DAVIES SHINES IN BATTLE OF SEXES(Linda Kirkman, The Echo)

HAROLD Brighouse’s classic play might have been written in support of the Suffragette Movement, so clearly does it show how women – in this instance Henry Hobson’s three daughters – were no longer prepared to be subservient to men. And in eldest daughter Maggie, beautifully characterised here by Paula Davies, there is a perfect example of a forceful woman who lets no obstacle stand in her way in order to get what she wants, which in this case is lowly boot-maker William Mossop (an excellent John Sivewright), who she soon moulds into good husband and businessman material.
Director Douglas Eyre has paced his production well and a thoroughly realistic set, plus superb props and costumes, brings 1880s Salford to life. Tony Edwards as Hobson catches his character’s sense of helplessness at his growing loss of control, and his realisation that he is no longer the powerful figure of old, but in this role Tony’s slight stature is against him and the addition of a ‘fat suit’ almost turns him into a caricature. There are some lovely cameos in smaller roles, not least Brian Foley (Tubby) and Martyn French (Dr MacFarlane).

(Linda Kirkman, The Echo)

Those familiar with Alan Ayckbourn know to expect the unexpected, and that is certainly what we get in this production, here receiving its amateur premiere by special permission of the author.
It begins at a meeting of a second-rate creative writing group at the home of one Arnold Hassock (Phil Vivian) – who could well have been Rodney Bewes’ Bob in disguise, judging by his voice. There's none of the usual Ayckbourn angst and the characters, although slightly oddball, are relatively normal. So, up to this point, is the play. Then comes a thunderstorm, and with it intermittent power failure. Cue for much zipping about in different time zones as the would-be writers’ book ideas and inner thoughts come to life in hilarious fashion. Telephones come and go as if by magic and, as poor Arnold wonders what on earth is happening, the rest of the cast – Jenni Eyre, Gillie Sutherland, Bronwen Thompson, Jenny Wise, Simon Trueick and Martyn French – change characters and costumes with lightning speed and consummate skill as they lurch from century to century. It’s a brilliant concept with a great script, and a fine set, excellent direction from Peter Nunan and first class performances all round make this a superb production.

PANTO BEAUTY IS SIMPLY THE BEAST(Ray O'Luby, The Echo)

You can't beat a "good old style" pantomime. Oh no, you can't, especially when its got all the right ingredients like this one - rainbow coloured sets and costumes, jokes aplenty, catchy songs and dance turns backed by a four-piece band - even a dancing patchwork horse, and with the company enjoying it all every bit as much as their opening night audience. Owen Kerr makes an appealing beast - actually, he's the royal heir turned into a hairy but harmless monster by his usurping brother Jasper- played by Richard Fudge, who keeps the people cowed by his "Oi, you can't stand there" Pedestrian Wardens, Paula Davies and Tony Edwards being splendid upholders of officious officialdom. Jasper finally goes to far - imprisoning the beautiful Belle (Rachel Mackrell), daughter of master of must, Doctor Tootle (Brian "fluent comic French accent" Foley) when she discovers his castle's dark secrets, including the unfortunate brother. Luckily the villagers have had enough. Led by sweetshop owner Dame Bonbon - a perfect pantaloons parody from Mark Andrews - and her Jelly Babes Brigade, the castle is stormed. The beast, thanks to ever-helpful Fairy Rose (a sparkling Sheila Clapcott) is brought back to his former self, marries Belle and, being in France, it all ends up with the Can Can - C'est un hoot.