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Tag: Theatre Tour

  • THEATRE REVIEW | Top Hat, Sheffield Theatres and National Tour

    ★★★★ | | Top Hat, Sheffield Theatres and National Tour

    Based on the RKO Pictures musical of the same name, the story is one familiar to the genre – a will they / won’t they love story filled with mistaken identity, rekindled romance and gentle comedy. Jerry Travers (played by Alan Burkitt) is a huge Broadway star who jets to London to star in his first West End show, produced by his friend, Horace Hardwick. He meets and falls for Dale Tremont (Charlotte Gooch), but she mistakes him for Horace, the husband of her friend, Madge Hardwick. Thinking that he is cheating on his wife, Dale gives Jerry the cold shoulder despite having fallen head over heels with him. Dale goes to visit Madge in Venice, but will the arrival of Jerry and Horace, who are unaware of her confusion, lead to true love?

    I can’t resist a good, old-fashioned, large-scale musical; and Top Hat did not disappoint. The songs by Irving Berlin were irresistible and the large ensemble based production numbers had me tapping my feet and grinning from ear to ear. Highlights were the opening number; Puttin’ on the Ritz, which kicked things off nicely, the Act One closing tap dancing spectacular, Top Hat, White Tie and Tales, and the sweeping renditions of Cheek to Cheek and Let’s Face The Music and Dance, all of which were performed brilliantly.

    Birkett, as Jerry Travers, effortlessly tapped, glided and leapt his way through the dance routines, wholly impressing with every step. Gooch, as Dale Tremont, was warm, likeable, glamourous and very well cast as the 1930’s trendsetter. John Conroy gained most laughs as Bates, the long-suffering butler, and the look, feel and vocal performances of the cast as a whole accurately captured the atmosphere of the 1930’s.

    The production values were incredibly high and some of the best I have seen in a touring musical for some time. Top Hat is a show which is grand in scale, and has none of the feeling of being stripped back or watered down that can often accompany West End touring productions. The detailed art deco sets were beautifully constructed and visually grandiose, reflecting the decadence of the story’s 1930’s setting. The costumes were simply stunning and elegant, both in their design and in their sheer volume; and the show’s direction was very impressive, utilising screens to enable multiple set changes and to focus the audience’s attention forming a production which was slick, polished and professional overall.

    The only flaw I found was the slightly uneven pace between the two acts. The first act flew by, with a barrage of show-stopping numbers, whereas the second act was much more narrative based and more spaced out musical numbers.

    Despite reaching the grand old age of 80 this year, Top Hat is certainly up there for musical lovers and has lost none of its whimsical charm for such an old lady. If you enjoy shows like High Society, Anything Goes or any of those old Fred Astaire/Ginger Rogers films, then Top Hat is a quality production of a top-notch tap spectacular.

    Top Hat is playing at Sheffield Theatres until 7th March 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour through to the end of July 2015 (www.tophatonstage.com/ )

    DATES:
    Tue 24 Feb – Sat 7 Mar
    SHEFFIELD Lyceum Theatre
    Tue 10 – Sat 21 Mar
    BIRMINGHAM Hippodrome
    Tue 31 Mar – Sat 11 Apr
    NORWICH Theatre Royal
    Tue 14 – Sat 25 Apr
    CANTERBURY The Marlowe Theatre
    Tue 28 Apr – Sat 9 May
    PLYMOUTH Theatre Royal Plymouth
    Tue 12 – Sat 23 May
    SOUTHAMPTON Mayflower
    Wed 27 May – Sat 6 Jun
    DUBLIN Bord Gais Theatre
    Tue 16 – Sun 21 Jun
    BROMLEY Churchill Theatre
    Wed 24 Jun – Sat 4 Jul
    SUNDERLAND Empire Theatre
    Tue 7 – Sat 18 Jul
    WOKING New Victoria Theatre
    Tue 21 – Sat 25 Jul
    EASTBOURNE Congress Theatre

  • THEATRE REVIEW | The Sound Of Music, National Tour 2015

    ★★★★ | The Sound Of Music

    Let’s be honest, The Sound of Music needs no introduction. The story of Maria, who is sent from the Abbey to look after the Von Trapp family, is one that is known to most. This classic musical is crammed full of songs that you cannot help but know the words to, such is their foothold in popular culture. “Climb Every Mountain”, “My Favourite Things”, “Sixteen Going on Seventeen” and, of course, “The Sound of Music” are all in there, but the question is, with a show which has been performed so frequently over so many years, what can a new version bring to the stage?

