Month: March 2025

Cruel Intentions

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️

Cruel Intentions: The 90s Musical is an energetic and fun adaptation of the 1999 cult film, blending the drama of the original with an upbeat 90s pop soundtrack. Set in an elite prep school, the story revolves around Sebastian Valmont, a charming and manipulative teen whose latest game involves seducing and ruining the lives of his peers. Alongside him is Kathryn Merteuil, his scheming step-sister, who sets the stakes higher by making a bet on Sebastian’s ability to corrupt Annette, a new and innocent student. As Sebastian begins his pursuit of Annette, the characters are pulled deeper into a web of lies, deceit, and temptation—all set to a backdrop of hit songs from the 90s.

One of the undeniable highlights of the show is the vocal performances. Luke Conner Hall as Blaine Tuttle delivers a standout performance with his powerhouse voice, perfectly capturing the essence of the character with both charm and intensity. Likewise, Lucy Carter, playing both Cecile and Marci, is another scene-stealer, with her incredible vocal range and comedic timing adding energy and warmth to the production.

The musical is bursting with nostalgic 90s hits that really bring the era to life. From No Scrubs by TLC to I Want It That Way by the Backstreet Boys, the audience is treated to an unforgettable soundtrack. These songs are seamlessly integrated into the storyline, with some clever and humorous nods to their lyrics. It’s clear that the production is aware of its playful tone, and for many, these moments of self-aware humour hit the mark, providing a light-hearted and entertaining atmosphere throughout the show.

The high-energy choreography and over-the-top performances create a vibrant, comedic feel in the first act, which some audience members absolutely adored. The audience was buzzing with excitement, and many found themselves caught up in the fun of it all. The show’s ability to bring laughter and joy, especially for fans of the original film and 90s music, cannot be overstated.

That being said, Cruel Intentions: The 90s Musical isn’t for everyone. The humour, while fun for many, includes outdated, offensive jokes, particularly homophobic and racist remarks, that may leave some feeling uncomfortable. These moments feel out of place in today’s context, and while they may have been acceptable in the original film, they detract from the otherwise light-hearted tone of the musical.

Another issue with the production lies in its storytelling. The plot, while following the original film’s general premise, lacks depth and development, leaving certain emotional moments feeling underdeveloped. The musical’s tone also fluctuates, with Act 1 leaning into a slapstick, tongue-in-cheek approach and Act 2 attempting to make the characters’ emotional struggles more serious. This shift can feel jarring, and it’s unclear whether the show is a comedy, a parody, or a more faithful interpretation of the film. For some audience members, the inconsistency in tone might make it difficult to fully engage with the characters’ emotional arcs.

Additionally, some of the song choices and dance routines felt derivative, almost mimicking the original versions of the hits rather than offering a fresh take. Sometimes this felt intentional and other times I just wasn’t sure. I found it confusing. While these numbers were undeniably fun, they didn’t always add much depth to the show’s overall narrative or emotional impact.

Cruel Intentions: The 90s Musical is a wild and vibrant ride through the best hits of the 90s, filled with memorable performances and an infectious energy that many in the audience loved. For fans of the original film, 90s music, or anyone who enjoys a fun, upbeat show, there’s a lot to enjoy. However, its humour and narrative tone might not resonate with everyone, and those seeking a more serious or cohesive experience might find it lacking. If you’re in the mood for a nostalgic, playful evening with catchy tunes and tongue-in-cheek humour, this musical delivers plenty of fun. Just be prepared for a show that embraces its campy, bold style—whether or not it fully lands with every viewer.

Cruel Intentions is on at Manchester’s Palace Theatre until Saturday 29th March tickets available here.

Dear Evan Hansen

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Just over two years since it closed in London’s West End, multi-Tony, Grammy and Olivier award-winning musical Dear Evan Hansen has embarked on a UK tour, stopping this week at Chester’s Storyhouse.

Dear Evan Hansen follows the story of socially anxious high school student Evan who accidentally gets caught up in a lie which quickly snowballs beyond all control. Following the death of fellow pupil, Connor Murphy, a therapy letter Evan wrote to himself is mistakenly confused as the pupil’s suicide note and Evan soon becomes deeply entrenched in the grieving families lives. The musical has received some criticism over the years with some audiences finding the subject matter and elements within the story problematic however there’s no doubt it’s beautiful score with music and lyrics by Benj Pasek and Justin Paul (La La Land/The Greatest Showman) has confirmed its status as a modern classic.

