Month: October 2023

To Wong Foo

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Based on the 1995 cult classic film To Wong Foo Thanks for Everything Julie Newmar, To Wong Foo The Musical proves once again that nobody does intimate musical theatre quite like Hope Mill. This world premiere directed by original film writer Douglas Carter Beane, brings the almost 30-year-old film to vivid and vibrant life with both the story and its themes proving just as relevant today.

To Wong Foo introduces us to three New York drag queens, Vida Boheme (Peter Caulfield), Noxeema Jackson (Gregory Haney) and Chi Chi Rodriquez (Pablo Goméz Jones) who embark on a road trip across the States in a bid to attend the Drag Queen of the Year finals in Hollywood. What they don’t bargain for is breaking down in Middle America, Snydersville to be precise. It’s here where the adventures really begin, there’s heartache, humour, high camp and the most wonderful lesson for us all about finding common ground and true connection.

Opening number Feel The Light sets the bar high letting us know from the off we’re in for a thrilling, fun-filled ride as Theo Maddix struts onto the stage as a captivating Rachel Tensions. Composer and lyricist Lewis Flinn has created some very special original songs covering multiple genres along the way that sit right at home within this vibrant production.

Taking on the role made famous by Patrick Swayze, Peter Caulfield as Vida is superb, he gives her warmth, openness and a strong sense of identity, leading the trio with a loving yet knowing hand and always quick with a quip when needed. His pairing with Gregory Haney as Noxeena is perfection, they bounce off each other brilliantly, their friendship feels honest, authentic and gifts us with magical moments throughout. Haney’s razor-sharp timing and deadpan delivery is utterly hilarious, he doesn’t miss a beat when it comes to delivering his brutal put downs and fierce observations, much to the delight of the appreciative audience.

Pablo Goméz Jones brings a real sense of fun to the role of Chi Chi, drag queen in training, taken warmly under Vida’s sequinned wing while Noxeema’s agreement to the trio is more ‘three’s a crowd’ than ‘you’re welcome’. The journey the three go on is both beautifully poignant and utterly hilarious.

There’s incredibly strong support from the rest of the talented ensemble most notably Carolyn Maitland who makes for a superb Carol Ann. Stuck in a violent marriage she opens her life and her heart to the visiting trio with the most heartwarming of consequences. Her duet with Caulfield, Maybe Tomorrow is such a gentle, beautiful moment, their delivery pitch perfect, conveying a genuine sense of hope despite her despair.

This is a true ensemble production with each and every cast member being given their own opportunity to shine and boy do they shine! My face ached from smiling as I watched their transformations once Vida, Noxeema & Chi Chi sprinkled some of their ‘career girl’ magic.

Duncan Burt and Lee Harris as Sheriff Dollard and Ed Earl are first-rate villains of the piece with their backward attitudes and brutal behaviour while Alexander Kranz makes a wonderful stage debut as Bobby Ray, sweetheart of Bobby Lee portrayed perfectly by Emily Ooi. Susie Fenwick and Samantha Bingley ramp up the laughs as they add genius yet entirely different doses of humour.

Costume designer Gregory Gale along with wig designer Bobbie Zlotnik and make up designer Andrew Sotomayor have pulled out all the stops to ensure the cast look stunning. Their use of colour palettes perfectly illustrating the huge differences between the locals and their exotic visitors.

At a time when Drag performances are being censored in many parts of the United States it feels so important to shine a light on this skilful art while also offering a real celebration of authentic individuality.

To Wong Fo is a joy, it will uplift, empower and remind you that life is there for the taking. In a world so full of shade right now To Wong Fo offers much needed light in the most celebratory of ways, it’s hilarious, gloriously camp and bursting with heart. It feels like this is the start of something truly special, this cast and this production have West End and beyond written all over them, and you know when it happens It Will Be Beautiful!

To Wong Foo is on at Manchester’s Hope Mill Theatre until Sunday 17th December tickets available here.

Romeo & Juliet

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Credit: Johan Persson

Back in 1996 Baz Luhrmann’s iconic take on Shakespeare’s Romeo & Juliet burst onto cinema screens across the world, with its stonking soundtrack, slick edit and contemporary reworking, teenagers (including myself) suddenly began to realise Shakespeare could actually mean something to us. Fast-forward to Manchester 2023 and Nicholai La Barrie’s modern interpretation has all the right ingredients to leave a Mancunion shaped stamp on the hearts of attending audiences.

