REVIEW: The Beekeeper of Aleppo at Newcastle Theatre Royal

 

The Beekeeper of Aleppo

Theatre Royal Newcastle

Until Saturday 10 June 2023

The bestselling chronicle of a refugee couple’s physical and emotional journey to a form of redemption is adapted into a moving drama, well performed by an engaging cast.

Adapting Christy Lefteri’s novel or the stage was an ambitious undertaking by Liverpool Everyman and Playhouse. The story ranges over several countries on its way from Syria to Britain, through numerous characters and involving a great deal of loss, hardship and emotional anguish. Nesrin Alrefai and Matthew Spangler, the playwrights, say in the programme that they wanted to steer a path between the demonisation of refugees and the reductive approach of painting them as idealised victims. It is fair to say that they have broadly achieved that, though they use broader strokes when depicting the attitudes and language of the state representatives encountered on reaching the UK.

The play starts in Britain so there is no suspense about the physical journey’s end but the point of the play is whether Alfred Clay’s Nuri and his wife Afra, played by Roxy Faridany, can endure as a couple and recover from the emotional consequences of their odyssey.

After their contented and successful life in Syria is destroyed by conflict, and after Afra has contracted psychogenic blindness, Nuri and Afra escape to Turkey with the help of the first of a chain of harsh and unpleasant people smugglers. We are unclear as to what has happened to their only child. From there they take a boat to Greece and are stranded in an Athens park until they enter into some underworld dealing to fund their onward trip to the UK. The incidents that occur here have a profound effect on their already strained relationship. Along the way, Nuri befriends a small boy who later unaccountably disappears.

Nuri’s cousin and business partner, Mustafa, is already in the UK, ending up in Yorkshire where he is able to resume his beekeeping life. A troubled Nuri has begun to lose his grip on reality, is distanced from Afra and avoids contacting Mustafa because he cannot come to terms with what they have endured and what he feels he has become.

Having survived the exile from his homeland, can he make his way back from this more profound, self-imposed, emotional exile?

The central characters are well-drawn, and Clay gives a convincing portrayal of Nuri’s descent into despair. Faridany’s performance is also strong and nuanced. Joseph Long makes an excellent job of portraying two contrasting characters; the warm, nature-loving Mustafa and the gently comic Moroccan man who is enthusiastically grasping the British way of life and its language.

Nadia Williams’ charismatic portrayal of Angeliki and Aram Marsourian’s sinister Fotakis are highlights of the strong ensemble’s multiple roles in support.

An effectively versatile set by Ruby Pugh, music by Elaha Soroor and Tingying Dong’s sound design are all essential to the flow of the narrative, as is Ben Ormerod’s lighting design.

Miranda Cromwell’s direction is fluid and helps flesh out the parade of characters, largely avoiding caricature.

Overall, the characters are engaging, and the production stops short of being harrowing, despite portraying terrible loss and suffering. Somehow, it does not seem to be as gripping as it might have been but perhaps that is because of the lack of jeopardy in the structure, which replicates that of the source work.

This is an incredibly timely piece of theatre, fleshing out the human experience of the refugee in a well-researched and believable way. In a country that has allowed itself to be manipulated into blaming all its troubles on those escaping conflict rather than those who are actually in control, the human story needs to be told now, more than ever.

Review: Jonathan Cash

Tickets:

The Beekeeper of Aleppo plays Newcastle Theatre Royal Tuesday 6 – Saturday 10 June 2023. Tickets can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010. 

Preview: Adrian Edmondson: Berseker! at Newcastle Tyne Theatre

 

British comedy legend Adrian Edmondson to share stories from his life at Newcastle show

 

Adrian Edmondson: Berseker!

Newcastle Tyne Theatre & Opera House

Thursday 19^th October 2023

Tickets: https://tidd.ly/45ZtNiG

 

The talented Adrian Edmondson will be captivating audiences at the Tyne Theatre and Opera as he discusses his life in the limelight. From his turbulent childhood, his friendship with Rik Mayall and the success of cult-classic shows such as The Young Ones, this evening will be filled with anecdotes from his upcoming memoir, Berserker!

