NODA REVIEW
Author: Andy Milthorpe

Date: 9th February 2025
Society: Midlife Crisis Theatre Company
Venue: The Empty Space, Media City
Director: Katherine Thomas
Written By: Noel Coward

My first visit to the Empty Space Theatre in Media City, Salford, was a delightful experience. The venue provided a charming and intimate atmosphere for the performance. Upon arrival, I was welcomed by an open stage with the set fully visible to the audience—a detail I particularly appreciated. This creative choice allowed time to study the intricate details of the stage design before the performance began, enriching the overall experience.

The riotous comedy, performed by Midlife-Crisis Theatre Company, skilfully explored themes of celebrity and identity with an infectious blend of laughter and chaos. The narrative centres around the successful yet self-absorbed actor Garry Essendine, who is preparing for a tour in Africa. As Garry embarks on this adventure, he finds himself entangled with various women determined to win his affections. We witness a man adored, managed, idolized, and relied upon by a close-knit group of individuals—each playing a crucial role in his chaotic life.

The production brilliantly underscored the play’s core theme of neediness. Midlife-Crisis Theatre Company brought this to life with clever and innovative staging, starting from the very opening. A striking time-period video projection layered with the actors' faces immediately set the comedic tone, immersing the audience from the outset.

The performance begins with the entrance of Daphne Stillington, played by the talented Sarah Adams. Daphne, a youthful admirer of Garry, has charmingly managed to find her way into his flat after spending the night. Sarah Adams delivered the role with passion and conviction, combining articulate pronunciation with dynamic stage presence, and effortlessly drawing the audience into the storyline.

Another standout was Lindsey Landes as Monica Reed, Garry’s sharp yet compassionate secretary. Monica, fully aware of Garry's various romantic escapades with women who “forget their latch key” and find their way into his flat, was brought to life with wit and poise. Lindsey Landes balanced Monica’s professionalism and friendship with Garry impeccably, delivering lines with perfect comedic timing that sparked delightful exchanges between the two.

Suzy Gellman’s portrayal of Miss Erikson, the vague and cigarette-wielding housekeeper, was a joy to watch. Her dry humour, precise mannerisms, and spot-on accent created memorable moments throughout the production. Suzy Gellman’s stage presence ensured that her character left a lasting impression, even amidst the surrounding chaos.

Finally, Robert Levy delivered a masterful performance as Garry Essendine. His dynamic portrayal captured the actor's flamboyance and vulnerability, with moments of both hilarity and poignancy. Robert Levy’s impeccable timing and interactions with other characters, paired with Katherine Thomas’s clever direction, made Garry’s chaotic world feel both authentic and endlessly entertaining.

The production’s set design and lighting seamlessly supported the play's intentions, allowing the story to flow smoothly with minimal interruptions. The costumes, tailored to suit each character, further enhanced the atmosphere and authenticity of the performance. Congratulations to Midlife-Crisis Theatre Company for delivering such a well-rehearsed, engaging rendition of Present Laughter. The excellent dialogue delivery and well-paced performance kept the audience captivated throughout.

Thank you for the warm hospitality and a thoroughly enjoyable evening—I eagerly anticipate your future productions!

NEWS Dec 2024 : MIDLIFE CRISIS RECEIVES 9 AWARDS NOMINATIONS for RUMORS

AWARDED
1# National Best Theatre Poster Design
2# Regional Best Theatre Poster Design

After the deputy mayor of New York City is found with a superficial bullet wound and his wife disappears, four couples, invited to his home for the hosts’ anniversary, try to hide what they think is a scandal from each other, until everyone is caught up in a web of rumour and misunderstanding. Perfect circumstances for a farce and Neil Simon’s erudite turn of phrase is evident in some fabulous lines and moments.

The set, as always with Midlife Crisis shows, is cleverly adorned with era specific furnishings and having the staircase set centrally worked well to complement the action and sightlines and gave a sense of symmetry and balance which nicely contrasted with the frantic nature of the play.

A cast of 10 took on the challenge of this farce, which was unique in the fact that none of the characters were in the know or knew what it was they were trying to cover up amidst injuries, temporary deafness, far flung phone calls, gunshots, culinary disasters and police visits.

