Snow White at Darlington Hippodrome

Great songs, wonderful sets and a flying wicked queen – the only thing green about this show will be the envy of people who don’t go and see it.

It's funny how some traditions live long and strong, year after year.  Take Panto season, which is here again (oh yes it is); the usually demure and sedate theatre-going audiences are suddenly turned into, and accompanied by, screaming kids sporting all manner of flashing appendages; the knowing whispers when an actor misses a line are swapped for roars of laugher both on & off the stage and the 4th wall is torn down and ceremoniously trampled on as young and old are encouraged to great the cast with cheers, boos, chants and giggles.  That tradition is constantly reinforced by the production company Qdos who bring glitz, glamour, sparkles and no shortage of special effects back to Darlington.

This years offering at the newly reopened Hippodrome is the first major production to grace the refurbished theatre and give the seats, sound system and stage hands a really good workout.  With Snow White the chosen story, the traditional formula for panto is very well observed; plenty of goading the younger audience into shouts & screams, the singling out of a few teachers to make the next school dinner a constant source of amusement and of course, a liberal smattering of double entendres to ensure the adults can laugh along, tho not always at the reasons the kids believe.

On a stage of many stars Zoe Birkett (born like yours truly in Consett) dominates every scene she’s in – its been a long time since we had to knowingly share ‘our’ Zoe with the rest of the UK but each time she comes home she brings such energy, fun and enthusiasm that it’s like recharging the pride batteries.  

For this performance as the Wicked Queen she has

the opportunity to give us a full appreciation of all her talents, ending the 1^st act with her rendition of Queen of the Night which sounded and felt like Tina Turner in the Who musical Tommy (bit of an odd reference, but anyone who has watched the Ken Russell rock opera will surely appreciate the similarities) - when Zoe ‘brings it’ she brings it all, leaving you wondering how can someone soo good be soo deliciously bad ?

Continuing the time honoured traditions, the comedy double act of Eric Potts (a madcap dame to rival Christopher Biggins as Mrs Norah Crumble with an extensive range in baking ) and Liam Mellor (the daft as a brush Muddles) guarantee bucketfulls of slapstick comedy, laugh out loud routines and just plain old ‘forget your inhibitions’ silliness.  Bizarrely, they even occasionally manage to out-funny stand-up superstar Patrick Monahan, the not so evil queens henchman (tho if you want to get an extra session of Patrick then check out Bishop Auckland Town Hall comedy night on Fri 22^nd).  The funniest (and yet possibly scariest for the 3 guys) scene must be the discussion around how best to prepare the game bird for the royal dinner – I won’t spoil anything here, but the script writers certainly knew how to ensure the cast didn’t dare have a nip of something before a show.

The starring role of Prince Lee is played admirably by Lee Ryan, with plenty of energy and a great voice, he quickly identified with the dabbing youngsters in the audience (and a few of their mums too).  Full of very cleverly written songs (especially the ‘Darlo’ opening number ) and plenty of in jokes about the town and our neighbours, this had a very local feel which, with along with Zoe et al, ensured that whilst the deco might be new and the layout slightly different, the New Hippodrome still feels like home.

Panto is a very English form of theatre - many of my foreign friends just don't know how to approach one and consequently they struggle to accept the 'anarchy' that ensues, but that's what this tradition is all about - forget the quintessential British reservedness and grant yourself one evening of self indulgent silliness - if laughter is the best medicine then Darlington Hippodrome audiences will be the healthiest in all the land.

Strictly Musicals 2 at the New Darlington Hippodrome

Welcome Home

The perfect blend of old and new is an ideal way to celebrate the opening of Darlington’s New  Hippodrome.

Throughout history there have always been great double acts; partnerships which seem forged in perfect harmony and inseparable regardless of time, culture or changing tastes .  For many years, Darlington Operatic Society and The Civic (as was) have been one such double act so it was fitting that the New Hippodrome would host, as its inaugural show the latest offering from the most professional amateur production group in the country.  Not only was it a chance to reunite two of Darlington’s most loved offerings, but also to celebrate old and new, tradition and modernity whilst clearly spotlighting the future.

Strictly Musicals 2 (the sequel to the record breaking show of 2013) is another masterpiece of selection, choreography and musical direction, celebrating show tunes from old and new, classic and breakthrough and giving an opportunity to not only showcase the immense talent within DOS, but to also test and challenge the new theatre’s readiness for the hectic seasons to come.

