Passion (Hope Mill Theatre)

I’m seeing it this afternoon (double bill with Hedwig in the evening). I really enjoy the score and it’s my first time seeing it live, so I’m looking forward to it.

It looks so cheap.

And no attempt to make Ruthie look a bit uglier?

By any chance could you please let me know how the seating is structured. I’ve never been to this theatre before and I’m worried about what the view will be like.

Is the seating on a slant or on one level?

Thank you!

Thought this was stunning last night. Really simple staging but it only added to the intensity of the story. It reminded me of a Whistler painting - it is quite light but it is ethereal and so made it all seem quite fragile.

Stunning performances all round. Dean John Wilson was a revelation - he sang beautifully. Kelly Price (apart from a horrible costume) was really first rate and Ruthie Henshall was also very very good. It is such difficult music to sing but she was utterly convincing - a very calm madness I felt. Really understated which suited the set and the small venue. Of course she is not ‘homely’ looking but you did see her initial repression open up into this forceful love.

I was in a group of Sondheim sceptics and we were all gripped. The orchestra was great too.

There is a keyboard, piano, a violin, double bass and flute/clarinet.

It was enough actually  - really delicate and meant every word was heard.

Ooo interest piqued.

I saw this last night and was massively impressed. I've previously seen both the original London and Donmar revival productions live, along with the video of the original Broadway production and the concert with Patti Lupone.

I was kind of dreading going to see it, if I'm being honest. I've seen a couple of shows at the Hope Mill Theatre and been a bit 'meh' about them. But I think its a really lovely space with delightful staff and a real sense that this place has the potential to deliver something that I would be swept away by.

I was also aware of some of the videos on Youtube featuring Ruthie Henshall dropping off some sustained notes and sounding flat. I am a massive fan, having seen her in almost every production she's performed in the UK since the ensemble in the original Miss Saigon cast, her first performance covering Ellen in the same production, and a small role in the ill fated 'Children of Eden'. I have fond memories of all the shows I've seen her in; she's always shone - even in The Woman in White and Peggy Sue Got Married! Now though, her voice has changed. She's older now, changes to the voice happen to many over time. I've always thought she totally commits to her performance with both her acting and voice, however, without the ease of producing the reliable soaring mezzo voice or belting out in true broadway style that we're used to, has had to evolve and capitalise on the other things she delivers well. In this role, her singing is more staccato yet completely married to the pain and anguish of the character, a great contrast to the points in the show where she does soar vocally, or when she digs down into the deep growls reminiscent of her 'Chicago' days. She still has it! She just has to work for it a bit more now. I'd be interested to understand the reasoning behind the directorial choice not to make her appear ugly? There are numerous references in the text to Foscas appearance, yet Ruthie is still beautiful and certainly wouldn't repel anybody. Although this 'key' part of the text was not addressed (to me, at least) overall it felt like the text had been worked on in considerable detail. The emotional arc for Fosca, Georgio and Clara seemed more defined in this production than any I've seen previously.

Dean John-Wilson was, as someone above states, a revelation. I never saw Aladdin, but had watched a few clips online and couldn't imagine his portrayal of Gergio, but the intensity of his performance is heightened somewhat by his appearance. He seems younger than other actors I've seen in the role, and to see such torture, confusion and regret in his eyes so close in this auditorium is completely engaging.

Kelly Price was simply electric! I've never seen her in anything before, and am regretting now, not seeing 'Aspects of Love' at the same theatre. I can honestly say every portrayal of Clara I've seen from previous productions has washed over me with little effect. Such a brilliant through line for the character that I don't feel has been exposed to this extent before. Excellent!

Tim Walton gives a lovely performance as Colonel Ricci. He seems to be an actor who hasn't had the success he deserves - previously seen him in the original casts of 'The Witches of Eastwick' and 'Stephen Ward' - he just seems like a really solid choice for guaranteed results - he'd make a great Duke of Weselton in Frozen!

Shout out to Juan Jackson as the Count too! Didn't feel like there was a weak link in the cast, with one small exception - why is Ray Shell still tripping over bits of the script? His acting choices were lovely, but he must have stumbled over lines 5 or six times. Again, have been a bit of a fan of his since 'Children of Eden', 'Starlight Express' and 'The Bodyguard' and was a bit sad to see him seemingly lag behind the preparation of the rest of the cast.

Gone are the sweeping, operatic orchestrations, huge set and decent dresses for the ladies but in with bucket loads is emotional tension and clear storytelling. Loved it and would go back tomorrow.

PS. To Hope Mill Theatre,
I would be there again tonight if there was a £10 standby ticket being sold on the day - there must have been 50% empty seats last night!

There is an interval

I popped over to Manchester for a bit of Passion at the Hope Mill this afternoon. As a completely unknown show to me, I really didn't know what to expect but after the 2hrs 10-minute running time whilst James Lapine's book didn't really do much for me I'm afraid, I came away loving Sondheim's score performed by a stunning cast and orchestra of 5.

One thing I have learned from today's visit is to never book a row C seat again for future visits to HM. Despite being close to the stage, there really was a sightline issue from the row in front so I spent the majority of Act 1 trying to look around the guy who sat in front of me who was also moving to see the show. Anyway, thankfully as this afternoon's show wasn't a sell out the FOH team allowed me to move to the front row for Act 2 which was a much better viewing experience.

I'd agree with AddisonMizner , I don't think an interval should have been included as it certainly interrupted the show's dramatic and emotional momentum. I certainly would of ditched the interval and ran the show straight through.

As I said, the book really didn't do much for me as I couldn't invest any emotion into any of the characters, though the cast performances led by Ruthie Henshall were just a joy to watch. All the performances and vocals were top drawer stuff this afternoon in that lovely intimate setting of the Hope Mill auditorium despite the uncomfortable seating. There really isn't a weak link in any of the cast. A really big surprise was Dean John-Wilson who I last saw as Aladdin at the Prince of Wales. I couldn't get into that performance, but in Passion as Giorgio he looked mighty fine as an officer but the acting and singing here was just sensational bringing a real raw emotion to the part and score. Also, Kelly Price was another one who was a joy to watch every time she was on stage singing. Can we please get her back ASAP as quite honestly, listening to her was worth the ticket price alone. It was great to see Ruthie H up close and she really did wring every ounce of emotion from the role.

To the creative team of this show, well done. MD Yshani Perinpanayagam and the orchestra were spot on and along with some nice lighting design by Charlie Morgan Jones made for a pleasant afternoon's theatre viewing in Manchester.