Rafta Rafta - Reviews

Friday was the press night for Rafta Rafta, and I have to say that my first press night at the Octagon was a brilliant experience! Met lots of lovely new people and thoroughly enjoyed the show. As did a lot of other people as well if the reviews are anything to go by, check them out here and be impressed!

"WOW... a glittering play that captures the diversity on offer at the Octagon and captures just the right mix of comedy and social realism. Brilliant." THE BOLTON NEWS Read more here...

"This excellent in-the-round production, proving the original's ongoing relevance, is a fine centenary tribute." CITYLIFE.CO.UK Read more here...

"A strong ensemble and great script make this an incredibly entertaining night at the theatre." UK THEATRE NETWORK Read more here...

"An extremely funny play that had the whole audience rocking with laughter." THE BRITISH THEATRE GUIDE Read more here...

"...the future looks extremely bright for the arts in the North West, in particular for the wonderful Octagon." DICKIEANDBUTCH.COM Read more here...

And Did Those Feet - reviews

Although in reality it isn't that long since And Did Those Feet graced the stage as part of our Anniversary season, seeing it again (despite having seen it four times in 2007) felt good. Really, really good. Despite knowing sections of the script almost by heart I still, genuinely, laughed at the comedy. Particularly, at most things delivered by the wonderful Martin Barrass and also Naomi Radcliffe's dismay at the lack of opportunity to make her perfect day just that.

I think a fair few people in the audience find "something in their eye" when Jerusalem is played at the end, the difference with seeing the show the revival was the emotional impact of the scenes focused around Sue Twist [as Hilda] and her on stage and completely bereft husband, Alf, played by Huw Higginson. I never thought that seeing a grown man bouncing a football with a far away look in his eye and a trembling lip would bring me to tears but it did. I could blame that on being pregnant but it wouldn't be fair to do so. It is due to the heartfelt and very real performances of these great actors. Anyway, enough from me. Here is what the press are saying...

"Mark Babych’s revival of Bolton’s very own play, with universal themes, is an utter joy to behold." THE STAGE Read more here...

"...it is the comedy that is most successful in this play, both in the writing and the performances. Martin Barrass... achieves perfect comic delivery... The comic banter between Mark Letheren as Ted, the superb Naomi Radcliffe as Martha and Curtis Cole as Jim also works very well... Mark Babych keeps the pace well and adds some lovely little touches... great use of sound from sound designer Andy Smith... great fun and at times hilarious, tightly and imaginatively directed and very well performed." BRITISH THEATRE GUIDE Read more here...

"Foxton’s design is reliably wonderful, and it’s a real coup to have Arun Ghosh’s compositions... Naomi Radcliffe is a touching and confused Martha... Susan Twist (always excellent) and Huw Higginson are very impressive... Snappy and well-paced, the play is a copper-bottomed popular hit... a thoroughly agreeable night out." THE PUBLIC REVIEWS Read more here...

"At a time when, to many people, Bolton is struggling as a town, this is the sort of play that can make you really proud of where you live.This is a play for anyone who loves Bolton, its football team or who appreciates plays about social history. I could watch it seven nights a week - it really is that good." THE BOLTON NEWS Read more here...

"Former artistic director Mark Babych returns to the Octagon to deliver a wonderfully textured piece of work that never fails to entertain.And Did Those Feet certainly has that feel-good effect and leaves the audience feeling much happier and even moved by the experience, which, these days, is quite an achievement." WHAT'S ON STAGE Read more here...

"But if you saw the original production, as I did, you will surely welcome the chance to see it again. And if you didn’t, don’t miss it. You don’t have to be a Boltonian and football fan to enjoy it." CITYLIFE Read more here...

"This is an excellent production of a cracking script and a great evening’s entertainment with some moving performances. Having witnessed so many magnificent Octagon productions recently – not least the recent superb Midsummer Night’s Dream - I am sure it will go on to be yet another winner for the Bolton team. Go and see it..." WRITE OUT LOUD Read more here...

"The flashbacks to war are genuinely affecting... But there’s also a great deal of warm northern humour, notably from Martin Barrass reprising his role as eccentric newsagent Bob... revived by its original director Mark Babych... who seems to have added a lustre to an already highly polished product, aided by a revised script... Lesley Hutchinson’s slickly and imaginatively choreographed crowd scenes are a comic treat..." UKTHEATRENET Read more here...

"its appeal’s evident in the rousing cheers and standing applause at the end – not the predetermined yowls of first-night metropolitan cast-friends nor the relieved irony of school-parties, but genuine enthusiasm for a story that touches (indeed, hits fair and square) people’s hearts and minds." REVIEWSGATE Read more here...

And a transcript of the review from Clitheroe Advertiser...

Former artistic director, Mark Babych returns to the Bolton Octagon to direct a revival of a production of And Did Those Feet. He directed the world premiere of this play in 2007. The plot tells the story of the famous FA cup final of 1923 when Bolton Wanderers played West Ham in the first ever final at Wembley Stadium with its iconic twin towers. I have to confess I have little knowledge and even less interest in football. I was raised in a rugby playing family.

However I found myself drawn in and captivated by this play by Les Smith and Martin Thomasson. It is a pleasurable evening of nostalgia and humour with a great feel-good factor. All the Bolton references delight the home audience but even the visitors can enjoy the witty script. The story of Bolton’s triumph is told through the experiences of four men, Bob the endearing comic turn, (Martin Barrass)), brothers Ted, (Mark Letheren) and Jim (Curtis Cole) and Alf (Huw Higginson). Jim is an avowed communist who loses his job. Ted is planning his wedding to Martha (Naomi Radcliffe). Alf, despite the pleas of his wife Hilda (Susan Twist), cannot bear to watch the team since the death of his son Billy (Chris Finch) in the War. Billy appears as a ghost inspiring his father to recall just what the love of one’s team can be.

