Panto Review -TREASURE ISLAND, GEORGIAN THEATRE ROYAL, RICHMOND

 

PANTOMIME in Richmond is anything but traditional, they take panto and using traditional elements create something fresh in their own unique style. Director and writer, Jo Mawhinney, this year has transported us to the magical adventure of Treasure Island. As soon as I entered the theatre, I instantly arrived to that well known coastal Yorkshire town of Richmond-by-the-Sea!

Nick O'Connor (Dame) on board the HMS Georgian Theatre Royal

After the opening scene, Nick O’Connor, this year as the Dame Wilhelmina Whippy, spent quite a long time doing several shout outs and adlibbing with the audience, in other theatres this wouldn’t work, here it just feels as if a group of friends have met up for their yearly outing. The intimate setting, putting us firmly in the middle of every scene. Nick commands the stage with an incredible presence making him firmly adored by the audience.

Susie Chaytow (Long Jane Silver)

Long Jane Silver, Susie Chaytow, is the most delightful panto baddie, complete with her saxophone! She was perfect to boo and hiss at throughout. Jim Hawkins. the brilliant Marcus Jones, worked-well alongside Dame Wilhelmina Whippy. Polly, Georgie O’Reilly, add a gentleness to the adventure. Billy Bones, Moses Gale, added a different style of comedy, which I absolutely loved. Boris the Rat, Aidan MacFarlane, was an exceptional twist to the proceedings. The energetic Young Company were a delight.

Marcus Jones and Georgie O'Reilly

I enjoyed the interruption of the performance by Peter Pan, Jack McGarry, desperate to get in on the action, even trying to fly!

Nick O'Connor with a member of Young Company at ice cream van

The singing was excellent, superb choreography from Anna Bridgeman, perfect lighting as ever from Tony Wilcock, delightful costumes from Dawn Summerlin, with the highlight of the set being a gigantic moon settling over the audience to end the first act.

Nick O'Connor (centre), Marcus Jones and Georgie O'Reilly

Richmond certainly do panto differently and of course; it wouldn’t be the same unless we all saved the day using knitted items. This time knitted ice creams – pure joy, with so many delighted faces as they hurled them towards the stage.

Moses Gale and Susie Chaytow

Get yourself on board the HMS Georgian Theatre Royal, before it sets sail without you!

Treasure Island runs until 5^th January 2025 at The Georgian Theatre, Richmond.

The cast of Treasure Island

Panto Review - SLEEPING BEAUTY, DARLINGTON HIPPODROME

 CROSSROADS Pantomimes brings Sleeping Beauty to Darlington Hippodrome for this festive season and it certainly will not send you to sleep, with a burst of life and energy it’s non-stop from start to finish.

Josh Benson, Lee Mead, Jamie Jones

I found it very difficult to boo and hiss this year’s panto baddie, with Carabosse, being the incredible Su Pollard. With her career spanning over 50 years, I’ve never been disappointed in any performance I’ve seen her in. She was certainly that lovable baddie with plenty of charm, of course she still got plenty of boos and hisses throughout.

Josh Benson, Su Pollard

It was Carabosse that filled in the story of Sleeping Beauty, so that the story element of the performance moves swiftly on, leaving us with plenty of panto magic.

Jamie Jones

The sprinkling of panto goodness is there to save the delightful Princess Aurora, Stephanie Costi, from Carabosse. Panto Dame, Nurse Nellie, Jamie Jones, has an incredible wardrobe and copes very well with the high heels. The love interest for Princess Aurora is provided by Prince Lee, Lee Mead, known for winning the role of Joseph in the West End, musical fans were pleased he was able to show his singing skills from Joseph. The wonderful Spirit of the Pantomime, Olivia Foster-Browne provided the sparkle required for panto.

Josh Benson

The highlight must be Muddles, Josh Benson, returning, again this year. From the moment entering the stage, he’s full of energy providing excellent humour, great timing and instantly loved by the audience, he truly is Mr Panto.

Lee Mead, Stephanie Costi

Plenty of panto magic with sparkling costumes, stunning sets and lighting and the incredible special effects to end the first act which gets everyone talking about make this yet another spectacular panto at the Hippodrome.

Sleeping Beauty runs at Darlington Hippodrome until 31^st December 2024.

