Safe Mode
March 10, 2015 by QuietManDave
It’s the first event in the Oldham Coliseum ‘First Break’ showcase of new writing and I’ve come out to The Swan at Dobcross, just outside Oldham, to see ‘Safe Mode’.
This is a great location; the Swan is a lovely village pub with a warm welcome. My only regret is it’s dark; the countryside must be beautiful here in the light. The theatre is upstairs and is a flexible space, comfortable and intimate, with generally good sight lines for the audience. It seems to have a varied and interesting programme.
Safe Mode by Lindsay Avery, produced by Theatre by Numbers, is technically in development. But this is a great story, well presented, and with interesting themes. Rebecca Derrick and Andrew Madden create two convincing and fascinating characters who meet in a park in ‘Central City’. “Your home is gone. The town is burning. Don’t think, just run. Head for Central City … you’ll be safe there.” The play explores themes of isolation, hope and friendship. There is good use of storytelling and visuals which add to the surreal feel of the play.
It’s always a pleasure to see good new writing and this is a play with a lot of potential.
It’s the first event in the Oldham Coliseum ‘First Break’ showcase of new writing and I’ve come out to The Swan at Dobcross, just outside Oldham, to see ‘Safe Mode’.
This is a great location; the Swan is a lovely village pub with a warm welcome. My only regret is it’s dark; the countryside must be beautiful here in the light. The theatre is upstairs and is a flexible space, comfortable and intimate, with generally good sight lines for the audience. It seems to have a varied and interesting programme.
Safe Mode by Lindsay Avery, produced by Theatre by Numbers, is technically in development. But this is a great story, well presented, and with interesting themes. Rebecca Derrick and Andrew Madden create two convincing and fascinating characters who meet in a park in ‘Central City’. “Your home is gone. The town is burning. Don’t think, just run. Head for Central City … you’ll be safe there.” The play explores themes of isolation, hope and friendship. There is good use of storytelling and visuals which add to the surreal feel of the play.
It’s always a pleasure to see good new writing and this is a play with a lot of potential.
Othello
Manchester Salon
Reviewed by Yvonne Cawley October 2013
I have to hold my hands up and admit that I don’t know a lot about dear old William Shakespeare’s works (sacrilege I hear some say!), but not to be deterred I ventured into central Manchester to catch a production of OTHELLO by ‘Theatre by Numbers’ at Gullivers Pub on Oldham Street. However, not before doing a little bit of research and watching the film featuring the one and only Sir Kenneth Brannnagh on You Tube to get an idea of what to expect. It definitely falls into the category of ‘Tragedies’ - lies, deception, lust, death and a little bit more death!!
I’ve never been to Gullivers pub before and had a quick look at reviews of the place, which to be honest were not the best, and so went there with fairly low expectations of the venue. Pleasantly surprised; the downstairs bar area is basic but clean and the bar staff were friendly and helpful. The theatre space upstairs is a real surprise, extremely high ceilings, wonderful architraving and a large raised staging area, with a nice sized seating space.
I was surprised to hear that there were only 4 members of the cast and did wonder how they would be able to carry this off without losing too much of the original script/story, or that too much time would be taken in costume/set change. However the thought and planning that the production team had implemented, worked so well.
The whole play was accompanied by Tom Woolsgrove’s musical score which he performed on a variety of instruments, and was extremely impressive and emotive. Although Tom was performing at the side of the stage, and there for all to see, it was true credit to the acting on stage, that Tom’s physical presence ceased to exist. The music blended perfectly with the story and we were treated to his talents on arrival and during the interval. It substantiated the claims made on stage and the timing, pace, intensity and personality of music dove-tailed what was happening on stage perfectly.
The set and props were extremely basic, but this worked well and the acting more than compensated for that, and in fact more would have been less, a distraction even.
As this was a 4 person play I wasn’t entirely sure what to expect, and what if anything had been omitted be of detriment to the play. I need not have worried, as this was a little gem of a performance. Right from the start where the actors enter the stage and literally entwined, showing a coming together and intermingling of characters and plots to come, I was intrigued to find out where this would go and how they would pull this off.
