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

Review - Twelfth Night - People's Theatre

Twelfth Night  

People's Theatre

March 28th, 2023

If Music be the Food of Love...

If you've always thought Shakespeare a bit old fashioned, out-dated and only for those rather literary personages of a certain age then you need to see Twelfth Night at The People's Theatre... The ingenius team at People's have come up trumps once again with an inventive interpretation of the Bard. Twelfth Night is brought fully up to date with the setting transferred to a music festival, complete with sound checks, rain, portable toilets and some of the most creative costumes ever to grace a stage (or festival!) 

This is an hilarious production. I have rarely heard people laugh absolute belly laughs at a performance of Shakespeare - there were belly laugh, loud ones, and an abundance of chuckling throughout this original and creative performance. 

In keeping with the confusing plot line - we had women playing men, and men playing men, and women playing women pretending to be men....and of course they are all in love with the wrong man or woman, or man who is really a woman....Do try to keep up! 

It would be unfair and frankly impossible to pick out favourites amongst the characters. Every single member of the cast performed their socks off - and their yellow stockings! 

It is bawdy, boisterous and and has some banging tunes to boot! 

I would implore you to grab a wristband for the final two days of the Illyria Festival, but sadly it is sold out! So you will just have to take my word for it when I say you have missed a cracking show and you're not likely to see anything like it elsewhere! 

Bravo, People's Theatre! Bravo! 

*images by Paul Hood 

Denise Sparrowhawk

Review - Jeeves and Wooster in Perfect Nonsense - The Little Theatre

Jeeves and Wooster in Perfect Nonsense 

The Little Theatre

16th Jan 2023

I rounded 2022 off with the Panto at the Little Theatre in Gateshead, and I am launching 2023 with the Progressive Players' first show of the new year. It snowed on both days, which I'm sure is just a coincidence but it does have a rather satisfactory symmetry to it.

Jeeves and Wooster in Perfect Nonsense by the Goodale Brothers is an adaption (obviously) of a tale by PG Wodehouse. In the programme the directors notes say the names Jeeves and Wooster are familiar to many of us...having seen a few contestants stumble on a Jeeves and Wooster question in TV quiz shows lately, I would venture to amend that to many of us "of a certain age"! I do remember Hugh Laurie and Stephen Fry, I also vaguely remember a series long before that when I was considerably younger. We do have the complete set of the novels in the library where I work (a former boss was an avid fan!) But I think the names are not so well known now as they once were. Not that that detracts at all from the show, you don't need to be familiar with the characters to appreciate the comedy. You do however, need to have a grasp of the social niceties of the 1920s upper classes, and the importance of a good butler and an excellent chef!  This is a play about one-upmanship - well, except for Bertie Wooster, for him it's more about maintaining his status quo! 

Bertie (Christopher Corbett) tells the tale of a bizarre series of events that befell him recently. The drama is re-enacted by himself , his butler Jeeves (Timothy Clark), and his aunt's Butler Seppings (Daniel Wilde). Bertie plays himself, and Jeeves and Seppings play all the other characters, (three of them female), and all of them on stage with each other at some point in the story... You can see the casting problem - and the results are hilarious! We have offstage conversations,  actors popping up in a new costume while their previous character hides under a bed...and finally, the piece de resistance, one actor wearing two costumes and talking to himself... Believe me, you have to see it to fully appreciate it! 

Photo credit: Jenny Race

The three members of the cast deliver their roles with great humour and skill, and considerable aplomb (it doesn't always quite go to plan - and there are many opportunities for recalcitrant props and scenery to misbehave, but it all adds to the fun, and you're never quite sure if the glitches aren't actually  deliberate!). There are stolen cow-creamers, secret engagements, newts, dubious notebooks and even more dubious wigs, not to mention the sideburns, misunderstandings and misconceptions galore! All of this, (and only two boring bits!) plus plenty of interaction with the audience make for an hilarious evening of perfect nonsense. 

This is light hearted fun and an absolutely spiffing start to the new year. It   plays until 21st January and you can buy tickets from the box office on or online at www.progressiveplayers.co.uk 

Denise Sparrowhawk

Preview - Miss Crispy 1988 - Gala Theatre

Journey back to the 1980s for a play that is packed full of fun and flavour

Shoulder pads, tiaras and cheese and onion crisps – beauty pageants and North East factory lines collide in a must-see play set in the 1980s.

