Review – Comedy Crate at the Charles Bradlaugh, Northampton, 13th February 2025

Posted on February 14, 2025 by therealchrisparkle

It was with a buzz of expectation that a merry band of a hundred or more souls settled down for another excellent line up of comedians at the Charles Bradlaugh, all arranged by those nice people at the Comedy Crate. Some new names to us, and some familiar; it was always going to be a great night.

Our host for the evening was the jovial Ross McGrane, whom we’d seen once before as the opening act at a Screaming Blue Murder, almost ten years ago. A naturally funny guy, he’s full of electric enthusiasm and is the perfect MC to get us all in the mood. As well as working his way around the crowd, he also shared some excellent comedy nuggets, such as an exploration of the cost of toys, and the childcare advice of his East Ham granny; I too had an East Ham granny, so can appreciate the veracity of her wisdom. He kept the whole thing going at a tremendous pace and was a classy conduit indeed.

First up, and someone we’ve seen many times before, was the fantastic Steve Day, still coming to terms with the potential for offence at the difference between deaf and Deaf; as a deaf comedian, no one can express that better than him. A terrific communicator, he has great material about having a household with grown up kids, his experience co-hosting a Paralympics event with Boris Johnson (shudder) and I still love his line about moving to beautiful Sutton Coldfield for the views. Bold and inventive, he takes comedy where angels fear to tread, and the audience loved him.

Two comedians shared the second spot, and we started with Harry Pettitt, introduced by Ross as Harry Kane for no discernible reason. A fresh-faced Essex lad who looks like butter wouldn’t melt, he has a confident stage presence and an instant connection with the audience. He gave us some very funny routines about the benefits of spending time with posh people and the joys of travelling. I reckon this young chap is going places. After him, came Matt Adlington, another naturally funny guy, who kept the energy up; continuing the Essex theme of the night, he has a smart delivery and a rather kindly presence. He was surprised to know how well we knew our Magpie material, and has a uniquely splendid reason for sporting a beard.

Our headliner was Jordan Gray, someone whom I’ve been fascinated to see ever since her devilish live TV appearance with Ben Elton. Her delivery style verges on the manic, leaping all over the stage, contorting her legs into unusual positions like a wannabe ballerina on speed. Most of her material stems from her life as a transgender woman, and it’s both incredibly emotional and unabashedly hilarious. What primarily comes through is her honesty; she’s outrageous but she’s truthful, unpredictable but, above all, very, very funny. We loved her witty song about being coeliac – as is Mrs Chrisparkle, so we both felt her pain – and she provided the perfect conclusion to a brilliant night of comedy.

Next Comedy Crate at the Bradlaugh is on 13^th March – sadly, we can’t make it, but you should!

Review – Dial M for Mayhem, Royal and Derngate, Northampton, 3rd February 2025

Posted on February 4, 2025 by therealchrisparkle

It was with no little excitement that I realised this touring production comes from the Middle Ground Theatre Company, an intrepid outfit that brought a couple of excellent productions to the Wycombe Swan in the mid-1990s and whom I always enjoyed seeing. Small, but beautifully formed, as they say; Middle Ground would tour where angels fear to tread, including the Scottish Highlands and Islands, bringing their productions to remote village halls for one night only.

And that is the rather charming and potentially hilarious inspiration for Margaret May Hobbs’ new play Dial M for Mayhem, the story of a bumbling company performing Dial M for Murder for one night at the Loch Shindig Village Hall (no need to look it up; you won’t find it on any map). Pouring rain, a clapped-out van, food poisoning, an accident-prone actor, an escaped pet rat, electricity via a 50p meter – I probably don’t need to go on. But will the show?

Michael Lunney’s set perfectly encapsulates that often seen, rather basic, flimsy touring set whilst still serving the purpose of the play extremely well, allowing an Act Two backstage view whilst still being able to see some of what’s going on “on stage”. The cast work their socks off, full of commitment and with plenty of physical comedy. There are some extremely funny scenes which genuinely make you laugh out loud – and there’s no doubt that the show received a good reception. The biggest laugh from a Northamptonshire audience came from the revelation that one of the Scots characters doesn’t come from Loch Shindig – but Corby.

