REVIEW: Discos Are Back! (Not The Crisps)

‘Donna Disco’ by Lee Mattinson
at The Live Theatre
Tuesday 17^th - Saturday 21^st January 2012
Presented by Chicken Pox Fox Productions

When I phoned the box office for a ticket for Donna Disco I was put on a waiting list, as the last 3 nights were sold out. Firstly I thought ‘Wow this must be good’ then I remembered that I didn’t have a ticket! Gutted. I was sitting down in my room for what would be a cold and lonely evening when the box office rang and said they had a ticket for me – so I put on my best cardigan and headed down to the quayside.

The fact that Donna Disco was sold out for the majority of its run at the Live Theatre speaks for itself. Maybe it was clever marketing or Live Theatre’s excellent reputation for putting on great plays. But I think it was down to people power; people saying ‘OMG this show is AMAZE! You should DEFFO go see it!’ I’m going to say the same thing to you.

Although I expected quality I didn’t know exactly in what form it would take. The audience entered the auditorium greeted with the hand out of big geeky glasses and a party popper, already I was excited! The set was basic with a desk, a few chairs and a lamp, but that is all we needed because when Paula Penman, playing fourteen year old Donna, took to the stage she lit up the space with colour and imagination.

The play is only around an hour long but it was enough to feel I had gone on a journey with Donna and connected with the story. It’s a remarkable achievement to have a one woman show and yet I knew the other characters in her story so well. But this isn’t just a one woman show; the collaboration between writer, actor and director really shone through and complemented the overall look and flow of the piece. The words, written by Lee Mattinson, were inch perfect, timed excellently by Paula Penman and put into action seamlessly by director Laura Lindow. It is a winning formula and one I would hope Chicken Pox Fox carry on to future productions.

I must say I started off a bit wary of how to react to Donna but five minutes in I felt reassured to just relax and enjoy. I experienced the highs and lows with Donna, I laughed and cried, and judging by the wet-faced standing ovation at the close I expect my fellow audience went through exactly the same. So I guess what’s left to say is ‘OMG this show is AMAZE! You should DEFFO go see it!’

REVIEW: A Fairytale Without All The Hot Air (Except In The Balloon)

‘The Glass Slipper’ by Stephen Sharkey
at Northern Stage
28 Nov 2011 - 7 Jan 2012
a Northern Stage production
Directed by Erica Whyman

There’s nothing like a festive show to warm the cockles in the winter season, so I went to see one and what a show it was. The recognisable tale of Cinderella has been brought back to basics and then turned on its head, does that make sense? I’ll explain. By ‘basics’ I mean the show is stripped of all the crazy panto-ness we see these days, like flashy lights, sparkles and special effects. Northern Stage’s ‘The Glass Slipper’ uses the story and the characters to provide the sparkle with friendship, comedy and love – and not just smoochy smoochy love, but family love and love of oneself. By ‘turned on its head’ I mean the production had a contemporary and cheeky glisten, with a great mix of heart touching moments and tickling one liners.

Set in Newcastle, of course, in the 1780’s the story introduces Ella as a confident individual, more interested in travel than having a male companion. Ella is played by the fantastic Laura Riseborough, who gives her character a strong, funny and loveable personality. The ugly sisters, Charlotte and Euphronia, are delightfully cruel and surprisingly played true to their gender for once by Naomi Cranston and Giovanna Ryan. I could go through the whole cast with the highest of praise but I, and also you, would be here longer than we need to be, just take my word for it, they’re all great. Okay, one more mention, the comedy relief from The Suggestibles pair Ian Mclaughlin (as King George) and Bev Fox (as Augusta Snifflewick) was magnificent and King George’s fool of a footman, Mr Lightfoot played by Steven Jaan Pilman, gave some priceless moments between him, the mad King George and the audience.

The set was grand and vast but cleverly used. I had a little qualm about the vastness, but it’s because my eyes don’t like space not being used. But to be honest that is a compliment to the show in a weird way. The compliment being the show can be played in many different spaces and not just huge auditoriums or broom cupboards, but both! The use of simple live music reflected the piece nicely and the hot air balloon was eye watering, it very nearly stole the show from the cast, but not quite.

For the first half an hour I was sitting there wondering if I was or was going to enjoy this show because it seemed to get off to a slightly slow start. But it caught up with me soon after and swept me up, especially when the second half got going. Where the show lacked were things that probably shone on other nights. On the night I was there the audience didn’t seemed that invested in the story or characters, so at times it seemed a tad flat – on another night those times would be electric with a responsive audience.

What’s great about Northern Stage’s ‘The Glass Slipper’ is yes the quality directing by Erica Whyman, the impressive set by Angela Simpson, the catchy tunes by Sam Kenyon and the cracking words by Stephen Sharkey - but even more so the opportunities it creates. Northern Stage hands local acting students the chance to stretch their talents on a professional stage surrounded by professionals doing what they do best, which must be the best way to learn the craft in my book. The students from Newcastle College did not stand out as learners but seamlessly fitted in to the cast like they’d been doing it for years. The other opportunity ‘The Glass Slipper’ creates is for audiences to see something local and honest. The story is simple and full of beauty and is presented with heart, without the need of being shot out of a canon. It’s a treat!

REVIEW: A bit of past. A bit of present. But mostly future

‘A Christmas Carol’ by Alan Menken & Lynn Ahrens
at The Live Theatre
Tuesday 13^th to Wednesday 14^th December 2011
Presented by Pierrot Productions
Directed by Zac Wancke

Alan Menken and Lynn Ahrens’ musical adaption of the winter classic ‘A Christmas Carol’ by Charles Dickens was suitably staged at the cosy and warm Live Theatre by Pierrot Productions with energy and character.

The cast of ‘A Christmas Carol’ was a collection of young talent from the region led by the 17 year-old director, Zac Wancke. Zac’s leadership was evident throughout the performance, with scenes playing nicely to the eyes and ears. The well-fitting songs were sung with confidence by the support of a hard-working ensemble. The bare Live Theatre stage was injected with character thanks to the acting and fantastically detailed costumes. The lack of set and props did not diminish the performance one bit, in fact it only highlighted the talent on stage – their ability to carry the story in a believable way without visual aids spoke volumes for their performances.

Stand out performances came from the incredible Glen Townsend taking on the huge task of portraying Scrooge.  Jacob Marley who brimmed with confidence and skill is a one to watch for the present and future. The three youngest members of the cast, Erin Caffrey, James Taylor and Phoebe Calboutin, shone with great singing and acting ability. The director himself, Zac Wancke, made an appearance as the ghost of Christmas Present, full of charm and talent.

First night nerves may have clunked the performance up a bit, with some slow scene changes and lack of energy in a few areas. But these were overshadowed by the overall show and performances by individuals and the group as a whole.

Pierrot Productions and Zac Wancke have achieved something special with ‘A Christmas Carol’. They’ve brought together a talented group of youngsters of different ages, they’ve got them to work together and deliver a classic story in their own entertaining way. It’s an admirable accomplishment to produce and run a show with such success and obvious love for theatre. There is a huge amount of promise coming from this group. We look forward to their next venture.