A Man for All Seasons

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

As a nation, we have always been fascinated by those terrible Tudors. From Hilary Mantel’s acclaimed Wolf Hall trilogy to the smash-hit musical Six, Henry VIII and his bloody reign continue to capture our imagination. Historians such as Lucy Worsley offer fresh perspectives, while films including The Other Boleyn Girl and Firebrand ensure our appetite for Tudor drama shows no sign of waning.

That fascination continues with the touring production of Robert Bolt’s 1960 play A Man for All Seasons, arriving at the Lowry this week. Henry VIII (Orlando James) is frustrated by his wife Catherine of Aragon’s failure to provide a male heir and has his eye on the younger Anne Boleyn. Determined to secure an annulment and marry again, he needs the support of his Lord Chancellor, Thomas More (Martin Shaw). There is, however, a problem: More is a devout Catholic and a man of deep conscience. Unable to support the King’s demands, but equally unwilling to openly condemn them, he opts for silence – a decision that soon puts his own future and the safety of those around him in jeopardy.

Pressure mounts from all sides. More’s wife Alice (Polly Kemp) and daughter Margaret (Grace Molony) fear the family will face poverty and danger as a result of his stance. Diplomat Chapuys (Asif Khan), with his strong ties to Catherine and the Catholic Church, also seeks to influence events. But the greatest threat comes from Henry himself. Despite their long-standing friendship, the King is determined to win More’s support and enlists his cunning and ruthless enforcer, Thomas Cromwell (Sam Philips), to bring him into line. As the pressure intensifies, More faces the ultimate test of his principles.

For what is a weighty subject matter, director Jonathan Church keeps the narrative flowing, we are not bogged down in detail, instead drawn by the characters and the motivations. Martin Shaw is excellent as More, it’s a calm, stoic turn as we see a man driven on by his conviction and faith.  It makes for captivating and engaging viewing. I swear he shrank as the pressure intensified on More.

This in contrast with Sam Philip’s confident, bullish and determined Cromwell, and the build up to their inevitable confrontation makes for engaging watch. Peter Losasso is equally impressive as Cromwell’s right-hand man, the slimy yet ambitious Richard Rich. Orlando James’ brief turn as Henry demonstrates how dangerous Henry could be flip-floping from a playful man-child, to unhinged psychopath.

There are surprising moments of levity throughout, in the form of Paul Kemp’s playful portrayal of ‘The Common Man’ acting as the show’s narrator, we see him play a host of characters from man servants to boatmen. Each one’s goal is usually the same to make a few quid and keep his head, his wry asides also help to keep the narrative engaging, entertaining and provide useful insight.

Another highlight of the production is Simon Higlett’s impressive set and costume design. The versatile solid-oak surroundings look striking throughout, transforming seamlessly from More’s grand home (which gradually becomes increasingly sparse) into seedy taverns and makeshift courtrooms. Despite the openness of the stage, there is an ever-present sense of claustrophobia that perfectly reflects the growing tension. The costumes are equally impressive, authentic and beautifully detailed. I’ve never particularly fancied wearing a cloak before, but I certainly do now!

The closing moments did feel slightly overlong, running perhaps a few minutes beyond where I felt the play should have ended. It’s a minor quibble, however, in what is otherwise a superbly acted and visually stunning production from beginning to end.

A Man for All Seasons is on at The Lowry until Saturday 7th November tickets are available here.

Sylvia

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

In 1903, Manchester, Emmeline Pankhurst founded the Women’s Social and Political Union (WSPU) to fight for the rights and betterment of women. Her name remains synonymous with the city, and she is almost universally the first name which comes to mind when women’s suffrage is mentioned. However, as the WSPU grew increasingly militant under the leadership of Emmeline and her eldest daughter, Christabel, middle daughter Sylvia and the path she takes gives us the focus of this powerful story.

Disillusioned by her mother and elder sisters increasingly radical methods, Sylvia fights to guide the Suffragettes toward a broader socialist agenda, fearing that their extreme tactics and restrictive focus will leave ordinary working-class people behind.

The production brilliantly captures the ideological rift tearing the Pankhurst family apart, resulting in a powerful exploration of family division as the Pankhurst’s feud over the socialist ideals Sylvia refuses to compromise on.

Beverley Knight takes on the role of Emmeline, an authoritative, no-nonsense presence who refuses to back down. Knight, like Emmeline is truly a force of nature, strong, compelling and utterly formidable. Her vocals are pitch perfect, as she delivers Emmeline with a steely, stirring determination.

Naomi Katiyo absolutely raises the roof in the titular role of Sylvia. She takes the audience on a truly remarkable journey, growing in strength and conviction despite the brutal conditions she endures. Rather than breaking her spirit, frequent imprisonment and regular hunger strikes only fuel her determination to succeed in her fight against inequality. Her vocals are perfection, delivering Kate Prince’s intricate lyrics with seamless control as she moves from heartbreakingly emotive to powerful and punchy with an incredible ease.

While Beverley Knight and Naomi Katiyo lead this cast superbly the production feels like a very special ensemble piece with every single person on stage well and truly at the top of their game. While every member of the cast deserves enormous praise, special mention must go to Ellena Vincent as Christabel, Tachia Newall as Kier Hardie, Uzuazo O’David as Harry Pankhurst, Kristie Skivington as Adela Pankhurst, Ivano Turco as Silvio Corio and Colette Guitart as Clementine Churchill, all are knock out.

The collaborative writing of Kate Prince (lyrics & book), Priya Parmar (book) Josh Cohen and DJ Walde (music) is a joy, covering multiple genres from hip-hop to soul in impressive style. The vocals in this mostly sung-through production are incredible, paired with Prince’s stunning choreography and direction the result is a slick, striking and visually enthralling piece.

There’s a wonderful balance between vocal numbers like Stand Up that feel like a call to arms and the deeply poignant I Don’t Want Blood on My Hands adding depth and complexity to the storytelling. Taking this to the next level is Prince’s choreography which is used to incredibly dramatic effect, none more so than during March Women March/Be The Change at the close of Act 1 which brought me and many of the audience to tears.

