Theatre Review - BLEAK EXPECTATIONS, PEOPLE'S THEATRE, NEWCASTLE

 

As the title may suggest, Bleak Expectations by Mark Evans is mainly a humorous mash-up of two Charles Dickens’ novels - ‘Bleak House’ and ‘Great Expectations’ - with multiple references to many other classic Dickens’ stories besides. The show follows the optimistic ‘Pip Bin’ as he is thrown from his happy childhood and hurled headlong through various plot points from the aforementioned books. The whole show is very tongue-in-cheek, with plenty of absurdity to keep the audience laughing through even the more serious moments.

Director Steven Wallace saw to it that the audience’s experience of the show was nowhere near bleak. It almost felt like a pantomime of Dickens, minus the audience participation (except through laughter). There was nothing that was not, or couldn’t become, an even funnier joke than before. It was also really nice to see everyone, including stage hands, act like the props were ‘real’ e.g. an anvil was treated as heavy throughout. The simple black-and-white set had an almost cartoonish feel (designed by Kaila Moyers), a blank canvas to highlight the humour. Lighting (designed by Claire Brissenden), set the scenes well and added to the shows’ interpretation. The Wardrobe team, Linda Girling and Heather Allan, had a mammoth task with such a large cast, dressing all of the many characters with exceptional skill. The Props team (led by Sam Sanford), also created some great monotone objects that fitted the overall style and tone of the show perfectly and really added to the show and its humour.

The whole cast had very good comic timing as joke upon joke landed perfectly. The Ensemble (Adam Lowe, Ruariri Reed and Hannah Mitchell), added a great deal of support to other cast members and brought out their own well-timed laughs. Hannah Kisiala was charming as Flora Dies Early.  Emily Jeffery was steamy and yet also sweet as Ripley Fecund. Paul Carding had the audience giggling as the various Hardthrasher Siblings. Sam Burrell was hilarious as Bakewell Havertwitch. I had no idea what the joyful Lauren Alllison would say next as Harry Biscuit, but I felt sure it would involve swans. Steve Robertson was wonderfully different in his two roles of Skinflint Parsimonious and Broadly Fecund. Glen Kingston was endearing as the accident-prone Thomas Bin, while Helen Parker played his wonderfully mad widow, Agnes Bin. Of their children, Erin Thwaites time on the stage was far too short as the delightful and droll Poppy Bin, Ellie Carroll was amusing as the hardworking and innovative Pippa Bin and Thomas Kelly was not just funny but also lovable as the ‘central' character, Pip Bin. Roger Liddle had the whole audience engaged with his tale from the moment he set foot on stage as the narrator of his own life story, Sir Phillip Bin. As his nemesis, Sam Hinton, as Gently Benevolent, clearly had fun as a character who was anything but - his comedy timing was exceptional and a joy to see on the stage.

Harrumble! Bleak Expectations; a suitably silly romp through Literature. Showing at The Peoples Theatre until 22^nd November.

Theatre Review - THE SIGNALMAN - DARLINGTON HIPPODROME

 

Set in 1880 on a desolate stretch of railway line, The Signalman, adapted from Charles Dickens’ classic ghost story, offers a compelling and atmospheric evening of theatre. This production took me into a world of isolation, psychological unease, and supernatural dread with remarkable precision.

The set design is particularly striking. On one side, the raised, cutaway interior of the signal box reveals the confined, solitary life of the Signalman. Opposite, the shadowy entrance to the railway tunnel looms ominously, evoking a sense of danger and the unknown. This visual contrast cleverly mirrors the play’s central tension between reality and the spectral.

Chris Walker delivers a powerful performance as the Signalman, capturing the character’s quiet torment and growing paranoia with subtlety and emotional depth. His every glance toward the tunnel builds suspense, drawing the audience into his haunted world.

John Burton, as the Traveller, provides a calm and grounding presence, acting as both confidant and observer. Their exchanges are natural and compelling, anchoring the ghostly narrative in human emotion.

