The Enormous Crocodile is a joyful, high-energy production that brings Roald Dahl’s much-loved story to life in a way that completely captivates both children and adults alike. From the moment it begins, the show is bursting with colour and imagination, making it a wonderful outing for the whole family.
The story follows the mischievous (and very hungry) Enormous Crocodile, who decides he’s bored of eating fish and comes up with a series of “clever tricks” to try and catch a child for his lunch. Disguising himself in increasingly ridiculous ways, he believes he’s unstoppable but his plans are repeatedly foiled by a group of sharp-eyed jungle animals who work together to protect the children. The tale is playful and funny, with a reassuring message about kindness, and teamwork.
Visually, the show is an absolute treat. The costumes are incredible, they are bold, inventive, and full of personality. They add so much to the storytelling. The Enormous Crocodile himself is particularly impressive and delightfully dramatic, prompting plenty of excited reactions from the younger audience members.
The audience engagement is another standout feature. The incredible cast interact brilliantly with the audience, keeping children fully involved and entertained throughout. The pacing is spot on, the atmosphere is warm and lively, and there’s never a dull moment. We loved the monkey nut scene!
All in all, this production is a real family treat. It is imaginative and memorable. A fantastic way to enjoy live theatre together and a show we would all happily recommend to any family.
A truly brilliant family theatre experience!
The Enormous Crocodile is on at The Lowry until Sunday 4th January tickets are available here.
She’s been giving main character energy since the premier of Disney’s The Little Mermaid back in 1989, so it’s only fitting that Ursula, finally gets her own moment in the spotlight.
This outrageous musical parody with book and lyrics by Robyn Grant and Daniel Foxx and music by award-winning composer Tim Gilvin returns to The Lowry for festive season and is bigger, better and bolder than ever.
Taking on the role of Ursula is the insanely talented Sam Buttery who delights in deep diving into this delicious diva’s backstory. Buttery perfectly embodies this badass octowitch, flirty, filthy and frothing with talent, she draws your attention from the moment she splashes onto the Lowry stage. Blasting out the powerhouse vocals with ease while delivering every killer line with perfect precision, most importantly she is a whole lot of fun and will soon make you realise maybe we’ve been wrong about Ursula all along.
Her scenes with Blair Robertson as King Triton are outrageously funny, together they deliver this genius script with razor sharp precision. Buttery is effortlessly cool while Robertson hams it up to perfection, the result is laugh-out-loud scenes throughout.
Allie Dart returns in the role of Sebastin (as well as multiple other characters) and proves once again what a talent she is. She commits entirely to each and every role, never missing a beat in this fast-paced romp with some of her characters even appearing on stage at the exact same time! Her scenes with James Spence as Ursula’s slippery sidekicks Flotsam and Jetsam are particularly brilliant. Spence like Dart also takes on multiple roles, from the weirdly tactile King Neptune to the wildly camp Prince Eric he’s utterly superb ensuing this precessional debut is one to remember.
Miracle Chance returns as the desperate and dim Ariel, when has the audience in stitches from the off with her deliciously crude lines, each one more outrageous than the last. Her quest to find her own Prince Charming, played superbly by James Spence is a scream, adding another enormously entertaining element to this perfect parody. Special mention must also go to ensemble members Freya McMahon and Fionan O’Carroll who complete this talented cast.
While the adult jokes come thick and fast there’s also a gorgeous theme of individuality and acceptance which weaves its way through the story adding depth to an already impressive show. The shorter running time for this revamped production ensures the pace is fast and the show feels fresh. This gloriously queer, creatively camp, celebration of difference offers a hilarious alternative for theatre goers this Christmas, it’s gaudy, glittery and utterly gorgeous!
Unfortunate – The Untold Story of Usrula the Sea Witch is on at The Lowry until Sunday 11th January, tickets are available here.
Robin Hood: The Magical Panto Adventure at the Manchester Opera House is everything a great panto should be: loud, proud, joyfully chaotic, and absolutely hilarious. From the very first moment, it’s clear you’re in safe hands with a production that understands its audience and fully leans into what panto does best. This is a great northern night out, with bells on!
