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.

The Battle

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐


Credit and Copyright: Helen Murray

Exploring the fierce rivalry between Britpop giants Blur and Oasis during the summer of ’95, The Battle offers a satirical retelling of one of British music’s most iconic chart races.

Back in the mid-nineties the media’s fixation well and truly peaked when it was announced that both bands would release singles on the same day, pitting ‘Roll With It’ against ‘Country House’ in a high-stakes battle to the top.

Writer John Niven, who worked in the music industry at the time has created a witty exploration of build-up to release day, the all-consuming nature of the rivalry and its impact on the relationships of those involved.

What began as a seemingly genius marketing ploy quickly begins to consume the lives of not only the band members but their friends, families and the music execs themselves.

Matthew Horne delivers a strong performance as Blur’s manager, Andy Ross, the original mastermind behind the chart battle. Ruthless in his pursuit of success, he focuses entirely on the media hype while underestimating the all-consuming chaos he’s unleashed.

George Usher makes an impressive stage debut as Liam Gallagher, physically embodying Liam to perfection, as he swears and swaggers in true, LG style. He channels Liam’s Gallagher-esque bravado and chaotic presence with skilled precision.

Taking on the more controlled of the brothers, Paddy Stafford is exceptional as Noel, displaying vividly how the cracks begin to show as the pressure mounts, his performance is nuanced and defined, he more than does justice to the legendary lyricist.

Oscar Lloyd portrays the enormously different character of Damon Albarn with clarity while Will Taylor demonstrates superbly the impact of events on an increasingly fraught Graham Coxon, while Brandon Bendell’s Groucho loving Alex James is spot-on.

Amidst the Britpop chaos, Louisa Lytton’s Meg Mathews and Harriet Cains’ Justine Frischmann offer voices of reason for their respective partners, bringing calm to the testosterone fuelled chaos.

The story is told creatively via scenes from industry parties, award ceremony exchanges, backstage discussions and recording studio sessions. As the pressure builds, tempers fray and bold decisions are made.

This talented cast succeed in capturing the 90s spirit, bringing the era back to nostalgic life for their audience. The script however would benefit from some significant editing in order to pack this production with the punch the original source material provides. The reliance on Liam’s frequent outrageous outbursts becomes a little predictable and leads to some missed opportunities regards pushing the story along with a grittier narrative. The simple staging makes great use of screens broadcasting footage from the time and commentary from DJs such a Jo Whiley, Mark and Lard and Chris Evans however the continual use of cast members changing scenery feels clunky.

The final 15 minutes are wholly unexpected, surreal but ultimately succeed in showing just how absurd this whole battle became. For those of us hooked on the original Britpop rivalry, this show is a nostalgic blast from the past, with some creative reworking it has real potential to become a standout success.

The Battle is on at Manchester’s Opera House until Saturday 21st March, tickets available here.

Diversity | Soul

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐⭐⭐⭐

The Liverpool Empire buzzed with anticipation as Diversity fans packed the auditorium. Since their 2009 Britain’s Got Talent win, this loyal fanbase has supported the crew and embraced each return to the region.

Tonight’s performance was inventively interactive with Ashley Banjo asking the audience to scream when the image on the screen behind him was real and not AI, with images similar to those on a Capture to prove you aren’t a robot. This provided the audience with the essence of what the show was portraying with the question of, ‘What does it mean to be human in ever evolving technology and artificial intelligence?’.

We were then transported through a range of nostalgic throwbacks including video games and iconic Nokias which led us to being introduced to a video of Ashley Banjo spilling the drink of an older gentleman, George, at a train station, which sparks conversation. The rest of the performance was a mix of current discussions between Ashley and George, and flashbacks of George’s previous life, including how he first met Annie, the love of his life, before modern day technology played its part in day-to-day life.

The dancers delivered the flawless execution expected of such a world-class crew, however on occasion, the lighting and imagery projected behind them distracted from the talent that we had come to watch. There was a robot on stage that was able to show musicality and was humanised by having lights as eyes. But as expected, the human performers were able to hold the attention of the audience and were much more entertaining, although personally, I didn’t feel the impact of AI on society was fully grasped within the performance.

There was also footage of the current ongoing conflicts throughout the world, this felt at times jarring and I am unsure of its place within the show as it felt shoehorned in and not entirely relevant to the impact of AI and technology, and if this was their message, it needed to be made a lot clearer.

The second half of the show felt lighter, with videos of Ashley Banjo’s children telling him what they would like to see from the show. This progressed into the company performing to the Wicked soundtrack, with Ashley dressed in princess attire.

Of course, Diversity put on an excellent show with faultless formations and incredible execution of difficult technique. The message they were trying to portray of slowing down and being present in the moment, without the constant distraction of technology, was strong. While the theme of artificial intelligence was not always as clearly explored, the performance still reminded the audience of the importance of human connection and shared experiences. Ultimately, the skill and creativity of the dancers ensured that the show remained engaging and entertaining throughout.

