George's Marvellous Medicine - Altrincham Garrick


WHILE I’m not one of those irritating people who witter on about ‘the good old days’, it was really refreshing to see children completely immersed in a form of entertainment that wasn’t screen based.

And big kids like me enjoyed it, too.

I been reviewing theatre for 30 years and this was the first time I’d ever seen - well, I’m not going to spoil the surprise for you.

This production is also a triumph for the director/designer Sean Duvall for has designed a set that smacks of fairytale charm and a talented team of puppeteers who successfully transport the audience to a world in which anything is possible.

Poor George - played by an engaging Andy Withers - has his school holiday ruined when his grouchy old grandma comes to stay at his family’s farm.

She really is a grump, snarling her orders at George and his oh so patient parents, played by Michael Gallagher and Christine Perry.

Withers is an engaging and likeable George and instantly won over the youngsters in the audience as he hatches a plan to put the old battle axe well and truly in her place.

The panto season may be eight months away but this show has that well known staple ingredient of the panto. Audience participation.

But take comfort folks - the jokes are an awful lot better.

Hannah Collman, far, far, far younger than the role she is playing, is really good value as Grandma, perfectly capturing her mannerisms and with a voice that could, quite easily, curdle milk.

The world may be a bad place at the moment so what better than 90 minutes of good, clean fun to whisk us away from these unprecedented times?

Until April 24. Tickets are available from 0161 928 1677 or www.altrinchamgarrick.co.uk. Star rating - 3.5 out of 5.

Photo - Martin Ogden.

Nora A Doll's House - Royal Exchange Theatre


IT’S really depressing when you think about it.

Just how an adaptation of Ibsen’s classic, still has relevance today, a play about the way women are still expected to play a certain role in society and are forced to dilute their dreams and aspirations or abandon them altogether.

Stef Smith’s engaging and thought provoking adaptation makes us question just how much has changed for women in our society by flitting between 1918, when women of a certain age were first allowed to vote, 1968 and 2018.

This piece works quite brilliantly because it reminds us how far we’ve progressed and how far we still have to go before full gender equality is achieved.

While this may sound like heavy going, it’s not. While this play is sure to fuel a debate or two over a post performance drink it certainly isn’t an evening of man bashing even though Thomas, the husband figure played by William Ash, is incurably condescending.

His control over Nora/Christine reduces over time and you’re sure to find yourself rooting for her as she thinks about fleeing her domestic prison.

In this adaptation the role of Nora is shared between three very different actresses. Different in the sense they Yusra Warsama, Jodie McNee and Kirsty Rider bring something very different to the part.

This is very thought provoking, intelligent theatre that remains true to the spirit of a play that’s more than a century old and director Bryony Shanahan and a gifted and close knit cast ensure not a single word of Stef Smith’s dialogue is wasted.

Highly recommended - theatre with a brain and a heart.

Until April 2. Star rating - ****

Tickets are available from www.royalexchange.co.uk.

Photo - Helen Murray

The Lady In The Van - Altrincham Garrick


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AS I left the Garrick on Monday night one question was running through my mind - why doesn’t Celia Bonner do more acting?

She gives a captivating performance as Miss Shepherd, the enigmatic down and out taken in by Alan Bennett and who lived on his driveway for what was supposed to be a temporary basis.

But “temporary” turned into 15 years and an unlikely friendship grew between the genius playwright and an old woman whose outlook on life was, to put it mildly, unique.

It soon emerges that Miss Shepherd has a past, psychologically she’s damaged goods and her unapologetic attitude to personal cleanliness had the audience wincing with disgust when I saw this on opening night.

Celia’s sense of timing is flawless and, under the astute direction of Carole Carr, she’s ably supported by Mike Shaw and Jonathan Black, who share the role of Bennett himself.

Nobody tells a story quite like this national treasure and has turn of phrase is quite brilliant. But you have to be prepared to listen. It’s a case of blink and you’ll miss his priceless witticisms.

Barry Purves’ and Amanda Cooke’s spartan set captures perfectly the suburban London in which this remarkable story unfolds, a tale which can be summed up in the phrase “you couldn’t make this up.”

While Miss Shepherd’s lack of personal hygiene repulsed me at times, I found myself drawn to someone who refused to live by society’s rules.

