Month: February 2026

Mean Girls

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Get in Loser – The Plastics have arrived in Manchester!

In 2004 Tina Fey introduced the world to Mean Girls, and to be honest we have never really recovered! Fey revolutionised the genre of teen drama, as previously it focused on romance and ghetto blasters, Fey opts for a more dark and psychological driven narrative. She focused on the mental tournament and social terror high school brings with a dark wit. The cliques of the educational empire became more sleek and intelligent rather than clueless. The term “queen bee” became associated with actually controlling the school as though it was a country or as suggested in ‘apex predator” the animal kingdom. Through Fey’s delightful wit and sharp humour its not hard to see why this film became a millennial masterpiece.

In 2017 Mean Girls premiered on Broadway and just when you think Fey and her creative team couldn’t improve on perfection – a musical score was added and the magic was born. So much so that in 2024 – two decades after the original film delighted the world, Fey scored the hat-rick and released a musical film. It’s fair to say Fey has defined generations with her cult classic and now direct from the West End, Regina and her band of faithful followers have travelled up north to paint Manchester Opera House pink!! So does Mean Girls deserves a seat at the table or will it be the latest entry to the burn book?

When 16 year old Cady Heron (Emily Lane) and her mum move to Illinois, Cady has to leave her homeschool life behind in Africa and swap this for North Shore High, where she really enters the lions den. The complete anthesis from all she has ever known, Cady befriends two rouge outcasts Janis (Georgie Buckland) and Damian ( Max Gill) who live by their own rules. They guide Cady though a world of plastics and politics in the song Where Do You Belong, Damien and his show choir tells her “pick a clique and stick with it”. This newly formed trio decide to concoct a devilish plan where Cady enters Regina’s world. Here is where things start to unravel for Cady – she has never had to negotiate high school life, or deal with ‘queen bees’ like Regina (Vivian Panka) and her plastic posy Gretchen (Kiara Dario) and Karen (Sophie Pourret) nor did she plan on entering a love triangle hence the revenge party was born.

Fey and the creative team have done an incredible job bringing Mean Girls into the theatrical world. The show, where possible, does stays faithful to the original film, exploring themes of relationships, revenge, self discovery and self acceptance, however, one aspect that differs is the shift of the narrative voice from Cady to Janis and Damian’s. Judging from the audiences reaction this is a hugely popular choice.

The whole production is an absolute treat visually and vocally. The set is incredible, Scott Pask has done an outstanding job with his designs. Vibrant colours and seamless set changes bring the production to life. The set design, lighting (Kenneth Posner) and sound (Brian Roman) complement the soundtrack perfectly. The soundtrack is energetic, modern and original, there is an eclectic mix of vibrant group numbers, slow, subtle numbers and then cleverly constructed individual songs which represent the characters so well. The choreography also complements each song with superb routines that elevate this production further.

Cady adapts to her new life in the classic teenage way, she fumbles through Regina’s empire and quickly learns how to survive in this new setting. Despite having to fight her way through situations – Cady’s songs are a wonderful mix of strong vocals set against chords of music which takes her back home – her safe place. This wonderful musical undertone creates a joyous Disney vibe which builds and fires the show with energy. Lane delivers each song with crisp clean vocals and a fantastic range.

Regina and the plastics have a more sassy, sultry soundtrack – proving why they are as they are, a big deal. Regina’s songs are superbly executed by Vivian Panka, she brings confidence and attitude which adds to her Queen Bee aesthetic. Kiara Dario really showcases her depth of acting by showing Gretchen’s desperation to be Regina’s favourite sidekick, beautifully shown in her rendition of ‘What’s Wrong With Me? Dario really makes you feel her pain as all she wants is to fit in and still make ‘fetch’ happen. Sophie Pourret provides the group with her fantastic portal of Karen and plays her as clueless as you would hope, yet she still manages to maintain Karen’s innocence and humour.

