liverpool – Page 11 – A Young(ish) Perspective

REVIEW: Boys From The Blackstuff

Published on September 23, 2023 by Maria Mădălina IfrimLeave a comment

More-than-ever actual representation of the Liverpudlians in the 80s

I stepped back in time at Liverpool’s Royal Court. The Boys From The Blackstuff adaption transported me to a not-so-far-away past, haunted by the Thatcher reforms. The play shed light on the harsh realities of unemployment, which was jokingly referred to as a “growth industry”, and how it particularly affected those from industrial backgrounds.

The short scenes performed on stage expertly recreated the universe of the narrative, where the city itself is a character. Furthermore, the community is also a collective character that shapes the destiny of the protagonists. But all the lineup present in the show also appear on stage. Barry Sloane delivers a powerful performance as Yosser Hughes, a complex character who struggles to reconcile his inner turmoil with the harsh realities of his life. Nathan McMullen portrays Chrissie, as a gentle voice of reason who endures numerous humiliations while striving to maintain his values. George Caple embodies pride in his working-class roots as a young socialist named Snowy. Lastly, Andrew Schofield, the eldest of the group, displays profound wisdom and tact, showcasing how life experience can be the best teacher.

The play’s production was visually stunning. The scenic design created an industrial ecosystem on stage that seemed to be alive and breathing. The staging was cleverly done, especially the slow-motion scene of Yosser’s fight and the contrast between an interrogation at the employment centre and a Catholic funeral (“Is Mighty God still employed in any capacity?”). Although it became violent quickly, there were some moments of comedic relief that helped to make the show more understandable for those of us who were not familiar with the reality of the “Blackstuff” workers.

At first, I found the universe of the show to be well-crafted, but it heavily relied on the audience’s familiarity with the characters. As a result, it took me almost the entire first part to grasp the characters and the plotline. However, the extended exposition proved to be beneficial, as the second part of the show swiftly progressed with action. I would appreciate more focus on the realities of females in that era which could have made the depiction more well-rounded.

Although we are in September 2023, this show is very actual. We are months away from November and awareness should be raised on how the spirit of the heads of the family crumble when they do not have the necessary support in society and are expected to be “somebody” while they are the breadwinners in the family. And although we fully understand, internalised and technically apply in the day-to-day the concept that free will (and a free market), we are now facing a cost of living crisis, a surge in the gig economy and 0-hour contracts. Furthermore, a multitude of people use food banks to support their families.

REVIEW: The Bodyguard

Published on September 13, 2023 by Maria Mădălina IfrimLeave a comment

Amazing vocals. A soppy night out

The Bodyguard has become synonymous with the 1992 movie starring Whitney Houston and Kevin Costner. Therefore, creating a musical rendition that surpasses the original is a daunting task. However, The Bodyguard musical puts up a strong fight, with amazing performances and clear vocals. It’s such a shame that the show needs a modern update.

Rachel Marron is receiving dangerous threats from a stalker. Her management team decides to take matters into their own hands and employs Frank Farmer, a former secret service agent, to take care of Rachel and her son. As the story unfolds, a love story develops between them. However, they must decide whether to prioritize their duty or build a strong relationship. Will Rachel and her son be safe from outside threats?

The show featured a dynamic ensemble with a lot of talent, including Ryo Appadu who played Fletcher, in the performance I attended and was. The supporting cast had some great comedic moments, but the biggest drawback was that, besides Rachel, Nicki (Rachel’s sister) and Frank (with his monosyllabic, hilarious rendition of Dolly Parton’s “I Will Always Love You”), the other characters did not sing, which made them feel out of place.

Despite this, Emily Williams (as Rachel Marron) displayed amazing control of her voice and a vulnerability that transformed the songs and made them her own. Emily Mae, who played Nicki Marron, was also breathtaking, especially in her rendition of “Saving All My Love for You.” Overall, the performance was enjoyable and left me wanting to hear more from the talented cast.

In my opinion, the book is what brings down this production. The storyline feels rushed and does not allow for believable character development or rapport building. As a result, I found it difficult to emotionally invest in the love story between Rachel and Frank. Moreover, the actors lacked chemistry in certain important moments of the show. Additionally, I did not understand why Nicki had an unrequited love for Frank. The only natural and well-developed relationship seemed to be between Frank and Fletcher, which created a lot of endearing moments.

