Hamlet is one of Shakespeare’s most well known and best loved tragedies. Exploring themes of revenge, duplicity, mental health and gender roles, Hamlet is a blend of heartfelt soliloquies, bittersweet comedy and desperate struggles to get justice in a world where the one character who could claim to be entirely innocent, is a skull inadvertently pulled from the ground.
Playwright John Godber wrote the final version of Bouncers in 1984 and it’s been doing the rounds, and winning awards, ever since.
And I’d never seen it until Wednesday night, when four likely lads performed it at Hull Truck Theatre.
Hilarious nonsense and high-wire pratfalls abound in this delightful comedy at the York Grand Opera House, brought to you by Mischief Theatre (written by Henry Lewis, Jonathan Sayer, and Henry Shields) and Tour Directed by Kirsty Patrick Ward. The production is lavish and lots of fun, piling on both the nostalgia for those who love classic American heist stories and the elements of farce with over-the-top physical comedy, with musical interludes and impromptu puppeteering.
My regular reader will know, as I’ve mentioned it several times in my reviews, that I am no fan of William Shakespeare’s works. It’s the lingo, you see.
And after seeing the National Theatre’s production of Macbeth at the Hull New Theatre on Tuesday night, I haven’t changed my mind.
Within two minutes of curtain up, on Tuesday night, we in a packed Hull New Theatre, were bathed in twinkly glitterball lights, heralding the start of Saturday Night Fever.
The opening number, Stayin’ Alive, got us all in the disco mood early on. And the pace never slackened.
Mike Leigh’s acerbic comedy drama lives again at York’s Grand Opera House, as the guests gather in 1970s suburbia for what promises to be a night of farce, cringe-inducing one-liners, cocktails, and lots of olives and pineapples on sticks.
It is testament to the greatness of Barry Hines’ tale of a brutalised working class lad who learns some big life lessons by training a kestrel that it is still on the GCSE syllabus decades after it was published.
Not being a fan of anything William Shakespeare wrote (I know, I know), I was secretly dreading having to “endure” a night of anything remotely akin to his work.
But a very talented cast of five kept me, and a packed Hull Truck Theatre, thoroughly entertained, nay, rapt, on Tuesday night, as they performed a reworking of the Bard classic, King Lear.
The Solana Resort, Benidorm is brought to life on stage after ten successfully commissioned series on TV. The stage show as with the original series is skilfully written by Derren Litten and directed by Ed Curtis. Mark Walter's set is exquisite and never obtrusive, as we see the facade of the Solana Resort Hotel that is transformed into the pool area, the reception and Neptune Bar seamlessly. Clever choreography by Alan Harding adds to the pastiche as caricature dance during scene changes become integral storytelling rather than mere masking.
I first saw ‘Ghost’ in 2011 when it made its world premiere in Manchester. I was blown away by the special effects, by the soaring powerful score and the truthful and touching performances. It had the audience in both laughter and tears and left you feeling uplifted. It managed to stay true to the charming 1990 classic without being cheesy; Bill Kenwright’s UK tour achieves none of those things.
For two hours and 25 minutes on Wednesday night, at the Hull New Theatre, it was as if singer Whitney Houston – the star of the 1992 film The Bodyguard - had miraculously reappeared to reprise her role of singer Rachel Marron, when The Bodyguard The Musical came to town.
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