So is this the new Noises Off? Far from it, I’m afraid. For every funny moment there are several tumbleweed sequences where everything just treads water. The patchy writing extends to the structure of the play itself; only the third scene (of four) gives you the backstage angle with all its unique comedy potential, and much of that sadly falls flat. This leads on to a final scene which partially resolves a few issues – even though you didn’t realise they were issues in the first place. Two members of the team have a brief romantic moment without ever having seen a flicker between them in the first three scenes. You suspect that another character has some unspecified health issues that just brings a cloud to the final few minutes.

Margaret May Hobbs doesn’t sign off her scenes with any significant line or cliffhanger moment to take us to the next scene, resulting in them all finishing hanging in the air, with the audience wondering is that it? At least half the characters are stereotypes with precious little depth to them; the AA man is like a Scouse Eric Morecambe and there’s a stock Highlander who would make the characters in Hamish Macbeth blush with embarrassment. There’s also no sense of urgency or panic in the last minute rehearsals for the performance; Sean the director and Andrew the stage manager allow themselves to be merrily distracted from getting on with the job without the remotest concern. And when we see Dial M for Murder in full flow from backstage, there’s no sense of it progressing whilst we’re watching the backstage catastrophes; the Loch Shindig audience may be as generous as you like but even they can’t be happy with several minutes of nothing happening on stage whilst everyone hunts down a rat.

Michael Lunney’s cast make the most of their roles; Alasdair Baker as Rupert mines a genuine fallen star out of the stereotype elderly luvvie, and I enjoyed Estrid Barton’s Ellen frantically trying to hold the sound cues together whilst simultaneously throwing up in a bucket. But, sadly, a weak script means you come away from the show with a sense of opportunities wasted rather than taken. After its week in Northampton, the tour continues to Darlington, Dundee, Ipswich and Hereford.

Production photos by Marcus Fernando for Middle Ground Theatre Company Ltd

Two Disappointing For More!

Review – Last Rites, Royal and Derngate, Northampton, 28th January 2025

Posted on January 29, 2025 by therealchrisparkle

Ad Infinitum’s Last Rites comes to Northampton as part of its UK tour and, as a performance piece, defies labelling into any category, but I’ll have a try. It’s a play with three characters, all performed by deaf actor Ramesh Meyyappan, utilising his superb physical movement and mime skills, to tell a story without speech.

Arjun returns to India from the UK with his small son Krishna, as his father has died. Even though he isn’t religious and has never been taught the intricacies of the post-death Hindu rituals, it falls to him as the oldest son to prepare his father’s body for cremation. And as he does so, he reflects on his childhood and growing up, and his relationship with his father. We see him offering his father unwanted help in the kitchen, making his first visit to the Hindu Temple, and changing his education to a school for the deaf. Following teenage disagreements, and a disastrous rejection of an arranged marriage, Arjun makes his ultimate escape from his father’s influence by emigrating to the UK.

There is no scenery to speak of, just a mattress on the floor, a bowl of water, a small pot of ash and some clothes for the dead. Specifically designed for both deaf and hearing audiences, the production uses a combination of Mr Meyyappan’s sign language and mime to tell the story, aided by text appearing on an eloquent video projection – a combination of words and imagery that compliment the sign language perfectly. Akintayo Akinbode’s beautiful sound composition has many motifs, including some delicately playful music representing Krishna, and Ali Hunter’s lighting design helps us understand the various changes of time and location.

It’s a very thoughtful and emotional piece that poses some fascinating questions about father/son relationships. Arjun shows both love and fury towards his dead father, and it’s clear that he has learned from his experiences how better to bring up his own son. It celebrates deaf culture and identity, and there’s a heartfelt explosion at the end when Arjun despises his father for his refusal to learn sign language; so much went wrong in their relationship simply due to a lack of communication and an absence of valuable father/son conversations.

It tells the story very clearly; however, even at around 70 minutes, it feels a little long. There is a lot of repetition of handwashing; this emphasises the ritual, but nevertheless it is a little tiring to watch the same thing again and again. For the most part Last Rites runs at a slowish pace and could do with some occasional boosts of energy for variety. But it’s performed with real commitment and integrity, and Mr Meyyappan delivers a masterclass in his non-verbal performance skills and style. After its two nights in Northampton, the show moves on to Bedales, Newbury, Scarborough, Ipswich and Salford, plus a week in July at the Bristol Old Vic.

Three-sy Does It!

