Theatre Review - WE WILL ROCK YOU - DARLINGTON HIPPODROME

 

The Darlington Operatic Society once again proved why it remains one of the highlights of the local theatre calendar, delivering a performance that captivated audiences from the opening curtain to the final applause. Their latest production, We Will Rock You, featuring a story and script by Ben Elton and the unforgettable music of Queen, was no exception, showcasing the talent, energy and commitment that have earned the company its enduring reputation.

Set in a futuristic world where individuality has been suppressed and live music has been all but erased by the powerful Globalsoft Corporation, We Will Rock You follows a band of rebellious Bohemians as they set out to rediscover the lost power of rock music. Along the way, audiences are treated to a soundtrack packed with Queen classics, including Radio Ga Ga, I Want to Break Free, Somebody to Love, Don't Stop Me Now, Bohemian Rhapsody and, of course, the anthemic title song We Will Rock You. The result is a high-energy musical that combines humour, spectacle and some of the most recognisable songs in rock history, and in the hands of the Darlington Operatic Society, it became an evening of entertainment that clearly delighted its audience.

As Galileo Figaro, Luke Oldfield delivered a standout performance, combining strong stage presence with powerful vocals that did full justice to Queen's iconic catalogue. His impressive range and confidence allowed him to move seamlessly through the show's demanding musical numbers. Alongside him, Katie Wilson was equally impressive as Scaramouche, proving a perfect foil with her sharp comic timing, excellent vocals and engaging stage presence. Together, Oldfield and Wilson formed a convincing and charismatic partnership, their chemistry driving the production and earning enthusiastic support from the audience throughout. Their rendition of Hammer to Fall was a particular highlight, showcasing not only their vocal talents but also the strength of their on-stage connection.

The Bohemians proved to be the perfect band of heroes, with their entertaining names drawn from music history and a steady stream of witty one-liners providing plenty of laughs throughout the evening. As Brit, Christian Brabin brought warmth, conviction and strong vocals to the role, while Kate Inglesant shone as Oz, delivering both humour and heart. Together, Brabin and Inglesant displayed excellent chemistry, their partnership perfectly complementing the production's central themes of friendship, rebellion and the enduring power of music. Their performances helped anchor the story and ensured the audience remained invested in the Bohemians' quest.

Making the perfect villains from the powerful Globalsoft Corporation, Rhiannon Walker's Killer Queen and Julian Cound's Commander Khashoggi brought just the right balance of menace and comedy to the production. Walker commanded the stage with confidence and charisma, capturing the flamboyance of the role with ease, while Cound relished every moment of his performance. Together, the pair dominated proceedings whenever they appeared, creating a formidable and highly entertaining partnership.

You could find little to fault in any aspect of this production, with the cast delivering an outstanding performance from start to finish. Director and choreographer Joanne Hand deserves immense credit for bringing together a show that never lacked energy, precision or enthusiasm, while the choreography made full use of the stage and kept the action moving at a relentless pace. The impressive set provided the perfect backdrop to the futuristic world of We Will Rock You, adding both scale and visual interest to the production. Musical Director Steven Hood ensured Queen's iconic score was performed with confidence and style, while the costumes, overseen by Linda Sams, added further visual impact, helping to bring the colourful characters and dystopian setting vividly to life. Together, the creative team and cast delivered a polished, entertaining and thoroughly enjoyable production that demonstrated once again why the Darlington Operatic Society remains one of the region's leading amateur theatre companies.

