Showing posts with label classic. Show all posts
Showing posts with label classic. Show all posts

Wednesday, April 24, 2024

Review - Dad's Army - People's Theatre

Dad's Army 
The People's Theatre 
23rd April 2024

A total delight!

Dad's Army is the latest in the long line of sitcoms adapted for the stage, by the People's Theatre in Heaton, Newcastle Upon Tyne.

Like Blackadder, this is a huge production with many actors and actresses on board and spans multiple famous episodes from the tongue in cheek sitcom from back in the day.

The sets are well decorated as usual, the costumes perfect to represent the 1940s war effort. Even haircuts, facial hair and outfits, perfectly suit the period. There are two halves to the performance and what I counted as about four episodes from the show, perfectly tweaked for the stage.

All the acting was top notch, with most of the female cast occupying several roles, such as Nazi troops, or 40s pin ups. Most actors chose to mimic their on screen counter parts almost to a tee, whilst inputting their own style on the characters.

The crowd, almost certainly just about all familiar with the material, were absolutely loving it, laughing in all the right places, as the timing was superb.

Highlight performances include captain Mainwaring played by Steve Robertson, a veteran of peoples theatre shows. The character of Edith Parish (played by Helen Doyle with a performance that could easily slot into a carry on film and not look out of place) was great. Pike and Sgt Wilson (Roger Liddle) also had a strong showing, very true to their on screen counterparts.

Overall I had a blast and the performance went by quickly, which is always a good sign.

Playing every night from Wednesday 24th April - Saturday 27th April 2024. Anyone who has tickets is in for a great time.

*Photo credit: Paul Hood

Frank Cromartie Murphy

Monday, June 24, 2019

Preview - Emma - Royalty Theatre

ROYALTY THEATRE TO CONCLUDE 2018/2019 SEASON WITH JANE AUSTEN'S EMMA

This week sees the final production of the season for the Royalty. They have chosen a new adaptation of Jane Austen's Emma to close their season. This classic story has been adapted for stage by  comedian Doon MacKichan and writer Martin Millar.



Initially published in 1815, Austen’s novel tells the story of Emma Woodhouse, a young woman who tries to play matchmaker to the various people in her life.  It has been adapted numerous times and its plot was the basis of the 1993 film Clueless. 


Director Nikki Slack says, “This is the classic story of Jane Austen’s Emma with a contemporary twist.  It’s told through the eyes of Jane Austen’s nieces who bring the characters to life.  Not your typical period piece.”

James Errington, Abbi Laidler, Lee Wilkins    Credit: Royalty Theatre
A large cast includes Abbi Laidler as Emma and James Errington as Mr. Knightley, as well as a number of new members who will be treading the Royalty boards for the first time.

The play runs from 24th to 29th June.  

Tickets are £8/£6.50 in advance, £9/£7.50 on the night and can be booked via  www.ticketsource.co.uk/royaltytheatre 
or by telephone on 0333 666 3366.

Group bookings for parties of 10 or more can be arranged via rtboxoffice@gmail.com.

Wednesday, May 29, 2019

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

Thursday, February 14, 2019

Preview - Hobson's Choice - Royalty Theatre

ROYALTY THEATRE TO PRODUCE HOBSON’S CHOICE




The Royalty Theatre, Sunderland, continues its 2018/19 season with the much-loved classic Hobson’s Choice.

Harold Brighouse’s play, made into a 1954 David Lean film starring Charles Laughton, centres around the life of cobbler Henry Hobson.  His comfortable world is thrown into disarray when his ambitious daughter Maggie decides to set up her own business, along with Hobson’s bootmaker, William Mossop.

A strong cast includes David Armstrong as Henry Hobson, Corinne Kilvington as Maggie and Jordan Carling as William Mossop, as well as a number of new faces.

Although first staged in 1916, and set in 1880s, Hobson's Choice has very modern themes, exploring the role of women in society and business, patriarchy, bullying and emancipation. Over a hundred years since it was first staged it is still relevant today. DS



The play runs from 18th to 23rd February on the theatre’s main stage.
Tickets for regular season shows are £8/£6.50 in advance, £9/£7.50 on the night.

Tickets can be booked via www.ticketsource.co.uk/royaltytheatre or on 0333 666 3366.

Group bookings for parties of 10 or more can be arranged via rtboxoffice@gmail.com.

Friday, November 16, 2018

Blithe Spirit - Review - People's Theatre

Blithe Spirit
People's Theatre
15th November 2018

The People's Theatre production of Blithe Spirit is a delight. Light hearted and fun, it is the perfect pick-me-up for the end of a busy week.

