BLADE RUNNER - On Stage in Manchester!!

Starting this Saturday 6th April 2013 at 3pm and 7.30pm. A brand new adaptation of the 1982 classic movie. Featuring my good self as LEON ("Let me tell you about my mother!")

http://www.facebook.com/events/446587222063223/?ref=ts&fref=ts

THICK AS THIEVES

 

 

Kings Arms Theatre Space at Studio Salford

Written by Mark Whitely   Directed by Ian Curley

Until 23^rd March

Review

 Rating: 4 stars

 

Two talented actors, a simple one-location set, a sharp script, and a trim-all-the-fat director add up to theatre at its most direct and unpretentious best. Mark Whitely’s tale of a couple of hours in the company of two cack-handed Salfordian burglars offers belly laughs a plenty, black Pinteresque humour, and a show-stealing budgie; what more could you ask for?

Callow youth Barry (David Crowley) is a sandwich short of a picnic, and is drinking in the last chance saloon (he’s on probation) with a wife and kids at home. Old lag Steph (Matt Lanigan), on the other hand, has accepted his lot in life and takes everything in his laid-back stride; until his meticulous planning begins to unravel, and the two find themselves dealing with a situation that nosedives faster than Manchester City’s current chances of retaining the Premier League title. A nicely unfussy set consisted of a central dining table, a full size working fridge, and small budgie cage, and provided a perfect platform for our hapless protagonists. Breaking into what they believe to be a flat full of valuable antiques (“cash in the attic”), with its owner away for two weeks in Majorca, Barry and Steph assume they have all the time in the world to help themselves, or at least Steph does as he makes a cup of tea, roots around for biscuits, and even considers relaxing with a sandwich or three. Lanigan’s Steph has the look of a man who’s seen it all before (and probably tried to nick most of it); he’s a career criminal who thinks he has an answer for everything. The actor’s hangdog, unshaven look and expressive eyes communicate every unspoken thought. He is superbly matched, and complemented, by Crowley’s performance; all adolescent energy, panicky mannerisms, and goofy facial tics (imagine Anthony Perkins’ Norman Bates, but without the psychotic tendencies).  

Director Ian Curley allows the characters and situation to breathe, and there are plenty of pregnant pauses that add an air of gritty realism in to what could have been a broad, run-of-the-mill slice of working class comedy. There are moments of genuine pathos and poignancy as the two characters gradually reveal their inner workings and motivations. Steph’s revelations about his father are beautifully delivered by Lanigan who manages to steal our hearts even as he remains stubbornly unrepentant about thieving for a living. Crowley also shines when displaying his genuine love for his wife and children, and compassion for a terminally disadvantaged budgerigar. The two actors create a strong relationship, and ‘Thick As Thieves’ could easily act as a pilot for an ongoing series about this hapless pair; thick they may be, but they will steal your heart with consummate ease.

 

Tags: Mark Whitely, David Crowley, Matt Lanigan, Ian Curley, King’s Arms Theatre Space, Studio Salford, Salford, Manchester

This review previously published at www.thepublicreviews

OLIVER REED: WILD THING

The Epstein Theatre, Liverpool
Wednesday 6th February 2013

Review

The legendary hellraiser gets the full one man play treatment in this touring production starring a very brave actor indeed (Rob Crouch) who takes on a hell of a job. Oliver Reed was a massive star, and a big box office success in the 60s and 70s, but managed to completely derail his acting career due to his enduring love of excessive drinking and bar room brawling. By the time of his death in 1999 (during the shooting of Ridley Scott’s epic ‘Gladiator’), Reed’s big screen stardom was little more than a fading memory, and he was far better known for shambolic appearances on tv chat shows, when it was difficult to tell whether he was actually drunk or simply playing the fool.