We Will Rock You runs at Darlington Hippodrome until Saturday 7th November

Theatre Review - 2:22 - A GHOST STORY, PEOPLE'S THEATRE, NEWCASTLE

Written by Danny Robins, the play focuses on the relationship between belief and science as two couples discuss whether or not they believe in ghosts. Jenny has been alone for three days in the house she and husband Sam have been renovating. When Sam returns, just in time, for a dinner party, he finds that Jenny now believes their new home is haunted. Their guests, Lauren (Sam’s old friend from Uni) and Ben (her new boyfriend), agree to stay up until 2:22 to find out who is right, Jenny or Sam. It’s surprisingly light-hearted and very funny, with well-developed characters. This adds all the more to the mounting tension and will have you jumping many times throughout the production. I think many people will probably guess the ending before reaching it; however, it doesn’t matter, as the show moves so swiftly it carries you willingly to its unsettling conclusion. The story builds on itself, bringing you deeper and deeper inside until you are fully immersed.

Photo by Paul Hood

Director Anna Dobson must be commended to for creating such a fantastically well-rounded production. The first half was good, with a few jump scares here and there, but oh, Act Two! An almost palpable electricity filled the theatre as the second half of the show washed over us all. The sound design (Tracey Lucas) had the audience’s reactions in the palm of its hand, from humorous moments from Alexa, to terrifying noises, all perfectly timed. Lighting design (Claire Brissenden and Ben Nielson-Rouse) was very effective at setting and changing the tone when needed, also with impeccable timing. The play opened on an intricate work-in-progress family home, complete with kitchen, and with a screen to show the countdown – and the set (Set Design, Sands Dobson) was well thought out and well dressed, grounding the play in the mundane reality of day-to-day life.

Photo by Paul Hood

Performers Laura Astin and Max Earnshaw set the perfect tone when needed as ‘Company’. Holly Stamp was brilliant as the highly-strung mother and wife Jenny, as she tries to finally assert her own feeling and beliefs. Kay Edmundson downplays her role nicely as the sarcastic and flirtatious therapist Lauren. Sam Hinton makes the opinionated and arrogant Ben likeable, despite his foibles, and delivers his lines with wit. Sam Burrell is charming, funny, and just plain great as hard-working cockney Ben.

A perfect start to the spooky season!

2:22 – A Ghost Story is showing at The People’s Theatre, until 24^th October.

Theatre Review - PICNIC AT HANGING ROCK - PEOPLE'S THEATRE, NEWCASTLE

 

Photos by Paul Hood

A curious play, adapted by Tom Wright from the book of the same name by Joan Lindsay, it questions what is true reality? Do societal concepts really hold true when the natural world calls to us? On Valentine’s Day, 1900, Appleyard College (a strict girls boarding school) takes its students on an outing. As teachers, pupils and other tourists enjoy the savage beauty of the wilderness, watches stop and a discomforting sense of befuddlement sets in. Students and a teacher are lost, or did they run away, or are more sinister factors at play?

Photos by Paul Hood

The atmosphere, created by director Matthew Hope, was electric. As you walk into the studio, the stage is set in the round, leaning into the eerie feeling of someone or something always watching. The room is filled with hazy fog, with soft lighting (Lighting Design, Will Bunn), and noises (Sound Design, Emily Jeffery) of the Australian outback leading you into a humid, lazy, hot day. But tensions build as performers work in unison to deliver an enthralling performance. Actors do not merely perform, but are possessed by the story itself and act as ensemble to reinforce important moments. The characters often spoke in the third person. This was particularly effective when the girls are climbing the rock, adding to the air of confusion. It’s as if the show does not want you to understand who is who, purposely throwing you off as wonder and confusion take hold. 

Photos by Paul Hood

The cast have their own individual character and yet, because of the symbiotic nature of the performance, they were often working as one; it was truly mesmerising. Actors Ashleigh Gloyne, Oryssa Sahota, Ashton Matthews, Abii Smith and Lauren Urmson all clearly worked excessively hard to create such perfectly tuned art.

Photos by Paul Hood

An absorbing and disorientating evening that will leave you with more questions than answers. An exceptional production! Picnic at Hanging Rock is showing at the People’s Theatre until 17^th October.

