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Review: Henry V, Royal and Derngate, Northampton – Once more into those ugly breeches, dear friends, once more…

Stripped back history play brings Shakepeare’s Globe and Headlong to Northampton stage

Like this pared back, stark adaptation of Shakespeare’s Henry V, the audience was much reduced on Wednesday’s Press Night, due to heavy snowfall.

But those of us who made it were tucked warmly into the Royal, watching the 20-something, newly-anointed King, bruised by his dying father’s distain, wreak havoc across France after being ‘dissed’ – if you will – by the delivery of a tennis ball.

Enraged by Charles VI of France’s apparent slight and determined to become a warrior king and claim France as his birth right, as his dead father had done, Henry invades, and begins a bloody campaign that culminates in the battle of Agincourt. (Read up on your history if you didn’t do Henry V at school, as it gets pretty complicated, with references to English subjugation of the Welsh, who ultimately provided the 500 longbow archers who laid waste to the French bogged down in the muddy battle.)

Georgia Frost in Henry V. Credit Ant Robling

This lauded production, a collaboration between Shakespeare’s Globe, Headlong and Royal & Derngate, started its creative life at the Sam Wanamaker Playhouse, essentially the indoors bit of the Globe, which seemed to use chandeliers and candlelight to give the production a switch from light to dark. On the Royal stage, the set is starker, with rows of green chairs facing each other to indicate the French and English, and a ruched green curtain drop alternating with an impressive and effective distressed mirrored backdrop. In Northampton, the chandeliers looked more like suspended light-sabres, which didn’t have quite the same effect.

Oliver Johnstone as Henry V . Photos by Ant Robling

The company of ten actors share all the parts, and while this is a very ‘male’ play (and on International Women’s Day I did feel a bit exhausted by the angry, entitled violence of it all), the mixed gender cast do a sterling job of keeping the dialogue comprehensible.

However, the adaptation has them in quite possibly the worst collection of ill-fitting chino trousers I’ve ever seen outside Twickenham on a match day.

OK, so there’s no cliched armour, swords or period frocks, but the contemporary clothing just made it more confusing to keep up with the character switches – apart from shrugging off the odd shirt to reveal white ‘wife-beater’ vests during the fighty bits.

Oliver Johnstone and Dharmesh Patel in Henry V. Credit Ant Robling (5)

Strong among the performances were Georgia Frost (Nym/Rambures/Williams) who brought a fizz of energy to every scene, James Cooney’s subtle side-eyeing which could be detected even several rows back, Joshua Griffin’s frustrated and almost controlled Fluellen and Jon Furlong’s impressive pre-interval death (no spoilers). Emotional performances from Helen Lymbery (Henry IV/Uncle Exeter) and Oliver Johnstone as the titular King must be exhausting.

Oliver Johnstone as Henry and Joséphine Callies as Katherine/Boy. Credit Ant Robling (1)

It’s a lot of story to cram into a couple of hours, and I kind of missed the context of the Pistol/Bardolph/Nym spoils of war link. And I’d have like to have lingered a little longer over the forced marriage/courtly love scene, where the teenaged Princess Katherine (of Valois, she’s buried in Westminster Abbey btw, and would go on to produce the Tudor line) is offloaded by her parents to the King who just slaughtered their citizens.

I’d be surprised if the schools haven’t snapped up the matinees because this production is a total shoo-in for an English or drama essay in future studies, especially with the sharp (and I meant total switcheroo) final scene, which slams us into a present-day immigrant citizenship exam. The roar of laughter from the audience confirmed the direct hit, although Shakespeare purists may not agree.

Henry V runs at Royal & Derngate until Saturday March 18, box office 01604 624811

The performances on Wed 15 March 7.30pm will be Audio Described and will be preceded by a pre-show Touch Tour. All patrons attending the tour should meet at the Box Office at 6.30pm, where a member of staff will then take them into the auditorium. Please email boxoffice@royalandderngate.co.uk to book the Touch Tour.

The performance on Thu 16 March 7.30pm will be performed with integrated British Sign Language (BSL) interpretation 

University of Northampton Avenue Campus demolition – the end of the start of the School of Art

Historic campus making way for housing after the main campus moved to Waterside in 2018

It’s difficult to count the number of students who must have passed through the doors of Avenue Campus in Northampton, now under demolition to make way for a housing estate.

From its official opening by the late Queen’s mother and father, the then Duke and Duchess of York in 1937, Avenue Campus in St George’s Avenue has had several names and purposes relating to education. From the purpose-built Northampton Technical College in 1924 through incarnations including the Central College of Technology, Northampton School of Art, Nene College, University College Northampton and eventually University of Northampton. Eight decades of students and staff have worked and studied on the site (and no, it was never a mental hospital as the rumours had it.)

Duke and Duchess of York (later King George VI and the Queen Mother

According to the University archives, On March 11, 1867, a free public lecture on Science and Art was held by the Museum Committee in the town hall (maybe the Guildhall, which had just been built in the same year?) It was so popular evening classes in painting and drawing started in October.

Art evening classes continued and expanded, closely linked to science classes, until in 1894 the Northampton and County Modern and Technical School was established.

The (ugly) central Maidwell building was reception, with the library above and classrooms below – Image
StJaBe
via wikimedia commons

In 1907 the evening class organisation became the Northampton and County Technical and Art School, with the Art School functioning separately. A further name change occurred the following year, to Northampton and County Technical School and School of Art.

One source states that the Northampton School of Art was re-designated the Northampton School of Arts and Crafts in 1917, but there are no documents in the archive from this date. However, two documents contained in the archive dated 1934 and 1937 use this form of name for the Northampton Art School.

The School of Art continued to grow, working in overcrowded rented accommodation, until new purpose-built premises were opened in 1937 next to the Technical College on St George’s Avenue.

In 1954, the Central College of Further Education was established, to include both the School of Art and the College of Technology. The School of Art appears to have continued to function as a separate college. It is likely that relevant papers were destroyed by a fire in a County Council records store.

The former staff parking entrance next to Newton building (now Bosworth College). At the back is Malcolm Arnold prep school on the site of the former Trinity Upper School swimming pool

In 1972 the School became known as the College of Art and 1975 saw the establishment of a college of higher education, Nene College. The Northampton colleges of Education and Technology along with the School of Art were amalgamated to form this new higher education college.