An expectant (though small) audience were kept waiting for around 20 minutes for the show to begin, heightening the tension impressively. It was difficult to guess whether this was an intentional artistic tactic or merely the Epstein Theatre holding the proceedings up for latecomers. The show eventually began with Crouch in a gorilla suit parading up and down the front row and cajoling the audience into a chorus of The Trogg’s ‘Wild Thing’. A fitting entrance, and very clever as it certainly threw us all off guard and allowed Crouch to eventually reveal his face whilst the audience were still getting over their initial shock. Crouch’s Reed arrived on stage fully formed, and from then on it was full speed ahead. Crouch has the rugby player’s build, and the clipped delivery but also brings a melancholic air to this most beloved of booze-soddened thespians. The set comprised a small well-stocked bar in what we imagine must be Reed’s home, and within minutes the actor had knocked back two small bottles of beer and handed out several more to the audience. A superb tactic, and one that served to get us onside immediately. As with all stage biographies, it is always a challenge to plough through the early years and attempt to reveal nuggets of experience that would shed light on the subject’s subsequent personality and public persona. Here we learned of Reed’s schooldays where he combined being a playground bully (in response, it is suggested, to his taunting by the other children for his undiagnosed dyslexia). Crouch effortlessly became the awkward schoolboy; baggy shorts (with a generous builder’s cleavage), half mast socks, and ill-fitting rugby shirt. Rattling through Reed’s youth it wasn’t long before our hero hit the bottle and began to idolise the macho American cinema actors who he identified with far more than their more refined English counterparts. To Reed, the likes of Robert Mitchum would always provide far greater inspiration than David Niven or Roger Moore.

Once we were into Reed’s big screen career the gloves were well and truly off, with Crouch gulping down an increasing volume of (one assumes real) beer, along with whiskey, vodka, and everything else he could lay his hands on. Tales of drinking competitions with Keith Moon and Alex ‘Hurricane’ Higgins were both colourful, tragic, and masterfully brought to life by an increasingly sozzled Reed/Crouch, and as we entered the final hurdle the alcohol was spraying the front row as the hairless gorilla staggered from one chat show debacle to another. Director Kate Bannister certainly put her performer through the mill with several scenes involving audience participation (one lady is persuaded to re-enact a talkshow anecdote as actress Shelley Winters, who famously poured a drink over Reed’s head on live tv). ‘Oliver Reed: Wild Thing’ is a real tour-de-force which builds and builds into a drunken raging whirlwind, and the standing ovation for Rob Crouch was certainly deserved.

This review originally published for www.thepublicreviews.com

http://www.thepublicreviews.com/oliver-reed-wild-thing-epstein-theatre-liverpool/

Withnail And I

Philip Barwood ("I") and Adam Grayson ("Withnail"). Photo by Debbie Manley

The Lass O'Gowrie, Manchester (ended 23rd Jan 2013)

Written by Bruce Robinson. Adapted by Ian Winterton.
Directed by Trevor MacFarlane

FIVE STARS!

 

Review

One of the biggest cult movies around gets an absolutely wonderful stage adaptation in a promenade performance at The Lass O’Gowrie pub. Writer/Director Bruce Robinson’s low budget 1986 film told the tale of two struggling alcohol and drug-fuelled actors who go on holiday ‘by mistake’ to the Lake district, and gave Richard E Grant the role of his life. Such an iconic part is something of a poisoned chalice for any actor, but Adam Grayson pulls it off brilliantly with a performance of great intelligence, pathos and wit. Philip Barwood partners him beautifully as the more understated and gentler ‘I’, and the chemistry between them is electric. Using the entire space of the pub, the audience were guided around by the enigmatic and charming  ‘Presuming Ed’ (Gabriel Paul ) who wordlessly ushered everybody from one scene to another. David Slack gave us a wonderfully theatrical Uncle Monty, with a constant twinkle in his eye and an air of wistfulness as he reminisced endlessly about a colourful past involving a great variety of athletic young men. Eryl Lloyd Parry excelled as a crusty old poacher (complete with a real catfish down his trousers), a curmudgeonly cake shop proprietor, and a nasty bigoted drunk with a hatred of ‘perfumed ponces’.  Ian Winterton adapts Robinson’s much-lauded screenplay with confidence; wisely choosing not to reinterpret classic scenes and dialogue too much. For fans of the film, every beloved character has their moment in the spotlight – the versatile Steve Cain brought the house down with his no-nonsense copper instructing a drunken Withnail to “get in the back of the van!”, a surly cafe cook delivering a soggy fried egg sandwich with the air of a man whose kitchen hygiene routine is probably close to non-existent, and a farmer recovering from the amorous attentions of his prize bull. Cain’s delivery and timing is excellent, with every character played with great subtlety for maximum comic effect. The female characters were all played by Annie Wallace, beginning with the dishevelled cafe customer biting into her fried egg sandwich after carefully surveying it with the cold pitiless eyes of a jungle cat. Her frosty, hyper suspicious farmer’s wife was another beautifully judged comic cameo, and the mousey Miss Blennerhassett was a hoot – treading on eggshells while serving tea and cake to Penrith’s visiting scum. As with the character of Withnail, Danny the drug dealer was another career-making film performance for an actor (Ralph Brown), and could easily have been parodied on stage by a less skilled performer than Dickie Patterson. Sauntering around like a sheepskin-coated apparition, Patterson dispensed his chemically enhanced wisdom like a bobble-hatted, sunglasses-wearing tranquilised meerkat. The sozzled, racist ex army innkeeper was played to perfection by Richard Salis, and after spending almost the entire play herding the audience around, Gabriel Paul’s disturbingly charismatic Presuming Ed eventually made an appearance towards the end. A special mention must go to Paul Phillips who supplied a dazzling variety of sound effects, expertly creating a superbly atmospheric tonal landscape (with a suitably 60s musical selection that complimented the onstage action perfectly). And last but not least we had a live chicken who almost managed to steal her one scene from literally under the noses of her co-stars.

