UK Theatre Network

Tell Me On A Sunday

Darlington Civic Theatre

It seems that popular culture has a peculiar preoccupation with young women going to New York to find a career, a husband and a happy-ever-after. In the theatre, Millie Dillmount upped-sticks from Salina, Kansas, to head for the Big Apple in Thoroughly Modern Millie and Lola Lamar bid farewell to Tulsa, Oklahoma, in favour of NYC in Copacabana. On film, Andy Sachs graduated from Northwestern University and landed a prestigious job with ‘Runway’, a fashion magazine based in New York, and, on television, Carrie Bradshaw arrived in ‘the city that never sleeps’, aged 21, and ended up writing a weekly sex column for The New York Star in Sex and the City.

Similarly, in the Andrew Lloyd Webber and Don Black hit musical, Tell Me On A Sunday, Laura is a Liverpudlian girl (although, originally, the character came from Muswell Hill) who has made New York her home. Brimming with optimism, she seeks success and love. But as she weaves her way through the maze of the city and her own anxieties, frustrations and heartaches, she begins to wonder whether she's been looking for love in all the wrong places.

Originally conceived for television, starring Marti Webb, the role has also been performed by some big names from the world of musical theatre, including Sarah Brightman, Lulu, Denise Van Outen, Faye Tozer and Patsy Palmer. This latest version has been tailored to suit the current incumbent, Claire Sweeney and there has even been a new song added, ‘Dreams Never Run On Time’.

Sweeney has a charm and charisma within her performance, is easy on the eye, and connects well with the audience. She delivers the musical numbers with emotional intelligence and beautiful enunciation and one feels that they are all heartfelt. Her strength lies in her ability as an actress rather than a singer, which enables her to sell a tune despite the fact that she is not a ‘belter’. The five-piece band, under the musical direction of Leigh Thompson, are bang-on and never miss a beat.

The set, designed by Janet Bird, effectively depicts Laura’s studio apartment with a lounge area to the fore and a kitchen and bedroom, slightly higher, further back. Girly props and satin sheets also contribute a feminine feel. The updated version now sees Laura armed with a pink laptop and the ‘Writing Home’ songs are now done via e-mail. These touches work nicely enough.

It is a rather large undertaking to expect one performer to keep an audience of around 1,000 people entertained, predominantly with song, for approximately 90 minutes. However, Claire Sweeney pulled it out of the bag and neither of the two 45 minute acts ever lost their momentum.

Steve Burbridge.

Runs at Darlington Civic Theatre until 11^th June, then tours to Edinburgh, Glasgow, Woking, Cardiff, Norwich, Malvern, Eastbourne and Aberdeen.

The Harlem Gospel Choir

Reviewed at Darlington Civic Theatre

You may not instantly recognise their name but the chances are, somewhere along the line, you’ll have seen The Harlem Gospel Choir perform. Whether it was back in 1989, in the iconic video for Madonna’s number one hit Like a Prayer, or more recently at the internationally broadcast memorial concert for Michael Jackson, the world-famous choir group occupy a well-earned position in popular culture.

Since forming in 1986, at Harlem’s Cotton Club, they have become America’s premier gospel choir and have performed with a wide range of contemporary and traditional artists such as Diana Ross, U2, Scissor Sisters, Cyndi Lauper, John Legend, Gorillaz, Razorlight, Jon Hendricks, Lisa Marie Presley, Josh Groban and Whoopi Goldberg. They have also had the honour of performing in front of royalty, Popes and presidents, including Nelson Mandela and Barack Obama.

Inspired by the work of Dr Martin Luther King Junior, Allen Bailey founded the original choir after attending a celebration of King’s life. The theme of every performance is “bringing people and nations together and giving something back”.

The Harlem Gospel Choir shares its message of love and inspiration, through its dynamic performances, with thousands of people around the world and raises funds for many children’s charities in the process. From China to Australia, Russia to Alaska, they have travelled more than 3 million miles with their rich harmonies and songs of hope. Now, as part of their 25^th anniversary celebrations, they are back in the United Kingdom after a six year absence.

