Review - Wizard of Oz - People's Theatre

The Wizard of Oz

People's Theatre

13th December 2025

This year's Panto at The People's Theatre is The Wizard of Oz. It's a move away from the more traditional fairy tale pantomime, that is to say it is not the usual handsome prince falls in love and saves his heart's desire from an evil witch/queen/wizard and they get married and live happily ever after...

There are witches and wizards, some good, some not so good, and one is a sort of fairy godmother, or witchy godmother if we're being fair. And there is plenty of danger and enchantment. 

The panto follows the original story of Dorothy's adventures in the land of Oz pretty accurately, with the addition of Hickory, Dickory and Dock as the farm hand characters who transform into the Scarecrow, the Tin Man and the Cowardly Lion and who provide the panto characters who engage with the audience most - the "Buttons" type character. The main one being the Scarecrow who initiates the call and response with the audience each time he comes on stage. Jess Chapman plays this really well, creating a good rapport with the audience and delivering some great jokes and puns along the way, supported by Alison Carr as the Tin Man, whose comic delivery shines throughout the show, and Joe Moore is engaging as the loveable scaredycat Lion. 

Ian Willis as Aunty Em/Glinda the Good provides both the "fairy godmother" and the "panto dame" 
roles. His sparkly pink Glinda frock is a sight to behold. She pops up when needed to sprinkle a little good magic to help the story on its way.  The evil element is provided by Hattie Eason as Miss Gulch/Wicked Witch of the West, with her minion Winkie, the flying monkey (Rachel Potts). Her shrill laughter is enough to scar the bravest of children in the audience! 

Uncle Henry/the Mighty Oz is played by Steve Parry - the gentle Uncle a contrast to the bumptious Wizard, though his kinder side does show once Toto reveals his true identity! Erin Hattrick is a competent Dorothy,  and last but not least, Toto the dog is an endearing puppet operated by Rosa Cole - which is definitely more reliable than having a real dog and handler on stage! 

There is plenty of music with the show starting with a boot stomping line dance number to Steps 5-6-7-8. And the refrain throughout the show of Is This the Way to the Emerald City (amarillo).  (Though considering Glinda's Scottish accent I was a little disappointed not to have a Proclaimers' number in there - walking 500 miles surely was a dead cert?)  

The costumes are fabulous - from the gingham and denim farm wear to the rainbow sparkles and poppy petals of the dancers,. The sets are well presented from The mundane farm in Kansa....erm...Heaton, to the enchanted land of Oz. I loved the twister scene with the cacophony of music and weather as stage hands spun the scenery around creating the tornado that transports Dorothy to Oz and lands her house on the Wicked witch of the East, and the beautiful poppy field scene with dancers providing the soporific poppies to enchant Dorothy and her friends, and then snow floating from the skies to save them. 

Finally the Wizard's Head is an impressive piece of giant puppetry  and a credit to the set designers. 

This is quite different for a pantomime. there is a definite story to be told though it does still have the good versus evil, and audience participation but it feels less structured than the traditional format, and at times it felt that the "panto" elements were being shoehorned in. There are still lots of jokes and innuendo but it's all a bit more subtle and sometimes the jokes were missed by the audience which is a shame because this is more sophisticated humour than you'd normally see in panto. 

That said, the audience on opening night was fully engaged - with plenty of booing for the wicked witch and clearly the supporters clubs for the dance troups were all present in the audience, which definitely added to the atmosphere! 

If you want something a little bit different to the usual panto fayre then the People's Panto might be just the show you need to see! 

It runs until 21st December - and you will need to book in advance to be sure of a seat! 

Book online here.   

*images by Paul Hood

Denise Sparrowhawk

 

Sleeping Beauty - Review - People's Theatre

Sleeping Beauty

People's Theatre  
14th December 2021

The People's Panto is back this year with the classic fairy tale, Sleeping Beauty. After a two year Covid hiatus it bursts back onto the stage with a flashbang and Fairy Canny (Emma Cockburn) introduces us to Geordieland and the sad tale of Princess Beauty who was cursed at birth by the wicked fairy Carabosse - on her 21st birthday she will prick her finger on a spindle and die. 

The panto begins 21years later, the day before Beauty's birthday and the day the curse should be fulfilled. Queen Sadie has done everything to keep her daughter safe, spinning wheels have been banned and Beauty has never set foot outside the Palace. So, everything will be fine, and the curse will never come to fruition! (Oh no it won't!)

The jokes come thick and fast, relentless at times! There are silly ones for the kids and plenty of innuendo for the grown-ups - there was a lot of raucous laughter from the row behind me at one or two of the more riskee jokes! The chemistry on stage between Queen Sadie and Chester the Jester keeps the panto bowling along at a cracking pace. Steve Robertson slips back into the Dame's Frock with ease, while Callum Mawston does a brilliant job of engaging the audience with his cheeky grin and quick repartee. Jonathan Goodman plays a blinding bad guy as Carabosse ably assisted by his sidekick Radgie Gadgie - a role played with unnervingly laidback malevolence by Daniel Magee. The level of booing is a good indicator of the quality of the bad guys, and on Tuesday night it hit the top level - booing started as soon as Carabosse and Radgie Gadgie appeared - no prompting needed! The two characters ooozed badness from the moment they stepped on stage! 