Macbeth

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Marking the return of Shakespeare to Storyhouse’s stage, this bold, inventive interpretation of the Bard’s ultimate tragedy sets an impressively high standard for Storyhouse Originals 2026 programme.

Adapted and directed by Jamie Sophia Fletcher, the play stays true to the classic text while its vivid modern-day setting leans deliciously into cinematic horror. It’s vibrant, loud, fast-paced fluorescent and unapologetic making it incredibly accessible for 2026 audiences.

The intimate thrust staging has been embraced by set and lighting designer Andrew Exeter who creates an intense sensory experience with a stunning use of Daniel Denton’s imposing video projections, layered sets and atmospheric lighting while Sarah Victoria’s pitch perfect sound design further cements the quality of this gripping production.

Robin Morrissey captures Macbeth’s spiral into the dark side perfectly as he shifts compellingly from curious social climber to power hungry, murderous King, following his first meeting with the three witches. Yolanda Ovide as Lady Macbeth is equally as impressive, calculating and cold as she plunges powerfully into psychosis, unravelling viscerally before our eyes.

Mika Onyx Johnson’s vulnerability and rawness as Macduff kicks you in the guts while Roly Botha shines playing multiple memorable roles, Witch 1, Porter and Lady Macduff. Special mention must also go to Pete MacHale who brings depth, humour and warmth to Ross.

Storyhouse stay true to their community ethos offering actors from their Youth Theatre an incredible opportunity to make their professional debuts. This is a true ensemble piece with each and every cast member working together cohesively to create unforgettable theatre magic alongside a team of impressive creatives, including April Dalton, costume designer, Michela Meazza movement director, Kaitlin Howard fight and intimacy director. Storyhouse have also worked together with Dan Parr from Hear the Picture for creative audio description while each performance is captioned.

If you thought you knew Macbeth, think again — this production is full of surprises, from unexpectedly brilliant dance breaks while Murderer 1, 2 and 3 will never quite be seen the same again.

The palpable sense of foreboding throughout is added to continually by the striking set and lighting design, visually stunning and adding enormously to the clever creativity of this exceptional piece of theatre.

This Macbeth feels startlingly fresh and fiercely relevant, leaving you longing for a Storyhouse revival of every one of the Bard’s classics. It doesn’t merely retell the tragedy, it grabs you from the first moment and lingers long after the final curtain, a superb piece of theatre that deserves rich praise.

Macbeth is on at Storyhouse until Saturday 21st March tickets are available here.

BRB: Don Quixote

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Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Don Quixote, known for its energised Spanish flair, comedy, and vibrant pas de deux, was originally choreographed by Marius Petipa in 1869. Carlos Acosta has brought back his 2022 version, to The Lowry, performed by Birmingham Royal Ballet,

We follow Don Quixote (Dominic Antonucci), who acts as a matchmaker for young lovers Kitri (First Soloist Beatrice Parma) and Basilio (First Soloist Enrique Bejarano Vidal). At the same time, Don Quixote grapples with reality and experiences hallucinations of his dream woman, Dulcinea (Daria Stanciulescu), whom he mistakes Kitri for. 

Of course, there must be a barrier to Kitri and Basilio’s love. Her father, Lorenzo (Rory Mackay), disapproves of the relationship as he wishes Kitri to marry a rich nobleman, Gamache (Jonathan Payn), and not a poor barber like Basilio! After Basilio fakes his death (and comes back to life!), her father gives the couple his blessing, and celebrations begin. 

This performance has everything you want from a ballet…flamboyant costumes, a fantastic live orchestra conducted by Thomas Jung, and dramatic fainting scenes delivered with perfect comedic timing. One element of the story that many other classical ballets have, but is missing from Don Quixote, is tragedy…which was so refreshing!  It is full of fun, joy, and humour…even the ‘suicide’ was comedic! 

Highlights of this particular version were the incredible solos and pas de deux throughout the performance from Beatrice Parma and Enrique Bejarano Vidal. The grand allegro, turns, and lifts were made to look effortless. My favourite pas de deux was their duet against the silhouette of a windmill and sunset, with no other distractions.

The set design by Tim Hatley was stunning, featuring glistening leaves hanging from vines, large brick arches decorated with flowers, and rose petals falling from above. Another element that helped transport the audience to 17th-century rural Spain was the live on-stage guitarists, Tom Ellis and Dan Thomas who played traditional Spanish music around a fire. 

A final mention must go to Amour, performed by First Soloist Riku Ito during the dream scene. Ito had flawless technique, with fast footwork and amazing stage presence. Kitri’s friends, Olivia Chang-Clarke and Katherine Ochoa, also brought contagious energy to the performance. I would highly recommend watching this stunning production if you get the chance!

Don Quixote is on at The Lowry until Saturday 9th March, tickets are available here.