No sweat? Well yes, plenty

Sweat: Royal Exchange, Manchester

Lynne Nottage’s Pullitzer prize winning drama I’d not seen before, so I was unsure
what to expect. But I was struck by the sense of responsibility this piece of theatre
has, to provide a snapshot of real lives, and how well this production shouldered that
responsibility.

Set in both 2000 and 2008, the story jumps between past and present, explaining
how all of the characters’ lives in a small town in Pennsylvania change inexorably
during that time frame. Against a backdrop of a Bush administration, the Lehman
Brothers financial crisis and ordinary residents in industrial towns across America
suffering redundancies and worse, this play invites you in to view the lives of those
residents and the impact the changing economic climate had on them socially.

Best friends Tracey (Pooky Quesnel) and Cynthia (Carla Henry) work at the local
factory. They have always worked there, as have their fathers, and their sons are
both just starting out there too. To have a job there is to be part of the ‘in’ crowd. You
don’t interview to work there, you have to know the right people.

Cynthia dreams of more than working on the factory floor, and when a supervisory role comes up she goes for it, also encouraging Tracey to go for it too. Problem is, Cynthia gets the job, causing ructions not just with Tracey but with her other friends and co-workers too. And when the political and economic landscape begins to change, the impact ripples through the staff at all levels and tensions run high.

The script is clever, funny at times, on occasion there’s a gasp out loud from the
audience when a particularly poignant or offensive line is spoken, but what came
across most is the sense of tension building. It builds for a very, very long time. At
the end of the first half it feels like something big is coming, that there must be a
major event in the offing, but re-joining the play in the second half the energy was
almost exactly the same.

The characters in Sweat go on a big journey, and though each individual role was played well, I am not sure that the deep feelings the production wished to conjure were quite there. When the major event finally happens, it seems like a little bit of an anti-climax. Running at 2 hours 30, the production doesn’t so much feel like it takes its time to get going; it’s more that once it has got going it doesn’t quite take us up to the edge and tip us over.

The set is interesting – the Royal Exchange is in the round, and has an industrial feel
to it, making this a fitting environment for the show, but I wonder if some of the
claustrophobia that the characters are feeling is lost in translation due to how easy it
is to get on and off stage, that they are often not physically that close, projecting their
non-mic’d voices (albeit beautifully) in a way that does not allow for those intimate
moments.

The use of props, particularly in the bar scenes is fantastic; bar manager Stan
(Jonathan Kerrigan – Heartbeat, Casualty) and bar tender Oscar (Marcello Cruz)
spend a lot of time undertaking the general ‘business’ of running a bar – opening
beers, clearing away, tidying up, cleaning. It is fascinating to watch and beautifully
choreographed. The bar scenes feel natural and this is in no small part down to both
who play their roles in a very real and genuine way.

There are some stand out performances in this show, in particular Carla Henry playing
Cynthia, her alcoholic, doped up husband Brucie (Chris Jack) and Abdul Sessay who
plays their son. This trio work brilliantly together, and this was a strong professional
stage debut by Sessay having graduated from Guildhall in 2023.

This is a clever, well organised and choreographed version of a fascinating snapshot
into recent American history, by Olivier award winning director Jade Lewis, and something that I am glad to have seen.

Jennie Eyres

Sweat runs at the Manchester Royal Exchange until 25th May 2024.
http://www.royalexchange.co.uk/sweat

The enduring appeal of scandal

The School for Scandal, York Theatre Royal

Living my teenage years in the nineties, The Fresh Prince of Bel-Air was never off my screen for what seemed like the whole of the decade. I loved the following the highs and lows of Will Smith, the Banks family and their butler Geoffrey in Los Angeles.

So now as a 40-something living in York it was a strange but delightful surprise to see the Fresh Prince’s butler, Joseph Marcell, in a 1777 farce in my local theatre.

The School of Scandal, showing at the York Theatre Royal until tomorrow, is a bright and breezy modern take on Sheridan’s witty comedy of manners. A tricky task, as the original set out to explore the hypocrisy and gossip of London’s high society in the late 18th century, and this version takes us forward to the 1950s.

But gossip never goes out of fashion, and here’s a tale that’s deliciously naughty and outrageously silly, with a lot of over-dramatic posturing that the cast rise to with glee.

