Tag: liverpool

Haunted Scouse dress rehearsal at the Royal Court Theatre, Liverpool. Picture Jason Roberts

REVIEW: Haunted Scouse

Published on by nickjkehoeLeave a comment

Rating: 3 out of 5.

“Entertaining, thought-provoking but just a little confused”

From it’s promotion, you may expect “Haunted Scouse” to be something of a horror-comedy (a rarity for plays, definitely), but what emerges instead is something of a comedy-drama – a heartfelt and intriguing story intermingled with frequent laughs and a good dose of situational irony.

The emphasis for this performance definitely hinges more on the comedy, at least for its first half. The jokes being put forward are well placed and – for the most part – very witty, but as the performance continues there are several, noticeable, pendulum swings into a much more serious tone.

The plot follows our protagonist, the ghost of a deceased man stuck in his old house, as he attempts to connect with, and help, his wife from beyond the grave. The characters are both interesting and quirky enough to pull interest for the time they’re on stage but, as will be mentioned later, they may not be the best vehicles for this particular script. Indeed, whilst the comedy may appear paramount at first glance, this premise also gives ample scope for the work to confront and discuss several topics around death and mourning.

Depending on the scene, in fact, engagement with the play and its material can range from carefree laughter and surface-level enjoyment, through to a certain wistfulness and self-reflection. That the play can span such ranges of consideration is impressive, but it is worth noting that said play spans for only an hour and a half (interval not included). This may be plenty of time to enact a stellar comedy, but it is a difficult length in which to try and intermingle comedy with some of the more complex themes this play attempts to address.

Unfortunately the main issue this play seems to face is an inability to fall comfortably into a tone it can maintain for long enough to impart any true sense of either good humour or reflection. The characters are ones geared for humour, but sometimes forced into situations uncomfortable for who they are meant to be. It attempts to take both paths but, within the confines of such a relatively short play, falls a little short of either for most of its runtime. 

The conclusion, however, definitely chooses – and to largely good effect – to focus on the more heartfelt aspects of the story and there it seems to find a nadir of energy, one with which to softly and carefully wrap up some of the loose themes and plot points. 

The set design is also briefly worth noting – for a play consisting of only one setting the set design must be competent enough to keep each scene watchable and engaging throughout, and this is accomplished well with clever use of lighting and some digital effects sprinkled throughout.

On the whole, however, a “Haunted Scouse”, whilst competently managed, the compact pacing somewhat fails to deliver the more thoughtful ending suggested by much of the preceding script. The play as a whole seems to struggle on its presentation: there are laughs and most of them are good; there are thought-provoking segments and most of them are well-targeted; but consistency in either is never apportioned as well as it could have been for such a competent idea. Unfortunately, this means the play ultimately suffers; failing to live up to the high potential its script and approach should allow.

REVIEW: Shrek the Musical

Published on by roisinlystLeave a comment

Rating: 4 out of 5.

A fun musical for the younger members of the family, but with outstanding vocals and great energy for the rest.

The Shrek films are well-known to most of the population, and the musical adaptation is essentially the same plot as the first film. It follows Shrek on his mission to rescue princess Fiona for Lord Farquaad to marry, in return for getting his swamp and peace back. 

However, the musical, unlike the film, had the addition of both Shrek and Fiona’s backstories. I loved this as it helped the audience feel more connected to the characters. The scene showing Fiona growing up locked in the tower was one of my favourites, with her at three ages wishing her prince to come.

The vocals in this production were outstanding. I have to particularly commend the casting of Brandon Lee Sears and Cherece Richards who played Donkey and Dragon. Their voices were incredible and matched each other fantastically during their duets. I also thought Brandon Lee Sears’ acting was brilliantly entertaining as the larger-than-life Donkey. Joanne Clifton, who played Princess Fiona, also brought the house down with her voice, and through her acting showed a more fiery side to Fiona than in the film. Overall, the whole cast were superb singers though, and you could really feel the power of their voices when they sang together. Often in a musical like this, the writing of the numbers is quite weak, but while some of them were slightly too long, I thought the songs were generally good. 