After many years as a journalist, I joined the university as a part-time lecturer on the journalism degree in 2009 and quite liked the building. My former classroom/newsroom was called MB5, later renamed the Matthew Engel room, down the hill opposite the rather useful cashpoint at the base of the Bassett Lowke halls of residence. It had a beautiful parquet floor and students in Year 1 could pretty much roll out of bed and into my lectures, but often still managed to be late. Many times the fire alarm would go off and see students having to stand on the Racecourse in their pajamas at all times of the day, waiting to be allowed back to bed. The radio studio on the same floor was named after Jo Whiley.

The old MB5 newsroom
Clive Lewis MP came to visit, having worked with me in the Chron days at Upper Mounts

I have plenty of good memories of the place, but also of the people. My first mentors were the now retired Richard Hollingum and Ted Sullivan. Avenue had plenty of great guest speakers, from Chris Mason, now BBC political editor, to the late Faye Weldon and comedian Stewart Lee.

The offices for staff were up the stairs, but due to the layout of the building, on a steep slope, they were really on the ground floor. I shared an office with the journalism and media staff, and it was a welcome hideaway where we could support each other, get marking done in peace and swear loudly when necessary.

One area, tucked away behind a large weeping fig, disposed of by the authorities in the move to the new campus, was a small sofa and this became ‘Hilary’s crying corner,’ not for me, but for students, when the pressures of academia all got a bit too much. We were lucky to have our own space and students – although they may not felt so at the time, had a brilliant location for studying – even the day I sent them out to report on a solar eclipse with paper plates.

Our media and journalism office during the clear-out before the move in 2018

Despite its whiff of furniture polish, mixed with multitude different cheap perfumes and body odour, I liked the place. Navigating it often felt like going in circles, due to its multilevel design on the only hill in the area. It had brass handrails and tiled walls in the old sections, some of which will stay – with the two ‘end’ buildings saved from destruction due to their listed building status, along with the old caretakers’ house/security building, Quinton Lodge.

It’s the second building I’ve worked in that I’ve watched be demolished, as the old Chronicle & Echo Building at Upper Mounts is now an Aldi…

Northampton Pride 2022 in full swing with huge turnout in town centre

A sunny, fun-filled day for all showed Northampton at its best #NorthamptonPride22

Northampton did itself proud this weekend with a massive turnout to support the Pride march event.

With a march starting at 11am and a huge range of stalls and performers, Pride was well-organised and attended, with the sun coming out just in time for the Market Square music performances.

Sponsored by Northampton-based Travis Perkins, the event is organised by Northampton’s LGBTQ and Allies Forum and aims to highlight the LGBTQ+ community, businesses and support organisations. 

Lots of families were at Pride, including Chanice Taylor, Kerry Marriot, Dominic Ross Whithey with Imogen and Harlie
Pic by Hilary Scott

Musicians including Ffsytho featuring Mark Ski, Joe Payne, drag acts, a brilliant Lady Gaga tribute called Radio Gaga and stilt walkers entertained crowds on the Market Square.

All over the Market Square stalls were busy and there were some fabulous outfits as the town came together to support Pride and the LGBTQ+ community. Staff from Northants Fire and Rescue, East Midlands Ambulance Service, the Police, WNC and Northampton Guardians had vehicles emblazoned with the Pride Rainbow while there was a roaring trade in flags. See our photo gallery below and video walkthrough.

A walk through Northampton Pride 2022 on the Market Square

Standing ovation as Hairspray the Musical rocks Royal and Derngate

Review: Hairspray. Royal and Derngate, Northampton (opening night January 31)

I had never seen Hairspray before. Yes, I know, I know. It’s one of the most popular musicals in the world, an award-winning tour de force combining fantastic music and storytelling and genuine social commentary that, although set in 1962 Baltimore, certainly still resonates today.

But musicals…? You either love ‘em or hate ‘em, right?

“Just admit that you loved it Mum and write ‘It was great’ over and over until you hit the word count,” suggested my 13-year-old, musical-theatre fan daughter.

“And don’t call me a fan, I’m not a fanatic.” (This is what you get bringing up four kids with two journalist parents). “And don’t call me a kid…”

photography by Mark Senior

OK, so it was great. Really great. You don’t need to go to the West End when the West End comes to Northampton. I was blown away by the skill of the huge cast – more than 20 on stage for complex yet seamless dance sequences, belting out song after song from the best known You Can’t stop the Beat finale to the intricate Mama I’m a Big Girl Now and I Know Where I’ve Been.

The show opens in ‘60s Baltimore, Maryland, with ‘gently plump’ schoolgirl Tracy Turnblad (Katie Brace) belting out Good Morning Baltimore with her trademark black flick beehive, observing the flashers, rats and alcoholics before heading home to agoraphobic mum Edna (a drag role played by Alex Bourne) and joke-shop owner dad Wilbur (Norman Pace, yes, the one from Hale and Pace, all you people of a certain age).

photography by Mark Senior

Tracy and her best pal, Penny (Rebecca Jayne-Davies, aforementioned daughter’s favourite actor of the night), tune in their TV to the Corny Collins Show, a teen dance programme, based a on a real, American Bandstand-esque show of the time. Tracy and Penny yearn to get on the show, but detention, mean girl Amber (Jessica Croll) and her pushy TV producer mother Velma (Rebecca Thornhill), plus a massive dollop of classism, racism and body-shaming, look like killing their dream.

photography by Mark Senior

But Tracy bunks off school, meets heartthrob Link (understudy Joshua Pearson did an excellent job on first night) and makes a big impression on show host Corny (Richard Meek), as well as winning the show lots more fans and a plus size clothing contract. Cue loads of amazing costume changes (bravo Takis).

photography by Mark Senior

But Tracy’s stardom is short-lived. With and with the help of Motormouth Maybelle (the extraordinary Brenda Edwards), her kids Seaweed (Reece Richards) and Little Inez (the very talented Charlotte St Croix) and others segregated by their race (despite it being over 100 years since slavery was abolished in the southern states), they storm the show and a riot sees everyone locked up. (Locked up for protesting? How very now…) Cue a race to escape and get everyone live on air for the TV show finale.  

photography by Mark Senior

Hairspray the Musical came after John Water’s cult film of 1988, which starred Ricki Lake as Tracy, Debbie Harry as Amber and drag icon Divine (in his last role) as Edna.  Waters was to cut through the discrimination of the 60s still evident in the 80s, from racism to gay rights.  