Miss Crispy 1988 tells the story of a group of female friends whose working life at a Teesside crisp factory is turned upside down when they are invited to enter a beauty contest. 

The production is set to entertain audiences at Durham’s Gala Theatre at 7.30pm on Friday 17 January and is inspired by the stories of workers at The Crispy – the nickname given to the KP crisps factory in Billingham. 

The factory was a major employer in the area in the 1980s and theatregoers can look forward to big hair, legwarmers and plenty of Northern wit in this nostalgic yet moving comedy about female friendship, love and overcoming adversity. 

Miss Crispy 1988 was written by David Tuffnell and is produced by Less is More, a Middlesbrough-based theatre company with a passion for telling stories from working-class communities. It received rave reviews when it first toured the region in 2013, and the Less is More team cannot wait to bring the show to the Gala.

The theatre is close to the heart of the play’s director Laura Lonsdale, who is currently appearing as the genie in this year’s Gala pantomime, Aladdin. Laura previously taught at the Gala Theatre Stage School and has gone on to cast many former students in the shows she has directed over the years. 

Laura, from Middlesbrough, said: “It’s always a joy to come to the Gala Theatre. County Durham audiences are a pleasure to perform to and I know they will love Miss Crispy 1988. It’s the tenth anniversary of Less is More this year and what better way to celebrate than to tour a show that epitomises what we are all about; honesty, drama and humour.”

 

David added: “I think Miss Crispy has received such a positive reaction because it’s a story that is set in our region with characters people can relate to. Those of us who lived through the 1980s will enjoy the sense of nostalgia it evokes – the music, the clothes, the big perms.  

“However, the 1980s were also an important period in history and a time of great change, especially for women. This is explored in the play through the thoughts, experiences and ambitions of five unique but very relatable female characters.”

Tickets for Miss Crispy 1988 are priced at £15, £13 for concessions and £12 for Gala members. To book, visit www.galadurham.co.uk or call 03000 266 600.

Preview - Robin Hood - Royalty Theatre

ROYALTY THEATRE TO STAGE ROBIN HOOD PANTOMIME

Sunderland’s Royalty Theatre will see Christmas in with their annual pantomime, which this year is Robin Hood.

Written by the Royalty’s James Errington, who also stars as the legendary lincoln-green outlaw, the show follows the adventures of Robin Hood and his band of merry men, as he tries to foil evil-doers and win the heart of Maid Marian.

Director Helen Bowie says, “I absolutely love panto and am thrilled to be directing Robin Hood at the Royalty Theatre.  It isn't a panto you see every year and you've definitely not seen a version like ours. The cast and crew have worked so hard and I hope as many people can see the fruits of their hard work.”

Alex Goodchild, James Errington and Andy Barella.

Credit: Royalty Theatre

Joining James in the cast are panto regulars Andy Barella as Munchy Bob and Alex Goodchild as Friar Tuck.  Erin Moyse stars as Maid Marian.

The show runs from 12 to 22 December with evening shows on Tuesdays to Saturdays, and matinées on Saturdays and Sundays, some of which are close to selling out.

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

Plays remaining this season are Robin Hood (12-22 December), Two (22-25 January), Shadowlands (17-22 February), God of Carnage (23 to 28 March), Wait Until Dark (18-23 May) and Dirty Dusting (22 to 27 June).

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

The Vicar of Dibley - Review - People's Theatre

The Vicar of Dibley
People's Theatre 
2nd Oct 2019

The People's Theatre have chosen a crowd-pulling TV favourite for the first show in the main theatre this season. This stage adaptation of the Vicar of Dibley offers some key moments from the original series, while the developing romance between Alice Tinker and Hugo Horton provides the thread hat holds it all together. This makes it into a cohesive play rather than a series of funny sketches.