Ben Stones mostly monochrome set paired with Natasha Chivers and Hector Murray’s intentionally stark lighting allows the focus to stay firmly fixed on the characters as this politically charged story unfolds. Splashes of politically aligned colour appear as we move further into the timeline of the period adding clarity and broader character definition.

Sylvia is an absolute triumph, the cast are sublime while the production leaves you feeling, educated, entertained and empowered. Sylvia serves as a true reminder of the importance of standing up against injustice and inequality even when the path feels almost impossible. As a woman, from the North West I found the production deeply moving and a true reminder that we can all be changemakers. Inspirational, powerful and incredibly poignant, this is an absolute must-see.

Sylvia is on at The Lowry until Saturday 24th October tickets are available here.

The Choir of Man

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐⭐

In 2017, The Choir of Man, created by Nic Doodson and Andrew Kay, premiered at the Edinburgh Festival Fringe. The show instantly connected with audiences and found international success, this popularity has never faltered with the tour returning to the North West, this time showing at the Lowry much to the delight of this 2026 audience.

Set within an archetypal British pub, named The Jungle, the production immediately challenges conventional expectations of musical theatre, featuring a fully functioning bar on stage where audience members can enjoy a pint before and during the performance. More than a theatrical gimmick, the bar becomes the beating heart of the production, establishing a joyful atmosphere and bringing the world of the pub to life on stage. Within the opening five minutes, it becomes apparent that The Choir of Man is an unconventional musical, distinguished not only by its infectious energy but also by its exploration of masculinity, community and the cultural significance of the British pub. Rather than following a traditional linear narrative, the show unfolds as a celebration of shared experience, male friendship and the sense of belonging that community spaces can foster. Its characters, identified by archetypal titles such as ‘the Poet’, ‘the Barman’ and ‘the Romantic’, further reinforce this sense of familiarity. Each embodies a recognisable figure from the local pub, allowing the audience to identify with these characters almost immediately. Through this combination of familiar social archetypes and a shared theatrical space, Doodson and Kay create a compelling connection between performers and audience, inviting us to consider not only what it means to be a man, but also the universal human need for connection, acceptance and belonging.

The score adopts the style of a jukebox musical, weaving together popular and instantly recognisable songs from a variety of genres and eras including tracks from Adele, Katy Perry, Queen and Sia, all are reimagined and delivered with remarkable skill by the nine-strong cast. In another departure from conventional musical theatre, the songs do not necessarily drive the narrative; instead, the production embraces a concert-style format in which the performers acknowledge and engage directly with the audience. This breaking of the fourth wall is executed with infectious enthusiasm, creating an atmosphere of shared celebration that is warmly received by the Lowry audience.

Jack Blume’s musical arrangements are a particular highlight, with the impressive nine-part harmonies providing moments of genuine vocal splendour. Complementing Blume’s arrangements is Freddie Huddleston’s dynamic movement direction, which brings an additional rhythmic dimension to the performance. The infectious soundtrack seems almost impossible to resist, inviting toe-tapping and finger-clicking throughout, while Huddleston’s choreography builds on this energy through its integration of movement and percussion. Judging by the bopping heads and chair dancing throughout the auditorium, the Lowry audience is thoroughly embracing the evening’s communal spirit at ‘the Jungle’.

Debbie O’Brien certainly had her work cut out when casting this show. As stated above, The Choir of Man relies heavily on its performers delivering the triple threat of acting, singing and dancing, yet O’Brien seems to have struck gold with this cast. All nine performers share a wonderful chemistry, bouncing effortlessly off one another and fully embodying their ‘Everyman’ personas. None needs to be the obvious standout, the villain or the protagonist; instead, they must convincingly portray a group of ordinary men who are regulars at their local pub. Achieving this natural, easy camaraderie is no simple task, yet through O’Brien’s casting and the creative team’s direction, the company succeeds brilliantly. Ironically, in their efforts to portray ‘ordinary’ people, the cast prove truly sensational: their dancing is impeccably timed, their singing is world-class and their acting is exceptional.

With each character defined by a skill-based title, the performers must also embody the qualities their names suggest. The Poet (Oluwalonimi (Nimi) Owoyemi), for example, must be almost bard-like in his storytelling, particularly as he also serves as the narrator, driving the show forward. The Maestro (Gustav Melbardis) brings the qualities of a musical magician, while The Handyman (Jack Skelton) showcases his impressive tap-dancing ability. Meanwhile, The Beast (Lewis Dragisic) charms the audience with his charisma and dulcet tones. Alongside The Hard Man (Niall Woodson), The Joker (Ben Mabberley), The Barman (Joshua Lloyd), The Romantic (Sam Walter) and The Pub Bore (Aaron Pottenger), each performer contributes to the ensemble’s collective identity. These may be ordinary men, but there is certainly nothing ordinary about the performers bringing them to life. Their exceptional skill and infectious energy make these portrayals quite extraordinary. Oluwalonimi (Nimi) Owoyemi rendition of Luther Vandross’ ‘Dance with my Father’ left me speechless, the Lowry audience and I were not prepared for how devastatingly beautiful this version was and the harmonies from the other Choir cast mates was magical to watch.

Before coming to see The Choir of Man, the phrases used to describe the show were ‘high energy’, ‘pure joy’ and ‘a great night out’. All are true, but nothing can quite prepare you for the atmosphere this production creates. Its reimagined jukebox soundtrack has you tapping your feet, singing along and feeling as though you’re at a live concert. The fourth wall is well and truly shattered; you’re not simply watching the action, but becoming part of it, quite literally invited onstage to share a pint with the cast. Through clever casting, expert staging and infectious energy, it’s little wonder that the show has earned the international reputation it enjoys. Yet beneath the music, humour and good times lies something more meaningful: a celebration of community, an exploration of masculinity and male mental health, and a reminder that sometimes the most important thing is simply to be yourself. At its heart, The Choir of Man is about a group of lads down the pub, enjoying life and each other’s company. As the poster’s tagline puts it, ‘Music, Mates and Good Times’ — a sentiment that feels universally relatable. So, grab your mates and head to The Lowry for a night at the Jungle with The Choir of Man. You won’t regret it.