Review – Screaming Blue Murder, Royal and Derngate, Northampton, 25th January 2025

Posted on January 26, 2025 by therealchrisparkle

Having been banished from the stages of the Royal and Derngate more effectively than a bunch of Faithfuls picking on themselves, how rewarding it is to see Screaming Blue Murder back in the hallowed portals of the Royal Theatre after such a long time, with a fittingly large and buzzing audience to welcome it. When regular host Dan Evans bounded on stage to galvanise us all into attention, a little voice in the back of my head sang Hello Danny, well hello Danny, it’s so nice to have you back where you belong. Please don’t ever send Screaming Blue Murder back to the dreaded Screen 2. It makes no sense!

Dan was on unsurprisingly blistering form as he (and we) got to know Tommy, the unenthusiastic Royal Mail recruiter, a triumvirate of front row Petes, an uninhibited Nana celebrating her 50^th birthday, and sensible Kelsey with her hench Physical Trainer boyfriend. If the Royal has one fault, on a cold winter night the wind can whip off that stage into the audience, but Dan was able to keep us warmer than our massed ranks of gilets and duffel coats.

First up, and someone we’ve seen many times before, was the pride of Wolverhampton, Susan Murray. With oodles of attack, she regaled us with tales of her Glaswegian parents, the secrets of the menopause, and fully justified disdain of President Trump (2.0). Northampton audiences rarely go for political comedy in a big way, and Saturday’s crowd was no different. Nevertheless, she has a remarkable ability to generate big energy, and all her observations are on point and hilarious. An excellent start to the evening.

Next, and new to us, came Bennett Kavanagh, a self-confessed middle-class single gentleman, with an electronic keyboard slung over his shoulder like an outsized manbag. Beautifully self-deprecating, he uses the instrument not only for some comedy songs, but also for its jingle potential. I loved his routine about lift music, the perils of not having Spotify Premium, and how you can use the Windows chords in awkward moments. Terrific timing, an intriguingly funny stage persona, and with some brilliant material, he had us howling throughout.

Our headliner was Joey Page, who has a mischievous way of making sure we know his socials are JoeyPageComedy, and who trades on his slightly unusual physical presence for maximum comic effect. He has great insight into the laughter potential of the British class system, and his idea of being Upper Working Class is an eye-opener. He has the measure of a Northampton audience, teasing us with our Cultural Quarter, and guessing that no one comes here unless you’re born here; it’s true, the game’s up. Admirably verbally dextrous, he delivers his very clever and inventive material that makes you think as well as makes you laugh, and he went down a storm.

Best Screaming Blue Murder for a very long time. The show returns to the Royal (hurrah!) on 27^th February. Book now for a great night out!

Review – Comedy Crate at the Charles Bradlaugh, Northampton, 17th January 2025

Posted on January 20, 2025 by therealchrisparkle

What’s this? Haven’t we already had a Comedy Crate session at the Bradlaugh this month? Yes indeed – but those nice people at the CC kindly arranged a bonus night out in January. The venue was totally packed – if you believe there’s no demand for comedy in January, think again!

Our host for the evening was Russell Arathoon, a jovial cove who reminded me of how a drag artist would host a comedy show if they weren’t in drag – if that makes any sense. Immensely cheeky and saucy, he was quickly pulled up by a group of three ladies for mispronouncing the name of the venue (not to mention the fact that he later said we were in Nottingham). He also had plenty of fun teasing the work outing from the paper and cardboard company and the Take That tribute act in the front row. Sometimes a little near the knuckle, but extremely likeable and animated, so the evening flowed like a dream.

Our first act was the sensational Scott Bennett, who delivers his inventive and original material with deft ease and wonderful confidence. He has such great observations on long-term marriage, what children can do to a car, and why he’s stopped going to the “by hand” car wash. Extremely funny and natural, as well as being very generous with his time which flew by. An expert of his genre.

Unusually, we had two acts for our second segment, both new to us, younger comedians who are obviously developing their craft. First up was Abbie Edwards, who projects a slightly neurotic persona of a young person who’s lead a sheltered past, juggling a Christian upbringing with the sheer joy of discovering sex. Very nicely paced and with good confidence. She was followed by Osman Shibli,who has a strong likeable stage presence and brings entertaining observations on his unusual Pakistani/Qatari/British heritage. Both acts need to firm up on stronger punchlines and nail them more decisively, but, let’s face it, Mr Bennett was always going to be a very tough act to follow. They both acquitted themselves extremely well and can look towards a good future!

