Blackadder Goes Forth - Review - Royalty Theatre

Blackadder Goes Forth

Royalty Theatre 
23rd Sept 2019

Kicking off this year's season with Matthew Hope's adaptation of Blackadder  Goes Forth, the team at the Royalty have chosen a play that packs a punch in more ways than one. This satirical look at the first world war rattles through a season of Blackadder in just under two hours, presenting key scenes in a series of vignettes. It has elements of just about every type of comedy, from slapstick and bawdy farce, through to high end intellectual wit. It is at once very funny, and heartbreakingly dark.

The roles are demanding for the cast - quickfire repartee and tongue twisting wordplay, combined with physical humour mean that delivery and timing have to be spot on for it to work. And of course, these are well known and much loved characters for the British public; portraying them on successfully stage is a whole other challenge. Thee is always the danger of mimicking the TV characters rather than bringing them to life in their own way. Would the cast and directors be up to such a challenge? There was quite a bit of speculation in the foyer as to whether it would be achieved.

First impressions as we entered the auditorium were encouraging - a selection of war time songs played us in, and the curtain raised to reveal the set - the typical trench dugout was perfect.

And the cast did rise to the challenge. Jacob Hughes as Blackadder, had just the right level of crippling disdain for his fellow soldiers, who were - with exception of Capt. Darling, and Lord Flasheart -  completely oblivious to both his disdain and his cutting sarcasm. Alex Parkin-Goodchild was suitably ingenuous as George. His scene as Georgina, describing his date with General Melchett is a classic and almost stole the show from Private Baldrick, however Lee Wilkins recitation of "War's a funny thing" and "German Guns" may just have edged the balance back in his favour and his treatment at the hands (and foot) of Capt. Blackadder elicited sympathetic gasps from the audience.
James Errington explodes onto the stage as Lord Flasheart and successfully lowers the tone with his rampant libido and huge personality.

John Appleton and Andrew Barella both gave excellent supporting performances as  General Melchett and Capt Darling. The General typically bombastic upper class military and completely insane and Darling, obsequious, self-serving and underhand and yet still in the final scenes we felt sympathy for him, ironically double crossed by his eccentric superior officer. Of all the roles Capt Darling is the most understated - the humour of this character is much more sublte, conveyed through body language and facial expressions, and could easily be lost among the mayhem of rest of the crew.

Newcomer to the Royalty, Michael Alexander was able to try out his German accent as Baron von Richthoven - arch enemy of Lord Flasheart and as Brigadier Smith the undercover spy. I actually liked him best as the Brigadier - quietly funny as he spied on the hospital inmates.

I did feel for the two female characters - Emma Thomson as Bob and Olivia Bowern as Nurse Mary - as they did seem to be there purely to provide the eye candy in a very "blokey" scenario, which is a shame because other Blackadder females have been stronger characters.

Lorna Breeze's direction has produced a play worthy of the fourth incarnation of Edmund Blackadder. The cast were clearly enjoying the experience on stage (we did note Baldrick's near corpsing in the second act, he held it together well!). Lots of laughter from the audience throughout and we were suitably subdued in the final scenes which were emotional, and very well executed.

The general consensus after the curtain came down was that the team had indeed risen to the challenge. A great start to the new season at Royalty Theatre.

Blackadder goes forth until Saturday 28th September. Book a ticket.

Denise Sparrowhawk

The Dark Earth and the Light Sky - Review - People's Theatre

The Dark Earth and the Light Sky

People's theatre
11th June 2019

Written by Nick Dear
Directed by Hugh Keegan


The Dark Earth and the Light Sky is the story of the friendship between poets Robert Frost and Edward Thomas.  There are four main characters - Edward Thomas, Helen Thomas, Robert Frost and Eleanor Farjeon and the play follows the relationships between these four friends. Though the play is ostensibly about the friendship between Frost and Thomas and the influence they each had on the other's career, for me, the relationship between Helen and Edward seems the strongest thread and Helen's voice the strongest, throughout.

Each character addresses the audience at some point - the first we hear is Helen and her voice throughout is the strongest. Even as she is moved away from Edward's focus she remains steadfast and forthright. Anna Dobson plays the role beautifully - capturing the transition from the joy of the young lover, through the drudgery of motherhood and housekeeping, essentially bringing up the children and running the household alone as Edward pursues his own dreams. Her devotion to Edward shines through even as he pushes her away.