The dialogue in the show felt very stiff and unpolished, particularly during the performance of the song “All the Man That I Need.” The suggestive lyrics, “He fills me up, he gives me love, more love than I’ve ever seen,” unintentionally caused the audience to break out into giggles, especially following a steamy scene. Moreover, the costumes were uninspiring, outdated, and mostly copies of those from the original production. Although the set was grand, it wasn’t very versatile, and the constant use of traveller curtains and blocking half the stage throughout the show became monotonous. The projections were sometimes out of sync with the on-stage events, and although I understood their use as a mechanism to add suspense to the story, I found the execution to be lacklustre. Although there were several updates meant to bring the show up-to-date with our current times, including references to politics and social media, I felt that the show’s aesthetic, which was in line with the visuals of 2012 (when the show first debuted), clashed with the modern tone of the content. As a result, I was left confused about the timeline of the story.

In today’s world, where stalking has become increasingly common and the potential risks of being in the public eye as a celebrity are high, the relevance of the show has increased significantly since its original production in 1992. However, I am doubtful if a jukebox that plays as many Whitney Houston songs as possible is the right choice for this story. In conclusion, it was an enjoyable night with amazing energy on stage and a surprisingly well-behaved audience. But it did not leave me with the same impact as it promised at the beginning when the show started with a literal “bang”.

REVIEW: 42nd Street

Published on September 6, 2023 by williammarsden2002Leave a comment

A true testament to the enduring spirit of the stage, this dazzling revival of 42nd Street is a must see!

It feels fitting that as I approach my first year as a semi-regular, semi-amateur theatre reviewer I found myself at the Empire Theatre watching the West End revival of 42nd Street. As a student who studies History I am ashamed to admit that my classic Broadway theatre knowledge is somewhat poor. However, this did not impair my enjoyment of this production, more so it inspired several long conversations and minutes of frantic tapping through Wikipedia on the journey home. After watching this show I feel like my classical show-business education has been tapped and twirled into shape.

This revival has held closely to the original and whilst this does mean that several rather ‘dated’ lines remain, the decisions made by Jonathan Church play off as this performance seems authentic and light-hearted. The plot remains simple, a country girl thrown into a theatre production last-minute; her talent pushing her to centre stage, complete with a triumphant redemption arc for all involved. Nicole-lily Baisden shines in this role, with a perfect nasal twang which teleported me to the roaring 20’s.

The theatre company Peggy joins contains all the best parts of showbiz with a temperamental leading lady (Samantha Womack), a demanding director (Michael Praed) and a fantastic lead tenor (Sam Lips). At no point did I notice that the understudy (Kevin Brewis) had stepped up for the role of Bert Barry. Sadly this performance missed some star power with the absence of Les Dennis in the role of Bert, but as all showpeople know, the show must go on!

Before we waltz any further into this review I must draw your attention to the choreography of this show created originally by Gower Champion, this revival has gained the associate choreographer Kylie Cruikshanks. Those who have seen 42nd Street before, I speak only to remind you of the glory that is the tap sequences, and to those who haven’t I can only say keep your hands free at all times; they’ll be needed to pick up your jaw from the well-worn carpet. I can confidently say this modern revival retains its award winning choreography! The set design is a love letter to the art-deco style and transports the audience to a world of opulence and luxury. The costumes are a visual feast, capturing the essence of the era’s fashion with ease and accuracy.

In summary, this revival of 42nd Street continues the legacy of a quintessential backstage musical. A true celebration of the behind-the-scenes drama and excitement of putting on a Broadway show, and a must watch when it tours to a theatre near you.

REVIEW: Legally Blonde

Published on August 21, 2023 by williammarsden2002Leave a comment

A full-on, fun-filled, fuchsia fantasy!

Whilst Barbie dominates the IMAX, we spent Saturday night reliving the original pink takeover. As the Empire theatre filled with pink dresses and shirts, two realisations struck us. Firstly that we had missed the dress code memo and the second being that a thrilling performance of ‘Legally Blonde: The Musical’ was about to begin. This show was presented by the Liverpool Empire Youth Theatre, a company which unites local talent with industry professionals to provide real-world experience for those between the ages of 15 and 21. I am certain that amongst the fictional ranks of Delta Nu and Harvard Law we will see many of the cast returning to the Empire and beyond!