Staying true to their original form, the choir still draw their core singers and musicians from black churches in the Harlem and New York area and continuously strive to educate and share their African-American culture and the inspirational relationship between Gospel and the black church.

Their uplifting and spiritual concert attempts to emulate the atmosphere and joyousness of a Gospel church service – the audience are even referred to as members of ‘the congregation’. Participation is central to the choir’s objectives and hand-clapping, foot-stomping, arm-waving and hip-shaking are all actively encouraged.

The show is divided into two distinct halves. The first draws heavily upon the Christian beliefs of the choir and, subsequently, the mood is one of meaningful praise and heartfelt worship. After the interval, things become far more mainstream and, dare I say, even commercial. Many of the numbers performed (including Kool & The Gang’s Celebration and USA for Africa’s We Are The World, the US equivalent of Band Aid’s Do They Know It’s Christmas?) had ‘the congregation’ singing along. The charismatic MC and founder of the choir, Allen Bailey, even encouraged audience members onto the stage to join in!

Whatever your religious beliefs may be, it is impossible not to find yourself becoming immersed into this soulful and celebratory concert. The enthusiasm of the choir is positively infectious. Indeed, experiencing the phenomenon that is the Harlem Gospel Choir raises your spirits and touches the depths of your soul!

Steve Burbridge.

For tour dates and venues visit www.theatre-productions.com

The ‘Calendar Girls’ set a record-breaking date in the Civic Theatre’s History

A star-studded cast has set a box office record at one of the North East's major theatres.

Calendar Girls, which has been playing all week and continues until tomorrow has entertained capacity crowds at Darlington’s Civic Theatre and has been the most successful drama in the theatre’s 104 year history!

Over 6,500 theatre-goers have laughed and cried at this inspirational show, which is based on the true story of 12 extraordinary members of the Women’s Institute who give their annual calendar a very untraditional twist to raise money for Leukaemia and Lymphoma Research and spark a global phenomenon in the process.

The cast is headed by Lesley Joseph, one of Britain’s best-loved actresses, who plays Chris Harper, the ebullient driving force behind the calendar idea. She said: ‘It’s a fantastic true story. It is funny because things have changed a lot, theatrically. A lot of these plays deal with female issues and invite a whole new audience into theatres, which is fantastic.’

 

The line-up also brings together some of the best-known actresses in the British entertainment industry, including sitcom stalwarts Ruth Madoc (Hi-de-Hi) and Sue Holderness (Only Fools and Horses), soap stars Kacey Ainsworth (EastEnders) and Deena Payne (Emmerdale), Helen Fraser (Bad Girls) and Strictly Come Dancing sensation Camilla Dallerup.

 

Ironically, the success of Calendar Girls comes at a time when the theatre’s future remains uncertain. Darlington Borough Council has advertised the town centre venue for sale as a going concern on a long leasehold basis.

 The council warned last year that it may have to close the theatre's doors because of cuts in Government grants unless a new operator came forward.

In January, the authority's ruling cabinet group gave the theatre - as well as the towns Arts Centre - a stay of execution.

The cabinet also agreed to seek expressions of interest from organisations interested in buying the 893-seat traditional Edwardian theatre to be leased at a peppercorn rent.

The council asked for approaches to be made in writing by February 28.

It is also believed to have already been in contact with two companies who could take over the theatre, one of which is believed to be Qdos Entertainment Group, which runs the annual pantomime in Darlington, through its HQ Theatres division.

Qdos chairman Nick Thomas said: ‘Having produced the pantomime for 25 years and many other shows at Darlington Civic Theatre, we hold the venue in very high esteem and hope to continue our relationship. Qdos has a pantomime contract for the 2012 pantomime season, so obviously it is very important to us that the theatre's future is secured.’

A council spokeswoman said: ‘Our priority is not capital receipt, but ensuring we secure a provider who will continue to provide a high quality programme at the theatre.’

