REVIEW: The Bodyguard a Sunderland Empire

   A d v e r t i s e m e n t

The Bodyguard 

Sunderland Empire

Until Saturday 18 February 2023

Tickets: https://tinyurl.com/SundBODYGUARD *

A musical based upon the 1992 hit movie, packed full of classic Whitney Houston hits and starring former Pussycat Doll Melody Thornton, The Bodyguard rolled into the iconic Wearside venue this week.

Ayden Callaghan 'Frank Farmer' and Melody Thornton 'Rachel Marron'.
Photo Paul Coltas and Matt Crockett

The story used in the musical follows that of the film - and compared to some recent adaptations, it fits the stage setting well. The book by Alexander Dinelaris has enough action to keeps ones attention, add in the regular slices of classic music and it is easy to see why the show is so popular and has already nearly sold out it's one week run in Sunderland. 

Melody Thornton appears as Rachel Marron - a pop superstar that has sold over 25 million records as well as winning numerous Grammy Awards and having two Oscar nominations. The show starts with her in full show mode. The ensemble of dancers don't put a foot wrong as they support her, sometimes literally, around the stage. The lighting and pyro effects helping turn this corner of Sunderland into an arena style occasion. 

Photo: Matt Crockett

Unfortunately someone has got in to her dressing room, stolen a dress and left a worrying note. Rachel's manager decides to hire a bodyguard to supplement their existing security Tony (Graham Elwell). The jobs also involves keeping her 10 year old son Fletcher safe - a role performed wonderfully by the very confident Iesa Miller on this evening's show.

Ayden Callaghan, who lists Emmerdale and Hollyoaks amongst his television credits, has the role of bodyguard Frank Farmer, who  accepts the challenge after walking into the Marron's house without any proper challenge. 

The story then follows the pop star as they prepare to make an appearance in the Oscars despite the fact that their stalker (Marios Nicolaides) is becoming increasing confident and calculated in his interactions.

The audience is also introduced to Rachel's sister Nicki (Emily-Mae) who also sings, but does so in small clubs. There is clearly some siblings friction as success was only bestowed upon one of them.

For this production to work, in addition to tight direction from Thea Sharrock and great choreography from Karen Bruce, there needs to be great singing performances. I may be controversial in this - but I always feel that a singer is better off owning a cover rather than trying to replicate a popular version. In other words Melody Thornton has a great night by singing the songs as she finds them rather than replicating the singles we grow up with. Thus some songs are performed with more soul and a different quality to the Houston originals.  This level of agency makes her performance more authentic. Of course when she gets the finale hit, Thornton lets rip with I Will Always Love You and this does not disappoint.

Mention should also be given to Emily-Mae's contribution to the singing too as she is a fine singer. Likewise the live band under musical director  Sam Hall backed the live singing really well.

Now, sometimes when you get big names from the worlds of television and pop to stick on the poster you end up with a show that is less than satisfying as a stage show. Fortunately, in this case Ayden Callaghan and Melody Thornton had sufficient chemistry on stage together. The rest of the ensemble cast and dancers were important in bringing the film to life.

I have not mentioned any spoilers here - needless to say that the lighting and sound were utilised to good effect to get a reaction from the audience.

The Bodyguard did not disappoint. As a musical adaptation it works and I enjoyed it.

Review: Stephen Oliver

Tickets:

The Bodyguard will hit Sunderland Empire’s stage from Monday 13 February – Saturday 18 February 2023. Tickets are available from the Ticket Centre on 0844 871 7615* or online at https://tinyurl.com/SundBODYGUARD *

*A £3.65 transaction fee applies to telephone and online bookings. Calls cost up to 7p per minute plus your standard network charge.

Preview: Love It If We Beat Them at Newcastle Live Theatre

KNOCKOUT CAST ANNOUNCED FOR LOVE IT IF WE BEAT THEM, A WINNING NEW PLAY ABOUT FOOTBALL, POLITICS AND THE LABOUR OF LOVE. 