Of course it all ends with true love's kiss and a wedding - though there might be a little twist at the end. Is it Prince Frederick of Fenham who wins Beauty's hand, or does someone else bring her back from her hundred year's slumber? You'll have to buy a ticket to find out! 

This is a traditional Panto - with everything you would expect. It has all the jokes poking fun at neighbouring rival towns (Sunderland naturally comes in for some stick) and recent news stories (Boris gets a bit of stick too!); there are dastardly bad guys, sugary sweet good guys, cute little dancers (some of whom don't quite remember their steps), sing-alongs, sweetie hoy-outs, and lots of booing, hissing and cheering. And, of course, a happy ever after, because it wouldn't be a proper panto without that so am not giving away too much by saying that! 

Panto season is back and the People's Panto does not disappoint! Grab a ticket and enjoy an evening of good old fashioned family fun!!

Denise Sparrowhawk

The Snow Queen - Review - Northern Stage

The Snow Queen

Northern Stage

Thursday 5th December 

Sometimes you go to see a show and afterwards think to yourself, 'well that was something a bit special'. Northern Stage's production of The Snow Queen definitely falls into that category for me. Adapted by Laura Lindow and directed by Mark Calvert, this version of Hans Christian Andersen's fable certainly captures both the strange and beautiful elements of it perfectly.

There have been lots of different versions and interpretations of this classic story throughout the years, more recently being the inspiration for Walt Disney's Frozen.This adaptation tells of the townsfolk of Stifle, and as the name suggests they have barricaded themselves in behind a wall from the threat of the outside. They lead a restrictive way of life with very strict rules that must be followed in order to keep themselves protected from what peril lies beyond. 

The tale is of, and told by, Gerda (played by Lauren Waine) and the friendship she forms with a boy called Kai (Gregor Mackay); a newcomer to the school she attends. As their friendship grows and flourishes Kai starts to question all the rules and restrictions - why are they not allowed to speak openly of their hopes and wishes and what exactly is beyond the barricade?

One fateful night he speaks aloud of these things, climbs to where he shouldn't and he, along with other children of the town, goes missing. It is then that we enter the icy world of The Snow Queen. It is now up to Gerda, through her friendship and with strength and courage (and a snowglobe) to enter The Snow Queen's world and discover the fate of Kai and the others who are missing. Can she rescue them or will The Snow Queen get her wish of a perpetual winter?

What I loved about this show was that it felt magical throughout. It is a very lavish production, a

stunning set with the props the lighting the sounds all adding to the excitement. The stage is like a boardwalk with audience on opposite sides and it is used throughout to great effect. There is great energy from all the cast. Lots of lively singing and dancing making the tale being told a delight visually and musically.

Many members of the cast took turns in playing different instruments too. This I particularly enjoyed, the musical score played live upstairs on the stage. Described as rustic and folky, the music really fitted the vibe of the production. The puppetry was used really effectively and made the stage become even more alive, especially when the reindeer appears.

The costumes were great, very colourful and quirky. Special mention must go to The Snow Queen. As she became more powerful her costumes became more and more stunning and spectacular.

There is a mild danger element to the story, but lots of interesting characters and lots of fun, merriment and humour included in the show too (its suitable for the whole family, great for ages 5+) Particular mention must go to the schoolteacher and strict disciplinarian Elsie Orr (Paula Penman) who for me provided the biggest laughs and played her part brilliantly.

To find out if Gerda fulfills her dream of playing a musical solo, and if she succeeds in her quest to stop The Snow Queen's plan and save Kai and the missing children, to discover if the people of Stifle will have a happy Christmas….The Snow Queen is on until 4th January 2020. I thoroughly recommend a visit to see it. *Picture Credit: Pamela Raith Photography

Belinda Bekki-Winter

Wasteland - Review - Northern Stage

Wasteland

Northern Stage 

25th Sept 2019

Wasteland is Gary Clarke's interpretation in music and dance of the rise of the rave music scene in the 90s. In aftermath of pit closures we are given a glimpse into the lives of a father - the last miner - and his son as they each try to cope with the empty prospects left to them by the destruction of the mining industry. 

The Last Miner sinks into alcoholic despair while his son finds an escape in the euphoria of the illegal rave scene - losing himself in music, dance and drugs. The father and son don't always see eye to eye, they fight often, but all they have is each other. there is conflict, but there is also affection - and this is movingly illustrated in the final scene.

This is more than dance piece, it is a piece of social history. The contrast between the miners with

their male voice choirs and brass bands, clutching their UB40s and the manic energy of the youth with their manic, bass beat music is stark and telling. Yet the hypnotic, trance-like dancing is just a different form of escape from reality to that of the miners.

