes).
A professional cast of five. Reviewer names Caroline Harker (Suzanne/Ruth) and Drew Cain (David/Alec) for best performances.
The many props are deliberately placed, and their functions are well designed. And, if you do end up seeing this touring show in your city or town, you will witness that the designers and makers have done a fantastic job with the set design of the inside and roofspace of a renovated croft building (crofts are old agricultural buildings in Scotland, many have been converted into homes).
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| Pictured - Lucy Doyle playing Aileen and Gwen Taylor as Enid in The Croft |
It will be interesting to see how this play is both generally and critically received, and after this National Tour 2020 by The Original Theatre Company and the producers Stage One, to see if any others will be up for the challenges in taking The Croft to stage in the future.
Theatre critic Debra Hall attended the Press Night showing of The Croft at Derby Theatre (January 2020)
**ENDS**
22nd January 2020
Stage Review THE GIFT at The Belgrade Theatre, Coventry
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| Shannon Hayes as Sarah Davies and Donna Berlin as Aggie in The Gift - A co-production for stage by Eclipse Theatre and The Belgrade Theatre, Coventry |
⭐⭐⭐⭐
OVERVIEW
Fundamentally, before anything else, Janice Okoh has highlighted a fascinating truth, in the fact that Queen Victoria took under her wing an African child (Sarah/Sara) who went on to be raised in Royal circles.
A whole play’s worth of subject exploration as to how Sarah’s life might have been; with heaps of opportunity for Okoh to utilise her creative license; and this she most definitely does!
Okoh has written an amusing and enthralling tale with some surprises in regard to time, place, real people from history and made up characters.
There are confusing complexities to get one's head around, which includes a second, Sarah and two James’s. For spoiler reasons no further explanation is given in this review in that regard.
In scenes African backstories and connections are discussed over tea and cake in shared company with white individuals who struggle to identify; however well-meaning. Elements of Nigeria’s colonial past and class and cultural divides are revealed through distorted viewpoints, loose chatter and prejudiced mindsets.
CAST
Shannon Hayes is 'the' Sarah...Sarah Davies, and though Hayes’s speech does not appear to be powered much by the diaphragm she has an expressive face and shows excellent pacing. Enjoy too, the comedy Rebecca Charles brings to the party, as Harriet.
Three cast members known to the reviewer from previous stage performances are: Dave Fishley (Of Mice and Men), Richard Teverson (Handbagged) and Joanna Brookes (The Rise and Fall of Little Voice).
Therefore, it is not a bad back that Dave Fishley’s character suffers with in this play, but a broken arm and stitches on the forehead when he plays the second James. This James is a victim of a racist attack it seems. Fishley plays the two James characters, and both are interesting to get to know; though Fishley plays second James with such feeling and hurt pride it leaves one thinking.
Richard Teverson, once again, presents two very, believable characters, namely Reverend Venn and Ben, in this Eclipse Theatre and Belgrade Theatre co-production.
Joanna Brookes shows her versatility and the range of her talent, firstly as royal seeker/con-artist, Harriet Waller, and, after the interval break, a picture-perfect, Queen Victoria! A far cry from the daftness of character of Mari’s friend, Sadie (The Rise and Fall of Little Voice 2015).
On the subject of versatility, Donna Berlin’s performances is the pulse of this piece. As Aggie, the maid, she’s like a Victorian, Mrs Overall, and as the 'other' Sarah - we see a serious woman agonising over moral issues, while suppressing anger. An admirable performance!
CONCLUSION
Therefore, a strong cast indeed, working under the solid direction of Dawn Walton and designer input of Simon Kenny and the creative team, armed with a script which contains a sharpness in all it addresses and reveals under its witty surface. Mission accomplished by all involved.
In scenes African backstories and connections are discussed over tea and cake in shared company with white individuals who struggle to identify; however well-meaning. Elements of Nigeria’s colonial past and class and cultural divides are revealed through distorted viewpoints, loose chatter and prejudiced mindsets.
CAST
Shannon Hayes is 'the' Sarah...Sarah Davies, and though Hayes’s speech does not appear to be powered much by the diaphragm she has an expressive face and shows excellent pacing. Enjoy too, the comedy Rebecca Charles brings to the party, as Harriet.
Three cast members known to the reviewer from previous stage performances are: Dave Fishley (Of Mice and Men), Richard Teverson (Handbagged) and Joanna Brookes (The Rise and Fall of Little Voice).
Therefore, it is not a bad back that Dave Fishley’s character suffers with in this play, but a broken arm and stitches on the forehead when he plays the second James. This James is a victim of a racist attack it seems. Fishley plays the two James characters, and both are interesting to get to know; though Fishley plays second James with such feeling and hurt pride it leaves one thinking.
Richard Teverson, once again, presents two very, believable characters, namely Reverend Venn and Ben, in this Eclipse Theatre and Belgrade Theatre co-production.
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| Joanna Brookes (Queen Victoria) - photograph by Ellie Kurttz |
Joanna Brookes shows her versatility and the range of her talent, firstly as royal seeker/con-artist, Harriet Waller, and, after the interval break, a picture-perfect, Queen Victoria! A far cry from the daftness of character of Mari’s friend, Sadie (The Rise and Fall of Little Voice 2015).
On the subject of versatility, Donna Berlin’s performances is the pulse of this piece. As Aggie, the maid, she’s like a Victorian, Mrs Overall, and as the 'other' Sarah - we see a serious woman agonising over moral issues, while suppressing anger. An admirable performance!
CONCLUSION
Therefore, a strong cast indeed, working under the solid direction of Dawn Walton and designer input of Simon Kenny and the creative team, armed with a script which contains a sharpness in all it addresses and reveals under its witty surface. Mission accomplished by all involved.
Review by theatre critic, Debra Hall who attended the press night performance of The Gift at The Belgrade Theatre, Coventry (B2) on Tuesday 21 January at 7pm
**ENDS**
Christmas 2019
Stage Review - A Christmas Carol at Derby Theatre
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| pictured: Gareth Williams (Scrooge) and James McLean (The Ghost of Christmas present - ghost 2) |
⭐⭐⭐⭐
A Christmas Carol was published as a novella in 1843. This stage adaptation by Neil Duffield sees the storylines tightly clipped, therefore, has no long and drawn-out narration nor scenes that have endless dialogue.
This is one of two family shows this Christmas 2019 by Derby Theatre, and Oliver O’Shea clearly and intuitively has the enjoyment of young children in mind in his direction of this Dicken’s classic, and with members of the theatre’s Young Company performing alongside the professionals it is truly inspirational.