Anyone who has been to a DOS production will be familiar with the quality on show; tremendous group vocal performances supported by elaborate and energetic dance routines and complimented by breath taking duets and solos.  The choice of numbers this year incorporated some lesser known tunes which, whilst not always instantly recognisable, were performed so well that I am sure they will have piqued an interest to seek out the full shows from which they were taken.  In making this selection, Director Joanne Hand and Dos debutant MD Steven Hood have certainly brought an exposure to shows which may have otherwise been missed; Children of Eden, Copacabana, Big River, Newsies and Ghost were ably supported by more traditional stalwarts from Wicked, Chess, Mamma Mia, Joseph and the quite brilliant Rent.  Youthful enthusiasm, a trademark of previous DOS ensembles, remains super strong amongst the new ‘Dossers’ as they attacked each number with unreserved energy and passion although the number which seemed to illict the warmest response was reserved for evergreen Sam Morrison and stately Julian Cound who, through Small Umbrella in the Rain (Little Women) gave a masterclass in how to use 3 minutes to tell a lifetime’s story.

As for the Hippodrome itself, it is a masterpiece of sympathetic restoration of the old theatre coupled with the new, airy and stylish additions of foyer bar, heritage walkways and enhanced viewing.  The seating is very comfortable (important when attending shows with rather long first acts) with noticeably more leg room.  The new décor creates a sense of light and space, with the stage feeling not only bigger but more open, giving the audience a cinematic experience.  One habitual problem for older theatres has been how to engage with the new digital sound systems required for modern touring shows (especially musicals) – thankfully, this is no longer a challenge for the Hippodrome; the new acoustics are brilliant, perfectly demonstrated by the stand out performer of the night, Naomi Potts, whose rendition from Phantom of the Opera was crystal clear and pure without ever sounding loud or forced.

Never has the future of musical theatre in Darlington been so exciting; a 1^st class venue and a 1^st class Society.

Flashdance at Sunderland Empire

The 3rd biggest movie of 1983 (behind Return of the Jedi and Terms of Endearment) gets its leg warmers back on for a high octane dance fest filling theatres and delighting dance fans of all ages.

Since Tom Hedley penned the story of a dancing welder in Pittsburgh way back in the early 80’s the world has changed but one thing that has remained constant is the public love for a great story, brilliant dancing and of course, iconic songs.  This current incarnation, directed by Hannah Chissick and with world famous Joanne Clifton as the lead Alex Owens, has been brought right up to date with stunning use of digital screens, hi-tech lighting and some very recognisable choreography.

The story, for anyone who has lived in a cave for the past 30+ years is split across 3 arcs with Alex the thread between all 3.  She is an apprentice welder by day and wannabe dancer by night who befriends the steel mill owner whilst trying to save her best friend, Gloria (Hollie-Ann Lowe and a definite rival for star of the show) from ending up at the local sleaze bar & strip club.  Along the way Alex has to decide between trying to conform to the expectations of society and remaining true to her own passions and does so through such eternal favourites as Gloria, Maniac, and What a Feeling.

The original movie was noticeably lauded for its approach being somewhat akin to the infant MTV – it was purposefully shot like a series of individual music videos stitched together by the story and this stage show retains that feel.  Sadly though, this doesn’t always make for coherence when being viewed on a live stage.  For all that the stories interweave, there were times where they felt they had been written by 3 different people, in separate rooms and then pushed together to form the whole; the pacing was a little inconsistent and some of the numbers felt like fillers before the next well known song.  This in no way detracted from the cast’s delivery but just meant it felt a little stilted.  That said, the dance numbers, compiled by Matt Cole, were like a who’s who of 80’s dance icons – Madonna, Michael Jackson, Paula Abdul, Janet Jackson and of course the original Jennifer Beals’ moves all play heavily into each routine.

The set design by Takis was ingenuity at its best; the use of LED display screens to seamlessly move the action from steel mill to dance studio to bar to apartment meant there was very little down time at all and by using the cast to move the 2 screens and stair cases kept the flow of the show without dropping a beat.

It was very clear from the sell out audience that this show, its parent movie and the soundtrack remain ever popular.  The iconic songs have become woven into the 80’s consciousness (though I don’t recall the Joan Jett standard “I Love Rock ‘n’ Roll” featuring in the movie) and coupled with the dancing are sure to delight any dancers or dance students – even to my untrained eye it was an impressive display and one which will undoubtedly continue to delight.

★★★

Young Frankenstein at the Theatre Royal

If Laughter is the best medicine, the Dr will see you now !

Are you sick of turning on the TV only to be met by scenes of doom, gloom, Brexit, Trump, ‘NOKO’ and the ever failing economy ?  Then the remedy is simple – turn it off again, grab your coat and head for Mel Brooks’ Young Frankenstein.

This monster musical is based on Brooks’ Oscar nominated movie of the same name and if the reaction of the Theatre Royal crowd is anything to go by, it’s about to smash the West End.  It is unashamedly funny, deliciously dark and dirty in equal measures and makes no apologies for at times being just down right daft – and that’s what people will love most.

The story pays homage to all the old horror films made great in the 30’s and 40’s that were then recreated by Hammer, Roger Corman and Richard O’Brien in the 60’s/70’s but from the opening song there is no mistaking that this is Mel Brooks; brilliant, witty, sexy, Mel Brooks whose love of Jewish culture, vaudeville, slapstick and women’s bodies have already made hits of Blazing Saddles, Spaceballs and The Producers (to name but a few).

