Friday, October 19, 2018

Playing up 8 -Review- Northern Stage

Playing Up 8
Northern Stage
Oct 18th 2018

In any mix of short plays and pieces showcasing new drama talent, some dramatic styles or themes are going to accord with preference. So, this review is not in any way objective. It’s just what I like.

The Birth of Frederica (terrible title btw) By Lewis Cuthbert touches on a hot contemporary issue, one close to my heart, sexism in comedy and the misogynist almost rapey culture that underlies it, especially in its lower dingy reaches of the comedy club scene. Colin Cuthbert is skin-crawlingly convincing as Steve Regal, a sort of Geordie Poundland Louis CK. Shock, harshness and a good dollop of misogyny are the keys to his funny bone – none of this feminist screeching and whining. He’s ably backed up by Sam MacGregor’s Jacky Breggs, a swaggering almost-ran who nearly made the panel of Mock the Week. Together they bully and break down eager Kiki Dunn (Eilidh Talman), changing her act, from whimsical ukulele-playing ramble about bees, to their kind of shock-horror humour (referencing the Manchester Arena bombing a week after the event).
My only criticism of this sharply observed take-down of small-time sexists is that the staging pulled a few punches: it was not shocking enough. The scene where they move in to barrack Kiki, their dies obscure her reaction, so we cannot see the awful human effect of their treatment; ditto when they literally unbutton her. You could argue that the writer-director chose to leave this to the audience’s imagination, that to show it would be unnecessarily voyeuristic. But in this case, the theme demands that the audience is implicated. This is horrible, and it’s done for our entertainment. How do we feel?
And ending with the pair of unrepentant men on stage, rather than Kiki/ Frederica, felt unsatisfactory to me. Too pessimistic: things don’t change. I would like to see this developed into a full-length play, where we could see aspects of Kiki and the comedy scene which belie this pessimism. It is Steve Regal’s dinosaurs, in reality, who are being left behind.

At the other end of the comedy scale, Three by Richard Delroy, directed by Beth O’Doherty, is essentially a clown routine, based on the finding of a man in a suit, unconscious in a back alley. I only knew it was supposed to be a back alley from the programme notes. While the cast (Mark Buckley, Steve Blackshaw, Becky Clayburn) perform the clown business – double-takes, fumbling, attempts to move the body, comic tussles – and deliver the few lines effectively, this kind of sketch requires that they create the space they inhabit, and they didn’t do much of that. It would have been funnier if there had been more mime exploration of their surroundings, and that would have pre-empted audience’s puzzled questions. Why don’t they just phone for help? Because there’s no signal. Where are they then? But a joyful romp, and especial credit going to Mark Buckley as Mr Suit Man, playing an unconscious body, on-stage all the time, is harder than it looks.

Something completely different, Tap (what is it with these crap titles?) by Huw Evans, has an intriguing set-up. Cora (Lynn Huntley) is on the beach at dawn, seal-watching, when Sylvia (Rachel Scott) arrives in pyjamas and robe and starts undressing. What is this ‘private thing’ she wants to do? Cora, the voice of common sense and ordinary everyday loneliness, tries to draw her out. Gradually what emerges is a story much stranger and unexpected. I found this version of the folk myth of the Seal Wife quite haunting.

I wanted to like Mimi Monteith’s Two of a Kind, directed by Humira Imtiaz, so much. The relationship of the two young women, Emma (Gabriaella Pond) and Fliss (Eleanor Beck) was utterly convincing and the dialogue excellent. It felt a bit insubstantial, though, and couldn’t quite carry the implicit twist ending. Maybe it’s the self-referential setting: they are students on a deadline to deliver a script. Or that Fliss’ vulnerability needed to be foreshadowed more. This is obviously a very talented writer. Hopefully we’ll be seeing more of her work, with a longer development.
I felt similarly about Green Tile by Craig Fairbairn, directed by James Barton. It was well acted by Matthew Geddis and Brogan Gilbert, the characters convincing, the dialogue well-written. Yet I didn’t feel it had earned its ending -- almost as if it had been tacked on because ‘we’ve got to stop now’. It might be that it needed longer to explore, twist and stress the relationship, and go into the backstory: what happened at that primary school, to evoke such contrasting reactions in the two protagonists? It was also a bit thin on character background and setting. We know they are a couple and that they went to the same school, but what do they do? How do they get by? It felt strangely timeless and generic, a little world disconnected from anything that’s going on now.

