Preview: Same Same Different at Durham Gala Theatre

Same Same Different

Durham Gala Theatre

Saturday 4th May 2019

Written By Naomi Sumner Chan

Directed By Alyx Tole

Produced By Benedict Power

Commissioned by Eclipse Theatre in partnership with York Theatre Royal and Pilot Theatre.

Same Same Different is an original and affecting new verbatim play about adoption, identity and belonging that gives adoptees from all over the world the chance to share their adoption story in their own words. It will be at Durham Gala Theatre on Saturday 4th May.

Inspired by writer, Naomi Sumner Chan’s own experience of being adopted from Hong Kong into a White British family, the play invites the audience to join Naomi in exploring her personal and cultural identity. She connects with many other adopted families and individuals, who we meet along the way, with a diverse ensemble of actors presenting the many different voices, identities and experiences that Naomi encounters.

“As a Trans-racial adoptee myself, I wanted to create a piece of work that prioritised the adoptee voice and put that front and centre. Often adoption narratives are Adoptive Parent centric and focus on the parent’s story or the process of adoption. This play is different as it provides adopted children and adults the opportunity to tell their own stories in their own words.”

Adoption Isn’t The End Of The Story But The Start Of A Whole New Life!

“The focus is on day to day family life and dynamics in their adoptive family, and their sense of place and self rather than the adoption process. The aim is for adoptees to speak honestly and explode some of the myths and misconceptions around adoption. I hope the play will be helpful for adoptive families who may be struggling with bonding and cohesion to feel less alone, by knowing other people are going through or have experienced similar situations.”

By focusing on what adoptees perceive as the similarities and differences between themselves and their family members, Naomi asks: does nature or nurture most influence a person’s identity? A question that ultimately leads her back to her own sense of self and where she feels she belongs.

“I think the initial premise - the idea that an adoptee can feel alienated from their family or have differences of feeling - was something that I had never really thought about before. It was really interesting to hear those perspectives, and also to know that they were verbatim, from interviews, that really was exciting and interesting.” Lucy Hammond – Pilot Theatre

Extensive research, continued engagement with adoptees, and the verbatim text makes this an authentic story, and audiences can find out more about the realities of the life of adoptees through discussion after each performance with the writer and invited guests; including other adoptees, social workers and academics.

While celebrities such as Madonna and Angelina Jolie have raised the profile of Trans-racial, inter-country adoption, the practice has recently come under scrutiny. In 2017 the Netherlands considered a ban on inter-country adoption, following a report published by the Ministry of Justice that found the adoption process can be used as a front for child trafficking, and last year Ethiopia placed a ban on adoption of children by foreign Nationals. With respected and established organisations like Comic Relief recently being accused of a ‘White Saviour’ approach to support for developing countries, strong feelings and differences of opinion are emerging around these complex inter-cultural relationships.

Yrrah Van Der Kruit, an advisor at the Council for the Administration of Criminal Justice and Protection of Juveniles and one of the Dutch report’s authors, said: “If we really want to help the child, [inter-country] adoption has to stop.  For as long as rich countries continue to drive a market of adoption from poorer countries, we will have this problem, and the poor countries will not put the necessary developments in place to support their own children.”

Commissioned by Eclipse through their SLATE programme - designed to promote and develop work by BAME artists in the UK - the play has been developed in partnership with York Theatre Royal and Pilot Theatre. This North of England tour is also made possible through support from Arts Council England and The Unity Theatre Trust.

“It was interesting to hear verbatim, the perspectives of adoptees and is a reminder of the impact our decision making has on children." Social Worker – Caritas Care

Naomi began writing for the stage in 2013 with work performed at Oldham Coliseum Theatre, The Arcola and Theatre 503. An alumni of the National Theatre’s Step Change programme, Naomi also works as a freelance script reader for The National Theatre Studio, The Royal Exchange Theatre, Sheffield Theatres and Papatango. She has recently completed the ADLP Leaders of Tomorrow programme, a leadership course for BAME creatives who want to change the face of British theatre and was also selected for the Artistic Directors of the Future Board Shadowing Programme in Yorkshire.

