Ladies Down Under - Hull Truck on Tour (Oldham review)

Ladies Down Under by Amanda Whittington
Director: Gareth Tudor Price
Reviewer: Claire Howdon


In her 2005 production ‘Ladies Day’ writer Amanda Whittington introduced her audience to 4 fish-factory workers who won a fortune at Royal Ascot. In this much awaited sequel ‘Ladies Down Under’ we meet the 4 ladies once again, this time on their way to Australia to spend some of their new found wealth. The play begins at Manchester Airport and we travel with these ladies on a voyage of self-discovery to the Gold Coast, Uluru and the bright lights of Sydney. While fashion conscious Shelley dreams of luxury and glamour, her mates, the ‘groovy chick’ poncho clad Jan (Sue McCormick) and endearingly simple Linda (played with excellent comic timing by Lucy Beaumont), set their sights on exploring the outback. As Shelley meets hunky Australian Danny she realises there's more to Oz than sun-kissed beaches and the eldest of the foursome Pearl inwardly toils with how she is going to tell her three best friends that she has breast cancer.

This is undoubtedly an entertaining production. The humour is a little obvious at times and some of the jokes feel older than Uluru itself (dated references to Mystic Meg and the age-old mispronunciation of Versace spring to mind), but it is gentle and well meaning. The direction is well-paced and every attempt is made to make full use of the comic dialogue. However the dramatic effect of the production is less successful. Often over-sentimental and un-natural dialogue alongside several attempts at the profound - Charlie’s line, ‘it is the road to nowhere my dear but at least it’s the scenic route’ – is maybe a touch over-ambitious. Additionally, the penultimate ‘Mardi Gras’ scene (full of unconvincing drag queens, Judi Garland references and cheap innuendos) feels particularly lazy.

The four leading females all turn in competent performances, in particular Annie Sawle as Pearl who offers a complexity and depth of character which sadly is often missing from many of the other caricatures present on stage. Jemma Walker (Shelley) is a fine comic performer but her exaggerated physicality and facial expressions would be more at home in a Steven Berkoff production than this particular show. Martin Barrass and Damien Warren Smith play all the male characters, showing good versatility. Warren-Smith is particularly strong as Danny, and despite the cheesy dialogue (‘Change your thought, change the world’) is the most believable of the male characters.

Although scene changes are a little cumbersome and the interlude music ranging from a Didgeridoo to a medley of Kylie tracks hint at a lack of directorial imagination, the simplicity and multi-functional nature of the set is effective and Designer Richard Foxton should be commended for this.

My main issue with this production is that I didn’t really care about the four characters at the end of it. The character journeys are badly narrated, resulting in surprise with Jan’s announcement that ‘I am different now’ when she finally meets up with Joe and shock at Shelley and Danny’s decision in the climatic scene when there has been no meaningful build-up. It appears to be a convenient way to tie-up the play rather than being the continuation of any meaningful narrative.

However despite these criticisms, the production is amusing and enjoyable. If you are up for some good old fashioned family fun, as were most of the full house observing this showing, then take this as a recommendation. If you want challenging theatre or cutting edge comedy, I would give this one a miss.

King Lear - Liverpool Everyman

King Lear by William Shakespeare.
Director: Rupert Goold
Reviewer: by Kate Cotterell

This piece has been eagerly anticipated as one of the highlights of Liverpool’s capital of culture year and brings Pete Postlethwaite back to his roots in Liverpool and at the Everyman.

The inclusion of Postlethwaite in the title role of Lear is surely what has created the furore around this piece and meant that tickets are virtually sold out for all shows. Yet at 3 hours (excluding intervals) this is not one for the faint hearted! Despite this the story of Lear and his three daughters moves along with vigour – the mood and feel of the piece developing as Lear’s kingdom falls into disarray at the hands of his ruthless daughters and their greedy husbands.

There are strong performances from Charlotte Randle as Regan, who is at once vicious, sex crazed and authoritative, and Jonjo O’Neill as the treacherous Edmund. John Shrapnel as the Earl of Gloucester and Nigel Cooke as the Earl of Kent provide a consistency to their roles and you feel as if you are in a safe pair of hands when they on stage. Forbes Masson as the Fool also delivers an accomplished performance – funny and touching throughout.