This new production has clearly examined the previous problematic elements and softened Evan, that combined with Ryan Kopel’s superb physical and emotional interpretation of the schoolboy results in a gentler, more likeable Evan and one who we feel more compassion towards. Kopel’s portrayal really is mesmerising, his Evan is a fidgeting, hand-wringing, blinking bundle of nervous energy while his deep longing for connection is sensitively and gently explored. His characterisation is incredible while he delivers stunning vocals throughout, notably Word’s Fail which is breath-taking as we witness him visually unravel under the pressure of the lie that’s seemingly unstoppable.

The rest of the cast compliment Kopel perfectly. West End favourite Alice Fearn’s portrayal of Heidi, Evan’s Mum is perfection, her rendition of So Big/So Small brought many in the audience to tears while her unconditional love for her troubled teen Evan plays out beautifully, frustratingly and authentically.

Killian Thomas Lefevre is fantastic as troubled teenager Connor Murphy, popping up when we least expect it enriching the story with each surprising appearance. Lauren Conroy plays Connor’s sister Zoe Murphy with strength and sensitivity while Richard Hurst and Helen Anker’s performances as Connor’s parents are deeply moving, portraying parents who have so tragically lost a child with raw and honest emotion. Will Forgrave covering tonight as Evan’s ‘family friend’ Jared Kleinman brings some welcome light relief while Vivian Panka is a driven and determined Alana with vocals to die for.

Morgan Lane’s box set design is lined with mirrors and sliding doors which allows us to see each scene from various fractured angles while allowing the action to easily shift location. The use of video screens is hugely effective cementing that feeling of social media’s all consuming impact while Matt Daw’s lighting design is equally as impressive.

The small ensemble replicate Evan’s frantic, racing mind through Carrie-Anne Ingrouille’s modern choreography, although they feel a little underused in the piece when the do feature they impress.

This thought-provoking, intricately crafted piece of theatre will long live in the memory. At times a gut-wrenching watch, it’s important messages about visibility and self-acceptance remain strong while the spotlight it shines on the influence of social media, isolation, anonymity and connection feel ever poignant. This is a quality piece of theatre with a story that will connect with many and by far one of the best scores of recent years. With tickets selling fast you won’t want to miss this musical masterpiece.

Dear Evan Hansen is on at Storyhouse Chester until Saturday 22nd March limited tickets available here.

Pride & Prejudice* (*sort of)

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Reviewed by Michelle Ewen

Opening Night verdict ⭐⭐⭐⭐⭐

What if you took Jane Austen’s most popular novel, added a tower of Ferrero Rocher, a plethora of iconic pop hits and a life-sized horse on wheels? The answer, my dear, is Pride & Prejudice* (*sort of) – a wickedly funny and outrageously irreverent take on the classic story of the Bennet sisters and their rocky road to lasting love. 

In a genius move, writer/director Isobel McArthur tells the story from the perspective of five ‘below the stairs’ maids who have an invisible hand in helping each sister get several steps closer to marriage (with more success than the meddlesome Mrs Bennet!). 

With an all-female cast of just five players portraying every single character in the Austen universe (both above and below the stairs), the stage is set for a rip-roaring entertainment-fest in which your next giggle is never more than a second away. 

With Naomi Preston Low expertly anchoring the action as the irrepressible Elizabeth Bennet and Christine Steel bringing sweetness and light as Jane Bennet, Rhianna McGreevy is free to showcase her exceptional range – switching effortlessly from potty-mouthed Mrs Bennet to the taciturn Fitzwilliam Darcy. 

Whether thrusting her breasts as chief antagonist Caroline Bingley or wrestling with a tube of Pringles as the hapless Charles Bingley, Emma Rose Creaner is hysterical. But the scene-stealing plaudits must go to Eleanor Kane, whose Mr Collins, once experienced, can never be forgotten!

An honourable mention must go to Mr Bennet, who is represented by nothing more than an armchair, newspaper and cloud of smoke in one of several inventive sight gags throughout the play. 

Other running themes include an impressive array of 1980s confectionery – from a plate of Wagon Wheels to a box of Viennetta ice cream. And, of course, there is always the (welcome) threat of a song around every corner, with the cast taking every opportunity to underpin each character or plot development with a tongue-in-cheek number. Highlights include Carly Simon’s ‘You’re So Vain’, Chris de Burgh’s ‘Lady in Red’ and Pulp’s ‘Something Changed’. 