Fassbenderthon by Steve Palace, directed and lead-acted by Dolores Porretta-Brown, was very much the territory of the late Victoria Woods: a village hall, two weirdly obsessed middle-aged women (Dolores Porretta-Brown, Wynn Walton), a young innocent ‘interloper’ Carol (Amy Herdman-Burns), a camp-gothic backstory. Their obsession is the actor, Michael Fassbender, whose little shrine they keep, and the hinted mystery is: what happened to the previous owner of Carol’s cottage? Natasha Haws’ Debbo brings a breath of Tyne fresh air (is there such a thing?) to the stuffy overwrought atmosphere. A funny set-up, competently done, but, Oh! I miss Victoria Woods.

Playing Up theatre Company was formed by Graduates of Live Theatre’s Writers Course. They regularly bring one-off showcases to the Northern Stage’s Stage 3. Worth looking out for them in the new year.

Gerry Byrne

Thursday, October 18, 2018

Future Bodies -Review- Northern Stage

Future Bodies
Northern Stage
18 October 2018


In an age of selfies, what does it mean to be a self? Can we even imagine being ourself separate from our body? Advances in medicine, biotechnology and AI mean we can extend beyond the limits of our fragile and fallible bodies, but what do we leave behind when we ‘correct’ or even abandon our physical bodies? How do we even think about these questions?
Unlimited Theatre in collaboration with RashDash smash together spoken word, music, movement and physical theatre in an astonishing show that provokes you to ‘think outside the box’ – the box of physical limitation, mortality and human/machine interface.
The initial impression is jarring, often discordant: bright lights, loud electronic music (played by blue-skinned and pregnant Becky Wilkie; quick-change scenes, minimal but striking stage set. Questions are signalled but not really explored in little, fast-paced vignettes. The whole is (deliberately) alienating. What kind of world is this? What’s this all about? It’s sort of familiar, but not quite right. Why am I feeling this? The staging embodies that sense of disorientation when faced with cutting-edge technology.
Then it starts to settle into longer, more philosophical, yet dramatic scenes, where an aspect of the theme of ‘future bodies’ is explored lyrically, passionately, with feeling depth.
The scenes that stayed with me:
Alison Halstead’s monologue as a bereaved partner contemplating an implant to ease the pain of heartbreak. A piece of brilliant writing an acting, it explores the visceral ambiguity of grief: we want ease, we want relief from pain, but we don’t want to forget, or be as if we had never loved the one we’ve lost. Technology may make the question a practical one, but the issue itself is as old as love and death.
Similarly, Deshaye Gayle’s murderer, choosing execution over a ‘treatment’ which he feels would make him less of his unique psychopathic self. Technology may allow us to ask the question but the underlying issue: is my badness as much a part of me as my goodness? That’s been around for way longer.
Yusra Warsama, as a terminally ill person offered the option of uploading herself onto another, unbodied, platform, to evade death, speaks a heart-breaking hymn to physicality, the irreplaceable joys of the feeling body. Words can not capture the speaking gesture of a hand touching a cheek in reassurance. Ironically, since the piece is about the limitation of words and bare thoughts, as against embodied experience, it is the passionately articulated words that carry the argument.
And this is one issue I would raise about the production. The writing is brilliant, and its brilliance, paradoxically undermines its thesis. Philosophically, this is a much older argument than new technology would suggest. Maybe I am biased, as a writer, but we’ve always had ‘hardware’ platforms to preserve our thoughts and feeling, our selves beyond death. Words, literature, drama, art – these survive us. Platforms, media, technology may change, but ever since we stopped grunting and stood up as humans, we’ve stepped away from the present moment in-the-body experience. We’ve become reflective and abstract, even while reflecting on the possibility of separating from the physical body.
Finally, and again this may be my word-based prejudice, the last section didn’t work for me. The freeform movement-/ dance-based ending seemed unconnected with what went before. It neither resolved the issues raised (probably an impossible ask) nor sharpened and gave them clarity. It was nice to watch but ultimately its meaning was opaque. I would have liked to see a stand-off between Alison Halstead’s CEO, selling the corporate benefits of Unlimited Enhancement, and some of the more body-biased characters. Instead it seemed, an albeit visually striking, mess.
Don’t let that put you off. Big questions are raised. I went home with my head buzzing. And it is a visual feast from a beautifully diverse, athletic and energetic cast (two heavily pregnant women, one black one blue, and the extraordinary physical contrast of short powerful Alison Halstead and the tall willowy pregnant grace of Yusra Warsama). I don’t usually comment on the physical shape of actors, but this was an integral part of the picture. We humans come in all sorts of shapes and abilities. Maybe we will add to that in new ways. If we want.
Last chance to see is tonight 18th Oct at 19.45.