Brief moments of humour break the tension, offering the audience a welcome breath before the suspense builds again. These lighter touches are well-placed and never detract from the story’s eerie tone.

The supporting cast, though appearing briefly, makes a strong impression. Bruce Chattan brings warmth and authenticity as the Innkeeper, while James Morley (Inspector) and Adam Mort (Tom) add urgency and emotional weight in the play’s final scenes. Their contributions help flesh out the world beyond the signal box, adding realism and resonance to the story.

Lighting and sound design are used to great effect. The echo of unseen trains and the subtle use of mist and shadow around the tunnel create an immersive soundscape that heightens the tension throughout. The tunnel itself becomes a silent, menacing presence—almost a character in its own right.

This production of The Signalman is a triumph of mood. It captures the eerie essence of Dickens’ tale while offering a visually and emotionally rich theatrical experience. A must-see for fans of gothic drama and psychological thrillers.

The Signalman runs until Saturday 8^th November at Darlington Hippodrome.

Theatre Review - COME FROM AWAY - DARLINGTON HIPPODROME

credit Scott Akoz Photography

Come From Away is a powerful and uplifting musical that shines a light on an extraordinary act of kindness during a time of global crisis. When the skies over North America were suddenly closed on September 11, 2001, 38 planes were rerouted to the remote town of Gander, Newfoundland, leaving nearly 7,000 passengers stranded in an unfamiliar place.

What followed was a spontaneous and heartfelt response from the people of Gander. With no warning and limited resources, they opened their homes and hearts to complete strangers. Through simple acts of compassion, the spirit of community flowed — warm, generous, and deeply human.

credit Scott Akoz Photography

Now, newly released for amateur performance, Come From Away has been brought to life by DarlingtonOS, who have once again proven their theatrical excellence with a deeply moving and entertaining production. The main cast is split into two teams; I had the pleasure of seeing the Yellow Team on the evening I attended, and they were faultless throughout.

This is truly an ensemble piece of theatre. Every member of the cast was perfectly in sync, bursting with energy, and seamlessly transforming into various members of the Gander community and the unexpected visitors. The mood shifted smoothly from moments of tension to tenderness, humour, and hope — a testament to the cast’s cohesion and emotional range.

credit Scott Akoz Photography

Director Joanne Hand’s choreography and staging were clever and slick. With minimal set changes, the cast used chairs and props to transform the stage into airplanes, shelters, and pubs, maintaining clarity and momentum throughout.

Musical Director Steven Hood led a live band positioned upstage, effortlessly woven into the fabric of the performance, adding drive and emotional depth to every scene.

credit Scott Akoz Photography

DarlingtonOS’s production of Come From Away is a triumph — heartfelt, energetic, and beautifully executed. It’s a story that reminds us of the power of kindness, and this company tells it with sincerity and skill.

Come From Away runs until Saturday 1st November at Darlington Hippodrome — don’t miss it.

Theatre Review - LITTLE WOMEN - DARLINGTON HIPPODROME

Belinda Lang - credit Nobby Clark

Little Women is a classic novel familiar to many, Having never read the book, I approached the story with very different expectations from others in the audience, though I had seen the stage musical version many years ago.

This version of Louisa May Alcott’s story has been adapted by Anne-Marie Casey. Following the lives of the March sisters, Jo, Meg, Beth and Amy with this coming-of-age themes of love, loss and ambition. Set at the time of the American Civil War, their father has gone to war and the family struggles financially. Their mother known as Marmee holds the family together along with the domineering Aunt March.

The four sisters all bring different elements to their characters. Jo, Natalie Dunne, is fiercely independent and goes through the greatest emotional changes and feels she has more depth as the character than her sisters. Meg, Jade Oswald, has an inner strength with a hint of pureness. Beth, Megan Richards, is much more tender and timid. Amy, Jewelle Hutchinson, appears full of self-importance and materialistic before maturing.

Marmee, Juliet Aubrey, is very business-like as she keeps the family together trying to keep everyone protected and safe.

Aunt March, Belinda Lang, is stern, imposing and forceful, but shows humour and a tenderness with possible weaknesses in herself.