There are, of course, some fairly gruesome moments - the most disgusting of these being the crucial scene where Gloucester’s eyes are plucked out. This is played out almost too convincingly and the intimate stage space of the everyman creates an uncomfortable atmosphere while this is happening.

The direction throughout is sharp and purposeful, yet the challenge of bringing Lear up to date only works to a point. The projected scenes of riots and violence along with snippets of Margaret Thatcher from her speech as she entered Downing Street in 1979 add little to the production and feels almost as if the director has simply tried too hard to place the piece within a time frame where is simply does not belong.

Poslethwaite’s performance of Lear is, perhaps, not what you might expect. He does not present Lear as a tyrannical figure, and as his daughter’s spiral out of control our sympathies are definitely with the old man. This can be said even more so in the final act as Postlethwaite gives a performance which demonstrates the true vulnerability of the character and his own brilliance as an actor.

What this performance has in special effects – the rain on stage is beautiful (if a little long) – it lacks in a real structure and by placing the piece out of context we lose something of its true nature and message.

Photos: Stephen Vaughan

The Cripple of Innishmann - Lowry Theatre & Tour

The Cripple of Innishmann by Martin McDonagh
Director: Garry Hynes
Reviewer: Sara Jackson

It’s not often that I struggle to find bad things to say about a performance but Druid’s latest production is one of the few that leaves me with very little to say. This is a must see! The Cripple of Inishmann is Martin McDonagh’s follow up to the Lennane trilogy and again gives us a view of life in 1930’s Ireland. This time we meet Cripple Billy and his Aunties, who are not really his aunties, and we follow him and his dream to become a movie star.

When he hears the news that a Hollywood movie is being filmed just across the water he seizes his opportunity and tells BabbyBobby that he has TB and only has months live in order to secure passage on a boat. He heads off with dreams of stardom, without telling his aunties where he is going or when he is coming back.

The plot of the story takes many unexpected twists and turns and constantly keeps you on the edge of your seat as we see the effect Cripple Billy’s departure has on the lives of the people left behind. McDonagh’s play is full of irony and pathos and gives a view of Irish life that could leave you almost depressed if it weren’t for the wonderful eccentricity of the characters and the tender and loving relationships that they have when they are behind closed doors. I laughed almost from start to finish as the plot unfolded showing how ludicrous life in difficult situations can be.

No production is without its problems and if there were anything that I could criticise about the piece then it would be the fight scenes. They were tentative to say the least and would have benefited from a bit of commitment. Scene changes were long and drawn out. Leaving the audience sitting in the dark for what felt like an age and slowing the pace of the piece.

However the actor’s performances were enough for all to be forgiven. I should take the time to give special mention to Aarron Monaghan's portrayal of Cripple Billy. It is a brilliantly executed performance, which was physically flawless with dignified emotion.

I would recommend this performance to anybody. It is a passionate and sympathetic telling of a tragic yet beautiful and humorous story.

La Cage Aux Folles - Playhouse Theatre

La Cage Aux Folles
Music & Lyrics: Jerry Herman
Book: Harvey Fierstien
Director: Terry Johnson
Choreography: Lynne Page
Reviewer: Sue Neale

Well, I stayed awake throughout the whole show! That may not seem too great a feat to others, but, once in the womb-like cocoon of a warm, dark theatre, I am usually asleep within 10 to 15 mins. Not this time! The opening chorus line of gorgeous “girls” crashed over me like a gigantic wave at the beginning of the show and, from then, onwards, I was hooked! ……it was a great night out and thoroughly to be recommended.

I must admit, I had been somewhat apprehensive at the thought of the homosexual theme and of men in drag but all my apprehension was soon dispelled.