Comedy supervisor Jos Houben’s lightness of touch ensures no laugh is forced, while McArthur’s direction is imbibed with creativity and ease. Character transitions are helped enormously by the inventive wardrobe choices of multi-award-winning Ana Inés Jabares-Pita. A simple white dress for each maid creates the perfect canvas on which to layer on additional garments, which are whipped off and on before you can blink an eye. 

Above all, this play is about sisterhood – and the bond between the players feels very genuine. They look like they are having a ball on stage, which is an energy that translates to the audience, who need no prompting to rise to their feet for a well-deserved standing ovation. 

Back in 2018, McArthur and her fellow graduates fromThe Royal Conservatoire of Scotland were initially challenged by Andy Arnold, the Artistic Director of Glasgow’s Tron Theatre, to restage a classic. With an instant hit on their hands, the young company lost traction during the pandemic but, thanks to a collective effort from the theatre industry – and the considerable determination of producer David Pugh – this Laurence Olivier Award-winning play lived to see another day. It now stands as a testament to what can happen when talent meets opportunity meets resilience.  

Sometimes considered complex and unwieldly in its classic form, Pride & Prejudice* (*sort of) is a modern-day rom-com triumph that anyone can enjoy. Just be prepared to go home with your cheeks sore from incessant smiling!

Pride & Prejudice* (*sort of) is on at The Lowry until Saturday, 22 March tickets are available here.

Chitty Chitty Bang Bang

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Formula One, a sport I have zero interest in, apparently kicks off its new season this coming weekend, and whilst I certainly won’t be watching there is however one former Grand Prix winner’s arrival into Manchester that I have been most looking forward to: I am of course referring to Chitty Chitty Bang Bang.

The Ian Flemming penned family favourite is back on the road bringing with it a ton of magic, some big musical numbers and a whole lot of fun for all the family.

Set in 1919 we find the rather eccentric widowed father, Caractacus Potts trying to forage enough money to save a bent and broken race car from the scrap heap. The car has become the beloved plaything of his two children Jeremy and Jemima. In order to raise the funds must put his brilliant(ish) inventor mind to work, and come up with an invention that will not just change the world, but also the Potts, bank balance as well. Caractacus reluctantly accepts the help of Truly Scrumptious, the daughter of a local sweet and confectionery maker in order to get an appointment with her father. Whilst the meeting doesn’t go according to plan, it soon becomes clear that there is a spark between the pair.

It’s not just money troubles however blighting the Potts family. They find themselves in great danger from the evil Baron and Baroness Bombast of Vulgaria who also have designs on the famed race car: dispatching a couple of dodgy spies, the power of the Vulgarian navy, and the truly terrifying Childcatcher. The Vulgarians will stop at nothing to achieve their goal, even going as far, as kidnapping Grandpa Potts. However, Chitty Chitty Bang Bang has more than few surprises under her bonnet to help Caractacus and company save the day.

From start to finish, what an absolute joy this production is. There are some fine performances throughout: Former Strictly winner Ore Oduba, channels his inner showman, bringing a touch of sparkle as the eccentric Caractacus Potts. As you might expect he has some slick dance moves, but he had a tremendous voice to match, perfectly showcased in the spectacular number Me Ol’ Bamboo.

Liam Fox brings plenty of warmth and humour, as the caring old soldier, Grandpa Potts. Whilst Ellie Nunn puts in a feisty turn as Truly Scrumptious, it’s pleasing to see the character has been updated from the film, to be more spirited. Nunn has a stunning voice, and her vocals on the touching Lovely, Lonely Man are beautiful.

Every good story needs a good villain, and thankfully Chitty Chitty Bang Bang, has one of the most terrifying: The Childcatcher, played here with sleek brilliance by Charlie Brooks. Brooks does villainous so well, stalking the stage like a cat ready to pounce on her prey as she tries to weed-out the children. She gets to deliver some truly iconic and chilling dialogue, which she does so menacingly  well.

What director Thom Southerland has done such an excellent job of is enhancing the humour and ridiculousness of Chitty Chitty Bang Bang. He weapons for this are four solid comedic performances from  Adam Stafford and Michael Joseph as the inept spies Boris and Goran, bringing a whole load of silliness in the first half of the show. Later it’s the turn of Martin Callaghan and Jenny Gayner as the Baron and Baroness to ratchet the fun up to 11. All four inject a great deal of absurdity and fun to proceedings. 