How did a child who was brought up in a strict Methodist household, who spent his formative years incarnated in repressive boarding schools – end up joining the 80s revolution of comedy? Live on stage, Adrian Edmondson will tell his own account on the events that have led to his career. Tracing his spiralling career journey from TV, film, theatre and music, Edmondson will have fans on the edge of their seats as he explores the avenues of his career.

Celebrating the publication of his new memoir Berseker! Edmondson will share stories on the stage that have never been told before. With the opportunity for fans to ask their own questions to the comedy legend, this is a one-of-a-kind evening that is not to be missed. All top-priced tickets will include a copy of Berseker! which can be collected from the venue on the night of the event.

Adrian Edmondson will come to the Tyne Theatre & Opera House on Thursday 19^th October 2023.

Theatre Director Joanne Johnson exclaimed “Here at the Tyne Theatre & Opera House, we are absolutely thrilled to be hosting Adrian Edmondson. With such a vast career with iconic British shows to his name, such as The Young Ones, we are excited for Newcastle to get to know the man behind the screen.”

Final remaining tickets are priced between £39-£26 and can be bought from: https://tidd.ly/45ZtNiG

REVIEW: I, Daniel Blake at Newcastle Northern Stage

 I, Daniel Blake 

Newcastle Northern Stage 25 May - 10 June  2023

Newcastle Northern Stage 12-16 September 2023

Durham Gala 26-30 September 2023

Photo: Helen Murray

The hugely anticipated play adapted, from the 2016 Palme d’Or and BAFTA award-winning Ken Loach movie, by the star of the movie, Dave Johns, has finally arrived in the intimate surroundings of Stage 2. 

The gritty Newcastle backdrop of the movie has been updated to include the political reactions to the movie. The movie irritated the right and the truth behind it angered the left. The play will continue to highlight the sad fact that in this rich country of ours we have more foodbanks than McDonalds. We have systems that you can pay into your entire working life and then they fail you at your moment of need - just because a decision maker deems that your point score is too low. 

Photo: Pamela Raith

The May run of the play has sold out already but tickets are, at the time of writing, available for September.

This review might get political. Be warned. I make no apology though. The people who should apologise are those who set up the system.

Photo: Pamela Raith

The story involves three groups of people who are trying to survive the situation that is thrust upon them. Daniel Blake has just had a major heart attack and has, as a result, lost his job. His doctor has ordered him not to work until his heart treatment stabilizes him. He has paid his tax his entire working life but finds that he is deemed fit to work after a Work Capability Assessment, by the civil servant assessing his claim, and is denied Employment and Support Allowance. The system overrules his doctor but he cannot appeal until he gets a call off "The Decision Maker."

Photo: Pamela Raith

Just like Dave Johns in the movie - David Nellist has a level of authenticity in his performance. Rather than coming across as someone reciting a script, we have someone that we can invest tie into as a member of the audience. His annoyance with the system is shared by those watching.

Photo: Pamela Raith

Next door to Daniel is China, a lad who tires to be an entrepreneur. His scheme is to use his Zoom contacts to source produce from China and to sell it quickly on the streets. This role sees Kema Sikazwe reprise his role from the movie, though this time he gets to show off his musical talent too. As a lad raised in the west end of Newcastle, Kema helps project that level of authenticity that helps raise the show onto another level. I appreciate a need to keep the number of character down in order to make the show easy to follow but I would have liked a bit more from China.

Photo: Pamela Raith

Photo: Pamela Raith

The final piece of the jigsaw are a mother and daughter who are unable to get suitable accommodation. After rejecting live in a storage container and having to put up with life in a hostel, they accept a two bed flat. The issue here is that the flat is not in London where their support network is, but up in Newcastle. Bryony Corrigan and, making her professional stage debut, Jodie Wild are the pair -  Katie and Daisy - who arrive on the cheap overnight Megabus in a strange city. 

Photo: Pamela Raith

They have a meeting at the job centre to attend before they even reach their new flat but are late as they got off the bus at the wrong stop. Even though they have just landed in a strange town and are still carrying their every world possession, the system continues to fail them as, rather than letting them sign on, they are sanctioned.