Showing at The Lowry until 17th October 2026, tickets are available here.

Calendar Girls The Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

 

The show about five incredible women who defied tradition, changed the meaning of a sunflower and dared us to “whip our bras off” is now showing at the Octagon in Bolton. In 2003, the world was introduced to the extraordinary story of Calendar Girls, and audiences were certainly not prepared for the emotional rollercoaster they were about to embark on. 

When Annie’s husband John is cruelly taken by leukaemia, her best friend Chris persuades Annie and their friends to come together and create a charity calendar in the hope of raising money for the hospital that cared for him. Their mission seems simple enough: raise enough money to buy a sofa for the hospital’s family room. But, as is so often the case, fate has rather bigger plans. What follows is a whirlwind of friendship, grief, laughter and courage, a story that continues to resonate with audiences more than two decades later. And perhaps the most incredible part of all is that this really happened.

The musical is based on the true story of the Women’s Institute members who made headlines in 1999 by producing a nude calendar to raise money for charity. There is something particularly challenging about bringing a true story to the stage. You need to capture the emotions, preserve the integrity of the story and, most importantly, respect the real people whose lives inspired it. Gary Barlow and Tim Firth have succeeded in all three with this magnificent musical rendition of the inspiring tale of a group of Yorkshire women who decided to do something rather extraordinary for charity.

Women’s Institute members. A nude calendar. A sunflower. Raising money for charity…Quite the plot line, wouldn’t you say?

Director Paul Robinson revives the well-known production of Calendar Girls, but this is far from a production that relies on elaborate sets or spectacle. The use of actor musicians perfectly complements the productions stripped-back approach. It is this simplicity that, ironically, gives the show such impact. As with many Octagon productions, Calendar Girls thoroughly embodies a sense of community. The use of local casting adds an authenticity to the production, while the intimate nature of the theatre itself makes you feel as though you are part of the story rather than simply watching it unfold. Together, these elements create a wonderful sense of family, while the relatability of the characters immediately draws you into their world.

Helen Coyston’s staging reinforces this further. The in-the-round configuration means the audience is in close proximity to the cast throughout, while her staging remains simple and elegant. Nowhere is this minimalist approach more effective than in the infamous calendar scenes. Rather than making these moments exposing, awkward or gimmicky, Coyston treats them with sensitivity and softness. In doing so, the scenes become something far more meaningful: a celebration of body positivity, confidence and the courage to embrace who you are. The strategic placement of props, choreographed seamlessly into the action, feels completely natural and is exquisitely executed. Nothing feels unnecessarily complicated, allowing the characters and their stories to remain firmly at the heart of the production. 

The musical score is infectious. Gary Barlow and Tim Firth’s original score has been reimagined for this production, with the cast doubling as the band. I have seen this technique used many times, but it is incredibly effective when executed well, and this cast makes it look effortless. A combination of woodwind instruments and piano adds another layer of intimacy to the production. The absence of a hidden pit orchestra allows the music to exist within the world of the characters, rather than sitting separately from it. You can see and hear the musicians creating the melodies alongside the action, further reinforcing the sense that this is a community telling its own story.

This 12-strong cast is incredibly versatile, seamlessly switching between acting and playing multiple instruments throughout the production. Leading the cast are Karen Holmes as Chris and Christina Meehan as Annie, accompanied by a superb ensemble including Pippa Duffy as Celia, Sarah Groarke as Marie, Annie Kirkman as Ruth, Alicia McKenzie as Cora, Fenella Norman as Jessie, Neil Moors as John, Matt Heslop as Lawrence, Charlie France as Tommo, Grace Pearce as Jenny and Billy Currid as Danny, with Matt Ian Kelly, Rachel Hammond and Angela Caesar who all tackle multiple roles. 

Holmes allows Chris’s feistiness to shine, showing exactly what a force of nature she can be. She is quite the antithesis to Meehan’s Annie, who presents a softer kind of strength. But don’t be deceived: beneath Annie’s gentler exterior is a true fighter, determined never to lose sight of why they are doing this. Meehan makes Annie the backbone of the group, capturing the way grief can change from one moment to the next, sometimes strengthening you and sometimes threatening to overwhelm you. It is perhaps this portrayal of grief that makes Calendar Girls so universally relatable. For many watching, the story may echo their own experiences of loss, and there is something incredibly powerful about seeing those emotions represented so honestly on stage. Annie’s journey reminds us that grief does not follow a straight line. Sometimes it makes you stronger, sometimes it breaks you, and sometimes it does both within the space of an hour. 

Calendar Girls is such an inspiring story, and Robinson’s reimagining of these unyielding Yorkshire women’s formidable quest to raise enough money for a sofa becomes something far more magical. This is a story of courage, compassion and, to borrow the Women’s Institute’s own words, “fun, friendship and enlightenment”. The use of local actors further injects authenticity and community into the production. The emotionally charged subject matter makes for some genuinely moving moments, with scarcely a dry eye in the house. 

Whether you are familiar with the original story or discovering it for the first time, Calendar Girls remains a staple of modern theatre. Setting this extraordinary true story to music brings a new energy and emotional charge to an already electric tale, allowing the laughter and the heartbreak to sit side by side. What begins as a seemingly simple mission to buy a sofa becomes a celebration of friendship, bravery, grief and the remarkable things that can happen when ordinary people decide to do something extraordinary. And perhaps that is the greatest achievement of this production: beneath the laughter, the music and, of course, the infamous calendar, it reminds us that sometimes the smallest acts of kindness can create something much bigger than anyone ever imagined.

Calendar Girls is on at Bolton’s Octagon theatre until Saturday 31st October tickets are available here.

Little Shop of Horrors

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Directed and choreographed by Tony and Olivier Award-nominated Carrie-Anne Ingrouille (Six), this bold revival takes Alan Menken and Howard Ashman’s beloved, cult classic and breathes new and utterly brilliant life into it resulting in a thrilling theatrical experience that you won’t want to miss.