A perfect ensemble cast created a feast of memorable characters, but it is Adam Grayson’s majestic and immortal Withnail that shone the brightest of all. His delivery of Hamlet’s soliloquy ‘What A Piece Of Work Is A Man’ was rousing, spine-tingling, and gut-wrenching. Director Trevor MacFarlane has accomplished something very special indeed, coaxing pitch perfect performances from every member of his cast, and delivering a production that deserves to be seen much further afield than the Manchester Fringe.

One cannot praise this production highly enough, proving that in the right hands a classic movie that has indelibly imprinted itself upon the psyches of millions of fanatical devotees can find new life on the stage. True 3D, in fact.

This review was previously published at http://www.thepublicreviews.com/withnail-and-i-the-lass-ogowrie-manchester/

Tags: Withnail And I, Bruce Robinson, Ian Winterton, Trevor McFarlane, Lass O’Gowrie, Adam Grayson, Philip Barwood, Steve Cain, Dickie Patterson, Annie Wallace, David Slack, Richard Sails, Gabriel Paul, Eryl Lloyd Parry, Manchester, Paul Phillips

CORONATION STREET 1977 LIVE!

Taurus Bar, Manchester

Written by Harry Kershaw

Joan Kempson (as Hilda Ogden) with Ian Curley (as Eddie Yeats).

Directed by Colin Connor and David MacCready

Review

Rating: 5 stars

 

“This is our Chaucer; these are our people” announced producer Gareth Kavanagh in his introduction to this special preview of ‘Coronation Street 1977 Live’ at Taurus Bar (the actual run of the production is at The Lass O’Gowrie pub). As part of this year’s Midwinter Lass Fest, and following on from last year’s critically-acclaimed ‘Coronation Street 1968 Live’, this is another slice of the golden years of the ever-popular ITV soap. BAFTA award-winning casting director June West has assembled a remarkable team to bring to life some of the most iconic television characters ever created, and the result is pure Lancastrian magic. The production has been designed to be presented in promenade fashion in the actual bar area of The Lass O’Gowrie pub (where the audience will be standing and following the action happening around them), but for this preview we remained seated. Following the tv script, the action features a multitude of short scenes much in the way that the very early episodes would have been transmitted live. In fact, the whole half hour experience (tonight’s preview was a single episode; the run at The Lass will feature two) gave one the vivid impression of how it must have felt to be in the actual studio during a transmission.