While most of us know the timeless story, this Royal Exchange production surprises throughout, proving that Shakespeare’s most-loved tragedy still has an incredible ability to touch hearts. Despite its well-known tragic outcome this Romeo & Juliet packs in moments of joy, fun and heaps of humour. The talented cast deliver Shakespeare’s prose with a meaty Mancunion lilt, lifting the piece and adding a touch northern humour and undeniable swagger.

Credit: Johan Persson

Conor Glean as Romeo and Shalisha James-Davis as Juliet are a perfect pairing. As star-crossed lovers their joy at falling in love is infectious, you desperately want them to rewrite this infamous story. They’re playful with each other, drawing you in as you invest in their story despite already knowing the outcome. Their exchanges feel heartfelt; believable, adding a relatability to their well-developed characters. Intimacy director Bethan Clark along with movement director Jade Hackett have guided the duo beautifully ensuring the intimate moments feel authentic and honest.

They are supported by an incredibly strong cast. David Judge makes for an outstanding Mercutio. So skilful in his delivery he often makes Shakespeare’s script feel rhythmical, so melodic is his nuanced delivery. Ashley O’Brien’s Tybalt is fiercely proud, delivering Kev McCurdy’s fight choreography with impressive ease while Adam Fenton’s Benvolio is multifaceted and wonderful to watch.

Credit: Johan Persson

The many moments of light are pure joy, offering the cast the opportunity to have fun with this classic play, I don’t think I’ve ever heard an audience laugh so much during a production of Romeo & Juliet. Moments that could easily pass an audience by are cleverly delivered gifting much light amongst the encroaching shade, offering an opportunity to see characters we thought we knew so well in a different light.

The heavier poignant moments are handled beautifully, none more-so than during Act 2 when the cast are joined by a community chorus who gently sing Elbow’s Build A Rocket Boys as Juliet lies lifeless amongst a sea of rain-soaked mourners.

Credit: Johan Persson

This is a production which will stay with you long after the final bows, its simplistic design allows the storytelling to take centre stage, enthralling the audience entirely. Director Nicholai La Barrie has ensured this Romeo & Juliet feels accessible and inclusive, highlighting strikingly the consequences of choosing hate over love, a lesson which with every passing year the leaders of our world sadly never learn from.

Romeo and Juliet is on at the Royal Exchange until Saturday 18th November tickets available here.

Strictly Ballroom

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Oozing with colour, sparkle and sass Strictly Ballroom is a feisty and fun production which will leave you grinning from ear to ear and digging out your dance shoes.

Based on Baz Luhrman’s iconic 1992 film, the first of his Red Curtain Trilogy which would also include Romeo & Juliet and Moulin Rouge, Strictly Ballroom is all about breaking the rules and following your heart.

Ballroom dancer Scott Hasting (Jonny Labey) dreams of dancing his own steps, he yearns to break away from the rigid rules of the ballroom dancing federation and feed his passion for performance on his own terms. Unfortunately his pushy mother Shirley (Anna Francolini) has other ideas.

Forever in the background Fran (Zizi Strallen) picks up on Jonny’s burning ambitions and begs for the chance to dance with him, cue an ultimately sparkling relationship which takes them both on a journey neither could have predicted. Labey and Strallen burst with vibrancy and breath-taking talent; they excel in the grand extravagant numbers and fizz with passion in the sharp, intimate duets, their movements precise and expressive. Director Drew McOnie has woven dance so beautifully into every aspect of this production with feelings and thoughts being expressed through the most sublime of movements, it’s a joy to watch.

Will Young takes on the role of Willy Strand, specially created for the stage production Strand acts as MC and narrator for the evening, guiding the audience through the story with beautifully interwoven songs including Love Is in the Air, I Wanna Dance with Somebody and Slave To The Rhythm. Young’s vocals are smooth as honey, he has a great ability to add depth and emotion to each and every song, this paired with his cheeky, glint in the eye narration ensures a perfect pace is maintained throughout. There is little interaction between Strand and the characters but the role works remarkably well.

The cast are enormously strong and burst with talent in this camp and creative extravaganza. Each character larger than life adding injections of humour in every scene. Charlotte Gooch is mind-blowingly perfect as Tina Sparkle as she pulls out moves that would leave most of us calling for an ambulance, Gary Watson is deliciously camp as ballroom dance champ Ken Railings while Lauren Stroud delivers the part of Liz Holt, Jonny’s original pouting partner with perfection.