The ensemble cast, in their changing costumes, musically perform a number of traditional Christmas carols. These intermingle with the speech and brings about a special charm, providing the more captivating moments. Not all musical tone is super sweet and not all top notes are reached, however, nearing the end of Act I for example, when Scrooge (Gareth Williams) is in the skies with Ghost 2 (James McLean) looking down on the town while ‘Wassail Wassail’ is performed...well, the whole scene is quite breath-taking! In Act II a ‘Silent Night’ rendition is also outstanding.
The cast spearhead their way through. There are no gimmicks here; this is a production that is classily presented, as is the story, in traditional Christmassy ways.
Any audience, and any that might represent the widest demographic, should not go along expecting to see a production that is in any way imposing, but know what they will enjoy is a credible, straightforward, interpretation of this timeless tale.
At Derby Theatre until 4 January 2020
At Derby Theatre until 4 January 2020
Review by theatre critic, Debra Hall who attended the press night performance of A Christmas Carol at Derby Theatre on 03 December 2019
**ENDS**
Christmas 2019
Stage Review - WEST SIDE STORY at Curve Theatre, Leicester
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| West Side Story at Leicester Curve Theatre Christmas 2019 |
⭐⭐⭐⭐⭐
One of two Christmas shows made by Curve Theatre this year. West Side Story is another fine and fancy musical production directed by Nikolai Foster. Have you seen the TV advertisment?
It has to be said that the commitment is total in regard to the creative and technical input attached to bringing this story of conflict, one between two street fighting gangs, to stage.
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| Adriana Ivelisse (Maria) and Jamie Muscato (Tony) |
Additionally, the sub-plot, (in regard to the star-crossed lovers), means scenes contain dramatic undertones. The couple's talk may be romantic and wishful at times, but the atmosphere remains emotionally charged and that is the key to telling West Side Story authentically.
Yet it is the musical score itself, which really provides that certain feel. The accidentals utilise the reed instruments particularly, meaning the many sharps and flats work so intrinsically well to build tension. The brass and percussion unleash at times to deliver those expressive Latin numbers. Therefore, George Dyer and musicians, take a low bow from the top floor!
The dance numbers, from the mighty song list, are interpreted well - both rhythmically and feistily. All movement is energetic and dynamic in many ways; lots of running to... and lots of scampering away.
The fight scenes; a dramatic essential.
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| Gang members fighting - West Side Story - The Curve Theatre Leicester |
The set includes some moveable staging; a metal compound, a scrap metal tip and series of rooms over a bar that Michael Taylor and set builders have created so impressively. The all-white clothing strung on washing lines are props that subtly brightens the surroundings in the stagelight; and the bridal dresses provide an ethereal feeling hanging down from above, this contrasts nicely against the dark and dreary backdrop of the run-down neighbourhood of Upper West Side.
The cast are supported by members of the Curve's Young Company. However, all main players contribute equally in their vocal and dance related performances. All are very accomplished. There are no particular central performance(s), as there are in some shows, that overrides anothers - which is refreshing.
Out of all the light and shade it all, is a comic number called "Gee, Officer Krupke" , which takes place in front of the down curtain while changes were being made behind it. This one scene received the longest spontaneous applause at its end. Well done you guys!
Reviewer missed opening scenes, nonetheless saw enough on press night to gauge the show's wonderful merits and to confirm that this is complete in achieving audience satisfaction - one hundred per cent.
Note: running alongside West Side Story at the Curve is their production of Giraffes Can’t Dance for the young and young at heart.
Recommended!
Theatre critic, Debra Hall attended the Press Night performance of West Side Story at The Curve Theatre, Leicester on 28 November 2019
Photography by Ellie Kurttz
**ENDS**
06 November 2019
Stage Review MY BEAUTIFUL LAUNDRETTE
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| Jonny Fines and Omar Malik in My Beautiful Laundrette Photography by Ellie Kurttz |
⭐⭐⭐⭐
Until Saturday 9th November, it is the Birmingham Rep's turn to stage this new adaptation of Hanif Kureishi’s 1985 Oscar-nominated film, My Beautiful Laundrette.
This is a thought provoking play, a carefully crafted piece of work, stylised, and well thought out. It will leave you happy and sad in equal measures for the state of British society both then and now. Nikolai Foster superbly directs. The designing attached to the production is admirable.
Set in 1980's London, where a long-time established community is fast becoming more multicultural - in the city’s more deprived areas especially; so tensions are boiling.
However, this is very much a story from many viewpoints. The race divide is a main topic, and the writing candidly reveals an unwillingness from both the National Party supporters: the white males (the skinheads); and the money-making fascinations of the British Pakistani men to change behaviour and be less discriminatory to each other.
Young Omar’s philosophical and worn up Papa, from his day bed, blames the troubles in his corner of England on poor education. While Nassar and Salim choose to trade (sometimes unscrupulously), and run their businesses from poor quality set-ups in cheap areas. Where the fascist minded gangs snub them and stick together in doing so, with occasional aggressive outbursts spilling over.
The roles of the British Pakistani women - the wife, the mistress and Tania and their place in the home and in the wider society is very telling in this work.
Though it all sounds rather heavy, it is actually an uplifting tale about Omar. At the beginning he is a disenfranchised individual, a romantic sort. Johnny, though from the other side of the fence, is similar. Omar finds Johnny a muse. They fall in love. Together they manage to build and brand a respectful laundrette business.
This fine presentation of a particular 80s backdrop includes a soundtrack specially created for the show by Neil Tennant and Chris Lowe. The music of the duo, be it back catalogue Pet Shop Boys, or otherwise, twinned with the sound technology is essential to the all-encompassing, theatrical experience that this new production offers.
Reviewer cannot describe the writing any better than what has been said already… ‘a culture clash comedy is also a subversive work of social realism, sprinkled with magic and joy running through’.
Lastly, and though all members of the nine strong cast play a blinder, marvel in Balvinder Sopal – see her switch so convincingly from being a sometimes undermined wife and mother, Bilquis; to playing young, Moose wearing blue jeans and a woolly hat; sporting a cocky attitude and a suitable swagger. Loved her!
