Legally Blonde

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

High energy, fizzing with fabulousness and full of heart Legally Blonde bursts onto the Palace theatre stage this week for the final stop of the current UK tour.

Based on the 2001 film starring Reece Witherspoon which later became an award winning Broadway musical, Legally Blonde continues to be a massive crowd pleaser with every audience member up on their feet by the end of the show.

Dumped by law student boyfriend Warner for not being a serious enough girlfriend, Elle decides to take matters into her own hands and sets about gaining a place of her own at Harvard Law School in a bid to prove she is the perfect accessory.

The tongue-in-cheek innocence of the story ensure this camp, bright and fluffy production raises smile after smile while never taking itself too seriously.

Lucie Jones bursts with personality as the Malibu marvel, with great comedic timing and a voice that packs a punch her goofy but smart Elle proves her status as a musical theatre star is secured.

Rita Simons excels as Paulette, fun and feisty she ensures the loveable hairdresser gets her moment of glory with snake-hipped UPS guy Kyle, played superbly by Ben Harlow.

Special mention must also go to Laura Harrison as Vivienne and Helen Petrovna as Brooke Wyndham, both shine in their respective roles, with Petrovna’s skills with a skipping rope during Whipped Into Shape simply mind-boggling!

Director and choreographer Anthony Williams ensures this is a production bursting with energy, enthusiasm and most of all fun. There! Right There! Being a real highlight of Act II and further cementing Legally Blonde as a kitsch, camp couple of hours of perfectly pink uplifting escapism.

With a winning energy this pink princess succeeds against the odds to find her own perfect prince and sends a reminder about the importance of sisterhood that is more than just skin-deep.

On at the Palace theatre until Saturday 30th June tickets available here.

The Play That Goes Wrong

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewer: Matt Forrest

With the World Cup in full swing, the whole nation seems to have gone football crazy: we’ve seen great goals, controversial refereeing decisions and some calamitous howlers, however not even the biggest goal keeping blunder would compare to the chaos that goes into The Play That Goes Wrong.

Now in its sixth year, this Tony award-winner sees the plucky but flawed local Am-dram group ‘The Cornley Polytechnic Drama Society’ stage a classic ‘whodunit’, with their production of Murder at Haversham Manor. However the production is blighted from the outset: there is a missing dog, a misplaced Duran Duran CD, and a faulty shelf hampering proceedings and all this before the house lights have gone down and the show has begun.

Chris Bean (Jake Curran) the stressed director head of the drama society, and lead role of Inspector Carter, welcomes us to the show and informs us of some of the society’s less successful productions which include James and his Peach, and The Lion and the Wardrobe. It’s the perfect setup to introduce a hilarious evening of mirth and mayhem.

Along the way we are introduced to the various society players which include Max Bennett, who plays Cecil Haversham, (Bobby Hirston) a first time performer milking his role for all it’s worth, Sandra Wilkinson as Florence Colleymoore (Elena Valentine) somewhat over-egging her part in a desperate bid to steal the show, and Dennis Tyde as Perkins (Benjamin McMahon) clearly nervous and not very good at learning his lines. In addition they are supported by the technical crew of Trevor (Gabriel Paul) and Annie (Catherine Dryden) who try to fight the flames of disaster (quite literally) and will play bigger roles then either would have envisaged.

As the action continues we see the play go from one catastrophe to another, taking a mental and physical toll on all the cast and crew, just thankful it’s over and that they all survived… even if not entirely in one piece.

This is the third time I’ve watched this production within the last year and I’m not ashamed to say I love it. It seems to get better and better with every viewing; you notice things you missed the first time and second time around as a result of laughing so much. Director Mark Bell has crafted a night of pure unadulterated fun and frolics. The production pokes fun at the self-important, pompous world of amateur dramatics, with a biting, scathing pitch perfect script by Henry Lewis, Jonathan Sayer, and Henry Shields.

The cast certainly put in a shift, with an endless barrage of slapstick and physical comedy very much in the tradition of Laurel and Hardy or Michael Crawford from classic BBC sitcom Some Mother’s Do Have ‘em.

All of the cast do exceptionally well but the stand out performance goes to David Kristopher-Brown, as Robert and Thomas Colleymoore, whose performance at one point had audience members howling with laughter, with a little a hint of fear for the actors safety, made all the more impressive by the fact that Brown is the understudy for this touring production, and certainly highlights the depth of quality this production company has at its disposal. In addition, Steven Rostance as Jonathan, and Charles Haversham who plays the least convincing dead body you are likely to see and really should change his name to Lazarus!

