Barrier(s) - HOME


THEATRE is at its best when it transports the audience to a world they don’t know or understand and gives audience a flavour of that world and an empathy with the characters who live and breathe in it.

Barrier(s) by Eloise Pennycott is one of those plays. It focuses on a lesbian couple Alana and Katie, who move in together.

One of them, Katie, is deaf. She works at a primary school for children who are also deaf and while we never see the youngsters in her charge, her devotion to duty is arrestingly apparent.

Like every other couple, Alana and Katie have their ups and downs, their arguments and romantic moments.

While Katie frequently vents her frustrations using British sign language, Pennycott doesn’t paint her as a figure of pity thanks to a script full of humour and anger with the writer resisting the temptation to preach or lazily reach for tired old cliches.

Both characters feel very real, thanks in no small part to a natural chemistry nurtured by director Paula Garfield and the performances of Em Prendergast and Zoe McWhinney, whose performances as Alana and Katie left a lasting impression on me.

The ending of this fabulous piece is one of the most original I’ve ever seen. But I have no intention of giving it away here.

This is contemporary theatre at its best for me and I left HOME in Manchester wondering why the run there was so short.

Not to be missed and I have just two more words to say to Eloise Pennycott - more please.

Until Nov 8. Tickets are available from 0161 200 1500. Star rating - 4.5 out of 5.

Photo by Becky Bailey.

Charlie and the Chocolate Factory at Altrincham Garrick

AFTER a generally awful Bleak Expectations, its awfulness a result of the script rather than the acting, normal service has been well and truly resumed at the Garrick, with an eye popping, spellbinding and uplifting production of Roald Dahl’s timeless classic.

There’s a theory which I came across on the Internet which says this timeless fantasy is somehow a critique of capitalism. But the oompa loompas, aka Wonka’s small army of workers, don’t look as if they’re being exploited to me.

Who cares if this theory is true? We’re all aching for a dose of good, old fashioned escapism in these challenging times.

The story is about a mysterious chocolate factory run by the enigmatic Wonka who offers five lucky kids a chance to win a guided tour of the place if they can get their hands on a much sought after golden ticket.

Most of the kids who win are obnoxious, spoilt and entitled, with the exception of the angelic Charlie Bucket.

Life is unrelentingly tough for Charlie who, despite coming from a loving family who don’t have two pennies to rub together, thinks nothing of sharing everything he has.

This role is being shared by three young actors, with Rui Yang Lau setting a very high standard on opening night.

He and Ivor Farley as Grandpa Joe are great together and had a strong chemistry between them when I saw this classic feel good show.

Alex Day, as the incurably obese Augustus Gloop, Lauren Brown as the spoilt rotten Veruka Salt, Nandi Nhariwa as the young diva Violet and Max Lawrence as the screen addicted Mike Teavee were equally impressive.

If you add a score that’s as delicious as one of Wonka’s chocolate bars its fair to say the Garrick has a huge musical hit on its hands.

Until October 26 and October 29 to November 2.

Star rating - 4.5 out of 5.

Tickets are available from 0161 928 1677 or www.altrinchamgarrick.co.uk.

Black Power Desk - The Lowry


IT’S hard to believe a government would sanction the setting up of a secretive police organisation with a specific remit - to smash black activism by targeting its leaders.

Such a body, which gave this fabulous musical its title, was surely the by product of bygone dictatorships like apartheid South Africa.

But the country in question is a little closer to home. The country in question is ours.

The covert unit ran, believe it or not, until the 1990s.

Black Power Desk had a profound effect on me, unlike anything I’ve experienced in a theatre for many, many years.

Urielle Klein-Mekengho has created a script that’s heartfelt and brimming with passion and the end result is a deeply affecting piece of theatre that’s highly emotional in several places, even though this exciting writer, whose work is refreshingly new to me, doesn’t try to play on the audience’s emotions.

My appetite for theatre with a social bite is unquenchable for me, even though every aspect of this genre has its place.

Most of the action takes place in a restaurant that also serves up much hilarity via the banter between owners and customers and the irst 45 minutes of the evening was relatively light hearted.

The show’s central characters are sisters Celia and Dina, who, despite their blood ties, are very different characters. Celia wants to sing. Dina, on the other hand, wants to protest against the racism blighting the lives of those around her.

The musical has a rich and varied score and Rochelle Rose’s voice is so, so good I would willingly listen to her sing the phone book. Veronica Carabai also had quite a stage presence as Dina and the two characters had some memorably heated exchanges as they clashed.

But this celebration of courage defiance, set in London during the 1970s, deserved a far longer run at The Lowry and I hope in return is planned in the not too distant future.

Shows as important as this, as challenging and thought provoking as this, must be seen by as big an audience as possible.

Even more so in our current climate.

For more information about what’s on at The Lowry, visit www.thelowry.com.

Star rating - *****

Dancing at Lughnasa - Royal Exchange Theatre


THE first time I saw this play, I can remember being totally underwhelmed by it, largely as a result of its largely sedate pace.

What a difference a production makes.

