Theatre Review - A STREETCAR NAMED DESIRE - THE PEOPLE'S THEATRE, NEWCASTLE

Kay Edmundson as Stella & Sarah Scott as Blanche

Most people are familiar with Tennessee Williams’ tale of desire, violence and madness. Faded southern belle Blanche is forced, by her inability to face reality, to live with her sister Stella. Blanche’s feigned gentility violently clashes with Stella’s husband Stanley and his animal vitality - leading to a dark, unnerving conclusion.

 

Kay Edmundson as Stella & Steven Arran as Stanley

Directors Kaila Moyers and Jonathan Goodman, with the aid of Tennessee, will take you on a journey into a dark corner of New Orleans. The stage is filled with smoke, and lighting is subdued, giving the feeling of oppressive heat. At times you find yourself surrounded by the Ensemble (Catalina Gallego Anex, Udayvir Gurjar, Lukas Cordes, Alex Burns and Will Moffat), as they go about everyday life selling their wares. It did make the production feel more immersive; however, there was the odd occasion when it distracted from the emotional scene unveiling on stage. The whole design of the show both invites you in and unnerves you. The lighting (designed by Claire Brissenden) helped the audience lean into the feelings and emotions on stage with occasional projections also highlighting character explanations. The costumes (by Sarah Pearson) fit the characters and actors well. Special attention was clearly paid to Blanche’s outfits, which seemed to highlight her character’s mental state – with clothes not always fitting her situation, but showing her childish love of beautiful things. The more ‘spicy’ moments felt authentic, which is testament to the hard work of the actors and Intimacy Coordinator (Sarah McLane).

This roles in this show must have been more than a little daunting for all the actors as it calls not only for them to plumb the depths of emotion, but also to enact expertly choreograph fight and love scenes. Eunice Hubbell (Alison Carr) and Steve Hubbell (Jonathon Goodman) provided some much needed humour as they play out their own fiery relationship upstairs. Harold ‘Mitch’ Mitchell (Sam Burrell), who is almost taken in by Blanche, is played with an empathetic nature - contrasting with the other men around, until he learns the truth. This allows us to see why Blanche hides from reality, as it is always too harsh and violent for her. Speaking of which, Blanche DuBois (Sarah Scott) is skilfully played as a woman on the edge, trying to smile through considerable pain. Stanley Kowalski (Steven Arran) was the perfect tone of toxic masculinity, unfeeling about the pain caused to those around him as long as he still feels like a man. The chemistry between Stanley and Stella is key and was pitch-perfect in this production. Stella Kowalski (Kay Edmundson), Blanche’s sister, moves with perfect precision from optimistic, matter of fact new bride, to hopeless, fearful wife as her husband’s temper becomes a bigger part of her life. Kay Edmundson’s accent was near flawless, as was her performance.

A extraordinary production that will have you gasping for breath, A Streetcar Named Desire is on at the People’s Theatre until 7^th  October 2023.

Theatre Review - BY THE WATERS OF LIVERPOOL - DARLINGTON HIPPODROME

 

BY The Waters of Liverpool has finally made it to Darlington Hippodrome, after being cancelled for obvious reasons in 2020. Based on Helen Forrester’s books, they follow her own life in an autobiographical style.

This story follows Helen’s teenage years through the start of the 2^nd World War. The first act takes us through the miserable time she is having. She’s not treated as fairly as other siblings in the family, her mother, Lynn Francis, is appalling to Helen, her father, Tom Roberts, financially ruined the family losing it all in the 1929 crash. Eventually she does persuade her family to allow her to go to work, ironically working for a charity helping those in need.

As the bombs start to fall, everything starts to change in the 2^nd act for Helen, where in the first act she had a miserable exitance, now there is a glimmer of hope. Her mother begins to show her equally amongst her siblings. She starts to go out dancing, meeting friends and eventually meeting Harry, Joe Gill. Here she finds her first romance where her future is looking promising.

The characters throughout are larger than life resulting in some being over the top. Though the narration to the audience drives the story forward it means the performances often becomes static. Emma Mulligan as Helen, is incredibly strong in her performance, surrounded by a versatile cast.