The effective set design creates not only the interior of the March family home, but is also interspersed with bare tree trunks giving the sense of the exterior and interior. This is the style of setting I really enjoy as it allows our imagination to enter their world in several ways, especially during the ice-skating scene.

Usually in the second act the pace of a show speeds up towards its conclusion, but here it slows down developing a deeper poignancy leading to the point where we leave the March family.

Join the March family at Darlington Hippodrome, for a mix of humour, love and loss. It will be well worth the visit.

Little Women runs until Saturday 4^th October, Darlington Hippodrome.

Theatre Review - HOME, I'M DARLING - PEOPLE'S THEATRE- NEWCASTLE

 

Johnny (Sam Burrell) & Judy (Kay Edmundson) photo Paul Hood

Written by Laura Wade, ‘Home, I’m Darling’ is an enigmatic dark comedy that questions gender roles in a ‘normal’ marriage; how and why they have changed over the years. The story follows Judy, who (with the support of husband Johnny), is trying her best to live as a ‘fifties’ housewife. It’s a truly fascinating play that certainly seems relevant in a world full of ‘Trad Wife’ influencers. The audience was completely enwrapped as they watched joy turn into private horror as the ‘perfect’ marriage begins to crumble under the weight of an unsatisfying illusion.

Director Eileen Davidson presents a beautiful vision for the play. Transitions were not only swift, but magical - as performers danced (choreographed by Kaila Moyers and Jonathan Goodman) through and into the following scene. Particularly in the first half, it plays out like a series of dream sequences, adding to the idea that living in the fifties is a fantasy. Sound (Kate Scott and Aleks Carver), Lighting (Xander Burbidge, Robbie Close, Kirstie Corfield and Jez Corfield), Props (Rye Mattick, Ashlyn Brook, Helen Parker and Karen Elliott) and Wardrobe (Jenny Davison and Luke McVeigh) all displayed masterstrokes of care and attention that added to the perfection of the play.

The audience was welcomed in with the blare of fifties rock ‘n’ roll music, giving everyone a chance to appreciate the set. Ah, the set! A complete 1950s style two-story house, designed by Kaila Moyers with such attention to detail I heard a lady say “I want that kitchen!”

Sylvia (Jo McEvedy) & Fran (Steph Moore) photo Paul Hood

As to the cast, it was extremely well performed by all. Excentric mother Sylvia (Jo McEvedy), tries to point out why no one lives – or should want to live – in that era anymore. The sleek and stylishly-modern Alex (Sara Jo Harrison), tries to be polite and professional through some very eccentric nibbles. Fran (Steph Moore), was warm, understanding, amusing and very apologetic as Judy’s slightly sweary friend. Marcus (Sam Hinton), was endearingly funny despite his role having such dark and creepy undertones. Johnny (Sam Burrell), and Judy (Kay Edmundson), were both very likable characters with great chemistry. The portrayal of their characters and their emotions was faultless. Kay Edmundson, in particular, deserves an award not just for her stunning performance but also for rarely leaving the stage all evening.

A dramatic, yet warm and funny show; not to be missed.

Home, I’m Darling is showing at The People’s Theatre, until the 4^th October.

Theatre Preview - OUR PROLOGUE - PLAYHOUSE WHITLEY BAY

 

Reuben Elsworth and Katie Brittle presenting OUR PROLOGUE

Tonight 28-8-25 19:30

Theatre Review - THE HAUNTING OF BLAINE MANOR - DARLINGTON HIPPODROME

 

The Haunting of Blaine Manor has returned to Darlington Hippodrome, after first seeing the show over a year ago, I was hoping it would return and I certainly wasn’t disappointed.

Set in 1953 the play focuses on the American paranormal investigator, Doctor Roy Earle (Peter Slater), who has been invited to Blaine Manor for a séance, where he on arrival encountered a horse causing him to swerve and ended up driving into the lake.

Finding that there have been no stables there for over 100 years, he’s told that anyone who sees the mysterious horseman will be dead by dawn.