Gerry Byrne

Wednesday, October 17, 2018

The Elvis Dead -Review- Northern Stage

The Elvis dead
Rob Kemp 
Northern stage 

12th October 2018

Rob Kemp is a comedian and also one that has a decent set of lungs on him. This show is a unique mishmash of ideas. Rob comes from the logical, but lazy school of thinking of write what you know and he certainly knows his Elvis and his Evil Dead 2. Rob asked if anyone had seen the show before, to which me and one other person admitted to. Although in my case it’s the first time I intentionally went to see the show, after mistakenly wandering into the wrong show and spending the first half of the show dwelling on it, none of that this time.

So the show is as Rob says after his 5 minutes of stand up intro, essentially a concert and insists the audience treat it as such, by singing clapping and such. He then asks me what we should do? so I just repeat what he just said, which got more of a laugh than most of my jokes ever did on stage! That was my audience participation done. Just about everyone does what he asked for, except the odd baffled audience member who don’t understand what’s happening, perhaps they were expecting a show about a dead Elvis? Who knows.

After he’s explained the concept of the show Rob enters the stage for the second time to the theme music of 2001 a space oddity. Rob is a very funny performer and seems to do the show as if it was still his first and maybe his last. So the concept of the show is retelling the story of the film the evil dead 2, through Elvis songs via the films protagonist Ash. Not Elvis Costello as he says in case people were expecting Oliver’s army of Fortunately Rob bares a striking resemblance to both Elvis and Ash. He says he begun to get the idea of doing the show when he saw the same actor Bruce Campbell star in a film as a fictitious Elvis stuck in a retirement home ((Bubba ho-Tep)

He goes through all the classics, replacing the lyrics to match parts of the film, which are played on the overhead screen in the background. Starting with jail house rock (in a state of shock), the devil in disguise and I’m all shook up, with Rob’s actions on stage matching what happens to Ash in real time, with some very special effects indeed and some wicked props to boot. There’s fake plate smashing, simulated dismemberments, fake blood, chainsaws, a shotgun the lot. It’s the craziest one man musical you will probably ever see.

This show was great, even better on second viewing and ever so slightly longer than the show I saw, which had the usual Edinburgh festival time restrictions. It’s improved along the way and I’m sure all the multiple awards the show has been nominated for and won hasn’t hurt the performance. Watch it while you can. Remaining dates in the tour and the useful website is below. He even joked about doing other themed shows with puns like Beatles-juice and Wham-bo, all suggestions he’s had on tour, but sadly he won’t be doing any of them.
He ended the show by saying he hoped everyone enjoyed the show and if you didn’t then tell someone to go who you hate.

Remaining tour dates:

18th October Abertoiir horror festival, Aberystwyth university, Penglais campus
26th October Glee club , the Arcadian, Birmingham
27th October Glee club, Cardiff
30th October Quarry theatre , St. Peter’s street, Bedford

Website: www.theelvisdead.com
Twitter : @robotkemp
Email : info@theelvisdead.com


Frank Cromartie Murphy

Thursday, October 11, 2018

Steel Magnolias - Review -Theatre Upstairs

Steel Magnolias
Theatre Upstairs
9th Oct 2018

Steel Magnolias is set in Hair by Truvy, a beauty salon in the small town of Chinquapin, Louisiana. It follows the lives of Truvy the salon owner, her assistant Annelle, and four regulars in the salon - Clairee, M'lynn, Shelby and Ouiser.

The play spans four years in the lives of these women. Through their gossip and chatter we learn about life in the small southern town. Each of the four acts brings news of a momentous event in their lives; moving from the joy of a wedding day to the grief of a funeral. Life in Chinquapin has many challenges and the women rise to them, whether that be dealing with widowhood, apathy, or abandonment from their menfolk, or simply the challenge of surviving the small-town mentality. The women come to the salon to share their joys, their sadnesses, their dreams and successes, their hopes and failures. It is a place to share burdens, and solve problems.

