Showing posts sorted by relevance for query damien murray. Sort by date Show all posts
Showing posts sorted by relevance for query damien murray. Sort by date Show all posts

Thursday 14 September 2017

Hairspray (UK Tour), Bord Gais Energy Theatre | Review


Hairspray (Tour)
Bord Gais Energy Theatre, Dublin
Reviewed on Monday 11th September 2017 by Damien Murray 
★★

Despite highlighting serious issues such as prejudice and intolerance, this show remains a popular, light-hearted and fun night of musical theatre and this latest touring production – courtesy of Mark Goucher, Matthew Gale and Laurence Myers – certainly kept it in this now famous ‘feel-good’ vibe.

Set in Baltimore in 1962, against a backdrop of racial segregation, the simple scenario of wanting teenagers of all colours to be able to dance together on a local TV dance programme with a campaign for integration on the show reflects the wider problem of racial segregation and to a welcomed social change at that time.

Opening with a look down at teenage Tracy in bed before hitting hard with one of the show’s most popular songs, 'Good Morning Baltimore', this production got off to a bright up-tempo start in a busy street scene with the dancers quickly establishing the two main communities of the piece, and – under Paul Kerryson’s direction – this theme was reinforced throughout (e.g. there was the telling line that “the TV is black and white” and the costumes in the jail scene were all black and white for the protesters as opposed to the colourful costumes that were used in the rest of the show).




Staged with a practical and realistic brick house set at either side, this production used mobile trucks and effective projected scenery throughout to keep its fast-moving pace in place, while Philip Gladwell’s bright and colourful lighting plot brought a lot to the show and I loved, at the start of each Act, how the audience was flooded in moving coloured lights to create a fun atmosphere.

As a dance-orientated show, Drew McOnie’s choreography and movement was always slick, lively, entertaining and of its time and it was a brave decision to do a routine at one stage with several basketballs being thrown about on a crowded stage.

While the costumes were overly bright (probably for staging purposes to increase the fun and escapism elements of the production), they – like the hairstyles – were authentic for the era.

The mostly up-tempo score was varied with 60s Pop, Rhythm & Blues, Doo-Wop and Gospel influences, and Musical Director, Ben Atkinson, and his 7-piece on-stage band did well in keeping things moving at a lively pace and with such a full-on sound, despite this show being written for a much larger instrumentation line-up.




While the comic duet, 'You’re Timeless To Me', proved popular with audiences, songs like 'Mama, I’m A Big Girl Now' and 'I Can Hear The Bells' were well staged; the latter having a particular magical feel to it.

However, the big production numbers that really stood out were: 'Welcome To The 60s', complete with the female vocal trio’s sparkling dresses and the floor gobos and wallpaper displaying a popular pattern of the era; the glorious piece of Gospel, 'I Know Where I’ve Been', which almost lifted the roof; and the all-singing, all-dancing finale, 'You Can’t Stop The Beat', with its totally infectious feel-good factor.

Sometimes there is something about the way a particular show is written, or cast, that is simply annoying and, for me, it is why there is a tradition of playing Tracy’s mother, Edna, as a ‘drag-role (i.e. always played by a man), as the character is not a drag queen, but was first played by one).
I feel it adds nothing to the show and is unnecessary … maybe it is just me and I am missing something obvious, but I just don’t get it.

However, that said, this is certainly no reflection on the talents of Matt Rixon, who played the role of the large, kind and shy Edna superbly in what could best be described as a towering performance, especially against the physically smaller, Norman Pace, as her ever-joking but loving husband, Wilbur (maybe that is the reason for the ‘drag-role’?).




Brenda Edwards’ super soulful vocals made her perfect for the part of the sassy and determined Motormouth Maybelle, while the experienced performance by Gina Murray, as the producer and controlling mother, Velma, was a show-stealer here and this scheming villainess must surely be the most glamorous ‘baddie’ of them all.

If Velma was the baddie, then young Rebecca Mendoza was a real ‘goodie’ here, making an impressive professional debut as the big-hearted and teenage Tracy.

All were well supported by the lively ensemble and others like Jon Tsouras’ self-loving Corney, Layton Williams’ energetic and popular, Seaweed, Edward Chitticks’ heart-throb pop star, Link, Aimee Moore’s not so talented and selfish wannabe, Amber, and Annalise Liard-Bailey – another recent theatre graduate – as the dim but beautiful, Penny.

