Wintuk - Madison Square Gardens, New York

Wintuk
Writer & Director: Richard Blackburn
Choreographer: Catherine Archambault

Reviewer: Jeff Savio

As we enter the winter season, many children eagerly await the arrival of snow. Cirque du Soleil’s seasonal spectacular, Wintuk, follows Jaime, a young boy, on his quest to discover why winter has yet to bring much desired snow to his city. Along the way, he is joined by a playful young girl, a shy man, and a wise Shaman. Together they encounter a host of colorful characters as they make their way to the imaginary arctic world called Wintuk. The plot, while fairly loose and simple, presents a fun backdrop for the fascinating action that constantly fills the stage.

In typical Cirque du Soleil fashion, Wintuk’s story comes to life with jaw-dropping stunts and tricks that are beautifully choreographed, flawlessly executed, and seamlessly integrated. The result is nonstop action across the entire stage that provides an exciting and engaging family-friendly experience. Each act – whether juggling, balancing, bicycling, tumbling, or a variety of other acrobatic stunts – pushes the limit of what you thought was possible, leaving you all the more bewildered. In one scene, a construction worker balances high above the ground on a single board stacked atop teetering levels of pipes and cylinders. In another, acrobats perform a Russian bars act, flying into the air, tumbling, and then landing gracefully on the thin bar from which they were first launched. Each act is performed in character with immense energy and ease. If the laws of gravity do exist on the stage, they seem to not apply to the actors as they perform these seemingly impossible feats that leave you on the edge of your seat, grabbing the person next to you, and asking, simply, “How?”

Wintuk’s amazing stunts and tricks are further complemented by the show’s fun live music and dynamic stage. The whimsical set is vibrant and consists of skate and bike ramps, a long tumble track trampoline, and a variety of moving pieces that bring the stage to life and allow the actors to showcase their talents. Enormous puppets and extravagant costumes, including a quartet of “dogs” that comically jump and roll around the stage, add to the unique experience. The actors perform with energy and ease, leaving you laughing, gasping, and staring in wonder.

By the end of Wintuk, audience members of all ages are left smiling and wanting more. Throughout the 90-minute show, the audience is engulfed in a fantastic Wintuk wonderland where the seemingly impossible happens all the time. Seeing, or rather experiencing, Wintuk is a great way to jump excitedly into the winter season. The action-packed, beautifully produced Wintuk is an outstanding, fun show that will please all. Ultimately, as one of the show’s closing songs explains, in Wintuk, “nothing’s missing.”

Photos: Richard Termine

Wintuk runs through January 3, 2010.

The Gruffalo - The Duchess Theatre, London

The Gruffalo
Writer: Julia Donaldson
Adaptor: Tall Stories
Music: Shock Productions
Director: Olivia Jacobs
Reviewer: Deborah Klayman

Since its first incarnation in 2001, The Gruffalo has been entertaining audiences all over the globe, chalking up over 3000 performances worldwide. Returning to the West End for its third successive year, the production has lost none of its original charm, and continues to delight and excite children and adults alike.

Adapted from the extremely successful book (recently named the nation’s favourite bedtime story in a BBC Radio 2 poll), Tall Stories were faced with the daunting prospect of turning a five minute book into a fifty minute play whilst still remaining true to the essence of the story and without unduly padding it out. To say they have been successful would be a huge understatement, as the piece they are presenting stands alone, incorporating Tall Stories special brand of childrens’ theatre into the existing story: melding strong physical performances with superb costumes; oversized sets; and fun, catchy songs.

The performers are excellent – confident and versatile, with the ability to include the audience without being distracted by ‘helpful heckles’ from the younger, more enthusiastic spectators. By and large the children know the story (and text) better than anyone, so their interjections are encouraged and used to move the story along, and sometimes creating some unscripted yet hilarious comic moments.

Naomi Said is a bubbly, endearing mouse, and the audience warms to her immediately. Her physicality is strong and consistent, with lovely attention to detail. She completely avoids the pitfall of making mouse a timid character – rather she is plucky and resolute – and sings and moves extremely well. Napoleon Ryan is supremely versatile, effortlessly swapping between characters and costumes and making each one distinct and delightful. Each of the predators was presented with humour, both in characterisation and costume, but it was his rattlesnake (equipped with sparkly bolero jacket and maracas) that literally had the audience rolling in the aisles. Last but not least, Alan Park was a wonderful storyteller and Gruffalo, using his comic talent to build a rapport with the audience and add to the story as it went along, adding sound effects and amusing moments throughout. After a long build up, he re-entered as the Gruffalo, and played it to a tee – not too scary for the small children, yet enough to convincingly frighten the other characters onstage. His costume was superb, and the entire audience happily joined in with the Gruffalo song towards the end.