Love It If We Beat Them

Newcastle Live Theatre

Thursday 2 - Saturday 25 March 2023

Newcastle's Live Theatre have announce the cast of Love It If We Beat Them, a new play by Rob Ward (Gypsy Queen) about Labour, Love and the Beautiful Game which runs at the Quayside venue from Thursday 2 to Saturday 25 March 2023. Directed by Bex Bowsher, Rob Ward’s play is brought to life by David Nellist, Jessica Johnson, Dean Bone and Eve Tucker. 

David Nellist plays Len, an ex-miner and local Labour activist whose political rise could only be outshone by his beloved NUFC winning the league. Dave’s theatre credits include The Curious Incident of the Dog In The Night-Time (NT/West End), War Horse (NT), Billy Elliott (West End), Much Ado About Nothing (Shakespeare Globe), Nicholas Nickelby (West End) and Pitman Painters (New Vic Theatre). TV credits include Sherlock (BBC), A Confession (BBC) and Archie(BBC). 

Jessica Johnson takes on the role of Jean, the passionate charity worker and wife of Len, who has turned her pain into action. Jessica’s theatre credits include Educating Rita (Number 1 UK tour), Goth Weekend (Stephen Joseph Theatre/Live Theatre), The Sorcerers Apprentice (Northern Stage). Television credits include Danny and Mick (CBBC), Coronation Street (ITV), Hospital People (BBC), Wire In The Blood (ITV) and The Hunt for Raol Moat. 

Dean Bone joins the cast as Michael, a down on his luck miner struggling to find work or hope in the rapidly changing world around him. A former member of Live Youth Theatre his Live Theatre credits include The Savage, The Terminal Velocity of Snowflakes and The Red Lion for which he won a Journal best newcomer award. Film and TV credits include Dead Canny (BBC), The Dumping Ground (BBC) and Vera (ITV).

Eve Tucker plays Victoria, the Labour party’s newest star and contender for the newly available North East seat. Eve is an exciting talent working in both stage and TV. A UCLAN graduate, Eve has recently worked with Theatre Company ‘Wrongsemble’ on A Town Called Christmas and has just finished filming with Coronation Street (ITV). 

The opening production of Live Theatre’s milestone 50th birthday year, Love It If We Beat Them is a political drama that explores a time of significant change in the identity of the North East and perfectly captures a moment in recent history that defines who we are today. Set against the backdrop of the infamous Premier League season when Newcastle United almost won under the management of Kevin Keegan and Tony Blair’s New Labour were gathering pace. 

Hope is in the air but loyalties are tested and tensions reach fever pitch as the winning team will be decided in an explosive head-to-head challenge.

Writer Rob Ward said: “This play is a celebration of Newcastle; the people, the history and, of course, the football team. It’s about passion, hope and desire. This play is for everyone, whether you’re a seasoned theatre goer or have never set foot in an auditorium before. I’m hugely honoured that Love It If We Beat Them is launching Live’s 50th anniversary season.” 

Bex Bowsher, Director and RTYDS Assistant Director (Live Theatre and Northern Stage) added: “I am excited to be bringing this play to Live Theatre's stage. It's a privilege to be asked to direct the opening play for Live's fiftieth birthday. Love it If We Beat them perfectly combines the truthful telling of North East stories, that Live is renowned for, with ambitious visions for the region’s future. It is not often that a play can perfectly capture a moment in history that holds significance in today’s world whilst also giving hope for a warmer future.”

Tickets

A must see for fans of Newcastle United and those who remember the politically exciting days of 1996, tickets for Love It If We Beat Them are on sale now from www.live.org.uk and Box Office on (0191) 232 1232.

