A Small Mind At The Theatre

Over 200 years since its first publication it is remarkable to think that what is, in essence, a scientific novel such as Frankenstein is still so relevant in content today. However, as science evolves endlessly, and now with AI becoming so dominant and controversial, the difference between right and wrong, good and evil in science, and what is too inhuman is as current as ever. Tilted Wig's production, now at the end of its UK tour at Royal & Derngate and written and directed by Sean Aydon takes the original story and sets it about halfway between the first publication and modern day, around the time leading up to the Second World War. Aydon's adaptation works really well in placing the story within this degenerating world, a place where true horror is around the corner, and veiled ideas of their (Germany's) interest in Frankenstein's work are gently developed. However, while Aydon clearly had this idea in his head and his pen when scripting this version, the polit

Bright Places , currently running at The Rep, Birmingham, is an at times deeply powerful and at others overtly funny exploration of what it is to be a sufferer of Multiple Sclerosis. Presented by Carbon Theatre, in association with Birmingham Rep, the show is written by MS sufferer Rae Mainwaring as a totally honest autobiographical story. Performed by three female actors, Lauren Foster, Aimee Berwick and Rebecca Holmes, they each take on the roles of Actor A, B and C respectively. These "actors" then in turn take the role of sufferer and writer Rae, and all others within her life story from work colleagues, fellow sufferers and doctors. Most of their characterisation is kept simple and is mostly depicted by the use of a costume box or prop rather than in their performance. All the actors do work extremely well together though, clearly, both well rehearsed and confident in each other's abilities to keep the much-needed pace to the story. At times, the sketch-like style of

I have to confess that apart from hearing Kenny Loggins' monstrously catchy title tune many times, both the original 1984 film and this 1998 stage adaptation of Footloose have passed me by. Therefore, finally, I get to tick it off the list thanks to this production from the Northampton Musical Theatre Company on stage at Royal & Derngate. So, was it worth the wait? Footloose tells the story of Ren McCormack and his mother, Ethel's move to the town of Bomot, Utah with his aunt and uncle following the walking out of Ren's father from the family home. What the confident and rebellious Ren finds within the boundary of Bomot and its illegal dance stance puts him on a path of conflict with the local Reverend Shaw Moore. In many ways the story of Ren and his attitude sits with the delightful selection of Footloose for the N.M.T.C. It is not an obvious fit for the group, leaving fewer roles for the old guard and a movement towards the "next generation" of the group.

An Officer and a Gentleman - The Musical, is, as expected a musical offspring of the 1982 film of the same name, starring Richard Gere and Debra Winger. Writers Douglas Day Stewart and Sharleen Cooper Cohen have taken the original screenplay, and placed within the show a series of eighties classics to create what just about amounts to a musical. Following a previous UK tour back in 2018, but with a few changes, it has landed once again at Milton Keynes Theatre on its second tour. The story An Officer and a Gentleman , revolves around a bunch of US Navy recruits attempting to survive the pipeline and get their chance at the big flying game. Under the eyes of Sgt Emil Foley, a few survive the training and also get up close and personal with the young ladies of Pensacola, Florida, in particular here, Zack Mayo and his potential lady, Paula Pokrifki, and Sid and Lynette. What transpires however with this book by Stewart and Cohen, alongside director Nikolai Foster, is a hugely disappointin

Kazuo Ishiguro's 2005  Never Let Me Go is a slightly difficult novel to categorise at times, but most call it a science-fiction speculative piece. With some limited spoilers for those unfamiliar with the Man Booker Prize-shortlisted work, Ishiguro paints a world where people, clones, are created for the benefit of medical science, destined to become donors to rid the world of deaths from solvable diseases for the rich. It is a powerful piece and while it had a successful film version back in 2010, could a stage version, now running at Royal & Derngate, work similarly? The answer to that is yes, and perhaps even better than the film version. The intimate world of the theatre feels like a stronger location for the story to unfold, bringing the piece straight to the audience with no potential interruption or break to the tale. We learn of Kathy, Ruth and Tommy's (the main protagonists) fixed life through their eyes and live their life for the long, but never dragging, 140 minu

The musical Chicago , first staged in 1975 is rightfully a classic of the stage, and the 2002 film went many ways in bringing it also to more generations. The creator's list itself is a thing of stage legend. Music is by John Kander, lyrics by Fred Ebb, with a book by Ebb accompanied by Bob Fosse. It's quite a line-up. Fosse especially shines here with his often-emulated but never-bettered classic jazz choreography. So, what's not to like about seeing this again on stage? Truthfully, very little, this is a highly polished new production of Chicago , opening an extensive tour here at Milton Keynes Theatre. Leading the cast is a carefully selected group of familiar stars from stage and screen, all perfectly suited to their roles. The infamous roles of Roxie Hart and Velma Kelly are played by performers who have both previously razzle dazzled in them. From the cobbles of Coronation Street , Faye Brookes makes the perfect transition to the role of Roxie Hart beyond many a soap