24:7 Theatre Festival - Big Weekend

24:7 has been one of the highlights of my theatre going year for a while now. A festival of new theatre writing, in the form of one hour plays, rehearsed readings and various other events, it has often provided unexpected thrills and has introduced a lot of new talent to the artistic world. Sadly this year it lost its Arts Council funding, something I find quite hard to understand when a ridiculous amount of public funding has been allocated for another large arts venue that Manchester doesn't really need at this time. I'm not sure whether this is connected with why 24:7 has decided to retire it's festival after this year, or whether they feel it has run its course as we do have an embarrassment of theatrical riches in the North. However 24:7 will live on in other guises, but the thrill of a week of theatrical adventures in the heart of the city courtesy of the festival will be sadly missed by many, myself included.

Luckily, the festival decided to bow out with a bang, putting on a Big Festival Weekend with four new plays, rehearsed readings, a children's adventure, a promenade production of monologues inspired by Manchester Scientists and workshops for writers and actors. It was all based around the Martin Harris Centre, a sparsely signposted but excellent venue on the University campus. I was limited for time this year so could only spend one day down there, but, clutching my lovely 24:7 Goodie Bag (as I had taken part in a crowd funding to support the festival earlier in the year) I managed to see all four of the main shows.

So it only remains to say - 24:7 Theatre Festival thank you. You have delighted and surprised me over the years, I've seen so many new plays, some of which still stay with me to this day,(and only one that I detested - that's not a bad hit rate), I've discovered new venues, made new friends, cried and laughed. You will be very much missed.

The Play That Goes Wrong, Duchess Theatre, London 19/4/15

There's not a lot for a theatre obsessed person to do on a Sunday in London. A few of the crowd pleasers have matinees, but a Sunday evening in Theatreland tends to be very short on theatrical diversions. However, The Play that Goes Wrong, bucks this trend with not one but two Sunday performances

At the Lowry this Christmas I saw the extremely funny Peter Pan Goes Wrong by the same people behind this play, Mischief Theatre Company, and I did wonder if it would just be more of the same, but, whilst elements are shared - collapsing scenery, increasing on and off stage chaos, and a very real danger that the audience will do themselves an injury from laughing, they are actually very different productions and can both be enjoyed individually. 

The play bills itself as Noises Off meets Fawlty Towers and the roots of this piece are definitely in good old fashioned slapstick and farce. The action concerns the Cornley Polytechnic Drama Society's attempt to stage a 1920s murder mystery Murder at Haversham Manor, but whatever can go wrong does, with increasingly chaotic results. 

An energetic and extremely hard working cast deliver hilarious performances from the outset ( in fact from before the outset so don't be too tardy getting to the theatre). Whilst it may look chaotic, it takes a talented set of performers and a lot of work to deliver that level of chaos precisely and without serious injury! 

The play won an Olivier this year for best new comedy, and it is well worth checking out if you want a couple of hours of sheer entertainment and fun. Highly recommended.

Currently booking through to February 2016 with plenty of reasonably priced tickets and discounts for early bookings. 

The Ghost Train, Royal Exchange Theatre, Manchester 30/5/15

The latest production at the Royal Exchange sees theatre company Told by an Idiot return with their take on Arnold Ridley’s Ghost Train. Ridley, who many will remember best as Private Godfrey in Dad’s Army, enjoyed considerable success with this play, when it first opened in London in 1925, where it played for over two years. The plot of this comedy thriller revolves around a group of passengers stranded at a remote country railway station overnight, having ignored the station master’s dire warnings to leave as a ghost train haunts the line bringing death to anyone who sets eyes on it.

Having seen and thoroughly enjoyed Told By An Idiot’s previous two productions,  You Can’t Take it with You, and Too Clever by Half,  in the main space at the Royal Exchange, I was looking forward to the same brand of eccentric humour and riotous laughs from this production, but for me, despite some fun and inventive elements, and good performances, I found it unengaging and slow.

There are plenty of chuckles throughout. Javier Marzan as a drunken Miss Bourne being a particular highlight, and the talented cast work extremely well together to deliver the piece. Timing is precise, and there is some fun and cheeky interaction with the audience.  There is innovative use of set and sound, I particularly liked the opening sequence as the train was brought to life by the cast. But, whilst other productions have been lively and well-paced, the first act of this play felt terribly slow and disjointed, and takes over an hour to get to the pivotal moment. I hoped that things would pick up in the shorter second act but even though the story moved on considerably, the pace still felt stilted and sluggish.

At times I felt like I was watching rough draft of a play, talented actors and good moments but in need of editing. Whilst there are amusing characterisations and fun elements, it verges on the self-indulgent at times. Just because you have some mildly amusing ideas you don’t need to put them all on stage and lose sight of the need to also move the action on.

Despite my reaction to the performance, and my disappointment in the production for not living up to my hopes for a riotous afternoon of comedy and / or chills, there were plenty in the audience who would disagree with me and seemed to enjoy themselves immensely.