Today’s Hairspray does the same, skewering the biases and bigotry with a riotously funny musical. Bourne and Pace have a hilarious chemistry and comic timing as Edna and Wilbur, while Brenda Edwards’ voice during Maybelle’s protest ballad I Know Where I’ve Been moved many to tears – such is her power (and yes, she’s the one off Loose Women, The X-Factor and Songs of Praise). Newcomer Katie Brace as Tracy is a total star – from her voice to her movement and acting with every inch of her face. You also can’t take your eyes off Charlotte St Croix (Little Inez), who I’m confident will be one to watch.

Brenda Edwards as Maybelle

There’s not enough space here to name them all but it’s an incredible cast at the top of their game – from the skill of the dancers on a relatively small stage to the live band who sometimes appear as part of the show – we’re really very lucky to have the Royal and Derngate for these top-of-their-game touring shows.

It WAS great!

Book now if you can, it’s on until Saturday (February 5) with tickets from Derngate Box Office or on 01604 624811.

Ready for final Friday Night Lights of the season? Saints certainly are, with a home derby and a farewell to Furbs

I’ve been mulling over whether to start off by talking about how Friday night’s semi final is George Furbank’s last game at the Gardens. I’m not usually superstitious, but I made a big ol’ fuss about Furbs before the European Cup Final in Cardiff and things didn’t quite go to plan.

But there’s no doubt in the players and coaches’ minds that their game is going to be positively influenced by their departing Captain’s last run-out at the Cinch FG, as Furbank, Dowson, Hutch, Coles and Dowson discussed at Monday’s presser.

George Furbank will play in his last game at the Gardens on Friday before his exit to Harlequins

George is probably sick of talking about it, but there’s no doubt it will add something to the game, such is the depth of feeling amongst the squad for Furbank, who is leaving his boyhood club after ten years to move down to Harlequins next season.

It’s a big deal for the tight-knit Saints backs, many who have been together since their academy days, and there have been jokes about ‘breaking up the band’, making Furbs the Geri Halliwell of the group as the first to leave (a Spice Girls reference that flew over his head, seeing as he was a toddler at the time).

He said: “It’s exciting, but a bit emotional. It’s going to be weird but I’m relishing the game. Friday night at home is going to be a pretty epic way to go out at the Gardens, but I don’t think it will sink in until the season’s done, whenever that is. I’m pretty desperate to finish on a high and I know this group’s hungry for more silverware as well. Friday nights here are always special, then add a semi final, add a Derby game, it’s going to be an epic occasion.”

Saints have finished top of the Gallagher Premiership, but that doesn’t mean any trophies yet – if they win against local rivals Leicester on Friday, they’re through to a Twickenham final against the winner of the Bath V Exeter game on Saturday afternoon. Lose, and that’s it. Season – and Furbank’s time in green, black and gold – done.

Rory Hutchinson, who just celebrated his 200th game for Saints after starting in 2015, said he had originally had mixed emotions when Furbank’s departure was announced earlier in the season. “You hear rumours but you don’t actually know until it get’s announced on their socials or whatever, but I remember I was sitting there and I was a bit upset, a bit sad. I came in the next day and said to him, ‘I’ve been here, every day, every day you’ve been here I’ve been part of it.’ from someone who couldn’t even pass with his left hand, and was only about 80 kilos.

Rory Hutchinson, who starts on Friday night, has has just been selected for Scotland

“But I got to see him grow and see him achieve achieve so much – obviously, he had a bit of a tough time last year with his injuries, but the fact he kept his head down and he turned it around – I’m glad to be part of his story here at Northampton. But unfortunately all good things come to an end and he will be missed. Yeah, it’s been like a boyband hasn’t it? He’s given his heart and soul to this club and as a leader, he’s fearless.”

Furbank in 2022 – photo by Dave Ikin

The team, of course, is still smarting after a defeat at Welford Road a month ago, which is further motivation to put things right this week. “That was one of those days when they rocked up and played very well, and we rocked up and didn’t perform at all,” says Furbank. “But we have to look at the whole journey we’ve had in the season, we’ve broken a record for points and the tries as well.

“You’ve got to go out and earn it, and that’s what we intend to do. The crowd here bring an unbelievable atmosphere and that’s one of the things I’m going to miss.”

So how do players cope with the mental pressures of a game like this, when they’ve topped the Premiership, but by the end of just one 80 minute game, it could either be the end of their season or a final at Twickenham?

“Obviously I’ve never been in the position of a home semi final and it’s my last game at home, so it’s something new to me. I’m going to have to not get revved up too early. I feel like the more experience you have in these sorts of games, the easier it is to understand where you are and try and build up to that crescendo of Friday.

“And to the fans, a thank you for everything you’ve done, you’ve been incredible for the ten years I’ve been here, and I’d love to bring it one more time.”

Friday sees second row stalwart Alex Coles back in the starting line-up, alongside Ed Prowse, who he thinks deserves more praise: “I’m glad you mentioned Prowsey, I think he’s gone under the radar slightly, he deserves some plaudits. He wasn’t initially signed by Saints, went out to Cov[entry], they brought him back, he was playing tighthead prop, didn’t quite work out, but he has a lot of attributes that are so good; he’s a very good ball handler, carries hard, skillful defender, hits hard, moves really well for a big man.

Alex Coles thinks Ed Prowse deserves praise for adapting so well to the second row

“And credit to the coaches, they decided to give him a shot in the second row. To have worked so hard at a position and to be told you were going to change, it must have been difficult for him. But he’s a proper workman…he reminds me a bit of Joe Launchbury back in the day, getting through so much work, physical, abrasive but smart as well? Like he reads the game well, ends up in the right positions a lot and yeah, I can’t praise him enough for how quickly he’s developed in a new role and there’s plenty more left in him.”

