Abigail Holden
(14 Reviews)

AFTER THE ACT IS PHENOMENAL - AN IMPORTANT PIECE OF DRAMA THAT EDUCATES AND ENTERTAINS THE AUDIENCE IN EQUAL MEASURE!

After the Act has arrived at HOME in Manchester, with its amazing stories and message about living through Section 28 and the aftermath and implications that came from it. I, of course, as a queer person, know about Section 28 but did not know anything about this musical before seeing it, apart from a short trailer I had seen. I was very excited to see what this show entailed and how it would deal with the heartbreaking tales that were caused by Section 28.

The show itself takes you on a journey through time, from the beginning, and explains the reasoning behind the creation of Section 28 in the Local Government Act of 1988. It begins with the  6 o’clock news on the BBC in 1988, where a group of lesbians stormed the studio in protest of the suggestion of the clause that would eradicate the existence and acknowledgement of LGBTQIA+ in the eyes of the law, stopping people from ‘promoting’ and not even acknowledging homosexuality. I loved the way that the headlines from the time, which were homophobic slurs against the brave women, were used in the song - such as ‘Loony lezzies attack TV Sue’.

We are then taken back a few years, to the catalyst of Section 28, and a book which showed a family unit of two dads and their daughter, called ‘Jenny lives with Eric and Martin’. This story showed pictures of two men in the same bed, and it infuriated parents who did not want their children to know about homosexual people, in the fear that it might make their children gay. This book, coupled with the local council of Haringey wanting to promote positive images of gay and lesbian people, parents protested and even boycotted sending their children to school. This part of the show was laden with signs and angry parents, but also the voice of councillor Maya, who was just trying to improve the way lesbians and gays were perceived. It was truly heartbreaking to see the desperation Maya was feeling. She only wanted to be seen.

The beginning of the AIDS crisis, which was seen as a gay disease, also saw the hate towards the gay community rise, with people not knowing what it was, only that people were dying and no one could find a cure. This also triggered the want for Section 28 from the government.

The tale then takes us to the House of Commons, where the Conservative government was pushing for the clause to make sure children were not being taught about gay and lesbian people. I was in love with the way that cast changed characters seamlessly, going from sympathetic lesbians and gays, fighting to squash what was going to erase their existence, to embodying the people who were determined to make the lives of gays and lesbians a living nightmare.

The second act kicked off with an outstanding number from Margaret Thatcher herself - something I never thought I would say. Using her actual speech, the satirical and, quite frankly, fabulous way that mocked the Iron Lady was such an amazing way to begin the second half of the tale. I must say, it was my absolute favourite part of the show. The audience loved it and you could just tell that the people on stage were having the time of their lives with it too.

On a more serious note, the second act then shifted and told of the heartbreaking way a lsebain PE teacher could not help her student when they were struggling with their sexuality and how she regretted it for the rest of her life.

The show came to a close with the retelling of the protests that came about as a result of the clause, in our lovely Manchester, as well as the amazing story of some fabulous lesbains who abseiled into the House of Commons in protest of the passing of Section 28. I don’t want to give too much away because I don’t want to ruin it for those who are going to see it - which I couldn’t recommend enough, by the way!

The stage itself was set out like a school hall, with benches and climbing frames, which the cast moved about the stage to create different levels and created different dynamics. The parent protestors standing tall over the oppressed, giving physicality to the downtrodden lesbains and gays, who just wanted to live in peace.

Each actor on the stage portrayed so many different characters all throughout the piece, accompanied with different actors. The cast was made up of four actors and the wonderful ever-present musical director. The absolutely fantastic Ellice Stevens (TANK; It’s True, It’s True, It’s True) wowed as Margaret Thatcher, with her wig teased high, but also brought the most beautiful moments as she portrayed the teacher that couldn’t help her pupil, in the way that she should be able to, and the heartbreak of having to hide who she from everyone around her.

The phenomenal Nkara Stephenson (Heartstopper; Sweet Charity) transfixed the audience with his stunning vocals and had me nearly in tears with his portrayal of a character forced to go through conversion therapy. His versatility as an actor really was a marvel to watch.

The portrayal of Maya, a lesbian activist trying to promote the positive image, was played by the wonderful Ericka Posadas (Miss Saigon; West Side Story). She, like the others, seamlessly switched from a hard-hitting activist, to an uptight politician, to a belligerent school boy making fun of his peers. This whole cast had me agape in wonder at their talent.

Zachary Willis cemented his part in the cast with his fantastically camp and evocative dancing but also his beautiful portrayal of a wonderfully strong man who lived with the effects of Section 28 all through his school life, and covered the topic of self harm with sensitivity and grace. It resonated with me on such a level. I was in awe throughout the whole show. His talent for accents also blew me away - the Scottish being a personal favourite.

The show cannot and would not be complete without Frew (The Snow Queen; The Night Before Christmas) who was on the stage the whole time, playing live and contributing to soundscapes through the use of his voice. His presence really added to the atmosphere on stage and helped the already on-point vocals to shine even more.

I learned so much from this show, from the personal turmoil that the LGBTQIA+ community went through, to the way that it affected the safety and growth of those who were unable to speak up, in fear of facing legal repercussions. The fact that Section 28 was only repealed in 2003 - in my lifetime - seems absolutely crazy to me. I, as a young queer woman, has been allowed to express myself and my sexuality freely, thanks to those who stood up against Section 28 and finally got it repealed, and I could not be more grateful to those in history and those telling the stories on the stage. I really believe that anyone can go and see this show and learn and take so much from it, whether they are a part of the LGBTQIA+ community themselves or not. The standing ovation from the audience, at the end, speaks volumes about how good this show is. Get down to HOME and see the phenomenal After the Act before it is too late!

WE SCORE AFTER THE ACT...

MY SON'S A QUEER (BUT WHAT CAN YOU DO?) TAKES YOU ON AN EMOTIONAL ROLLERCOASTER AND IS SIMPLY PHENOMENAL

It is Pride Week in Manchester and Rob Madge (Mary Poppins, Les Miserables) has brought their one-person, one-act show to HOME. Having followed Rob Madge on Tiktok for a while now, I knew about this show. I didn’t, however, know what it fully entailed. This was a show I was VERY excited to see, as a member of the LGTBQIA+ community, and I was, without a doubt, taken on such a wonderful and beautiful journey that I don’t think I will ever forget it.

The show itself is based on Rob Madge’s life and their journey to self-discovery and love of acting, through the performances they put on, as a child for their family members. The main show being their disney parade, that they staged in their house, with the help of some technical support from their dad. With a mix of live song and storytelling and old family videos of their escapades as a young Disney fanatic, this show tells the audience of Rob’s seven steps to create the perfect Disney parade. (With a rehearsal schedule that involves a Sitzprobe and clean-up and notes on Christmas Day.) Throughout the show, Madge explains their stages, all whilst relating them back to moments of their childhood. The hilarity that ensued from a young Rob, who flew around their living room as Peter Pan and ruled over the Kingdom behind the Settee Curtain as Maleficent, and even made their Nan spin on the teacups (an office chair), was brilliant. And the added nature of their live humour was bliss. Their natural and effortless punchlines and perfect timing really brought a smile to face. In fact, I was smiling so much, my cheeks began to ache. The story of the yellow dress that their Grandma so lovingly made for them, after their Dad had bought them a Beast costume, when all they wanted was to be Belle, was beyond stunning. It warmed parts of my heart that I didn’t know needed it.