Crises come and go - some are major, others are trivial, but all are important and real to the women. They act as a support mechanism, giving advice, help and mutual support to whoever needs it. Throughout the play the Truvy keeps them all grounded, dispensing advice and wisdom along with beautiful nails and hair.

Grace Allen and Sue Brackenbury play Shelby and M'Lynn, and capture the friction between a headstrong daughter and protective mother. Mary Bell is the pragmatic Clairee, widow of the former Mayor, struggling to find her place in a town where she was once a person of influence. Michaela Davenport plays Annelle, initially awkward and out of place, she is taken into the circle of friends and gradually blossoms.Thelma Russell excels as the gloriously eccentric Ouiser, while Gemma Taylor gives an assured performance as Truvy. The group all work well together under the direction of David Tuffnell, and are wholly convincing in their portrayal of strong female friensdships.

The play is funny, there are some great lines that had the audience laughing aloud, but it is also heartbreaking - you will need your tissues for M'Lynn's emotional speech in the last scene!

Steel Magnolias plays until Sat 13th Oct - it's a great night's entertainment and well worth seeing.

Denise Sparrowhawk






Wednesday, October 10, 2018

The Lovely Bones -review- Northern Stage

The Lovely Bones
Northern Stage
Tuesday 9th October 2018


It was with much eagerness that I arrived at the theatre to watch this play being amongst the many who enjoyed reading the globally best-selling novel by Alice Sebold in 2002.

The Lovely Bones is about the coming of age of a 14 year old girl Susie Salmon, but not typically told in that we find from the start that she is dead after having been raped and murdered by her neighbour the predatory Mr Harvey. I'm not giving the plot away by saying this for those who haven't read the book or seen the film version. We know this from the beginning, it's not a who dunnit in any way. The story is about Susie who is in heaven, and how she reacts to her new environment whilst watching her family from above, how they and she cope through the aftermath of her initial disappearance and continue their lives.

Susie’s main primary focus is for her disappearance to be solved, for her body and her murderer to be found. As the investigation begins we see her frustration as her belongings and clues are gradually discovered, and suspicions are raised but without any concrete evidence. She finds a way for her presence to be felt by certain family members and friends. They feel her around them and through this she leads them to more clues as to the horrific crime and to where it happened.

Whilst the subject is certainly one of a dark nature and the story is one of pain and loss it is told beautifully with poignancy and sadness but it captures hope love acceptance and includes comedy in places too. There are many elements to the story as the days and years pass, where we see the family members coping in their own way to life after and how Susie responds to this watching over from heaven.

I was very interested to see how this production transferred from book to stage and I think it showed that both the adapter (Bryony Lavery) and director (Melly Still) had worked with the books author during production. The essence of the story was captured very well through this interpretation.

Susie Salmon (Charlotte Beaumont) led the way and give it her all, commanding the stage throughout her journey and the killer Mr Harvey (Keith Dunphy) gave a very sinister and creepy performance.

The set was beautifully displayed and detailed and the reflection via use of a huge mirror above (which looked to be the size of the stage) give an unusual ethereal feel to great effect. The cast taking parts of family members, friends boyfriends and police (some playing more than one part) enhanced the visual treat on stage, there was so much to see at any given time. The costumes were very well chosen depicting the style of America in the 70’s where the book was set.

Both the singing on stage and the music played during the show was a delight - from Talking Heads, Tears for Fears and  David Bowie. There were very loud bangs, shouting and great use of lighting...all senses awakened in this show.

I was very grateful, especially about the loud noises and music too because it helped to drown out the persistent rustling behind me as someone worked their way through what I imagine to be a big bag of boiled sweets in their wrappers, something I feel is rude during a live performance.