Janis and Damian are the stand out stars for me in this production. Georgie Buckland really brings Janis to life – she is strong, tough and fiercely loyal while her vocals are a powerhouse of grunge, grit and rock. Max Gill brings humour and limitless energy to Damien, my face ached with smiling so much. Both characters are the voice of the show, and drive the plot forward with their “cautionary tale” of North Shores antics. Despite bringing a fresh new feel to the show they also remain faithful to the original characters and judging from the audiences reaction succeed entirely in their portrayal.

The other standout performances must go to, Kevin G (Karim Zeroual) who is funny and quick – Zeroual allows Kevin’s unique charisma to shine through – and while at times Kevin is comically cringy, he received with a genuine warmth by the audience. Mr Duvall (Joshua Elmore) stays true to form as an awkward headteacher but when needed is the voice of reason and authority. Any fans of Mean Girls know that Aaron Samuel’s is a big deal – Ben Oatley doesn’t disappoint in his portrayal of the handsome hunk. You see the rivalry of Regina and Cady in fighting for his attention, which Aaron doesn’t seem to mind. Oatley brings swagger to Aaron and a quiet confidence which is very endearing – one might describe it as very grool.  Finally Faye Tozer really does not stop – she bravely takes on the roles of Ms Heron, Ms Norbury and Mrs George. Tozer is able to bring a different quality to each of character, but the favourite has to be as the ‘cool mom’ Mrs George. 

So has Mean Girls passed the test? Yes absolutely. Every single member of the cast and crew have done a fantastic job in this production. It is a must see for all ages. It translates so well from screen and stage, its a show that not even a pandemic could stop and has made my millennial heart very happy. 

Mean Girls is on at Manchester’s Opera House until Saturday 7th March tickets available here.

 

Operation Mincemeat

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

A few years ago, a close friend urged me to see a brilliantly talented theatre-comedy troupe called Kill the Beast, who were touring their second show: He Had Hairy Hands. This was a horror/comedy with plenty of bite. I remember laughing from start to finish, completely won over by its blend of absurdity and pitch-black humour. From that moment on, whenever Kill the Beast arrived in town with a new production, they became an absolute must-see for me.

Since then, Kill the Beast members David Cumming, Natasha Hodgson, and Zoe Roberts, alongside long-time collaborator Felix Hagan, have joined forces as the theatre company SpitLip. Together, they’ve created Operation Mincemeat, a new musical that has taken both the West End and Broadway by storm and is now embarking on a world tour.

The story revolves around a daring real-life British intelligence operation mounted in 1943. With the Allies preparing to invade Sicily, a small band of MI5 officers are tasked with distracting Nazi forces elsewhere. Their solution is astonishingly bold: they attach fabricated invasion documents to a dead body and release it where it will fall into enemy hands, trusting the Germans will be deceived. The body is carefully transformed into “Major William Martin,” a fictitious British Army officer furnished with love letters, a photograph of his sweetheart, and an intricately detailed backstory, every element meticulously designed to dupe the Third Reich.

The musical follows the team tasked with seeing the operation over the line from genesis to completion. There is Charles Cholmondeley (Seán Carey), the mastermind of the scheme, but lacking in self-confidence and the ability to present it to the top brass, Commanding officer John Bevan (Jamie-Rose Monk) in desperate need of a plan knowing if it fails it’ll be catastrophic for the British. Then there is Ewen Montagu (Holly Sumpton), whose over inflated self-confidence and ego sadly doesn’t match their actual talent.

The team are supported by two very different but no less essential secretaries; first there is senior secretary, Hester Leggatt (Christian Andrews), the matriarch of the group, a stickler for the rules who keeps the team in check. Finally new starter, Jean Leslie (Charlotte Hanna-Williams) who is ambitious and sees the role as an opportunity to forge a career for herself. Can the group pull together and help to pull off one the biggest ruse the world has ever known?

There is so much to enjoy about this fantastic show. The ensemble cast of five are superb right from the get-go playing over 80 characters between them. All work tremendously hard throughout and it’s a credit to their excellent performances and smooth costume changes that things never become confusing. All five get to showcase great comic timing and a gift for physical comedy.

The tone of the production is pitch perfect. The show brilliantly skewers the sheer absurdity of the situation, gleefully lampooning the British class system and that entrenched “stiff upper lip,” while also delivering a surprisingly sharp critique of gender inequality in the workplace. Even James Bond creator Ian Flemming gets a good going over!