Review by theatre critic, Debra Hall who attended the press night performance of My Beautiful Laundrette at The Birmingham Rep on Tuesday 05 November 7.30 pm
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| Balvinder Sopal as Moose - Photography by Ellie Kurttz |
Stage Review Two Trains Running at Derby Theatre
⭐⭐⭐⭐
It is Pittsburgh, 1969. Memphis owns a run-down diner in an area undergoing regeneration and redevelopment. Many African Americans are falling foul, caught up in unsatisfactory town planning implementations that are leaving people in the neighbourhood short changed. Groups are protesting; there is huge social unrest. It is a gloomy outlook for Memphis and for waitress/cook, Risa, because the business is approaching the twilight zone. Wherever and whenever changes are afoot with injustices attached, there are people who come together in philosophising and debating the whys-and-wherefores from first-hand experiences or from agenda driven viewpoints; and this pretty much sums up what is happening here. Other stage plays have presented lamenting characters meeting up to reveal backstory information through: lengthy debate, up on a soap-box presentation, and other communicative ways, where the scriptwriting, arguably, sets them up better in being able to hold the interest, or fascination, of the audience than this manages. However, the reviewer acknowledges all the reasons why this receives critical acclaim. A history lesson and human story is interwoven in every line and is in no way contradictory. The speech work and the physical intonations from all members of a great cast of seven is impressive. The scene design, build and scenic art is fabulous to see, encompassing every worn-up detail from the patched-up brickwork above, to the dirty skirting boards below. This production achieves and reveals everything as pure intended, hence the four stars awarded.
There is no dodging from the fact however, that this play is far too long to sit through without eye lids drooping (2 hours 55 mins incl. interval). Dialogue is full-on and races along to such a degree the energy and meaning in the phrasing gets lost at times. We understand, and/or have empathy with individual characters, we get it thus far, we get the irony at the play’s end too. Therefore, go see it for its historical references and relevance, though bear in mind the points made here because the experience can be as much painful as it is pleasurable.
Cast: Memphis - Andrew French (credits include: ETT, RSC, NT. BBC Films and BBC TV)
Risa - Anita-Joy Uwajeh (credits incl: Shakespeare's Globe. Fox. Channel 4)
Wolf - Ray Emmet Brown (credits incl: Leed's Playhouse. Netflix and ITV) Holloway - Leon Herbert (credits incl: Belgrade Theatre, Coventry. Warner Bros.pictures, BBC TV West - Geoff Aymer (credits incl: (Leicester Curve, Soho Theatre. BBC TV. Writing & Sketch Shows Sterling - Michael Salami (credits incl: Soho Theatre. Warner Bros. Channel 4. Hambone - Derek Ezenagu (credits incl: Birmingham Rep. BBC TV. Channel 4 and Radio
Review by theatre critic, Debra Hall who attended press night of Two Trains Running at Derby Theatre on Tuesday 22 Oct 7.30 pm
**ENDS**
22 Oct 2019
STAGE REVIEW A Christmas Carol by The Chatsworth Players
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| Tim Warburton as Ebenezer Scrooge |
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| Members of the Cast of A Christmas Carol at Whitworth Centre, Darley Dale, Derbyshire |
⭐⭐⭐⭐
This week, this fabulous, little company – which is run straight out of Chatsworth House’s own theatre, has pushed out further and is touring their production of A Christmas Carol in Derbyshire venues.
Director, Lindsay Jackson, has chosen John Mortimer’s fine adaptation to perform, which allows for a complementary perspective on the old ghost story with a moral message; and a Christmastime favourite.
Members are of a wide demographic, a wonderful people fusion of stage performing enthusiasts. The reviewer attended the first date of the tour as a press guest. The stage (in the banqueting hall of The Whitworth Centre), being an enchanting setting on a dark, autumn's night.
Too soon, it is fair to say, to be sent all aglow with the thought of Christmas, but the Darley Dale location and the people involved provide a special authenticity and warmth of their own; also the first mince pies of the season!
Tim Warburton, as Ebenezer Scrooge, is the only Chatsworth player in a single character role. The rest, a full, ensemble cast have a continuous stage presence throughout.
The playscript allows characterisations to be cleverly simplified. There is no over explaining – it just works a treat! Warburton is a steadfast Scrooge. You will love him peeping over the bed clothes, and scenes where he is watchful and slightly twitchy.
The chained, Jacob Marley (Anthony Gill) and the three ghosts that visit Scrooge in turn, are synonymous with that which the great book presented; as are the Fezziwigs!
Many performers are long standing with the company and they always give their very best. The plodding, disjointed moments are few and far between, and tend to be more obvious when the singing is twinned with movement. The harmonies, however, are well rehearsed and are quite lovely.
Some overlapping of dialogue happens at times., yet nothing really unexpected happens, and, in this instance; this is meant as a compliment. Great job by the younger members who each have their shining moments.
The direction gives us a gentle disclosing of the familiar which is nicely cocooned. The experience for a returning reviewer, was again, atmospheric in an olde English sense.
October Dates and venues:
22 at Youlgrave Village Hall
23 at Bakewell Town Hall
24 at Tideswell Fountain Square Church
25 and 26 at Chatsworth House Theatre
Recommended!
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| Members of the Cast of A Christmas Carol at The Whitworth Centre, Derbyshire. |
Review by theatre critic, Debra Hall who attended the first of the six performance dates of A Christmas Carol at The Whitworth Centre, Darley Dale, Derbyshire at 7.30 pm
**ENDS**
Pride & Prejudice (*sort of) - Stage Review
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| Meghan Tyler (Elizabeth), Christina Gordon ( Jane) and Isobel McArthur (Mrs Bennett) |
⭐⭐⭐⭐⭐
Described as being “a deeply affectionate re-telling of Jane Austen’s brilliant, enduring story”. This stage comedy also happens to be rather brilliant!
 |
| writer-performer, Isobel McArthur |
This is an all-female adaptation by writer-performer, Isobel McArthur who makes no mistakes in staying true to the original source material.
However, for creative purposes, McArthur includes six additional servant characters who are separate from the book. To structure her writing, she takes one main thread from characters that are straight out of the novel and makes every one of the personality emphasis bigger (or smaller); as each character trait dictates.
Elizabeth Bennett, for example, is a more tousled, devil-may-care version of herself; and Mr Bingley has become a right ‘Jack-the-lad’. Mary Bennett is a total Geek with a Rubik’s Cube. Mr Darcy’s character takes his silent probing and his social awkwardness to another level. While, Wickham, (who, in the novel, lacks personality), is not even granted a personality in this play… and so it goes.
There is the addition of a nice irony here, because one can modern day relate to all that is associated with the stress of trying to net oneself with a love that is well matched. It can be the stuff of fools sometimes, and it does allow for the most ridiculous behaviour to surface for all involved. This is a timeless theme after all, and has endlessly been a muse for every kind of creator; though Austen has to be the Queen on the subject.
