Out of Order by Ray Cooney

Performed at Opera House

Reviewed by John Waterhouse and Charles Britten May 2017

They say a week is a long time in politics, but in Ray Cooney's brilliant farce Out of Order, a few seconds is all it takes to transform a situation - almost invariably for the worse.

For those familiar with the traditions of Whitehall farce, Out of Order is might seem almost a users’ manual of standard devices, from the dignified man losing his trousers (wearing sock suspenders of course), unexpected guests presenting a potential crisis to an almost non-stop opening of doors as the situation gets ever more complicated but this doesn’t matter when we are carried along with action, right from the very beginning. This is one which does not have a slow build-up, grabbing us from the start.

Thoroughly Modern Millie

at Palace Theatre, Manchester

Reviewed by Matthew Dougall May 2017

Originally conceived as a vehicle for the great Julie Andrews, this is a Musical that you think you ought to know. It seems somehow familiar, and one or two of the songs you seem to recall, and yet after watching tonight's production, I really don't think I have seen it before. At least not this version. It is fresh, alive, vibrant, and funny, and try as I might, there is no way in the world I could imagine Julie Andrews playing the lead character the way it was done this evening.

Hard Times at Oldham Coliseum

by Stephen Jeffreys adapted from the novel by Charles Dickens

Reviewed by John Waterhouse and John Gormally May 2017

The novels of Charles Dickens have an almost timeless appeal. Each new generation continues to relate the sufferings and travails of his protagonists to the injustices and wrongs of their own world. It may also be said that only William Shakespeare can equal Dickens in giving us across his various works such a broad range of characters who remain familiar to us, demonstrating both admirable virtues and all too human failings. How many other writers other than Shakespeare and Dickens have given their names to the actual times they lived in.

The Toad Knew at Lowry Theatre

Reviewed by Matthew Dougall May 2017

A highly original and creative spectacle which sees six talented performers inhabit a dark and sinister, perhaps subterranean, world where the boundary between animal and human is unclear. Their purpose is seemingly to create pure light from a looming, omnipresent, ominous but excellently constructed set of lights hanging down from the stage, all interconnected and all seemingly with a life of their own. It could be said that once these come together it represents a giant heart that beats for all of their 'kind', or maybe it is an all-seeing eye that they need to worship.

If I am honest, then there are several stories; all of which intertwine, within this 100 minute non-stop roundelay, and I think every audience member will come away from the evening with a different insight and impression, with their own version of the story that has unfolded before them. I think that that was the company's intention.

Using physical theatre, dance, song, slapstick and circus skills all to excellent effect, this company of 6 inhabit this stage and their world with accomplished ease, and yet we know that it takes years of practice to make some of those moves look graceful and simple.

Crucible by Arthur Miller

at Manchester Opera House

Reviewed by Karl Barnsley May 2017

I won’t ever wilfully miss an opportunity to see an Arthur Miller play. I love his work and want to see it done well, I don’t think that’s a big ask. Taking the opportunity to see the Crucible at the Manchester Opera House, I went along with not unreasonable expectations of seeing a fantastic show. Read on to be the judge of whether or not I thought Sell A Door Productions staging of Arthur Miller’s most celebrated play met such expectations.

Wonderland

at Palace Theatre, Manchester

Reviewed by Matthew Dougall April 2017

Great acting, superb singing, and a look at the dark side of Wonderland! This is Frank Wildhorn's (music), Jack Murphy's (lyrics and book), and Gregory Boyd's (book) wonderfully sinister, almost Tim Burton-esque take on a much-loved children's classic.

Wildhorn's music is both fun and a little bit scary at one and the same time, with some genuinely brilliant moments and lovely harmonies, whilst the story is both familiar and strange.

Lord of the Dance: Dangerous Games

at Palace Theatre, Manchester

Reviewed by Matthew Dougall April 2017

It was way back in 1994 when Michael Flatley and Irish dancing took the world by storm in a specially commissioned piece for the interval at the Eurovision Song Contest. The show has morphed and changed somewhat since then growing in both size and popularity.

There was even a well publicised and acrimonious split between Flatley and the producers who both went their separate ways, forming two first class companies touring the world, both gaining acclaim and recognition with full houses wherever they went. I haven't seen any of the previous Flatley incarnations prior to this evening, and so was highly curious and extremely expectant.

Spring and Port Wine at Oldham Coliseum

By Bill Naughton

Reviewed by John Waterhouse April 2017

This is a play in the tradition of Lancashire comedies, centred around family issues in close-knit surroundings but rather than the austere background of say Hobson’s choice. Set around the turn of the last century, Spring and Port Wine puts the same familiar issues into a more modern setting, at the dawn of the swinging sixties.

Evita at Lowry Theatre

Reviewed by Matthew Dougall March 2017

On this night of a thousand stars, let me take you to Evita's door. If proof is needed that Andrew LLoyd-Webber and Tom Rice made one of the world's greatest Musical Theatre writing partnerships, then look no further than Bill Kenwright's production of Evita, currently on a Rainbow Tour, and at The Lowry in Salford until the end of this week.

This was a masterclass in Musical Theatre.