Annie

Leave a comment

Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

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

Midsomer Murders: The Killings at Badger’s Drift

Leave a comment

Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

 

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

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

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

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

Waitress

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

The Karate Kid – The Musical

Leave a comment

Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️


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

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

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

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

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

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

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

The Assassination of Margaret Thatcher

Leave a comment

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

Bank of Dave the Musical

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

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

The Choir of Man

Leave a comment

Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

“There’s a lot going on” is a phrase I occasionally use when out for a night at the theatre, but never have I used it to describe an interval. You see during the break at last night’s performance of, The Choir of Man, the stage of the Opera House, was turned into a makeshift bar, where audience members were invited up to have a drink and chat with fellow attendees. It was later that the cast joined the 50 or so audience members on stage and those still seated for a raucous rendition of Bon Jovi’s  “Livin’ on a Prayer”. This perfectly sums what this production is all about: community, connection and having a bloody good night out!

The premise for the show is a snapshot into the life of a local boozer, The Jungle, here, the bar’s resident poet Nimi (Oluwalonimi Owoyemi) introduces us to some of the Jungle’s patrons who have formed an all-male choir. These include resident bore, Aaron (Aaron Pottenger), no nonsense Barman, Niall (Niall Woodson) and the heart broken romantic, Sam (Sam Walter).

Also in the gang is Handyman and local fixer, Jack (Jack Skelton), practical joker Ben (Ben Mabberly), Gustav (Gustav Melbardis) a Latvian born piano playing maestro, the pub’s hard man, Levi (Levi Tyrell Johnson), and finally guitar strumming giant Rob (Rob Godfrey) referred to simply as the ‘Beast’.

At the start of the night, we are introduced to each of the guys and later a brief history of who they are and where they come from, all backed up by performances of some big pop classics.

Those expecting your more traditional musical theatre, best think again this is more a concert, backing up the vital message of community, stressing the importance of community hubs.  With that said the musical numbers are delivered with a great deal of energy, and warm humour ensuring you get swept along for the ride in this joyous couple of hours.

Each of the cast get their moment in the spotlight, with highlights including a unique version of Paul Simon’s classic “50 Ways to Leave Your Lover”, with Jack Skelton tap shoes providing the percussion. A cheeky version of Katy Perry’s “Teenage Dream” from Rob Godfrey on guitar to a very game audience member. Whilst barman Niall leads the cast in a suitably silly version of “Escape (The Piña Colada Song)”. Mightily impressive is the exceptional narration by Oluwalonimi Owoyemi’s as it’s entirely in prose and verse, and is an absolute treat.

You wish at times for a bit more storytelling, as some of the characters back stories seem undeveloped and could do with a bit more fleshing out, which may soften some of the more ‘laddish’ elements to the show.  Despite the rambunctious nature of the show, it is equally impressive with the slower numbers, at this performance were treated to version of Sia’s “Chandelier”, with the boys accompanied by five local choirs, which was excellent and followed by the guys doing a spine-tingling rendition of the tradition folk song “The Parting Glass”.

Ultimately, The Choir of Man is a vibrant, feel-good celebration of friendship, music, and the spaces that bring people together. It invites you not just to watch, but to join in, sing along, raise a glass, and leave with a renewed appreciation for the simple joy of shared experience.

The Choir of Man is at the Manchester Opera House until 9th May tickets are available here.

Jane Eyre to be staged at Storyhouse

Leave a comment

A powerful trailblazing adaptation of Charlotte Brontë’s much-loved classic Jane Eyre is set to be staged at Storyhouse this autumn.

The imaginative and inspiring new production will be presented at the Chester cultural venue from Tuesday, 10 November to Saturday, 21 November 2026.

Tickets go on sale to Storyhouse Members today Thursday 30 April, and on general sale from tomorrow, Friday 1 May.

“I am no bird; and no net ensnares me.”

Orphaned as a young girl, the passionate and sensitive Jane Eyre longs to escape the clutches of her cruel aunt. Freedom beckons when she is offered the job of governess in the house of the brooding and secretive Mr Rochester.

As intrigue turns to attraction, Jane finds herself drawn in by Rochester’s mercurial charm. But when the truth finally comes out, she will be forced to choose between the man she wants – and the woman she wants to be.

Jane Eyre is a co-production between Storyhouse, the Mercury Theatre, Colchester, and Rose Theatre Kingston and is presented in association with Northern Stage and supported by agrant from the Royal Theatrical Support Trust (RTST).

It is based on Sally Cookson, Mike Akers and the original company’s acclaimed adaptation of Charlotte Brontë’s groundbreaking novel and will be directed by 2025 RTST Sir Peter Hall Director Award winner Lily Dyble.

The annual RTST Sir Peter Hall Director Award is designed to provide an up-and-coming director with a first-time, career-breakthrough opportunity to originate and direct, as sole or lead director, a fully funded production as part of a main stage season of plays at a leading regional UK theatre and to tour to other similar venues. Storyhouse was on the panel of the 2025 awards.

Director Lily Dyble says: “What I see at the heart of this story is courage in the face of the unknown. Jane Eyre reminds us of the risk and enormity of love, but also how uncertainty can breed hope as well as fear; that we can choose to fiercely love each other and ourselves, even within chaos, and even when our old lives have been lost to the fire.

“I’m thrilled to be bringing Jane’s story to audiences across England this autumn, with the support of four wonderful venues and the RTST.”

Meanwhile Jane Eyre is one of several adaptations of classics announced under the Storyhouse Originals banner for 2026. It follows a critically acclaimed new staging of Macbeth last month.

Storyhouse Originals is the Chester venue’s strand of vibrant and imaginative homegrown productions. Previous shows include Miss Julie, Bluestockings, Sophocles’ Antigone, Faustus: That Damned Woman, The Parent Agency and Kinky Boots, as well as Storyhouse’s popular annual Christmas productions and shows at Grosvenor Park Open Air Theatre.

Helen Redcliffe, Head of Producing at Storyhouse said today: “One of the key themes of Jane Eyre is personal discovery and development, which feels especially fitting as we celebrate the RTST Sir Peter Hall Director Award and its commitment to championing the next generation of theatre-makers. At Storyhouse, we are thrilled to be part of this partnership and to support Lily as she takes this exciting step in her career. From the moment we encountered her work, we were struck by her bold, imaginative style and her instinctive understanding of our venues and audiences. Her Jane Eyre promises to be a heightened, deeply theatrical experience, using the very best of storytelling to bring this beloved classic to life — and we are proud to play a part in what we’re certain will be an extraordinary journey for her and a memorable production for our community.” 

For more details on Jane Eyre visit www.storyhouse.com

Double Indemnity

Leave a comment

Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐

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

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

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

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

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

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

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

Acosta Danza Carmen

Leave a comment

Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

The Boy at the Back of the Class

Leave a comment

Reviewed by Gill and Stan Selkirk

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

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

Stan Selkirk – aged 10

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

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

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

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

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

Ballet Black at 25

Leave a comment

Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

Further information and tour dates can be found here.