The cast are all brilliant and clearly have bought into the Brooks mindset of don’t let the audience dwell too long on one joke before hitting them with the next, it keeps things feeling fresh (and makes for repeat ticket sales, I reckon you need to see it 3 or 4 time before you’ll feel you’ve managed to see everything).  Hadley Fraser has a most difficult task in replicating the wonderful Gene Wilder as Frederick Frankenstein yet gives the audience enough of himself peppered with Wilder-isms to never be guilty of just copying the original.  He tackles the super-fast wordplay with aplomb, can sing and dance with the best of them and never missed a cue despite having some of the most beautifully distracting legs to play opposite.

Fans of Brooks’ films will recognise many familiar themes; the scene introducing Inga (the gorgeous Summer Strallen) as Frankenstein’s assistant echoes Ulla’s first day for The Producers, the play between Frankenstein and the irrepressible Ross Noble as Igor has the same warm humour as Sherriff Bart and The Wacko Kid and even the Monster (Shuler Hensley brilliantly filling the big shoes) could be a distant relative of Mongo.  Special note to Noble, could there be a better role for his madcap, zany and totally loveable humour ?

Of course, a musical needs songs and once again, Brooks delivers a soundtrack that will surely become a huge hit cast recording.  Both Dianne Pilkington as Elizbeth Benning (Frankenstein’s repressed fiancé) and Lesley Joseph as Frau Blucher (the housekeeper) have solo numbers which don’t so much give an insight into their ideas of love as rip open their blouses and proudly show their heaving bosoms.

This was a wonderful opportunity to see the show before it hits the West End - to be able to say “I saw it first” will be a proud boast over the next few months when it undoubtedly rips up the reviews and gives London an epidemic of aching ribs.  

★★★★★ and a hump

The Very Hungry Caterpillar @ The Majestic Theatre, Darlington

Since 1969 when it was first published, Eric Care’s The Very Hungry Caterpillar has enthralled children of each and every generation – the illustrations and style have become almost synonymous for educational and entertaining children’s books and set out a blueprint for others to follow.  Now his creations have been brought to life on stage by Jonathan Rockefeller and, given the reaction from one particularly young theatre goer, this is a smash hit.

The show actually covers 4 of Care’s stories, each engagingly told through the use of some amazing puppets, very vivid lighting and lots and lots of movement – my grand daughter who only recently turned 1 sat riveted for most of the show, loving the non-stop action – in fact she only got restless when one of her favourite characters left the stage, standing on mum’s lap to shout for the sea horse to come back.

There is some very clever ideas around painting pictures which then come to life, emerging on stage as full size puppets which just added to the magic of the show and ensured it kept tiny and slightly bigger minds watching and guessing what might happen next.

Of course, the star of the show is the caterpillar and the eponymous final story is a finale to send all the audience, young and old, on their way home feeling very well entertained.  There were many comments from parents & guardians afterwards who were surprised by just how engaging it was for the adults as well as the children – I guess we have all read, listened to (or in some cases, been) The Very Hungry Caterpillar in our lives.

The Majestic Theatre in Darlington is the perfect venue for this very colourful and visually engaging show; it is intimate, relaxed and ideal to cater for children who might otherwise feel a little intimidated by a more austere theatre.  That sense of relaxation spread to the parents too and as such, everyone was able to sit back, kick back and wallow in good old-fashioned story telling brought right up to date.

Under Milk Wood @ The Peoples Theatre, Heaton

Set in the small Welsh fishing village of Llareggub, the play follows the comings and goings of the inhabitants over 24 hours and, by giving us a glimpse into their lives – both peculiar and somehow peculiarly ordinary – it manages to say something universal about the human condition. It is also wondrously, uniquely Welsh.

The characters who populate the fictional village have become household names: the blind old seadog Captain Cat forever mourning his dead love Rosie Probert, the Rev Eli Jenkins greeting each morning in verse, Polly Garter with her list of lost paramours, Mr Pugh who dreams of poisoning Mrs Pugh, Mrs Ogmore-Pritchard and her two dead husbands, Dai Bread and his two live wives.

For this production, the Peoples Theatre return to the true roots of Thomas’s intent – it was written as a “play for voices” and, when recorded by the BBC in January 1954, it became an overnight success seldom seen before or since.  Here, the cast play the recording artists in the BBC studio, suitably surrounded by period technology and equipment and sporting a variety of costumes which, whilst serve to transport the audience back in time, never try to compete for attention away from the words.

The 1^st Voice, in the main the narrator, was originally taken by Richard Burton; his rich, velvety, foreboding voice hushing the listener to tip toe down through the town before rising through the day like the sun.  Not an easy task, following someone so embedded in the cultural heritage of this play but Frank Coles is simply brilliant – for anyone yet to hear (or see) Under Milk Wood, the opening monologue is one of literature’s most demanding pieces and yet, despite having script in hand, Frank delivers it with the rhyme and rhythm so perfect for Thomas’s work without once glancing at the text. 

