Theatre Review - AROUND THE WORLD IN 80 DAYS - PEOPLE'S THEATRE, NEWCASTLE

 

Fogg (Roger Liddle) Fix (Sean Burnside) Von Darius (Ruth Gibson) Mrs Aouda (Nadia Rafi-Kenny)
photo Mark Burden

Around the World in 80 Days by Jules Verne, adapted for the stage by Laura Eason, tells the story of the wealthy aristocrat Phileas Fogg, who lives a happy and very predictable life. He frequents the Club to play Whist the same time everyday meeting the same people, never having even ventured out of England. All this changes when someone claims it is not likely that anyone could traverse the world in a mere eighty days. Much to the chagrin of his new valet Passepartout (who was hoping for a quiet life), the pair are swept into an adventure that spans the globe. With so many obstacles thrown in their path, will they make it back to England in eighty days?

Director Mark Burden certainly had a mammoth task on his hands, creating an ever-moving show that follows Fogg’s remarkable journey. The staging of scenes, involving boats, trains and, my personal favourite, an elephant, uses actors and props in an ingenious and fun way. The set, designed by Sands Dobson and Tim Swinton, is a triumph of simple, well-chosen adaptations such as stairs painted to be suitcases. In an interesting touch, open suitcases lie across the back of the stage containing props and costumes for the Ensemble to use as they change roles during the play. They also occasionally watch the show with us, in an almost Brechtian twist. Roger Liddle is superb as the eccentric Phileas Fogg, as he rescues Mrs Aouda, played by Nadia Rafi-Kenny. Moira Valentine is funny, heroic and extremely lovable as Fogg’s valet, Passepartout. Meanwhile, the wily Inspector Fix, played by Sean Burnside, will make you wish it was panto season so you can ‘boo’ his underhand and ungentlemanlike behaviour.

For me the star(s) of the show were the Ensemble (Daniel Magee, Cat White, James Hardy, Jess Chapman, Ruth Gibson, Isabella Warburton Brown, Geffen Yoeli-Rimmer, Alison Carr, Jo McEvedy and Sands Dobson), who wove in and out of each other like a needle and thread. Not only that, they also created the multitude of eccentric characters Fogg encountered along the way, forming an atmospheric background and became a variety of different transportations. The Ensemble swayed with such perfect synchronicity as crew on several ships, I almost felt seasick!

Around the World in 80 Days is well worth the bus fare!

Showing at the Peoples Theatre until 29^th November.

Passpartout (Moira Valentine) Insp Fix (SeanBurnside)
photo Mark Burden

Theatre Preview - A Midsummer Night’s Dream, Northern Stage

 A Midsummer Night’s Dream by William Shakespeare

29 October - 12 November 2022, Northern Stage

 David Nellist - Thesus - Photo credit Patch Dolan

A riotous new production of A Midsummer Night’s Dream directed by Matthew Dunster and co-directed by Jimmy Fairhurst was the first Shakespearean inspired production to be staged in the Cockpit Theatre at groundbreaking new venue Shakespeare North Playhouse in Prescot, Merseyside.

Featuring the voice of BAFTA nominated actor David Morrissey as Oberon, and Mercury nominated singer-songwriter Nadine Shah making her theatre debut in the role of Titania, the show opened to rave reviews. 

Nadine Shah - Titania - Photo credit - Patch Dolan

This anarchic production of one of Shakespeare’s best loved plays is the first collaboration between Shakespeare North Playhouse, Not Too Tame and Northern Stage, and the creators promise a show that’s to be experienced, not just watched. 

Not Too Tame Artistic Director Jimmy Fairhurst explains, "Most people have seen a version of A Midsummer Night’s Dream but this is a refresh of the real bones, the warts and all of the play. It really speaks to me as a working class person - a full-tilt, full-on night out. We want to see how dark we can go, like Nick Cave dark - imagine a music festival at Banksy’s Dismaland bemusement park - and still maintain all the playfulness and celebration, that sense of fun, excitement and entertainment. It’s anarchic, raucous, great night out theatre and we can’t wait to welcome audiences into our world.” 

