REVIEWS Archives - Page 13 of 588

22Apr

By Jackie FoottitNo Comments

Yorkshire & Humber

Here & Now – Hull New Theatre

From the first minute the “curtain” rose on Here & Now at the Hull New Theatre on Tuesday evening, I couldn’t get over how absolutely wonderful the stage setting was. The brand-new musical is based on the music of the 1990s iconic group, Steps, with a storyline centred around the staff of supermarket Better Best Bargains (BBB for short). Set designer Tom Rogers brings that environment to life by creating floor-to-ceiling partitions, left and right, graduating to the back of the stage. Each partition is filled with “groceries” and lit continually with the most amazing colours. Overhead are aisles 5, 6, 7 and 8 (there’s a song in there somewhere), while, occasionally, a graffiti covered wall drops for outdoor scenes, and serving counters are pushed and pulled throughout the show. ...

22Apr

By Helen JonesNo Comments

North West

Noughts and Crosses – The Lowry

Pilot Theatre and Northern Stage have once more brought Sabrina Mahfouz’s adaptation of Malorie Blackman’s 2001 novel out on tour, having first produced it in 2019. Set in an alternative 21st century Britain, called Albion in the books, there is fairly strict segregation. The crosses (dark-skinned people) are in control of the country, and the noughts (light-skinned people) are the oppressed and suppressed. Jasmine, the wife of the politician and Home Secretary Kamal Hadley, had employed Meggie McGregor as a nanny to her children. As such her daughter Sephy (Persephone) and Meggie’s son Callum had become friends. But as the segregation requirements get stricter an interracial friendship is not allowed, and Sephy and Callum’s friendship is forced into secrec...

Showstopper! The Improvised Musical – Cambridge Theatre

22Apr

By Zain RussellNo Comments

London

Showstopper! The Improvised Musical – Cambridge Theatre

Seeing Showstopper! The Improvised Musical at London West End Theatre might not immediately sound like a must-see. An entirely improvised musical? It could easily seem like a gimmick. But in reality, it’s an absolute triumph of creativity, talent, and quick-thinking, you are genuinely in for a treat. The performance begins with Dylan Emery playing the role of a writer tasked with creating a brand-new musical from scratch in just two hours. From the outset, the audience becomes a central part of the process. We’re invited to shout out ideas for the theme of the show, with suggestions ranging from “White Lotus” to “crisps escaping from a bag” to “a dysfunctional parents’ evening.” After narrowing down the options, the audience votes by cheering, and the winning theme, on this occasion, “d...

Channel Surfing at The End of Days – Hen & Chickens

22Apr

By Charles PipeNo Comments

London

Channel Surfing at The End of Days – Hen & Chickens

CHANNEL SURFING AT THE END OF DAYS, written and directed by Callum Pardoe, takes the form of a series of short vignettes – glimpses into people’s lives in the moments before the world instantaneously and unexpectedly ends. Pardoe’s script excels at depicting the unusual, mysterious, and supernatural. A woman is tasked by an unsettling being to deliver an ancient letter to a private investigator. A grieving father is tormented by a beastly entity. Two brothers bicker about whether or not to contact their dead parents via séance. Pardoe demonstrates an excellent ability to build intrigue and suspense. These vignettes perfectly balance comedy and pathos along with a growing sense of dread, and the effect is gripping. By contrast, the more mundane scenes of everyday life somewhat fal...

22Apr

By Olivia CoxNo Comments

London

Managed Approach – Riverside Studios

Holbeck, Leeds made headlines in 2014 after the local government launched a trial initiative to decriminalise and regulate the sex work industry. The scheme, known as the “managed approach”, ultimately lasted until 2020, and Jules Coyle’s play of the same name explores the programme’s impact on the women and girls living in the area at the time, including those working within the initiative. A semi-verbatim piece, Mangaged Approach threads the stories and experiences of a number of sex workers (played in turn by Áine McNamara and H Sneyd) through a central storyline about 18-year-old Abbie (Coyle) and her mother Kate (Eanna Ferguson), with the managed approach stirring up new tensions between the pair as they debate whether or not the scheme is truly protecting women. It’s immensely ...

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 Zain RussellNo Comments

London

Avenue Q – Shaftesbury Theatre

Avenue Q returns to the West End for a new run, and it absolutely delivers. Hilarious, sharp, and surprisingly heartfelt, it’s often described as Sesame Street for adults, and that comparison feels spot on. From the moment the curtain rises, the bright set, puppetry, and use of screens give the impression of a cheerful children’s TV show, making the show’s more risqué humour land even harder. The story follows Princeton, played and puppeteered by Noah Harrison, a recent graduate trying to figure out life after university. Armed with a degree but no job, money, or clear direction, he arrives on Avenue Q in search of purpose, and somewhere affordable to live. It’s an instantly relatable premise, and the show cleverly uses its eccentric characters to explore themes of adulthood, identity, ...

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...

16Apr

By Dylan MooneyNo Comments

Scotland

What I’m Here For – Traverse Theatre

With an international exploration of the health care system, What I’m Here For stops at Edinburgh’s Traverse Theatre as part of its Scottish tour. From the collaborative minds of Vanishing Point, from our home soil, and Danish company, Teatre Katapult, this production draws a parallel to both countries' health and care infrastructure and the daily challenges faced by those working within it. We open on Flora (Lærke Schjærff Engelbrecht) smoking on the roof of a hospital. It is the end of her shift but before she goes home to rest, she begins to reflect on the working day that had just unfolded. Memories appear and disappear as Flora struggles to separate fact from fiction. With severe staffing issues and constant pressure in her working environment, Flora’s help is required all around t...

16Apr

By Greg HolsteadNo Comments

Scotland

Gush – Traverse Theatre

There is something quietly exacting about a one person show. It is an island, really, a contained territory where there is nowhere to hide, no supporting architecture of cast to lean on. If it works, it approaches a kind of theatrical purity. If it does not, it is exposed within minutes. I admit, I am a sucker for the form.Gush, written by Jess Brodie and directed by Becky Hope Palmer, comes close to that sense of honed perfection.At its centre is a single performer, Jessica Hardwick, who carries the entire evening with considerable control and, at times, something approaching virtuosity. She moves deftly between roles, voices and emotional registers, and if there is a hierarchy within that, it is clear that her articulation of the female experience is where the piece truly finds its voice...