There are a few minor issues: at times there is so much going on that it is hard to keep track of the action. In addition, because of all the turmoil, some of the dialogue is lost and hard to hear adding to the chaos and confusion

Overall this fantastically fun night at the theatre that will leave you grinning from ear-to-ear, and aching sides to boot. At the close of the show the cast let us know that their next production: The Comedy About a Bank Robbery will be going to the Lowry in September: hopefully I’ll have recovered from this performance by the time that comes around!

They Play That Goes Wrong is on at the Manchester Opera House till 30th June tickets available here.

Awful Auntie

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewers Eve and Maisy Powell

Following their award-winning production Gangsta Granny, Birmingham Stage Company return to Manchester with their newest David Walliams adaptation, Awful Auntie. This enormously entertaining tale of friendship, fights and not to mention frights is on at the Opera House until Sunday 24th June.

We sent our mini-reviewers Eve age 10 and Maisy age 7 and a half to give the show that’s been thrilling audiences around the UK their verdict.

Eve Powell

I really, really enjoyed it, I thought it was really inventive and cleverly created, very funny and also very child friendly as the story was easy to follow.

I loved how they changed the scenery, I thought it was amazing. One of my favourite things was Wagner the owl puppet who was operated by Roberta Bellekom, it was so realistic and looked just like a real owl.

I would absolutely recommend Awful Auntie, it is great fun.

Maisy Powell

I really enjoyed Awful Auntie, my favourite part of the show was the little puppets, I loved them.

Aunt Alberta really made me laugh especially when Stella and Soot played tricks on her.

I would definitely recommend Awful Auntie to everyone especially children.

AA

Packed with laugh out loud moments, a superb storyline chock-full of colourful characters brought brilliantly to life by a talented cast Awful Auntie is a perfect family show. With a running time of just over 2 hours including an interval this is another stonking hit for Birmingham Stage Company.

Awful Auntie is on at Manchester’s Opera House until Sunday 24th June tickets available here.

Further information on Birmingham Stage Company can be found here.

The Crucible

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Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Nikki Cotter

First performed back in 1953, the themes raised in Arthur Miller’s The Crucible continue to speak true today, illustrated to gripping and dramatic effect in this bold and atmospheric production from director Geraldine Alexander.

When Arthur Miller wrote the play back in the 1950’s he used the Salem witch trials as a metaphor for the rife anti-communism which was gripping the United States at the time. Liberal thinking was seen as a challenge to American society and authorities acted quickly to stamp it out, something we see ever-present in the political climate of today.

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The Crucible transports us to 1692, where a small farming town has been gripped by a frenzied paranoia as witchcraft rumours swiftly circulate and fear takes hold. As accusations rise innocent women and the men who defend them are led to the gallows, their only hope of surviving, confessing the unthinkable. Catastrophic events unfold as a frenzied and fearful hysteria grips the town.

Jess Curtis’ atmospheric set & costume design is clear and uncluttered, inventive as well as interesting, allowing the themes to speak loudly as the madness unfolds. The trust staging is used to great effect, as an audience you feel at the centre of the action, the intensity and claustrophobic nature of the piece is striking and in your face, from the hysterical girls to the heartbreak of the Proctors, we feel every ounce of emotion. Chris Davey’s lighting design is exceptional, casting shafts of light on proceedings, highlighting the oppression of the innocents accompanied perfectly by Simon Slater’s chilling sound design.

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The cast deliver Miller’s words with Northern voices giving an authentic and relatable feel. The ensemble are impressively strong, coming together in the courtroom scene to dramatic effect. Freddy Elletson makes for an impressive Reverend Hale, attempting to bring calmness to the madness, devout and fair he becomes increasingly disturbed by the injustice and absurdity he it witness to.

Matthew Flynn and Mary Doherty as John and Elizabeth Proctor add poignant emotion to the piece. Their arrests proving this witch hunt has gone way past the point of no return. Leigh Quinn shines as mary Warren, troubled, tormented and ripe for dangerous manipulation from Eleanor Sutton’s determined and defiant Abigail Williams.

