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.

Iris - Review - The People's Theatre

Iris

People's Theatre
10th Sept 2019

I saw Iris when it was first performed at Live Theatre and I remember it as a darkly funny, emotional and tragic piece of theatre. Going along to see it again this week, I did wonder if it would have the same impact - after all, I already knew the plot with all its twists and turns, so there would be no surprises. But, written by Alison Carr one of the stalwarts of  The People's Theatre, this is a play that was coming home. It was bound to be something special.

A play that explores family and relationships, the nature of motherhood, love and hate, responsibility, abandonment, guilt, success and failure, it covers a huge spectrum. And performed in the studio, with a cast of just three, and with some of the action taking place within arm's length of the audience it was always going to be intense.

Two sisters have just buried their mother - Iris. Julie the elder has been away for many years, and had a difficult relationship with Iris, while Ruby, the youngest has been very close to Iris; perhaps too close. On the day of the funeral Julie disappears from the wake and returns later, drunk, with a man in tow.

Emma Weetch plays the older sister Julie - a mess of contradictions, desperate for some human contact yet rejecting any show of affection or sense of connection when it is offered. She is scratchy and awkward and at times downright abusive. But there are cracks in her armour that begin to spread and widen as the play progresses.

Stephen Sharkey gives a deceptively understated performance as Gerry, the unfortunate man caught up in the middle as the two sisters fight and spit a each other like cats. Equally desperate for human contact but in a completely different way to Julie, he hides behind an array of bad jokes and astonishing facts on almost any subject - like a walking encyclopaedia. He offers advice for every situation sounding as Ruby puts it "like a self help book". Of the three characters, he is the most likable and yet also the saddest and perhaps most tragic with his doggedly optimistic veneer hiding a lonely and sorrowful life.

Sarah Mulgrew plays the younger, damaged teenager, Ruby. Like Julie , she is damaged emotionally and psychologically, but Ruby is also physically damaged - having lost an eye in a childhood accident. From her first appearance on stage Sarah Mulgrew exudes a mix of angst and apathy and teenage antipathy. Though all three actors gave brilliant performances, Sarah was the outstanding performance of the night for me - she was completely convincing in her role.

Though I knew what was coming I was still entirely engaged throughout the play - anticipating some of the events and recognising and remembering others as they happened. The second act almost had me in tears as the truth of the sisters situation began to be revealed. it was a highly charged, emotional experience.

An excellent start to the new season, Iris plays until Saturday, and is sold out.  If you have a ticket, you are in for a rare treat - take your tissues. If you don't have a ticket, get your name down on the waiting list and hope someone else cancels!

Denise Sparrowhawk

Approaching Empty - Live Theatre - Review

Approaching Empty

Live Theatre 

Feb 8th, 2019

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

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

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

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

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

As for Mansha, he's off on holiday. 

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

On until Saturday 23rd February

Prices from £6 - £22 

Age14+

Reuben Hiles

*Picture credit Helen Murray 

Preview - Mary Mary - Royalty Theatre

ROYALTY THEATRE BEGIN 2019 WITH JACK THE RIPPER-THEMED MARY MARY.

The Royalty Theatre will begin 2019 with the premier of local writer Billy Tower’s Mary Mary.

The play is based around the life of Mary Kelly, considered by many to be the fifth and final victim of Whitechapel killer Jack the Ripper.    Little is known of Mary Kelly’s life before she came to reside in Whitechapel – making her by far the most mysterious of the serial killer’s alleged victims.

Director Abbi Laidler says: “It is a fictional account of factual events and I try to explore how those events had an impact on the Whitechapel community and Mary Kelly in particular. The victims have been reduced to names in police files, but these women had lives that are often overlooked in the search for the killer. I am not interested in naming the killer in this play, I am using Mary to focus on how these events affected her as an individual.  I really hope you enjoy this show written by the talented Billy Towers.”

The play, which runs from 23^rd to 26^th January, stars Nikki Slack as Mary and Andrew Barella as Joseph Barnett.  Also appearing are Helen Bowie and Alex Goodchild.