Based on Roger Corman’s cult classic, Little Shop of Horrors introduces us to Seymour, (Jed Berry) a timid florist trapped as a browbeaten assistant to the harsh Mr Mushnik (Michael Starke). Life on Skid Row is pretty bleak, the shop is failing fast, and Seymour is secretly in love with his coworker, Audrey, however everything changes when he purchases a strange and interesting plant whom he names Audrey II. But, as the plant begins to wither, Seymour makes an alarming discovery…the plant needs human blood to survive. As the carnivorous Audrey II grows, so do Mr Mushnik’s profits and ultimately Seymour’s fame. Could this bloodthirsty beast be Seymour’s golden ticket out of the gutter and into Audrey’s arms or will the price of success be too high to pay?

Jed Berry is an absolute joy as Seymour, perfectly capturing the character’s wide-eyed innocence with a sweet, well-meaning sincerity that instantly wins over the audience. He entirely nails the essence of Seymour giving us a loveable underdog we can truly invest in while his vocals are utterly sublime. Stepping into the iconic shoes of Audrey is EastEnders and Strictly star Maisie Smith. Smith plays the Skid Row shop assistant with a delicate vulnerability, effortlessly blending sharp comedic timing with soaring, powerhouse vocals. Opposite Berry’s endearingly awkward and lovesick Seymour, the duo share a wonderful on-stage chemistry, their flawless, rendition of fan favourite “Suddenly, Seymour,” ensuring the audience is wholeheartedly rooting for this unlikely pair to succeed.

Michael Ayton gives us show-stopping vocals as Audrey II, effortlessly capturing the soulful, sinister sass of the blood-thirsty botanical beast. Brookside legend Michael Starke makes for a wonderfully scheming Mr Mushnik, while Benjamin Yates is perfectly cast as Leader of the Plaque, Orin Scrivello, the Dentist. Unhinged, unforgettable and utterly brilliant!

Special mention must also go to the iconic trio of narrators, Psalms-Nissi Myers-Reid as Crystal, Gabrielle Davina Smith as Ronnette, and Rio Maye as Chiffon. Their harmonies are to die for (literally), adding further depth to Alan Menken’s much-loved score while they deliver Carrie-Anne Ingrouille’s slick choreography to perfection.

Award-winning set and costume designer Morgan Large has constructed an incredibly striking set which impressively maximises the intimate space at Hope Mill Theatre, bringing Skid Row to Manchester in incredible style. The intricate Audrey II puppets (also designed by Morgan Large and created by Robert Allsopp) are seamlessly operated by a team of puppeteers (Julia Frost, Christopher Dobson and Imogen Khan) who together with Michael Ayton ensure there’s no mistaking this is a living, breathing, badass botanical.

Musical director Ben Barlow with sound designers Sam Glossop and Harry Greatorex ensure Alan Menken’s score sounds sharp and vibrant while Rory Beaton’s lighting design confirms the sheer quality of this production.

Forty years after the film first captured our hearts, this brand-new revival proves that the monster hit is bigger, bolder, and more of a must-see than ever before! Superb!

Little Shop of Horrors is on at Manchester’s Hope Mill theatre until 30th November before it heads to Liverpool’s Playhouse from 3rd December until 9th January tickets and info are available here.

The Silence of the Lambs

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

When it was first announced earlier this year that The Silence of the Lambs was being brought to the stage, I have to admit I was both intrigued and a little sceptical. It’s certainly a bold choice for a theatre production, given that the film is widely regarded as one of the greatest of all time and continues to feature highly in film polls. Then, of course, there are those much-loved and Oscar-winning performances from Jodie Foster and Sir Anthony Hopkins.

Thankfully, writer Gina Gionfriddo and director Nikolai Foster have done a superb job of bringing the story to the stage, creating something that feels fresh and distinctive rather than simply being a straight screen-to-stage adaptation.

Leaning more into Thomas Harris’s 1988 novel, the stage adaptation tells the story of FBI trainee Clarice Starling (Mollie Gallagher). She’s top of her class at Quantico and, despite still being relatively green, is given an assignment by Jack Crawford (Oliver Farnworth), head of the FBI’s Behavioural Science Unit. Crawford wants Starling to interview Dr Hannibal Lecter (John Partridge), a brilliant but deeply disturbed psychiatrist who is being held in a Baltimore hospital for the criminally insane. Lecter is also a particularly gruesome serial killer, with a rather unpleasant penchant for eating his victims.

Crawford hopes that Lecter might be able to provide some insight into another killer, known as ‘Buffalo Bill’ (Sam Jackson), who is currently at large. However, getting information from Lecter is never going to be straightforward. Before long, Clarice finds herself drawn into a dangerous psychological game of cat and mouse with a man who knows exactly how to get inside her head.

The production is smart enough to recognise that most of the audience coming to see it will already be familiar with the film, and so it wisely offers us something different. There’s much more interplay between Starling and Lecter, allowing us to delve deeper into their complex relationship, while the relationships between Starling and Crawford, and the shared history between Lecter and Crawford, are also given more room to develop. It adds an interesting new dynamic to the story, giving these familiar characters greater depth and adding further layers to an already gripping tale.

In addition, the production really leans into its theatrical setting, with Michael Taylor’s superb multi-purpose set design helps to create an atmosphere all of its own. As Clarice’s investigation progresses, we simultaneously see Buffalo Bill’s frustration mounting as he races to complete his “masterpiece”. Seeing both storylines unfold side by side creates an added sense of tension and urgency, keeping the pace moving even when the action itself is relatively restrained.

Taylor’s set is filled with dimly lit basements, shadowy corridors and grimy alleyways, it has a suitably dirty and grubby feel that fits the world of the story perfectly. This is in stark contrast to the recreation of Lecter’s iconic Perspex cell, where we get to see John Partridge switch effortlessly between a cold, calculating manipulator and something much more akin to a caged animal.

Partridge is a towering presence as Lecter, delivering a calm, measured performance filled with charm, wit and an unnerving stillness, punctuated by flashes of anger and rage. His physicality adds to the menace, and while a role like this could easily stray into hammy territory, Partridge never lets it, creating a Lecter who is genuinely unsettling.