Mildly amusing in places, but no real scares, talented cast and nice staging, but for me it never lived up to the sum of its parts and was a frustrating and disappointing production.  

Gypsy, Savoy Theatre London 18/4/15

I was so excited when I managed to get a ticket to see Gypsy at the Savoy Theatre recently (despite a small battle with ATG's booking system that really doesn't like selling single tickets anywhere near the stage). It has to be one of my favourite musicals, with music by Julie Styne and lyrics by Stephen Sondheim, it is loosely based on the memoirs of striptease artist Gypsy Rose Lee, from her start in vaudeville, driven by the vicarious ambition of her mother Rose, to her eventual fame as a burlesque star. 

It is considered by many to be one of the greatest American musicals, and has been immortalised in film twice, first in 1962 with Rosalind Russell taking the central role of Mama Rose ( with a little vocal help from Lisa Kirk), and then in 1993 with Bette Midler, and I believe a third film is in pre production. Bearing in mind this popularity, it is a little surprising that a West End production has not been seen since 1973.

This London transfer of last years acclaimed Chichester Festival Theatre production reunites Imelda Staunton, who won an Olivier for previous Chichester transfer Sweeney Todd, with that production's director Jonathan Kent, and I wouldn't be at all surprised if many more awards came hurtling their way for this fabulous production.

The wonderful set makes full use of the depth of the Savoy stage, with beautifully detailed sets whizzing in and out, perfectly portraying the various scenes. And the costumes are gorgeous and in some instances very very clever, particularly Louise's quick changes and the burlesque dancers outfits.

The music is of course fantastic, from the overture onwards every piece is delivered with aplomb by the talented orchestra and performers. The whole cast are excellent and I can't mention them all but there are a few standout performances. The actors playing the young versions of Baby June and Louise were excellent ( Isla Huggins-Bar and Holly Hazelton at my performance) and there is a very clever transition from young to grown up versions.

Lara Pulver as the adult Louise gives a cleverly nuanced performance as she gradually comes out of the shadow of her mother, and her longing for a stable and settled life, and has her moment in the spotlight. The very clever transition scene from shy and frightened Louise pushed into filling a vacant burlesque number by Mama Rose, to the triumphant success of Gypsy, is excellent, and a real credit to the costume department as she goes through multiple outfits in the blink of an eye. And Julie Legrand as Miss Cratchitt / Electra is an absolute treat.

But of course this production belongs to Imelda Staunton who gives the best and most breathtaking acting and vocal performance I think I have ever seen. I knew what a fine actress she was already, from her many film and TV roles, and having been lucky enough to see her on stage last year in Good People, but the quality and energy of her performance as Mama Rose is just flawless. From the fine comedic detail, such as her interjections during the audition of June , Louise and the Farmboys, to the power of the big show-stopping numbers, her talent is extraordinary. The act one closer, Everything's Coming Up Roses, as Rose's unhinged ambition possesses her, was quite breathtaking, and her heartbreaking performance in Act Two closer Rose's Turn brought me to the verge of tears. 

The ensemble cast finale brought a joyful conclusion to an historic production I will remember for a long long time and am so happy to have witnessed ( and from the second row stalls too - I truly am a very lucky girl!) Never has a standing ovation been more earned. I predict awards aplenty for this amazing production and it deserves every accolade that comes its way. An absolute triumph of a show. 

Golem, Trafalgar Studios London 17/4/15

According to folklore, a Golem is a being made of clay that does as it is commanded. Versions of the golem story have appeared throughout the artistic world over the years, indeed the cover art of this production's programme appears to have been inspired by poster of the the 1920 silent horror film Der Golem, and anyone familiar with the late great Terry Practchett's Discworld series will have come across Golems. This innovative take on the golem legend, created by 1927 and first seen at the Young Vic, places its golem tale in a fantastical futuristic setting and explores when the boundaries can shift and switch between master and commander and just who is really in control of our thoughts and decisions.

Robert, the central character, is somewhat of a geek, obsessed with the latest invention to make his life better, most of which quickly become obsolete. He is persuaded to purchase the latest big thing, a golem, that can be woken and sent to sleep by a simple incantation, and whose sole purpose is to make life simpler and more successful for its owner. It's starts well, golem takes on the dull tasks with ease, but shadowy influences are at play, and Golem is soon developing and has an increasing influence on Robert's choices, and things only escalate when he receives an upgrade!

The design of the show is striking, clever use is made of projection, with the actors interacting directly with animations that 'create' the set and other characters, leading to seamless action and virtually limitless scope to create a fantastical world on the blank canvas of the simple set. The interaction of the actors with the animation is finely honed, with lots of clever detail throughout. Actors take multiple roles, including providing the haunting soundtrack, and the 90 minute straight through running time simply flies by. There is plenty of comedy both in the performances, and in little details of the animation, whilst a slightly sinister overtone is present throughout.

