THEATREWORLD

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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

www.sheffieldtheatres.co.uk

 

 

 

 

 

Reviews by "The Whitfields" for Theatreworld Internet Magazine


CRUCIBLE THEATRE

SHEFFIELD

BOX OFFICE: 0114 249 6000

www.sheffieldtheatres.co.uk

 

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

www.sheffieldtheatres.co.uk

 

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

www.theatreroyal.co.uk

 

REVIEWER REQUIRED - Contact the Editor via e-mail (see "Welcome" page)

 

 

 


OCTAGON THEATRE

Howell Croft South,

Bolton,

BL1 1SB

BOX OFFICE: 01204 529407

www.octagonbolton.co.uk

 

 

 

 

 

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

www.everymanplayhouse.com

 

 

 

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, frolicfun, gambol, game, gaming, happinesshumourjestjoking, lark, pleasureprankrecreationrelaxation, 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

www.coliseum.org.uk

 

 

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

 

 

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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

www.blackpoolgrand.co.uk

 

 

 

 

Reviews by Colin Snell for Theatreworld Internet Magazine Internet Magazine


 

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