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Director Geraldine Alexander’s production succeeds entirely in delivering a powerful warning of how the anxiety and fear of the masses can be taken advantage of in the pursuit of personal power to the most devastating effect. The powers that be using exclusion, lies, fear and isolation to maintain the status quo of the community, sound familiar?

Gripping, emotive theatre, impressively staged and powerfully delivered. On at the StoryHouse until Saturday 7th July, tickets available here.

West End Live preview

Trafalgar Square during West End Live 2017 (c) Pamela Raith

The most unmissable event on any theatre’s fans calendar returns to London’s Trafalgar Square this weekend where an impressive 200,000 theatre fans will enjoy performances from some of the best of the London theatre scene and even better, it’s all for free!

A jam-packed schedule of performances will include popular crowd-pleasers The Lion King, Wicked, Les Misérables, Mamma Mia!, The Phantom Of The Opera, Disney’s Aladdin, Dreamgirls, Bat Out Of Hell The Musical, Kinky Boots, Matilda The Musical, Motown The Musical, Everybody’s Talking about Jamie and Thriller Live, phew! If that’s not enough excitement for you the weekend will also see several new arrivals to London’s West End making their West End LIVE debuts, including Tina: The Tina Turner Musical, Strictly Ballroom The Musical, Brief Encounter, Eugenius!, Little Shop Of Horrors, Chicago, Heathers The Musical, Kiss Me, Kate, Knights Of The Rose, Six, Circolombia and Madagascar – A Musical Adventure.

Cast of Bat Out Of Hell performing at West End Live 2017 (c) Pamela Raith

The vibrant showcase will culminate in a performance from chart-topping Britain’s Got Talent winners Collabro on Saturday 16 June, and an exclusive cabaret of West End stars on Sunday 17 June.

Produced and organised by Westminster City Council and Society of London Theatre (SOLT), with support from the Mayor of London, West End LIVE is an annual highlight of London’s cultural calendar, with performances, fun photo opportunities, meet-and-greets, merchandise stalls, refreshments and sing-alongs attracting thousands of theatre fans young and old across the weekend.

Crowds at West End Live 2017 (c) Pamela Raith

With such an exciting and varied programme there is something for everyone in this sensational showcase from theatre’s finest stars. A full performance schedule can be found here.

See you there!

War Horse

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Writer Nikki Cotter

War Horse, the most successful play in the National Theatre’s history, seen by over 7 million people worldwide returned to the Lowry last night to a thunderous and well deserved standing ovation.

Adapted from Michael Morpurgo’s 1982 children’s novel which was then given the Stephen Speilberg treatment in 2011, War Horse depicts the experience of World War I via the differing journeys of young soldier Albert Narracott (Thomas Dennis) and his beloved horse, Joey.

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Albert’s father (Jasper William Cartwright) drunkenly buys Joey to be used as a farm horse, realising he is unsuited to work plans are made to sell him; Albert however who has quickly created the deepest of bonds with the horse commits himself to teaching him to plough within one week, the reward being keeping his friend on the farm.

Life however changes dramatically when war is declared as deeply treasured Joey is requisitioned to the cavalry and shipped to the battlefields of France. Devastated Albert, too young to fight flees from home, lying about his age in a bid to sign up, find Joey and bring him home. What follows is a story of epic proportions as Joey is passed through the hands of soldiers on opposing sides in a breath-taking tale of resilience, determination and incredible courage.

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From first meeting Joey as a foal he entirely captivates, the brilliance of Handspring Puppet Company exceeds every expectation. The relationship between Albert and Joey is an absolute joy to watch. Joey is brought to snorting and stomping life in the most striking and creative of ways by incredibly talented puppeteers. The portrayal of not just Joey but the rest of the animals is so convincing, you soon forget that they aren’t real animals as every single heartstring is pulled, knotted and stretched a little bit more as their traumatic experiences on the battlefield unfold.

Thomas Dennis is superb as Albert Narracott playful and determined as young Albert, the journey he goes on demonstrating with striking clarity just how absurd the notion of war is. Peter Becker gives a strong performance as German captain Friedrich Muller, a man defeated by the nonsense of war who just wants to return to his family and forget the horrors he has seen.

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Poignant songs by John Tams delivered beautifully by singing narrator Bob Fox, drive the story on as we travel from the green fields of Devon to the desolate fields of No Man’s Land.