On The Web:

Web:               www.brushstrokeorder.co.uk

Facebook:      www.facebook.com/brushstrokeorder/

Age Guidelines: Suitable for children 12 and over.

Tickets:

Same Same Different will be at Gala Theatre, Durham on Saturday 4th May at 8.00pm. Tickets are £12/£10 and available from https://www.galadurham.co.uk/galapost/same-same-different/  or by calling the box office on 0300 266 600.

Preview: Silent Lines at Newcastle Dance City

Russell Maliphant Company Announces Newcastle Date On UK Tour

Silent Lines

Newcastle Dance City

Saturday 4^th May 2019

The Olivier Award winning Russell Maliphant Company has announced that the anticipated new work, Silent Lines is coming to Newcastle on 4^th May 2019; a ground-breaking new dance production with video artist Panagiotis Tomaras and new team of exceptional dancers.

   

Silent Lines draws upon Maliphant’s tireless research and explorations in dance and experiential anatomy using a unique mix of movement, animated video projection, and lighting. The piece investigates a range of poetic possibilities, using the visually rich and resonant connections between internal and external worlds, the microcosm and the macrocosm.

  

Drawing on methodologies from a variety of movement disciplines to examine qualities and setting these within a world of animated light, Silent Lines explores the endless web of connections we encompass and embody.

Russell Maliphant Company was established in 1996 as the framework for Maliphant to initiate productions and to work with his own ensemble of dancers. Since that time, the company has received two Olivier awards, three South Bank Show awards and three Critics’ Circle National Dance awards for best modern choreography, amongst many other national and international awards and nominations.

  

In April 2018, the Russell Maliphant Company became one of Arts Council England’s National Portfolio Organisations. This brings an exciting new chapter to the company’s history, becoming Company in Residence at DanceEast, Ipswich.

  

Russell Maliphant says “For this project, I have chosen to delve into the resource of studies and explorations I have made over the years in anatomy, biomechanics and in particular the body’s fascial system in relation to movement training and choreography.  Allowing that to be the theme to inspire and effect the creation, Silent Lines investigates a range of poetic possibilities, using the visually rich and resonant connections between internal and external worlds, the microcosm and the macrocosm. Drawing on methodologies from a variety of movement disciplines and setting these within a world of animated light, this creation explores the endless web of connections we encompass and embody.”

  

Silent Lines is co-produced by Sadler’s Wells, and supported by Arts Council England, Cockayne, The London Community Foundation, DanceEast and Ipswich Borough Council. Private supports include, Sandy & Jake Ulrich and Jules Burns.

‘Dance City is absolutely thrilled to be welcoming this award-winning company to its theatre this Spring. Russell Maliphant’s reputation for creating high quality, ground breaking work precedes him and it’s a pleasure to be bringing his latest piece Silent Lines to our audience here in the North East.’

Photos: Julian Broad

Tickets:

Running time: approx 1 hour and 30 mins (including interval)

Age: All

Tickets: £16.50

£8.00 students & under 18s,

£13.00 concession

To Book: https://www.dancecity.co.uk/performance/99898/silent-lines-russell-maliphant-company/

Preview: Chicken Licken: A TaleJam at Durham Gala Theatre

North East theatre-makers give family tale a musical makeover

Chicken Licken: A TaleJam

Durham Gala Theatre

Sunday 14 - Monday 15 April 2019

A trio of North East theatre talent will flock to Durham with a performance of a children’s classic this Easter.

Chicken Licken: A TaleJam tells a traditional story, with a modern musical twist. The musical storytelling experience for all the family, which plays  at Gala Theatre during the April school holidays is also touring to schools, libraries, community centres and theatrical venues across the region, and is being produced in partnership with some regional favourites.

Based on the well-known folk tale, Chicken Licken, this story may be familiar to children across the world and has inspired two Disney animations, but audiences at Gala will be able to explore the old folktale told in a new way with fun, fake news and feathers.

The show is narrated, written and directed by north east theatre-maker Ruth Mary Johnson, the director behind top selling children’s shows such as Izzy Gizmo: a Story Gig, Do Not Enter the Monster Zoo, Hey Presto!, Man on the Moon and The Worst Princess, and most recently, director of The Winter’s Tale for young audiences for the National Theatre.

