Pick Me Up's Sweeney Todd, John Cooper Studio, York - 5th August 2016 (Reviewed on behalf of North West End)

This was originally reviewed for North West End and the link can be found here.

Sweeney Todd is Pick Me Up’s second production this summer following Assassins and forms part of the 2016 Sondheim Season. Stephen Sondheim’s musical is written by Hugh Wheeler and set to his music and lyrics. It premiered on Broadway in 1990 and a number of adaptations and revivals have happened since.

The well known tale is about Sweeney Todd (Nick Lewis) who returns to London after serving his time as a convict in Australia. A victim of injustice he goes out to seek revenge against those who separated him and his family. He meets Mrs Lovett (Susannah Baines), who owns a pie shop and is reputed to sell “the worst pies in London” and sets his barber business above the shop. Both work as a team to execute Sweeney’s revenge and that his clients will end up being ingredients in Mrs Lovett’s pies. Set in Victorian London where then the poverty was rife and the social and justice gap between the rich and the poor was widening.

It opens chillingly with the Organ Prelude and the ensemble singingThe Ballad of Sweeney Todd. Courtesy of Adam Moore and Robert Readman, John Cooper Studio Theatre is fully transformed and is specifically themed with the darkness and dim and red lighting symbolising the darkness, “bloodiness” and brutality of the show. The smoke spurts on stage reflecting the urban and industrial London at the time. Sondheim has cleverly composed catchy and reflective songs specifically for each character, their stories about themselves and summaries their state of minds and plans – all under the direction of Ben David Papworth. Anthony Hope’s (Sam Hird) declares his love in Johanna. Sweeney shares the story The Barber and His Wife and his plans for further revenge in Epiphany. He states with his shaving razor “at last my arm is complete”!

Lewis and Baines put on an excellent performance as Sweeney and Mrs Lovett. They admirably work together as one team in planning Sweeney’s revenge whilst supporting each other businesses. Another outstanding performance must be Hird’s Anthony whose quest for Johanna (Maren Fagerås Nævdal) is sung convincingly and lovingly in Kiss Me and of course Joanna. In all, with excellent choreography, the ensemble cast ensures the regular reprises of The ballad of Sweeney Todd is alive throughout with close up intimate performances all around on and off stage with good spotlights on the key characters.

Readman directs a successful production, though a long one of three hours, which gives everyone food for thought with the themes raised which are just relevant in society today.

Pick Me Up's Assassins, John Cooper Studio, York - 22nd July 2016 (Reviewed on behalf of North West End)

This was originally reviewed for North West End and the link can be found here.

Pick Me Up’s 2016 Summer Sondheim season opens with Assassins. Assassins is written by John Weidman based on a script by Charles Gilbert, a playwright, which was read at Stuart Ostrow’s Musical Theatre Lab where he served as a panellist several years previously. The musical premiered Off-Broadway in 1990 and opened in London in 1992.

The small intimate theatre is fully transformed and especially themed for the show - with the draping of star and stripes and wooden structures and the seating layout includes ‘presidential’ boxes.

Assassins opens with a crowd gathering at a carnival gallery with the proprietor of the shooting gallery enticing customers to “C’mere and kill a President!” From that point forward; stories of nine individuals whose aim is to assassinate the President of the United States are narrated in text and song by The Balladeer (played by Sam Hird) who double ups as actor/musician.

Sondheim cleverly composes and writes ballads, under the musical direction of Barbara Chan, for some of the assassins with the infamous John Wilkes Booth (played by Simon Radford) killing President Lincoln to Samuel Byck (played by Craig Kirby) who attempts to assassinate President Nixon by hijacking and crashing a plane into the White House. The musical comes to a climate when a desperate Lee Harvey Oswald (played by Hird) is met by the assassins at the Texas School Book Depository in 1963. In order for them to be united in history, legitimacy, and justification this soon leads onto President Kennedy’s assassination.