Beneath the wit and rapid-fire comedy lie moments of genuine poignancy. The script takes care to acknowledge the sacrifices made not only by those serving on the front lines, but also by the loved ones waiting anxiously at home. Most moving of all is the tribute to Glyndwr Michael, the forgotten man whose body became the unlikely centre of the operation, a reminder that behind the outrageous deception was a real human life.

The musical numbers are top drawn throughout from the opening number, Born to Lead, a stinging assessment of the class system, right through to the big closer A Glitzy Finale. My own personal favourite Das Übermensch is as outrageous as it is hilarious. It’s the emotional, gut-punch songs Sail On Boys and Dear Bill that will live long in the memory, especially the later which is beautifully performed by Christian Andrews.

Smart, slick and uproariously funny, yet brimming with heart, Operation Mincemeat is an absolute triumph and fully deserving of its Olivier and Tony Awards recognition. Unlike the covert mission at its centre, there should be no secrecy surrounding this production, it richly deserves the spotlight. It’s a show that delights on first viewing and will be rewarded with repeat visits just as generously.

Operation Mincemeat is on at the Lowry until Saturday 28th February. Tickets are available here.

Further tour dates and ticket information can be found here.

Priscilla Queen of the Desert

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Reviewed by Jodie Crawford

Opening Night verdict ⭐⭐⭐⭐⭐

Priscilla Queen of the Desert the Musical at the Palace Theatre in Manchester is an absolute joy from start to finish. A dazzling, heartfelt celebration bursting with energy, emotion, glitter, and a fabulous lashing of camp on the side. As an adaptation of the iconic Australian cult film, it follows three performers on a life-changing road trip across the outback aboard their fabulous bus, Priscilla, discovering friendship, acceptance, and their true selves along the way (with a fair few challenges thrown in too).

It’s laugh-out-loud funny one minute and genuinely touching the next, striking that perfect balance between outrageous spectacle and real heart.

Right at the centre of it all, Kevin Clifton was a standout as Tick/Mitzi, delivering a strong vocal performance alongside a warm, endearing, and beautifully layered portrayal of this loving and complex character. He brought real sincerity to Tick’s journey as a parent, performer, and friend, giving the show an emotional core that grounded all the glitter and glamour perfectly.

Alongside him, Nick Hayes was absolutely sensational as the flamboyant and unapologetically in-your-face Felicia/Adam. Full of sass, attitude, and charm, he lit up the stage every time he appeared, while still showing the character’s vulnerability underneath all the sparkle. It was a hilarious yet heartfelt performance that made Felicia both larger-than-life and completely relatable as the adventure unfolded.

Adele Anderson’s Bernadette brought elegance and wit to the production, delivering a confident performance in both the songs and the choreography. She added a lovely sense of poise and emotional depth to the trio, with interactions that felt natural, touching, and often very funny.

The Divas (1, 2 and 3) were mesmerising throughout, vocally powerful, stylish, and completely captivating, weaving seamlessly through the narrative and elevating so many key moments with their stunning harmonies and presence.

Backing it all up was an incredible ensemble bursting with energy and talent, filling the stage with life and joy from beginning to end. The choreography was vibrant, slick, and packed with personality, while the wardrobe and wigs were nothing short of magnificent: bold, extravagant, and exactly what you want from Priscilla.

There were belly laughs, a few misty-eyed moments, and plenty of songs to boogie along to, all building to a finale that felt like a full-on party. The audience were treated to a right old celebration, and you could feel the joy in the room long after the final bow.

Priscilla Queen of the Desert is on at Manchester’s Palace Theatre until Saturday 28th Feb tickets available here.

The Lightning Thief – The Percy Jackson Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

This February at Home, Manchester, Percy Jackson’s story comes to life in Joe Tracy’s exciting adaption of Rick Riordan’s worldwide best seller. Combine this with Rob Rokicki’s ‘electrifying rock score’ and The Lightning Thief – The Percy Jackson Musical promises to have audience on the edge of their seats.