There are some clever tricks, such as the pastiche of early films and newsreels and some catchy clog dancing that enliven the action and as the climax approached I found myself thrilled with anticipation at the prospect of victory. For a little while I was a real footie fan. This is a heart-warming reminder of a splendid achievement by a Northern Football Team and the Town that made them. (Pippa Munro Henden)

You can book tickets by calling 01204 520661 or clicking here.

A Midsummer Night's Dream - the reviews...

It seems that the reviews of A Midsummer Night's Dream are a mixed bag. The critics can't seem to agree whether staging the production against the psychedelic backdrop of the late 1960s is inspired or incomprehensible. I have to say it worked for me. The woodland fairy world seems to represent an altered state of consciousness. And an altered state of consciousness is obviously the state that many of the characters reside in, having been drugged by the mischievous fairies so the parallels with 1960s hippy trippy subculture, for me, seem extremely clear. Plus, the set, lighting, use of space and costumes add up to a fantastical visual spectacle. There seems to be a divide over pace also with some saying it rattles along and others that it is on go slow.

There are some stunning performances. For me, Kieran Hill as Bottom, was wonderful. Charming and charismatic but also willing to also make a bit of an ass of himself to hilarious effect. Paula Jennings is captivating as the sensuous, nay, sexy Titania (am rethinking whether to bring my husband to this one as I think he is more than likely to fall under her spell!). According to a lot of the gentlemen I spoke to her white mini dress played a mesmerising supporting role!! I also loved Russell Dixon as Peter Quince who managed to have the audience in stitches without uttering a word and the very watchable Kiruna Stamell...

Judging by the laughter and resounding applause coming from the very young audience on Friday afternoon, it seems that they enjoyed it immensely, despite the running time of over 3 hours. So perhaps, and dare I say it for risk of offending, this one will enjoyed by the young or the young at heart....

"THE debate as to whether or not time and place should be tampered with in Shakespeare’s plays will rage for as long as his work is staged, but if the Bard was to witness this mesmerising production he would surely send a sonnet of approval in the direction of the Octagon." THE BOLTON NEWS Read more here...

"All in all, this is a passionate, gripping and humorous version of A Midsummer Night’s Dream, with standout performances from Kieran Hill (as Bottom), Russell Dixon (as Peter Quince) and, of course, the multi-talented music fairy, Carol Sloman. With Valentine’s Day fast approaching, find the romance within you and head towards the intimate Bolton Octagon- as this Dream is well worth going to see!" WHAT'S ON STAGE Read more here...

"Despite being a little too long for comfort this is an excellent production of Midsummer Night’s Dream and a fine addition to The Octagon’s programme." THE PUBLIC REVIEWS Read more here...

"David Thacker’s award-winning experience as resident director of the RSC proves invaluable in this potentially exhilarating, accessible, although overlong, production of one of Shakespeare’s most popular plays." THE STAGE Read more here...

"Designer Ashley Shairp’s acid-coloured playground of a forest, teeming with bouncing balls and magic lanterns, seems to unleash the potential in every character... Vanessa Kirby’s heart-broken Helena sets the stage alight... Rob Edwards’ magisterial Oberon... Kieran Hill makes an unusually good-looking Bottom... Russell Dixon’s Peter Quince runs off with the comedy honours... The handling of the verse is uniformly excellent, and David Thacker’s inspired use of the entire auditorium really brings the show alive..." UK THEATRE NET Read more here...

And a transcript of Clitheroe Advertiser's review here...

Director David Thacker and designer Ashley Shairp have had a ball in creating the Octagon’s production of one of Shakespeare’s most popular plays, A Midsummer Night’s Dream – both literally and metaphorically!

This is a wonderful psychedelic interpretation set in 1967, the summer of love in San Francisco, the Beatles’ Sergeant Pepper, Cardin and Courregges, and also anti-Vietnam war protests and the coup that put the Colonels in charge of a repressive regime in Greece. Theseus’ court is militaristic and his bride-to-be Hippolyta is unhappy. But when the young lovers and the Athenian workmen escape to the woods they find themselves in a surreal world of multi-coloured, multi-sized plastic balls that roll around the stage giving a sense of fun and anarchy, which eventually envelopes everyone.

The diverse cast are terrific. Rob Edwards is both Theseus and a thoughtful, complex Oberon. Paula Jennings is Hippolyta and a wonderfully sexy sixties ‘bird’ as Titania. Rosie Jones, Vanessa Kirby Jake Norton and Nick Underwoood are delightfully charming and confused as the lovers. However, special praise must go to the ‘Rude Mechanicals’ who double as Palace Guards and weirdly costumed fairies. Kieran Hill is an appealing Bottom. Russell Dixon gives another of his superb performances as Peter Quince. His interpretation of Quince delivering the prologue in the play within a play is masterful. They are well supported by some wonderfully comic performances from Laurence Clark, Brendan Quinn, Russell Richardson and Kiruna Stamell. The whole is masterminded by Puck, an unusual but clever interpretation by Leo Atkin. The final act is hilarious.

