North East
Anna Ambelez
2023! That was the year that was, and what a year! Some good, some not so good. Good, great to see theatres opening their doors and live performances up and running once again. Pantomime, the mainstay of many a theatres financial survival, back with a vengeance. Good, great to see so many theatres full of enthusiastic audiences, glad to be in an auditorium again, with even full houses.
Not so good, very sad, to see many theatres having to close due to the pandemic and lost revenue. In March 2021, theatres were first told to close their doors, with many organisations going to the wall, along with many professional who did not survive, I and many friends can vouch for that. An unaccountable number of actors, directors, writers, technicians, costumiers and countless other workers left jobless. A friend said, what is the point of saving buildings if everyone who works in them had died of starvation! A little extreme, but I am sure you get the idea. Considering, pound for pound, the profession provides more revenue for the government than any other, lack of financial support seems odd.
Not so good, the prices! We know everything has gone up and live entertainment is no exception. Many ticket prices are now beyond the pocket of many, excluding masses from the theatre; even pantomime tickets can reach nearly £50, and that is not in London. Add to these prices transport, refreshments, programme and the cost soars. While some theatres have received financial support, many theatres, long established ones, have had to close their doors permanently. Those still here rely heavily on touring productions, hires. These tend to be well-known productions and musicals, which many cannot travel to the capital to see. As stated, tickets prices are off the scale, but also the style of production is somewhat restricted. Probably trying to appeal to as many as possible, the more classical, traditional dramas are few and far between.
Smaller theatres, companies, community based ones have also had to close, finding any funding scarce. To acquire any funding, the list of boxes needing to be ticked has grown. I feel this has greatly influenced the type of show produced. Many are very heavily youth driven, involving a large section of the ‘disadvantaged’ section of the community; I hasten to add ‘aged female actors’ are not included in this group. While there is nothing essentially wrong with this, as I agree theatre should make one think, educate one, give one a new view on the world, there is also space for it to transport one to another world and just entertain you, much needed in today’s world, which seems to have been forgotten. I know there are unemployed, drug addicted, disabled single parents out there, but I do not want to watch numerous shows about them and neither do they.
Enough of the soap box! What has struck a chord and left an impression on me this year in a positive way? Due to personal reasons, I have missed a lot of theatre since summer so can only comment on the first seven months. Surprisingly, the Edinburgh Festival Fringe provided me with the most impressive shows; I say surprisingly as the last few years have affected that too. Venue costs have risen beyond most and accommodation, many performers having to camp outside the city, even student rooms rose to over three figures and many of those in dormitories. Many shows were from America as they appear to be able to comply with the prices, while new work by emerging artists was thin on the ground. Three true stories stood out for me.
I love history and think nothing is more fascinating than truth, so not surprising that Picasso: Le Monstre Sacre is one I enjoyed. Fascinating story of a fascinating man, superbly acted, staged and directed. A Guy Masterson production, who always delivers the goods. Apart from drawing you in, entertaining and involving you from the off, it was also informative, comedy, drama, pathos, it had it all. Wiesenthal, based on the life of Simon Wiesenthal, also held you from lights-up. Well written, acted and again took you through a full range of emotions. The Quality of Mercy about the life and crimes of Dr Harold Shipman was as riveting. The writer and performer Edwin Flay was actually a former patient and relative of one victim, so even more amazing, again brilliantly acted and staged, holding you all the way; quite a unique production.
There were other well produced shows that held you like The Last Bantam. The main thing about the productions that stood out was that they drew you in, interested you, held your attention, educated you and most of all entertained you, leaving the theatre feeling fulfilled. In many others, you were irritated by things that seemed superfluous. I have left more shows thinking, "what was that about? What was it trying to prove?" than thinking, "what a terrific production, what a great night!" I understand that a director wishes to bring their interpretation to a script, but why do many of them try so hard? The Christie And Then There Were None is a case in point. First half traditional, introducing characters, setting the scene, then the second half entered another world of near fantasy, surreal, to achieve what? One spent more time wondering what was happening instead of just concentrating on the story.
Theatre is a comment, reflection of society and the world and that may explain why it has lost its way a little, like the world, at least for me. Many productions have tried too hard to be different to the extent of taking over the story, just like society is trying so hard to be ‘politically correct' and losing sight of reality. Any creative force should grow, develop, like a living organism, but not to the extent of strangling itself.
I am primarily drawn to drama, but one musical stood out, Buddy The Buddy Holly Story. A fascinating true story of a unique, iconic talent. The multi-talented cast sing, play instruments, dance and play multiple characters, all with great aplomb. The songs were integral to the story and not just there for musical relief. This show was not only entertaining but revealed many facts about Holly which endeared him to you.
Overall maybe slightly depressing, but, possibly like the world, theatre is trying to get back on its feet, find its way in a new environment. Hope springs eternal and I look optimistically forward to what 2024 brings.
Dora Frankel
This year's dance offerings have been eclectic, but for me it’s Vortex that stands out. Created by Russell Maliphant and danced by a superb and interestingly diverse group of dancers, his choreography is organic, intelligent and richly flowing within a fully rounded and holistic production, filled with fine lighting and projection and looking just right on Dance City, Newcastle’s stage.
Also at Dance City, we had the first visit from Birmingham-based Ace dance and music, with a strong and well danced double bill, but for sheer energy and stage charisma, it must be Alvin Ailey 2 at Theatre Royal, Newcastle, though their gutsy intensity couldn’t quite make up for an uneven programme of work.
The year is being rounded off with huge fun and skill at Northern Stage, with their production of Cinderella: A Fairytale, which has everything from jokes to drag, song and dance and spectacular lighting effects. Unmissable!
Dance is an incredible (mostly) non-verbal performing art and I’d like to see more dance programmed and more risk taken with choreographic and performance explorations. Let’s see what 2024 brings!