I always feel confident taking children to any Tall Stories show, knowing that the production values and performance levels will be high, but The Gruffalo is one that will be enjoyed by any age group, so even if you haven’t got kids I suggest you go and see it – it’ll undoubtedly be the brightest 50mins of your day!

Runs until Jan 4th 2010

Treasure Island - Stephen Joseph Theatre, Scarbourgh

Treasure Island

Writer: Robert Louis Stevenson

Adaptor: Andrew Pollard

Director: Adam Sunderland

Reviewer: Richard T. Watson

At roughly forty minutes on each side of the interval, this Treasure Island is undeniably snappy. Northern Broadsides have been making successful forays into children's theatre for a while now – last year's Heidi – A Goat's Tale was nominated for the TMA Best Show for Children and Young People Award – and Treasure Island is the latest in this line, currently playing at Scarborough's Stephen Joseph Theatre.

For years, the Broadsides have had a reputation as a strong touring company who present gritty, no-nonsense versions of classic texts in a distinctly northern vernacular. Their hallmarks are the northern voice, minimal set, minimal technical wizardry and spades of live music. They like audiences to imagine locations and won't patronise them.

That, then, is Treasure Island's greatest strength: here is a show for children that takes its audience seriously. There's no painful attempt to start a piratical sing-a-long or to get the kids up onstage. Instead, the Broadsides tell their story as though their young audience is mature enough to handle just watching and being treated as sensible people. The schoolkids lap it up. Two especially sinister characters appear in puppet form, assembled in front of our eyes, so they're seen to be evil, but not scary. Blind Pew – one leg a crutch, the other a saw – is a particularly good one.

There's a lot of set for a Broadsides show; more than usual anyway. Their wardrobe and desk with drawers are used to great effect – hardly ever still, they keep this a fluid, fast-paced production that never lets the attention or interest wander. With rapid re-configuring of the set, the scene isn't allowed to be in one place for long, and becomes a bewildering variety of places. Meanwhile, across the back hang props on ropes, an ever-present reminder of the nautical theme.

Also crucial to that pace is the effortless multi-rolling of the five-strong cast. A Georgian wig and a stoop are the only physical differences between Leigh Symonds' Doctor Livsey and pirate Israel Hands, but there could be two different men onstage. Focusing on the notorious Long John Silver (rather than multi-rolling) David Tarkenter gives us an engagingly human villain, even as he schemes with honeyed guile worthy of a politician. Graeme Dalling's cabin boy hero, Jim Hawkins, may start off anaemic and a bit of a wet drip, but he perks up in the second half, gets some colour in his cheeks and finally convinces as the idealistic, eager lad who finds the map that reveals the location of that infamous treasure.

It's a well-known story, adapted from Robert Louis Stevenson by Andrew Pollard, awash with double-dealing and mutiny. What's interesting here is how the establishment figures (Doctor Livsey and Morgan George's Squire Trelawney) are seen to have no less honourable motives than Silver and his crew. It's a shame more isn't made of the possible unearthing of corruption and greed in the Georgian establishment (but maybe that's not the important point for a children's show, however seriously it treats its audience).

More importantly, it's a tale of action and adventure, subtly but effectively underscored by Jenni Molloy on double bass. Throughout, the actors commandeer instruments to play her music in the corners, which makes the whole thing that much more alive and raw. Live music is the most noticeable Broadside hallmark on display, unfortunately it sometimes overpowers these actors' voices – several of them working on their first Broadsides production.

Treasure Island might not be the magical success of Heidi, but it is a mature work, intelligently and capably told, pitched perfectly to its young admirers.

21Nov-5 Dec- Stephen Joseph Theatre, -Box office: 01723 370 541,
8 -19 December -Lawrence Batley Theatre-Box office: 01484 430 528,
22 December – 9 January-The Stables, Milton Keynes-Box office: 01908 280 800

Horrible Histories Frightful First World War - The Opera House, Manchester

Horrible Histories – Frightful First World War
Writer: Terry Deary
Director: Phil Clark
Reviewer: Lee Astbury

Despite several car crashes, and back logs of traffic due to the on field war between Manchester United and CSKA Moscow at Old Trafford, The Birmingham Stage Company took admirably to the frontline on time and with a heavy and talented artillery gave everything they had to keep the theatre full of families and school groups highly entertained.