As I left, I followed several members of the audience who were still giggling, complaining of stomach ache with laughing so much! I was in a similar state plus having the unattainable desire to be able to wear mini-skirts and high-heeled, white PVC boots again!

"Thacker’s biggest success is with most productions’ weak-link, the young lovers caught in their elders’ world...Every line is well-crafted to give meaning...a production where the human spirit replaces external order as the foundation for society." REVIEWSGATE. Read more here...

"the military junta is ­magically transformed into Sergeant Pepper and his band, and a quartet of young people conduct an experiment in free love aided by mind-altering ­substances. It's a metaphor so obvious it seems surprising no one has thought of it before, but Thacker's concept fits the play like a velvet glove over an iron fist." THE GUARDIAN Read more...

More reviews

Read British Theatre Guide here
Read Citylife review here
Read Lancashire Evening Post here
A mention in The Observer review here

We have some more...

We have received a few more great reviews for Oliver Twist from The Guardian, The Independent and The Observer, no less. I have posted them with the others and you can read the full run down by clicking here...

Here are the new ones...

"The show has enough of the feel of a theatrical extravaganza, the flavour of a gaudy musical and yet the intimacy of the dark social novel on which it is based to beguile all ages." THE INDEPENDENT Read more here...

"If there's a more finely detailed, authentically Dickensian performance this year, I shall eat my head as well. ****" THE GUARDIAN Read more here...

"Dawn Allsopp's quasi-expressionist set... Robert Pickavance's snakily self-interested Fagin... Andrew Price's blustering Mr Brownlow... Esther Ruth Elliott's tortured Nancy... Tim Frances's murderous, drink-bemused Bill Sikes... fast-paced, interlocking narratives (cleverly segued in Deborah McAndrew's astute adaptation and delivered with dramatic drive in Josette Bushell-Mingo's tumultuous production, modulated by Conrad Nelson's atmospheric score..." THE OBSERVER Read more here...

The Enemies Within - the reviews...

"The use of the actual language of the miners, their wives and the police — many of whom would admit to buying houses on the back of the strike — by writer Ron Rose works brilliantly and brings out the emotion and true depth of feeling that still resonates in the affected communities. People lost jobs, respect, dignity, families and lives, and the enormous significance comes across in emotive speeches magnificently delivered." THE BOLTON NEWS Read more here...

"Thacker and his cast are obviously utterly, passionately, devoted to the piece and the performances are all absolutely exceptional. It’s a truly brilliant ensemble that quite rightly got a standing ovation. *****" MANCHESTER EVENING NEWS Read more here...

"A quarter-century on, current affairs may have become modern history, but the issues remain, and the characters leap up alive as ever...the whole group play with utter conviction..It’s essential history, and riveting theatre...it carries with rhetorical force the underlying point of protest." REVIEWSGATE. Read more here...

Oliver Twist - the reviews...

It seems that the reviews has started to come in and the first, it seems, largely agrees with my own review!

"A large, highly-talented ensemble of actor-musicians, directed perceptively by Josette Bushell-Mingo, a succession of catchy Lionel Bart-style songs and a wonderfully atmospheric set, all subfusc and smoky, add up to a delightful show for Christmas with universal appeal." THE STAGE Read more here...

Another glowing review...

"It is genuinely hard to find fault with the production, and I cannot recommend it highly enough. To paraphrase the show’s title character: “Please, Octagon. Can we have some more?” WHAT'S ON STAGE. Read more here...

"The show has enough of the feel of a theatrical extravaganza, the flavour of a gaudy musical and yet the intimacy of the dark social novel on which it is based to beguile all ages." THE INDEPENDENT Read more here...

"If there's a more finely detailed, authentically Dickensian performance this year, I shall eat my head as well. ****" THE GUARDIAN Read more here...

"Dawn Allsopp's quasi-expressionist set... Robert Pickavance's snakily self-interested Fagin... Andrew Price's blustering Mr Brownlow... Esther Ruth Elliott's tortured Nancy... Tim Frances's murderous, drink-bemused Bill Sikes... fast-paced, interlocking narratives (cleverly segued in Deborah McAndrew's astute adaptation and delivered with dramatic drive in Josette Bushell-Mingo's tumultuous production, modulated by Conrad Nelson's atmospheric score..." THE OBSERVER Read more here...

"HERE is a confession. I have no great liking for Charles Dickens...and the prospect of spending two hours watching a theatrical version of one of his novels...did not fill me with festive joy. So here comes confession number two — I’m converted. I take it all back. Josette Bushell-Mingo’s re-imagining of Oliver Twist is cinematic, clever, great fun and a little bit scary — all the things that I loved about stories as a child." THE BOLTON NEWS Read more here...

"the production at Bolton this festive season is laced throughout with catchy songs and dances... Robert Pickavance is an oleaginous and sycophantic Fagin; Tim Frances is excellent comic value as Mr Bumble... This version of Oliver Twist is sweet without being saccharine, and addresses the iniquities of Victorian England without being too scary for a younger audience. Judging by the reaction from the stalls on Friday night, this is a really excellent Christmas show for the whole family." UKTHEATRE NET Read more here...

"a splendid and fresh approach to a text...the cast are uniformly excellent...But it is the set by Dawn Allsopp that is this shows real star, a cobbled London street with real smoking chimneys and hidden entrances that really steals the show, it is quite frankly the best set I have seen in regional theatre in many years." THE PUBLIC REVIEWS Read more here...

