Shipwrecked and separated from her twin, Viola (a savvy performance from Hannah Ellis Ryan) washes ashore in Ilyria. Disguising herself as the suave Cesario, she enters the service of Count Orsino (Angela Heenan), who pines for the aloof Olivia (Jessica Mannion). But as Viola navigates tangled desires and mistaken identities, love blossoms in unexpected places.   

Hawkins and Crowther are clearly fans of Blackpool. Ilyria might be an island but here it’s one with its share of seaside tat, including vending carts selling oversized sunglasses, and cuddly toys. When Malvolio is imprisoned, it’s not in a dungeon but what appears to be an abandoned theme park. The boozy party atmosphere continues with the choice of music, mostly 90’s dance: Dee-Lite, Venga Boys, SNAP, N-Trance, and Alice Deejay (no Whigfield, sadly). The simple traffic light set up at the rear of the stage adds atmosphere during the musical numbers, expertly performed by Feste (Channique Sterling-Brown, who soap fans may recall as Dee Dee Bailey in Coronation Street). Hannah Bracegirdle’s inventive sound design adds another layer of detail, as does the work of movement director, Lisi Perry. Credit where its due, Act 2 opens with a choreographed, slow motion piece where the cast move through a series of stylized freezes, set to a Kelsey Lu cover of 10cc’s ‘I’m Not In Love.’ Genius.    

After Midsummer Night’s Dream, Twelfth Night is perhaps the bard’s most accessible work. Of course in Shakespeare’s day, all roles were played by men, so an all female cast is no big deal. Why do I even mention this? Those unfamiliar with the story might be confused by the fact some male characters – like Toby Belch – wear dresses. This is a minor quibble, hopefully one which doesn’t detract from the narrative arc. Belch (Beth Vyse) and Aguecheek (Kassie Jay Ellis) are a classic duo, a drunkard and a fop, who appear to care for nothing but their own pleasure. Carrying around her own Vodka optic, Vyse is hilarious, like an entertaining lush, convinced of her genius, and gamely stepping up to perform at a chaotic Wetherspoons’ talent night. These amusing grotesques threaten to hijack the production but are smartly counterbalanced by the calmer energies of Jessica Mannion, and especially Lucie Browne as Sebastian; the latter gives an effortlessly nuanced performance, one that hits every stress of the bard’s famed rhythmic language.

If there’s a flaw in Twelfth Night, it concerns the character of Malvolio, the Count’s steward, and whose only crime is being a pompous dullard. The prank letter sent by Belch, Aguecheek and Maria (Maya Dhokia) seems cruelly disproportionate. But Frankie Gold is so great in the role, we end up rooting for Malvolio rather than the plotters – particularly when she dons a ludicrous line dancing outfit as a love declaration to Olivia. Only a romantic fool would do such a thing, but as Duke Orsino says early on, uttering the play’s most famous line – ‘If music be the food of love, play on.’  Highly recommended.

Twelfth Night is at Hope Mill Theatre from 24 June to 5 July 2026 before touring to Rochdale Heywood Civic on 9 and 1 July and Lawrence Batley Theatre on 14 and 15 July. Age recommendation 14+

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In ‘Kind of Love’ by Stewart Campbell, teenagers across the country are still making out, making up, and making mistakes – who cares if Parliament still can’t decide on the gay age of consent?

On a lads trip to Ibiza, gay teenager Steffan (George Bellamy) is on the town with his straight best mate Typey (Tom Ryder), who is broadly okay with the gays, as long as those German ones at the karaoke bar don’t try anything. Despite his loving girlfriend Gemma (Rachel Burbridge) waiting for him at home, Typey has no problem letting his eyes and hands wander to another girl at the hotel, causing an immediate conflict when Steffan spills to Gemma back home.

Not without relationship difficulties of his own, Steffan tries to savour a fire-and-ice relationship with ‘straight’ classmate Jay (Ben Goulding), who shares a bed with Steffan, but definitely isn’t gay because sometimes they top and tail.

As the tension boils between Gemma and Typey and Steffan and Jay, pettiness and resentment twist into a web of lies and deceit between them. But when tragedy strikes on the way home from a night out, the teenagers must choose whether to leave their childhood behind them, or continue down their own dark spirals until they lose themselves completely.

