Sexual Perversity in Chicago @ Salford Arts Theatre, 26.03.15

Before we even had a chance to really contemplate the success of their Manchester Rep Season (a programme of four plays in four short weeks), 1956 Theatre Company are back with another bounty for theatre guzzlers to gourmandize. Not long on the ‘scene’, the company debut saw them bring the film classic Dead on Arrival to the stage in 2013, several months later they sold out a performance of Great Expectations, shortly followed by the aforementioned Rep season. All this leads us to the play in question; still as ambitious as ever, 1956 have gone and taken on the challenge of a David Mamet play and have done so with success.

Sexual Perversity in Chicago is a heavily worded and strongly contextual piece, which can be daunting, even to the very best of actors. Set in 1976 Chicago, the play examines the sex lives of two men and two women; the main focus being Danny (Daniel Bradford) and Deborah (Amy-Jane Ollies). The two meet and they quickly establish a relationship from sexual attraction and, just as quickly, they move in together. As the play progresses their relationship is thwarted by an inability to talk with each other seriously. This is amplified by the opinions and self-interest of their friends: Bernie (Lee Lomas), Danny’s misogynic boss; and Joan (Hannah Ellis Ryan), Deborah’s sharp tongued room-mate.

Ollies and Bradford have clearly taken time to understand their roles, and truly take the character’s journey. In doing so they effortlessly exude an innocence and optimism which later festers in frustration and cynicism. The two managed to accomplish these traits while maintaining the chemistry required of a Mamet play.

In contrast to our two characters in charge of portraying the plays humanity (a better word for emotion) we have Joan and Bernie, the keys drivers of Mamet’s elaborate and daunting dialogue. Ryan gives an astounding performance as Joan, as she has impeccable control of her dialogue, which a less experienced actor could fall prey to. Lomas, is a true show stealer – his portrayal of Bernie is beautifully well rounded, again breezing through the fast paced dialogue with complete ownership.

The production has again reminded us that this company are fearless, a winning trait in this industry. Their ambitious decisions and eagerness to prove their company aim that “there is no such thing as can’t be done”, are two of the many reasons 1956 are quickly becoming one of my favourite theatre companies. Watch this space!

Words: Kate Morris

Wolf @ Salford Arts Theatre, 31.10.14

1956 theatre company have taken us on quite the journey over the past 4 weeks with their superb rep season. Starting in war time Britain, rock and rolling in 50s New York, to keeping up with multi-role playing in ‘The Lodger’ and reaching our final destination: Salford 1998. Wolf is the second original piece from the season and is written by the wonderfully talented Amy-Jane Ollies (who also acts as the company’s Artistic Director). Ollies has a fluid and natural style of writing inspired by Mancunian writer Simon Stephens. Stephens has insisted he “likes art that shines light into dark places,” which is evident with the content of his plays. Wolf is no different.

Telling the story of raw and intimate relationships between family, friends, lovers and forbidden territory, the narrative unravels a theme of an absence of truth and the dangers our little white lies can get us into. At the centre of the story is a family torn apart after the arrest of their eldest son Carl (Lee Lomas), and the lies they tell each other.

Julie Hannah gave a stunning performance as the mother Kate, as she desperately tries to keep her family together. She and Lomas have some beautiful moments as Kate visits Carl in prison and masks the truth as to why she remains his only visitor. We also see how the other family members are affected. Graham Eaglesham plays the silenced father lost for words and how to help. Nick, played by the versatile Bradley Cross, lies to his partner about visiting his brother, which nearly costs him his relationship. Ben Wolstenholme plays Paul, the youngest brother about to leave for uni and yearning for escape (another theme explored by Stephens writing.)

The most interesting and surprising twist comes from Ollies and her convincing portrayal of Samantha, the youngest sibling and only daughter of the family. Lost and lonely in the quiet chaos that disrupts her security within the family, she acts out of desperation for attention and love, causing a new wrath of grief and ultimately falls prey to the wolf.