Photo: Pamela Raith

Sanctions come up regularly in this show. A phrase that effectively means  that benefits are cut. It can happen for an infringement in the rules. The harsh application of such rules with no leniency, or as Daniel Blake puts it - common sense, means that money due to people is often withheld. The other issue, which was more strongly raised in the film than the play, is the idea that the  welfare state is now digital by default. Want an appointment? Go online. What to appeal? Go online? Want any help? Go online. Daniel Blake is not online. He still writes everything with a pencil. Likewise Katie and Daisy have very limited phone credit. This makes it difficult to access help and support. That's the help ad support that Daniel Blake has spent his life paying for through his taxes until he had a heart attack. 

Photo: Pamela Raith

Photo: Pamela Raith

Photo: Pamela Raith

Completing the cast are ensemble members Janine Leigh and Micky Cochrane. They alternate from being the less than helpful staff in the job centre to the supportive volunteers in the food bank. Many a quick costume change is needed!

Photo: Pamela Raith

I cannot help comparing this with the Ken Loach movie. That film left a massive mark on me. It didn't help that the infamous graffiti scene was outside the studios in which Jowheretogo (our publisher) was based at the time. We still chuckle as we walk past the wall. Many of the memorable moments are still there, though now with monologues from our political leaders that were brought in the House of Commons at the time. Hearing the likes of Cameron, Johnson, May and 30p Lee Anderson helps make the blood boil.  Perhaps the obvious watercooler moment that has been dropped was Blake learning how to use a mouse.

Photo: Pamela Raith

The movie was remarkable in itself. The sad part is that the situation has not improved. (I warned you that I would get political here.) The bunch in charge continue their 13 year-in-charge wrecking spree. Hence there is a place for this play in 2023. 

Photo: Pamela Raith

Photo: Pamela Raith

You have a solid cast in this show. Director Mark Calvert can add this to his long list of Northern Stage triumphs. This is the one show in town that doesn't need a mega-mix in order to get the audience to their feet at the end. The applause was spontaneous, heart-felt and warm. An acknowledgement of a job well done. Hopefully soon, the message from the show will be listened to and acted upon.

Review: Stephen Oliver

Tickets: 

For more information or to book tickets visit https://northernstage.co.uk/whats-on/i-daniel-blake/

REVIEW: Greatest Days at Newcastle Theatre Royal

Greatest Days

Newcastle Theatre Royal

Until Saturday 3 June 2023

The jukebox musical featuring the hits of Take That lands in Newcastle this week. Featuring former Hear'Say member Kym Marsh and her daughter Emlie Cunliffe, this is a show that is more than emotional rollercoaster than one expects.

Kym Marsh as Rachel - Photo: Alastair Muir

Jukebox musicals with the music of a single act tend to either do a story about the band or a story that has nothing to do with the band. This musical goes down a refreshing third route as the Tim Firth book explores the fans behind "The Band". In doing so it immediately presents a story that is relatable to the bulk of the audience. The are depictions of the young fans in the 90s and the grown-ups in the current day thus giving everyone watching a chance to reflect upon their own youth. Whilst not everyone in the audience is necessarily a fan of music of Gary Barlow - they will have had a teenage obsession that felt more important at the time than it does now. Tapping into the collective experience lifts the show's narrative. 

The audience are introduced to a gang of four teens, from the north west, who are excited to watch their favourite boy band on Top of the Pops. They hang on to the every lyric. They learn the dance moves.

Kym Marsh as Rachel & Emilie Cunliffe as Young Rachel
- Photo Alastair Muir

Young Rachel (Emile Cunliffe) immerses herself into the music by imagining the band are present in the room. This helps block the nightmare reality of two parents at war with one another. It also gives opportunity for the vocal and dancing talents of The Band to make their first appearance. Kalifa Burton, Jamie Corner, Archie Durrant, Regan Gascoigne and Alexanda O'Reilly are expected to sing and move around the characters as well as rearranging the set from time to time. They work really hard to make the show flow.

LtoR Regan Gascoigne, Archie Durrant,
Jamie Corner, Kalifa Burto & Alexanda O'Reilly Photo: Alastair Muir

Rachel's best friend is Debbie, performed on press night by understudy Bayley Hart. You would never guess that this was a performance by an alternate as Debbie became a character that the audience quickly felt a rapport for. Debbie wants to be the bridesmaid when Claire fulfils her dream of marrying The Band. 