Needless to say, I thoroughly enjoyed this adaptation and it seemed that the actors enjoyed themselves on stage too, throwing themselves wholly into it. There was a little bit of a shaky start from Othello (played by Amine Fourket) with a few fluffed lines, but as the play progressed so did he and went on to command the stage, with his rage, frustration and final realisation clearly portrayed. And his interaction with Desdemona, was exquisite.
Andy Avery gave a very good performance as Iago, the master manipulator, and like Othello I believe got better as the play progressed, although I was a little confused over the Scottish accent that was prevalent in certain parts – maybe I missed the use of a certain accent at relevant critical moments of the play!
Desdemona was played extremely well by Rebecca Derrick, and her facial expressions were a delight to watch. The early scenes between her and Othello were brilliant, true love existed right there and then! For her to completely transform into ‘Bianca’ the prostitute was natural and you could believe a new actress had been introduced. Her portrayal of a male officer was delivered so naturally and believably, it was a real credit to her.
Nicole Gaskell gave a fantastic performance of Cassio and Emilia (maid to Desdemona), with perfect accent and confidence for each character. Totally believable and humorous in parts. In fact the two female performers delivered more than believable performances of the male characters with such ease and readiness.
Overall this was a fantastic night’s entertainment, enthralling and a real intense performance. I loved the brilliant interpretation of this classic script and found the individual performances a delight and an obvious camaraderie of the cast/crew which shone through in the show. The scene changes were well integrated with all the cast involved and it was a great night out and look out for future performances from this production company.
British Theatre Guide
A full-blooded telling of Shakespeare’s tragedy is not the type of play you generally associate with Preston Tringe, the city’s annual festival of fringe theatre.
At least this Theatre By Numbers production sticks to the style of small-scale drama, with a cast of four covering a character list that generally stretches to 20, and a stripped-down design that demands players make costume changes on stage behind a pair of curtains that are the only scenery.
This is flat-pack theatre that measures up to the aims of the company’s founders—Charlie Mortimer and Paul Brandreth—to bring productions anywhere and everywhere.
The addition of highly-effective live music, performed by multi-instrumentalist Tom Woolsgrove, adds an extra dimension however and singles out this production as one with some serious intent, attempting to bat above its clearly limited resources.
The stated intent of Theatre By Numbers is to bring added movement to their performances and this Othello starts with a bold attempt at physical theatre as the cast intertwine or offer a mimed interpretation of character.
Ultimately though there really is no substitute for clearly-enunciated text and narrative. Mino Fourket, in the title role, spends too much time talking to the floor—when examining the flaws in his character could have avoided so much blood-stained upset.
Andy Avery, as scheming nemesis Iago, leaves no-one in doubt of his faults even if his dastardly Scots accent may occasionally elude him.
Nicole Gaskell, in around half a dozen roles, uses probably every accent on her acting CV, settling for a saucy West Country Emilia that shows a lightness of touch.
Rebecca Derrick is a thoroughly-convincing, wide-eyed Desdemona.
After its performances here, the production also plays Manchester dates, which serves to showcase some homegrown talent, striving hard to raise the Bard...
Othello - Review
We love a bit of Shakespeare here at ANS. There's a whole post coming at some point about Shakespeare on a budget, but that's for another day.
Last night I saw the penultimate (for this year) performance of Othello, staged by "Theatre by Numbers", at Gullivers in Manchester.
Othello is one of the classic tragedies - and being a Shakespearian tragedy we as an audience pretty much know that things are not going to end well. The challenge in presenting Shakespeare is either to provide an unexpected characterisation, or a re-interpretation of the setting so as to provide new insights and revelations to the audience. Theatre by Numbers has a good stab at this - the casting of the piece is "gender blind"- meaning that the excellent Nicole Gaskell plays both Emilia, the wronged wife of Iago, and Cassio, the equally wronged Lieutenant of Othello. The differentiation between the two characters was an article of clothing and an accent, but both performances were delivered so effectively as to both be utterly compelling.
Rebecca Derrick also inhabits various roles, notably that of Desdemona, who sees her world crumbling around her but is at a loss as to why. You genuinely feel her sense of puzzlement as to what is going on in the mind of her husband, and her sense of dis-belief when accused by Othello felt utterly real. Rebecca also plays a number of other small roles, all of them presented with conviction, especially the drunken soldier relieving himself against a wall, a piece of physical acting which elicited warm laughter from the small but intensely focused audience.