And on Furbank’s last game, Coles seems genuinely emotional: “Just gutted really, that I’m going to miss playing with someone who’s a good friend of mine. It adds another layer of motivation. We’ll stay in touch and stuff and it will be interesting to play against them [Quins] next season.”

Director of Rugby Phil Dowson, who won DoR of the Season at the Premiership awards just a couple of nights later, had already made much of his selection by Monday, and said Monday’s training had been ‘lively’ following the weekend’s inconsequential but ultimately annoying loss at the Stoop.

“The boys came in banging, we’d made some selection decisions already and some of the boys were disappointed, as you can imagine,” says Dowson. He outlines Leicester’s strengths but repeats a few times a message that’s been directed at the squad in the run up to Friday: Special occasion, special opportunity, normal performance.

“We need them to understand that our game is good enough and they’ve got enough credit in the bank in terms of how hard we’ve trained, and it’s proven to be successful when we get it right. We’re not trying to do anything special; the way we do it might be special in terms of intensity, the physicality, but what we’re doing isn’t going to change.”

While the club’s sports psychologist Oli Dixon has been having one to ones with the players this week, how does Dowson cope with the mental pressures of the game?

“I’ve got a quote from an old DoR, when we lost to Bath, who’d I’d played against a few times. He said ‘winning is not within your control, but being constantly competitive is‘. I can’t control whether we win or lose: Leicester might turn up and be outstanding. We’re mature enough to understand that.

“What we can control is how competitive we are; how hard we train, how well we recover, and connect and how excited we are. The one thing I don’t want us to do is get tight, I want us to be free to go and express ourselves and play our game, because when we play our game we’re really good, we’re a really good group. So I’ll sleep well, yes, I’ll be nervous about the game like everyone else but that fundamentally what I can control.”

Made in Northampton Party Season’s parenting stereotypes broke me with a single line – theatre review, Royal& Derngate

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There was robust debate over a glass of pop following press night of Royal & Derngate’s latest Made in Northampton play, on whether you had to have had kids to truly ‘get’ it.

Two of my fellow audience members, without offspring, of course recognised the scenarios portrayed about a group of Bristol parents forced together every weekend by the birthday parties of their various pre-school and primary-age children. After all, the one thing that unites us all is that we were once kids. But did those of us who had first hand-experience of having to respond to cries of ‘Mummm, can you wipe my bum?’ laugh a little louder, squirm a little more in our seats as each set-up sent us spiralling back into memories of the terror, the anxiety, the utter exhaustion and unbridled joy of child-rearing?

A group of four performers dancing on stage, surrounded by vibrant, colourful confetti and illuminated by neon lights. The setting features playful, bright decor with various patterns.
Party Season – company – photos by Paul Blakemore

As mother to four kids, all now well past the age of the incessant children’s parties of their primary school years, I absolutely recognised the characters on stage – adults who wouldn’t choose to hang out so much, but made to by their children’s various and ever-changing friendship groups.

There’s overbearing and controlling Head of the PTA Celia (Jessie Meadows) with her shiny Aga, Strava-obsessed husband David (Ben Vardy) and bratty child Aonghus (Jacade Simpson). Then laid-back Bea (Fowzia Madar), who gets even the most feral five-year-olds in line with a ten second song and ‘shush’. Her brother Kane (also played by Jacade Simpson, and making good use of the in-joke) is the non-parent in the group – and his detailing of his child-free life could have been a song from a musical, with the parents’ desperate envy clearly and hilariously on show.

Two performers on stage, one dressed in a white suit and top hat, sitting on the shoulders of another in casual attire, amid a colourful polka dot backdrop.

Tom England plays Xander (above), the teeny-weenie beanie wearing prodigal dad, returning to his own childhood home after the inevitable exodus from London to the provinces, which he clearly resents. Meanwhile his partner Margot (Kerry Lovell) is away presenting at a conference, desperate to catch up with her PhD that’s been put on hold while she’s done most of the child-rearing for son Felix’s first five years. All he’s got to do is take his kid to a few parties and arrange his own son’s do, how hard could it be? Cue slapstick bad-dadding, with Xander being perpetually haunted by the memory of his late dad, a groan-worthy 70s’-style children’s magician called Neil Terntainer (James Newton) much beloved of everyone but him.

A woman smiles and holds a phone while standing on a colourful confetti-covered stage, with two doors in the background. A man stands nearby, gesturing playfully.

Lovell also plays Simone, a darkly funny and mostly monosyllabic mum, appearing ominously (helped by excellent staging and lights) clutching her newborn second child and drifting around in a fugue state. While the show’s references are all pretty recognisable and in my long-past years, it’s her unexpected monologue that actually broke me. One line. Just one, about who we are after motherhood, that made my nose fizz and the lump rise in my throat. Bravo Kerry, you got me.

The show bowls along at a frantic place (with no interval), as per Wardrobe Ensemble’s other work, and as the cast members sometimes play the kids (on their knees to show the height difference) the audience needs a little orientation time to work out who’s playing whom and whether they’re in a house, in a fantasy reality or exchanging messages in the dreaded parents’ Whatsapp group.

A stage performance depicting three actors in a brightly coloured set decorated with multicoloured dots, with one actor in a pink outfit gesturing expressively, another in a red top holding a glass, and a third in casual attire positioned towards the side.

It’s all good fun, underpinned by the more thought-provoking politics of gentrification, class snobbery and whether parenting really is a shared responsibility. Parenting carries a lot of trauma, but also forms our adult selves more than we could ever understand and there’s a lot to be said for the cliché that it takes a village to raise a child. We might not choose that village, but we definitely need its residents.

A scene from a theatrical performance featuring a seated man in a blue jacket and white hat, surrounded by five standing characters in a vibrant, dotted set design.