Marcell is outstanding in the role of Sir Peter Teazle, a respected wealthy man who is contentedly enjoying his riches when he is finally ensnared by a young wife. When he starts to believe – mistakenly – that she is sleeping with someone else, then she starts to think that if her husband believes it, she may as well give it a go. After all, if you’re going to cause a scandal, you might as well enjoy it…

The local gossips are delighted, the well-named Mrs Candour, Backbite and Crabtree, who love to tell stories and put the cat among the pigeons. And we think that gossip is a modern concept!

Marcell steals the show with great stage presence and brilliant timing and delivery, and another standout performance came from Garmon Rhys who doubled as Charles and Backbite. In fact, the doubling-up of characters throughout was particularly impressive in this production, brought to the Theatre Royal by Tilted Wig and Malvern Theatres in association with Theatre by Lake, and directed by Sean Aydon.

Tim Farr

Details and tickets: https://www.yorktheatreroyal.co.uk/show/the-school-for-scandal/

Box office: 01904 623568

New creative director for Royal Exchange

Selina Cartmell has been appointed as Creative Director for Manchester’s Royal Exchange Theatre. She will take up her new role in August and her first programme will begin in 2026 for the theatre’s 50th anniversary year. Selina Cartmell is an award-winning theatre-maker, director and producer who grew up in Cumbria. From 2016-2022 she was Artistic Director of the Gate Theatre, Dublin where she re-invigorated the artistic vision and programmed and commissioned seasons of world-class productions with leading Irish and International talent. She grew new audiences, significantly diversified and championed emerging artists and transformed gender equality.

Royal Exchange Theatre Chief Executive Steve Freeman said: “I am genuinely excited about Selina’s appointment . She brings with her a wealth of experience, and her inspiring vision excited us during our extensive recruitment process. She demonstrated a deep understanding and respect for the extraordinary artistic legacy of the Royal Exchange Theatre and is clearly passionate about the theatre’s relationship with audiences both existing and new. In her role as Creative Director, alongside her team, I’m confident she will deliver outstanding artistic programmes, with some of the most interesting artists and creative partners. “Selina’s arrival at the Exchange will add to Greater Manchester’s vibrant cultural offer and will strengthen the Royal Exchange Theatre’s position as one of the UK’s leading full-time producing theatres ahead of, and beyond, our 50th anniversary.’ Selina Cartmell said: “I am thrilled to be joining the team at the Royal Exchange Theatre at such an important and exciting time. As a teenager, I vividly remember the first time I sat in the theatre’s unique and immersive in-the-round auditorium and experienced the transformative and connective power of its artist-audience relationship. Its architecture creates a community where everyone belongs, a democratic space where storytelling feels essential, radical and meaningful. It is a great honour to return home to the North West and to creatively lead this pioneering theatre, continuing the traditions of world-class, visionary and adventurous programming.”

Fiddling with tradition

Fiddler on the Roof, Joseph Rowntree Thteatre, York

The award winning company  NE Theatre York is in the Joseph Rowntree Theatre this week with the traditional musical Fiddler on the Roof.
Although the opening number is called Tradition there is nothing traditional about this production. Steve Tearle has directed and crafted this version with a completely modern take that somehow brings this 60 year old musical bang up to-date.
The story tells of humble Tevye who considers himself a modern man but is faced with three strong willed daughters,Tzeitel, Hodel and Chava, who wish to take their lives into their own hands … and marry for love. They do not want to follow the Jewish traditions but to live a life they chose themselves. A musical that gives a fantastic platform to women giving them their very own voice.
Set within a backdrop of a Jewish community forced out of their homes under a Russian regime and fleeing the land they love, the story is as thought provoking and as current today as it was then.