Being performed in the Royalty’s studio theatre, which last year saw performances of Five Kinds of Silence, Temple and new piece Jesu Mercy, all tickets are £6.50 and are strictly limited to 60 per evening.

Over the years I have been reviewing I have come to relish the intimacy and immediacy  of a studio production. Performed in a small space these productions can have a greater impact on the audience members than plays performed in the larger auditorium.  The close proximity of the audience to the stage - often in the round - creates a sense of involvement and increases the intensity of the experience. There is no where to hide when emotions begin to run high. 

 Often studio productions are plays by established writers which  explore difficult themes, or they may be new works by writers testing their wings. Mary Mary is a combination of a new work by a local writer, and an exploration of a difficult subject. It sounds fascinating and I am looking forward to experiencing it. 

Tickets can be booked via www.ticketsource.co.uk/royaltytheatre or on 0333 666 3366 and I recommend purchasing in advance to avoid disappointment - Friday and Saturday are already sold out. 

DS

Christmas Crackers - Live Theatre - Review

Christmas Crackers

Live Theatre
14th December 2018

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

Directed by Joe Douglas and Graeme Thompson

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

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

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

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

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

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

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


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

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

They play until 22nd December at Live Theatre.

Denise Sparrowhawk

Preview - Jack and the Beanstalk - Royalty Theatre

ROYALTY THEATRE RETURN TO PANTO WITH JACK AND THE BEANSTALK

The Royalty Theatre’s annual pantomime is back, and this year it's Jack and the Beanstalk.

The much-loved kids’ classic has been given the panto treatment by local writer David Farn, and features Royalty Theatre newcomer Erin Moyse. Jack's magic beans cause merry mayhem and a fearsome encounter with the giant who lives atop a beanstalk.

Artistic Director Nikki Slack says “This year’s panto will entertain the whole family, with jokes and songs for all generations. It’s a must-see in the run up to the festive holidays.”

Also appearing is Royalty panto favourite Andy Barella as Simon, and writer David Farn steps into the high heels as Dame Flossie.

Tickets are already being snapped up, with many shows – including the four afternoon performances – already reduced to a small number of remaining tickets.

The pantomime will be performed from Thursday 13^th to Sunday 22^nd December, with evening shows taking place Tuesdays to Saturdays, and afternoon shows Saturdays and Sundays. 

Get your tickets in advance to avoid disappointment. Book 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.

Clear White Light -Review- Live Theatre

Clear White Light Live Theatre - World Premier 23^rd October

Joe Caffrey and Bryony Corrigan (Live Theatre)

Clear white light is named after a Lindisfarne song and is a cross between a gig and a play. Music  is played by a live band, most of whom are also characters in the play. It’s set in an all male hospital ward, with patients having a variety of mental health difficulties. The main characters are Rod - a male staff nurse in his 50s played by Joe Caffrey, - and a student nurse Alison, played by Bryony Corrigan, who recently stared in Live’s My Romantic History.

Bryony’s ability to convey angst and horror are incredibly impressive and Joe brings a well rounded characterisation to Rod. They both feel very believable. I have personal experience of being a patient in a mental health ward and I can say so much of this play rings true. The Gothic and spooky elements don’t convince me as much as the emotional intelligence of the characters. I can relate to both the experience of the patients and the realism of the nurses. We always wondered if some of the nurses belonged as patients more than we did at times, and this comes across in parts here as there are various meltdowns.

This play was written by Paul Sirett and he has done an excellent job with it. Charlie Hardwick of Emmerdale fame played Maddie (not sure if this was a play on words or not). She also did the majority of the singing in the play, which was great. The remaining cast were also in the band and consisted of Phil Adele (Aaron patient), Alice Blundell (Jo nurse), Dale Jewitt (Charlie), Billy Mitchell (Barry patient / Lindisfarne) and Ray Laidlaw (percussion / Lindisfarne).