The leading character Elle, played by Erin May, was portrayed in an appropriately quirky and light-hearted fashion. We felt that Ms. May went above and beyond and showed tremendous professionalism through two separate mishaps. She was able to lead the cast through the distractions and into each proceeding number with ease and stability in her stylish stilettos. Her superb handling of the situations, however, should not diminish the impressiveness of the rest of the company’s acting during those scenes.

As the show hurdled and piked through the first act we met Paulette (Libby Sunter) who delivered the song of the night with a silencing performance of ‘Ireland’, with a truly magnificent voice that echoed well across the Mersey towards the misty Irish breeze. The performance of ‘There Right There’ in the second act was another highlight which fans of the film, stage show or even book will know well. For those who remain in the dark I shall not spoil the iconic refrain however, as this is a review I will hint that it involves stereotypes of both a personal and national nature, leading to some dubious speculation. This song garnered the most laughs and a young theatre goer next to us loudly declared it to be her favourite song, which if it wasn’t for ‘Ireland’ I would have agreed. The choreography was at times messy; however this was tightened up by the second act and with the heavy emphasis on complex routines this production remains a credit to the work of Laura Meeson and Paul Lawton. Throughout the performance, the canine companions playing Bruiser and Butch were an excellent choice instantly gathering a cheer, this was compounded by their excellent execution of stage directions.

In summary, this was a superb performance and an assurance that the future of theatre is secure. Make sure to catch the company in their next performance, I know for a fact I’ll be there; hopefully dressed more appropriately!

REVIEW: A Greasy Spoon

Published on August 5, 2023 by Maria Mădălina IfrimLeave a comment

A hilarious showcase of the Liverpool lives, humour and sensibilities on stage

As a non-native of Liverpool, I wasn’t sure what to expect from a show set in a traditional café there. However, the moment I saw Scrantastic and was introduced to its characters, I knew I was in for a hilarious, camp, and fast-paced night.

Alice Bunker-Whitney (writer) and Francesca Goodridge (director) combine tropes from well-known police dramas with suspense, a touch of insanity, and witty humor to create a killer show (pun intended).

Mandy (Lindzi Germain) and Shanon (Hayley Sheen) have just murdered their boss at work. Without spoiling the plot of the show, the duo must navigate how to cover up their actions. However, they face obstacles such as a badge guy, a builder, a customer in desperate need of a skinny latte, and an aubergine seller who impede their efforts to cover up the bloodshed.

The show is a brilliant farcical comedy that uses a lot of slapstick and physical humour to entertain its audience. Who would have thought that a latte could be sipped through a letterbox, a bra could be used to tie people to a chair, or a body could be safely hidden in a “cupboard of *****”?

I understand why Lindzi Germain is a celebrity among Scouse comedy lovers. Her brash, obnoxious, men obsessed, larger-than-life portrayal of Mandy was brilliant and had its ups and downs. Her partner in crime, Shannon (played by Hayley Sheen), was a relatable, serious character that resonated with all young people who have to deal with the consequences of “grown-ups” who should know better. Haven’t we all been there?

The cast is brilliantly completed by Anthony Gough, a visually impaired character that sells badges; Jay Johnson, a builder with anger issues; and Adam McCoy, who multitasks and portrays different characters with hilarious vocal deliveries that are instantly recognizable.

I also absolutely loved the bright and boisterous set design by Alfie Heywood. I’m sure I’ve seen that cafe somewhere before. Ian Scott’s seamless lighting design was also impressive.

Twists and turns, brilliant comedic timing, and believable characters make A Greasy Spoon a brilliant comedy that showcases human flaws and the way our minds complicate our existence when we believe we are in danger. Though at times, I found the pace too frantic to keep up with and the characters could have benefited from a bit more depth and sensitivity, I realised at the end of the show that I wanted even more…

REVIEW: Heathers the Musical

Published on July 6, 2023 by Maria Mădălina IfrimLeave a comment

Funny jokes and over-the-top acting – such fun!