Darlington Civic Theatre, which was originally known as The New Hippodrome & Palace of Varieties, was formally opened on Monday September 2 1907. Its first Managing Director was Signor Rino Pepi, an Italian ex patriot who was originally a quick-change artist (or protean) and impersonator, whose love of theatre took him into a management career. George F Ward of Owen and Ward of Birmingham, a firm specialising in theatre building, designed the theatre and Owen and Ward were responsible for the building of the theatre. It is constructed from local Middlesbrough red brick with terracotta dressings. Above the Parkgate entrance is a 64foot high pyramid-roofed tower (housing a water tank) that gives the theatre’s distinctive appearance and was used to provide high-pressure water for aquatic scenes that were popular at the time. The ornamental canopy is a replica of the original iron and glass structure, which was destroyed by a traffic accident in the 1960s.

The theatre flourished during the 20 years Signor Pepi ran it but following his death in November 1927, its future became uncertain. Competition from cinema became a real threat and a succession of different managers struggled to balance the books. Indeed at one stage the theatre was equipped with a film projection box at the rear of the Upper Circle, this can be seen above the name on Borough Road side of the building. In 1966 after much hard work and enthusiasm from members of the community, especially Darlington Operatic Society, the Borough Council of Darlington assumed full financial, administrative and artistic responsibility for the theatre on behalf of the town. The ‘New Hippodrome’ became officially known as Darlington Civic Theatre.

Calendar Girls

Darlington Civic Theatre

There’s not a lot you can say about Calendar Girls that hasn’t already been said. The show, which tells the true story of twelve extraordinary members of the Women’s Institute who give their annual calendar a very untraditional twist to raise money for an extremely worthy cause, is now a global phenomenon. Having enjoyed a run in the West End and numerous national tours, the consensus among my fellow critics and audience members alike is that the current touring cast are by far the best yet.

Darlington’s Civic Theatre was filled to capacity on opening night, and apparently is a sell-out for the remainder of the week – and, when the curtain went up, it was perfectly evident why. Not only does this inspirational stage production have the power to make audiences both laugh and cry, but it is also performed by a consummate cast that comprises some of the best-known performers in the entertainment industry, including sitcom stalwarts and soap stars.

Lesley Joseph (of Birds of a Feather fame) heads the cast as Chris Harper, the ebullient driving force behind the calendar idea. Her performance is engaging and energetic and she demonstrates the depth of her versatility as an actress, mixing pathos and poignancy with great comic timing and proving – as if she ever needed to – why she remains one of Britain’s busiest actresses and that there is so much more to her than only Dorien Green.

Sue Holderness (Marlene, Only Fools and Horses) provides the perfect contrast as Chris’s best friend, Annie Clarke, the bereaved woman whose husband’s death is the catalyst for the creation of the ‘alternative’ calendar. Her portrayal is skilfully subtle and there is a real rapport between Holderness and Joseph. There is also an intensity to the scene where Chris and Annie have a confrontation and, subsequently fall-out, which was somewhat lacking in the 2003 film starring Helen Mirren as Chris and Julie Walters as Annie.

Ruth Madoc (Gladys, Hi-de-Hi) relishes the role of the snooty chairman of the Knapley WI group and never misses an opportunity to steal a scene with a bitchy comment. She takes Marie’s pretentions to the verge of caricature but never goes too far and always retains the believability of the character.

Helen Fraser (Sylvia ‘bodybag’ Hollamby, Bad Girls) also provides much hilarity with her portrayal of Jessie, the retired schoolteacher. Her ‘no front-bottoms’ line had the audiences in stitches and her delivery was punchy and spot-on throughout. Deena Payne (Viv, Emmerdale) is the unorthodox vicar’s daughter, Cora, and displays a rather impressive singing voice. Kacey Ainsworth (Little Mo, EastEnders) plays Ruth, the most timid of all the women, whose philandering husband is playing away with a blonde bimbo beautician (Camilla Dallerup). Kathryn Rooney provides much of the glamour with the hair-tossing, golf-playing character of Celia.