‘Kind of Love’ is nostalgic in a way that only indie productions can be – and not least for the Take That and Leonardo DiCaprio posters slathered across the walls. With a purposefully minimalist set, earnest monologues, and musical scene changes, ‘Kind of Love’ feels like stepping back into GCSE Drama to the days of Bertolt Brecht and DIY props.

The script occasionally veers into slightly ham-fisted territory, with some chunks of unnatural dialogue or sing-songs (“Homophobia, it’s a disease; you can’t love who you want to love in times like these”), but much like wine and emotional maturity, many aspects of the show do improve with time: the major plot points of the second act are as gripping as they are well-planned, and there is a clear confidence shift in terms of staging decisions later on. The later fight scenes are brilliantly timed and coordinated, and a particularly abstract scene with Steffan and Jay on separate beds becomes meltingly intimate despite their distance.

Even the most wobbly scripting moments are carried fantastically by the professionalism of the cast. Even through Typey’s most frustrating moments, Tom Ryder (Waterloo Road, The Bay) brings a real charm to the role. The stubborn, ignorant, yet somehow endearing Typey is the lad everyone who has been to secondary school will recognise; full of mannish bravado, with flashes of the insecure boy beneath. Ben Goulding and George Bellamy are equally adept, and Rachel Burbridge punches above her weight in an impressive professional debut. All four share a palpable enthusiasm and talent for the stage, and are a real delight to see in action.

Tense, dramatic, and speckled with intimacy, ‘Kind of Love’ is as unapologetically teenage as it is timeless.

Kind of Love is at Hope Mill Theatre from 24 February to 1 March 2026.

The post Kind of Love: Review appeared first on Quays Life.

There are hundreds of examples of this ‘lightning in a bottle’ magic but let’s focus on one – Young Frankenstein, arguably the apex of Mel Brooks’ rollercoaster career. Not everyone possesses comic timing in the way that Gene Wilder, Madelaine Khan, Cloris Leachman, Peter Boyle, Marty Feldman, Teri Garr, and Kenneth Mars did (plus the unexpected bonus of Gene Hackman as blind beggar Harold, easily the greatest cameo of all time).

Brooks had already enjoyed huge success with his 2001 stage version of The Producers, surprising everyone with his ability to write an entire score of smart new songs (his composition chops only intermittently demonstrated in his films). It was inevitable that Brooks – still going strong at age 99 – would want another bite of this particular cherry. Young Frankenstein is an obvious fit; a parody but also a tale familiar to everyone. First staged in 2007, Young Frankenstein the Musical has been somewhat overshadowed by The Producers (and initially received some sniffy reviews). But on the basis of this fizzy revival from director and choreographer Nick Winston – a regional premiere – it seems like the monster is ready for a new incarnation.

Grandson of the infamous Victor Frankenstein, Frederick Frankenstein (pronounced ‘Fronk-en-steen’) inherits his family’s estate in Transylvania. With the help of hunchback sidekick Igor (pronounced ‘Eye-Gore’), and vivacious, touchy-feely lab assistant Inga, Frederick finds himself inexplicably drawn to the mad scientist shoes of his ancestors. ‘It’s alive!’ shouts a triumphant Frederick, as he brings to life a six foot corpse, implanted with the brain of a genius. Or so he had hoped. Did Igor steal the correct one? Possibly not, because this second brain belonged to someone called ‘Abby Normal.’ With all the strange noises going on at the castle, it’s no surprise that the locals – led by one armed Inspector Kemp (Simeon Truby), a survivor of Grand daddy Victor’s previous undead creation – are getting ready to break out the torches and pitchforks.

Naturally, the first person to praise in this production is casting director Jim Arnold, who has assembled a fantastic array of talent, all of whom have brought their A game. I’m only familiar with Ore Oduba from his TV presenting work, and had no idea he was a triple threat, with a parallel career in musical theatre. He’s an impressive singer and dancer, aided by laser focused timing. His arch performance as Frederick teems with detail, as if he’s channeling decades of black and white B movie acting, and pouring it out onto the stage. Party girl Elizabeth Benning calls herself Frederick’s fiancé; as played by Rhiannon Chesterman, this waspish vamp is clearly a woman who enjoys mind games, evidenced by the show stopping number ‘Please Don’t Touch Me’ (‘’When we’re absolutely wed/You can do it till we’re dead.’)

