Off to a cracking start, with a huge clap of thunder, opening onto a desolate stage and five mysterious figures. In many ways, tonight's special effects share the honours with the excellent cast, utilising a vast range, visual and auditory. And especially in inspiring humour. Farce here has umpteen costume changes standing in for the usual plenitude of doors; they're so swift and inventive, chapeau bas: you have to take your hat off to it. As do the cast. Frequently.
They say that you can’t beat an oldie, and I couldn’t get any more nostalgic than seeing a musical written over 80 years ago; in the golden age of musical films; the musical in question, ‘Girl Crazy’ was released in 1930, written by George and Ira Gershwin and boasted a cast which included Ginger Rogers and Glenn Miller so not just any old musical.
Have the Unity done it again – or have they over-done it: bitten off more than they can chew with such an ambitious production? Rest easy. By and large, another successful Christmas show whose message, encompassing environment and displacement, is subtly and effectively made.
Every year the Royal Court entertains theatre goers with their Christmas show. This year is no different and the theatre has gifted the city with another treat in the form of a spoof on the traditional Nativity. This Scouse version sees the events take place around Liverpool. Having attended previous Christmas shows I knew I was in for a treat but this year outdid itself.
Cracked, written by Sarah Thornton and directed by Abi Horsfield, is part of a Transitions project from Collective Encounters providing professional arts services to those with experience of homelessness, recovery, and/or mental health issues across Greater Merseyside, and through their involvement, participants develop personal confidence and performance skills.
Barrie Rutter’s Northern Broadsides founded their reputation on turning European classics into Yorkshire yarns with great aplomb, and so it is with Blake Morrison’s version of Alain-René Lesage’s Turcaret which caused much offence when it was first performed in 1709 as it satirised capitalist corruption – plus ça change, plus c'est la même chose.
This adaptation of Michael Morpurgo’s book has been touring the UK and arrived this evening for its two-week run in Liverpool. It tells the moving story of Joey (Tom Stacy/Tom Quinn/ Anna Chessher), a half thoroughbred horse who is sold to a captain in the First World War and faces the horrific sights that both humans and animals endured.
This show had been recommended to me last year by a trusted source, so when the opportunity arose to review it, I jumped at the chance.
Many years ago I watched a performance of The Vagina Monologues, I went along having read the book and knowing exactly what to expect., However, I had no expectations at all of this show.
It was clear this evening from the sell-out show, the audience reaction and the initial reference to “The Guardian article” that Gerry Potter is well known in Liverpool. I was unfamiliar with his work and not sure what to expect. His one man show, ‘Son of Liverpool’ was advertised as a “a theatre-verse exploration of birth, life, death.
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