Edward Thomas (Sam Hinton)  is an unhappy man - he doesn't fit comfortably into the world - at odds with his father, labelled failure by him because he does not share his hunger for financial success. Thomas wants to enjoy life as he lives it, not spend life striving in a job he hates in order to get on in society. His affinity is with words and with the land and the countryside. City life stifles him. He makes his living - such as it is writing literary criticisms, biographies, essays, reviews but it takes the friendship with Frost for him to realise he himself could be a poet. And yet still he feels that something is missing. Ironically, having fought against the constraints of city life, and the daily grind of marriage and children, he finally finds purpose by joining the army. And therein he finally breaks Helen's heart.

Robert Frost (Mark Burden) is a more enigmatic character - though he is one of the main characters in the drama I feel  we learn very little the man himself - other than his love for words, and his affection for Thomas, other than this we are given only glimpses into his own private life, snatches of his family history and background.

Finally, we have Eleanor Farjeon (Alison Carr), hopelessly in love with Edward but never more than friends. Their relationship brings light into Edwards life and darkness to Helen’s – she befriends Eleanor to keep an enemy close, and though the two women are friends, Helen is aware perhaps even before Eleanor herself, of the other woman’s love for her husband.  Eleanor is light, apparently carefree, and becomes the confident of Edward and Frost.  Hers is a lonely life, despite her place in society. Both she and Frost feel the loss of Edward keenly.

There are many, many layers to this play – it explores intellect and intelligence, but also emotion, and the nature of love, and expectation, success and failure, and self-worth. It is threaded through with images of nature and the love of the natural world, and the love of words. But also the power of words, both those spoken, and those not, their power to enlighten, and to educate but to also to confuse, to crush and to undermine.  The themes of language and nature are embodied in the stunning set created by Rolf Wojciechowski – with its draped images of distant hills and trees, and skies filled with cloudlike words – some legible and some just a hint of language.

The Dark Earth and the Light Sky is a beautifully sad play. A story of love, and loss. The cast portray their characters with such empathy throughout. Lovely performances from everyone involved. Performed in the round, this is an absorbing and intimate experience. As the audience, we switch from being voyeurs of these people's lives to being included in them, and back again.  

Studio productions never disappoint at the People's Theatre. This one takes them to another level.

Denise Sparrowhawk

Voltemand and Cornelius are Joyfully Returned - People's Theatre - Review

Voltemand and Cornelius are Joyfully Returned

Picture courtesy of People's Theatre

People's Theatre
8th May 2019

I didn't know much about this play when I came but it's surprisingly good.

I have always said I hate Shakespeare and I do; his plays are boring, not that good and something that I wouldn't make my worst enemy to go to see!

But Paul Vates is doing some good stuff, this Leeds born writer who beat nearly 100 entries in the People's Play competition.

So who are the 2 main characters??

Voltemand, played by Stephen Sharkey though small in stature he makes up for it in acting ability.
Cornelius, played by the all singing and dancing Robbie Close was amazing and probably the star performer of the night for me.

It's a little and large combination which works really well.

The play is set in World War 1 but for most of the play I'm sure the language was Shakespearean.

The two find Sleeper (played by Laura Brown - who's friends were sitting in front of me).
They don't know how they got there and believe they are ambassadors of the King (Claudius, Hamlet's Uncle).

We don't know if they are insane or if everyone else is?? How can you tell???

This play gives you an insight into what it was like in the First World War and there aren't many people alive that can tell those stories, and to think a second war happened less than 30 years later.

This play brings the war to life in a new and different way.


The Second half starts with them in a bombed out church in France where the doctor (played by Pete McAndrew) delves into what they are doing as they may have taken a bit of a wrong turn (Norway to Denmark via France is a big detour if you ask me!)

We do find out what one of them is there for, but the other one has to go and find himself.

In a world where people are dying left right and centre, it would be easier for them to simply die  as too, but as they struggle on through life they learn that they can cope.

The War broke many people's minds especially those who went out to fight and this play shows how it affected people in a way like never before.

The play has some great jokes that are used really well, for example there is a joke about one of them being a shite actor!