Relative newcomer Curtis Patrick is hilarious as Igor, a bundle of gurning tics and slapstick goofing. Julie Yammanee has an impressive list of musical theatre credits for someone so young, and is thoroughly charming as winsome coquette Inga. Some might remember Jessica Martin from her stint as the sole female impressionist on TV show Copy Cats; as oddball housekeeper Frau Blucher, she’s expertly deadpan (there’s a recurring, off stage horse ninny whenever Blucher’s name is mentioned).

What of the monster? On paper, it appears a thankless character because there’s little dialogue, mostly a succession of grunts, growls and screams. It requires a good sport to be the butt of the joke, which reaches some sort of apotheosis in the famous ‘Putting on the Ritz’ number. Peter Gallagher is excellent in the role, a sliver of pathos quietly keening at the edge of his tremulous voice. After a final, brain reversal operation with Frederick, the monster gets to deliver the heartfelt number, Deep Love, a duet with Elizabeth, which is so sincere it feels like it’s from another show entirely.

Director/choreographer Nick Winston has an innate understanding of the material. The choreography is simple but exuberant, with moves sharper than a mad chieftain’s scimitar. In terms of tone, a good frame of reference would be Little Shop of Horrors. If you enjoyed that zany affair, you’ll love this. Young Frankenstein the Musical is a considerable triumph; it’s rare to see something so slick in such an intimate venue.
Mel Brooks is probably unable to attend but clearly would enjoy every second. They’ve done him proud.

Mel Brooks’ Young Frankenstein the Musical is at Hope Mill Theatre from 10 October to 30 November 2025.

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Who cares what the critics may say? Go for it anyway. Or as Florence herself said: “There are those who say I cannot sing, but no one can say I didn’t sing.”

Glorious is a joyous comedy play by Peter Quilter that celebrates Florence’s passion and eccentricity while transporting us back to the days of variety hall theatre.

Many will be familiar with the story from the 2016 film starring Meryl Streep and Hugh Grant. The play, first staged in 2005, has the audience view Florence through the eyes of her young accompanying pianist, Cosmé McMoon.

In just four fast-paced scenes it takes us from their first meeting in Florence’s sitting room to the recording studio; a gala ball performance to the stage of Carnegie Hall. Yes, this is one of those stories so outrageously implausible it’s got to be true.

Of course, there is much comedy value in hearing an amateur deludedly singing Mozart’s Queen of the Night, but this comedy is more than a one joke show.

Quilter’s script bounces along with quick-witted one-liners which director Kirk Jameson and his terrific cast layer with perfectly pitched physical comedy.

Wendi Peters is Glorious in every sense of the word as Florence Foster Jenkins, bringing Les Dawson style skill and timing to her off-key singing. It says a lot about her acting presence that while Cilla Battersby-Brown was in Coronation Street for less than 5 years more than a decade ago, she’s still such a memorable character. Here there are no traces of the brash Battersby. Instead, we see a warm, funny, self-deluded eccentric with at times a Mickey Mouse high, hyperactivity to her voice. It is hard not to be swept off our feet by her whirlwind of enthusiasm, her just as her pianist, friends and most of her audience are.

Charlie Hiscock feels like another casting coup for the production. Hiscock is making his theatrical debut as Cosmé McMoon but he is no stranger to screen roles having starred in the Apple TV series Ted Lasso and BBC/Netflix drama Red Rose. The intimate stage at Hope Mill works perfectly for his understated style which portrays so much with a single expression. As his reaction to Florence’s passion for her art moves from horror to genuine affection so the audience warms towards her too.

Anita Booth completes the cast taking on a variety of roles from Florence’s Italian housekeeper Maria to her most vocal critic Mrs Verrinder-Gedge. Each character is embodied with a vibrant vigour matching the energy of the play.

This is Hope Mill Theatre’s first in house production for 2025, and what a terrific way to start the company’s tenth year.

Bravo, Hope Mill Theatre. Here’s to another 10 years of theatrical joy!

Glorious is at Hope Mill Theatre from 27 February to 30 March 2025.

The post Glorious! at Hope Mill: Review appeared first on Quays Life.