I found both the musical element and the play enjoyable, however I am not convinced both elements belong together. A lot of the time the songs seem to have little relevance to that particular part of the play. I found the play element to be the stronger of the two. My friend remarked it was Lindisfarne’s version of Mama Mia.

This play is based on a cross between Edgar Alan Poe’s short story the Fall of the House of Usher and Alan Hull’s music based on his own experience working for the NHS.

Alan Hull had worked in St Nick’s hospital in Gosforth, which at the time inspired many of his songs, many which are used in this play. It’s kind of like a love letter to the NHS and stands very proudly behind the now seventy year old institution, at the end it conveys a very unsubtle message about the NHS, but one that many agree with. I would definitely recommend this, especially if you are fans of Lindisfarne, and don’t worry Fog on the Tyne and Gazza are nowhere in sight.

A solid 7/10.   

Clear White Light it is running at Live until November 10.

Frank Cromartie Murphy

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

The Desert Queen - Arts Centre Washington - Review

The Desert Queen

Arts Centre Washington
26th July 2018

Hands On NE present this new play by David Farn - The Desert Queen: the Adventurous Life of Northern Hero Gertrude Bell
Directed by Neil Armstrong

Gertrude Bell is a name I have heard, without really knowing much about her beyond a vague awareness that she was a female adventurer. I have to admit I am somewhat ashamed that I did not know more about this amazing woman. Certainly I did not know that she was a local hero, nor the extent of her achievements - not just as a bold adventurer but as a political and social reformer.
David Farn's play is an enlightening, informative and entertaining piece of theatre.
Phillippa Wilson plays Gertrude Bell in what is essentially a monologue punctuated by interjections from the various male characters (and a French stepmother) who have an impact on her life. These characters are played by Brian Lonsdale. Phillippa Wilson creates a character who is bold and forthright, honest and sympathetic, with great compassion and humour. Brian Lonsdale bring equal amounts of humour to the play in the cameo roles he plays. He portrays her companions, her father, brother and stepmother and her lovers - he moves from one character to another with a flourish of head gear, or the straightening of his back, or the flick of a hand...each one presented with humour and each one clearly important to, and beloved of Gertrude Bell.
The audience is addressed throughout so that we feel we are part of the play - Gertrude recounts her life story to us - invites to share in the stories, and this makes it feel very personal. We do feel that we know Gertrude Bell by the end of the play.

There is an enormous amount of information given in this play. David Farn has given us the best history lesson, taught by someone with a love of the subject and we come away with so much knowledge without realising we were learning anything at all.

The Desert Queen is on tour until 6th August in various venues across the region and everyone should see it. Tickets are available online at www.ticketsource.co.uk/hands-on-ne-cic or from the venues.

Denise Sparrowhawk

Tour dates and Venues
27th-28th July - Lit and Phil, Newcastle
30th July Winter Gardens, Sunderland
31st July Little Theatre, Cleadon
2nd Aug Fulwell Community Library
3rd-4th Aug The Exchange, N Shields
5th Aug City Theatre, Durham
6th Aug Customs house, S Shields

Hands On NE are crowdfunding to support the development of the tour. Click the link  to give your support The Desert Queen .

Heaton! - Review - People's Theatre

Heaton!

The People's Theatre
17th July 2018

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

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

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

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

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

Frank Cromartie Murphy

Westovians - Preview - A Funny Thing Happened on the Way to Durham

A Funny Thing Happened On The Way To Durham,  

Tuesday 10^th to Saturday 14^th July 2018.   

Westovians final show of the year is a comedy written by Ed Waugh and Trevor Wood. It is an irreverent and anarchic take on the story of the Lindisfarne Gospels. A sketch-based play, featuring around 40 characters played by just three actors, A Funny Thing Happened On The Way To Durham, covers more than 1400 years of English History in just 90 hilarious minutes. It included encounters with many famous historical figures, including five Kings of England, a Saint, several Vikings and Monks, a Leper, a Spin-Doctor, the Easter Bunny, and of course, Sherlock Holmes.