"Vigorous and spirited: a Dickens of a show....The approach is neatly pictured in the programme’s cover image; the face of a boy, puzzled, inquiring, sad against a bleak urban background recalling the Stephen Daldry/Ian MacNeil Inspector Calls: more children, sad or hopeful, a dark figure staking way behind underneath a gallows. Mixing theatrical verve and humanity, this is a fine Christmas gift of a production." REVIEWSGATE Read more here...

Other reviews and links

Read CityLife review here
Read British Theatre Guie review here
An interview with Director Josette Bushell-Mingo here.

Mixed Up North - tour reviews..

After playing here, Mixed Up North went on a national tour. Hence it has picked up some more reviews. I thought I woudl share them so if you saw the show you can read what is being said and if didn't you can see what you missed!

"Muzz Khan [above] is near-perfect as the lanky, occasionally bolshie Uday. Perhaps it is because he grew up near Burnley that Muzz brings such realism to his part. Or maybe it is simply a formidable acting talent...Under the sure direction of Max Stafford-Clark this clever often very funny play makes some profound points...However most of the audience of schoolchildren in the performance I saw were a mix of races. And they really loved it." DAILY EXPRESS Read more here...

"Outstandingly cast and acted, Robert Soans's play is propelled...by its youthful momentum. Most of the cast, including Lisa Kerr as slack-jawed dancer Kylie and Kashif Khan as foul-mouthed Sarfraz, are fresh out of drama school.Enthusiastic pupils from Camden, north London, and Eton, Berkshire, were going head-to-head with the cast after that performance. An East End audience under 25 years old, the theatre's neighbours in fact, will be the most discerning critics of Mixed Up North, which should be in the diary of every local councillor, and every something-or-other worker." THE INDEPENDENT Read more here...

"Bracing, combative and oddly joyous… Beautifully directed by Max Stafford-Clark, it's a verbatim piece by the best of verbatim authors, Robin Soans... Highly recommended ****" THE INDEPENDENT Read more here...

"Celia Imrie's tremendously entertaining performance would, on its own, make this show worth seeing. But as it happens, every member of the cast (most of whom worked on the show in its earlier stages at Lamda) is a delight to watch – even if their stories are anything but delightful...Max Stafford-Clark gives a masterclass here: his direction is fresh, funny, spontaneous and he makes you feel that this is theatre that really matters." THE OBSERVER Read more here...

"The material is sensitive, and there are moments of arresting power. There’s also some ebullient comedy...Max Stafford-Clark’s production certainly has zest. There is pert ensemble work, and there are strong performances from Celia Imrie as Trish and Stephanie Street as her assistant Aneesa. In smaller roles, Lisa Kerr and Muzz Khan have charisma." THE EVENING STANDARD Read more here...

Other reviews

THE TIMES Read more here...

Ghosts - the reviews...

"David Thacker directs with a welcome precision and a lightness of touch... a seamless and fluid translation.... Patrick Connellan’s set is a flexible thing of beauty...superb turns from [Oscar] Pearce and [Vanessa] Kirby... it is Margot Leicester’s Mrs Alving that engages the mind and tugs the heartstrings." WHAT'S ON STAGE Read more here...

"Erik Skuggevik’s sensitive, sinuous, almost Pinteresque translation of Ibsen’s original might well turn out to be the real star turn here. Good as these five actors are, they are the better for having dialogue to deliver that is both impassioned and utterly realistic...Olivier award-winning director David Thacker has surpassed even his recent achievements with Miller’s play. This spare, seamless production touches the raw nerve and might well be a definitive interpretation of Ibsen for our times." THE STAGE Read more here...

"Ghosts is a rewarding play, a fascinating insight into Victorian morality and a reminder to us all that we don’t always know what is happening behind a seemingly happy façade. Well worth a visit." THE BOLTON NEWS Read more here...

"It is of historical interest but has dated beyond present day relevance, impossible really to surmount the script’s melodrama and make it believable, despite this being a very good try." CITYLIFE. Read more here...

"I don’t think I have ever seen anyone look as at home or relaxed on stage as Margot Leicester...Oscar Pearce’s bohemian Oswald makes an astonishing impact on his first entrance...and the character’s gradual decline through the play is deeply touching.The intimacy of the venue and the intensity of the piece...create a unique theatrical experience." UK THEATRE NET Read more here

"...slow-burning and assured new version... George Irving becomes the pious Pastor Manders, in a particularly subdued and almost sympathetic styling... Margot Leicester is a hugely-convincing Mrs Alving... Oscar Pearce... another intensely-moving portrayal from this talented actor." LANCASHIRE EVENING POST Read mere here...

"Norwegian drama Ghosts is dark, haunting - and hugely rewarding ****" DAILY MAIL Read more here...

"It maintains its grip largely because of Margot Leicester's compelling portrayal of Mrs Alving...Oscar Pearce's nervily bright Oswald generates an intensity clouded with apprehension and fear as the darkness of his illness takes its awful hold while, as Regina, Vanessa Kirkby convincingly swaps ambition for righteous indignation. Patrick Connellan's set conveys the stultifying atmosphere of Mrs Alving's isolation, the transparent floor suggesting the fragile surface and shadowy depths of a family life built on secrets and lies." THE INDEPENDENT Read more here...

"David Thacker’s being cunning as new Artistic Director at the Octagon, stamping his identity on the stage with two of his recognised strong points...There's good work from Vanessa Kirby (never overdoing the self-seeking) and Russell Richardson. Yet Margot Leicester’s Helena Alving is the production’s heart." REVIEWSGATE Read more here...

Further reviews...