Calum Howard and Ruth Mary Johnso
Photo: Richard Kenworthy

Ruth said: “I’m so excited to be working with Gala Theatre to create Chicken Licken: a Tale Jam and cannot wait to meet our audiences on tour, particularly in my native north east, who will help us to “Tale Jam” this feathery tale of fake news and fun . A Tale Jam is a bit like a Story Gig and the show starts with a band about to play a gig until something unexpected happens. I have always been interested in how performers and audiences can share ownership of the story being told and our audiences will play a key role in deciding what happens.”

Newcastle-based composer, actor and musician Calum Howard will take on the role of the villainous Foxy Loxy. Calum has toured across the UK and Europe with several bands, and has played several live radio sessions on BBC 6 Music, performed on Later with Jools Holland and supported Placebo on their 20th anniversary UK arena tour. Calum composes soundtracks for films and animations, performs live cinema scores, and continues to perform and release music with the live electronic band Grey Tapes.

Calum Howard  -  Photo by Richard Kenworthy

Calum is also an experienced pro when it comes to telling a tale with a musical twist, having already performed in Ruth’s productions of Man on the Moon, Do Not Enter the Monster Zoo and Izzy Gizmo: a Story Gig. “I am eggstatic to take on the role of Musical Director for Chicken Licken: a Tale Jam and can’t wait to take this storytelling band on the road!”

Northumberland actor Liam Scarth will play Chicken Licken. Liam, who trained at East 15 Acting school, has performed all across the region and beyond, in shows such as Sherlock Holmes and Robin Hood with the Chapterhouse Theatre Company; Playing Up at Northern Stage; and most recently The Climate Change Project with Cap A Pie Theatre. Liam works regularly with Mortal Fools and Lawnmowers Theatre Company as a facilitator and enjoys creating work with young people in order to boost confidence, self-belief and creativity. He is excited to part of this reimagining of a classic tale.

The show is designed by Anna Robinson, a local emerging designer and recent graduate, who has worked with Ruth on a number of youth projects as a participant.

Robin Byers, manager of Gala Theatre, said: “We’re working with three of the North East’s best performers and producers to bring this classic tale to life. The whole family can join in the antics as our band tells the tale of a young chick who can’t decide what to do.”

Songs from the show can be downloaded after the event, along with a little something extra, so that the musical storytelling experience can continue at home.

Tickets: Chicken Licken: A TaleJam runs at Gala Theatre at 2pm and 4pm on Sunday 14 and Monday 15 April. The Monday 4pm show will include a British Sign Language performance.

Tickets, priced at £7, £6 concession, are available to book from the Gala’s box office, online at www.galadurham.co.uk or over the telephone on 03000 266 600.

REVIEW: Beauty And The Beast at Sunderland Empire

Birmingham Royal Ballet Presents

Beauty And The Beast

Sunderland Empire

Thursday 28^th – Saturday 30^th March 2019

The Ball Scene, Artists of Birmingham Royal Ballet;
 Photo: Bill Cooper

Creatives:

Music: Glenn Buhr

Choreography: David Bintley

Designs: Philip Prowse

Lighting: Mark Jonathan

Conductor: Paul Murphy

Leader: Robert Gibbs

Cast:

Belle: Karla Doorbar

The Beast: Mathias Dingman

Vanité: Céline Gittens

Fière: Laura Purkiss

The Merchant: Valentin Olovyannikov

Monsieur Cochon: Tom Rogers

Wild Girl: Laura Day

Raven: Lachlan Monaghan

Woodsman: Rory Mackay

Bailiff: James Barton

Grandmere: Beatrice Parma

Photo: Bill Cooper

The Birmingham Royal Ballet have returned to Sunderland with a ballet that their Director David Bintley jointly created with Canadian composer Glenn Buhr back in 2003. It takes a classic fairy tale and brings it to life through movement and fabulous live music from Royal Ballet Sinfonia that extends in to the stalls.