Hairspray is at the Bord Gais Energy Theatre until September 16th before continuing on its tour.

Photo Credit: Darren Bell

Saturday 9 February 2019

The Bodyguard (UK & Ireland Tour), Grand Opera House, Belfast | Review


The Bodyguard (UK & Ireland Tour)
Grand Opera House
Reviewed on Wednesday 6th February 2019 by Damien Murray
★★★★

Literally starting with a bang… before Karen Bruce’s super-charged choreography ensured that its fiery opening number set the quality bar high for the remainder of the show, this latest touring production of the ever popular musical is another winner.

This romantic thriller, peppered with some of the best of Whitney Houston’s hits, is back in town for its third sell-out run in recent years … and it is easy to see why.

Offering the right balance of romance, suspense, dance, humour and music, this award-winning musical based on Lawrence Kasdan’s blockbuster film, which starred Kevin Costner and Whitney Houston, gives audiences everything they want wrapped up in a quality-filled ‘night out’ to keep them coming back for more.

For those who are unfamiliar with the successful film, the story centres around singing superstar and budding film star, Rachel Marron, and her changing relationship with personal bodyguard, Frank Farmer, who has been hired by her manager to protect her after a series of threatening notes have been found.

Many people go to this show only to hear the music as the plot has been criticised for being too far-fetched, but, sadly, stars with stalkers of some degree or another are more common than one might think.


As someone who was once involved in protecting a performer from a stalker, I could really identify with the storyline here (although my experience was without the romantic elements of this piece!).

Played out on Tim Hatley’s clever and ever-changing sliding-door set, which not only aided the seamless flow of the show but also reinforced the ever-changing situation of the gripping story-line, this was a well-paced production, which made effective use of projections.

Yet again, the star of this show was former X-Factor winner, Alexandra Burke, in the role of the controlling diva-style star, Rachel Marron, and – having recently performed in such musicals as Sister Act, Chess and Chicago and having been so successful in television’s Strictly Come Dancing – it was an even more confident and experienced performer this time that filled both Marron’s shoes and the auditorium with great vocals in Houston’s many hits. 

Playing opposite Burke as her equally controlling, bodyguard, Frank Farmer, Benoit Marechal was a much calmer and more controlled character who took his job very seriously. So, the karaoke scene was nice in that it showed a different side of his character while providing a degree of humour to lighten the mood of the piece. 

Although I didn’t get any sense of fear from Phil Atkinson’s chilling character in his early appearances (maybe due to his direction), the sinister stares of the stalker became appropriately more threatening and unsettling as the show progressed and Atkinson developed into a truly menacing stalker, especially when he rose from the orchestra pit in his final scene.

Resentful of her life playing second-fiddle in the shadow of her successful sister, Micha Richardson was impressive as the talented, but jealous, sister, Nicki; her vocal talent getting a solo chance to shine in Saving All My Love For You.


Musical director, Michael Riley, and his eight-piece orchestra did wonders in supplying such a big and full sound for the varied score of power ballads and up-tempo dance numbers, while Mark Henderson’s versatile lighting designs complemented all aspects of the production, and both combined – especially Riley’s perfect incidental music and Henderson’s wonderful use of white light effects – to heighten tension and suspense at appropriate moments of the show.

Thea Sharrock’s direction was also spot-on throughout, but particularly in emphasising these elements of what is, after all, a thriller. A good example of this was the use of slow motion and freeze action in the club scene and at the awards ceremony. 

What surprises me is that, despite being one of the few who do not even like the music of Whitney Houston (really!), this is my third time seeing this show … and, thanks to high production values and talented performances, my third time enjoying the productions.

Musical highlights included: I’m Every Woman and How Will I Know?, while the defining moment in the story was captured during One Moment In Time and Burke’s perfectly staged finale song, the emotionally-charged rendition of I Will Always Love You, proved to be the undoubted show-stopper ahead of the full company mega mix encore. 

Overall, power ballads combined with powerhouse performances and strong choreography to make this a truly powerful production. 

The Bodyguard runs at the Grand Opera house until 16th February 2019

photo credit: Paul Coltas

Sunday 23 December 2018

Come From Away, Abbey Theatre, Dublin | Review


Come From Away (European Premiere) 
Abbey Theatre, Dublin 
Reviewed on Wed 19 December 2018 by Damien Murray
★★★★

As a former refuelling stop for trans-Atlantic flights, the remote town of Gander in Newfoundland was once well used to having many visitors on board passing planes. 