Our headliner was Ian Stone, an act who has been around a good while, which makes it even more surprising that we’ve never seen him before. Much of his material is based on the fact that he is Jewish, which he tackles head on, no holds barred, daring to say the things that only he can. Amongst his gems are some great material about his wayward dad, and the secret to forming a credible opinion on any subject. He’s a complete master of his art, and, frankly, I laughed so much that it hurt.

Double portions of Comedy Crate comedy in January! The next gig at the Bradlaugh is on 13^th February, with another amazing lineup. Go on, you know it makes sense; at £13 quid a ticket it’s the best value comedy in town.

P. S. No names, no pack drill, but it’s very antisocial to get the vapes out in a comedy club. It’s not big and it’s not clever. If it happens again, there’ll be trouble.

Review – Dear Evan Hansen, Royal and Derngate, Northampton, 14th January 2025

Posted on January 15, 2025 by therealchrisparkle

Steven Levenson, Benj Pasek and Justin Paul’s inventive musical that combines teenage angst, mental health and social media has been around for a few years now and is well into its UK tour with a week at the Royal and Derngate, Northampton. It’s a show that quickly gained something of a cult status, with most theatregoers getting totally consumed by its fascinating story and emotional score, and a few who just don’t get it.

If you haven’t already seen the show but intend to, please look away for these next two paragraphs because the originality of the story works best if you go into the show with no knowledge of what’s ahead. Evan Hansen is a young man with mental health issues. Taking both medication and therapy, the current attempt to control his neurosis is for him to write regular letters to himself, such as Dear Evan Hansen, today is going to be a good day, or Dear Evan Hansen, I did well at school today. However, one day he writes himself an honest letter about how it was a bad day and everything went wrong. He is just about to take the copy off the printer when drug-addict and bully Connor Murphy picks it up instead, reads it, and taunts him with it. What’s worse is that the letter contains an indication of the unrequited love Evan has for Connor’s sister Zoe.

Connor then goes missing from school, which makes Evan’s panicking imagination go into overdrive. However, Connor’s absence is because he has taken his own life, and Evan’s letter was found and assumed to be Connor’s suicide note. A whole myth then evolves around the personality of Connor, including the assumption that Evan and Connor were very close friends, which was far from the truth. It gives Connor’s parents comfort to know that he had a close friend, and Evan hasn’t the heart to upset them by explaining what happened. The online grief and virtual deification of Connor continues to grow out of all proportion; can Evan maintain the deception or will he reveal the truth?

Having seen the show in London in 2021, and been impressed by the production and the performances, but still not quite getting the hype, I was keen to see if my reservations about the show have melted at all over the last few years. In short – yes they have! This is a terrific revival, in many ways better than the original, which had an overwhelming stage design, full of digitalised imagery, constantly bombarding you with an impression of feverishly active social media accounts vying with each other to gain the attention of users. There’s no doubt it was impressive and memorable.

However, in this production, directed with a greater feel for the characters and the humanity of the story by Adam Penford, Ravi Deepres’ video design is considerably subtler and much less intrusive. And whilst perhaps this production doesn’t give you quite the same sense of social media shaping our every thought and action, it does allow the characters and the story to develop and take shape more freely and indeed more visibly; ironically, perhaps, the show’s original marketing hashtag of #youwillbefound is now much more appropriate and meaningful. Additionally, Michael Bradley’s nine-piece band gives a tremendous performance of Pasek and Paul’s quirky and varied score, full of emotion and unexpectedly tuneful. This is helped enormously by both the fantastic harmonies and the clarity of diction by all members of the cast. No unnecessary over-amplifications here, and I appreciated for the first time what a great score it is.

There are very good performances throughout the show, but all eyes and ears are on Ryan Kopel as Evan, who gives a totally believable performance of an anxious, nervous teenager starting to gain a little confidence as he finds a purpose in life, albeit based on a lie. The character’s anxiety and neurosis are superbly expressed in his tentative singing of some of the songs, only to be blown away later in the show with his full-bodied and powerful vocals. It must be exhausting to perform, and he does a brilliant job.

Alice Fearn is also fantastic as his mother Heidi, a hard-working single parent who regrets having to spend so much time away from him, and who also learns more about her responsibilities and priorities as the show progresses. Her duet with Mr Kopel with the song So Big/So Small truly has the power to make your eyes unexpectedly moist. The scene where she goes to the Murphy family for dinner is acted out with the perfect cringeworthiness that it calls for! Lauren Conroy brings out all Zoe’s varied emotions of grief, affection and teenage rebellion, Tom Dickerson is also very credible as Evan’s family friend Jared, one of those ebullient kids who loves a laugh and a bit of banter but also has many an internal conflict, and Vivian Panka is great as the keen-to-be-noticed Alana, who allows power to get to her head.