Panto Review - ALICE IN WONDERLAND - PEOPLE'S THEATRE, NEWCASTLE

 

Lewis Carroll’s classic tale of adventure into the obscure is adapted and shaped by Tom Whalley into a fun family pantomime hitting all the usual tropes. This time the rabbit invites Alice to follow him into Wonderland and, in turn, remember that our imaginations are the key to the world of wonder that awaits. A flashy show, full of songs, fun, laughter and lots of opportunities to shout.

Director Pamela Willis has created an all-singing all-dancing extravaganza that will have all the family on their feet yelling. Musical Director, James Robert Hedges, working with Rhys Chamers (Bass) and Lewis West (Drums) lifted the show through joyous musical numbers that had the audience clapping along. Choreographer Julie Bowman, with assistant Daisy Burden, helped make the show an exuberant and well-timed experience for all the senses. Scenic Designer Anneliese’s Clifton created a space that was a riot of colour and added to the magical feeling of the show. Each of the characters’ unique personalities were well-reflected in their clothes thanks to Wardrobe’s Sarah Pearson.

Overall, this is an exciting show that wakes-up the panto-lover in all of us. The only minor production gripe would be the strobe lights used, which were at times a little blinding and had me closing me eyes as the show started and re-started.

A fine cast of all ages is packed full of talent. The many dancers added so much to each song, creating a frantic force of fantastical proportions. Erin Hattrick was Alice, who is drawn into the amazing adventures by the hilarious White Rabbit (Alison Carr). The Duchess (Ian Willis) brought humour and inuendo to each scene she graced. Anneliese Clifton, Emily Jeffery and Sophia Mawston brought added musical depth as Vocal Support and extra fun as Cards (Ace, Three and Seven). Robbie Close looked and sounded fantastic as the slow and deliberate Caterpillar, Dormouse (Rosa Cole) was a charming sleepy inhabitant – balanced perfectly by the over-exuberant March Hare (Zara Baqir). Tweedle Dum (Ben Watkins) and Tweedle Dee (Callum Mawston) deserve an award for the longest and most complex handshake ever and Queen of Hearts Kirstie Corfield was immense as the sassy wonderland monarch. Perfection, however, thy name is Luke Newey – no-one could be a better Mad Hatter.

Alice in Wonderland is running at the People’s Theatre, until 15^th December 2024.

Panto Review - BEAUTY AND THE BEAST - DURHAM GALA

THE first pantomime of the festive season has started with Beauty and the Beast at Durham Gala. I must admit that as the lights went down and the band began, the excitement across the auditorium was felt from all ages.

Although Beauty and the Beast is a classic tale and will be very familiar by many, in terms of a panto it is always very different. In this version Gary Kitching has set it in Chester le Rue, with the Beast living in the mysterious abandoned Château de Pitié pour Moi, known by locals as Pity Me Castle. He has created a strong storyline, with the sparkle of panto, rather than a very loose storyline placed around panto style scenes. It works perfectly engaging people of all ages.

Belle, Beth Crame, is a feisty yet delightful character, where she, of course ends up in the castle, where she gets to know The Beast, Suryan Hadrick, showing a range of emotions. Also in the castle is Monsieur Brillant, Adam Donaldson and Madame Horloge, Sarah Bulmer, they have an excellent rapport and often command these scenes. Jude Nelson playing Jongleur is full of energy and quickly engages with the audience. She has been one of the highlights over the last few years and I hope she will be here for many years to come. The only part which didn’t work for me, was Jongleur’s juggling, running through the performance it just didn’t add anything and ended slightly flat, though this may change during the run. Jongleurs’s side kick was the mad-cap Madame Perplexe, Zoe Lambert, this felt as if it was replaced for the Dame style character, for me though I didn’t miss the Dame, Zoe was perfect for the role complementing Jangleur perfectly. My favourite character had to be Gourmand, Kieron Michael, as the villain, he provided plenty of opportunity for the audience to react with, full of comedy, the perfect lovable villain. The ensemble completed the cast, as the hard working dancers, with some very quick changes.

The set, lighting and sound are perfect for the production, faultless throughout. Excellent, bright and colourful costumes and delightful choreography.

Beauty and the Beast is engaging to all ages, with an amazing cast full of humour and fun, great story with a local twist and plenty of opportunities for the audience to interact with.

