Originally a novel written by Roddy Doyle and then a film directed by Alan Parker, The Commitments has now become a smash hit, west end musical that has captured widespread attention from theatre fanatics. The story is set in North Dublin and tells the story of Jimmy Rabbitte, played by Andrew Linnie, as he attempts to assemble a group of young, working class musicians and singers to form a soul band. There is a political undertone throughout the show with the repeated mantra that ‘the hardest working band in the world’ were bringing soul to the working-class people. Although soul music is originally rooted in Southern America, The Commitments make it their own with an added raw edge that only the north of Dublin could bring.
Michael Flatley's name is synonymous with dance and for over 20 years, he has travelled the world selling out huge venues with his Irish dance show; Lord of the Dance.
From the shows humble beginnings opening at the Point Theatre in Dublin this show has travelled to every corner of the earth and has broken numerous records and won a wealth of awards and accolades. Now after 20 years of success, the show has been updated and reinvented in its current guise as Lord of the Dance - Dangerous Games.
A new year and a new challenge: an opera. I really enjoy the theatre, especially musicals and I have eclectic tastes in music, which includes the classical genre, but I have never been to an opera before tonight. What a sublime experience!
Scottish Opera’s production of The Marriage of Figaro by Mozart, was a feast for the eyes, ears and emotions. This is a revival of the 2010 production, designed by Simon Higlett and Mark Johnathan and expertly directed by Sir Thomas Allen. This opera, in four acts, was ﬁrst performed in 1786.
Top Notch Entertainment & Unadulterated Fun
It is a little-known fact that over 150 years ago, the site of the Liverpool Playhouse was once that of a successful music hall called the Star with a beautiful star-shaped mosaic in the current building’s disused box-office area serving as one of the few reminders of this part of the Playhouse’s history. Playwright Michael Wynne who wrote a warm-hearted family drama to celebrate the re-opening of the Everyman in 2014 has now performed a similar feat with this tribute to the heyday of the music hall and whose legacy today is seen in shows such as Britain’s Got Talent.
Little Red strayed the path of the forest and found herself in the dangerous company of the Big Bad Wolf today at Liverpool's Unity Theatre. Breaking the rules so clearly set by her Mum and Grandma, eagerly trying to prove she is not a little girl.
Grin Theatre presents us with six dark monologues, written by six local writers, in celebration of the theatre company’s sixth anniversary.
The uniting theme that links the monologues is the title ‘Dark Voices’ and darkness takes many forms. All but one of the monologues were delivered directly to us, the audience, in the intimate setting of View Two Gallery.
Liver Birdsong gives us 'hope out of hell'
The story centralises on four strong women, who work at a factory in Liverpool during the second world war. We see their journey through what was described as “the single worst civilian incident of the war.” - Churchill.
The opening was performed by the large orchestra who had been tuning up in the pit whilst the audience were arriving. From the get go, it was obvious that we were in the presence of expert musicians, and they played meticulously throughout. It comes as no surprise of course, especially from a company as renowned as English National Ballet, but their effortless playing still never ceases to amaze.
Lively and Topical, Funny and Chilling
Following the closure of their much-loved fringe venue earlier in the year, the Lantern Theatre team have returned with their biggest production, a revival of a black comedy which was first performed at the Playhouse Studio in 1997 and tells the story of the Liverpool People’s Party and its call for Liverpool to be recognized as an independent republic by the UN, the EU, NATO and of course most importantly UEFA. All these organisations existed 9 years ago when writer Andrew Cullen penned this piece and whilst their respective futures look less than promising at the current time, any other topical references have been brought up to date in this production by director Margaret Connell which involves a cast of 10 playing some 30 characters.
Whilst a show about assisted suicide might not be the first choice for an evening of entertainment the cast of Assisted Suicide the Musical prove even the most taboo subjects can elicit a laugh. Liz Carr’s humour-filled exploration of such a divisive subject lives up to the expectations that the inclusion of ‘musical’ in its title creates, adding another a-typical musical the ever growing list of British musical theatre productions exploring non-traditional topics (the National Theatre is currently hosting a musical about cancer!). Indeed, in the current political and global climate Assisted Suicide: The Musical expands its scope to comment on the culture of fear that we constantly inhabit as Carr – who many may recognise from Silent Witness – explains her stance against assisted suicide in this “TED talk with songs”.
Not knowing much about The Full Monty before entering the theatre, (except of course the promised nakedness) I wasn’t sure what to expect. Would there be an actual storyline or would everything else be lazy and overcompensated by the use of naked men? Would there just be a theatre of screaming women (and some men too) as I sit awkwardly and watch some random men take of their clothes for two hours?