The piece is gorgeously written and brilliantly executed, ultimately reminding us there is no such thing as a little white lie. Beware of the wolf!

Words: Kate Morris

Images: Courtesy of 1956 Theatre

Juke Box Baby @ Salford Arts Theatre, 16.10.14

Freshly formed Theatre Company 1956 have been hard at work with their ambitious Rep season of four plays over a four week period. Following the success of their debut (a stylised adaptation of Little Women) is Juke Box Baby, and original piece written and directed by cast member Lee Lomas. Set in 1950s New York, the production tells the story of Jimmie and Bobby Rose (Ben Wolstenholme); two brothers from Brooklyn, aspiring for a more optimistic future and self-discovery.

Jimmie - a naturally gifted writer with a heck of an emotional wall – is a high school dropout stuck in a dead-end job. He is the provider to his kid brother and alcoholic father. When Bobby’s future from an indubitable baseball scholarship is jeopardised, Jimmie does an act of kindness that changes both their lives forever. Writer/Director Lomas is a triple threat, as he plays the lead role of Jimmie and does so with emotional precision.

The supporting cast shine too, particularly Bradley Cross as the brilliantly diverse JC. Cross has impeccable comic timing, delivered by unrestricted physicality and stage presence. However his JC is not to been seen as a mere comic relief, as the character tells an underlying narrative of homosexual prejudice in the 50s.

Josh Morter plays Hunter, Jimmie’s best friend and alpha male of the group, and Morter, Wolstenholme and Graham Eaglesham (who plays the brother’s father) all collaborate to make a presence of the archetypal 50s male dominance with dangerous calibre. The romanticism of the production comes from Matthew Hattersley playing Michael and from the ladies of the cast: Amy-Jane Ollies as Lizzie and Hannah Ellis as Angie. Despite the stereotypes of the era, they break the mould; they are headstrong, stand by their beliefs and, more importantly, their emotions.

A nostalgic offering with modern grit!

Words: Kate Morris

Image: Courtesy of 1956 Theatre

Little Women @ Salford Arts Theatre, 09.10.14

1956 Theatre’s Manchester repertory season begins with Little Women, adapted from Louisa May Alcott’s classic American novel following the rites of passage of four sisters - Meg, Jo, Beth and Amy - at the time of the American Civil War. This adaptation by Amy-Jane Ollies (who also plays the second eldest sister) and Nicole Garvin sees the action shift to World War 2 Britain, which enables some discussion about the girls’ places in the world, their entitlements and expectations, with Jo’s desire to study and write conflicting with Amy’s - the youngest - dreams of marrying someone rich.

The show begins with the four sisters standing and narrating directly to the audience, a device that is used intermittently through the rest of the action. I liked the idea of the sisters taking ownership of their story and, at times, it helped to signpost the action for the audience, but I felt that it would have been even better if one sister had been chosen to narrate - probably Jo as the biggest journey is hers - and would have been a bit less confusing. As well as this, it sometimes seemed to be used simply to join the scenes together - a difficult task for an adaptation of a long novel - in too simple a way, rather than finding a different means of allowing the story to flow and, overall, added to a sense of a lack of clear direction, particularly in the second half.

Having said this, the scenes were enjoyable and the audience was engaged throughout. Emma Fernell’s delightful portrayal of Amy generated lots of laughs and Ollie’s performance of a slightly re-imagined Jo was convincing. Special mention goes to Graham Eaglesham whose Freidrich Baer doesn’t appear until the second half but brings a strong and confident performance for the moments he is on stage.

This is an entertaining show with several nice ideas, some of which could do with a bit more commitment - were limes readily available during the Second World War? Would you be taking a casual break in Paris? Would a German Professor be having an easy time in London? - but its inventiveness bodes well for the rest of the season, which includes two pieces of new writing and another adaptation. You can catch them all at the Salford Arts Theatre.

Words: Julie Burrow

Images: Courtesy of 1956 Theatre