Equally impressive is Mollie Gallagher in her professional stage debut. She strikes the perfect balance between Starling’s confidence and vulnerability, while her West Virginia accent is spot-on. She makes Starling a plucky, likeable heroine who is easy to root for.

The chemistry between Gallagher and Partridge is initially excellent, as they constantly jockey for position and size each other up, becoming increasingly fascinated by one another. Unfortunately, the final act loses some of this tension by shifting their relationship towards something closer to love, which doesn’t quite convince.

Sam Jackson gives a strong physical performance as Buffalo Bill, while the increased interaction between Bill and his victims adds an interesting layer to his character. Oliver Farnworth is also impressive as Jack Crawford, bringing warmth to the damaged, repressed mentor and giving us a real sense of his care for Starling, alongside his awareness of the danger he has placed her in.

It would have been easy for the production to rely on big jump scares and lashings of blood and gore. Instead, it wisely tones these elements down, meaning that when those moments do occur, they have far greater impact. The production relies much more on the psychological elements of the story to ratchet up the tension, building steadily towards a thrilling climax.

There are still plenty of memorable scenes and lines from the film, but this production is very much its own entity, offering something different while keeping you engaged from start to finish. Strong performances and high production values make for an entertaining and enjoyable night at the theatre, even if it doesn’t come served with fava beans and a nice Chianti!

The Silence of the Lambs is on at The Lowry until Saturday 10th October tickets and info available here.

How Soon Is Now?

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Written by Siân Owen, this new production transports us to Manchester nightclub ‘Deja Vus’ on New Year’s Eve 1997. Midnight is fast approaching, New Labour and ‘Cool Britania’ are offering a sense of optimism, and, inside the club, the music is bangin’, the atmosphere’s beltin’ and the possibilities seem endless.

At the heart of this production are three young women, Polly, (Laura Robinson) Angie (Kaitlyn Akinpelumi and Jean (Bethan McLean) each arriving at the club with very different hopes, dreams and emotive back-stories. Angie and Polly are regulars at the club, part of the furniture so to speak and a friend to all, while Jean is an outsider struggling to find where she belongs. Their lives collide against a backdrop of 90s indie classics, creating a story that is as much about friendship and finding yourself as it is about the music.

For anyone who lived through the 90s, the live music is an absolute joy. As someone who was 19 on New Year’s Eve ’97, the production’s nostalgia was a massive draw for me, but Box of Tricks goes far beyond a simple trip down memory lane. Delivering a gritty, visceral piece that bursts with both heartbreak and hope.

The production draws on the era’s defining sound, tapping into a delicious back catalogue of tracks from indie legends including The Stone Roses, Oasis, Pulp, Radiohead and The Smiths to create an atmosphere that feels instantly familiar. The music quickly becomes part of the storytelling, helping to express the characters’ hopes, fears, complex relationships and need for escape.

Director Adam Quayle successfully brings to life Siân Owen’s vision of a club that feels like an entirely separate, magical world where anything is possible. Somewhere you can be anyone you want to be before morning arrives and the real life kicks you in the teeth. As DJ Spin Jim, actor-musician Darragh Cowley brilliantly anchors the production. He guides us through an indie-infused night where reality blurs into pure musical intoxication with enthusiasm and iconic Manc swagger.

The three central performances bring plenty of heart, the friendship between Angie and Polly, portrayed beautifully by Kaitlyn Akinpelumi and Laura Robinson providing the emotional core. An additional dramatic layer comes from Bethan McLean as Jean, a young Welsh woman trying to find her voice despite her controlling boyfriend, brilliantly played by Theo Woolford.

The show’s live music is performed by a hugely talented trio including Darragh Cowley and Theo Woolford who seamlessly pivot from their acting roles to join guitarist and vocalist L J Willow, forming an incredible live band who seamlessly become part of the nightclub environment.

Writer Siân Owen balances cleverly the euphoria of New Year’s Eve with the crushing reality of real life; amidst the celebrations are themes of loneliness, coercive control and domestic abuse, giving the production depth. What makes this production particularly effective is the way it captures that complex feeling of young adulthood, where the characters are young enough to believe anything is possible, but old enough to realise that life doesn’t always follow the soundtrack you imagined, but like the resilient Manchester spirit, hope always rises.

Energetic, nostalgic, funny, tender and packed with absolute tunes, How Soon Is Now? is a celebration of the 90s that manages to be much more than just a trip down memory lane. ‘Ave it!

How Soon Is Now? Is on at The Lowry until Saturday 3rd October tickets available here.

High Society

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

The social event of the year has just arrived at The Lowry, and everyone is invited. Cole Porter’s High Society promises plenty of glitz, glamour, gossip and a side order of scandal, but, more importantly, some absolute classic songs from Porter’s back catalogue.

Direct from a sell-out run at London’s Barbican Theatre, this glossy hit show is now touring the UK and Ireland. Based on the 1956 film of the same name, which starred Bing Crosby, Grace Kelly and Frank Sinatra, the musical itself was adapted from the 1940 non-musical film The Philadelphia Story.

Helen George stars as socialite Tracy Lord, a member of the extremely wealthy Lord family. It’s the weekend of Tracy’s wedding to accountant and safe pair of hands George Kittredge (David Seadon-Young), whom Tracy’s family don’t particularly approve of on account of his being, well, rather dull and boring.

Things become considerably more complicated with the arrival of Tracy’s charismatic ex-husband Dexter Haven (Julian Ovenden), who has crashed the wedding with news of a brewing scandal that could potentially ruin the Lord family name.

Adding further fuel to the fire are two undercover reporters from Spy Magazine, Mike Connor (Freddie Fox) and Liz Imbrie (Carly Mercedes Dyer), who have been sent to dig up some dirt and, hopefully, secure a few more salacious stories.

What follows is a fun and thoroughly enjoyable show, packed with big song and dance numbers, top-drawer performances and stunning costumes, all of which do a good job of disguising a rather paper-thin and contrived plot.

This talented ensemble cast seem to have come straight from central casting. Helen George brings plenty of star quality to the role, displaying great comic timing alongside a tremendous vocal range. She is perfectly complemented by musical theatre veteran Julian Ovenden and musical theatre debutant Freddie Fox, with all three displaying terrific chemistry whenever they share the stage.

