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

Cinderella Panto @ Darlington Civic

Panto season again at the Civic means madcap fun, classic entertainment and the chance to watch one of the funniest men on the stage.  This year’s offering of Cinderella dishes up the treats like a festive selection box – you know what to expect, you know you like ‘em all and too much might just leave you feeling a little queasy (from laughing so much)

The script for panto Cinders is pretty stable fayre; the story, the jokes and the finale are all time honored and rarely does a production dare to stray.  How they can introduce some uniqueness and originality is through the star casting, the musical numbers, the use of current tech and usually with some good old fashioned slapstick – to this end Darlington’s’ festive fun stands strong on its own.

Playing the title role is the beautiful Ashleigh Butler, a young lady who deserves top billing on her own but who is always shadowed by her furry friend Pudsey.  Make no bones about it, Ashleigh can sing, dance and act as good as any other Cinders but it is the little canine companion who draws the ‘aws’ every time he appears and never seemed fazed by the noise, the laughter and the occasional faux pas from the two legged cast members.

Playing opposite Ashleigh is Matt Edwards as Buttons – her love-struck bff who is so desperately in love with her that he will even help Prince Charming find her despite knowing that when he does they will surely marry.  How to sum up Matt Edwards ?  The best accolade I can give is that if they ever wanted to remake the fabulous and famous Norman Wisdom movies then Matt is without a doubt the best person to play the perpetual underdog; his timing is impeccable, his style and mannerisms uncannily like Sir Norman and his ability to disarm any situation and return it to its funniest core is worthy of a show all of his own.  He is adept at party magic, can throw his voice and has the athletic poise to deliver plenty of pratfalls (even when he doesn’t mean to).  His scene in the forest where he attempts to intervene between Prince Charming and Cinders is delivered with the same impact, tearful laughter and gasping for breath worthy of the best silent movie comics, whilst his leading of a total slapstick rendition of “12 days of Christmas” should be shown on TV every day in December as a remedy for pre-Christmas stress. 

The usual panto stalwarts and objects of derision, the ugly step sisters, are played by regional favorites Danny Potts and Phil Corbitt whose personalities are only beaten for size by their dresses and hairdos.  Danny & Phil have built a great repartee and are obviously very comfortable with their return to the Civic; indeed some of the jokes weren’t so much close to the knuckle as being right down to the bone but it certainly gave the adults a little extra to giggle at.

This year’s standout moment is the rather ingenious and unique way in which Cinders makes her way to the ball; I won’t spoil the surprise suffice it to say that those with an appreciation of Greek mythology will find it mesmerising.

The only disappointment of the evening was the introduction of Dooby Duck and gang as a mid-show interlude.  Sadly, the prospect of a load of animal based marionettes playing to a rather convoluted soundtrack of stereotypical pop music completely killed any momentum which the preceding merriment had built and left the majority of the younger audience sat in baffled silence while the adults started to fidget nervously, daring themselves to maybe check their phones for a quick football update or a status refresh on Facebook.   This show wasn’t that good when it was new (in the 60’s/70’s) but today, in the age of hi-tech 3d graphics, shadow imaging and computer generated projections it just can’t connect to the audience.  Happily tho, it is soon back to the bright lights and zany laughter as we rush headlong towards the grand finale and the chance to marvel at the choreography and wonderful dancing of the Joanne Banks Dancers.

So, as always, if you want a fabulous evening packed with laughter that is guaranteed to start your run to Christmas in the best way possible then get yourself to the Civic, plonk yourself down, strap up your ribs tight and enjoy Matt, Ashleigh, Danny, Phil and of course, Pudsey.  You’ll love it, oh yes you will.

The Full Monty @ Darlington Civic

Over the years there have been a myriad of theatre shows which have been borne from successful movies; Flashdance, Footloose, Sister Act, Priscilla Queen of the Desert, Kinky Boots to name but a few. Usually they are ‘adapted for stage’ which means recognising the constraints of limited scene changes, streamlining dialogue to keep the pacing fresh or losing the copyright permissions to use original soundtracks, and because of this, many people are left feeling a short changed that they’re not seeing their beloved movie made flesh.  The Full Monty bucks this trend completely; the original screen treatment was written by Simon Beaufoy, in fact it was his first screenplay, and it is Simon who has penned this stage production; with it he has retained all the humour, the pathos, the punchlines and the politics that made the original the global smash hit. 