Terry Deary’s Horrible Histories series has become a firm favourite amongst children, bringing a unique and entertaining look at some of the most important moments throughout history, they have been turned into a successful animated television series and for the past few years brought vividly to life by Birmingham Stage Company.

For this recent tour Birmingham Stage Company bring to life ‘The Frightful First World War’ and ‘The Woeful Second World War,’ and it is the former that we had the pleasure of seeing at the Manchester Opera House last night.

Angelica (played with real gusto by Penny Lambert) is a 12 year old girl, who upon finding a very dry account of the First World War in a history book, she takes out her Laptop and Googles it instead, she is then whisked away almost akin to the Wizard of Oz to 1914 and right in the heart of the World War. It is here that Angelica is given a rude awaking to the harsh realities of life for a soldier on the front line and we receive some interesting facts including how a urine drenched handkerchief could save your life.

Phil Wilmott’s direction is always sharp and maximises every availability to show you the horrors of the war, but still manage to find the humour and fun that a production needs to keep its audience entertained, and Terry Deary’s script is laden with witty one-liners and jokes galore. There is also great audience participation especially during the cookhouse scene.

If that wasn’t enough then the show really kicks into its weaponry when in the second half we are given 3D glasses to enjoy the show with live ‘Bogglevision’ (designed with real flair by Jacqueline Trousdale) really immerses you into the action and is truly outstanding from bullets whizzing past your head, shells exploding and a certain rat who managed to get almost everybody screaming.

With a highly talented cast and a production that packs so much information and energy into a delightful two hours, you can guarantee that you will leave the theatre in awe at what you have experienced...Highly Recommended.

runs until Sat 7th Nov

The BFG - The Playhouse Theatre, Liverpool

The BFG by Roald Dahl
Adaptor: David Wood
Directed by Phil Clark
Reviewer: Stephanie Rowe

Roald Dahl’s wacky giant-speak of whizzpopping (flatulence) caused by frogscottle (a fizzy drink where the bubbles go down instead of up) and snozzcumbers (nasty-tasting vegetables) thrilled the younger members of the audience, and certainly entertained the more mature members as well. There will certainly be a revival of nonsensical words being spoken after this show, and why not. The show is fun from beginning to end and keeps every audience member highly amused.

The BFG, a well known children’s story written by Roald Dahl starts at Sophie’s birthday party, all her friends are there having fun, when her brother gives her a book as a present, the book is of course The BFG, thus starts the tale of how Sophie is snitched by the giant after he spots her watching him, he snaffles her away to giant land, then has to protect her from the other children eating giants. The BFG, works as a dream catcher and it is through his job that Sophie and himself work together to save the children of the world.

This fantastic well written, well directed show, kept up its fast moving action and musical interludes, and not once do you feel let down by the actors performances or the way the show has been directed. The use of puppets and a dolls house help to portray the difference in size between Sophie and the giant. The backdrop of a full moon is simple but atmospheric while the giant’s colourful dream-catching bottles provide the best of the special effects, along with breakfast at Buckingham Palace, the one time the giant is portrayed in enormous form.

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“The funniest bit of the show” according to Phoebe aged 8 was when the Giant whizzpops in front of The Queen of England. One scene, in which the unfriendly giants in Halloween-style headgear bite the head off a rag doll, and tear the arms and legs from others is a little close to the bone and I could hear the children in the audience all draw in a deep gasping breath.

The two leads, Anthony Pedley as The BFG, and Becky John as Sophie, attack their parts with great energy and gusto, and gel together from the start, giving a memorable and outstanding performance. The rest of the cast all add their own individuality to their roles and make each character stand out (which can be difficult when playing multiple parts.)

It is not easy to adapt books for stage it can often be a tricky business. Where with a little imagination playwrights and directors can bring any prose to life, they are frequently left with a headache as to how to bring the impossible to the stage. The central problem is that of scale – how to depict a giant playing amongst ‘humans’. With sets and costumes by Sean Crowley and sound and lighting by Mike Beer and Ceri James, direction by Phil Clark, it is a quandary that this team solve with great vigour and panache.