They regaled the tale of their first crush - the Pied Piper of Hamelin - and how they realised their Queerness. This tale hit home for a lot of the audience, myself especially, with them so beautifully explaining their coming out, in song (a homage to Elton John). Innuendos of flutes are involved, which had me in stitches, and the way they explain their first crush is so perfect that you can see it all play out in your mind’s eye, as they sing.

As beautiful and funny as it was, this show also showed a deeper side to Rob’s childhood, showing how they were bullied by their peers and belittled by their teachers into submitting to be something they were not. The stunning song, ‘Pieces of My Heart’, explains their struggle with being downtrodden and having to hide their true self from their peers. The lyrics ‘Why be so cruel when you could sing?’ are going to stick with me for a long time, as someone who uses music (especially singing) to escape. They also struck a chord with so many people in the audience. Luckily, Madge had the unwavering support of their family, with their grandparents creating a puppet theatre for them to keep their creativity flowing, and their parents encouraging them to act through Stage Coach. This led to them playing Michael Banks in Mary Poppins and Gavroche in Les Miserables (a line from this show inspiring the title), at a young age. And it led them to go on to create this phenomenal show.

The stage was set up as a living room - mirroring the one that Madge created their shows in as a child - and the cosy theatre of Home made it feel like just that; a home where everyone was welcome. Knowing from first-hand experience that not everyone is lucky enough to have the support of all of their loved ones around them, when they come out, it made me cry. The song, ‘We Will Be Loved Anyway’, was probably my favourite part of the show, with instructions on how to love your child, no matter who they are. I am lucky to have the support of my Mum, who came with me to see the show, and who I thanked, still crying, as we left the theatre, for accepting me and loving me as I am.

This show is for everyone. It encapsulates the life of a queer person, and their struggles, and how they overcame all of the obstacles to become the amazing person they are today. I encourage anyone who has struggled, as I have, to go and watch this show. I must admit, I have cried whilst writing this, due to the emotional rollercoaster this show takes you on, and I will probably cry about it again in the next coming days. This show has reinforced, to me, the way that theatre can make such a huge impact on someone.  But, as Madge sings, ‘Anything is possible when your family all sing your tune’. And, whether that be your blood relatives or your chosen family, the overwhelming message of this show, that you are not alone, shines through.

In the end, this show is about celebrating Queerness and I couldn’t have felt more honoured to have witnessed it. The tears I cried whilst sitting in the audience were ones of overwhelming joy. I felt like I was being seen so clearly, for the first time, in a show. Being someone who struggled with their sexuality for a long time, I am so grateful to Madge for creating this show and making me feel so visible.

WE SCORE MY SON'S A QUEER (BUT WHAT CAN YOU DO?)...

WATCH OUR "IN CONVERSATION WITH ROB MADGE" VIDEO DISCUSSING THE SHOW

SIX DESERVES TO BE CROWNED ONE OF THE BEST MUSICALS EVER!

SIX, the award-winning musical is back in Salford and bigger and better than ever! If you have never heard of this show, then where have you been? It took the country, and then the world, by storm, for its unique format and incredible songs and now it is taking royal residence at The Lowry. Having already seen this show twice previously (and with it in the calendar for the not-so-distant future), I knew that show was going to take me on a rollercoaster ride of emotion, all whilst teaching me a little history lesson. Whenever I have seen this show, it has brought me so much joy and the little changes from each different person I’ve seen in the different roles is what makes it a new experience every single time.

As the title suggests, there are six characters in this show and they just happen to be Henry VIII’s famous six wives. However, this show is about them and their stories, not the husband that they shared. It starts off with a brief introduction, using the rhyme we all know, ‘Divorced, Beheaded, Died. Divorced, Beheaded, Survived.’ to the max. The Queens then partake in a competition of who had it worst from Henry, in order to see who will lead their new pop group of six singing ex-wives. This creates each one to sing about their woes, in chronological order of Queendom. First up, in the competition, is the original wife, Catherine of Aragon (Nicole Louise Lewis - The Book of Mormon, Dreamgirls) who begins the competition by singing her song ‘No Way’. This song tells the tale of how she was cheated on by the King, who then, because he wanted to marry someone else (we’ll get to her in a moment) demanded a marriage annulment and that Catherine be sent away to a nunnery. And, as Catherine herself says, she doesn’t think she would look good in a wimple. Her being chucked to one side after years of loyalty to him, is her reason why she thinks she should win the competition.

We are then introduced to the most famous wife of them all, Anne Boleyn ( Laura Dawn Pyatt - 42 Balloons, Bat Out of Hell). Her ironically named, tongue-in-cheek song ‘Don’t Lose Your Head’ brings a light-hearted look at the way Anne was accused of infidelity, after Henry VIII created the Church of England so he could marry her, and was beheaded for it. Her beheading becomes the reason Anne thinks that she should win.

Jane Seymour (Erin Caldwell - Heathers, Pretty Woman), the next chronological wife, then takes her turn to convince the other Queens that she should be the one to win the competition. Juxtaposing Boleyn, Seymour’s song ‘Heart of Stone’ is a beautiful ballad, explaining her genuine love for Henry and the loss of watching her child grow up, because she died before she could see that happen. She thinks that this will win her the competition.

The show then takes a small turn to tell us about Hans Holbein in the techno song ‘Haus of Holbein’. This sees the Queens don ruffs and sunglasses and explain how important his portrait of the next Queen was to Henry deciding she was going to be his next wife.

The wife in question is wife number four, Anna of Cleeves (Kenedy Small - Bring it On!, Wicked) who explains how she was rejected by Henry, after not looking like her portrait, but then tells us about the lavish lifestyle she led, once Henry moved on, in her song, ‘Get Down’. Cleeves knows she isn’t really a contender in the competition and admits it too.

Wife number five, Katherine Howard (Lou Henry in her professional debut), then takes her turn. Her song ‘All You Wanna Do’ gives her reason why she thinks she should win, which is the tale of how she was led to believe, by numerous men, that they loved her, including Henry, for her to be mistreated by them. The last man she feels will set her free was not her husband, which led to her beheading.

Last but not least, Catherine Parr (Aoife Haakenson - The Crucible) joins the fray but decides she doesn’t want to argue. She tells her tale of how she left the love of her life because Henry chose her next, through her song, ‘I Don’t Need Your Love’. After this, it is revealed that the Queens have been faking the competition all along, in order to show how they are more than history paints them as. And they conclude the show by rewriting the way history sees them - as strong, independent women, not just the wives of a monarch who is famous for the amount of wives he had.

