Double Indemnity

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐

Credited as “one of the great crime novels of the 20th century” the 2026 stage adaption of Double Indemnity is now showing at Manchester’s Opera House. Originally a novella by James M Cain in 1943, then in 1944 a classic film noir film by Billy Wilder, and now Tom Holloway, Oscar Toeman and their creative team present a reimagining of Cain’s story which promises to thrill and delight audiences with a stylised immersive production of this film noir classic.

The 1930’s aesthetic is told through a stylised theatrical lens, Holloway and the team lean on every Noir nuance of shadow lighting and sharp design, smoke effect and dialogue to depict a period which is renowned for decay and depression, greed and corruption. When Phyllis Nirdlinger (Mischa Barton) walks into Walter Huff’s (Ciaran Owens) life with an interesting proposal, his life is never the same. Suddenly Walter is pulled into a tense world of manipulation and betrayal which leaves Walter questioning everything he knows, he truly is under the spell of Phyllis, the original Femme Fatale.

As an insurance salesman, Walter Huff needs to have a keen eye for detail, and prides himself on being able to spot a scam. Then Phyllis Nirdlinger enters his life wanting to discuss her husband’s life insurance policy – now everyone knows this conversation can never go well. Walter is now sucked into Phyllis’s web – embroiled in a world of lies, seduction and betrayal. Ciaran Owens commands the stage from the second he enters; he exudes confidence and charm throughout. I am a fan of a fourth wall break and Holloway’s use of this technique works well. It is this breaking of the fourth wall that allows the audience to see the break in Walter’s character and Owens portrays this extremely well.

Making her UK debut Mischa Barton is headlined as the femme fatale Phyllis Nirdlinger, she bravely takes on the role of a villain and plays heavily on the film noir stereotype. Barton attempts to build tension throughout, her body language is dramatic, she stares longingly into the audience slowing her speech so every word is heard. Dressed in a burnt orange dress, adding a splash of colour but fully embracing the film noir aesthetics in her mannerisms. Barton’s and Owens’ work well together but I did want them to have a little more chemistry, however as a duo they successfully build the tension in the first act. Despite Barton being the headliner, the star role has to go to Martin Marquez. Marquez pairs well with Owens as his boss Keys, where in a story centred on murder, these two present a vulnerable element which is wonderfully endearing. As always there are a number of multiple role parts which demonstrate the talent of an ensemble, Oliver Ryan, Joseph Langdon, Gillian Saker and Sophia Roberts all deliver each of their role with ease and an abundance of presence. Each character adds an extra element to the play which all allow the plot to flow in the classic film noir style.

Ti Green’s set captures the nuances of Film noir, the backdrop of a reverse Hollywood sign acts as a constant reminder that they are more on the depressive side of the 1930 rather than the American Dream optimism. In addition, the bare construction of the sets provide the perfect antithesis to Hollywood’s stereotypical glamour. Greens set is utilised well, for a static set the multiple uses Green incorporates is quite impressive. Joshua Gadsby’s lighting and Dan Balfour sound design, pairs well with Greens set and this trio’s attempt to create the film noir spectacle is commendable. The constant use of the smoke effect, was a little overdone and at times it did appear a bit heavy on the stage when the characters were not moving. Green’s choice of costumes cleverly evoke the 1930’s style, providing each character with a sleek and classic silhouette which fills the production with a glamorous feel. Phyllis’ costumes are elegant and stylish and despite not obvious in colours, the polished outlines add to her seductive temptress character. Owens’ suits are symbolic of 1930 style, creating a more formal business-like aesthetic to Walter’s wardrobe. Green’s interesting use of tailoring and intentional character driven styles reinforces the noir aesthetic.

Presenting film noir on stage is a difficult task but Holloway’s production is well executed. Aesthetically the creative team adaptation of Cains tale does work well, where possible every nuance of Film Noir has been captured. The polished and elegant costumes contrast with the industrial/ construction style set resulting in them being symbols of the moral decay of the characters.  The forefront of this story is murder and is obviously a prominent theme of the play, however through Owens and Barton’s characterisation this play becomes more than this. Holloway contrasts comedy and tenderness with murder and seduction and in doing so begs the audience to question their moral compass. Made even more emphatic by having Owens continually break the fourth wall, Holloway literally involves the audience in the characters thoughts and feelings which gives this play a human quality that in my opinion makes it an interesting watch.

Double Indemnity is on at Manchester’s Opera House until Saturday 2nd May tickets are available here.