Fox, in particular, makes a confident transition into a convincing song and dance man. His performance brings plenty of energy to the production, and he clearly looks at home in his musical theatre debut.

They are supported by some fine comedic turns from Nigel Lindsay as the kindly drunk Uncle Willie and Carly Mercedes Dyer. Lindsay’s is an entertaining watch throughout: his turn during the act one ensemble closer Now You Have Jazz, was for me the one of the show’s many highlights.

Meanwhile, Dyer’s dry, deadpan delivery of some of the production’s more stinging lines is perfectly matched by her heartfelt and tender rendition of I’ve Got You Under My Skin.

As this is a Cole Porter musical, the real star of the show is always going to be his fantastic songbook, and this impressive cast and band more than does it justice.

Fox and Dyer deliver a fun rendition of Who Wants to Be a Millionaire?, while George and the ensemble cast bring the house down with the magnificently naughty Let’s Misbehave. Ovenden, meanwhile, excels in the slower and more wistful Just One of Those Things.

Cole Porter’s music sounds magnificent, brought to life by the superb band under the direction of Dan McLaughlin, while Anthony Van Laast’s choreography is slick, complementing the score perfectly.

The production values are first class, bringing to life the decadent lifestyle of the Lord family. John Morrell’s costumes are sharp and elegant, fully recapturing the 1950s razzmatazz, while Tom Rogers’ bold and lavish set design, complete with flowing staircases and a swimming pool, perfectly sets the scene.

Threadbare plot aside, and with perhaps a few too many drunken revellers running around the stage during the second act (we get the point, it’s a party!), I’m always amazed at how quickly affairs and infidelity are forgiven in productions from this era, while being a bit of a bore appears to be the ultimate sin. Different times, I suppose.

High Society is a fun and classy night at the theatre, showcasing talent from across the board who are all at the top of their game. My advice? Should an invitation ever arrive for a Lord family wedding, go. You’ll have a fantastic time and get the chance to revisit some timeless tunes along the way.

High Society is at the Lowry until Saturday 3rd October tickets are available here.

Jersey Boys

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It has been a little over 20 years since Jersey Boys first trod the boards on Broadway, and what followed was nothing short of sensational: two West End runs, US tours, UK tours, productions across the globe, and a 2014 film adaptation directed by Clint Eastwood, based on the stage musical. Add to that a haul of Grammy, Tony and Olivier Awards, and it is fair to say that when the show burst onto the scene, it was the hottest ticket in town.

Well, once again, those striking red suits have been donned as the boys from the “Garden State” hit the road for the 20th anniversary tour, which will take in venues across the United Kingdom and Ireland throughout 2026 and 2027.

The show charts the rise and fall of the 1960s rock and roll group The Four Seasons. Told from the perspectives of each of the four members, Frankie Valli (Luke Baker), Tommy DeVito (Carlo Boumouglbay), Nick Massi (Lewis Kennedy) and Bob Gaudio (Toby Miles), we are taken through the band’s chequered history, from their troubled beginnings on the streets and in the clubs of New Jersey to becoming a chart topping global sensation.

Along the way, there are entanglements with the law, the mob and even a future Hollywood A-lister. The group also has to contend with family pressures and plenty of infighting. However, at its heart, this is also a story about determination, loyalty and friendship.

For a show boasting a back catalogue that includes Walk Like a Man, Big Girls Don’t Cry and Bye Bye Baby, you really can’t go far wrong. Musical Director Lauren Rohan brings these songs to life, and it is an absolute joy to see the band performing live on stage alongside the actors throughout the production.

Front and centre is Luke Baker as Frankie Valli, whose range and vocals are top drawer throughout. His falsetto delivery on songs such as Sherry is spine tingling, while his rendition of Can’t Take My Eyes Off You brings the house down. In fact, the applause was so rapturous that the show briefly came to a halt as the audience showed its appreciation for Baker’s performance. He also does a fine job of portraying Valli’s emotional depth, conveying the personal struggles and tragedies that blight his life as he attempts to keep the legacy of the band alive.

Toby Miles is equally impressive as songwriting genius Bob Gaudio. It is an assured, confident and laid back performance, with his rendition of December 1963 (Oh, What a Night) another highlight.

Carlo Boumouglbay makes for an entertaining Tommy DeVito, delivering a charismatic and fiery performance that combines charm with plenty of attitude. Completing the quartet is Lewis Kennedy as Nick Massi, whose comic timing and deadpan delivery throughout very nearly steal the show.

The production has plenty of neat touches. Jess Goldstein’s fabulous costumes look sharp throughout, offset by Klara Zieglerova’s blue collar, urban stage design, complete with chain link fencing and scaffolding. It serves as a constant reminder of the world these young men came from. Another nice touch is the use of 1950s halftone comic book style illustrations, which pop up throughout the performance and add another layer of visual flair.

One of the undoubted highlights is Sergio Trujillo’s slick choreography, which brings to life The Four Seasons’ polished and smooth performances. Throughout numerous musical numbers, all four leads move together in impressive unison. It really is a visual treat. A particular highlight for me was the inclusion of Beggin’, with the choreography absolutely superb. I also just really like the song!

The production is not without its flaws. Towards the final act, the story feels a little rushed, with too little time given to process the emotional impact of everything Valli has been through and the sheer amount of personal trauma he has experienced. I also wish there had been more exploration of the relationship between Bob Gaudio and music producer and songwriter Bob Crewe (Michael Levi), who was so important to the band’s success. Their relationship feels somewhat underdeveloped.

Finally, some of the dialogue does get a little fruity at times and comes as something of a surprise, particularly for a jukebox musical. It certainly wasn’t a problem for me or my 70 something Mum, who accompanied me, but it may not be to everyone’s taste.

With its superb cast, precision choreography, sharp and occasionally colourful script, and a songbook packed with hit after hit, Jersey Boys once again proves to be a highly entertaining night out. It is a production that knows exactly what its audience has come to see and delivers it with plenty of energy, style and, most importantly, some fantastic music.

