Paul Wilcox, Author at North West End UK

The Crucible – Altrincham Garrick Playhouse

12May

By Paul WilcoxNo Comments

North West

The Crucible – Altrincham Garrick Playhouse

Since becoming artistic director of Altrincham Garrick Playhouse, Joseph Meighan has steadily transformed the venue into one of the north-west’s more adventurous amateur theatres, programming work that aims beyond easy familiarity. His production of The Crucible continues that run with intelligence and confidence, offering a reading of Arthur Miller’s drama that shifts attention away from political allegory and towards the intimate failures that allow hysteria to flourish. Miller famously wrote The Crucible as a response to McCarthyism and the anti-communist paranoia of 1950s America, and productions often lean heavily into that parallel: Salem as a warning about authoritarianism, ideological persecution and the dangers of collective fear. Meighan takes a quieter approach. Rather than f...

22Apr

By Paul WilcoxNo Comments

North West

, Daniel Blake – HOME Mcr

Back in 2016, the political and cultural landscape of Britain felt markedly different: David Cameron was Prime Minister, the UK remained within the European Union, and Leicester City’s improbable Premier League triumph captured the national imagination. It was also the year Ken Loach secured the Palme d’Or at Cannes for I, Daniel Blake, a characteristically unflinching indictment of Britain’s welfare system. A decade on, this stage adaptation—presented by Northern Stage in collaboration with Leeds Playhouse—arrives not as a period piece, but as a grimly resonant reminder of how little has changed. Adapted by Dave Johns from Paul Lavery’s original screenplay, the production wastes little time in immersing us in the daily realities faced by its protagonist. Daniel Blake (Dave Nellist), a ...

17Apr

By Paul WilcoxNo Comments

North West

Waiting for Godot – Octagon Theatre

“Nothing happens. Nobody comes, nobody goes. It’s awful.” These eight words, spoken by Estragon, neatly distil the themes of existential stasis and quiet despair at the heart of Samuel Beckett’s Waiting for Godot. And yet, despite the clarity of that diagnosis, and the evident skill of this production’s leading performances, I left the theatre once again unconvinced, admiring more than engaging, and respecting more than enjoying. Godot has, of course, divided opinion since its 1953 premiere. Early audiences were baffled, even hostile, and critics were scarcely kinder: Kenneth Tynan’s oft-quoted complaint that it possessed “no beginning, no middle and no end” was delivered with both frustration and reluctant admiration. In the decades since, its influence has been profound, shaping th...

2Apr

By Paul WilcoxNo Comments

North West

Private Lives – Royal Exchange

The Royal Exchange’s recent renaissance under its newly installed artistic director, Selena Cartmell, continues apace with a sparkling revival of Noël Coward’s Private Lives. This is a production that deftly balances the play’s barbed wit with the art deco glamour of its setting, while allowing something darker to seep through the cracks: a distinctly Pinteresque unease beneath the polished surface. Coward is often caricatured as the world-weary, dressing-gown-clad wit, all epigrams and elegance. But there has always been more to him than that. Ever since seeing the Citizens Theatre’s 1988 production of his early play The Vortex—with Maria Aitken and a startlingly young Rupert Everett—it has been clear to me that Coward’s work carries a sharper, more serious undercurrent. His outsider’s...

25Mar

By Paul WilcoxNo Comments

North West

Pomona – Altrincham Garrick Playhouse

For the fourth instalment in its “Season of Manchester Drama”, Altrincham Garrick Studio opts for the unexpected. Alongside the more familiar Hobson’s Choice and A Taste of Honey, it is Alistair McDowell’s Pomona — a dense, disorientating work from 2014 — that proves the boldest programming choice. In Mark Goggins’ assured and imaginatively realised production, it becomes something close to unmissable. The programme’s content warning is exhaustive — violence, abuse, sexual assault, human trafficking, suicide — and suggests an evening of grim endurance. Yet what unfolds is something more intellectually disquieting than viscerally shocking: a slippery, elusive blend of dystopian satire, urban noir and cosmic horror that owes as much to Black Mirror as it does to H. P. Lovecraft. The shock...