Roy declares that ghosts don’t exist, though it appears that something in the house has suddenly been awoken.

The other people gathered in the haunted Blaine Manor included Cairo (Andrew Yates) the stage mind reader, the medium Adolphus Scarabus (Jimmy Allen) the journalist Vivian Rutledge (Jo Haydock) and completing the cast with the representative of the house owner, Vincent (Ed Barry) and the butler Grady (Joe O’Byrne).

The first act methodically introduces the range of characters, as the script, written by Joe O’Byrne, as it cleverly drops in the clues throughout.

In the 2nd act, not only the story, but the house itself came alive. With twists and turns as it reached its unexpected twist at the end.

The set is relatively sparse, with an eerie atmospheric soundscape created by Justin Wetherill, with creative lighting by David Heald all depicting the threat within the house.

A perfect evening for a gentle ghost story with plenty of surprises.

The Haunting of Blaine Manor runs until Saturday 23^rd August at Darlington Hippodrome.

Theatre Preview - STEEL MAGNOLIAS - PEOPLE'S THEATRE - NEWCASTLE - 10/06/25 - 14/06/25

Big hair, big hearts, and timeless friendship at the People’s Theatre 

in Heaton with STEEL MAGNOLIAS!  

Clairee (Moira Valentine) & Ouiser (Alison Carr) photo Jess Williams

“I don’t trust anybody that does their own hair. I don’t think it’s normal.”

 

In a small-town beauty salon in Louisiana, six women set the world to rights.

Each facing highs and lows in their work, marriages and parenthood, the women unite to gossip and unwind. And when faced with adversity, their deep strength and devotion to each other comes to the fore.

 

Annelle (Ashton Matthews) & Truvy (Emma Robson) photo Jess Williams

This celebration of female friendship was adapted into a successful film starring Dolly Parton and Julia Roberts. 

Filled with unforgettable characters and heartfelt moments, it will have you laughing at its whip-smart jokes, then crying at its devastating heartbreak.

 

Make an appointment at the People’s for this funny and poignant exploration of life, love, grief and sisterhood!

 

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

STEEL MAGNOLIAS by Robert Harling

Date:  Tuesday 10 - Saturday 14 June 2025

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

Theatre Review - CRUEL INTENTIONS, DARLINGTON HIPPODROME

 

Cruel Intentions The ‘90s Musical based on the iconic film and inspired by Les Liaisons Dangereuses exploded onto the stage at Darlington Hippodrome.  Full of ‘90s pop classics, incredible choreography and the deception, romance and temptations of the students at the exclusive Manhattan high school.

The story follows the students through step-siblings Sebastian Valmont, Will Callan and Kathryn Merteuil, Nic Myers. As Kathryn manipulates Sebastian to seduce Annette Hargrove, Abbie Budden, with a bet, he just can’t refuse. As they both meddle with the innocence of Cecile, Lucy Carter.

The entire cast produced a high energy performance, but Nic Myers stole the show with a powerful voice and commanding performance.

The ‘90s pop music ranges from Britney Spears, Christina Aguilera, R.E.M., the Verve with my highlight being The Spice Girls with Wannabe, which will never be the same again when I hear it.

The songs brilliantly match the story, with a romantic or comedic device driving the action forward at an incredible speed.

The set changes almost instantly adding to the ferocious pace of the evening, the lighting design by Nick Richings is perfect throughout. The slick choreography by Gary Lloyd enhances the ‘90s feel to the show.

For the ultimate ‘90s night out, you’ll need to be quick to get tickets. I’ll certainly be back.

Runs until Saturday 24^th May.

Theatre Review - ETERNAL LOVE - THE MUSICAL, DARLINGTON HIPPODROME

 

If you fancy something completely different with a brand-new freshness, part musical theatre, part rock concert and vampires with an appetite for romance, then this is for you.

This is the continuation of Steve Steinman’s Vampires Rock -Eternal Love The Musical. It certainly won’t matter if you’d seen any of the previous shows from Steve Steinman, I’d been lucky enough to have caught previous productions and I wasn’t disappointed with this brand-new show.