Steve Hewitt & Mike Smith are the 2 other ‘narrators’, lynchpins around which the villagers’ lives are woven, intertwined and exposed serving to move the story along like pieces of flotsam on a sea bound stream.  The rest of the cast are wonderful at taking multiple parts, no, not parts, personalities; not only did they change voices, their whole beings morphed into the different characters as they approached the microphones.

This was my first time at the Peoples Theatre at Heaton, Newcastle and it was a lovely experience – very friendly staff, intimate theatre with great acoustics and definitely one I would love to visit again.

Out of Order @ Theatre Royal Newcastle

Ray Cooney’s Out of Order at The Theatre Royal Newcastle

A farce is defined as “a comic dramatic work using buffoonery and horseplay and typically including crude characterization and ludicrously improbable situations”.  Often thought of as a quintessential British form of theatre, farces were designed to play on the disparity between the haves & have-nots, the posh and the poor, Upstairs v Downstairs in an attempt to allow people to laugh out loud at situations which are in all likelihood, happening in real life.

In Out of Order, Ray Cooney brings the farce right up to date and into the glare of the modern political spotlight.  In fact, if it wasn’t for the costumes and stage, it would be very easy to think you were watching a Private Eye exposé on Westminster.

Set around the attempts of Tory MP Richard Willey (Jeffrey Harmer) to enjoy an illicit night with the Labour Leader’s secretary Jane Worthington (gorgeous Susie Amy) instead of attending a cross party debate, every conceivable mishap befalls him, often of his own making, as he tries to dig himself out, protect his reputation and slope his shoulders of responsibility. Finding what he believes is a dead body, trapped in the sash of his hotel room window, Willey could have done the sensible thing, called the authorities and taken his medicine, but hey, that a great play would have not made.  Instead he drafts in his tortured and put upon PPS, George Pigden (Shaun Williamson) and so sets in motion an ever increasing catalogue of bizarre, ludicrous but always hilarious events.

The cast is brilliant, simply brilliant and kudos must go to casting director Mark Frankum for bringing together some very well known faces who never once step back into the roles for which they are best known.  Harmer conjures up the spirit of Rick Mayall from his Alan B’stard New Stateman times (a role which I believe was Mayall’s absolute best); he is sly, controlling, disingenuous, entitled, well, you know, a stereo-typical ‘Tory’ MP.  James Holmes, as the waiter, has the look and feel of Andrew Sachs’ Manuel but with a British Steel core – always looking for his tip before AND after providing whatever room service is required. I guess if I’m making comparisons to sit com legends then Arthur Bostrom as The Manager would be likened to Basil Fawlty but that would be unfair to Bostrom, he is less madcap and more straight man which gives each scene a lightning rod to ground the silliness.  Cameos by Sue Holderness as Willeys wife, Pamela and Elizabeth Elvin as Nurse Gladys Foster ensure that the scenes continue to flow with variety while Jules Brown (Ronnie Worthington) drew some very approving gasps from the ladies sat around me.

Star of the show is Shaun Williamson.  I owe a sincere apology to Shaun – sure, I knew his roles of the past and was aware that he didn’t mind being cast in roles that send himself up but I didn’t realise just what a truly fantastic comedic actor he is – his timing is on a par with the true comedy greats and his mannerisms, facial expressions and slapstick would rival those of Laurel & Hardy, Norman Wisdom and Benny Hill (in fact, should they ever decide to do a film of Benny Hill’s life then Shaun would get my vote to play the Angel master).

It’s difficult to explain all the scenes, so quick is the pace and incessant the gags and pratfalls, but suffice it to say, you must ensure you grab every opportunity to breath otherwise you could find yourself laughing non-stop until you pass out.

The beauty of Cooney’s writing is that this play can be easily updated to include current references and thus make it always feel very relevant; Jeremy Corby and Theresa May are both name called, whilst the behaviour of the lead characters seem to be constantly reflected in most Sunday papers.

On a day that was fraught with sadness, angst and anxiety, it was perfect to be able to step outside of the world and enjoy a few hours of unapologetic fun in a wonderful theatre.

Keep Dancing @ Newcastle Theatre Royal

Stunning evening leaving everyone out of breath and that was just the audience

Firstly let me confess, I’ve not been a ‘Strictly’ fanatic, sure I knew of it and probably, like many of the millions of viewers, I watched mainly to see which celebrity was being put through their paces and trying to lose their usual persona.  Likewise, despite having two daughters who spent years going to dance classes I doubt I’d be able to tell the difference between a Pasadoble from a Chicken Passanda so the chance to go and see Keep Dancing at Newcastle’s Theatre Royal was as much education as it was entertainment.