The performances of Mino Fourket as Othello and Andy Avery as Iago were compelling, especially as the performance moved towards its denouement. There were a few moments when it was difficult to hear exactly what was being said, and perhaps the music, excellent presented by the composer Tom Woolsgrove could have been a little quieter in places to allow the quietness of those moments to be fully appreciated. On occasion some of the words were lost as they ran into each other in a frenzy, which meant that a sense of understanding of some scenes was lacking. Overall though the performances were excellent, and the content of the music helped to both support the action and fore-shadow the coming moments.
The work of the entire cast in maintaining the pace whilst remaining on stage, and changing costumes behind the only piece of scenery, a revolving platform dressed with curtains which functioned as bed, window, wall, ship and a host of other settings was impressive. The interpretative movement at the beginning of the performance which acted as an introduction, a mood establishing interlude and an indication of what was to come was an unusual way to bring us into the world of the play, but really worked because it required the audience to fully focus on what was before us.
The production is scheduled to tour in 2014, and is highly recommended for a thought-provoking examination of what happens once a seed of doubt has been placed into the strongest of minds. As an examination of the foibles of man, and the tendency not to believe a version of a story which contradicts the narrative we have been led to believe, this is an accessible and engaging presentation of Shakespeare's work.
Reviewed by Yvonne Cawley October 2013
I have to hold my hands up and admit that I don’t know a lot about dear old William Shakespeare’s works (sacrilege I hear some say!), but not to be deterred I ventured into central Manchester to catch a production of OTHELLO by ‘Theatre by Numbers’ at Gullivers Pub on Oldham Street. However, not before doing a little bit of research and watching the film featuring the one and only Sir Kenneth Brannnagh on You Tube to get an idea of what to expect. It definitely falls into the category of ‘Tragedies’ - lies, deception, lust, death and a little bit more death!!
I’ve never been to Gullivers pub before and had a quick look at reviews of the place, which to be honest were not the best, and so went there with fairly low expectations of the venue. Pleasantly surprised; the downstairs bar area is basic but clean and the bar staff were friendly and helpful. The theatre space upstairs is a real surprise, extremely high ceilings, wonderful architraving and a large raised staging area, with a nice sized seating space.
I was surprised to hear that there were only 4 members of the cast and did wonder how they would be able to carry this off without losing too much of the original script/story, or that too much time would be taken in costume/set change. However the thought and planning that the production team had implemented, worked so well.
The whole play was accompanied by Tom Woolsgrove’s musical score which he performed on a variety of instruments, and was extremely impressive and emotive. Although Tom was performing at the side of the stage, and there for all to see, it was true credit to the acting on stage, that Tom’s physical presence ceased to exist. The music blended perfectly with the story and we were treated to his talents on arrival and during the interval. It substantiated the claims made on stage and the timing, pace, intensity and personality of music dove-tailed what was happening on stage perfectly.
The set and props were extremely basic, but this worked well and the acting more than compensated for that, and in fact more would have been less, a distraction even.
As this was a 4 person play I wasn’t entirely sure what to expect, and what if anything had been omitted be of detriment to the play. I need not have worried, as this was a little gem of a performance. Right from the start where the actors enter the stage and literally entwined, showing a coming together and intermingling of characters and plots to come, I was intrigued to find out where this would go and how they would pull this off.
Needless to say, I thoroughly enjoyed this adaptation and it seemed that the actors enjoyed themselves on stage too, throwing themselves wholly into it. There was a little bit of a shaky start from Othello (played by Amine Fourket) with a few fluffed lines, but as the play progressed so did he and went on to command the stage, with his rage, frustration and final realisation clearly portrayed. And his interaction with Desdemona, was exquisite.
Andy Avery gave a very good performance as Iago, the master manipulator, and like Othello I believe got better as the play progressed, although I was a little confused over the Scottish accent that was prevalent in certain parts – maybe I missed the use of a certain accent at relevant critical moments of the play!
Desdemona was played extremely well by Rebecca Derrick, and her facial expressions were a delight to watch. The early scenes between her and Othello were brilliant, true love existed right there and then! For her to completely transform into ‘Bianca’ the prostitute was natural and you could believe a new actress had been introduced. Her portrayal of a male officer was delivered so naturally and believably, it was a real credit to her.