This musical could not be any more relevant today. Assassinations are planned and attempted, many done similarly in vein, by many disenchanted people around the world and it comes to no surprise with today’s political and social current affairs. The audience is invited to look into nine individuals who assassinated or attempted to assassinate presidents of the United States. Their build up and reasons include delusions, unfulfilled hopes, social and political injustices, broken promises and disappointments, which are explored. Only to be confronted that their desired outcomes didn’t turn out as they wanted it to be.

Sondheim cleverly mixes the characters from the different periods, reflected in the musical numbers, by all of them reconvening between their stories and shares their experiences which give a kaleidoscopic picture with history being reunited under one common theme. Though poignant it is also entertaining and attentive. The outstanding performance must be Kirby’s Samuel Byck who entertains the audience with poignant truths with some funny twists about the so called American Dream. Dressed up as Santa Claus he questions society and the government stating “Lie what’s right, lie what’s wrong”.

All the assassins are united with Another National Anthem which highlights the nightmare reality and disappointments of the American Dream which motivates them to meaninglessly act violent. In the end they seek solace in singing Everybody’s Got the Right with their happiness, being different and to their dream and, chillingly, to their death.

The lighting, courtesy of Adam Moore, provides the right ambience and mood for the musical with dim lighting representing metaphoric ally the dark chapters of United States’ history of the assassinations. Smoke is used as a special effect and the loud soundscapes, by Ian Thomson, for the gunshots.

Robert Readman directs an excellent production which gives everyone food for thought and in the politically and socially motivated musical there is more to the assassination themselves. Pick Me Up’s second Sondheim show, Sweeney Todd, will be playing on the 5th August at the same theatre.

The Beggars of York, York Theatre Royal - 12th July 2016 (Reviewed on behalf of North West End)

This was originally reviewed for North West End and the link can be found here.

Tiny Window Theatre Company presents The Beggars of York which opens York’s week long Take Over Festival. Written by Don Walls, a local poet, the play is based on true stories of people living rough in York – his late son, Peter, did so for 30 years and had busked performance and poetry around Bootham Gate. The play offers a glimpse into the beggars’ lives who survive on York’s streets.

The Beggars of York is made up of performance-poetry with use of illustrations and metaphors. The play part exposes the criminal justice system and the authority’s perceptions on beggars along with those who are wealthy and powerful, politically and financially. 

The cast portraying the five beggars’ project realistically their lives on the street including references to drug use, mental health and the lack of justice and these combined attributes brings controversy and is misinterpreted as ‘anti-social behaviour’. Walls’ son, Peter, who battled with schizophrenia and addiction, often clashed with the authorities. Along with homelessness and addiction, mental health sadly is still discriminated and stigmatised. One of the characters refers to depression as an ‘invisible presence’ which no one can see.

There is a lot of food for thought in this play; the director, Joshua Goodman, asks the audience to rethink of their assumptions and feelings about beggars on the street. As shown in the play there is more about the beggars than what meets the eye, particularly with the close knit community of the homelessness. Yes there is help available but this play encourages one to look at life from the beggars’ eyes and, yes, it can happen to anyone.

This play is performed in York Theatre Royal’s Studio with its intimate space and the audience is close to the action. Sara Burn’s lighting, in particular, compliments appropriately the mood and setting for the story, and the minimum use of props ensures full attention on the characters concerned.

This excellent play encourages the audience to think beyond ‘the box’ and its themes. The cast and crew did a stellar job in putting and performing this play together which raises awareness about the homelessness and commemorates Walls’ late son.

West Side Story, Carriageworks Theatre, Leeds - 6th July 2016 (Reviewed on behalf of North West End)

This was originally reviewed for North West End and the link can be found here.

Leeds Youth Opera proudly presents their latest amateur production West Side Story at the Carriageworks Theatre.

This popular musical, both film and stage, is set in the 1950s in New York’s Upper West Side. Written by Arthur Laurents it is about the rivalry between the Jets, a white gang, and the Sharks, made up of Puerto Rican immigrants. The musical was composed at a time when social problems were at the forefront and they are certainly reflected in the story through music, song and dance.

