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
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
Sheffield Theatres present
SISTERS
a verbatim play by
Stephanie Street
Thurs 11th - Sat 27th March 2010
SISTERS
has been created by
STEPHANIE STREET following interviews with a wide diversity of Muslim women.
Five actresses portray a kaileidoscope of characters
with widely differing beliefs, experiences and stories to tell. The piece is
tied together by the Khan family - mother, three daughters and niece - meeting
for their regular family get-together. We move to and from their living room to
monologue and dialogue from the other twelve characters presented in the play.
It's great to be back
enjoying work at the Crucible Studio. It's a very flexible, intimate space and
this production uses those facets well. The performers develop an effective
relationship with the audience - including sharing food with those near the
front. Most of the play is directly addressed to the audience so this relationship
is very important.
There is much to applaud
here. SISTERS gives voice to the experiences of a
group in British society often marginalised. It celebrates diversity and
difference, challenging stereotypes and preconceptions. It is a warm,
compassionate and positive piece. It is full of optimism, despite the trials
and challenges experienced by its' characters. The five actresses work
extremely well together. There is a strong sense of ensemble. The play is
demanding, requiring frequent, swift changes from one character to another.
Inevitably some portrayals work better then others.
We particularly enjoyed NISHA NAYAR's Husna,
struggling with her transgender issues and ZAHRA AHMADI's warm and likeable Salima.
SISTERS
is bursting with
potentially compelling stories and there are moments in it of real power.
Elements of it are thought-provoking and challenging, but there is almost too
much here to provide a thoroughly coherent and satisfying whole. It's fragmentary nature left us wishing for a stronger narrative
drive and the chance to see characters' develop, change, struggle and interact.
There is enough in the relationships withing the Khan
family to make a compelling drama, and indeed some of the most effective
moments come in the second half when we are able to see deeper in to the hidden
depths of their lives and relationships.
SISTERS
is an interesting piece of
work offering fascinating and important insights in to experiences too
often hidden, but it is not entirely successful as a dramatic experience.
Reviewed by Paul Whitfield for
Theatreworld Internet Magazine
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
GEORGE ORWELL'S
1984
adapted and directed by Matthew Dunster
Now playing until March 27th
Described by the
Royal Exchange's press and marketing department as 'a world premiere of Matthew
Dunster's SENSUAL and SINISTER adaptation of George
Orwell's classic' certainly one of those adjectives might seem at odds with Orwell's
vision of the future and yet in Dunster's production
there is clear evidence of the same in the relationship between Winston
(Jonathan McGuinness) and Julia (Caroline Bartlett)
which produces and highlights the oppression against the protection which the
State purports to offer. It is a relationship that has, through necessity, to
remain secret and works well in its snatched moments of passion and intensity.
As Julia says to Winston: 'The clever thing is to break the rules and stay
alive just the same...' For many, they are not so clever, and the secret of
Room 101 can only be guessed at.
It is, of course, a
mammoth undertaking to adapt an iconic novel such as 1984 to the stage
and it says a great deal for this adaptation that, at around three hours in
length, the stage version remains as faithful to the original as it is possible
to be in the circumstances. The first half introduces us to the key concept of
a Big Brother state, of a mechanical, post-war Britain, where the lack of
identity is manifest in the drab costuming and surroundings of Britain's
inhabitants - where all would appear to be the same and where individuality and
love have no place. The drama comes from the protagonist's, Winston,
desire to break out of this mould and to rebel. The second half provides the
brutality of the response to this transgression in a series of chilling moments
which were clearly too much for some audience members who chose to exit at that
point. It could be argued that the torturing of Winston is somewhat over-long. Dunster does make his point, but less is often more. But a
small point in what proves to be a harrowing sequence. In the slight figure of McGuinness, the spirit and resolve seem to give him stature
and dignity. It is a performance of over-riding strength and purpose. An everyman. He provides a hope for the future albeit
ultimately crushed and transformed by a stronger power.
The production does
highlight Dunster's innate sense of theatre and the dramatic.