Rebecca Hesketh Smith and Company - Hermia - photo credit Patch Dolan

An open call for auditions across Newcastle, Warrington and London received an overwhelming 2000 responses, leading to more than 200 auditions taking place. The final cast boasts a diverse mix of emerging and experienced talent, with several members of the cast making their professional debuts. 

In addition, to ensure the casting process and overall performance was as accessible as possible, this unique production of A Midsummer Night’s Dream integrates the use of British Sign Language throughout. 

Director Matthew Dunster says, “Do I want to direct a show at a brand new Shakespeare theatre in the North West with Not Too Tame and a load of other working class heroes. OF COURSE I DO. And do I want to collaborate with Shakespeare and challenge him and be challenged by him and his brilliance. YES. YES I DO. He’s the best and we are going to do everything to bring a brilliant first major Shakespeare to Shakespeare North Playhouse and then take it on to one of my favourite theatrical homes at Northern Stage. What a privilege this gig is.” 

The company is as follows: Andrew Butler, Tyler Dobbs, Tia-Bella Easton, Jimmy Fairhurst, Kelise Gordon, William Grint, Louise Haggerty, Rebecca Hesketh Smith, Kate James, Yazmin Kayani, David Morrissey, David Nellist and Nadine Shah. 

A Midsummer Night’s Dream is co-directed by Olivier-nominated director Matthew Dunster (Hangmen/Royal Court) and Not Too Tame founder and artistic director Jimmy Fairhurst (Palace of Varieties/Derby Theatre). Set and costume design is by Linbury Prize-winning designer Jen McGinley who has worked with the New Diorama, Derby Theatre, Northern Stage, the Royal Lyceum and the National Theatre of Scotland. Sound design is by Tony and Olivier award-winning Ian Dickinson whose credits include Jerusalem for the Royal Court and The Curious Incident of the Dog in the Night-Time for the National Theatre. Lighting design is by Sally Ferguson (Richard III/Perth Theatre), choreography is by Chi San Howard (Corrina Corrina/Headlong and Liverpool Everyman), fight director is Kevin McCurdy who has worked for the Young Vic, Kiln Theatre, ETT and Lyric Hammersmith, Zoe Murtagh is Associate Director and Claire Bleasdale is Casting Director. 

Louise Haggerty -Puck - Photo credit Patch Dolan

“For anyone who thinks Shakespeare isn’t for them, there is literally no better company than Not Too Tame to make you reconsider - I fully expect to fall back in love with the Bard and I am hyped to be co-producing A Midsummer Night’s Dream with them and Shakespeare North Playhouse. It’s going to be wild!”- Northern Stage Artistic Director Natalie Ibu.

A Midsummer Night’s Dream premiered at Shakespeare North Playhouse in Prescot (22 September - 22 October) before transferring to Northern Stage (29 October - 12 November). 

For more information or to book tickets visit northernstage.co.uk

Theatre Preview - STAIRWELL - THE THINGS WE FIND, TOUR

Moving dance tribute to the North East’s heritage,

Stairwall – The Things We Find by Esther Huss,

reinvigorates industrial communities

Inspired by the notion of ‘almost too serious’, Stairwall - The Things We Find, is a playful exchange of dance, visual art, and music, which holds the beauty of the North East, and the stories communities offer at its core. From Dance Artist Esther Huss (ABOUT US, MAO Gallery; Faust & Turandot, Royal Opera House; Trinkets, Tate Britain) comes a new ever-changing visual piece, exploring how residents connect through their local communities. The North East has become a catalyst for German-born Esther’s work, reminding her of the local values instilled in her upbringing and the tight-knit sense of neighbourhood kindness she grew up with.