For our performance, the role of Connor’s mother, Cynthia, was played by understudy Jessica Lim and she has a great voice and presence, and worked well with Richard Hurst’s Larry Murphy to show both the couple’s bickering and genuine suffering. Mr Hurst brought a very nicely understated fatherly love to the simple song To Break in a Glove. And Killian Thomas Lefevre is excellent as Connor, both as the bully and Evan’s conscience-pricker, singing and acting out all the inappropriate content of the emails that the mischievous Jared writes on his behalf.

It’s not often that a touring production beats the original West End show, but this is one such occasion. It’s in Northampton until Saturday 18^th January – although you’ll have to fight for a ticket – and then continues its UK tour right through to July. To coin a phrase, Dear Evan Hansen has finally been found.

Production photos by Marc Brenner

Five Alive, Let Theatre Thrive!

Review – The Comedy Crate, Charles Bradlaugh, Northampton, 9th January 2025

Posted on January 10, 2025 by therealchrisparkle

A great line up for the first Comedy Crate of the year at the Bradlaugh, and despite the nipping and eagerly cold night, a packed house of comedy devotees had an amazing time. Our host for the night was the warm and friendly Paul Revill, no stranger to this stage, who went about his task of getting to know the audience with his usual attack and merriment. He explored the possibilities of Hi-Vis bedroom antics, ascertained the most popular Quality Street amongst the audience, and spent the evening trying to work out in which field reticent third-row Leon was an expert. This was a burning question that was never truly answered, but Mr R kept everything moving and provided a delightful conduit between us and the three comedians sitting at the back.

None of the acts was new to us, so we already knew we were in for a great night. First up was Michelle Shaughnessy, emigrated from Canada three years ago without ever having set foot in the UK before – was it a wise move? She tells us about breaking up with her husband, her subsequent dating experiences and the benefits of sugar daddies, all with a marvellously confiding style, stringing us along with solid comedy material before delivering a hilariously unexpected punchline. Tremendously confident and assured, this is smart and clever comedy of the highest order.

Second up was Gbemi Oladipo, whom we last saw a few months ago in front of a very small audience where he worked his socks off to make an impact. Now, with a bigger, fully engrossed audience, he hit the ground running with some wonderfully daring material which, in the hands of a lesser mortal, could have sunk without trace; but Mr O has quickly become a true master of delivering bold, race-themed comedy, where you never feel uncomfortable because you’re always laughing your heart out. I wasn’t expecting him to touch politics, but his Kemi Badenoch material is fantastic! I also loved how including him on a recruitment panel backfired, the horrors of finding his mother’s sex manual, and why you should only have white male pilots on a plane. Everyone adored him and we can’t wait to see him again.

Our headliner was the inestimable Hal Cruttenden, whom we last saw in Edinburgh where he created a show based on the horrors of his recent divorce. Three years on, and he hasn’t been backward in coming forward going on new dates, which he tells us about with his irrepressible relish. He also reflects on how the world today is most definitely not what it was, which sounds like it would be a downer, but Mr C can make a shopping list funny. Fearing for the future of democracy, he sympathises with any young people in the audience (not that there were many of those!) His insight into why young people of today couldn’t be called up to go to war is brilliant, and one can only admire his self-awareness as to where he falls in the spectrum of a woman’s sequence of lovers, if I can express it that way. He ended his set with a hilarious story of what happened when he performed comedy to a group of young soldiers safely removed from Afghanistan, with all the death and destruction they would have seen. Doesn’t sound like comedy material – but in the hands of an expert like Mr C, it truly is.

A fantastic way to start the comedy year, and there is a bonus Bradlaugh night next Friday, 17^th January – can’t wait!

Review – Cinderella, Royal and Derngate, Northampton, 21st December 2024

Posted on December 22, 2024 by therealchrisparkle

The big panto at the Royal and Derngate for Christmas ‘24 is Cinderella, one of the best loved panto stories of all time, and given all the colourful, brash treatment you would expect from Evolution Productions. All the vital elements are there – lots of singing and dancing, vivacious and eccentric costumes, putting the spotlight on one poor bloke in the audience for unwanted advances from the Ugly Sisters (well done to Jamie for taking one for the team), a ghost bench, a favourite children’s TV star, a Fairy Godmother, and of course a happy ending.

