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.

Pride and Prejudice - Review - People's Theatre

Pride and Prejudice 

People's Theatre

19th Nov 2019

Jane Austen’s Pride and Prejudice is a novel with a lot going on. At it’s very basic, it is a romance story that surely must have been the blueprint for every Mills and Boon ever written. Girl meets arrogant man, hates him on site. He falls for a beauty whose background presents him with a major personal conflict. He resists but against the better judgement of his head, his heart is smitten. They proceed to misunderstand each other for most of the story (if you don’t want spoilers look away now) but of course and common sense win out in the end.


But it is so much more than this mere love story. It looks at relationships and responsibilities in society, and within the circle of families and friends. It questions attitudes to women, to the armed forces. It exposes class boundaries and the snobbery and prejudice that these elicit in the upper classes. Jane Austen herself broke those boundaries by daring not only to write , but to write  about the very society that said she, as a woman, could not.  She ridicules, in the nicest possible way, the social niceties, showing up the absurdity of the social formalities that keep women, and the ‘socially inferior’ in their rightful place.  


All of these elements are present in Helen Jerome’s adaptation for the stage. And yet somehow it misses the mark of Austen’s accomplishment. For sure the ridiculing of society is there, but the romance...or perhaps more the sympathy is missing. The play jumps from country house to assembly, to grand mansion and back again, revealing aspects of the characters and the story like a partially lit room. We see parts but not the whole. And so we see the absurdity of society in all its glory but the delicacy of the love story is missed. The nuances of developing attractions, and duplicitous beaux are squashed under seemingly lightning bolt revelations. Act two in particular feels disjointed and rushed as Jerome hurtles us towards the finale.


That said, the cast at the People’s have recreated the characters – in some cases quite spectacularly. Anna Dobson as Mrs Bennett wails her woes hysterically at her husband and daughters, swerving seamlessly from disdain to admiration for fellow characters as the situation warrants. The young daughters (Zoe Rankin, Emily Ashton and Millie Hackett) bicker and sulk their way through the play as only teenagers can. Adam Owers’ Darcy is condescendingly aloof throughout, with just the right amount of disarming discomfort to show his inner struggle as he tries to express his feeelings to Elizabeth (Amy Lowes Smith). But by far the stars of the production are Stephen Waller as Mr Collins who oozes his way across the stage and wraps himself with oily obsequiousness around anyone who can further his cause, and Rye Mattick as the main object of his sycophancy, Lady Catherine de Bourgh - imperious and fully assured of her own self-importance.


It’s not an easy task to portray so many characters and develop each of their stories within the time allowed for a stage play, and the set design and stage management do a good job of creating the different scenes with as little disruption as possible – the addition of a chandelier, swapping flowers for a bust statue to indicate the different venues.


The production and performances were spot on as ever with the People’s, and certainly the characters were all skilfully portrayed, but overall the adaptation for me was too disjointed and lacked something of the charm and romance of Austen’s original.


Denise Sparrowhawk

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

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

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

Approaching Empty - Live Theatre - Review

Approaching Empty

Live Theatre 

Feb 8th, 2019

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

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

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

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

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

As for Mansha, he's off on holiday. 

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

On until Saturday 23rd February

Prices from £6 - £22 

Age14+

Reuben Hiles

*Picture credit Helen Murray 

Fans - Review - Live Theatre

Fans

Photo from Live Theatre

Live Theatre
4th October 2018

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

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

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

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

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

Reuben Hiles

Suicide Notes -review- Northern Stage

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

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

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

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

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

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

Frank Cromartie Murphy

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 24^th to 29^th 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.

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

 

Preview - Hot Flush - Washington Theatre Group

 Naughtiest musical in town comes to Washington!

Take a deep breath and get ready to meet Myra, Sylvia, Helen and Jessica, a quartet of feisty menopausal women who get together at a local bar every Tuesday night. Affectionately named the ‘Hot Flush Club’ the ladies offer each other moral support, cry on each other’s shoulders and most importantly (of course), gossip and malign the many men in their lives! (Fifteen in fact, all played by one brave man!)

"HOT FLUSH!" takes us on an hilarious musical journey that follows the ups and downs of the friendship between four ordinary women. It delves into their laughter, tears, and secrets. When it comes to matters of the heart, the opposite sex, and the menopause, Myra, Sylvia, Helen and Jessica will leave no stone unturned, and no story untold. 

'HOT FLUSH!', has the music, the menopause and the men (well, the one man). The naughtiest musical in town really is the ultimate girl’s night out! There won’t be a dry eye in the house, because you'll be crying with laughter.

Performed by Washington Theatre Group, 28^th – 30^th June at Arts Centre Washington

Tickets are £10 (Group discount: £8 a ticket for groups of 5+) Book online or telephone Arts Centre Washington on 0191 561 3455. 

Move Over Mrs Markham - Review - Royalty Theatre

Move Over Mrs Markham

Royalty Theatre
24th May 2018

The setting is a London flat in the 1980s, new home to Joanna and Philip Markham. The Markhams have been married for 15 yrs. Philip works as junior partner in a publishing firm. Their steady, settled marriage is a complete contrast to their friends Linda and Henry Lodge. Henry is the senior partner in the firm. He often works late "entertaining clients" leaving Philip to do the actual graft.  His wife Linda is aware that these clients are are just excuses to hide his philandering and decides to embark on an affair for revenge. Linda arranges with Joanna to use their flat to meet her lover, Walter Pangbourne. Meanwhile, Henry has arranged with Philip to meet his latest conquest there the same night. Meanwhile, unknown to both Joanna and Philip, their interior designer has designs on their au pair and has arranged to meet her on her evening off - in the Markham's flat. Throw into this a genuine, high profile new client who has high moral standards (she has left her old publisher because there was too much sex going on...) and you have a recipe for disaster.
Cue then, much room hopping and misinterpretation of events as they all try to avoid letting cats out of bags and imaginary dogs out of baskets!