The set is a sumptuous depiction of a country house, complete with leather chesterfield and wingback armchair, drinks trolley and French windows with just a glimpse of wisteria covered garden wall. it is perfect for the setting of Coward's witty comedy.

Charles and Ruth Condomine (Ian Willis and Emma Weetch) have arranged a dinner party with friends Dr and Mrs Bradman (John MacDonald and Karen Elliot) and invited a local medium, Madame Arcati (Maggie Childs) to hold a séance as research for Charles' latest book. Neither the Condomines nor the Bradmans believe Madame Arcati is genuine and they take great delight in making fun of her "performance" during the séance. However much to the surprise of Charles, he discovers that Mme Arcati has in fact summoned the spirit of Elvira (Alison Carr) his deceased first wife. Only Charles can see and hear Elvira and he has to convince Ruth that he is not playing a joke on her, or indeed, going mad!  Obviously there are many misunderstandings as Ruth hears Charles talking to Elvira, and assumes he is talking to her. Elvira, of course is as mischievous - and petulant - in death as she was in life - and creates as much disruption as possible. She wants her husband back - and, since she is dead, there is only one way to achieve this. Charles - flattered by the attention cannot see the danger. Of course it all goes terribly wrong and Charles' life - and his wife's death become even more complicated.

Best performances of the night go to Maggie Childs as the brilliantly eccentric Madame Arcati, and Nicky Dexter who is hilarious as the long-suffering maid, Edith.

The set, costumes, lighting and special effects combined with strong performances from the cast combine to make this a delightful production.

Blithe Spirit runs until Sat 17th Nov. It's proving a popular choice so book your tickets in advance to be sure of a seat!

Denise Sparrowhawk

Wednesday, October 31, 2018

Fagin's Twist - Review - Northern Stage


Fagin’s Twist  
Northern Stage
30th October, 2018



I have a confession to make. 
When I requested tickets for Fagin’s Twist, I didn’t realise that it was dance theatre. Should have got a clue from it being from Avant Garde Dance company, but I just skipped ahead, excited by the prospect of a new version of Oliver Twist, foregrounding Fagin. So, my experience was coloured by my dance-illiteracy and wrongful expectations.

People will be familiar with Dickens’ Oliver Twist from numerous tv and film adaptations, and from Lionel Bart’s musical Oliver! So why make a dance version? What can it add? Dance is a good medium to explore patterns and systems, group dynamics, also for exploring relationships, expressed in spatial closeness or distance, and emotion which otherwise might be unexpressed/ inexpressible. 
It’s not, in my opinion, so good for carrying narrative or a character’s internal world. In musicals, which can have a strong dance element, it’s generally the songs which convey the internal life of the characters. Director / Choreographer Tony Adigun made the choice, early on in the process, not to use songs, so he informed us in the after-show talk. Though he does reference in the spoken text the numbers from Bart’s musical, as pointers. I think songs would have helped to illuminate their inner worlds and character development.

In the first half, having started off on the wrong foot, I was often baffled as to what was going on. I guessed, because I knew the ‘twist’, that the characters we were seeing were Fagin and Bill Sykes, at their beginning. But it was just a guess. They are deliberately not named, presumably to leave open the possible identification of them with Oliver himself. The second half begins with Dodger recapping and naming what we’ve seen in the first half. I don’t know if this is intended as a revelation, or an acknowledgement that the narrative is unclear.


The dancing throughout is extraordinarily accomplished, and visually exciting. The staging is ingenious, making full use of the levels and apertures of the wooden set. There’s lots to look at and admire. But for me, it doesn’t quite make up for the lack of characterisation and confusing narrative. We’re told of the poverty and hunger, but I never really felt its effects on the characters. In the workhouse scene, I got that it was very much like a prison, but I didn’t feel it. Possibly the suppleness and energy of the performers undermined any sense of restriction and imprisonment that was meant to be conveyed. It was so delightful watching the dancers weave in and out of windows and doors, leap up and down levels, that it was hard to feel the pressure to escape. Similarly, they radiated such buoyant energy and health that the crushing effects of hunger and misery didn’t really come across. 


Because of the lack of narrative clarity in movement, the production was very dependent on the text to carry the story and the character change. But the monologues delivered by admitted non-actors lacked the necessary vocal range and inflection. An almost impossible task to follow such energetic and variable movement. 


