Interview | Helen George and Freddie Fox | High Society

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The most swellegant party of the year is packing up its champagne flutes and heading on tour. Fresh from a sell-out run at the Barbican, the lavish 1950s waterfront estate of Tracy Lord is moving lock, stock, and barrel to Salford, arriving at the Lowry’s Lyric Theatre on Tuesday 22nd September for a limited two-week run.

Ahead of their arrival on the Quays this autumn, we sat down with Helen George and Freddie Fox to talk about living out childhood musical theatre dreams, and bringing Cole Porter’s timeless toe-tappers to Greater Manchester audiences.

Are you looking forward to performing in Salford?

Freddie Fox: Yes, so much, we’re there for two weeks as well, which is really nice. I’ve just done so many things in Greater Manchester over the years. It’s a really special place in my heart, because it was my 1st proper, professional job I shot there. I made one of my best friends on that job so, I feel like I’m sort of, you know, going back home. I love it, I love wandering around the Northern Quarter. I think it’s the most stupendous city. It’s a great place, a really great place to do theatre.

Watching the show we really felt that you embodied the part of Mike Connor perfectly it looked like you were having so much fun on stage.

Freddie Fox: Thank you, I’m loving it, when I get to sing “You’re Sensational” to Helen, it changes subtly every single show. Sometimes it’s funnier and lighter, sometimes it’s more sort of sexy and sometimes it’s, you know, more sort of vulnerable.

Helen George: Yes, yes, it does, it does change every night. Yeah, we were quite fun and flirty tonight, weren’t we? You were making me laugh, we just have so much fun.

Freddie Fox: We do. But also, Helen gives me so much support, she has this extraordinary voice, you know, for someone who hadn’t done a musical before like myself, to feel like I was supported by someone I very much admire, was very, very, very, very nice and very helpful.

It’s certainly not a small role for your first.

Freddie Fox: I’ve been building up to it a long time. I had to choose the right one. You don’t want to just do a six-month run of something that you get bored with in 2 weeks.

For you Helen, you’ve done other big, lavish musicals, what particularly drew you to this?

Helen George: I went to see Guys and Dolls when I was five or six years old at The National, and that American songbook, that era of musicals, it completely stayed with me, it’s still right in my mind. I know all the words to all the songs even now because of that early experience. And so, this feels very, very similar, similar era, similar style. And the part of Tracy Lord is so wonderful. It has these songs that everybody knows and recognises that, you know, it’s an opportunity to make my own. And I just love it.  

We’ve seen you in The King and I, dancing in that stunning yet incredibly heavy dress, how does this role compare?

Helen George: Oh, yes, it was about 10lbs! It was a lot of fun. With Tracy it’s nice to sort of discover a part that is completely different and free, and gets drunk, and is irreverent, and, you know, is just silly, and I think, we have so much fun on the stage, and it’s not often that I have the chance to play fun characters.

That comes across so well to the audience too, we had so much fun just watching.

Helen George: I feel like I’ve reverted back to before I had children, I feel like it’s really been so beneficial to my life as well. I feel like I’ve got my silly back, which feels really nice.

And you exude that, both of you. You could tell you’re having a ball with it.

Freddie Fox: This is fun to do, it really is. And we worked a lot to get it right, changing things, putting things in. So, we were trying to find the sort of ultimate, um, hand-picked, bespoke version of the show. And so, there’s a lot of tightening the scripts and a lot of focus on the pace and the laughs.

Helen George: Also, it’s such a good cast, everybody is just really fun and wants to have a nice time. I think everybody was like, let’s just make it funny, and enjoy ourselves. It’s light on its feet.

You must see that at the end when the lights come up and you’re greeted by that wonderful reaction from the audience.

Freddie Fox: Yes, it feels great, because we’re splattered every day with such terrible news about this, that and the other thing. And so, the great thing about live theatre, in particular, is it is the most human of mediums, you know, and it is the greatest way to remember you’re alive on this earth and you’re here to have a good time and, you know, forget the bad stuff for a bit. You’re transported somewhere where you’d really like to be.

The choreography is beautiful, we remember your Strictly days Helen, did that experience help?

Helen George: I haven’t danced in years, and then I came in, and Anthony, the choreographer had watched my strictly things and was like, she can dance a bit and put lots of choreography in. Yeah, it’s really nice to dance again and there’s bits of everything in there too.

The enjoyment you’re all clearly having with this, that must make it easier knowing that you’re going on tour with it.

Helen George: I think, because we’ve all got our lives in London, we don’t actually get to socialise together, I haven’t really been out for drinks. with anybody. So, it would be nice to hang out, it will be really nice to do those sorts of things. I also think changing it up in every single city keeps it fresh, there’s always something else to look forward to, something new to get used to and then boom, you’re off and onto the next one.

It will be interesting to see how audiences react differently as well in different cities.

Helen George: Yes, further north you get, the the louder it gets, it’s the escapism we all need right now, absolutely.

The “swelleget, elegant” party opens at The Lowry on Tuesday 22nd September and runs until Saturday 3rd October tickets are available here.

The Rocky Horror Show

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Few things in life are truly guaranteed, but there are a handful we can always rely on: night follows day, Christmas adverts appear earlier with every passing year, and somewhere in the world, The Rocky Horror Show will undoubtedly be delighting audiences. Even more certain is that Richard O’Brien’s cult classic will remain as outrageously entertaining, provocatively cheeky and joyfully anarchic as ever.

Having been on the road since last year, the current touring production makes its final stop in Manchester this week, arriving with every ounce of the energy, mischief and flamboyance that has made the show such an enduring favourite. The story follows the familiar B-movie formula as newly engaged couple Brad (James Bisp) and Janet (Haley Flaherty) are left stranded by a flat tyre before seeking refuge at the mysterious home of Dr Frank N. Furter (Stephen Webb) and his eccentric entourage of Riff Raff (Ryan Carter-Wilson), Magenta, (Laura Bird) and Columbia (Daisy Steere).