The set is a simple stage with a raised platform and steps at the back and an amazing themed lighting package to match. The thing I love most about this is that it is where the band is situated for the whole of the one-act show. There are four people in the band, also all women, who play bass (Jess Williams), guitar (Lola Barber), drums (Amanda Dal) and the piano (Yutong Zhang, who is also the Musical Director) respectively. Throughout the show, the Queens have little interactions with them (such as Katherine Howard fist-bumping the guitarist) and it really brings the show together. It is strong women empowering each other and telling a story. The amount of young girls in the audience, some dressed up as their favourite queen, was amazing to see. The way that this show teaches and inspires young girls to be independent is what has people going back again and again to watch it.

Nicole Louise Lewis as Catherine of Aragon brought a sassy outlook to a wonderful queen. Her vocals were insane and the way she tells the story with her whole body, especially through her facial expressions, was absolutely phenomenal. Laura Dawn Pyatt’s Boleyn was cheeky, fun and bubbly and her energy fueled the whole show. Her one-liners were perfectly on time and had the audience in fits of laughter. Erin Caldwell as Jane Seymour had me nearly in tears. The emotion whilst singing ‘Heart of Stone’ was heart-wrenching. I was in total awe of her performance. What I love most, however, is that she does the whole show with her Paisley accent. In fact, all of the queens use their natural accents in the show and I love it. It makes them more relatable, somehow. You view them as real people and not as characters. Kenedy Small’s Anna of Cleves was a joy to witness. The brightness that radiated from her was unreal. Her huge smile and cheeky winks to the audience, as the queen who knew she’d had the easiest time with Henry, made her all that more fantastic. Lou Henry as Katherine Howard, in her professional debut, showed why she was entrusted with such an iconic role as her first job out of drama school. She embodied the seductive nature of Howard perfectly and played her in a way that showed her immatureness. After all, it is believed that Howard was just nineteen when she died, having married Henry aged seventeen. Last, but not least, as the survivor, Catherine Parr, was Aoife Haakenson. All the way through the show, she supports the other queens with her amazing vocals and when it is finally her time to shine, she certainly does so with an effervescent attitude. She helped to bring the show to an immense close.

All of the times I have seen SIX, I have been massively impressed with the skill and talent on show and this time was no different. You can tell, as an audience member, how much the cast enjoy performing this show and it seeps out into the audience. At the end, after the show has officially finished, the audience is invited to film the MegaSix - a mashup of all of the queen's songs. We did so, standing up on our feet, clapping and dancing along. The atmosphere was electric. I left the theatre feeling a thousand feet high.

This empowering, fun and incredible one-act show, by Toby Marlow and Lucy Moss is a huge hit with audiences of all ages and you can see why. Children can enjoy the spectacle of it all. And, I believe, it is a great first musical for a child, due to it only being one act that lasts around an hour and twenty minutes, but also because it shows young people that they can be independent and strong, all whilst giving them some brilliant new songs to sing and dance to in their bedrooms. Adults enjoy the double-entendres that go over the children’s heads and also learn some new things about the Tudor dynasty along the way, all whilst having an absolute blast from their seat. This show is a must-see and a brilliant night out for all of the family. I crown it as a ten out of ten and will never stop wanting to go and see this show.

WE SCORE SIX...

ALLEYNE DANCE'S FAR FROM HOME IS A STUNNING PIECE OF PHYSICAL THEATRE THAT IS BEAUTIFUL AND THOUGHT-PROVOKING

Before this show, I must confess, I knew very little about Alleyne Dance or any of their previous work. I knew that it would be movement based, which was exciting as I love physical theatre - especially dance. Apart from that, however, I knew nothing else. After researching more into Alleyne Dance, I was delighted to find that it was founded by twin sisters, Kristina and Sadé Alleyne, hence the company name, whose choreography showcases their exceptional talent to its fullest. They did not disappoint.

This one-act wonder told the tales, through movement, of the struggles faced by individuals of migrant families and how hard it is to move from your home country, often not by choice but by need, and the reception they get when they arrive at their new home. It began with a simple silhouette of a girl, tied down to people trying to drag her back, by long braids, walking towards another, holding out her arms for help. I was mesmerised from that moment. The motif of the hair, which was then used by different members of the main six performers of the company, (Kristina Alleyne, Sadé Alleyne, Bryan Doisy, Giorgia Gasparetto, Juan Jesus and Iro Konti) to show their pain and how they are clinging on to that hope that things will get better, was ingenious.

It created a visual entity for the way they were feeling and the way they were being downtrodden. From being surrounded by water, to fighting to survive, this piece brought to life a tale that often gets overlooked and forgotten. The tale of Far From Home is open to interpretation from the audience. There is no story being told, by words. It is all movement that the audience gets to piece together the meaning of for themselves. I love the kind of theatre that creates different emotions and experiences for each and every audience member and this did just that. Everyone came away from the experience with something unique to them which was wonderful to see from fellow audience members.

The journey that the audience is taken on is all-encompassing of the pain, struggles, separation and long arduous travels, all whilst highlighting the good things too; the joy of reconciliation, the relief of being somewhere safe and the making of friends along the way. One particular favourite moment of mine was between Kristina and Sadé. They sat together, at the front of the stage, whilst the company and ensemble moved behind them on a journey, in a beautiful little world of their own. A particularly nice touch, for me, was the inclusion of some sign language. It really helped to enhance the performance in a way that I can’t describe. As someone who understands sign language, it really helped to give an insight into how their characters were feeling. The way that the pair move together is seamless. They seemed to blend into each other - no beginning or end between them both. There was only togetherness and fluidity. It was pure magic in movement and I wish I could relive that again for the first time. However, I am sure a second, and even third time, would feel just the same.

The set for the piece was simple, with a sandy, soily stage, and big sheets of material hanging from the back and at an angle on each side. Some of the most beautiful, and haunting, movements happened when they backlit the cloth and danced behind it, showing scenes of people suffering in fire. The projections on the cloth, of browns and oranges, helped to bring those images to life, also. It made me catch my breath. And it made me really think how lucky I am. The thought-provoking way they draw you in is something I have never seen before and don’t think I will see ever again. It gave me chills.

I can’t speak about the beauty of this piece without mentioning the music (composed by Guiliano Modarelli, who was also the musical director, and Nicki Wells). At every moment, it fit perfectly and pulled something new into the movement. It gave it meaning and explanation with no words. Even in the moments where there was no music, the company was so in-sync that they didn’t miss a single beat. The skill and talent on display is reason enough to go and watch this, let alone the rollercoaster of emotions and thoughts it takes you on, as an audience member. The music the company made themselves, through stomping and clapping really helped to portray the frustration and anger, at times. I really loved the juxtaposition of those quiet moments, compared to the moments when the music soared. It personified the feelings being portrayed at each moment.