Lord Farquaad, played by James Gillan, was a wonderfully camp villain. He fitted perfectly with it being a show aimed at children because there was nothing scary about him – he just brought a lot of humour and fun to the stage. 

One thing I loved about the show was how the ensemble all had their own parts and were able to showcase their abilities, with each member playing multiple roles. The gymnastics was a great addition, but the dance numbers in general were lots of fun and intricately choreographed. I loved the tap-dancing rats scene; it was quite mesmerising to watch, which I’m sure the pied piper would be pleased to hear! Each dance number seemed to bring out a whole selection of new costumes which were fabulous. They were cleverly designed, using padding to create the shapes of the creatures: Pinocchio look like he had wooden joints in this way was genius. Having said that, I did think some of the costumes missed the mark a little. Donkey seemed to be a very strange shape which was distracting for me, and I was confused by the double whammy of both human and puppet dragon, which were not connected to each other, nor did they have the same blocking the whole time. 

Additionally, I felt that some sections of the show could have been shorter. Another criticism I have was that Shrek’s Scottish accent needed some work. 

The set was not the most intricate but it was good, and I liked the depth created and use of lights to create the fairytale-like scene. There were quite a lot of screens as projections used to set the scene, which worked for this, giving somewhat the feeling of the film.

At the end of the show, the cast got the audience up on their feet to sing and dance to the well-known classic ‘I’m a Believer’ which was thoroughly enjoyed by everyone.

This show was probably more aimed at children, but I thought it was a well-done with good energy and most importantly, left the audience feeling joyful.

Cellist Jonathan Aasgaard

REVIEW: Beethoven’s Symphony No.5

Published on by Juliet PoneLeave a comment

Rating: 4 out of 5.

The RLPO were not afraid to be bold and dramatic, or soft and emotional when called for, making for a highly dynamic experience

It was a night of adventure at Liverpool Philharmonic Hall, with chief conductor Domingo Hindoyan leading the Royal Liverpool Philharmonic Orchestra (RLPO) through Beethoven’s heroic Egmont, Op. 84 Overture, Richard Strauss’ fantastical tone poem Don Quixote, and into the ‘fate motif’ of Beethoven’s immortal Symphony No. 5, naturally bound to be the showstopper of the evening. Also part of the orchestra tonight were Emerging Fellowship Musicians Danny Cleave on double bass, and Méline Le Calvez on clarinet, who will undoubtedly continue with bright careers in music.

The Egmont Overture was a stirring beginning; first performed in 1810 for Johann Wolfgang von Goethe’s play Egmont, the piece brings together the story’s overarching themes of righteous rebellion, freedom, and loss, with Beethoven’s personal anger at Napoleon’s unjust dominion over much of Europe. Hindoyan and the RLPO brought out the subtleties of the piece in a highly dynamic performance; quiet, slow minor chords to express the tragedy of the story building into grand fortissimo and a rousing, triumphant finale as the hero becomes a martyr in a valiant stand for freedom. 

I did wonder over the choice to sandwich Don Quixote, which is longer but arguably less impressive than the 5th (though this may be a matter of personal taste), between two of Beethoven’s most iconic pieces, but thematically it complements the Egmont Overture perfectly – following the often sad and unsuccessful adventures of the eponymous hero, a crazed knight living in an illusory world of undying chivalry and romance. The technical mastery of RLPO throughout this 45-minute continuous piece cannot be underestimated and they breathed real life into the piece. With the wind machine softly adding to the ambience, the rolling landscapes of La Mancha, Spain, that set the backdrop for the story, appeared to me with remarkable clarity. 

The solo cello, composed as the voice of Don Quixote himself, was performed beautifully by Norwegian Jonathan Aasgaard and was my personal highlight of the score. These mournful passages gave a different depth and sadness to the tale of the ‘knight of the sorrowful countenance’, juxtaposing perfectly with the triumphant brass fanfares of his imagined victories. Of the three solo instruments written to be the voice of Don Quixote’s squire, Sancho Panza: viola, tenor tuba, and bass clarinet, Ausiàs Garrigós Morant’s bass clarinet solo was the standout. I unfortunately felt that Nicholas Bootiman’s viola solo, a famous aspect of the piece, got a bit lost in the third variation and didn’t bring out as much of the individual character as it could have. The final variation also felt as if it ended quite abruptly, and though it may be called ‘sehr ruhig’ (very quiet/calm), that was not the way it was conducted here.