Rovers Return landlady, Annie Walker (a splendidly aloof Christine Barton-Brown) has taken delivery of an impressive monogrammed carpet from local scouse layabout Eddie Yeats (Ian Curley, delightfully mischievous), and relishes the opportunity to impress her staff and friends with it. Unfortunately for the forever upwardly mobile Mrs Walker, local gossip merchant Hilda Ogden (an hilarious Joan Kempson) has gotten wind of where Eddie has obtained the carpet. The premise and set up are simple, but the execution is sublime. Writer Kershaw’s script is sharp, tight, and breathes dynamic life into every single character and situation. The comparison with modern day Coronation Street is startling, with careful consideration given to the minutest of detail and the wealth of humour and pathos inherent in the most basic of domestic activities. Kimberley Hart-Simpson is a firecracker Bet Lynch with her machine gun delivery of wicked one-liners, more than ably supported by Mike Woodhead’s brow beaten barman Fred Gee. Amidst the generally light-hearted goings-on, Jeni Howarth-Williams’ faded siren Elsie Tanner wafts in and out of scenes like a lost soul, doomed to roam the cobbled streets looking for love among the ruins. There’s a classic daggers drawn face-off between Elsie and Rita Fairclough (Amy Searles) over a pair of laddered tights, with a hapless Len Fairclough (Jimmy Allen) finding himself between a solid rock and a very hard place indeed. Once again, Kershaw’s writing gives us warm-hearted banter with some disturbingly dark undertones as the vulnerable Rita has to face her husband’s old flame (and there’s clearly a few embers still smouldering there). Matt Lanigan and Kathryn Worthington are another winning double act as would-be lovers Alf Roberts and Renee Bradshaw; a scene with Alf trying to sort Renee’s accounts out while hovering too close for comfort echoes the romantic and sensual pottery scene in the film ‘Ghost’. Denice Hope gives us a magnificent Betty Turpin, her face conveying a million and one different emotions in a millisecond; she forms yet another fabulous double act with Barton-Brown’s artfully condescending Annie Walker. John Draycott’s Stan Ogden, and David Crowley’s Ray Langton have less stand-out moments but register just as strongly.

Gareth Kavanagh is absolutely correct; this is our Chaucer. These are our people. This is our language.

 

Runs until Monday 7^th January  

Dreaming Under A Different Moon

 

 The Edge, Manchester

Written & directed by Janine Waters

Music & lyrics by Simon Waters

 

Review by Brian Gorman

 The Edge is a brand new arts centre housed in a Victorian Sunday school building, and ‘Dreaming Under A Different Moon’ is its first in-house production. And what a fantastic start! Janine Waters’ epic musical fantasy has something for everyone, telling the colourful tale of Edwardian teen-ager Cassie (a perky Paislie Reid) who falls into a coma which magically transports her to the far flung future where all artistic pursuits are banned. Here she finds herself aboard a ship occupied by a motley crew of actor-musicians seemingly doomed to certain death by starvation at sea, whilst regularly fending off attacks from airborne alien ‘spiders’. Onboard to ensure they do not escape is the bullying Stefano (Everal Walsh) who bears a striking resemblance to Cassie’s real-life father (deliberate shades of Peter Pan here). The unexpected arrival of the irrepressible and eternally optimistic Cassie brings hope to the outlaws, and from here on in the audience gets everything but the kitchen sink in a no-holds- barred, barnstorming, high-octane show that works hard to deliver on every conceivable level. If you can imagine a Doctor Who Christmas Special combined with Alice In Wonderland, then you’ll have a good idea of what was on offer here.

 Located behind Chorlton Methodist Church, The Edge has a 70 seater auditorium on the top floor of the building in a superbly atmospheric room with a high curved roof. The space is used intelligently by designer Kevin Freeman, whose marvellous set seems to be a natural extension of the room itself. Comprising inventive use of bare scaffolding and planks, augmented by multi-coloured sheets, the set doubles up perfectly as Cassie’s home and the outlaws’ ship.

