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Tag: Sheffield Crucible

  • THEATRE REVIEW | Standing at the Sky’s Edge – Crucible Theatre, Sheffield

    THEATRE REVIEW | Standing at the Sky’s Edge – Crucible Theatre, Sheffield

    ★★★★ | Standing at the Sky’s Edge

    Standing on the Sky’s Edge is a new musical which centres around Sheffield’s Park Hill Flats housing estate, and cleverly overlays three stories of three families over three decades as they take residence in the now infamous building. From the ground breaking optimism of the buildings with “streets in the sky” in the early 70s; through the estates decline in the 80s and 90s and onto the current regeneration projects, the show delicately weaves the lives of the seemingly unconnected families together whilst looking at the social and economic changes faced by the city and its residents.

    Richard Hawley (known for his music with The Longpigs and Pulp) provide a mixture of new and old songs which melt seamlessly into the narrative and which are well spaced, well performed and slot nicely into the proceedings; whilst Chris Bush’s script is warm, witty and brims with northern charm and humour.

    But mostly, and at the show’s heart, are stories about love and how it can be tested in so many different ways; wrapped up in a love letter to any building which you can call home and to the city itself.  A husband who has given up, and a wife who won’t; a young couple who face tragedy and a young woman trying to break free of the ghost of girlfriends past all address the central issues with genuine emotion and a warmth radiating from the stage.

    The production is instantly accessible, with characters that feel familiar almost immediately, and some fast paced and assured direction from Robert Hastie, providing a feel of the business and hustle and bustle of the estate. The ensemble cast blend beautifully together as the years portrayed merge into one; and Faith Omole took everyone by surprise with a singing voice so serene, it quite literally stopped the show.

    Despite being a very local piece of theatre, there is enough in there to entertain those unfamiliar with the flats or its history; and makes the trip to Sheffield worthwhile, and being home the message, loudly and clearly, that home is where the heart really is.

    Standing on Sky’s Edge is at Sheffield Theatres until 6th April 2019.

  • Theatre Review | Kiss Me, Kate – Crucible Theatre

    ★★★★☆ | Kiss Me, Kate – Crucible Theatre

    Written by Cole Porter in the 1940’s, Kiss Me, Kate is a delightful, old-fashioned musical, combining the classic elements of mistaken identity, a will they/won’t they love story, a bit of swindling and a bunch of likeable characters all interwoven with an appealing collection of songs by one of the best composers of the era.

    Porter’s tale stages a play within a play, telling the story of Fred Graham, an actor and director who casts his ex-wife as his co-star; and finds himself in hot water when one of his other leading men signs off a gambling debt in his name. He tries desperately to keep his musical production of The Taming Of The Shrew on track, as a couple of inept gangsters show up to collect the debt and Grahams relationship with his ex-wife sways between love and hate. But as everything falls apart and the backstage bickering starts to mirror the story on stage, Graham does everything he can in ensuring that the show must go on.

    The songs from Kiss Me, Kate are some of Porter’s most sterling work, with an overarching jazzy vibe which made the musical numbers delightfully catchy. The songs still sparkle and fizz with wit and humour, and there is a show-stopping number at the opening of each act. “Another Openin’, Another Show”, “Tom, Dick or Harry” and “Too Darn Hot” were all proper toe-tappers, and the multiple reprises of “Brush Up Your Shakespeare” were delightfully laughter inducing.

    Edward Baker Duly and Rebecca Lock were superb as the quibbling couple, whilst Dex Lee was criminally underused as Bill and his triple threat status certainly makes him one to watch; but stealing most of their scenes were Delroy Atkinson and Joel Montague as the ham-fisted mobsters. Paul Foster directs with a steady hand, whilst Strictly choreographer Matt Flint keeps the musical numbers light and fun. Only the costume and set design let the show down slightly, with too much of a cartoonish feel to both to really work.

    Kiss Me, Kate is firmly established as a classic, traditional musical and this is a fun, frenetic and frivolous production which, as a sucker for an old-fashioned musical, I found very hard to resist.

    Kiss Me, Kate is at the Crucible Theatre, Sheffield until 12th January 2018. Visit their website at www.sheffieldtheatres.co.uk for details and tickets.