It is hard to find something new to say about the finale, possibly the most famous and certainly the most recognisable symphony of all time. Hindoyan launched right into the first motif with what I’m coming to see as his characteristic vivacity, and all four movements seemed to fly by, which is a credit to the beauty with which it was performed as well as a result of Hindoyan’s energy and pace of conducting. The lyrical, more emotional nature of the second movement in andante was not lost, however. Throughout the whole evening, it held true that the RLPO were not afraid to be bold and dramatic, or soft and emotional when called for, making for a highly dynamic experience and bringing out the narrative of each piece.The transition between the third and fourth movements in Beethoven’s Symphony No. 5, where the key shifts from minor to major for the grand finale, was performed so seamlessly that I almost wondered if I’d missed a trick, and I couldn’t help the smile of joy on my face during the final crescendo. The orchestra finished to several minutes of rapt applause and whistling from the audience, who I’m sure eventually filed out feeling the same sort of high as me.

REVIEW: The Full Monty

Published on by roisinlystLeave a comment

Rating: 5 out of 5.

A play based on the hit film, ‘The Full Monty’ follows a group of ordinary men, whose lives hadn’t gone quite as they’d hoped, and their plan to become strippers. 
A brilliant and hilarious show, and a fully engaged audience to prove it.

‘The Full Monty’ follows a group of men, each with their own personal battles, who come together in with a plan to perform a strip routine at their local club. It tackles many difficult topics surrounding men’s mental health, including suicide, with humour: a challenge which could have easily been severely misjudged, but I thought it was executed perfectly. 

The script was very well written by Simon Beaufoy, with jokes all the way through which had the audience laughing out loud. None of them missed, with perfect direction from Micheal Gyngell and comedic timing from the actors. But it also had plenty of feeling and integrity, and fragile masculinity was portrayed in a way that felt modest and deserving of sympathy. 

The set was very impressive. It was a jigsaw of mobile pieces which slotted together in so many different ways to create a huge variety of places. The scales of each set were very cleverly implied, from the huge steelworks to the small room of the ‘job club’.  High praise is deserved by the set designer, Jasmine swan, who also designed the understated but apt costumes. Not forgetting to mention the lighting, which was used well to help build each atmosphere. The music used was perfectly chosen, and although it wasn’t a musical, it had that feel-good mood during all of the numbers. 

One thing that stood out to me was the transitions. Usually in the blue-outs, actors are required to be out of character or still. This never happened in this show: there was acting and direction visible during each transition which really made the production flow. The timing of the lights, effects and sound were also impeccable, which was particularly important during the final scene when the actors had to put their full trust in the crew to preserve their modesty.

The final scene, where the strip performance takes place with the six men doing ‘the full monty’ takes place, was a fabulous climax to an outstanding show. The way it was done meant the audience didn’t feel cheated as the men certainly went ‘all the way’ on stage, but the lighting meant nothing was so explicit so as to make anyone uncomfortable. The whole dance routine was hilarious and spectacular, and the audience were with the cast the whole way, whooping and clapping. It was a joy to be in the room.

The actors were all well cast, and each character was rich and lovable. Two of the roles were understudied the night I attended, but there was no hint of this whatsoever. Danny Hatchard, Oliver Joseph Brooke, Bill Ward, Neil Hurst, Ben Onwukwe and Nicholas Prasad complemented each other fantastically; it’s hard to pick one of them as a stand-out but they all deserve commendation. A particular mention to young Rowan who played Nathan. He really held his own with fantastic stage presence and delivery. 

The audience were probably all older than me but I couldn’t recommend this show enough. It was energetic, warm and hilarious. I’d see it again tomorrow.

REVIEW: Ellen Kent’s Carmen

Published on by Maria Mădălina Ifrim1 Comment

Rating: 3 out of 5.