The outlaw actors are a marvellous creation, and every theatrical cliché is    milked for all it’s worth in Janine Waters’ devilishly clever script. Threatening to steal every scene is the bitchy, camp ‘leading man’ Fausto (a fabulously over-the-top, yet often affecting, performance by Jos Vantyler). Jenny Platt is simply wonderful as Eliana, Fausto’s ill-tempered ex lover; forever ready, willing, and more than able to scratch his eyes out at a moment’s notice (Platt’s comic timing was pitch perfect). These two squabbling Prima Donnas are perfectly complimented by Craig Whittaker’s more restrained Claudio, who provides much of the pathos amid the hectic silliness onboard ship. Composer Simon Waters supplied some cracking compositions ranging from full-blown ensemble camp to downbeat heart-breaking solos. Live music from multi-instrumentalist Samuel Rowe (doubling up as sound operator) added enormously to the outrageously energetic musical performances. There are some lovely, witty, tongue-in-cheek lyrics which the entire cast deliver with obvious relish; the finale is especially delightful. The production is possibly a touch overlong  (a scene involving Claudio revealing his true feelings to Eliana threatens to outstay its welcome somewhat) , but this is a minor quibble when presented with such an embarrassment of riches.

Dreaming Under A Different Moon is a spell-binding celebration of live theatre, and has set the bar incredibly high for future productions at The Edge. The audience cheered and whooped during the curtain call, and the tremendously hard-working cast deserved every second of it.

 

Runs until Saturday 22^nd December.

 First published at http://www.thepublicreviews.com/dreaming-under-a-different-moon-the-edge-manchester/

Tags: Dreaming Under A Different Moon, The Edge, Janine Waters, Simon Waters, Chorlton, Manchester, Jenny Platt, Paislie Reid, Jos Vantyler, Everal Walsh, Craig Whittaker, Kevin Freeman, Samuel Rowe

The Good Life

(Photo: Jane Leadbetter and Mike Woodhead as Tom & Barbara Good)

The Lass O'Gowrie, Manchester

By John Esmonde and Bob Larbey

Review

Adapted from the much-loved BBC sit-com of the 1970s, ‘The Good Life’ is a cracking, feel-good, heart-warming and often hilarious piece of theatre. Lass O’Gowrie Productions continues to build on its reputation for bringing popular television shows to the stage, and proving that there’s nothing like the immediate thrill of a live action performance. Director Brainne Edge has a superb ensemble to work with, and delivers another triumph following on from successful adaptations of ‘The Likely lads’ and ‘Midnight’ (based on the Russell T Davies Dr Who story, and one of the best stage shows I’ve ever seen). Recreating iconic characters is never easy, and following in the footsteps of star-making tv performances from Richard Briers, Felicity Kendal, Paul Eddington and Penelope Keith must have been particularly daunting. Mike Woodhead and Jane Leadbetter as Tom and Barbara Good – a suburban couple seeking ‘the good life’ by turning their backs on the consumer society – make a superb double act, successfully making the characters their own, yet channelling the theatrical spirits of Briers and Kendal. Likewise, Matt Seber and Rachel Newton as neighbours Jerry and Margo make a beautiful team (with Ms Newton almost managing to steal every scene she’s in as the ridiculously posh Margo, forever battling to uphold traditional conservative standards). Three classic episodes were presented in the intimate space of the 35 seater upstairs theatre which works fantastically well for shows like this. First up was ‘Whose Fleas Are These?’ wherein an infestation of insects causes havoc, particularly with Margo’s social standing. Sean Mason’s energetic performance as the overzealous pest control man was inspired. Best of the lot was ‘Posh Frock’ which saw Jane Leadbetter take centre stage to steal our hearts as Barbara struggles to accept her new role as ‘one of the boys’.  This was a classic example of a canny script (matched with expert comic timing) eliciting tears and laughter in equal measure.  Finally we had ‘Silly, But It’s Fun’ (the 1977 Christmas special), a perfect mix of good-natured, homely comedy guaranteed to warm the cockles and beautifully illustrate what Christmas really means. Marcus McMillan as a cocky, surreally philosophical delivery man provided the second of the evening’s hilarious cameo roles. John Esmonde and Bob Larbey’s original scripts have certainly stood the test of time, and combined here with a first rate cast, and a sharp director, deliver a perfect reminder of the golden age of television comedy.