The show, with music and lyrics by Maury Yeston, features the songs, ‘Be Italian’, ‘Unusual Way’, and ‘Cinema Italiano’. It tells the story of movie director Guido Contini who finds himself struggling to find meaning, purpose, and a script for his latest movie endeavour.

With only a week left before shooting begins, he desperately searches for answers and inspiration from his wife, his mistress, his muse, and his mother.

As his chaotic profession steadily destroys his personal life, Guido must find a balance between creating art and succumbing to its obsessive demands.

The story is based on the Federico Fellini film 8½. But after the musical’s Broadway success, winning two Tony Awards for Best Musical and Best Original Score in 1982, the musical went on to become a big screen hit of its own. And most will remember Nine for the 2009 star-studded film version featuring Daniel Day-Lewis, Nicole Kidman, Penelope Cruz, Kate Hudson, Fergie, Sophia Loren and Judi Dench.

Given that it is a show that doesn’t tour often, Hope Mill have once again set an ambitiously high bar.

“As expected, the talent that we have assembled is truly remarkable,” says Hope Mill founder and co-director of Nine, Joseph Houston. “Ramin was born to play the role of Guido, and I truly think this will be a defining performance for him. The exceptional women we have on board are also outstanding, each of them bringing so much to these complex and wonderful roles. All of this including an ensemble of 24, a top tier creative team and a 24-piece orchestra, and I believe this will be an unforgettable night of theatre.”

These rehearsal photos give a peek behind the scenes of what promises to be a sensational two performances from Hope Mill at Lowry on 1 and 2 February, where the company recently staged its muscial version of A Christmas Carol. We can’t wait to hear what plans come next for birthday number 10.

The post Ramin Karimloo and Ruthie Henshall Celebrate Nine years of Hope Mill Theatre appeared first on Quays Life.

Can you tell us briefly what Husk is about?

Rupert: “A man is released from prison and goes in search of the man responsible for putting him in there. The story spans over 30 years with varying timelines and hopefully the audience will be second guessing right up to the last scenes as to what has actually happened to these characters”.

Many people will know you for your acting. What led you to want to write and why particularly this play?

Rupert: “I’ve written a few short films and a low budget feature but this is my first play. I really enjoy writing and the benefit of writing a play and casting myself in it is that I can hopefully write something authentic to me! You can come up with a simple idea, put pen to paper and then one day you’re in a room full of the most amazing cast and crew and they’re all there to realise your simple idea. That is humbling and magical to me.”

You’ve talked in the past about your own battle with alcohol addiction. How much of the play is autobiographical?

Rupert: “In a literal sense, not much at all. The play follows a man who has been utterly beaten by life. He’s homeless for a period, he’s had a very troubled past and nothing has worked out for him. I’ve been much more fortunate, thank god! As an allegory for escaping the prison of addiction and finding hope out of hopelessness, I guess it’s a little autobiographical. When I quit alcohol, I felt an overwhelming sense of freedom. In fact I got my daughter to write the word ‘free’ which I then got tattooed on my right wrist -my drinking hand and a reminder in case I ever slip”.

Did you have any concerns about portraying a character you had created?

Rupert: “I had and have many concerns. I watch the other actors in rehearsal and I think to myself. ‘What a rare thing! They’re all amazing! There are no weak links in this cast’ and then the next thought arrives ‘well if there is a weak link, then it must be me!’. But, in general, I have just approached my character the way I would if I hadn’t written it. All the same work applies”.

How much have you been involved in the casting?

Rupert: “I was totally involved with the casting process and it was extremely humbling seeing the extraordinary calibre of the actors auditioning for my play! Our incredible director Joe Houston and our amazing producer Hannah Ellis were very kind to include my opinions and I thank them for that”.

Has anything surprised you as the play has developed from page to stage?

Rupert: “Yes! Actors breathe life into characters that you never imagined. Their decisions and traits blend in with the words and create something so much more well-rounded and alive! The set design by Sorcha, the original score by Alec and the video projections by Grant elevate the world the characters inhabit and make the text richer and the story more magical. It’s a gift to me and I’ll never forget this communal experience.”

As a first time playwright what has been the biggest learning curve for you?