In 2001, due to its position and facilities, it unexpectedly found itself playing host to 38 international flights filled with 7,000 passengers of many nationalities during the horrific attacks of 9/11 on the North-Eastern region of the United States. 

This is not a show about those atrocities, but rather a true story of generosity, gratitude and ultimate hope performed as a theatrical documentation of the unfolding events at Gander as a result of the attacks and the efforts of a small island population to help their fellow man in exceptional and demanding circumstances. 

Ahead of its transfer to London at the end of January, it is, perhaps, appropriate that the European premiere of Irene Sankoff and David Hein’s relatively new, but highly-acclaimed, award-winning musical, is being staged in Dublin as Newfoundland owes much of its music, language and culture to Ireland. 


This fact is reflected in the show’s accents, humour and music, with a distinctly ‘celtic’ approach to the score, instrumentation and underscoring in this Abbey Theatre co-production with Junkyard Dog Productions and Smith & Brant Theatricals. 

Playing a multitude of roles with a quick-fire change of accent, hat, shirt or jacket to convey each character, the hard-working and 12-strong cast - Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, David Shannon, Cat Simmons and, returning to the city where she made her professional debut, Ireland’s own West End and Broadway star, Rachel Tucker - prove the perfect team for this exceptional ensemble piece. 

Indeed, the captivating cast takes ensemble performance to a whole new and higher level in this factual, intense and heart-warming drama. 

Performances here are of such a uniformly impressive standard, it is almost impossible to single anyone out for special praise, but it must be said that, with her commanding stage presence, quality vocals and passionate performance, it is no accident that one of Rachel Tucker’s main characters is, appropriately, that of the Captain. 


By necessity, the casting is diverse to reflect the wide cross section of some of those who were caught up in the Gander situation with people of various shapes, colours and creeds being represented; each with their own story and circumstances and each dealing with the situation in their own way. 

With Beowulf Boritt’s simple, sparse and static (apart from a stage revolve, which, thankfully, is not overused) set representing the remoteness of the forested island being cleverly lit by Howell Binkley’s mood-inspiring lighting, this production is greatly helped by Christopher Ashley’s no thrills direction and Tara Overfield-Wilkinson’s relentless choreography and movement to advance the evolving story in its 100-minute performance time, without ever losing the attention of its audience. 

Because of the nature of its unfolding story, this unconventional musical benefits greatly by the absence on an interval to ensure no loss of momentum or continuity. 

The show is also unusual in terms of the musical score, which mixes Celtic with folk and rock with the addition of a few ballads and, with tongue firmly in cheek, gives a musical nod to Titanic to add humour to the piece. 

Apart from when they take centre stage for a bit of an international hoe-down during Screech In (highlighting the importance of music as an international language), the eight accomplished musicians, under Alan Berry’s musical direction, are discretely positioned at the side of the stage. 


Musical highlights are dominated by the ensemble’s excellent choral work throughout, particularly in songs like Darkness And Trees, while the beautiful rendition of Prayer reinforces the commonality of music in religion. 

Other highlights include Rachel Tucker’s moving showcase song, Me And The Sky, and the tender love song, Stop The World. 

In the midst of mixed emotions, fear, confusion, panic, terror and tragedy, we find that camaraderie, friendship, tolerance, respect and humour are universal and all shine through in this story of interaction between strangers when they are thrown together in the most unusual of circumstances and when relationships survive and grow with random acts of kindness. 

Human resourcefulness becomes second nature as all rally round to provide such practical essentials as food, clothing, accommodation, language interpreters, counselling, medical and spiritual care, money and special care needed for babies and animals that were on any of the grounded flights. 

In addition to the positive feelings when they are all pulling together as one, a painful feeling of loneliness and emptiness descends on everyone immediately after they eventually leave to go home similar to that experienced at the end of an Irish wake. 

This story of ordinary people doing extraordinary things in a time of need is truly inspirational and this intense, gripping, emotional and heart-warming production perfectly captures the generosity of the human spirit and the hope that has been born out of tragedy to create an oasis of harmony in a world of confusion. 