Collaborating alongside visual artist Claudia Sacher (Breath of my Garden, Gibside; Minor Injury, Healey; Marking Time/ Tritt Auf der Stelle, Museum Folkwang Essen), and sound artist Jeremy Bradfield (The Snow Queen, Northern Stage; Tyne Rising, Newcastle Puppetry Festival; The Tin Foil Astronaut, Kitchen Zoo), Huss creates a blend of creative energy; each art form draws from the other to form a physical manifestation of the North East. Backed by Bradfield’s improvised score, Sacher creates art on the set: a largescale wall that can be climbed on or revolved depending on how the tension in the performance rises. Huss works in tandem with the score and art, feeding off the constantly changing atmosphere to create a dance that will never be the same routine twice.

Before each Stairwall performance, Huss and her collaborators will lead workshops with a local community group, including primary schools and youth groups, which will influence the direction of her performance. As well as this unique chance to engage with the performance in advance, audiences will be encouraged to bring an item that they feel represents their community to inform and inspire the performance.

Workshop groups contribute their own experiences of growing in these communities, rooting Stairwall as a space in which an audience becomes familiar and can connect with their heritage. Esther’s practice puts a large focus on emphasising unusual and underused spaces. Stairwall features a National Trust site, a village hall on the edge of Hadrian’s Wall, a local mining institute, and a functioning timber merchants in the heart of North Shields. Placing performances in these spaces ignites the history that the venues hold in the North East, combining contemporary audiences' experiences with the stories that precede them.

Esther comments, I want to show those moments of truth that audiences can connect with. Stairwall allows an audience to bring their own experiences, dreams, fears, and hopes to the piece. By taking it to their communities in the North East we root it in a space they’re familiar with and they can connect with it even more. It’s magic.

Stairwall is made possible with funds from Arts Council England, Dance City, and Northumberland County Council, leading organisations in the North East focusing on cultivating Northern artists’ work.

 Friday 28th October, 7pm 1st Floor, Cambois Miners Welfare Institute, Ridley Terrace,

Cambois, NE24 1QS

Sunday 6th November, 1pm Percy A. Hudson LTD, Timber Merchants, Borough Sawmills,

Northumberland Street, North Shields

Sunday 6th November, 4pm Percy A. Hudson LTD, Timber Merchants, Borough Sawmills,

Northumberland Street, North Shields

Theatre Preview - AROUND THE WORLD IN 80 DAYS - PEOPLE'S THEATRE, NEWCASTLE

 

Join the People’s Theatre on an action packed globe-trotting adventure next week!

In Victorian London, the fabulously wealthy Phileas Fogg accepts a wager challenging that he can’t circumnavigate the globe in just eighty days. 

Along with his hapless valet Passepartout, the unflappable Fogg immediately sets out on a high-spirited escapade that takes them from the damp streets of London through far-flung outposts and on to the Wild West.

Along the way the pair rescue Mrs Aouda, and the trio must race against the clock on a dizzying succession of trains, steamboats, a wind-propelled sledge and even an elephant! 

And all the while, Scotland Yard’s finest Inspector Fix is hot on their heels, believing that Fogg is a thief on the run!

An ensemble of nine performers play over forty characters, from gentleman to street-sweeps, consuls to cowboys! All there to help – or hinder – Fogg and friends on their journey.

This celebrated adaptation by Laura Eason of Jules Verne’s classic 
AROUND THE WORLD IN 80 DAYS harks back to Hollywood adventure films of the 1930s and 40s. 

It's a madcap ride packed with colour, invention and music, and is the perfect half-term treat for all ages! 

And so younger intrepid travellers can join in, they’ve added an afternoon performance on Saturday 29th.

Director Mark Burden comments: “We have had the most wonderful adventure creating this production and we really hope you can come aboard with us to have fun going around the world in 80 days!”