The cast wasn’t just made up of the six performers, however, even though they did dominate the tales being told. A beautiful addition to the group was the local community cast, made up of members from The Lowry Centre for Advance Training, as well the Alleyne Dance interns, Rosa Lieckens, Katherine White, Guilia Carastro, Leila Patricia Akers and Anna Maria Ilieva Bilioni. The inclusion of these people, in particular the local community cast, made the performance even more special, with members of the audience being proud parents, siblings, guardians and friends of the people on the stage. It really made the piece into a local collaboration and celebration of local migrant families, by telling those tales and having people from the community representing those around us that have lived through the experiences that were being portrayed.

In conclusion, I have come out of this experience with a new view on the struggles that migrant families face. I must admit, I have never been provoked to feel and think about it in such depth, before I saw this, and I am so glad I did. The way they highlight the overlooked and often ignored members of our community spoke to me and made me realise just how lucky I am to be surrounded by such strong and courageous people everyday. The hardwork and talent of the cast really did bring these tales to life, in the most beautiful way. I was in awe of their synchronicity and strength and think that anyone who loves physical theatre and dance should definitely go and see this stunning display of humanity and tragedy.

WE SCORE ALLEYNE DANCE - FAR FROM HOME...

OCKHAM'S RAZOR - TESS BRINGS LAUGHTER, HEARTBREAK AND IMPRESSIVE ACROBATIC SKILLS, ALL WRAPPED UP IN A TIMELESS TALE!

Tess, based on Thomas Hardy’s classic novel, Tess of the D’Ubervilles has been reimagined in the most beautiful way possible. Coming into this show, I didn’t really know what to expect. Tess of the D’Ubervilles has been on my list of books to read for years and I’ve never got round to it. I did, however, have a basic idea of the plot. I knew that this new take on the tale, by company Ockman’s Razor, would be filled with movement and incredible acrobatic skill, based on what I’d seen online, and couldn’t wait to sink my teeth into the tale.

The story of Tess is simply heart-breaking and beautiful, all at the same time. In this production, the role of Tess is split into two parts. There is Tess the narrator, played by Macadie Amoroso (Bella in Dead Air; Blue Beneath My Skin) and Tess the physical storyteller, played by Lila Naruse. It begins by showing Tess as a young woman, dancing with her friends and the mysterious Angel Clare (played by Nat Whittingham) who is travelling around the farms on a walking holiday. Her father John Durbeyfield, a drunken, low-life man (played by Victoria Skillen) is then told by a local vicar that his family is descended from a great Norman line, the D’Urbervilles. However, due to his drinking, he is unable to perform the task of delivering bee hives and the task falls onto the shoulders of Tess.

Whilst she is riding, the horse has an accident and dies, leaving the family with no source of income, as they relied greatly on their horse. Because of this, Tess is sent to a family of the name D’Uberville, in order to try and claim kinship and help. When she arrives, she is expecting to meet Mrs D’Uberville, but is, instead, greeted by her son, Alec D’Uberville (played by Joshua Frazer), instead. She is lured into a false sense of security, as he begins calling her cousin and is tasked to work for him, on the land. One Saturday, as they go drinking and dancing in the village, Tess runs into some trouble and it is Alec that seemingly saves the day, by taking Tess home. However, due to the weather, Tess doesn’t realise they have gone past their turning until it is too late. Alec gets out of the carriage to ‘go and see where they are’, only to return in the cover of darkness and have his wicked way with Tess. As a result of that night, Tess retreats to her family home and later finds out that she is pregnant. She gives birth to a baby boy, named Sorrow, who dies in infancy. Heartbroken,

Tess decides to go and work for a nearby dairy farm, in the hopes of moving on with her life and finds friendship in Marian (played by Lauren Jamieson), Retty (played by Victoria Skillen) and Izz (played by Leah Wallings). At the dairy farm, learning the trade, is none other than the handsome Angel Clare. Whilst he is there, he saves the ladies from getting their petticoats and shoes wet in a flood, and he and Tess fall in love. He asks Tess to marry him, multiple times, but her past makes her reluctant to say yes. On the night before their wedding, Tess writes Angel a letter, explaining her hidden past, and asks him to make the decision whether he still wants to marry her not. The next morning, it is clear to her that he hasn’t read the letter but still marries him, deciding to tell him once they are married. Once they get to their new home on their wedding night, Angel tells Tess about an affair he had with an older woman, in London, and asks for her forgiveness, which she willingly gives to him. With this, she finds the confidence to give Angel the letter that she wrote to him, hoping that, because she forgave him, that he will return the courtesy of forgiving her. Unfortunately, Angel struggles to deal with the news of her previous affair and leaves, saying that he wants nothing to do with her and that they could only really be man and wife once Alec was dead.

A short while later, Tess runs into Alec, who has now become a clergyman, and is hounded by him, as he begs for her forgiveness and offers her help, knowing that her husband has left her to fend for herself. In the middle of all of this, Tess’ father dies and she goes home. Alec follows her with gifts for the family and convinces her to go and live with him. Angel then turns up, in front of Tess’ mother (played by Lauren Jamieson), who points him in the direction of the D’Uberville residence, where he finds Tess heartbroken and gaslit into believing that Alec is all she is going to have and that Angel is never coming back. Angel leaves, believing that all hope of being with his wife is gone and Tess retaliates in the worst way possible. Taking a knife, she stabs Alec to death and then runs after Angel. They spend one final night together, before the police catch up with Tess, who is taken away and hanged for the murder of Alec D’Uberville.

This performance was phenomenal. Amoroso’s constant presence on the outskirts of the stage, as she told the story, was amazing. A particular highlight from Amoroso was the moment when Naruse’s Tess and Frazer’s Alec were in darkness (both literally and metaphorically) and she stood in the light, frightened and ashamed, as she re-lived the moment that changed her life forever. Her pain pulsated out through the audience and I felt like I was living that moment with her.

My absolute favourite characters of the whole story were Tess’ friends, Marian (Lauren Jamieson), Retty (Victoria Skillen) and Izz (Leah Wallings). Their collective swooning over Nat Whittingham’s Angel was both hilarious and a marvel to watch. The highlights were when they stood in a tower, each on another’s shoulders, with the insane strength and skill that was used to achieve that, taking my breath away, and the way they acted when Angel was saving them from the flooding. The way they took the opportunity to be physically close to Angel and ran with it had the whole audience in stitches.

Joshua Frazer as the bad guy, Alec, embodied the cockiness of the character perfectly, with his amazing hoop skills really setting his snootiness and entitlement, when we first meet Alec, that stuck throughout the rest of the story, until his death. His skill and strength, when he was part of the ensemble, was also incredible. His stage presence was amazing, no matter what he was doing. Nat Whittingham as Angel was both adorable and sweet, showing the love story between him and Tess in the most stunning way. When he learned of Tess’ past life, the solo movement that he did was phenomenal. The way he jumped, in a circle, showed the way his character’s mind was spiralling, and you could feel the pain he felt towards his new wife, who had withheld important information about herself from him. His stamina, as he fell to the ground repeatedly, in between multiple jumps and turns, was something to be admired.

