Lionman (Footlights theatre, GM Fringe 2018)

Fringe theatre is, by its very nature, meant to challenge its audience. Lionman, from Dapertutto, at the Footlights theatre, Media City is certainly that.

Challenging.

Starring Tom Hardman as Leonard and Cameron Jones as pretty much everyone else, this is a piece of physical theatre the likes of which you probably don’t see often enough outside of fringe.

From the surreal outset, we follow Leonard as he attempts to complete his screen play, fall in love with the woman upstairs, fight the man in the flat below and all the while there is so little dialogue, you are drawn ever closer to the edge of your seat to see just how Hardman manages these feats of physical theatre.

The use of multimedia is brilliant. From the opening mashup to the awards ceremony, the technical aspects of the show could easily detract from whats going on elsewhere on stage, but its a credit to technician Leon Hardman and sound designer Kris W Laudrum that they add to the actors presence, and don’t overpower the piece.

The lighting is subtly muted, and the staging for such a physical piece works wonders. Sometimes less truly is more. I have no idea how long the performers have rehearsed this, but they hit every mark and made it seem so easy.

 

Footlights, Lionman, GM Fringe

Lionman

It may be a cliche, but this really was a work that made you stop and wonder at times.

The scene where Leonard and the neighbour rewind after a lengthy fight is so well done, that both actors deserved an ovation just for that.

Hardman must come off stage every night both physically and mentally drained! How he’s managed an entire week of shows is a testament to his skills as an actor.

There are dream sequences, which Leonard thinks are real, an awards ceremony that actually IS real and an off stage love interest who has no idea our hero even exists.

Even Casablanca gets a look in.

I went into this only having the preview on the GM Fringe website, so had very little as to what to expect.

I came away from the show filled with admiration for the lead, and the whole crew that they could so easily draw an audience into the world of Leonard so fully and with such aplomb as to leave me feeling as breathless as the performers must have been as they took their bows.

In the end, our hero appears to overcome everything that stands in his way, but at what cost?

 

Lionman runs for the next two nights at Footlights theatre, Kansas Avenue, Media City, Salford.

4*/5 Easily a must see piece of work from a promising new company.

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A surefire dark hit of theatre

In recent years, Vertigo theatre productions has become a byword for excellence in Manchester fringe theatre. It regularly puts on locally written pieces, and is also a regular when the awards season comes about, thanks to the work of not only Craig Hepworth, but the art direction and technical know-how of Karl Burge.

With their new production, Noir, the ever upward trajectory of Hepworth and his merry band of actors looks set to continue.

A real multimedia extravaganza, Noir is a tale oft told of forbidden love between a young 16-year-old schoolboy, Jimmy Flynn, played by Richard Allen, and Veronica Smart, played to almost smouldering perfection by Emma Morgan (Hollyoaks, /Happy Valley) and her husband Cliff (Danny Clifford).

Emma Morgan and Stuart Reeve

Any fan of the film noir genre will immediately recognise the scenarios…

A twisted saga of love, betrayal, sex, manipulation and eventually murder. There are plot twists that would please Hitchcock, settings you will adore, and acting that will astound, Noir is a rare thing on the fringe scene, a wholly realised and well drilled production that leaves the audience gasping and on the edge of their seats.

A lonely housewife, aspiring to be a movie star, but whose talent can’t live up to her ambition, a class full of young kids, easily led astray by a beautiful older teacher who wants to be loved, but who is bored by her humdrum home life.

A streetlight illuminating our narrator, Detective Sal Pelattiere (Stuart Reeve) who guides you through the early stages of the story, before taking a more vital role as the plot twists come thick and fast.

Noir harks back to some of the great movies of the 40’s and 50’s, screen gems like The Maltese Falcon and Touch of Evil to name but two.

The subtlety of some of these performances is astounding. Every single player seems so nuanced and able to convey their thoughts as well as actions with ease, it’s easy to think this is a cast that have been performing this show in a much larger auditorium for weeks, if not months.

The outstanding performance for me was Anna Hickling as Vivian Pierce, the young lady who, infatuated by Veronica Smart, tries to style her whole life and outlook on her arts teacher. The transformation from mousey schoolgirl to full on vamp is great to see.