The couple arrive just as the unhinged Doctor is preparing to bring his latest creation to life: the perfectly sculpted Rocky (Morgan Jackson). Their unexpected visit soon pulls them into a bizarre, seductive world where temptation lurks around every corner, testing both their relationship and their grip on reality.

Stephen Webb is fantastic as Frank N. Furter, embracing the iconic role with fearless confidence. His performance is gloriously over the top, brimming with charisma, wicked humour and just the right amount of unpredictable menace. His rendition of “Sweet Transvestite” is an undoubted highlight, whilst his version of “I’m Going Home”, adds some emotional weight to proceedings.

James Bisp and Haley Flaherty deliver engaging performances as Brad and Janet, convincingly charting the couple’s transformation from wide-eyed innocence to willing participants in Frank’s wonderfully chaotic world. Their chemistry is excellent, their comic timing is sharp, and both impress with powerful vocals throughout.

Comedian Nathan Caton is a solid choice as the Narrator, delivering the role with confidence and assured comic timing. He handles the audience’s familiar call-backs with ease, keeping the exchanges suitably risqué and entertaining. Rocky Horror Show is one of those rare productions where audience participation is part of the experience, adding to the lively, anarchic atmosphere without ever overwhelming the performance itself.

They’re well supported by a strong ensemble. Ryan Carter-Wilson brings an appropriately sinister presence to Riff Raff, while Laura Bird impresses in the dual roles of Magenta and the Usherette, opening the show with a restrained rendition of “Science Fiction/Double Feature”. Daisy Steere brings plenty of energy and eccentricity to Columbia, complemented by powerful vocals, while Morgan Jackson is an imposing presence as the chiselled Rocky, combining impressive physicality with athletic backflips.

The Rocky Horror Show is packed with songs that have become classics in their own right. From the aforementioned “Science Fiction/Double Feature” and the swaggering “Sweet Transvestite” to the delightfully cheeky “Touch-a, Touch-a, Touch Me”. It is of course  “The Time Warp”, which never fails to lift the atmosphere and remains one of the production’s undeniable highlights.

The final act has always felt a little less cohesive to me, with the narrative losing some of its momentum. However, the strength of the performances and the quality of the songs ensure that it’s a minor quibble rather than a significant flaw, and it never diminishes the overall enjoyment of the show.

With the tour drawing to a close, now is the perfect time to dust off the green scrubs, fishnets, basque, gold hot pants or French maid outfit and experience The Rocky Horror Show one more time. More than 50 years after its debut, it remains a gloriously anarchic, unapologetically camp night at the theatre that knows exactly what it is.

The Rocky Horror Picture Show is at the Palace Theatre until Saturday 1st August, tickets are available here.

Let The Sun Shine

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Chester has been transported to the swinging sixties, an era synonymous with peace, love, flower power and unforgettable music. Let the Sun Shine, written by Helen Redcliffe and directed by Rob Green and Lucy Thatcher, is an uplifting celebration that proves it is never too late to follow your dreams, embrace new beginnings and believe in yourself. 

Set in 1969 when the sixties were in full flow, a quiet, small, suburban town is disrupted by a cascade of festival lovers. At the heart of the whirlwind is Harry (Lucas Button), a local dreamer whose love of music inspires him to chase something bigger than suburban life. Fate intervenes when he meets Cloud (Annabelle Aquino) who brings the light back into his life, Puck (Abigail Middleton), the self-proclaimed “seller of dreams”, alongside Joan (Kate Milner Evans), who is embarking on her own journey of self-discovery, and carefree festival-goers Sunny (Perry Moore) and Claire (Sorrel Jordan). There is also David Ahmed as Arthur, Rebecca Bainbridge as Veronica, Lawrence Hodgson Mullings as Bobby, , Zoe Lambert as Viper and Robert Wade as PC Hamer.

The chemistry between every member of the cast is clear, they not only portray multiple characters, but also play instruments and engage directly with the audience, sometimes quite literally by bringing them onto the stage making the show a fully immersive and wholly enjoyable experience. There can be no better venue than the Grosvenor Open Air Theatre to host this production, Performed in the round beneath the open sky, the production feels completely at home in Grosvenor Park. The outdoor setting becomes an extension of the festival itself, creating a visually effervescent experience that couldn’t be replicated indoors. Chester really has entered its festival era.

Writer Helen Redcliffe wanted “to create something that made the audience feel part of something special, a shared celebration of music, hope, laughter and togetherness”, in this she entirely succeeds as this is exactly what the show is. It doesn’t just make you smile, but through Green and Thatchers direction, it fully drenches you with warmth, hope and happiness, “humming” the “well known songs, all the way home”. 

Many audience members will recognise this talented ensemble from previous Grosvenor Park productions, and their easy chemistry and versatility create an immediate sense of confidence and warmth. That familiarity also contributes to the production’s success.

The versatility of the company is remarkable. Whether it’s Lucas Button’s warmth and charisma, Annabelle Aquino’s soaring vocals or David Ahmed’s and Perry Moore’s impeccable comic timing, every performer makes an invaluable contribution and are all well deserving of the accolades they receive.

The soundtrack demonstrates this further, the recognisable songs invite the audience to engage further and for some lucky members, the chance to demonstrate their moves on the dance floor. In addition, the creative team including Charlotte Murphy’s design, Ieuan Reeve’s lighting, Dan Langton’s sound are further triumphs. Shelby Hamer’s vibrant costumes perfectly embrace the spirit of dopamine dressing, while every corner of the compact stage has been transformed into a miniature festival bursting with colour and life. As daylight gradually fades, the production somehow seems to shine even brighter beneath the evening sky.