Acosta Danza Carmen

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️

Acosta Danza arrived at the Opera House in Manchester last night, presenting Carlos Acosta’s extended version of his production of Carmen. This reworking of such a famous opera and ballet is striking and contemporary.

The first act introduces Carmen (Amisaday Naara), a factory worker, and Don Jose (Alejandro Silva), a soldier whose lives collide following Carmen’s arrest. One of the most memorable moments occurs early on. The pair weave in and out of a caged structure, Carmen’s wrists bound to a rope held by Don Jose. The choreography here is particularly clever, clearly requiring complex problem solving and meticulous rehearsal to avoid any accidental entanglements. It visually captures the power dynamic and growing tension between the two characters.

Naara and Silva portray the intense passion of Carmen and Don Jose’s relationship excellently. Their chemistry is undeniable, enhanced by beautiful lines and stunning classical technique. The whirlwind romance feels fuelled by lust and circumstance rather than genuine love, which makes their eventual downfall even more inevitable.

One character I struggled to fully connect with was Bull (Aniel Pazos). His presence onstage was undeniably powerful, yet despite Acosta describing him as a ‘Master of Ceremonies’, this did not entirely translate. His function within the narrative felt unclear.

I also felt that some of the corps de ballet sections in Act One lacked the refinement seen in the duets and solos. However, this was resolved in the opening of Act Two which featured the newly added tavern scene for the corps de ballet, which proved to be the standout moment of the entire production. Without having seen the original version, it is difficult to imagine the work without this scene. The dancers brought infectious energy, and the Cuban flair shone through.

 Following this, Escamillo (Paul Brando) is introduced, and Carmen instantly falls for him. In contrast to her relationship with Don Jose, her feelings here feel genuine and you can see she is in love this time. The production builds swiftly to its ending when Don Jose discovers Carmen’s plans to marry Escamillo, and in a fit of jealous rage, tragedy strikes.

Overall, Acosta’s Carmen succeeds in offering a fresh Cuban-contemporary fusion alongside classical ballet. At just 1 hour and 40 minutes including an interval, much shorter than the classic opera, feels purposeful rather than rushed, keeping the story largely clear and engaging throughout.

Acosta Danza Carmen is on at The Opera House until Saturday 25th April tickets available here.

The Boy at the Back of the Class

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Reviewed by Gill and Stan Selkirk

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Boy at the Back of the Class is a well-loved book for many school children. This award-winning book by Onjali Q. Raúf has been adapted by Nick Ahar and is now a 2026 Oliver Award-winning stage show. It tells the story of Ahmet, a refugee boy from Syria. Even though the book is aimed at children this play can absolutely be enjoyed by all ages.

We follow Ahmet played by Serkan Avlik as he tries to settle into his new school in a different country. He is welcomed by a very caring girl called Alexa played by Sasha Desouza-Willock and her friends “The A Team” as they try and help this new boy, who sits quietly at the back of the class. They learn he is a refugee, which is a word they are not familiar with, after learning more about his heartbreaking situation they make it their mission to help reunite Ahmet with his family.

Despite most of the children being welcoming and trying to find ways around the language barrier using games and sharing snacks, Ahmet still must deal with awful treatment from the school bully Brendan played by Max Jordan, some of the parents, and even a teacher.

The story is told through the children’s eyes. Which gives it a refreshing innocence. It challenges why things are accepted by so many in the current world we live in. At no point during this production did I feel it had been dumbed down for children. 

It manages to be accessible, thought provoking and interesting for all. Even with the difficult topic the creators still managed to include plenty of giggles for all the audience. More political moments, are handled well and clearly show the responsibility politicians and the press have in how they portray refugees. 

The brilliantly talented cast are played by adults which works extremely well. Together as the friends Alexa, Michael, Josie and Tom all provide plenty of humour without losing the more serious message in the story. Alexa is also our narrator, she does this with a child’s innocence but allows her incredible determination for justice to shine through as she switches from directly addressing the audience back to the story seamlessly, fidgeting throughout, like many 9-year-old children but then can switch to play the adult characters perfectly.

Jonny Walker is the over-enthusiastic American Tom, who is full of energy and positivity, even managing to continue his performance upside down exercising. Natasha Lewis plays Mum and Mrs Khan, she does this brilliantly with care and compassion being the sort of teacher we all would want. 

Petra Joan-Athene plays star-crazy friend Josie, as well as some of the adult roles, easily switching between her many personas. Serkan Avlik plays Ahmet, our title character in such a way we instantly warm to him, and we are all in his corner, his sadness and fear at the beginning is all-encompassing but we slowly see him become a happier and more confident person as the show goes on. 