    Firstly, this production brings a very good cast. Danielle Hope, who made her professional debut as Dorothy in the Wizard of Oz, following winning the BBC’s Over the Rainbow program, was very impressive. Her singing voice was beautiful and effortless and her stage presence could be felt. Staying on the right side of twee, she made a very good Maria and had won me over by the conclusion of her first number. Jan Hartley utterly blew the audience away with her goose pimple-inducing rendition of “Climb Every Mountain” and Grace Chapman was equally impressive and perfectly natural in her role as Liesl. Most surprisingly for me though, was the incredible talent of the youngsters playing the Von Trapp children.

    This production also brings with it a remarkable set. Appearing grand in scale (especially for a touring production), detailed and effective, it lifts the production and makes it feel fresh.The lighting and direction were of a high standard and the addition of a live orchestra only enhanced the experience. The sound in the theatre was perfect with a superb balance of music and lyrics and the performers delivered perfect diction in every line allowing the words to be heard clearly. Technically, it was a well-put together show.
    Where the production faltered slightly was in the overly camp portrayal of (Uncle) Max Detweiler and that sometimes, especially during the party scenes, the number of people in the touring cast didn’t quite fill the stage. However, I wouldn’t necessarily hold these very trivial quibbles against such a broadly enjoyable production.

    Having seen the Sound of Music undertaken by numerous professional companies over the years I have to say that this is perhaps the best version I’ve seen. Of course it’s camp, of course it’s kitsch, but therein lays the fun and the enduring appeal of this show. This touring production seems to really revitalise the show as a whole, so iron your wimple, polish your sailors whistle and catch this production on national tour.

    The Sound of Music plays at the Sheffield Lyceum until 14 February 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour (http://www.kenwright.com/index.php?id=1440)

    By Paul Szabo

    Also playing at:
    Kings Theatre, Glasgow
    Sands Theatre, Carlisle
    New Theatre, Cardiff
    Wimbledon Theatre, Wimbledon
    New Theatre, Hull
    Milton Keynes Theatre, Milton Keynes
    New Victoria Theatre, Woking
    Hippodrome Theatre, Bristol
    Congress Theatre Eastbourne
    Grand Theatre, Leeds
    Grand Opera House, Belfast
    Bord Gais Theatre, Dublin
    The Lowry, Salford

  • THEATRE REVIEW | To Kill A Mockingbird, Sheffield Lyceum & National Tour

    ★★★★ | To Kill A Mockingbird, Sheffield Lyceum & National Tour

    Harper Lee’s classic American novel, which many will remember from their schooldays, is beautifully presented in this classy and stylistic play.

    Set in the deep south of America in the 1930s, issues of racism, prejudice and optimism are explored through the eyes of the young narrator, Scout, as she learns of the flaws in those who live amongst her in her neighbourhood and counterbalances this by watching her Father, an idealistic lawyer, as he defends a black man accused of raping a white girl. As tensions build within the small community, Scout learns about the impact of both hatred and of standing up for your beliefs, regardless of external pressures.

    Despite its somewhat heavy themes and the dramatic tension displayed on stage, the play still maintains a good mixture of very gentle humour and childhood innocence which lifted it slightly, ably aided and enhanced by a strong cast who provided universally excellent performances. In particular, Zackary Momoh stood out as the accused Tom Robinson, the young leads performed well and Luke Potter provided some delightful and atmospheric musical accompaniment. The staging of the play was impressive, with scenes interspersed with the cast members reading directly from the novel, acting in the role of narrator, before seamlessly morphing into various characters in the story as another narrator took over. The actors entered and exited the stage though the audience, and placed the audience in the shoes of the Jury during the trial scenes. The set was deliberately sparse, with simple props being used to set the scene, allowing the performances and writing to be the focus and avoiding the drama being overshadowed by being style over substance. Director, Timothy Schrader cleverly utilises these techniques to provide an absorbing and engaging presentation which draws the audience in.