As well as the obvious thoughts of the childhoods of my now adult children, Party Season made me reflect on my decade or more years writing parenting columns on a weekly basis for the local paper, particularly the letter that one woman wrote (yes, on actually paper in an envelope with a stamp. I mostly avoided social media and below the line comment abuse). She had taken the trouble to tell me in great detail how she was glad her children weren’t friends with mine, having seen a page I’d written about how there was no need to buy expensive branded party bags and that a freezer bag filled with sweets and a bit of cake in a serviette was fine. Her main beef, as well as the neglect of not providing branded plastic tat, was that the photo showed a party of one of my sons, aged about five, with a homemade (not by me) cake and cartons of Ribena on the table. This, she said, showed I really didn’t care about my kids…

I’d like to think that I’d let it go, all these years later. But still occasionally, I wish I’d dropped a branded party poo bag through her door as a token of thanks…

Party Season finishes it’s run at Royal & Derngate tonight but goes on tour if you can catch it elsewhere: The North Wall, Oxford
Tue 28 April – Fri 1 May
www.thenorthwall.com

Worthing Theatres, Worthing
Fri 8 – Sat 9 May
www.wtm.uk

Lowry, Salford
Tue 12 – Sat 16 May 2026
www.thelowry.com

Bristol Old Vic
Thu 21 – Sat 23 May 2026
www.bristololdvic.org.uk

Review: Toxic masculinity confronted with courage and humour in Top Gs Like Me

What I love most about Top Gs Like Me – a new piece of theatre created at Royal & Derngate and set in Northampton – is that there is nothing timid or apologetic about it.

It is a big brash exploration of toxic masculinity and digital alienation through the eyes of two young Northamptonians at the gates of adulthood.

The staging sets the tone with a huge recreation of Radlands skatepark through the middle of the main auditorium. It’s an impressive sight greeting the audience as we take our seats either side of the performance area.

A vibrant stage performance featuring numerous performers in dynamic poses, surrounded by colourful lighting and a graffiti-style backdrop, set in a contemporary theatre.
Top Gs Like Me – photo by Manuel Harlan

The blacked-out balconies and railings of Derngate around it lend an air of mundane dystopia to the graffiti bejazzled skate ramps. Through inventive light and sound the no-mud-no-lotus beauty of contemporary Northampton transforms suddenly into the glittering chaos of the contemporary digital world.

The main character Aidan, granted sufficient dumb charm by Daniel Rainford to keep us as on his side as we need to be, conducts these episodes with extravagant swipes of his phone and it says something about the slick professionalism of the production that the scenes of high intensity social media slop switch apparently at the whim of his flailing arm.

A young woman with dark hair, wearing a brown hoodie and blue jeans, performing dramatically in front of a colourful graffiti backdrop.
Fanta Barrie – photo by Manuel Harlan

The endless parade of urgent nonsense becomes both hilarious and sinister as the ninety minute show progresses. It begins to poison Aiden’s view of the world and his friendship with Northampton born Fanta Barrie’s character Mia. Her trajectory in life appears to be upward while his appears to be down, and Fanta imbues Mia with compassion and sanity as Aidan’s world begins to spiral.

Another actor of Northampton origin Finn Samuels carries the weight of being the embodiment of Mia’s bright future. He is Charlie, her new boyfriend from ‘The Boys’ School’ who is presented very much as the privileged idiot Aidan expects him to be. There are some laughs attached to this but the story doesn’t acknowledge that in this town the perceived top of the heap is itself a state school boxing clever. There are no real airs and graces here.

 

A man in a bright red suit sits confidently in a smoke-filled theatre box, with dramatic lighting creating a bold atmosphere.
Danny Hatchard – photo by Manuel Harlan

The digital interludes introduce us to the online male influencer Hugo Bang – played energetically by Danny Hatchard for laughing at, not with. He has a pivotal seductive influence on Aidan despite his vibe being the stag do from hell. If this was musical theatre a brilliant song would help us buy the transition and some clever staging sells the moment, but I felt like the battle for Aidan’s soul was over before it had begun.

It matters because Aidan gets himself in a real serious mess after that. He devises a ludicrous side hustle to get rich quick recruiting down and out Dave played by David Schaal (from The Inbetweeners) and his new friend Grace played by Emily Coates. Money and misogyny bring him nothing but trouble and this plays out in a shocking way. The script is throwing gut punches in the last quarter and while not all of them land some of them land so big it is like they are trying to set up a sequel.

A theatrical scene set in a graffiti-covered space, featuring actors in red suits and a central figure in casual attire, conveying a dramatic interaction under stage lights.
Top Gs Like Me – photo by Manuel Harlan

The marvellous thing about Top Gs Like Me is that the people who made it are still making it at every performance until the run ends on March 7. Samson Hawkins original script has been developed by Artistic Director Jesse Jones and his team who have the luxury of being able to tweak and shape the production as it goes on.

It’s an ambitious, exciting show that is often spectacular and often funny. If I’m honest the resolution to the main crisis at the end does not make me feel like the crisis is over – some things you cannot just swipe away. The chefs still have the option of seasoning the dish but they will want to hold on to the show’s talking points too. No-one said it would be easy putting on plays.

As a proud Northampton resident I must admit I would have liked a stronger flavour of Northampton’s special sauce – that paradoxical magic in the dirt when you are walking in the footsteps of kings but you don’t know it. Things happen here you wouldn’t expect. Despite appearances it is a place for believers. Monarchs get toppled. Revolutionaries get inspired. World class sport gets produced. World class art gets produced. World class shoes get produced. We have one of the largest psychiatric facilities in Europe. We put our poets in it. Maybe old timer Dave could be a vessel for a bit of that sentiment. He is the perfect character for it.

Two actors performing on stage, one wearing a green shirt and cap, the other in a black t-shirt and beanie, engaged in an animated conversation. The actor with the beanie holds a piece of food.
Daniel Rainford and Emily Coates – photo by Manuel Harlan

The University of Northampton supplied a lot of cast members and Northampton College is heavily engaged with the production too. The meta irony of it all is that thanks to Royal & Derngate the Northampton our heroes are trying to aspire their way out of is one of only a few places in the country that regularly produces its own theatre work like this. The whole cast and crew were operating at the top of their game on press night, delivering a brilliant spectacle with the potential to be even better going forward. This is a Made In Northampton show you won’t want to miss.

The video below features Jesse in conversation about the play with Northampton College Principal Jason Lancaster and the college’s head of Music and Performing Arts Sarah Thursby.