With a basic story of Baron Von Rockula, Steve Steinman, bringing the castle back to life with the help of Bosley, John Evans. Bosley turns it into a diner, helped by the vampires. The Baron is looking to replace Pandora, the love of his life and meets Xena, Claire Zamore.

The story may be simple, but it is surrounded by twenty original rock anthems. The pace is fast and furious and the theatrical performance around it is incredible. You really feel that you’re in a well themed rock concert. Every track drives the story on with powerful vocals with a superb band.

Steve Steinman’s vocals are outstanding and performs in his own unique style, clearly enjoying the show especially when talking to the audience directly.  John Evans steals the show in turns of his comedic performance.

The production is perfectly complemented with the set design by Steve Steinman and the lighting designed by Luke Thomson.

It’s a great touch that the cast appear in the foyer, for autographs, photos or just to chat to the audience after the show.

With amazing vocals, hints of the silliness of pantomime, a high level of production values and plenty of satisfaction, this is a must see on so many levels.

Eternal Love The Musical runs until Saturday 26^th April at Darlington Hippodrome.

Theatre Review - JUST BETWEEN OURSELVES - DARLINGTON HIPPODROME

Alan Ayckbourn’s play ‘Just Between Ourselves’ has taken us back almost 50 years. Written and set in 1976, with some brilliantly performed comedic scenes. Though with Ayckbourn there is always so much more going on beneath the characters, here it explored deeper into the lives of two unhappy marriages, one controlling mother and five birthdays covering 4 scenes between February and January the following year.

Set mainly in the garage, Dennis, Tom Richardson, spends most of his time tinkering on jobs, without completing anything important or getting it to work. He has put the mini up for sale, which his wife, Vera, Holly Smith, no longer drives, due to her illness. She is constantly being put down by Dennis and ridiculed when she drops the tea cups or does something wrong. Neil, Joseph Clowser, arrives to look at the car for his wife, Pam, Helen Philips. Their friendship develops during the scenes focusing on different birthdays during the year. Dennis’s mother, Marjorie, Helen Phillips, also undermines Vera. Helen Philips is outstanding, providing the lighter moments of comedy.

The play was incredibly well paced, the moments of comedy are quick paced with perfect timing, then with times of silence and the slower sections as you are drawn into the darkness of the inner turmoil of the characters.

At times the audience were audible with the shock in the way that Vera‘s treated with her illness.

Well worth seeing this production, which will have you discussing the dark humour and difficult family relationships long after the show ends.

Just Between Ourselves runs until Thursday 17^th April at Darlington Hippodrome.

Theatre Review - DRACULA - DARLINGTON HIPPODROME

 

Nick Lane’s adaptation of Dracula has brought Bram Stoker’s gothic novel to the stage in a fresh and exciting way. I’ve seen Dracula several times, but I have to admit, this has definitely been my favourite.

The small ensemble of six actors - Maya-Nika Bewley, David Chafer, Richard Keightley, Pelé Kelland-Beau, Marie Osman and Harry Rundle – play multiple parts brilliantly using costumes and accents to change between their characters. Including three actors playing Dracula as he gets gradually younger. The story focused on five clear chapters, starting with Harker’s journey to Transylvania, The Demeter setting sail, Whitby, Renfield, where it runs alongside the first three chapters and finally the pursuit of Dracula. The action changed between small scenes interspersed with narration across the actors as they relate the story through letters, diary extracts and newspaper articles. This style perfectly fitted the story.

The multileveled set, designed by Victoria Spearing, is static, yet it perfectly allowed the imagination to be in many different locations with its versatility. With the moving of a few props and boxes, it instantly transformed us to being onboard the Demeter or Renfield’s cell. The lighting, designed by Naomi Gibbs, perfectly complementing the action and the set. The haunting songs by Tristan Parkes increased the atmosphere.

This is one version of Dracula which really isn’t to be missed.

Runs until Saturday 12^th April, Darlington Hippodrome.