Boasting a cast of super fit and talented dancers and backed by singing duet Harriet Mullen and Adam Warmington, Keep Dancing brings a hyper energetic look into modern and contemporary ballroom and Latin dance which, after just the first number, leaves the audience more out of breath than the dancers themselves.  Brilliantly choreographed by Emma Rogers and Robin Windsor to incorporate easily recognised pop, traditional Latina and Spanish and some very modern interpretation, each number aims to surpass the previous for style and energy.  Themed sections include Glenn Miller Jive, Showtunes, Disco and South American.

Guesting on this tour are Strictly superstars Katya Jones, Neil Jones and Robin Windsor, 3 performers for whom the term ‘dancer’ just isn’t enough to do justice to their talents.  Following routines so complex that they would test a super computer, they manage to imbibe each number with passion, humour, tragedy and pathos, creating a miniature play within the 3 or 4 minutes on stage.   Each have a tremendous pedigree and clearly enjoy bringing their own characters to the fore – playful, sultry, sexy and powerful.

Costumes are, as one would expect, bright, flamboyant and very sparkly.  The guys’ shirts seem to all miss most of their buttons (meaning they are open to the waist) whilst the girls frocks are, in the interests of safety, short and tight to avoid any trip hazards – at least that’s what I told my niece when she asked why they were so revealing.

Harriet and Adam deliver a good background of live singing.  Sure, there are some numbers which have clearly been chosen for the dance routine rather than being a great song to sing but having live backing adds an extra layer to the evening.

As always, Newcastle Theatre Royal and the FOH team deliver a great theatre experience, brilliant sight lines and an inclusive evening for everyone.

Educating Rita @ Durham Gala

A magnetic performance, as fresh, witty and relevant today as it was 35 years ago.

Educating Rita, written by Willy Russel, is the tale of a working class hairdresser and her striving to break free from her everyday existence by taking an Open University course in English Literature.  Her tutor, Frank, is a long in the tooth, cantankerous alcoholic lecturer whose disdain for the modern approach to learning is only bettered by his hatred for an empty bottle of scotch.   Indeed, Frank only agrees to take on an Open University student in order to pay for his bottles of booze and yet, very quickly he sees in Rita a freshness, an unsullied mind and an unpretentiousness that challenges his jaded and tainted outlook on life.

As a play, this two hander is solely performed from the confines of Frank’s study – set with bookcases, piles and piles of volumes and copious bottles of ‘hidden’ scotch, yet even the simplest of props, the study door, the waste paper bin, the flower vases are all cleverly used to create a richness to the interaction between student and teacher. Brilliantly directed by Rebecca Frecknall, you aren’t so much drawn into this world as sucked headlong and enveloped so deep I could swear you could taste the dust and smell the must.

Playing Frank, Patrick Driver (Silent Witness, Call the Midwife) gives a masterful appreciation of the abject resolution that at some point in life “is this it?” seems to be the most oft used phrase, even if it is in self-denigration.  Challenged by Rita’s unbridled hunger to learn, he portrays both tutor and father figure with equal amounts of paternal care and longing to be young again.  Indeed, Driver brings a lot more of a father figure to the role than merely a university lecturer.  The journey he takes us on is akin to a parent watching their offspring move from wide eyed 13 year old starting out on secondary education (and asking questions on everything) to the know-it-all 18 year old who sees their parent as merely a hindrance.  His frustrations towards the end (and the increased drinking that accompanied them) were not borne from Rita’s changing attitudes so much as Franks inability to accept his work was done.

Rita (or Susan as is her real name) is played by Jessica Johnson, local born and boy have we got ourselves a star in the North East.  The original Rita was a Liverpudlian, broad scouse, but Jessica’s portrayal is all North East and it is testament to her delivery that the character is all the better for it.  The way Jessica uses her local style of talking, the machine gun delivery and the typical convoluted journeys that we love to take people on when trying to recount a simple event felt like being wrapped in a warm proggy mat.  Her outwardly brash attitude which belied a delicate and vulnerable core was there for all to see and so well balanced that her whole performance was magnetic. 

Huge kudos to the Gala, Durham for producing an amazing piece of theatre and a real treat – congratulations to Director Rebecca Frecknall and her team, and to the management and marketing at the Gala theatre for a fabulous evening and a perfect example of why the Gala Theatre has so much to offer.

Darlington OS present West Side Story

There's Going to be a Rumble, Tonight

I think we all know the story of Romeo and Juliet and it's more modern cousin, West Side Story - gritty, violent and full of passion, it is often heralded as one of the hardest and most complex musicals to attempt.  Not only are the melodies thick with jazz rhythms and syncopated beats, the tongue twisting word plays are a tough challenge for even the most erudite of singers.  However, with the pedigree of the past and the passion of the present, Darlington Operatic Society grab hold with both hands and thrust this tale of racial prejudice right into the present day.  