  • THEATRE REVIEW | Flashdance The Musical, National Tour

    ★★☆☆☆ | Flashdance The Musical

    Back in the 80’s, movie musicals such as Fame and Footloose blazed a trail across cinema screens and into the hearts of foot tapping teens everywhere. But nestled between the two was Flashdance, the story of Alex – a welder by day and a club dancer at night, with a dream to make it into a prestigious to dance school. Now fully embedded in popular culture, being mimicked by Geri Halliwell and Comic Relief; and even making an appearance in The Full Monty, Flashdance now takes to the stage with Strictly Come Dancing’s Joanne Clifton.

    Based incredibly loosely on the film, the stage show waters down the story of the gritty welder and her struggles to make it, and provides a fairly sanitised version of the story, with plenty of nods to the film, but placing the emphasis on different aspects of the story. The show retains a handful of songs from the film’s soundtrack, including “Maniac”, “Gloria” and “Flashdance (What a Feeling)”; but packs them in tightly with a high number of original songs which are functional, but not particularly memorable.

    Filled with an abundance of day-glow, colourful neon, the show is little more than an excuse for some vibrant dance numbers, nowhere more alive than in Demmileigh Foster’s show-stealing rendition of “I Love Rock ‘n’ Roll”, and in the rather upbeat closing medley. Joanne Clifton shows that she can sing as well as dance, and Colin Kiyani was perfectly affable as Nick, Alex’s boss and boyfriend.

    Those wanting a theatrical version of the film (akin to the Dirty Dancing musical) won’t get that here, given the light plot, two dimensional characters and a rather lacklustre script; but this story is really a wraparound device to tie together the musical numbers of which there are plenty; with a few good set pieces and a feel-good ending to be had.

    Flashdance the Musical is at Sheffield Theatres until Saturday 11th August 2018 before continuing on its national tour.

  • THEATRE REVIEW | The York Realist – The Crucible Theatre, Sheffield

    THEATRE REVIEW | The York Realist – The Crucible Theatre, Sheffield

    The York Realist

    Set in the 1960’s, hard-working Yorkshire farmer, George, is volunteered for a part in the York Mystery Plays by his busy-body (and somewhat devoted) neighbour; where he meets and falls in love with John, the London based and rather cosmopolitan assistant director. But despite their feelings for each other, the difference in their two very different worlds soon becomes apparent.

    Director Robert Hastie shepherds the cast with skill, never shying away from the intensity and emotional impact of silence and pause in the midst of the drama; and eliciting quality performances from the cast with an unassuming ease. Jonathan Bailey (Broadchurch) and Ben Blatt (Spooks) excel in their respective performances as John and George, having a terrific on-stage chemistry and engaging in performances which were wholly absorbing, touching and brimming with genuine emotion.  Brian Fletcher’s monosyllabic character of Jack brought some of the lighter moments within the piece, whilst Lesley Nicol (Downtown Abbey) brings a warm and instantly recognisable charm to her portrayal as the down to earth matriarch of the family, which is as homely as the cottage kitchen that makes up the stage.

    Peter Gill’s script vacillates from fast-paced, northern-humour filled dialogue to long silent pauses of emotional drama with ease; and is reflective of the changes in society at the time, both in terms of the progress of modern life and the beginning of a change in attitudes. There is an underlying reticence of some of the characters to move on into the modern world, which mirrors the cautious approach of John and George to their relationship; and, in particular, whether George lives his life for himself or for others, despite his family’s unspoken acceptance of his sexuality. There is a real tension between the old-fashioned values and the familiar feel of a comfortable, established life and the progression into a time of social and economic change; which sits alongside a head-on clash of city and country life and a disparity between the social class of the protagonists.

    Running at Sheffield’s Crucible Theatre until 7th April 2018, The York Realist is a touching, tender and tear inducing piece of heartfelt and beautifully understated theatre; with solid central performances from two actors with a genuine on-stage chemistry, and enough Yorkshire humour to satisfy the home crowd.

    Visit www.sheffieldtheatres.co.uk for tickets and details.

  • THEATRE REVIEW | Rent Party – Crucible Theatre, Sheffield

    THEATRE REVIEW | Rent Party – Crucible Theatre, Sheffield

    ★★★★★ |  Rent Party – Crucible Theatre, Sheffield

    You are invited by Stuart, the fiercest, pony-tail-wearing, weave flailing diva this side of the breadline, to his Rent Party, where you get to hear the stories of four young people and decide, in monetary value, what each of their stories deserve. The tales of being a single mother, a strong matriarch, a self-confessed geek and a statuesque, roller-skating voguing sensation are mixed with song, dance and vicious social commentary of what it is like to be young, gifted, black, gay and poor.