Costume designer Catherine Martin must have cleared out the sequin section of every haberdashery south of the Watford Gap with her dazzling costumes matching gloriously the high-energy of the on-stage performances.

Strictly Ballroom is joyful, over the top escapism, bursting with colour, enormously funny with an uplifting story of self-expression at its heart. It will make you smile from start to finish through every bright, bold and sensational moment of this visually stunning show. Exhilarating theatre which delivers as every level.

On at the Piccadilly theatre, currently booking until October, tickets available here.

Hobson’s Choice

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Innovative adaptations and the Royal Exchange Theatre go hand in hand; just looking at this week’s Autumn/Winter programme announcement confirms the theatre’s reputation as bold decision makers who delight in mixing things up. Interestingly Hobson’s Choice doesn’t relocate too far from its Salford origins, settling on the streets of a fledgling Northern Quarter but it’s reimagining by playwright Tanika Gupta brings a fresh vibrancy to this classic comedy. The Hobson’s are now an enterprising Ugandan-Asian family running a tailor’s business in the city’s 1980’s backstreets thanks to the diamonds Mrs Hobson (then Patel) managed to smuggle out of Uganda in a batch of pakoras.

Hari Hobson (Tony Jayawardena) is a firm believer in what we’d now describe as wildly out-dated attitudes, his social standing means the world to him, a world in which he thinks women should be seen but preferably not heard and that at age 30 any female is well and truly past her prime. He delights in reminding his daughters that it is indeed a man’s world whilst he attempts to keep up appearances as head of the household despite it being clear for all to see that eldest daughter Durga (Shakini Peiris) clearly rules the roost.

His second generation daughters are desperate to break the mould, led by eldest sister Durga who has grown increasingly sick and tired of being the brains behind the business with little in gratitude or reward.

Tanika Gupta’s innovative adaptation enriches the story with well timed humour, sparkling exhanges and touching sincerity which are made all the more richer by the well-researched Ugandan-Asian historical references. The strength of the cast is key to the success of this piece with each and every cast member giving a performance that is second to none.

Tony Jayawardena is outstanding as the ill tempered family patriarch Hari who revels in his adopted Britishness yet despairs when his daughters attempt to explore their new culture. His comedic timing is perfection particularly during his superb exchanges with eldest daughter Durga (Shakini Peiris). They butt heads throughout with both hilarious and touching consequences.

Shakini Peiris is commanding as determined and hardworking Durga, the real innovator in the family. She convinces entirely as ambitions Durga whilst achieving a relatable balance of frustration and love for her infuriating father.

Special mention must go to Esh Alladi whose portrayal of introverted tailor Ali Mossop is an absolute joy. The journey he goes on is remarkable, starting out as a quaking bundle of nerves he is shaped with genuine tenderness by Durga, never losing his warmth and innocent charm and providing the audiences with some of the best laugh out loud moments in the production.

Rosa Maggiora’s set design uses the Exchange’s unique space to great effect with Matt Haskins lighting design adding atmosphere and depth to proceedings.

This brilliantly portrayed and beautifully developed comedy piles on the laughs while director Atri Banerjee also ensures the moments of calm and consideration are allowed to gently develop. Family life in all its ugly complexities and wonderful contradictions are exposed in this delightful production. There is very little to criticise here, a slight lull in pace during Act II perhaps but this really is a minor quibble. This is an innovative and fresh take on a classic Northern tale with storytelling brought to beautiful and brilliant life by a skilled cast and creative team. Uplifting and joyous theatre told with true heart.

Catch Hobson’s Choice at the Royal Exchange until Saturday 6th July tickets available

 

Ghost Stories

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Finally, a decade after it’s theatrical premiere at Liverpool’s Playhouse Theatre, Ghost Stories is embarking on a full national tour, and trust me it was well worth the wait!

From the twisted minds of childhood friends Jeremy Dyson and Andy Nyman, comes the ultimate scary theatrical experience, that will chill to your core.

Both Dyson and Nyman are no strangers to horror and the supernatural: Dyson is arguably best known for his work with, The League of Gentleman. Whilst Nyman is an actor and writer, who recently starred opposite Renée Zellweger in the Oscar winning film Judy. However, it’s his previous work with Derren Brown, which undoubtedly feeds into this production.