The standing ovation that accompanied the bows was immediate and richly deserved. Moments like these are what make live theatre so special. Perfection is never the goal; it is how a production makes you feel that truly matters. Helen Redcliffe’s creation clearly resonated with this audience, and their reaction was the clearest testament to its success.

As Helen Redcliffe describes it, Let the Sun Shine is “a tribute to the people brave enough to dream.” It is exactly that: a joyous celebration of hope, community and the courage to embrace who you truly are. So throw away your inhibitions, start your own revolution and let this wonderfully uplifting production fill your world with music, colour and love.

Let The Sun Shine is on at Grosvenor Park Theatre until Sunday 23rd August tickets are available here.

The Spy Who Came in from the Cold

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Adapting one of the most celebrated and admired novels of the twentieth century for the stage is a daunting challenge, but playwright David Eldridge has approached John le Carré’s The Spy Who Came in from the Cold with remarkable confidence and skill. It is easy to understand why it has taken so long for one of le Carré’s novels to make its way to the stage, as expectations from devoted fans were always going to be high. Thankfully, Eldridge, alongside director Jeremy Herrin and tour director Joe Lichtenstein, have risen to the challenge. Together they have brought this intelligent and suspenseful thriller vividly to life, preserving the novel’s atmosphere of intrigue while delivering a production filled with twists, turns, betrayals and double-crosses. The result is a gripping and compelling evening of theatre that does full justice to its acclaimed source material.

Set in 1963, with Cold War tensions between East and West at breaking point and the Berlin Wall still a recent and imposing symbol of division, the story introduces us to Alec Leamas (Ralf Little), a weary British intelligence officer preparing to leave Berlin and the dangerous world of espionage, following the death of his trusted agent and friend, Karl Riemeck (Jonny Burman). Instead of a quiet retirement Leamas is persuaded to undertake one final mission, lured by the promise of revenge against Hans-Dieter Mundt, (Peter Losasso) the ruthless East German intelligence officer responsible for Riemeck’s death.

Hovering over the operation is the seemingly retired master spy George Smiley (Tony Turner), whose reputation and mentoring is ingrained in Leamas’s conscience throughout the mission. As his carefully constructed assignment unfolds, Leamas finds himself navigating an increasingly tangled web of deception, where every move appears to have been anticipated. Matters become even more complicated when he meets Liz Gold (Gráinne Dromgoole), a kind-hearted young Jewish Communist librarian whose growing affection for Leamas offers him a glimpse of a life beyond espionage.

As Leamas begins to question not only who he can trust but also the morality of the organisation he has served so loyally. He desperately tries to stay one step ahead of the lies, manipulation and betrayal in the hope of getting out alive.

Despite an opening that is perhaps a little too reliant on exposition, the script soon finds its rhythm, navigating the novel’s intricate plot with clarity. At the heart of the production is a superb performance from Ralf Little as Alec Leamas. Little brings real depth to the role, portraying the veteran spy with an air of paranoia, cynicism and emotional fatigue, while never losing sight of the resilience and unwavering sense of duty that define the character. He also finds moments of dry humour that puncture the tension and provide welcome flashes of levity, although one comedic moment towards the conclusion feels slightly out of place and doesn’t quite land.

The relationship between Leamas and Liz Gold forms the emotional core of the production, and the chemistry between Little and Gráinne Dromgoole ensures the audience remains fully invested in their growing connection. Dromgoole is equally impressive, portraying Liz as a compassionate, idealistic and quietly courageous young woman who becomes an unwitting pawn in a dangerous game of political manipulation. Her warmth provides a striking contrast to Leamas’ hardened exterior, making their relationship all the more poignant.

Despite the vast scale of the Lyric Theatre stage, production designer Max Jones creates a world that feels remarkably claustrophobic and oppressive. Through a minimalist set, cleverly configured to suggest multiple locations, the production evokes the suffocating atmosphere of Cold War Berlin with impressive economy. Paul Englishby’s haunting, noir-inspired score heightens the sense of unease throughout, while Azusa Ono’s atmospheric lighting design makes striking use of shadow and darkness to reinforce the themes of secrecy, surveillance and deception. It is a perfect example of the old adage that less is more, with every design element working in harmony to immerse the audience in le Carré’s morally ambiguous world.

As expected in a Cold War thriller, moments of violence are inevitable. Though used sparingly, they are impactful, uncomfortable and gripping, adding to the production’s realism rather than feeling gratuitous. Expertly choreographed by fight director Salvatore Sorce, they leave a lasting impression.

This is a well-crafted and faithful adaptation that captures the spirit of le Carré’s novel and keeps the audience engaged from the very beginning. It is refreshing to see a literary adaptation make such a successful transition to the stage. A must-see for devoted le Carré fans, it also serves as an excellent introduction for newcomers to his work.

The Spy Who Came in from the Cold is at the Lowry until 25th July tickets are available here.

Outlaws: A Robin Hood Story

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️


Nottingham’s favourite outlaw comes to Chester in a brand new production penned by the same hands that brought The Gangs of New York in 2024, Promising a fresh new take on the medieval rogue, writer Kieran Lynn, and director Hannah Noone transport audiences into a world of action and romance with swashbuckling routines and a folklore soundtrack. Hood’s Merry Men form their own merry band to deliver the audience a truly memorable evening.