Tickets are available via the Royal & Derngate website here

Not for those with a heart condition – jump scares and a twisty conclusion dominate 2.22 A Ghost Story at Northampton’s Royal and Derngate

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My reference point for 2.22 a Ghost Story, currently running at Northampton’s Royal and Derngate, came purely from Lily Allen’s title track on her brilliantly brutal album West End Girl.

A theatrical scene featuring four actors in a set with a table and chairs, three raising their hands with one holding a teddy bear, while the fourth actor observes.
James Bye, Shvorne Marks, Natalie Casey and Grant Kilburn are Sam, Jenny, Lauren and Ben in 2.22 A ghost story
All photos copyright: Helen Murray http://www.helenmurrayphotos.com

I’d read about how she’d been cast in the original London version – much to her duplicitous actor partner’s annoyance – and had gone on to win awards; perhaps acting as frazzled and frightened new mum Jenny wasn’t too much of a stretch.

The show is now in its umpteenth production in the UK and globally, and the larger Derngate auditorium was pretty full for a cold Tuesday evening.

The set design and lighting for 2.22 are superb, honed over several years using a stark red neon frame for each blackout (accompanied by over-used screams that made the entire audience repeatedly jump in their seats) and the combination of lighting and set design really make the stage look like a partially converted Victorian townhouse with a shed out the back. The two digital clocks dominate, ominously reminding the audience of the time of each act.

A man in glasses and a green shirt stands against a wall with peeling wallpaper, while a woman in a floral skirt and knitted cardigan sits on a green sofa, looking thoughtfully.
James Bye as Sam and Shvorne Marks as Jenny

A young couple with a baby, Jenny, (played by Shvorne Marks) and Sam, (Eastenders and Strictly star James Bye), have just moved in to a house that was in the same family for decades. They’ve ripped out the old fittings and are in the process, as happens in so many gentrified areas, of redecorating. Jenny hates the new, ubiquitous glass doors to the garden and their evenings are also constantly punctuated with the blood-curdling screams of urban foxes.

A group of four adults engaged in conversation in a cozy living room setting. Two are seated on a green sofa, one holds a drink while the other is wearing glasses. The third person, standing and dressed in a blue blazer, appears to be speaking, while a woman in a black top and a floral skirt stands nearby, looking engaged.
James Bye (Sam), Natalie Casey (Lauren), Grant Kilburn (Ben) and Shvorne Marks (Jenny) Photo Helen Murray

We learn Sam has just returned from a trip away, has lost his phone, and Jenny has been left literally holding the baby, and her patience is frazzled not only by a lack of sleep and Sam’s lack of help, but by a mysterious sound that seems to come from the baby’s room, in the early hours, at exactly 2.22am.

Sam’s former university friend Lauren, played effusively by Natalie Casey (of Two Pints of Lager and a Packet of Crisps fame) has been invited for dinner with her new partner Ben (2.22 veteran Grant Kilburn stepped in for soap star Gary Lucy, who withdrew for personal reasons (see Daily Mail et al)).

A scene from a theatrical performance featuring a woman standing on a green sofa and a man beside her, both appearing cheerful in a domestic setting with patterned wallpaper.
Natalie Casey (Lauren) and Grant Kilburn (Ben) Photo Helen Murray

Ben’s a builder, and a local lad, brought up on ghost stories, and isn’t so skeptical of Jenny’s concerns about the early hours noises. He resents Sam’s obvious snobbery and suspicious of his previous relationship with Lauren (who inexplicably has an American accent, never explained, not necessary in my opinion?).

The friends (although they spend so much time shouting at each other I wondered why) agree to stay up and see if the noises return.

A group of four diverse individuals gathered around a dining table, engaged in a serious discussion. The scene is set in a modern interior with a soft lighting ambiance.
Grant Kilburn (Ben) and Shvorne Marks (Jenny) and James Bye (Sam) Photo Helen Murray.

Lots of spooky noises and goings on then occur and that’s about as much as I can say without spoilers.

While I was sitting on the edge of my seat throughout, there were points when suspending my disbelief was less about the ghostly doings and more about the script – I can’t say I’d have hung about at that dinner party beyond the starter.

And the multiple, often random jump scares, while quite fun and enough to get the blood pumping (unless you have a heart condition), they didn’t seem to add much to the story. If you’re a fan of scream screen cinema horror, the live version will be exhilarating!

The denouement is a good one, if a little derivative, and could have done with being more than just a three minute whack at the end. But it’s pretty good, and worth the wait if you haven’t already worked it out through the play.

We’re very lucky to have big shows like this come to Northampton, and hopefully it will see similar numbers of thrill seekers signing up for the rest of the run. It will certainly get the blood pumping!

2.22 A Ghost Story runs at Royal & Derngate until Saturday January 17. Find out more via the Box Office or by calling 01604 624811.

Mog’s back to be a bothersome cat for Christmas – Review, Royal and Derngate, Northampton

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A small antidote to a rainy Sunday afternoon in the run up to Christmas was spent in the warm and cosy, phone-free stalls of the Royal Theatre, surrounded by pre-school and primary children.

A performer in a cat costume, resembling Mog the Forgetful Cat, sits playfully on a rooftop during a theatrical performance, with expressive makeup and a whimsical expression, set against a dark stage backdrop.
Faye Lord is Mog – all photos by Manuel Harlan

OK, so add in a repetitively screechy cat noise, and some singing, and this might not sound so relaxing, especially if you’ve done your duty in bringing up small children (mine are now all 17 years and over). Slightly masochistic perhaps?

Let me explain: there’s something strangely soothing in being surrounded by captivated, engrossed, under tens and toddlers who are entirely engaged in the fictional action going on on stage. I’ve done enough reviews in the last three decades to know when shows don’t get it right, and kids are distracted and fidgeting. Not so here.

A stage scene from Mog's Christmas featuring three characters: a man and a woman seated at a table, engaging with a person dressed as a cat. The playful interaction takes place in a colorful, vibrant set with nature-themed decorations.
Mrs Thomas (Heather Porte) and the VET (Tom England) with Mog (Faye Lord)

Mog’s Christmas is an adaptation of an earlier show I reviewed back in 2022 by the rather brilliant Bristol-based Wardrobe Ensemble. It’s from Judith’s Kerr’s hugely popular, if a little old-fashioned, Mog the Forgetful Cat books.