Theatre Review - THE ROCKY HORROR SHOW - DARLINGTON HIPPODROME

 

Adam Strong (Frank n Furter) Photo credit David Freeman

THE Rock and Roll Musical from Richard O’Brien’s Rocky Horror Show has become such a cult over the years, the buzz around the auditorium on opening night was electric, with a large number of audience members dressed up emulating their favourite characters. It’s still one of the most deliciously entertaining nights out.

The story follows Brad, Alex Hetherington, and his new fiance Janet, Lauren Chia, as their car breaks down and they stumble upon a castle, where they hope to find help. Here they encounter the subordinates of Riff Raff - Job Greuter, Magenta - Natasha Hoeberigs and Columbia - Jayme-Lee Zanoncelli. The power-crazed Frank N Furter - Adam Strong, creates Rocky - Morgan Jackson, as Brad and Janet’s values are undermined.

Adam Strong (Frank n Furter) Photo credit David Freeman

Adam Strong is an incredible performer; I’ve seen him a number of times in other shows. As Frank N Furter, as soon as he entered the stage his presence was immense, he commanded the stage, looking as if he was born to play this part.

I didn’t think previous narrators could get any better, but with Jackie Clune as The Narrator, she took it to a whole new level, perfectly interacting with the audience with perfect timing.

There is not one weak element in this production every piece of acting and singing is absolute perfection, including the set, lighting, sound and the band.

There is only one warning – if you see this show, you’ll want to go again and again!

Rocky Horror Show runs until Saturday 5^th April at Darlington Hippodrome.

Theatre Preview - GOODNIGHT MISTER TOM - PEOPLE'S THEATRE

 

This week at the People’s Theatre in Heaton, Michelle Magorian’s much-loved classic GOODNIGHT MISTER TOM.

 

As World War Two looms, young William Beech is evacuated to the English countryside to stay with elderly recluse Tom Oakley. This unlikely pairing gradually form a friendship, finding that neither are how they first seem.

Since its publication in 1981, Michelle Magorian's hugely successful first novel GOODNIGHT MISTER TOM has sold millions of copies and been translated into multiple languages, as well as being adapted for television starring the late John Thaw.

This stage adaptation by David Wood premiered at the Chichester Festival Theatre in 2011, and went on to win the 2013 Olivier Award for Best Entertainment and Family.

Wood has a hugely successful track record in adapting children’s novels for the stage, his credits including Babe The Sheep Pig, The BFG and The Witches.

In this production at the People’s Theatre, young local actors Dexter White and Nathaniel Campbell are role-sharing the demanding leading role of eight-year-old evacuee William. William is timid and anxious when he first arrives in the village of Little Weirwold, but his friendship with gruff-but-kind Tom (Keith Wigham) helps him to feel safer, and come out of his shell. Life seems perfect until William’s mother devastatingly summons him back to London.

A testament to the enduring power of kindness, compassion and love, Magorian’s GOODNIGHT MISTER TOM has resonated with readers for over 40 years, and this is an opportunity to see this much-loved tale and its characters brought to life on stage.

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

Theatre Review - PYGMALION - PEOPLE'S THEATRE, NEWCASTLE

 

Eliza (DaisyBurden), Pickering (JimBoylan), Higgins (Jake Wilson Craw) photo Paul Hood

One of George Bernard Shaw’s classic plays, the iconic Pygmalion tells the tale of flower-girl Eliza Doolittle as she is catapulted from working class poverty into high society. After a bet is made between the rich Professor Higgins and the even richer Colonel Pickering, it is decided that the uneducated ‘guttersnipe’ Eliza will be trained to be a lady. Even though her tutors’ own manners are at times sadly wanting, she is successful. But what then? Where does she fit now. This is a witty show of class and morality.