The chemistry between Jason Manford and Ben Nickless is once again pure magic. Year after year they somehow manage to outdo themselves, delivering effortless laughs, perfectly timed chaos, and that wonderful sense that anything could happen at any moment. Their interaction with each other, and with the audience, is the heartbeat of the show. I fear the day when they decide to hang up their Panto boots as it’s hard to imagine a Christmas without them on stage together.
And honestly? It doesn’t matter in the slightest that the plot is inconsistent because it’s completely irrelevant. This panto has all the ingredients that matter. The ghost scene? Brilliant. The “in the gap” scene? Predictably unpredictable. The bloopers, singalongs, cheeky asides, and bang-on cultural references, from the last 12 months, all land perfectly, keeping the audience crying with laughter from start to finish. There are as always, some fabulous surprises in there too!
The ensemble cast is outstanding, bringing energy, polish, and warmth to every scene, while the costumes are the best I’ve seen at an Opera house panto: vibrant, inventive, and a visual feast that add to the magic at every turn. A huge shout-out also goes to Adam Strong as the Sheriff of Nottingham, who delivers a pitch-perfect performance, gloriously dastardly, fabulously over-the-top, and exactly what a panto villain should be.
This is truly a show for all generations. I took a nine-year-old and a seven-year-old and judging by the laughter (and the conversations afterwards), those memories will last a lifetime. Let’s just say they will forever laugh when they get to page nine… #iykyk
Manchester should be incredibly proud of this panto. It’s a tradition done right, packed with heart, humour, and festive magic. I highly recommend this show. A guaranteed crowd-pleaser and a reminder of just how brilliant panto can be and should be.
Robin Hood is on at Manchester’s Opera House until Sunday 4th January tickets available here.
What a treat this is – midweek show – hot chocolate and mince pies. I’m here at press night – settling down to watch the Lowry’s Christmas show “The Lion, The Witch and the Wardrobe”. As we approach this festive season there tends to be a tradition of household favourites on the theatre scene, this year is no exception, the Lowry is once again hosting the children’s classic, The Lion, The Witch and The Wardrobe, which in 2021 impressed audiences with its contemporary take on an old favourite. Retuning direct from the West End, “the nations favourite novel” promises once again to delight audiences and bring festive cheer to the Salford scene.
The novel is one of C S Lewis’ fantasy favourites which since the 1950s has gripped children and adults alike. It was the first story to be published from the seven novel collection “The Chronicles of Narnia” and it has seen many adaptations in its time on TV, in film and now on stage. The versatile Lyric stage is transformed as director Mike Fenton brings Sally Cookson’s original production to life.
Set against the backdrop of wartime England, when children were being evacuated for safety, Lewis takes this one step further and sends the readers into the magical land of Narnia – which lets face it is a character all on its own. The story is mainly driven by the youngest of the 4 children, Lucy, who enters this mysterious land three times through a simple wardrobe in the spare room. The wardrobe acts as a portal to the magical land of Narnia, a land where time stands still and woodland fantasy creatures are in a war of their own, in a bid to bring back hope to their once pleasant land.
Here lies the power of Lewis’ storytelling – how many of you tried getting to Narnia through a wardrobe in your childhood homes – hoping you – like Lucy, could escape the reality of daily life through a doorway of hope. Narnia is brought to life superbly by the creative team. Visually this production is stunning, the contrast between black and white, light and dark throughout is so clever. The contemporary dance routines creates a wonderful parallel to the classic tale. The art of illusion especially with the witches scenes really are special and are delivered perfectly by the cast. A special moment must be taken to appreciate the sheer brilliance of the puppeteers (directed by Toby Olie and designed by Max Humphries). From household pets to woodland creatures the use of puppetry throughout is so creative. The subtle movement they give to all the animals allows them to become incredibly life like – so much so that you forget you’re watching puppets, instead you are drawn into the illusion and believe they are real. This combined with the arial artistry (directed by Gwen Hales) gives the whole production a fourth dimension feel – you are in Lucy’s shoes, you’ve entered Narnia. This show truly is a spectacle.