REVIEW: My Fair Lady at The Sunderland Empire Theatre

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My Fair Lady

Sunderland Empire

Until Saturday 11 February 2023

Tickets: https://tinyurl.com/MYfairLADYtickets* 

 

Alan Jay Lerner and Frederick Loewe’s musical adaptation of George Bernard Shaw’s Pygmalion has been a perennial favourite since its debut on Broadway stage in 1956. The tale of the cockney flower girl taught to speak properly by the boisterous and bullying phonetics professor in a will they-won’t they semi-romance has captivated audiences all over the world. However, people might be forgiven for wondering if its elements of misogyny and social stereotyping might render it unwatchable by a modern audience, or to be viewed only as a period piece.  Bartlett Sher’s spectacular 2018 production for The Lincoln Center Theater in New York, currently touring the UK, takes account of society’s changing attitudes and adds a cinematic flow that brings the piece up fresh for a new generation of theatregoers.

My Fair Lady sits high in the pantheon of musicals, considered by many to be one of the finest shows ever written. Alan Jay Lerner’s book and lyrics took the best of Shaw’s writing and, with Loewe’s timeless melodies introduced a sparkling score, full of eternally popular songs like I could have danced all night, On the Street where you live, I’m getting married in the morning, etc.

In reimagining the show, Sher has taken a scalpel to the script, rather than a sledge hammer, excising short lines here and there and inserting small sections from Pygmalion where they help to illuminate the characters. Other changes are in the playing, serving to redress the balance somewhat between Eliza and Higgins. The ending is also not the same but I will not spoil it here.

The magnificent sets by Michael Yeargan deserve special mention. Covent Garden is imposingly conjured. Higgins’ house is a huge revolving construction that allows characters to move from one room to another, delivering an exceptional flow and making light of preconceived ideas of the inflexibility of stage sets. For a touring production it is a spectacular achievement.

 

The large musical numbers are exuberantly choreographed by Christopher Gattelli and delivered with great attack and skill by a terrific ensemble.

More than most shows, My Fair Lady’s original performances are iconic. Rex Harrison’s brusque Higgins was immortalised in the film version alongside the waifish, captivating Audrey Hepburn, though her singing was dubbed by the ubiquitous and versatile Marni Nixon, also responsible for Natalie Wood’s vocals in West Side Story and Deborah Kerr’s in The King And I. Devotees of the cast albums know that Julie Andrews created the role and it is her voice most people hear when they imagine the songs. Stanley Holloway also recreated his imposing stage performance as Eliza’s father, the eloquent reprobate, Alfred P Doolittle.

From this, it’s clear that any new cast has big shoes to fill. In the main, people should rest assured that this cast are up to the task. Charlotte Kennedy as Eliza, gives an assured performance, delivering the right mix of feistiness and vulnerability. Her Eliza is not as overawed by Higgins as in some previous productions and she is delightfully raucous in her early scenes at Higgins’ house. She has good comic delivery and her gaffes in the Ascot scene are very funny indeed. She also shows the ability to mimic which Higgins mentions in the script more than I have seen previously. Vocally, she has no difficulty with the range of the part and, if she lacks the mellifluous tones of a Julie Andrews, she nonetheless gives the songs full value, to the delight of the press night audience.

Emmerdale’s John Middleton is likeable and amusing as Colonel Pickering, Higgins’ friend and colleague. The estimable Lesley Garrett has very little to do as Mrs. Pearce, Higgins’ housekeeper, but she brings authority to the part.

Heather Jackson is a soigneé and authoritative Mrs Higgins, wearing Catherine Zuber’s beautiful costumes with great aplomb.

Eastenders’ Adam Woodyatt is a likeable Doolittle but his light voice and his understated performance seem somewhat slight for this larger than life character, who is relied upon to bring the down-to-earth fun to this otherwise rather cerebral and wordy show.

Tom Liggins is refreshingly energetic as Freddy, Eliza’s would-be beau. The role is underwritten and the actor needs to bring a lot to it themselves. His rendition of the signature ballad, On the Street Where You live is engagingly acted and beautifully sung.