Husband and wife Chris and Ken, played convincingly by Katherine Thomas and Peter Kaye, were the first on the scene and the driving force of the play as they held the most knowledge. Both handled the challenge well. Katherine has a lovely energy on stage and is a very naturalistic actor and this engages us audience members from the get-go. Peter’s Ken was fun, and the physical comedy was a treat.

The next couple we meet are Lenny and Claire portrayed by Rob Levy and Gill Cooper. These two actors shone brightly in this piece. A firm grasp on comedy and pace and a solid delivery meant the audience didn’t miss a word or gag or look. They both had us giggling and guffawing throughout. Rob’s massive speech was a particular highlight. Well done!

Another fun coupling, and probably the most eccentric, came in the shape of benevolent psychologist Ernie and kooky Cookie played by Russel Weisberg and Barbra Cousins. They made a great diverting addition, both so beautifully self-involved that they hardly noticed anything out of the ordinary and when they did, had a light-hearted reaction to it and a can-do attitude. Both Russel and Barbra were artful in displaying this and adding a new fun facet to the farce. Congratulations.

The last couple of guests to enter the fray, were Debra Loofe as Cassie and Phil Geller as Glenn, a couple in a strained relationship who were constantly arguing. Debra’s characterisation and comedy is always top notch and the same can be said here. The facial expressions are always appreciated. Phil played the smarmy politician well and held his own in the bickering sections.

Sarah Adams and Stuart Ailion gave us the police presence at the end of the play and executed the no nonsense characters with aplomb, building tension and pacing the comedy well.

I expect Fran Horwich as director must have had so much fun with this piece and this lovely bunch of players. Figuring out the ins and outs of farce is no mean feat and Fran’s working of the blocking and casting along with the timing and characterisation choices were well considered and accomplished.
A farcically fun evening. Well done!
Report ~ Steph Niland

On a miserable pandemic-lockdown Monday, I re-read When We Are Married, by J B Priestly and had a really good laugh! It struck me that this piece, written over 80 years ago, and set at the turn of the last century, is still so relevant today. It suggests that age old question, posed by Barbara Streisand, ‘If we had the chance to do it all again, would we? Could we?’ After years of being in a relationship, if we were handed a ‘get out of jail free card’, would we want it? Does love truly last?

When designing this production, I wanted to reflect the fact that this is a question for all time, and our relationships are not dependant on the era we were born in; the question of love is eternal. Our set and our costumes my surprise you, but bear in mind the subtitle of our show; Love, Never changes Though Time Marches On! - Fran Horwich

Synopsis:

Retired burlesque queen Beatrice Shelton desperately needs a vacation – and NOT another trip up to see that “precious little German village" for the umpteenth time.

A sassy Seniors Caribbean Cruise with her best friend, Eaddy Mae Clayton, may be just the ticket.

Just as well, as things have become a bit odd at Magnolia Place Assisted Living since Nurse Pat Jones began working there. Why are the residents behaving oddly, and newest resident, Imogene Fletcher, suddenly losing her memory?

Can Beatrice, Eaddy Mae and their friends, Maude Jenkins (obsessed with her own funeral) and retired Elvis impersonator Sam Smith, find out what's going on?

A mystery unfolds as the gals try to figure out why so many residents have been moved to “the dark side”.

If they can solve the mystery, they might make it to the cruise ship after all.

BEATRICE SHELTON - a former burlesque star with an attitude - Senior Citizen : Katherine Thomas-Wilson (read-in by Fran Horwich)
EADDY MAE CLAYTON - a former nurse and "religious" lady - Senior Citizen : Barbara Cousins
IMOGENE FLETCHER - the newest resident at Magnolia Place - Senior Citizen : Gill Cooper
PAT JONES - a rude and pushy nurse : Suzy Gellman
MAUDE JENKINS - a funeral and soap opera obsessed frump - Senior Citizen : Deborah Loofe
SAM SMITH - retired Elvis impersonator and Casanova - Senior Citizen : Robert Levy
RUBY SUE BENNETT - a quiet, romance novel loving nurse : Lindsey Landes
Ethel Bumpus - care home resident : Juliette Lewis
Beulah Tucker - care home resident : Bev Marks
Bernie Williams - care home resident : Russel Weisberg
with the TV Voices of Fran Horwich (Alexia) & Phil Geller (Carlton)

click to view

Reviews:

"Four Old Broads is laugh-out-loud hysterical with a whole lot of heart." - Del Shores

"If The Golden Girls was rebooted today, it would look much like Four Old Broads, a clever geriatric comedy." - Carolina Curtain Call

"Laugh out loud. Good twist at the end that I didn't see coming."

Author:
Leslie Kimbell gained her salty sense of humor from twenty two years traveling the world as a Burlesque Headliner. Four Old Broads is inspired by memories of her Nannie DeVries and Aunt Sissie, who were always hysterical, sassy old broads.

Awards:
Four Old Broads simultaneously won two festivals in 2017 at Centre Stage Greenville in Greenville, South Carolina and Theatre Victoria in Victoria, Texas. BROADS also received an AEA Workshop at The Cherry Lane Theatre in New York City 2017.

‘HOOVERING ON THE EDGE’
by Hilary Spiers

NOVEMBER 2018

A Word from the Director…
Fran Horwich
Midlife Crisis Theatre Company Manchester

I am delighted to welcome you to our production of ‘Hoovering on the Edge’, by Hilary Spiers. With a title like that, you might expect the star of the show to be a Dyson or Electrolux, but I can assure you that no electrical appliances were harmed in the making of this show!

As a theatre company, we are particularly lucky to all share a strong bond with each other, and to be equally enthusiastic and dedicated to producing performances of a very high standard.
Each member of our cast and crew has worked their socks off, and although we have been distracted through the course of rehearsals by no less than six engagements and a wedding amongst our kids, I know we are going to bring you a great evening’s entertainment.

Please sit back and relax, as you take this trip with us to a Creative Writing Course at El Santuario….

Hoovering on the Edge
Synopsis

When six British women decide to take an educational writing course in sunny Spain, relationships develop and tales are told. The characters are a diverse bunch, and all bar Clare, are middle-aged. Their tutor Gareth is out-numbered, out-manoeuvred and completely out-classed by his manipulative pupils.

In this character and twist-driven comedy full of surprises and poignancy, the women have fun and so do the audience. In a play full of sparkle and pathos, with sun, sand, sangria and storytelling, coupled with a hint of surreptitious sex, what more could you want?

Well, this has certainly been a long Midlife Crisis! Our theatre company was born around fourteen years ago, when Gill Cooper and I, both former professional actresses, started to get itchy feet, wanting to tread the boards again. Neither of us had acted for many years, both busy with our children and other careers, but we still had a deep affection for the theatre, and so our Midlife Crisis began.

We performed Neil Simon’s The Odd Couple, Female Version at the Whitefield Garrick in the spring of 2004. We did three nights, and had to hide from people who were desperate to get tickets after we completely sold out. The play was wonderfully directed by Suzy Epstein, and we all loved every minute of being involved.

We couldn’t wait to follow it up with another play, but we did! It has taken us thirteen years to repeat our success, but I believe that is just what we have done. Many of the cast of Curtain Up! were with us last time, with just one new addition – the hugely talented Deborah Loofe. Deborah is far too young for a midlife crisis, and has coped admirably with all our discussions on the menopause. Katherine Thomas Wilson, Lindsey Landes, Barbara Cousins and my theatrical partner in crime, Gill Cooper have worked their bedsocks off, and each given outstanding performances any actress would be proud of.

I can truly say it has been a pleasure to direct Curtain Up! The script by Peter Quilter is a joy and it is no effort for the cast to bring out the uproarious humour. We have a magnificent backstage crew, headed up by our unflappable stage manager, Steph Wilkes – I am eternally grateful to each of them for bringing this show to life. 53Two is a wonderful find – a new and fresh venue in the city, staffed by people who can’t do enough to make your show work.

