IN the end, everything came up roses for the Liverpool Theatre Festival. A real light in the gloom for theatre in the devastating wake of the coronavirus pandemic, there’s been something about the last week’s entertainment that has been enough to spread joy and give a little hope in the worst of circumstances, flying the flag for a beleaguered industry at a time where there has never been so much at stake.
The Bombed Out Church came into its own as a venue, offering atmosphere in spades; and needless to say, the good weather throughout was an extra bonus.
Liverpool Theatre Festival was the brainchild of city-based producer Bill Elms, whose little black book came in handy to bring together a programme mixing oven-ready, established acts and a few surprises that made for a really quite remarkable showcase of talent – and all in double quick time.
With an open-air venue and stringent safety measures in place, including spaced-out seating, temperature checks, QR codes for ordering refreshments via smartphone, and no cast of more than four people, organisers deserved praise for taking precautions to keep staff and audience members safe.
The programme offered an impressive mix of comedy, drama, musical theatre and family shows, spoiling theatre lovers for choice after six long months of going without. From the best of the Laughterhouse comedy club (with a line up fortuitously including man of the moment, Britain’s Got Talent finalist Steve Royle) to the return of home-grown successes like Something About Simon and Andrew Lancel performing Jonathan Harvey’s Swan Song; plus kids shows, late night performances and everything in between, there really was a bit of everything, with everyone involved ready to get back doing what they do best.
All shows were condensed to one act of no longer than 75 minutes. There were pre-recorded soundtracks, and sets and props were minimal, of course – but it was the knowledge all involved were doing what they could to keep putting on a show that made the whole endeavour so vitally important.
MADEUP managed to catch three different shows over the course of the week, beginning with a matinee of the best of Daniel Taylor’s Tommy Cooper show, a truncated version of his established stage play. Concentrating on the classics of Cooper’s stage antics rather than the life of the man behind the fez left it something of a tribute act; but Cooper’s commitment to his art - no matter how daft - and the warmth of such timeless, old-school entertainment shone through. Taylor’s well-honed portrayal was beautifully observed and the audience lapped it up – the oldies are the goodies after all, and to be out enjoying live performance again was a real treat for everyone.
Next was the return of Judy & Liza, another evergreen homage of a show to iconic entertainers, that first premiered at the Capstone Theatre in 2011. There was a new Judy, Helen Sheals – whose CV spans Downton Abbey to Brookside – and Emma Dears’ uncanny and effervescent Liza came with star quality to spare. The pair give the audience the highs and lows of their characters’ lives, interspersed with some irresistible show tunes, old Hollywood schmaltz and moments of real emotional intensity.
From a late night Cabaret to an early morning family show, we were back again the next day with small people in tow to check out Hurrah for the Pirate King! from Absolute Children’s Opera.
Days later, I’m still smiling. Hurrah for the Pirate King! - in this case with its set of inflatable seagulls, jellyfish and giant beach balls liable to break free and hurtle towards the audience - was game for everything. A joyous riot of imagination and song, combining a fantasy pirate voyage with opera classics, ballet, and even, yes, Baby Shark – nothing fazed our Jack Sparrow-alike captain Roy Weissensteiner, not even singing Figaro while swordfighting an evil crab. Incredible fun.
Fortunately timed just right before new lockdown restrictions hit and with good weather for most of the week, the Liverpool Theatre Festival proved to be the lucky break everyone needed, audiences, performers and crew alike. A little rough and ready maybe, but only because it had to be in these strange times - ultimately, it was well worth the time and effort to show the determination, passion and will to survive of some of the city’s best theatre talents (both on and off stage). The show must go on, as the adage goes - and now we know it can, and it will.