    To Kill A Mockingbird is a thought provoking and timely reminder of the impact of blind prejudice and despite being written around 55 years ago, it’s themes are still pertinent today, especially when considering the persecution of the gay community in various parts of the world. Overall, this is a high-quality production which is engrossing, engaging and enjoyable.

    To Kill A Mockingbird is playing at Sheffield Theatres (www.sheffieldtheatres.co.uk) until 31st January 2015 before continuing on its national tour (http://www.tokillamockingbirdplay.com/).

  • THEATRE REVIEW | Blood Brothers – Sheffield Lyceum and National Tour

    Over the last 29 years, Blood Brother has nuzzled its way into the hearts of theatre goers with its blend of music, comedy, pathos and social commentary.

    The show tells the story of Mrs Johnstone, a single mother struggling to make ends meet. Finding herself pregnant with twins, she realises that she can only afford to keep one of them, so enters into a pact to give one of them to a well-to-do neighbour, Mrs Lyons. The boys meet and become best friends, never knowing that they were twins secretly separated at birth. But as they grow up, their friendship is tested; as their lives take different paths, leading to tragedy. Featuring the songs “Bright New Day”, Marylyn Monroe” and the heart-breaking “Tell Me It’s Not True”, the show still packs out theatres up and down the country and is affectionately known as “the standing ovation musical”.

    There is a reason why this play has been so enduring, and that is primarily down to the superb writing by Willy Russell. The loud first act establishes the characters nicely and is very comedy orientated, if sometimes a little bit too shouty in its presentation. But it is in the second act where the writing shines through, with both the progression and changes of the characters and the genuine drama which captivated the audience as it unfolded, leading to the ending which still packs an emotional gut-punch. The production values of the show were very high indeed, with its detailed sets, costumes and props and the presentation as a whole was relatively polished.

    There are some very good performances in this production, primarily from Sean Jones, who portrays the transition of Micky from giddy schoolboy to troubled young adult with ease, having made the role very much his own over the years. Kate Jarmon as Mrs Lyons provided an impressive turn as a woman descending into madness and paranoia and rounding off the leads were Joel Benedict as Eddie and Danielle Corelass as Linda, both of whom were equally as strong.

    With those performances in mind, it’s a real shame that Marti Pellow disappoints as the Narrator, looking awkward and uncharismatic as he skulks around the set utilising an indeterminable accent whilst over singing and over emphasising every syllable of every word he delivered. Maureen Nolan, offered a really warm portrayal of Mrs Johnstone garnering a genuine empathy from the audience, but whose singing voice was not quite on form on the evening, which is a shame when I have seen her perform much better.

    Having seen the show many, many times, this was the first time I felt that Blood Brothers is now starting to show its age a little, with its overuse of electric drums and echo microphone; but it could be said that in some way, that adds to the nostalgia and emphasises that the socio-economic issues addressed when the play was first written are still relevant nearly 30 years later.

    Blood Brothers is opening its 2015 tour at the Sheffield Lyceum (www.sheffieldtheatres.co.uk) before touring the country until May, details of which can be found at http://www.kenwright.com/index.php?id=590

  • Moscow City Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    ★★★ | Moscow City Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    It is a tidal wave of tights, tutus and tiaras in this presentation of one of Tchaikovsky’s most famous ballets, performed in typical traditional style by the Moscow City Ballet.

    Telling the story of a Prince who finds his youth slipping away and being pressured into marriage, he meets and falls in love with Odette, Queen of the Swans, who is under a curse from which only true love can free her. But their love is thwarted by Von Rothbart when he tricks the Prince into being betrothed to another. When the Prince realises he has been a victim of such cruel treachery, he battles to save Odette from her curse.

    Having not been overly impressed with my first visit to Moscow City Ballet (for their performance of The Nutcracker) I was not sure what to expect, but found that Swan Lake proved to be a more entertaining and gentile evening that I anticipated. The company as a whole were very talented, and the number of stumbles and heavy footed landings was significantly less than when I had seen them before. The dancers individually were all very talented and quite natural in their performances, and there is no denying the technical ability and suppleness of the cast, but when dancing as an ensemble, there were still some flaws in the performance, with the unison of the dancers not being as tight and synchronised as one would hope for and anticipate, especially from such a prestigious company.