Rupert: “In the Bob Dylan song ‘A Hard Rain’s Gonna Fall’ he sings the words ‘I’ll know my song well before I start singing’ – this resonates with me. You need to know your material inside out before you start running with it. I’ve written so many discarded ideas and you just have to wait and let the real stuff arrive in its own time. Don’t force it. And I think it’s important to trust all the other creatives around you and don’t be afraid to make mistakes….. ever.”

The story tackles a lot of hard-hitting issues. How important was it for you to have dark humour in there and how did you balance this with the serious subject matter?

Rupert: “I really try to add comedy to everything I write! People in everyday life are often very funny and our darkest moments are often navigated with copious amounts of gallows humour. The whole point of the play is to find a shred of light in an otherwise bleak darkness and that is also what the humour gives the drama, I hope”.

What are your hopes for the play and how audiences will respond?

Rupert: “I hope they laugh and are moved by the story. I hope they find it exciting and are desperate to find out the truth as it slowly unfolds. I hope they find the multimedia presentation of the piece dynamic and visceral. I hope they bloody love it!”

Are you working on anything else?

Rupert: “In November I will be directing the north west premier of the Mike Bartlett play ‘Cock’ at 53Two in Manchester. It’s a terrific play and I’m very excited to start on it”.

Is there anything else you’d like to say about the show?

Rupert: “Come and see it!”

Husk, written by Rupert Hill premieres at Hope Mill Theatre where it runs from 25-29 September 2024. Age guidance 16+

The post Rupert Hill on battling addiction and his play writing debut Husk appeared first on Quays Life.

What were your first thoughts on being approached by HER Productions to play Lear?

Christine: “I was absolutely astonished to be asked, so out of the blue, I think I was in shock for most of the Zoom! I was intrigued though. And I knew about their previous all-female Shakespeare productions and was a fan. I was given a few weeks to think about and to read Kayleigh Hawkins (the director) adaption. Cuts are made in most Shakespeare texts and I needed to see what I’d be taking on. Then I set myself the challenge of learning the first scene and seeing how it felt. I fell in love with the lines and said YES!”

Whose performances of Lear have impressed you most?

Christine: “I’ve seen three productions of Lear, including Tom Courtney at the Exchange, I listened to the famous John Gielguid BBC radio recording, YouTube’d Glenda Jackson and Kathryn Hunter which have informed my thinking. But what has made the biggest impression has actually been reading the journals of Anthony Sher and Oliver Ford Davies. They wrote about their preparation and rehearsal experiences so evocatively and I’ve felt that they’ve been part of my preparation too. Every Lear is informed by the actors own instinct, relatable life experiences, and of course, the director’s vision”.

How are you approaching the character?

Christine: “I’ve been learning it for a while, and when the words are in your head it’s possible to play with interpretation or emphasis of a line so I’ve made some enjoyable discoveries, though I can’t wait to be in a rehearsal room with the rest of the company. I see Lear as a person of absolutes; used to being heard and obeyed without question. Because of the choices made, life for this supreme leader fractures and it’s impossible to regain control, but in losing that control, Lear is exposed to the reality of how the rest of kingdom lives and loves. So, although I have no experience of being someone with that amount of power, I can relate to the journey the character experiences”.

How to preserve and maintain your energy when performing a role as demanding as this one?

Christine: “It’s a four week rehearsal. It’s a big cast, 12 actors which is brilliant, and the schedule will be pretty intense. The rehearsal process is like building the scaffolding for the show, and is an ensemble activity, which means that in the world of the play, all the characters become bound together and there’s strength to be got from that I think – and I’ll be having lot’s of early nights!”

It is not uncommon now for women to play male roles in Shakespeare. But this production goes further in reversing the original all male cast and performing the play with an all-female/non-binary cast. Are the actors switching the characters’ genders?

Christine: “Absolutely, and in the North West we’ve recently had a female Shylock and Richard III too. In this production we will be playing the characters rather than their gender; how they behave, relate to others, what they learn etc and we won’t be changing the pronouns in the text”.

How do you think the gender of the cast will influence the direction of the play? What can the audience expect?