There is so much in this performance that speaks to the current differentiates of race, colour, creed, religion and sex - the two rival gangs battling it out for control of their New York Upper West Side neighbourhood might be based back in the 1950's but they could so easily be in a current day London hamlet.   The Polish-American Jets and the Puerto Rican Sharks could be any number of racially stereotypical groups - whites, blacks, Asians, Muslims, Christians, visitors, tourists etc.  Make no mistake, DOS have not changed the original West Side Story into a modern tale but what they have done, through very clever casting and brilliant acting, is to ensure that this performance is totally relateable to the here and now.

Lead roles once again demonstrate the depth of amazing talent DOS have to call on; The ever young Neil Harland is great as the love struck Tony, dragged back into the gang life by his bond with lifelong best friend Riff.  Neil has arguably some of the hardest melodies in musical theatre to master - augmented fourths, a standalone lead within the 'Tonight Quintet' and the heart-wrenching One Heart duet yet is never phased.  Following Tony's abdication from Jet leadership, Riff takes over, played by Ben Connor - Ben totally owns the first act, his power and edge are juxtaposed against an underlying vulnerability that all things are changing - his hatred of the PRs (Puerto Ricans) comes more from the fact that they represent change to his 'hood, rather than him having a specific reason to dislike them.  Counterpoint to Riff is Bernardo, leader of the Sharks, and brilliantly played by Jason Slater - the epitome of cool, suave, slick-backed poise. Special mention in the gangs also goes to Andrew Hamilton - this guy can always be relied on to provide great character acting, a really strong voice and, for the opening number, some very nimble jazz ballet moves.

Of course, the guys wouldn't get into any trouble at all if it wasn't for the girls looking so damn hot - Rhiannon Walker as Maria is the perfect innocent with whom Tony loses his heart.  It should never be a surprise to hear Rhiannon sing but I always am, her voice is so pure and clear and when she needs to up the volume, it never, ever waivers. Playing alongside Maria as the foxy, sexy, sassy Shark Anita is Karen Stone and to be honest, the highest compliment I can pay is that she sounds just like Rita Moreno - her accent is pitch perfect through both speaking and signing.  Another stand out in the girls gang is Rachel Slattery playing tomboy Anybodys - always just on the edge of the action, Rachel never plays her as a spoof - she doesn't want to be a boy, she just wants to be treated as an equal in the gang.  In one fleeting scene she brilliantly strips away the laddish facade to show her tender side and give some much needed support to an on- the- run Tony.

Special mention goes to Aoiffe Ne Chaoilte who solos Somewhere.   With brilliant staging in total darkness and Aoiffe lit by a single spot you could hear the proverbial pin drop throughout the whole auditorium.

Of course, DOS are a society and the completeness of the shown would never be possible without the rest of the cast, the crew, stage hands and the wonderful Front of House gang, (yes, that's you Lisa Forster, a cheeky smile, a friendly face and making programme selling a new art form).

It's been 16 years since Darlington OS last produced West Side Story, the world has changed a helluva lot in that time, yet, watching this brilliant performance of racial intolerance, love and heartbreak, maybe it hasn't changed at all.

Great Party Venue - Edge Nightclub in Stockton On Tees

Hey guys

So normally I post reviews of shows, events or artsy stuff but I thought I'd break from tradition and just shout out a fabulous venue in Stockton On Tees - Edge Nightclub.

Split over 2 floors and right on the banks of the River Tees, Edge has a wonderfully eclectic feel, great vibe and is perfect for birthday parties, christenings, graduations, you name it.  They have regular event nights including guest DJs, Karaoke, Drag nights, promotions and of course non stop great tunes from 11pm till 3am.

My daughter recently had her 18th bday party downstairs and I doubt there is a better venue - you've got your own fully stocked and staffed pay bar, a lounge area to chill (or have food) and a great sized dance floor with views over the river.  Easily capable of hosting 100+ people, we had at least 80 and it was buzzing without feeling full.  We provided the sound system and set up (including lights, smoke machine, DJ decks) and ordered in table decorations and balloons.  We had access to the venue from 4.30 for a 7pm start, plenty of time to get things ready.

Mark & Amy, the owners and managers, ensure that there is a safe yet fun atmosphere - they will always challenge 25, but will also issue wristbands so that patrons aren't constantly asked for ID throughout the evening.  As for catering they are happy to suggest companies, support you bringing in your own food or helping to order takeaway deliveries.   We opted for a mix of two - early evening was sandwiches, cakes and a wonderful sweet shop, later in the night we arranged for a delivery of pizzas.  Mark and Amy clearly understand that happy punters will recommend (as we are doing) and will come back (as I'm sure we will).

Edge bar prices are very good with regular specials and promotions - easily competitive with other venues and certainly not prohibitive to having a great party.

Check out their website - http://edge-stockton.com/ we can definitely recommend them for a brilliant party venue.

Murder by Gaslight @ Tyne Theatre

The art of storytelling is very much alive, even if the topic is rather, well, dead !