Upon finding out that he shares lineage with the Greek God Poseidon, Percy’s life changes forever as he is sucked into a world he never knew existed. He faces new challenges and battles he needs to overcome, having normal teenage problems clearly isn’t enough for poor Percy, now on top of hormones he needs to become a hero and save the world and restore Zeus’s lightning bolt.

The trend within the theatre world at the moment seems to be favouring a revival of millennial staples which The Lightning Thief – The Percy Jackson Musical perfectly fits into. First of all walking into the theatre and seeing the amazing job Ryan Dawson Laight has done with the set design, the excitement is already brewing – and this is just the opening screen. The backdrop of the lightening effect really makes you feel you’re in for an experience not just a show. The set and costume design continues to amaze for the whole of the production. There is so much going on with this show, Greek mythology, adolescent troubles, friendship, coming of age, falling in love; it’s all there and so cleverly crafted. The creative team which includes director and choreographer Lizzi Gee, set and costume design from Ryan Dawson Laight and lightening designer Tim Deiling have succeeded entirely in bringing us a breathtaking show. 

The themes of Greek Mythology run strongly through the show, the mirroring of Greek Myths and teenage adolescence is such a clever analogy by Riordan and its easy to see why he enchants so many readers worldwide. Similarly Rob Rokicki’s ‘electrifying rock score’ did not disappoint. It has been suggested that this score will delight fans of ‘Dear Evan Hansen’, it does have the same gritty undertone of teenage angst and self discovery and I will definitely be listening to the soundtrack for some repeat performances. 

Vasco Emauz brings a rebellious yet cheeky side to Percy Jackson, his singing voice is fitting of a Demi-God. Emauz brings Percy’s struggles to life, we see how he deals with his past and present trouble and through the help his friends,  Annabeth played by Kayna Montecillo and Grover played by Alex Anderton. Annabeth and Grover give Percy the strength and support he needs to transform himself from to rouge to royalty. Grover is Percy’s protector and as the truth unravels Percy starts to become more and more aware he is not a normal teenager.

Laight’s vivid imagination comes alive on stage in Grover’s character and costumes. One of my favourite parts of Grover is how he shows Percy that his strength are actually in the traits Percy thinks are weak. Montecillo presents Annabeth as she should be – strong and powerful. She is a fighter and really is someone who should not be crossed by any means. Her mother was the ‘ goddess of wisdom and battle strategy” – and Annabeth really shows Percy what it means to be a true warrior. The trio together overcome many obstacles in true teenage style.

Creating the perfect sub plot to this is Sally Jackson played by Simone Robinson who portrays Percy’s mother with a quiet strength – on the surface she seems like a timid lady in a bad relationship with Gabe played by Joseph Conner, but she’s far from that. Robinson showcases this very well and her voice is angelic. Conner’s portrayal of Gabe makes him as awful as you would want him to be. He is a narcissistic villain who through his horrendous attitude shows Percy how not to be a man.

As the show progresses it’s clear to see the fusion of fantasy and fairytale throughout, despite being clearly directed for a younger audience there are wonderful glimpses of humour for the adults. Enter Mr D played superbly by Danny Beard, his gift for being naturally funny really pays off in this role, as does his talent within the drag world – its as though the role was meant for him and he shines through each scene and song. I am well aware that there are probably a lot of snippets of the show that will have gone over my head as I haven’t really ever seen many of the films nor read the books, I was however very intrigued by the show and how it would translate from page to stage. Visually it is brilliant, Laight’s choice of sets and costumes are clever and interesting, mixing the mundane with the magical, while the themes within the story translate incredibly well – Percy feels like any other teenager – bored of life, teachers like Mr Brunner (Niall Sheehy) trying to teach him about his heritage. Never had such emphasis been placed on “a pen”!!

Every single person on stage and behind the scenes has done such an amazing job bringing this production from page to stage. The ensemble who often go without merit have to rightly take centre stage as they really excel themselves by playing multiple parts and should be enormously commended. This show is jam packed full of things to love. The lighting and staging is phenomenal – and rightly deserves all the praise it gets. Where it is possible the mix of myth and magic is done so incredibly well. Coming into the show as a complete novice to Riordan’s world I can honestly say that I thoroughly enjoyed it, have booked to go again and would highly recommend to all.