 

Firstly, a moment must be taken to appreciate the Grosvenor Park Open Air Theatre. Few venues can offer what this unique space does: theatre in the round beneath the open sky. The outdoor setting becomes a character in its own right, allowing the audience to become fully immersed in the story and making every production feel like a truly unique theatrical experience. Outlaws is certainly no exception. Lynn’s construction of the old familiar story is thoroughly enjoyable to watch. He gives the villains a compelling edge, particularly King John (David Ahmad), whose tyrannical rule is enforced by the Sheriff of Nottingham (Lucas Button). The townspeople of Nottingham have lost all hope and are filled with despair. Even Robin Hood, played by Lawrence Hodgson-Mullings, has begun to lose hope. Mullings perfectly captures Hood’s loveable rebellious spirit while never losing sight of the character’s unwavering desire to right social and political wrongs. Joined by his tribe of vigilantes and trusty sidekick Little John (Perry Moore), Hood lives by the famous mantra of “steal from the rich and give to the poor”. Moore brings a paternal warmth to Little John, making it easy to see why the audience instantly warms to him.

 

Hood’s trio of Merry Men steer the plot with comic timing and boundless energy. Rebecca Bainbridge is sensational as Scarlett, Abigail Middleton’s Alana serves as the voice of reason, always ready with wise counsel; and Zoe Lambert’s Much has the audience laughing with every line. Together, they are an absolute delight.

To complete the story, every hero needs a heroine, and in this case that heroine is Maid Marion (Annabelle Aquino), a fellow noblewoman. Aquino and Mullings share a natural chemistry that makes every scene between them a pleasure to watch. I really appreciated the independent quality Aquino brings to Marion. She is neither overpowering nor forceful, which makes her portrayal feel both endearing and authentic. Kate Milner Evans, as Rose, also known as Lady Fitzwater, Marion’s mother, brings a wonderful sense of tradition while conveying a deeply maternal instinct to protect her daughter. As brilliant as the entire cast is, my standout performance has to be David Ahmad’s King John. He is a true scene-stealer, commanding the stage every time he appears and holding the audience in the palm of his hand. Each member of this cast deserves their place on stage and every bit of the acclaim that comes with it.

 

Secondly, the creative team must to be commended for this production. Matt Baker’s compositions and musical direction complement the production perfectly and, if I may be so bold, take the production to the next level. It is productions with musicality as clever as this that make theatre such a joy to watch. The folklore soundtrack instantly caught the audiences attention and kept them hooked until the final scene. Jess Williams’ choreography is well constructed and cleverly drives the plot, as do Kaitlin Howard’s thrilling fight sequences, which are both dynamic and expertly staged. Having the characters double as the production’s orchestra showcases the versatility of the cast while adding another layer of energy and creativity to the storytelling.

 

Ultimately, Outlaws proves itself to be an unforgettable production. Lynn’s characterisation is clearly defined, with each character offering a balanced blend of familiarity and fresh interpretation. The use of folklore-inspired music, live instrumentation, swashbuckling fight sequences and a witty script provide all the ingredients for a medieval masterpiece.

Outlaws: A Robin Hood Story is on at Grosvenor Open Air Theatre until Sunday 23rd August tickets available here.

Something Rotten!

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

There’s something rotten in Manchester. Usually, that phrase would be more at home describing the city’s famously miserable weather, but on one of the hottest days ever recorded in the UK, the culprit is something altogether more entertaining.

The source of this particular rot is Something Rotten!, the award-winning Broadway smash hit making its UK premiere in Manchester. Packed with razor-sharp wit, infectious musical numbers and a gleeful irreverence towards Shakespeare, the production arrives with lofty expectations,and comfortably clears them, setting the bar(d) impressively high from the outset.

Set in 1590s London, the story follows brothers Nick Bottom (Jason Manford) and Nigel Bottom (Cassius Hackforth), who run a struggling theatre company and are desperately searching for their next hit. Unlike most sibling partnerships in showbusiness, the Bottom brothers actually get along remarkably well. Their only real point of contention is the megastar, A-list celebrity and rival playwright William Shakespeare (Richard Fleeshman). Nigel idolises the Bard, while Nick can barely conceal his contempt.

As financial pressures mount, Nick becomes increasingly desperate. Determined to secure a future for his ever-supportive wife Bea (Marisha Wallace), and realise their dream of owning a cottage big enough to start a family, whilst perhaps most importantly taking the spotlight from Shakespeare, he turns to increasingly unconventional methods in pursuit of theatrical success. But can his bold vision of introducing music and song into theatre really become the next big thing, and what will it cost him along the way?

This production is tremendously fun, absurd, ridiculous, and consistently entertaining. John O’Farrell’s book, combined with the songs by brothers Wayne and Karey Kirkpatrick, creates a witty and joyous love letter to musical theatre while delivering a sharp satire of celebrity culture. Standout numbers include the spectacular ensemble piece A Musical and the delightfully silly Make An Omlette, just two highlights in a score packed with memorable moments.

The cast are in excellent form. Jason Manford is, as ever, a dependable leading man, once again showcasing his impressive vocals and impeccable comic timing. Richard Fleeshman is clearly having an absolute blast as the egotistical playwright, portraying him as a gloriously pompous rock star. He has superb vocals, on the wonderfully ludicrous Will Power and the Queen-inspired Hard to Be the Bard, once again providing another highlight.

Broadway star Marisha Wallace is excellent, if somewhat underused, as Bea. The role provides ample opportunity to showcase her exceptional vocals and natural gift for comedy, leaving you only wishing she had more stage time. Corey English is a delight as Nostradamus, delivering a scene-stealing performance, with his contribution to the aforementioned A Musical alone worth the price of admission.

Meanwhile, Cassius Hackforth has the unenviable task of playing perhaps the closest thing the show has to a level-headed presence. As the insecure yet immensely talented Nigel, he brings warmth, sincerity and likeability to the role, providing the perfect foil to the larger-than-life characters around him. 