As Act 1 progresses the mentions of Aslan increase, building the tension ahead of his much anticipated arrival. “The King of the beasts’ finally comes to the stage in the second act through a cloud of smoke and I must admit I was excited – finally the title character is here portrayed by both a puppet and an actor. Aslan (Stanton Wright) commands the stage with a majestic presence that you can’t help but be transfixed by. I felt at times however that I was looking more at Wright than the Aslan puppet, which moments before I was so excited to see. This conflict continued throughout the show and personally as brilliant as Stanton Wright was, having both him and the puppet in equal spotlight made it feel like they were separate characters. In fact at times it felt like Aslan the puppet was a pet to Wrights’ character.
Second in the title ranking is the Witch played by Kate Stephens who with her impressive resume naturally bring a regal essence to the role. Literally at times towering above the audience with her crown of icicles and long fur coat, she definitely makes her presence felt, owning her stage.
The children are equally as brilliant and the talent within the company is phenomenal. Kudzai Mangombe portrayal of Lucy brings a wonderful playful innocence that develops into a adolescent charm. Peter (Jesse Dunbar) and Susan (Joanna Adaran) bring reason and drive to the story, providing Lucy with a solid foundation – almost like parental figures – a beacon of truth and honesty. Contrasting completely with this is the rebellious Edmund who is played to perfection by Bunmi Osandolor.
I cannot leave out one of literatures finest fawns – Mr Tumnus played by Alfie Richards – who brings a mystical quality to his performance, and by doing so adds a fantasy element to the show. Honestly the entire cast must be commended – not only for their wealth of talent, but because of their ability to play multiple characters and instruments. Mr and Mrs Beever also deserve a special mention – they bring a comedic element, that breaks up the plot which at times is quite bleak, with the wartime synergy.
The Lion, The Witch and the Wardrobe fits perfectly into the play with music genre, making it a wonderfully entertaining festive experience. Take that leap this Christmas and step through the wardrobe to see Narnia for yourselves!
The Lion, The Witch and The Wardrobe is on at The Lowry until Sunday 11th January 2026 tickets are available here.
Regal Entertainments Ltd have pulled out all the stops Christmas to bring St Helens Theatre Royal audiences their biggest and best panto to date, the brilliant and side-splittingly funny Dick Whittington.
Matthew Wolfenden has left the Dales for the festive season to discover if the streets of London (via St Helens) really are paved with gold. Accompanied by his trusty cat Tommi (played superbly by Jenna Sian O’Hara), Dick heads off with a heart full of hope and a knapsack full of dreams as the adventures quickly begin. Wolfenden is clearly having a ball in this role, he’s charming, confident and gifts us all with some gorgeous vocals.
This is the first time Regal Entertainments Ltd has produced Dick Whittington and it does not disappoint, it is fast-paced, outrageously funny and utterly fabulous.
Theatre Royal favourite Lewis Devine is on hand to ensure there’s just the right amount of chaos, piling on the silliness and slapstick throughout as the nice but dim Idle Jack. The audience lap up his humour; he’s razor sharp with his comebacks and second to none when it comes to audience interaction. Devine’s scenes with Tim Lucas as King Rat are nothing short of genius. Lucas like Devine never disappoints and as King Rat he well and truly earns his title as a panto legend, he is utterly brilliant. He knows just how far to go with the innuendo and has the audience crying with laughter with his incredible performance, he ensures we all absolutely love to hate him as the devious Cockney King Rat, lapping up the boos and revelling in the villainy.
Chantelle Morgan returns for the festive season having rightfully won the role of Snow White after a star-studded search last year and proves once again what a talent she is. Her strong vocals and likeable personality are perfect for the role of Dick’s love interest Alice, daughter to the buxom businesswoman Felicity Fitzwarren played superbly by Richard Aucott. Aucott’s costumes are incredible each one bigger and bolder than the last.