Runs until Saturday 30^th September at Darlington Hippodrome.

Theatre Review - ALICE IN WONDERLAND - DURHAM GALA

 

THE INCREDIBLE funfair has arrived at The Gala Theatre in Durham. Eleven year old Alice, Beth Crame, loves helping her Dad, but suddenly her life is about to change. Her Dad - Eric, Steven Stobbs, has announced they are going to live in a house and leave the funfair and the caravan behind. Joining them with Mandy, Kylie Ann Ford, and her son Callum, Aiden Nord. Alice doesn’t want everything to change. She’s comfortable with the people around her including Helena the Fortune Teller, Karen Traynor and Tomas, Kieron Michael. Alice engages with the audience well as she informed them that she is yearning for an adventure as she packed her bag and the story began.

The cast skilfully move between a range of characters, they are so slick you instantly forget which characters they’ve already played as they draw you into the adventure. The highlights must be the Queen of Hearts, Kylie Ann Ford, with such sophistication. The tea party set in the spinning tea cup with the crazy Mad Hatter, Kieron Michael. One of the reasons this works so well for younger members of the audience is the constant changes and different elements as 2 characters appear very differently. The caterpillar glows brilliantly as a large puppet operated discreetly. The Cheshire Cat is projected on the ceiling and the theatre walls, created by Chris McQuillan, adding a more mystical element to the show.

The show does have a very strong pantomime feel, with the catchy songs, teaching the audience some actions to join in and talking directly to the audience.

As a version of Alice in Wonderland it is highly entertaining with a talented cast.

Even the very young members of the audience were totally engrossed throughout.

This show is perfect for all the family.

Alice in Wonderland runs until Saturday 12^th August at Durham Gala

Theatre Review - TONY! THE TONY BLAIR ROCK OPERA - DARLINGTON HIPPODROME

 

TONY! – The Tony Blair Rock Opera could only go one way with the writing of Harry Hill. Zany, whacky, madcap and crazy are just some of the words I thought during the evening. This fast-paced show doesn’t pause as it moved swiftly through the life of Anthony Charles Lynton Blair. Opening on his deathbed, we are taken through the main events of his life. From his birth moving onto his first guitar, off to university, joining the labour party and of course becoming the PM. With the first act ending with the death of Princess Diana and the rise of Tony, the second half focuses on his downfall with George W Bush, Osama bin Laden and Saddam Hussein.

 

The comedic use of politics is perfect with Harry Hill’s style, but it’s the lyrics and music from Steve Brown which brilliantly add so much more humour, especially in the second act with Osama bin Laden and Saddam Hussein. Though it is really the incredibly talented cast which make the show work so well, the characterisations are superb. The highlight is Jack Whittle as Tony Blair with his perfect mannerisms, the grin, the thumbs and the pose. Howard Samuels as Peter Mandelson and Dick Cheney highly devilish. One of my favourites had to be Sally Cheng as Robin Cook – hilarious.

The ensemble is sheer perfection, slick and highly entertaining.

Theatre Preview - COME ON, JEEVES - PEOPLE'S THEATRE, NEWCASTLE

 Join the People’s Theatre in Heaton this week for a high-spirited comedy full of mischief, mishaps and mayhem!

 

Whilst Bertie Wooster is out of town, his gentleman's gentleman, the inimitable Jeeves, is on loan to the 9th Earl of Towcester. The Earl’s moonlighting as a racecourse bookie has left him indebted to a fearsome big game hunter, and he’s under pressure to sell his crumbling estate to a wealthy clairvoyant.

 

Can the unflappable and ever-resourceful Jeeves save the day for this nice-but-dim aristocrat and retrieve the family fortune?!

 

“M’lord, I realise the situation is grave, but it’s time for the stiff upper lip, and the piece of steel down the spine.”

 

Bursting with Wodehouse’s trademark aristocrats who are larger-than-life and don’t have an ounce of sense between them, this 1920s romp promises to be a sparkling summer treat full of fun, fervour and good humour. And there’s a ghost!

 

Director Matthew Hope comments: “Come On, Jeeves is classic Wodehouse at its best - witty, sharp and character-driven fun. We've had so much delight in exploring his world in rehearsals and we are sure audiences will love it too!”