The historical context of the story is explained with projected newsreel scenes showing the closure and destruction of a pit, the men leaving and the iconic pithead building being destroyed, and later footage of the break-up of an illegal rave by the police, and the supercilious voice of a newsreader describing the scenes. I was stuck by the similarity between these scenes of police intervention and the those from the picket lines during the miner's strike.

The dancing is energetic, manic - as it should be - and at times painful - Alistair Goldsmith as the

Last Miner contorts his body into shapes that echo the agonising heartbreak of the losses that pit closures brought - not personal but national. A way of life, was destroyed, but also the livelihoods of the following generations.  The beat of the music is relentless, a form of escape, but perhaps one with no real exit.

I found the show incredibly moving. Though I lived through the rave scene era I was not part of it - too conservative (with a small "c" and timid) but I do remember it - and I remember the miner's strike and the sense of desolation that followed. The rave culture was a reaction against that desolation and depression. I don't think we have found a way out of either state yet.

Emotional and emotive stuff. Find out more here www.wastelandtour.co.uk

*Photographs by Joe Armitage

Denise Sparrowhawk

Newcastle Improv Festival - Review - Alphabetti Theatre

Improv Triple Header Long Form Night Alphabetti Theatre - Newcastle Improv Festival

Old haunts from Open Heart Theatre / Couch Improv / 4 One Night Only


Tonight was a treat for the seasoned improv theatre goer. Two brand new formats and one format I have never seen before from Couch Improv. To kick us off was Open Heart Theatre assembled from the hang, a local improv group. This was a brand new format known as old haunts, involving some scene painting from two spirits of a transformed space that used to be something else. In this case the old haunt used to be a fire station and is now an art center for troubled souls.

Open Heart performed some entertaining scenes, while the spirit members paused the action to do some scene painting bringing more history and life to the space, from what it used to be when it was a fire station and what it now is. Four characters had good chemistry and there were some heartfelt and amusing scenes.

Next up was Couch Improv with a standard harold format , the original long form created by Del Close. They took a one word suggestion, which was freedom, that sparked off some fascinating scenes including the guy who had the hots for his captors, a very anti-semitic Mel Gibson and a teacher who taught failure. Very funny scenes. Their second format took its inspiration from tracks people have added to their spotify playlist, an example was Nena's red balloons song. There were some call backs to earlier scenes and some great characterisation. The devil made an appearance at some point, with an offer of taking someones soul for an Uber.

Last but not least was 4 One Night Only - a local night of long form exploration featuring some bright talents from the local improv scene. The concept was a live radio episode of the famous fictitious fifteen year old soap opera North Eastenders. I wonder where the name inspiration came from?

Several stock characters were used, but expanded on throughout the two episodes, we saw one current and one classic episode all improvised. Firstly set in several locations all suggested by the crowd. Most actors played several characters, which was sometimes confusing, but entertaining, especially when characters had conversations through the same actor. Highlights include several women giving birth and an affair that ends in disaster. Both episodes end on cliffhangers as you would expect. Great stuff.

All this is part of the very first Newcastle Improv Festival, which started on Saturday the 27th July and concludes on Sunday the 4th August. Bev Fox and Ian Mclaughlin have put together a great set of shows and workshops, most of which have sold out so far. So grab tickets for shows workshops when you can, information below :

www.newcastleimprovfest.co.uk

Remaining workshops :

Friday 2nd August

Improv comedy 12-2pm Alphabetti Theatre 16+ £10.50
Jason Perez improv masterclass Alphabetti Theatre 2-5pm Adults £18-£20

Saturday 3rd August

Stella Duffy Improv for writers Jurrys Inn 10-5pm
Laughter yoga with Melissa Alphabetti Theatre family friendly 12-1pm £5.50-£7
Improv for beginners Alphabetti Theatre Adults 2-4pm £12-£15

Sunday 4th August

4 hour film challenge  Alphabetti Theatre 12-4pm Adults £20



Remaining shows :

Friday 2nd August

The Suggestibles comedy Alphabetti Theatre Adults 16+ 8-10pm £10-12.50
Nerdfest's pissed up podcast Adults 16+ 10.30-11.30pm Free to Suggestibles ticket holders

Friday 3rd August

Picture this Seven stories Family friendly 2-3pm £4.80-£6

Suki Webster's guest speaker Adults 16+ 7.30-8.45pm £7-£8
'Aspects of...' The Suggestibes with Suki Webster and Stella Duffy musical improv Adults 16+ 9-10.15pm £7/£8
Double bill £11-£13
Nifty disco with DJ Paula Penman music and dancing 10.30pm-12am free for Guest speaker or aspects of shows

Sunday 4th August

Say what? improv jam Adults 14+ 4.30-6.30 pay what you feel.

Other than that see you all next year!


Frank Cromartie Murphy

Spamalot - Review - Theatre Royal

Spamalot

NMTC at Theatre Royal Newcastle Tuesday 28th of May

I flaming love this theatre company and I think for the past 5 years I have seen all their productions and I can't wait to tell you all about it!