An excellent introduction to opera with commendable vocal performances

The staging of Ellen Kent’s production of Bizet’s Carmen, framed against a backdrop of Roman columns, failed to impress due to its unimaginative approach, lacking originality, creativity, and attention to detail. While the vocal performances stood out for their high quality, the overall production struggled to bring new dimensions to this classic opera in 2024, a considerable challenge given its widespread popularity and numerous past interpretations by opera enthusiasts.

The show presented a mix of strengths and weaknesses, with significant issues evident across various facets of the production. Natalia Matveeva, portraying Carmen, encountered difficulties as many audience members struggled to hear her amidst consistently low volume, especially when compared to the orchestra. Despite this, Matveeva managed to embody a believable seductress, and her vocal rendition of the iconic Habanera was impeccable.

Davit Sumbladze, in the role of Don José, fell short in convincing the audience of his character’s deep, passionate love. Lacking the necessary darkness, particularly in the aftermath of his desertion, and appearing somewhat mature for the role, Sumbladze’s portrayal weakened the chemistry with Matveeva and impacted the believability of their characters’ relationship. Despite this, Sumbladze’s rendition of the Carmen aria was a highlight.

Elena Dee breathed life into the character of Michaela, delivering a lovely, almost angelic performance in Act 1. Her portrayal gained depth and purpose in Act 3, where she confronted her fears and the other women, creating a powerful and captivating moment on stage.

Iurie Gîscă, playing the bullfighter Escamillo, struggled to make a strong physical impact in the role, despite dominating vocally. The imposing presence required for the character was lacking, and the expected cheekiness and flirtation were absent, diminishing the overall portrayal of Escamillo.

The orchestra, under the expert conducting of Vasyl Vasylenko, received praise for flawlessly bringing Bizet’s score to life. However, technical issues, including problems with subtitles and sound mixing, marred the overall experience.

The production’s light and even comedic tone did not align well with the tragic nature of the story, missing an opportunity to highlight the male-centric perspective inherent in the opera. Oversights in direction, particularly in choreography, were noticeable, with the chorus occasionally falling out of sync during ensemble pieces, contributing to a less-than-polished presentation.

In summary, while Ellen Kent’s production showcased commendable vocal performances, various issues in acting, chemistry, technical aspects, and direction hindered the overall enjoyment of Bizet’s Carmen. While it served as an excellent introduction to opera for newcomers, the production fell short of delivering a cohesive and captivating experience for seasoned opera enthusiasts.

REVIEW: Rachmaninov’s Symphony No. 1 at the Liverpool Philharmonic

Published on by nickjkehoeLeave a comment

Rating: 4.5 out of 5.

Liverpool Philharmonic’s latest love letter to strings

Opening the New Year with a robust collection of concerts featuring a diverse mix of composers, The Royal Liverpool Philharmonic Orchestra are currently putting their strings front and centre with performances of Rachmaninov’s Symphony No. 1 (Op. 13), preceded by renditions of Scherzo Fantastique by Josef Suk and Sibelius’ Violin Concerto in D Minor (Op. 7).

One thing to note is the cleverness with which the pieces have been arranged – opening with Scherzo Fantastique, the audience is immediately captured by a sudden swell from the string section. Later there will be appropriate lulls: Sibelius winds down for the interval, for example, but afterwards the titular piece brings back energy to round out the evening. Often overlooked, the ability of an orchestra and their artistic director to shape the flow of the several pieces of disparate composition is something many people will never notice if it is done well, but will be readily apparent if it isn’t. 

The immediate burst of sound from the arrayed strings is quickly tempered as we enter a period of back and forth – some softer strings cutting into heavy brass crescendos. Immediately apparent is the sheer accuracy of this orchestra: there are no late starts, no-one rushes or drags, everyone on the stage is doing precisely what they need to at all times. Conductor Domingo Hindoyan has obviously integrated well into the orchestra in his three years in the post and this is apparent in his command of the material and his on-stage relationship with the orchestra. 