Theatre Review - TWELVE ANGRY MEN, DARLINGTON HIPPORDROME

 

Twelve men are locked in a stuffy jury room after hearing three days of testimony in the trial of a sixteen-year-old boy accused of murdering his father. Initially, they expect a quick verdict, as the evidence appears overwhelming. The prosecution has presented a clear motive in the boy's troubled relationship with his father, an eyewitness claims to have seen the stabbing, and neighbours reported hearing a violent argument before the murder.

Before leaving the courtroom, the jurors are reminded that the verdict must be unanimous and that a guilty verdict will result in the death penalty. Expecting a swift conclusion, eleven jurors vote guilty, while Juror 8, played by Gary O'Brien, casts the only not guilty vote. This is not because he believes the boy is innocent, but because he feels the case deserves careful discussion rather than a rushed decision.

The hot, claustrophobic setting reflects the growing tension among the jurors. As their discussion continues, the room becomes increasingly oppressive. The men pace restlessly, struggling with the intense heat, while the broken fan symbolises their discomfort and frustration. The only relief comes from the water cooler in the corner. The set design effectively heightens the sense of confinement, mirroring the mounting conflict and pressure as the jurors begin to question not only the evidence but also one another.

The jurors' initial guilty verdicts are heavily influenced by their prejudice towards the boy. Because he comes from a disadvantaged background, many assume he is capable of committing the crime, demonstrating how bias can affect the pursuit of justice.

As tension among the jurors increases and the oppressive heat of the jury room intensifies, their emotions begin to surface, exposing their personal prejudices and biases. This leads some jurors to rely on stereotypes rather than the facts of the case. As a result, they struggle to consider whether there is reasonable doubt, a vital principle when deciding on a verdict that could ultimately lead to a person's execution.

Bill Ward gives a powerful performance as the hot-headed Juror 3, capturing the character's anger and stubbornness as he struggles to separate his personal feelings from the facts of the case.

Twelve Angry Men is a gripping and thought-provoking production that keeps the audience engaged throughout, delivering a powerful message about prejudice, justice, and the importance of reasonable doubt.

Twelve Angry Men runs at Darlington Hippodrome until Saturday 10th October

Theatre Review - THE WASP - THE PEOPLE'S THEATRE, NEWCASTLE

 

photos by Paul Hood

Written by Morgan Lloyd Malcom, The Wasp is ultimately a tale of trauma and how the two characters choose to cope with it. It’s a very dark show that deals with some very difficult subject matter. Externally, Heather is doing much better in life than her former classmate Clara, but internally is a different story. With many twists and turns, you will not see coming, the audience sat stunned for most of the show. The play seems to ask the question: can you excuse the abuse caused by someone who has been abused themselves? Can you break the cycle? The plays conclusion; no. It forms the chance as one to walk away, or pick up a knife instead, and violence is the choice we make. The show has a well-crafted ending, but the show is very intense and hard-going. This is more a visceral piece of theatrical art than a ‘nice night out at the theatre’.

photos by Paul Hood

Director Rhiannon Wilson really dug into the emotion of the piece, creating something that often felt painfully real. Having the audience surround the small stage added to the claustrophobic and extreme feelings of the show. Sound (Craig Fairbairn) and lights (Karen Dales and Karl Burr) added to the sinister feel of the show. The set (designed by Anneliese Clifton and Stewart Dives) was simple but effective, with artwork hung on all four walls symbolising different aspects of the play. Annie Elizabeth Cairns gave a funny, foul-mouthed and at times agonisingly real performance as Carla. Hattie Eason took you on Heather’s journey with ease - from slightly awkward and haughty, to sinister and disturbing. Both women put in outstanding performances, carrying the whole show between them.

It is a very powerful and emotive show, with no interval, and with a lot of verbal content that may be triggering some people.

photos by Paul Hood

The Wasp is showing at The People’s Theatre until the 12^th September.