Come From Away runs at the Abbey Theatre until Sat 19th January 2019 

Photo credit: Matthew Murphy 

Friday 24 November 2017

Son of a Preacher Man (UK Tour), Grand Opera House, Belfast | Review


Son of a Preacher Man (UK Tour)
Grand Opera House, Belfast
Reviewed on Tuesday 21st November 2017 by Damien Murray
★★★

With its combination of an all-star line-up of principals and the timeless music made famous by the late Dusty Springfield, this show looked and sounded promising as a good night out at the theatre and expectations were high.

However, incorrectly referred to by many as ‘the Dusty Springfield musical’ (totally not the fault of the producers), this show is neither the Dusty Springfield story nor a bio-musical about her, but rather a style of juke-box musical that features her many hits held together by an unnatural and most ridiculous of storylines.

The complex and convoluted plot revolves around a cross-generational trio of individuals with relationship issues, who, by coincidence, arrive at the same time at a Soho coffee shop (formerly The Preacher Man record shop) in search of an answer to their respective lonely heart problems.

The legendary record-shop owner, the long-dead Preacher Man, had been a sort of agony uncle with an ear and a solution for those with relationship problems back in the 60s and the coffee shop is now under the control of his less-confident son, Simon, played with great experience by Ian Reddington.


Representing the older generation, Michael Howe played Paul, the first of the three troubled individuals, with assurance, while Debra Stephenson’s middle-aged widowed teacher, Alison, was good, but the awkward script didn’t allow her the same opportunity to develop her character to the same extent as the others.

However, the undoubted star of this show was young Diana Vickers, as Kat from the mobile phone generation, who brought a nice balance of humour and great vocals to the show.

Indeed, due to her young age, Vickers was probably the least familiar with the music of Dusty, which makes it even more surprising that she was the one who did the greatest justice to her songs in this show.

The set’s authentic and realistic-looking Soho coffee shop, complete with scene identifying neon signs, was impressive and was, generally, well-used by the talented cast of multi-instrumentalists in the form of on-stage actor musicians, aided by other hidden musicians.

Musically, this was good, but the combination of dodgy vocals from some performers and a few new song arrangements may have disappointed die-hard Springfield fans. 


However, it was the efforts of the majority of the cast and those great songs that saved this show, especially the already mentioned vocals of Vickers and the stand-out harmonies of the three Cappuccino Sisters, played by Michelle Long, Kate Hardisty and Cassiopeia Berkeley-Agyepong.

However, despite its attractive lighting plot, good cast of principals and creative team, this production was sadly let down by its overall slow pace, its weak narrative and Craig Revel Horwood’s unsubtle choreography.

I am led to believe that on-going changes are being made to improve on its weak points … we can only hope that such improvements are in place long before the end of the scheduled tour.

Thursday 19 October 2017

All Or Nothing (UK Tour), Waterfront Hall | Review


All Or Nothing – The Mod Musical (Tour)
Waterfront Hall, Belfast
Reviewed on Wednesday October 18th by Damien Murray
 

Having missed its planned opening night due to cast travel problems caused by Storm Ophelia, the touring production of All Or Nothing – The Mod Musical blew into town for its Belfast debut a night later than expected.

Combining the story of a popular music-linked culture with the more personal, tragic and human story of one of its main bands, The Small Faces, who not only spear-headed the movement but also encapsulated its dress style, attitude and music, All Or Nothing is a jukebox musical … with a twist.

For, in the role of the ‘older’ Steve Marriott, Chris Simmons narrates what is essentially Marriott’s own story from beyond the grave as he guides us chronologically through the group’s history in flashback to give us a raw account of what being the front-man of this important British pop group was really like… warts and all.

Apart from Simmons’ believable performance as the ever-present ‘older’ Marriott and the show’s nostalgic and hit-filled score, the key to the success of this show is that it was written by Carol Harrison, who – as a friend of lead singer, Steve Marriott – had real insider knowledge of the man, the Small Faces as a group, their musical and business frustrations and of the Mod movement during its early days.


Named after the group’s biggest hit and only chart-topper (which knocked The Beatles off the chart’s top spot), All Or Nothing is a biographical piece of 60s nostalgia about a generation of free spirits.

Although the set was relatively basic, it was functional and the production not only boasted that most coveted of Mod essentials, a Vespa scooter, but also authentic costumes, hairstyles and dances, with some great choreography, incorporating the trademark 60s moves of the dancers in various television pop shows of the era.

However, this musical is not so much about the Mod movement as it is the disturbing story of a young pop group, covering its many non-glamorous moments from being mismanaged and vigorously exploited by the ‘Al Capone of pop’ – Don ‘I’ll exploit you for all your worth’ Arden – to the slow demise of the group and from Marriott being a trouble maker at school through to his tragic and untimely death.