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This show is a hit and though I would not take a toddler along, it is a family show for 6 to 106 year olds, where everyone will have fun, laughter and maybe even a few tears.

Runs until Sat 7th Nov

One Little Word – M6 Theatre Company (Tour)

One Little Word
Devised by M6 Theatre Company
Director: Andy Manley
Composer: Tayo Akinbode
Reviwer: John Roberts

M6 Theatre Company have over the past 30 years gained a reputation of producing shows that are highly engaging and captivating for a younger generation of theatre goers, and One Little Word is no exception, proving that M6 are not only the best at their game but still highly original in their delivery of such plays.

One is always amazed at watching children play at how imaginative and resourceful they are in coming up with new ideas and using the simplest of things in many amazing ways, and one is also amazed at how quickly children who play together quite contently can so quickly become the worst of enemies.

In this production two children come together in a playroom, and share in ideas and objects in creating a captivating journey across the sea, but their friendship is really tested as jelousy and biterness come between these friends and disrupts their joyous play...until all there is left to do is say that ‘One Little Word.’

Eve Robertson and Luke Walker must be highly congratualted at their performance of the two children, without the use of any spoken language, they manage to hold the attention of all the children in the theatre in awestruck wonder, boucning around the stage with endless energy, their mannerisms were sharp and facial expressions bright and animated.

The simple playroom set, of pastel blue and white props, give the production a nursery/dreamlike feel, and through the sharp attention to detail by director Andy Manley the audience are always guessing and anticipating what item is going to be used next and how it is going to be brought to life/morph into new and exciting things.

The production is underscored by an original soundtrack by Tayo Akinbode which helps contain the emotional depth and playful nature of the production in an uplifting and charming composition.

One Little Word weaves the fragility of childhood playtime, friendship and jelously in a dreamlike 30 minutes, that gaurentees to touch the hearts, imaginations and fun adventures of many children and adults alike. The redeeming nature of One Little Word has never been so beautifully or creativly imagined before.

for more information on the tour: Click Here

We're Going On A Bear Hunt - Theatre Royal, Newcastle

We’re Going On A Bear Hunt
Writer: Michael Rosen
Adaptor & Director: Sally Cookson
Reviewer: Steve Burbridge

Direct from its success in the West End this summer, Sally Cookson’s stage adaptation of ‘We’re Going On A Bear Hunt’ by Children’s Laureate Michael Rosen is brought vividly, noisily and colourfully to life on stage at the Theatre Royal, Newcastle.

Rosen wrote the Smarties Book Prize Winner in 1989, inspired by an American summer camp song. The story tells of a family’s intrepid expedition in their quest to find a wild bear. Aimed at children aged 3 and above, the show is a fantastic fifty five minutes of fun and frolics that is a terrific treat for even the tiniest of tots.

The action combines all the things that kids love – the great outdoors, nature and discovery – as the five adventurers, comprising father, son, daughter, baby and dog, onomatopoeically explore grassy fields, flowing rivers, muddy swamps, dark forests, swirling snowstorms and creepy caves.

Not only is the story startlingly simple, it is also exciting, entertaining and educational. The recurring title song, from Benji Bower’s quirky score, is catchy and simple enough for the youngsters to remember and join in with.

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Colourful sets and costumes, inspired by Helen Oxenbury’s original illustrations and designed by Katie Sykes, ensure that the children are always visually stimulated, too. The atmosphere and mood is further enhanced by Tony Simpson’s lighting and Jason Barnes’ sound, whilst the performances are delivered with energy and enthusiasm from a cast who are supremely comfortable in the art of entertaining little ones.

Judging from the reaction of the children in the audience, ‘We’re Going On A Bear Hunt’ is the perfect production to ensure that kids become hooked, from the earliest possible age, on the eclectic experience that live theatre offers. And that can, surely, only be commendable.

Photo: Bob Workman

Runs until Saturday 10 Oct.

Annie - The Sunderland Empire

Annie
Book: Thomas Meehan
Music: Charles Strouse
Lyrics: Martin Charnin
Director/Choreographer: Roger Hannah
Reviewer:Ian Cain

Ask any aficionado of musical theatre to name their favourite orphan and they’ll probably say either Annie or Oliver Twist. The heart-warming, rags-to-riches tale of the red-headed ragamuffin is playing at Sunderland Empire Theatre all this week and ‘Annie’ certainly charmed and delighted the capacity crowd on press night.