Tickets are just£8 (Tuesday and £9 (Wednesday – Saturday), and are available online at Ticketsource, or from the Visitor Information Centre at The Word. Tickets will be available from the Theatre Box Office each night during the performance from 10^th July. Theatre doors open at 7pm, and the performance starts at 7.30pm. 

Further details on the show are available here .

Watch out for the following outside hires coming up soon too! 

• Friday 27^th and Saturday 28^th July – The Blue Flamingos 60’s Review, a live band bringing you hits from both sides of the Atlantic (The Kinks, The Searchers, The Beatles, The Everly Brothers, The Mamas and the Papas to name but a few). Further information is available here. Tickets priced £12.50 are available at the Westovian’s Ticketsource.
• Friday 14^th (7.30pm) and Saturday 15^th September (2.30pm/7.30pm) – Ed Waugh’s The Great Joe Wilson, a play with Geordie songs, about the life of the undisputed North East concert hall superstar. It starts Micky Cochrane, Sarah Boulter and Phil Corbitt, and is directed by Russell Floyd, with Joe’s words put to music by Pete Scott. Please see here for further information. Tickets cost £16 and are available at the Westovian’s Ticketsource.
• Thursday 20^th – Saturday 22^nd September – the Gilbert and Sullivan Society Concert. Please see their Facebook page for further details.
• Saturday 15^th (7pm) and Sunday 16^th December (2pm/6pm) – we welcome back Encore for their Christmas show. Please see their Facebook page for further details.  

The Last Ship -Review- Northern Stage

The Last Ship
Northern Stage
Wednesday 21st March 2018 7pm

Music and Lyrics by Sting
Directed by Lorne Campbell
Designed by Fifty Nine Productions



Apart from a select few, musicals have never been my first choice for theatre so it was with both hesitation along with an open mind for my opinion to be changed that I went along to see The Last Ship, and changed it definitely did.

When settling into my seat before the show started, the sound of seagulls could be heard (a familiar noise with my coming from a seaside town) and an impressive industrial stage setting of a shipbuilders yard set the scene. Members of the cast arrived on stage and danced to the background music that started. As they looked into the audience the local actors spotted and started pointing and waving to (I assumed) family members and friends and this made for a warm and friendly atmosphere.

The Last Ship was inspired initially by Stings 1991 album The Soul Cages and is a personal political and passionate musical telling of family community and ultimately a great act of defiance as the last ship sails.

It tells of life on a Tyneside shipyard where the workers include foreman Jackie White (played by Joe McGann) and his strong and loving wife Peggy (played brilliantly by Charlie Hardwick) The workers are then told that the shipyard is no longer financially viable. That all they've ever known will have to change. Joe McGann plays this role perfectly as a hard but fair man whilst struggling with his own (and for the main) undisclosed problems.We see the workers fight, strike and plan an act of defiance as these proud people (who just want to work) deal with day to day living and tragedy- always with a great sense of hope and resilience.

There is also humour throughout, including asides to the audience and a song led by Mrs Dees (played by Annie Grace) about how she'd been looking for a cuddly man but instead could only find yard workers.
The scene where Baroness Tynedale (played by Penelope Woodman) is attending the yard workers meeting explaining there was nothing that could be done and consequences of strike action was very reminiscent of an 80s female prime minister and the portrayal led to laughter from the audience

Alongside this is the story of a young man (Gideon Fletcher) who doesn't want to continue in his father's footsteps as a yard worker. He chooses to leave the area to become a sailor instead. He left his childhood sweetheart Meg (played by Frances McNamee) with the promise to return but never did, until 17 years have passed. He returns just before the shipyard strike and this is when he learns of ALL that he left behind. As Gideon tries to make amends for leaving Meg and she tells him what happened since his departure, this leads to some beautiful scenes of determination strength and love.

The sets included inside a pub, houses,  streets, as well as the shipyards and were done impressively through projection images, backdrop, lighting as well as the huge metal walkway with metal stairs going up either side. The costumes were well chosen reflecting the style of the 80’s.