Rachael Wood sparkles as the delightful Fairy Bow Bells while the Senior Dancers elevate this production even further as they deliver Nazene Langfield’s choreography with perfect precision.
This wonderful production ticks every single box when it comes to entertainment, in addition to the knock-out cast and stunning costumes there’s an amazing 3D sequence which will thrill audiences young and old, taking us on an unforgettable underwater adventure.
The song choices are excellent with something for everyone from KPop to ABBA, it’s pure pop perfection. Mark Goggins’ script with additions from David Phillips Davis feels bang up to date, littered with plenty of modern cultural references and trends it really is a crowd pleaser.
Dick Whittington is an absolute Christmas Cracker, packed full of laughs, bursting with talent and brilliant entertainment from start to finish. This crowd pleaser of a panto gives every single person at St Helens Theatre Royal the opportunity to feel part of a truly joyous collective experience. If you’re looking for five-star theatre at fantastic family friendly prices this festive season, then look no further than St Helens Theatre Royal where Dick Whittington will thrill young and old alike.
Dick Whittington is on at St Helens Theatre Royal until Sunday 11th Jan tickets are available here.
Having broken box office records whilst becoming the longest running show at London’s Aldwych theatre, Tina – The Tina Turner Musical arrives at Manchester’s Palace Theatre this month for a six-week run as part of its first ever UK and Ireland tour.
While it would officially fall into the ‘jukebox’ musical category, this gritty, global smash-hit feels anything but a Tina tribute. Telling the fascinating story of the iconic superstar, Tina Turner, this entertaining production is an in-depth biopic of a truly inspirational performer.
The production doesn’t shy away from the often-heartbreaking reality of Tina’s backstory, its unflinching and hard-hitting in its brutal honesty, particularly surrounding the violence Tina endured at the hands of ex-husband Ike Turner. Amidst the struggles however emerges a resilient, unstoppable superstar who is portrayed sublimely by Jochebel Ohene MacCarthy at tonight’s performance. She impressively channels Tina’s strength, determination and stage presence perfectly, her powerhouse vocals are nothing short or remarkable. This is a real masterclass in musical theatre. Her connection with David King-Yombo is superb, together they bring the characters and their strained relationship to vivid life with King-Yombo successfully navigating the complexity of Ike with impressive nuance.
Phyllida Lloyd directs this cast with consistency, from Sophia St Louis as young Tina to Alline Bullcok as Tina’s Mum, this is a West-End worthy cast who commit entirely to delivering Tina’s story with the emotional depth it deserves. While the storytelling is clear, Act 2 comes to a swift and less detailed conclusion making the ending feel a little unexpected in comparison with the intricate storytelling seen in Act 1, however from the very first note to the sensational finale this show will thrill audiences this festive season.
Mark Thomspon’s minimalist set design is lifted by Jeff Sugg’s projections and Bruno Poet’s lighting, making the overall visuals satisfying rather than impressive, while Thomspon’s costume design demonstrates an incredible attention to detail. Anthony van Laast’s exhilarating chorography gifts audiences with the iconic Tina moves they know and love while Campbell Young Associates hair, wigs and make up design ramps up the authenticity of this piece.
Tina – The Tina Turner Musical successfully does justice to the inspirational woman at the heart of the story. Inspiring and entertaining this is a story of true heart, incredible resilience and above all immense talent.
Tina – The Tina Turner Musical is on at Manchester’s Palace Theatre until Saturday 3rd January 2026, tickets available here.
It’s nine years since Matthew Bourne’s The Red Shoes first graced the stage to great critical and commercial success. Now, those elegant yet troublesome rouge ballet slippers have been taken out of storage once more for a nationwide tour in 2025/26, stopping off at The Lowry, where a Matthew Bourne ballet has become something of an autumn tradition.
Based on the 1948 British film The Red Shoes by Michael Powell and Emeric Pressburger, the ballet is set between London, Paris and Monte Carlo and follows ballerina Victoria Page (Ashley Shaw), who catches the eye of dance Svengali Boris Lermontov (Andy Monaghan). Captivated by her immense talent, Lermontov offers Page a place in his prestigious dance troupe. There, she meets another of his protégés, composer Julian Craster (Dominic North), who has been tasked with creating a new ballet.