As always with an television adaptation, the cast are faced with the dilemma of reproducing beloved characters on stage. There is little room to put their own stamp on the characters for fear of alienating the audience, so it seems to me it must take a different approach to the acting and directing. Luckily, the original writers of the Vicar of Dibley created a set of the most eccentric characters. Each one has a foible which essentially defines their character. This eccentric band of villagers are more like caricatures and if the actor gets that foible right, then the rest is plain sailing. Happily, People's team have this spot on. All the favourites are there, quite lovingly recreated, from unconventional vicar Geraldine Granger right through to the dippy Alice Tinker and hilariously stuttering Jim Trott.

The large People's Theatre stage is perfect for the zoned staging which allows characters to move seamlessly from the Vicar's house, to Horton Manor, to the Church (for those all important Parish Council Meetings!). Each set area is lit individually, to ensure we focus on the scene in hand while some very funny freeze framing lets us know that a change is on the way...full marks for holding the pose!

It's impossible to pick out one performance over another -  each one is hilariously accurate in the portrayal, but I did love the trio of Tony Seghal as Jim Trott, Mike Smith as Frank Pickle and John MacDonald as Owen Newitt.   There were plenty of guffaws and giggles from the audience throughout - and obviously the knock out scene is Alice's Wedding. No spoilers - you have to see it for yourself to truly appreciate its beauty!

It's fun, it's silly and it is an hour and a half of escapism - which is heartily needed at the moment. The full auditorium is testament to the love we have of our sitcoms. The laughter during and the chatter afterwards are testament to another great production at the People's Theatre.

The Vicar of Dibley runs until Sarurday 5th October. I recommend booking tickets in advance to avoid disappointment. It will tickle your funny bone.

Denise Sparrowhawk

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

Rent Party - Review - Northern Stage

Rent Party 

Northern Stage 
6th July 2019

So this was a party that I wasn't sure what to make of going in,  but wow did I enjoy it!

A Rent Party was a party back in 1950s America to help young black Americans pay their rent.

Thankfully I didn't need to go to America to go to this party! (It would have killed me in these heels.)

It's a play like no other and I don't think I'll see a play like it ever in my life again - you can only see this once.

We were given sweets and vouchers to give to the performers when each of them had performed. This is a great idea and it brought the interaction level up, not just between the performers and the audience but the audience with each other.

It's a play based around true life and the three main people tell their stories about being young, gifted and black.

Usually they have a 4th member of the team called Camille but she was absent as she is just about to have her second baby.

Her dream is to play Dolores Van Cartier in Sister Act - and I do love my musicals!

There were games to play like pass the parcel (called Pass the Duchy).

There was limbo which was funny as owt - but not what you think it would be, and it had audience participation.

There were party bags for the kids and stickers for everyone else, not forgetting the shots for the over 18s in the audience who toasted many things even Brexit (which went down like a lead balloon).

Jason - who looked gorgeous and whose makeup was on fleek - tells their story about how their bf kept locking them in the house so they couldn't get to work.

They all worked in the musical Starlight Express - which would be why they are so good on roller skates (they can do jumps and everything!).

Lena is a dancer and used to come up with dances with her two little sisters while she studied at uni.  Her family is important to her. And wow can she dance!

Tolu is one of the best musicians and he sings one of my favourite songs from the musical Charlie and the chocolate factory (Pure Imagination). He not only sings it well but puts his own twist on it which had me drawn to him. He talks about how his parents came from Nigeria and how he would love to be able to take his partner back to his homeland but doesn't think he will be able to.

The host of the Rent Party is Stuart Bowden who tells us about one event in his life where he went to his step sister's christening and was collared by all four mums of his 12 step siblings. 

He got called a little coconut which for him wasn't that a big of a deal but his mother was offended and I can guess he didn't see his dad for a long time after that incident! (Black on the outside, White on the inside!!!!).

The Director of the piece Darren Pritchard was a part of the cast helping to fill in the void that Camille had left.

This play/party was great and it was funny from minute one to the end. It has lots of audience involvement, and we were even allowed to have a dance.

It is part of the Curious Arts Festival allowing LGBTQI artists to put on their work. (I'm hopeful you might see some of my work in their Autumn programme).

This show is definitely one to see, it will live long in my memory.