Beauty and the Beast runs until Tuesday 31^st December at Gala Durham Theatre.  

Theatre Review - IT'S A WONDERFUL LIFE - PEOPLE'S THEATRE, NEWCASTLE

 

Company photo Paul Hood

Most of us are aware of the well-loved James Stewart / Frank Capra film. This adaption for stage, written by Mary Elliott Nelson, loses nothing of its joy and, in my opinion, adds to the experience. The story starts as we hear the well-wishes of the many people praying for George Bailey. George is in crisis, and contemplating the stark realisation that ‘financially’ he’s worth more dead than alive. With so many people asking for help on his behalf, how could Heaven not seek to help him? Angel-in-training Clarence is dispatched to assist and looks over the events that brought George to his crisis point. George is ultimately given a chance to look at the world without him in it – and we are all reminded that the good deeds we do in life, no matter how small, may mean a lot to someone else.

George (Sam Hinton) & Clarence (Tony Sehgal) photo Paul Hood

As we returned home from the theatre, with snow falling in the real world, it was as if the Directors had ordered it. I’m not convinced they didn’t orchestrate the weather as Directors Anna Dobson and Sam Burrell had certainly thought of everything else. Even as we found our seats, the atmosphere was glowing as we listened to live Christmas classics – on piano (Tracey Lucas), saxophone/flute (Rye Mattick) and with singing by Moira Valentine. The Set, designed by Tim Swinton, was refined, yet simple, with in-set lighting providing a separation between the town and the celestial beings overseeing proceedings, while also neatly evoking a scene in a snow globe. Musical director Tracey Lucas added warmth with well-chosen harmonies to match the atmosphere on stage. Scene changes were slick and expertly executed, and Movement Director Maya Torres had crafted fluid and effortless action.

Musicians photo Paul Hood

The whole cast were sensational! However, I must single out a few as outstanding: Sam Hinton (George Bailey) took us on a journey of George’s highs and lows with Steve Robertson, as his Uncle Billy, adding joy as he helps and hinders George. Sara Jo Harrison (Mary) added glamour and elegance to the story while Tony Sehgal, as Clarence, was the perfect mix of quirky and wonderful needed to help save the day.

A resounding triumph for all those involved in this production.

You need to see this feel-good play. You need to cry as a happy ending unfolds in front of you. You need to see It’s a Wonderful Life. After all, it’s a wonderful play.

It’s A Wonderful Life is showing at the People’s Theatre until Saturday 23^rd November.

Theatre Review - BLOOD BROTHERS - DARLINGTON HIPPODROME

 

BLOOD Brothers continues to delight audiences through its seemingly never-ending tour and the latest production is certainly no different. The themes are timeless, telling the tragic story of the Johnstone twins who are separated at birth with their lives being intertwined, highlighting the differences in the system from the struggles of the working class to the wealth of the middle class.

Sean Jones plays Mickey to perfection taking the audience on a journey through his life from his youthful exuberance, as an almost 8-year-old, during the first act. To the much darker life as a desperate and broken man in jail who then struggles to adjust to a life with no future. The twin given away to a life of privilege, Eddie, is played superbly by Joe Sleight contrasting to Mickey through his innocence and lack of understanding. Scott Anson as the narrator is relatively understated in his performance moving through scenes interacting with the cast menacingly, whilst providing thought provoking moments especially during the scenes with Mrs Lyons as Sarah Jane Buckley. Vivienne Carlyle as Mrs Johnstone gave a powerful performance with perfect vocals. You could feel the tension from the audience build towards the final scene culminating in ‘Tell Me It’s Not True.’

You can understand why this musical is still so popular, it’s incredibly well structured with a perfect mix of humour and darkness taking us through a range of emotions. The set and lighting complement the overall effect making this an outstanding evening’s entertainment.

The standing ovation is nothing more than the cast deserved.

Blood Brothers runs until Saturday 17^th November at Darlington Hippodrome.

Theatre Review - DR JEKYLL AND MT HYDE, PEOPLE'S THEATRE, NEWCASTLE

 

Ryan Smith - photo Paul Hood

The tale of Jekyll and Hyde, by Robert Louis Stevenson, is well-known and loved by many - and here it is adapted for stage by David Edgar. We start out with the good Doctor visiting his widowed sister and her two children, establishing his character as a good man. Jekyll takes possession of certain effects of his late father and brings them to his house in London. Soon we see the rise of Mr Hyde as he begins to attract the attention of Jekyll’s friends and servants - for his sinister most ungentlemanly behaviour. Lines blur as the two personalities fight for dominance. The age-old question arises: which is stronger, our animal urges or our civilised ego?