The musical is based on the 1920s American cartoon strip, ‘Little Orphan Annie’, and was also immortalised for the silver screen in a blockbusting movie with a stellar cast that included Carol Burnett, Albert Finney, Ann Reinking, Tim Curry and Bernadette Peters. However, the 1982 film, and a subsequent Disney re-make starring Kathy Bates, Victor Garber and Alan Cumming, have failed to eclipse the enduring popularity of the stage version.

Two youngsters, Chloe Greig and Lydia Tunstall, are sharing the title role this week, and at last night’s performance it was Lydia who was living ‘the hard knock life’ in the New York Municipal Orphanage with the fearsome Miss Hannigan. Miss Tunstall’s stage presence, acting ability and vocal skills are top-notch and far beyond her years. She brings to the part a feistiness that suits the character perfectly and her performance is not in the least bit ‘stagey.’ Lydia and the rest of the orphans (Annabel Mallin, Sophie Foster, Rebecca Chapman, Katie Smith, Amanda Thursby, Ellie Jackson, Nina Walsh, Emily Thompson and Louise Hepplewhite) are only outdone in the ‘aahhh’ stakes by Danny the Dog as Annie’s faithful four-legged friend, Sandy.

Su Pollard fails to heed the well-known showbiz dictum of not working with children and animals to reprise the role of mean-spirited Miss Agatha Hannigan, the orphanage manager with a penchant for Jack Daniels. This is Miss Pollard’s fourth tour of the production and she has made the role her very own. She follows (or should that be drunkenly staggers?) in the footsteps of actresses including Sheila Hancock, Lesley Joseph, Vicki Michelle and her former ‘Hi-De-Hi’ co-star Ruth Madoc. Su draws on her vast experience as a comedy actress to portray the character as a comedic, and slightly tragic, lonely old lush who is longing for love. Her sensational singing voice is best utilised in her signature song ‘Little Girls’, but is also a highlight in ‘Easy Street’, too. Pollard’s immense stage presence is such that she steals every scene she appears in and is missed in those that she doesn’t. Her scenes with her brother, Rooster (James Gavin), and his girlfriend Lily St Regis (Sophie McEwan) provide many of the best comedy moments of the show.

David McAlister, a performer who never disappoints, is every bit the definitive Oliver Warbucks and his portrayal of the billionaire’s transformation from the hard-nosed businessman to doting ‘Daddy’ is skilfully executed. There is a genuine rapport between him and Lydia Tunstall that is almost tangible. His musical numbers are delivered with a voice that is strong and clear and hits every note with precision and perfection.

Simone Craddock plays Grace Farrell, Oliver Warbucks’ charming and long-suffering secretary. It is obvious to all except Warbucks that she holds a torch that burns brightly for him, and it is only Annie’s presence in the mansion that is the catalyst for their romance to blossom.

The talented ensemble perform Roger Hannah’s choreography with energy and enthusiasm and turn the big numbers into real showstoppers. Add to this a live orchestra, under the supervision of Mark Crossland and John Donovan, superb sets by Alan Miller Bunford and dynamic direction and the result is a production that shines brighter than Annie’s silver locket. At last, ‘Tomorrow’ is here – and so is Annie. Don’t miss it!

‘Annie’ runs at The Sunderland Empire from Tuesday 25 to Saturday 29 August 2009.

The BFG - The Palace Theatre, Manchester

The BFG by Roald Dahl

Adapted by David Wood

Director: Phil Clark

Reviewer: John Roberts

Stepping into the Palace Theatre, and seeing 100's of excited children you cant help but slowly regress into an excited ten year old.

Roald Dahl's delightfully delicious and sometimes dark children's books were a firm childhood favourite. I remember howling at delight at Mathilda and her psychic powers, wishing I could own a chocolate factory like Charlie, and being scared witless at the pure unadulterated evilness of the Grand High Witch, but nothing delighted me more than the adventures of Sophie and her Big Friendly Giant.

This production is using a critically acclaimed adaptation by Children's playwright David Wood, who seems to be a master at staying true to the books originality but also allowing himself some artistic licence, this mainly comes in the framing of the story, rather than being played for 'Real' Wood's adaptation takes its premise from it being Sophie's Birthday Party and unfortunately the entertainer couldn't make it so her family and friends re-enact her favourite story Roald Dahl's The BFG.