The second half felt more focused. The character of Nancy came across clearly. The ensemble created a fine sense of group cohesion in the pickpocketing sequences. Fagin’s professed protectiveness and family feeling for his bunch of urchins felt believable. The fight scenes made full use of the cast’s expressive movements. And the ‘twist’ when it came, of Oliver’s treachery worked well, culminating in the killing of Nancy. 


Overall, it was an astonishing technical achievement, impeccably choreographed and danced. But I didn’t come away with any new insights of sympathy for the characters who had been reframed, Fagin and Bill Sykes. Lovers of dance will love it. Dickens-lovers may leave scratching their heads.

Gerry Byrne 

Wednesday, October 24, 2018

Preview - My Cousin Rachel - Royalty Theatre




ROYALTY THEATRE TO SHOW DU MAURIER CLASSIC "MY COUSIN RACHEL"



James Errington as Philip, and Olivia Bowern as  Rachel
Credit: Royalty Theatre

The Royalty theatre will continue their 2018/19 season with an adaptation of Daphne du Maurier’s thriller My Cousin Rachel.

Diana Morgan’s adaptation of the Victorian suspense drama, set in the Cornish countryside, concerns Philip Ashley, a young gentleman who has just inherited his late cousin Ambrose’s estate and a valuable collection of jewels.  After Ambrose’s widow Rachel arrives from Italy, having been left nothing by Ambrose, Philip begins to develop affection for her.  Not all are convinced that Rachel has innocent motives for coming to England – especially when Philip begins to show signs of a similar sickness to that which killed Ambrose.


Director John Appleton says “It’s a story that’s perfect for the stage, full of intrigue and some great characters.  It melds the suspense of Agatha Christie with some grit and realism - something I think that our audiences will enjoy from start to finish.”


The show runs from 29th October to 3rd November, and stars James Errington as Philip, Olivia Bowern as Rachel and Royalty newcomers Peter Wilson and Stephanie Cubello as Nick and Louise Kendall.


Tickets are £8/£6.50 in advance, and can be booked via www.ticketsource.co.uk/royaltytheatre or on 0333 666 3366 (booking fee applies). 
Tickets purchased on the door are £9/£7.50 

Tuesday, September 25, 2018

Review - No Sex Please, We're British - Royalty Theatre

No Sex Please, We're British!
Royalty Theatre
24th Sept 2018

Written by Anthony Marriott and Allister Foot
Directed by Andrew Barella and David Farn


The Royalty's opening show of the season is a classic British farce - that staple of any game of charades in the 70s - No Sex Please We're British!

The play is set firmly in the 1970s and reflects the society at that time. Peter and Frances Hunter are newly weds, just settling into their flat above the bank where Peter is assistant manager. The flat is provided by the bank, and offers them little in the way of privacy - an intercom links the flat directly to the bank downstairs. Wanting to speed up her dream of owning a house with a garden, Frances has ordered a consignment of luxury Swedish Glassware to sell. This goes against the bank's policy which prohibits their manager's wives from working.  As if this was not bad enough, when the consignment arrives they discover to their horror that it is infact pornographic photographs. Add to this the arrival of Peter's mother, the regional manager of the bank, the financial inspector, and a missing cheque and you have the recipe for potential disaster. Lives could be ruined - and discovery must be avoided at all costs. Hilarity ensues as Peter and Frances, helped and hindered by head clerk Brian Runnicles, try to extricate themselves from this unfortunate predicament.

The set is simple - the living room of the flat with a selection of doors to facilitate the door slamming and room hopping which is a requirement of a good farce, and a malfunctioning sliding partition to the kitchen, used throughout for physical comedic effect. The set itself is fairly nondescript - it could be from almost any era, but the costumes (by Laura Finlay and Sue Bailey) are bang on 70s with wing banger collars, beige suits and amorphous print dresses. Director Andrew Barella chose to keep the 1970s setting but he could easily have set this play in the present and it would have worked (with just a bit of a feminist tweak) in light of the recent revelations about sexual misconduct in high places.

The cast do a stirling job, eliciting plenty of belly laughs from the audience as the situation becomes
more and more farcical and the attempts to remedy things lead to more and more outlandish ideas and consequences. Lee Wilkins portrayal of the increasingly desperate banker, does not  disappoint, while Nichol Kilty gives good support as his beleaguered wife. the star of the show is undoubtedly Tom Kelly as Brian Runnicles, who flounces and sulks his way through the many outrageous attempts to dispose of the illicit materials. Mik Richardson adds to the hilarity of the final act with and over the top performance of sleeping pill induced stupor. Special mention should also go to the two ladies of the night - not mentioned in the programme - who provide the spice in the final act.