Lila Naruse as Tess was a marvel. In particular, the final scene, which was the death of Tess by hanging, was beautiful. The aerial rope routine, which depicted Tess trying to cling onto life, in her last moments, was one of the most heartbreakingly beautiful things I have seen for a long time. Her elegance and artistry really helped to portray the end of Tess’ tragic tale.

The backdrop consisted of a screen that depicted patterns and scenery throughout, aided by long ropes hanging at different angles that were adorned with different white fabrics. At some points, costumes were even taken from them, making transitions smooth and seamless. The scene changes were all done by the cast, throughout the performance, including the building and dismantling of a house structure, which housed Angel and the girls on the dairy farm. The silhouette of that scene, at the end of act one, was extremely striking. Whenever Tess, and then, later, Angel travelled, they used wooden planks to create the journey, as they climbed and were carried around the space. The mirroring of these journeys, from Tess’ more hopeful journey towards the D’Uberville residence, compared to the same movements, but more melancholy feeling of her journey home was very clever and helped to show the deterioration of Tess’ mental state.

This story, even though it was written and is set in the Victorian era, still resonates with audiences today. It highlights the struggle that women face, especially when they are trying to find their way through a man’s world whilst battling with double standards, because they are women. The artistry and wonder that this production creates makes me want to see more by Ockman’s Razor. It gave so much more than I was expecting. I love a reimagined classic and this definitely did not disappoint. I will not be able to stop thinking about this stunning performance for days to come. So, if you love experiencing a new kind of theatre, this is the show for you. It brings laughter, heartbreak and some seriously impressive acrobatic skills, all wrapped up in a timeless tale. It is an absolute must-see!


WE SCORE OCKHAM'S RAZOR - TESS...

THE MOUSETRAP IS BEAUTIFUL, CLEVER, SCARY, FUNNY AND UTTERLY DELIGHTFUL

Agatha Christie’s The Mousetrap has come to Manchester for its 70th anniversary tour! Being a lover of stories with twists and turns, especially whodunnit-style stories where it is the person you least expect, of course I knew of The Mousetrap. I have always heard the tale of how it has run so long because no one ever tells who the murderer is. And now I know who it is, I am not telling a soul. It is beautiful, clever, scary, funny and utterly delightful. I loved every second of it. The whodunnit, classic Agatha Christie story certainly did not disappoint.

As soon as the lights went down in the theatre, a sudden silence fell over the audience, like I have never seen before, and I knew I was in for a ride. The story was played out in one room of the house - which was the setting for the whole play - and it worked perfectly. If someone left the confinements of that room, you immediately thought they were up to something nefarious. It adds to the mystery and the ambience of the people who are left on the stage. It gets you thinking that everyone is a murderer. I loved it.

It begins with the wireless playing, telling of a murder and instinctively you know that he newly opened Monkswood Manor guest house has something to do with it. Mr Giles Ralston, an honest man, played by Laurence Pears (The Play That Goes Wrong, Peter Pan Goes Wrong) and Mrs Mollie Ralston, who inherited the house, played by Joelle Dyson (Murder on the Orient Express, 2:22 A Ghost Story) are the owners of the house, with their guests due to arrive. Both Laurence Pears and Joelle Dyson led the beginning of the show well, perfectly drawing you into the story, whilst their array of guests struggle to get to the house, due to a raging snow storm.

The first guest to arrive, Christopher Wren, played by Elliot Clay (The Mousetrap, and writer and composer of brand-new musical Millennials) comes in from the storm with a smile and a clear obsession with the beauty of the house. He is very enthusiastic and a breath of fresh air. Next to arrive are Mrs Boyle, a widow who is very set in her ways, played to perfection by Gwyneth Strong (Only Fools and Horses, The Mousetrap), and Major Metcalf, an elder gent who served in the war, played by Nicholas Maude (Around the World in 80 Days, The Sound of Music). They arrive cold and covered in snow after their taxi cannot make it up the driveway to the house, much to Mrs Boyle’s horror. Nicholas Maude’s Major was witty, all whilst being everything you’d expect a Major to be - particular and helpful.

Another arrival brings the young Miss Caswell, played by Essie Barrow (The Mousetrap, Twelfth Night), who dresses in a rather masculine way and seems particularly sarcastic - something which Essie Barrow pulled off seamlessly. The final lodger of the house is the unexpected Mr Paravicini, played by John Altman (Eastenders, Chicago), a mysterious guest, with a funny accent, who has been caught up in the snow and needs a place to stay. The character of Detective Sgt. Trotter, played by understudy Jack Elliot (Julius Caesar, The Kingsman), whose performance really drew the story together, turns up in a flurry of snow, after skiing to the house because of the bad weather. He arrives in order to investigate the murder that was heard to be spoken about on the wireless, at the start. Once everyone is in the house, chaos ensues…

You can really tell why the play has been running for 70 years. Like Christie’s other works, it has lived on due to the genius writing. However, there is no story without the actors to make said story come to life, when it comes to the stage. My personal favourite character was Christopher Wren (Elliot Clay) who, with his seemingly endless energy, his lounging across the sofa and non-stop talking reminded me very much of my younger brother. He was funny, charming and simply fantastic.

If you want to find out who did it, well… I am sworn to secrecy. I guess you’ll just have to go and see it for yourself.

WE SCORE THE MOUSETRAP...

The Gruffalo, based on the popular children’s book of the same name, written by Julia Donaldson and illustrated by Axel Scheffler, was not something that would necessarily be on my radar for a theatre trip, mainly with me not having children, but I was pleasantly surprised by this production and loved every second of it. I knew of the book, having read it myself as a kid, and didn’t understand how a book that long would be stretched into a 55 minute show, but it was perfect. With it being in the more intimate Quays Theatre, I was also looking forward to getting immersed entirely in the story.

The story is of a mouse, who to avoid getting eaten by different predators in the woods, including a fox, an owl and a snake, invents a scary monster called the Gruffalo, which the mouse thinks doesn’t exist. That is until the mouse meets the Gruffalo, who also wants to eat the mouse for lunch. The mouse then goes about proving to the Gruffalo that it is the most feared animal in the wood (by introducing the Gruffalo to the creatures it has already scared off with the idea of the Gruffalo), tricking the Gruffalo into thinking that the predators are scared of the mouse, and not him. The story ends, with the mouse finding the acorn it has been searching for, whilst fending off predators, and not being eaten by the fox, the owl, the snake or the Gruffalo.

This one-act show is a perfect way of introducing children to the world of theatre, especially with it lasting less than an hour and it being based on a book that is loved by millions of children. The set was simple, and looked like the illustrations in the books, which was lovely, as it meant the kids were able to see the book they love so much come to life in front of them.