The themes of the play really make you think, there is a clear and deliberate parallel with modern technology advances of today. It makes you wonder how much your choices are your own, and how much they may have been influenced by the faceless tech companies 'whispering in your ear' as your life is made 'simpler' by their advances. 

Since seeing the show I've realised that it will be coming up to Manchester as part of the new Home arts centre's opening season. I definitely think it deserves a repeat visit as there is so much detail and so much to admire in this production that you probably need a second look to take it all in. 

Really very clever and extremely enjoyable theatre. I'm impressed, and wondering if I should turn the wifi off!

Anna Karenina, Royal Exchange Manchester, 4/4/15

It can't be easy adapting Tolstoy's epic Russian novel for the stage. There are a lot of characters and many themes being explored including love, society, politics and duty (and it's over 800 pages long!) This adaptation by Jo Clifford, proves to be a very accessible production by focussing on the human nature of the events without getting too bogged down in the political.

Whilst not a completely modern day setting, the characters and settings have been portrayed in a very contemporary way. Actors often play more than one character, this can be confusing, but the approach used of characters conversationally introducing themselves as they enter helps you keep track. The pace is extremely rapid, the story is moved along in a serious of snapshots, even at times with scenes being played in parallel, generally this worked well, but I did feel that in particular Anna's emotional journey felt a little rushed.

Ony Uhiara, in the lead role of Anna, gives a striking performance, although I did find that the approach taken to the character, all nervous energy and immediacy, worked better for me in the latter scenes as Anna's mind struggles with the consequences of her actions. Exchange regular Jonathan Keeble, as Anna's by the book husband Karenin, was nicely done, as his confusion over the impact on his ordered life turns to anger at Anna's betrayal. 

Welcome comic relief comes from Ryan Early's Oblonsky, portrayed here as an incorrigible flirt, somewhat oblivious to the deep hurt his actions inflict on his long suffering wife Dolly ( Claire Brown) The act two opening scene as Oblonsky and Levin ( John Cummins) fail to make it on time for the latter's marriage to Katy (Gillian Sarker), was hilarious, and provided a nice contrast to the darkness that was to follow. 

A very simple stark set has been created for this production, with a patch of soil at the centre of the stage between rails gradually widening until by the start of the second act it completely bisects the stage. Although striking, I'm afraid some of the symbolism was lost on me, possibly if I knew the source text better it would have been clearer. At the start of act two as Katy knelt in a beautiful white wedding dress in the soil I did find myself becoming very distracted by the thought of the poor costume department having to maintain it between performances! 

Whilst I don't think this is one of my favourite Exchange productions, a talented cast, striking design and very accessible adaptation did bring this epic take to the stage effectively and memorably. 

Kneehigh Theatre's Rebecca, Lowry Salford 11/4/15

I was very excited to get a chance to see Kneehigh in action again as the previous two productions I have seen of theirs, Brief Encounter and Don John were remarkably crafted and very memorable experiences and I was intrigued as to how they would bring their unique touch to Daphne Du Maurier's well known tale.

From the moment the curtain went up I knew I was in for something very special. A gorgeous detailed and extremely clever set has been created which, with the help of the cast, magically transports you to the various settings of the play, from the beautiful but slightly faded glory of the Manderley house, to the wild lonely shores of the Cornish coast. There are even echos of the previous lady of the house built into the set, the wrought iron balustrades and vases containing Rebecca's initial representing the hold the first Mrs De Winter still has over the lives of the participants even from beyond the grave.

This being Kneehigh, you shouldn't expect a straight retelling of the book. Although the plot is well represented on stage, this 'play' is so much more than that, and actually quite risqué at times!  There is plenty of humour, especially with star turns from Katy Owen as Robert the servant ( who also does an excellent job of portraying the fragile young Ben waiting on the shoreline for his father to return from the sea) and Lizzie Winkler as Giles De Winter's sister Beatrice, who delivers some of the finest, and most death defying drunk acting I have seen. Cornish sea shanties provide an evocative element to proceedings as they are woven through the action. Puppetry is used to great effect and there's even a couple of fun dance numbers built into the narrative (tip - don't be tardy getting back to your seat after the interval)

Emily Raymond's sinister portrayal of the obsessive Mrs Danvers sent shivers down my spine, Imogen Sage as the current Mrs de Winter showed a nice journey from vulnerable innocent to something much stronger as the true nature of her 'love rival' and the manner of her death are revealed, and Kneehigh stalwart Tristan Sturrock is well cast as Maxim de Winter, still struggling with the ghosts of the past.

The whole ensemble cast are incredibly talented and hardworking, most appearing on stage throughout, providing music, cleverly creating scenes and expertly evoking the dark atmosphere of the story. 

I was totally captivated by this gorgeously atmospheric and beautifully crafted retelling of this well known tale. Kneehigh truly brought a little Cornish magic to the Lowry stage.