Direction by Monique Touko ensures the energetic pace means the audience attention is held throughout thanks to this well told story; incorporating Ahmet talking to the audience making us feel like we are even more invested in the outcome of this story, we see the situation through his eyes and the genuine struggle of many refugees, allowing us to see them as individuals with their own stories rather than the way they are shown often in the media. 

Set design is by Lilly Arnold and adds wonderfully to the storytelling. The backdrop is the kind of PE apparatus that many school children still know and adults remember. This backdrop is easily adaptable, making way for many scenes and works incredibly well along with some great sound effects even transforming to the gates of Buckingham Palace as well as the classroom.

Nick Ahad’s stage adaptation of this best-selling novel has been done beautifully. It manages to be funny and incredibly moving (tissues needed at the end) and portrays such a difficult subject with humanity.

Stan Selkirk – aged 10

I saw The Boy at the Back of the Class at The Lowry and I really enjoyed it. Some bits were funny and made everyone laugh, but other parts were serious and made me feel a bit sad for Ahmet. It taught me a lot about refugees and how hard life can be for them, and it also showed how important it is to stand up to bullying.

The show made me think about how even small acts of kindness can help someone. I liked how the kids in the story tried to help instead of just talking about it. Even though I don’t think I could travel to Buckingham Palace I always try and be kind and help others and I hope as I get older, I can do this more to change the way people treat refugees like Ahmet.

The whole show was produced well – the acting, the set, everything. When it finished, I felt like I’d learned something important and I kept thinking about it afterwards.

We talked about it driving home last night and all thought things need to change, and we all need to be part of this. I learnt that we shouldn’t worry about asking questions and what words mean to help us understand and change things for the better, I hope I can do this more as I get older. 

The Boy at the Back of the Class is on at The Lowry until Saturday 18th April tickets and further information are available here.

Ballet Black at 25

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

To mark a quarter of a century of beautiful storytelling and cultural impact, Cassa Pancho’s Ballet Black are touring the UK with their Anniversary Programme. The company comprises of 11 dancers. Each artist is given space to showcase their individuality, reinforcing Ballet Blacks continuous commitment and determination to celebrating ballet without stereotype or limitations.

The show opened with ‘…all towards hope.’. A bright and uplifting work choreographed by Hope Boykin. The piece began with the dancers moving to spoken word, written and recorded by Hope herself, immediately setting the tone of unity and having purpose. The message of working collectively to create change and inspire hope, resonated throughout. The choreography was fast paced and technically demanding with intricate footwork, yet this was executed with such precision and an ability to make this seem so effortless.

What really stood out to me was the intentional focus of each dancer as an individual. There was a real sense of celebration of each performer’s own artistry within the company. It added to the message of working towards the same goal together, without the need for uniformity.

One dancer who I could not take my eyes off, was Junior Artist, Bhungane Mehlomakulu who radiated pure joy and I couldn’t help but beam whenever he came on stage. The decision to allow each dancer their own moment for bows, further emphasised the message of celebrating individuality within togetherness. It was a wonderful piece to start the evening with, and did exactly what it says on the tin, delivered hope to those who watched it.

The second piece of the double bill was ‘INGOMA’ choreographed by Mthuthuzeli November. It is the most captivating piece of storytelling I have ever seen. This was an incredibly emotive performance depicting the aftermath of the horrific massacre at the African mine workers’ strike in Marikana 2012 focussing on the grief experienced by the families left behind. The artists showed such emotional depth to their performance. Conveying their despair, anger and pain with authenticity and physical intensity.

The work was incredibly physical and rhythmical, requiring a huge amount of stamina and strength, and each artist rose to the challenge. It was unbelievably inspiring, thought-provoking and showed the power of dance.

The evening was an emotional rollercoaster from hope to heartbreak, and they took us along for the ride. The whole company deserved the standing ovation they received, acknowledging the incredible talent on stage.

Further information and tour dates can be found here.