The opening scene is a little strained, voices appear slightly weak; some performances take time to warm-up. Then, suddenly, it grows and grows and keeps on growing to be something, theatrically speaking, rather special. Nothing is dodged in retelling this literary classic, in fact it is (weirdly) more ‘to the point’, even if it requires the odd outburst of profanity in order to make it!
We must thank, Isobel McArthur for all those cheeky chuckles the script brings about, and all that she brings to life in the form of Mrs Bennett, Mr Darcy, and servant, Flo. McArthur is supported by a talented, ensemble cast consisting of Meghan Tyler, Tori Burgess, Felixe Forde, Christina Gordon and Hannah Jarrett-Scott.
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| Pictured: Isobel McCarthur, Tori Burgess, Felixe Forde, and Hannah Jarrett-Scott in Pride & Prejudice (*sort of) |
All six play multiple characters who action some deftly quick costume changes, and all six players demonstrate perfect timing, stamina and placing for whichever character they are acting in changed scenes. The comedy is right on cue too, and the majority of this small numbered cast are accomplished musicians.
There are no understudies employed in this instance and as this show is touring UK venues over Autumn 2019 and Spring 2020 the sensational six will always have to work it! Bonnet’s off to you ladies!
Wonderful work by director, Paul Brotherston, movement director E. J. Boyle and designer Ana Inés Jabares-Pita Thank you to all involved as this show is hugely entertaining - I didn’t want it to end.
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| The ensemble cast of Pride & Predjudice (*sort of) |
Review by theatre critic, Debra Hall who attended press night of Pride &Prejudice (*sort of) at Birmingham Repertory Theatre, Birmingham UK on Tuesday 15 October at 7.00pm
**ENDS**
08 October 2019
Stage Review of PRISM at The Birmingham Repertory Theatre
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| Robert Lindsay as Jack Cardiff in PRISM - Photography by Manuel Harlan |
⭐⭐⭐⭐⭐
Sunlight is made of the colours of the spectrum. Certain atmospheric conditions will reveal the spectrum to the naked eye i.e. rainbows in the sky; on wet pavements underfoot. In artificial ways, a glass crystal hanging in a sunny window will reflect rainbow colours on walls.
The late, great cinematographer, Jack Cardiff (Robert Lindsay) used a glass prism to achieve different degrees of spectrum refraction according to wavelength, together with camera filters he was able to achieve the most beautiful lighting effects in his filming. Not just in his soft, opaquely dewy close-ups of famous faces, but, also, in challenging landscape settings where he captured the core nature of the surroundings so beautifully.
This play is not just about Norfolk born, Jack Cardiff’s work with light and technicolor. It is a Memory play. Cleverly, it is a muddled memory that tells it true. Cardiff’s past life at home and at work are told by an ailing Cardiff with dementia.
Son, Mason (Oliver Hembrough) has customised a garage space at his home designed to be memory triggers and comforts for his father – a man-cave of sorts. The deeply caring but under-qualified, Lucy (Victoria Blunt) is newly employed to help out. Cardiff’s wife, Nicola (Tara Fitzgerald) is tragically witnessing her love losing sight of her; but she remains fiercely protective.
The play mentions Cardiff’s association with others in the film making business; famous directors and stars from the Golden Age of film. Terry Johnson’s wonderful script references the celebratory, and the not so celebratory culture, from being on the inside of the Hollywood bubble.
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| A scene from the stage play PRISM at The Rep, Birmingham UK Photography by Manuel Harlan |
In the revealing of one man’s potent memories, Marilyn Monroe and Katharine Hepburn are brought to life; and in more ways than one. Additional effects by video designer, Ian William Galloway envelop the stage in magical film settings.
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| Cast of PRISM - Oliver Hembrough (Mason), Robert Lindsay (Jack Cardiff), Victoria Blunt (Lucy), and Tara Fitzgerald (Nicola) Photography be Manuel Harlan |
Lindsay portrays Cardiff in a confused state, so respectfully; so tenderly. He manages to illuminate on a true-life story from a mind where nothing makes sense anymore. There is something very special in Lindsay’s masterful and elucidating performance.
Hembrough, Fitzgerald and Blunt wholly fulfil their role(s). The versatility of this trio is there to see. The empathic, Fitzgerald plays a woman where diminished hope has left her 'out in the cold'. This well-known actress was seen to be genuinely caught up in the atmosphere and clearly moved by the closing performance of her main man at the play’s end.
A play showing great ingenuity and divine sympathy.
Review by Theatre Critic, Debra Hall who attended the press night performance of 'PRISM' at The Birmingham Repertory Theatre on 08 October 2019 7.00 pm
**ENDS**
03 Oct 2019
FRANKENSTEIN at The Belgrade Theatre, Coventry - Stage Review
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The Monster played by Michael Moreland and Victor Frankenstein played by Ben Castle-Gibb
Photography by Tommy Ga-Ken Wan
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⭐⭐⭐
Leather booted, with a dress wide-belted at the waist, hair pulled into a tight updo with fringe parted and plastered down, a determined, Mary Shelley is enthused by her fictional plot as it grows into a horror story. As she progresses through the creative process, this feisty young woman is thrilled by her own genius!
When Shelley is not frantically jotting her ideas; she stores her pencils in her top knot for easy access. Think of the Moomin’s character, Little My and you’re someway there to visualising, Eilidh Loan playing the famous author.
It is an interesting approach having Mary Shelley narrate. After all, a classic novel brought to stage is not meant to be this way. Therefore, when we first meet her, and for a while after, we are intrigued by her. Many times, we pay attention to Loan’s expressive face - especially when her character asks herself “Can I really be brave and run with these ideas no matter how controversial?” Then see her decide for herself with a cheeky, fiendishness “Yes, I can!” – scribble…scribble. Unfortunately, once the play’s structure becomes apparent, and Shelley is constantly scrambling all over the set, pulling and pushing those pencils, everything gets a little repetitive.
The play does not short change us with the character progression of Victor Frankenstein played by Ben Castle-Gibb. We meet the youngster and his people played by members of a strong, ensemble cast. We witness this intelligent, young man having a preoccupation with chemistry. We see him push the boundaries of science. We see the monster he creates. We know Victor's soul is haunted resulting in the neglect of those close to him.
It is never going to be possible for Victor Frankenstein's monster to live among friends and it is a tough call for Michael Moreland to present us with something so horribly fearsome; yet so tragic at the same time. The Monster is a liability for Victor and this is the one thing, overall, that meets one's expectation of the Monster character.