There are of course some first night hitches - boxes that refuse to perform, and scenery that wobbles perilously when the doors slam, one or two stutters over lines, but there are also plenty of well delivered lines, pregnant pauses and raging innuendo. It's a fun start to the season - as long as you take the 70s misogyny with a pinch of salt!

No Sex Please runs until Saturday 29th Sept - advance booking gets you a reduced price on the ticket but even at £9 on the door it will hardly break the bank! Book at Ticketsource .

Denise Sparrowhawk


Tuesday, September 18, 2018

Preview - No Sex Please We're British - Royalty Theatre


ROYALTY THEATRE BEGIN 2018/19 SEASON WITH NO SEX PLEASE, WE’RE BRITISH

Nichol Kilty, Tom Kelly, Lee WIlkins
Credit: Royalty Theatre

Sunderland's Royalty Theatre will begin their upcoming season with the classic comedy No Sex Please, We’re British.

The farce by Alistair Foot and Anthony Marriott follows the misfortunes of banker Peter Hunter and his new wife Frances, whose attempt to order some Scandinavian glassware by mail goes awry. Instead of glassware they receive videos, books, photographs – and visits from young ladies – of the sort they wouldn’t wish their visiting relatives or banking superiors to find out about.

The original play starred Michael Crawford, and the film version, Ronnie Corbett - no small shoes to fill for the Royalty cast. They have fielded a strong team with Royalty regular Lee Wilkins taking the lead role, and Nichol Kilty playing his wife, while Tom Kelly co-stars as Peter’s friend (and the bank’s chief cashier) Brian.

No Sex Please, We're British runs from 24th to 29th September.

Tickets are £9/£7.50 on the night or £8/£6.50 in advance and can be booked online via  www.ticketsource.co.uk/royaltytheatre or by telephone on 0333 666 3366.

Saturday, September 15, 2018

Review - Treasure Island - People's Theatre




Treasure Island by Robert Louis Stevenson 
Adapted by Bryony Lavery 
People's Theatre.
13th September 2018.  




The People's Theatre production of Treasure Island gets off to a good start with the audience serenaded, if that's the right word, into the theatre by a pirate playing a concertina.
The single set is extremely well-designed serving as a ship using lots of pallets to create an authentic feeling ship, as well as the Admiral Benbow Inn, the stockade, the island and all the other various locations required by the story. The lighting is used effectively for the intimate one- and two-hander scenes.
The costumes are excellent, evoking the buccaneering 1880s superbly.
Robert Louis Stevenson's classic story was adapted by Bryony Lavery and premiered at the National Theatre in 2014. It's billed as 'sharp and imaginative’ and aims to redress the gender balance by casting many of the main roles as women.
This is an excellent idea, however, it brings with it several challenges.
The story is narrated by the main character, not Jim Hawkins but Jemima. There is initial confusion among the characters - and the audience – over whether she is actually a girl or a boy, which is exacerbated further because she is called Jim throughout the play, not Jem. 
Dr. Livesey is played by a woman and the majority of the crew are cast as women, too.
The Inn is run by Jim/Jem and her grandmother. In the original it was Jim and his mother; Jim’s father having died just a few days earlier. No point is served by changing the mother to a grandmother and this is another problem with the play. 
If you're going to make changes, they ought to have a purpose. All the female characters simply act as men. No real concession is given to their femininity, and neither does the fact that they are women have any impact on the story.
So what's the point?
There were several fight scenes, though interesting needed a bit more work to look convincing. This added a degree of comical almost pantomime element to the show, it did feel extremely childish in places, though some of the humour occasionally worked. The musical elements were quite well performed and enjoyable though.    
The other jarring anomaly is casting Ben Gunn as what seems like a ten-year old cabin boy. He was an adult and a member of Flint's crew and plays an important part in frightening the pirates with a ghostly voice although the voice we heard was definitely not that of the cabin boy.
Finally, there was an interesting cast including Fiona Davison doing a good impression of Flint the parrot. Long John Silver, played by a man (Paul Gaitskill), was definitely one of the stronger characters, his acting was very good. It was disappointing to see him played as a pirate with a 'gammy leg', even though it may have been false, rather than a peg. That defeats Billy Bone's initial instruction to Jim/Jem to keep watch for a one-legged man.
The actors did a fair job with a poor script although many would benefit from better projection.
The People's Theatre is a superb concept. Run by volunteers it produces a play every month which is a demanding undertaking. The members are enthusiastic and hard-working and deserve all our support.
It may be difficult finding a good play to produce every month but that's the stall they set out for themselves and while credit must be given for their many excellent accomplishments, such as the locally produced and written Heaton for example, Treasure Island cannot be rated as one of them. 
The last show is on Saturday 15th September at 7pm. 
Frank Cromartie Murphy & Ian Waugh