The Lightning Thief – The Percy Jackson Musical is on at Manchester’s HOME until Saturday 21st February tickets available here.

Single White Female

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

The 1990s was a decade of cultural phenomena—Britpop, Grunge, and “Girl Power.” It also saw Hollywood churning out a wave of erotic psychological thrillers; while many were straight-to-video fare, a select few cracked the mainstream to become cult classics. Chief among them was the 1992 film Single White Female, boasting standout performances from Bridget Fonda and Jennifer Jason Leigh, some notoriously “cringy” dialogue, and a stiletto-based scene that still makes audiences wince over 30 years later.

In 2026, we have a bold stage adaptation currently on a nationwide tour. Written by Rebecca Reid, this reimagining sharpens the story for the digital age, seamlessly weaving social media into the plot and introducing several narrative shifts that work superbly well. Crucially, much like the original film, the production boasts two powerhouse central performances: Kym Marsh and Lisa Faulkner who more than deliver.

Relocated to modern Britain, the story finds single mum Allie (Lisa Faulkner) and her teenage daughter Bella (Amy Snudden) in a crumbling city-centre apartment. While the move places Allie closer to her tech-partner and best friend Graham (Andro), the building has a few structural/maintenance issues and Bella is struggling to adapt to a new school.

Financial pressure peaks when Allie’s ex-husband, Sam (Jonny McGarrity), announces he is halving his child support payments, forcing Allie to advertise for a lodger. Enter Hedy (Kym Marsh), a roommate who initially seems too good to be true: she’s helpful, supportive, and remarkably patient with Bella’s adolescent outbursts. However, the atmosphere quickly sours as Hedy’s “meddling” turns into a dark obsession, systematically targeting Allie and those she loves most.

Kym Marsh is in fine form as the unhinged Hedy; in a role that could easily stray into melodrama, her restraint makes the performance feel chillingly cold and terrifying. Lisa Faulkner is equally impressive as the good-natured Allie; her frustrations are deeply relatable, ensuring the audience roots for her long before things turn ugly.

Andro provides excellent value as Graham, injecting much-needed levity, while Jonny McGarrity is suitably slimy as the arrogant Sam, a character who surprisingly garners more sympathy as the narrative unfolds. Meanwhile, Amy Snudden does a fine job of making the troubled Bella both sympathetic and relatable.

Rebecca Reid’s adaptation makes bold, successful narrative choices. Integrating social media, cyberbullying, and grooming gives the production a contemporary feel, further grounded by topical references to Vinted and Mounjaro. Reid’s significant departures from the original script keep the audience on their toes, while well-placed moments of pitch-black comedy provide a welcome relief to the anxiety.

The tension is ratcheted up by Morgan Large’s set design, which, paired with Max Pappenheim’s unsettling soundscape, creates a palpable sense of claustrophobia within the single-apartment setting.

This is a fresh, entertaining night at the theatre with more than enough surprises to remain engaging throughout. It is certainly one of the strongest screen-to-stage adaptations of recent years. One word of advice: leave the stilettos at home and opt for flats—it’s just a bit safer for all involved.

Single White Female is at the Opera House Manchester till 14th February, tickets are available here.

Barnum

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Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐

Mark Bramble’s tale of Barnum is a story told many times, and the musical is no stranger to the theatrical world. The show centers around Bramble’s hero P.T. Barnum a man who spent his life wanting to be “The Greatest Showman”. Set on the backdrop of 19th century America, Barnum rises from small town boy to spectacle creator who brings the unimaginable to life. The musical is a spellbinding fusion of theatre and circus and even to this day there has never really been another show to rival it since its Broadway opening in 1980.