Theatre Review - 9 TO 5 THE MUSICAL - DARLINGTON HIPPODROME

This production of 9 to 5: The Musical, based on the beloved 1980 film, brings Dolly Parton's iconic story to the stage with humour, heart and a collection of unforgettable songs. Following three women determined to stand up to their overbearing boss, the show combines laugh-out-loud comedy with a powerful message about workplace equality and friendship.

The set works perfectly, showcasing a variety of office spaces as cast members move seamlessly between areas defined by subtle staging and invisible boundaries. A raised level provides additional locations for scenes to unfold, adding depth and variety to the production. The live band, visible throughout the performance, bringing energy into every number.

At the heart of the story are three very different women brought together by their work and their shared struggle against their chauvinistic boss, Franklin Hart Jr., played by Tim Rogers. The chemistry between the trio is exceptional. As Judy, Kayla Carter captures the character's vulnerability on her first day in the office before convincingly growing in confidence as the story progresses. Jade Marvin's Violet exudes quiet determination and natural leadership, while Karla Tracey perfectly embodies Doralee's warmth, charm and resilience.

The standout performance of the evening comes from Jessica Martin as Roz. Hopelessly devoted to Franklin Hart Jr., she delivers the show's comedy with impeccable timing. Her show-stopping musical number is one of the highlights of the night, showcasing both her impressive vocal ability and her flair for physical comedy.

Meanwhile, Tim Rogers relishes the role of Franklin Hart Jr., creating the perfect pantomime-style villain. Smarmy, arrogant and thoroughly unlikeable.

Combining excellent performances, energetic musical numbers and plenty of humour, 9 to 5 The Musical runs until Saturday 8^th August.

Theatre Review - THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME - PEOPLE'S THEATRE, NEWCASTLE

Based on a novel by Mark Haddon and adapted for the stage by Simon Stephens,

The Curious Incident of the Dog in the Night-Time is an interesting show about an

autistic teenager’s struggle that pulls no punches. When his neighbour’s dog is

murdered one night, Christopher Boone (an autistic teen with a skill for mathematics)

has his world shaken and immediately begins an investigation of the dog’s death. His

enquiries bring to light things that Christopher struggles to understand and

revelations that transform his world.

Director Sam Burrell created a production that sits you in Christopher’s world of

numbers and brings out the discomfort of being autistic in an unforgiving world. Cube

numbers (numbers cubed) covered the stage, giving a feeling of being filled, but

because the set (built by Carol English) was really only a few white boxes with some

occasional props within it, it never felt cluttered and seemed to serve as a beautiful

device for storytelling. Simple but very effective. The innovative use of lighting,

designed and operated by Tim Swinton, really added to the moment of Christophers

discomfort whenever anyone violated his personal boundaries. The use of a

projection on the back wall, combined with the excellent sound effects (Sound

Design Sam Burrell and Tracey Lucas) really gave a great representation of how

human touch upset our main character. The intensities of the music and sound

combined to really draw you into the scene as Christopher ventured forth on public

transport, and the way the ensemble moved within that scene was mesmerizing. It

was a truly stand-out production full of interesting staging.

The Ensemble (Cat White, Charlie Milne, Colette Knowles, Lauren Elizabeth and Tim

Clark) were mesmerising when moving in a choreographed fashion, but were also all

individually brilliant in the smaller roles they played. Eileen Davidson was charming

as Mrs Alexander, the well-meaning neighbour. Sara Jo Harrison showed a heart-

breaking honesty in her portrayal of Christophers mother, Judy. Sean Burnside was

very careful to underplay his part as Christophers frustrated yet loving dad, Ed, with

incomparable results. Alison Carr struck the perfect notes as teacher/support worker

Siobhan. Like Christopher himself, I can tell no lies, so I must also express how

exceptional Zachary Douglas’s performance was of the main character, Christopher

John Francis Boone.

A very interesting show, not to be missed. The Curious Incident of the Dog in the

Night-Time is showing at the People’s Theatre until Saturday 13th  June 2026.