This is one of the funniest shows that they have done in a long time, but sadly tonight the audience wasn't there.
There was a severe lack of audience members so this is my call to you (person reading this) GO and SEE THIS SHOW!!!!

Even if you don't like or get Monty Python (I don't), you will love this play which tells the story of King Arthur and his knights of round table as they try to find the holy grail.

King Arthur, played by the charismatic Charles Docherty, is joined by his noble steed - Patsy - played Stuart Liddle. Just try to find a better double act than these two...... I'll wait.

JoJo Hatfield -who should really be on broadway playing parts in big shows - is amazing as the Lady of the Lake.
Her vocals are amazing and wow! she hits that high note with ease.

There are plenty of comedic parts  including Sir Robin the Brave who was played (apparently) by James Mitchinson... but knowing James as I do, I know he doesn't have long hair. (perhaps he was wearing a wig? - Ed)

Dennis / Sir Galahad tonight is played by Jay Robinson (but he will also be played by Jamie Douglass later in the week). Jay is fantastic and is transformed into a dashing knight by the Lady of the Lake.

Sir Lancelot who is played by Stephen Mason who I have to say looks good in fishnets and it's not the first time he has played this character (Are you trying to tell us something, Stephen?).

Sir Bedevere is played by Dan Collins who looks like he is enjoying himself in his first NMTC show.

I have to say that James Forster (who plays Prince Herbert) looks fabulous in a dress and a wig!! (You must do it often?)

There are so many characters that I could talk about but I'll be here all day so I'll just go through them quickly.

Prince Herbert's Father was played by Gawen Robinson, Dan Greener was fantastic and showed a more comedic side to his acting this year.
Carl Luke played Not Dead Fred, Lindsay Gill who is also the publicity officer plays the historian.
Dan Fisher plays Brother Maynard and Concorde and Lee Benson plays Black Knight and Bors with Kim Robinson playing Galahad's Mother and Micheal Skoles who multitasks well playing 4 parts.

But the star of the show was the coconuts!!!!!! (Only Joking).

We go through the journey with Arthur and his knights to find the holy grail but seeing as the knights are not the brightest crayons in the box they don't last long until they come unstuck.

With Great songs like Lady in the Lake, Knights of the Round table and of course the song we all know Brave Sir Robin.... (What you don't know it???, you ain't lived) LOL only joking . It's Always look on the Bright Side of Life.
This show has a fantastic ensemble of lovely young ladies,
I'll list them below.
Jacqui Simpson, Susan Sanderson, Lisa Powell, Alia Nabi, Judy Mahoney, Claire Blake, Tricia Tait, Cindy Redhead, Sheila Coleman, Sara Blair, Kate Sword, Jess Wells Auchteronie, Laura Wood, Bryony Souza Hawkins, Ruth Scott, Jessica Carle and even a cheeky little cameo from Choreographer Sandra Laidler who I swear lies about her age saying she's 40 (she's only 38!!!).

Bea Atkinson has done a great job directing the cast alongside Carl Luke (He's not paying me for these mentions I promise), the man with the musical baton is Malcolm Moffat and Lisa Roach is Dance Captain. And God is played by the Idle called Eric. This show is funny and sophisticated and you will belaughing and tapping your feet and whistling - or trying to in my case as I was losing my voice!

With many people backstage working their asses off to help with the show.

All they need is the audience. Tickets start as little as £17 in the stalls so do go and book one! You won't be disappointed!

Book here

On until Saturday 1st of June.

Rubes Hiles

Woke - Review -Northern Stage

Woke

Northern Stage

23rd May 2019

Of late it seems to be my fate to find myself at Northern Stage surrounded by people half my age. I'm not complaining. I think it's commendable of Northern Stage to seek to reach out to a new younger audience. It's just – you know – I don't really know what I'm talking about here.

Woke is a one-man show by south London rapper, Testament, who describes himself a human beatbox and conscious MC. Are they actual things or is he making it up?

Human beatboxing, according to my friend Wiki, is a type of vocal percussion, imitating drum machines, using mouth, lips, tongue and voice; it may also, as in this case be vocal imitation of turntabling and other musical instruments. 

I know nothing about hip-hop but I can recognise skills. Testament is an amazing performer, not just vocally, sampling and turntabling a range of styles. 

His theatre skills are enviable. He interacts with his little daughter Elise so convincingly we believe she is there, and I as an audience member felt none of the usual awkwardness in greeting her likewise as if she were really there.

Woke is about the impact of having his daughter on Testament; how her birth made him question the culture of rap but also of wider society. It's a mixture of spoken word, live theatre and hip hop rap, which manages to get its message across with wit and passionate style. Testament goes through the history of rap and its precursors and manages to subvert rap's own techniques -- rewinds, remix and repetition – to underscore the insistent sexism and an echo-y meaninglessness at its heart.