Rubes Hiles 

Actors - 

Lena I Russell

Darren Pritchard 

Jason guest 

Tolu 

Stuart Bowden

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

Barefoot in the Park - Review - Royalty Theatre

Barefoot in the Park
Royalty Theatre
21st May 2019


Despite its title Neil Simon's Barefoot in the Park is not set in a park. It is set in an apartment on the fifth floor of a brownstone building in New York. The play centres on newly weds Paul and Corrie Bratter. They are an unlikely pairing. Corrie is young, impulsive, immature, the only daughter of a doting, widowed mother.  Paul is a staid, sensible, recently qualified lawyer. Somehow the two have met, fallen in love and had a whirlwind romance culminating in a six day honeymoon in the Plaza Hotel.

The play begins on the first day in their new home - an apartment that Corrie has found, and which Paul has not actually seen yet. It is not the Plaza Hotel. It is small - very small - the heating does not work, the bedroom is actually a dressing room, only big enough for a single bed, and the bathroom has no bathtub. And, it is five flights of stairs up. (The stairs play a crucial part in the humour of the play).
Corrie believes that love will make up for the shortcomings of their new home. Paul however is not convinced - having climbed the five flights of stairs (not including the stoop!) he arrives out of breath and lacking the enthusiasm and passion Corrie had hoped for. It's not the start to marred life either of them had expected. And the situation is about to get worse - Paul has been awarded his first case at work and has to be in court the next morning so must work all evening. Problem, there is no furniture (it hasn't arrived yet), there is no heat, there is a hole in the skylight and Corrie's mother is on her way up. Add to this an eccentric upstairs neighbour and you have a recipe for comedic disaster.

Simon draws on the discrepancy between expectation and reality, and pits contrasting personalities against each other to create comedy situations. The play looks at the nature of relationships, of expectation, and aspiration. He presents four very different characters each equally out of depth in the situation they find themselves, and each one must find the way to compromise in order to find the happiness they desire.

Neil Simon's observations of people are wry and witty. Unfortunately the performance on Monday didn't do justice to the writing. Somehow the delivery of  the key lines didn't quite hit the mark and so much of the wit of the writing was lost. I didn't quite feel the chemistry between Corrie and Paul, though newcomers Kylie Archer and Daniel Hart gave fair performances. David Armstrong as Victor Velasco was a little too over the top - he just over-cooked the Albanian eccentricity. However the interaction between Paul (Daniel Hart) and Ethel (Lorna Breeze) was lovely, and there was a real sense of empathy between those two characters. Lorna Breeze as Ethel gave by far the best performance of the night.

Act two felt more settled, as if the cast had relaxed into their roles and I liked Victor much more once he had admitted to his wig and ulcer!

I'm not sure why this one didn't work for me - it is a favourite film and stage play and I had been looking forward to seeing it performed at the Royalty. I was disappointed. There have been some excellent productions recently and the Royalty team generally do comedy very well - perhaps, like Corrie and Paul, my expectations were too high? Perhaps the direction missed the comedy of the situation? Or perhaps it was simply first night nerves.

Barefoot in the Park runs until Saturday.

Denise Sparrowhawk

Preview-Shakers (Re-Stirred)-Royalty Theatre

Royalty Theatre To Perform Godber and Thornton's Classic Shakers

The Royalty Theatre are gearing up to perform their second studio play of the 2018/19 season, Shakers (Re-stirred), by John Godber and Jane Thornton.

The play follows the working lives of four bartenders working in Shakers, a cocktail bar.  Director Corinne Kilvington says, “Shakers is a really great piece of theatre; it's stood the test of time.  It's full of the characters you've seen down the town on a Saturday night.  It’s funny, touching and full of memorable moments.  The four actors play all of the different characters with real ease, moving from bar tenders to girls on a night out to the 'lads' out on the town.  It's a great night out and a blast from the past with a great 80s soundtrack.”

A small but strong cast includes Helena Wildish, Tom Kelly and Royalty debutantes Jamie-Leigh Price and Rhiannon Gillibrand.

The play, by John Godber and Jane Thornton, began life simply as Shakers in 1985 before being ‘re-stirred’ in 1991. It subsequently became a 1993 TV movie and a 1996 musical and is now one of the best known of Godber’s works.