As Scherzo Fantastique closes with a full, bombastic ensemble it must be said that these are not “thin” pieces of music. There is not a complete brass section present, but the brass that is there is loud, and can sometimes drown out some of the more mellifluous runs by the strings and wind. This is a shame, as in pieces with such excellent interplay between heavier and lighter motifs it means some of the softer and, to my mind more interesting, sections of the concert can be lost under trumpets and Cor Anglais.

For Sibelius’ Violin Concerto we were lucky enough to have the Philharmonic’s Artist in Residence, Simone Lamsma, playing lead violin. Simply put, this piece was stunning. Immediately Simone’s mastery of the instrument is apparent as we launch into a haunting, meandering violin line that will be picked up by cellos before long, really driving home the emphasis on their string section. She remains audible and in control of the sound throughout the growing swell of cello accompaniment, performing flawlessly and continuously and expertly providing sombre, ethereal violin lines that ride atop the orchestra.

After this piece we get a charming violin encore from Lamsma (with accompaniment by 1st and 2nd violin and 1st cello) before the interval, after which begins the titular piece – Rachmaninov’s Symphony No. 1. 

That distinctive, insistent opening of the first movement – Grave – Allegro non troppo –  dispels any qualms about returning to a performance now lacking that stunning lead violin and grabs attention, opening up the audience for forty-five minutes or so of exciting arabesque swells and motifs by the incredibly synergistic string section. This synergy extends to other sections as we move into the second movement – Allegro animata, with a series of crescendos featuring all sections in an amazing display of coordination. If anything this movement only serves as yet another testament to the skill of this conductor and these musicians. 

The energy lulls briefly in the third movement – Larghetto – for the purposes of highlighting a beautiful refrain on clarinet and flute, giving the wind section centre-stage for a little while. Periods of rise and fall, with tension maintained by strings and brass together, give way to a complex violin air – this movement very much highlighting the intricacy of Rachmaninov’s composition. The finale of Larghetto may be a little lacklustre compared to some of the more powerful closes on other movements but this is more than made up for by the heady, almost overture-esque nature of Allegro con fuoco – the fourth movement, which expertly ties together all of those energetic and strident motifs and creates a complex and nuanced tapestry of sound. 

A phenomenal performance, with so few flaws as to barely detract from any single aspect: every musician performed excellently – with an obvious stand-out performance by Simone Lamsma – and found themselves very much able to show off not only their own talents, but the full extent of the talent of these composers. An excellent concert by The Royal Liverpool Philharmonic Orchestra.

REVIEW: Spirit of Christmas

Published on by Heather DoquiatanLeave a comment

Rating: 4.5 out of 5.

Cheery and heart-warming, the rafters were raised by voices and instruments coming together

I arrived a bit too early for the Spirit of Christmas concert at the Liverpool Philharmonic. Halfway down Hope St. just before 7pm, I noticed, with delight, the faint strains of a trombone floating down the road. Outside the Phil, we were greeted by the Liverpool Philharmonic Youth Brass Band doing a fantastic job – many while wearing gloves, no mean feat – of entertaining passersby, and priming early audience members for an evening of festive fun.

Inside, the auditorium was packed, which made for some rousing levels of audience participation as the evening went on. The audience age demographic ranged widely, with very well-behaved children dressed in their seasonal best. The two Christmas trees that bookended the stage glowed gently, and the big screen along the back of the stage, later to be used to project lyrics for the singalongs, displayed a crackling pre-show fire.

At a pleasant hour or so per act with a 15 minute interval, the show never dragged, and indeed felt to me to be over too soon. The Royal Liverpool Philharmonic Choir and Liverpool Philharmonic Youth Choir, accompanied by the Liverpool Philharmonic Orchestra, set the mood with their opening number, before the conductor (Ian Tracey) turned to the audience with open arms and a smile to sweep us all up in a singalong (the first of many), the classic Hark! the Herald Angels Sing. The aforementioned projected lyrics were very useful for all the singalongs, as after the first two verses I invariably found myself all at sea.

The programme had something for everyone, from modernised versions of carols such as In Dulci Jubilo to newer Christmas classics by the likes of John Rutter, plus some real crowd-pleasers for the singalongs, including O Come All Ye Faithful and Good King Wenceslas.