“How very” of a show was Heathers at Liverpool Empire. I was welcomed with open arms to Westerberg High. Full of dry humour, savageness, pure camp and a lot of energy, the production is a worthy adaptation of the 80s high-school cult classic – be it, a more sanitised one.

Veronica Sawyer, an unpopular girl, climbs the social hierarchy by surprisingly befriending the cool, good-looking clique in school: the Heathers. When she meets the charismatic, mysterious JD, everything takes a dark turn when “their love is God”. Would she still believe that “there’s good in everyone”?

By far the best aspect of this show were the performances. Jenna Innes plays a nuanced, credible Veronica Sawyer. Her vocal display was strong and had believable chemistry with JD (Jacob Fowler). Fowler’s voice was like butter and his characterisation was nuanced through the show, (my highlight being “Our Love is God”, when he broke loose). Although he had charisma, he did not showcase the sinister, psychotic undertones that JD is usually known for – I wanted a bit more of Christian Slater’s menace and less weird-kid-trying-to-be-cool energy.

Rocking the red, yellow and green blazers were the Heathers. Heather Chandler (Verity Thompson) had a unique voice and she commanded the entire high school (too well if I might add as I did have some flashes of my high school bullies that terrorised me not so long ago). Billie Bowman portrayed a very spunky Heather McNamara. Unfortunately, I had issues hearing Heather Duke’ (Elise Zavou) solo “Never Shut Up Again” due to some temporary sound problems, however, she nailed the portrayal of the insecure, yet envious character. The rest of the supporting cast did a wonderful job in bringing to life the story of the high schoolers and the teachers – another one of my favourite moments was the opening of Act Two (“My dead gay son”). The audience responded very well to the number and that set the scene for the entire second part of the show. The lyrics by Kevin Murphy and Laurence O’Keefe were witty, funny and surprisingly smart – but the music by the same duo might slip from my mind very soon.

As expected with a cult classic – Heathers gathered an enthusiastic audience. On one side, there were very devoted younger fans – some of them even wearing cosplay versions of the iconic outfits. This production was popular among them, partly because of the revival of Heathers content on TikTok and also because of the long-lasting success of the London and touring shows. Unsurprisingly, on the other hand, a lot of the theatregoers were big fans of the original movie. That made an endearing theatre experience, where young and old generations gathered together and collectively analysed complex issues such as suicide, sexuality, mental health, and eating disorders (prevalent in 1989, but very actual even now). In the current environment, watching persisting issues through an absurd, satirical critical lens is almost cathartic. And even though I might not have “hugged it up” with my high school bullies, I enjoyed for once the self-awareness of a show that showcased a culture full of indifference to suffering. Adults that shift their emotional baggage to their kids are “powerless” – or debatable, they do not care.

I saw the show in two different iterations (both at The Other Palace in London and the Theatre Royal Haymarket) before and that made me realise two shortcomings of this production. Firstly, I would have enjoyed a more racially diverse cast. Secondly, as the Liverpool Empire Theatre is the largest two-tier theatre in the UK, I would have relished it if the actors would have played it for the ‘groundlings’ and the chap seats, hamming it up.

Besides the high energy, phenomenal performances, glitz and glam of this production, the show successfully helps the viewer reflect upon a dark, but truth reality: “We’re All Damaged. We’re All Fragile. We’re All Freaks, But That’s Alright”.

REVIEW: Chitty Chitty Bang Bang

Published on May 16, 2023 by geegeevonbLeave a comment

A timeless classic that is fun for the whole family.

The Liverpool Empire played host to BOST’s Chitty Chitty Bang Bang this weekend from Thursday 11th to Saturday 13^th May. A musical adaptation from the Dahl’s and Hughes 1968 musical fantasy film production, this performance had something to please the whole family. As it was very kid friendly and had a little of everything from all-encompassing teamwork to a love-story, villains, dance numbers and even a flying car!

There were many positives of this production- the first being that it engaged the whole family through its use of catchy musical numbers, group dance numbers and humour. There was humour for both the children and the adults- in that simpsonenque way where the kids won’t know what the joke was about or I there even was a joke until they are much older.