One of the joys of a well done panto is its ability to appeal to an audience of all ages. It’s most important that it captivates the children – after all, they are the theatregoers of the future – but it also needs to have plenty in it for the mums and dads. This particular production is heavily targeted at the youngsters, and it’s a pleasure to see how enraptured they are by it, with very noisy audience participation in the singalongs and pointing out the ghosties.

One of the more interesting aspects of this production is how it addresses some stereotyping that you find in every panto – with Muriel the overconfident eight year old stepping in to point out that Cinderella doesn’t need a Prince Charming to be a fully realised woman, and that if she’s cooking and cleaning for her sisters then she’s doing it on her own terms. Cue at least 50% of the audience quietly muttering You Go Gurl under their breath. This Cinderella is not the usual browbeaten drudge who caves in at bullying; rather, she calls it out and challenges the sisters for their outrageous treatment of her. When she tells them that she refuses to cry no matter what they do to her, you realise this is an excellent life lesson for the children to learn and may give confidence to any kids present who are being bullied at school. It’s a shame then, that this message does not follow through; when they later insist that she tears up her invitation to the Royal Ball she rather pathetically complies, instead of telling them to stick their vindictiveness where the sun doesn’t shine. It’s an unfortunate inconsistency in the characterisation.

Our Fairy Godmother, played by Joanne Clifton, is still earning her stripes and she won’t get a magic wand unless she manages to make two people fall in love for who they are rather than for their titles; it’s another interesting modern message, this fairy isn’t merely matchmaking a Prince and Princess. Naturally Ms Clifton brings all her dancing skills to the role, and there are lots of Strictly Come Dancing elements to the show. However, she hasn’t been part of Strictly for eight years now, and with her other stage credits in between, I do wonder how much longer this association remains credible; and despite her enthusiasm, I did feel she struggled to come across to the audience.

Andy Day’s Andini (not Dandini – you can see what they did there) fared better with the hordes of kids who just adore him; he has an excellent role-swapping relationship with his Prince Charming and works through the Barrowful of Puns with Dave Bibby’s Buttons with entertaining aplomb. Mr Bibby is at his best when expressing his unrequited love for Cinderella and how upset he is at the fact that she loves him only as a brother. Gordon Cooper and Matt Daines’ wicked stepsisters are a gruesome twosome who unite vanity and cruelty in equal measure, and their prime victim, Marcavia McCarthy’s Cinderella, has a superb voice and is an excellent match for Marcellus Whyte’s Prince Charming.

But here’s the thing: something about this panto just doesn’t gel properly. Despite all its first-rate elements, it’s one of those occasions when its sum is less than its parts. I don’t think it was the funniest of scripts, at times it seems to move along rather slowly and lacks energy, and I fear some of the characterisations are rather bland. I don’t think I am alone; at the end of the show, when the cast galvanise everyone to get up on their feet and clap along with the final number, hardly anyone did. Nevertheless, there was plenty of enthusiasm from the kids in the audience throughout the show and I’m sure many families went home beaming from ear to ear. It just slightly missed the mark for me.

Three-sy Does It!

Review – Screaming Blue Murder, Lola’s Bar at the Royal and Derngate, Northampton, 17th November 2024

Posted on November 18, 2024 by therealchrisparkle

The only constant is change, they say, and nowhere is that more obvious than in the various transformations our local treasure Screaming Blue Murder has undergone in the last few months. Now in the comfortable and atmospheric setting of Lola’s Bar, adjacent to the Royal and Derngate theatre, it’s an intimate location with top quality drinks (always helps) and a small stage area decked out like Beverley’s living room in Abigail’s Party.

However, one thing that is as constant as the northern star, and that’s the presence of Dan Evans as MC for the evening. Warmly welcoming and irrepressibly cheeky in equal measure, Dan wasted no time in digging deep into the lives and loves of John the psychotherapist from Brixworth and Dylan and Emma still in the first flushes of romance. Where would we be without him?

Our first act, and someone we always look forward to seeing, was Mary Bourke, one of the surest hands in comedy, with her blistering, sometimes dangerous, often withering delivery of her cracking observations. Hers is an act honed to perfection; what might seem to be a throwaway line is in fact an exquisitely crafted and carefully chosen selection of words designed to have the maximum impact. Among her finest material on Sunday were memories of a book festival with Liz Truss (ouch), dealing with incels and how a renowned American comic came to grief in Glasgow (it can happen). Always expect the unexpected with Mary Bourke; a terrific start to the show.