In a cast that is dominated by such towering talents, it would be easy – but extremely unfair – to overlook the contribution of the actors who perform less high-profile roles. Colin Tarrant (Insp. Monroe, The Bill) gives a heartfelt portrayal of John Clarke, who dies of leukaemia, Kevin Sacre is effective in his doubling-up as photographer, Lawrence, and television director, Liam, Robert Gill is Rod Harper and Susan Bovell plays both Brenda Hulse and Lady Cravenshire.

The entire production and technical team are to be commended too, particularly author Tim Firth, director Jack Ryder and designer Robert Jones. Calendar Girls is a triumphant piece of theatre that should occupy a date in everyone’s diary.

Steve Burbridge.

Runs until Saturday 21 May 2011.

WEST SIDE STORY LAUNCH NIGHT IN

CONJUNCTION WITH ‘AS YOU LIKE IT’, JESMOND

AND COMPANY DEVELOPMENT.

Nice Swan Theatre Company revives WEST SIDE STORY as part of its on-going mission to regenerate the regions amateur theatre.

Fresh from the successful run of Shakespeare’s ‘As You Like It’ at the Peoples’ Theatre, Nice  Swan Theatre Company were not resting on their laurels the following day but launching their most ambitious project to date; ‘West Side Story’. Over sixty young talents from across the area auditioned and a cast of 24 were selected. They met rather ironically in conjunction with As You Like It in Jesmond to mingle with the management and start a process that will have them working tirelessly for the next 6 months.

The theatre company has quickly gained a reputation for edgy, professional performances that have audiences laughing one minute and crying the next. Their vision for ‘West Side Story’ is no different. The classic musical based upon the ideas of William Shakespeare’s ‘Romeo and Juliet’ tells the story of the forbidden love between two rival gang members ‘Tony’ and ‘Maria’, a story that encompasses passion, comedy and tragedy. With well known numbers such as ‘I Feel Pretty’, ‘Tonight’ and ‘Somewhere’, it has thrilled audiences for generations and with Nice Swan’s inimitable style the hope is that it will continue to speak to original fans plus a new generation of theatre goers with a promising production this year. 

It has been this ‘new generation’ that has been at the forefront of Nice Swan Theatre Company’s aim since its conception in 2008. Creators Ben Hunt (22) and Jamie Gray (21) envisioned a company that could offer a stepping stone between amateur and professional theatre to students in the region. A three pronged approach of productions, workshop classes and event participation has certainly made this possible and developed the group beyond all expectations in only a short period of time.

Their production of ‘Rent’ in 2009, the North East premiere of ‘Spring Awakening’ in 2010 and ‘As YouLike It’ in 2011 have been showered with praise from the critics but, more importantly to the team, have given opportunities to many youngsters aged 16-25 in the region. Spring Awakening was reviewed to have ‘Standards of a production on London’s West End’ by Steve Burbridge, a critic from nationwide UK Theatre Network. The audition processes have allowed more than 150 youngsters to experience a taste of the demands of the acting profession and those that have gone on to star in the shows have been a part of an amateur group that really expects professional standards at every level. The technical aspects of the productions have also been implemented by local students, and from direction to sound and lighting design and operation, more than 20 students have been involved and now have impressive experience to add to their resume. The fact that productions carried out on a solely voluntary level shows just how committed every person involved has been.

 In the past year the company has branched out even further using their success and enthusiasm to hone the talents of even younger students. They presently hold weekly workshop classes for 10-15 year olds taking them through every aspect of acting and musical theatre in order to challenge and push them. The fact that the younger students are learning from a team of passionate people not only builds their confidence but gives them positive role models that can inspire and convince them that there are opportunities for young people with dreams and determination in the North East.

Community has always been important to the company and involvement in events such as the Gateshead Arts Festival, Metro Centre Christmas Launch and Gateshead Summer Flower Festival have given them the opportunity to give something back to a region that has supported them. The growth of the company in just three years really proves the adage that ‘anything is possible’ and dispels the myth that young people these days are apathetic and reticent to work hard. 

Managing Director, Jamie Gray ‘I am very excited about the ideas that Artistic Director, Ben Hunt has for West Side Story, it is certainly going to be something special and I am proud to be producing the show during the Peoples Theatre Centenary year.’