The piece utilised big group dance performances throughout the play and BOST took some liberties adding in a tap dance number that worked well. The play also did something that I haven’t seen in a stage production before- that was the use of real animals. As the cast also included a group of six dogs that came on and off stage at various points in the first half. This was a novelty I and the rest of the audience enjoyed immensely as it provided a welcome surprise in such a well-known story and the cuteness factor of course helped.

Another selling point of this play has to be Chitty Chitty Bang Bang itself in all its flying glory- the car was an exciting part of the show as the flying scene paired with the classic Chitty Chitty Bang Bang tune was a high point of the production. With Truly Scrumptious, Caractacus Potts and his two children Jemima and Jeremy singing whilst the car moved on/above stage.

Other high points of this play include Truly Scrumptious’s solo: lovely lonely man and any scenes including the hilarious spies or Baron and Baroness Bomburst. The spies brought the hidden more mature humour as well as slap stick comedy. Whilst the Bombust’s brought to the stage these funny, not so evil characters that children could enjoy. The child catcher filled the role of the true villain of the story as seen by the boos he got from the crowd.

The one negative I have of this play which brings it down to an overall 3.5 stars is the storyline- a pretty important factor in any play. It was not as seamless as it could be and greater importance was put in the dance numbers than the storyline . Meaning it didn’t quite flow into a great story – there were gaps that one had to fill oneself. Overall I would recommend this play to anyone looking for a nice family night out.

REVIEW: A Thong for Europe

Published on April 28, 2023 by Jamie O' TooleLeave a comment

Big and bold fun in this relentlessly camp musical

Jonathan Harvey has written the most sublimely camp and ridiculous musical I have ever seen. Unlike Eurovision’s unawareness for the most part of its own kitschiness, this is a show that knows how daft it is. A Thong for Europe is undoubtedly camp in its oscillating excessive garishness and sentimentality, and this quality makes it so enjoyable. Viewing the show through my theatre partner and I’s Gen Z eyes only made the experience richer in my opinion, as the absurdity of the show’s rapidly changing tones and many smutty gags hit us decidedly harder than our older audience counterparts. We soon find out that our protagonist Lulu has been tasked with fulfilling her mother’s wish of scattering her ashes on the Eurovision stage before she can finally ascend to heaven, and upon embarking on a mad dash to secure entry to the contest, kidnaps a prior performer and invites an eccentric visitor from the previously unknown state of Balkania to stay.

The show’s first half works hard to set up these ludicrous plotlines of exposition while the second half allows us to enjoy the spoils. For example, our expectations are hilariously subverted by a certain character’s reverse coming out when caught in an unlikely tryst with a woman. Sonia, the Merseyside pop star and Stock, Aitken and Waterman protége who represented the UK in 1993, also makes an appearance played by the always entertaining Keddy Sutton. Lindzi Germain who plays Lulu deserves mention as well for being a wonderfully passionate actor, committed to her character’s theatrical over the top emoting throughout.

The show is intrinsically scouse and this informs a massive chunk of the jokes. Attendees are expected to be in the know vis-à-vis local knowledge as well as Eurovision history. I caught myself wondering if any travelling Eurovision fans might find themselves in the thick of this production, struggling to decode the heavy accents and quick-fire references. Overall though, A Thong For Europe is a celebration of Liverpool’s heart and spirit through the glitz and glam of Eurovision. We get treated to a good handful of classics, most memorably Brotherhood of Man’s Save Your Kisses For Me and Conchita Wurst’s Rise Like a Phoenix, effectively finishing us all off with a rousing rendition of Waterloo at the end. It is all racy, silly, and totally enjoyable.

You can catch A Thong For Europe at Liverpool’s Royal Court Theatre until the 27th of May.

REVIEW: Bingo Star

Published on March 20, 2023 by Jamie O' TooleLeave a comment

This charmingly camp and thoroughly Scouse comedy features stellar performances of 80s hits and three delightful bingo games for the audience.

