I first experienced imitating the dog’s powerful and mesmerising story-telling skills when they staged A Farewell to Arms at the Dukes in 2014. In my review I described this as “a brilliant fusion of digital and theatrical techniques which does justice to Hemingway’s novel and pulls you urgently into its pages.” 

To discover the show was described as “Tosh, total tosh” in the Dukes’ visitor book made me wonder if the writer of this comment just didn’t get it. Didn’t look hard enough. Because to me that’s what imitating the dog’s productions do. They make you look hard, at history, at society and at ourselves.

A Farewell to Arms was like being physically immersed in the novel, with video projection and geographical mapping breathing life into the set. This production featured real WW1 footage, text from the novel and close-ups of the actors, combined with loud and violent sound effects. It was exciting, beautiful and brutal.

Heart of Darkness is like a cinematic Russian doll, where stories within stories are revealed, captured and projected on to the stage and the screens above. Chaotic switches between layers of the old and the new battle between clips based on Apocalypse Now (the legendary Vietnam War film also based on Conrad’s novel) and cold, hard facts.

The experience is just as immersive, but even more jolting, for it exposes the greed and horror of imperialism and the atrocities inflicted on the people of 19th century Congo during King Leopold’s colonization.

Conrad’s original story is told through the narration of white British sailor Marlow, whose pursuit of ivory trader Kurtz results in a shameful recognition that darkness exists everywhere and in us all. Even in “Great” Britain.
  
Just like the book, the show exposes a system that enslaved the Congolese, subjecting them to tortures that included severing hands, even those of children. And why did the system continue? Because it worked. Yet despite the stark revelation of this shameful truth, Conrad’s condemnation still does not include a single black character that speaks.

How can a story, reviled as being racist, despite the author’s evident repulsion at what he himself had seen in the Congo, be told today? Discussions surrounding imitating the dog’s reimagining of Heart of Darkness are cleverly injected through scenes depicting verbatim accounts of the show’s development; highlighting the actors’ surprise and objections when the directors, Andrew Quick and Pete Brooks, first announced this would be their next adaptation.

Morven Macbeth, a member of the company and cast, provided further insight when we chatted after the performance. “Attacks on Conrad’s novel include the opinion that a book which dehumanises a part of the human race cannot be considered a work of art, and that’s a valid argument, but does that mean it should be burnt and never read again?

“We wouldn’t dream of staging that story today where there is no black voice, only white male voices. But it’s a story that needs to be told, and not one we learn about in school. We looked at how we could retell the story, and the protagonist became a black female from Kinshasa, in 21st century, war-torn Europe. We made choices about what to tell and how to tell it.”

What was the thinking behind the content on multiple screens and cameras? “We based it on how young people take in information – multi-tasking between screens. We’re not expecting the audience to do all of that, we are reflecting the idea, where you might be watching something then look it up on Wikipedia. Yet our audience is broad, from teenagers to people in their 60s and 70s, and visually the cinematic approach works and is engaging for all.

When it comes to themes, we agree these are timeless. Morven confirms: “This is a story of capitalism and how its greed infects society. It talks about trading and it has notions of Brexit and all the rhetoric, and it questions the British perspective but it’s not a Brexit show.

“Our approach is didactic, not passive, but we are not telling the audience what to think, we are inviting them to think, and to leave with a mindset to enquire about what we haven’t been told and what we should be told.” 

This show has definitely had the desired effect on me and will remain as unforgettable as Morven’s most impactful words: “History is often written by the victor; theatre and the cinema are places for the real stories to be told and learned from. The heart of darkness is part of all of us whether we like it or not.”

Heart of Darkness continues its UK tour, this week at Keswick’s Theatre by the Lake until Saturday 30th March. Tour dates are available here.

Meanwhile from May 1st-4th the Dukes will host a brand new play Lancastrians which is touring the country this spring. Featuring real words from people interviewed by Chorley-based Junction 8 Theatre, this production reveals stories and thoughts about everyday life in Lancashire.

Yes you heard that right.Get tickets to see Santa’s New Sleigh and you could become a certified Master Sleigh Builder Oh and you also get to meet the big man himself. I caught up with the producer Sam Bradshaw to find out about this magical offer.

Right up until Christmas Eve, two troubled elves, Sprocket and Dibs, are calling on families to help them solve the very serious problem of Santa’s missing sleigh.

In the end there’s nothing else for it but to build a new one, and that’s where you, the audience, can help out, with lots of singing and laughter along the way.

This festive treat comes from Sam Bradshaw Productions, who are on tour again after sell-out seasons in Lichfield, Peterborough and the West End’s Arts Theatre.

Santa’s New Sleigh was first created for The Curve in Leicester. Sam was playing Stinky Pete the Pirate in a production of Peter Pan in Shrewsbury when he was asked by the Dame, Brad Fitt he’d like to produce the children’s show with him. What first began as a 40-minute story featuring Jingle Bells has developed into an hour-long show with its own original songs.

With Sam directing, and the cast working collaboratively with writer Brad, the show has evolved naturally, resulting in what Sam describes as “a fast and funny, silly bit of business.”