It builds nicely through the first act and though the pace drops off a little at times in Act Two, there are plenty of laughs and some brilliantly over the top acting. Corinne Kilvington and Tom Kelly steal the show as the beleaguered Joanna Markham, (disapproving of her friend's behaviour, and falsely accused by her husband, desperately trying to keep everyone's secrets and make things right) and her  flamboyant interior designer, Alistair Spendlow. Ryan Rowntree drinks his way through the play perfectly as the laid back, smooth-talking, womanising Henry.

All in all this is an entertaining bedroom romp.
There are two performances tonight and Saturday - it will brighten your bank holiday weekend if you go along to see it.

Denise Sparrowhawk

Preview - Move Over Mrs Markham - Royalty Theatre

ROYALTY THEATRE TO PRODUCE MOVE OVER MRS. MARKHAM

The Royalty Theatre will continue their 2017/18 season with Ray Cooney and John Chapman’s comic caper, Move Over Mrs. Markham.

The frantic farce follows the attempts by three pairs of lovers to get use of Philip and Joanna Markham’s empty flat one evening to carry on their affairs. Joanna’s best friend Linda wishes to woo her civil servant beau, while Philip’s business partner Henry, Linda’s husband, hopes to “entertain an important client” while no-one else is about.  Interior designer Alistair and au pair Sylvie have their own plans – and it’s not long before the evening has descended into a maelstrom of deceptions, misunderstandings and sauerkraut sandwiches.

Director John Appleton says, “Move Over Mrs. Markham is a good old-fashioned British farce – it’s high-energy, with a touch of the risqué, but above all, hilarious.  We’ve all had great fun in rehearsal with the play and I’m sure audiences will love it.” 

Credit: Royalty Theatre

A talented cast includes Tom Kelly, Sean Landless and Corinne Kilvington, who takes the role of Mrs. Markham.  Newcomers Nichol Kilty and Amber Peters also star.

"Move Over Mrs Markham" runs from 21st-26th May. The show starts at 7.30pm and doors open from 6.45pm. Tickets can be booked via www.ticketsource.co.uk/royaltytheatre or on 0333 666 3366, and are priced at £8 (£6.50 concessions).

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 5^th.  

Frank Cromartie Murphy

Steptoe and Son - The Forum - Review

Steptoe and Son

The Forum, Northallerton
19th April 2018

This has been something of a week for iconic shows. The latest being a stage show of Steptoe and Son from Hambledon Productions. This show is coming to the end of its year long tour this week, and if you didn't take advantage of it while it was in your neck of the woods then you have missed a treat! I caught it at The Forum in Northallerton.

Even before curtains up, you are transported back in time as Ron Grainer's unmistakeable "Old Ned" theme tune issues from the speakers. As the curtains open they reveal a front room, complete with cuckoo clock and skeleton (I forget, did that skeleton have a name?)

This stage production recreates a sample of episodes from the TV series. Each one is excruciatingly funny, from Harold's ball room dancing to Albert eating pickled onions in the bath tub. The actors Jeremy Smith (Albert) and John Hewer (Harold) capture the essence of the two characters - their mannerisms and speech, and especially Harold's laugh - perfectly. The interaction between the two is perfect - both the dialogue and the physical humour is spot on. The affection that the production team feel for the originals is clear throughout the performance.

This production is very funny and stays true to the spirit of the original TV show. It is a fitting tribute to both the writers, Galton and Simpson, and the actors Wilfred Bramble and Harry H. Corbett.

You have a last chance to see it at The Customs House in South Shields this weekend and I would highly recommend you make the trip! I guarantee you will come away humming the theme tune and muttering "You dirty old man...!"

Denise Sparrowhawk

John Scott: Delusions - Alphabetti Theatre - Review

John Scott - Delusions

Photo from www.alphabettitheatre.co.uk 

Alphabetti Theatre

Wed 21st March

John Scott's gig on his mental health doubled up as a showcase for students of his stand up course. Each night involves several comedians new to comedy, some doing their very first gigs. They were impressively cohesive and funny,  and if you hadn’t been told it was their first time doing stand up you might not even know it.

John Scott briefly MCed the acts before coming  himself in the second half to do his one hour show (which featured at Edinburgh Festival last year).

It was a witty, clever, political and very polished performance. He delved into his mental health history with a great deal of tact and really gave the audience an insight into having a mental health condition His own condition is bipolar disorder type one, a diagnosis I share, so I can highly relate to the things he was talking about, such as hypomania, feeling like you are Jesus and self harming thoughts.

I thoroughly recommend this show if you're in need of a good belly laugh and have ever wanted to know more about what it's like to suffer with a mental health condition.

Playing Thursday and Friday this week at 9pm.

Frank Cromartie Murphy

Find more info about John Scott at:

www.facebook.com/johnscottcomedy  twitter.com/JohnScottComedy mindpalaver.com/