Higgins (Jake Wilson Craw), Alfred Doolittle (Jack Thompson) photo Paul Hood

Director Tracey Lucas has created one of the best productions I have ever had the pleasure of seeing. I hope to go a second time, if only to see if I missed any details, such as Higgins standing next to his own portrait, mirroring the same pose. Actors moved the larger pieces of set for scene changes as they continued to chat, in character, creating a smooth and extremely elegant switch. The set (designed by Sands Dobson) was just enough to set the scene without being overly complex or intrusive. The costumes (wardrobe Linda Girling, Poppy Carlaw and Luke McVeigh) and wigs (Wiggy), encapsulated the feel of each individual character and added vibrancy to the picture created on the stage with, at times, an almost rainbow-like effect. While lighting (Claire Brissenden) and sound (Kate Scott), were timed perfectly and synchronised effortlessly with the action on stage.

Mrs Pearce (Helen Parker), Eliza (Daisy Burden) photo Paul Hood

The acting was superb from everyone and the Ensemble (Hannah Backhouse, Oscar Errington, Ella McFetrich and Damani Richards) often had me giggling. Alisha Peart and Helen Doyle were charming as mother and daughter Mrs Eynsford-Hill and Clara Eynsford-Hill. Joseph Carss was delightfully dippy as the joyful, lovestruck Freddie. Helen Parker played the stern but kind housekeeper, Mrs Pearce, to full force as she tried to look after Eliza’s best interests. Jack Thompson was sublime as the drole semi-philosopher Alfred Doolittle. Maggie Childs was everything you could want and more as Mrs Higgins - seemly the only woman who can bring her son Henry Higgins to heel. Jim Boylan hit the perfect cord as the gentle and kind Colonel Pickering. Daisy Burden was incandescent as Eliza, managing the difficult task of transitioning her character through the show, from ‘draggle-tail’ to ‘duchess’, while keeping a strong and wilful mind. She showed us all how she, unlike Higgins, is strong because she is capable of evolving and adapting. Jake Wilson Craw is the new standard by which any actor playing Henry Higgins must surely be measured as it’s difficult to see the role being played any better. He hit the sweet-spot of making the character neither too likable nor too disagreeable, and made every action seems so natural.

Truly an astoundingly good show, worth seeing at least twice.

Pygmalion is showing at the People’s Theatre until 22^nd March.

Theatre Review - HANGMAN - PEOPLES THEATRE - NEWCASTLE

 

Harry (Ian Willis) photo Paul Hood

Hangmen, written by Martin McDonagh, is difficult to describe, except to say it deals with dark and disturbing themes in a very sardonic way. You find yourself laughing, whilst also thinking ‘is this ok?’ It’s a little unsettling what subjects can be made ‘funny’. Set in the sixties, we start by watching a man called Hennesey as he seemingly attempts to argue his way out of the noose at the last hour with his protestations of innocence. Hangman, Harry Wade, is having none of it and the job of his hanging is done. Cut to a couple of years later in the now-retired Harry’s pub, the government have abolished hanging and, as the (formerly) second-best hangman in the country, people want to hear his thoughts. The warm mood of the Oldham pub changes as a stranger appears and old colleagues visit. The subject of Hennesey, and the question of his guilt, comes up several times through the show – but was it Harry who took his life or the courts?

Alice (Alison Carr) & Mooney (Craig Fairbairn) photo Paul Hood

Director Matthew Hope has created a thought-provoking and entertaining show that keeps the audience’s attention with its dark ‘gallows’ humour. The music between scenes was a clever nod/link to the actions it bookended as swift scene changes took place. The set, lighting and sound (all designed by Tim Swinton) were nicely detailed and gave an excellent ambiance to the whole production.

Hangmen photo Paul Hood

The whole cast was very strong and all showed excellent skill throughout. Harry, played by Ian Willis, had such perfect timing and showed us the true colours of a pompous man who doesn’t feel the need to question why he thinks something. The chilling, yet charismatic, fast-talking newcomer Mooney, was played by Craig Fairbairn, who was mesmerising as he intimidated and undermined those around him.

The play itself, reflecting the attitudes of the times and handling sensitive themes, is not for the faint-hearted, with some violence, strong language and outdated attitudes on display. That notwithstanding, it’s a very funny, dark and atmospheric play.