It would do the show a disservice to offer a review complete with plot synopsis and spoilers, the less you know going in beforehand the better. So, this review like a government investigation into Russian donors to the Conservative Party will be heavily redacted.

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Beginning with a lecture from Professor Goodman (Joshua Higgott), Goodman specialises in the study of the supernatural, especially debunking people’s stories, or exposing fakers and frauds. However, of all the cases that he has investigated there have been three that have stuck with him.

The first is that of security guard, Tony Matthews (Paul Hawkyard), and his unsettling final shift. The second is that of teenager, Simon Rifkind (Gus Gordon) and the strife his troublesome car gets him into. Finally, businessman, Mike Priddle (Richard Sutton) and the events that lead up to a family tragedy.

Can Professor Goodman offer up a rational explanation behind each of these stories, if so what can be?

If the aim of Ghost Stories is to have you jumping out of your skin then it achieves its goal ten times over, like a rollercoaster the thrills come thick and fast, just when you think you’re safe there’s another scare right around the corner. It’s not all shocks, there are several laughs too, with a pitch-black script and lots of fun gags, horror and comedy have often made strange bed fellows, Ghost Stories undoubtedly have got the balance spot on.

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With a production of this nature it of course relies hugely on its creative team and high production values and what they have created is something quite special. With James Farncombe’s lighting design, sound design by Nick Manning, then add into the mix Jon Bausor’s impressive set design and you have an atmospheric, gasp-inducing full-on sensory experience.

The cast are on fine form, Higgot has an engaging stage presence as our guide to the paranormal, whilst the three storytellers each bring something different to their tale. There’s comedy, drama, and terror from each turn but all done very differently, which is a credit to all three actors as well the sublime writing and direction.

This is so much more than a fright-fest: it’s smart, innovative and most of all an enormously fun piece of theatre that pulls out all the stops to give you a night out that will live long in the memory.

Ghost Stories is at the Lowry until the 22nd February 2020 tickets available here.

 

 

 

Looking Good Dead

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Reviewed by Alison Ruck

Opening Night verdict ⭐️⭐️⭐️1/2

There’s a real appetite for crime dramas currently. From Netflix to the BBC, there’s always something new within this genre to thrill and enthral audiences. ‘Looking Good Dead’ is the crime drama audiences are craving, live on stage.

Peter James is known as WH Smith’s ‘Best Crime Author of all time’; his 2006 novel ‘Looking Good Dead’ reached No2 in the Sunday Times paperback best seller list. It’s clear to see why as you unpick the story.

The story centres around the Bryce family: a typical family from Brighton, with your regular family squabbles, moody teenagers and standard day to day life – but their lives turn from the everyday to the sinister with one phone call. Tom Bryce (Adam Woodyatt) and son Max (Luke Ward-Wilkinson) inadvertently witness a murder after finding a USB stick on a train. Detective Superintendent Roy Grace (Harry Long) steps in to try and crack the case in time to save the family’s lives.

With a star-studded cast including Adam Woodyatt as Tom, best known for playing Ian Beale in ‘Eastenders’, and a recent stint on 2021’s ‘I’m A Celebrity Get Me Out Of Here’. Adam is joined by fellow soap actress Gaynor Faye as his wife Kellie, who recently starred in The BBC’s ‘The Syndicate’.

The staging is brilliant, with a modern house acting as the main focus where most of the action unfolds. Divided by a sheer cloth, behind the house of the Bryce family lies an ominous warehouse setting complete with steel beams and chains. Completing the set is a movable police office which joins the stage with its own soundtrack music, further adding to that typical BBC crime drama atmosphere of the play.

The first act did take some time to develop into the gripping drama it became, filling the majority of the act with steamily unnecessary scenes and information. However, as the second act opens, we’re immediately thrust into the crime drama etiquettes, audiences know and love.

The second act was filled with twists and turns, the climax of which leaving unfamiliar audiences with a shocking revelation. One thing that is missed from the magic of television and filming within this genre is the use of clever and creeping camera angles that build suspense, unfortunately an element live theatre just cannot provide, leaving some of the more suspenseful moments lacking flair.

The action scenes, which were few and far between consisted of lacklustre punches and tackles which could be further refined and dramatic, however the strength of the plot and its surprise moments carried the play.