AROUND THE WORLD IN 80 DAYS is playing at the People’s Theatre in Heaton from Tuesday 25th to Saturday 29th October. The running time is approximately 2 hours (including an interval). All details and booking at www.peoplestheatre.co.uk

Theatre Review - SPIKE, DARLINGTON HIPPODROME

 

Spike, written by Ian Hislop and Nick Newman has delightfully brought the comedy of Spike Milligan to Darlington Hippodrome. Many younger members of the audience, under 60, may not be aware of the life of Spike Milligan, but of course will probably know of his comedy writing for The Goon Show. Spike developed The Goon Show in the 1950s, as it quickly became one of the highlights for families to gather around the radio, enjoying his madcap comedy writing and performances from Harry Secombe and Peter Sellers, who soon found fame. Spike though, had many struggles from his time in the trenches, Hitler and his disputes with the BBC.

The show begins with Janet, Margaret Cabourn-Smith, in the BBC recording studio introducing us the unusual everyday objects used as sound effects before explaining recorded sounds are about to take over. Robert Wilfort expertly portrays Spike as the writer and comedian showing how his torment from the war and fighting with the BBC, leading him to be hospitalised. Patrick Warner as Peter Sellers and Jeremy Lloyd as Harry Secombe perfectly portray the comedy loved by so many.

This is one of those shows where the audience will laugh loudest and have the most fun, when they are a Spike Milligan and Goon Show fan, but it’s worth going to appreciate the clever script, incredible cast, great staging and learning about the history of Spike Milligan and The Goon Show.

Theatre Review - THE GOOD LIFE, PEOPLE'S THEATRE, NEWCASTLE

Based on the TV series by John Esmonde and Bob Larbey, adapted for the stage by Jeremy Sams, the classic seventies sitcom comes to the People’s Theatre. Tom and Barbara choose to leave the rat race behind them and turn their suburban home into their own self-sufficient farm. They grow their own vegetables and keep animals in the back garden, much to the chagrin of social-climbing neighbours Margo and Jerry. Fans of the original show will note differences to the storyline and ending - to be expected with an adaptation; overall the show carries onto the stage very well.

 

Director Steve Hewitt manages to keep the heart of the show, bringing out humour and compassion at each turn. In many ways a story of its time, with the ‘expectation’ of flirting between men and women, it’s also a story that will always be relevant, with the dream of a self-sufficient future away from the norm. The show is a little slow to get going but when it does it’s a cheerful romp through this life-less-lived. The production gently encourages you to pause and take stock of your own life, whilst also being a reminder that drinks with friends is always a good idea. The set (designed by Alan Potts) was a simple but effective split between the two very different houses of the couples. Sound (designed by Kate Scott) and lighting (designed by CJ Zangerle Murray, Phil Bradley and Tim Swinton) added to the action and helped set a smooth pace. The crew operating scene changes were highly effective and swift. However, there were a few occasions when the audience was left twiddling its collective thumbs as actors went off set to change. The costumes (Dianne Edwards) also helped set the era of the piece, with Margo exhibiting some truly fabulous dresses.

 

The whole cast created a magnificent performance, with goat Geraldine (Pippy) causing hilarious havoc after escaping. Margaret (Molli Lloyd-James) provided humour as Sir’s secretary. Mary (again, Molli Lloyd-James) and Policeman Frank (Charlie Hope) had an amusing moment where their eyes met over a home-made pig ventilator - with Dr Joe (Steve Strouzer) charmingly bemused by the situation. Milkwoman and Harriet the Pig Lady (both Rosa Cole) brought some wry humour to the feast. Andrew Ferguson, or ‘Sir’ (Pete McAndrew), left us smiling as he continually forgot Tom’s name, while his wife, Felicity Ferguson (Nicky White), had the audience howling with her dance moves. The main four could not have been better cast, with a clear chemistry between the lovers and friends that flowed from the stage like peapod wine. Margo Leadbetter (Sarah McLane) managed to be kind and slightly offensive at all times. Jerry Leadbetter (Mark Buckley) hit the right note as the man in charge in the boardroom, but not in his own home. Tom Good (Stuart Laidler) and Barbara Good (Ellie Pullen) gave the enchanting impression, in each scene, that as they moved towards their goal, they moved closer to each other.

 

Cheeky, charming and lovable, put simply this show is ‘The Good Life’.

 

Showing at the People’s Theatre until 8^th October.