Noughts & Crosses: racism revisited

Malorie Blackman’s widely taught and celebrated is brought to the stage by a plethora of theatre companies; York Theatre Royal, Pilot Theatre, Belgrade Theatre Coventry, Derby Theatre and Mercury Theatre Colchester co-produce this evocative theatrical adaptation by Sabrina Mahfouz, directed by Esther Richardson. Continue reading

Old Herbaceous: “I was… Someone”

PMac Productions presents a delightfully tactile version of Alfred Shaughnessy’s adaptation of Reginald Arkell’s 1950 novel Old Herbaceous, carefully cultivated in a raised-bed greenhouse in which Herbert Pinnegar (Peter Macqueen) reminisces on vignette memories of people he’s met, kept alive through his love of gardening; the remarkable, the formidable and the enchanting. Continue reading

The Remains of the Day: Save it for a rainy day

This week saw York Theatre Royal hosting the stage adaptation of The Remains of the Day, based on the award-winning novel by Kazuo Ishiguro and perhaps better known for the 1993 Merchant Ivory film starring Anthony Hopkins and Emma Thompson. A tough gig, perhaps especially considering that adaptations should appeal both to the ardent fan and the uninitiated. Continue reading

Wise Children: Master-Mistresses of play

Emma Rice brings her unique, exuberantly impish vision to Angela Carter’s great last novel, Wise Children, launching her new theatre company of the same name. Fans of either portfolio won’t be disappointed; you’ll find here all the magic, colour and mischief both Rice and Carter are known for. Sumptuously aesthetic as ever, this fresh adaptation is a love letter to theatre, in all its sparkling glamour, vulnerability and unparalleled intimacy. Continue reading

Ballet Black Double Bill: dance review

Led by Artistic Director Cassa Pancho, Ballet Black celebrates dancers of Black and Asian descent. Cathy Marston’s 2018 narrative piece is based on the 1963 short story The Suit by South African writer Can Themba. Originally published in the inaugural issue of South African literary journal The Classic, the story was banned by the apartheid regime. Though that setting is somewhat lost here without follow-up reading, the emotional truth of the characters’ experience sings through this delicate re-telling that honours both the tragedy of toxic jealousy and the breathless lightness of finding oneself welcomed unconditionally in another’s arms. Continue reading

Snow Queen: A frozen heart takes time to melt

“Don’t worry, it’ll have a happy ending!” was the whispered assurance of a front row parent to their child mid-way through tutti frutti’s latest production, The Snow Queen. And it does. But not in the way you might expect. Continue reading

The Secret Garden: A Love Song To Nature

Bare winter branches stand guard in front of a huge mirrored prism cutting into centre-stage with a bold but cold-shoulder presence as large as the auditorium, echoing Mr Craven’s hunched back; the manifestation of his burden of grief. A protective freeze stills the house like Maleficent’s forest of thorns, and young life is encroaching, demanding growth and freedom. A vintage sheen of rust and silver make the space sparkle before lanterns thaw the world to an Indian summer, where Mary’s (Ella Dunlop) universe is all colour, music and dancing. At least, it would be, if only she were allowed even to be seen at her parents’ lavish parties. Continue reading

Grandad’s Island: From beloved bedtime story to theatrical treasure

Benji Davies’ charming picture book is a firm favourite at bedtime in our house, so when I saw there was to be a theatrical adaptation I was both excited and intrigued. Continue reading