The adaptation from novel to stage did miss the mark in some places, with cheesy jokes (which to be fair did produce chuckles from the audience) and often over-descriptive dialogue which weren’t inspiring in a theatrical setting.

Although maybe not as dark and serious as many of the crime dramas around today, ‘Looking Good Dead’ still makes for an enjoyable piece of theatre that can definitely appeal to crime-drama-genre lovers.

You can catch ‘Looking Good Dead’ at The Lowry Theatre in Salford until Saturday 22nd January tickets available here.

Noises Off

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Slip the word meta into conversation and most people may think you were talking about Mark Zuckerberg’s name for Facebook, and lots of other stuff in the ‘meta-verse’ I don’t understand, and quite frankly have no interest in understanding either! The meta I wish to talk about relates to Noises Off, a play within a play, from the pen of  playwright Michael Frayn, that is as clever and smart as it is silly and absurd, and I absolutely loved it!

First performed in 1982, Fryan’s script focuses on Britain’s obsession with farce, and the sex comedies of the 60’s and 70’s such as the Carry On and Confession films. He has taken some of these familiar elements and crafted a piece of work that still has a place in modern Britain, some 40 years on and the result is a riot from start to finish.

Noises Off  focuses  on a small touring theatre company as they attempt to bring their production of Nothing On to the stage. We see the production at three different stages of its lifespan. The first being the final rehearsal before opening night as director Lloyd Dallas (Simon Shepherd), attempts to get something half decent from his woefully  underprepared cast.

We are slowly introduced to this cast of misfits each with their own little quirk and foibles: First there is Dotty Otley (Liza Goddard), the star of the show, who has pumped a lot of her own money into the production. Next is the leading man, Garry Lejeune (Dan Fredenburgh) , a good actor, prone to bouts of jealousy. They are joined by Brooke Ashton (Lisa Ambalavanar) an inexperienced actress, who will plough through her lines regardless of what is going on around her.

Other cast members include: Belinda Blair (Lucy Robinson), a professional to the hilt, as well as being a hopeless gossip. Also there is Frederick Fellows (Simon Coates) a rather slow creature, low on confidence after his wife left him. The final actor making up the cast of Nothing On is Selsdon Mowbray (Matthew Kelly), a seasoned actor whose hearing problem matches his drink problem. The are joined by the easily flustered duo of Poppy Norton-Taylor (Nikhita Lesler) and Tim Allgood (Daniel Rainford) as the assistant stage manager and manager, with both also on hand as understudies should any misfortune befall the cast.

From the rehearsal space of Act 1, we are transported to back stage mid-tour for Act 2, where the cast and creatives’ personal lives and animosity towards each other are impacting the show, finally reaching it’s crescendo during the final act, which takes place on the final week of the tour.

Despite an initial gentle start, where characters are introduced and various plot strands are seeded,  Fryan’s script pokes fun at the genre with its more than familiar tropes of affairs, middle-aged men wandering around with their pants round their ankles,and young women managing to walk around with very little clothing. Don’t get me wrong there are gags-a-plenty in the first act, but nothing on the scale of what happens next.

It’s following the interval where we are treated to a tour-de-force of brilliant physical comedy from the entire cast beautifully directed by Lindsay Posner and choreographed by Ruth Cooper-Brown. As the illicit backstage shenanigans and petty squabbles begin to seep into the performances front-of-house, we have everything from shoe laces tied together, to prickly cactuses, at times it’s hard to keep track of what’s going on at such a frenetic pace, but it’s a visual feast, and worth the price of admission alone.

It’s easy to see why Noises Off has survived for so long as all the right ingredients are there: a smart, intelligent script which never seems dated or out of touch, a fantastic ensemble cast, who just know how to do comedy, who all get their moment to shine and finally a wonderfully directed series of set pieces that will tickle every funny bone they can reach. With all that is going in the world, Noises Off is just the tonic that is needed for 2 ½ of silly escapism.

Noise Off is at the Lowry until Saturday 21st October. Tickets available here.

Quiz

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

If there are two types of television programmes we love: the classic quiz show and a good courtroom drama are right up there, well imagine the two combined, but live on stage. Add into the mix the fact that it’s a real life incident focusing on one of television’s most infamous moments and you have the recipe for writer James Graham’s Quiz.

First performed in 2017 and later adapted for the small screen in 2020, Quiz is part way through a nationwide tour, and has arrived at the Lowry’s Lyric Theatre this week.