Photo: Andrew Ross

As the curtain is raised it is clear that we are in for a treat. The show looks sumptuous – the sets and costumes really look the part. Perhaps, less obvious, is a lighting design that enables castles and old houses to look dark and yet for the action to be well lit. This show feels the part before a single step is danced.

Photo: Bill Cooper

The other good news is that the story is closer to the classic version I recall from reading the Ladybird books back in the day rather than any Disney film. Whilst a number of pantos with this title may have fallen into that trap, this show thankfully does not feature any dancing teapots and sticks to the plot. In fact, one of the highlights is when Raven Lachlan Monaghan leads the bigger ensemble into a murmuration of the birds. Nature is better than crockery.

Photo: Roy Smiljanic

So, what happens in this version? A cruel Prince is cursed for hunting a Vixen turning him into the Beast. Some time later a Merchant, with some cashflow problems, heads off to meet up with his ships. He gets robbed during a storm and takes refuge in a castle. The following morning his trunk is returned – filled with gifts – but he still steals a rose for his youngest daughter Belle. This theft upsets the Beast who demands to meet Belle in return for her father’s life. The Merchant heads off home to break the dreadful news.

Photo: Roy Smiljanic

Our interview with one of the BRB’s dancers Brandon Lawrence highlights some of the common myths about ballet. I know the first time I took my son to see the BRB that we were the only lads in the circle of the theatre. Just like last year, a much more mixed audience was present tonight. The other big misconception is that you need to know about ballet in order to follow the action. This is not the case in my opinion. This production of Beauty and the Beast is a well told story that is easily followed. The programme helps explain the action if you were unsure. It is an accessible show – when Beatrice Parma’s Grandmere starting performing during a dance, there was natural laughter from the audience as it was a funny scene.

Photo: Caroline Holden

This is not one of those shows with tutu wearing ensembles dancing randomly in circles all of the time. It is a story, with a clear narrative that relies on a very talented cast including principals such as Karla Doorbar as Belle and Mathias Dingman as the Beast. It has some nice touches of theatre magic as the Vixen turns into the Wild Girl thanks to the Woodsman.

It is also not too long for younger audience members to enjoy – two 47 minute acts separated by an interval help keep the show crisp. It has a good feel and the story moves along with a reasonable pace. Beauty and the Beast is a nice evening at the theatre that is suitable for the family.  

Review by Stephen Oliver

Tickets:

Tickets for Beauty and the Beast: http://bit.ly/BRBbeautyBeast#Ad

Birmingham Royal Ballet - Class On Stage

Ever wondered what a ballet dancer does to prepare for a day of rehearsal and performance? This is your chance to watch an open Company class on stage and find out. Tickets for Birmingham Royal Ballet - Class On Stage: http://bit.ly/BRBclassSund #Ad

REVIEW: West End Girls and Wank Buddies at Ncl Live Theatre

Elevator Festival

West End Girls and W*nk Buddies

Newcastle’s Live Theatre

Until Saturday 30^th March 2019

The Elevator Festival returns to the theatre by Newcastle’s Quayside this week. It is featuring both new plays by, and workshops for, rising talent. We had the chance to see a double bill that will be running again during the week: West End Girls and Wank Buddies.

West End Girls

Written by Adam Hughes
Directed by Jake Smith

Set designer Amy Watts Design

Composer David Barton

Choreographer Chris Cuming

Cast: Amy Allen, Leah Mains and Patricia Jones

Adam Hughes has written a reflective script about the social housing provision in the west-end of Newcastle. Jumping back and forth we have the social history of the region unpacked through the eyes of 3 strong female characters. The news reel footage at the beginning helped set a context.

Starting with Anne who moves from the slums to the fifth floor of the Noble Street development. A change from living in a single room to having space and a spare room – not that Anne’s mother is impressed. After all, what is the point of a spare room?

30 years later, Jane moves into the St Cuthbert’s housing scheme with her baby. Run down and isolated from useful facilities like a large shop, it is badly in need of repair but it is a place to call home. Even if the windows are held together by tape and sometimes it is safer to use a longer route home – at least the place gives Jane a chance to start again.

Another 3 decades later, young Charlie returns from university with her partner to set up home in the Byker Wall development. Rat Boy has long gone and the site is now picking up awards for its professional occupants.