The show boasts impressive production values throughout. Director and choreographer Tim Jackson delivers a series of superbly staged and choreographed song-and-dance numbers that burst with energy and spectacle. Colin Richmond’s set design perfectly captures the grime and atmosphere of Elizabethan London, creating an impressively detailed version that serves as a fitting backdrop to the action.

Completing the visual feast are Rebecca Brower’s bold and vibrant costume designs, which provide the perfect finishing touch. Their bright, flamboyant style complements the show’s larger-than-life personality and reinforces its gloriously unapologetic, in-your-face sense of fun.

This is escapist theatre at its finest, a joyous production that will leave you grinning from start to finish (and craving an omelette). As Shakespeare famously wrote, “If music be the food of love, play on”; and this show serves up a banquet of music, laughter and pure entertainment. I would wholeheartedly recommend tucking into this giant musical feast while it’s in Manchester.

Something Rotten! is on at Manchester Opera House until 19th July. Tickets available here.

Annie

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐

The girl who taught us to believe that “…the sun’ll come out tomorrow” is back in Manchester. Based on the 1924 comic strip ‘little Orphan Annie’ by Harold Gray, Annie first opened on Broadway in 1977 and has been delighting audiences across the globe ever since. But what is it about Annie that continues to captivate theatre goers nearly 50 years later?

At its heart is the story of eleven-year-old Annie (Victoria Alsina), a sprinted, red haired orphan, whose determination and optimism never wavers despite the hardships she faces. Constantly escaping in search of the parents she longs to find, Annie’s dreams are repeatedly crushed by the cruel and embittered Miss Hannigan, played with gusto by La Voix. However, Annie’s greatest challenge may be winning over the wealthy Oliver Warbucks (Alex Bourne). With the support of Grace Farrell (Tanisha-Mae Brown) and the Warbucks household staff, Annie sets out to change his life – and perhaps her own – in the process.

Despite being set during the Great Depression this show is filled to the brim with energy and heart. Colin Richmond’s set design reinforces this contrast, instantly transporting the audience to 1930’s New York City. The Orphanage is presented as a bleak and unforgiving environment which reflects the harsh realities of the era as well as the difficult circumstances in which Annie lives. This is complemented wonderfully by the stark lighting and the worn threadbare costumes of Annie, the orphans and even Miss Hannigan. All these elements, together, create the perfect anthesis to Annie’s sunny disposition, allowing her optimism and resilience to shine through. A mindset that is highly welcomed by this 2026 audience.

Another element that is highly welcomed is the incredible cast of this production. Starting with the headline hero – Annie herself, Victoria Alsina, she fully embodies the role and thrives in her portrayal. Alsina combines humour, charm and attitude into her version of Annie that creates a fresh feel to this audacious orphan.

Alex Bourne delights as Oliver (Daddy) Warbucks, he begins as the tough loving business tycoon whose icy exterior slowly thaws as Annie’s charm takes over. Both Bourne and Alsina work wonderfully together and his character transition from prickly to paternal is heartwarming to watch.

As Grace Farrell, Tanisha-Mae Brown brings elegance and warmth to the character and plays a key role in Warbucks’ transformation. Her performance is complemented by Richmond’s clever costume design which remains faithful to the 1930s aesthetic while giving Grace a modern sophistication.

The villains are equally impressive. Christian Cooper and Amber Kennedy fully commit to their roles as Rooster and Lily and fully deliver as the scheming duo. Cooper makes Rooster as despicable as required, while Kennedy’s Lily is equally as detestable. The highly anticipated rendition of ‘Easy Street’ doesn’t disappoint and is a standout moment in the show filling the theatre with energy and excitement.

However, it is La Voix’s Miss Hannigan who steals the show. La Voix is the reason I wanted to see this show, and she certainly does not disappoint. She explores every facet of the character and transitions effortlessly between comedy, bitterness and vulnerability. At times Miss Hannigan’s treatment of the orphans cements her villainess character, yet by the end of the show, La Voix has charmed the audience so much that it is impossible not to fall in love with her.

I knew coming to watch this show that I was going to enjoy it. Annie is a timeless tale about hope, never giving up and trusting love will always win. Told primarily through a child’s voice it still managed to touch adult hearts which makes this show such a success. As mentioned throughout the talented cast and creative team make this production a triumph. Every set and costume choice allows the performers to fully embody their characters which in turn allows the audience to become completely immersed in the show. Director Nikolai Foster has successfully created a beautifully balanced production which, despite its occasional darker themes, retains the warmth and familiarity of your favourite film. I thoroughly enjoyed the show and am certain future audiences will too.

Don’t wait until tomorrow book now and let Annie enchant you – showing at the Palace Theatre Manchester until Saturday 20th June, tickets available here.

Midsomer Murders: The Killings at Badger’s Drift

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️

When you think of the hit TV show Midsomer Murders there are a number of images that come to mind, idyllic villages, pleasant green pastures, quiet and simple English village life to contrast dark criminal mystery. Now a delightful blend of charm, intrigue and dark humour is brought to the stage in Guy Unsworth’s adaptation of Caroline Graham’s novel Midsomer Murders: The killings at Badgers Drift. This clever adaptation is successful in bringing together the spirit and essence of the original TV series, but also ironically brings a lively energy to the theatre. From the moment the curtain rises, the audince are transported into a seemingly idyllic English Country village but beneath this quiet exterior lurks hidden secrets with deadly outcomes. That combined with instantly recognisable eerie theme tune played on a theremin.

Unsworth’s clever staging combined with a strong cast and plenty of plot twists makes this performance a hugely enjoyable watch. A moment of appreciation must be taken for the casting director – Ginny Schiller CDG as any aficionados of Midsomer Murders the TV series will instantly recognise the headline name of this play – Daniel Casey who once played Sergeant Troy – now returns as Inspector Tom Barnaby. 

