REVIEWS
NORTHERN ENGLAND
This page
contains reviews at the following theatres:-
LIVERPOOL
THEATRES
SHEFFIELD -
Lyceum Theatre & - Crucible Theatre
MANCHESTER
THEATRES: Royal Exchange /Library Theatre /Trafford Centre / Palace Theatre / Opera
House
NEWCASTLE-UPON-TYNE:
Northern Stage / Theatre Royal
West
Yorkshire Playhouse/ Quarry Theatre / Courtyard Theatre
REVIEWERS NEEDED FOR THE FOLLOWING THEATRES:-
YORK -
Theatre Royal
SCARBOROUGH
- Stephen Joseph Theatre
LYCEUM THEATRE
SHEFFIELD
BOX OFFICE: 0114 249 6000
Sheffield Lyceum Theatre
Greg Ripley-Duggan with LHP Ltd, Chichester
Festival Theatre,
Charles Diamond and 1001 Nights presents
SPIKE MILLIGAN'S
ADOLF HITLER: MY PART IN HIS DOWNFALL
adapted for then stage by Ben Power and Tim Carroll
A Bristol Old Vic Co-production
Tues 2nd - Sat 6th March 2010
There is much to enjoy
in this adaptation of SPIKE MILLIGAN's Second World War memoirs. The story
follows Spike from the outbreak of war, through action in North Africa and
Italy, until 1944 when he is unable to continue active service. The performance
describes itself as 'an entertainment' and combines music, song, comedy,
monologue and sketches to present a kaleidoscopic impression of the confusion,
senselessness and absurdity of war. Most strongly, it depicts the loyalty,
camaraderie and friendship of a group of men struggling to survive an
extraordinary experience.
The cast of five play
all the characters and provide the live music - predominantly jazz. SPIKE
MILLIGAN was a jazz musician before the war and formed a quartet when he joined
the army, playing in concert parties as well as taking part in action. The cast
display an excellent sense of ensemble and perform with verve and energy.
SHOLTO MORGAN is a likeable and engaging Spike, and we particularly enjoyed
DOMINIC GERRARD as his best friend Edgington - a
strong performer and an impressive musician.
The performance combines
moments of high comedy, extreme silliness, pathos and sadness. There are lovely
moments, even if the whole doesn't always gel as satisfactorily as one might
hope. It probably helps if you've some familiarity with SPIKE MILLIGAN's work
and enjoy his absurd, silly and sometimes dark sense of humour.
Reviewed by Paul Whitfield for Theatreworld
Internet Magazine
Reviews by "The Whitfields"
for Theatreworld Internet Magazine
CRUCIBLE THEATRE
SHEFFIELD
BOX OFFICE: 0114 249 6000
Crucible Main Stage
Sheffield Theatres
Production
AN ENEMY OF THE
PEOPLE
Henrik Ibsen
11th Feb
– 20th March 2010
At
face value, a play about a Dr who discovers that his town’s most
promising business venture is fatally flawed as the water supply to the spa is
dangerously polluted by local industry, is not an
enthralling plot line. Add to this that this is a play by IBSEN a nineteenth century Norwegian
playwright with a reputation for serious and solemn plays and this might not
seem the smartest choice for the re-opening of a renowned theatre.
AN
ENEMY OF THE PEOPLE
was in fact an inspired choice by DANIEL EVANS, the new artistic
director of Sheffield Theatres, as all preconceptions were swept away by a two
and half hour thriller ride of a performance. This play has so many relevant
and modern themes such as the effect industrial pollution is having on our
world and the human capacity to deny this fact. Nothing must threaten the
immediate hope of prosperity even it will cause untold harm in the future.
This
production had another key element in its brilliance in the shape of ANTONY
SHER as Dr Tomas Stockmann the ill-fated hero of the
tale. SHER uses all his experience and skill to produce a nail biting
performance of depth, comedy and energy. As each word is delivered with great
clarity and meaning the audience watch each twist and turn of the plot and
experience some of Tomas Stockmann’s emotional
turmoil. Without a performance of this quality the play may have faltered.
JOHN
SHRAPNEL as Dr Stockmann’s brother and the
town’s major provided SHER’s role with the perfect foil. LUCY COHU
as the Dr’s wife, was also vital to the
understanding of the tradgedy and warmth of
SHER’s character.
BEN
STONE’s wooden set and muted costumes really contribute to a Scandinavian
atmosphere.
This
is a production to be wholeheartedly recommended.