Alan Bennett was similarly drawn and he got a play out of it.

Until Oct 9. The box office is on 0161 928 1677. Star rating - 3.5 out of 5. Photo by Martin Ogden.

Glee and Me - Royal Exchange Theatre


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I WROTE my first review back in September 1987 and thought I’d seen it all.

However, I never imagined one day I’d be watching a play wearing a snood or that a play about a teen battling a terminal illness could be so outrageously funny.

Liv Hill plays Lola, a girl coming to terms with the fact her young life is certain to be cut short by a brain tumour.

She has a bucket list on which there only appears to be two items. The first, a determination not to die a virgin, the second, to discover the meaning of life before she shuffles off this mortal coil.

Helped by Stuart Slade’s prize winning script, Hill makes us care deeply about Lola, and she leaves us under no illusion the world will be a worse place without her.

Slade knows when to be funny and when to be serious and and poignant and you’re sure to be stifling a tear or two as you share with Lola the stark realisation that this spirited, fun loving 16 year old is destined to have her life so cruelly cut short.

It’s hard to believe Liv Hill is only in her 20s as she delivers a performance so authentic and powerful its sure to leave a lasting impression on those who see it.

Stuart Slade is the winner of the RET’s Bruntwood playwriting competition and has the talent to be a major theatrical force in the future if he desires it.

Strongly recommended.

Star rating - **** Online bookings only at www.royalexchange,co.uk. Photo by Helen Murray

Chatroom - Altrincham Garrick

I STILL haven’t worked it out.

Whenever I go to review a production of a play or a show with a small audience it invariably falls into the outstanding category.

Chatroom is no exception.

For me, live theatre and TV drama is always at its best when shining a light on difficult issues and dragging the audience or the viewer into a darker world, a world you’re relieved to escape when you leave the theatre or turn off the TV.

However shocked you feel it can also be an enlightening experience as this evening in the company of the Internet generation is.

It’s oh so tempting to envy teenagers as they’re largely free of responsibilities and live to just enjoy themselves.

That’s a myth of course. Just ask Jim, the central character in Enda Walsh’s deeply unsettling but ultimately hopeful play.

Pining for a dad who suddenly and mysteriously went AWOL and nursing the psychological and physical scars of a difficult home life, this troubled teen is contemplating suicide.

Walsh’s brilliant script doesn’t dilute the difficult nature of this difficult topic while at the same time refusing to sensationalise it.

Rather he tells this absorbing tale with quiet compassion and you find yourself caring deeply about Jim, forever the outcast..

A young and dynamic cast more than do justice to this exceptional piece of work, expertly brought to the stage by Joe Meighan, the Garrick’s young and dynamic artistic director.

Highly recommended.

Until July 24. The box office is on 0161 928 1677. Star rating -****

The Last Five Years - Altrincham Garrick



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If ever a show deserved a packed house, it’s this one.

But with the current Covid restrictions it played to a mere sprinkling of an audience and I do hope a revival is on the cards when normality returns.

This is a musical love story but without the slushy stuff and with an engaging score that stretches the vocal talents of Shane Gibb and Ella Maria Danson to the limit.

A supremely talented duo, the play two young New Yorkers, Jamie and Cathy, who fall in love and with their considerable talent and the guidance of director Joe Meighan and musical director Simon Murray, the pass what is a tough vocal test with flying colours.

Lyrically, there are shades of Sondheim in this score and while it’s not packed with hum along Lloyd Webber instant crowd pleasers, there is plenty for the ears to enjoy.

The music and lyrics feel fresh and invigorating and the show offers a real alternative to others that are, let’s face it, performed to death.

I hope Gibb, Danson, Meighan and Murray do work together again for they make a potent creative force on the evidence of this.

While there’s no certainty that will happen of course, I do think other companies in and around Trafford will be clamouring for the musical services of Gibb and Danson when they’re casting leads in future shows.

And there’s no need to worry about setting foot in a theatre again as we slowly emerge from these “unprecedented times.”

For the Garrick has all the procedure in place to ensure your visit is a safe one, while a two strong cast ensure you’ll leave the venue well and truly entertained.

Until June 12. The box office is on 0161 928 1677. Star rating - **** Photo - Martin Ogden