The show lasts an hour and 45 minutes and did captivate me throughout including what became of Mr Harvey. It was to a full audience that it was performed last night who showed their appreciation at the end with a long and loud applause

You can see it at Northern Stage until Saturday 20th October 2018

Belinda Bekki-Winter

Friday, October 5, 2018

Fans - Review - Live Theatre

Fans
Photo from Live Theatre
Live Theatre
4th October 2018

So I was a bit apprehensive about going to this as this is what I do as a day job.
But......OMG!!!!!
Fans, presented by The Six Twenty is a gig/play that isn't a sit down shut up theatre show and should be enjoyed at maximum volume.
Phones are allowed and you can take photos and videos, they even have #hashtags.
The show takes you on a journey along with the characters.
Chris Foley who was Musical Director in the show played Chris (I think he played himself)
He likes Green Day and has seen them a few times.
Someone hopefully woke up the band a few days ago.
Charlie Raine, plays Charlie is the lead singer of the band and had many phases emo, goth, but she's always had one person who she absolutely loves - the legend that is Madonna.
Charlie is a style queen, or so she thinks!
Andrew Bleakley, plays Andrew the drummer of the band. He's a fan of the Indy/unknown bands but can also do a good rendition of an Elton John song on piano.
And Alex Tahnee (who stared in Byker Grove - it took me a while to remember where I had seen her face) plays -  can you guess??
Meghan! That's right! Now Meghan is like myself, she likes every kind of music and can't choose who she likes. Much like a lot of people. She plays bass in the band but Alex Tahnee can sing! She has one of the purest vocals I have heard.

The play is written incredible well by the talented Nina Berry and is directed by the equally talented Melanie Rashbrooke.
It's hard to explain the plot of the play as it's not really a play but the audience is taken on a journey with songs from all ages and from many different artists such as Oasis, Green Day, Elton John, Beyoncé and many more.
The 4 actors are great and have real chemistry on stage playing their instruments really well. The production team need to be praised for getting the casting spot on. It's not just all loud music, there are some fantastic quiet moments that make this a remarkable show for everyone.
The Set, created by Luke W Robson, is fantastic - it reminds me of the old unit I used to get the sound gear from (I'm a sound engineer) and it was spot on.
Production Management and Sound and Lighting by Craig Spence is excellent he made it feel like a gig and a play at the same time even adding haze into the mix (us lighting guys love haze).
Co-ordinating it all is Steven Blackshaw.

This show had me laughing most of the way through, and the guy next to me was nearly crying with laughter. If you go to this then you are not going to be sitting watching you will be getting involved in many ways. You even get a glow stick to take home.

Before you come to experience this show, take yourself back in time to your first ever gig, remember how you felt, then come to this performance and relive that feeling.

A great show that will have you singing, laughing, crying and just having a good time.
On until Saturday 6th of October and you CAN go and see this show more than once.

Reuben Hiles

Suicide Notes -review- Northern Stage

Suicide Notes by Christopher Brett Bailey 
Northern Stage
2nd October 2018



Suicide Notes isn’t as depressive as it sounds, though to say it’s not depressive in one sense would be inaccurate. Christopher was brought up in the USA and Canada, but moved to the UK in his teen years, so his accent is undeniably American. He starts the show off sat at a desk, with an audio recording device, pretty much coughing at the entire audience for what seems like about five minutes - an odd introduction , but it tells you a lot about his character and humour. I had a similar start to my comedy sets when I performed comedy, “my names DR Carlos, I’m not a real doctor, but I do like to tell people what’s wrong with them.” Your intro should set up the rest of the show and (unlike most of my stand up gigs) it only got funnier from there on.

The start of this spoken word show reminded me of the many open mic comedy gigs I’ve been to. Lots of one liner poems, some funny, some insightful, some both. He’s an intriguing character, somewhat majestical. He has all the snear of a 70s punk, which is lucky , because he’s in a punk band himself. Look it up, it’s very long. He reminds me of a cross between Patti Smith of 70s punk fame and Zach De La Roche from rock band Rage Against the Machine. Every night is different as he reads from his latest spoken word book, Suicide Notes, the follow up to his last book This is How We Die. The book is supposed to be five hours long and this show was about a hundred minutes long.

There are interesting themes not just suicide, but a wide range of topics, there are some political bits, some life pondering moments and some existential questions I could certainly relate to. At one point he suggests that parents revealing in their child’s achievement's is the biological equivalent of smelling your own farts and that if you really want to make a difference take on someone else’s problem and adopt. My sentiments exactly, not quite sure the audience agreed with that, but look around you it’s clearly not a popular idea.

Some of his stories are kinda sadistic fables ingested with real elements, like the time he goes drinking with Adam off of the bible and that. It’s clear he has a wicked sense of humour and I certainty enjoyed his piece, However like a lot of poetry and spoken word it does tend to quite often wander into ranty and preachy territory. You can tell he likes to improvise and probably does a fair bit of automatic writing. Some of the longer spoken word bits do seem unedited and came across like a flow of conciousness. The guy has a great charisma though, you really want to know what he’s going to say next and, his one liners aside, you really don’t see what’s coming next.