This device sets up the show very quickly but also stills a message into the young children present in the audience that is is all make believe and that nothing you see on stage is real, quite apt really as some of the scene's in the brilliant production are atmospherically quite disturbing, helped along by Sean Crowley's beautifully simplistic stage, the centre piece being a huge bright moon, and rather than seeing a big black box of a usual stage we are treated to a bright blue sky with moving clouds. Crowley's set was wonderfully lit by Ceri James' first rate lighting design, bringing a real air of menace and piece to the various settings in the play.

This production uses a group of actor musicians to tell the tale of Orphan girl Sophie (played with a real integrity and warmth by Becky John, one couldn't help raise a smile when she giggled and winced around the set with childish glee. )who gets whisked away one night after being spotted by the BFG (played with great gravitas and grandfatherly charm by Anthony Pedley) as he blows dreams into the children's bedrooms, taken to the land of the Giants, we see that the BFG is one of a kind, and not like all the other nasty looking giants, who plan to storm the world eating all the children up! The use of live music on stage really helps keep the audience captivated as most if not all the cast play more than one instrument. The original music by Paula Gardener is sublime and really helps set up the pace and anticipation of the scenes as they play out.

Phil Clark's direction is smooth and never fails to keep you on the edge of your seat, (if you don't believe me just ask the girl sat directly behind me who was loving every moment.) Clark has some very clever ideas that make this production a magical introduction to the theatre, with glowing dream bottles, and one of the best uses of shadow puppetry I have seen on stage in a very long time, although highly enjoyable this production isn't without its flaws, a slightly underwhelming second act means it juts doesn't pack the same punch as the first half, perhaps this is down to having an interval - even kids can sit quiet and captivated for 75 minutes without needing a break!

Overall this production comes highly recommended, with a fantastic ensemble, wonderful performances from the central characters, delightful music and a sublime set. This is a first class introduction to the theatre for the young, and a wonderful family night out. This is a show that is a first rate hit rather than a first class Whizz-Pop!

The BFG runs at the Palace Theatre until Sat 29th August

Hang On - Lyric Hammersmith

Hang On
Created by Theatre-Rites and Ockham’s Razor
Director Sue Buckmaster

Reviewer: Honour Bayes

A family show that actually pleases parents, children and cosmopolitan ‘friends’ alike? Surely this doesn’t exist without the Disney seal of approval. But if you want to take all your extended family along to one show this year, take them to see Hang On at the Lyric Hammersmith. Tumbling along through a delicately balanced mobile of Charlie Chaplin charm and virtuoso circus play, this piece will lift one and all above the mundane into a world of infinite and childlike possibility where everything that can be possible, is.

Theatre-Rites and Ockham’s Razor have come together to create a spine tingling and joyous show which feels a bit like a crazy mathematics lecture, a bit like a piece of contemporary dance and a bit like a circus performance with a dollop of intensely beautiful minimalistic art and music.

Eric MacLennan, Stefano Di Renzo, Alex Harvey, Tina Koch, Nao Masuda and Charlotte Mooney enter the stage with a spring in their step and proceed to turn small metal hangers into, massive spinning mobiles and tiny, and not so tiny, red orbs into xylophones and drums. Fully realising Theatre-Rites’ interest in object-lead work, each item used has its potential magic revealed and exploded to the delight of this very vocal and immediate audience. Hang On is performed not only to a score of delicate tubular music and pounding drum beats, but also to the tinkling of children’s giggles and the gasps of adult appreciation.

The cast all bring their own special something to the stage. With his feet firmly on the floor Eric’s cautiousness creates a well meaning, though initially overbearing, adult figure for the others to react against, albeit very kindly, with the sort of lively mischievousness that permeates all young people’s daydreams (and even some older ones too). Stefano has a thing for Tina and Nao leaps around them forming a world of sound to support their daring with a grace and agility which is stunning. Alex and Charlotte bring breathtaking strength and a kind elder-s---ibling feel to the proceedings. But amongst all this charming silliness it is clear that Eric is the solid, if a little worried, centre of the piece; each relationship perfectly balancing around his grounded presence to create a graceful mobile of musicians, aerialists, clowns and objects.