The story of La Cage aux Folles is based on the 1973 play by French playwright Jean Poiret and, in this adaptation for the stage, is treated with (and I believe, received with) humour, respect and pathos. I can well imagine that this would not have been the case in the mid-70s/early 80s when the gay scene was not accepted as a normal part of life as it is today. In those days, it would have been very risqué to go to see such a show, and, I dare say, the audience then would not have been as diverse as the one I sat amongst! The latter ranged from young couples to old ladies from Essex, all thoroughly enjoying the show. Two elderly couples next to me were singing along to many of the songs – and they knew all the words! Is there a cult following I asked myself (as with The Rocky Horror Show, for example; however, I didn’t see any feathers or spangly costumes in the audience – so maybe not.)

La Cage is about standing up for who you are and being true to yourself; it’s about love and loyalty, it’s about family values and parental affection, with a running joke of sexual identity, and a magnificent chorus line of drag queens. It also has depth beyond the obvious: at its inception in the early 80s, it was, and has remained, one of the “greatest socio-political musicals of our era”.

La Cage aux Folles is a transvestite nightclub in St Tropez, where Georges (played by Denis Lawson) is the MC and Albin (played by Douglas Hodge), his lover of 20+ years, is the star turn at the club. Between them, they’ve raised a much-loved son, Jean-Michel, the produce of Georges’ one-night stand with a woman (ugh!) some 25 years ago, and J-M now wishes to marry. Problem is, his fiance’s father is a right-wing politician determined to close down the ‘colourful’ local nightlife. So, when the prospective in-laws are about to arrive for dinner, drastic action is need to cover up the true nature of J-M’s ‘parents’ and present a traditional family life with a father and a mother. They try to solicit the help of the original biological mother, but she lets them down at the last minute.

When Albin is told to keep out of the way totally and he catches Georges and J-M moving his things out of the flat, he is so dreadfully wounded. At this point, there is a real sense of pathos and empathy from the onlooker, the old “filial ingratitude” being a universally concept. We so feel for Albin as he displays his vulnerability and failing confidence in his relationship with Georgs, and indeed with J-M. After all those years of loving J-M and making so many personal sacrifices for his well-being, and this is how he repays his ‘mother’! It almost brought a tear to my eye at this point (… almost!). The compromise is stuck, however, that Albin will become old uncle Albert, dress as a man, and affect masculine mannerisms (the teaching of which by the others is hilarious). However, much to Georges’ and J-M’s surprise (and not a little trepidation), Albin appears at the dinner dressed as a very conservative, ‘Home Counties’ type mother, and almost carries it off – must not give a way too much.

Denis Lawson and Douglas Hodge played their roles magnificently and, I must admit, I was truly impressed with their singing and dancing capabilities. Hodge’s brief impersonations of Piaf and Dietrich were highly entertaining.

Paula Wilcox , Tracie Bennett and all the other supporting roles did a magnificent job,. in particular a young black guy called Jason Pennycooke (playing the butler/maid, Jacob). He didn’t have to speak to make you laugh – his mere presence, his whole being and effeminate physical antics were hilarious, but, here again, there was pathos in his burning desire to be part of the dance troop and never quite making it.

All of these characters are so feasible, so endearing; they transport us to a world which feels so right, so normal. We laugh with them and we cry with them; in no way are our sensibilities offended.

The dancers are truly superb and frighteningly convincing! They are vigorous, athletic, and yet graceful when necessary. Their costumes are straight (excuse the pun!) out of the Folies Bergère and Moulin Rouge – fabulous, in its true sense!

Go and see it – you will not be disappointed.

Rue Magique - Kings Head Theatre

Rue Magique

Music & Lyrics: Brett Kahr

Book: Lisa Forrell

Director: Lisa Forrell

Reviewer: Adrian Pumphrey

Rue Magique is not what instantly comes into your head when you think of the term Musical. This emotive production had me at times wanting to walk out of the theatre and at times wanting to call everyone I knew to get tickets. It left me feeling moved but somewhat disturbed.