The track 'Ojectify' (which you can download at: www.testamenthomecut.com, all profits go to Refuge.org.uk) is a masterpiece of satire and rap beats. It's the skills that lift this show out of worthiness into something that rap's own audience can relate to and question their own assumptions.

But it's not just a critique of rap culture, an easy target, which comfortably lets white liberals off the hook. He examines the stereotypes of the 'black father': "My wife – oh you're surprised? You thought I had a baby-mother?"; or of being congratulated for playing with his own child at the playground.

He also situates it within the sexism of the wider culture, through a mash-up of film and tv tropes that emphasise female passivity and objectification.

What sort of a society is he bringing his little girl up in?

He ended the show by acknowledging the irony of a one-man show about girls and sexism, asking the

women in the audience to give their advice to Elise, or "What would you like to tell your younger self?" The response was all a bit affirmative, like the insta poems of Rupi Kaur. But maybe that's just me being a bitter old woman, and young women are much nicer. (My contribution was: don't take any bullshit.)

Testament than improvised a rap from the advice solicited.

Seriously, it was a great night, great skills. I wished the audience was a hundred times bigger. Testament is a voice that should be heard.

*pics courtesy of Northern Stage  

Gerry Byrne

Bouncers -Review- Northern Stage

Bouncers 
Theatre Royal Wakefield and John

Godber Company

at Northern Stage
Tuesday 19th March 2019 

Cast:  Frazer Hammill, Peter McMillan, Duncan Riches, Lamin Touray


This smash hit comedy is described by the National Theatre as one of the plays of the millenium. The original writer John Godber has revisited the show to bring us this bang up to date (uber and selfies) production which tells of one night in a Yorkshire nightclub all under the watchful eye of the bouncers.

What makes Bouncers such the brilliant comedy for me is primarily the relatability. We've all either been there, recognising ourselves, friends or have seen first hand the coming and goings of a typical night out in the nightclub world.

I can't think of bouncers without remembering the cringeworthy time of me in my teens attempting to get into a trendy nightclub and being refused. It wasn't because of being underage (which I most definitely was) no, the bouncers took one look at me, in a denim jacket I'd badly accessorized with half sewn bits of flag, short spiky hair and Doc Martin boots shook their heads and quoted the dress policy to me.

The story is told through the four bouncers (Lucky Eric, Judd, Les and Ralph) and also a group of four ladies and four men on their night out. The writing really is outstanding, capturing perfectly and humorously the characters’ hopes and thoughts as they prepare for and go about their night out. It is a great observational piece punchily told as it goes between the various groups of people as the night unfolds.

Whilst very funny it does also include a few short ‘speeches’ interspaced through the show from one of the bouncers Lucky Eric (the more serious one) He tells things he’s seen in his career from a different side away from all the fun, shots, drugs and general having a good time. Also touching at times on social commentary, this gives it a more real feel which is part of the brilliance of this show. It made me feel as though I was there in the club.

The four actors were all exceptional. Playing the parts of the bouncers as well as the lads and lasses on the night out. The set was minimal (only a few beer kegs and moveable metal fences were needed) and at the back of the stage strips of multi coloured lights and 4 archways which the cast momentarily went behind and reappeared signalling the start of a different scene. This was done seamlessly and apart from a few handbags no change of clothes or other props were required and this was because the actors switched characters and immediately took on their different personas they were playing really well.

There was swearing, dancing (reminiscent at times of that hilarious scene from The Inbetweeners) singing, contemporary music, tears, shots galore, copping off (or trying to) talk of a sexual nature and most of all lots of laughs and highly entertaining throughout. I enjoyed every second and my jaw still aches. I would definitely go see this again. As I made my way out I couldn't walk past a group of people without overhearing them say how good it was or “he's beautiful” and “he's hot” life imitating art and vice versa.

It is on at Northern Stage until Saturday 23rd March

Belinda Bekki-Winter

Playing Up 9 - Review - Northern Stage

Playing up 9  - New play showcase 
Northern Stage
27th Feb 2019

Tonight's showcase was for five new short plays all written and directed by local writers and directors and performed by local actors in two acts.

First up was Something Less Deplorable by Luke Bateman and directed by Jack Hilton. Opening with music, two friends come together on a hilltop at dusk. Adam (Alastair Park) as the frustrated friend who wants more than just friendship from Laith (James Howlett). There’s exchanging of banter back and forth and an imminent issue Adam has with a relative in hospital. Laith is wonderfully camp and there is some sexual tension there. There could be more action and less expedition, to make it more than talking heads. Interesting play all the same exploring unrequited love.

Fucking Black Magic by Chris Wilkins, directed by Anna Snell was a two hander set in a restaurant in what first appears as a date and later transpires to be a reunion of David (Mark Buckley) and his estranged birth mother Tracey (Mary Pickin) the second play in a row with the c word among many other expletives. David's job in risk management is somewhat mocked and the relationship is anything but instantly loving. Tracey is excellent and charismatic, but somewhat blasé in nature. David is almost polar opposite. This was funny and well paced and had a nice resolution.