    That aside, the vivacious and playful score by Tchaikovsky sounded as vibrant as ever, and proved absorbing, especially during the first act. There were times when the ballet sparkled brightly, nowhere more evident than the sight of a sheer volume of swans and signets in the latter portion of the second act, which amounted to a fairly mesmerising vision. The tapestry based static set was functional and place the audience in mind of the time when this ballet was first performed; and the costumes were beautifully put together. There was a romantic pas de deux and the soloists portraying the potential suitors displaying their wares at the opening of Act 3 were quite captivating.

    For those seeking a traditionally presented ballet, then this version of Swan Lake is a safe bet and a pleasant evenings entertainment, albeit one which is let down to an extent by a lack of unison within the performance, which is a shame when compared to the tightly performed routines by companies such as Northern Ballet and Matthew Bourne’s New Adventures. However, there remain many aspects of the show to enjoy and it is an easy, accessible ballet which is more focussed on dance and performance than detailed narrative.

    Further details can be found at www.sheffieldtheatres.co.uk and www.moscowcityballet.com/en

  • THEATRE REVIEW | STOMP – Sheffield Lyceum and National Tour

    ★★★★ | STOMP – Sheffield Lyceum and National Tour

    Mixing tap dancing, street dance, percussion, juggling, humour and incredible feats of physical performance, STOMP enters its 25th year with a show which utilises everything from paint pots to bin lids to create rhythmic set pieces which are dazzling, fresh, funny and exhilarating.

    Initially, one did wonder, having only seen the odd set piece from STOMP before on TV variety shows, how they would be able to fill a continuous one hour forty minute show without it becoming repetitive, but they were able to move from one set piece to the next seamlessly, always managing to add something new and different from what had come before. Using everything from brooms, sinks and dustbin lids through to shopping trollies, cigarette lighters and giant rubber rings, the variety of set pieces was more than enough to keep the show rattling through its running time, and the show arrived at its curtain call before you knew it and before you wanted it to.

    You couldn’t help but admire the sheer physicality of the performers, whose stamina throughout their relentless performance was undeniable. Their precision and sense of timing was impeccable, demonstrated nowhere better than in a routine involving a rapid flickering of cigarette lighters creating an effect which was reminiscent of a string of Christmas lights. The physical prowess of the performers impressed as they undertook what can only be described as a percussionist parkour; utilising and clambering over the set and props and leaving you in no doubt that they were giving it their all.

    With a static backdrop, covered in objects which transform into impromptu percussion instruments, the set was straight forward, but both the set and the performance were enhanced by some subtle but very intelligent lighting which also worked as a distraction tool, allowing the performers to disappear and reappear elsewhere, adding to the energy and vibrancy of the piece. The sounds of the beats, bangs and stomps, as the cast belted them out, were so loud that they resonated in the chest and added to the excitement of the performance.

    The show was also peppered with a lot of humour. A few looks, glances or exaggerated gestures exchanged between the cast members conveyed a simple narrative and each individual performer managed to develop an unassuming on-stage persona, which separated out the cast members from each other.

    The show was far better than expected and the combinations of skills on display were both impressive and enjoyable. STOMP is certainly deserving of their reputation after 25 years of tours and performances and the show has much more to it than you might expect.

    STOMP is at the Sheffield Lyceum Theatre until 8th November 2014 (http://www.sheffieldtheatres.co.uk/whats-on/ ) before continuing on its national tour. For details, visit http://www.stomp.co.uk/location/uk/

  • THEATRE REVIEW | Rock Of Ages

    ★★★ | Rock Of Ages

    The Bourbon Room is the hottest club on the Sunset Strip, being the epitome of rock ‘n’ roll excess. Run by Dennis and Lonny, the club finds itself under threat from an over-eager property developer and so tries to raise money by staging a farewell gig by Arsenal, the biggest rock band around, fronted by the charismatic Stacee Jaxx. Meanwhile, bar tender Drew craves to be on stage and Sherrie, who is just a small-town girl, arrives in LA to chase her dreams. Drew and Sherrie fall in love, but neither quite say it, so when Stacee Jaxx comes between them and the club is about to be pulled down, can Rock ‘n’ Roll win through?