The highlight of this production, however, is Michael D Xavier’s extraordinary performance as Henry Higgins. Eschewing Shaw’s and Harrison’s insistence that Higgins was not really changed by Eliza, this production clearly shows that he is shaken to his roots by his inability to process his feelings for her.

Xavier meets Shaw’s description of an appetising bachelor of about 40. Tall, handsome and imposing, he is confident, bordering on arrogance, in his teaching and his views on society. Nonetheless, he is seen as a misogynistic mother’s boy, petulant and irascible. Xavier gives rein to his considerable comic talents without ever undermining the stature of the role. There are hints of Hugh Grant and even John Cleese but these are subtle and nuanced. His rich baritone voice adds to the musical numbers without ever overpowering them and his rendition of the climactic I’ve Grown Accustomed To Her Face is as accomplished a portrayal of someone falling apart before your eyes as you are likely to see. One hesitates to describe a performance as definitive but, for me, he sets a new standard for the role.

(If you will forgive me a personal note, at this point I should probably declare an interest. I’ve appeared in 6 productions of this show over the years and played Higgins 3 times so I count myself as rather difficult to please.)

To sum up, this is a terrific production that will stay long in the memory, and one against which all future productions will be measured. I urge you to go and see it. Magnificently staged, persuasively performed and exceptionally entertaining, it brought this hardened theatregoer joyously to his feet.

Review: Jonathan Cash

Photos: Marc Bremner

 

Tickets:

My Fair Lady will grace Sunderland Empire’s stage from 1 – 11 February 2023. Tickets are available from the Ticket Centre on 0844 871 7615* or online at https://tinyurl.com/MYfairLADYtickets* 

*A £3.65 transaction fee applies to telephone and online bookings. Calls cost up to 7p per minute plus your standard network charge.

 

Preview: Mind Mangler: Member of the Tragic Circle at Newcastle Theatre Royal

 

Mischief Return To Cause More Mayhem At Newcastle Theatre Royal

 

Mind Mangler: Member of the Tragic Circle

Newcastle Theatre Royal

Thursday 16 – Saturday 18 February 2023

 

Following a ‘disastrous’ sold out run at Edinburgh Fringe, Mischief will be making a popular – and most likely calamitous - return to Newcastle Theatre Royal.

The Olivier award-winning comedy favourites will bring Mind Mangler: Member of the Tragic Circle to the North East on Thursday 16 – Saturday 18 February 2023 as part of the hilarious production’s first ever UK tour.

Written by Henry Lewis, Jonathan Sayer and Henry Shields, the writing (and performing) trio best known for The Play That Goes Wrong and BBC TV’s The Goes Wrong Show, Mind Mangler has been developed into a two-act touring show as a result of a phenomenal audience response at the world’s largest arts and media festival in 2022.

Starring Henry Lewis as the ‘Mind Mangler’ and Jonathan Sayer as his ‘Stooge’, Mind Mangler is based on a character originally created in Magic Goes Wrong by Penn Jillette, Henry Lewis, Jonathan Sayer, Henry Shields & Teller.

Join the ‘Mind Mangler’ as he returns to the stage following a disappointing two-night run at the Luton Holiday Inn conference centre, suite 2b. His new solo spectacular is predicted to spiral into chaos as he attempts to read your mind...

Mischief comedies have proven to be firm Newcastle Theatre Royal audience favourites with The Play That Goes Wrong, Magic Goes Wrong, Peter Pan Goes Wrong and A Comedy About A Bank Robbery all playing to packed out houses in recent years.

 

Photos: Pamela Raith Photography

Tickets

Mind Mangler plays at Newcastle Theatre Royal from Thu 16 – Sat 18 Feb 2023. Tickets can be purchased at www.theatreroyal.co.uk or by calling 0191 232 7010.