The stage throughout appeared too bright, almost clinical. The dry ice effects often swirling around a brightly lit backdrop. Admittedly, the immoveable set has to convince many times: it's a deck of a ship, it's a family home; a science lab; a hangman’s cell; even a dense woodland. A clever design nonetheless, because the opaque panels are designed to conceal before the big reveals.
Sitting in a non-elevated seat however, with a close stage positioning in The Belgrade Theatre’s B2 auditorium the creation of any kind of Gothic or sinister atmosphere was not achieved. For example: the shadowy mood that the production photograph manages to convey (see above) was not witnessed on this night.
With action taking place on two levels one's neck is often constricted. Reviewer concedes the technical enhancements may work better at a different stage venue, with a different seating arrangement.
Unfortunately, this play is quite unremarkable in many ways; nothing more than the unusual choice of narration and the occasional loud bang will surprise!
Review by theatre critic, Debra Hall who attended press night of Frankenstein at The Belgrade Theatre (B2) on Thursday 03 October 2019.
**ENDS**
26 September 2019
Stage Review: The Barber Shop Chronicles
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| Mohammed Mansaray and Okorie Chukwu in Barber Shop Chronicles |
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| Emmanuel Ighodara and Demmy Ladipo in Barber Shop Chronicles |
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| The Cast of Barber Shop Chronicles |
⭐⭐⭐⭐
Arts Council England funded this production and is a co-commissioning by National Theatre, and FUEL, a theatre company based in a wing of London’s Somerset House who have produced other plays by Inua Ellams (writer). Supported by other agents too, the Barber Shop Chronicles is an anthology of monologues written around a keynote idea. Perfect material for a stage production with a difference.
In various barber shop settings (in African locations and in London) there is a society that exists around every story being told. Furthermore, there are links with greater subjects from different eras. The mood can switch from humorous interchanges, brotherly banter; enthusiasm for music and sport, and shared repartee (somewhat stereotypical) - to commentary which reveals the more serious preoccupations of the men in regard to race and creed, relationships and political opinion. Presented in a narrative with a special kind of colloquialism.
Rather than mention the numerous aspects of this play that makes it so praiseworthy, let’s just say there's nothing really for a critic to lampoon on, and that now and again one comes across a piece of work where there are few cracks that show. This is such a piece. There’s a familiarity about it, in attitude and relevance both in present and modern-day terms. There is much more than just a nod to black history and these references provide depth to characters and heart to the storytelling.
The play is heavily stylised. With cultural and ethnic pertaining qualities interwoven in the design. The harmonising vocals to accompany the stirring African numbers are a thing of beauty. The dance moves to Reggae, Hip Hop etc., sounds, ups the pacing and adds much needed injection of volume and energy throughout. The technical work is a delight.
However, as the format is repetitive, and because the male ensemble cast have an added-on stage presence prior to its official off (twinned with the fact there's no interval break), this feels 10 minutes or so too long. That said, this production comes highly recommended!
Review by Theatre Critic, Debra Hall who attended press night of Barber Shop Chronicles at Birmingham Repertory Theatre on Thursday 26 September at 7.00 pm
**ENDS**
18th Sept 2019
Stage Review - SATURDAY NIGHT FEVER
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| Saturday Night Fever - Photography by Pamela Raith |
⭐⭐⭐⭐
In December 1977, Saturday Night Fever presented the cinema world with the full disco treatment and the film was an instant hit. When screen is adapted to stage the result can often be underwhelming. Director, Bill Kenwright however, gives this musical production a ‘fair crack of the whip’.
Based on the original screenplay and Bee Gee’s soundtrack, Tony Manero (Richard Winsor) resides in a claustrophobic family setting in Southwest Brooklyn. From the confines of working in a paint store by day, Tony is transformed on the dance floor by night and gets all the attention from the guys and the girls alike.
There are not many layers to the story other than Tony has his mind set on winning a Disco dancing prize. In the lead up to the competition he drops his dance partner, Annette (Natasha Firth) after his head is turned by the mysterious, Stephanie (Olivia Fines). Tony, somewhat frustratingly falls for her, but Stephanie is sharp-tongued and aloof. Tony is distracted by the girl, the prize, and by his older brother’s sudden homecoming. The family dynamics are changing and Tony is neglecting his job and his friends…Bobby C (Will Luckett) in particular, who is experiencing a personal crisis and is desperate for Tony’s support.
Of course, what really hits the bull’s-eye are the choreographed scenes and those hit songs with musicians playing live accompaniment. With Jake Byrom, Danny Knott and James Kenneth Haughan as Barry, Robin and Maurice Gibb on vocals and Faizal Jaye as D J Monty injecting that extra vibe and energy. ‘Salsation’ is a great foot tapping number with fabulous trumpet playing by Eikel Hernandez.
Many cruise-line song and dance performers make up the cast - trained in performing arts, musical theatre and the like originally. Therefore, the unified groovin’ and the paired dance sequences are enjoyable watching. Winsor himself, doesn’t appear to have a real passion for the disco beat, though it is obvious that he is a dancing professional and an accomplished actor. His performance throughout is demanding and physical. He, and Fines are wonderful, especially in hold and when the ballet steps and the ballroom shaping comes into play.
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| Olivia Fines (Stephanie ) and Richard Winsor (Tony) in Saturday Night Fever -Pamela Raith Photography |
Sometimes it would be interesting to see how performers would rate their audiences, rather than the other way round. A group of three or four women on a night out thought it okay to make bawdy comments that could be overheard, and to sing along at quiet times when inappropriate to do so, and to shout out too, disrecpecting all the patrons seated around them and the performers on stage. This wasn't club night, girls - it was a night at the theatre with performers putting on their best side and people wanting to enjoy the show without being subjected to such peurile behaviour!
To some degree then an evening slightly marred but know that this is a tight production and one to be recommended. Act One is the more disco uplifting such as: Stayin' Alive, Disco Inferno and You Should be Dancing. The slower numbers reflect the mood changes connected to the story plot of Act Two and include More Than a Woman and How Deep is Your Love.
Review is by theatre critic, Debra Hall who attended press night of Saturday Night Fever at The Belgrade Theatre, Coventry 7.30 pm
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| The cast of Saturday Night Fever - Pamela Raith Photography |
**ENDS**
10 Sept 2019
STAGE REVIEW: ONE MAN, TWO GUVNORS AT DERBY THEATRE
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| David O'Reilly as Francis : Photography Robert Day |
⭐⭐⭐⭐
This is a peach of a comedy, a farce done completely right, so no reason to try to rationalise it though it is rather fun to try so here goes (without spoilers):
It’s Brighton, 1963, and there’s a sitting room gathering. The hopeless romantic, Alan and young, Pauline are declaring their love for each other. Charlie and Lloyd are sharing stories of their prison days. The party gets interrupted resulting in the spoiling of engagement plans.