    This jukebox musical was crammed full with a truckload of guilty pleasure soft rock classics, including “We Built This City”, “Hit Me With Your Best Shot”, “Just Like Livin’ in Paradise”, “Here I Go Again”, “Wanted Dead or Alive” and “Don’t Stop Believin’”, with the musical numbers coming thick and fast, accompanied by the live band a scantily clad ensemble.

    Ben Richards, as Stacee Jaxx, was criminally underused, but spent most of his time making the audience swoon as he stripped to the waist and swaggered around the stage. Cameron Sharp stole many scenes as the camp German, Franz, and treated the audience by displaying his thighs which would make a pro-rugby player jealous. Noel Sullivan exceeded expectations as Drew and Cordelia Farnwoth was a versatile lead. But the energy and enthusiasm of Stephen Rahman-Hughes as Lonny, the comedic narrator, made him stand out from the remainder of the cast.

    The stage was busy and detailed, combining a static background, video projection and moveable props, all complimented by some well-designed lighting. The live band was good, and the balance between music and vocals were about right. The costumes reflected the stonewashed denim and excessive lace of the era, but the choreography and dancing could have been tighter than it was.

    Rock of Ages is energetic, bold, brash, loud and in your face – reflective of the rock movement at the time – and nestles neatly between being an affectionate tongue in cheek tribute to the times and a knowing, self –mocking piece of fun with an abundance of flesh on display and a playful feel to it. It amounts to a generally fun but throwaway piece of musical theatre which was lapped up by the crowd and the finale garnered whoops and cheers, bringing everyone to their feet and singing along.

    Rock of Ages is currently playing at Sheffield Lyceum Theatre until Saturday 1st November 2014, before rounding off its national tour. For more detail, visit the official website at: www.rockofagesmusical.co.uk/

  • THEATRE REVIEW | This Is My Family, Lyceum theatre Sheffield and National Tour

    ★★★ | This Is My Family, Lyceum theatre Sheffield and National Tour

    Nicky loves her family very much, so enters a competition to win a holiday by describing her family in less than three hundred words. However, her description does not include details of her mother’s boredom at her routine life, her father’s impending midlife crisis, her grandmother’s increasing forgetfulness and her Goth brother’s lovelorn angst. So when Nicky finds out she has won the competition and can chose any location in the world for her destination, she eventually decides on a holiday which none of her family would have ever expected.

    Following its debut last year, this new British musical comedy embarks on its first national tour. Written by Tim Firth, writer of Calendar Girls and Kinky Boots, the quick paced script is delivered at a matching speed and produces a number of genuinely funny one liners, with humour reminiscent of the family sitcoms “Outnumbered” and “”My Family”. The show is akin to a sing through musical, with the songs being part of the narrative and moving the story forward (with the cast, in essence, singing their lines) but with sufficient dialogue in between to break up the numbers and a script and story which balanced comedy, conflict and sentimentality very well.

    Evelyn Hoskins was every bit the star of the show, with her outstanding voice and upbeat performance as Nicky. But she was very closely followed by Terence Keeley, as Matt, whose singing voice had a mature, powerful and almost operatic quality for such a young performer and whose deadpan delivery was spot on. The entire company had good comic timing, playfully cutting across each other and delivering the wordy script with aplomb.

    In the newly refurbished Lyceum Theatre, the sound was crystal clear with every word being audible, despite how quickly the cast spoke. The static set was functional, as was the lighting, but this play is more about the writing than the staging.

    Where the play fell short was the songs; which sounded far too alike each other to ever really stand apart from the previous on, and the repeating refrains somehow making the first act seem very slow. In terms of the story, there felt as though there was very little narrative progression in the first act, and it was more about building up characters and relationships than driving the plot forward. But the second act brought everything together quite nicely, and in hindsight, it was clear why the slow build up was necessary, with the show just managing to keep on the right side of sentimentality to head towards a feel good ending.

    This is My Family is not your usual musical – if you go expecting show stopping routines and big, bold numbers, you will be disappointed. But if you want a sitcom with songs, with plenty of laugh out loud moments, you will no doubt find much to enjoy.