The show is beautifully crafted by Steve Tearle assisted by Finlay Butler. Joe Allen, Musical Director, has brought the sound that made the movie and the show of the same name so famous and memorable, his orchestra sounded sublime.
Melissa Boyd’s choreography has brought a modern twist while still keeping to the authentic moves of the time.
The highlights for me were the opening  number Tradition , the bottle dance and the dream sequence which were all stand out moments, with strong performances throughout the show from everyone. The ensemble were in great voice with such amazing songs throughout the show, including Sunrise Sunset, Miracle of Miracles, Matchmaker and If I were a Rich Man .
Perri Barley plays Golde, often not recognised as a strong role but not in this production; she is in fantastic voice and acts the role with immense authority.
Tzeitel ( Maia Beatrice) brings her character to life, while Hodel ( Rebecca Jackson ) has one of the standout songs of the show, that I must admit, brought a tear to my eye, so beautifully sung.
Chava (Elizabeth Farrell) protrays a frail character but her dramatic scene with her ‘papa’ must be seen to be believed.
Stand out performances too from Finlay Butler (Motel), Kit Stroud (Perchik) with a great accent and in good voice; Callum Richardson (Fyedka ) is totally believable in the role, and Ali Butler Hind (Yente) has fantastic comedic timing. Noteworthy mentions for Chris Hagyard (Lazer Wolf), Pascha Turnbull(Fruma-Sarah), James O’Neill (Reb Mordcha), Toby Jensen and Kelvin Grant all did themselves proud.
Last but not least, known as York’s very own PT Barnum, Steve Tearle ( Tevye ) whose performance is masterful, his sensitivity and strength carries the show as he navigates through the story.
Everyone is so committed to this show I wish them all the best for the rest of the week.
Performances are until Saturday (April 27) with a matinee on the Saturday.
Tickets are available from josephrowntreetheatre.co.uk

Diane Turner

Words by the Water

The most scenic of literary festivals returns to the Lake District this summer when Keswick’s Theatre by the Lake once again hosts Words by the Water.

Described by festival co-president Melvyn Bragg as “the jewel of literary festivals” the event runs from June 5-9 in the lakeside location.

Highlights include events that explore Shakespeare’s language with Ben and David Crystal, spirituality with Marie Elsa-Bragg, the ongoing conflict in Ukraine with journalist Luke Harding and comedy with Robin Ince and Natalie Haynes.

Regional talent features strongly across the festival programme, from Bookcase Day and On our Doorstep Day which highlights Cumbrian writers, to radio personality Stuart Maconie, Kerry Irving (and the dogs) and Helen Rebanks on her debut book, The Farmer’s Wife. Other themed days include Women and History, Journeys and Identity and the Self.

In addition to author talks and discussions, there’s an array of music, theatre and workshops to enjoy across the weekend. Experience the one-woman show by theatre company On a Role, which delves into the life of beloved children’s author, Enid Blyton, tap your feet along to the Bookshop Band and get creative in an interactive workshop.

Speaker and Guardian Journalist Polly Toynbee said: “During the past two decades, for so many book lovers (and authors) the calendar reminds us to head to Keswick and a trip to Derwentwater for the stimulation, fun, companionship (and good eating) of Words by the Water.”

Leah Varnell, Festival Director, said their team was now working with Lucy and Gwenda Matthews of Bookends bookshop to bring debate, discussion and entertainment. Lucy Matthews, Bookends Director said: “We are delighted to have an increased role in programming this much loved festival. We hope that everyone will leave feeling restored, nourished and revitalised by the wealth of words and ideas on offer.”

Marie-Elsa Bragg, Festival Co-President said: “Cumbria has a profound literary history to build on. Words by the Water has brought writers to experience the wild beauty of our mountains and lakes whilst readers of every generation share and debate their ideas. This year, I’m grateful to have been asked to step forward again as co-president in the hope that this cultural hub will continue.”

Words by the Water, 5 – 9 June. Box Office 017687 74411

enquiries@theatrebythelake.com

www.theatrebythelake.com

An Ideal Husband

Carlton Theatre Group are staging Oscar Wilde’s An Ideal Husband, directed by Patrick Briône, at the Studio at New Wimbledon Theatre.​​
It’s a title that may well strike fear into the hearts of women on that infamous search for their ideal husband, but this production of Oscar Wilde’s classic promises to deliver comedy, drama and scandal in cascades; all set against the opulent backdrop of London’s high society in the 1890s.
The cast of this play presents a powerful female tour de force, bringing to life the infamous Mrs Cheveley, demure Lady Chiltern, sparky and youthful Mabel Chiltern and the luminous Lady Markby.
Lady Chiltern and her husband, seemingly the ideal man – upstanding, honourable, attentive – have the perfect London life with their close circle of friends from all the most notable families around. But all is thrown into question when her husband’s integrity is called into question, when his past comes back to haunt him.