The RET has teamed up with Sheffield Theatres to create something that, thanks to Brian Friel’s script, is deeply affecting and warmly humorous.

I guarantee the audience is sure to care deeply about the characters, especially the five unmarried Irish sisters who dream of dancing at the festival of Lughnasa, their dreams taking one step closer to reality after a temperamental radio, later nicknamed Marconi, falls into their posession.

One of the high points of the evening comes when the afore mentioned siblings explode into a dance routine with a fervour that verges on the religious.

As the prim and proper Kate, Natalie Radmall-Quirke excels as the teacher who brings her draconian brand of classroom discipline home with her, consistently branding her sisters’ aching desire for hedonism inappropriate for women of their age.

Laura Pyper as Agnes, Martha Dunlea as Christina, Siobhan O’Kelly as Margaret and Rachel O’Connell as Rose prove to be inspired pieces of casting, with all five actresses immersing themselves totally and effortlessly into their respective roles.

They’re all bright and engaging personalities and you’ll find yourselves hoping their lives don’t simply end in domestic drudgery.

This lay may be set in rural Ireland in the 1930s and yet it feels modern and fresh.

Frank Laverty as the enigmatic Jack is also highly engaging, bringing to life a character with plenty of hidden depths, a character fresh from 25 years of missionary work in Africa and seemingly lured away by the ask no questions spiritualism of the Catholic church.

Only an eejit would miss this.

Until November 8.

Tickets are available from 0161 833 9833 and you can also book online at www.royalexchange.co.uk.

Star rating - 4.5 out of 5.

Photo by Johan Persson.

The Royal Exchange set to celebrate a special birthday


Totally unique - The Royal Exchange Theatre.

MANCHESTER’S Royal Exchange Theatre is 50 next year - and plans to celebrate its landmark birthday with special guests and a programme of mouth watering productions.

Comedian Johnny Vegas is set to appear in Jim Cartwright’s play, Road, and director Matthew Dunster and actor David Threlfall will team up again for what’s being billed as an emotionally charged production of King Lear.

The theatrical gems being served as part of the Exchange’s celebratory season include a production of A Little Night Music by the always wonderful Stephen Sondheim.

The theatre is renowned for the close up and very personal nature of its productions, a sentiment echoed by artistic director Serena Catmell said:

“There is no theatre like the Royal Exchange anywhere in the world.”

It also means something special to me for it was at the RET that I saw my first ever play, The Nerd, back in 1987.

Five years later I wrote my first review of one of its productions and the rest, as they say, is history.

Anyone interested in finding out more should call 0161 833 9833 or visit www.royalexchange.co.uk.

Bleak Expectations - Altrincham Garrick


Dickens with a difference - Bleak Expectations.

THERE are some memorable performances to enjoy in this send up of all things Dickensian, with all the actors displaying an exemplary comedy timing and seemingly boundless energy.

While there are funny bits, genuine belly laughs are thin on the ground in Mark Evans’ script.

Certain visual gags are also repeated, make them lose their comic impact, with a string of characters falling on their backside.

This is a hugely talented cast and I would like to see just what they could have done with better material.

As Pip Bin, I suppose you could call him the hero of the piece, Luke O’Hara delivers a performance that is ideal for a professional stage and it’s impossible not to warm to Tim Cooper as Pip’s school friend Harry Biscuit.

There’s a natural camaraderie between Pip and his ally.

Watching this tale made me feel like I was watching a panto for grown ups at times, as the play gives a substantial nod to two iconic novels, Bleak House and Great Expectations.

When I say ‘adult pantomime’ I’m not using the phrase in the smutty sense but for me the funniest lines come courtesy of a character who can turn in her fertile imagination the most mundane of acts into something with more sensual overtones.

Fiona Primrose is perfectly cast as Pip’s sister Poppy - Evans loves word play - and Hugh Everett is outstanding as Thomas Bin.

Director Pete Brassington ensures his is a production with plenty of pace and both he and the cast have a natural aptitude for comedy, a genre needed as never before, in our troubled and tormented world.

Until October 4. Tickets are available from 0161 928 1677 or www.altrinchamgarrick.co.uk.

Star rating - ***

Photo by Martin Ogden.

A Chorus Line - Altrincham Garrick


Not to be missed - A Chorus Line.

IT’S hard to believe this show is 50 years old. Despite its age, its power to move, amuse, entertain and exhilarate remains as strong as ever thanks to a sumptuous score and a very stirring dance finale that raised the roof at the Garrick on opening night.

While some of the characters may appear a little too American for some, this musical has a huge heart and even Zach, the sergeant major of a musical director has a softer more caring side.

A Chorus Line lifts the lid on a group of dancers desperate to seize their moment in the spotlight and make their dreams of stardom a reality.

Joe Meighan’s production deserves to play to packed houses and yet a contact at the theatre told me on Monday night that not all the tickets have been sold which is a total mystery to me as this is one in a very long line of Meighan productions that re-defines amateur theatre.