Cast Member Jessica Brady ‘I was honoured and delighted to be cast as ANITA in West Side Story. It truly is a dream come true not just because of the part, but because I get to work once again with some of the most amazingly talented people. It promises to be a spectacular show in September’.

‘West Side Story’ will open at the Peoples’ Theatre in September and is promised to be yet another unmissable experience. Tickets will be on sale from May 2011.

For more details of the company, past productions, workshops and upcoming events see   www.niceswan.com

Corrie!

Darlington Civic Theatre

In 1960, the genius and passion of Tony Warren gave birth to a national treasure. Fifty years later, Jonathan Harvey should be tried for attempted murder.

As the familiar Coronation Street theme tune, composed by the late Eric Spear, filled the auditorium I was looking forward to Corrie! being an affectionate pastiche of Britain’s longest-running and, arguably, best-loved soap. Instead, what followed was a preposterous parody.

A mish-mash of montages were ‘cobbled’ together to give a cringe-worthy potted history of many of the most significant events to have taken place in Weatherfield during the past half a century. Although I never expected this ‘brand new play’, which has been ‘specially commissioned by ITV’ to feed the culture-vulture within me, even Jack Duckworth’s pigeons would have been hard-pushed to find a tasty morsel in this contrived concoction of crass caricatures and sensational scene send-ups.

If, as the programme notes claim, ‘Coronation Street was also part of the great wave of ‘kitchen sink drama’ of the 1950s’ then Corrie! has slid down the drain and come to rest in the gutter where it belongs.

Although I do not dispute the fact that the six actors on stage, Leanne Best, Simon Chadwick, Daniel Crowder, Jo Mousley, Peter Temple and Lucy Thackeray, work extremely hard playing a total of 55 characters between them – often in very quick succession – my gripe is that the mannerisms of each character were so exaggerated that they became less recognisable as a result. Thus, the performances contained enough ham to keep Alf’s Mini Market stocked for the next fifty years!

 

I also took umbrage with iconic characters such as Bet, Blanche, Audrey, Emily, Martha and Minnie being played by blokes. Despite the fact that there was an element of drag queen/panto dame to Bet, Julie Goodyear’s television performance, combined with some brilliant scripts, always ensured that behind the beehive, leopard-skin and dangly earrings we knew there was a real woman. This did not come across on stage.

Furthermore, Corrie! is described as ‘a new play’ but, in essence, it is not. Most of the scenes are performed as they were originally written, using the same dialogue that the original scriptwriters penned. Only the words of the narrator, who is played by a genuine Coronation Street actor at each performance (in this case it was Ken Morley, aka Reg Holdsworth), are original – and my guess is that even they were scribbled down on the back of a Newton & Ridley beer mat during a ten-minute tea break from Baldwin’s Casuals.

I am not sure who Jonathan Harvey has pitched Corrie! at, to be honest. After all, those who hate the soap wouldn’t pay to go to the theatre to see a stage play based upon it and those who love it will surely consider this offering as sacrilege. Indeed, I suspect the show would make their hair curl faster than a last-minute cancellation at Audrey’s salon.

Whereas Coronation Street could be best described as a quality soap that is able to produce a frothy lather, Corrie! is a cheap imitation that leaves a scummy residue ingrained in your mind.

Steve Burbridge.

Runs at Darlington until Saturday 7 May 2011, then tours to Ipswich, Northampton, Bradford, Southampton, Stoke, Brighton, Hull and Malvern.

The Shaolin Warriors

Darlington Civic Theatre

Prepare yourselves to be amazed beyond the boundaries of your own belief! Direct from Beijing, China, the legendary masters of kung fu, The Shaolin Warriors, are taking Britain by storm.

This fully choreographed theatrical extravaganza is an experience not to be missed and never to be forgotten. The packed auditorium at Darlington Civic Theatre was enthralled by the superhuman strength and soothing serenity of the magnificent men (and boys) on stage.

Indeed, this spectacular show depicts the journey of a young child to highly skilled Shaolin Warrior through diligent training and study, and showcases some of the most awe-inspiring, jaw-dropping, death-defying stunts along the way.