Credit: Johan Persson
Lermontov is a perfectionist who demands that his dancers devote themselves entirely to their art – anything else is merely a distraction. Inspired by his patron’s obsessive tendencies, Craster pens a new work based on the grisly Hans Christian Andersen fairytale The Red Shoes. Page takes the lead role in the young composer’s creation, and the production becomes a runaway success, with Page emerging as a star.
But as Page and Craster’s collaboration deepens into romance, their growing bond enrages the controlling and possessive Lermontov, setting in motion a chain of events with devastating consequences for all involved.
Credit: Johan Persson
Once again, Matthew Bourne and the team at New Adventures have delivered a production brimming with talent. With a story rich in passion, tragedy and a generous dose of humour, it offers something for everyone to enjoy.
This is very much a love letter to theatre and dance, highlighting the sacrifices performers and creatives make to bring a show to the stage. We’re given a behind-the-scenes glimpse into auditions and rehearsals, complete with all the tension, jealousy and rivalries that inevitably arise. Then comes the staging of the show itself, followed by the poignant question of what happens when a performer can no longer do what they love to the acclaim they once received. It makes for truly fascinating viewing.
Credit: Johan Persson
As you would expect, the production features several exceptionally choreographed set pieces, with the gloriously colourful “Ballon de Plage” standing out as a particular highlight. This is later contrasted with the beautiful, gothic staging of Craster’s masterpiece in The Ballet of The Red Shoes. My personal favourite, a scene titled A Music Hall, is a perfect example of what this production does so brilliantly – beginning with humour and lightness before descending into a twisted nightmare, merging comedy with horror, the light with the dark.
There are several outstanding performances throughout. Ashley Shaw is fantastic as the lead, guiding us through her character’s journey from a young upstart to the driven, passionate star she becomes. Making her fall from grace is all the more heartbreaking, Shaw portrays it with remarkable sensitivity and depth. Equally impressive is Dominic North as the ambitious writer; his descent from confident, showy musician to frustrated, spurned lover is filled with a quiet sadness.
Credit: Johan Persson
Andy Monaghan cuts a brooding, menacing figure as the embittered Lermontov, while Glenn Graham is a captivating stage presence as Grischa Ljubov, the cherographer/character artist who drifts delightfully between over-the-top comedy and devilish seducer.
Another element that deserves special mention is the superb set design by Lez Brotherston. The almost ever-present movable arch and grand drape become characters in their own right, gliding around the stage, interacting with the dancers and serving as essential components of the storytelling. Visually, it is consistently impressive.
Credit: Johan Persson
The production is further enriched by the music of Hollywood composer Bernard Herrmann, renowned for his work on Citizen Kane, Taxi Driver and more, with selections from Fahrenheit 451 adding depth, atmosphere and dramatic weight.
Yet again, this is another triumph for Bourne and his team, one that will see these Red Shoes continue to dance on and on, dazzling audiences for years to come. It is fantastic storytelling, delivered by a supremely talented company at the very top of their game.
Matthew Bourne’s The Red Shoes is on at the Lowry until Saturday 29th November tickets are available here.
So here we find ourselves as Blood Brothers embarks on its 42nd year on opening night at the Lowry Lyric Theatre. The one thing I love when going to the theatre is sitting in the foyer waiting for the show to start. The anticipation from the audience chatting and excitement knowing they are in for a great show. Blood Brothers is no exception to this, hailed the “standing ovation musical” this show promises to be “unmissable”, bringing audiences worldwide to it feet with “applause” and “approval”. With such acclaim its a wonder that this is my first time seeing Blood Brothers, I too share the same anticipation and hope as the audience members currently waiting to take their seats.