 

NEWS: Alphabetti Theatre awarded Fringe Theatre of the Year at The Stage Awards 2023

Alphabetti Theatre awarded Fringe Theatre of the Year at The Stage Awards 2023

Photo: Stephen Oliver

Newcastle’s Alphabetti Theatre has been awarded Fringe Theatre of the Year at The Stage Awards 2023, in association with Tysers Insurance Brokers. The annual awards celebrate excellence in British theatre and this year’s shortlist features theatres and organisations across the UK.

The Fringe Theatre of the Year category, sponsored by Encore Insure, saw Alphabetti Theatre compete against Little Angel Theatre, London and Omnibus Theatre, London. Alphabetti is recognised as an award-winning, artist-led performance space for the North East. Based in Newcastle upon Tyne, Alphabetti was formed by Ali Pritchard in 2012 to meet the demand for a fringe venue in Newcastle and the North East, ensuring the development of the performing arts in the region and improving opportunities for Newcastle’s emerging artists.

Photo: Stephen Oliver

Despite being the city’s smallest producing house – it has a main 80-seat space and a new similar-capacity cabaret stage – the independent venue punches above its weight, both in terms of its artist-led programming and its extensive offstage work, which ranges from mental-health support for staff to becoming a warm space for its community this winter.

The Stage Awards in association with Tysers Insurance Brokers celebrate the very best achievements in UK theatre during the past 12 months. The awards recognise performing arts organisations and teams who have been making fantastic work and those helping to shape and rebuild the sector for the better.

REVIEW: Pride & Prejudice* (*sort of) at Newcastle Theatre Royal

Pride & Prejudice* (*sort of)

Newcastle Theatre Royal

Until Saturday 28 January 2023

Every now and then a show starts at a smaller level and then becomes a phenomenon. After a regional tour or a season at Edinburgh Fringe, the show finds itself on the West End or touring our bigger theatres. Those in the know ensure that they get tickets. They want to be a part of it. This week one such phenomenon arrived at Newcastle's Theatre Royal for just a week. A clear sign of success is that, not only did it open on a Monday - but it had no tickets left in the Grand Circle. Once word gets out then the last few tickets will be hard to obtain. Snooze and you'll miss out on one of the cultural highlights of the year.

But you're not a fan of Jane Austen? Neither am I. I have had no interest in reading the book or watching any screen adaptation. But with this show my interest with piqued - and I was not disappointed. This production features a great ensemble cast cleverly playing multiple roles with comic timing using a well devised script by Isobel McArthur. Yes, the story is based upon Jane Austen's popular novel but there are those anachronistic touches that jar away from the regency period with hilarious effect.  

For starters there is the impromptu musical interludes. Sometimes by accompanying a piano, other times by belting it out on a karaoke machine. The choice of songs is inspired. Lady In Red, Holding Out For A Hero and Pulp's Something Changed are inspired choices but Young Hearts Run Free was, in addition, cathartic for the audience.

The show begins before the lights go down. The cast begin as servants cleaning the theatre, responding to the bells from the masters. They interact with the audience who are taking their seats. Once they make it to the stage the cast: Lucy Gray, Dannie Harris, Leah Jamieson, Emmy Stonelake and Megan Louise Wilson are keen to point out that servants are the heroes behind. After all they are the ones who deliver the message, our the wine or ensure that there is crisp fresh linen on the beds.

The cast then start one of many costume changes. Dannie Harris, for example begins as Mrs Bennet, a mother of 3 daughters who hopes that they will get married - otherwise (as this is Regency Times) her husband's estate will not pass on to her and she will become destitute. We have witty Elizabeth (Emmy Stonelake), beautiful yet naïve Jane (Megan Louise Wilson) and serious Mary Bennet (Leah Jamieson).

A ball is announced when the wealthy Charles Bingley (Lucy Gray) leases Netherfield Park and it is rumoured that his rich friend Fitzwilliam Darcy (Dannie Harris again) will be present. The mother tries to get her daughters coupled off regardless of their own wishes and thus the fun begins.