A scene change, and Francis is unperturbed in having to juggle two ‘casual’ jobs and serving his two ‘guvnors’ because his main priority is food. His obsession with food plays a big part in raising the loudest laughs. There follows a series of mix-ups and misconstruing in a dining room scene where Francis is attempting to keep the bosses apart.
Misconceptions happen because of the cover-ups and the lies, and this intensifies the silliness of the main plot. It concludes, as farces do, when characters catch up with what we, the audience, already knew (the dramatic irony).
Many scenes are punctuated by live, musical numbers performed by a 4-piece Skiffle band who are supported, sometimes, by members of the cast ‘doing a turn’.
The physical performances by David O’Reilly in the protagonist role of, Francis, and by T J Holmes as waiter, Alfie are quite incredible. Overall the full cast, and musicians, show talent and great pacing in equal measures.
The set designs are splendid, it is quite an eyeful of light and colour when the curtain first raises on changed scenes.
Typically, a classic farce is not designed to be PC and mocks everything going. Characters are types that are going nowhere, though, chiefly Francis (the underdog) achieves his goal! Personalities portrayed by an excellent cast are unstable, idiotic, unreliable, and, on the face of it, deceitful - but at the same time are well meaning, passionate and loveable individuals. A glorious mix, and playwright, Richard Bean has produced the best kind of fodder which has allowed Sarah Brigham and her talented team the initial vision, and to take this play on with great success already. There was a real party spirit about the place at Derby Theatre on press night.
Review by Theatre Critic, Debra Hall who attended the press night performance of One Man, Two Guvnors at Derby Theatre on Tuesday 10th September 2019 at 7.30pm
Meet the cast:
One Man, Two Guvnors - In Rehearsal
**ENDS**
03 July 2019
Stage Review THE COLOR PURPLE at The Curve, Leicester
Everyone was wearing their excited faces at Leicester Curve’s press night event. Not one single-person enthusiasm, (whether a member of the team, the cast, the band or the audience) would have been in any way quashed throughout the whole shebang.
This show is full of wonderful, soulful tunes and is a total win-win for this co-production of The Color Purple by Leicester Curve and Birmingham Hippodrome. Audience reaction was all embracing.
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The Cast of The Color Purple - Photography by Manuel Harlan |
Does it deeply explore and hammer hit home the strong themes of racism and sexism, rape, abuse and incest? Hell No! The handwritten letters which communicate Celie’s journey and that of her sister, Nettie, are secondary readings to what is a full-on stage fest of performance related activities that tells its own tale; in its own way.
The serious elements are present, but playful comedy acts as a release every time from the heavy topics, this comes in the form of three gossipy women (often singing in a round); a woman (or two) scorned, and in the colourful, Shug Avery character and the way she carries through life.
Highly entertaining is the comedic interjections of Sofia and Harpo; and so much fun is their musical duet ‘Any Little Thing’; performers Karen Mavundukure (ITV X-Factor) and Simon-Anthony Rhoden (West End) shine as this true love pair.
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| T'Shan Williams as Celie - Photography by Manuel Harlan |
Overall this is a sheer celebration of a culture related love of jazzy, bluesy, gospel and soul channelling music, song and dance, rather than a long and labouring focus on a young girl’s oppression.
Beautifully authentic are the cast and when a number of players perform Africa (Act 2), in stunning African dress of azure blue, it is nothing short of stunning in all respects.
Too many production attributes to mention here, but Alex Parker (Musical Director) and a collective of talented musicians, and Alex Lowde (Set and Costume Designer) provides input that is vital. The creatives involved earn proportionate high praise for their work to that of Tinuke Craig, Director. Great job all!
Reviewer ends with this comment: ‘I’ve been critiquing stage for 12 years and have never witnessed singing vocals achieving such a height of excellence, at any other reviewing assignment, over this whole time. There is not a single cast member who doesn’t possess anything less than an exceptional ability to deliver the most amazing vocal performance, and that the solo numbers by Ako Mitchell (Mister Song) and T'Shan Williams (I’m Here) are nothing short of incredible!’
Theatre Critic, Debra Hall attended the press night performance of The Color Purple at Curve, Leicester on 03 July 2019 7.00pm
***Ends***
13 May 2019
Stage Review - THE GIRL ON THE TRAIN
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Oliver Farnworth (Scott) and Samantha Womack (Rachel) |
⭐⭐⭐⭐
Last night’s large turn-out was an out-and-out signal of this story’s popularity. The main plot, in this stage adaptation by Rachel Wagstaff and Duncan Abel, cuts through. It catches all the story threads of the sub-plots without missing anything; very clever. The flow doesn’t labour. Everything is so very well done, the staging and the technical input bolsters it all up to a high level. All cast members are tip-top professionals.
Alcohol induced amnesia sufferer, The Girl (Rachel), drunkenly pads about here and there. Saturday had been a bad night. She’d a nasty bump on her head to prove it. When Rachel gets wind that exhibiting artist, Megan (who likes snogging on her balcony and doing a spot of babysitting in her spare time) has gone missing, Rachel thinks she knows something (she’s not quite sure what) so she infiltrates Megan’s home.
The backstory goes that Rachel has envied Megan and her husband, Scott’s relationship from afar. The irony is that Rachel could have carried out her stalker fascination a little closer to home (away from the window of a passing train), in her own back yard in fact, if she had still been married to Tom. Her ex, Tom, still resides in their marital home; a home he now shares with new wife, Anna and baby. A home situated close to the seemingly impregnable, Megan and Scott. To cap it all these two sets of ‘unbearable’ couples happen to be friends.
Relationships are so tangled, the proximity so narrow, that the revelations that come about designed to add ‘meat to the bone’ only results in me concluding that this is more a soap opera than a drama.
The hint of sarcasm in my overview above will indicate that I’m not a fan. I give full credit to this production I hasten to add, I’m just not a fan of the source material on which this play is based.
Interesting as a critic however, that my press partner was captivated by all aspects of the story-lines. Why were our opinions so split about the content? I can only put it down to being, for him, a fresh introduction in the form of an excellent stage play, where, perilously, my mind was clouded by unexplained forces that spoiled it a little for me. Nonetheless, awarding this on its own merit, as I should, and so it receives four of the shiniest stars and a recommendation to go see it.
Review by Theatre Critic, Debra Hall who attended the press night performance of 'The Girl on the Train' at The Belgrade Theatre, Coventry on 13 May 2019.