How Not To Date by Elle Douglas, directed by Beth O’Doherty Does exactly as it says on the tin. This works as a kind of romcom-esque play. Two unlucky in love singletons are taking the leap and meeting a stranger from online in person! Asking the question is it possible to have a successful first date? This all played out in a peep show like style, in which we here Lucy and Mike’s inner thoughts are voiced by other actors as a sort of inner conflict and commentary on the disaster unfolding. Lucy is played by Eilish Stout Cairns and Eleanor Beck. Mike is played by Craig Fairbairn and Liam Scarth. This highlights the awkwardness of modern dating and the desperate measures some people go to, to find companionship. Quite amusing with high energy.

Soulmates by Lewis Cuthbert , directed by Matt Jamie was the first play of the second act. Starting with a commercial for Sycorax Systems Incorporated the world leaders in soul transfer. This is science fiction in a black mirror sort of style. The commercial is very comical as the supposed alive patients seem to be in an almost catatonic state. In what should be a demonstration of the system working an ex solider freaks out at the idea he has been resurrected, meanwhile an angry father confronts the company after his daughter died and wasn’t able to use their technology. Wonderfully corporate from start to finish ending on a nice punchline.

The final play was Paper Plane by Rachael Walsh, co directed by Richard Gardner. Opening with music It’s Luke’s (Adam Jordan Donaldson) wedding day and his best man is a woman, Poppy (Jude Nelson). Tom (Benjamin Storey) is Poppy’s ex, this plays out as a kind of a love quadrangle. It asks the when Harry met sally question of can men and women truly just be good friends? It’s well placed, with good humour and drama in places. Poppy makes a powerful best man speech and Tom woefully attempts to get Poppy back. There’s a good level of tension, drama and feels here. It addresses the unrealistic expectations films and theatre presents of romantic love. Well performed. 

Producers : Lewis Cuthbert, John Harrison, Chris Wilkins

Technician: Jayden Blacklock

To get involved with playing it up contact them by email : playing_up@outlook.com Twitter @playingup_tc
Blog: https://playingupblog.wordpress.com

Next Playing Up 10th May
                     

Frank Cromartie Murphy

Approaching Empty - Live Theatre - Review

Approaching Empty

Live Theatre 

Feb 8th, 2019

Set against the backdrop of Maggie Thatcher’s death in 2013 (yes she has been dead that long!) in a Minicab Office in Middlesbrough of all places, this play written by Ishy Din has the audience laughing along. It could be set anywhere and still work as the writer states.

Times are changing and nowhere has this been more apparent than in the business world, and the taxi business is no exception. With their competitor Fleet doing really well, will Raf’s company survive? Raf (played by Nicholas Khan) is a chain-smoking, no-nonsense business man who knows why he got into business. On the other hand, Mansha played by Kammy Darweish, is a wise old fox who has been in the job for years; unlike Raf he just wants to be secure. He loves his job more than himself. These two men are just trying to get by as friends.

Shazad, Raf’s son, played by Karan Gill, is at university studying business. He has no interest in the taxi business but gets shoehorned in at any occasion to help out. Sameena is the new kid on the block; she's been to prison and has something to prove and wants to create a new life with her children. Sully played by Nicholas Prasad the more experienced driver we see, is a young man coping with the loss of his father who died after a long term health problems related to working in the factories. Raf and Mansha have different views on the factories closing under Thatcher with Raf saying it was a good thing but Mansha saying it was a waste of talented men. I do believe that both characters are right, and we needed the closing of the mines and factories but we didn't need to do it in the way it was! But that's in the past we can't change it, only learn from it.

Raf wants to sell the company and has an offer of 120k from Fleet but Mansha is against working for them. Mansha offers to buy the business but he hasn't got the money and isn't normally a risk taker. How could he get the money? His help comes from an unlikely source in Sully and Sameena and eventually they buy the business. But you always suspect something is wrong. Things begin to come to light which the three new partners don’t understand and Raf is giving no straight answers.  Tany - Sameena’s brother and the local hard man - comes into the fold (played by Maanuv Thiara) to save the day but not before he shows Raf what a cut-throat world being in business literally is. 
We finish off with a new owner, new manager and the rest of the characters in limbo deciding what they want to do in life. 

But for Raf there is nothing that can be done, and he is dying. 

As for Mansha, he's off on holiday. 

This play was a great laugh, well written and everyone involved should be pleased with the result. Rina Fatania who plays Sameena gets performance of the night for me. Great direction from Pooja Ghai, assisted by Heather Carroll and a great team.

On until Saturday 23rd February

Prices from £6 - £22 

Age14+

Reuben Hiles

*Picture credit Helen Murray 

Preview - Jack Lear - Northern Stage

A modern day re-working of Shakespeare's King Lear comes to Northern Stage in February. 

 Lear is one of my favourite Shakespeare plays - with more layers than an onion - so I will be interested to see how this modern interpretation of the story works when it comes to Northern Stage next moth. 

