I have been lucky enough to see many plays at Liverpool’s Royal Court Theatre and I saw numerous live bands play at the venue before it became a dedicated theatre and you always know what to expect. When it was used for gigs you knew you would get the best new music - I saw The Stone Roses and Oasis there as well as the likes of Dodgy, Cast and Space, but you also knew you would get sticky floors, cheap beer and a great atmosphere.
Writing and Performance at their Very Best
Cyrano de Bergerac is a swordsman and soldier but more importantly a poet and wordsmith and we certainly get to delight in these latter two amidst drama and intrigue, comedy and humour, love and romance, pathos and tragedy, in Deborah McAndrew’s masterly and magnificent adaptation of Edmond Rostand’s classic romantic comedy, which continues her impressive run of foreign language adaptations.
I think it’s important to preface this review with the fact that my friend and I were seemingly the only people in the audience who didn’t know any children in the show. Not that this dampened our experience of it, as the children were absolutely the best part, but I’m sure had we been the parents of one of those little super stars, my review may have been a little different.
Spring Awakening, by Luna Theatre Productions, is a project which began in May 2016 and it is completely self-funded by the students from Liverpool Institute for Performing Arts, alongside their studies and various other projects.
A Clever Interpretation Of A Celebrated Comedy
Over one hundred years after it was written, Headlong’s modern interpretation of Pygmalion, Bernard Shaw’s damning indictment of Edwardian Britain on the verge of radical change, is timely as its subject of class division still remains at large in our now multi-cultural society whilst the raw wounds of Brexit appear to have cut across the usual social boundaries.
Another trip to the fabulous Empire Theatre in Liverpool this evening – they really know how to take care of their guests.
I’m just going to jump right in to the main event... I’ve have seen this show several times but always enjoy seeing it with a new cast and this was no exception – the casting was excellent and each actor played their character well.
Fiddler on the roof is a very popular show in fact it held the record for the longest-running Broadway musical for almost ten years. Set in Russia, the year is 1905, we meet a Jewish man by the name of Tevye who attempts to maintain his Jewish religious and cultural traditions, problems arise when his three older daughters wish to marry for love.
Adapted by David Wood and directed by Max Webster, Leicester Curve and Rose Kingston present Roald Dahl’s The Twits - an interactive family-focused feast of fun!
The theatre was buzzing with anticipation as I took my seat, the audience consisting mostly of young families, their children chattering, eating and drinking. Into the audience came Jack Horner, Liz Jadav, Luke Johnson, Alex Chang and Charlotte Workman. Their focus was on the children, welcoming them and encouraging them to join in with the shouts and songs in the show.
It’s a good time to be Joanne Clifton. After successfully sashaying her way to the Strictly Come Dancing final with Ore Oduba where they both managed to score the prestigious glitter ball, she now stars in Broadway’s award-winning musical comedy, Thoroughly Modern Millie. Her dance and choreography skills which audiences have witnessed on the BBC show are unquestionable; however, she surprises audiences by equally shining vocally as well with admirable effort and ease. Starring alongside well known soap star actress Michelle Collins, Clifton brings charm and hopeless innocence to the character of Millie Dilmount; a small-town Kansas girl with big dreams of moving to New York, marrying a rich man and like any fairy tale, live happily ever after.
As the news constantly reminds us immigration is a global issue; from Trump and Trudeau’s contrasting statements, to the Dubs scheme and the Stoke by-election, everyone seems to be debating the plight of asylum seekers and declaring their own position. Amongst this melee, Glasgow Girls feels incredibly current and vital, exploring a pressing issue with humour and insight as it attempts to challenge audiences beyond stereotypical interactions and reactions. The fact that this musical is entering its fifth year indicates how far we are from finding a solution to one of the biggest contemporary problems facing the world.
It’s December 4th 1956 in Memphis, Tennessee, at a small recording studio called Sun Records. We meet the owner Sam Phillips (Jason Donovan) and one of his artists Carl Perkins (Matt Wycliffe), in session. Carl’s brothers are playing bass and drums with Sam’s newest signing at the piano, Jerry Lee Lewis (Ashley Carruthers). Another Sun Studio artist pops in, Johnny Cash (Robbie Durham) and the creativity increases. Finally, with his girlfriend Dyanne (Katie Ray) arrives former Sun Studio artist Elvis Presley (Ross William Wild). What follows is an evening that went down in history. A jam session that was never repeated, from a quartet of talent that was later dubbed the ‘Million Dollar Quartet’ by Memphis newspaperman Bob Johnson the following day.
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