Nicole Gaskell gave a fantastic performance of Cassio and Emilia (maid to Desdemona), with perfect accent and confidence for each character. Totally believable and humorous in parts. In fact the two female performers delivered more than believable performances of the male characters with such ease and readiness.
Overall this was a fantastic night’s entertainment, enthralling and a real intense performance. I loved the brilliant interpretation of this classic script and found the individual performances a delight and an obvious camaraderie of the cast/crew which shone through in the show. The scene changes were well integrated with all the cast involved and it was a great night out and look out for future performances from this production company.
British Theatre Guide
A full-blooded telling of Shakespeare’s tragedy is not the type of play you generally associate with Preston Tringe, the city’s annual festival of fringe theatre.
At least this Theatre By Numbers production sticks to the style of small-scale drama, with a cast of four covering a character list that generally stretches to 20, and a stripped-down design that demands players make costume changes on stage behind a pair of curtains that are the only scenery.
This is flat-pack theatre that measures up to the aims of the company’s founders—Charlie Mortimer and Paul Brandreth—to bring productions anywhere and everywhere.
The addition of highly-effective live music, performed by multi-instrumentalist Tom Woolsgrove, adds an extra dimension however and singles out this production as one with some serious intent, attempting to bat above its clearly limited resources.
The stated intent of Theatre By Numbers is to bring added movement to their performances and this Othello starts with a bold attempt at physical theatre as the cast intertwine or offer a mimed interpretation of character.
Ultimately though there really is no substitute for clearly-enunciated text and narrative. Mino Fourket, in the title role, spends too much time talking to the floor—when examining the flaws in his character could have avoided so much blood-stained upset.
Andy Avery, as scheming nemesis Iago, leaves no-one in doubt of his faults even if his dastardly Scots accent may occasionally elude him.
Nicole Gaskell, in around half a dozen roles, uses probably every accent on her acting CV, settling for a saucy West Country Emilia that shows a lightness of touch.
Rebecca Derrick is a thoroughly-convincing, wide-eyed Desdemona.
After its performances here, the production also plays Manchester dates, which serves to showcase some homegrown talent, striving hard to raise the Bard...
Othello - Review
We love a bit of Shakespeare here at ANS. There's a whole post coming at some point about Shakespeare on a budget, but that's for another day.
Last night I saw the penultimate (for this year) performance of Othello, staged by "Theatre by Numbers", at Gullivers in Manchester.
Othello is one of the classic tragedies - and being a Shakespearian tragedy we as an audience pretty much know that things are not going to end well. The challenge in presenting Shakespeare is either to provide an unexpected characterisation, or a re-interpretation of the setting so as to provide new insights and revelations to the audience. Theatre by Numbers has a good stab at this - the casting of the piece is "gender blind"- meaning that the excellent Nicole Gaskell plays both Emilia, the wronged wife of Iago, and Cassio, the equally wronged Lieutenant of Othello. The differentiation between the two characters was an article of clothing and an accent, but both performances were delivered so effectively as to both be utterly compelling.
Rebecca Derrick also inhabits various roles, notably that of Desdemona, who sees her world crumbling around her but is at a loss as to why. You genuinely feel her sense of puzzlement as to what is going on in the mind of her husband, and her sense of dis-belief when accused by Othello felt utterly real. Rebecca also plays a number of other small roles, all of them presented with conviction, especially the drunken soldier relieving himself against a wall, a piece of physical acting which elicited warm laughter from the small but intensely focused audience.
The performances of Mino Fourket as Othello and Andy Avery as Iago were compelling, especially as the performance moved towards its denouement. There were a few moments when it was difficult to hear exactly what was being said, and perhaps the music, excellent presented by the composer Tom Woolsgrove could have been a little quieter in places to allow the quietness of those moments to be fully appreciated. On occasion some of the words were lost as they ran into each other in a frenzy, which meant that a sense of understanding of some scenes was lacking. Overall though the performances were excellent, and the content of the music helped to both support the action and fore-shadow the coming moments.
The work of the entire cast in maintaining the pace whilst remaining on stage, and changing costumes behind the only piece of scenery, a revolving platform dressed with curtains which functioned as bed, window, wall, ship and a host of other settings was impressive. The interpretative movement at the beginning of the performance which acted as an introduction, a mood establishing interlude and an indication of what was to come was an unusual way to bring us into the world of the play, but really worked because it required the audience to fully focus on what was before us.