DS

 Barrie Rutter OBE leads cast for Jack Lear at Hull Truck Theatre 

With music composed by folk icon Eliza Carthy MBE 

Hull Truck Theatre are donning their oilskin overalls and fishing boots in January, as they step into 2019 with Jack Lear, an exciting new production written by Ben Benison, set on the banks of the river Humber. Jack Lear will showcase a cappella folk music composed by Yorkshire-born folk icon Eliza Carthy MBE, daughter of musicians Martin Carthy and Norma Waterson. 

The title role of Jack Lear will be played by Hull-born Barrie Rutter OBE. Winner of numerous awards, including the "Creative Briton Award" in 2000, Rutter continues his Shakespearean adventures in this gritty re-working of King Lear. Rutter gives life to the eponymous central character and uses his directing talent to tell an intense, complex, and unique story.  

Nicola Sanderson (Somewhere, National Theatre, Henry V, Northern Broadsides, The Merry Wives, Northern Broadsides/ West Yorkshire Playhouse) will star as Morgana, Jack Lear’s eldest daughter. Sarah Naughton (Euphoria, Ensemble 52, Fruit, Hull, Hamlet, East Riding Theatre, Dark Winter, Ensemble 52, Hull Truck Theatre) will be Jack’s middle daughter, Freda. Olivia Onyehara (All our Daughters?, New Vic Theatre, Pride and Prejudice, Nottingham Playhouse/York Theatre Royal,  A Midsummer Night’s Dream/ Macbeth, Shakespeare’s Rose Theatre York) will join the cast as Victoria, the trawlerman's youngest daughter. 

Andy Cryer (The Comedy Of Errors, Northern Broadsides, Othello, Whitehall Theatre, The Two Noble Kinsmen, Shakespeare’s Globe) will take on the role of Edmund, the solicitor who adds an extra touch of drama to this stormy family affair.  

The creative team includes Kate Unwin (Set Designer), Aideen Malone (Lighting Designer), and Mathew Clowes (Sound and Digital).  

Jack Lear opened at Hull Truck Theatre on Thursday 17 January and the production transfers to Northern Stage in Newcastle from 12th to 16th February.

Age recommendation: 14+ 

Tickets start from £10 for Jack Lear at Northern Stage. To book online visit www.northernstage.co.uk or call the Box Office on 0191 230 5151.  

Photo credit: Nobby Clark

Christmas Crackers - Live Theatre - Review

Christmas Crackers

Live Theatre
14th December 2018

Clementines (Easy Peelers) by Tamsin Daisy Rees
Grounded by Henry Lawrence
Home for Christmas by Olivia Hannah
Marbles by Jamie Morren

Directed by Joe Douglas and Graeme Thompson

Cast members - Katie Powell, Dale Jewitt, Sarah Balfour, Daniel Watson, Micky Cochrane

Christmas Crackers is a set of four seasonal short plays by writers from the Live Theatre fold who had previously taken part in "10 minutes to...". Christmas Crackers is the next stage in their development as playwrights.

Christmas is all about family and each of the plays explores the an aspect of a family Christmas.

Clementines  follows three siblings as they struggle to cope with a Christmas without parents. They squabble with each other, deflecting attention from their own problems by highlighting someone else's.

In Grounded an injured pigeon becomes the vessel to explore the relationship between a boy and his father, revealing how a breakdown in communication leads to misunderstood expectations on both sides.

Home for Christmas tackles homelessness, compassion, charity, and trust - or mistrust - among friends.

The final tale Marbles is the most poignant of the four and has a very different feel, revealing the disparity between memories of the past and the reality of the present.


The writers have each chosen an aspect of Christmas and observed it beautifully. The plays are funny, poignant and emotional. Relationships are acutely observed and effectively portrayed in a very short time - the plays are each just 30minutes long. Each one is a like a snapshot that captures the subject but reveals so much more going on in the background. The five actors move assuredly from one play to the next, transforming from themselves from one set of characters to another in a series of convincing performances.

Christmas Crackers are four tales of an imperfect Christmas. Grounded in reality, they give the essence of the Christmas message without the saccharine sweetness of the TV commercials.

They play until 22nd December at Live Theatre.

Denise Sparrowhawk

Heaton! - Review - People's Theatre

Heaton!

The People's Theatre
17th July 2018

Heaton! The Peoples Theatre 17^th July 2018 presented in association with Shoe Tree Arts.

Heaton! Is a play inspired by local area of Heaton and the Great Exhibition of the North and is an original production for The People’s Theatre. Upon my arrival my ears were greeted with a full band playing, which was nice, the band was also featured in the play and performed at the end. The play itself was a cornucopia of ideas mixing several genres, including musical aspects, live film action, a blend of real and fictitious characters and stories, set against a backdrop of footage on a giant screen (which wouldn’t look out of place in a cinema).