THE GUARDIAN Read more here

BRITISH THEATRE GUIDE Read more here

The PUBLIC REVIEWS Read more here

One Little Word - press review...

You may remember me talking about One Little Word here. Well we have just heard that they have received a 5 star review. You can read it here.

"It is a simple message but resonated well with the audience of children and their parents.So much so that you heard youngsters saying things to their parents like “she is mean” and “she should share”. Created by M6 Theatre Company, the story aimed to entertain but also to teach children the value of sharing and playing with other children. It was a message which was clear as daylight despite the drama being told without words." BIRMINGHAM MAIL Read more here...

"Both actors are mimetically skilled. Robertson, who looks very much like a young Susannah York, has a lovely range of facial expressions and large eyes which speak volumes. Walker gets the little boy’s shifts between joy and sadness just right. When Robertson utters the ‘little word’ of the title and the only word in the piece - sorry! - the effect is magical. The making of paper boats together at the end works well too and every child in the audience goes home with a blue and white programme and instructions as to how to make it into a paper boat." THE STAGE Read more here...

Click here for more information or to book tickets or call the Octagon Ticket Office on 01204 520661. If any of your party are under 26 then they may be able to get a Free Ticket to this event as part of the A Night Less Ordinary Free Ticket Initiative. Free tickets are only available via our Ticket Office and are not available online.

Mixed Up North - belated review....

A belated review of Mixed Up North from the Independent.

"Theatregoers will surely be beating a path to the Octagon in what promises to be an unmissable season in which he revisits such previous successes as All My Sons, Ghosts and Comedians....It opened, however, with a brave venture from Out of Joint, a new docu-drama by Robin Soans called Mixed Up North...the drama begins to grip and when the real stories emerge, sometimes haltingly, sometimes harrowingly, they are never less than compelling." THE INDEPENDENT Read more here...

All My Sons - the reviews...

Well, it was the press night of All My Sons on Friday night and I think I have only just about recovered enough to write this. Quite simply it was phenomenal. There were standing ovations, audible gasps and many a person leaving (or not being able to leave) the auditorium with damp hankies and red eyes. The atmosphere in the bar afterwards, despite the tears, was electric.

The production is wonderful and the cast are astonishing. I am so, so proud to work here and you MUST see this show....

"This is brilliantly paced, meticulous piece of work, which manages to ratchet up the tension, and allows the characters room to grieve... Thacker’s production is as unfussy and uncluttered as it needs to be, and still feels dense and weighty... some of the finest playing I can recall on the Octagon stage... a wonderful revision of a classic text, and a must-see production. 5 stars" WHAT'S ON STAGE Read more here...

"Although I’ve seen the Octagon in-the-round before, the playing area has never felt so close and immediate…. George Irving returns to the Octagon after his blinding performance in Shining City two years ago. He remains faithful to Miller’s description of Joe Keller as “stolid”, but although superficially impassive and unemotional, below the surface there fizzes a James Cagney-esque nervous energy which eventually explodes to shattering effect.

Margot Leicester, who was so brilliant as the grieving mother in A Conversation at the Royal Exchange, gives a wonderful performance here" UK THEATRE NET Read more here...

"An excellent cast is headed by George Irving... Margot Leicester... She gives a beautifully layered performance... Miller’s powerful work still has resonance today, as does his condemnation of those who make deceitful profit from war." THE STAGE Read more here...

"The Octagon has a deserved reputation for quality productions of works by renowned American playwright Arthur Miller…. This was further reinforced by the excellent casting headed by M.E.N. Theatre Award nominee, George Irving. Thacker has cast the excellent Margot Leicester, in the role of a woman on the edge of a nervous breakdown. It's a beautifully judged performance." MANCHESTER EVENING NEWS. Read more here...

"The play manages that rare trick — to transport you away from the theatre, to make you unaware of the person sitting next to you, and to wrap you up so tightly in the characters’ world that you forget these are actors on a stage. It is a bold, gutsy, terribly moving play that left me sobbing.

David Thacker has certainly wasted no time in putting his stamp on the Octagon, and if everything else in the coming season is as good as this, then long may he reign." THE BOLTON NEWS. Read more here...

"With a classic production of one of the best plays of the twentieth century, a superlative cast, under the deft touch of an expert director the Octagon have unquestionably got a first-rate hit on their hands...A high quality production that excels in every way, Arthur Miller would have been proud." GEORGEIRVING.COM Read more here...

"George Irving's hugelyimpressive performance as Joe takes a massive journey from the charismatic, jokey, loving family man preparing for retirement but ready to step in and solve family disputes calmly and rationally when they arise, to a prowling silverback gorilla in the last act, ready to attack in order to defend. Margot Leicester's performance as Kate is equally great, portraying her as a perfectly rational woman but with some unshakeable and not entirely rational beliefs.

Oscar Pearce as Chris goes from the happy, rather naive but wholly positive son of a local hero to a completely broken, devastated young man in a totally believable and heartbreakingly emotional performance. Vanessa Kirby gives a remarkably assured and mature performance as Ann in her professional stage debut, and Mark Letheren judges the character of George, who appears to believe whatever the last person with a strong opinion told him with great emotional intensity, just right.

Although some productions of Miller seem to show him to be dated and long-winded, Thacker has shown that with the right hand on the helm he can still be as powerful, emotionally-charged and relevant as he ever was." BRITISH THEATRE GUIDE Read more here...