The hypnotic and pain-defying feats are truly amazing and garnered collective choruses of ‘ooh’ and ‘ah’ from the audience. We see a monk being placed on a board of nails and a marble slab put on top of him before it is smashed with a sledgehammer; another is lifted aloft sharpened spears; another performs a handstand using only two fingers, and there are a quick succession of back flips, leaps and gravity-defying jumps.

The sheer agility, endurance and strength of the warriors is absolutely breathtaking, yet for all the spectacle of the entertainment, the show also has a reflective and spiritually enlightening side.

Such is the success of The Shaolin Warriors that they have toured through North America, Australia, New Zealand, Switzerland and now the United Kingdom. Once the extensive UK tour is completed they head off to wow audiences in Serbia, too.

Finally, it seems appropriate to end this review with the customary warning: Don’t try any of the things you see on stage at home!

Steve Burbridge.

Reviewed on Thursday 28 April 2011.

For tour details see www.theatre-productions.com

Goodnight Mister Tom

UK National Tour

Reviewed at Darlington Civic Theatre

Since its publication in 1981, Michelle Magorian’s hugely successful first novel, Goodnight Mister Tom, has sold more than 1.2 million copies, been translated into thirteen languages and been adapted for television twice, most notably starring the late John Thaw in 1998. Now, in the year of its 30^th anniversary, it is brought vividly to the stage.

David Wood’s adaptation, for the newly established Children’s Touring Partnership, is wonderful and the production values of the piece are second-to-none. The Olivier award-winning actor Oliver Ford Davies plays the eponymous elderly recluse who is forced to house an evacuee who has been billeted with him. Ford Davies brilliantly manages to convey both cantankerousness and tenderness with the greatest aplomb. He is blessed to share the stage with Oliver Tritton Wheeler as Will(iam) Beech, one of the most talented child actors I have ever seen.

The story, for the most part, is unashamedly sentimental, nostalgic and heart-warming – yet there are, occasionally, some dark and disturbing scenes that unflinchingly confront the horrors of child abuse and these are profoundly affecting. Likewise, the narrative also examines issues of mental health and religious hypocrisy. However, these subjects are tackled skilfully and in a manner that takes into account the sensibilities of its target audience – older children.

Robert Innes Hopkins has designed a set that is not only functional, but also ingeniously innovative. He is also to be commended for his authentic costume design. Indeed, creatively this production is ambitious and imaginative, incorporating the use of some impressively life-like puppets to portray Tom’s Border collie dog, Sammy, and the woodland creatures.

Director Angus Jackson has kept the running time to around forty-five minutes for each of the two acts, presumably to avoid the possibility of the children becoming fidgety. However, he need not have concerned himself too much on this score, as the kids (who had turned up by the coach load) sat enthralled and behaved impeccably throughout.

The secret of this show’s success is actually revealed in the brochure: ‘This is not just children’s theatre, this is a children’s story for grownups, and a grown up story for children’. Precisely.

Steve Burbridge.

Runs at Darlington Civic until Saturday 2 April 2011, before touring to Leeds, Coventry, Dartford, Kingston, Nottingham and Cardiff.

The Naked Truth

UK National Tour

Reviewed at Middlesbrough Theatre

Dave Simpson’s smash-hit comedy play, The Naked Truth, which is set in a pole-dancing class, is now in its fifth fantastic national tour and its popularity shows no signs of waning. The show tells the stories of six very different women and boasts an all-star cast, led by singing sensation Maureen Nolan and former diva of the dales Claire King. There’s also ex-pop princess Michelle Heaton, Hollyoaks actress Julie Buckfield, the star of the West End show Hairspray, Leanne Jones, and the slightly lesser-known Alison Young.

Five women, who are all very different in terms of background, age, shape and personality, struggle to conquer pole-dancing under the expert instruction of the glamorous Gabby (Michelle Heaton). Each of them has their own individual motivations for being there and, as their stories begin to unfold and intertwine, they share laughter and tears in a play that demonstrates the solidarity of the sisterhood and celebrates strength through adversity.