There was a boatload (quite literally at one point) of cast, not all in speaking rolls, some just for the musical elements, which did make it feel like a musical in places, aside from the fact it actually had some plots to it (sorry I’m not a fan of musicals) The quality of the music was actually quite high too. Some of the characters included from Heaton’s illustrious past included: Lord Armstrong, engineer and original owner of Armstrong Park; Sir Ove Arup the engineer of the Sydney opera house; Sir Charles Parsons the inventor of the steam turbine; Lady Katharine Parsons, the founder of women’s engineering society; Colin Veitch, Heaton’s footballing wonder kid who played in a successful Newcastle United side in the 1800s and early 1900s, who was also co founder The People's Theatre and later a journalist with the Evening Chronicle; prominent feminist and suffragist activist Florence Nightingale Harrison Bell; Rachel Parsons, engineer and advocate for women's employment rights; Edith Stoney, mathematician who helped Charles Parsons in his gas turbine calculations.; Jorn Oberg Utzon a Danish architect notable for designing the Sydney Opera House, and finally George Stanley a historian who narrates much of the action.  

What was very nice was the brilliant original music compositions created specifically for this production by Ken Patterson and Richard Scott. The acting was good and in one of the most enjoyable moments the narrator said Newcastle Upon Tyne instead of Newcastle council, (I guess you had to be there!).  One of the reviews from a guy in the audience made me laugh he said “I thought I was going to fall asleep, but I didn’t it was good”. Praise indeed.

There were so many different stories going on in it, too many to mention, but all weaved into a nice overall narrative capturing the early 1900s in Heaton very well. It was also funny in places, - it seemed to have everything mixing the various genres seamlessly. A whole year's work went into the production and it’s evident, you can see the love that’s gone into it - this is people who are clearly proud of their local heritage. The place was packed out like I’ve rarely seen it, I had a blast and learned a lot and you will too. Get down and share in some local pride! 

Frank Cromartie Murphy

Northern Stage - Autumn Season Launch

Season Launch

Northern Stage
Autumn 2018

Northern Stage launched their autumn season with comedian and poet Kate Fox. Kate gave us a taste of what was to come in a series of interviews, video clips and snippets of performances. Her chirpy, upbeat commentary and infectious enthusiasm kept the evening moving along at a cracking pace - as well it needed to, there was a lot to pack in!

Before we get to the Autumn there is a great programme of events over the summer with Northern Stage's involvement with the Great Exhibition of the North. There are plans for Self Build Utopias - a series of exhibitions, installations and performances re-imagining the future. Lorne Campbell and Annie Rigby talked about the inspiration behind the projects and the hope to produce an interactive and engaging series of activities to recreate landscapes and reconnect communities. Watch out for the many different activities around the Great Exhibition of the North from June 22nd till 9th September.


But what can we expect at Northern Stage in the Autumn? 

As always there is a stunning array of diverse and original theatre.
If you missed last season's production of  Laura Lindow's adaptation of H G Wells' War of the Worlds then you have another chance to see it in September.

After the Last Ship and Launch Day, remembering the shipyards, this coming season sees  The Last Seam pays tribute to the mining heritage of the north with a play based on stories and voices of the miners during the last deep seem colliery closure. There's limited availability so be sue to book your seat for this one! (27th Sept).

October brings the stage premier of Alice Seebold's bestselling selling novel The Lovely Bones (9th-20th). This much loved, uplifting tale of love, loss and redemption has been adapted by Bryony Lavery.
While on Stage 2 there is drama in The Mountaintop - an intimate look into the life of Martin Luther King on the eve of his assassination (9th - 13th).





In November we have two powerful, but different pieces of  from classic literature - Dylan Thomas's lyrical observations of life in the small, imaginary Welsh village of Llareggub in Under milk Wood (2nd -17th), while the English Touring Theatre bring us Richard Twyman's vital production of Shakespeare's Othello (13th-17th).
Both these productions give a fresh and innovative look at a classic piece of literature.


The Christmas show this year is also a classic from English literature - Dicken's A Christmas Carol. Adapted by Neil Bartlett and directed by mark Calvert it promises to another imaginative and original Christmas production. (Dec 1st - Jan 5th)

And of course we have dance:  Tangomotion is a virtuoso display of traditional and contemporary interpretations of this passionate dance, while Ballet Lorent's After Dark is a cabaret style celebration of the 25 years of the company. Then there is more Dickens with Fagin's Twist - Avante Guarde Dance Company's hip-hop style re-imagining of five of Dicken's familiar characters (13th-20th Dec).

This really just scratches the surface of what is on at Northern Stage - there is quite literally something for all ages and interests, whether you love dance, drama, poetry or puppetry there is a show for you next season. If  you want to be more involved than a spectator then check out their youth theatre - Open Stages (ages 5-15) and Young Company (ages 16-21) - they gave a breath-taking, assured performance of part of their own work at the launch.
If you're at the other end of the spectrum you might like to join in with Read Through - a script reading group for the over 60s.

Check the website www.northernstage.co.uk to see the full programme of productions and activities and book your place.

Denise Sparrowhawk