Christine: “I think the audience will see a high energy and fresh take on Lear, which will feel contemporary. For me theatre should be all about inclusivity. Theatre holds up a mirror to society and our society includes all those who have a right to be seen and acknowledged. I think the producers are to be applauded for making this possible and also for giving young actors the chance to be in a professional Shakespeare production, too. So few theatres have the resources to mount one, and now in the north we have one less theatre altogether, following the outrageous closure of Oldham Coliseum”.

In what other ways is this a Lear for today?

Christine: “I think it will speak to our current situation of political turmoil, strikes and hardship, it’s more Succession than Game of Thrones and is a proudly northern production”.

You are staging the play at both Hope Mill Theatre and Shakespeare North. What are your thoughts on performing in these two spaces?

Christine: “I met Kayleigh and Hannah through Hope Mill theatre where I was encouraged me to write and make my own work, something I hadn’t anticipated doing but I’m immensely grateful for. I’ve loved seeing shows there and Will and Jo have created a fabulously loyal and supportive audience. Shakespeare North will be very different in terms of staging but what an opportunity to perform in the Cockpit theatre. If you haven’t seen any images, Google it, it looks extraordinary”.

And while you are playing Lear, does this mean the Coronation Street cast can rest easy there will be no major diagnoses for the characters while you are away?

Christine: “Well, Dr G did manage to tend to a patient just before rehearsals started and hopefully I’ll be back after Lear. The cast were very supportive about the show, and want to see it, which is so lovely and I hope any Corrie fans will come and see me being more Baddas than Gaddas!”

LEAR is at Hope Mill Theatre from 7-18 June and Shakespeare North’s Cockpit Theatre from 21-24 June 2023. Age recommendation 14+

The post Christine Mackie on going from Gadass to Badass for iconic role appeared first on Quays Life.

Rodgers + Hammerstein’s Cinderella, based on the French version of the fairytale, has a much longer history. It was first written for television in 1957 starring Julie Andrews and has since gone through several adaptations for both stage and screen.

This latest Broadway adaptation has a new book by Douglas Carter Beane, which bursts with witty retorts and, although almost 10 years old now, feels particularly relevant to the current cost of living crisis.

Here our Cinderella is not just after finding her Prince Charming, but changing the world – one act of kindness at a time. It is a message we could all do with hearing more often and the fast-paced wit of the show prevents it falling into schmaltz.

Following an injury to her foot earlier this month, Grace Mouat has returned to the title role for the remainder of the run. We’re told the show has been slightly modified to ensure a comfortable return for Grace while she continues her recovery. However, this isn’t noticeable to the audience. Cinderella is a high energy show, which every aspect of the production amplifies.

The production is the first time, real-life partners Houston (director) and Whelton (co-director and choreographer) have worked together creatively since opening the venue in 2015. Watching it unfold is like seeing a dream come true. The venue’s intimate stage is transformed with a central revolve and impressive projection. There is enchanting puppetry, magical costume changes, and the standard of singing and performance of the whole cast is terrific.

It’s a triumph for everyone involved – don’t miss it.

Cinderella is at Hope Mill Theatre from 1 November to 11 December 2022.

The post Rodgers + Hammerstein’s Cinderella with Grace Mouat: Review appeared first on Quays Life.

Arguably Sondheim’s most lyrical and romantic work, Passion is a legendary musical based on Ettore Scola’s Italian film, Passion d’Amore. Situated in 19th Century Italy, the production tells the tale of a young soldier, Giorgio, who is obsessively pursued by the relation of his superior officer, Fosca – a woman prone to severe melancholy and mania.

Exploring the consequences of intense passion and obsessive adoration, Passion is a ravishing and thought-provoking look at the lengths people go to for desire.

Quays Life chats to Ruthie Henshall, who plays Fosca in Passion at Hope Mill Theatre to find out more.

Why did you want to play Fosca in this new production of Passion?

Ruthie: “The productions I have seen of Passion have never touched me personally in a way that I would have liked them to therefore for me I wanted to find a new way of connecting with it”.

Can you tell us a little bit about the role?

Ruthie: “I am just discovering her as I go in rehearsals. I’ll let you know on opening night!”

What can audiences expect from Passion?

Ruthie: “Phenomenal music by Stephen Sondheim. The man is a professor of the human condition. There is no one better to know how to describe feelings than that man. So you will leave the theatre having been changed in some way”.

How are rehearsals going so far?