We learn: how the group got its name; why they were the only group to be banned from performing on Top Of The Pops; why there was a change of style from Mod to Hippie; of Marriott’s relationship with P.P. Arnold; how his ego got too big; and how he got Rod Stewart’s girlfriend … while Stewart got his band.


Playing live and loud, the actor musicians playing the members of The Small Faces – Samuel Pope (young Marriott), Stanton Wright (Ronnie Laine), Alexander Gold (Ian McLagan) and Stefen Edwards (Kenny Jones) – were all exceptionally good, not only at recreating the group’s many hits, but for perfectly capturing the personality, physical appearance and even the individual playing/performance styles of their respective characters.

The show is peppered throughout with humour and references to and appearances by other celebrities from the era like Andrew Oldham, Robert Stigwood, Rod Stewart, David Jacobs, Cathy McGowan, Stanley Unwin and Tony Blackburn (and even including performances from such characters as Sonny and Cher, Dusty Springfield and P.P. Arnold), as the group appears on such iconic television pop shows as Thank Your Lucky Stars, Juke Box Jury, Ready Steady Go and Top Of The Pops.

Ahead of its transfer to the West End for a limited run, it is easy to see why this touring production has been building up quite a cult following. However, offering, perhaps, too much detail (particularly in early scenes), this show could benefit from some cuts and, with such basic sets and sound balance issues between the pre-recorded extracts and the live music, a higher degree of production values could easily make this cult piece the mainstream hit it deserves to be as a biographical/jukebox musical.

This raw, true and sad story has a moving and emotional ending with a heart-breaking solo acoustic extract from All Or Nothing by Chris Simmons before the mood changes in an up-beat hit-filled finale.

All Or Nothing runs at Waterfront Hall until October 19th


Photo credit: Phil Weedon

Sunday 12 August 2018

TitanicDance, Waterfront Hall | Review


TitanicDance
Waterfront Hall, Belfast 
Reviewed on Thursday 9th August 2018 by Damien Murray
★★★★

Having originally premiered in Belfast four years ago, before going on to tour in America and China, this successful Irish dance and music spectacular has come home again and is temporarily berthed at Belfast's Waterfront Hall. 

Being staged about a quarter of a mile from where the infamous liner was built, there was always going to be something special about this run of the show, which – with a cast of world-class dancers and musicians – told the story of the fateful voyage of the Titanic using an illustrated projected narrative as the dance ensemble vividly brought the story to life. 

Probably because the story is so well-known, opting for not having an audible narrator actually worked here. 

As hundreds of people perished in 1912 when the ship went to its watery grave in the North Atlantic, I am always very cynical about any form of ‘celebration’ of the Titanic tragedy – be it a museum, a Hollywood film, a stage musical or, as it is here, through the medium of Irish dance. 


However, this production was directed by Sean McAnaney, Ray Sweeney and Kevin Toland with such sensitivity, reverence and respect that I don’t believe anyone could be offended in any way by it.  

Opening with a mournful, haunting and atmospheric lament on the uilleann pipes against the sound of water, before facts and images about the world-famous ship were projected onto the large central screen behind a symbolically gigantic porthole in the set, this retelling of the Titanic story in dance and music was successful on many levels. 

Indeed, artistic symbolism was always a core part of this production throughout and Rory Harkins’ versatile lighting plot added greatly to the production’s success as did KSR Productions’ practical and symbolic set (reflecting the tall metal sides of the ship with numerous portholes) and authentic period costume designs. 

Although the musical score may have lacked the impact of some of the bigger numbers in a show like Riverdance (sad to say, there will always be comparisons), it went in a different direction by using some well-known songs like The Water Is Wide (performed against a warm and stunning sunset) and I Know My Love; all beautifully performed with a natural warmth by solo singer, Orla Mullan


Under the musical direction of Darragh Healy, the four multi-talented and multi-instrumental on-stage musicians – Pauric O’Meara, Karl Doherty, Oisin McCann and Healy himself – often adopted a vibrant Irish style and, at times, a ‘session-like’ format to their performances, which worked well with this piece. 

Depicting elements of this emotional journey as a major dance drama was a great challenge for choreographers, Louise Hayden and James Keegan, but – using a varied selection of hard and soft-soled jigs and reels and other styles – they managed to capture the changing moods of the story. 

