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.

Theatre Review - MIDSUMMER MURDERS - DARLINGTON HIPPODROME

 

The very first story—The Killing at Badger’s Drift, originally seen on television in 1997—has been brought to the stage in this new adaptation of the much-loved Midsomer Murders. The play introduces audiences to the seemingly quiet village of Badger’s Drift, where beneath its calm exterior lies a web of secrets, intrigue and murder.

The story follows DCI Tom Barnaby and Sergeant Troy as they investigate the suspicious death of an elderly villager. When concerns are raised that her death may not have been natural, the case unfolds through a series of clues, red herrings and further deaths. With its fair share of eccentric residents and unexpected turns, this classic whodunnit keeps the audience guessing throughout.

Daniel Casey, well known for his long association with the television series, leads the cast as Barnaby with quiet authority, while James Bradwell provides strong support as Sergeant Troy. The pair work well together and carry the investigation convincingly.

The remaining five cast members take on multiple roles, moving quickly between characters with skill and clarity. Their performances bring energy to the production and help create a lively picture of village life.

One of the more pleasant surprises of the evening is the humour, which adds lightness to the story and balances the darker moments without detracting from the mystery.

The set is well designed, with locations moving smoothly into place, and is supported by effective sound and lighting that help maintain the atmosphere throughout.

Overall, this stage adaptation makes for an enjoyable evening’s entertainment, successfully capturing the spirit of the much-loved series while offering something fresh for theatre audiences.

Midsomer Murders runs until Saturday 22 May at Darlington Hippodrome.

Theatre Review - GLORIOUS! - DARLINGTON HIPPODROME

 

Glorious! tells the true story of the flamboyant American socialite Florence Foster Jenkins, portrayed by Wendi Peters, who was dubbed as “the worst singer in the world.” Despite her lack of musical ability, Florence is completely devoted to her passion for singing and is determined to perform for audiences.

With her considerable wealth, she stages her own concerts and carefully fills the audience with supportive friends. Allowing her to remain unaware of how off-key she is and how remarkable her performances are.

At her side is her loyal accompanist, Cosme McMoon, played by Matthew James Morrison. Although he is painfully aware of Florence’s lack of talent, he stays with her out of both necessity and growing affection. Over time, the two develop an unlikely but touching friendship, built on trust, kindness, and shared experiences.

Wendi Peters delivers a perfect performance as Florence Foster Jenkins, an absolutely incredible showcase of her talent. She brings every nuance of the role to life, expertly using comedy, timing, and wonderfully expressive facial reactions to capture the character’s eccentric charm. Her voice is delightfully unique, reminiscent at times of a Hyacinth Bucket-style grandeur, adding an extra layer of humour and affection to the portrayal. Peters commands the stage with a striking physical presence, filling it with energy, warmth, and confidence, truly embodying Florence in every moment.

Cosme McMoon perfectly complements Wendi Peters’ performance as Florence. His portrayal subtly emphasises the comedy throughout, while also adding an extra layer of depth to the relationship between the characters. Through his reactions and understated delivery, he enhances the humour without overshadowing Florence, creating a balanced and engaging dynamic on stage.

You may never have heard of the American socialite Florence Foster Jenkins, but if you want to witness a masterclass performance from Wendi Peters, this is a must-see show.

Runs until Saturday 16^th May at Darlington Hippodrome.