At first glance, the relationship between the pair appears humorous and close-knit, but as the narrative unfolds, it becomes evident that their bond is rife with neglect and unmet needs, as men and society’s approval become more important to Helen than her own daughter. The idea of seeking validation from men runs throughout the narrative as marriage becomes the focus for Helen. Yet despite seemingly finding that stability she ultimately ends up back in the apartment she started the play in, mirroring the cyclical nature of poverty and toxic relationships for women in those times – and even still women now. As the play reaches its powerful conclusion, Jo is left to confront the harsh reality of her circumstances.

One of the play’s strengths lies in its exploration of taboo subjects such as teen pregnancy, interracial relationships, and homosexuality, which at the time this play was written over 65 years ago were all issues that would be greatly frowned upon within society. The 2-hour 45-minute runtime allows ample space for these themes to unfold organically, drawing the audience into the characters’ lives and struggles, making it a much more personal portrayal.

The staging, designed by Peter Butler, enhances the immersive experience, with a circular set that subtly includes the audience, having the first few rows practically on the stage.
Set only in the apartment and the streets outside, we hear an idea of the industrial area they’re living in, reflecting that classic Salford working class feel which was nice to hear about while watching it in Manchester. The organic feel of seeing their lives from every angle, with nothing to hide was something I personally haven’t seen in theatre before.

The use of the song ‘Dirty Old Town’ sung by Nishla Smith, the jazz singer, adds depth to the scenes, creating a seamless flow amidst the confined setting of the apartment, acting as a sort of punctuation between the transitions.

In essence, A Taste of Honey remains as relevant today as it was upon its premiere in 1958, with its raw portrayal of human struggles and resilience transcending time. Life for most women has vastly changed since this play was first staged, yet unfortunately the strong message I was left with is that women are still experiencing these same sorts of issues.

With stellar performances, thought-provoking themes, and impeccable direction, this production stands as a testament to the enduring power of theatre to reflect and challenge societal norms.

A Taste of Honey is at the Royal Exchange Theatre, Manchester until 13 April 2024. Age guidance 12+

The post A Taste of Honey with Jill Halfpenny: Review appeared first on Quays Life.

Director Robyn Grant and writer Daniel Foxx give us a brand-new perspective on a story so many of us know. The panto-like play offers a new perspective on the villainous Ursula portrayed in Disney’s classic ‘The Little Mermaid’. For those, like me, who grew up on the classic, this stage adaptation brings childhood memories flooding back with a bit of naughty humour thrown into the mix to keep you laughing all night- it was the perfect blend of farce and talent. The hilarious take on the hit ‘Kiss the Girl’ changed to ‘Ask the Girl’ on the premise of needing more consent in today’s world, had the whole audience (and myself) in uproar.

The musical doesn’t shy away from being topical, adding real-time references from current news stories to iconic cultural pop moments, making it particularly relevant for today’s audience. Amongst the corny innuendos, farsical singing, and the campest jokes ever, there are real core messages about empowerment and being unapologetically yourself because you really are that ‘witch’.

It was refreshing to see this antagonist so proud of her own skin and reclaiming a decades-old narrative that she was nothing more than an evil sea witch bent on destruction. Ursula is that, but she’s also so much more, and despite being a fantasy set at the bottom of the ocean it still managed to remain convincing. Ariel’s storyline was also adapted and she too, was able to flip the script. From this, Ariel had a newfound sense of being a human. I mean why else would Ariel want to be a human and explore the world and all the wonders and men that are out there? You’ll have to watch to find out which part excited her the most!

From all my years of being traumatised and terrified of Ursula as a child, I never thought I would end up feeling sorry for her, but I walked away with a very different opinion of her. I now know that this eight-legged villainous sea witch is a misunderstood feminist icon. This show makes it clear that she had just been painted in an ‘unfortunate’ light.

The headliners of the cast, Shawna Hamic (Ursula) and River Medway (Ariel) were stellar and made the musical for me, with their clever comedic timing and innuendos; their delivery was close to perfection. The cast was small with only nine on stage, one down from the usual ten, but they all took on multiple roles throughout the musical, which was a little overwhelming at first but became easy once you let them sweep you up for the ride.

If you love a bit of adult panto-like humour paired with all the glitz, glamour and campness to last you a lifetime, then this is the show for you.

‘Unfortunate’ is playing at The Lowry until the 2 of March 2024 before it heads off on a UK-wide tour. Age guidance 16+.

The post Unfortunate – The Untold Story of Ursula The Sea Witch: Review appeared first on Quays Life.