It's an unrelenting production in terms of pace and movement (all of which is
neatly choreographed and designed) on a scale which must have stretched the
theatre's technical resources - but to good effect. The ensemble work is
stunning and the precision of movement and the neatness of the scene changes
serve as a testament to quality of the production and, indeed, Dunster's theatrical vision. The cast is universally
excellent with Paul Moriarty and Matthew Flynn particularly notable as
Goldstein and O'Brien respectively.
'Doublethink',
'Newspeak', 'Big Brother', 'Room 101', 'Orwellian', for example, have long been
common usage in the English Language, such has been the power of Orwell's work
and it is easy to find parallels with the world today but as a study of what
was to come Owell's bleak and sinister vision of the
future remains purposefully accurate.
Matthew Dunster has clearly proved himself to be a force to be
reckoned with in the theatre - previous work such as his Macbeth and
the studio production of You Can See the Hills show a versality, sensitivity, insight and intelligence in dealing
with the material with which he is working. Having adapted and directed 1984
there cannot fail to be an over-riding sense of pride and achievement not only
for himself but for the Royal Exchange Theatre, too. It is an ambitious project
that succeeds unequivocally.
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
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
Kneehigh Theatre and Bristol Old Vic present
Hansel
& Gretel –
A Wondertale
7.30pm at the Everyman
Now playing until April
3rd
|
|
|
|
Play |
- caper,
dalliance, delight,
disport, diversion,
foolery, frisk, frolic, fun, gambol, game,
gaming, happiness, humour, jest, joking,
lark, pleasure, prank, recreation, relaxation,
romp, sport,
teasing The Thesaurus defines ‘Play’ in
these words. Whether you think Kneehigh
Theatre’s production of Hansel and Gretel at the Everyman is a Play or
indeed a Pantomime it is all of the above. This dark, Grimm’s
Fairy Tale is massaged to retain all the macabre detail while injecting that
element of fun and delight of which this group have the mastery. Hansel (Craig Johnson) and Gretel (Joanna
Holden) are twins. In a stand for women’s education Gretel is a budding
engineer, while Hansel is the bookworm. As the family fall on hard times the
loving parents are driven to sending the children into the forest to fend for
themselves. Falling accidentally upon an edible house the wicked witch, (Carl
Grose, who also plays the father and wrote the
play) soon to be revealed not as a sweet little old lady, but an orgiastic
child-eating maniac, captures them and prepares to feed them up for a
delicious cannibalistic feast. She has reckoned without the inventive
ingenuity of Gretel, however. Throughout the play, various
‘stars’ emerge. We have here skilled puppeteers who use fluffy
white rabbits as narrators and supply some horrific moments as they enter the
food chain. The hugely enjoyable hens, Maureen and Diane, have to earn their
keep by laying eggs for the family and when times become too hard for them to
manage that – well, you can guess the rest. Mother is played by Giles
King, who also doubles as the witch’s familiar, a Bolivian Condor. But
the superstar is really the stage set by Rob Higgs who describes himself as a
Mechanical Sculptor. He could be Heath Robinson in a new incarnation, or
Professor Branestawm at his best. With levers and
pulleys, chains and ropes, fire and cannonballs, he delights us with
Gretel’s inventions, Hansel’s cage-prison and the witch’s
roaring oven. Talented musicians accompany the action with Cornish bagpipes,
accordions and song. Much of the original story is kept intact,
so young children (and one or two much older people) might find it all
somewhat scary, but the Thesaurus has it bang to rights. It is great fun. For
all ages. |
Director Mike Shepherd
Writer Carl Grose
Composer Stu Barker and Ian Ross
Designer Michael Vale
Lighting Designer Mike Gunning
Producer Paul Crewes
Age Limit: 7+
Dates:
Tuesday 16 March – Saturday 3 April
Venue:
Liverpool Everyman, Hope Street, Liverpool, L1
Times:
Evenings at 7.30pm
Matinées:
Thu 18, Wed 24, Wed 31, at 1.30pm and Sat 27 Mar, Sat 3 Apr at 2pm
Ticket
prices:
£10 - £16.50
Box Office:
0151 709 4776
Online Booking
(24-hour): www.everymanplayhouse.com
The Everyman and Playhouse is supported by Arts
Council England
The Everyman and Playhouse thanks Liverpool City
Council for its financial support
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 ?
For more details or individual advice/help - email: GPowner@aol.com