**ENDS**
08 May 2019
Theatre Review - A Thousand Splendid Suns
Review ⭐⭐⭐⭐
For the majority of us who live life without conflict, tyranny and manipulation overshadowing our every day, we need a different perspective like this to remind us to be more mindful of the plight of others. Khaled Hosseini’s ‘A Thousand Splendid Suns’ explains the decades of misogynist rulings in Afghanistan and focuses on the 1990s when the Taliban were at their most threatening.
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| Sujaya Dasgupta as Laila and Amina Zia as Mariam |
Two women… Mariam and the young, Laila, are the two wives of small business owner, Rasheed. They all live under the same roof. There’s tension in the household but once Laila’s baby arrives, and at the same time the threat from outside forces begins to bite, a sisterly love grows. Wife beater, Rasheed is jealous and suspicious as the women defiantly unite, but the odds are against the pair because there’s a bigger struggle going on and they are forced to conform.
The script is excellent and the players are well practiced and they work their way through with outward ease. Some performances feel slightly novice. Overall however, this is sophisticated enough and the delivery is tight. All members of the cast achieve quietly spirited and mindful performances. The three key characters mentioned above are played by Amina Zia (RSC, BBC, Lionsgate); Sujaya Dasgupta (Royal Central School of Speech and Drama) and Pal Aron (RSC, Sky 1, Film 4) respectively.
Roxana Silbert’s directs Ursula Rani Sarma’s adaptation for stage. Being Silbert’s final show as The Rep’s Artistic Director it is a challenging undertaking; but the approach is contemporary, inventive and precise resulting in a compelling and all-encompassing watch whether one is familiar with the story or not. Much has been accomplished by the designers and the creatives working solidly together. Visually and aurally this play is quite ‘splendid’.
Review by Theatre Critic, Debra Hall who attended the press night performance of 'A Thousand Splendid Suns' at The Birmingham Repertory Theatre on 08 May 2019
**ENDS**
10 Oct 2018
Stage Review ALL YOU NEED IS LSD
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George Potts |
REVIEW:
This is a new comedy written by playwright, Leo Butler and is based on his own observations and life experiences in regard to recreational drug use...based too, on his participation in LSD trials in recent times. Consequently, All You Need Is LSD is part history; part exploratory; part questioning, and part super trippy.
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Annie Fitzmaurice |
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| Jack Hunter and Sophie Mercell |
A perfect, creative match to team with theatre company Told by an Idiot and have their wild and eclectic approaches on-board so to address the many variables of the subject in-hand plausibly - and what an accomplishment it is to arrive at a piece that is so highly entertaining at the same time!
This play is a lesson in LSD - 90 minutes of educational facts and fiction delivered super fast, utilising the theatrics as they go, in one massive 'designery' effort to educate as well as entertain.
It is extremely difficult to deliver such a show well, but you will be impressed. Impressed by such a versatile and talented cast of four whose genders are opposite sometimes, and who switch characters and costume while delivering their speeches and movement at such dizzying speeds. The bespoke, multi-functional, set design is a marvel too and the worker behind scenes is a valued contributor.
My plus one on the night liked the show much more than I, however I rate it high for many credible reasons, I just felt, due to elements in the script mostly, the piece a little overly ambitious with some scenes not quite working. What it did do, was encourage discussion and debate on the issues along with my partner on the way home; and generally this means theatre has delivered whenever this happens. Recommended.
Cast: George Potts, Sophie Mercell, Annie Fitzmaurice, Jack Hunter
Review by theatre critic, Debra Hall who attended press night at The Door, Birmingham Repertory Theatre, Birmingham
All you need is LSD is touring to: Unity Theatre, Liverpool; Tobacco Factory, Bristol; The Lowry, Salford; Belgrade Theatre, Coventry
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| The Cast of All You Need is LSD - Birmingham Repertory Theatre and Told by an Idiot theatre company |
**ENDS**
Stage Review The Fishermen
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| Valentine Olukoga and Michael Ajao in The Fishermen |
Review ⭐⭐⭐⭐
The Fishermen is a Nigerian family saga that is based on Chigozie Obioma’s popular debut novel of the same name and adapted for stage by Gbolahan Obisesan.
Risking the wrath of their father and the disapproval of their mother four brothers go river fishing; but the lives of these youngsters are about to be torn apart by an awful prophecy.
With a cast of just two it is the actions of Obembe and Ben that drives the story. Valentine Olukoga plays Obembe and Michael Ajao is his brother Ben. These two incredible performers often switch roles and between them play all other characters, returning to being centrepins Obembe and Ben periodically as the story slowly builds.
There is a serious undercurrent throughout and often an unsettling tone conveyed; with the occasional fun and lightness that lifts the spirit of things a little. Dialogue is speedily delivered and sometimes can be hard to follow. The changing emotions are expressed mainly in movement. Much credit goes to Kitty Winter’s movement direction and choreography, especially for the fast and furious set pieces wonderfully executed by Olukoga and Ajao, who, incidentally, take on the many prisms of characterisation with such energy, vivaciousness and sensitivity.
The set is a number of floor-standing metal poles running in changing directions (like prison bars), those arranged vertically that run one way across a raised area are removeable. There’s nothing else to see. The players use these poles as constraints and boundaries and as markers for changing scenes, sometimes poles are grabbed and removed from their upright position and are used as props, nearing the end a few are chucked aside so Ben and Obembe appear to be not so confined.
The stage is very dark throughout, and though the play is 80 mins (with no interval) it’s a rather still vision to fix the eyes on for so long; however, the light rays landing on the metal poles creates atmosphere. The story building scenes that are less frantic, and there are a good few of these, manages to remain engaging. This is challenging drama and so makes for great theatre.
Review is by theatre critic, Debra Hall who attended press night at Derby Theatre, Derby on Wednesday 12 September 2018.
**ENDS**
10 May 2018
STAGE REVIEW : The Mugenkyo Taiko Drummers
Established in 1994, Scottish based Mugenkyo is the longest-established professional taiko group in Europe. Japanese themes and Japanese culture have really impacted worldwide in recent times and this group have international reputation for introducing this distinctive Japanese art form to audiences across the continent. Educationally there's some cool opportunities on offer, the team run a variety of courses and workshops from their base and HQ. Keep in touch by following Mugenkyo Taiko Drummers on Facebook
REVIEW ⭐⭐⭐⭐
The souls of the sextet who practice and perform this Japanese art form are totally encompassed by it.