    This Is My Family is currently playing at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk/event/this-is-my-family-14/ ) before heading out on its first national tour, visiting Royal & Derngate, Northampton; Belgrade Theatre, Coventry; Liverpool Playhouse and The New Wolsey, Ipswich.

  • THEATRE REVIEW | The Great Gatsby – Northern Ballet

    ★★★★★ | The Great Gatsby – Northern Ballet

    In 1922, Nick Caraway moves to Long Island, hoping to take advantage of the economic upturn. He buys a house near to his cousin, Daisy, who is trapped in an unhappy marriage to Tom Buchannan as a result of Tom’s infidelity and quick temper. Entering into the decadent and indulgent world of 1920’s extravagance, Nick attends the lavish parties thrown by his reclusive neighbour, Gatsby. Gatsby longs for his lost love, Daisy, and as the two rekindle their love; a chain of events is set in motion which impacts upon all of them as their world of excess and glamour comes crashing down.

    Northern Ballet continues to surprise and delight in equal measure with this production. The show has an almost cinematic feel to it, combining detailed narrative, rich characterisations, sweeping scenes and a mixture of choreography, ranging from traditional ballet to the Charleston. The party scenes were an absolutely delightful, producing a genuine smile and conveying the fun and decadence of the era with the uplifting and joyous music and enthusiasm of the cast. This made the juxtaposition with the love story, the themes of loss and regret, loneliness and divided loyalties even more moving.

    Giuliano Contadini brought a wide eyed innocence to the role of Nick Carraway; and Kenneth Tindall has never been better than in his role as the scheming and thoroughly unpleasant Tom Buchanan. Tobias Batley brought an effective, subtle performance of loneliness and regret as Gatsby and Martha Leebolt was superb as Daisy Buchannan. The entire cast deserve credit for the way in which; expressed only through dance; they were able to garner such rich depth of character for those involved in the narrative.
    The music was very much in keeping with the time period, as were the cloche hats, flapper dresses and smart tuxedo’s, which filled out the cast’s wardrobe. The live orchestra once again played beautifully and the inclusion of two songs within the score added a twist which worked incredibly well, one of which immensely enhanced the beautifully poignant closing scenes.

    Northern Ballet was named Best Company at the inaugural Taglioni European Ballet Awards in October this year, and with the consistency and quality of their productions, it is not hard to see why. The running time for The Great Gatsby simply flew by and the show was not only utterly absorbing but was very difficult to fault. Very highly recommended.

    The Great Gatsby is currently on national tour, visiting Canterbury’s Marlow Theatre, The Alhambra Theatre; Bradford, Saddlers Wells in London and Norwich Theatre Royal.

    For more information visit www.northernballet.com

  • THEATRE REVIEW | Opera North La Traviata – National Tour

    ★★★★ | Opera North La Traviata – National Tour

    Set in Paris circa 1700, Alfredo Germont, a demure young man falls in love with Violetta, a courtesan, who is the toast of society because of her lavish, debauchery filled parties. But Violetta is dying and despite initially dismissing him, she falls for Alfredo and gives up her lifestyle to be with him. As they move to the country and with her fortune dwindling, Violetta is visited by Alfredo’s father, who is worried about the impact upon his daughter’s marriage prospects as a result of Violetta’s former profession, and he talks her into leaving Alfredo to secure the family’s future. But with Alfredo confused at why his love has abandoned him and with Violetta’s health failing quickly, can love bring the two back together before it is too late?

    Opera North has produced a simply sumptuous production of Verdi’s beautiful and heart-breaking opera, both in terms of performance and presentation. During the opening scene where Violetta appears, silhouetted by a full moon, the combination of modern theatricality and traditional opera makes it clear that you are about to watch something special. From the sexually charged ensemble piece of Violetta’s party during the opening, to the ghostly visitations voyeuristically poised over Violetta’s death bed, the director, Alessandro Talevi, provides a refreshing take in terms of the opera’s presentation.

    Hye-Youn Lee, as Violette and Ji-Min Parkas Alfredo were well matched in terms of their performances, with Lee providing a sweet and sensitive performance, whilst Roland Wood stood out from the remainder of the cast as Alfredo’s desperate and scheming father. It is only when you hear opera sung live you are hit with the sheer power of their voices, especially as the soaring sounds echoed around the opulence of the Leeds Grand Theatre. The live orchestra sent a shiver down the spine, from the opening notes played by the piercing strings to the swelling crescendos of the closing moments, and sounded exquisite.