I was back at Liverpool’s Royal Court Theatre this week for what was to be my first exposure to bingo since way back in primary school. Bingo Star gets its name from the declining, family-run Liverpool bingo hall owned by the well-intentioned but floundering Arthur played by Alan Stocks. The hall is maintained by his daughter Lesley (Keddy Sutton) and granddaughter Bella (Paige Fenlon), along with the butch, no-nonsense Debbie and the eccentric hippie Keyboard Keith, played by Helen Carter and Jonathan Markwood respectively. The story follows the crew’s hapless struggle to keep the hall safe from the looming threat of imminent seizure due to Arthur’s failure to repay a massive loan. Soon enough, the flashy and enigmatic Tony (Paul Duckworth) appears as a possible financial saviour for the group, but the big question is whether he’ll live up to his claims. The show certainly shares some elements of panto, with plenty of audience participation and cheesy jokes galore. However, its heartfelt plot and emphasis on the importance of community and sticking to your guns sets it apart. The show’s writer, Iain Christie, takes care to emphasize the character’s well-rounded backstories, and the females of the cast form the glue for this great group. The female trio is not without warmth, strength, and resilience, particularly Paige Fenlon who stole the show as the young and endearing Bella epitomizing the role of a sweet and caring daughter struggling to choose a path. Arthur’s daughter Lesley is sincerely heart-warming, and this brings out the best in her family members, not neglecting to mention hardened yet caring Debbie, whose swagger and wisecracks were relentlessly entertaining.

Many quips are very centred around the ‘bingo is for the elderly’ stereotype, which I actually really enjoyed. Olivia Du Monceau outdid herself with a fabulous revolving stage; the ageing bingo hall dazzles with neon and a makeshift Henry Hoover ball machine that then revolves into a downstairs food bank that the group diligently stocks throughout. Onstage plot developments are broken up by three audience bingo games with the chance to win £50 each time – the use of dabbers is highly recommended! There are plenty of local references thrown in to enjoy and even two special guest appearances.

Ultimately, Bingo Star is a unique, feel-good theatre experience full of heart that I would encourage both young and old to attend. The interactive bingo element truly sets it apart from other productions and has an undeniable appeal. Get down to the Royal Court Theatre before the last show on the 8th of April.

REVIEW: Sleeping Beauty

Published on March 8, 2023 by geegeevonbLeave a comment

“A fairy-tale with a twist.”

An unlikely paring of Aurora and vampires – Mathew Bourne’s sleeping beauty gives gothic romance a new meaning. This piece is a wonderful combination of many variations of the Sleeping Beauty tale, set to Tchaikovsky’s music with vampires thrown in! This story is a breath of fresh-air as Mathew Bourne’s interpretation allows Aurora to escape the old fashioned tale of marrying the first man she kisses – to having a genuine love story with hunky palace groundskeeper Leo (Stepan Murray).

We are introduced to the story by a projection of the introductory lines on the curtain -this was a nice touch that immediately brought back nostalgic memories of Walt Disney’s version – and was a very useful tool in providing a narrative to a piece with no speaking. When we are introduced to baby Aurora – who even at this age is a feisty one. The slightly creepy baby puppet moves across the stage and gets herself into some situations – providing the audience with some visual comedy. Later, Aurora is a young, free spirited girl and Cordelia Braithwaite’s dancing portrayed this beautifully and her dance sequences with the malevolent Caradoc (Ben Brown) show the simultaneous hate and attraction between the two.

The choreography was of particular note as the dancers did an amazing job of portraying emotion and distracting the audience from set changes – multiple times the set changed and I didn’t notice until afterward as I was so enraptured by the dancing on stage. This piece has a bit of everything due to its time jumps, the first one 21 years and the second after the 100 year sleep (also the interval) – this allows Bourne to explore more sets and dance styles and allows us to enjoy the difference between the first and second half. Although the second half is harder to follow than the former as its less plot – more dancing through the woods on a quest to find and wake Aurora.

Now…. The vampires are a nice touch, that make sense as how else would Leo still be around after 100 years to wake her with true love’s kiss? To encompass this into the plot – we have the added character of Count Lilac (Dominic North) – a vampire fairy king who turns gardener Leo into a vampire so he can wake Aurora when the time comes.

The overall effect of the performance was remarkable from the beautiful set and effects, great choreography and visual humour. It was great to see the mix of an improved contemporary tale combined with classical ballet.

Mathew Bourne’s Sleeping Beauty is currently on it’s 10^th anniversary tour and is showing at he Liverpool’s Empire until March 11^th.