Runs until Sat 8^th December

This review was first published at  http://www.thepublicreviews.com/the-good-life-the-lass-ogowrie-manchester/

Tags: John Esmonde, Bob Larbey, Lass O’Gowrie, The Good Life, Mike Woodhead, Jane Leadbetter, Rachel Newton, Matt Seber, Sean Mason, Marcus McMillan, Brainne Edge, Manchester

Bond at the Box Office - Why 'Skyfall' is Set to Make History

(Guest writer EVE PEARCE takes a look at the latest 007 epic)

Daniel Craig's third outing as James Bond in the upcoming film 'Skyfall' looks set to be his most successful yet. In fact, the film, which is the twenty-third film in Eon Productions' Bond series, has been tipped to be the most successful in the franchise's long history, with some experts predicting the film will amass in excess of $1 billion at the box office.

Initial critical reception to 'Skyfall' has been hugely positive, with most reviewers having been blown away by both the narrative and the performances of Craig and his co-stars. Some critics have even started discussing possible Oscar nominations. However, for a film to be a commercial success, it requires more than positive reviews and strong on-screen performances. So why have the stars seemingly aligned to guarantee that 'Skyfall' will draw huge crowds of cinema goers?

Long Delays and Bond's 50th Anniversary

Work on 'Skyfall' was suspended in 2010, as the film's studio, Metro-Goldwyn-Mayer, encountered huge financial difficulties. Although the original screenwriter, Peter Morgan, departed, the studio was eventually saved and, in a strange way, the delay in production of the film may have actually played into the studio's hands.

The period of time between 'Skyfall' and Bond's last outing, 2008's 'Quantum of Solace,' is the longest delay between two films in the franchise with the same actor playing the title role. Unintentionally, the delay has only added to the anticipation surrounding the movie and allowed time for those who were initially disappointed in 'Quantum of Solace' to rebuild their faith in the new direction the franchise has taken in a post-Bourne movie landscape.

Additionally, the delay in production of 'Skyfall' has handily allowed it to coincide with an important landmark in Bond history, the 50th anniversary of the release of 'Dr. No,' the first film in the Bond series. As a result, the film's promotional campaign has been aided by the year long celebrations that surround the achievement.

The anniversary has ensured that, fifty years on from Sean Connery's debut, 007 is still very much on people's minds and the appetite for a new addition to the Bond legacy is insatiable.

The Adele Factor

The theme song which accompanies Bond films has long been a crucial aspect of promoting the movies and promotion of 'Skyfall' has been no different. The role that worldwide superstar Adele has played in drawing attention to the film should not be overlooked.

Soundtracks have become increasingly important in the music industry, but the James Bond films are perhaps unique in that both film and music are often thought of and judged in tandem. Paul McCartney's theme for 'Live and Let Die,' recently voted the UK's favourite Bond track, is synonymous with the film's title; to this day, when the film is mentioned, many people instantly think of the accompanying song. The same applies to other films in the series, such as 'GoldenEye' and 'A View to a Kill.' Adele's critically acclaimed track, 'Skyfall' also fits this description.

Upon release, the track instantly garnered flattering comparisons to Shirley Bassey, who provided the themes for 'Goldfinger' and 'Diamonds are Forever.' Adele has been able to maintain the recent string of songs by credible musicians like Jack White and Chris Cornell, while also capturing mainstream attention, like Madonna and Tina Turner's efforts.

IMAX and New Inspirations

'Quantum of Solace' was perhaps overshadowed by 2008's biggest box office smash, 'The Dark Knight' and, as fate would have it, 'Skyfall' is set to be released in the wake of Christopher Nolan's successful follow-up, 'The Dark Knight Rises.'

This time around, Sam Mendes, the acclaimed director of 'Skyfall' has admitted that Christopher Nolan's recent Batman films served as "direct inspiration" for his darker take on the spy genre, calling the films "game changers." By adopting elements of Nolan's vision into the Bond franchise, Mendes is hoping to draw in the same demographic who bought tickets in their millions to see the Batman films.

Finally, this will be the first James Bond movie to be released in IMAX format, which could generate additional revenue from punters who wish to see Bond in a way they have never seen him before.

Although 'Skyfall,' should it match box office expectations, will become the first James Bond film to draw $1 billion, it may have another figure in its crosshair: $1,014,941,117.

That figure is the total grossed by 1965's Bond classic, 'Thunderball,' when its original gross total is adjusted to account for inflation, using the Consumer Price Index. If that total is surpassed, 'Skyfall' will officially become the most successful James Bond film of all time, by anyone's criteria.