Veronica and Vivian face off in Noir

I’d love to say that there was a weak link in the cast, but I can’t. From scene shifting, to hitting their marks, I was hard pressed to find a fault with the production.

One of the more chilling characters, that of young Jimmy’s deadbeat dad, is played to masterful levels by Luke Richards. He really shows an edge to his part that is so believable, at one point, I ducked his blows from the back row!

Bekka-Jane Milner and Luke Richards

My only gripe would be the use of the smoke machine, which although necessary to add atmosphere, could have been toned down, or sited elsewhere to allow the audience to see at times…

But if that is the only gripe, then I’m happy for that to be it.

The show is a long old beast, but its directed in a very competent manor and lit to perfection.

At some point, Hepworth will fail to write or direct a winning show.

I just hope it’s a long while before that happens.

With an off Broadway run of their award winning “Porno Chic” in 2018, the future for the company as a whole looks as bright as Noir is dark.

Noir runs until the 2nd December at The Kings Arms, Bloom Street, Salford, with limited ticket availability

 

REVIEW: Watching goldfish suffocate, Kings Arms, GM Fringe 2017

Andrew Riley went along to the Kings Arms in Salford to watch Vertigo Theatre Productions new staging of “Watching Goldfish Suffocate” Was it worth the trip? Read on…

Every so often, there comes along a piece of work that changes how you feel or think about certain things.

Watching Goldfish Suffocate is such a piece of theatre.

Many a real life tale has been told on stage across the years, but very rarely has a play captured the current mood of change as this does.

Mental health affects one in four people in the UK, and to suffer the way co-writer David Degiorgio has, and to then put it out there for everyone to see takes not only skill, but real guts.

The stigma around Mens mental health is one of the current cause célèbre that has been taken up at all levels with artists, politicians and sports personalities getting involved.

Directed by Craig Hepworth with minimal staging, this play shows Davids descent into paranoia, anxiety, psychosis and his return to health.

It’s a show that not only deserves the rave reviews it achieved last time out, but should be seen by as wide an audience as possible.

It must be difficult to direct someone who is playing you, but in Joe Slack, Craig Hepworth has a very capable an accomplished actor who is able to switch between multiple roles with such ease, its possible to believe that there may be more than one Joe in the show.

Joe Slack

Joe Slack

Playing himself, David Digiorgio is a towering presence on the stage. Because this IS his story, it makes his performance even better, because there is no doubting his every nuanced move and infliction is torn from the very depths of his own experiences.

As we watch his descent into his own personal hell, we meet his inner demon, played by the extremely able Benjamin Corry, who is so evilly lit, you can feel him creeping over your own shoulder when not creeping over David’s.

Benjamin Corry and David Degiorgio

Benjamin Corry and David Degiorgio

The cast is finished off with Celine Constantinides, who wonderfully leaps between characters with the same ease as the rest of the players.

Celine Constantinides and David in Watching Goldfish Suffocate

Celine Constantinides and David in Watching Goldfish Suffocate

This play has sold out its run at the Greater Manchester Fringe, and rightly so. By the time we arrived at the interval, both I and my guest were left regretting not bringing along tissues more than once.

The play is effectively divided into Davids decent into illness, and then his resurrection from hospital into deciding to write the play with Craig.

The fine line between humour and drama can be difficult to tread, and this could be a macabre experience if handled wrongly, however in Hepworth we have a young, yet very talented director who is not only certain of his own strengths, but also seems to know how to get the best out of his cast without falling either side of that fine line.

When you hear the audience discussing their own mental health with strangers during the interval, you know that the work you are watching has found its mark and is doing what its authors intended, helping end the stigma around an illness that was for many years, hidden away and, if not ignored, then certainly not readily discussed openly.

This show deserves to be seen by as many people as possible, and when you leave a theatre in happy tears, you know that you have watched something truly special.

There has to be someone, somewhere, willing to take a punt on a fringe show and put it on the bigger stage. I for one would love to see this show given such a chance, be it in Manchester, London, or elsewhere.

This is not a show that will be for everyone, but its certainly a show that everyone should have the chance to see.