The cast, made up of just three people, are phenomenal, from making their own sound effects, to singing and dancing, as well as bringing the characters to life in the way that they did. Aimee Louise Bevan, who played the mouse, embodied the small, cheeky woodland creature very well, keeping the story going and the children interested, especially in the audience participation moment (which the kids loved) where the audience roared like the Gruffalo to scare the fox. Each of the predators were played by the same person, Alastair Chisholm, who created three different creatures, who were all equally as good and funny (my personal favourite being the rattlesnake with maracas). He made the children laugh with his slap-stick nature and goofy gestures. I absolutely loved him as a performer and I praise him for the amount of energy he had and used, especially for all of those quick changes! And, last but certainly not least, Aaron Dart, who played the titular character of the Gruffalo, embodied the kids’ favourite book character, with his Northern accent (which was a great touch) and his big bouncing steps. My absolute favourite part of the show is when the Gruffalo was afraid of the mouse and not wanting to be made into a Gruffalo crumble. He came out into the audience, in an attempt to hide, and took a seat right behind me. He then attempted to get the circle to send down a rope ladder, and get into a little girl’s backpack, who was sitting on the front row, whilst trying to hide. The children absolutely loved that they could see the Gruffalo up close, in real life, and I am not going to lie, I loved it too.

With performances happening throughout the summer holidays, this is a great show for all of the family. It is a perfect way of introducing children to the world of live performance, whilst finding an activity to do during the school holidays that is good for kids and adults alike. I thoroughly enjoyed myself and I applaud the cast for their phenomenal work. The Gruffalo is a must-see this summer!


WE SCORE THE GRUFFALO - 10/10

Michael Flatley’s Lord of the Dance is back, for its 25th anniversary and it’s better than ever. Personally, I knew that the show was Irish dancing and that the dancers would have footwork quicker than the speed of light, but I didn’t know much more than that. However, I was still extremely excited to see this show, as it has always fascinated me, with how quickly and precisely the dancers can move, having seen snippets of the show on various TV shows. I was not disappointed and have fallen in love with this worldwide, record-breaking phenomenon.

The show itself is made up of the storyline of the Little Spirit and her dreams. She dreams of the Lord of the Dance and his arch-nemesis, The Dark Lord. The Dark Lord wants to become the Lord of the Dance, and nearly succeeds by tempting the Lord of the Dance away from his true love, Saoirse, with the dark and mysterious Morrighan, who turns out to be working for The Dark Lord. The story continues, without giving away too many spoilers, the fight of good (the Lord of the Dance) and evil (The Dark Lord) continues, with interludes of a love story, a cheeky and playful Little Spirit, a lot of footwork and some very talented fiddlers, Erin the Goddess, putting into words what the dances mean, in the form of song.

Matt Smith, as the Lord of the Dance, blew me away with his first entrance onto the stage being something to remember, with his charismatic smile and unbelievable talent. However, before we meet the Lord of the Dance, the Little Spirit must dream him up first. The Little Spirit came in the form of the lovely Cassidy Ludwig, who dazzled the audience with sprinkles of glitter and her cheekiness towards The Dark Lord and his Warriors (especially when she kicked one of them up the bum as he exited the stage, to show her hatred for them). As rivals for the love of the Lord of the Dance, Lauren Clarke’s Saoirse and Cyra Taylor’s Morringhan were light on their feet, gaining so much air-time they looked as though they were flying. The Dark Lord himself was played by the highly experienced and truly incredible, Zoltan Papp. Having performed opposite Michael Flattley, he brought all of the energy required to make The Dark Lord scary and surprisingly funny, at the same time.

The roles of Saoirse, Morringhan, the Lord of the Dance and The Dark Lord are played by different people on different nights, meaning each show is a different experience, as you witness the small changes that occur due to the way each person works with each other. You could watch the show 100 times and get something different out of it each time, which is why people keep coming back for more.

The back of the stage had a higher platform, which had steps that led to the main stage, with the whole of the back of the stage being a massive LED screen, that showed Celtic knot patterns and different landscapes that went with the dance and the character, such as The Dark Lord’s dark forest, that was engulfed in flames.

One of my favourite parts of the entire show is the iconic end to act one, which is simply named, Lord of the Dance. That music, with those costumes and that choreography has awed people all over the world, me included. The canon, down the horizontal line of dancers, where they don’t miss a single beat by even a nanosecond? INCREDIBLE.

In conclusion, from the hardcore fans that have followed Lord of the Dance since its birth 25 years ago, to the novices of viewing the show, such as myself, every single person in the auditorium enjoyed the show. If you like Irish dancing, or if you like topless men moving their feet so fast that you cannot see it with the naked eye, or even if you are just looking for something new to see at the theatre, this is the show for you.

Michael Flattely’s dream became a reality in the shape of the biggest dance show of all time. It is so inspiring to see it and encourages me, as I am sure it does others, to follow my dreams. No dream is too big, as Lord of the Dance shows time and time again.

WE SCORE LORD OF THE DANCE - 10/10

Having seen the talent of Diversity 13 years ago, when they first appeared on Britain’s Got Talent, I knew that they were going to be phenomenal. I was extremely excited to see these amazing dancers that had inspired me, in the flesh, and I was not disappointed for one second.

The show, created by Diversity leader himself, Ashley Banjo, focused on technology and its power to connect us (hence the tour name - Connected). It showed the highs and lows of the use of technology, highlighting how much we have needed it, in these past few years, to how our focus on technology can sometimes hinder us when it comes to keeping the world around us safe. With the appearance of a special artificial intelligence ANI (which stood for Another Name Instead - very clever on Banjo’s part, due to not being able to use the names of big companies), we were taken on a journey, through dance, that made us laugh, cry and squeal in delight. The dancers included, Ashley Banjo, Jordan Banjo, Warren Russell, Perri Kelly, Nathan Ramsey, Sam Craske, Mitchell Craske, Adam McKop, Georgia Lewis, Starr Kiely, Jordan Samuel, Shante Samuel, Theo McKenzie-Hayton, Curtis Butler and Morgan Plom, with the addition of guitarist and music producer, Mafro.

In the first half, fan-favourite Perri Kelly, was dressed up to look like a Georgian, and was brought forwards in time, from two-hundred years ago, and introduced to the use of the internet through a mobile phone. It was hilarious. The grey wig sat on top of his head precariously, but you could see that every single member of the team was enjoying themselves the whole time. Another highlight of the first half was the end of the first act, in which the male members of the cast danced under pouring water, which led to them taking off their soaking tops and dancing shirtless! There was a lot of excitement bubbling through the audience, as I am sure you can imagine.

The set was minimal but most certainly effective, with a platform that lit up, towards the back of the stage. Parts of the set pulled out, letting dancers enter the stage from the back freely, and the tube lights that were on the platform were detachable and used as props in many of the dances! One of the best dances for props, was the opening of the second half, inspired by what kids had told Diversity to do, where they had blow up microphones, huge teddy bears, hula hoops, and even a hoverboard (which Perri did a handstand on, across the front of the stage!)

In the second half of the show, we were treated to the famous BGT dance that won the team a BAFTA… It was incredible to see live and a lot of the audience were on their feet by the end of the dance. The meaning behind it shone through and it was beautiful to see the love and support in the room. A special treat, that also occurs in the second half of the show, is the creation of a song, with audience participation and Jordan Banjo dressed up as Banjo Bear, as he goes around the audience to pick someone. It was extremely fun to see the way that Ashley creates the music for the show (which he does himself) and to be a part of a track that we were then invited to download after the show! Also, the dancers were then invited to dance to the new track, and my personal favourite dancer for the evening, Nathan Ramsey, has the best twerk I have ever seen!