Indeed, the dancing and music combined in the early scenes to perfectly capture the undoubted sense of joyous hope and excitement behind the smiling faces of the ship’s passengers and crew as the high energy ensemble dances often displayed the sheer exuberance of those on board. 

The raw physicality of the male boiler room crew with shovels during their fiery hard-shoe routine in front of the hot engines contrasted so well with the gentle and dainty dancing of the first-class ladies with parasols on the bright sunny deck. 

While the genial and more formal dancing in ballroom was nice, it was quickly followed by an example of the always present class distinction that existed on this fateful voyage as a tap-filled dance battle ensued between the lower and upper classes. 


The more joyous first half of the show and the high spirits of the dancing passengers were cut short during the Act 1 finale when all lost balance and fell to the ground at the tragic moment of impact with the iceberg, giving way to a more sombre Act 2 where the mood dramatically changed to one of distress and ultimate tragedy. 

Staged with such sensitivity, the scene set in a ghostly underwater world was both poignant and appropriate as it showed the universality of the hymn, Nearer My God To Thee, which was so beautifully merged with the equally apt song, The Parting Glass. 

This touching scene was an undoubted highlight as it chillingly displayed the hierarchy of survivors that existed with 42% of first-class passengers being saved as opposed to 25% of third-class travellers. 

In the aftermath of such a tragic event, the sheer joy of reunion was great for some lucky ones, including the principal boy and girl dancers, Gerard Byrne and Ruth McKenna, who – as in the film – represented the love interest of the piece, with the added appeal of a first-class girl meeting a third-class boy. 

While McKenna‘s flame-haired locks flowed in some flirtatious routines and Byrne‘s hard shoe steps always hit the mark in terms of dancing ability, I did feel that the two young lovers could have developed a more romantic chemistry in terms of drama as, artistically, their relationship also represented the lovingly close bond that many others on the ship had. 


Another small observation would be that, for added realism and impact, the inclusion of a few child dancers would have been welcome to reflect that there were families on board. 

Despite being as hard-kicking as previous Irish dance shows, the confrontational elements and militaristic movements were not so pronounced here (even in the rebellious fight of frustration for survival between the lower class and the ship’s higher ranking officers), which gave this piece a more entertaining appeal. 

Although a piece such as this can have little humour, the courting couple’s first kiss and the bodhrán player’s solo, complete with traditional out of time clapping from non-musical members of the audience, provided nice moments of light relief. 

Overall, the combination of established songs, Irish music and dance, exhilarating performances and a well-known story plus the mixing of emotions with elements of hope, romance, joy and tragedy gave this show a universal appeal of ‘Titanic’ proportions. 

TitanicDance runs at Waterfront Hall until August 19th

Thursday 24 August 2017

Jane Eyre (Tour), Grand Opera House | Review


Jane Eyre (Tour)
Grand Opera House, Belfast 
Reviewed by Damien Murray on Tuesday 22 August 2017 
★★

The National Theatre and Bristol Old Vic’s joint production of Jane Eyre is astonishingly good … and it is far from being what one would expect! 

It may be based on Charlotte Brontë’s classic novel, but this work – devised by the original company – is modern in its approach, in its styling and in its staging and manages to retain Jane Eyre’s core characterisation of being a free spirit and a strong-willed individual who strives for equality and for the right to be herself. 

I am not a Brontë fan, yet I was blown away by this riveting production and gladly sat through over three hours of it without any loss of interest. Everything about this visually-stunning production is praise worthy, from its innovative direction and inventive staging to its exceptional and intense ensemble playing (complete with strong elements of physical theatre), and from its faultless lighting and sound plots to its magnificent movement, which ranged from the delicate and the balletic to the furious and the frenzied throughout. 

The trio of on-stage actor/musicians brought a lot to the table, with music that varied from appropriately ‘English’ style folk to gospel to what could best be described as atmospheric soundscapes, when required.  Musically, I loved Melanie Marshall’s apt interpretation and arrangement of the Gnarls Barkley (CeeLo Green) hit, 'Crazy' – so unexpected, yet totally fitting. 

Although performances were all faultless, I must congratulate Paul Mundell in particular for bringing the dog, Pilot, to life so well and with so much humour. 