    Photo Credit – Sam Taylor

    Part party, part entertainment and part immersive theatre, this is one production which doesn’t hold back on its scathing attack on a society in times of austerity and hits home the harsh reality faced by young people in the community. Debts, social struggles and domestic abuse all feature amongst the stories, as does a host of talent from the five performers. But what makes it more poignant is the fact that these are not actors, but people each telling their own true story.

    Kamille is working in Asda, and struggles as a single mum but doesn’t let this stop her, whereas Lenai talks about her family, led by a strong and confident matriarchy, who put her through dance school; and piano playing AJ has a flair for all things science, and shares stories the love he has for his boyfriend who surprises him on a family holiday. But it is Jason sharing the tale of his escape from a controlling and abusive relationship with his boyfriend which hit the hardest and his recounting of the experience stunned the audience and garnered a genuine emotional response.

    Inspired by the rent parties of Harlem in the 1920’s, where people would host a shin dig to earn their rent money by entertaining their guests, each audience member is given some rent party money to pay the artists what they think their stories and performances are worth; and there are some party favours and a shot or two or liquor thrown in for good measure.

    But it is not all about the struggles. Kamille belts out Fabulous Baby from the Sister Act musical; Leani and AJ charleston and tap dance their way through a fun routine, Jason’s voguing would stand out in any club and Stuart’s bittersweet and enthusiastic party hosting binds the whole thing together.  Add a dance-off, a limbo competition and some party games with the audience, and you have an original and entertaining piece of theatre, with the whole thing having an overarching tinge of being in a gay club in the 80’s.

    Rent party is a fierce, unflinching and uncompromising look at life where race, poverty, sexuality, talent and ambition collide.

    Rent Party is at Sheffield Theatres until the 23rd December 2017. Visit their website for details and tickets.

  • THEATRE REVIEW | The Wizard of Oz – Crucible Theatre, Sheffield

    THEATRE REVIEW | The Wizard of Oz – Crucible Theatre, Sheffield

    ★★★★| This Christmas, Sheffield Theatres whisks you off to the Land of Oz, to join Dorothy, a Kansas farm girl, who follows the yellow brick road to the Emerald City to find the great and powerful Wizard of Oz. On the way, she is joined by the scarecrow, the tin man and a cowardly lion, all of whom have something to ask the Wizard themselves. But the four of them are pursued the Wicked Witch of the West, and Dorothy soon comes to realise that there is no place like home.  

    Photo Credit: Johan Persson

    The Wizard of Oz needs very little introduction, and has been embraced by the gay community for many years – after all, with anything that is the source of the phrase “friend of Dorothy”, you can expect high camp and an iconic gay status.

    The four main leads fill their characters with charm, in particular Max Parker as the Tinman, who brings a great singing voice and some nifty robotic steps to the stage. Andrew Langtree’s scarecrow is wonderfully reminiscent of a rag doll and Jonathan Broadbent’s Lion adds much of the comedic element. Gabrielle Brooks portrays Dorothy with innocence and wide-eyed wonder, although she did sometimes get a little lost amongst her more boisterous on stage travelling companions. But the real testament to her performance was her beautifully sung version of Over the Rainbow, with Brooks nailing the iconic moment with ease. Toto was portrayed by both a scene stealing puppy in Kansas and as a brilliantly performed puppet skilfully (and convincingly) operated by Rhiannon Wallace in Oz, helping to establish that the girl in gingham certainly wasn’t in Kansas anymore.

    The production as a whole is beautifully done, in particular, Janet Bird’s set design is ingenious, and the transformation from Kansas to Oz is an unexpected delight. The stage is illuminated underfoot to form the yellow brick road, and everything from a large multi-purpose ensemble to puppetry to practical effects are used to great effect to bring the Land of Oz to life. Add to that a lighting design which is colourful, vivid and incredibly well thought out and some stunning costumes and you have a production which is a visual treat.