I enjoyed that musically there was a live band playing to the side of the stage for this production. The whole cast were very good vocally. Notably for me was when Richard Fleeshman (who plays the older Gideon Fletcher) sang When We Dance (one of Stings previously released singles) Other songs in the show that were previously released included All This Time and Island Of Souls.

The acting by the whole cast was of a very high standard and was superb throughout. The stage was used to great effect and always lots happening, a visual delight and the choreography flawless. The Geordie accents from non Geordies were great and didn't have me thinking what on earth accent is that supposed to be as is sometimes the case. The show was never condescending either which can sometimes happen when dealing with things relating to the North East.
The director states that it is not a musical about the past, it is what we might be and maybe are and this comes across well in the storytelling


As the show finished to a standing ovation Sting joined the cast onstage to take a bow during the second encore and the emotion of it all was felt throughout the theatre. Afterwards a girl turned to me and said how she was needing to reapply all her eye make up and I overheard a conversation from two others saying that they must take their fathers to see this- their fathers who are two retired shipbuilders

The Last Ship continues its 4 week run at Northern Stage until 7th April before embarking on a tour of the UK and Ireland



Belinda Bekki-Winter

Bankers - Alphabetti Theatre - Review

Bankers

Alphabetti Theatre, Newcastle
15th February 2018 7PM

“As a company, Write On Tap aim to make work that is culturally aware and politically relevant” writes producer Becci Sharrock of Bankers.

Ten years after the Northern Rock collapse this theatre production, written by 4 emerging North East playwrights, looks at the issues, the aftermath (including the ever increasing usage of food banks), and even the possibilities beyond the present day. 

The theatre was packed (some people had to stand it was so well attended) as the show began. For research and inspiration, they had spoken to food bank volunteers and clients, ex Northern Rock employees and academics - some of whose words could be heard playing through the speakers. Statistics, both informative and more tongue in cheek, were displayed on a screen behind. This changed and updated throughout the different scenes.

The four stories performed by local actors, ranged from an unapologetic banker looking to expand on his social portfolio, a couple caught in the crisis when Northern Rock crumbled, to 2 families' first hand experience of food banks. They gave an informative and entertaining look at one of today's very current and real facts of life. I found it very interesting and informative and whilst certainly the subject matter is a serious one, it was written and told in a realistic and believable way, that got the message across without being patronising or preachy in any way. There was lots of topical humour interspersed throughout. 
I found this a great balance of telling a story and giving information.

Alongside the show Write On Tap are also running a special campaign in partnership with Alphabetti Theatre and Newcastle’s West End Foodbank, encouraging audiences to support the foodbank. It aims to fill Alphabetti’s lift with donations from Tuesday 13th February to Saturday 24th February. Donations can be dropped off during the theatre's opening times.

The following items are requested for donation *tea bags *instant coffee *sugar (500g) *cereal *pasta *milk (UHT or powdered) *fruit juice (long life) *tinned tomatoes *tinned vegetables *tinned fish *biscuits/snacks *tinned rice pudding *rice *tinned fruit

Alternatively if you wish to make a financial donation via a regular direct debit go to https://newcastlewestend.foodbank.org.uk/give-help

Belinda Bekki-Winter

Bankers showed for two nights on Thursday 15th and Friday 16th February at 7.00pm as Pay What You Feel shows. Hopefully people felt a lot. 

Preview - Five Kinds of Silence - Royalty Theatre

ROYALTY THEATRE TO OPEN 2018 WITH FIVE KINDS OF SILENCE

The Royalty Theatre will begin 2018 with hard-hitting drama, Five Kinds of Silence.

Written by north-east writer Shelagh Stephenson, whose plays include The Memory of Water and An Experiment with an Air Pump, the play portrays a family living in fear of abusive husband and father Billy.  His wife Mary, and daughters Susan and Janet, have suffered his abuse for years, but have remained silent – until events take a tragic turn.