Everyone who is involved in this whether it's the cast or crew should be proud of themselves.

Director Chris Heckels should definitely get some praise for the show as he kinda made Shakespeare good again for me, assisted by Evelyn Ryan.

Voltemand and Cornelius play until 11th of May 2019

Rubes Hiles

Blackadder Goes Forth - Review - People's Theatre

Blackadder Goes Forth

The People’s Theatre
30th October 31, 2018


Richard Curtis and Ben Elton’s classic sitcom comes to The People’s Theatre in all its glory. All the wit and dry humour is here and delivered with great comic timing. It’s been put together very much like the series, in four chunks of unrelated stories. The script seems almost untouched from the original series, though there are a one or two changes and additions, such as borrowing Bob from another Blackadder series.
The sound is great with the Blackadder score used throughout. In the intro we are given a warning by the Baron about switching off our phones which is hilariously delivered. It’s great they are commemorating the end of the First World War with this performance.

The premise, in case you didn’t know, is that Blackadder and his faithful band of soldiers are in the trenches waiting to battle the bosh, the mighty Germans and company. Except not very much battling is actually going on, and neither side is making much progress. The sounds are powerful in places really bringing you into the war. I actually jumped at one point.

The cast are well chosen: Captain Blackadder played by Sam Hinton (who was in last year's Season's  Greetings) is very commanding and his wit really hits the mark. George is played by Ben Ostell (seen recently in Heaton!) and he plays the goofy part well. Baldrick, played by Tony Sehgal, is spot on with his mannerisms and looks the spitting image of the original Baldrick. As General Melchett, Steven Robertson - also recently in Heaton! - pulls off a bold impression of Stephen Fry's original characterisation. Captain Darling - the joke that keeps on giving - is played by Oli Pages. Other notable performances are Bob, the Baron and Captain Bosh Bosh Flashheart.

The director Matthew Hope has done a great job with the scripts, placement and general pacing. The sets are beautifully made. The ladders to no man's land were quite haunting. All the costumes were excellent and it all really adds to the feeling of the piece. Three main locations on stage are outside the barracks, inside the barracks and Melchett's office.

This is a great production and really brings Blackadder back to life on stage. Some of the jokes are not exactly pc now, but are very much of their time. I enjoyed this a lot. Watch out for the nice surprise at the end, very touching.

Blackadder goes forth is playing at the people's theatre every night from 7.30pm until and including Saturday the 3rd of November.

Frank Cromartie Murphy

Birdsong - Review - Gala Theatre

Birdsong

Gala Theatre
21st may 2018

Birdsong Productions Ltd in Association with The Original Theatre Compnay
Stage adaptation by Rachel Wagstaff
Directed by Alastair Whatley and Charlotte Peters

In adapting Sebastian Faulks' novel for the stage, Rachel Wagstaff has to condense over 300 pages of a story spanning several years and 3 generations, into a little over two hours of theatre. She has to recreate the intimacy of a love story, alongside the expansive horror of The First Word War. The result is a taut, fast moving, emotionally tense play.

The story of the war - the sappers tunneling towards the German lines - is linear. We watch the sappers and their infantry support living (and dying) day to day, month to month through to the big push and finally the end of the war.
The love story is interspersed throughout this with flashback images of Lieutenant Wraysford's time spent in the town of Amiens before the war - when he fell in love with the young wife of his employer. These flashbacks are a splash of colour in the drab darkness of the trenches and tunnels, but they are far from happy - there are moments of passion and joy, but also the danger and threats in both the personal abusive relationships and the social unrest.

The staging is a magnificent representation of both the trenches and the tunnels, from the ladders leading to barbed wire and broken fences, to the narrow mouth of the dimly lit tunnel, the constant quiet trickle of water in the background, and the sudden flashbang of an explosion, to the gentle chirrup of the birdsong - almost as constant as the water. The men scratch constantly at fleas and lice, so much so that you feel you need to scratch too. Every sense is engaged bar that of smell - yet the set is so convincing that you can almost smell the cordite and the sweat.

The cast carry you along,  their banter ad jokes perfectly evoking the camaraderie of the soldiers, but there are moments too that depict the tenderness of friendship and shared grief between these gruff solders.