The Garrick’s dynamic young artistic director even found time to treat us to a commanding performance as Zach and he’s more than ably supported by Mark Goggins who can add this production of A Chorus Line to a seemingly endless list of musical triumphs.

I also think even Victor Meldrew’s more miserable twin would be humming One Singular Sensation, the show’s most famous number for me, as they drift off into the night.

Then we have one of my favourites At The Ballet, which takes us on the most memorable journeys into the utopian world in the more traditional aspects of the much loved genre. Even a cynical old journalist like me was moved by the dream like quality of this particular scene.

But this isn’t just the Meighan and Goggins show. The entire cast totally immerse themselves in their respective roles and anyone expecting weak performance is sure to be disappointed.

Particularly memorable was Helen Swain as Sheila and Caitlyn Brady certainly earns the audience’s empathy as Zach’s old flame, Cassie. What is particularly exciting is the amount of young talent at the Garrick’s disposal which guarantees a very bright future for the company.

Unmissable, high quality entertainment.

Until September 14. Tickets are available from 0161 928 1677 or you can book online at www.altrinchamgarrick.co.uk.

Star rating - 4.5 out of 5.

Photo by Martin Ogden.

Shelagh Delaney's seminal classic to launch Garrick's season of Manc plays

IT beggars belief that Shelagh Delaney was just 19 - yes 19 - when she wrote A Taste of Honey.

As a play it remains profoundly affecting and warmly funny and an ideal choice with which to launch Altrincham Garrick’s season of plays with a Manchester connection.

A Taste of Honey is the ideal choice for the Garrick’s wonderful little Lauriston Studio and, at the time of writing, there were few tickets left for the opening night.

It run from September 23-28 and anyone interested in booking tickets should call 0161 928 1677 or you can book online at www.altrinchamgarrick.co.uk.

The Addams Family Musical - The Lowry


IF you thought you’re family is odd, I suggest you spend an evening with this lot.

Also, spare a thought or two for Lucas, the quintessential all American boy, complete with baseball jacket, who harbours an ambition to marry into this ghoulish brood.

The love of his life just happens to be Wednesday who carries a crossbow for fun and has torturing her brother Pugsley on her list of her favourite pastimes.

But Pugsley actually enjoys his sister’s torment because this is all done for comedic effect and hates the possibility of his sister leaving the family home.

When Lucas and Wednesday decide to set up a meet the parents evening at the Addams’ rambling and spooky mansion the scene is set for some comedy gold because Mal and Alice are the complete opposite to their potential in laws.

Mal is staid and boring and Alice quietly aches for a bit more spice in what has become for her a soporific, trial of a marriage. Gomez and Morticia Addams, Wednesday’s mom and dad, are the complete opposite.

This is captured in a fabulous dance routine involving Ricardo Alfonso and Alexandra Burke who totally immerse themselves in their respective roles as experts in the art of comic timing.

Burke seizes on the opportunity to shine in act two, which contains the best songs.

The same is also true of Clive Rowe as Uncle Fester and Dickon Gough as the expressionless, zombie butler, Lurch.

As Alice though, Kara Lane exudes a terrific presence and for me, one of the finest singing voices in the entire cast.

It was also great to see some many children at the theatre with many girls in particular entering into the spirit of the show by dressing up as the most unlikely of heroines, Wednesday Addams. Youngsters are, let’s face it, the audiences of the future.

Then there were the big kids, too.

Great fun this, from start to finish.

Until August 16. The box office is on 0343 208 6000 and you can also book online at www.thelowry.com.

Star rating - 4.5 out of 5.

Liberation - Royal Exchange Theatre


Not to be missed - Liberation at the Royal Exchange.

AS a teenager I can remember watching Boys from the Blackstuff on TV and being both shocked and angered by what I saw on the big screen because, having grown up in safe, suburban south Trafford I had no idea people lived like this.

It was deeply thought provoking and anger inducing and I felt exactly the same watching the world premiere of Liberation at the Royal Exchange.

The piece, which comes from the pen of Ntombizodwa Nyoni, takes us back to the Pan African Congress and the version of the event that took place in Manchester in 1945.

Delegates from all over the continent met to discuss how a brighter and more prosperous future could be secured for peoples still living with the appalling exploitation that was part and parcel of colonialism.

Nyoni’s script stirs up a variety of emotions while, at the same time, not seeming to play upon them and the most remarkable thing for me is that this, thematically, is a play of epicc proportions and yet, interval included, it’s just over two hours long.

I am not going to single out individual performances as this assumes there were bad ones which is simply not the case. The performances are beyond acting with each performer actually becoming the person they are playing, which is thanks to their considerable talent and the talent of director, Monique Touko.

In terms of my favourite characters it has to be the boxer Len Johnson, an athlete of mixed race whose mother has to endure the most appalling racist attacks at the hands of racist thugs.

I enjoyed this production immeasurably and I hope it attracts the audiences it undoubtedly deserves, more so than it did the day after press night, which I was unable to attend.

Brilliant, top quality theatre. Do not miss it.

Until July 26. Tickets are available from 0161 833 9833 or www.royalexchange.co.uk.

Star rating - *****