Directed by Andy Aiken, Helen Doyle and the company, it’s clear a lot of time and work has gone into this production. The Lighting (Glen Maddison and Karen Dales) was transcendent in bringing about the seemingly supernatural changes between Hyde and Jekyll, while Sound (Alistaire Wu) created the perfect eerie atmosphere with excellent timing. The set (designed by Kaila Moyes) was extremely complex, taking us to a variety of locations.

However, with such an ambitious staging, and some technical issues, the scene changes often seemed a bit clumsy. Also, as the show is tightly-packed with important dialog, it would have helped the audience if some of the actors’ diction was a little clearer.

The second act raced through powerfully to its dramatic end, my favourite scene being between Jekyll and an irritating Pastor in a train carriage, as Hyde slowly takes control. Ryan Smith played the disturbed Dr Jekyll/Mr Hyde, Jenny Davison the innocent Annie Loder, Holly Stamp the faithful housekeeper Poole, Silvia Mosquera his niece Lucy Urquart with Madeleine Egner as nephew Charles Urquart. Natalie Plunga was his widowed sister and Jim Boylan his long-time friend Gabriel Utterson. Emma Mitchell was Dr Hastie Lanyon and Conor McCahill was Richard Enfield. Jamie Gallagher became Hyde’s victim as Sir Danvers Carew, MP, while Steve Strouzer saw Jekyll transform before him as the Parson.

This is an ambitious production of this well-loved Gothic classic. Dr Jekyll and Mr Hyde is showing at the People’s Theatre until 26^th October.

Theatre Review - ABIGAIL'S PARTY - NORTHERN STAGE, NEWCASTLE

 

Amy Rockson Leander Deeny and Laura Rogers in Abigail's Party at Northern Stage

Abigail’s Party, by Mike Leigh, is synonymous with seventies’ ‘of its time’ taste and attitudes. However, a lot of those attitudes and insecurities have persisted and I’d challenge you to find a modern suburb without a ‘Beverly’. The curtains may have changed, but the people have not. Perhaps that’s why this play still resonates with a modern audience. Whatever the reason, its delicious in its awkward humour and devilish jibes. For those unfamiliar with the plot, Beverly is holding a small drinks party to get to know her new neighbours, Angela and Tony. She’s also taken pity on divorcee Sue whose teenage daughter, Abigail, is having her first house party. As Beverly and husband Laurence’s social ambitions clash with each other, the party music next door gets louder and you see the cracks within their relationships become larger.

Chaya Gupta Joe Blakemore & Laura Rogers in Abigail's Party at Northern Stage

Director Jack Bradfield brought forth new layers and depth that force even those who are very familiar with this play to look at its characters in a new way. You walk away questioning their behaviour, while also recognising people you know (perhaps even seeing a little of your own insecurities) on stage. All this while experiencing an exquisite evening of awkward pauses, laughs and one hell of a crescendo. The set seemed much larger than the one normally seen for this show with a plush, statement shag carpet and decadent furnishing. A place to show off and lounge around after far too many gin and tonics. However, it still feels claustrophobic and at times downright suffocating to be at this party.  A clever twist of having a disco ball going with loud music blasting in the foyer afterwards made me feel as if I was exiting through Abigail’s actual party. Laura Rogers is resplendent, in a winged chiffon dress, as the over-sexed and incorrigible Beverly. Leander Deeny had the audience both giggling and worrying at his portrayal of Laurence. We see Laurence sneer at people who don’t read the right sort of books, even though he hasn’t read them himself. Joe Blakemore plays the almost wholly monosyllabic Tony with quiet menace and tempered perfection. Perhaps my favourite changes to this show are the way in which Angela (Ange) and Susan (Sue) are portrayed. The stupendous Chaya Gupta shows Ange not as silly and oblivious but socially awkward and painfully aware of her situation. My heart broke for her. Amy Rockson as Sue took the character to a very classy and confident level. Sue may not say much, but not out of shyness. Sue says what she feels she needs too.