Inspector Morse – House of Ghosts

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐

There is something fascinatingly fitting about having the Lowry showcase Inspector Morse: House of Ghosts. By association it is a venue known for being modern, elegant and immersive, quite the start for this production. Inspector Morse, a classic ITV British staple which Radio Times dubbed ‘the greatest British crime series of all time’ was renowned for holding storylines that were intellectual, with a hint of melancholy and crime set superbly against the backdrop of the Oxford academic infrastructure. This theme is felt instantly from the moment you enter the Lyric theatre to Schubert’s symphony number 5 in B flat, welcoming the audience. Then the lights dim and the audience is treated to a bit of Shakespeare, before the plot begins to unfold. This first stage adaptation doesn’t just retell the story of the iconic inspector, it invites the audience into the meticulous mind of Morse and shares intimate details of his life, both past and present which allows an appreciation for the detective. Drawing inspiration from the long running ITV drama and the two spin off series Lewis and Endeavour, it’s fair to say Tom Chambers has a hefty pair of shoes to fill.

The play starts strong with an on-stage death of a young actress, which calls for Inspector Morse (Chambers) and his trusty sidekick D.S. Lewis played brilliantly by Waterloo Road alumni Tachia Newall, to now discover the truth. The dynamic duo, Morse and Lewis must now embark on a chilling investigation which uncovers more than Morse ever thought possible. Chambers and Newall’s pairing is perfect, a self-confessed fan of the show, Chambers embodies this perfectly, seamlessly weaving Morse’s mannerisms, recognisable facial expressions and sarcastic humour into every scene. Newall’s characterisation of Lewis provides the complete anthesis to Chambers, rather, Newall’s Lewis is caring and quiet and brings a subtle charisma to the role which pairs wonderfully with Chambers melancholic charm. Teresa Banham plays a brilliant part as Ellen who shares a history with the protagonist. The ten strong cast is a wealth of talent with James Gladdon as Freddy, Spin Glancy as Justin, Charlotte Randle as Verity, Olivia Onyehara as Harriet and Eliza Teale as Rebecca. As ever there is always one person who steals the show and that has to go to Jason Done, yet another Waterloo Road icon, who plays a dual role of Lawrence Baxter and Paul Kincaid. Lawrence Baxter is the obstinate, arrogant, loud villainous director who craves admiration, Done is superb in his portrayal. Paul Kincaid on the other hand is a vicar with a guilt complex which Done delivers with ease. In truth, the whole ensemble works well together to bring this masterpiece to life.

Penned by acclaimed writer Alma Cullen the plot holds special significance for Morse fans as Cullen is one of the original four writers from the original 1987 series. Cullen keeps the integrity of the iconic Morse character, upholding his classic characteristics and elements that make him recognisable. The creative collaboration of Director Anthony Banks and Cullen is a major success. Banks bring Cullens words to life, with stark realism which is hard to convey on stage. Banks is no stranger to staging a suspenseful thriller so there could be no better collaborative team to hold the responsibility of adapting Morse to the stage. As an audience member you feel safe in Banks’ and Cullen’s creation, Morse becomes real before your eyes, as you see how he deals with his personal demons and past burdens in his private and professions spheres.

The production team must be commended for the outstanding job they have done with this show. Colin Richmond the set and costume designer excelled in making the stage a home for Morse. Each piece of clothing has been so well thought out as the intricate details allow each character to become instantly recognisable. Suited up and complete with tie both Morse and Lewis command the stage in every scene. Jason Done’s wardrobe as Lawrence is flashy and eludes the arrogance of the character by doing pleather trousers and open neck silk shirts. The sets whilst on first glance, seem simple and structural, act as characters in their own right, constantly interchanging and guiding the plot seamlessly, occasionally accompanied by an instrumental interlude to signify a scene change. The lighting is very well executed and creates an atmospheric feel that heightens the emotional charge of the dialogue in every scene. The tempo of the plot mimics the tempo of the television series, slowing building up suspense for 2 hours then hitting the audience with a curveball plot twist that makes the wait worthwhile.

Chambers relishes this role and in doing so he successfully brings Morse to life – he makes sure all the relatable nuances of Morse are still present as well as managing to bring a fresh take on the classic detective. Newall similarly brings a modernism to Lewis, still keeping the youthful innocence of the character which is relatable to this Salford audience. A personal highlight was to see the Waterloo Road trio reunited and seeing how natural they all were in this partnership. The whole ensemble works wonderfully together to bring this chilling case to the stage. I’m not going to give any spoilers but anyone thinking of venturing out for a classic murder mystery needs to book tickets to this superb production asap.

Inspector Moorse – House of Ghosts is on at The Lowry until Saturday 11th April tickets available here.

Top Hat

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Time to dust off the glad rags, have a rummage for your cumberband and get yourself spruced up for the arrival of a Hollywood classic in town: the stage adaptation of Top Hat is here complete with big glitzy show tunes, sumptuous set pieces and a plot that’s as ludicrous as it is fun.