This elegant balance and fluid sense of peace, so apparent within all aspects of this production is what sets Hang On apart from other ‘circus’ shows. This essence of total calm and aesthetic beauty, inspired by Alexander Calder’s mobiles, is at times almost spiritual to watch and from the first moment that Alex, Tina and Charlotte (Ockham’s Razor) flip themselves up onto an aerial frame this piece begins to really fly. The gently comic relationships and intense pigmentation of the colours bouncing off the back wall, the nimble playing of Nao’s skillful and passionate percussion and the hanging stillness and incredible team work of the aerialists in Ockham’s Razor combines to create something of an absolute aesthetic beauty which speaks to everyone and lifts the spirits as though you were up there yourself. This is a transporting work, of which Calder himself would be proud, and a must see for anyone who still believes that even in the most normal objects there is the potential for silly fabulous splendor.

Hang on Runs at the Lyric, Hammersmith untill 25 April

Slava's Snow Show - Southampton (Tour)

Slava's Snow Show

Devised and directed by Slava

Reviewer: Jim Nicholson

I was hoping to be amazed, I wasn’t, I was expecting to be entertained and I certainly was, and all around me child after child and their parents were having the “night of their life”. Perhaps I was not as “drawn in” because of my midlife years, but if you have young kids, in actual fact, if you have any kids or perhaps you are just a big kid yourself then this is the show for you.

Half an hour before curtain up and the youngsters and parents alike are snowballing each other with the hoards of, tickertape like, white paper covering the floor of the theatre as if we had just encountered a very heavy snow shower. I warned a few not to pick up any that had gone yellow but the “supposed joke” appeared wasted as dad took yet another hit.

A short first act saw our hero Slava dressed in his fabulous lemon “baby grow” survive catastrophe at sea in his sailing bed and enjoy the company of a number of fellow clowns, all dressed alike in green coats with winged hats that seemed to have a life of their very own. Clever lighting helped each and every one of them bring a roar of laughter from the crowd with just a simple change of facial expression, bow of the head or pronounced mime.

No sign of any more snow yet but as the first half closed our main man finds himself stuck in a white “stretchy goo like net” that he manages to pass out into the audience and all of sudden this mess is not covering one or two of the crowd but each and every member of the thousand or so souls sat in the stalls. The reward for our stars escape though is an encounter with a huge green flying bug.

Sounds different, I should say so, but we were back to clowning as we know it best during the interval as the company joined the crowd and managed to dampen any one within reach as their umbrellas proved anything but water shielding.

So we enter act two and lop sided tables, coat stands, huge woollen telephones and a variety of other props enable our clowns to keep the laughter level high, and this leads to a very well worked crowd cheering competition where not a word is spoken but the wiggle of the little finger means so much to so many.

Then the snow really hits us in a literally breathtaking storm in which the crowd are engulfed with tons more paper snow whilst trying to stand upright in a wind that makes a Florida hurricane look like someone blowing out their birthday candles.

Then as the crowd start to get their breath back the show ends with them being bombarded with “beach balls” the size of garden sheds. Half an hour later they are still entertaining themselves as the balls are continually batted in the air, bounced off the walls, passed up to the circle with so many of them in play no one can relax for a single second.

The sheer joy on the faces of the youngsters was an absolute credit to the performers who included Charles Jeff Johnson, Tatiana Karamysheve, Robert Scalp, Bradford West, Georgiy Deliyev, Fransesco Bifano, Artem Zhimolokhov, Oleg Lugovsky and Yuri Musatov.

The show is obviously a work of love from its creator Slava Polunin and it is pretty clear why on it’s only ever visit to the West End it claimed that years (1988) Laurence Olivier Award for Best Entertainment.

I said at the start I was not amazed by the show and put that down to my gathering years, but as my wife said on the way out of the theatre when talking about our 11 year old niece “If this ever went to the Chichester Festival Theatre”, the kids hometown, “Emily would absolutely love it”. True enough, although I do not think it likely young Emily will get the chance to see such mess, goo, flooding, wind turbulence and sheer theatre mayhem, that makes this show such a success, at her local venue. That said I certainly don’t envy the Mayflower cleaners when they turn up for work tomorrow.

Horrid Henry - Liverpool Playhouse (Tour & West End)

Horrid Henry by Francesca Simon

Adaptor: John Godber

Director: Hannah Chissick

Reviewer: Reece O'Toole & Katie Hill (age 10) & Auntie Steph (?)

Reece & Katie

When we got there and collected our tickets we were given a programme each which was filled with lots of fun things to do and jokes, it also had things in of interest like who was playing who in the play.