The story hasn’t aged at all; due in part to the fact that, despite the bawling hysterics of the hordes of hen parties who regularly attend desperate to catch a glimpse of the naked male form, it is a story about life, love, families and relationships, but also, more sadly, because the economic and political climate of the Thatcherite 80’s is in danger of coming back to haunt us again – for Sheffield Steel now read Redcar or Doncaster or Motherwell.  It is a very British trait that allows us to sympathise with men who have had their livelihoods removed with very little scope on the horizon but then to laugh at them clinging hopelessly to the routines of the 9-5 by visiting the park or the bus shelter; I know personally how demoralising and emasculating being out of work can be but deep down we don’t lose our sense of humour, even if the object of the jokes become ourselves.

The story, for anyone who has lived in a cave for the past 30 years, is about a group of steel workers in Sheffield who, having been made redundant 6 months ago, reach desperation in both financial and emotional terms.  Driven by a need to show he can provide for his son, Gaz (brilliantly played by Gary Lucy) has tried every route to raise some cash (all of which are dubious to say the least) until he stumbles on a Chippendales night at the local club and realises that there is a huge market for male strippers.  Of course, the Chippendales are all Adonis’s – toned and tanned, whilst Gaz’s gang are normal blokes, a mix of middle age, middle of the road and middle England but what they lack in physique they more than match in guts and self-depreciation.    Realising that they need an extra hook to attract the punters, Gaz decides that, for one night only, they will perform ‘The Full Monty’ – stripped down to nothing but a hat and a smile and so begins their hilarious and touching training and practise.

The set for this show is possibly the most imaginative, visually stunning and complex I’ve seen here at the Civic – it resembles the interior of the steel works, complete with 7 tonne blue crane (nicknamed Lady Maggie), loading bays and security gangway.  Flown into this are a series of extra scenes which make up the Conservative & Labour Clubs, the Job centre, the park and the rear alleyways, all of which are brilliantly designed and expertly installed.

As mentioned earlier, the soundtrack remains true to the movie – the main theme, a lilting reggae/ska hook written in a minor key is ever present whilst the dance routines are performed to the strains of Wilson Pickett, Donna Summer, Hot Chocolate, James Brown and, of course, Sir Tom Jones’ “You can leave your hat on”.

The cast too are very close to the original movie and this ensures that the dynamics, so crucial to bringing more than just slapstick belly laughs, are easily recognisable.  Gaz’s calorie-challenged best mate is perfectly played by Martin Miller, on the front of it a funny fat lad but with plenty of insecurities underneath making his self-depreciation all too real.  The timeless Louis Emerick plays Horse and it’s a real treat to see him live on stage, he’s got expert comedic timing and is no stranger to dance moves either.  Baby faced Bobby Schofield plays Lumper, the half hearted suicidist who finds himself drawn to Guy, the toned & tanned surfer dude to which Rubert Hill brings his ‘super-sized’ talent !.  For this performance Nathan, Gaz’s son, was played by Ewan Phillips – Ewan was brilliant, held his own amongst the adult stars, displayed fantastic comedy timing and certainly didn’t hold back when given the chance to enjoy the banter with Lucy.  Completing the men’s line up is Andrew Dunn, one of the UKs finest comedy actors and a stalwart of TV & stage, in this he plays the lads former foreman who, like them, has been out of work for months but has yet to even tell his wife, scared of what she will say but also scared of her continued spending.

In all, whilst this show continues to attract a 95% female audience, it is not a show about male strippers (although the final number doesn’t fail to deliver) – it is a story about friendship, hardship, despair, sexual equality, impotence, suicide and the resolve of the human spirit – not normal ingredients for a feel-good musical but boy does it work – just remember to bring your hankies.