Top Hat began life as a classic 1935 Hollywood film starring Fred Astaire and Ginger Rogers and is widely regarded as one of the greatest dance musicals ever made. So, it’s staggering to think that it only first made the leap from silver screen to the stage in 2011. In 2025 it was revived by the Chichester Festival Theatre Production team, hitting the road for a nationwide tour in 2026, with one of its final stops at the Lowry.

At its heart, Top Hat is a light-hearted romantic comedy built on mistaken identity and farcical confusion. The story follows Broadway superstar Jerry Travers (Phillip Attmore), who travels to London to star in a new West End show, produced by his good friend, Horace Hardwick (James Hume).

While rehearsing, his enthusiastic late-night tap dancing disturbs a hotel guest staying in the room below, fellow American Dale Tremont (Nicole-Lily Baisden). Despite a frosty first encounter, Travers is bowled over by Miss Tremont, and seeks to woo the new lady in his life. However, as we know the course of true love seldom runs smoothly and  through a series of comedic mix-ups, Dale comes to believe that Jerry is actually his friend Horace, who is married to her good friend Madge (Emma Williams).

Add into the mix a fiery, flamboyant fashion designer, Alberto Beddini (Zac Edwards), a well-meaning if slightly incompetent Butler, Bates (James Clyde) and you have a perfect storm of mirth and mayhem set against a backdrop of glitz and glamour, taking in New York, London and Venice.

This is a lavish and thoroughly entertaining production that transports the audience straight back to the golden age of Hollywood. At times, the plot borders on incredulity, but this is only a minor quibble for a show that offers so much to enjoy. The performances are first-rate: Phillip Attmore and Nicole-Lily Baisden are perfectly cast in their leading roles, sharing a natural chemistry as they glide effortlessly across the stage. Attmore is every inch the charismatic, confident showman, while Baisden shines as a spirited yet emotionally conflicted leading lady.

They are supported by some fine comedic turns: James Hume and Emma Williams make a perfect double act as the mismatched married couple, Hume plays the bumbling British cad, with great comedic timing, whilst Williams is a great foil as his brash, no-nonsense wife. Alex Gibson-Glorgio is gloriously OTT as the eccentric fashion designer, his rendition of the musical number “Latins Know How”, is suitably silly. Whilst James Clyde nearly steals the show as the well-meaning yet incompetent Bates, complete with comedic disguises a plenty.

They are of course helped by some timeless showstoppers from the master Irving Berlin, with such classics as “Let’s Face the Music and Dance” , “Cheek to Cheek”, and throw in an outing “Puttin’ on the Ritz,” for good measure you can’t really go wrong. The highlight for me was spectacular, “Top Hat, White Tie and Tails”, which is packed full of razzmatazz. The band performing these numbers more than match the high-quality song writing, adding a touch of class.

The production looks glorious, exquisite costumes designed by Yvonne Milnes and Peter McKintosh that marry with McKintosh’s stunning art-deco set design, again transporting you to a bygone period and all the troupes you associate with Hollywood musicals of this period.

Sure, the plot is contrived and at times a little ridiculous but that said this is an entertaining night of fine, feel-good musical theatre, that will leave you with a spring in your step and a hankering to get fully dolled up for a night out on the town. 

Top Hat is at Lowry until 4th April. Tickets are available here.

The Old Vic’s A Christmas Carol comes to Salford

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The Old Vic is delighted to announce that Matthew Warchus’ much-loved, Tony Award-winning  A Christmas Carol, adapted for the stage by Jack Thorne (His Dark Materials, Harry Potter and The Cursed Child), will play at Lowry, Salford from 11 Dec 2026–10 Jan 2027.   

This will be the first time since its world premiere in 2017 that the show will be seen in another UK city, offering the chance for even more people to experience this magical show firsthand.

The Old Vic’s Artistic Director and Director of A Christmas Carol, Matthew Warchus, said: ‘For ten years now this production of A Christmas Carol has been delighting audiences from London and beyond and I am immensely proud of the impact it continues to have on audiences – whether it be their first time seeing the show or one visit of many. To now be able to share the joy of this production with the Lowry and its audiences makes this year a truly special one.’  