There was a lot of déjà vu in the first half hour as it’s a bit of a recap of the previous show with the small cast, expertly narrated through the friendly postman/policeman/ V-E-T (Tom England) and magical musical maestro/actor Daniella Agredo Piper. We’re taken through Mog’s previous escapades through the seasons until we get to Christmas.

A lively scene from the stage adaptation of Mog's Christmas, featuring a cast of colorful characters singing and performing in a festive setting, with decorations and a large backdrop resembling a home.

The cat noise by the very expressive Faye Lord as Mog can feel a bit grating at first. To be fair, she’s channeling the essence of a feline without any lines except ‘meow’ for the entire show. Pretty impressive to be acting without kneepads too (that might not last for the full run, but then I’m old and my knees wouldn’t last five minutes).

A theatrical scene from 'Mog's Christmas' featuring performers with evergreen trees on their heads, dancing around a festive set with a house backdrop.

We’re basically reminded of the Thomas family’s sometimes fraught relationship with their per cat. Mog, like all cats, can be annoying and destructive – anyone with a cat who has just put up their Christmas tree can testify to this.

But Mog can also be an unwitting hero, and Christmas isn’t Christmas when the cat goes missing, so cue all sorts of shenanigans to get their pet back in the house in time for the big day. There’s magical snowfall, some menacingly funny trees and a good dollop of singing.

A festive theatre scene featuring actors in colorful holiday attire performing in front of a decorated stage with Christmas elements.

All the kids around us (and even our own 17-year-old) were rapt throughout. You could see parents and grandparents smiling and exchanging glances at each other as the toddlers on knees, pre-schoolers on boosters and primary aged boys and girls were fully engrossed, some calling out to characters. Such is the gift of good theatre, the hour or so flew past.

So if you’d like a break away from the weather, the seasonal stress, and the big noisy ol’ traditional Peter Pan next door in the Derngate, choose Mog. She’s not that bothersome after all.

Mog’s Christmas runs at Royal & Derngate until December 31. Tickets are discounted to £10 for students and under 25s, and there are relaxed, BSL and audio described performances too. Visit here for tickets and information.

No Wendy in this Peter Pan, but Poppy Sunshine is a Darling – Review: The All New Adventures of Peter Pan at Royal and Derngate, Northampton

Panto has come a long way since I started reviewing back in the 1990s. No more shonky sets and wonky donkeys, it’s all rather stylish on stage at the Royal and Derngate this Christmas. Just remember to take your coat if you’re in the stalls…more of that later on.

A performer in a vibrant green and pink costume, striking a joyful pose with a magic wand, against a colorful stage backdrop.
Georgia Brierley-Smith as Tink – all photography by Pamela Raith

The old-style curtain has gone and an apparently hi-tech ‘scrim’, a sort of translucent screen that you can project effects onto, makes for a stunning flying-through-the-stars effect for Peter and Not-Wendy.

Maybe it’s a sign of my age but Gordon Cooper’s Dame, Mrs Sweet, had a variety of outrageous costumes that just looked, well, very nicely made and barring the enormous bustles and hats, wearable…just me? Look at the sailor dress, very stylish.

Two male actors perform joyfully on stage, wearing colorful costumes with playful expressions. The background features a decorative set with purple drapes and theatrical elements.
George Webster and Oliver Scott as Charlie and George

Anyway, to the plot: it’s not the Peter Pan you may remember, with the tradition of a girl playing Peter as Sophie Lawrence did, (with David Essex as Hook), back in 2007 at Derngate. Nowadays Peter is a real boy – or in this case, actor and singer David Breeds who just reminded me of a much younger, slimmer Michael McIntyre. (Pretty sure he can belt out a tune better than The Wheel host though).

A male actor dressed as Peter Pan, wearing a leaf-inspired costume, performs on stage with a backdrop of vibrant colors.
David Breeds (not Michael McIntyre) is Peter Pan

In The New Adventures of, we meet Poppy Sunshine (Millie Davies), an sweet and adventurous young girl living in an orphanage under the sweet care of Miss Doodle (the excellent Simone Robinson, who doubles up as Myrtle the Mermaid later on. She’s got a huge voice and great stage charisma despite not being a ‘main’ character.)

Two actresses performing on stage, one dressed in a blue pajama set holding a clipboard and the other in a lavish red dress with intricate designs, both standing in a colorful theatrical set.
Poppy (Millie Davies) and Miss Doodle (Simone Robinson)

Listening to Charlie (Oliver Scott) and George (CBeebies’s George Webster) read a bedtime story about Peter Pan’s previous adventures with the Darling children, Poppy dreams of going to Never Never Land and meeting the Lost Boys (and Girls, it’s 2025, for goodness sake).

A lively scene from a stage production of Peter Pan, featuring characters in colorful costumes, expressing excitement with raised arms on a vibrant set.

And so it transpires. Poppy flies off with the lively Tinkerbell (a sparky performance by Georgia Brierley-Smith) to meet Peter, the lost kids and defend mothers, as the ungrateful brats seem to have rather fallen out of love with their previous pretend ‘mother’ Wendy.

A man dressed as Captain Hook in a red coat holds a blue object while performing on stage, surrounded by three supporting characters in colorful pirate costumes.

Cue pirate baddy Captain Hook (John Thomson, who did a good line in knowing looks, but in places mumbled through the lyrics in his song and dance numbers), a load of dancing shipmates and a lot of slapstick, including a rather laboured scene with Charlie and Mrs Sweet making ‘ice-cream’ which just seems like a way to torture an actor with repeated spurts of shaving foam to the face, (twice a day for matinees). Kids around us seemed to agree, as they started to fidget and lose interest. I’m sure it will evolve as the run gets going.

Two female performers in colorful costumes smiling and dancing on stage, set against a colorful backdrop.
Georgia Brierley-Smith and Simone Robinson as Tink and Myrtle the Mermaid

There’s plenty for the traditionalists – the ghost bench is back, there’s an audience soaking with water pistols (five rows back, we got pretty soaked), a poor dad got chosen to be Mrs Sweet’s new Mister, and some references to dead brands from the olden days like Blockbuster and Topman which will mean nothing to the young’uns.