The production is scheduled to tour in 2014, and is highly recommended for a thought-provoking examination of what happens once a seed of doubt has been placed into the strongest of minds. As an examination of the foibles of man, and the tendency not to believe a version of a story which contradicts the narrative we have been led to believe, this is an accessible and engaging presentation of Shakespeare's work.
Digging Deep
Whats On Stage
Venue: Studio, Salford
The narrative follows two sisters reconnecting and revealing each others' pasts, both of whom have concealed a secret shaping their character. From the beginning it is clear that sisters Ann and Lucy do not get on, and haven't for a long time. Lucy (portrayed by Laura Hills-Leigh) is a nurse who finds teenage sister Ann (Amy Dee) in A&E.
At first, I found myself getting irritated by Ann's animated child like behaviour, yet as the play progresses the character development within her exposes a troubled individual. Dee masters the role of a victim. She illustrates with vivid clarity the torture a victim of such abuse goes through, from denial to rage. In addition to this fellow lead Hills-Leigh shines as Lucy. As with Ann's character, Lucy also evolves as a character.
We see her as a level headed, mature and responsible woman to a tormented figure, haunted by her childhood. Hills-Leigh showcases the traits of a victim which aren't shown enough in the media, her capability to fix her stare blankly into the audience projects raw emotion. The relationship between the two came across strained at times yet as it progressed the relationship between the sisters became more believable.
The character development captures the audience's attention, the production centres around the two characters either at Lucy's home or the hospital and what they are planning to do. Just like Lucy is desperate to know what has happened since Ann left the house, so are the audience, we feel as if we are a part of this situation even though we are merely observing.
I found myself forgetting that this production was above a pub, I agreed with many that these performances deserve and need to be shown to a wider audience, rather than the niche gathering it attracted o the night.
Gemma Flannery confronts the issue with tense almost interrogative moments which are complemented and balanced by light comedic scenes. One for example shows a drunken Ann going through Lucy's boyfriend's music on his laptop. A melancholic song echoes to the audience to which she comments "I might as well slit my wrists". Such relatable moments break up the tense atmosphere surrounding the topic of abuse and allow the production itself to be bearable to watch.
The audience isn't jaded once they leave, the balance it has constructs the narrative in a clever way which allows the audience to see Ann as a drunken teenager (and laugh) whilst at the same time remember what she is going through. Successfully conveying the message abuse happens in everyday life and should be confronted and spoke about.
- Elise Gallagher
"Dig Deep Grab a Tissue"
by Teressa Miller for remotegoat on 02/06/13
Bravely focusing on the prevalent issue and social tragedy of child sexual abuse, “Digging Deep”, written by Gemma Flannery, is a poignant drama centered on the dysfunctional relationship of two sisters Lucy(Laura Hills-Leigh) and Ann (Amy Dee). Written with gut wrenching honesty and authenticity, Flannery exposes an accurate insight into the gritty emotional ugliness caused by abuse without being overly explicit.
Interwoven into the tragedy is the bond of sisterhood central to the focus of the issue, expressed alternately through reminiscing of fond childhood memories and laid open naked feelings towards each other. Hills-Leigh, playing older sister Lucy and Dee have an intense heartfelt chemistry. Struggling between being a protective mother figure and resenting younger sibling Ann, Hills-Leigh delivers a subdued yet profound performance and seems to instinctively understand the complexity of her character. Her maturity to portray emotion merely through the expression of her eyes is earnest and impassioned. Despite dialogue inconsistency with the natural speech of a 16 year old, Dee delivered an in depth stage presence with the often manic Ann. She is particularly commanding with the usage of stage props and violent outbursts that distress and provokes an elevated sense of being uncomfortable for the audience.
Even with a small stage and limited props, director Charlie Mortimer manages to make excellent use of levels to create visual interest and hot static. Overall the experience felt like sitting across the room and being a part of the unfolding drama.
Upon leaving the performance the audience was buzzing with conversation inspired by the thought provoking and well written “Digging Deeper”. Writer Gemma Flannery is currently traveling, promoting and raising funds to bring her play around the globe to increase awareness of abuse. Patrons are rewarded with an exceptional experience and the ability to contribute to this worthwhile cause through proceeds of ticket sales.