He said; “It’s a family-friendly, full-on interactive story with a narrative that bridges the gap for little ones that aren’t quite old enough for the panto, and there’s some subtle adult humour in there too so it’s a lovely feel-good Christmas show for everyone.”

There’s plenty of audience participation, with children invited on to the stage to open the advent calendar doors and Dads plucked out to be reindeer pulling the sleigh. At the end there’s a meet and greet with Santa and every child gets a present.

Sam has plenty of experience knowing how to create engaging productions for kids as he first became a children’s entertainer at just 13. He can walk on stilts, ride a unicycle and juggle knives.

“My Dad asked me to do some tricks for my cousin’s party and after that I kept on performing magic shows,” he explained. “I have a good eye for what kids like, so it’s funny and not patronising. It’s what my passion is, it’s amazing to see their faces when they help build the sleigh.”

Sam loves his role of half-creative, half-businessman. In between productions he performs on cruise ships and runs a children’s entertainment business in London. Most exciting of all, though, is the news that he’s working on a David Walliams title. No wonder he’s good at juggling.

Santa’s New Sleigh is performed at the Winter Gardens’ recently refurbished Pavilion Theatre, which has been reopened after 20 years through a partnership between Selladoor Worldwide and Blackpool Entertainment Company. It’s the oldest venue
in the Winter Gardens complex and was part of the original 1878 build.

“It’s an honour to be the first show staged since the 70s at such a prestigious venue as the
Pavilion Theatre,” said Sam, “And Blackpool is such a fun place with lots going on. There’s a good offering here this Christmas and it’s fantastic to be part of it.”

Santa’s New Sleigh is ideal for kids of all ages, including their parents.

Book tickets here  https://www.ticketmaster.co.uk/venueartist/256254/5277083

Photographs courtesy of Sam Bradshaw Productions

Blackpool Opera House until 30th December

Never mind the rainbow, if you’re off to see the Wizar of Oz at Blackpool Opera House this Christmas you’ll soon be over the moon.

Rave reviews have been pouring in for Selladoor Worldwide’s festive musical offering and I’d like to add mine to the collection because this is a show you must not miss.

Adapted from the Royal Shakespeare Company’s stage version, this magical show combines a superb cast with spectacular set design.
The costumes are so authentic the fantasy characters are just as real as the country bumpkins they’re based on, and the make-up brings to life the familiar faces we all know and love from the original movie perfectly.

With one of the largest stages in Europe, Blackpool Opera House offers a pretty decent plot for the Texas farmland where Dorothy and Toto’s story begins, and for the imaginary world the tornado transports them to.

X Factor’s Holly Tandy is around the same age Judy Garland was when she played Dorothy, and despite the American legend being a hard act to follow, Holly steps confidently into her ruby slippers.

Thoroughly believable as the naïve but feisty young girl who discovers that her heart really does belong in deep, not-as-dull-as-she-thought Texas, she joins a crew of equally fantastic actors and keeps us enthralled throughout. Anyone who saw her on X Factor will already know how well she can sing, but this performance shows she has acting skills to match, and her accent is so good there isn’t even the slightest trace of Yorkshire.

Emmerdale star Kelvin Fletcher is a surprise as the Tin Man. He starts off true to type as a farmhand, but his transformation into the awkward character with a rusty gait and heart is clever and endearing. Scott Gallagher bounces in with his usual larger than life presence but mixed with the required timidity to create the Cowardly Lion.

But the best act for me came from Kieran McGinn as Scarecrow. His movements are gawky yet fluid, and, just as he described prior to the show, reminiscent of a deer learning to walk. He spins and falls as if he really is made of straw with no joints. He’s so likeable as the simple Scarecrow who’s searching for a brain I actually felt a bit distressed when bits of him got scattered across the stage.

The Wizard himself and the witches are all strong in their roles, the crows and trees are spookily good, the munchkins delightful as intended, and Toto proves a scene stealer right from the start, with someone behind me exclaiming “Ah it’s actually a real dog!”

Last but not least, this show has some impressive sound and light effects. Flashing arcs of white herald the arrival of the tornado, beams of light
create the yellow brick road, and there are plenty of noises designed to make you jump out of your seat.

This is one show that’s worth travelling to see even if you're not a local - but if you do live in Blackpool get your tickets booked here and find out why there’s no place like home.

Photographs courtesy
of Mark Dawson

The Grand Theatre Blackpool, until 6th January 2019

The Blackpool Grand plus panto equals a double dose of glitz
and entertainment and this year’s show does not disappoint. Featuring a superb
cast of local celebrities, stage and soap stars, Beauty & The Beast is
clearly an absolute delight for all ages judging by the audience reaction.

All generations of "shark" willingly stand up to
play their part in the Baby Shark Dance at the request of Louis La Plonk, aka
radio presenter and comedian Steve Royle. Audience participation is always the
best bit and he orchestrates this brilliantly, whether it’s poking fun at the
adults with a French accent, or teasing the kids with a Chorley one.