This show relies less of the set and more on the cast and dialogue. The simplicity in the set up adds to the level of humour. The fourth wall occasionally comes crashing down - with audience members being asked if they came by carriage or still enjoy fishing. But as simple as it seems, just as the cast point out that there are servants underpinning every historical romance novel, there must be a team of hardworking crew behind the stage making this show tick over seamlessly.

This is a comedy. I laughed and laughed regularly. The Austen styled dialogue is occasionally peppered with the modern vernacular - and some of the rude curse words may raise an eyebrow if you were expecting a more traditional show. Directors Isobel McCarthy and Simon Harvey have given the show pace and vitality.

For a show that was appearing at producing theatres such as Northern Stage as Covid started to wreck plans, this show has been successfully scaled up. 

I really enjoyed it. I got the impression that the audience did too.

Review: Stephen Oliver

Photos: Matt Crockett

 

Tickets:

Pride & Prejudice* (*sort of) plays at Newcastle Theatre Royal from Monday 23 – Saturday 28 January 2023. Tickets can be purchased at www.theatreroyal.co.uk or by calling 0191 232 7010.

 

Preview: Tiny Fragments of Beautiful Light at Newcastle Alphabetti

Cast announced for Alphabetti Theatre's Tiny Fragments of Beautiful Light

Tiny Fragments of Beautiful Light

Newcastle Alphabetti Theatre 

Tuesday 31 January – Saturday 18 February 2023

Tiny Fragments of Beautiful Light at Alphabetti Theatre is an immersive, interactive exploration of one woman’s journey of self-discovery. From 31st January – 18th February, this funny, joyful play is a celebration of our individuality and the joy and freedom that comes when we live as we truly are, and not as the world thinks we should.

Hannah Genesius 

Hannah Genesius will play the lead role of Elsa. Quirky, kind and clever, Elsa’s life has never been boring, though it’s often been a struggle. Genesius’ previous projects include A Noble Truth (BFI Network) and Homefront (BBC Radio 4). She is best known for the role of Rosa in The Great Divide at Finborough Theatre, The Times commented this is richly informative theatre — with a passion that’s almost incendiary. Yemisi Oyinloye will portray Carmen, who seems to hold the key to who Elsa really is. Oyinloye is an actor from the North West of England who has previously appeared in Emmerdale (ITV), Cold Feet (ITV) and Bancroft (ITV). She can currently be seen in The Teacher on Netflix. Completing the cast as Mam and other roles is Zoe Lambert. Her acting credits include Sugar (Open Clasp) and The Comedy of Errors and The Winter's Tale (RSC). She has also appeared on Coronation Street (ITV).

Zoe Lambert

Elsa has always wondered why she never fit in. School was always a nightmare and romance was a mystery; until now. Elsa meets Carmen who just seems to ‘get’ her and just might have the answers to why it feels like there’s an octopus living inside her head. 

The show explores the autistic experience through a female lens, inspired by writer Allison Davies’ own diagnosis of autism. More men and boys are diagnosed as autistic than women and girls, so Davies felt it was time that space was made to hear from different voices. Attitudes towards autism and gender are changing, although there is still a long way to go, as many autistic women and girls struggle to get the support they need. Historically, far more attention has been given to males on the spectrum, and as a neurodivergent woman this show is Davies’s response.

Creatives:

Writer Allison Davies

Producers Chloe Stott & Alphabetti Theatre

Director Karen Traynor

Designer Verity Quinn

Composer & Sound Designer Roma Yagnik

AV & Lighting Designer Si Cole

Production & Stage Manager Rachel Glover

Tickets:

Tickets Pay What You Feel (31st January – 4th February)

£3-£15 (7th February – 18th February)

Running Time 60 minutes

Age Restrictions 16+

Access Captioned performance Wednesday 23rd November

Audio Described performance Wednesday 30th November

Relaxed performances each Saturday matinee.

Box Office Booking essential. Tickets range from Pay What You Feel to £15 and 

are available from https://www.alphabettitheatre.co.uk/