21Mar

By Paul WilcoxNo Comments

North West

Under Milk Wood – Theatr Clwyd

For a Welsh theatre marking its 50th anniversary, Under Milk Wood is both an obvious and a risky choice. Dylan Thomas’s “play for voices” is so bound up with its own mythology—its lyrical density, its association with Richard Burton—that any staging must negotiate the tension between fidelity and reinvention. Kate Wasserberg’s production does so with intelligence and flair, even if it occasionally brushes up against the limits of the text itself. Written for radio and first broadcast in 1954, Thomas’s portrait of a day in the fictional Welsh village of Llareggub (read it backwards) remains a defiantly literary work: episodic, associative and rich to the point of saturation. Its comparison to Thornton Wilder’s Our Town is not misplaced, but where Wilder offers clarity and restraint, Thom...

14Mar

By Paul WilcoxNo Comments

North West

Opera North: Peter Grimes – The Lowry

In the week Timothée Chalamet made his ill-advised claim that “no one cares about ballet and opera anymore”, the 1,700 people gathered at the Lyric Theatre in Salford to watch Opera North’s revival of Benjamin Britten’s Peter Grimes would strongly disagree. Chalamet might revise his opinion were he ever to see this production. Karolina Sofulak’s revival of the 2006 original presents Britten’s music in all its brooding glory while sharply revealing the paranoia and groupthink at the heart of the story. The opera begins in silence. Peter Grimes (John Findon) stands in the dock before an inquest into the death of his young apprentice, William Spode. The townspeople of The Borough are deeply suspicious of Grimes, a loner and outcast in their close-knit and introspective society. His acquitt...

6Mar

By Paul WilcoxNo Comments

North West

Macbeth – Octagon Theatre

Over four hundred years since it was written and first performed, Shakespeare’s Macbeth still proves to be the quintessential study of guilt, paranoia and vaulting ambition. With this modern-dress version of the tragedy, Director Mark Babych produces an accessible and clear rendition of the text that emphasises the domestic trauma of the central couple at the expense of the wider political context of the play. When watching and reviewing any Macbeth, my interest always centres around the decision a director takes to emphasise certain key themes inherent in the text. Will they choose to focus on the political, martial or domestic elements that conspire to push the eponymous character from warrior hero at the outset towards bloody regicide and insecurity, culminating in his fatalistic dea...

25Feb

By Paul WilcoxNo Comments

North West

Operation Mincemeat – The Lowry

Back in April 2023, my daughter and I were in London’s theatre-land, seeking something cheerful and light after enduring a four-hour production of A Little Life — a play that had left us both in a numbly depressed state. A tiny show had just opened at the Fortune Theatre, just off Covent Garden, and we decided to take a risk on some cheap, last-minute tickets. It turned out to be a very wise decision. The show was Operation Mincemeat and, in the ensuing three years, it has garnered universal audience adoration, five-star reviews galore, continued success in the West End, and a Broadway transfer with resulting Tony and Olivier Awards recognition. The next step in its seemingly inexorable rise is a world tour, which kicks off with a glitzy “yellow carpet” premiere in Salford — cementing i...

20Feb

By Paul WilcoxNo Comments

North West

Road – Royal Exchange

2026 marks the 50th anniversary of the founding of the Royal Exchange Theatre, an occasion celebrated with a season of productions entitled 'A Homecoming', welcoming artistic alumni back to direct and perform in the Levitt Bernstein-designed "spaceship" nestled within the Victorian splendour of the old Exchange building. New Artistic Director Selina Cartmell launches the programme in strong style with a revival of Jim Cartwright's seminal 'Road', boasting a star-studded cast, astonishing design, and an unfortunate modern relevance forty years after its premiere. When the Royal Court Theatre first staged Road in 1986, Margaret Thatcher was at the height of her power and British society was beginning to see the effects of her political credo. While some prospered in this new "Gordon Gekko...