As expected one of the strongest aspects of an archetypal Midsomer Murder plot is the eclectic mix of characters and Midsomer Murders: The killings at Badgers Drift is no exception to this. Each member of this cast brings an exciting fresh quality and wit to proceedings. The story starts with the death of the well loved Emily Simpson who is found dead in the quaint little village of Badger’s Drift, meaning Barnaby and Troy must now investigate her death and find who killed her.

Casey’s portrayal of Detective Chief Inspector Barnaby is faithful to the original – his quiet soft demeanour and intelligence shine through and as a result creates a calm and commanding presence throughout this murder mystery. Casey’s calmness contrasts well with his sidekick Detective Sergeant Gavin Troy played impeccably by James Bradwell. Then there is the cast of eccentric villagers, which quite honestly make the show as this is where the bulk of the humour lies.

The inhabitants of Badgers Drift, despite being a comical cliche, hold just enough authenticity to be believable. The cast comprising of John Dougall, Nathalie Barclay, Chandrika Chevli, Julie Legrand, Rupert Sadler, Chris Agha and Rhian Crowley-McLean work well to embrace the melodrama and hidden secrets that lurk beneath the villages polite exterior. Every stereotypical character is accounted for, the interfering neighbour, the gossipers, the suspicious spies – and each one contributes to making the atmosphere so intense. The stage is filled with intrigue which makes the audience constantly question everything before their eyes – who can they trust and what should they be looking out for. My personal favourites of this cast were Lucy Bellringer played by Julie Legrand and the multiple characters played by John Dougall – these two were essential in the shows plot and their quick wit and humour at times had the audience in hysterics.

 

Now the above would not be possible without a spectacular creative team that bring this show to life. Knowing that the audience will be filled with fans of the original TV series mean that the creatives have a mammoth job on their hands to make sure all nuances are accounted for. The pressure of staying faithful to the original whilst at the same time creating a fresh retelling pays off in Guy Unsworth’s direction and clever script. Unsworth maintains the sharp wit of the Midsomer script and where needed fills the plot with suspense and sarcasm but it never feels overdone – again a credit to Unsworth’s talent. David Woodhead in addition to this creates sets and costumes that compliment Unsworth’s work. Woodhead uses the back drop of the idyllic rural countryside as the focus for his set – the simple yet effective choice allows for swift scene changes to drive the plot seamlessly.

The lighting (Matt Haskins) and the sound (Ella Wahlstrom) contrast well to visually create tension throughout the show. The lighting creates the drama, whilst the score provides suspense through eerie sounds that serve to build tension prior to a climatic reveal. I appreciated the mix of quiet village life as a backdrop to the eerie outcomes happening throughout the village. The entire production succeeds in creating an atmospheric spectacle that remains suspenseful until the end. This is further justified by the audiences reaction to the multiple plot twists that ensue through the village of Badger’s Drift.

Overall this show is a great success – it has all the twists and turns you would want from a Midsomer Murders tale. The plot is highly entertaining and through Unsworth and Woodheads is a very well constructed piece of theatre. The cast keep you engaged throughout and despite being a modern take on an old classic still keeps the sentimental charm fans have come to love. In addition, the cast are exceptional in their characterisation and through a good dose of dark humour and clever sets the story is well presented and makes for a throughly enjoyable evening. Come and see if you can survive England’s deadliest village through a mix of “art, horticulture cake and friendship.

Midsomer Murders: The Killings at Badger’s Drift is on at Manchester’s Opera House until Saturday 30th May tickets available here

Waitress

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Adapted from Adrienne Shelly’s 2007 film, with a book by Jessie Nelson, music and lyrics by Sara Bareilles and presented for this 10th anniversary tour by Abbey O’Brien, Waitress serves up an inspiring mix of self-empowerment, southern sisterhood, and super sharp wit.

The story centres on Jenna (Carrie Hope Fletcher), a gifted baker working at Joe’s Pie Diner. While famous locally for her creative flavour combinations, her personal life is far from sweet. Her abusive, controlling husband Earl (Mark Willshire) drains the joy from life with his belittling, controlling and abusive behaviour.

Jenna’s daily escape fantasies not only inspire her unique pie specials but also cleverly drive the narrative forward. Supported by her close friends and fellow waitresses, Becky (Sandra Marvin) and Dawn (Evelyn Hoskins), Jenna faces a life-changing moment when she discovers she is pregnant. The story then takes a rather unexpected turn as she begins a passionate affair with her gynaecologist, Dr Pomatter (Dan Partridge).

This uplifting female-led story bursts with heart as we follow Jenna’s journey from using baking as an escape to discovering her true self-worth and ultimately independence. Carrie Hope Fletcher makes for a perfect Jenna, she leads the cast with charisma, warmth and a strong, steely determination. Her delivery of iconic ballad She Used to Be Mine is sensational, heart-felt and emotionally authentic. The chemistry between Jenna and her co-workers/besties Becky (Marvin) and Dawn (Hoskins) feels real and relatable ensuring we believe in this trio entirely. Both Marvin and Hoskins have played these roles before and slip naturally back into these fully formed, enormously endearing characters. The audience lap up both Becky’s sass and Dawn’s likeability which Marvin and Hoskins deliver in bucketloads.

While this powerful production is superbly female led, the male characters are exceptionally well-cast too. Dan Partridge is immensely endearing as the clumsy yet charming Dr Pomatter. Mark Anderson brings pure joy to the stage as the eccentric Ogie, pairing beautifully with Evelyn Hoskins’ wonderfully kooky Dawn. While Dan O’Brien and Mark Willshire put their own impressive stamps on their very differing characters, Cal and Earl. Additionally, Les Dennis adds emotional weight as diner owner Joe, bringing a wise understanding to Jenna’s journey.