    The majority of issues with the Wizard of Oz are primarily down to the book, rather than this production. The show itself takes a while to hit its stride, but then, so did the film; and once Dorothy starts to meet her travelling companions, the momentum starts to build, yielding to a much better second act. There were times when the show encroached into pantomime territory on occasions and the Wicked Witch was not particularly menacing, although this was more likely due to being toned down for a family audience rather than Catrin Aaron’s performance or ability. For a musical, the show is also relatively light on musical numbers, with only a handful of songs, but director Robert Hastie makes the most of them, especially in the rather jaunty opening to the second act.

    With its high camp value and its snappy presentation, Sheffield Theatre’s production is light, airy and so colourful that rather than being taken over the rainbow, you are placed slap bang in the middle of it.

    The Wizard of Oz plays at Sheffield Theatres until 20th January 2018, alongside their pantomime, Mother Goose playing until 7th January 2018 and their interactive production Rent Party until 23rd December 2017. Visit www.sheffieldtheatres.co.uk for details and tickets.

     

  • THEATRE REVIEW | Gaslight – Lyceum Theatre, Sheffield and National Tour

    THEATRE REVIEW | Gaslight – Lyceum Theatre, Sheffield and National Tour

    ★★★|In an elegant townhouse in Victorian London, Bella Manningham is slowly losing her mind. Pictures keep disappearing, trinkets seem to move from place to place and items go missing without explanation. Add to that the mysterious sounds from the top floor of the house and the dimming of the gas lamps and Bella’s sanity is called into question. But what is the secret history lurking in the walls of the home and just who is the stranger who calls unannounced at her home one evening? Why does Bella’s husband, Jack, keep reminding her of her mother’s insanity and what is the connection for all of them to a 20 year old unsolved murder?

    Photo Credit – PR Supplied

    Patrick Hamilton’s play is a direct descendant of the Victorian melodramas that it portrays. Continuing the themes of innocence menaced by something darker, the plays script, setting and overall feeling is one of claustrophobia and oppression. Given that the play is set in a single room and given that it is, essentially, a three hander, the play has to rely heavily on the performances of the actors to carry it through. Kara Tointon’s portrayal of Bella was fine, although the increasing histrionics started to grate a little with the progression of the story. Rupert Young’s turn as Jack Manningham was well rounded, initially quite charming and alluring, but subsequently developing his character to include an uneasy undertone.  But it was Keith Allen’s performance as the mysterious visitor which stood out the most, performing his stern and determined character with his tongue just slightly in his cheek, lightening what is otherwise quite a bleak drama with a soupcon of humour and playing to his strengths.

    The stage set is a detailed drawing room, which has a forced perspective and increases the claustrophobic feel of the piece, which is enhanced further by some atmospheric lighting. The productions sound design was nothing more than functional and the sound in the theatre allowed for every word to be heard clearly, which is essential with such a wordy script.

    As a whole, the piece was a fairly mixed bag. The first act nicely established the characters from the outset and drew the audience in as to the mystery, hinting at the possibility of the plot twists which may come, and ending the first act, story-wise, on a decent cliff-hanger. The second act seemed to lose its way slightly, becoming a little muddled and failing to deliver on the anticipated plot twists, instead, providing a rather straight narrative and one which is not entirely unpredictable. There are a couple of cattle prod scares which highlight the supernatural element of the story, although in a rather clumsy and unnecessary way, and this is an element which is never really followed through.

    Gaslight appears, from the outside, to be mix of The Woman In Black and An Inspector Calls, but in reality is a straight Victorian melodrama, portraying a relatively linear narrative with a socially aware undercurrent addressing the treatment of Victorian women and the discrepancies in equality faced by them. Overall, it is a fairly engaging but lightweight mystery / thriller worthy of a watch and which has an ultimately satisfying ending.

    Gaslight is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until the 25th February 2017 before heading to Richmond and Cardiff.

     

     

  • THEATRE REVIEW | Everybody’s Talking About Jamie – Crucible Theatre, Sheffield

    THEATRE REVIEW | Everybody’s Talking About Jamie – Crucible Theatre, Sheffield

    Jamie is 16 and is not like his friends at school. His best friend wants to be a doctor, but he wants to be a drag queen. Raised by his mum in a single parent family on one of Sheffield’s tougher estates, Jamie finds himself, and his alter ego, Mimi Me, with the help of fading drag queen, Hugo, and with the support of his ever doting mother and her best friend. But Jamie’s difficult relationship with his dad dents Jamie’s confidence; and the school aren’t particularly enthused about the big question on everyone’s lips – namely, whether Jamie will go to the school prom, or whether Mimi Me will. ★★★★★