An immensely good evening of theatre that should definably be paired with gin and nibbles. Abigails Party is showing at Northern Stage until 28^th September 2024.

Amy Rockson Laura Rogers & Chaya Gupta in Abigail's Party at Northern Stage

Production photos credit Pamela Raith

Theatre Review - THINGS I KNOW TO BE TRUE - PEOPLE'S THEATRE, NEWCASTLE

 

Sweet young Rosie is travelling Europe, trying to be a grown up and not having the best time. She needs to go home to her family’s rose garden, where everything is safe and everything stays the same. Or does it? Hard-working parents Fran and Bob Price have invested all their hopes into the future generation but what does that mean?  What does happy look like? How much should you sacrifice for the happiness of others and is it worth it? As the Siblings share their secrets and life choices, we ask what should – or would – we do in their place? A fast-paced and fun story with a very touching heart that reminds us all how we ultimately have to change – and what really makes us grow up.

Director Sara Jo Harrison and Assistant director Craig Fairbairn have triumphed in creating a moving, fast paced, poignant and funny show that had the audience enthralled from start to finish. The simple set (Anneliese Clifton), designed to be in-the-round, captures the warm and inescapable feeling of a loving and occasionally stifling family.

The play starts powerfully as the characters congregate in the centre. The lighting (Xander Burbidge), and discordant music threaded with whispers (Sound Craig Fairbairn), gradually intensify, then cut to black. Maya Torres, as Rosie, is sensational as the jubilant younger sister, searching for the rites of passage to help her grow up. Jay Hindmarsh as Mark/Mia gives an understated and superb performance as they explore the true pain of the difficult choices of someone who doesn’t fit their parents’ expectations. Alison Carr plays older sister Pip with vivid visions of being the child that their mother resents, while Sam Burrell, as Ben, gives us an intense look at what can happen to the sibling that has been the ‘favourite’.  Steve Robertson and Moira Valentine have perfect chemistry as long-suffering parents Fran and Bob.

Altogether, this is a marvellous production with much dazzling talent on show. It also has a great story that will remind you to call that person in your family you haven’t spoken to lately. It’s simply one of the finest pieces of theatre it is possible to see; get a ticket before you miss out.

Things I Know To Be True is showing at the People’s Theatre 9^th -14^th September.

Theatre Review - THE MOUSETRAP, DARLINGTON HIPPODROME

 

AGATHA Christie is certainly the Queen of Crime and her stories are a regular feature on the touring circuit, but The Mousetrap is undoubtedly the most famous stage play, with its record-breaking run, having been in the West End since 1952, now with its 70^th anniversary tour.

Set in an old country house we meet Mollie and Giles Ralston, played by Hollie Sullivan and Barnaby Jago, as they are about to open their home for the first time as Monkswell Manor Guest House and nervously await their first arrivals. There follows an ecliptic mix of guests who would never be together in any other circumstance. Once the guests have arrived, they are cut off from civilisation by snow. We hear about an initial murder in London on the wireless, where obvious clues are dropped in, instantly drawing me into the story. Detective Sgt Trotter, played by Michael Ayiotis, arrives on skis to explain that everyone is in danger, which is soon followed by a murder in the guest house, so it isn’t long before everyone appears to have something to hide and could either be the murderer or the next victim.

The outstanding cast gave brilliant performances with the hilariously charming Shaun McCourt as Christopher Wren and Judith Rae as Mrs Boyle, the annoying guest, who complains about everything. Steven Elliott as Mr Paravicini, who turns up unannounced, putting everyone on edge, Amy Spinks as Miss Casewell, who gives the impression there is much more to her than we see and Todd Carty as Major Metcalf, who quietly observes and becomes more and more suspicious as the events are revealed.

The set is exactly as you’d expect from a Christie production, with perfectly subtle lighting.

Of course, after seeing a production of The Mousetrap you are bound by the code of keeping it all a secret in your heart, there is only one way to join this elite club and that is to make sure you catch The Mousetrap.

The Mousetrap runs until Saturday 27^th July at Darlington Hippodrome.

Theatre Review - PETER PAN AND WENDY - GALA, DURHAM

 

DURHAM Gala theatre is renowned for creating excellent pantos every Christmas, more recently they are creating outstanding summer shows and this year is no exception. Peter Pan and Wendy adapted by Laura Turner tells the story of 13-year-old Wendy, with a modern setting. She ends up finding herself lost in a magical enchanted forest, meeting Peter and Tinkerbell and having an awfully big adventure.