Lowry’s Chief Executive, Julia Fawcett, said ‘We’re absolutely thrilled to be working with The Old Vic – one of the UK’s leading theatres – to present their landmark production of A Christmas Carol – one of the most exciting, joyous and moving Christmas productions you’ll ever see. It’s the first time the show will have been presented in the UK outside of London – a real landmark moment for theatre in the region. We know North West audiences are in for something very special this festive season and everyone at the Lowry is delighted to be welcoming the show to Salford and presenting it on our Lyric stage.’

A Christmas Carol fills the auditorium to the brim with mince pies, music and merriment in this unique big-hearted production full of music and festive cheer.

Tickets are on priority sale to Lowry Members now and on general sale on Tue 31 Mar at 10am. Further details, including cast, are still to be announced. Tickets and further info can be found here.

Matilda The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

The touring production of Matilda the Musical has arrived in Manchester for a month-long stay at the city’s Palace Theatre. From the moment you enter the auditorium, this show draws you in. Rob Howell’s brilliant set design of wooden blocks and stacked books reimagines the space as the cast burst into opening number Miracle, bringing this beloved Roald Dahl classic to vibrant life.

At the heart of the story is Matilda, a bright and brilliant girl who finds herself saddled with quite possibly the worst parents in the world. Despite having their very own child genius the Wormwood’s are far too busy with their own selfish and silly pursuits to notice, thankfully Matilda’s teacher Miss Honey soon realises how gifted she is, taking her under her wing despite terrifying Head Teacher, Miss Trunchbull’s treacherous tactics to thwart them.

Taking on the role of Matilda at tonight’s performance is an impressive Mollie Hutton.  She perfectly captures Matilda’s defiant spirit, proving that no matter how small you are or how grim your situation, you have the power to rewrite your own story. Her voice is pitch perfect as she delivers each vocal with just the right amount of mischievous spark.

Richard Hurst makes for a tremendous Miss Trunchbull, his physical comedy is spot-on as he stalks the stage to hilarious effect. Tessa Kadler is excellent as sweet teacher Miss Honey, while Adam Stafford and Rebecca Thornhill as Mr and Mrs Wormwood are as wonderfully grotesque as you’d wish for and deliver some of the best comedic highlights.

Special mention must also go to the incredibly talented ensemble of children and adults who deliver Peter Darling’s choreography with absolute precision. Their infectious energy drawing the audience in more and more with every scene. They create a truly heart-warming moment during the inventively staged When I Grow Up, while their punchy precision during Revolting Children provides a perfect, high-energy final group number, with Carter-J Murphy shining in the role of Bruce.

This touring production seamlessly brings West End magic to Manchester, entertaining wholeheartedly while also delivering key messages about courage, kindness and the importance of standing up against injustice while Tim Minchin’s music and lyrics tick every box. This is a witty, joyous, mischievous masterclass in musical theatre that will appeal to young and old alike, ensuring we all feel a little bit taller by the end of the night.

Matilda The Musical is on at Manchester’s Palace Theatre until Saturday 25th April tickets are available here.

Broadcast date for National Lottery’s Big Night of Musicals

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The BBC has confirmed the recording of their annual National Lottery’s Big Night of Musicals will be broadcast on BBC One and BBC iPlayer on 28 March at 7.45pm.

Hosted by Jason Manford, the ever popular celebration of the best of musical theatre was filmed in front of a live audience at the AO Arena in Manchester on Monday 26 January.

Highlights include an exclusive performance of ‘Gethsemane’ from Jesus Christ Superstar by Sam Ryder, making his debut as Jesus and Alexandra Burke as music legend Chaka Khan in I’m Every Woman: The Chaka Khan Musical.

The line-up also includes a preview of the new production of Miss Saigon, as well as songs from Wicked, The Lion King, Oliver! and Paddington The Musical. There’s also an exclusive Disney medley performed by West End stars Lucie Jones, Mae Ann Jorolan and Trevor Dion Nicholas.

The event will also feature specially choreographed collaborations with local National Lottery-funded performing groups: Stockton-on-Tees men’s choir Infant Hercules with Jason Manford and the cast of The Choir of Man as well as a preview of La Voix’s performance as Miss Hannigan in the upcoming touring production of Annie performing alongside Manchester’s Wild Things Performing Arts.

Host Jason Manford said: “This event is all made possible because of National Lottery players whose support has raised over £1.4BN for theatre related projects in the UK, which keeps theatre alive and accessible. The 2026 line-up is phenomenal, some of the biggest shows in the world are coming together for one night only, and I can’t wait for audiences to experience it.”