    © Johan Persson

    Writer Tom MacRae’s script is beautifully written, packing into it a wealth of instantly likeable and relatable characters, plenty of laugh out loud one liners and genuine heart. He gets the story across by celebrating the protagonist rather than victimising him and Jamie’s journey is well paced, moving and entertaining. Complementing the book perfectly are the musical numbers written by Dan Gillespie-Sells, which, quite honestly, doesn’t have a bad song amongst them. The show opens with “You Don’t Even Know It”, a bubbly piece of contemporary pop and each and every song that follows is a delight. Balancing out the upbeat numbers are some tender ballads, including “It Means Beautiful” and “My Man, My Son”, the latter quite literally bringing a tear to my eye. Kate Prince’s choreography fuses multiple styles of dance, from street dance to ballet, with energetic, fresh and uplifting routines, whilst Jonathan Butterall’s steady direction seamlessly blends comedy with pathos and makes the most of his well-rounded and diverse cast.

    With such well written characters, you need a solid cast to bring them to life. John McRea is delicious in his portrayal of Jamie, vacillating between oozing self-confidence and brimming with self-doubt, most of which was done whilst strutting around in a pair of heels so large that even RuPaul would shy away from them. Josie Walker gives a touchingly understated performance as Jamie’s Mum and belted out her two main numbers with a powerful voice which seemed to come out of nowhere; and she was complimented well by Mina Anwar’s comic performance as her best friend, Lee.

    Everybody’s Talking About Jamie is a coming of age story which is more reflective of today’s society than most of the genre. Gone is the stigma of sexuality, and gone is the major struggle for acceptance by his peers. Jamie is embraced by his supportive mother and loved by his friends at school. The story is more about Jamie’s internal struggle and his relationships with family, rather than it being “him against the world”. This refreshing approach makes for a more intimate and focussed narrative and one which genuinely pulls you in. It has been a while since I have seen an audience get so much behind a show, with cheers of support echoing around the theatre at key points in the story, which can only be a testament to the quality of the production.

    Everybody’s Talking About Jamie is everything a musical should be – well-crafted with instantly catchy songs, makes you laugh, cry and cheer and amounts to a thoroughly entertaining piece of theatre with a strong heart at its centre. Jamie is not to be missed, and is simply uplifting, joyous and inspirational.

    Everybody’s Talking About Jamie is currently playing at The Crucible Theatre, Sheffield until 25th February 2017. Visit www.sheffieldtheatres.co.uk or call the box office on 0114 249 6000

    https://soundcloud.com/user-872483887/sets/everybodys-talking-about-jamie

     

  • THEATRE REVIEW | Ghost – The Musical – Sheffield Theatres & National Tour.

    THEATRE REVIEW | Ghost – The Musical – Sheffield Theatres & National Tour.

    ★★★| Based on the 1990 film of the same name, Ghost follows the story of Sam and Molly, whose life together is cut short when Sam is murdered in a seemingly random street robbery. Sam’s ghost stays close to Molly, but he soon finds out that the cause of his death was no accident and that the reasons behind his murder lie a little too close to home. Getting in contact with Oda Mae Brown, a fake medium who can actually hear him, Sam sets out to convince Molly that he is still with her, and to protect her from danger.

    PR Supplied

    This musical, with songs and lyrics written by Dave Stewart of The Eurythmics has been around for some time, and this new production has overhauled the show, giving it a clean, contemporary and fresh feel.  The show follows the plot of the film closely, complete with the famous scene at the potter’s wheel to the dulcet tones of the Righteous Brothers.

    With a strong central performance and a beautifully natural voice, Carolyn Maitland stood out from the cast with her performance of the recently widowed Molly, whilst Jaqui Dubois gave a sass-filled comedy performance as Oda Mae, hitting the right comedy notes and bringing some relief from the on-stage sadness portrayed by the lead characters. Whilst there was nothing really wrong with his performance, Andy Moss (Hollyoaks), for some reason, didn’t particularly convince as Sam, not quite having the gravitas and weight that would really drive the character home convincingly.

    The set was impressive for a touring production, which constantly changed and adapted to portray the different locations, and when you throw into the mix the well-constructed lighting scheme by Nick Richings, an immersive sound design and a well-balanced audio which picked up the clear diction of the cast, you had a technically solid production.

