Riah Amelle Archives - North West End UK

Canal Street Lonely Hearts Club – Hope Mill Theatre

6Sep

By Scot CunninghamNo Comments

North West

Canal Street Lonely Hearts Club – Hope Mill Theatre

With an inspired creative vision, the updating of a theatre piece can breathe new life into it, bringing entirely new meanings to the story and characters. The gender-swapped Company revival provided a female-centric look at the thirty-five-and-still-single life, questioning societal expectations, while &Juliet allows the queerness of Shakespeare to be a lot more overt. But when Rupert Street Lonely Hearts Club writer Jonathan Harvey‘s motivation for a modern, Northern version of his 90s London-based play doesn’t go beyond ‘f*** it, why not?’, its purpose is thrown into question before the curtain has even lifted. In a Canal Street flat, two brothers (Shaun, straight and Marti, gay) contemplate their love lives as the former’s girlfriend is being unresponsive while on holiday in...

Blithe Spirit – Hope Mill Theatre

Director Hannah Ellis Ryan of Her Productions illuminated Hope Mill Theatre with her production of Blithe Spirit. Ellis Ryan has had some fabulous successes in her previous direction of ‘Vignettes’ and ‘Taming of the Shrew’ at Hope Mill, so I was thrilled to be asked to review her latest masterpiece. Blithe Spirit is a High-Spirited Comedy by the Masterful Noël Coward, the play was first seen in the West End in 1941 and ran for 1,997 performances, which was a new record for a non-musical play in London. It also did well on Broadway later that year, running for 657 performances. The play was adapted for the cinema in 1945; a second film version followed in 2020. The plot relates to Charles Condomine (Peter Stone) a novelist, and his wife Ruth (Ntombizodwa Ndlovu), who have invited the...

Enough – King’s Arms, Salford

When Enough was first performed at the Greater Manchester Fringe last summer it was depressingly prescient. A play about misogyny, corruption and racism in the police less than six months after a review into the culture and standards of behaviour at the Met was published. As part of a Best of Fringe season, Enough is one of a handful of last year’s highlights being revived at the King’s Arms in Salford. The play won a Best Drama award in the summer, and it is not hard to see why. The subject matter may be, marginally, less topical but is no less important. In fact, the ‘enough is enough’ message is, arguably, even more powerful now. The attention of the headlines circus may have moved on but the issues this play raises have not been resolved. As is often the case, it is down to po...