Our presenter for the evening was Kadiatu Kanneh-Mason, charming and at ease onstage – she had performed the same role in this show last year, and seemed very glad to be back. Her programme notes throughout the show were peppered with interesting tidbits – did you know, for example, that Mel Tormé wrote The Christmas Song on a boiling hot L.A. summer’s day? – and at one point performed a poem about the trials and tribulations of assembling an artificial Christmas tree, with which, judging by their reactions, a large portion of the audience empathised.

The show’s soloist was mezzo-soprano Kathryn Rudge, a Liverpudlian powerhouse whose voice was a rich and vibrato-heavy accompaniment to the orchestra and choirs, and whose passion for performance was evident in her accompanying expressions and actions to such classics as The Christmas Song, I Could Have Danced All Night and Somewhere Over the Rainbow.

Amidst certainly no lack of talent, the stars of the show to me were the youth choir – ably conducted by Simon Emery, resplendent in a velvet suit jacket – whose harmonies were consistently clear and perfectly-pitched, and the brass section, the warm tones of which came across particularly well in their proud and jaunty Le Chocolat from The Nutcracker, and the jazzy It’s Beginning to Look a Lot Like Christmas.

Towards the end of the concert, our presenter noted that the conclusions of these shows were famed for their reflective endings, which were a time to think of Christmases past and to consider the generations to come. This beautifully set the stage for Silent Night, begun by Kathryn Rudge and then taken up in the original German by the choir. The finale was a hearty and heart-warming audience singalong to O Come All Ye Faithful – encouraged to all stand by the conductor, it really did feel as though the rafters were raised by way of the voices and instruments all soaring together. Spirit of Christmas was a wonderful way to spend a December evening, and you’d be hard pressed to leave the venue without feeling very much in the festive spirit (particularly after the encore of Last Christmas, during which the stage was a blaze of tinsel and Santa hats).

REVIEW: Santa and The Snowman

Published on by roisinlystLeave a comment

Rating: 4 out of 5.

The perfect festive event for little ones to get into the spirit of Christmas, this screening of ‘The Snowman’ with live orchestra and choir of children was a joy to attend.

The Liverpool Philharmonic Orchestra, dressed in various Christmas jumpers and outfits, were accompanied on stage by the Liverpool Philharmonic Children’s Choirs. It consisted of songs, jokes, and of course a screening of ‘The Snowman’ by Raymond Briggs, accompanied by the live orchestra. It was presented by a jolly Santa Clause whose enthusiasm kept the young audience engaged. While the show was clearly designed for children, as an adult I also enjoyed it thoroughly.

There was a lot of audience participation and even a number where we all got up and danced which was great fun. There had clearly been thought put into how to keep the children’s attention and it felt a perfect length; at an hour and a quarter in total, it wasn’t too long.

Watching ‘The Snowman’ with a live orchestra and choir was simply mesmerising, and the children in the choir were fantastic, even using props at times. One thing that could have been improved was the size of the screen as it was quite small compared to the huge stage and orchestra. However, it was still a great concept, put together well, conducted by Michael Sea, and presented by Alasdair Malloy, I’d recommend it to anyone looking for a festive event to take young children to. Check out other festive events at the Royal Liverpool Philharmonic here.

Photo by Marc Brenner

REVIEW: The Wizard of Oz

Published on by roisinlystLeave a comment

Rating: 3.5 out of 5.

A classic story told through generations since 1900, but with a few modern twists added

The show opened with a bang, grabbing the audience’s attention, and then setting the scene with a screen showing rural Kansas. The first 20 minutes were a little slow and hard to follow, but when it picked up it was a spectacular show of energy and fun. A particular favourite element of mine was the music. The instrumental sections highlighted the fantastic orchestra, but the singing was also superb. All round the cast was great but Dorothy, played by Aviva Tulley, was outstanding. Her performance of ‘Somewhere Over the Rainbow’ was both beautiful and powerful. 