Director James Errington says, “I fell in love with this show the first time I read it; it’s dark, gritty and very powerful.  It's a pleasure to be able to direct such a play”.

Originally a radio play, the production will take place in the Royalty’s studio theatre, their first studio production since the sell-out The Vagina Monologues in 2015.

A strong cast includes Lorna Breeze, Helen Bowie and newcomer Becky Watson as the women of the family, and Andrew Barella as Billy.  Emma McLeary and Sean Landless, another Royalty debutante, also star.

Due to the play’s candid discussion of sexual abuse, the Royalty do not recommend the play for anybody 16 or under, though this is purely advisory and not a strict limit.

Five Kinds of Silence runs from 24-27th Jan. Tickets can be booked via www.ticketsource.co.uk/royaltytheatre or on 0333 666 3366, and are priced at £6.50 plus booking fee.   

Plays remaining this season are Rabbit Hole (19-24 Feb), Jeeves and Wooster in ‘Perfect Nonsense’ (19-24 Mar), Temple (25-28 April), Move Over Mrs Markham (21-26 May) and The Wind in the Willows (25-30 June). Tickets for these shows are £8 (£6.50 conc) plus booking fee. 

Snow White - Alun Armstrong Theatre - Review

Snow White
Alun Armstrong Theatre
15th Dec 2017

Directed by Lee Brannigan

My second foray into Pantoland this year took me to Stanley to the Alun Armstrong Theatre, for their in-house production of Snow White (the fairest panto of them all!).

At curtain up we meet the villain (villainess?), Queen Morgana of Cannyville. Once the boos have died down she sets the scene: you know the score, her kingdom is skint, the lucrative diamond mine is protected by magical dwarves and she can’t get her hands on the treasure, her step daughter is more beautiful than she, and the wealthy prince falls for her instead of the Queen. It’s the age old struggle, of good versus evil, true beauty versus vanity, greed versus generosity of spirit.

Will goodness and beauty prevail? Of course they will. But in order for that to happen we, the audience must be subjected to the gruelling ordeal of bad puns and awful jokes that is panto. And there are plenty of them! They come thick and fast from Nurse Bella and her son Muggles, and from the evil Morgana and her sidekick Seymour Snarl. There are puns to make you groan and jokes so bad your toes will curl - but of course this is what we expect, and the punchlines are eagerly anticipated and are cheered for and groaned at in equal measure.

As always Philip Meeks’ script is adapted to include local references - Beamish and Consett come under fire as does Stanley itself with references to The Big Asda and The Aldi that’s not even built yet (you can see both as you come into town). These local jokes always resonate with the audiences. We Brits are nothing if not willing to laugh at ourselves.

It’s not all about the jokes though - there is also the singing and dancing, the set and the costumes. The set is impressive - from the painted scenery of the castle, the forest and the dwarves’ cottage to the special effects with lighting and pyrotechnics, it creates a land of magic and mystery. Costumes are sumptuous - from Morgana’s dark and dramatic glamour, and Nurse Bella’s array of frocks for all occasions to the simplicity of Snow White and the villagers outfits, and the smart elegance of Charlie’s princley attire.

There are plenty of musical numbers to show off the singing talents of the cast, Sara Lumley has a fresh, light voice well suited to the character of Snow White, while Jon Dylan Brown’s solo shows why he graduated with a distinction in musical theatre! For me the showstopper is Andrea Atkinson’s rendition of Get the Party Started! She is fabulous, evil, but fabulous!

The dance routines, choreographed by Kathleen Knox are fresh and fun, and the ensemble and three principle dancers (Beth Shannon, Rachael Ward and Rhiane Finlay) work hard throughout the production. There must be some impressive fast changes going on back stage as they swap back and forth from village girl dirndls to skintight lycra and leotards.