If you enjoy poetry, comedy and spoken word, I suggest you check him out next time he tours, or catch his last date on this tour at the showroom in Chichester on the 18th October 2018.

Frank Cromartie Murphy

Two - Review - Gala Theatre

Two
Gala Theatre
3rd Oct 2018

Written by Jim Cartwright
Directed by Tom Wright
Set design Hannah Sibai

Two takes place over one evening in a traditional pub somewhere in Durham. We meet the landlord and landlady as they serve an array of regulars, and we meet some of the regulars too.

The set is a perfect replica of a traditional pub from the 80s. Dark wood bar, optics full of spirits and taps for the beers, stools ranged round tables adorned with beermats and ash trays - yes, these are the days before smoking bans, when you'd come home from the pub stinking of smoke and beer. From the moment you enter the auditorium you feel like you could be in the local boozer. You can almost smell the smoke and alcohol.

The two actors, Jess Johnson and Christopher Price, play the Landlord and Landlady. Full of smiles and chatter for the customers but spitting insults at each other. it becomes clear as the night progresses that there is a serious issue between the outwardly jovial pair.
Johnson and Price also play all of the other characters who come into the pub - from amorous youngsters to the frail and elderly. They morph from publican to punter with surprising ease, transformed by a change of clothes and facial expression.

The delivery is punchy - literally at times - as we are taken on the rollercoaster experience of meeting the characters and having their true selves revealed. It is funny - belly laugh funny - but also poignant and shocking. price and Johnson constantly build tension and puncture it.
You will laugh, gasp, and maybe cry as the truth is revealed.

A fabulous set, hilarious costumes, and the subtlest lighting, alongside the prodigious talent of these two versatile actors makes this production an experience not to be missed.

Two plays until Sat 6th October. It ought to be on longer! Get a ticket and get the beers in before they call last orders.

Denise Sparrowhawk

Wednesday, October 3, 2018

Romeo and Juliet - Review - People's Theatre

Romeo and Juliet
People's Theatre
2nd Oct 2018

Romeo and Juliet is my least favourite Shakespeare play. I confess to disappointment that this was the People's Theatre choice this year.  I am in a minority. It's a crowd pleaser, everyone loves Romeo and Juliet except me. I think my dislike must stem from a bad production seen some time ago. And possibly Leonardo Di Caprio can shoulder some of the blame. I am always impatient with the fickleness of the characters, and the unreasonable feud. Do any of them even know why the two families don't like each other?

So it takes something special to get me on side for this one. Would People's Theatre be able to sway me from my prejudiced outlook?


Director Anna Dobson took her inspiration from the BBC's Peaky Blinders, bringing the play into post war 20th Century. This gives plenty of reasons for unrest and dissatisfaction in life to account for the many grudges and battles between opposing factions, and gives the wardrobe and set builders the opportunity to be a little more creative. No doublets and pantaloons here, and no rose covered balcony. The set is industrial, with barrels, packing cases and chains in place of the streets of Verona and rosy arbours. The cast are dressed in Tweeds and flat caps, swords replaced with flick knives and cudgels. The women dressed beautifully in furs and lace.
And in the background haunting Nick Cave tunes.

You know the plot - The Montagues and Capulets create fear and mayhem in the streets of Verona, violence erupting whenever the two factions meet. But two meet and fall in love - Romeo, a Montagu, and Juliet a Capulet. They enlist the help of Friar Laurence who marries them in secret. Meanwhile Juliet's father has brokered a marriage agreement with Paris.
I won't be spoiling the plot if I tell you it doesn't end well.

Craig Fairbairn and Emma Jayne Richards sizzle on stage with barely controlled passion in their scenes, capturing and conveying to all around, the immediacy of their attraction to each other and the all-consuming nature of their love.

Richard Jack gives an exceptional performance as the hot tempered and lewd Mercutio- the friend whose temper and loyalty contribute to the tragedy.

It is a fast paced, visually stunning and beautifully executed production. Did the team succeed in impressing me with their Romeo And Juliet? They did. They played a peaky blinder.

It runs until Saturday 6th October.

Denise Sparrowhawk