This show is phenomenal and can be anything from a family’s first trip to the theatre, to a fan night out, to a date night. There is something for everyone within this show and it really makes you think about technology, as well as being entertaining. It is a must-see!

WE SCORE DIVERSITY - 10/10

The Strictly Come Dancing professionals are back live, after two years, and it was well worth the wait! From the glittering disco balls as you walk in, to the final bows, the dancers of the hit BBC show take you on a rollercoaster of a journey.

The show brought all of your favourite Strictly Come Dancing professionals to one place for a night of dance, music and fun. The dancers included, Dianne Buswell, Nadiya Bychkova, Graziano Di Prima, Karen Hauer, Katya Jones, Neil Jones, Gorka Marquez, Luba Mushtuk, Kai Widdrington, Arduino Bertoncello and Jake Leigh (who stood in for Cameron Lombard). They performed the choreography of long-time Strictly Come Dancing choreographer, Jason Gilkison.

The costumes were stunning and fitted each dance perfectly, such as the gorgeous flapper 20s dresses and pin-striped suits for the Charleston. Having loved the TV show for so long, seeing the dancers in the flesh is incredible. They move perfectly together, and you can tell, from their stories and banter on stage, that they are one big happy family.

The dances themselves consisted of some favourites of the professionals themselves, with a nod to movie and musicals weeks in the second half, but also beautiful dances that told a story, and had audience members in tears, because of the sheer beauty.

Due to the dancers being from all over the world, the pros take you on a journey from country to country, whilst you learn about the history of dance, and then see it in action. You can see that the performers love every second of it, and it means that the audience does too.

All of the music and singing is live, just like on the TV, with Jeff Leach leading the extremely talented band, and the singers, Tara McDonald and Patrick Smyth, singing everything from Disney, to Rock, to Pop, and every single one of the songs being phenomenal. The live music and singing really adds to the experience as a whole, as it fills the space and draws you in.

This show is definitely a must-see! (Especially if you love Strictly Come Dancing as much as I do!)

WE SCORE STRICTLY - 10/10

Wow. Just wow. ‘The Play What I Wrote’, at the Lowry, is certainly a treat! With a minimal cast and a surprise special guest for each performance, the show is phenomenal. It brings back to life a time long-forgotten by many - the joy of a variety, comedy double act.

The story is of Dennis (played by Dennis Herdman) and Thom (played by Thom Tuck) - a variety double-act - who have drifted, with Thom writing play after play and Dennis wanting to perform together as a Morecambe and Wise tribute. They embark on a journey to get back on their feet and on the stage, whilst overcoming obstacles in their way and their own dreams and wants. Thom’s play is picked up and he is delighted that he will be able to perform the play - wanting Ian McKellan and Scarlett Johannsen to be the stars, alongside himself. However, all of this is a ruse on Dennis’ part, who has orchestrated the whole thing under the guise that they will, instead perform the Morecambe and Wise tribute. Dennis enlists the help of Arthur (played by Mitesh Soni), who then moonlights as different people, from the prestigious west-end producer David Pugh to Scarlett Johannsen, in order to make the tribute performance happen. Dennis’ high-energy and impeccable comic timing adds to Thom’s amazing characterisation and finesse, with the addition of Dennis making the duo a phenomenal trio.

The first half takes the audience through a number of comedy routines, including that of a ventriloquist doctor and that of a dustpan - each one having the audience in stitches. Tuck’s Thom, the ‘straight guy’ of the comedy duo goes through a crisis, with the support of the duo’s ‘funny man’ Dennis, whilst being duped by Soni’s Arthur, who, despite his array of characters, just wants to play his harmonica, in memory of his mother. The whole first half embodies the spirit of Morecambe and Wise, with clear influence being shown, whilst showing new material, and creating side-splitting laughs and endless joy for the audience. It is feel-good, funny and perfectly entertaining. There is nothing like simple comedy (a lot of it consisting of clever wordplay, with a hint of euphemism sprinkled through) to bring people together.

The second half is the production of the play that inspired the title ‘The Play What I Wrote’ and the need for a special guest. We were delighted with the presence of Charles Dance - the actor most known for his stint in Game of Thrones and The Crown (in more recent years) - who jumped head-first into the pandemonium of ‘A Tight Squeeze of the Scarlet Pimple’ - a ‘serious’ drama set to the backdrop of the French Revolution. The spontaneity that comes with a new special guest for each performance aided the show - with jokes being made at the expense of Dance, whilst adding to the tale of the Scarlet Pimple, and helping Thom’s dream of staging one of the many plays he has written come true. Dennis, Thom and Arthur aided Dance through dance routines, sketches and an array of props with a well-practised air and execution. The use of having a different special guest for each show adds to the audience’s experience, with each audience getting an entirely unique performance.

Of course, the second half is not without its Morecambe and Wise references, from the classic paper bag trick, to the slaps to face and mannerisms of Eric Morecambe shining through, using just a pair of glasses. They have the classic golden curtains, a special guest to humiliate and work with, and some fun song and dance routines thrown into the mix - a classic recipe for Morecambe and Wise. The simple storyline of ‘The Play What I Wrote’ leaves the audience with the feeling of ease and joy, with them being able to enjoy the comedy, without having to think too hard about it, for a few hours.

‘The Play What I Wrote’ is a joy for people who know Morecambe and Wise and for people who don’t. And, if you want to know if Arthur finally gets to play his harmonica… Well, you’ll have to see for yourself, won’t you?

The lay out is perfect, with the sets showing different seasons, as well as scenarios. I really enjoyed walking through the exhibit, reminiscing about when I had watched the show, religiously. It was such a lovely experience to share with both my mum and niece… They both enjoyed it.

Second of all, we were treated to the performance of The Not So Ugly Sisters, brought to Waterside by a co-production between Leeds Playhouse, Red Ladder and Wrongsemble. We were not disappointed. This re-telling of the classic story of Cinderella, from the point of view of her sisters, is amazing, and is done with only two actors! Lucy Rafton plays Barb, the down-to-earth and realistic sister of the two we see, whilst Daisy Ann Fletcher plays the eldest sister, Dolly, who is a little bit ditsy but has a deep love for her two sisters. The action is set in the sisters’ hair salon and covers what has happened to get them to the point we meet them at, before carrying on with the story.

The story is captivating and the two girls don’t need anyone else to make the audience laugh, smile and feel sympathy towards their characters, with the addition of other character imitations along the way. Fletcher’s imitation of Prince Charming, for example, is hilarious, with the use of a comb as a moustache and a smoulder that anyone would be jealous of. Everyone in the audience, children and adults alike were beside themselves with laughter. We see heartbreak (in the form of Barb’s story of the night they met the Prince at the ball - without giving too much away!) and joy. And happiness. It shows a love between two sisters that shows that they have each other, and that, no matter what the tabloids are pinning them as, they know the truth and they have each other, like from the song in the show - “U-G-L-Y, Call me ugly all you like. U-G-L-Y, We were born to stand and fight.”  Not only does it show the power of the sisters, it also inspires the audience to take on their message and use it for their own empowerment. They had the whole audience joining in. It was magical.