Some elements of the show didn’t quite hit the mark, I felt. Toto was portrayed as a puppet, with a puppeteer running alongside him throughout. The puppet itself was beautifully designed and made, and Abigail Matthews worked him very well, but the overall illusion didn’t really work as it was quite distracting to have a person bigger than the dog itself attached to him. Furthermore, compared to other shows I have seen, the set was underwhelming. I felt that whilst there was some clever use of mobile set and cinema, overall there was an over-use of screens and an under-use of set pieces which made it lose the sense of immersion I usually enjoy in theatre.

The dance numbers were fabulous. I was mesmerized by the synchronicity and energy, but the costumes certainly lifted them to another level. ‘The Merry Old Land of Oz’ was particularly good. The costume team beautifully designed and made numerous costumes, adding perfectly into the whimsical feeling of Dorothy’s dream, and the Wicked Witch of the West’s dress was dazzling.

I loved the characters of the Tin man and the Scarecrow. The way their physicality was directed and performed made them really feel like they were made of straw and metal. Aston Merrygold was brilliant as the Tin Man and definitely lived up to the expectations of his celebrity status. He was able to move so wonderfully robotically, which was all down to his amazing dance skills. Benjamin Yates stood out too – he was a fantastic scarecrow bringing comedy and a slapstick agile energy to the stage. Drag Race winner, The Vivienne, also lived up to her reputation and delivered a great Wicked Witch of the West; her makeup too was stunning.

Overall, this show was fun and had some fantastic performances, but the slow beginning and lacklustre set design meant it was not quite on par with other musicals.

AB Photography

REVIEW: Stocking Fillers at the Royal Court Studio

Published on by williammarsden2002Leave a comment

Rating: 5 out of 5.

A collection of 10 minute ‘stocking filler’ short plays demonstrate the best of Christmas theatre. The four strong cast brought laughter and thought provoking reflection to the Royal Court Studio

Each of the seven performances approached the season from a different angle, freeing the exceptional cast to bring to life stories from the ridiculous to the deeply familiar. One of the stories in particular was an emotional one-two, garlanding comedy around a scene of profound sadness. Within that story credit must go to Charlie De’Ath who played his role so superbly that a reminder that he is an actor playing a role (via a sign reminiscent of Love Actually) was well needed. Jamie Peacock brought an enthusiastic energy to each scene, from a jaded victim of the Christmas blues all the way to an angel earning his wings. As a recent graduate of Liverpool’s own performing arts school, Jamie brought plenty of LFC knowledge delivered with the proper resonance and respect. 

I cannot praise enough the skill of the writers; each play was brilliantly complete. All of the seven plays felt fully formed, made all the more impressive as each had to be delivered in less time than it takes to get up from the couch after the 5th round of Quality Streets! I also want to round out this review with praising the rest of the cast. Charity Bedu-Addo performed some of the funniest physical comedy I have ever seen, playing an understandably furious Mary in Jacqui Dunn’s modern twist on the nativity. Angela Simms’s performance of an elf with some negative (putting it mildly) attitudes to the workplace was met with resounding laughter, especially amongst those of us who have worked in the retail industry in December!

If you will briefly follow me along with a festive metaphor, whilst a Christmas dinner is built on roast potatoes and whatever choice of centrepiece you desire, it needs complimenting with gravy and controversially sprouts. The use of projected images and performing in the intimate Studio space really complimented the performances. The space perfectly matched the atmosphere, giving the cast room to work but also keeping a cosy family feeling befitting the season. Of note, at the end of the performances the cast returned to stage and led the audience in a rousing song which covered the seven themes. This really made it feel as festive as possible despite the rain and general gloom which has settled over Liverpool recently. 

This collection of plays follows in a proud Dickensian legacy of short stories, this ‘stocking filler’ format was brought back from last year and I will be vocally campaigning for it to be added to the selection box of Christmas traditions. Personally Christmas can at times feel like a sensory overload, these performances are perfect for those who fancy a break to sit back, have a laugh and witness some fantastic talent; both in terms of actor talent and writing skill. I hope you will take this review as an encouragement to try something new, as an addition to the usual pantomime fare. As a parting note, there’s still time to catch this run, the Royal Court Stocking Fillers concludes on the 30th.