Through clever puppetry and stunning acting important messages are delivered, hope, courage under duress and the unfathomable futility of war. Genuine devastation for the plight of the men and the horses is palpable throughout the audience as the harrowing sounds of war ring out, with atmospheric lighting design from Paule Constable and superb sound design from Christopher Shutt cementing this as a multi-sensory theatrical experience.

War Horse is nothing short of epic. Emotive, powerful theatre, exquisitely delivered that will stay with you long after the curtain falls.

War Horse is on at The Lowry until Saturday 30th June, tickets available here.

The Wasp

Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Matt Forrest

Hope Mill Theatre is gaining quite the reputation for both staging and hosting bold, daring and unique productions: the latest offering from The Theatre Collective, The Wasp is no different.

When Heather (Charlie Young) contacts old school friend Carla (Debbie Brannan) for a brew and a catch up, Carla has no idea what to expect. In the early stages of high school, the two were the best of friends, however that friendship soon turned sour with Carla turning on her friend, taking every opportunity to extract pain and misery on Heather. In the present-day Carla is in an unhappy marriage with four children and a fifth on the way. Heather on the other hand likes the finer things life has to offer, she has a nice house and money to burn. So, what possible reason could Heather have for meeting up with Carla?  Heather has a proposal for Carla that will change both of their lives for ever.

This daring two hander has a delicious evil streak running through it with a pitch black comedic script at its centre, sure there are some plot contrivances which at times push the boundaries of credibility but if you are prepared to go along for the ride then you won’t be disappointed.

I won’t go in too much narrative detail, so as not to spoil anything, (the less you know the better) however the plot is packed full of twists and turns as we see the balance of power between the two shifts throughout and just when you think you have the answer the questions get changed.

The two leads are outstanding: Young as the straight-laced seemingly well to do Heather turns in a captivating and riveting performance, whilst Brannan is terrific as the desperate Carla, willing to doing anything for a better life for her and her children. The two clearly relish sparring together, as they sling cutting remarks and stinging barbs throughout.

In addition, there is haunting, claustrophobic sound design by Dan Pyke that really ratchets up the tension. Throw all this into the mix and you have all the ingredients for a taut psychological thriller that will shock and captivate.

The Wasp is on at Hope Mill Theatre till 16th June. Tickets are available here.

The Nature of Forgetting

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Tom is preparing for his 55th birthday; Tom also has early onset dementia. As he dresses for his party, with each touch of fabric threads of memoires begin to stir; we follow his minds recollections and failing retentions over the next 75 minutes through an exploration of memory, friendship, love and the fragility of human life.

Established in 2009, Theatre Re is a London-based international ensemble creating moving and incredibly poignant explorative theatre which pushes the boundaries of mime and physicality. The company move together effortlessly as beloved memories play out patchily while others remain strong, taking Tom right back to his school days, to sharing his first kiss through to enjoying his wedding day.

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The fluid execution of each scene allowing the peaks and troughs of Tom’s life to play out in front of us. Tom’s mind may be weakening as shown through the stuttering and stalling of particular memories as scenes blur and frustrations rise where the simple becomes complex but the person at the heart of it remains.

Alex Judd’s beautiful composition becomes almost an additional character, stirring and atmospheric it flows beautifully through the fluid memories and punctuates the distorted, splintered recollections.

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The show’s creator and director, Guillaume Pigé takes on the title role of Tom, delivering the complex choreography with ease. Timing here is everything and the small ensemble cast don’t miss a beat as this moving exploration of dementia as seen through the eyes of a sufferer offers a stage for soon to be forgotten memories.

Fast-paced and poignant, Theatre Re succeed entirely in delivering a thought-provoking and impactful piece of theatre. Tom may seem broken but his inner-strength and the person he was remain despite his failing, weakening mind.

Theatre Re have one more performance of The Nature of Forgetting at the Lowry on Wednesday 13th June at 1.30pm, tickets available here.

This is Elvis

Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Matt Forrest

Elvis Aaron Presley is the undisputed King of Rock N Roll, which is just a fact. Presley is beloved by millions of people around the world: in the UK alone, he had 21 number one singles, a feat yet to be matched. However Presley wasn’t always top dog: during the mid 1960’s things we’re looking pretty grim for ‘Elvis the Pelvis’: a string of poorly received films, his last live performance coming in 1961, it would be fair to say that by 1968 Elvis wasn’t in a good place.