Set in grubby South London, La Rue Magique tells the story of a young girl called Sugar on her 13th birthday(Nadia di Mambro), caught in a world of prostitution. She is in an impossible situation with her draconian brothel-owning mother (Melanie la Barrie) seeing her as not much more than 'Merchandise.' Her hope transpires to be through a new friend (Terel Nugent) she finds at the corner shop, who gives her a taste of 'another kind of kiss.'

The production was casted well with superb performances from la Barrie and di Mambro alike. The dynamic between them was electric, epitamised in the song 'you belong to me/my body is my own' at the end of the first act. Terel Nugent was very fun to watch admirably brining in his natural beat boxing skill into his scenes. There were solid performances by Pimps and Prostitutes alike.

Written and directed by Lisa Forrell, this was the first Musical with music written by Brett Kahr and with an intimate setting, the ensemble did well in creating a big sound. The stirring songs had good musical arrangements save for the introduction of a garish, unwelcome drum machine making an appearance in the song 'Flex'. The small space considered, the dark and dirty set was a little too under-designed and was spoilt somewhat by the use of cheapish props.

The scene development, however had a good pace to keep interest and the inclusion of some fairly humorous moments meant I was depressed for only an hour after the performance as opposed to on into the next day. The Finale was a little disappointing and the sudden inclusion of 'another kind of kiss (reprise)' set in a grave yard felt a little for-the-sake-of-it.

Over all, this was well written, produced and performed. It was let down with comedic moments making humour out of magazines that to my mind featured women in the same industry as that which was being criticized in the whole production. La Rue Magique had a good dose of both realism and musical take, although the power of the suggestive wouldn't go a miss in one or two more scenes. This is not your every-day production but a brave venture into reforming the Musical genre.

Hope Springs - Birmingham Young Rep

Hope Springs by Richard Conlon

Director: Tim Ford

Reviewer: Helen Chapman

This performance of ‘Hope Springs’ by Richard Conlon, was staged by the ‘Young REP’ and was cast by an enthusiastic group of young people and some of their parents. Set on an idyllic island, the story follows a group of teenagers who were sent to a ‘correctional facility’ as a last resort for their bad behaviour. Their daily routine slowly unfolds as the play progresses, revealing a torturous life of discipline and obedience. A life in which the teachers dictate their every move, from what they do with their time, to what they eat, to even attempting to control what they think. Their parents originally sent them to this facility under the impression that it would make them into respectable citizens. Events take a drastic turn for the worse when one of the pupils decides to take matters into his own hands. This sparks a rebellion reminiscent of ‘Animal Farm’. Two hapless inspectors happen to travel to the island at just the wrong time, and it is because of these two that the terrible events of the past are revealed.

This being the ‘Young REP’ and performed by mainly younger actors, a range of abilities were present, but on the whole the younger actors out shone their parents! Although a few lines were stumbled, and the attempts at simultaneous monologues were not always pulled off smoothly, the performance was convincing, aswell as entertaining.

The actors never failed to hold the audience’s attention right to the last line, with additional details thrown in to keep us hooked. The best performance of the night went to Jack Woodbridge, who played ‘Sam’ - smallest in stature but biggest in stage presence. His convincing performance effortlessly created empathy for his character - a tear away with a true heart.

The simple yet effective use of lights helped to create a sinister atmosphere, as well as a sombre mood as the characters reflected on their situation. The performance made heavy use of tubular bells as a means of denoting the passing of time as well creating a sense of confinement. Although they were a useful tool, sometimes their use was a little too prominent.

This was an impressive performance by these young actors, who gave it their all and pulled off a superb rendition of ‘Hope Springs’. This play is suitable for anyone who wishes to experience a bit of the old ‘Lord of Flies’ nostalgia together with the whole family!

Animal Farm - West Yorkshire Playhouse

Animal Farm by George Orwell

Adaptor: Peter Hall

Lyrics: Adrian Mitchell

Music: Rochard Peaselee

Director: Nioklai Foster

Reviewer: Ali Noble

Nikolai Foster’s ‘Animal Farm’, currently playing at Leeds’ West Yorkshire Playhouse, is, in simple terms, outstanding. It’s quite difficult to describe the set-up without it sounding, well, odd. But attempt we will. The cast of 16 take on the menagerie of Orwell’s Farm - his well-known allegory for Stalinist Russia, and unravel the tale through multiple transformations, oinks, grunts, mud and brass instruments.