This is the story of Charles Ingram or the “Coughing Major” as he was dubbed, who along with his wife Diana, and fellow contestant, Tecwen Whittock were found guilty of cheating on, Who Wants to Be a Millionaire?  following the army officer’s appearance in 2001.

The action takes place in the courtroom and at first looks at the case for the prosecution, whilst at the same time examining the genesis of the ‘millionaire’ format, that would go on to be a global phenomenon. During the trial we learn of an underground quizzing network designed to infiltrate the show’s rather lax vetting procedures, as well as several recreations to incidents from the show involving the Ingram’s and their extended family.

Following the interval we are treated to the case for the defence, where we see the Ingram’s prepare for Charles’ Who Wants to Be a Millionaire?  appearance, helped by his wife Diana, a quiz enthusiast, who encourages her husband to entertain the audience in order to remain in the millionaire hot seat. We get to see the toll the accusations and trial has on the couple, as the pair are ridiculed and abused by the press and public, as well as more direct action against them in their family home.

Writer James Graham’s has created a funny, entertaining and at times poignant show, dripping with nostalgia. It’s a mixture of great one liners and pitch perfect, absurd visual gags, the Ingram’s swatting up session being one of many highlights.

It also offers up a brutal critique on ruthless television executives and the treatment of their contestants and their audiences.  We are also given a brief history of the origins of reality television which for better or worse have become a firm fixture of our viewing habits.

The show is anchored by three superb central performances. Rory Bremner is in great form as ‘millionaire’ host Chris Tarrant, mimicking Tarrant’s facial expressions, mannerisms, and diction to perfection. On this performance alone it’s easy to see why Bremner is still regarded as one of the nation’s most revered impressionists. His casting certainly adds star power and some heft to proceedings.  Lewis Reeves gives an equally impressive turn as the awkward, shy major, at times, it’s a measured, subtle performance which helps garner sympathy and also helps to throw some shade on the trial verdict.

There is also an impressive turn from Charley Webb, making her stage debut, as Diana Ingram. Webb gives Ingram warmth and depth, playing her more as a loving wife and quiz fanatic rather than the criminal mastermind, some media outlets would have you believe at the time. It’s a surprising interpretation, but certainly one that pays dividends and more than adds to your enjoyment.

Directors Daniel Evans and Seán Linnen have created a slick, fast paced production that always entertains and engages. There is a nice touch with an interactive keypad, as we are invited to take part in the quiz ourselves, but more importantly give our judgement on the Ingram’s. The quiz element of the show certainly brought out the competitiveness of the audience in Salford, as at various times answers could be heard muttered throughout the theatre, adding to the show’s charm and authenticity.

Robert Jones’ unique stage design sees the courtroom setting seamlessly morph into television studio, complete with the Who Wants to Be a Millionaire? hot seat and dazzling studio lights, adding to the flow and tempo of the production.

This is a joyous, entertaining take on a story that for a time gripped the entire nation offering something a little different. If the question is, should you go to watch Quiz? then the response is clear “YES, and that’s my final answer!”

Quiz is on at the Lowry’s Lyric Theatre until 28th October. Tickets available at here.

Giselle

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Following its 2016 premiere right here at Manchester’s Palace Theatre, Akram Khan’s Giselle has gone on to wow audiences the world over. This hauntingly beautiful reimagining of the classic 1840’s ballet which was originally co-produced by Manchester International Festival and Sadler’s Wells is brought brilliantly up to date.

We see Giselle (Erina Takahashi) portrayed as a migrant worker, disposable to her employers and banished with the rest of her community behind a thick and impenetrable wall. Their only use seemingly to provide entertainment on demand for the elite, the landholders, as and when they require it.

Despite this barren, bleak life Giselle still finds a hope to cling to in the form of her lover, Albrecht (James Streeter), a wealthy suitor who has been so bewitched by Giselle’s beauty he disguises himself as an outcast in order to be with his love . The pairing of the two young lovers has not gone unnoticed by Hilarion (Ken Saruhashi) an opportunist peasant ‘fixer’ who is fluid with his allegiance in order to benefit himself. Sadly, for Giselle and Albrecht, the opportunity to raise himself up by exposing Albrecht is too much for Hilarion to resist.