Ex-Emmerdale and Bad Girls star Claire King plays Rita, a character you really wouldn’t want to mess with. But behind the bravado is a woman who is the victim of domestic abuse and is desperately protective of her two daughters. King is flawless in her carefully crafted characterisation of the tart-with-a-heart. Leanne Jones is the larger-than-life loudmouth who is looking for love in all the wrong places, Julie Buckfield is the self-obsessed snob Tricia, whose perfect life isn’t as rosy as it seems, Alison Young plays it strictly for laughs as the delightfully dippy Faith and Maureen Nolan completes the line-up as the demure and dignified Sarah.

As you might expect, there is much hilarity to be enjoyed as the novices acquaint themselves with the pole. Much of the comedy derives from physical clowning and Leanne Jones sends herself – and her size and shape – up with great sport and humility. The script relies heavily on ribaldry for the most part and the predominantly-female audience cackled along in delight.

However, when Sarah receives some devastating news, the others soon put aside any differences, pull together, and decide to turn their newly-acquired skill into a fund-raising charity event. Maureen Nolan is a performer who brings warmth and believability to any role (incidentally, she’s my all-time favourite, best-ever Mrs Johnstone in Blood Brothers) and she excels as the terminally ill housewife. It is to Miss Nolan’s credit that she had the courage and strength to accept such a part, given the impact that cancer has had on her family over the years.

Stephen Leatherland’s direction strikes the perfect balance between the moments of comedy and tragedy and there is never any jarring of the two. Despite such serious issues underpinning the production, the overriding themes are of triumphant resilience, the power of friendship and living life to the full. The Naked Truth is an empowering piece of theatre with a joie de vivre that is heart-warming and truly inspiring.

Steve Burbridge.

Runs at Middlesbrough until Wednesday 30^th March 2011. For further tour details log on to www.theatre-productions.com

As You Like It

Nice Swan Theatre Company at The People’s Theatre, Newcastle upon Tyne

It’s Shakespeare, but not as you know it!

Nice Swan Theatre Company have taken ‘As You Like It’, the bard’s pastoral comedy, and given it a unique and innovative twist. Set in the modern day, the action begins with the characters enjoying a night on the town, where flirting, snogging, bitching, binge-drinking and all manner of other drunken revelry are the order of the evening. The famous wrestling scene is transformed into a ‘dance-off’ in the nightclub and there’s even a McDonald’s to boot!

This modern and ambitious production is presented by Nice Swan Theatre Company, a student-based group in Tyne and Wear, which provides a stepping stone between amateur and professional theatre for young talent, aged between 16 and 25, from all over the North East region.

Director Ben Hunt and Producer Jamie Gray have, once again, assembled a stellar cast – as they did for their production of ‘Spring Awakening’ - and they all play their parts to perfection, although there are a number of stand-out performances. Andy McAdam presents us with a charismatic Orlando and Laura Stoker is a feisty Rosalind. Thomas Whalley, as an outrageously camp Touchstone (in a tutu!) , leads the comic relief and is well-supported by Sean Bell as Adam/Audrey.

As usual, one cannot fault the production values of Nice Swan’s work. A sparse stage is transformed into the dance floor of the nightclub by some nifty neon lighting and then into Arden Alley by the inclusion of several overflowing dustbins. Andrew Milburn and Tom Jefferson accentuate mood and dramatic potential with their effective lighting design.

The creativity and innovation of this highly talented group is to be applauded. Who’d have thought that the language of Shakespeare would translate so well to being spoken in a broad Geordie accent? Shakespeare traditionalists may not approve of this particular interpretation of the play and might deride it as heresy, although, personally speaking, I strongly suspect that the bard would wholeheartedly approve.

If you appreciate Shakespeare being performed with a modern slant, and aren’t easily offended by some infrequent bad language then I’m sure you’ll find this production exactly ‘As You Like It’.  However, the production has only a three night run and ticket sales are extremely high, so you’ll have to hurry if you don’t want to miss out!

Steve Burbridge.

Runs until Wednesday 9^th March 2010.