However all that would change with the famous NBC ‘68 Comeback Special’ television broadcast which is where This is Elvis starts. The production opens at the NBC studios as we see a performer riddled with self-doubt and confidence issues only to make a triumphant comeback. Presley is back on the map and wanting to hit the road again, however the strangle-hold that his manager, Colonel Tom Parker, has over him forces Presley into undertaking a 57 show residency in Las Vegas, a situation Presley isn’t keen on. In addition to this, there are marriage problems, anxiety issues, and a certain degree of pressure from the Memphis Mafia, the nickname given to friends and associates of Presley.

This is certainly a production of two halves: the first being that of a musical, the second being a tribute concert, with the latter working out more than the first. Acts one and two provide a useful insight into the extraordinary pressure that Elvis put himself under, in addition to the external issues that were blighting him. Though done in a ham-fisted manner, they are essential to gaining an understanding of Presley. During the Las Vegas show-case finale we are treated  to one of the legendary Las Vegas’s performances with all the showmanship and charisma we associate  with the ‘King’, however the performance is punctured with a great deal of pathos as well.

Steve Michaels is outstanding in the lead role: an international award winning Elvis tribute act in his own right. His performance during the Las Vegas concert is outstanding: he has a fantastic voice and it really shows through as he belts out such classics as Jailhouse Rock, In The Ghetto, and Burning Love: which had everyone up on their feet dancing midway through the final act. However what set this aside from being a caricatured performance is the way Michaels injects some of Presley’s mannerisms and foibles in the performance; it really is a star turn.

Michaels is backed by a 10 piece band who are fantastic, with credit falling at the feet of musical director Steve Geere. The musicianship and talent on display is a treat to behold and in addition, the Las Vegas stage design by Andy Walmsley of bright neon lights, and Presley’s name up in lights add glitz and glamour to proceedings.

Overall, despite a slow start, and some clunky plot points that really could be handled better, this entertaining show providing an insight into some of the demons that blighted Presley’s towards the end of his life, but also an opportunity to remember him for the songs, and the charismatic, captivating performer he was. Elvis fans will love it and for those that aren’t familiar with his music this would be a great place to start. So best dig out the blue suede shoes and white jump suit and head on down to the Palace!

This Is Elvis is on at the Palace Theatre Manchester until 16th June tickets can be found here.

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From 10am on Tue 12 Jun, you can get a free child’s ticket (age 16 and under) to one of 40+ London theatre shows, including Aladdin, Bat Out Of Hell, Wicked, Brief Encounter, and Les Misérables, throughout August when you buy a full-priced adult ticket via the Kids Week website.

There are 172,000 tickets available in total (this includes adult and child tickets) through Kids Week and you can book until the offer ends on Fri 31 Aug – some shows have excluded days and the offer will end once all tickets are sold.

Last year, 104,839 tickets sold within the first 24 hours, so you’ll need to go quick if you’re after a particular performance!

There are no booking or postage fees, and you can save £11.50-£80 depending on the show and seats you choose. You can also get 50% off for up to two more children per adult, so what are you waiting for!

Head to Kids Week for further information and to check out the available shows!

 

Northern Ballet | Jane Eyre

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Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Nikki Cotter

Jane Eyre has been reimagined many times, Northern Ballet’s challenge is telling this familiar story without a single word of Charlotte Brontë’s famous text being uttered. A challenge acclaimed choreographer Cathy Marston undoubtedly rises to as the key details of Brontë’s masterpiece unfold in this dynamic and visually stunning production.

Marston focusses firmly on the female characters within the piece; Jane is indisputably the heroine of the production as Abigail Prudames encompasses the passion and determination of the trailblazer through the most exquisite and precise of performances. Tested to the point of self-betrayal before her belief in love and the fierceness of her own integrity saves her, Prudames tells a story with every slight movement she makes, delivering elegance, drama and emotional depth.

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Rochester is brought to life by a brooding Mlindi Kulashe, the chemistry between Prudames and Kulashe is electric, full of passion and intensity. Kulashe capturing the complexity of Rochester’s bruised soul effortlessly, the duo glide from awkward to playful with ease before passion and intensity takes hold.

Adding further layers to the piece is Hannah Bateman’s Bertha Mason, often described as the ‘mad woman in the attic’ she is wild, highly-sexualised and unpredictable as she prowls across the stage barefoot, bathed in red.