Although it does have a pantomime feel to the show, thankfully it isn’t, as I prefer pantos around Christmas. It’s only breaking the fourth wall talking to the audience and encouraging them to join in at times, that gave me the panto feel.

The cast of six, work incredibly hard. Wendy, played by Lucy Davis has the perfect teenage attitude. Peter Pan, played by Lucas Bradley Benson, is fearless and mischievous. A number of the cast including Rosie Stancliffe, Meena Al-Nawrasy and Jordan Larkin play several roles throughout, showing an excellent range of characterisation. Captain Hook, played by Kieron Michael, was certainly a highlight of the evening. He brilliantly shows himself as a menacing and cunning villain, with a perfect vulnerability.

The original music by Joshua Tarrier, subtly drives the plot on, especially with Captain Hook during ‘The Magpie’s Way.’ The brilliant set, designed by Amy Watts, seamlessly changes between scenes. There are plenty of familiar lines you would expect from the traditional story with an excellent Tinkerbell.

My younger companions for the evening, really enjoyed the show, especially Captain Hook.

This is a perfect show for all the family.

Peter Pan and Wendy runs until Saturday 27^th July at Durham Gala.

Theatre Review - THE RAILWAY CHILDREN - THE PEOPLE'S THEATRE, NEWCASTLE

 

Written by E. Nesbit and adapted by Mike Kenny for the stage, The Railway Children is (as Phyllis explains) a family friendly show, of gentle humour. For those who are not familiar with the children’s book, or the film, we follow three children (Bobbie, Peter and Phyllis), as misfortune strikes their family. They move from a wealthy lifestyle in the city to a much simpler life in the Yorkshire countryside. Where before they had servants whose jobs they were unsure of, now it is a choice of Jam or Butter on their bread, not both. They begin to take great joy in the local railway and become familiar and welcome faces to all.

It was a wet Tuesday, but coming into The People’s Theatre, I was transported to Oakworth railway station in Yorkshire for a delightful evening. Then, as if the weather had been timed to the performance, the rain paused as the audience left, giving us a chance to bask in the wonderful glow of a good show. I can’t promise the weather but I can promise a blissful and fast-paced evening at the theatre. Director Chris Heckels-Thompson takes you on a pleasant journey with this children’s classic, leaving the audience chuffed. She created a particularly poignant moment on stage as the ensemble/stage crew pack away the props and furnishings from the children’s old life as their circumstances change. While the children spoke, moving on, their mother lingered and watched. Seamless scene changes whisked us ever-on to the next part of the story. The set, designed by Annelise Clifton, put the audience on the right track from the beginning, with a railway bridge in the centre and the suggestion of a home to the left and the station to the right. With lighting by Glen Maddison and Karen Dales and sound designed by Kate Scott, the settings for the scenes were changed with care and skill.

The whole cast was absolutely marvellous, congratulating all of them on individual quirks would take too long! It featured Steven Arran (Father), Jim Boylan (Butler), Margaret Shaw (cook), Holly Stamp (Maid), Daniel Magee (Perks), Maggie Childs (Mrs Viney), Emily Jeffery (Mrs Perks), Tony Childs (Old Gentleman), Callum Mawston (Doctor), Lukas Cordes (Jim), Ivy Hartwood, Claire Brissenden, Jacob Easton and Martin Johnson (Ensemble), Kaitlyn Aiken and Robin Power (Perks Children). Also, my heart melted to see Billy and Anneliese Clifton as a small boy and his mother. A deep and respectful nod goes to Bill Harrington as Mr Szezcpansky for speaking both French and Russian which (to my untrained ear) sounded perfect. Mother (Kay Edmundson) brought a delicate sympathy to her role. Peter (Joe Moore) and Phyllis (Stephannie Moore) punctured any sombre moments with well-timed humour and were both a true delight to watch. Bobbie (Ashton Matthews) brought a hopeful light to the stage that shone as beautifully as her performance.

An excellent show more than worth the ticket price, The Railway Children is on at the People’s Theatre, until 20^th July 2024.

Theatre Preview - ALL MY SONS - PEOPLE'S THEATRE, NEWCASTLE

 Join the People’s Theatre this week for an absorbing exploration of an American dream gone sour.