The thing is, it works, and more than that, it is transfixing. I arrived at the theatre more than a little dubious as to what I would see played out that evening. As a great fan of the original book, I was loathe to see Orwell’s classic tinkered with or doctored. And having seen some press photos of the play, in which actors sport snouts seemingly fashioned from toilet-role-tubes, my expectations safely erred on the side of caution.

Fortunately, my expectations were more than surpassed. Foster’s cast manage to engross their audience; it somehow becomes very plausible to be watching a room full of adults dressed up as farmyard animals, crawling around in dirt. Their energy, creativity, and the imagination of the choreography is a thrill to behold. In fact, the whole organism of Foster’s production is a living, breathing, baa-ing and neigh-ing creature of the utmost innovativeness. The set and space are used to their full potential. The costumes are filthy and soiled, yet beautiful and fascinating. An array of corsetry, braces, wigs and feathers bring the animals to life, whilst mirroring the 1940’s attire of the period setting of Orwell’s book. Songs and music (played by the amazingly multi-talented cast) make the production an aural as well as visual feast. It’s hard to do it all justice in writing, but the over-all effect is stunning.

Minor gripes include the length of the play - I felt it could have been more effective if slightly more concise; and the somewhat hackneyed device of young-iPod-wielding-narrator, who is a constant presence on stage, wondering in and out of proceedings. But don’t let that put you off. Animal Farm really is a treat to watch, doing justice to the text, whilst exuding creativity, pulled together by a brilliant cast. Go and see it

Photos: Keith Patterson

Independent Means - Manchester Library Theatre

Independent Means by Stanley Houghton

Director: Chris Honer

Reviewer: John Garfield-Roberts

For the centeneray of Annie Hornimans movement that established the UK's first repertory company in Manchester, Director Chris Honer wanted to find a play that came from the 'Manchester School' of playwrights as a fitting tribute, several days within the British Library archives Honer found a little known play 'Independant Means' by Stanley Houghton.

First performed for 6 days at the Gaiety Theatre on Peter Street in August 1909, according to sources this is the first revival of the play since the first showing in 1909. Set in the fictious town of Salchester we delve right into the heart of the Forsythe family and what happens when the female protagonist Sidney marries Edgar, an unemployable conservative carbon copy of his father John. Sidney is a strong feisty feminist and it is her actions with the suffregettes and John's copious gambling in the stock market that provide the conflict in this production.

Houghtons writing still stands strong 100 years on, and his copious swipes at politicians and government still have just as much impact, what with the current financial situation that is sweeping across the global market. Honer's direction of this production shows why the Library Theatre is still one of the best Rep companies in the country, it is a slick and pacey production that packs plenty of laughs and at times heart stopping tension. Sarah Williamson's set is lavish and serves the purpose well, but it has its problems especially when changing from the Forsythe drawing room to Ritchie's Garage, one couldnt help thinking that there must have been the ability to be more creative in achieving this result, rather than the cumbersome two minute scene change we were afflicted to, but that is a minor niggle in what is a rather splenid production.

Ruth Gibson's portrayal as Sidney is worthy of much praise, packing bite with every line, but as with most shows of the time the most memorable of the characters are often the supporting roles and this is no exception, Sarah Parks underdog maid Jane is sublime, her comic timing is immaculate and for this reviewer the stand out in a strong cast, other noteable performances were given by Olwen May and Richard Albrecht.

Do not let the fact that you may never have heard of this production stop you from buying a ticket, this is one of the strongest regional productions that I have seen in recent times, and I for one am glad that I saw it...one can only thank the person that made this happen and one of the reasons we go to the theatre now, Anne Horniman.

