Adam Williams, Author at North West End UK

Ideal 20th Anniversary Live Show – The Lowry

10Sep

By Adam WilliamsNo Comments

North West

Ideal 20th Anniversary Live Show – The Lowry

Back in 2005, Tony Blair was the Prime Minister, Doctor Who returned to our screens, and another show, with a budget not quite as large, started on BBC Three called Ideal. Set in Salford, it revolved around Moz (Johnny Vegas), a small-time drug dealer, and the weird and wonderful characters who came to see him to buy cannabis. It was lo-fi, a bit of a sleeper hit, and a cult classic beloved by its fans. Twenty years later, it has been resurrected for the stage, and it is silly, surreal and just fun. You know everyone is up for having a good time when the actors are applauded when they come on stage. It had a pantomime feel, not least in those moments when things went wrong. Audiences always love it when this happens, and it was very entertaining watching the actors try to improvise them...

2:22 A Ghost Story – Opera House, Manchester

14Aug

By Adam WilliamsNo Comments

North West

2:22 A Ghost Story – Opera House, Manchester

Everyone loves a ghost story. Whether it is by M R James, Edgar Allen Poe or Stephen King, we all love stories that make us jump out of our seats and scare the bejesus out of us. This show certainly did that and more! At base, this is a tremendously well-structured play which brilliantly ratchets up the tension and keeps everyone on the edge of those seats they will certainly be jumping out of. There is more, though, to this play than being a simple ghost story. It also explores ideas of rationalism, belief, control and identity whilst also being a supremely entertaining romp. It has been a phenomenally successful show, having been three years in the West End, and has been seen by over one million people in 17 different countries. I can understand why, as the play zips along faster t...

20Jul

By Adam WilliamsNo Comments

North West

Almost Famous – The King’s Arms

“Escaping and pretending is better than the truth,” says Emily Benton (Jac Wheble), the hero of this one-woman show about identity, fame, and the desire to be seen, not for what you are, that’s boring. She has a thirst, a craving almost to be seen in the spotlight, out front, and famous. Benton, we find out, is living a lie from the start. Suddenly, we are taken into an examination of identity in a world where everyone is pretending. She came from Australia to the UK in the early 1970s to pursue her dream of finding fame and fortune as a performer. “Naivety gets you through,” she says as she looks back at her younger self and the pitfalls she faced in a business where more established, powerful men will take advantage of her with the promise of a record contract or a juicy part o...

15Jul

By Adam WilliamsNo Comments

North West

Varnish – The King’s Arms

We are all the stars of our own lives, and in this one-man show, Jonathan Mayor is undoubtedly the star of his. Mayor comes onto the stage full of glitter and glam. A sparkling presence, the epitome of the outrageous stage and screen performer. He is the star of the show, and all the stars have come out to see him, including Dame Judi, Oprah and Tom Cruise, on a booster seat! He is charismatic and camp as he starts the show. You feel that in his head, he imagines he is at the opening of his Las Vegas residency or appearing at the top of the bill at the London Palladium. However, this isn’t a show. It’s a play written by his friend, Janet Taylor, and based on his life. It is not necessarily the unvarnished truth, but who, in reality, tells the truth of their own lives, even to the...

20Jun

By Adam WilliamsNo Comments

North West

Macbeth – Hope Mill Theatre

Sometimes you see a piece of theatre and it just blows you away. This production was inventive, audacious and stunningly theatrical. Theatrical seems an odd thing to write in a theatre review. Surely all theatre is theatrical. Yet, the fashion these days is to shun theatricality, to underplay, to minimise. Thankfully, the directors of this play were not afraid to create a spectacle. Fittingly, for a play where bewitchment is central to the plot, they created magic in a very small space. From the start, there was dynamism, vivacity, verve and brio which grabbed the attention. And it did not let up. There was a briskness to the direction which gave the play its vim and vigour. It was so compelling that you could not take your eyes off the action. It was co-directed by Amy Gavin and Han...

What Does It Take to Slay a Dragon – 53two

13Jun

By Adam WilliamsNo Comments

North West

What Does It Take to Slay a Dragon – 53two

The first rule of dramatic writing is to “show not tell”. Drama works best when the audience is engaged in the story, its characters and the conflict that lies within it. They are drawn in and become involved, developing a genuine care for the characters. That feeling may be love, or it may be hate, but they are interested because they are watching something dramatic unfold. It is disruptive, then, for people watching if the actors simply break the fourth wall and just tell them what is happening. Structurally, this play was a mess. The writer, Rebekah Harrison, warned the audience that they were in for something different, and whilst it may be seen as a brave move to tell the story in the way she did, it simply did not work. It stopped you from caring about the characters and made itse...

17Mar

By Adam WilliamsNo Comments

North West

The Flying Dutchman – The Lowry

I’m afraid this production of The Flying Dutchman, an opera about a man cursed to wander the oceans forever, was itself all-at-sea, lacking direction, and one feared, at times, would sink under the weight of its sadly misguided reimagined central conceit. It was kept afloat by the excellence of the cast, but the production itself did not seem to know where it was going because the basic idea behind it did not work. In their own words, they “have re-imagined The Flying Dutchman to take place on the ‘ship of state’: the Home Office. Daland is the ‘Home Secretary’ and the Dutchman and his crew become displaced people seeking refuge.” This analogy just did not work and whilst it was a noble effort to make The Dutchman a man seeking asylum it did not fit with the opera and became confusin...

26Feb

By Adam WilliamsNo Comments

North West

The Merchant of Venice 1936 – The Lowry

The timing of this production could not be better, setting as it does one of Shakespeare’s most problematic plays amid the rise and fall of Oswald Mosley’s British Union of Fascists in mid-thirties England. With certain tech giants performing “Roman salutes” and the frightening rise of fascist political parties taking place across Europe, we seem to be returning to the dark days of the 1930s. This adaptation of Shakespeare’s play powerfully brings to life the vicious remorselessness of bigotry and how it can be fought and defeated. Projected onto the back wall were the sensationalist antisemitic headlines of the day, newsreel clips of fascist marches and Mosley’s call for “Britain First.” The frightening echoes of what is happening now were stark but the play also reminded us that th...

25Feb

By Adam WilliamsNo Comments

North West

Madama Butterfly – Opera House

Every betrayal begins with trust and curiously this production of Madama Butterfly became more powerful simply because of where the orchestra came from. As they say on the telly when the football scores come on look away now if you don’t want to know the essential twist in the plot of this opera. Many will be aware of how this story unfolds but if you don’t want to know, stop reading now. I usually avoid giving the plot away in my reviews but the intersection of life and art that this production unwittingly brought means I have to mention it to do it justice. At the centre of the play is a betrayal by an American and the music for this production was played by the Orchestra of the Ukrainian Opera and Ballet Theatre, Kyiv. I hate to bring politics into a work of art but the betray...

5Feb

By Adam WilliamsNo Comments

North West

The Shark is Broken – Lowry

Everyone knows that the film Jaws was a box-office smash. It was based on a best-selling novel by Peter Benchley and one critic said of the book, “None of the humans are particularly likable or interesting” and they felt the shark was the most compelling character. Spielberg agreed with them, which is why he changed the characters in the movie after deciding that the book's characters were unlikeable. This play concentrates on the three stars of the film, Roy Schneider (Dan Fredenburgh), Richard Dreyfuss (Ashley Margolis) and Robert Shaw (Ian Shaw) who are forced to wait around on the boat while the film’s techies try to fix Bruce, the broken animatronic shark. At first, it appears that these actors, like the characters in the book, are not “particularly likeable or interesting.” ...