Waitress doesn’t shy away from serious subjects including domestic abuse, infidelity and unwanted pregnancy but manages to offset them cleverly with sharp comedic timing. The result is a brilliantly balanced emotional journey, packed with witty, relatable dialogue that will move you to tears one moment and have you laughing out loud the next. Add to this Sara Bareilles melodic and memorable score and you really have got the recipe for a genuinely sweet musical treat. Waitress is a big, brilliant slice of theatrical magic that proves life’s messy ingredients can still bake up something truly beautiful.

Waitress is on at Manchester’s Palace Theatre until Saturday 30th May tickets are available here.

The Karate Kid – The Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️


Karate Kid is a cult classic for any child of the 80’s, filled with iconic phrases, scenes and characters that defined a generation of martial arts fanatics. All this energy has been brought into the first staged musical adaptation of The Karate Kid by a Tony award-winning creative team. Everyone involved has worked incredibly hard to inject every ounce of heart and soul into this nostalgic retelling of the 1984 classic. The choreography was so sharp and in unison it was mesmerising to watch. This combined with the electric musical score made this one of the best productions I have seen this year, it is a true gamut of human emotion, brought to life incredibly well with humour, heartbreak, and determination that really draws you in. In all honesty it doesn’t matter whether you are attending this show as a lifelong fan of the 1984 film or you are a complete novice to this tale, this show is bound to leave you feeling uplifted, entertained and inspired to take on your own destiny. 

The Tony Award-winning creative team have been described by Broadway World as creating a production that is “elegant, emotional and remarkable” which really does sum up this show – it is an experience. Director Amon Miyamoto brings a sincerity to the show that is commendable, the balance of the high energy dance numbers create the perfect antithesis for the later heartfelt scenes that gives this show an emotional depth. The way Miyamoto uses the choreography to drive to the storytelling is what gives this production such edge. This is not surprising given Miyamoto’s background, not only is he the first Japanese director to direct a Broadway musical, but his acclaim comes from the ways in which he combines movement and feeling as a visual storytelling technique in his productions. Seeing this first hand I can confirm that his reputation has not been exaggerated. Having such a foundation really allows the characters to perform at their best and create the visual spectacle that is The Karate Kid.

Using the film as a foundation for the character base the creative team take this up a level in the casting of this show. Let’s start with the two iconic hero’s of the show Mr. Miyagi (Adrian Pang) and Daniel LaRusso (Gino Ochello), these two characters need to have chemistry together and Pang and Ochello have this in abundance. The way they metaphorically bounce off one another is delightful to watch. Ochello brings adolescent determination and emotion which you would expect from a teenager. You watch him grow throughout the show, where his innocence and insecurity drive the first half of the show, the second half shows his confidence growing through the direction and mentorship of Mr Miyagi (Pang). Pang’s characterisation pairs beautifully with Ochello. Pang is calm and wise and uses quiet meditation to guide his teaching of Daniel. Despite this quiet demeanour Pang infuses subtle humour into Miyagi that makes him relatable. In addition to this Miyagi’s teachings really are the focus of the show and Pang’s characterisation drives this even further.

The rest of the cast are equally as commendable, Abigail Amin takes on Ali Mills the love interest of Daniel and ex girlfriend to Cobra Kai student Johnny Lawrence. Amin’s charismatic portrayal of Ali has the audiences in the palm of her hand. Her voice is strong and crystal clear – hitting every note with undeniable intention. The perfect partner for Ochello she commands the strange with every move and entices the audience with every word. In addition to this Joe Simmons who plays Johnny Lawrence provides the perfect contrast as Ali’s ex and immediate love rival for Daniel. This rivalry is very well constructed and both Simmons and Ochello have a wonderful partnership on stage. Again a credit to the casting team. Matt Mills plays John Kreese the Cobra Kai leader – he provides the voice of reason and commands respect and discipline, his strict and diligent ways complement his musical numbers. Then we have the matriarch of the show Sharon Sexton, who plays Lucille LaRusso – Daniels mother she provides the audience with entertainment and wit throughout. Her humour drives the show and judging from the audiences reaction they seem to have taken to the New Jersey born Lucille.

Finally a special moment must be taken to discuss the choreography, lighting and music. The incredible work done by the creative team is clear to see in this trio of effects. From the moment the curtain goes up the energy is evident both in characters, costumes and sets. The dance routines leave you breathless, they are complex and well structured and cleanly delivered, the martial art elements are seamlessly interwoven into every step. The musical score is equally as electric, the songs have a vibrant effervescent quality to them that keep you entertained and engaged throughout the entire show. Moreover the lighting whilst dramatic is intentional which makes each set change to be even more emphatic than the next. 

In 1984 we were told to “Wax on, wax off’’ now in 2026 this Mancunian audience are encouraged to sing on and dance off. At times the story really pulls at your heart strings, its safe to say the spirit and essence of the original film has not been lost in the transition to stage. What better way to kick off the summer than seeing this high energy, visual treat that is bound to have you leaving the theatre on a high you’ll want to relive again.

The Karate Kid is on at Manchester’s Opera House until Saturday 23rd May here.

The Assassination of Margaret Thatcher

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

In 2014 a short story anthology by author Dame Hilary Mantel was published. The title alone grabbed a great deal of headlines and caused quite the stir as it came just a year after Thatcher’s death. Now, the collection’s title story has been adapted for the stage by Alexandra Wood, and there may be no more fitting place for it to be performed than Liverpool, where Thatcher’s name still provokes strong emotions to this day.