Mrs Cheveley is a woman on a mission – for wealth, power and the thrill of winning – and she’s got her eye on her old school nemesis Lady Chiltern’s prize: her husband.
Mabel Chiltern is the vision of English prettiness, with a wit that would silence the Commons. She may have met her match though in the notorious Lord Goring, famous for his extravagant living and for having an answer to everything. But what is in Lord Goring’s past that ties him to Mrs Cheveley and her devilish schemes?
While these three women work their wiles to best their competition, the party swirls around them, with any moment of silence filled by the trills of Lady Markby, spilling all the high tea everywhere she goes.​
Written by Oscar Wilde in 1894, An Ideal Husband is a biting satire of Victorian politics, morality and relationships. With almost every line a quotable example of Wilde’s famous wit, the hilarious dialogue sits atop a much weightier story, combining both deep cynicism about British society and inspiring hope in the redeeming power of love and forgiveness.​​
The play, with its story of a celebrated man leading a double life with a scandal waiting to be exposed, also mirrors Wilde’s own life. On the last day of the play’s opening run in 1895, Wilde was arrested for gross indecency after the exposure of his homosexual lifestyle, bringing a tragically early end to his own brilliant career. 
Playing at the Studio at New Wimbledon Theatre, the show will open May 14, and run until May 18, every evening at 7:45pm, with a 3pm matinee performance on the Saturday. Tickets here.

Oh Mr Darcy!

The divinely funny, award-winning and critically acclaimed Pride and Prejudice* (*sort of) is heading to York Theatre Royal later this year.

Direct from the West End, the show won the Best Comedy Olivier Award in 2022. It is adapted from the Jane Austen novel by Isobel McArthur, winner of the Rising Star Award in the Evening Standard Theatre Awards.

Photo: Mihaela Bodlovicast

The show is a unique and audacious retelling of Austen’s most iconic love story. Men, money and microphones will be fought over in this irreverent but affectionate adaptation where the stakes couldn’t be higher when it comes to romance.

The production features a string of pop classics including Young Hearts Run Free, Will You Love Me Tomorrow and You’re So Vain. It plays at York from Nov 4-9. Details: www.yorktheatreroyal.co.uk 

York Theatre Royal has welcomed and entertained the people of the city and beyond by offering a rich and diverse programme of creative activity for over 275 years. It is one of the UK’s leading creative producers and presenters, constantly building on its reputation for producing high quality and ambitious theatre with highly regarded productions of new commissions, extraordinary site specific and large-scale community shows and each year delivering a pantomime of national renown. The theatre strives to be innovative, far-reaching and proactive in helping its entire community to live creative lives and has an engagement and participation programme that is nationally recognised and admired.

Variety is the spice of life

The best of entertainment for the best of good causes is promised to Yorkshire audiences with That’s Variety.

It’s a showcase of brilliant talent which will be playing at the Joseph Rowntree Theatre in York, to raise funds for Cancer Research UK, on Friday May 3.

First class music will be provided by BBC’s All Together Now, outstanding musical theatre vocalist Steven Yallop, and The X Factor and Eurovision Song Contest
singing superstar Holly Tandy.

Holly Tandy

There will be marvellous illusions from Mr West End Magic, Oliver Tabor. Comedy will be provided courtesy of hilarious vocal impressionist and variety entertainer, as seen on the London Palladium stage, The Man They Call G , and award winning standup comic Jack Gleadow.

Also appearing is Andy Eastwood, maestro musician and cruise favourite, who had many appearances on the Ken Dodd Happiness Show.

Oliver Tabor

The show will be compered by Yorkshire entertainer Greg “Greggles” Sellers.
Tickets are available now from the Joseph Rowntree Theatre box office, 01904 501935 or website http://www.josephrowntreetheatre.co.uk. Tickets are £16 (standard), £14 (18 and under and 65 and over).

Taking Tess to the circus

Ockham’s Razor, the UK’s foremost circus theatre company, brings Tess, a bold new vision of Hardy’s classic novel Tess of the D’Urbervilles, to York Theatre Royal next month.

