Month: May 2026

The Karate Kid – The Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️


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

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

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

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

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

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

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

The Assassination of Margaret Thatcher

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

Bank of Dave the Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

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

The Choir of Man

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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