It begins with a young girl, probably related to one of the past gang members, who reflects in front of the shadowy ghostly figures in a neighbourhood. This neighbourhood was promised so much but only to be forgotten...time rewinds back to 1955 and West Side Story begins.

West Side Story is considered as the modern day Romeo and Juliet with Maria and Tony falling in love and the feud intensifying between the Jets and the Sharks. Maria and Tony’s love deepens as well as the hatred between both gangs - only to be met with tragic consequences.

One must admire the brightly coloured costumes which the Sharks wear in contrast with the Jet’s conservative though modern ones. The contrast certainly stands out to whom one belongs to throughout and both Bernardo (Philip Jackson) and Riff (Alex Walker), the two gangs leader, makes sure of that. The staging is interesting; reflecting a rundown working class neighbourhood which is littered with territorial graffiti murals – works well the story and performance.

The musical has a number of catchy dance scenes including, The Dance at the Gym, America and The Rumblewhich are originally choreographed by Jerome Robbins. The dances are purposeful and well co-ordinated which tells a story about life in the neighbourhood individually and collectively. Despite the hatred for each other and following two deaths; the gangs physically reflect withSomewhere sung by Consuela (Katy Gordon) and the song offers contemplation and hope from each of their sides amidst the physical and figurative barriers.

The well known songs, written by Stephen Sondheim, are sung passionately and with conviction to Leonard Bernstein’s music – particularly the heartfelt Maria Tony sings and the lovers’ duet One Hand, One Heart which is sung beautifully by both Andy Powis and Ciara Booker. There is Maria and the girls’ I feel Pretty and the highly emotive A Boy Like That and I Have a Love between Anita (Rebecca Jelbert) and Maria and the catchy impersonation of Gee, Officer Krupke.

Leeds Youth Opera, under the direction of Anita Adams, has put together an excellent production with a full live orchestra at its disposal, conducted by Tom Newall. West Side Story may be considered tragic but hopeful with ‘somewhere, somehow, someday’ (from Somewhere). At the finale time fast forwards to the present to the same neighbourhood where the story took place. Again the young girl there is reminded that there are lessons to be learnt just like Shakespeare at the time when he wrote his plays.   Hope prevails throughout!

Puccini's Madama Butterfly, English National Opera, London Coliseum

I recently enjoyed English National Opera's Madam Butterfly at the London Coliseum.  We were treated to a three act opera which is based on John Lutterlong's Madame Butterfly.   

English National Opera's Madam Butterfly

Lyrics written by Giuseppe Giacosa and Luigi Illica and the opera was originally premièred in 1904 at Milan's infamous La Scala.  This production, courtesy of David Parry's translation, was sung in English and starred Rena Harms as Madam Butterfly and David Butt Philip as Pinkerton.

I adored the staging of the opera, particularly Michael Levine's sets, Peter Mumford's lighting and Han Feng's costumes particularly the ones Harms wore for Madam Butterfly.  I wasn't convinced about the puppetry but on the whole a great performance - sung heartedly and passionately by the singers portraying the characters.

What a beautiful production with the hope of Un bel di (One Beautiful Day) intertwined with the tragic story.

Barnbow Canaries, West Yorkshire Playhouse - 21st June 2016 (Reviewed on behalf of North West End)

This was originally reviewed for North West End and the link can be found here.

This eagerly awaited West Yorkshire Playhouse Production, Alice Nutter’s Barnbow Canaries, finally arrives at the Courtyard Theatre.

The story is about two sisters, Agnes (Colette O’Rourke) and Edith (Tilly Steele), who join the women at Barnbow munitions factory in Cross Gates, East Leeds. It is set during the height of the First World War when men were conscripted to serve at the front. This meant the women had to do jobs men would usually do including work in a munitions factory. Both Agnes and Edith are fully aware of the dangers being munitionettes but the high wages offered opportunities and hopes they probably wouldn’t have got otherwise. Only for them and fellow women to eventually receive the truth the work brings and tragically with catastrophic consequences.