National Lottery’s Big Night of Musicals | Winners and good causes | The National Lottery

Eric and Ern

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐

For more than a decade, Jonty Stephens and Ian Ashpitel have been delighting audiences with Eric and Ern—a loving, pitch-perfect homage to the brilliance of Morecambe and Wise. Their dedication hasn’t gone unnoticed either, earning Olivier Award nominations and a string of sell-out tours across the UK.

Now, Eric and Ern are back on the road for a run of spring and summer dates, including a five-night stint at The Lowry, before heading out on a full UK tour later in the year. What they deliver is a joyous evening of cabaret, nostalgia, and lovingly recreated sketches. Familiar favourites get a run out which include: “Mr Memory”, Morecambe’s “ball in a bag” routine, and their wonderfully warped take on ventriloquism, complete with Charlie, a hilariously battered and faintly sinister dummy.

Running gags are sprinkled throughout which include regular jabs at Des O’Connor and Ernie’s iron grip on the purse strings among them. Highlights include a clever reworking of the Stripper sketch and a fresh spin on the legendary Grieg’s Piano Concerto routine, both updated just enough to keep them feeling sharp without losing their charm.

Adding a touch of sparkle is West End star Olivia Fines, who proves to be far more than just a supporting act. As well as serving as a brilliant comedic foil, she showcases her vocal talents in a stunning rendition of Stephen Sondheim’s Send in the Clowns, valiantly holding her ground as Eric and Ernie do their best to derail it. She also joins in on “Tea for Two” and the iconic “Boom-oo-yata-ta-ta!” sketch, the latter featuring a particularly brave  audience member.

The atmosphere at times feels closer to a gig than a traditional theatre show at times, with audience members gleefully anticipating punchlines and occasionally joining in. Rather than detracting, it adds to the fun, giving Stephens and Ashpitel plenty of room to ad-lib and play. Their tweaks to Eddie Braben’s original material keep things feeling fresh while staying true to its spirit.

It would be doing Stephens and Ashpitel a disservice to call what they do mere impressions. They don’t imitate, they inhabit. From the physicality to the playful, occasionally chaotic chemistry, they capture the essence of Eric and Ernie so completely that you quickly forget you’re watching anything other than the real thing. The result is a near two-hour ride of high jinks, warmth, and pure nostalgia.

Of course, no evening would be complete without “Bring Me Sunshine,” performed here by the cast with the audience invited to join in. It’s a fitting finale that sends you out into the night with a trademark  Eric and Erm spring in your step.  A perfect way to end an evening of thoroughly feel-good entertainment.

Eric and Ern is at the Lowry until 28th March, tickets are available here.

My Name is Rachel Corrie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Originally edited by the late Alan Rickman and current Guardian Editor, Katharine Viner, My Name Is Rachel Corrie introduces us to 23-year-old American activist Rachel (Harriet Bibby) who was killed by a military bulldozer in 2003 when she tried to prevent the Israeli demolition of Palestinian homes.

Derived from Rachel’s own diaries and e-mails we quickly learn of her dedication to helping others, she is restless in her hometown of Olympia, Washington and keen to see the world. Upon her arrival in Rafah, she builds purposeful connections with Palestinian families and her fellow Internationals, the injustice she witnesses further fuelling her commitment to improving the lives of the marginalised.

The play begins in Rachel’s bedroom, where we see her living a seemingly normal life, listening to music, writing in her diary, and reflecting on her friendships. She soon reveals her deepening commitment to activism, choosing to leave her comfortable surroundings to join the International Solidarity Movement in protesting the Israeli Defence Force.

Harriet Bibby holds the attention of the audience entirely for this 90-minute solo show. Her performance feels wholly authentic as she skilfully brings Rachel to vibrant life in the intimate setting of 53Two. Her wide-eyed hopefulness and boundless energy endear her wholeheartedly to the audience. Driven by a need to help others and speak out against oppression her fierce determination shines through.

Ian Kershaw has directed this piece beautifully, taking us on an incredibly moving and intimate journey. In choosing a minimalist set, the focus stays entirely on Bibby, ensuring that every subtle shift in posture, tone, and pacing carries genuine emotional weight.

As Harriet Bibby delivers each poetic line with pure heart her transition from the goofy, vibrant Rachel we first meet to the disillusioned and deeply affected Rachel during her final days is striking. She captures Rachel’s hopefulness, sharp intelligence, and growing political awareness with a gentle ease. There’s a natural vulnerability in her performance that makes the material feel personal, making the ending even more devastating.