Venue: Studio, Salford
The narrative follows two sisters reconnecting and revealing each others' pasts, both of whom have concealed a secret shaping their character. From the beginning it is clear that sisters Ann and Lucy do not get on, and haven't for a long time. Lucy (portrayed by Laura Hills-Leigh) is a nurse who finds teenage sister Ann (Amy Dee) in A&E.
At first, I found myself getting irritated by Ann's animated child like behaviour, yet as the play progresses the character development within her exposes a troubled individual. Dee masters the role of a victim. She illustrates with vivid clarity the torture a victim of such abuse goes through, from denial to rage. In addition to this fellow lead Hills-Leigh shines as Lucy. As with Ann's character, Lucy also evolves as a character.
We see her as a level headed, mature and responsible woman to a tormented figure, haunted by her childhood. Hills-Leigh showcases the traits of a victim which aren't shown enough in the media, her capability to fix her stare blankly into the audience projects raw emotion. The relationship between the two came across strained at times yet as it progressed the relationship between the sisters became more believable.
The character development captures the audience's attention, the production centres around the two characters either at Lucy's home or the hospital and what they are planning to do. Just like Lucy is desperate to know what has happened since Ann left the house, so are the audience, we feel as if we are a part of this situation even though we are merely observing.
I found myself forgetting that this production was above a pub, I agreed with many that these performances deserve and need to be shown to a wider audience, rather than the niche gathering it attracted o the night.
Gemma Flannery confronts the issue with tense almost interrogative moments which are complemented and balanced by light comedic scenes. One for example shows a drunken Ann going through Lucy's boyfriend's music on his laptop. A melancholic song echoes to the audience to which she comments "I might as well slit my wrists". Such relatable moments break up the tense atmosphere surrounding the topic of abuse and allow the production itself to be bearable to watch.
The audience isn't jaded once they leave, the balance it has constructs the narrative in a clever way which allows the audience to see Ann as a drunken teenager (and laugh) whilst at the same time remember what she is going through. Successfully conveying the message abuse happens in everyday life and should be confronted and spoke about.
- Elise Gallagher
"Dig Deep Grab a Tissue"
by Teressa Miller for remotegoat on 02/06/13
Bravely focusing on the prevalent issue and social tragedy of child sexual abuse, “Digging Deep”, written by Gemma Flannery, is a poignant drama centered on the dysfunctional relationship of two sisters Lucy(Laura Hills-Leigh) and Ann (Amy Dee). Written with gut wrenching honesty and authenticity, Flannery exposes an accurate insight into the gritty emotional ugliness caused by abuse without being overly explicit.
Interwoven into the tragedy is the bond of sisterhood central to the focus of the issue, expressed alternately through reminiscing of fond childhood memories and laid open naked feelings towards each other. Hills-Leigh, playing older sister Lucy and Dee have an intense heartfelt chemistry. Struggling between being a protective mother figure and resenting younger sibling Ann, Hills-Leigh delivers a subdued yet profound performance and seems to instinctively understand the complexity of her character. Her maturity to portray emotion merely through the expression of her eyes is earnest and impassioned. Despite dialogue inconsistency with the natural speech of a 16 year old, Dee delivered an in depth stage presence with the often manic Ann. She is particularly commanding with the usage of stage props and violent outbursts that distress and provokes an elevated sense of being uncomfortable for the audience.
Even with a small stage and limited props, director Charlie Mortimer manages to make excellent use of levels to create visual interest and hot static. Overall the experience felt like sitting across the room and being a part of the unfolding drama.
Upon leaving the performance the audience was buzzing with conversation inspired by the thought provoking and well written “Digging Deeper”. Writer Gemma Flannery is currently traveling, promoting and raising funds to bring her play around the globe to increase awareness of abuse. Patrons are rewarded with an exceptional experience and the ability to contribute to this worthwhile cause through proceeds of ticket sales.
The Tempest
The Tempest
Castle Bar Hotel
Date: 6/7/11
Reviewer: Alexandra Rucki
Rating: 4/5
The Tempest, considered to be Shakespeare's last penned play, is a tale of revenge, romance and magic. A perfect concoction for a Wednesday evening Not Part of Festival performance.
Before the acting gets underway we are informed that Karl Seth, down to play Caliban, has been injured and will have to read his part off-stage, whilst director Charlie Mortimer will do his movements.