Please sit back, relax and enjoy the show; and if you are in the middle of a Midlife Crisis, believe me, this is just what you need!

Fran Horwich

Synopsis

Five women and one man, deceased, form the cast of characters for this hugely funny piece by Peter Quilter.

Each woman is a beneficiary of Michael’s will. They are his elderly mother; his lost and lonely daughter; his spiritually in touch wife; his bitter ex wife and his Goth style squatter secretary. Their inheritance is an old, crumbling theatre and their mission is to bring it back to its former glory with one huge show featuring a major international star.

What could possibly go wrong?

Report Author: Kevin Proctor

‘Bar Mitzvah Boy’ is a play adaptation based on Jack Rosenthal's award-winning 1976 TV drama of the same name. The plays Director (Fran Horwich) has remarkably adapted the screenplay for the stage as it has not been performed as a stage play before, however, in 1978, Jack Rosenthal teamed up with Broadway composer Jules Styne (Gypsy, Funny Girl) and lyricist Don Black (Billy, Tell Me On A Sunday) to create a musical adaptation; ‘Bar Mitzvah Boy – The Musical’ which ran in London’s west end for 78 performances. But, the JTC are the first to present the play version of Rosenthal’s comedy.

Not that adapting the screenplay was a big enough challenge for Fran, the idea to perform the piece in the Manchester Jewish Museum (an old Shul) added even more complexity. Adapting a Shul into a performance venue naturally lends itself to a set up known as ‘the avenue’ or ‘catwalk’ (when the audience are seated down two sides facing in to a narrow performing area). Naturally, with the theme of the piece, staging the play in an old synagogue added authenticity and ambiance which worked a treat.

Fran had made the decision to relocate the setting of the play from London to Manchester with references to local areas but had decided to keep the piece set in the 1970’s which was made clear through accurate looking costumes, hairstyles, music, set and props which were all well thought out to keep a consistent ‘look’ and ‘feel’.

It was evident that this piece had been adapted from a screenplay as many of the scenes were short and – for a stage play - the locations jumped back and forth quite erratically, plays like these are difficult enough to stage in full working theatres so unsurprisingly it proved to be quite a strain on the set team as they were required to clear one scene and set the next very quickly, and in full view - but due to the awkward (but lovely) space, the crew were limited to how much could be prepared out of sight. None the less, the changes ran with military procession and while they were working, we were treated to some well selected classic tunes I’d not heard in a while!

As is not uncommon when youth performers are involved in a cast, the part of the Bar Mitzvah Boy (Eliot) had been double cast and the performances were alternated between two boys, always a tricky situation when an adjudicator or reviewer comes to a performance. Karl Adelman played the part of the Bar Mitzvah Boy / Eliot Green on the performance I attended - and what a relaxed, easy and natural performance he delivered. I was in awe at just how unfazed and genuine he was, as though no one was watching! Karl had us laughing, we cared about him and his troubles, we saw every one of the plays characters through his eyes, a terrific performance and a joy to witness.

Strong supporting roles were on offer from Deborah Nesbitt as Lesley, the elder sister who, although was quite a tough cookie and relentless to show any emotion, demonstrated a loving side at the perfect moment which was touching. Howard Yaffe treated us to the frustrated father (Victor) who is caught up in the whirlwind of caterers, musicians and hair appointments, a natural, believable and witty performance.

Joanne Lazarus played Rita, the Mother, with ease, we saw that she was both stressed and excited for the upcoming family celebrations. And finally, Dean Simons as the awkward son-in-law to be, Harold, who doesn’t seem to have a home to go to! Harold’s physicality, comic delivery and understanding was tremendous, a very humble actor who delivered a creditable interpretation.

This production has proven to be a very ambitious and exciting venture for the JTC. Congratulations on your success and long may we continue to see new and fresh ideas emerge!

Previous productions

PRESENT LAUGHTER

PRESENT LAUGHTER

NODA PREFORMANCE REPORT : PRESENT LAUGHTER

RUMORS

RUMORS

NODA PREFORMANCE REPORT : RUMORS

WHEN WE ARE MARRIED

FOUR OLD BROADS

FOUR OLD BROADS