    But where the show falters, surprisingly, is in its musical numbers. The songs themselves were enjoyable enough to listen to during the show, but despite the pop credentials of the writer, they were instantly forgettable and didn’t contain the usual hook or melody which has you humming them as you leave the theatre.  The songs fell somewhere between trying to progress the story and trying to be an entertaining piece of pop, but tended to fall between the two. What was also rather disappointing was the choreography, which was rather simplistic and lacklustre, adding to the feeling that the songs weren’t either show stopping production numbers or narratively progressive.

    Despite its faults, his reworked production improves significantly on previous versions of the show, pulling out more of the emotional aspects of the story and proving to be a pleasant, if ultimately fairly forgettable production and one which fans of the film will certainly delight in.

    Ghost is currently on National Tour until the 22nd April 2017 (www.kenwright.com/microsite/ghost-the-musical/). Ghost was reviewed at Sheffield Theatres, whose production of Everyone’s Talking About Jamie premieres on the 9th February 2017. Visit www.sheffieldtheatres.co.uk for details.

     

  • THEATRE REVIEW |Thriller Live – Sheffield Theatres And National Tour

    ★★★★ | Thriller Live.

    A spectacular two-hour tribute to Michael Jackson which celebrates the music, dancing and performances of the entertainer, via a whistle stop tour through his back catalogue. This highly polished and slick show brings to life some of Jackson’s most memorable routines, the iconic costumes and the classic hits.

    This show was much more than just two hours of a Michael Jackson impersonator with a few backing dancers. It was a glossy and thoroughly entertaining musical revue with a broad range of songs spanning the singer’s career which were performed with unyielding vigour and energetic enthusiasm by the cast and live band.

    The 32 song set list started with the early Mowtown years, featuring ABC, I Want You Back and I’ll Be There; moves through the years with the Jackson 5; with Can You Feel It and Blame It On The Boogie; before heading into his solo career with some of his biggest hits including Off The Wall, Bad, Beat It, and The Way You Make Me Feel. The show also features some of Jackson’s lesser-known songs, including She’s Out Of My Life, Show You The Way To Go and Dangerous and it was good to see some routines to the songs that you wouldn’t immediately associate with Jackson over his biggest hits.  Only Earth Song and Dirty Diana let the side down, with both descending into a bit of an overblown and indecipherable mess, but these are easily forgivable when nestled amongst the other great songs and performances.

    Particular highlights of the show included music video recreations of both Smooth Criminal and Thriller, great renditions of Man In The Mirror and I Just Can’t Stop Loving You and a thrilling recreation of the Mowtown 25 performance of Billie Jean, but in a show with so many show-stopping moments, highlights are difficult to choose.

    Featuring a quartet of singers who put their own spin on the vocals, avoiding them coming across as MJ impersonators, the standard of singing was very high, whilst the choreography and dancing were simply amazing. Cleverly utilising many of the routines (or elements of them) from the original music videos or stage performances of Michael Jackson, the dancers were spot on in terms of their timing and performance , with their acrobatic and exhilarating dance moves eliciting cheers, whoops and shouts of delight from the audience. Regardless of the controversy surrounding his life, Michael Jackson’s enduring appeal undoubtedly remains, and this is a show which ignores the singers private life to celebrate his musical legacy in a foot tapping, smile-inducing show which you can’t help singing along to; and a production which had people, quite literally, dancing in the aisles.

    Even if you are not the biggest fan of Michael Jackson, there is still a lot to recommend this show. Obviously, enjoying the music is an advantage, but if you enjoy watching spectacular dancing and a well performed musical revue then this show is up there with the best of them. Thankfully, this is not a gushing, Michael Jackson praise-fest, but instead simply allows a bunch of highly talented singers, dancers and musicians to let the songs and routines speak for themselves.

    Thriller Live is currently at Sheffield Theatres before continuing on its national tour until 23rd July 2016. For details visit www.thrillerlive.com

  • THEATRE REVIEW | The Nap, Crucible Theatre, Shefield

    THEATRE REVIEW | The Nap, Crucible Theatre, Shefield

    ★★★★★ The Nap | In this comedy thriller, up and coming snooker star, Dylan Spokes (Jack O’Connell) returns to his Sheffield home and is gearing up for his match in the World Championships, but is drawn into a police operation to target match fixing within the sport.

    (more…)