Mari McGinlay appears as the diver Claire who trains hard and hopes to appear in the Olympics. Kitty Harris struts around as Young Heather - a lady who is popular with the lads given the copious graffiti to that effect around the groups hanging around spot. Completing the gang is conscientious Young Zoe who is the one who works hard at school and wants to go to university. Hannah Brown gets the delicate balance right of wanting to do well in her studies but still having a bit more about her. Here lies a potential trap as we are presented with five stereotypes, five different teen personalities. Is the love of The Band sufficient to pull very different types into the same friendship group? One suspects not, but it helps the audience identify themselves at that age by covering the bases.

Debbie wins tickets to go to Manchester to see The Band. Of course her friends are going to go along. It isn't even 9am but they consider bunking off school in order to get ready. A complaint of "what am I going to wear?" is quickly dismissed by the suggesting of 50p in a charity shop will sort things out.

Photo: Alastair Muir

The show then swings into a brief concert mode. A chance for some moves and a medley of Take That hits. The Band encourage some audience participation in the form of some clapping. Another positive decision that they got right in this show is the use of a talented live band, under musical director Zach Flis. It feel like more energy goes in to the performance compared to a similar show using a pre-record.

.

The group wait at the stage door the The Band to appear but eventually realise that the band don't hang around and walk straight off stage to the tour bus. Debbie picks up some wristbands for the group to remember the evening by. The audience also get one of the regular appearances of "Every Dave" - Alan Stocks adds regular humour to the script as a roadie one minute and a bus driver during the next.

Then something happens. No spoilers here. All I will say is that it created a talking point for the interval. 

The story then propels itself to the modern day. 

Rachel wins a radio competition for 4 people to head off to Greece to see the reformed Band. Rather than taking her rock music loving partner and the couple that they do pub quizzes with, Rachel decides to get her schoolmates back together for the trip.

Photo: Alastair Muir

The school friends, performed by Rachel Marwood, Holly Ashton, Jamie-Rose Monk and Kym Marsh, have gone on in their own direction,  following paths that, shall we say, provide some amusement for the audience. As is often the case,  the dreams and anticipation of teenagers often get hampered by real life as adults. 

As they arrive at the,airport I was struck by the decision to colour code each actor. The colour given to their young selves is replicated in the adult form and the colour of their luggage.  I guess it helps with tracking them.

The story works as fans of bands often enjoy the bands second or third incarnation. I know I have seen a number of bands recently that I never had the chance to in the 80s and reacquaint myself with acts I loved in the 90s. It is big business as Blur will testify as their recent City Hall appearance sold out in minutes rather than days. Nostalgia sells. How else does Kiss get away with charging a three figure amount for yet another final tour. I digress. Back to this show.

Photo: Alastair Muir

I should at this point declare I was never a fan of The Band myself. Nothing wrong with the music but it was played to saturation at the time. I was not exactly their target audience.  That didn't stop me enjoying this show. Whilst I was into other bands, I got that fan element.  I too have discovered a band I love I playing and ensured I got there. I also know how close school friends end up on different paths.

Photo: Alastair Muir

This musical works on that human level. Add it great performances from a tight ensemble cast, a great live band plus The Band themselves and it makes for a fun package. Will you like it? I think most people will know the answer to that before they get the tickets. All I'm saying is that I was pleasantly surprised by it.

Review: Stephen Oliver.

Tickets: 

Tickets available from the Theatre Royal: https://www.theatreroyal.co.uk/whats-on/greatest-days/  

Preview: Sister Act at Newcastle Theatre Royal

 Best Musical Bar ‘Nun’ Comes To Newcastle Theatre Royal

 

Sister Act

Newcastle Theatre Royal

Monday 19 – Saturday 24 June 2023

Brace yourselves sisters! The heavenly smash-hit musical Sister Act ­heads to Newcastle Theatre Royal during June 2023.

We caught up with TV favourite Lesley Joseph (Birds of a Feather) who plays Mother Superior alongside Sandra Marvin (Emmerdale, Waitress) who plays Deloris Van Cartier and West End sensation Lizzie Bea (Heathers The Musical, Hairspray) as Sister Mary Robert to find out more about this sparkling tribute to the universal power of friendship, sisterhood and music.