Reviewed by Gertie and Sophie Whitfield for Theatreworld Internet
Magazine
Reviews by "The Whitfields"
for Theatreworld Internet Magazine
CRUCIBLE STUDIO
SHEFFIELD
BOX OFFICE: 0114 249 6000
Reviews by "The Whitfields"
for Theatreworld Internet Magazine
ROYAL EXCHANGE THEATRE
St Anne's Square
Manchester
BOX OFFICE: 0161 833 9833
Web site: http://www.royalexchange.co.uk
Reviews by Colin Snell for Theatreworld Internet
Magazine
LIBRARY THEATRE
Central Library
St Peter's Square
Manchester
M2 5PD
BOX OFFICE: 0161 236 7110
web address: www.librarytheatre.com
Reviews
by Colin Snell for Theatreworld Internet Magazine
NORTHERN STAGE
Haymarket
Newcastle-upon-Tyne
NE1 7RH
BOX OFFICE: 0191 230 5151
WEBSITE:
WWW.NORTHERNSTAGE.CO.UK
REVIEWER REQUIRED - Contact the
Editor via e-mail (see "Welcome" page)
THEATRE ROYAL
NEWCASTLE
REVIEWER REQUIRED - Contact the
Editor via e-mail (see "Welcome" page)
OCTAGON THEATRE
Howell Croft South,
Bolton,
BL1 1SB
BOX OFFICE: 01204 529407
A MIDSUMMER NIGHT'S DREAM
By William Shakespeare
Now playing until March 6th
Box Office: 01204 520661
Set Shakespeare on the moon
and it can still work. It's not so much the location or period that is the
driving force behind the plays but the universality of the themes. But if you
are going to set it on the moon, then the production's images, and raison d'etre, in fact, demand consistency. And whilst David
Thacker's production for the Octagon Theatre of this popular romantic comedy
may very well resemble something of the solar system (yoga balls of all sizes
painted to look like planets with the auditorium walls also decorated with
planets) in the wood scenes, the whole design and concept for the piece is more
than a little confusing. Set in the 1960's with Theseus
ruling over, apparently, a military dictatorship, the images never really gel
and what we are left with is mis-match of ideas that
might visually appear striking but appear to have little to do with the
over-all statement that the production seems to be aiming for. Clearly the
repression of the Greek Colonels contrasts with the age of Free Love but that
seems to be as far as it goes. It never seems to follow through.
At around three and a quarter hours plus in length, the use of song and
choreography serves to lengthen proceedings rather than illuminate what is
happening on stage. The Pyramus and Thisbe play towards the end of the actual production is
entertaining enough but seems to be part of something else - it should serve to
echo the love themes in the play but appears very much to be a piece on its
own. And having the cast invite some members of the audience on stage at the
end of the play to join in with the dancing appears irrelevant.
Which
is all very much of a shame as the actual performances do display quality and
clearly Thacker's approach has been a considered and truthful one, if a little
misguided at times.
Rob Edward's Theseus is an aggessive
affair which can be a little alarming and Paula Jennings' Hippolyta
a woman who appears less than happy at being conquered in both battle and in
love by Theseus. Their respective Oberon and Titania are suitably commanding with Jennings' Hippolyta seeming to be on a permanent trip - it is the
1960's after all.
I particularly liked the
quartet of lovers: Rosie Jones (Hermia), Vanessa Kirby (Helena), Jake Norton
(Demetrius) and Nick Underwood's Lysander, the upright, military, gentlemanly
manner of the one forming an excellent foil to the hippyish
nature of the other. Both girls equally form excellent contrasts and the four
play with great energy and charm.
The Mechanicals are
excellently led by Russell Dixon's exasperated Peter Quince and Keiran Hill's earnest Nick Bottom with effective support
from Russell Richardson's Snug, Kiruna Stamell's Robin Starveling and Brendan Quinn's sensitive
Francis Flute, the bellows mender.
There may very well be
an issue with Leo Atkins' ageing Puck; whilst he may at one time have been able
to put a 'girdle round the earth in forty minutes' this is certainly not the
case now and the puffing and panting retainer is anything but lively,
mischievous or fleet of foot. It seems somewhat of a perverse invention and the
delivery is equally as laboured. It does not work.
For all of that, this is
A Midsummer Night's Dream that attempts to be inventive with some good
ideas that do not appear consistent nor sustained but has
something at the heart of it - a darkness, in fact. The audience clearly
enjoyed the antics and certainly showed their appreciation by the sustained
applause but, for me, there was something not quite there with it. I found the
production was at its best when it was clear and uncluttered.
Reviews by Colin Snell for Theatreworld Internet
Magazine
LIVERPOOL EVERYMAN / PLAYHOUSE
Williamson Square
Liverpool L1 1EL
Sales and Information: 0151 709 4776
Minicom: 0151 709 0534
Reviews
by Wendy Fairbank for Theatreworld Internet Magazine
OLDHAM COLISEUM THEATRE
Fairbottom Street
Oldham
0L1 3BR
BOX OFFICE: 0161 624 2829
Reviews
by Colin Snell for Theatreworld Internet Magazine
THE DUKES
Moor Lane
Lancaster
LA1 1QE
BOX OFFICE: 01254 598500
REVIEWER
REQUIRED - Contact the Editor via e-mail (see "Welcome" page)
WEST YORKSHIRE PLAYHOUSE
Playhouse Square,
Quarry Hill,
Leeds, LS2 7UP
Box Office: (0113) 213 7700
why not
visit West Yorkshire Playhouse's own website:- www.wyp.co.uk
****************************************************************
QUARRY THEATRE
COURTYARD THEATRE
REVIEWER REQUIRED - Contact the Editor via e-mail (see "Welcome" page)
THEATRE ROYAL
YORK
REVIEWER REQUIRED - Contact the Editor via e-mail (see "Welcome" page)
STEPHEN JOSEPH THEATRE
SCARBOROUGH
BOX OFFICE: 01723 370541
REVIEWER REQUIRED - Contact the
Editor via e-mail (see "Welcome" page)
GRAND THEATRE
33 Church Street
Blackpool
FY1 1HT
BOX OFFICE: 01253 290190
Reviews by Colin Snell for Theatreworld Internet Magazine
Internet Magazine
Why not check the Northern England "News" page ?
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