Tess uses the original text combined with the physical language of circus, allowing the performers to re-tell the well-known story of power, loss and endurance through a feminist lens. Hardy’s classic novel still has extraordinary relevance for contemporary audiences as it explores questions of privilege, class, consent, agency, female desire and sisterhood. 

Tess features an ensemble of circus performers from diverse backgrounds, five women and two men. The cast includes a female actress and a female circus performer who both portray the character Tess.

The company has a long experience of working with reframing the female body with circus, looking at strength, capability and agency. Tess weaves together acrobatics, aerial, dance, physical theatre and the distinctive simple, evocative design of Ockham’s Razor to create Hardy’s world.

Tess is Ockham’s Razor’s first production based on a novel. The script has been written by Ockham’s Razor using Hardy’s own words, with advice from Anne Marie Casey, an acclaimed novelist and screenwriter who has previously adapted Little Women and Wuthering Heights for the stage.

It captures the poetry of Hardy and the philosophical depth of the novel, interweaving Ockham’s Razor’s signature physical storytelling to tell this gut-wrenching story about the strength to endure. 

The cast of world-class circus performers use their strength and circus language to evoke the physical labour of the novel. They will create Hardy’s Wessex onstage, wielding wooden planks, shifting walls, ropes and swathes of linen to make sets that unfold and which the cast balance upon, climb, carry and construct.

Directors Alex Harvey and Charlotte Mooney said: “Tess of the D’Urbervilles has been adapted before for TV and film but it always struck us that the poetry of the book, the radical nature of it and the strength and heroism of Tess was often lost in translation. Over time we became increasingly convinced that circus, and all the physicality of it, would be the perfect medium for capturing all the many elements of the novel. 

“One of the surprises in the creation of Tess is how much joy and humour there is to find in the novel and the staging. There is a seam of joy in there which is captured by the play and collaboration of the ensemble.”

Tess runs at York Theatre Royal from May 8 – 11. Details: https://www.yorktheatreroyal.co.uk/

Clowning around with Shakespeare

A Midsummer Night’s Dream: York Theatre Royal

THE master who created Coriolanus and King Lear and Hamlet was also the master of gloriously unbridled silliness. And here is the ultimate farce, with a bit of slapstick thrown in for good measure.

We’re away with the fairies in the forest beyond Athens for A Midsummer Night’s Dream, but there’s nothing fey about these sprites. For all the glitter and organza, Troy Alexander and Natalie Winsor’s Oberon and Titania are feisty, muscular characters and all the more comical for it, when the spells are cast. Particularly so with Winsor’s wooing of the ass-headed Bottom.

It’s a fast-paced production, a simple three-D set enhanced by fabulous and elaborate costumes (and impressive costume changes) with energetic new music composed by Michael Childs. And lots of innovation and experiment. It’s interesting to see Jeremy Stockwell cast as an older Puck, for example, older, wiser and even more cunning.

Picture by Antony Thompson/Thousand Word Media Ltd

Much is being made of the casting of the clown Tweedy as Bottom, but at first his extended, over-the-top antics felt gratuitous to what’s already a divinely comic show. But when this turned into an ensemble piece towards the end, a terrific finale turned into a crescendo of laughter and song.

For us, if anyone in this great team is to be singled out with a label of excellence, it’s Laura Noble, as the fawning, love-lorn Helen and then, especially, as Flute playing Thisbe in the play within a play. She pouts and flounces with stylish glee. Credit to all with the mutiple roles, of course: Oliver Brooks as Lysander and Starveling, Thomas Nelstrop as Demetrius and Snout (an excellent Wall) , and the little-but-fierce Nadia Shash as Hermia and Quince.

And most of them tripling as the fairies, joined by Emmeline Braefield and Ross Telfer. The entire spectacle is a joy to behold, an escapist fantasy of the highest order. It’s directed by Paul Milton, in association with Cheltenham’s Everyman Theatre, and runs until Saturday.

Tickets and details: https://www.yorktheatreroyal.co.uk/show/a-midsummer-nights-dream/?book=true

Photos: Anthony Thompson: Thousand Word Media Ltd