Set in Windsor shortly after the Falklands War, the play introduces us to divorcee Caroline (Anita Reynolds), who is preparing a hot pot while patiently waiting for the repairman to arrive. When the buzzer finally sounds, she is greeted by Brendan (Robbie O’Neill), a surly-looking Scouser complete with a tool bag and, in Caroline’s view, an unacceptably scruffy coat. It quickly becomes apparent, however, that Brendan is not there to fix the radiators, and that the tools in his bag are intended to solve a very different kind of problem.

Caroline’s flat provides Brendan with the perfect vantage point overlooking the hospital where Prime Minister Margaret Thatcher is undergoing a medical procedure. As the would-be assassin waits for the signal to take his shot, the pair find themselves with time to spare, and begin to talk. Over the course of the afternoon, Caroline and Brendan gradually discover that they may have far more in common with one another than either initially imagined. Caroline hopes she can show Brendan a alternative path and maybe save one, possibly two lives this day or is the killer-in-waiting not for turning?

There is so much to admire and enjoy in Alexandra Wood’s adaptation. The script is laced with pitch-black humour from the moment Brendan sets foot in the flat; at times unsettling, yet packed with genuinely funny one-liners that heighten the tension. Alongside the humour, the play explores wider themes of isolation and shines a spotlight on a climate of political anger and social division that was just as prevalent in the 1980s as it is now.

Under the direction of John Young, the production benefits from two exceptional performances. Robbie O’Neill delivers a desperate yet restrained turn, filled with quiet menace and a wonderfully dry sense of humour, while Anita Reynolds provides the perfect counterbalance with a warm, compassionate, and deeply reasoned performance. Together, the pair complement each other superbly, creating a dynamic that feels both tense and surprisingly caring

They are further supported by Ceci Calf’s fabulous set design. Caroline’s flat is steeped in 1980s charm and nostalgia; modest and unflashy, yet clearly viewed with envy by Brendan. There is also an unmistakable sitcom quality to the setting, evoking the domestic comedies that were such a staple of British television in the decade. At the same time, the cramped interior creates an underlying sense of entrapment and claustrophobia.

This is a thought-provoking, layered, and at times shocking piece of theatre, shot through with a wonderfully droll sense of humour and anchored by superb performances. It is a production that will spark debate, challenge perceptions, and, rather sadly, remind audiences that the more things change, the more they stay the same.

The Assassination of Margaret Thatcher is on at Liverpool’s Everyman until Saturday 23rd May tickets are available here.

Bank of Dave the Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Dave Fishwick is no ordinary man, having left school aged 16 with no qualifications, he defied the odds to become a self-made millionaire through pure grit, hard work and steely determination. After inspiring two Netflix films, a best-selling book, and a BAFTA-winning documentary, the story of Burnley’s favourite community champion is now taking to the Lowry stage in Bank of Dave the Musical.

With a book and lyrics by Rob Madge (My Son’s a Queer (But What Can You Do?)), music and lyrics by Pippa Cleary (The Great British Bake Off Musical), and direction by Leicester Curve’s Artistic Director Nikolai Foster (Kinky Boots, A Chorus Line), Dave Fishwick’s story is in very good hands. At its heart the show follows Dave’s mission to establish Burnley Savings and Loans, an alternative banking offering for the local community who have been failed by traditional corporations. Dave’s defiant stand against the big financial hitters offers an irresistibly inspiring, underdog story making it perfectly suited for dramatisation.

Taking on the larger-than-life role of Dave is a hugely impressive Sam Lupton. Lupton superbly embodies the Burnley entrepreneur, balancing steely determination with undeniable charm. Lupton portrays Fishwick’s infectious optimism with a genuine warmth and sincerity, ensuring you’re rooting for him wholeheartedly from the start. His pairing with Hayley Tamaddon as Nicky, Dave’s wife works wonderfully. There’s a genuine chemistry adding authenticity to the piece as we see their unshakable foundation encourage and support Dave every step of the way while their vocals are perfection.

Lucca Chadwick-Patel gives a sensational performance as Dave’s Solicitor Hugh, a Southern fish out of water who goes on his own journey of self-discovery. His partnership with Lauryn Redding as no nonsense A&E Doctor Alex adds another interesting layer to this feel-good story. While Redding gives an excellent performance with vocals to die for, I’d love to see a tweak to the writing with Dr Alex staying fierce but with a little more nuance to the character.

Special mention must go to Samuel Homes whose characterisation as super toff Sir Charles Denbigh is outstanding. His delivery of hilarious number Rich Boys Club is as deliciously vulgar as you’d hope for. Claire Moore as landlady Maureen brings both playfulness and emotional depth to the piece while Hannah Nuttall’s comedic timing as Mavis is a joy.

The immensely talented ensemble takes on multiple roles throughout, collectively creating a community the audience very quickly cares about. Vocally they will blow your socks off, with large-scale stirring numbers capturing the true spirit of working-class solidarity. Can You Hear The Mill? being the perfect example of this, leading us into the interval in the most song-tingling way.

Amy Jane Cook’s set and costume design anchors the production beautifully while video design from Duncan McLean elevates it visually. Musical Supervisor Toby Higgins and Orchestrator Tom Curran ensure Pippa Cleary’s melodic score is perfectly executed.

Witty wordplay flows throughout this production ensuring the storytelling both engages and entertains, there is so much to love here and the thunderous standing ovation at curtain calls confirms this. The pacing is good with just a few moments where things could perhaps feel even sharper, this however is a minor quibble for an enormously entertaining show.

With its proud Northern heart on full display, The Bank of Dave is an uplifting, laugh-out-loud triumph that radiates pure joy. This feel-good underdog story is a true celebration of community, determination and an inspiring reminder of what can be achieved when we truly believe in both ourselves and each other.

Bank of Dave the Musical is on at The Lowry until Saturday 16th May tickets are available here.