We had great seats and could see everything that was going on, on the stage. It was a little bit late starting but that was ok because we sat reading our programmes and telling each other the jokes.

When the show started Horrid Henry came on and was being told off by his mum and dad and sent to his room. He was in his room when he started to imagine what things would be like if he were king or had his own show, (We thought that was very funny because this was his show.) Whenever he thought about people he knew they would appear in the walls of the stage in an opening like a window or a door, before the first one appeared we thought it was a tiled wall like in a bathroom, but it wasn’t. Katie and me really liked the people who played Horrid Henry because they were very funny and we could not stop laughing all the way through it.

Auntie Steph

Horrid Henry is definitely a child orientated show, it has the child transfixed from beginning to end and the way they used the wall as the windows to his mind was ingenious, with every character Henry thought of while telling his stories appearing right on cue to take his or her part in the show.

Horrid Henry was played by Steven Butler and Stephen McGill as his Henry in his mind, they were both exceptional in their roles, it cannot be easy to take on a role as famous as Horrid Henry in front of a theatre full of his fans especially those fans being children who know every move and saying that Henry is well known for, but they achieve this and keep the children well entertained along with the other cast members, who were playing mulitple roles each managed to pull of their characters fabulously.

Credit should be given to the John Godber who adapted the Horrid Henry stories for this show, while still managing to keep Henry’s cheeky sense of humour which could so easily have been lost.

Director Hannah Chissick has a winner on her hands with this show as it is sure to attract children from all over the country, many who perhaps have never stepped foot into a theatre before and ensure that they all leave having had a wonderful and fascinating night. The costumes, the set and the lighting all made sure Horrid Henry and his friends is a must see for all children aged 5 to 100.

Photo: Robert Day

Elephant - Touring

Elephant

New Wimbledon Theatre & Touring

Dodgy Clutch in association with the Market Theatre of Johannesburg.

Director: Ozzie Riley

Reviewed by Francesca Elliott

Elephant tells the story of an African chief who having died, is denied entrance to heaven. Confused, he asks his ancestors for help and they advise him to revisit his past to see where he went wrong. Accompanied by a devil he visits scenes from his childhood, his coming of age ceremony and his wedding.

At every stage there is eveidence of his jealousy and anger and we see him break the laws of his tribe by ignoring the sanctity of elephants by killing one with a gun he has been given by 'the pink men'.

Elephant is a vibrant mixture of African and Western dance, song, music and puppetry and captivated the audience's attention from the very first scene.The elephant puppets were amazing, incredibly lifelike and managed to convey such a sense of spirituality and soul that we could easily understand how killing one could deny a person access to heaven.

The costumes were simple and bright, adding to the sense of energy brought by the performers. The moments of comedy and poignancy were nicely balanced, and apart from an eneding which felt a bit unfinished, this was one of the most interesting and enjoyable performances I've seen in ages.

Stomp - Lowry Theatre & Tour

Stomp
Lowry Theatre & Tour
Directed by Steve McNicolas
Reviewed by Liz Waters

STOMP!, it has to be said, was one of the best shows I have seen to date, although as an avid percussionist myself, some may say that I am slightly biased. The performers exuded nothing but enthusiasm – so much enthusiasm in fact, that three of the broomsticks which they were using to create their remarkable beats had to be replaced within the first five minutes of the opening set.

Whether suspended from the ceiling or sat nonchalantly around a rubbish bag, these talented artists created explosive rhythms with anything that they could get their hands (or indeed, any other body part) on. Each routine had been so vibrantly yet precisely crafted, and the director’s attention to detail was truly remarkable, allowing for smooth and exciting continuity between sets.

Using everything from matchboxes and newspapers to buckets and water filled sinks, the group created rhythmic brilliance without the use of one word. For the more melodic amongst you, they even employed the use of plastic tubing to generate a rather tuneful set.

The stage set-up made full use of every inch, and by the end of the evening not one area had been left untouched, whether that be by finger, foot, sand or kitchen utensil! Far from just performing, the group kept the audience engaged by encouraging participation once or twice – my clapping abilities have been somewhat perfected, it must be said. Combined with an incredible use of unspoken humour, the performance is most definitely one for all ages.

Perhaps not for those with the sensitive hearing, but if you are looking for a funky, dynamic and exceptionally impressive show, STOMP! comes most definitely and highly recommended. It has left me looking at every house-hold object with new ‘rhythm-making’ potential!