"Thacker is back – with a bang... As the father who may, or may not, have sold defective engines to the air force George Irving gives another towering performance... As his wife, Margot Leicester harbours all the composed mania of a grieving mother... Irving and Leicester are also to appear in Ghosts... this one shouts to be seen and heard first." LANCASHIRE EVENING POST Read more here...

"David Thacker, the Octagon's newly appointed artistic director, had the distinction of being Arthur Miller's favoured British interpreter...Thacker's subtle direction takes a neutral, non-interventionist approach, yet the overall message seems clear - 4 stars" THE GUARDIAN Read more here...

"in Thacker’s production of All My Sons you are engulfed from the outset in this powerful story. Making it easy to get lost in the comfortable allure of this play which makes the eventual climax even more exiting. Transitioning from the calm to the intense and engaging there is nothing clichéd about David Thacker’s razor sharp direction. This combined with Millers rich theatrical dialogue lures you in and grips you like an old fashioned thriller. Make it your business to see this show. It is In the Round theatre at its very best, an elegant, powerful and flawless piece of drama." THE PUBLIC REVIEWS Read more here...

"The play is an American nightmare of love, greed, death and culpability in which Thacker's own use of metaphor would be less effective if his staging weren't so brilliant. The production could scarcely be more gripping, the emotional energy between these flawed people could hardly fizz more resonantly or the cracks in their veneer shatter with more tragic inevitability." THE INDEPENDENT. Read more here...

"So, as the pattern and texture of guilt weave through Thacker’s revival, it stands a fit companion for another classic drama of moral responsibility emerging from the past, Ghosts by Henrik Ibsen, which comes next in an Octagon autumn likely to be seriously filled with guilty pleasures." REVIEWSGATE Read more here...

Would love to hear what you thought of the show. Why not post a comment below?

Press review: Three of the Best from 24:7

DURING this July’s marvellous 24:7 theatre festival, a week of new theatre staged in unusual spaces, audiences were asked for the first time to rate each performance they saw.
Backed up by the opinions of professional reviewers (ahem!) and experts, that gave rise to this showcase.

For anyone who didn’t get a chance to experience 24:7, it’s a fantastic introduction to the sheer talent on display, year after year, at 24:7. CITYLIFE. Read more here...

If you haven't seen the shows or want a sneak preview you can watch the videos here or read more about the Investigate Day where as audiences you get to watch each production and feedback their views to the writers and director's here

Mixed Up North - the reviews...

"This high quality production proves that verbatim theatre can be engaging, intelligent, even-handed and really good fun if it is done as well as this." BRITISH THEATRE GUIDE. Read more here...

"Where this production stands strong is in its actors, producing a real chemistry on stage and often highly charged and truthful performances. Stephanie Street’s performance as youth worker Aneesa is superb and probably the stand out performance of the night." THE PUBLIC REVIEWS. Read more here...

"Overall, though, this is a brilliant evening’s entertainment, and a triumph for both the Octagon and Out of Joint. If you fancy being challenged and uplifted, as well as being asked to think about problems that exist on all of our doorsteps, then a visit to this gem of play is a must." WHAT'S ON STAGE. Read more here...

"this is a brave piece which doesn’t back away from any dark corners, and few of the characters emerge unscathed. The Octagon can be proud to be holding the world premiere of plays like this." THE BOLTON NEWS. Read more here...

"A large number of the original LAMDA students who worked on the piece are in the current cast and give very convincing performances as street-wise northern working-class teens with shocking tales to tell. Max Stafford-Clark directs the 13-strong ensemble with his customary verve and energy, making for an entertaining and thought provoking evening of theatre." UK THEATRE NET. Read more here...

"the issues raised are not confined to Burnley and this play is an honest, constructive and well-intentioned portrayal of the social, emotional and educational cost to be paid by communities that are abandoned by capitalism." BURNLEY EXPRESS. Read more here...

"While most people tend to choose their words carefully, when discussing the concerns facing modern Burnley, this intelligent and well-crafted drama boldly confronts them head on...[Max Stafford-Clark] has fashioned community theatre at its best here, but Mixed Up North has much more to say to a wider audience than the average theatre's white, middle-class, middle-aged customers" LANCASHIRE EVENING POST. Read more here...

"It's common for plays to come with some form of post-show discussion between cast and audience. But Robin Soans's documentary-drama turns this format on its head." THE GUARDIAN. Read more here...

Transcript of the review from CLITHEROE ADVERTISER:

Mixed Up North is a clever title for this play written by Robin Soans and directed by Max Stafford Clark, a joint production from Bolton’s Octagon Theatre and Out of Joint. The plot concerns several Burnley teenagers, part of a youth theatre group. These young people are from a variety of ethnic backgrounds and we follow their experiences and those of the social and community workers who help them. The stories they tell are based on real testimonies given by people who went through the troubles that tore Burnley apart in 2001 and the attempts to foster conciliation and understanding since then.

As someone who came to live in the Burnley area in 1972 I identified with many of the references and I have known many who have felt anguish at the loss of a sense of community and employment opportunities. However, this play speaks of problems that extend far beyond one northern town. There are many others that share the same history and contemporary difficulties. If this gives the impression that the play is gloomy, then I must stress that is not the case. Much of it is laugh-out-loud funny. I won’t ever forget the comment from one character about how the word brainstorming might be politically incorrect for epileptics and has to be replaced with thought-showering.