 

Come on, Jeeves by Guy Bolton and P.G. Wodehouse opens on Tuesday 20 June. 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 -ABIGAIL'S PARTY - DARLINGTON HIPPODROME

 

ABIGAIL’S Party is well remembered by many for the stage play, which then transferred to television on Play for Today in 1977. Mike Leigh’s comedy play focusing on the manners of a group of people, who hardly know each other and their middle-class lives. Now, delightfully, London Classic Theatre has brought it back to the stage.

The set instantly places us in the late 70’s with a range of G-plan furniture, a drinks cabinet and a record player, with a range of LPs. Beverly, Rebecca Birch, is ready to have a group of friends round for drinks as she places nibbles around the room, including nuts, crisps and of course cheese and pineapple on sticks. The drinks are ready and she’s prepared the music. Her husband, Laurence, Tom Richardson, is an estate agent, he isn’t as interested in meeting up with neighbours, but constantly pleases Beverly, becoming more neurotic in manner throughout the evening. The first guests bring Angela, Alice De-Warrenne and her newly wedded husband, Tony, George Readshaw. They’ve just moved into the street. Alice is excited to meet new friends and certainly enjoys the chance to let her hair down with a few drinks, Tony is very quiet, initially, using one-word answers, he appears very shy, but becomes quicker tempered and irate towards the second half. The final guest is Susan, Jo Castleton, when arriving, it’s clear she was expecting a dinner party, not just drinks and nibbles.

As the drinks flow, the group begin to get to know about each other. Tensions rise, Beverly flirts with Tony, music comes and goes. Topics cover music, art and books, as the drinks flow even more and difficult situations ensue.

The cast are exceptional throughout. Its been a while since I have been so captivated throughout. Tom Richardson’s facial expressions and movement, are amazing. Some of the best scenes from Alice De-Warrenne are just sublime. They all clearly work brilliantly together. Making this a must-see production due to the incredible cast.

Abigail's Party runs until Saturday 17th June

Theatre Review - NOT FROM CONCENTRATE - THE PEOPLE'S THEATRE, NEWCASTLE

Written by P.W Sowerby, Not from Concentrate is the winner of the People’s Play Award (a competition run by the People’s theatre to promote up and coming playwrights). You can definitely see what gave it the winning edge. Packed with snappy dialogue and dark humour, the show feels like it has come from the hands of a seasoned pro. We follow a frustrated playwright as he tries in vain to finish his next show. All the while, he is haunted by the success of his first ever script and his inability to write from a ‘real’ place.

 

Will, Lucy, Samantha photo Paul Hood

Director Andrew De’Ath and Assistant Director Katy Thomas crafted a well-timed show that leant into the humour of the situation and brought out the vibrancy of the characters. Steve Appleby designed a simple but effective set which helped to frame the drama in Act Two perfectly, with Andrew Glancey’s lighting design providing the cherry on top of a pristine cake. Jess Chapman, Ben Watkins and Ruth Gibson played the hilarious actors Megan, Gav and Annie as they tried valiantly to make the many re-writes work. Robbie Close played Will, the more successful and slightly sleazy best friend, with excellent timing. Benjamin the playwright, played by Ian Willis, is a droll narcissistic mess, held together by his two female employees, Samantha and Kerry. Ian Willis demonstrated a very well-executed portrayal of the mental anguish that Benjamin had, whilst also drawing great humour from his sarcastic nature. Kerry, who works as his PA, is played by Abigail Martin and pushes Benjamin to be better whilst keeping the audience chuckling at her witty retorts. Emily Jeffrey was confident and relaxed in her role as housekeeper Samantha - you could see Samantha had genuine empathy for Benjamin, despite her frustration with him. Now we come to my favourite character of the show, and one of the People’s theatre’s finest actors, Alison Carr as Benjamin’s batty sister Lucy – she is simply a sensation!

 

Benjamin & Samantha photo Paul Hood

The show is reasonably short, only running for 100 minutes including a 20 minute interval, and contains strong language. A very enjoyable evening out.

 

Not from Concentrate is running at the People’s Theatre from until 10^th June.