At the beginning opportunities and aspirations are celebrated with patriotic pride and to them what the war means. This is celebrated with song We are the Barnbow Lasses and their lured beliefs in ‘Shells, shells and more shells’ and that ‘Plenty of ammunition saves lives’. In time the atmosphere and attitudes changes among the women. Particularly when ‘duty proud’ Edith (Steele) questions ‘only good could come out of the war’ following the disturbing discovery of her and her workers being poisoned from the TNT and going ‘yellow’ after the doctor (Joseph Tweedale) attempts to conceal the truth.

One must admire the incredible staging by Mark Bailey; the well drilled choreography and co-ordination of music and movement which gives a glimpse of the workers’ livelihoods in the factory and its grim working conditions.   What poignantly sticks out is the enactment of the 1916 explosion and its devastation on the stage. This is combined dramatically with dim lighting, smoke, effects and thunderous soundscapes courteous of Bailey, Katy Morrison and Dyfan Jones. 5thDecember 1916 is a date to be remembered for Leeds’ largest ever single loss of life.

Image credit: Anthony Robling
(Contributed imaged accessed from http://www.northwestend.co.uk)

Alice Nutter (My Generation) brings honestly and determinedly her authorial presence to this story about the spirited brave women who risked their lives and initially believed this will 

make a better world. Only to unfold for them those social attitudes towards women in a post war society remained the same as before. In contrast to the soldiers, the women were unrecognised for their efforts and were expected to continue on with their prescribed lives just as before the war. In a similar spirit to the suffragettes, they fought for such rights including compensation and benefits but only to be dismissed from the factories and were unfairly accused of taking ‘men’s jobs’.

Barnbow Canaries doesn’t primarily commemorate the centenary of the Great War. Instead it focuses on the working class women who played their part in being ‘behind the man behind the gun’ but only receiving half the pay of the men and also the story remembers the almost forgotten Barnbow factory explosion almost a century ago.

An excellent production, under the direction of Kate Wasserberg, with a fantastic cast and talented creative team who portrays with equilibrium poignancy, expectations, disappointments and hopes with performance and songs – featuring catchy Barnbow Girls and the philosophical Pack Up Your troubles in your old kit bag which is supported by a chorus of women from the communities of Leeds.

At the end of the Second Act the cast touchingly releases yellow balloons to remember the 35 women who were killed in the 1916 factory explosion. Reflections are shared how women’s empowerment and solidarity have slowly moved on in the 20th Century; including the right to vote, the choice of profession, property ownership and optimism for the future. In conclusion draws ‘our history is her history’.

Red Ladder's Leeds Lads

Photo Credit: Malcolm John

(Accessed from http://www.redladder.co.uk)

My friend and I had an opportunity to see Red Ladder's Leeds Lads starring Jamie Jones-Buchanan last month.  The local story is about a local family who relooks at the past and particularly the 100th anniversary of the Battle of the Somme.  Tara's (Leah Francis) grandfather fought with Leeds Pals at the Battle of the Somme and her mother Susan (Emma Tugman) reminisces.  The story dips in and out of the First World War and links with modern warfare where Tara's brother, Liam (JJB) is serving as a soldier.  

Themes such as equality, camaraderie, gender, patriotism, politics and sociology intertwining with societal values which shaped in the past and now shaping the present and future.  Characters, past and present, relive the past and share how multicultural Leeds have become today.  Leeds Lads certainly explores and reflects how fears, hope and love amidst conflict past and present can affect family and friends.

Ali Allen's staging and Tim Shelley's lighting compliments one another.  Space is utilised with smooth transitions between each scene and each plot is co-ordinates.  There is no feeling of the stage being 'cluttered' particularly with simultaneous actions.

Live music by Boff Whalley, Beccy Owen and Sam Butterfield accompanies the production with song and mood.  The singing determines how one can appreciate the past and present events which were important and even more important now.  An excellent production which offers one a lot more about the Battle of the Somme.