Everything about this reimagined piece is so wonderfully stylised it’s hard to imagine another version of this stunning ballet. Vincenzo Lamagna’s reworking of Adolphe Adam’s score injects an intense theatricality while Mark Henderson’s dynamic lighting design adds depth with its impactful moments of light and shade.

Tim Yip’s visual design and incredible costumes ensure the characters and classes within this production are clearly defined adding superbly to the strength of the storytelling.

Act I introduces us to our principle characters and is a feast of contemporary movement featuring galloping, contorting, artists of the company in contrast to the gliding, considered steps of the elite. There are moments of joy as we see Giselle falling in love, celebrated by a light, gentle pas de deux delivered to perfection by Takahashi and Streeter.

This enthralling physical and emotional expression continues through to Act 2 as we see the wall which has been used to separate the classes until now acting as a gateway into the underworld where ghostly Wills dance en pointe, eerie yet beautiful with each determined movement. The skill displayed by the company in particular Emma Hawes as Myrtha, Queen of the Wills is nothing short of spectacular.

Saruhashi as Hilarion weaves his way impressively throughout the company, commanding in his presence delivering a clearly defined character. While the pairing of Takahashi and Streeter is enthralling, the delicacy and precision of their movements highlighted wonderfully by two stunning yet entirely contrasting pas de deux.

Khan, who hails from a background in Indian classical dance has choreographed this piece generously, allowing the physical storytelling to reach an extraordinary emotional depth. Paired with an immensely talented company accompanied by the sublime English National Ballet Philharmonic you have a production that’s utter perfection.

Giselle is on at Manchester’s Palace Theatre until Saturday 21st October tickets available here.

Free Your Mind

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Manchester’s much anticipated new arts and cultural hub and the home of Factory International, Aviva Studios, officially opened in iconic style last night with the world premiere of Free Your Mind, a jaw-dropping semi-immersive piece of performance theatre, based on the 1999 sci-fi classic, The Matrix.

Featuring 50 professional dancers, as well as a world class creative team, this bold and brilliant reimagining takes place throughout the purpose-built facility with performances commencing from the very moment you walk through the doors into the expansive foyer.

Director Danny Boyle, teamed with choreographer Kenrick ‘H2O’ Sandy, composer Michael ‘Mikey J’ Asante, costume designer Gareth Pugh and writer Sabrina Mahfouz have created something truly unique and utterly breathtaking. The addition of Es Devlin’s jaw-dropping set design really takes this already inspiring piece to the next level, the likes of which I’ve never seen before.

This fresh perspective on the iconic 90’s movie offers a thought-provoking take on the rise on artificial intelligence and its infiltration into life as we know it. Opening with an intricately choreographed piece featuring Alan Turing (portrayed by Ian Harris) words of warning are shared about algorithms and ultimately our increased reliance upon them as malfunctions soon begin to appropriate the performers. From here we explore the modern world not just though the eyes of Neo (Corey Owens) but also from the viewpoint of a technology consumers, all of course with a Manchester twist.

Part one is both visually and artistically stunning setting us up brilliantly for the sheer spectacle that is part two as we move from the studio’s sumptuous theatre into a sprawling warehouse space, brilliant in both scale and style. The anticipation of what is to come fizzing through the audience as we wait for the next instalment.

A rapid history of Manchester plays out to the sounds of New Order’s Iconic Blue Monday as we whizz through reminders of the cotton merchants, Joy Division gigs, the cobbles of Coronation Street and the late great Tony Wilson.

Big tech are ingeniously represented as we see life imitating art when dancers move through the space transfixed by their phones while many of the audience busy filming the action suddenly see themselves represented on the central catwalk. There’s a stark reminder of the increasing control the tech giants have over our lives as they parade in front of us demanding complete and total attention. The precision of the performers is sublime as they march to the beat of AI, while choreographer Kenrick “H2O” Sandy’s portrayal of Morpheus is both fluid and majestic.

While we’re pushed to reflect on our own relationships with technology we’re reminded that the control still lies on our own hands with the opportunity to ‘free our minds’ still within reach.

This vivid spectacle will well and truly ensure Aviva Studios, the permanent home of Factory International is firmly placed on the cultural map. With its endless creative possibilities highlighted spectacularly in this ground-breaking opening show this really does feel like a landmark moment in Manchester’s cultural history.

Free Your Mind is on at Factory International, Aviva Studios until Sunday 5th November. Tickets available here.