Of course, the star of the show is the car itself, which looks immaculate, her arrival along with the beloved Chitty Chitty Bang Bang song drew lots of spontaneous clapping and singing from the audience. Morgan Large has done a great job bringing the car to life, as well as other fun little props and touches that litter the production. Some of the set transitions I do feel could be slicker and at times can be distracting but this is a minor quibble for over all a production that sparkles

There is something for everyone here, bold musical ensemble numbers like the aforementioned Me Ol’ Bamboo and Toot Sweets, superbly choreographed, whilst the slower Hushabye Mountain and Doll on a Music Box work effectively well.

The evening comes to an end with a touching speech from Liam Fox, paying tribute to friend/co-star, James Lee Williams: The Vivienne, which is a classy touch and highlights the love and warmth of what this production is all about.

This is an always entertaining retelling of a classic, and one that children of all ages will enjoy. I’m pleased to say this old car has passed its MOT with flying colours.

Chitty Chitty Bang Bang is at the Palace until 16th March tickets available here.

Glorious!

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

In life some of us often don’t do the things we want to, for fear of failure or at worst ridicule. You can’t help wondering what opportunities have slipped away because of our own self-doubts. Maybe a few of us could take a leaf out of the fabulous Florence Foster Jenkins’ book, dubbed ‘the worst singer in the world’. Florence never let a lack of talent be a barrier as she turned her dreams into a reality, whilst bringing joy and happiness to so many!

Mrs Jenkins’ remarkable true-life tale is brought to life in the Peter Quilter penned play, Glorious! First performed in 2005, the play is Hope Mill Theatre’s first spring offering of the year, and what an absolute treat it is.

We are introduced to Florence via a young down on his luck pianist: Cosmé McMoon (Charlie Hiscock). McMoon has been invited to meet/audition for a wealthy socialite over at her luxury Manhattan apartment. Here McMoon meets the rather eccentric Florence Foster Jenkins (Wendi Peters), whose quirky nature is matched by her passion for music and performing. After a brief feeling out period between the pair, where Jenkins’ outlines plans for a concert, album recording and name drops celebrity fans, which include: Tallulah Bankhead and Cole Porter. However, McMoon soon realises that Jenkins’ passion for music doesn’t quite match her very limited vocal range.

The ambitious ivory tickler must quickly decide if a huge sum of cash accompanying Mrs Jenkins is worth the almost certain career suicide. As the unlikely duo get to know each other, a friendship blossoms and McMoon soon realises that they have more in common than he at first thinks.

This is a hugely enjoyable, joyous night at the theatre. Peter Quilter’s heart-warming script is inspiring, and a fun examination into friendship, loyalty and above all else a celebration of those who wish to follow a dream. Whilst there is very little in the way of plot development from the first act, the script is hilarious right from the get-go, packed full of one-liners which more than makes up for the lack of surprise or jeopardy, climaxing in an inspirational, uplifting ending.

The show is anchored by three outstanding performances: Wendi Peters is superb as Jenkin’s, she breathes life into this sweet-natured if slightly off-the-wall dreamer, never poking fun at her. We know Peters is a talented actor and singer, but to sing purposely so badly, is equally impressive: Her rendition of Habanera from Carmen is off the scale; it’s so terrible, which is meant with the highest of compliments.

Charlie Hiscock is equally impressive: his comic timing and delivery is exceptional throughout.  His facial expressions are the perfect foil to Peters’ glass shattering vocals. As well as the comedic elements he puts in a restrained, compassionate turn, and also showcases he is more than a dab hand behind the piano.  Making up this fine trio is Anita Booth on triple duty, first there is an outstanding turn as Jenkin’s surly Italian housekeeper, Maria, which had me in stitches throughout. Whilst she also plays Jenkin’s faithful best friend, Dorothy. She gets to show her mean streak as the Jenkin’s nemesis Mrs Verrinder-Gedge.

The show’s finale is one that will long in the memory as Peters’ dons an angel costume, complete with massive wings for Jenkin’s triumphant Carnegie Hall show. It cements the show’s feel-good message and positivity. As the old saying goes God loves a trier and based on tonight’s production you will fall in love with FFJ, this show truly is Glorious!

Glorious! Is on at Hope Mill Theatre till 30th March tickets are available here.