1947 America. Successful businessman Joe Keller (Jonathan Goodman, pictured) lives comfortably in a suburban neighbourhood with his wife Kate (Ann Zunder, pictured) and their son Chris (Ian Willis, pictured). Despite what life has thrown at them, they’ve made it.

But when a figure from the past dredges up long-buried secrets, the family find themselves in a tragic downfall of lies, loss and greed.

How far will Joe go to protect his family, his interests, and his legacy?

“I know you're no worse than most men but I thought you were better. I never saw you as a man. I saw you as my father.”

ALL MY SONS is an electrifying exploration of family, truth and loyalty, and its writer Arthur Miller is considered one of the greatest American playwrights of the 20th century.

ALL MY SONS by Arthur Miller is showing at the People's Theatre in Heaton from Tuesday 4 – Saturday 8 June on the Main Stage.

Tickets are available from the People’s Theatre Box Office on 0191 265 5020 (option 2) and online at www.peoplestheatre.co.uk

LISTINGS INFORMATION

ALL MY SONS by Arthur Miller

Date:  Tuesday 4 – Saturday 8 June 2024

Time: 7.30pm

Tickets: £16/£13.50

Venue: People’s Theatre, Stephenson Road, Newcastle upon Tyne, NE6 5QF

Box Office: 0191 265 5020                    

Website: www.peoplestheatre.co.uk

This amateur production is presented by arrangement with Josef Weinberger Limited.

Theatre Review - THE SCHOOL FOR SCANDAL - DARLINGTON HIPPODROME

THE SCHOOL for Scandal written by Sheridan was premiered at Drury Lane in 1777. As his most popular play, a comedy of manners, covering themes such as reputation and hypocrisy. Obviously, the audiences in the 18^th century were very different from today, but although dated it still works surprisingly well.

The simple set works incredibly well. Set in the 1950s with peach drapes and three pedestals with brightly coloured telephones, stools and a chaise longue appearing at times. The lighting perfectly complementing the set. It is the set, lighting and music which intriguingly add to the pace and physicality of the piece. Sheridan did use his play to poke fun at the fashion of the day and with the setting and fashion of the 1950s Tilted Wig Productions have certainly hit the mark brilliantly with the costumes.

The plot follows a lot of complicated scenes with scandalous behaviour. Characters pretending to be someone else, hiding from others, dishonesty, love, wealth, reputation, gossiping so basically the general high society of the 18^th century. The dialogue can be difficult at times, but at others it’s a delight to hear the dated language. It is the skill of the cast that makes it so watchable. Every member of the small cast of eight, give such energy with incredible performances. The choreography implemented perfectly with exaggerated movements and great facial expressions. I’m sure in the original performances in Drury Lane the audience would have produced much more laughter, but, in Darlington, after a quieter 1^st act for the audience, the laughter started to increase during the 2^nd act.

I also must mention the programme, as it is one the best I’ve seen for a long time, created as a Town and Country magazine with plenty of fascinating features, so much more than just a cast list.

A thoroughly enjoyable evening of entertainment.

Running at Darlington Hippodrome until Saturday 1^st June.

 

Theatre Review - THE IMPORTANCE OF BEING... EARNEST - DARLINGTON HIPPODROME

I HAVE never been so confused after spending a night at the theatre before, with Say It Again Sorry’s production of The Importance of Being… Earnest? I still can’t decide if I loved it or hated it. From overhearing some the audience members during the interval, many people expected a traditional performance of The Importance of Being Earnest, It certainly wasn’t going to be anything like that!

Opening with Algernon, Guido Garcia Lueches, at the piano. As the butler, Lane, Rhys Tees, ignores his playing. A bell rings and as Lane announces the entrance of Earnest, the lead actor doesn’t appear. Everything then goes wrong as chaos ensues. The director, Simon, runs onto the stage trying to calm everyone down, Josh, the stage manager, tries his best to help. But the show must go on, so a replacement is quickly found from the audience to play Earnest, played very well by Mark.

The next couple of hours is a completely crazy and an unbelievable performance, as more audience members replace the actors. To be fair the audience members are good at times and you do start to wonder if they have all been planted. There are some incredibly well-crafted comedic elements. The company have cleverly created an interesting production and it will be a different show every time. I might even have to go again to work out if I like it or not!