Friday, August 24, 2018

Season Preview - Royalty Theatre


ROYALTY THEATRE ANNOUNCES 2018/19 SEASON 




The Royalty Theatre have announced the programme for their 2018/19 season, and it is a strong programme with a great mix of plays which we are very much looking forward to!

They begin a packed season with classic comedy No Sex Please, We’re British. 
The farce by Alistair Foot and Anthony Marriott kicks off a season that theatre bosses believe has something for everyone.  It’s joined in the comedy stakes by May’s Barefoot in the Park, the film version of which starred Robert Redford and Jane Fonda.


For fans of suspense drama, Daphne du Maurier’s My Cousin Rachel will be performed in October and November, and the time-honoured favourite Dial M for Murder is the Royalty’s March offering.  Hobson’s Choice in February and Jane Austen’s Emma in June add to the drama.

The annual pantomime this year is Jack and The Beanstalk by local writer David Farn.

Once again, the studio is put to use for intimate small scale productions with the premier in  January of Billy Towers’ Mary, Mary, based on the life of Jack the Ripper victim Mary Kelly.  April’s studio production is John Godber and Jane Thornton’s Shakers (Re-stirred)

Thanks to the popularity of last year’s A Night at the Musicals, The Royalty are reprising this for two nights only on September 7th and 8th.

Visiting companies include Pink Floyd tribute act What the Floyd, appearing on 5th October.  Sunderland Stages return to the Royalty with Red Ladder Theatre’s The Damned United, the story of Sunderland and Middlesbrough legend Brian Clough’s ill-fated 44 days at Leeds United, on 13th and 14th November.

Artistic Director Nikki Slack says, “We’re now raring to go for the 2018-19 season. We have a year packed with a range of diverse plays that will appeal to all. Recent media has been much focussed on equality and ‘Girl Power’ is certainly coming back with a bang! Our programme of plays this coming season shines the spotlight on our female talent from more female-centred plays to our female directors and technicians.”


Tickets are on sale now at www.ticketsource.co.uk/royaltytheatre.  
Tickets for The Damned United are available from the Sunderland Stages website.

Tuesday, June 26, 2018

The Wind in the Willows -Review - Royalty Theatre

The Wind in the Willows
Royalty Theatre
25th June 2018

The Royalty Theatre are ending their 2017/18 season with a great classic children's story. Kenneth Grahame's Wind in the Willows, adapted for the stage by Mike Kenney, tells the unfortunate tale of Mr Toad of Toad Hall, his foolhardy adventures, and the attempts of his riverside friends, Ratty, Mole and Badger to save himself from his folly.

The first thing that sprang to mind at the thought of a stage production of this story, was how would they portray the characters? Would they go down the full animal costume and masks route - unlikely as the costs to do this well would surely blow the budget - or would they eschew the physical  appearance and concentrate more on the mannerisms of each animal?  I'm happy to say that the directors - Andrew Barella and Nikki Slack have opted for a half-way house - or maybe a three-quarter house. Some deft makeup gave each character a just a hint of the physical appearance, a little black nose, a sprinkling of whiskers, (quite dapper whiskers on the part of Ratty), bold stripes for Badger and a green forehead and fringe for Mr Toad. The rest of the characterisation is entirely done through the acting skills of the cast. Damien Wood in the guise of Badger moves and speaks ponderously in his thoughtful deep brock voice. Toad (full of his own importance) pontificates about his own greatness, sidling in and hijacking conversations, he oozes charm one moment and is petulant as a toddler the next. Billy Towers has the audience laughing out loud at the antics of Toad almost from the first moment he appears on stage.

The stars of the show though are Mole and Ratty. Two animals who form an unexpected and lasting friendship. Lee Wilkins excels at the arch look or eyeroll  towards the audience to highlight a ridiculous statement from Toad. Throughout the play he is constantly living his character - even when the focus is not on him, he contributes a look or shrug, just the smallest movement to add something to the scene. His use of facial expression and physical humour puts me in mind of Stan Laurel.