There are many poignant moments as each of the characters reveal personal stories of abuse, pain and anguish, leavened with humour and real concern. The youthful cast are lively and their warmth is engaging. The production is well paced, although the second act is, perhaps just a little too long. I came out of the theatre having laughed, learned and empathised. That is what good drama should do. If you can’t catch it at the Octagon, it’s coming to Stoneyhurst on 19 October. The Octagon’s next production is Miller’s All My Sons.

The Seafarer - the reviews...

Press night for The Seafarer was on Friday. There has usually been a musical play in this slot which gave a celebratory feel to the end of the season before we break for summer but Mark's love of, and success with, Irish drama meant that his final show took a different tack. I loved the show and the mix of comedy and darker elements. Here's what the press are saying about the production and about Mark....

Babych has chosen to go out on a high note with this raucous and thoughtful comedy from one of Ireland's leading young writers even with McPherson's own wonderful production for the National Theatre – which toured to The Lowry just two years ago – still clearly in memory. It was a good choice, as this mostly great cast has come together to create a powerful and very entertaining piece of adult theatre to end the season. BRITISH THEATRE GUIDE. Read more here...

The second half, mostly revolving around the card game, is tighter and the performances are better focused, with Peter Dineen, as the angry and sour blind brother, particularly convincing. Not fair to compare the Octagon with the National?

Well, you wouldn’t say that if you’d seen Oleanna here a couple of weeks ago and while Seafarer is a three star rather than a four, it is still an adventurous choice of play and well worth a punt. CITY LIFE. Read more here...

Nit-picking aside, this remains a truly great play, and this a solid production that’s sure to go down a storm with audiences. On the night I attended, audience members roared their approval at the curtain call.

All told, this is a fitting farewell to Mr Babych after ten years of service. He has headed a team that has turned a venue on the brink of closure into the best producing theatre in the region. Make sure you catch The Seafarer before it, and Mark Babych, sail away into the sunset. WHAT'S ON STAGE. Read more here...

This is a really funny night at the theatre for lovers of black Irish humour with a sting in the tail. After this magnificent swan-song we can only hope that Mark Babych’s work will continue to be seen in the north-west. UK THEATRE NET Read more here...

Mark Babych’s final production for the Octagon as artistic director is a fitting way for him to bow out. Over the years his hugely inventive vision, combined with a craftsman-like technique, have been seen at their best in plays whose roots are deep in the Irish tradition - and this one by Conor McPherson is, of course, no exception...It is an intriguing, edgy, powerful play with a completeness of its own. THE STAGE. Read more here...

Finding optimism and humour at the bottom of a pint glass is a difficult task, but Irish writer Conor McPherson does it masterfully in The Seafarer.

It's a tale of four aging, whiskey-soaked men celebrating Christmas by gambling and drinking in a desolate seaside town. The play initially feels like a comedy as brothers Sharky (Michael O'Connor) and Richard (Peter Dineen) bicker endlessly. But it takes a darker turn with the arrival of the sinister Mr Lockhart, who is keen to claim a significant debt from Sharky. This could be a jarring move, but director Mark Babych handles the action assuredly in his final production at The Octagon, balancing the rising tension with bursts of dark humour.

A surprisingly soulful piece from a committed non-believer, The Seafarer is also one of the finest productions to grace Greater Manchester so far this year. THE METRO

Oleanna - Press reviews....

Well it seems so far that Oleanna is getting some grade A reviews. In my humble opinion both the cast worked their socks off and drew you in to the performance, despite the fact you can't really sympathise with either of them. Reading the dialogue in the script feels difficult as, written, it is all pauses and dots and disjointed unfinished thoughts and the characters constantly interrupt each other, or get interrupted by the phone, but watching it is a completely different matter. When it is performed you just want to bang you hands on the desk and just say 'For good's sake let them finish....'.

The set is stark and the changes between the 'mood' lighting inbetween scenes and the sudden brilliant lights during the action leaves you feeling as on edge as the dialogue and the subject matter. If you are with your other half, beware, you might not end up leaving on speaking terms, especially if you are the one that said 'You bl**dy manipulative women, you’re all the same' but if you want a night of quality drama that will leave you thinking then see it.....now!

Here's what the press have ot say....

Conclusively, this is an evening that’s pretty much faultless. Yes, it’s controversial, harrowing, and disturbing and it’s meant to be. But it’s also gripping, fast-paced and thought-provoking and would appeal to anyone in search of a good night out.

Quite simply, Khan’s Oleanna is the best play currently playing in repertory in the region, and you must see it before the end of its run.WHAT'S ON STAGE. Read more here...

a production that still shows itself capable of promoting irritation and debate in an audience seventeen years after its first production.BRITISH THEATRE GUIDE. Read more here...

Oleanna only lasts an hour and a half and keeps true to the maxim - always leave your audience wanting more. That means there's still plenty of time to argue about it on the way home! MANCHESTER EVENING NEWS. Read more here...

Broadway and West End actor Colin Stinton is awesome as John, whose desire to impress Carol and his willingness to let her into his life becomes more desperate as the play develops.

Kosha Engler is equally excellent as the eager-to-learn student, whose views of her teacher change as she tries to convince him to up her grade, leading to the ultimate conflict. THE BOLTON NEWS. Read more here...

This is a play worth seeing. There are moments of beautifully executed performances and direction. THE PUBLIC REVIEWS. Read more here...

Khan includes that necessary factor in any self-respecting English Mamet production: Colin Stinton, the American actor thoroughly experienced in the writer’s style. And Kosha Engler finds both Carol’s vulnerability and later protective shield of certainty. REVIEWSGATE. Read more here...

Looking for Buddy - stop press....