Photographs: Gerry Murray

Avenue Q 1000th gala performance

Avenue Q - Noel Coward Theatre

Music & Lyrics: Robert Lopez & Jeff Marx

Book: Jeff Whitty

Director: Jason Moore

Reviewer: Liz Vile

When I was asked to review this production I jumped at the chance. Having seen this show before I was very interested to see if the new cast created such an energetic and enthusiastic performance as the cast I originally saw. They did not disappoint. The production was slick, vibrant and well performed throughout confirming why it has easily reached its 1000th performance.

Some people may be wary about watching this production due to worries about some of the more explicit content or that they may feel silly watching hand puppets on stage, but if you are willing to enter the theatre with an open mind and can let your imagination take over you will have a very enjoyable night.

The story centres on the inhabitants of Avenue Q as they live, love, get stuck in dead-end jobs, have sex, get stuck in the closet but ultimately accept themselves and appreciate what they have. Through a range of group and solo songs as well as some very witty dialogue the characters of the puppets and humans on stage are quickly and clearly presented to the audience. Although you can see the cast members manipulating the puppets this does not detract from the action, in fact this enhances it. By seeing the actor's facial expressions and seeing them speak intensifies the emotions of the puppets they are manipulating. At first it does seem strange watching the puppet and the actor on stage together but after no more than 10 minutes it becomes normal and you couldn't imagine the show working any other way.

The costumes of all the characters were very bright and colourful which helped draw your eye away from the puppeteers who were dressed in grey as well as adding to the youthful atmosphere. Special mention goes to one of Christmas Eve's outfits for originality and colour but I won't spoil the surprise for anyone who hasn't seen it yet!

The continual roars of laughter from the audience coupled with the extended applause during the curtain call was confirmation that a brilliant night was had by all, and although some of the material did touch a few sensitive areas and provoked questions it was done in good humour with a great sense of fun.

After the curtain call a special mention was given by two members of the cast about this being the 1000^th performance before the rest of the cast came on announced by two large confetti cannons exploding into the audience. An extra special way to finish off an extra special celebration.

Blowing Whistles - The Leicester Square Theatre

Blowing Whistles by Matthew Todd
Leicester Square Theatre

Director: Pete Nettell

Reviewer: David Saunders

The comedy written by Matthew Todd has at its heart the relationship of Nigel and Jamie a thirty something gay couple who decide to celebrate their tenth anniversary by sharing their bed with internet date Mark. The events of the evening are used as a catalyst for all three characters to begin to analyze their own places in a world where romance and true love appear to be dead.

The set designed by David McHenry is a simple elegant modern take on the clean white living space. The design serves the piece well offering the performers a base to work from and a clear indication of the types of characters we are dealing with.

The performances within the piece are focused and committed this three hander has at its core the relationship between Jamie played by Paul Keating and Nigel played by Stuart Laing. Both actors allow the tender moments between the two men to come through with honesty and gentle mannered performances. The work of Stuart Laing as the life loving Nigel plays the two sides of the character with skill offering both comedy and real intensity in what is a difficult balancing act. Paul Keating as Jaime is the conscience of the piece it is a shame that only at the end of the piece does the writing allow him an opportunity to really give the audience the full range of his abilities. Finally the work of Daniel Finn must be praised in what could have been a flat one dimensional character id given depth and colour to allow the audience to see what it is really like for a younger person in today’s gay community, something that has been so badly represented by the Skins and other so called ‘youth reality’ television programming.

The direction from Pete Nettell allows the action to move swiftly from one set up to the next and at times the quick fire delivery really makes the piece fizz. The clever use of a small intimate stage allows the audience into the world of the three men this in turn offers the opportunity for even those unfamiliar with the lifestyle of gay men to identify those moments we all experience with our loved ones in a relationship.

This piece slides from heavyweight emotional content to light hearted knockabout comedy instantly which in itself is both the strength and weakness of the piece. The writing from ATTITUDE editor Matthew Todd suggests a well observed comedic voice but it is due to the uncertainty of the writing that some of the heavier moments do not quite ring true. The performances are excellent throughout but some of the words on the page are difficult to get access to the human relationships as they develop or implode. While Todd is a writer who clearly shows promise, this work feels like only the beginning of what could be an interesting new theatrical voice.