I was a child of the 70’s and 80’s and as such I was brought up with the BBC children’s programme Jackanory – this was a half hour story telling show with one narrator who drew the audience in with the power of words alone.  I loved it so I was very excited when I realised that Murder by Gaslight was a one man, 2 act retelling of grisly Victorian/Edwardian horror.

Written and performed by Jonathan Goodwin, the two tales are very imaginatively staged. Playing to a very intimate audience (the numbers are purposefully limited) we were sat ON the stage in a semi circle which, due to simple but very atmospheric lighting, became deliciously claustrophobic by the end of the evening.

The two ‘murderers’ – William Palmer and Hawley Crippen – are well known to fans of the macabre but Jonathan not only brings these stories alive, he adds quite a unique approach to both which stops this from being a simple recounting of the normal prose. 

Palmer is an infamous serial poisoner from Rugeley, known to some as the Prince of Poisoners, whose constant chasing of wine, women and the old ‘jingle jangle’ meant he was always finding himself in situations requiring a tincture or two.  For this show we find Palmer in his cell awaiting the hangman and so, to kill time (pardon the pun), he recounts his life.  It is testament to Goodwin’s writing that within the first few minutes you forget that you’re sat on the stage watching a performance and instead can almost smell the stench and taste the damp of a Stafford prison cell.  Palmer was undoubtedly a man of much persuasion and little morales, which, when coupled with the access and knowhow of poisons made for a very deadly combination – what Goodwin does very well is to give glimpses of the man whilst never letting the audience forget about the monster.

Following the interval we meet Dr Crippen, whose ‘other’ claim to fame was to have been the first person to be arrested with the use of the Marconi Wireless telegraph.  Crippen was a native of Michigan who studied to be a homeopath.  On moving with his wife to London he found his credentials to be pretty much useless and so was unable to secure a high paying job resulting in his overbearing and materialistic wife to pursue many extra marital affairs, cuckolding him in the family home.  If story be believed it was through this behaviour that Crippen finally reached the end of his tether and he killed her.  Crippen, however, maintained until his death in Pentonville Gaol that she had left him to return to the states and the remains in his cellar were unknown to him.  For this tale Goodwin brings us into Crippen’s London home, 39 Hilldrop Crescent, where the mild mannered and somewhat meek Doctor, explains his side of the infamous events.  Once again, Goodwin’s writing is first class – the characterisation of Crippen is brilliant and his acting, complete with a wonderful Midwestern accent, is strong and very persuasive that perhaps Crippen was the victim of a malicious wife and an over zealous police force.

In this day of instant gratification through special effects, clever (and expensive) staging and over complicated plots designed to show off rather than just show, Jonathan Goodwin has brought 2 deep and dark stories to life and resurrected the art of storytelling in it’s purest form –a brilliant example that young and old most definitely should go and see.

The Horne Section @ Durham Gala

The Horne Section @ Durham Gala

It takes a rare talent to stand up and make a theatre full of people laugh – it also takes a rare talent to entertain the same crowd with impromptu music, magic and mayhem yet Alex Horne and his Horne Section do both with consummate ease. 

People might know Alex from appearances on 8 out of 10 Cats does Countdown, Live at the Apollo and other chat shows; small segments which serve as comedic interludes but watching his full show, as we did at a sold out Gala Theatre, Durham, makes for an original and fun packed couple of hours.

Me and the Big' Lil' Bro had taken a 'lite' supper at the Lebanese restaurant Lebaneat, tucked into a whopper of a meze platter and, despite the walk back down the hill to the Gala, we still needed a bit more exercise to burn off the delicious range of grilled meats, rices, dips and salads - we need'nt have worried as our arms, legs and laughter muscles were about to get a great workout. (on a side note, we can DEFINITELY recommend Lebaneat, up near the Cathedral but better book a table, we were lucky to get one but, as is the sign of a great restaurant, it was packed with non-stop walk ups having to find somewhere else.)

 

Combining brilliant musical comedy with plenty of visual gags, including the most original use for Henry and Hetty Hoovers (which is more than a little trippy) , Alex performs a stand-up routine to rival the modern funny greats – Lee Evans, Al Murray, Lee Mack, Tim Vine et al,  yet what Alex has extra in his hilarity arsenal is a backing team who themselves have great comedic timing and no small amount of playing skills.

Routines like “the reverse Conga”, getting the whole auditorium to do a “Zumba” workout, “songs are better for including the Baker Street sax” and plenty of audience participation make the evening uniquely funny without ever verging on silly or banal.  Indeed, Alex manages to pay homage to old time vaudeville and music hall theatre, days when acts had to be experts in every aspect of entertaining and not resort to clichéd sexist or ‘shock’ tactics to entertain their audience.

The Horne Section is on tour and there’s not many better ways to spend an evening, just remember to take your comfy trainers and strap up your ribs.