It was press night for Looking for Buddy on Friday. If you are feeling a bit gloomy then this show will lift your spirits with some great gags that are beautifully delivered and uplifting songs that are brilliantly comic. Here's what the press are saying:

Mark Babych's slick production comes with a devastatingly downbeat central performance from Tim Healy, while Alan Barnes's brooding score proves that you don't need to be a legendary, LA-based private investigator to be a noir hero. THE GUARDIAN. Read more here...

This latest offering from the Octagon is short and very funny with some great live music and a superb lead performance, which all adds up to a fun night at the theatre that is to be recommended. BRITISH THEATRE GUIDE. Read more here...

The Octagon should be applauded for taking a risk on a brand new musical – something not often seen in regional theatres – and when it’s this much fun, this stands every chance of becoming the next Blood Brothers. WHAT'S ON STAGE. Read more here...

If you are looking for a night out that will make you laugh and a show that will make you tap your feet and clap along then get yourself a ticket for Looking for Buddy as soon as possible. THE PUBLIC REVIEWS. Read more here...

Director Mark Babych has come up with yet another production which is a credit to the Octagon – it’s fantastic that a whole new audience on the other side of the country will have the opportunity to experience it too. UK THEATRE. Read more here...

The laughs come thick and fast in this slick co-production dominated by moody video imagery. A delight from start to knee-kicking finish. THE STAGE. Read more here...

The production and direction are up to the Octagon’s usually high standards. MANCHESTER MUSIC. Read more here...

The Caretaker - The Reviews

Fortunately we don't have to go all the way to Sidcup to get the papers (that will make sense once you have seen or know the show) press reviews are available online so here is the round-up so far for The Caretaker.

Matthew Rixon's disturbingly docile Aston is a brilliant portrait of the horrors inflicted by a supposedly civilised state. 4 stars. THE GUARDIAN Read more here...

There is also plenty of really good humour that got plenty of laughs at the reviewed performance. Overall, the Octagon has created quite a compelling production of this difficult play, one of Pinter's most famous works. BRITISH THEATRE GUIDE. Read more here...

All in all however, this is the Octagon roaring back on form, and another triumph for Babych in his final season. When Pinter is done this well, it continues to enthrall, fascinate, and trigger debate. The man himself would, doubtless, be thrilled. WHAT'S ON STAGE Read more here...

If you're already familiar with this work you'll probably either love or loathe it. However, this illuminating production, directed by Mark Babych, could well change any negative opinions about this contemporary masterpiece. It certainly did for me. MANCHESTER EVENING NEWS. Read more here...

Mark Babych has done a sterling job directing this production, proving just what a tough act he will be to follow. The BOLTON NEWS. Read more here...

In the intimacy of the Octagon, and amidst the claustrophobic clutter of Richard Foxton's stage design, it is performed in the perfect setting. LANCASHIRE EVENING POST. Read more here...

And here's the review from Clitheroe Advertiser. No link I am afraid but here it is in its entirety:

Harold Pinter’s innovative play, The Caretaker, first produced in 1960, marked an important point in twentieth century British drama, moving it in a completely new direction. It is one of those plays that anyone truly interested in the development of drama should see. That said, it is not an easy play to watch.

The dysfunctional characters, the enigmatic, repetitive dialogue and the lack of virtually all of the conventions of a ‘well-made play’ and the lack of a coherent plot, make it challenging. It is not comfortable to watch the brain damaged Aston (Matthew Rixon), the bad tempered, manipulative tramp Davies (Paul Webster) and the mercurial Mick (Jeff Hordley) go through a series of pointed and pointless exchanges.

The strong cast keep the audience gripped and particular praise must go to Matthew Rixon. His monologue in which he recounts his experience of mental illness and its treatment is spell-binding. He is helped by some excellent lighting effects by lighting designer Brent Lees. Richard Foxton’s design creates a wonderful sense of the clutter and sense of failure in the dingy room.

Director Mark Babych gives the Octagon another fine production, a worthy tribute to mark the death of Pinter last year. The Octagon’s next production is Looking for Buddy, a jazz musical by Alan Plater set on Tyneside.

This production is undoubtedly a resounding success, and one which, I’m sure, Harold Pinter would have been proud to have his name attached to. THE PUBLIC REVIEWS. Read more here...

This is an excellent production of a modern classic with exemplary acting all round, but hurry up and book because you only have three weeks to catch it. UK THEATRE. Read more here...

Thought and care taken with Pinter’s play. REVIEWSGATE. Read more here...

Hitler Not so Alone....

We had a really good turn out to see Paul Webster's one man show Hitler Alone. Now that I have met Paul (we sat in for a bit of the read through of The Caretaker) it is really hard for me to imagine this gentle and lovely man could play such a monster. Anyway, it seems that he can indeed become a tyrant for a night and does it very well...

The alternating anger and self-justification are variously terrifying and almost pitiable. Almost but not quite. And that is the strength of both the writing and the acting of this piece. BRITISH THEATRE GUIDE. You can read the rest of the review here.

If you missed him in Hitler Alone, then be sure not to miss him in The Caretaker.

The Merchant of Venice - more reviews

Here's another couple of pieces on Merchant of Venice. An interview with the marvellous David Fielder. Not only a great Shylock but also a very lovely man. Click to enlarge the image....

And here's another review.....

The Merchant of Venice - MEN review

Apologies I have to post this separately but it is some weird glitch in the blog software that if you post more than one image you can't enlarge them! So here is the MEN review. Click on it to enlarge!