This powerful and important piece of theatre feels urgent and heartbreakingly current with Bibby bringing clarity to its message. The thoughtful direction of having Bibby leave the stage to make way for original footage of the real Rachel Corrie works wonderfully. Watching her share her hopes for a better world acting as a reminder of who has been lost here and what could have been.

In partnership with 53Two, Take Back Theatre has created a visceral, emotive portrayal that strikes a powerful chord with modern audiences. This production is both profoundly affecting and intensely human, ensuring it will live long in the memory after the lights go down.

My Name is Rachel Corrie is on at 53Two until Sunday 22nd March tickets are available here.

BSL Interpreted perfomance Sunday 22nd March

The Constant Wife

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐

Filled with style, sophistication and sharp wit, W Somerset Maugham‘s 1926 play The Constant Wife explores the institution of marriage, morals and manners turning every expectation on its head with an imaginative alternative telling of infidelity, betrayal and scandal. Being labelled Maugham’s “most clever and captivating creations” he creates the ultimate heroine in Constance Middleton. Always aware of her husband’s extra-curricular activities with her best friend Marie Louise, Constance plays the dutiful wife and in true 1920’s style pretends to live her life in blissful ignorance. That is until the affair is made public, now Constance must decide how she wants to live her new life. Now a century on, how will the 2026 audience receive Maugham’s play?

Fresh from the success of a West End run, Maugham’s story is brought to life in this incredible collaboration by David Pugh, Cunard and the Royal Shakespeare Company. Such a trio, the expectation is high for Laura Wade’s Lowry production. Staring Kara Tointin as the formidable heroine Constance who is far ahead of her time. Once the affair is made public, this allows Constance a clean slate to rewrite her story. Tointin plays this wonderfully, she playfully weaves humour and sarcasm into her sizeable script. Moreover, Tointon brings a wonderful modern twist to Constance and despite being set in the 1920’s era, she still manages to make Constance relevant and daring. Maugham’s script shines though in Tamara Harvey’s direction, it’s clear to see why this show has had the success it has.

Tim Delap brings a subtle depth to John Middleton who has a predilection for women that aren’t his wife. He plays the 1920’s male very well and the entitlement is played to perfection, especially in the second act when John even slips into melodrama. He epitomised the idea that “men are polygamous and should be allowed their indulgences”. Delap mixes charm with arrogance in his portrayal of John, and as an audience member you feel conflicted in your feeling of him. This conflict of character is also seen in Marie-Louise Durham – played wonderfully by Jocasta King, on the surface she should be despised for defying her loyalty to Constance, yet it could be argued she could be pitied for being swept along in a romance that wasn’t hers to take. The obliviousness King shows in Marie-Louise’s actions highlights her selfishness, this combined with her lack of awareness is a very clever character choice and it works. For me both Delap and King excel in their characterisation and must be commended.

Sara Crowe is perfect as a 1920’s mother – filling Constance with the advice of the time yet she managed to get a few cutting insults on her perception of Constance’s life. Combing humour and wit Crowe brings the archetypal 1920’s mother to life. Amy Vicary-Smith is superb as Martha, Constance’s Sister – the “confirmed Spinster” brings postmodernism to the idea of what a woman is – she is independent and fiercely loyal of Constance. She is a businesswoman and unmarried at a time where this was extremely unfeminine. Like Crowe she brings an effervescent humour that makes the play very enjoyable. Jules Brown, whist having a small part as Mortimer Brown plays a pivotal part as the catalyst for the plot unfolding. Alex Mugnaioni’s portrayal of Bernard as the doting lovesick best friend of Constance adds a entertaining side plot to the play. Finally, Philip Rham’s Bentley the butler is endearing as well as a very talented pianist.

Now a moment must be dedicated to discuss the set and costumes created by Anna Fleischle and Cat Fuller. They have been described as ‘fresh and captivating’ and I cannot disagree. The set is filled with 1920’s staple furniture and art deco designs. Fleischle still brings the 1920’s glamour and elegance with a modern twist that you would see on the high street today.  The combination of these sets and costumes complement one another perfectly and the whole creative team have done a sterling job in creating this masterpiece of visual theatre. For the musical score you can do no better than to include original compositions by Jamie Cullum. Cullum’s signature jazzy tones act as perfect scene changes throughout the play.

The whole production team have delivered an exquisite piece of theatre. The cast is superb in each of their portrayals and are complimented perfectly by the beautiful set, stunning costumes and a jazz soundtrack that will fill you with joy.

The Constant Wife is on at the Lowry until 21st March tickets are available here.