Ruthie: “Very very good. It’s not an easy piece to put together because it’s very complicated. It is like an opera. However it’s going really really well!”

This is one of the first revivals of one of Stephen Sondheim’s shows since he passed away last year – does this make it extra poignant for everyone involved?

Ruthie: “Yes it does. It’s makes us feel like we really have to honour Stephen Sondheim. The biggest shame is that he will not get to see this. We will do everything we can to honour his memory”.

Are you looking forward to performing in Manchester? And are you familiar with the Hope Mill Theatre?

Ruthie: “I spent two weeks in Manchester doing the tour of Fosse and I loved it. It’s a really fun, happening place so I am looking forward to Manchester. I have never been to Hope Mill or seen anything there but their reputation is such that they have become a Donmar Warehouse outside London”.

You’ve played some of the most iconic roles in Musical Theatre – from Velma & Roxie to Fantine and Mrs Wilkinson. Are there any roles out there that you’d still really love to play?

Ruthie: “I think there are some iconic roles I’ve yet to have played that I would definitely like to play – like Dolly Levi in Hello Dolly and Mama Rose in Gypsy. I think they are right of passage for any older woman so yes I would I like to play those two”.

Passion runs at Hope Mill Theatre from 5 May to 6 June 2022.

The post Ruthie Henshall on Bringing Passion to Hope Mill Theatre appeared first on Quays Life.

Originally scheduled for performance in the summer, national lockdown and the closure of theatres forced the show’s postponement. Mere days after its rescheduled opening night in late October, a second lockdown has cut the show’s run short and the theatre is dark once again.

It could be argued that this premature end is somewhat fitting for a musical that was written partly in response to New York’s AIDS crisis of the 1990s. The show’s action is centred on a group of impoverished creatives, living in city flats with no heating and no ability to pay their rent; several of them are also living with AIDS. Romantic relationships and individual struggles play out alongside the artists’ battle to keep their home safe from developers.

The impressively diverse cast – made up of 8 key roles and four ensemble members – perform as if their lives depend on it, with exceptional singing, dancing and commitment to their characters across the board. The fierce energy that radiates from each and every actor – coupled with Jonathon Larson’s powerful rock score and live accompaniment by an excellent band of musicians – is breathtaking, and the clear bond between the cast members, who have been living in a household bubble while rehearsing, adds an extra level of emotional conviction.

This emotional weight is felt most fully in the musical’s saddest scenes, so moments of humour are a welcome reprieve – whether it’s the darkly comic Christmas carols of the homeless chorus, surreal performance poetry or the witty ‘Tango Maureen’ duet.

Oddly, however, this production is almost completely devoid of any physical signs of affection between the romantic couples, a decision perhaps taken to make the show more COVID-safe; nonetheless, it does feel strange that in spite of the intense focus, Rent has on all kinds of love, we see it visualised only with the touch of hands.

The set has an appropriately bohemian feel, with a pallet stage, minimal dressing and exposed brick walls decorated with fairy lights, posters and protest signs. The decision to have the cast seated around the edges of the stage, watching the main action whenever they aren’t directly involved in it, is an interesting one – perhaps a nod to the show’s origins in workshop and read-through performance. Crucially they remain in character throughout, reacting to the scenes and singing as a chorus.

Although it was first conceived nearly three decades ago, Rent feels particularly poignant in the current climate. We are also living through a pandemic – albeit a different kind – and it’s hard not to dwell on how it has affected all our lives in the past year during the moving ‘Seasons of Love.’

‘What You Own’ – a bitterly ironic meditation on what it means to be part of America’s capitalist system – also takes on a different tone against a background of US election night tension. But it’s the knowledge of the current crisis in the arts, and the threats to its survival, that make Hope Mill’s Rent feel so timely; it’s a swansong of sorts, an outpouring of love to creativity and individuality.

Hope Mill Theatre’s production of Rent will return for live performances in Summer 2021 from 6 August to 19 September. Tickets will go on priority sale to previous RENT bookers from Monday 15 March at 5pm and general sale from 10am on Friday 19 of March. Hope Mill Theatre will be operating with strict covid guidelines in place in line with the Government guidance for the performing arts.

Read our interview with Hope Mill’s directors William Whelton and Joseph Houston.

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