The play begins with the small cast of five pulling objects out of a suitcase, which mainly involves some bits and pieces of cloth. Then the plot takes shape, with some very innovative uses of the cloth. Who would have thought some rags of sheets could become a very convincing boat, cloak and a bed? Fancy stage effects not necessary here.
As the action kicks-off, Prospero uses his skills of illusion to bring about his escape from exile on a remote island. He conjures a storm that results in his tyrannical brother Antonio and son Ferdinand being shipwrecked on the island. Spirits and magic are conjured to make Ferdinand and Prospero's daughter Miranda fall in love.
The actors have to take on two or more roles. This is dealt with well by mimicking different accents to distinguish between characters, but for those unfamiliar with the plot it can be somewhat confusing.
Physical movement is used effectively, in particular Mortimer's portrayal of islander Caliban. The effect of the voice being read off-stage enhanced his other worldliness.
Kudos goes to Theatre By Numbers for their efforts with limited space, props and actors, the company managed to pull off an enthralling adaption of The Tempest.
The Tempest by Theatre by Numbers
Overall rating: 4
Absolutely terrific. Maximised the atmosphere of the play with just the use of movement, the sounds the cast could make with their mouths and a white sheet!
The actor playing Caliban had injured themselves, so they sat at the side and read in whilst the director did the movements in a mask. This did not diminish the performance whatsoever, and just added to how 'other' the character was.
I would definitely go and see this company again, and will be emailing them to ask about casting opportunities! Would you recommended: Yes
Castle Bar Hotel
Date: 6/7/11
Reviewer: Alexandra Rucki
Rating: 4/5
The Tempest, considered to be Shakespeare's last penned play, is a tale of revenge, romance and magic. A perfect concoction for a Wednesday evening Not Part of Festival performance.
Before the acting gets underway we are informed that Karl Seth, down to play Caliban, has been injured and will have to read his part off-stage, whilst director Charlie Mortimer will do his movements.
The play begins with the small cast of five pulling objects out of a suitcase, which mainly involves some bits and pieces of cloth. Then the plot takes shape, with some very innovative uses of the cloth. Who would have thought some rags of sheets could become a very convincing boat, cloak and a bed? Fancy stage effects not necessary here.
As the action kicks-off, Prospero uses his skills of illusion to bring about his escape from exile on a remote island. He conjures a storm that results in his tyrannical brother Antonio and son Ferdinand being shipwrecked on the island. Spirits and magic are conjured to make Ferdinand and Prospero's daughter Miranda fall in love.
The actors have to take on two or more roles. This is dealt with well by mimicking different accents to distinguish between characters, but for those unfamiliar with the plot it can be somewhat confusing.
Physical movement is used effectively, in particular Mortimer's portrayal of islander Caliban. The effect of the voice being read off-stage enhanced his other worldliness.
Kudos goes to Theatre By Numbers for their efforts with limited space, props and actors, the company managed to pull off an enthralling adaption of The Tempest.
The Tempest by Theatre by Numbers
Overall rating: 4
Absolutely terrific. Maximised the atmosphere of the play with just the use of movement, the sounds the cast could make with their mouths and a white sheet!
The actor playing Caliban had injured themselves, so they sat at the side and read in whilst the director did the movements in a mask. This did not diminish the performance whatsoever, and just added to how 'other' the character was.
I would definitely go and see this company again, and will be emailing them to ask about casting opportunities! Would you recommended: Yes
Buck Teeth
"Short but Sweet in Runcorn"
by remotegoat reviewer for remotegoat on 21/04/08
I was really looking forward to seeing Buckteeth. I had not heard of writer Allan Reilly before and the thought of a night out at the new 'Brindley Theatre' Runcorn, well, seemed a treat on for Saturday night, which it was.
The theatre itself is excellent and offering more than just plays, dance, ballet, exhibitions and all sorts in the Arts centre sense. Just call in - even if just for a coffee or a look around, as the staff are very helpful indeed.
Buckteeth made me think. I watched it and I continued to think about it on the way home on the train. Theatre by Numbers producing the play, had cast three interesting actors: Kirsty Cummings, playing the ever-popular 'Pink' Tippi; Nicola Morley as one lover Kelly; and Paul Brandreth as the other lover Mark.