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The production feels fresh and inspired as the pace dances through Jane’s life from tragic childhood to complex adulthood, her search for fulfilment never wavering.

An ensemble of male dancers, known as the D-Men, symbolise Jane’s inner demons, creating a clear visual image of the orphan girls emotions and inner turmoil, a superb creative decision which visually portrays the constant tug-of-war between Jane’s intensely passionate feelings and her outer reserve.

Young Jane is portrayed to perfection by Ayami Miyata, agitation and frustration depicted in her defiant, energetic movements.

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The adaptation does absolute justice to Brontë’s work, bringing the novel to effervescent life with incredible skill and creativity.

Phillip Feeney’s emotive score blends a mixture of both original and 19th-century music which compliments the contemporary feel of this piece superbly. Patrick Kinmonth’s set is sparse moving screens, muted in colour allowing the performers to really be at the centre of this piece, all lit to atmospheric perfection by Alastair West’s lighting design.

The fusing of the traditional and the contemporary ensures this is a performance packed with intensity as well as originality, a beautiful and expressive tribute to both Jane herself and author Charlotte Brontë.

On at the Lowry until Saturday 9th June tickets available here.

Summer Holiday

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Opening Night verdict ⭐️⭐️⭐️⭐️

Marking the 1st of several site-specific productions as part of the Octagon’s Out and About Season while the theatre undergoes an exciting redevelopment, Summer Holiday based on the 1963 film starring Cliff Richard and The Shadows is a joyful, uplifting and enormously inventive production.

Telling the familiar story of Don (Michael Peavoy) his buddies and their exciting escapades on a double-decker bus round Europe, Summer Holiday is brought to life on the streets of Bolton in the most imaginative and innovative of ways as audiences are taken on an immersive journey filled with an infectious soundtrack delivered by a cast who literally burst with talent.

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The ambitions and brilliantly executed production directed by Elizabeth Newman and Ben Occhipinti starts with an opening scene in Bolton’s new bus interchange, as the crowd gathers the action begins. Audiences are then invited to join the cast on a fine fleet of big blue buses for a sing-a-long journey through the streets of Bolton over to Victoria Square where we find musical trio Do-Re-Mi, who soon decide to ditch their clapped out Mini and come along for the ride as together both cast and audience make their way towards the Octagon theatre for the remainder of the performance. The ambitious multi-site staging works wonderfully, it really does feel like an exciting adventure we’re all invited on and flows beautifully.

As the cast leave England behind there are scrapes and shenanigans, hilarious highs and luckily limited lows as this feel-good musical delivers fun with a capita F. One final addition on the adventure is American stowaway Barbara (Eleanor Brown), a highly talented pop star who simply can’t take any more of her pushy mother’s melodrama, inexperienced at life she soon finds her feet and the glorious gang is complete.

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Summer Holiday is undeniably an ensemble production with many of the songs sung by Cliff in the film delivered as group numbers allowing for the most sublime of harmonies as the actor-musicians work their way effortlessly through a jaw-dropping array of instruments. Classic and catchy, the show is chock full of hits including The Young Ones, Bachelor Boy, Living Doll and of course title track, Summer Holiday, each and every one delivered to perfection by the hard-working, multi-talented cast who stay in character from start to finish, singing, dancing and playing musical instruments throughout the entirety of the show.

Michael Peavoy and Eleanor Brown as Don and Barbara make for a fine pairing as cupid comes calling, but the ensemble feel of this piece doesn’t stop with just the soundtrack as love strikes all over the Bolton bus in the most wonderful and heart-warming of ways.

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Special mention must go to Barbara Hockaday as ever-demanding Stella, Barbara’s pushy mother and Greg Last as Jerry, agent to Barbara and eternally at the beck and call of the force of nature that is Stella. The pair are outrageously funny and bounce off each other brilliantly, as for their Latino inspired busking scene, well it’s worth the ticket price alone!

Summer Holiday is a feel-good theatre at its absolute finest, bursting with life and boundless energy it is a joyful journey through the beautiful heart of Bolton that will thrill young and old alike. Artistic Director Elizabeth Newman wanted to inspire audiences to join the Octagon theatre on the road as the redevelopment begins, if this is a taste of things to come then sign me up for a season ticket!

On until Saturday 23rd June, tickets available here.