Empty Nesters Club @ Durham Gala

My first show of the year and to be honest, even though it’s only February, I know it will be one of the one's I remember most.  The concept for Empty Nesters Clubs is not a new one, well, not new to the US, Australia and, funnily enough, South Korea, but for the UK we have yet to embrace the notion of sharing feelings when our children finally leave home.

Empty Nesters Clubs are meeting points for parents who suddenly find their once full and noisy homes (and lives) become bereft of chaos, forcing them to finally stop hiding behind the ‘doing it for the kids’ and take a long hard look at what they’ve become.

John Godber is the master of taking an everyday life event which many can relate to and peeling back the layers to expose the humour, fear, insecurities, prejudices and love upon which our lives are built.  For this play, which is in its early stages of a 4 month tour, John takes a couple, Vicky and Phil, and their daughter Millie through the process of her leaving home and moving to university.  Set with only an IKEA table (other brands are available) and some shelving units, the focus remains firmly on the characters, the stage lights seeking only to illuminate the reality of a couple who slowly realise that they lost their own identities years ago and now feel only defined by being Millie’s parents.  Millie, on the other hand, seems oblivious to it all (as you would expect and hope an 18 year old should be), not realising the impact of a flippant change of mind or the total obsession of getting a bass riff right.

Whilst Vicky and her drive to reinvent herself through creating the Empty Nesters Club drives this story, for me it was Phil’s progression from doting dad, taxi man, fixer, dog walker, music muse and political enabler that really hit home.  In almost every scene you could see him lose a little more purpose forcing him to question “Is this all there is now”.  Searching for a substitute for his time and a focus for him to keep getting up in the morning, Phil takes up Kung Foo, cycling and protracted dog walking, all singular pursuits, in an effort to fill the void and counter his feared journey towards invisibility (echoing completely my own current situation as my eldest started uni in January and my youngest heads off in September).

The relationship between Vicky and Phil is undoubtedly a strong one but it’s not until Millie leaves that they realise the glue that stuck it firmly together was their shared investment into Millie’s future, and now that that is no longer needed do they really have anything else in common ‘cept for time spent.  Millie, on the other hand, questions that, at only 18, is it really possible for a young adult to fully know what they want to do, yet the expectation is they will make such a choice and have little option to change it.  Likewise, as seen in some of her poems, she is more astutely aware of the impact her leaving has had on her parents lives than they might believe, something which parents in general often miss as we still see them as our little children.

The script is tight, at times claustrophobic as anyone who’s been alone in a large family house when it’s quiet will recognise just how small the rooms feel when you’re hemmed in by the walls of your own mind.  The diverging paths of Vicky and Phil strain any remaining bonds they have with Vicky seeking her own personal reinvention (tattoos, charity bike rides, spritzers for lunch) while Phil battles to find any way to cling to the past. 

If you have had children leave home then this will ring so very true – we stayed behind afterwards to talk to Mr Godber and the cast; the audience seemed to be quite firmly split into 2 camps – those who saw their children leaving as a reason for celebration and those who felt the loss somewhat akin to bereavement, made only harder as you still seek the daily contact which was ever present whilst the children live at home. If you, like me, are nearing the time to say goodbye then this play is an ideal precursor to the emotions you are going to face - go see it, class it as entertainment, insight, research, therapy – but above all else, enjoy!

Welcome to the Cheap Seats

The View From the Cheap Seats 

Hi there, this is my blog site where I record and review music, arts, theatre and, come to mention it, pretty much anything else that I think might be interesting.

Why the Cheap Seats ?  Well, I am not a professional critic, nor am I an Arts student, an English Major or a trained journalist - I'm just someone who really enjoys theatre and live performances and have been very lucky to be supported by the great venues in the North East to come along, see their shows and write about it afterwards.  I try and make my reviews interesting for everyone in the hope that someone will be encouraged to go and see a performance they would not normally have seen.

I don't profess to be clever in my style, I write about what I see and like what I like so there will probably be some common themes (I like musicals, I like strong leading characters, I like beautiful women and I like comedy) - that said, I won't sugar coat something if it left me disappointed - I wouldn't want to mislead anyone into seeing something I wouldn't go and see again.

Over the past 5 years I have supported Whats On North East, the region's leading online arts & events website - WONE provide listings, reviews, competitions and local news.

I don't get paid for reviewing, I do however accept a free ticket to a show on the agreement that I will feature a review straight afterwards and therefore some venues and production companies will ask me to attend their press nights. 

Likewise, by sharing my reviews it helps to raise awareness of shows on tour - I have had many production companies, directors and actors who have used my reviews as part of their own promotional material.

I am always looking for new venues, new shows, new performers so please get in touch if you have any feedback.

Below are web addresses of some of the wonderful venues we have in the North East:

www.darlingtoncivic.co.uk
www.galadurham.co.uk
www.atgtickets.com/venues/sunderland-empire
www.tynetheatreandoperahouse.uk
www.theatreroyal.co.uk
www.leisureworks.net/events/4/empire-theatre

www.whatsonnortheast.com