Running until 8^th March at The People’s Theatre.

Theatre Review - DIAL M FOR MAYHEM! - DARLINGTON HIPPODROME

 

Dial M for Mayhem! from Middle Ground Theatre Company instantly took my mind to Dial M for Murder, the 1950’s thriller, but clearly with a twist. So, begin to think more Play That Goes Wrong and Noises Off as comedy drama rather than thriller and you’ll know what to expect.

Set in 1991 a small group of actors are travelling around village halls and open their production in a remote area of the Scottish Highlands and Islands. This is emphasised from the large screen behind the set highlighting the remoteness of the area. The group are performing Frederick Knott’s classic 1950’s thriller Dial M For Murder. The play within the play, shows the set of the village hall with their set for Dial M for Murder, which to be honest does create a very busy set, with little space for movement, but does show exactly what touring theatre is like, trying to fit the set into anywhere they go.

During the first act we discover the dynamics of the group as they rehearse the murder scene, showing the stresses of the group of people being thrown together as they work on the road, including some of the locals which appear. The main comedic elements are set up during this act with several accidents. The highlight being Joey Lockhart as George the AA Man, with his oversized AA mug and moving props on the set. The second act the pace instantly increases as we are back stage with the performance, where the set and props fail, crew members feel ill and a rat keeps appearing.

The six actors, Joey Lockhart, Isabella Inchbald, Theo Woolford, Estrid Barton, Luke Rhodri and Alasdair Baker, playing nine characters with some doubling perform incredibly well. The range of accents were the only possible issue with my companion who occasionally struggled to hear fully.

This was a highly entertaining evening with lots of comedy and if you’ve ever been to a village hall as an actor or member of the audience you’ll love it.

Dial M For Mayhem! runs until Saturday 22^nd February at Darlington Hippodrome.

Theatre Review - TOP GIRLS - PEOPLE'S THEATRE, NEWCASTLE

 

TopGirls - dinner party - photo Paul Hood

An interesting show that subverts the audience’s expectations. Top Girls was written by Caryl Churchill in the early eighties. Seeming to have rather a dour perspective on the age-old question ‘Can woman really have it all?’, it starts with a sort of fantasy dinner party with various women from history celebrating Marlene’s promotion. As the evening goes on, they all lay bare the wounds their successes brought them. Scene Two feels like a whole new play as we watch an argument between two teenagers. Scene Three finds us back with Marlene, though this time with actual living people, as we join her at ‘Top Girls’ employment agency. The final scene has the audience catapulted back in time one year to see Marlene visiting her sister.  An intriguing plot looks at how women of various states view one another.

Angie (MyahRoseWilson) photo Paul Hood

Directors Kath Frazer and Sue Hinton have created a dynamic show that combines anticipation and depth of feeling with a humour and drama. Set Designer Luke Durham created a simple but effective set with little furniture that created each different environment perfectly. Geogina Purvis was an absolute wizard of the wardrobe as she created not only effective and characterful 80’s fashion for each individual character but also dressed a Pope!

Shona (Erin Thwaites) & Nell (Steph Moore) - photo Paul Hood

The entirely female cast was absolutely flawless and naming the numerous talents of each of these women would take too long. Each actress brought something different and interesting to their roles and made it their own. Here are a few of the wonderful performances in store for anyone who goes to a performance: Sarah McLane had me in stiches as the woman of few words, Dull Gret, and Anna Dobson was equally hilarious as the fantastic Pope Joan. Hayley Simpson, as the uber-sophisticated and graceful Win, is that girl we all wish we were, until we know her back story that is. Kay Edmundson invokes such emotion as the struggling Joyce and Myah Rose Wilson creates an effective, angry, yet unaware teenager Angie. Finally, Sara Jo Harrison is extraordinary as the ambitious Marlene and always has the audience in the palm of her hands.

Top Girls is showing at The People’s Theatre until 15^th February.

Shona (Erin Thwaites) & Nell (Steph Moore) - photo Paul Hood