Performed in the intimate space of the Royalty’s studio theatre, seats are strictly limited to 52 per evening. All tickets are £6.50 and are available online at https://www.ticketsource.co.uk/whats-on/sunderland/royalty-theatre .

I saw this play a few years back at another local venue. It is witty, incisive and still apt today (in my humble opinion). Anyone who has ever been to a cocktail bar after work...or worked in a cocktail bar... really ought to see it. Studio performances are always interesting as the audience is so close to the action. Corinne Kilvington is an experienced director, and Tom Kelly's comedic style should be just right for this role - and will be intense in such a small space, so it should all make for an entertaining night out.   I would recommend purchasing studio tickets in advance to avoid disappointment as their last studio production, Mary Mary, sold out... DS

Photograph shows (left to right): Helena Wildish, Rhiannon Gillibrand, Jamie-Leigh Price and Tom Kelly.

Credit: Royalty Theatre

Rain Man - Northern Stage - Review

Rain Man
Northern Stage
8th April 2019



Charlie Babbitt is not a nice man. He is a selfish, self-absorbed cynical shyster, out to make a fast buck and willing to use anyone and everyone to do it. He is on the wrong side of one too many deals gone wrong - customers are demanding their money back, loans are being called in. Charlie Babbitt needs a shitload of money, and he needs it fast.

Raymond is an autistic savant, unable to process emotion, institutionalised in a hospital for his entire life, he navigates his way through the world via regimented routine. He is Charlie Babbitt's brother, and he has just inherited their father's entire fortune. 

Bill Kenwright's play is a faithful adaptation of the original Hollywood movie, though the movie was  essentially a road trip and that is a pretty difficult thing to reproduce on stage. So what Kenwright gives us is a series of stopping off points on the journey -  hotel room, airport lounge, diner, motel room, Vegas Casino... each one a step along the journey of self awareness for Charlie Babbitt. What starts out as a callous, calculated, money grabbing plot becomes a battle to maintain a connection with something that has been sorely missing from Charlie's life, and finally a touching realisation that that what he wants is not the best thing for his brother. 

This is a play firmly rooted in it's 1980s origin. Big suits, shoulder pads, a brick of a mobile phone, and a playlist (if you are my age) that will have you reliving your college years...

The set is simple - an eclectic mix of picture frames, mostly empty, but some with neon signs that light up at the appropriate moment. It has the feel of an 80s pop video set and the sharp scene changes carried out almost in time to the blast of 80s pop and rock add to this feel.  

The performances by the two leading actors are astonishingly convincing - Chris Fountain begins the play as a petulant manipulator - switching between insincere charm and ferocious anger to get his own way. He is as unable to make an emotional connection as Raymond, simply in a different way. The pivotal moment in the play when Charlie realises that he has known and forgotten that he had a brother, when he makes the connection to Raymond, the Rain Man is incredibly touching and Chris Fountain achieves it with a change of expression, the tiniest alteration in his posture - small actions that have a huge impact and from that point his relationship with his brother changes. 

Adam Lilley maintains the character of Raymond throughout - the closed off expression, the impossibility of making eye contact, the ticks and twitches all conveying his discomfort with any and every situation. In Adam Lilley's performance we do not see an actor on stage playing the part, we see Raymond and we feel every moment of his experience, from the confusion, the panic, and finally the tiniest show of affection. 

Both actors are utterly convincing and their performances have the audience enthralled, along with supporting actress, Elizabeth Carter, whose character Susan is essentially Charlie's conscience. 

Funny, uncomfortable, poignant, brilliant. I loved every minute of this play. 

Rain Man plays until 13th April. 

*Photo Credit: Lloyd Evans

Denise Sparrowhawk

The Importance of Being Earnest - Review - People's Theatre

The Importance of Being Earnest 

People's Theatre
2nd April 2019 


What's in a name? Does it define your character? Or does your character define your name?
Would the right name make a man more attractive? Would the wrong name make him less so? Is it fickle of a girl to profess her love for a man simply because he has a name that she has decided is a worthy one? Is this any less fickle than the rejection of a man as suitor to a daughter because he lacks a worthy name? Is family and heritage and reputation more important than individual character? All of these questions and about a hundred others are posed and, to some extent, answered in Oscar Wilde's witty social comedy.