Years ago, the Belfast Festival at Queen’s used to bring some spectacular pieces of world theatre to Belfast and these were ‘special’… This production is of such a high calibre that it seems a shame that it is just another touring production, for it, too, is very ‘special’ and provides a fantastic night of theatre – Don’t miss it! 

Jane Eyre continues at Belfast’s Grand Opera House until Sat 26 Aug, 2017

Sunday 30 September 2018

Under the Hawthorn Tree, The MAC, Belfast | Review


Under the Hawthorn Tree
The MAC, Belfast 
Reviewed on Friday 28th September 2018 by Damien Murray
★★★★

Providing us with much-needed education of our own history through the accessibility of theatre, Charles Way’s premiere stage adaptation of Under The Hawthorne Tree by award-winning author, Marita Conlon-McKenna, works equally as well for adults as it does for children. 

Due to the darker nature of the story – that of the plight of three brave siblings as they journey alone across Ireland in search of unknown relatives at the height of the country’s devastating Potato Famine of 1845 – this production is aimed at families and children aged 7 and over. 

The 65-minute running time is just perfect for such a drama, with adults and older children getting totally immersed in the gripping storyline, while, being within their attention span, younger ones remain engaged enough to at least raise awareness and curiosity about the piece for future conversation. 

Commissioned by National Museums Northern Ireland, this joint production by The MAC in Belfast and locally-based award-winning international children’s theatre company, Cahoots, is a truly magical piece of theatre on many levels. 

Although magical in terms of theatricality and staging rather than this company’s signature brand of magic (illusions or tricks), Paul Bosco McEneaney’s direction strikes the right balance between story-telling and history-teaching about such a dark and serious topic. 

However, while the nature of the subject matter dictates that this is not a show for enjoyment, as such, there are moments to be enjoyed with a subtle sprinkling of gently humorous one-liners delivered with the innocence of a child. 

Ably supported with solid performances in numerous roles by Maggie Cronin, Julia Dearden, Adam Dougal, Colette Lennon Dougal and Frankie McCafferty, it is three younger performers - Maeve Smyth, Terence Keeley and Philippa O’Hara (although not as thin and scrawny as one would expect) – who have to carry the weight of this production as the ever present trio of siblings fighting for survival amid severe hardship throughout their perilous cross-country trek in search of an aunt they have never met. 

Bereft of parents and following the death of their baby sister, the raggedly-dressed and dirty-faced trio are soon forced to grow up fast on this hazardous journey with eldest daughter, Smyth’s Eily, having no choice but to care for her younger brother and sister and adopt the role of both mother and nurse. 


As the ‘man’ of the family, Keeley’s young Michael has to constantly balance his feelings between bravado and fear, while youngest daughter, O’Hara’s Peggy, is allowed to retain her childish innocence and continues to be both surprised and appalled by others having to tell lies for the greater good. 

Together, they encounter death, home eviction, starvation, weakness, tiredness, injury, the threat of overcrowded workhouses, soup kitchens, disease, fever, infant death and the unforgivable attitude of neighbouring countries to the Irish nation during its time of greatest need; the mood only lightened at times by Carlos Pons Guerra’s gentle and playful choreography. 

Sabine Dargent’s set and costume designs were also successful as was James McFetridge’s lighting, which combined with the sparse set and effective sound effects to provide an atmospheric sense of darkness and bleakness. 

Surrounding the circular wooden performance platform throughout, musical director, Shane McVicker, and his small band - Darragh Murphy, James Nash, Rod Patterson and Matt Weir – did great justice to Garth McConaghie’s sometimes haunting, eerie and Celtic-based score, with beautiful vocals and harmonies from the three ‘children’. 

Killing over one million Irish people and forcing another million to emigrate, the author of the book states that ‘the tragedy of the Great Irish Famine is the story of Ireland and her people’ and she originally wrote the piece to help her own children to understand the human side of the tragedy. 

Sadly, with famine, hunger, disease and displacement throughout the world still part of our daily news, this piece is as relevant today as ever, and, for me, this story remains as much about the resilience of children as it is about the plight of the Irish nation. 

This magical production reflects the resilience and team work that the children in the story must have had to survive such an ordeal. 

Under the Hawthorn Tree runs at the MAC, Belfast until 7th October 2018

Photo credit: Carrie Davenport 

Sunday 9 December 2018

Jack and the Beanstalk, Grand Opera House, Belfast | Review


Jack And The Beanstalk
Qdos Entertainment 
Grand Opera House, Belfast 
Reviewed on Tuesday 4th December 2018 by Damien Murray 
★★★★

Jack’s back!… and so is pantomime in all its traditional glory in this truly spectacular show that remains as magical as Jack’s famous beans … for, it really is the BeansTALK OF THE TOWN! 