The performances display a level of technicality in regard to timing and coordination and are hugely energetic; each piece performed requiring sustained body stamina. The arm strength displayed to pound and angle strike using drum sticks with timpani type ends is challenging, or when chig-ga-chigging away using the tips, or the long length sides of sticks, or extended in length sticks, whichever the case-the talent is always impressive. Playing the giant drum in particular (due to its elevated positioning) is a skill not to be sneezed at.
The drums are impressive looking instruments and the reverberating sound and the drum rhythms achieved really drive the pieces with real intensity. Reviewer enjoyed the modern composition, TODOROKI and its martial arts-inspired choreography and PHOENIX too (with gong strikes) which was the last on the night's programme performed prior to the encore. Fabulous!
The drum playing is the main attraction of course, but all the musicality in the show is spot-on. The masked performance of CHRONOS is one of the highlights. Though the effort to be entertainingly funny halfway through the second set does not add anything other than make the serious expressions, with faces set in concentration, be a little more personable. Something else that was spot-on however, is the sound quality; a real credit to the technical team at The Belgrade last night.
The scenery and effects are sharp and attentive. It would be hard not to enjoy such a display .Think Eastern Asian mystique and reverence, with Celtic influence, and off set it with Cozy Powell when he's Dancing with the Devil and you're some way in knowing what's in store.
Review by Theatre Critic, Debra Hall, - who attended the Mugenkyo concert at The Belgrade Theatre, Coventry on 10 May 2018 7.30pm
**ENDS**
24 April 2018
STAGE REVIEW - MICHAEL CLARK COMPANY AT BIRMINGHAM REPERTORY THEATRE
to a simple rock 'n' roll...song
REVIEW ⭐⭐⭐⭐
One thing I have noticed since the millennium crossover is that people move differently in style when dancing. Whether it is choreographed (or freestyle) everything was a little looser once upon a time. Weight was distributed from leg-to-leg to the musical rhythms and arms would be pushing out; away from the body. Staged performances in recent years are more controlled, the elbow and the knee joints have joined the party, limbs are angled and travel in the same direction to the beat. Movement is still repetitive but it’s cleverer. Rock and pop might have taken a dive in recent years but contemporary dance has become a wonderful fusion of different music genres and it is very ‘here and now’ not just on-stage, but at parties and in clubs and dance classes; within the fitness industry as well as peoples’ living rooms
DANCERS: HARRY ALEXANDER AND BENJAMIN WARBIS.
Photograph by Hugo Glendinning
Establishing that dance has gone through a renaissance in recent times and acknowledging too, that ‘to a simple, rock ‘n’ roll . . . song’ delivered by eight fabulously fit and highly skilled dancers: choreographed by Michael Clark, is celebration of all of that. Here we very much see the classical elements are the glue to performances; and though style (and substance) is still key, perhaps it is little less about grace nowadays, and more, much more, about an arresting kind of intensity that robotic dance moves can lay better claim to.
The carefully selected music by French avant-garde composer and pianist, Erik Satie; by Patti Smith incl. Horses, and by David Bowie incl. Blackstar makes it all rather special.
It is not rock ‘n’ roll like the title suggests, but, along with the complementing visuals and skin-tight suits, it is a mesmerising and rather marvellous thing to experience.
Dancers:
Harry Alexander
Nicholas Bodych
Sophie Cottrill
Kieran Page
Oxana Panchenko
Rowan Parker
Alice Tagliento
Benjamin Warbis
I (Debra Hall) attended The Birmingham Repertory Theatre in a press capacity on 24 April 2018 to review 'to a simple rock 'n' roll...song' by Michael Clark Company
**ENDS**
Feb 5th 2015
STAGE REVIEW - THE HISTORY BOYS
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Photography by Matt Martin
The argument here does not require decoding to understand both sides of it: on one hand the always perceptive, Alan Bennett presents the stuffy, conventionality of the school approach in regard to transferring knowledge from teacher to pupil and he offsets this against the characterization of Hector (Richard Hope). Hector is a teacher who is more nurturing and who is more abstract in his approach to teaching.
Which is the better way for these boys? Which approach will be deemed to be the most successful/beneficial for these individuals in the long run? I’m not sure if the play argues either side effectively and I make my intentions known straightaway, that it is the script alone that I am putting under scrutiny in this review. I believe it was the script itself that was detrimental to my overall enjoyment of this play. Perhaps it was simply a case of my expectations being too high.
The script is not meant to present realism, and so with this new found (after the event) knowledge; I am decidedly more forgiving. Nevertheless, this is a case of proverbial speaking on the subject of education and on life’s reflection. The script is wordy and the cast members really get a grip on reams and reams of dialogue, but this word overload made my eye lids feel mighty heavy at times. The swearing helped to lift them however, also The 80’s sound bites being a welcome injection, as was the piano playing accompanying Steven Roberts (marking his stage debut with History Boys) when doing his ‘turns’ in the role of student, Posner.
The message is designed to be radical, thought provoking and humorous; not unlike teacher Hector’s lead in his unplanned lessons actually! Yet the audience were strangely subdued last night. Admittedly, there are some great lines, as you would expect, and laughter ripples did occur, but there are elements that are meant to be mind expanding and inspirational; yet came across as Bennett attempting to exercise a kind of prowess over us all through his own creativity.
This is a play that was voted the Nation’s favourite in a recent poll undertaken by the English Touring Theatre, and there is an element of stereotypical characterization that remains relevant and so I see why the theme is popular. Yet snobbery surrounding university placement and performance is rifer than it was in Bennett’s university days and extends beyond applying for an Oxbridge place. Also, to portray a teacher, who chooses to take an alternative approach to his work, as eccentric, is somewhat predictable and other outcomes are pretty predictable - so there is very little overall that surprises you.
I have to mention too the heightened awareness of safeguarding issues around children in recent years, especially those true life cases where abuse has happened within institutions committed from people in a position of trust, and this being featured in this play is more of a comedy squelcher than a comedy injector; so this thread of the storyline is simply not funny. Headmaster (Christopher Ettridge) will quite rightfully have Hector’s cards marked over this indiscretion, unfortunately this makes Hector’s ultimate sentimental ‘send off’ seem out of place at the play’s end. We lack endearment for Hector and for everyone else come to that. It is quite unusual to not have at least one character that you are routeing for or who has won your affection.
I have expressed strong personal opinion here and I would suggest keeping a sharp eye on published reviews to see how other critics view it.
Review by theatre critic, Debra Hall attended press night at The Belgrade Theatre, Coventry on Tuesday 04 February
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| The cast of The History Boys Photography by Matt Martin |
**ENDS**
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