One of the main challenges for any production – and particularly musical theatre – is that there are usually only 3-4 key roles with the remainder making up the cast. How do you keep everyone on board? Well for Rainhill Musical Theatre Company – which is blessed with an array of talent – the answer was quite simple: you call for Bryan Dargie and let him loose on every part of this production of over forty numbers and where each cast member gets to shine, whether it be in solo, duet, a group, or full company number.
Habeas Corpus in a farce written in the early 1970s by Alan Bennett taking a satirical look at the “permissive society” and British middle class values. Keyhole Theatre Co’s production, directed by Ann Bates, assisted by Nadege Josa, combined the farcical elements of Bennett’s script with the bittersweet message embedded in the script.
The Liverpool Network Theatre Group present Henrik Ibsen’s ‘A Doll’s House’ directed by Donna Day this January at Hope Street Theatre and what a challenge they have taken on with such a historic piece but have they bitten off more than they can chew? The evening begins with the venue ‘Hope Street Theatre’ which is always a pleasure to visit thanks to a beautiful bar and social room that makes you step back in time to relax and enjoy some of the best genuine, vintage décor you’ll find.
After a hit show at Liverpool’s Royal Court earlier this year, Our Bev is back with her new one-woman Christmas performance. An absolute celebration of everything scouse in one “boss” show, Our Bev’s Christmas Cracker makes for a fantastic festive night out.
Like the ubiquitous turkey, Dicken’s A Christmas Carol is served at this time of year in a variety of formats, some seeking the traditional route to success with the classic treatment and others seeking to provide something new and fresh. Spymonkey, with their roots firmly based in physical theatre and clowning, have opted for keeping the classic elements of the tale, while spinning off into surreal tangents with such sheer joy that even the most die hardened purists would find it impossible to resist.
After seeing LIPA’s dance students perform a few weeks ago, I was excited to get the opportunity to see what the third year acting students had to offer in their latest show: La Bête. David Hirson’s play tells of a French theatre company and how their dynamic changes when the reigning Princess encourages them to allow new actor in the area Valere to join their troop. Hirson’s writing is fantastic! He could easily be spoken of as a modern day Shakespeare!
‘D’ for “disability, different.. Delicious”.
A night of humour and heart-warming stories.
The thought provoking play makes us question how we see those with disabilities, not only in everyday life but particularly in the arts.
Gary Barlow and Tim Firth’s hit musical Calendar Girls: The Musical (formerly Girls) is out on a major UK tour after having successful runs in Leeds and on the West End. The musical tells the story of the group of women in a WI in Yorkshire who decide to make a nude calendar to buy a sofa for the local hospital, but primarily tells the stories of those individual women.
In the heart of Liverpool’s nightlife scene, up and coming theatre company Succour Punch took over the basement at Heebie Jeebies with their new production ‘Stripped’. The production took various aspects of the 21st century sex life and explored the politics behind it. The company did a fantastic job of getting a balance between finding the comedy in the themes explored and showing the more sinister and traumatic side to it.
The Unity Theatre continue to showcase excellent entertainment tonight as part of DaDaFest which is an innovative and cutting edge disability and Deaf arts organisation based in Liverpool. This November, ‘DaDaFest International’ aims to inspire, develop and celebrate talent in various art forms that all aim to challenge stereotypes and celebrate disability and D/deaf cultures.
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