Author: Uncover

Mischa Barton makes her UK stage debut as the dangerously seductive Phyllis Nirdlinger in Double Indemnity. James M. Cain’s gripping novel comes to life in this adaptation by Tom Holloway and directed by Oscar Toeman, in a special arrangement of ILP theatrical.

Set in 1930s Los Angeles, Walter Huff a sharp-eyed insurance salesman (Ciarán Owens) meets Phyllis Nirdlinger (Barton) and finds himself drawn into her web. With Walter’s knowledge of insurance laws and Phyllis’ passion for danger, together they plan the perfect crime: murder the husband, cash in the policy, and disappear into the Californian sunset.

Set behind the Hollywood sign, Ti Green’s set transports the audience to a dingey, concrete tunnel receding into the back wall. The grate walls open and close, allowing the ensemble and set to move seamlessly across the stage. The minimalist set allowed for inventive choices to instantly set a scene, without overly relying on props or backdrops. Moving from an office, to a house, to a car, to the edge of a train, the set leant itself to every scenario, and trapped the characters in the world of deceit that they were creating.

Josh Gadsby’s lighting design complimented the set perfectly and created the film noir shadows for the actors to hide in. The play begins with Walter directly addressing the audience, with his silhouette cast on both sides of the walls, seeming like he was surrounded by people listening in, or waiting to catch him. The lighting and set together aided the mysterious and dangerous feel of the show, especially when the light would peer through the grates in the walls, obscuring faces and casting large shadows.

Whilst the whole ensemble was strong, the highlight of the cast was Martin Marquez. His portrayal of the driven and complicated Keyes brought a great energy and excitement to the story, and had the audience rooting for him to uncover the truth that they were privy to. Maybe he is initially overlooked by both Walter and the audience, but his sharp mind and dedication to his job drive his search for answers. 

Similarly, Ciarán Owens demonstrated versatility in his role as Walter Huff. Beginning as smug and presumptuous, as the plot unfolds Owens expertly showed the unravelling and desperation of a man who has lost control.

This interpretation of the iconic novel was a success, and will be continuing its tour in Bromley, Manchester and Cardiff.

Find out what else is coming up at the Liverpool Everyman and Playhouse via For more information and tickets visit everymanplayhouse.com and find out more about Double Indemnity at doubleindemnityplay.co.uk.

Samuel Beckett’s timeless classic, Waiting For Godot, has returned in this dazzling new staging in a collaboration between Citizens Theatre, Liverpool Everyman & Playhouse and Octagon Theatre Bolton. Matthew Kelly and George Costigan star together as Estragon and Vladimir respectively, or as they affectionately call each other, Gogo and Didi. Joined by Gbolahan Obisesan as Pozzo, Daniel Magill as The Boy, and with a stellar performance from Michael Hodgson as Lucky, this production, directed by Dominic Hill was funny, exciting, and deeply moving. 

Despite its reputation as the play where nothing happens, this production was anything but dull, with each moment delivering either sharp humour or a thought-provoking moment. Set in a shifting, timeless landscape, Waiting for Godot follows Vladimir and Estragon where they do exactly that; wait for Godot, a man who may not exist and may never come. As they wait each day, we hear their inner thoughts, explore their relationships with each other, and see how they interact with the strangers that cross their paths. There are moments of tenderness, lots of comedy, and reflections on the repetitiveness of life, when it feels like the waiting will never end.

Once again the Everyman Theatre provides a great space for a unique set, with Jean Chan’s set design creating the perfect desolate landscape on which to set the performance. The forced perspective backdrop placed the actors in the middle of a wasteland, but The Boy entering through a rip in it contributed to the confusing space and time theme within the play. Additionally, the abandoned car seat provided the perfect perch for the actors without obstructing the audience’s view, which is always a tricky obstacle when using a thrust stage, but was perfectly fitting with the mise-en-scene of the entire show.

