Manchester theatre reviews
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by Peeping Tom Productions
Peeping Tom Productions have done it again. Despite the rather off-putting and foreign title to this piece of contemporary dance, physical theatre, and goodness knows what else thrown into the mix, they have proved once again that they really are the masters of Complicité. This very European style of theatre, still somehow strange and not fully understood or accepted in the UK yet, is being championed once again by HOME and its Artistic Director, Walter Meierjohann. Full credit to them for bringing the best of modern and forward-looking European theatre to our shores.
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Manchester theatre reviews
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by George Bernard Shaw
Reviewed by John Waterhouse and Charles Britten May 2016
There is a crafty genius about the works of George Bernard Shaw, but it takes acting of a high order to truly bring out the full flavour of the feast. The good news coming from Oldham Coliseum last Friday night (May 13th) was that the performance was compelling, relentlessly funny and joyfully irreverent.
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Manchester theatre reviews
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‘If music be the food of love, play on.’ Is there a better-known opening than this? Surely not. We all know the line but want nothing more than to hear it again. How refreshing, then, when expectancy is seized-upon and turned to advantage, as in Filter Theatre's new production, which started as it meant to go on by punctuating, amplifying and enlivening Shakespeare's text - from start to end - with a riot of wildly eclectic musicality.
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Manchester theatre reviews
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Produced by London Classic Theatre
If there is one thing that is certain about a Pinter play, then that is uncertainty. Deliberately ambiguous, Pinter always leaves you, the audience, leaving the theatre with more questions than when you started. If you take the information given to you about each character on face value then you are likely to misunderstand and misinterpret everything anyway.
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Manchester theatre reviews
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Jointly produced with New Vic Theatre, Newcastle-under-Lyme
Reviewed by John Waterhouse and Charlie Britten April 2016
As with so many plays, ‘Kiss Me Quickstep’ has a tantalising title. It might suggest all manner of possibilities, yet in the end the play struggled to grasp them.
For a supposed comedy, the production had far too few laughs, and far too many scenes of laboured dialogue. Apart from a comment about the distinction between Lytham and Blackpool - one that played well with a Lancastrian audience - most of the good lines came in the second half of the play. It was only then, moreover, that a clear plot started to emerge, and real characters started to arise out of what had until then been a tepid meander with little apparent direction.
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Manchester theatre reviews
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by Paul Thompson and Phil Pearson
Four short stories about love, disaster, life and redemption from two Manchester playwrights staged in one evening in the city centre. Each play is fifteen minutes long, performed by up and coming talent from England and Ireland.
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Manchester theatre reviews
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A truly disappointing, muddled and uninspiring adaptation of a classic. Stylistically confusing and not totally accessible.
Who can ever forget the wonderful, sparkling, real and meaningful dialogue; the truthful and highly romantically charged chemistry between Hepburn and Peppard; the beautifully underscored tragi-comedy with music by Mancini; the brilliant directing of Blake Edwards? Well quite evidently Richard Greenberg can for one.
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Manchester theatre reviews
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Presented by The Ricochet Project
The blurb for this event says ‘circus’ and ‘acrobatics’, and that’s what you get – a physical show with a backing track but not a word spoken by the pair who bend, balance, twist and dangle in ever more improbable ways. There is a hint of mime and some deft balletic moves but most of all they are a circus act, executing a series of entanglements and suspensions that seem genuinely risky.
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Manchester theatre reviews
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Presented by Breach Theatre
Six young people plan to re-enact the Battle of the Beanfield, when hundreds of new age travellers were ambushed by police near Stonehenge in 1985. The six are tenacious pranksters with an eye for the absurd. They thresh the corny clichés of hippy chic and mill the monstrous wrongs of police brutality as they plough the symbolic field of battle.
Their analysis shuttles back and forth in time and technique, being partly an attempt to re-enact the bust-up and partly a series of interviews with folk who were there. But mainly the tale is in the telling as it zeros in on passions unleashed in the ecstasy of battle.
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Manchester theatre reviews
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A Quarantine, HOME and Contact co-production, supported by SICK! Festival, at Old Granada Studios, Manchester
Summer. Autumn. Winter. Spring. is an epic work performed in a large studio space by dozens of ordinary people including – crucially – the audience itself. The pace is relaxed, the setting comfortable and the mood convivial. Seven hours fly by.
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