You’re well known to many as Dorien Green from Birds of a Feather alongside your stage work, which includes an Olivier-nomination for Young Frankenstein. What are the key differences between the disciplines of stage and screen, and do you have a preference?
If you asked me why I came into the business, it would be because I love theatre. I went to drama school in the 60s, and it was a very different world then. I grew up doing theatre and started first when I was seven. Theatre was always what I was destined to do and then gradually television took over. Birds of a Feather came along in 1989 and has never been off since! I love television, I love the opportunities television brings, but if I had to choose it would be theatre because I love the connection with the audience. With television can always do it again, whereas with theatre it’s a question of doing it that night and that’s your one chance.
I think theatre is where my heart is. I love the atmosphere and the family you build. I love to stand in the wings and watch other people work. I also love what theatre can do to an audience. Live theatre can change people’s lives.

In Rehearsal. Lesley Joseph 'Sister Lazarus'. 

Sister Act is a much-loved movie as well as a musical. Were you aware of the show before joining?
I saw Craig Revel Horwood’s Sister Act revival with Alexandra Burke, so I was very aware of the show before I joined. The musical doesn’t have the music from the film, but it’s Alan Menken’s music - who is a genius. He’s been to see our show twice and loved it! I think people love the production because of the great music, and it’s very much an audience show. You leave feeling so uplifted. We were playing in London to 3,000 people per night, with every show packed full of people waving their arms in the air at the end and just having a fantastic time.

Can you briefly summarise the plot (without spoilers), and tell us about your character, Mother Superior?
Well, Deloris Van Cartier witnesses her boyfriend shoot someone and gets put into hiding in a convent. Mother Superior who runs the convent is a very religious person, and suddenly into her world comes this woman who is a singer, who wears short skirts, who’s full of bling and very over the top. It’s about how these two worlds combine and ultimately rub off on each other.

Mother Superior is quite strict and holy. She provides the juxtaposition of strict religious beliefs against this entirely over the top being, which is Deloris Van Cartier. You need the two extremes to rub up against one another, and quite a lot of sparks fly.

You appeared on Pilgrimage: The Road to Rome and met the Pope, what was that like and were there any elements of that experience that you’ve drawn on when playing Mother Superior? 
Funnily enough whenever I’m in the show I do always think of this moment. I had half an hour with the Pope and I blessed him and made him laugh, and he gave me a medal to celebrate his six years in the papacy. I’ve always had a spirituality about me. I love going in churches. Whenever I go into a church I will always light a candle for both of my parents and Linda Robson’s mum, and say a quiet prayer. That’s a spiritual thing more than an actual religious thing. I always find churches very healing in a way. It’s a place to sit, contemplate and meditate, and you can come out feeling a slightly better person.

Sister Act features a fantastic score by the multi award-winning Alan Menken (Beauty and the Beast, The Little Mermaid). How would you describe the soundtrack, and do you have a favourite number to perform and/or watch? 

I think the soundtrack is amazing. I must say, the audience responses so far have made me feel like we’re doing a pop concert. My favourite song is one that Mother Superior has called ‘Here Within These Walls’ where she describes what life is like in the convent, and how the outside world is full of sin, but inside you find God and you find yourself. It’s a beautiful number, but probably the most serious number in the show to an extent. The other number I love is when Deloris first takes over the choir and she teaches them to sing and brings out their voices. It’s called ‘Raise Your Voice’. The audience just go wild. Up until then you’ve only heard the nuns sing very badly. It stops the show!

What do you hope audiences take away from this new production?
I think audiences will take away a reinvigorated love for live theatre. It’s a production that also says something about community, and that’s one thing that the lockdown showed us was important – caring about your neighbours, caring about your friends, and helping those in need.

It’s an absolutely joyous musical! To see the audiences at the end, where they stand waving their arms and singing along, they rediscover the joy of theatre.

Is there a piece of advice you’ve received or that you would pass on to anyone hoping to go into the creative industry?
I don’t know if you remember a man called Quentin Crisp, he was very flamboyant and wonderful, and way before his time. He was avant-garde and he was an amazing character. He always used to call me ‘Miss Joseph’. His piece of advice was, ‘Miss Joseph, believe in fate, but lean forward where fate can see you’. I think that’s one of the best pieces of advice I could give to anybody.

Photos: Manuel Harlan

 

Tickets:

Sister Act plays at Newcastle Theatre Royal from Monday 19 – Saturday 24 June 2023. Tickets can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.