Now in 2026 Barnum is back up north, ready to captivate audiences yet again with Lee Mead donning the red coat and top hat and bringing the Circus to Manchester’s Palace Theatre. The Northwest is once again be treated to an array of talent – music by Cy Coleman, lyrics by Michael Stewart, the show is again directed by Jonathan O’Boyle and choreographed by strictly royalty Oti Mabuse. O’Boyle and Mabuse teaming up once again after their success at the Watermill Theatre in 2025. This on top of an impressive creative team of costume designers, set designers and lighting teams all adds to the anticipation of this touring production.

Aficionados of a circus production know to expect the unexpected – back in 1981 Michael Crawford wowed audiences with his performance on the London Palladium stage – will Lee Mead give the Mancunian spectators the same feeling? The answer is yes. As soon as the curtain lifted to reveal the famous Big Top, the vibrant colours of the staging exude energy, and blend perfectly with the costumes for the 20 strong cast members who seemingly stop for breath through the entire show.

Lee Mead has very big shoes to fill, P. T. Barnum is a role with a lot of heritage behind it, many legends have played him on stage and screen. After seeing this production, it is no wonder Mead was selected to join these historical showmen. Mead commands the stage from the second he steps from behind the curtain. Styled in the 19th century waistcoat, Mead rolls up his sleeves and opens his arms to the audience. You sense Barnum’s desperation and yearning to be greater than his is – wanting to be spectacular and never getting there, a feeling that I’m sure resonates with many sitting here tonight. In an age where image and success is measured by tangible things rather than just being happy this is where Barnum comes into its own. Barnum’s constant drive to be more than he is in the 1800’s is still a yearning for a 2026 audience.

This yearning and desire takes a toll on his marriage to Charity Barnum played to perfection by Monique Young who brings a delicate elegance to the role. You see her quiet frustrations build up the closer Barnum gets to achieving his dream. Charity quietly accepts the back seat to give her husband a chance to grow but she does not suffer fools lightly and then you see her fire and strength when she eventually reaches her limit. Young embodies this role and she is a perfect example of how strong women really were in this time. Women were not encouraged to speak up and have an opinion, but Charity chooses her moments to speak up and show without her, Barnum is the poorest of men.

You see the immediate difference between the 2 heroines in the show. Please enter Jenny Lind – played by Penny Ashmore, whose opera styling has all the splendour and grace of a true star. Lind on the surface presents the perfect antithesis to Charity, Lind is confident, respected and adored by the world – she embodies what Barnum wants and represents all he desires to achieve. Scratch a little deeper however and there really isn’t a lot of difference between both women. Lind presents an image to the world that is not a true reflection of who she is – Ashmore presents this is a wonderful raw emotion that really breaks your heart. Both women are really just trying to survive in a mans world the best way they know how and both show Barnum how to really become the greatest showman.

In addition to strong women, Dominique Planter plays Joice Heath – “the oldest women in the world, as told by Barnum”. At 160 years old, she perfectly shows the extent to Barnum’s exaggeration. All set in the famous Big Top, Planter really does “take us to circus”. She has 2 stand out songs “Thank God I’m Old” and ‘Black and White’, where she plays a second role as a blues singer. Heath is one of Barnum’s museum oddities and Planter really shows us despite in a “world of humbug” Heath does not belong.

Alongside Heath is General Tom Thumb played wonderfully by Fergus Rattigan. Tom Thumb is another of Barnum’s curiosities and Fergus takes up the challenge with humour and charm. The “world’s smallest man” he towers above everyone in his performance and really proves “bigger isn’t always better”. Planter and Rattigan stand out in their own right however together both demonstrate Barnum’s gift for exaggeration was so easy to mystify audiences.

There is no doubt that Barnum the musical is one of the few shows where the sets and the ensemble rightly take centre stage and become characters on their own. Instruments are played on stage rather than staying in an orchestra pit. The staging is so colourful and vibrant, while the cast effortlessly swap and change roles, each embodying their character to make the show the spectacle it is. The soul of the show definitely hasn’t been lost over the years and the original circus theme is still strong. It’s a traditional show loved in its time and from the standing ovation received is clearly loved by audiences today.

Roll up Roll Up – get your tickets to the only circus in town – come and see Barnum’s wonders at Manchester Palace theatre 10th Feb 2026 – 14th Feb 2026 tickets available here.