It is a play of deceptions and misconceptions, double identities and double standards. Gwendolen, Algernon's cousin is in love with Earnest, but Earnest is really Jack. Jack is in love Gwendolen, but can't reveal his deception to her without losing her affection. Algernon discovers the deception and is intrigued by the discovery that his friend is the guardian to eighteen year old Cecily. Cecily, fancies herself in love with Earnest though she has never actually met him - tales of his high living have been recounted to her by Jack. Earnest proposes to Gwendolen - who accepts, but her mother, Lady Bracknell objects.  Algernon uses the excuse that his (imaginary) friend is ill and he must go to him immediately. He escapes to the country to meet the mysterious ward Cicely and pretends to be Earnest.

And that is the easy part of the plot! It all gets a whole lot more complicated, and hilarious, as the two friends try to extricate themselves from the deceptions they have created while still trying to achieve their objectives and win the hearts of their ladies!  Have you followed all of that? 

Photo: Paula Smart

It is a gem of a production with sparkling performances by the cast - particularly Kitty Parkins as Cecily Cardew, and Rachel Scott as the Honourable Gwendolen Fairfax  -  who have the audience laughing out loud. Colin Jeffrey and Richard Jack bounce off each off each as the begrudging friends, while John MacDonald and Reg White provide perfect foils to their nonsense, as the long suffering servants. 

The brilliant script by Wilde is bursting with searing one-liners that are delivered impeccably. 

This witty, fun and perfectly put together production is well worth seeing. It runs until Sat 6th April.

Denise Sparrowhawk

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

Arcadia - Review - People's Theatre

Arcadia

Peoples Theatre
12th Feb, 2019

Tom Stoppard's Arcadia is a complex play. It examines ideas of time, truth, preordination, advances in scientific thinking, nature and artifice, truth and beauty. Complex mathematical and scientific formulae are juxtaposed against philosophy and religion in an attempt to explain life. There are layers upon layers in this play and at times the ideas and theories fall so thick and fast that the audience struggles to keep up.

In the 19th Century Septimius Hodge is a tutor to Thomasina, a child prodigy. Her intellect is vast and she sees the world differently to everyone else. Her mother, unable to understand her leaves her education to the tutor. The tutor seduces his way around the women in the household - including Thomasina's mother.

In the present day a group of researchers try to make sense of events from the past - they have some information, but not all, and are left to interpret the clues left to them to recreate the past. Naturally, since they do not have all the information, their interpretations are a little wide of the mark.

The friction between the characters, and between the actual events of which the audience is aware,  and the inaccurate perception of the present day characters, makes this a very funny and clever, yet poignant play.

The complicated plot is served very well by a simple set - a table and chairs, a basket containing dress-up costumes, and a backdrop of opaque screens representing the windows and doors leading to the garden. Though the garden is key to the play, it never seen. Subtle lighting and music signal the changes between past and present.

The cast give impressive performances, citing theories and explaining algorithms with confidence. You would swear they understood it all exactly as they are saying the words. The chemistry on stage is tangible as they fight and bicker and flirt with each other.

This is a very clever play, skilfully produced and performed. It will make you laugh, but it may also make you scratch your head in consternation as you try to follow the mathematical and scientific arguments - unless of course science and mathematics are your thing. Fortunately for me - neither one being my thing - you can just enjoy the humour of the social situation and appreciate some great acting.

Arcadia plays until 16th March.

Denise Sparrowhawk

Trump The Musical - Review - Alphabetti Theatre

Trump The Musical 
Alphabetti Theatre 
26th February 2019

The first thing I saw when I arrived in the venue was a Make America great again AGAIN hat. I had to look twice at the hat to realise this was also satire, just when I thought I might have made a mistake and come to a trump rally by accident. The guys wasted no time in getting the show on the road with a sickeningly America pride song, about as over the top as America fuck yeah from the team America soundtrack.