UK Productions’ larger than life characters create an expert
blend of fun and drama. Nick Wilton is endearing as the Dame, Polly La Plonk;
radio presenter Hayley Kay shines as Fairy Bon Bon singing The Great Showman’s
This is Me; EastEnders star Danny Walters shows his sensitive side and
fantastic vocals as The Beast; and Amelia Adams-Pearce proves her musical
theatre prowess with a plucky manner and powerful voice as Belle. Taking full
advantage of the strong female role, she fobs off the foppish French Hugo
Pompidou (portrayed with ding-dong aplomb by Ben Harlow), takes care of her father
Clement (played by the highly likeable Marcus Knibbs), and swoons but keeps her
cool as The Beast woos her.

The set and costumes are just gorgeous, from the sparkling
purple drapes in the dramatic Beast scenes, to Belle’s famously exquisite
yellow ballgown. The talented dancers from the Barbara Jackson Theatre Arts
Centre do choreographer Katie Hill’s routines real justice, with ballerinas fluttering
daintily beneath towering forest backdrops.

This definitely rates as one of the best pantomimes I’ve
seen in a while. It strikes a lovely balance of hilarity that's not over the
top with tender moments that aren’t too deep. The Beast's transformation into
Belle's handsome Prince really does make you go "Ahhh" and the laughs
really do make your belly ache.

Beauty & The Beast brings five-star Christmas cheer to
Blackpool. Book your tickets here
www.blackpoolgrand.co.uk/event/beauty-and-the-beast-pantomime.

And if you don’t know the Baby Shark dance already, make
sure you learn it before you go.

The magnificent Empress Ballroom was filled with a breathtaking explosion of classical music and spectacular 3D animations for the ambitious and gloriously successful Light Odyssey.

The historic room, with its newly restored ceilings, came alive with a kaleidoscope of visuals created by six world-leading animators as an interpretation of the stunning architecture and music of the BBC Philharmonic.

Wowing spectators with “an epic journey of light, space and sound” this magical production involved 90 musicians led by acclaimed Norwegian conductor Eivind Aadland, performing Copland, Britten and Saint-Saëns, and classical favourites such as Barber’s Adagio for Strings.

Blackpool was a fitting host for this incredible one-off event, the first of its kind in the UK. For it’s thought the resort was also home to the world’s first electric streetlights, with thousands travelling to see the moment “artificial sunshine” began to glow from arc lamps along the promenade in 1879.

Light Odyssey was the brainchild of Creative Director Alex Rinsler and Production Manager Phil Holmes. The ambitious duo were quite rightly excited about the significance of this remarkable event, as the performance was rewarded with a standing ovation.

A delighted Phil declared: “Light Odyssey was a world class, once in a lifetime opportunity to experience a unique creative collaboration of the BBC Philharmonic as their musicians performed classic favourites in the iconic and magnificent interior of the Empress Ballroom, surrounded by stunning light installations, extraordinary animations and 3D projections, imaginatively produced and specially created by the world’s best animators - right here in Blackpool - live on our own doorstep!”

The theme was “sea and a sense of place, experienced anew with light”. The journey began with scans taken of the Empress Ballroom to make a 3D model of the venue. This was used for six designers from the UK, Australia, Germany and the Netherlands - selected from around 50 international applicants - to create bespoke animations.

This phenomenal project also created a training opportunity for students of Video Design for Live Performance at the London Guildhall School of Music and Drama, who worked with the show’s technical partners, QED Productions, pioneers of projection mapping technology.
Debussy’s Prélude de l’Après midi d’un faune was brought to life by Matt and Rob Vale of Illuminos, whose work has taken them from Les Troyens for Lyric Opera, Chicago, to the 2017 Capital of Culture closing ceremony in Cyprus.

“Working with the Empress Ballroom as a canvas has been a one of a kind experience”, said Rob. “The architecture and space is stunning. The chance to work with a live orchestra is very rare, and to respond to such a beautiful piece of music has been both a unique challenge and a privilege. It was also exciting to be working alongside other projection artists – we were as excited as everyone else to see all the hard work come to life in its full musical and visual scale on the night. We hope guests felt our crafted a piece brought beauty and wonder to Light Odyssey, as we spent time in the company of faeries.”

Alongside the Vales’ mythical creatures were themes of nature and sea mythology from award-winning multimedia designer Dan Shorten of Anomic Multimedia. Also a creative director at Guildhall School, his work includes large-scale projection artworks for a range of clients including the Tower of London, The British Museum, Glastonbury Festival and Blackpool Illuminations. Speaking ahead of the event, Dan predicted: “The audience can expect to be surprised, this will be a unique experience for them. The quality of all the elements is exceptionally high. It's been a great honour to be involved, inspiring and challenging in equal measure."

Phil said: “We hope this special event will go down in Blackpool’s entertainment history as one of the most ground-breaking and innovative melting pots of culture, art technology and live music experiences ever performed in the resort".

Light Odyssey is part of Blackpool’s award-winning Lightpool Festival, made possible with £85,000 of public funding through Arts Council England’s National Lottery Project Grants; other key partners include VisitBlackpool, LeftCoast and the BBC Philharmonic.

For more information visit: www.visitblackpool.com/things-to-do/festival/