Ratty and Mole messing about in boats 

Rose Whittle bounces around the stage portraying a Mole filled with curiosity, with the attention span of a gnat! Full of enthusiasm for life and adventure she bounces from scene to scene, making friends with everyone and stumbling into her own misadventures. Like the proverbial cat, Mole's curiosity constantly gets her into scrapes, and the practical Ratty is always there to help her out. There is a great chemistry on stage between all the characters but especially between these two, which creates an equally great response in the audience.

The main characters are ably supported by the ensemble cast who play a variety of minor characters from weasels to washerwomen (Julie Carney), Otters to posh ladies (Amy Dowell), hedgehogs to Engine Drivers to Rabbits (Charlotte Bishop and Ben Harrison) and the reluctant Horse, Train Guard and posh gentleman (Aidan Evans) each one adds their own bit of sparkle to the tale.

Mention should go to the technical team under Declan Mather for the music (strains of a spaghetti western), sound effects and lighting which create the sense mystery and magic, suspense and apprehension. And especially to David Farn and John Bailey for the set and props - the motor cars and the boats are an hilarious addition. Costumes are made by Laura Finlay and Sue Bailey and make-up is by Nik Grundison. Altogether they have produced a great set for the show.

This is a fun, warm and entertaining family show and is a fabulous feel good ending to their season. You'll laugh (probably more than you should if Toad's make-up gives way under the heat of the lights again) and you will leave the theatre with a happy smile on your face. What more could you want?

Tickets are just £8 (£6.50 conc) and can be booked online, over the phone 0333 666 3366 or in person at theatre. Full details here .

Photo credit: Royalty Theatre

Denise Sparrowhawk

 

Tuesday, June 19, 2018

Preview - Wind in the Willows - Royalty Theatre



ROYALTY THEATRE produces family classic THE WIND IN THE WILLOWS.



Sunderland's Royalty Theatre will close their 2017/18 season with the children’s classic The Wind in the Willows.


Kenneth Grahame’s most famous work has been a family favourite for over a century.  This fantastic new adaptation by Mike Kenny follows the adventures of Ratty, Mole and Badger as they explore the Wild Wood and try to keep Toad of Toad Hall out of trouble.

Ratty (Lee Wilkins) and Mole (Rose Whittle) Credit: Royalty Theatre

A superb cast includes Lee Wilkins as Ratty, Royalty newcomer Rose Whittle as Mole and Billy Towers as Mr Toad. 

The show runs from 25th to 30th June with 7.30pm starts, and a matinée has been included in the run, at 2.15pm on Saturday 30th June. Doors open 45 mins before curtain up.


Tickets can be booked in advance via www.ticketsource.co.uk/royaltytheatre or on 0333 666 3366, and are priced at £8 (£6.50 concessions).

Sunday, June 17, 2018

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

Thursday, May 3, 2018

When We Are married - People's Theatre - Review


When We Are Married 
The People's Theatre 
May 1st 2018

It’s not often you are exposed to cigar smoke in public these days. This play from J.B Priestley (who once actually visited the People's Theatre and is obviously a fond favourite here) is one of those times. Set in the early 1930s, the play is so old everyone from the original production is long dead. This production is presented by special arrangement with Samuel French LTD, with music from Scarborough Spa Orchestra.
The play has quite a large cast  and reminded me of a similar play with married couples which The People's Theatre had put on at the end of 2017. The set was very much of the period as was the cast's attire. Set in Yorkshire, some of the language used I didn’t understand, and especially the references to the old currency. I thought the play might have been updated when it was adapted, but it seems very much intact and so, for me, it felt very dated for a comedy. The older audience seemed to enjoy it, but laughter was not as frequent as their more modern comedies.
The acting was good, everyone thoroughly committed to their roles. The humour was quite repetitive and all stemmed from the fact that the three couples who thought they were married, were not actually married. The class system is at the heart of the play, with the servants being talked down to, but also holding their own.  Infidelity is brushed off, like a tantrum, instead of a relationship deal breaker.
Overall this was a nostalgic trip back to a simpler time, when status was everything and smoking cigars was considered healthy and la-de-dar wasn’t a reference to a foo fighters song.
The People's Theatre are currently going through a refurbishment, and have just won an award from the Royal Institute of Chartered Surveyors North East Awards. Donations for the final £90,000 needed to complete the renovations are most welcome and a trip to this lovely theatre is a worthwhile one.  

When We Are Married is playing until May 5th.  


Frank Cromartie Murphy