The 4 performers and musician (and occasional performer) were all well polished, with a straight out of drama school like feel to their performance. Trump, Kim Jong Ill and Putin are all played by women to quite a high and recognisable level. It’s hard to do a satire of Trump without approaching stereotypes and boy were there stereotypes, Trump comes off lightly compared to ‘King’ Nigel Farage who is just about the antipathy of Brexit racism. Putin’s Russian accent and the general American accents are pretty much superb, Kim Jong Ill needs a bit of work however and was less North Korean more Scandinavian, but was a great caricature all the same. Pretty much all the characters are caricatures. If you are looking for subtlety and well rounded, fair and balanced characters you have come to the wrong place. However if you want cutting satire, this is it!

At one point Trump simulates taking a dump and there is rather uncomfortable bondage scene and attire. This production is simply a laughfest from start to finish. The songs are well thought out, the narrative is obviously always changing, as are some of the jokes, of which there are many are based on recent news stories. It must be hard writing a show you will tour knowing by the time you have finished it, it will already be largely out of date. They get around this brilliantly by setting it a year in the future (2020), in which king Nigel Farage rules over England (he’s lost the other three countries in the UK. The plot is farce, but what wee you expecting?

Sometimes even the truth is harder to believe, so in a way it’s the gift that keeps on giving. I recommend you check it out yourself if you are lucky enough to snap up a ticket for this run. I believe they are also playing Edinburgh this year along with their Boris Johnson musical, who makes a brief appearance in this play.

Be reassured even if you don’t like musicals you will thoroughly enjoy this must-see production.

Frank Cromartie Murphy

Hobson's Choice - Review - Royalty Theatre

Hobson's Choice 

Royalty Theatre

18th Feb 2019

Hobson's Choice - a play in 4 acts, set in Lancashire around 1880.  Hobson's Choice was first performed over a century ago but the themes are as relevant today as they were then -  the nature of independence, snobbery and social mobility, patriarchy and the place of women in society. 

Hobson is a shrewd man. He uses his daughters as unpaid shop girls and pays his workers, Tubby Wadlow and Willie Mossop, a pittance. We soon learn that the success of the business is due entirely to the talent of his eldest daughter Maggie rather than any business acumen of his own. For Henry Hobson reputation and respectability are everything,  appearances are important. To his fellow business associates in Salford he is an upstanding, respected  tradesman, but to his daughters he is a bullying, overbearing, controlling parent. Often coming home drunk, in the middle of the day, he is quick to lose his temper when challenged by "uppity women". Faced with rebellion he threatens to marry off the two younger girls to husbands who will keep them in their proper place. Maggie he dismisses as too old to be wed - later admitting to his friend that he needs her in the business. However, when he realises he will have to provide a settlement for each daughter he retracts the suggestion of marriage and the girls are faced with a lifetime of unpaid skivvying.

When a wealthy and influential customer praises Willie Mossop's work and demands that in future all her boots should be made by him, Maggie sees an opportunity to escape from under her father's tyranny. She proposes to the shy bootmaker and railroads him into agreeing to marry despite the fact that he is already tokened to another girl. Maggie is ambitious - not only for herself, but for Willie Mossop, and her sisters.  She sees the potential in Willie and refuses to allow other's snobbery to derail her plans. Despite her sisters' disdain for Willie she still engineers their own marriages to the men they love, and out manoeuvres their father at every turn. She is single-minded and determined, practical and hardworking. She is also compassionate and loyal. however she will not be taken advantage of - having found a way out from under her father's influence, she is determined to live life on her terms and in the end she gets exactly the outcome she wants, but unlike her father she does not do so at the cost of others.


Corinne Kilvington is excellent as the pragmatic Maggie, a calm but forceful presence on stage and a perfect foil for the blustering, bullying Hobson (ably played by David Armstrong), and the shy and unassuming Willie (Jordan Carling). Both Kilvington and Carling give convincing and natural portayals of their respective characters while the rest of the cast give stirling support. Under Andrew Barella's direction they have created a well timed, well executed, hugely entertaining play. 
Favourite moments: Maggie putting her proposal to Willie Mossop, his consternation and bemused reaction is classic,  and Willie's proposal to Hobson, the transformation of the two men is both triumphant and poignant at once. 
There are lots of laughs, and lots of telling moments in this play. 


Hobson's Choice runs until Sat 23rd February and by gum! you should go see it!

Denise Sparrowhawk

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.