There are strong performances from all of the cast members, but Tim Treloar as Jack Firebrace is outstanding. He will move you to tears, as will the beautiful voice of James Findlay whose songs punctuate the play and highlight the brutality of the men's situation.

An incredible show that questions the nature of love, and highlights the futility of war, and the waste of life. It is a sad thought that 100 years later governments are still trying to solve problems and prove their strength by blowing their people to pieces.

Birdsong runs until Saturday 26th May. Buy a ticket, and take a hanky.

Denise Sparrowhawk

Preview - Birdsong - Gala Theatre

Birdsong set to return to Gala to mark centenary 

Based on the world famous, emotionally powerful novel by Sebastian Faulks, this critically acclaimed show returns from Monday 21 May to Saturday 26 May, 7.30pm (+ 2.30pm on Thursday and Saturday) to mark the 100th anniversary of the end of the First World War. A post-show discussion will also take place on Wednesday 23 May.

“It left me choked up and blinking back the tears at the end”

**** The Daily Telegraph

Set in pre-war France. A young Englishman, Stephen Wraysford, embarks on a passionate and dangerous affair with the beautiful Isabelle Azaire that turns their world upside down.

As the war breaks out over the idyll of his former life, Stephen must lead his men through the carnage of the Battle of the Somme and through the sprawling tunnels that lie deep underground. Faced with the unprecedented horror of the war and with her love forever engraved on his heart, Stephen clings to the memory of Isabelle, as his world explodes around him.

This enthralling version of one of the nation’s most loved novels has been adapted by Rachel Wagstaff, and brought to life by the award-winning Original Theatre Company.

A mesmerising story of love, survival and courage. Set before and during the Great War and performed by a large ensemble company.

“Moving, gripping, dramatically electrifying and outstanding”

**** The Times

Tickets for the show are £25 (£23 concession) £22 for first night, matinees and for Gala Members. You can book by calling the box office on 03000 266 600 or via the website . 

*information provided by Gala Theatre

Breaking the Code - Review - People's Theatre

Breaking the Code

People's Theatre 

13th Feb 2018

The impact of this show begins as soon as you take your seat – the stage is set with box shelves with typewriters and other paraphernalia each side of the stage, in perfect symmetry against a backdrop of oversized dials, dramatically lit, and at the front a single bare table and chair.

As the play starts a man – Alan Turing - enters, sits at the table and positions himself prone, one arm outstretched across the table, his head resting on the arm, he rests motionless as broken sentences, music, and electronic noise blare out in a cacophony of sound. This sound, harsh and abrasive will mark change of each scene as time switches between each flashback of Turing’s life.
The scene changes are swift and almost clinical as the cast and crew move props swiftly and silently in almost choreographed movements.  

From the very first line uttered Richard Jack holds us spellbound with his sympathetic, compassionate portrayal of Turing. The first scene is his interview with the police officer Mick Ross, reporting a burglary in which very little of worth has been taken. It becomes increasingly obvious that there is more to the burglary than Turing is admitting, and Detective Ross grows increasingly suspicious. You can feel the undercurrents of distrust and anxiety between Turing and Ross as the questions become more pointed and the answers unsatisfactorily vague. And yet it is also filled with humour – as is the whole play. It deals with such heart-breaking injustices and yet it is not at all self-pitying. It portrays Turing as a bright, intelligent, passionate, and compassionate man. A truthful and principled man. Lacking social skills, he appears gauche and awkward at times and yet is transformed when he speaks of his work, of the love of mathematics and philosophy.  Jack’s delivery is impeccable. From the young, adolescent Alan to the older, jaded man he is utterly believable.

The supporting cast all give excellent performances, but acknowledgements should go to Adam Kadow as Christopher, Richard Gardner upholding the law as Detective Ross, and  Eileen Davidson endearing as Turing’s mother. Steve Robertson is outstanding as Turing’s gruff, forgetful boss at Bletchley. While Nathan Hussain as Ron leaves us wondering whether he was a good guy or a bad guy – louche, charming, but dishonest.  

Breaking the Code is a funny, emotional, heartrending play. It seems horrific to us now that a man who was instrumental in helping end the Second World War should have been so hideously treated – act two really only hints at the difficulties that Turing encountered before and after his arrest. He is a national hero and yet was ostracised by the very people whose freedom he helped to win.