After the interval, Dan welcomed James Cook, whom we’ve seen just once before, down the end of a Zoom screen on those dark days of distanced comedy during Covid lockdown. An engaging, jolly personality, he delivers his material with warmth and confidence; and although many of his topics are perhaps rather familiar – such as being the parents of small children – his observations and fresh and original and makes you see those familiar things from a new perspective. I loved (and was indeed rather shocked) at his material about the seismic change that has affected the world of pass-the-parcel, and his home-made method of returning to the good old days of porn (that sounds iffier than it is, honest). He sets up an excellent rapport with the crowd and his set finished all too soon.

There’s one more Screaming Blue Murder this year – in December – which is currently scheduled to take place back in Screen 2 of the cinema, but hopefully the powers that be will see the wisdom of returning to Lola’s Bar for a genuine Northampton Fringe experience. And then – in 2025 – it’s back to the Royal and hopefully, the freshly reinvigorated (and hopefully now safe from RAAC) Underground space where SBM has always thrived. Can’t wait!

Review – Frankenstein, Royal and Derngate, Northampton, 12th November 2024

Posted on November 13, 2024 by therealchrisparkle

Apart from perhaps a glimpse of some of the film when I was a child, I’ve not come any closer into contact with the Frankenstein story than Rocky Horror or Herman Munster. So it was with curiosity more than anything that I anticipated Tilted Wig’s production of Frankenstein, ending its short English tour at the Royal and Derngate this week. However, the briefest glimpse at a synopsis of Mary Shelley’s original is enough for me to realise how respectful and intelligent Sean Aydon’s adaptation is.

Set in 1943, Victoria Frankenstein has abandoned her family to devote herself to scientific research. Her ultimate goal is to create human life from the bones and organs of the dead. She has no concern as to how her creation looks, or feels, or speaks – if indeed it can do any of those things. Her only concern is that it remains a secret; one she shares only with her laboratory assistant Francine. On the night she hopes to create her life, the operation appears to fail – but, unseen by Victoria, the monster does indeed come alive and escapes the laboratory. This leads to a series of events with fatal results for everyone.

Nicky Bunch’s design gives us two sets. The opening and closing scenes of the play take place in the small, claustrophobic cabin where the “Captain” lives, giving shelter and food to Victoria when she’s starving and homeless. For the main story, the cabin opens up to reveal the laboratory, with tall windows and cabinets full of jars and artifacts, and the bed on which the monster is being created. The costumes are functional and suitably workaday apart from Henry and Francine’s smart going-out outfits and the stylish vivid red of Dr Richter’s dress. Hats off to Imogen Mercer’s make-up for meeting the challenge of creating Frankenstein’s monster; and Marc Watkins and Jason Addison’s lighting design works well, although there were a couple of first night fumbles which everyone politely ignored.

Overall it’s an excellent production, which tells its story very clearly – helped, I must say, by the immaculate enunciation of all the cast, which was completely delightful. Sean Aydon’s direction enhances the creepy atmosphere and beautifully balances subtlety with the grotesque. I love, for example, how Basienka Blake’s Richter doesn’t have to say a word to convey her contempt and loathing for Francine and Henry, based on pure ideological eugenics.

I’m almost ashamed to admit that I jumped in my seat about four times when there was a sudden noise or movement even though I knew there’d be a sudden noise or movement any minute. As a sucker for convincing stage combat, the scene where (Spoiler alert, sorry) the Creature kills Henry was performed immaculately by both actors, for which they have my absolute admiration.

Emily-Jane McNeill has superb stage presence as Dr Frankenstein; ruthlessly intent on carrying out her research whilst also revealing the character’s vulnerable aspects. Andy Cresswell avoids all stereotypes with a remarkably human portrayal of the Creature, neither thug nor fool, genuinely tugging at our heartstrings as he reflects on his frustrations and loneliness. Basienka Blake gives us two excellent characterisations, as the wary, hard-nosed Captain and the elegantly fascist Richter. And there’s superb support from Brianne Surgeoner’s faithful Francine, Tawana Dingembira’s urbane Henry and Lydia Whitehead’s Elizabeth. A very fine production and well worth catching.