42nd Street

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Photo Credit: Johan Persson

42nd street is set in America during the hardest of times, the Great Depression. Many young people were out of work and scraping to get by. This show tells the tale of one such gal “Peggy Sawyer”, played by the incredible talented Nicole-Lily Baisden, who in search of her dream finds herself missing out on an audition for a new Broadway show. But things start to look up when she catches the eye of a big time director, Julian Marsh and Peggy lands herself a role in the chorus line, her dream come true. 

Now I would struggle to tell you the plot of the show they are putting together, but the plot of it isn’t important! Not to anyone ! What matters is that due to an incident with the leading lady Peggy has the chance of a lifetime at her fingertips…will she pull it off ? There’s only one way to know: get down to the Opera house this week to find out! 

42nd Street has graced stages around the world since the 1980s and still it manages to hold everything that is magical about musical theatre firmly in its grasp. I’ve seen this show countless times and still I get goosebumps during the big numbers. This show doesn’t need modernising, it doesn’t need tweaking, it just needs to be watched in all its splendour. The costumes are sublime: they are glitzy and glamorous and transport us back to a bygone era of gentlemen’s waistcoats and pleated trousers and ladies in evening gowns that twinkle in the moonlight. Hair, make up, props: All work together to take us back to a time gone by. 

The cast of this production is the greatest I have seen over the years. The lead characters come together brilliantly on the stage. Samantha Womack as Dorothy Brock is a delight. She’s funny and sassy and my word, can she sing. 

Michael Praed, who plays Julian Marsh, works hard to keep the narrative moving and he creates the pace of the plot with utter professionalism. His performance is flawless in every single way. Faye Tozer and Les Dennis, make for an awesome pairing, they were just so wonderful both together and in their own right. 

And Nicole-Lily Baisden is without a doubt the most energetic, enthusiastic and majestic Peggy Sawyer, that I ever did see. Everything about Baisden screams Broadway. She is the quintessential Peggy Sawyer. 

None of the glitz, glamour, and joyousness would be possible without the hard work of the ensemble. Note perfect, step perfect. Everything perfect. This show is relentless for an ensemble member, it’s upbeat, high impact and takes a hardworking performer to make it look so easy. The choreography is demanding, but this ensemble make it look like it’s all in a days work. 

Everyone should see 42nd Street. It’s got everything. It’s not trying to be something it isn’t. It’s just there to be seen and heard. And this cast make it the most magical 42nd Street that there is. 

If ever there was a show to make you wish you’d learnt how to tap dance – this is most definitely it!! 

42nd Street is on at Manchester’s Opera House until Saturday 21st October tickets available here.

By The Waters Of Liverpool

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

What I love about theatre is that there is show out there for every audience. And what one of us will adore, another will not. By The Waters Of Liverpool won’t be for everyone, but it will be a must see for fans of Helen Forrester’s writing. It’s a simple tale, told beautifully and carefully. It’s a story that so many families faced during the 1930s: of hardship, sacrifice, poverty and love.

This play follows the story of Helen. A young woman whose family have lost all their wealth and status and have moved to Liverpool during a time when the country was facing so much uncertainty. Crippled by debt, Helen’s family are struggling to make ends meet, but aren’t used to being poor, so fall into bad ways by borrowing more and more money, and ultimately losing more. Helen is the anchor of the family, the one holding it all together. But she wants more, she deserves more, but it’s up to her to get it.

This production has the most fantastic of casts. Legends of the stage who together bring us warmth and humour and plenty of accents too! 

While Emma Mulligan takes on the role of lead character Helen, the other actors take on multiple roles, but there is never any confusion. Lynne Fitzgerald, Daniel Taylor and Joe Owens are exceptional in this production. Every single role Lynne Fitzgerald plays is magnificent, she has comedic timing perfected. Her delivery of Ma, the cafe owner, is possibly the most Victoria Wood-Esque performance I have ever seen.

Although this is a tale of hardship, loss and tragedy, it is also a story filled with laughs, dancing, great love and friendship. The stage and lighting help to create the atmosphere and the use of narration through the central characters works well. The use of props and actors for scene transitions helps to move the story along and keep a steady flow. I enjoyed the simplicity of this production combined with the outstanding acting from the whole cast. It was a wonderful way to spend a Saturday evening in Sale.

By The Waters of Liverpool is currently on tour, further dates can be found here.