The chemistry between Costigan and Kelly cannot be overlooked, as their lifelong friendship in real life bleeds through into the delightful rapport between Vladimir and Estragon. Watching them together was a joy as an audience member, and both their performances breathed new life into the iconic play. Jumping with ease from bickering, to laughing together, to comforting each other, the duo worked wonderfully against each other, and also when teamed up against Pozzo and Lucky. 

A highlight in this production was Michael Hodgson’s portrayal of Lucky. Hodgson’s physicality throughout his entire performance was incredible, making the audience truly believe that he was in a lot of physical pain. His full commitment to the role was evident as he was pulled around the stage and drooled onto the floor, whilst balancing a plethora of props. His monologue after being ordered to ‘Think, Pig!’ towards the end of the first act was completely enthralling, capturing the audience’s full attention and demonstrating incredible range as an actor.

Similarly, Gbolahan Obisesan demonstrated great range, from the grand and exuberant Pozzo of the first act, to the downtrodden and distrustful Pozzo of the second. Obisesan commanded the stage whenever he was present, and his costume contributed to the grandeur that he brought to the performance.

This interpretation of Beckett’s classic was a hit, and is a great way to bring Waiting for Godot to Liverpool audiences, it will be running at the Everyman Theatre until the 4th of April.

For more information and tickets visit everymanplayhouse.com/event/waiting-for-godot.

By Terry Sweeney

This brand new 30th anniversary tour of Priscilla, Queen of the Desert has been on at Liverpool Empire this week (14 March), and what a dazzling production it is.

The film, The Adventures of Priscilla, Queen of the Dessert was one of my favourite, feel-good movie experiences of the 1990s, not least for the surprise of seeing Terence Stamp as Bernadette, a transgender drag queen, and the stage show is a real reminder of why I loved the movie so much.

The film was a cult classic in Australia and eventually worldwide. It was based upon the lives of three actual drag queens who were initially scheduled to play themselves but were eventually replaced by three ‘box office’ actors, Terence Stamp, Guy Pearce and Hugo Weaving.

The Broadway and West End smash musical uses the film as a blueprint. It stars Adele Anderson as Bernadette, Kevin Clifton as Tick/Mitzi, Nick Hayes as Felicia/Adam, and Peter Duncan as Bob/Preacher, and follows the three friends on a heartwarming trip across the Australian Outback to stage the show of a lifetime in Alice Springs.

The musical is directed by Olivier-award nominee Ian Talbot with choreography by Olivier-award winner Matt Cole, and their Olivier credentials show throughout.

The show opens in a drag club in Sydney with a killer version of ‘It’s Raining Men’ sung by three ‘Showgirl’-type divas, who are then joined by the full singing and dancing chorus for a colourful and energetic routine. After this knockout opening number, we meet Tick who gets a call from his wife asking for his help by staging a show to help her finance her debt-ridden casino in Alice Springs. He ropes in his friend Bernadette, who was an original star of ‘Les Girls’ a famous Australian drag act of the 1970s, and then to the consternation of Bernadette, introduces her to the brash Felicia, the final member of his ‘troupe’,

They buy a broken-down old school bus, which is tidied up and painted and christened ‘Priscilla’, and set off from Sydney to drive across the outback to Alice Springs.

After getting stranded in the outback when taking a short-cut and the bus breaking down, they are rescued by Bob. Bob takes them to a ‘sheep’ town, where they win over the locals and rehearse their act on stage, only to be stopped mid number when Bob’s Thai wife interrupts their show to put on her hilarious ping-pong act and brings the house down.

They move on with Bob’s help and end up in a mining town, where they have a run in with the residents.

Eventually they make their way to Alice Springs for the uplifting ending and fulfil Felicia’s dream of performing in full drag on the summit of Ayers Rock. 

Along the way they perform ‘the greatest disco anthems ever to fill a dance floor’ (The Telegraph). Songs like ‘Hot Stuff’, ‘I Will Survive’, ‘Girls Just Wanna Have Fun’, ‘Go West’, ‘I Love the Nightlife’,  ‘Finally’ and many many more.