I wonder, did he take a bite of the poisoned apple to escape a life he felt was untenable,  hoping a charming prince would save him, or did he do it, knowing he had achieved all he could in the circumstances, and would finally join his prince, the boy he had loved, and who had inspired his entire life’s work?

This is the best performance yet from The People’s Theatre. It runs until Saturday. You should not miss it.

Denise Sparrowhawk

The Machine Gunners - Review - Royalty Theatre

The Machine Gunners  
Royalty Theatre
25th October 2016


This was promising to be an interesting show with a young cast, but as it turns out it was more interesting than anticipated. Unfortunately due to an accident just before the first night show the young lead Aidan Evans was unable to play his role and a stand in had to be found at the last minute. So we began the show with an apology from the Chairman as assistant director Peter Kelly would be taking the part of Chas McGill and would reading from the script at times. It also had to be said Peter Kelly is considerably older than the character of Chas McGill. However in true theatrical "the show must go on" style, the cast took up their places and the play began.

The play is a children's wartime adventure. The original story written by Robert Westall to entertain his own son, is full of wit and humour, the dialogue feels authentic - the kids talk and act like kids. It is great to hear a play in the north east dialect.
The story slips between narration by Chas and action and it moves smoothly from one to the other. Overall it has a Blytonesque feel to it - reminiscent of the Famous Five or Secret Seven - kids being kids but taking on roles more suited to adults, planning to save the day and be seen as heroes.

The stage was set with elements of each scene - a bomb damaged street, woodland, and the inside of Chas's home. Props and scenery were moved with ease by cast members to create each scene, a screen of trees brought forward for the woods, a table and chairs brought on stage for the inside of the house. Lighting was used to good effect, darkening for the scenes in the wood, then bright for the narration and the scenes in town. Sound effects combined with the lighting recreated the droning aeroplanes, explosions and gunfire. The tech was very well done.

As it turns out the chairman's apology was barely needed and any concerns the audience might have felt were quickly dispelled. It's a tall order to step into a role at short notice, and a taller one still for an adult to be asked to play a child. But, Peter Kelly not only stepped up he did so with style! Right from the start he was convincing as the character, capturing the cheekiness and ingenuousness of the boy. He got through the lengthy opening speeches without resorting to the script, and his assurance must have been hugely reassuring to the rest of the young cast - some of whom were on stage at this theatre for the first time. They did themselves and the theatre proud. If I had choose a man of the play - apart from Peter Kelly who was undoubtedly the hero of the hour - I would go with Lee Wilkins who gave a impassioned performance as the tough but vulnerable Glaswegian orphan, Clogger.

This is a great family drama, full of humour, some sadness, lots of adventure and it is a credit to the cast and team to have produced such a good show under difficult circumstances.

Tickets are just £8 and will be money well spent for two hours of entertainment and the play runs until Saturday 29th October.

Denise Sparrowhawk

The Machine Gunners - Royalty Theatre - Preview

The Machine Gunners
Royalty Theatre
24th-29th October 2016

Picture courtesy of Royalty Theatre

Next week the Royalty Theatre in Sunderland presents Ali Taylor's stage adaptation of Robert Westall's The Machine Gunners. Set on Tyneside in World War II it tells the tale of  Chas McGill. Chas has the second best collection of war souvenirs in Garmouth, but when he stumbles across a crashed German bomber with its machine gun still intact he knows he can have the best collection. He and his gang hatch a plan to take possession of the gun. However when a German pilot is shot down events take a dangerous turn.

The original story was written by Westall for his son and is a classic boys adventure. The casting therefore gives younger actors the opportunity to take on the major roles. The lead role is taken by Aidan Evans, a member of the Royalty's Youth Theatre.  He will be acting alongside newcomers Lee Wilkins, Luke Harrison, and Emma Griffiths, as well more established members of the theatre including Matt Macnamee, Richard Delroy, Kirsty Downham and Scott Henderson. More information about the cast is available on the theatre's facebook page. The director is Anna Snell.

The Machine Gunners is a great family drama set right here in the north east, and should prove a good choice for half term entertainment. It runs from Monday 24th to Saturday 29th and tickets are available online from TicketSource or from the box office from 6.45pm before the show. Curtain up is at 7.30pm.