Pantos are always full of over the top characters and this one is no exception. Lee Kyle is the archetypal best buddy, fall guy Muggles who garners the sympathy of the audience, while Martin Anderson as Seymour Snarl is the antithesis of this - he is brilliantly over the top with his shambling gate, gurning expression and elaborately obsequious grovelling. Neither of these can beat Bella Bluebell as Nurse Bella however, as she appears in an array of glorious frocks, hats and wigs. I think she must be the most glamorous Pantomine Dame ever, she certainly has better legs than most!

Interaction with the audience is great throughout but especially in the hilarious 12 Days of Christmas number. You have to experience it to beleive it. All I will say is, maybe take an umbrella or wear a mackintosh for the second act.

The programme says this is the theatre’s first pantomime and it’s a corker! The small cast work their socks off to create a panto that has more sparkle than Mr Sheen! And it has the voice of Alun Armstrong himself as The Mirror! It deserves a bigger audience so if you are looking for an outing this Christmas and are within driving distance of Stanley then book a ticket for this show. I came up from Hartlepool and it was worth every mile.

Snow White plays until 24th Dec. Tickets can be booked online at www.civichallstanley.co.uk or by phone on 01207 299110. It’s just £14 (£12 conc) or £38 for a family ticket.

Denise Sparrowhawk

Aladdin – People’s Theatre Newcastle - Review

Aladdin - People’s Theatre, Newcastle - 13th December 2017

Now having gone to see Jack and the Beanstalk last year at the same theatre and not being overly impressed,  I was hoping for a better experience with Aladdin.

I will always think of Robin William’s portrayal of Genie in the Disney version and ‘A Whole New World’ but this is panto and I admit I’m a pantophobe but I decided to come and see if this was any good.

Let’s start with the positives; Leon Gill (the guy’s an absolute legend) played Genie, He doesn’t have too much to do in the show but he is great and his singing is excellent. The other great singer that I went “wow” to is the princess, played by Madeline Carter. I have never seen her perform before but I do think that musical theatre is what she should go into.

The Princess is aptly named for this panto written by a Geordie - Philip Meeks - and performed in a Heaton theatre, and who could that be? Why Cheryl, of course!

Wishee Washee is played by Joe Robson - I think he’s found a role that suits him well - alongside the beautiful Widow Twanky, played by Steve Robertson. I think these two are great comedians and their comedic talent balances out their singing!

PC Tickle and PC Slap were played Nathan Hussain and Emma Cockburn. I would have liked to hear and see more of them as I couldn’t really see what the point of them is, and so I wasn’t really invested in their characters. 

Empress Ezmeanie played Sara Jo Harrison. She plays an evil person well (she must have needed lots of acting lessons as I’ve heard she’s actually really nice). Her on stage husband Emperor Jor-di who really only came to life in the 2nd half of the show has a great voice, and when Steve and Stephen sing a duet it is the latter who carries the song.

The real baddy in the story is Abanazar. Paul Gaitskell is absolutely fantastic. He plays to the crowd and his comedy timing is just on point. He is great even though sometimes the techie guys let him down, (more on that soon).

In the scene where they sing a song and someone disappears each time, the Mummy was played briefly by James Lane.

Have I missed anyone out?? Oh Yes I have!

The lead was played by Laurence Hussain and unfortunately I’m not 100% sure that he is one, in most of his songs he is overshadowed by more accomplished singers.

There is a large ensemble made up of many different people from the Chorus, Tap Dancers, Dancers from Newcastle High School and lots of little people who all did well.

The Lighting was amazing especially the final scene of the first act which you need to go and see for yourself. Designed by Scott Sweeting and crewed by Martin Collins, Dave Harvey and Amy Hardman.

The Choreography was fantastic and praise needs to go to Julie Bowman, Jill Taylor and Ruth Gibson and Joe Butcher for this.

But - here goes nothing!! As someone who is hard of hearing and a sound engineer, I have to say at times it sounded terrible. As last year, the music is played through a computer and it would be so much better live!

Directed by Emma Jane Richards and Assisted by Craig Fairbairn. 

The production is okay. Some things are amazing but there are some parts of it that let it down so much unfortunately, hopefully they will get better.

On until 17th of December 2017.  

Reuben Hiles