But the big early song ‘n’ dance number that grabs their attention is a version of the ubiquitous Golden from K-Pop Demon Hunters which made every under 9-year-old sing along at full volume. In fact the singers are fantastic this year, with Davies, Robinson and Brierley-Smith (Poppy, Myrtle and Tink) belting out the songs (I do hope the vocals stand up to a full month of shows).

A vibrant theatrical scene featuring a cast in colorful costumes performing on stage, with a pirate ship backdrop and dramatic lighting.

There’s a convoluted plot about finding the essence of Christmas and lots of fight scenes and big finale and impressively fast costume changes.

TANAoPP is a decent show with some classy touches in a sea of seasonal theatre – although part of me misses that time the leg fell off the flying unicorn and the flying wire work looked more precarious than polished.

Peter Pan and a girl dressed in white pajamas are flying together on stage with a colorful, abstract background.

But for families who already have tickets, or anyone who just wants a couple of hours of full-on fun, you’re in for a tasty seasonal treat. Just don’t say I didn’t warn you about keeping your coat handy…

The New Adventures of Peter Pan runs at Royal & Derngate Northampton until Wednesday December 31. Click for tickets or call the box office on 01604 624811

Swap your sofa for the theatre to Break the Code on genius Alan Turing

We’re very lucky here in Northampton – with autumn nearly upon us there’s so much good stuff going on we shouldn’t just settle in on the sofa every night.

Case in point – go and see some live theatre. A brand new production of Hugh Whitemore’s acclaimed play Breaking the Code, has opened at Northampton’s Royal & Derngate, running from Thursday 11 to Saturday 27 September, before touring.

A close-up profile of a man in a suit, with a digital code overlay, representing themes of mathematics and codebreaking.

The play follows mastermind Alan Turing’s career as a visionary mathematician and codebreaker and examines how society’s attitude towards his sexuality changed the course of his life. Directed by Royal & Derngate’s Artistic Director Jesse Jones as part of the theatre’s Made in Northampton season, for the first time the revival will feature new material that speaks to Turing’s lasting legacy for modern Britain and the development of Turing’s law, with a new epilogue by Neil Bartlett that takes into consideration Turing’s Royal pardon in 2013.

Mastermind. Code breaker. Maverick. Arguably one of the most important and inquisitive minds of the twentieth century. Alan Turing is famed for cracking the Enigma code at Bletchley Park, effectively securing victory for the Allied forces in WWII.

From triumph to tragedy, get to know a human being who loved, lost and never stopped asking questions in a quest for truth and understanding in this new production of Hugh Whitemore’s Breaking the Code.

The role of Alan Turing will be played by Mark Edel-Hunt (Leopoldstadt, West End). The cast also includes Niall Costigan (The Railway Children, Hull Truck Theatre), Joseph Edwards (The Red Shoes, Royal Shakespeare Company), Peter Hamilton Dyer (The Promise, Chichester Festival Theatre), Carla Harrison-Hodge (Cyrano de Bergerac, Jamie Lloyd Company), Susie Trayling (Harry Potter and the Cursed Child, West End), and Joe Usher (Falkland Sound, RSC).

The production is directed by Jesse Jones (Education, Education, Education Royal & Derngate/The Wardrobe Ensemble) with set and costume design by Jonathan Fensom (The Two Popes, Royal & Derngate). Johanna Town (The Comedy About Spies, Mischief/West End) is the lighting designer and Robin Colyer (The King’s Speech, Watermill Theatre) is sound designer and composer. They are joined by Gerrard Martin as movement director, Hannah Miller as casting director and Gemma Boaden as Voice & Dialect Coach.

Breaking the Code takes to the Royal stage from Thursday 11 to Saturday 27 September. Tickets – priced from £15* – can be booked online at http://www.royalandderngate.co.uk/breaking-the-code or by calling Box Office on 01604 624811.

Breaking the Code is a co-production between Royal & Derngate, Northampton, Landmark Theatres and Oxford Playhouse, in association with Liverpool Everyman & Playhouse and HOME.

The Made in Northampton season is sponsored locally by Michael Jones Jeweller.

Garage Palace: the new album by Canyons Reviewed

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If you’ve been paying attention at Northampton’s outdoor festivals over the past couple of years then you have probably heard the sound of the Canyons.

It’s a noise that real things make: actual strings and drums shaking the air right in front of you played by a bunch of grizzled old troubadours who look like they have lived the lemons that made this lemonade.

I think of them as The Flaming Travelling Water Wilburys – the point in the tuniverse at which The Flaming Lips crossover with The Waterboys and The Travelling Wilburys.

Who would have thought such a thing was possible, let alone that it should come to pass in our beloved borough? And yet here we are breathing the same air that carries their country blues pop riffs on lazy summer afternoons on the Racecourse, in Beckett’s Park or at The Pomfret.

Their latest outing was Barneyfest in Flore over the weekend but if you missed it there is now a suitably old school way to capture the magic – a new album on CD entitled Garage Palace.

The name is a bit of serendipity. The cover photo on the recording was taken some time ago at Cabourg and the wording was already there, capturing a certain kind of salty no-nonsense romanticism that fits the vibe of the band.

There is a lot of self-deprecating wit running through Garage Palace. In Bodies we hear a story about ‘moving bodies for money’ which in a way, is something that musicians do and in A Night In Pompey the authentic voice of songwriter Stevie Ward shines through: ‘you booked the tickets wrong, I was fucking fuming for a while’.

Meanwhile Burn It Down is old man anger – I don’t mean an angry old man – I mean man anger that would have been recognisable to the perpetrators of the Peasant’s Revolt.

Black Hosannas is a truly chilling invitation to the wedding from hell and one of my favourites but songs like Half Moon and It’s The Living That Kills Us sparkle with uplifting alt-country magic.

You may know the Canyons musicians for other reasons: by day Mr Ward runs the legendary St Giles Cheese and Guy Fletcher teaches at Northampton College.

However if you are interested in finding out more about their musical shenanigans then you can sample Garage Palace below via the Bandcamp app…