    Opera is often overlooked by theatre goers because of the perception of it being impenetrable and highbrow, but Opera North have produced a theatrical piece which is beautifully put together, but accessible to all. La Traviata is embedded in popular culture and you will recognise it from the silver-clad roof top bus ride in Priscilla, Vivien’s first opera in Pretty Woman or the story of Satine and Christian in “Moulin Rouge!” Whether you are an opera novice or aficionado, this production oozes quality and has much to recommend it.

    Despite being sung in Italian, the show has surtitles; two screens which provide the audience with details of what is being said. These surtitles are detailed enough to enhance and drive forward the narrative, but do not translate every single word, thereby allowing you to easily understand the interactions of the characters without it ever preventing you from being able to watch the stage and to appreciate the music, staging or performances.

    La Travita is currently being performed alongside a two other productions, The Bartered Bride and The Coronation Of Poppea (the latter two being sung in English) which comprise Opera North’s Autumn season and are being performed at different venues around the country, including Leeds, Nottingham, Belfast, Manchester and Newcastle.

    For full details, visit their website at http://www.operanorth.co.uk

  • THEATRE REVIEW | Twelfth Night – Sheffield Crucible Theatre and National Tour

    ★★★ | Twelfth Night – Sheffield Crucible Theatre and National Tour 2014

    In Shakespeare’s gentle comedy about unrequited love, tomfoolery and cross-dressing; twins, Viola and Sebastian are separated in a shipwreck and believing each other to have drowned, Viola to disguises herself as a young man called Cesario who falls into the service of Orsino, a benevolent Duke. The Duke holds an unrequited love for grieving widow, Olivia, a wealthy countess, but Olivia falls for Cesario, not realising that “he” is Viola in disguise, whilst Viola’s affections are firmly set on the Duke. Meanwhile, Sir Toby Belch, Olivia’s drunken uncle, plots a cruel trick upon Malvolio, the head butler, to make him think that his mistress, Olivia, has fallen in love with him. As the confusion reigns, love begins to blossom and bloom.

    Shakespeare can be considered a little heavy by many, but this production felt light and accessible, with a number of genuinely funny moments. Focussing more on the comedy of the play, the show feels surprisingly contemporary whilst remaining faithful to the original use of language. Shakespeare aficionados will no doubt appreciate the text, dialogue and rich characterizations which are ably provided by the cast, whilst those who are not so familiar with the Bards work will find much to entertain them in this fresh take on the classic play and easily lose themselves in the story.

    Director, Jonathan Mumby neatly nestles charm and romance in amongst the comedy; using a flurry of rose petals quite literally bursting out from the characters, a scattering of musical interludes and a delightful, grin-inducing opening to the second act. The static, shabby chic set provided an unobtrusive backdrop for the piece, allowing for the performances to take centre stage. As an ensemble, the cast worked remarkably well together. In the straighter roles, Jake Fairbrother stood out with his perfect diction and charismatic persona as Orsinio being matched only by Rebecca Johnson, who provided a commanding performance as the headstrong and determined Olivia. David Fielder garnered the most laughs out of the comedy roles, as he delightfully swayed and staggered his way through his turn as the drunken Sir Toby Belch and Hugh Ross easily demonstrated his mastery of the text with his portrayal as Malvolio.

    The play’s most often quoted line; “If music be the food of love …. play on” is taken quite literally with the score, coupled with the well thought out lighting, adding depth and atmosphere to the theatre and enhancing the feel of the piece. Despite a couple of the scenes feeling a little overlong, the blend of drama, physical comedy and music all combined together to make for an enjoyable evening, and a surprisingly short feel to the 3-hour running time.

    Twelfth Night is currently playing at Sheffield Crucible Theatre until the 18th October 2014. For further information and to book tickets, visit http://www.sheffieldtheatres.co.uk/event/twelfth-night-14/?tab=1#unit-production-dates . The production then heads out on national tour, details of the venues and how to book tickets can be found at http://www.ett.org.uk/productions/81/twelfth-night