The play was mainly about secrets - our secrets, your secrets, their secrets, the worlds secrets and beyond. Not just any secrets but 'those secrets' we keep tucked quietly away, not wanting to draw their ugly head for one minute. On the whole the script was
slick, funny, obliging and at times intelligent. The play begins with an argument between the lovers and then as if in a flurry, the two seem to be swallowed in a time tunnel, dragging them back to another part of the evening, in a sort of slick dumb show. This was very funny at first, but I'm afraid it kept this point for far too long. It would have been even funnier had it been shorter.
Without giving too much away - the couples ensued arguement evokes the Fairy Godmother in Tippi, she bounces in pink bow, and pink taffetta tutu, hanging a clock on the wall, along with a criminal tag on her ankle (not in pink), and made me wonder the meaning of. Whilst a fine performance, she certainly looked the part. However I felt her inexperience shone through, as was the case with Nicola Morley. Sometimes the lines were lost, or stolen to the backdrop , not enough projection caused this problem. I also put some blame on the Director Charlie Mortimor for allowing lines to go too fast. They could have been pulled back slightly, enough for the audience to hear and enough for the performance. There was plenty of time. This was of course, only an hour's worth of script. I also felt that it should have gone straight through, rather than with the fifteen minute interval. It would have helped all round.
On the whole it was a gift of a script and the talent of the evening came from Paul Brandreth, with his excellent performance, directly acting to the audience, and projected vocal work and great singing voice. Certainly an actor to watch. The line of the evening had to be "they called you Polo ‘cos you earned a mint through yer hole!". Go and see this play if it's on near you - you will have a laugh. I suspect this play has probably got another act attached to it somewhere, I hope writer Allan Reilly can find it artistically within himself, because he just could have a masterpiece on his hands. I personally hope so.
by remotegoat reviewer for remotegoat on 21/04/08
I was really looking forward to seeing Buckteeth. I had not heard of writer Allan Reilly before and the thought of a night out at the new 'Brindley Theatre' Runcorn, well, seemed a treat on for Saturday night, which it was.
The theatre itself is excellent and offering more than just plays, dance, ballet, exhibitions and all sorts in the Arts centre sense. Just call in - even if just for a coffee or a look around, as the staff are very helpful indeed.
Buckteeth made me think. I watched it and I continued to think about it on the way home on the train. Theatre by Numbers producing the play, had cast three interesting actors: Kirsty Cummings, playing the ever-popular 'Pink' Tippi; Nicola Morley as one lover Kelly; and Paul Brandreth as the other lover Mark.
The play was mainly about secrets - our secrets, your secrets, their secrets, the worlds secrets and beyond. Not just any secrets but 'those secrets' we keep tucked quietly away, not wanting to draw their ugly head for one minute. On the whole the script was
slick, funny, obliging and at times intelligent. The play begins with an argument between the lovers and then as if in a flurry, the two seem to be swallowed in a time tunnel, dragging them back to another part of the evening, in a sort of slick dumb show. This was very funny at first, but I'm afraid it kept this point for far too long. It would have been even funnier had it been shorter.
Without giving too much away - the couples ensued arguement evokes the Fairy Godmother in Tippi, she bounces in pink bow, and pink taffetta tutu, hanging a clock on the wall, along with a criminal tag on her ankle (not in pink), and made me wonder the meaning of. Whilst a fine performance, she certainly looked the part. However I felt her inexperience shone through, as was the case with Nicola Morley. Sometimes the lines were lost, or stolen to the backdrop , not enough projection caused this problem. I also put some blame on the Director Charlie Mortimor for allowing lines to go too fast. They could have been pulled back slightly, enough for the audience to hear and enough for the performance. There was plenty of time. This was of course, only an hour's worth of script. I also felt that it should have gone straight through, rather than with the fifteen minute interval. It would have helped all round.
On the whole it was a gift of a script and the talent of the evening came from Paul Brandreth, with his excellent performance, directly acting to the audience, and projected vocal work and great singing voice. Certainly an actor to watch. The line of the evening had to be "they called you Polo ‘cos you earned a mint through yer hole!". Go and see this play if it's on near you - you will have a laugh. I suspect this play has probably got another act attached to it somewhere, I hope writer Allan Reilly can find it artistically within himself, because he just could have a masterpiece on his hands. I personally hope so.