For an improvised and immersive performance, there is still chance to see The Importance of Being… Earnest? At The Darlington Hippodrome until Sunday 19^th May.

Theatre Review - CONSTELLATIONS - PEOPLE'S THEATRE, NEWCASTLE

 

Marianne (Ellie Pullen) Robyn (Cat White)
photo Paul Hood

What can a subtle change do a situation, the choices we make, or our own perception of that situation? How do these differences alter our lives?  Written by Nick Payne, Constellations is a wonderfully different approach to an old-fashioned love story. Instead of meeting a couple at the beginning and following them to the end, we navigate the universe of possibilities and dance between different pivotal points in their relationship. Linear time is for wimps anyway…

Mariann(Ellie Pullen) Robyn (Cat White)
photo Paul Hood

Director Jess Chapman, has clearly put a lot of thought in how to show the rich variety of options that await us throughout the play. Using sound, light and the positioning of the characters to indicate changes in time or to present alternate versions. She achieved the difficult task of bringing out a coherent story, and intriguing the audience, from a slightly abstract timeline. Technical Designer Tim Swinton and Technical Assistant Sam Sanford created a complexity of interwoven sound and lighting techniques which beautifully framed moments, or aided in indicating changes. Having the set in-the-round (built by Carol English), lent itself to the idea you can truly see this couple from all angles.

Robyn (Cat White) Marianne (Ellie Pullen)
photo Paul Hood

I have a great deal of admiration for the two actresses, Ellie Pullen as Marianne and Cat White as Robyn. A two-handed play is normally tough enough, but neither left the stage, even for a moment. Add to that the further complication of having a lot of very similar and often identical lines that hop from place to place in the timeline and I think you are talking about very difficult roles, pulled off flawlessly by both. Throughout, the actors skilfully demonstrated how, even with the exact same words, a scene can be completely different with a simple shift in tone of voice.

Marianne (Ellie Pullen) Robyn (Cat White)
photo Paul Hood

The show runs approximately eighty minutes, with no interval, so be sure to nip to the loo before being carried off into the beautifully told story. Constellations is showing at the People’s Theatre until 18^th May. A master-stroke of thoughtful theatre!

Theatre Review -DAD'S ARMY - PEOPLE'S THEATRE, NEWCASTLE

 

Of course, it’s going to be a winner to do a much-loved classic sitcom but, The Peoples Theatre does it with style, flare and a belly full of laughs. Here the familiar show is reimagined for the stage to bring you a delightful show full of chuckles. We follow Captain Mainwaring and his motley crew as they navigate home life during the war, finding love, guarding Nazi prisoners and even Morris Dancing!

Director Tracey Lucas brought us in with an exceptionally strong opening, by having LCpl. Jones singing a charming rendition of ‘Who do you think you are kidding Mister Hitler’ timed perfectly to the marching beat of the rest of the cast parading onto stage. There was not a person in the audience who was not won over by this, as applause rang through the theatre. Set design by Sands Dobson, Lighting Design by Claire Brissenden and Joseph Ingram with Wardrobe by Dianne Edwards and the team all worked hard to give a strong sense of the period and setting of the show.  Military Advisor Oskar Avery and Gun Build Stewart Dives added an authentic feel to the piece. The whole show was a delightful experience with even set changes made into a dance from one position to another.

The only fly in the ointment was that some plot points of the assembled episodes seemed to clash a little when placed one after the other. However, the exceptional joy of the piece allows you to be carried away with this, moving ever-onward to the next laugh.

The characters were all simply wonderful.  Many actors may feel the need to impersonate their television counterparts but instead the whole cast hit the perfect balance of using enough of the mannerisms while bringing their own charm to the part. It is becoming somewhat of a cliché for me to say a show at the People’s Theatre was perfectly cast, but they keep doing it! Everyone brought something exceptional to their role no matter how great or small. From carefully folded tea towels, dancing and singing, to disgruntled prisoners, everyone on stage was interesting to watch and kept you involved in the story. To mention names seems unfair in such a large and high-quality cast, all of whom had me in stitches. Quite frankly, words can not do justice to this production, you must simply go out and experience it for yourself. A truly wonderful show, Dad’s Army is showing at the People’s Theatre until 27^th April 2024.