Through use of clear narration it is obvious what is happening to the time line. The 3 actors fill in on other roles such as husbands, partners and neighbours.

Whilst it is looking at a group of people that a Newcastle planning officer referred to as a different species, it isn’t as preachy as it could have been. A nice touch though was using today’s news that “children in social housing blocked from communal playground” to show that there is still a divide.

The actors were believable in their roles and at no point did I feel ‘but they wouldn’t have done that!’ which is to their credit. The ending helped make the production feel worthwhile.

Wank Buddies 

Created and performed by Jake Jarratt and Cameron Sharp 
Movement Direction by Alicia Meehan

Dramaturgy by Anna Ryder

After the interval the pace changes completely as two lads find themselves sharing a bed, in a very pink room, after a party. It is the end of term and two very different lads enjoy the evening in their own way. The straight one is in the kitchen minding his own business. The gay one is enjoying the opportunity to dance to Britney Spear’s Toxic.

They go looking for somewhere to sleep and find themselves in the same room. They were aware of each other but this becomes a first time for a proper dialogue – though that comes after some battling with the sleeping arrangements.

This is frequently delightfully funny. The audience gets a chance to laugh at the absurdity of human relationships and some crazy choreography. The time really did fly by in the company of 2 contrasting characters. A very odd couple given lots of energy by the 2 actors.

Yes there was some socio-political elements: homophobia being an obvious one – but the messages were massaged into a funny series of events. The two lads get to know each other in a physical show that, despite the title, is a lot less shocking than I was expecting. This is a fun piece that has potential for further adaptation.

So, two very different hour-long plays. Both had a message but they didn’t forget to tell a story too. A great show by cast and creatives alike.

Review: Stephen Oliver

Tickets:

Tickets for plays in Elevator Festival cost between £8 and £10, with concessions £8 and £6. Discussions are £3. Live Theatre has extended availability of its concession priced tickets to include all young people aged 25 and under, proof of age is needed when booking or collecting tickets.

To book tickets and to find out more contact Live Theatre’s box office on (0191) 232 1232 orvisit www.live.org.uk/elevator.

  

Preview: The Importance Of Being Earnest at Newcastle People’s Theatre

“To lose one parent, Mr Worthing, may be regarded as a misfortune; to lose both looks like carelessness.”

The Importance Of Being Earnest,

Newcastle People’s Theatre

Tuesday 2^nd – Saturday 6^th April 2019

The People’s Theatre’s next show is The Importance Of Being Earnest, Oscar Wilde’s much loved ‘trivial comedy for serious people’.

Algernon (Richard Jack)
& Cecily (Kitty Parkin)

If you’ve ever wondered where the producers of Made In Chelsea, Love Island and even Who Do You Think You Are? got their inspiration from, then Wilde’s comedy of manners could unconsciously be a point of reference. Bromance, frenemies, unrequited love, murky pasts, double lives and social posturing amongst deliciously superficial people – it’s all here!

Chasuble (Jack Thompson)
and Miss Prism (Alison Carr)

The production moves the action to the 1920s where social anarchy seethes beneath each polished witticism and sparkling one-liner! 

 

Lady Bracknell (Karen Elliott)

Wilde is endlessly quotable, with so many of his lines engrained in popular culture, but perhaps none more so than two little words … “a handbag?”.

Gwendolen (Rachel Scott) and
John Worthing (Colin Jeffrey)

Long-time People’s member Karen Elliott takes on the role of the no-nonsense Lady Bracknell, a part played infamously by Edith Evans onstage and in the subsequent 1952 film. With the best cutting quips and withering remarks, Lady Bracknell casts a formidable shadow over proceedings and has been played by the likes of Judi Dench, Maggie Smith and, in 2015, David Suchet.

 

Merriman (Reg White)

The Importance Of Being Earnest is a fast-paced, sardonic masterpiece that ripples to us across the ages in an endlessly funny exploration of manners, morals and marriage.

Photos: Paula Smart

Tickets:     £14 (Concessions £11.50)
Box office: 0191 265 5020
Website:    www.peoplestheatre.co.uk