The use of song and dance, with both actors showing their beautiful vocals, also makes the show just that extra bit special. So, if you have the time, and fancy a christmas treat, then get yourselves down to Waterside! It won’t disappoint you, I promise. It is fantastic.

That's not everything the Waterside has to offer this Christmas... They have the Postman Pat exhibition, showing sets, characters, and even behind the scenes sketches from the original Postman Pat. This is a must see. The sets include old characters and new and even my Mum loved it (after having to watch it with me, when I was younger).

Berstein has always been a favourite, especially West Side Story, and this did not disappoint. At all.

The night began with the opera, composed by Bernstein, ‘Trouble in Tahiti’. Following the story of a married man and woman, it shows the troubles of married life and the possibilities of growing apart, falling out of love and affairs. The man, Sam, played by the amazing Quirijn de Lang, was debonair and hardworking, whilst ignoring his wife and her needs. The wife, Dinah, played by the phenomenal Sandra Piques Eddy, is a suffering, stay-at-home wife and mother, who wants the joy of the beginning of love back. She wants it to be like how it is in the movies. Simple, easy and ever-lasting. The story shows how real life and love is none of those things.

Despite having a love of Bernstein, I had never seen, or heard any music from, ‘Trouble in Tahiti’, but was pleasantly surprised at how much I enjoyed it. The trio, played by Laura Kelly-McInroy, Joseph Shovelton, and Nicholas Butterfield, respectively, provided the performance with that extra spark of something special, by underscoring the couples’ life with their joyful singing, which beautifully juxtaposed the tension of the married couple. The couples’ son, Junior, who is forgotten in the chaos of trying to sort themselves out (which is shown through Sam and Dinah missing his school play) was played by the ever-present (and adorable) Issac Sarsfield. He was always there, but never said anything, highlighting the strain that his parents' crumbling relationship had on him. It was beautiful, raw and real and, despite being set in the 50’s, still resonates with audiences today.

After the interval, we were treated to ‘Halfway and Beyond’, a spoken word piece, spoken by Khadijah Ibrahiim. The dancers of the Phoenix Dance Theatre danced to spoken word, never missing a beat and expressing the words through their movements. It made the words come alive. It was absolutely mesmerising.

Then came the ‘West Side Story Symphonic Dances’. One word: wow. With being familiar with the style of Jerome Robbins, and both the film and stage versions of West Side Story, it was nice to see a different element of the West Side Story score and story. The symphonic dances, being composed of different sections of music from the hit musical, provides a sense of familiar and brand new, at the same time. I was blown away. The clever use of set and different pairings of dancers throughout the piece made me entranced. I seriously could not look away. I was honestly close to tears by the end, it was that beautiful. Each and every dancer was phenomenal and brought their own flair to the movement and story being told, with the lifts and synchronised sections looking effortless for them. Choreographer, Dane Hurst, is a genius, using his dancer’s strengths to create a stunning effect on the audience.

The pairing of ‘Trouble in Tahiti’ and the ‘West Side Story Symphonic Dances’ show conflict and the pains it brings effortlessly and beautifully. I would highly recommend this, even for those who don’t think it is ‘their thing’. I think, like me, you would love it.

WE SCORE OPERA NORTH - 10/10

One of our trusted reviewers, Abigail Holden, went to Roundabout in Swinton to review Black Love. Here is what Abi had to say...

In the words of the band, Mather Robinson, “You should have been there!” Roundabout is back for another year, in Salford, this time taking residence in Victoria Park, Swinton. The event, which began in 2015, is back with a bang, with some very exciting performances for the community to enjoy. As a first-time visitor to the event, which is supported by Salford Mad Pride, I was extremely excited to see what was going to happen. I was not disappointed.

Getting back into a theatre was, if I’m honest, a little overwhelming. I had longed to be there for so long and there I was, sitting in a pop-up theatre, watching live performances. And it was immense. The beginning of the evening provided us with The Swinton Community showcase including poetry (from the Thirsty poet himself, Matt Conz), singing (from Domonique, Mollie and Daniel) and a live band (which is where we were introduced to Mather Robinson). The feeling inside the theatre was magical. People spoke of their lockdown troubles and the excitement at finally being able to be back, performing, was infectious. You couldn’t help but smile and the talent was incredible!

Partnering with the Lowry, the theatre company Paines Plough brought it’s very first musical to the Roundabout theatre and did so to a captive audience. The story of Black Love, the tale of a brother and sister, Orion and Aurora, shows a relationship and love between two siblings, who cling onto their heritage and history through the memories of their parents. Written by Chinonyerem Odimba, with the amazing music of the Ringham Brothers, the story follows the pair as someone new poses a threat to their relationship and life. The story itself is powerful and thought-provoking, with a strong message of black feminism and the wrongness of black stereotypes throughout. It made me think, as a white woman, about how I have never thought about it, because I haven’t had to. The highlighted injustice of the world, through this beautiful tale, is pure magic. It makes you realise how little you actually know, in the bubble of your own day-to-day life. We don’t know, because we don’t ask, as is said in the play.

The intimate setting of a small theatre, with minimal set and lighting that fit the mood of the action, made the performance of 80 minutes fly by. I was enraptured. I couldn’t look away. It’s simplicity gives you the opportunity to focus on the words and the action, with the use of projected images and interludes giving you time to take everything in.

Leah St Luce, who played Aurora (or Roo as she is known to her friends) drew the audience in with her beautiful vocals and fluid movements, making the audience fall in love with her, instantly. The raw emotion she showed, in the tougher moments of the play, gave me chills. The character of Roo made me want to be a better person and follow my own path. A strong, independent young woman who was trying to find her way in the world… I found myself being able to relate to that. There really is something for everyone throughout the action but Roo, as a character, resonated with me in a way I have never felt before.

The struggle shown in Orion’s story, who was played by Nathan Queeley-Dennis, was heart-breaking and gorgeous, all at the same time. The stereotypes and struggles placed on Orion, all whilst trying to find his path through life and start his dream career as an actor were intense and powerful, raising the issues he faced, with a hearty splash of comedy. The asides to the audience, in particular, made me chuckle.

The addition to the siblings, in the face of Lois, played by Eleanor Sutton, brought the story to a whole new level. The blatant misunderstanding, from the character, was played subtly and real. It was perfect in showing the issues that Roo and Orion faced, without being gimmicky. The realness was raw and stunning.

This new musical is like none I have ever seen before and, as an avid musical fan, I have seen a lot of them! Black Love shows the love between siblings, between boyfriend and girlfriend, and a love and admiration for the siblings’ heritage, history and understanding of one another. It is truly breath-taking and I will remember it for years to come.

We score Black Love 8/10.