The key to the success of any Panto is not only having all of the required elements, but achieving the right balance of its ingredients -staging, spectacle, performance, humour, music, choreography, magic, special effects, sound and lighting etc.,- to make it equally appealing and entertaining to all of its cross-generational audience… and this production has it all with balance finely tuned in all departments. 

However, the most challenging thing about this super slick production was how to give this annual treat a new direction in terms of returning to more traditional values without diminishing the hi-tech appeal and special effects that modern audiences have come to expect and appreciate. 

So, while the humour is more traditionally corny and the re-introduction of both a speciality act and some visual magic adds the degree of old time ‘variety’ lacking in so many current pantomimes, the visual impact of the show-stealing effects embraces more than ‘smoke and mirrors’ to keep the theatrical tricks as hi-tech as possible to impress even the most critical of today’s demanding audience. 

The simple trick of having the ever-present twinkling of lights incorporated into the star curtain on the surrounding set proscenium is most effective in ensuring that the magical feel of panto is always there. 

While the stunningly beautiful sets, lighting and costumes all play a big part in the overall success of this great team effort, the story, which is re-imagined and relocated to Belfast in true panto style with lots of popular local references and jibes, throws up great characters for all, especially the show’s four main principals. 


Now in her 29th year as the pantomime dame at this prestigious venue, May McFettridge (aka John Linehan) remains as popular as ever (in the role of Jack’s Mummy, Dame May Trot) as she effortlessly targets fellow cast members and audience alike with her quick-fire put-downs and, with the addition this year of a video camera, is in her element as she embarrasses her audience victims even more by projecting them onto an on-stage screen during her relentless banter. 

Although this idea brings audience participation to a new level, I must admit that the one type of participation I miss this year is May’s excellent encounters with very young children as she ‘interviews’ them on stage with hilarious, if unpredictable, results. 

As usual, her partner in crime is local actor and pantomime regular, Paddy Jenkins (as her long-suffering husband, Farmer Paddy Trot), who has become an expert at comedy timing and delivery over the years. 

Also big in the comedy stakes is former cruise comic, Rikki Jay (as their son and brother of the more ‘clued in’ Jack), who -with his simplistic one-liners and likeable character- proves a big hit with the children in the audience. 

However, following his outstanding performance in last year’s panto, the quick return of the multi award-winning, David Bedella (as the Giant’s villainous and evil henchman, Fleshcreep) is a masterstroke for the venue as there are few actors as good at being bad as Bedella when it comes to being the ultimate ‘baddie’… without being too scary for the little ones. 


This quartet is ably supported throughout by Joanna O’Hare’s Mother Nature, Georgia Lennon’s Princess Apricot, Michael Pickering’s Jack, an adult ensemble and talented young performers from the McMaster Stage School, while an added attraction is the speciality roller-skating act -Italian duo, Armando Ferriandino and Giovanna Manuela Mar- who bring skill and daring to the show as The Belfast Roller Rollers. 

Under Mark Dougherty’s musical direction, the small 5-piece orchestra work hard on the varied score to offer many musical highlights, including Justin Timberlake’s ever-popular Can’t Stop The Feeling, Talk To The Animals from Dr. Dolittle, an almost obligatory offering from The Greatest Showman, Michael Jackson’s Bad and Frank Sinatra’s My Way. 

With a tight hold on both direction and choreography, Andrew Wright ensures a memorable panto experience for all and while other highlights include the choreographed cow and other farmyard animals (with most realistic costuming), the novelty scene when the squashed Simon sings and dances, the tongue twister tales and the slapstick principal line routine, the show stealers are the appearance of the mighty Giant and that of May’s transportation to the top of the beanstalk, which, as the Act 1 finale, even puts Miss Saigon to shame in terms of theatrical special effects. 

Yes, traditional panto is back in Belfast with a bang (and I don’t just mean the pyrotechnics) and I am so glad that, on her first ever visit to a panto, one of my grandchildren could experience a gigantic spectacular of such quality as this really is Northern Ireland’s biggest and best panto. 

Jack and the Beanstalk runs at the Grand Opera House until Sun 13th January, 2019