Jersey Boys  at the Palace Theatre until the 19th September tickets are available here.

East is East

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Family, culture and identity collide in Ayub Khan-Din’s East Is East, the story that first introduced audiences to the unforgettable Khan family in 1996 in stage form, followed by the iconic 1999 film. Set against the backdrop of 1970s Salford and drawing on Khan-Din’s own experiences, the story explores the sometimes hilarious and sometimes painful consequences of trying to belong to two worlds at once. 

At the centre of the story are George and his wife Ella, as they try to navigate family life while balancing traditional Pakistani culture with the changing attitudes of their British-born children. At the heart of the story is the constant conflict between generations and cultures, as George attempts to uphold traditional values within a family eager to move with the times and embrace modern British life.

Well before the acclaimed 1999 film, East Is East was a seminal British play which premiered at Birmingham Repertory Theatre in October 1996. Its success paved the way for multiple West End runs before eventually making its transition to the big screen. Now, marking the 30th anniversary of the original theatre production, Kash Arshad brings Ayub Khan-Din’s much-loved tale to life at The Octagon Bolton.

Having Kash Arshad direct this production feels particularly fitting, as, like Khan-Din, Arshad was brought up by a Pakistani father and British mother. That shared experience informs the production’s approach to the complex relationship between culture, identity and family, allowing Arshad to explore these themes with a genuine understanding of their emotional weight. His direction never allows the cultural conflict to become simply a vehicle for comedy; beneath the laughter sits a palpable sense of tension, love and frustration. It is this balance that gives the production its authenticity, as Arshad understands that, at its heart, East Is East is not simply a story about two cultures colliding, but about a family trying to find its place between them.

Alongside Arshad, Olivia Barr and Gabriella Shimeld-Fenn have done an equally impressive job with the casting of this production. George Khan (Bhasker Patel), the patriarch of the family, is often labelled the villain, but Patel does not simply present him as such. Instead, he brings a complexity to George that goes beyond the surface image of an authoritarian father. Patel suggests a man who is scared and paranoid alongside being violently controlling, creating an underlying anxiety that George himself seems unable to comprehend. It is a wonderfully layered performance, and through Patel, Arshad and Khan-Din’s vision of George is brought vividly to life. Balancing this torment is George’s long-suffering wife, Ella Khan, played superbly by Samantha Power. As the matriarch of the family, Power really lives up to her name, giving Ella an undeniable strength that runs throughout the production. She becomes a metaphorical shield for her children, protecting them from George’s demands without allowing this to destroy her relationship with him. It is this strength that makes Ella such a compelling presence within the family.

The Khan children are undoubtedly one of the highlights of the production. Tariq Khan (Zaki Ali) is devilishly rogue, exactly as you would hope him to be, while Meenah Khan (Maya Dhokia) is outspoken and confidently knows her own mind. Reprising his role from the National Theatre run in 2021, Joeravar Sangha plays Maneer Khan with a wonderful sense of devotion and tradition. In a family full of chaos, he brings a calmness and balance to the Khan household. Abdul Khan (Danyal Ismail) and Saleem Khan (Matthew Khan) provide the audience with seemingly unlimited laughs, particularly Saleem, whose use of physical comedy makes him a delight to watch. But the standout sibling has to be Sajit Khan (Rohan MacLeod). His quick wit and infectious humour are addictive to watch, while Sajit’s iconic Parker jacket acts almost as a shield from his siblings’ jabs and teasing. The chemistry between the children feels completely natural, capturing the chaos, affection and teasing that are so recognisable within a family dynamic. It is this chemistry that makes the Khan household feel so authentic and helps demonstrate why East Is East has continued to resonate with audiences. There are also notable performances from Victoria Brazier as Auntie Annie and Sushil Chudasama, who takes on the dual roles of Mr Shah and the Doctor, alongside off-stage swings Zoe Iqbal and Rahul Sidhu.

All of the above is enabled by The Octagon itself. The staging of East Is East is very well executed, creating seamless scene transitions and allowing the audience to watch the Khan family in their frantic life. This makes the presentation of 1970s Salford particularly exciting to watch. Visually, you feel the chaos of the Khan household before a word is spoken; the surroundings almost become characters in their own right.The chip shop is presented as a gritty working-class establishment, and when the entire family occupies the space, it creates an almost claustrophobic atmosphere. The Khan family home is equally evocative of the period, filled with details that immediately transport us to 1970s Salford. This attention to the period is carried through into the costumes, with classic staples of the era including high collars and paisley prints. Together, the creative team have created an intimate and instantly recognisable world for the Khan family to inhabit. The combination of the staging, detailed set and period costumes brings both Khan-Din’s original vision and Arshad’s interpretation of it vividly to life.

Thirty years on, the Khan family have lost none of their ability to make us laugh, wince and occasionally wonder how on earth George manages to keep everyone under one roof! Yet beneath the chaos, East Is East remains a deeply human story about family, identity, culture and belonging. Arshad’s personal connection to the material shines through, while the superb ensemble and intimate staging at The Octagon make this a production that feels both authentic and wonderfully alive.

Funny, poignant and packed with characters you cannot help but become invested in, East Is East proves that although times may change, family will always be family. The Khan household may be chaotic, but after thirty years, it is still a very welcome place to visit.

East is East is on at The Octagon until Saturday 3rd October tickets are available here.

High School Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In 2006, Kenny Ortega sent audiences “soaring… flying” with his “fabulous” creation of High School Musical. The plot centres around two main characters: Troy Bolton, who rules the school as the captain of the basketball team, and Gabriella Montez, a transfer student who excels in her academic studies. When both decide to audition for the school play, neither could have anticipated the impact it would have on the “Status Quo”. Now, 20 years on, Hope Mill Theatre and The Lowry are staging a wonderfully immersive “non-replica” production of the iconic millennial masterpiece.

Walking into The Lowry, you can feel the excitement. The audience are kitted out in replica costumes and themed T-shirts, and there is a sea of red, white and pink weaving through the stalls. Hope Mill’s producers and co-directors, Joseph Houston and William Whelton, remarked, “High School Musical is a show loved and adored across generations. It’s our ambition to create a new stage production to bring together those generations to experience the live spectacle in a completely fresh way.” This enthusiasm is clear and joyously displayed in this exciting production. There is a comforting combination of generational excitement alongside fresh energy from those who are new to the show, bringing an emotional charge to the pre-show atmosphere.

Your eyes are immediately drawn to the stage, in particular the sheer scale of it, mimicking a school gymnasium. Andrew Exeter and the production team bring the film to vivid life through imaginative, interchangeable sets and vibrant background graphics, but the standout feature has to be the onstage seating. Yes, the audience get to sit on stage and witness the action court-side. This idea works well, as from the stalls it mimics the effect of watching a sports game. From the onstage perspective, there is a possibility of losing a little of the show’s essence as you are watching from a side-on view, but a fun experience nonetheless.

Aaron Renfree’s routines are so engaging to watch, well-timed and superbly executed, especially the basketball choreography. Having memorised the “We’re all in this together” routine in my younger years, I was ready to join the cast on stage and dance, as my inner 2006 High School Musical child desperately wanted the original choreography for the chorus but, billed as a “non-replica” production, I completely respect the artistic decision not to replicate the routines. However, with it being such an iconic song from the film, it would have created a delightful synergy with the generation who grew up watching the original.

Let us move onto the cast, and what a cast this is! Every single person on stage thrives in their portrayal, with their passion shining throughout. Starting off strong with the main man himself, Troy Bolton, played by Tobias Turley, who brings a mature, masculine quality to the role. He doesn’t portray Troy as a pompous adolescent wanting to be the star; rather, he brings a quite soft energy that allows us to see why Gabriella (Leonor Correia) falls for him.

Correia and Turley work well together, with Correia offering a new side to Gabriella by bringing elegance, poise and confidence to the role. Their characterisations make you feel safe watching them and, in doing so, reinforces the “fresh” perspective Houston and Whelton wanted the show to have. Their vocals are clear and strong, creating a strong musical theatre quality to the show. Again, this is a difference from the film, where the vocals favoured a pop-culture sound.

Their chemistry is subtle but effective, the complete antithesis to their onstage rivals, the Evans twins: Sharpay (Caitlin Tipping) and Ryan (Luke Bayer). These two are arguably the most recognisable pairing for original aficionados, and Tipping and Bayer do not disappoint. Sharpay is spoilt, arrogant and detestable, everything you want from her. Bayer’s portrayal of Ryan, Sharpay’s impeccably dressed minion, is accurate and adorable.

Coach Bolton (Jason Donovan) does well as Troy’s overbearing father, and Kaycee Stroh, formerly Martha in the original film and now Ms Darbus, proves that she can still “pop and lock and jam and break”. Special mention must go to Curtis Patrick, who plays Jack Scott. His energy is limitless; he uses every inch of the stage and theatre and was a real standout for me.

The casting team must be commended for their inventive work on this production. Every role is perfectly cast, and the standing ovation tonight demonstrates this further. While Sophia Pardon’s stunning Y2K inspired costumes reimagine the mid-2000s aesthetic for the modern stage.

Houston and Whelton wanted to bring together different generations in reimagining the story of High School Musical. With a film that has such an iconic following, this production succeeds entirely in bringing a fresh take to the original. Clever casting, stunning costumes and vibrant interchangeable sets mean this spectacular production hits all the right notes. The dance numbers are so well thought out, with the routines involving the basketballs being a wonderful nod to the Disney staple. The entire creative team have worked passionately to keep what’s important for fans while creating something exciting, new and thrilling for audiences.

Come on and get’cha head in the game and bop to the top of the queue to get tickets to see this show. You could even be part of the action and watch the show court-side! Go Wildcats!

High School Musical is on at The Lowry until Saturday 19th September, tickets are available here.

Dear Zoo

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Reviewed by Lucy and Adelaide Davies

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Dear Zoo has to be one of the best loved children’s books of the century.  2017 marked its 35th anniversary, and Dear Zoo shows no sign of losing its appeal, remaining a firm favourite in schools, nurseries and homes across the country. The question is, would a stage adaptation of this classic be able to live up to Dear Zoo’s legacy? The answer is a resounding yes. The show has managed to create the same sense of captivation that the book does, with some added bonus moments that have children in the audience jumping up and down in their seats!

The show tells the story of a young boy, Ben, who writes a letter to the zoo asking them to send him a pet. Alongside his friend Sally, he eagerly awaits a response. To his surprise, and occasionally his horror, what follows is a series of ‘special deliveries’ from zookeeper Sam. Each animal that arrives is hugely entertaining, but just not quite right for Ben to keep as a pet — until the very end, when all of Ben’s dreams come true…

One of the highlights of this production is its audience engagement, which is perfectly pitched to a younger audience. From the moment the play begins, our zookeeper, Sam, creates an almost pantomime-style atmosphere, encouraging the audience to shout out answers before pretending not to be able to hear them. From the outset, the mini theatre-goers are hooked, and the excitement is palpable. This interaction only intensifies as the story continues, giving children the chance to jump up and down like frogs, join in with some incredibly catchy songs and recite lines from the book itself. It ensures that even the youngest spectators remain captivated from start to finish.

Another, more unexpected, standout feature of the show is the subtle learning opportunities embedded throughout. While the book tells us that the lion is “too fierce” and the camel “too grumpy”, the play really unpacks this vocabulary in a fun and engaging way. The animal puppets sing songs that help young children understand what these words mean, while making them laugh at the same time. When the ‘animals’ aren’t singing, they can be seen bouncing around the stage or popping up to playfully scare the spectators. It’s fantastic to see the words of the book being brought to life in such an entertaining and memorable way.

All in all, this is a must-see show for families, especially if your child is a fan of the book. As an introduction to theatre, Dear Zoo, just like Ben’s final pet, is absolutely “perfect”!

Adelaide’s Comment (delivered as if she was writing a letter)  “Dear Zoo, you were lovely today.  I would make a heart and deliver it to Dear Zoo.”

Dear Zoo is on at The Lowry until Sunday 16tg August tickets are available here