Blood Brothers originated as a short play written by Willy Russell in 1981, a play that 2 years later he developed into a full musical; its very first performance was January 8th 1983 at Liverpool Playhouse with Barbara Dickson and Andrew Schofield taking the lead roles. Russell often explores themes of social class inequality, fate, the importance of family and friendships. So the big question for me is, after over 4 decades and countless worldwide performances does Blood Brothers still fit into today’s society.
Bob Thompson’s and Bill Kenwright’s direction of Blood Brothers bring this show to life, as the plot centres around twins who were separated at birth only to be reunited with tragic and disastrous consequences. Russell’s talent is further seen in the Blood Brothers score which is driven by the raw and real problems of working class life, it is this generic quality that has resulted in the show being dubbed “the Liverpudlian Folk Opera”. Instead of using the music to drive the plot, I would argue the songs act as characters themselves allowing them to serve as a chance for the protagonists to reflect. Moreover the music is very simplistic, mainly comprised of piano and saxophone. This combination of an understated score and little to no moments for applause from the audience made the show more haunting. The first applause being at end of the first half and the second at the end of the show.
The set was very minimal and understated – the main focal point was the Liverpool skyline, the green country landscape and the terrace housing. This occasionally changed to show the Lyon’s residence or Mrs Johnstone’s new country abode. Again a very clever production choice as it allows the plot to drive itself.
Russell’s signature style of social values and inequality are presented in such a way that it almost feels like he is trying to stun the audience into the reality of working class hardships. The difference between Mickey and Eddie’s upbringing highlights the age old question of nature versus nurture. We see the twins navigate through their childhood and adolescence with the normal teenage rebellion and peer pressures as Russell appears to be asking the audience – how far does fate play a part in the journey to adulthood.
Reprising their roles are Sean Jones as Mickey Johnstone and Joe Sleight as Eddie Lyon. Sean Jones’ portrayal of Mickey is quite brilliant as he brings a raw and real authenticity to the character; and honestly watching him I can’t help but draw multiple parallels with todays society and the social and political problems we are seeing in 2025. Similarly Joe Sleight’s characterisation of Eddie pairs perfectly with Jones’ and at times you forget you are watching a show – more if feels as though you’re a fly on the wall for conversations you shouldn’t be hearing.
Straight from the west end – Vivienne Carlyle’s Mrs Johnstone is emotionally charged, she presents Mrs Johnstone in such a haunting way that you cant help but feel sorry for her. Her continuous reprise of Marilyn Monroe further shows how tragic this character really is. The audience see Mrs Johnstone’s bravery in making hard family decisions and instantly see the devastation these decisions cause. The song “Tell Me It’s Not True” can’t fail but bring a tear to your eyes. Paula Tappenden returns as Mrs Lyon’s, her Thatcherite fashion and conservative values demonstrate the difference between the 2 mothers. Kristofer Hardings continues his role as the narrator, continuously breaking the fourth wall with his Shakespearean style rhymes, he almost forces the audience to question their own morals. Gemma Brodrick’s portrayal of Linda brings humour and light to the show – but again fate does not spare her from hardships.
In conclusion, Blood Brothers is not for the faint hearted – it is not a happy mood boosting musical, rather it is a gut wrenching take on society and how far are we in control of our destiny. It’s almost Dickensian in its portrayal of working class hardship presented alongside wealth and entitlement. Coming back to my original question at the start – does Blood Brothers still have a place in 2025? Yes, absolutely it does. Kenwright and Thompson bring Russells play to life remarkably well, through an emotionally charged score and characters who could quiet easily fit into today’s society. It’s rightly earned the title of ‘standing ovation musical’ and I couldn’t help but join in. It could be argued that not only is Blood Brothers still relevant today but I would go further and say we need more shows like this in theatres – and the fact that this show was written in 1981 and is still selling out venues worldwide in its 42nd year completely justifies this view, and it rightly deserves a 5 star review.
There is undeniably something compelling about Tom Ripley. Patricia Highsmith’s most famous creation first emerged in 1954 in The Talented Mr. Ripley, followed by four additional novels and several film adaptations featuring actors such as Dennis Hopper and John Malkovich. The latest screen version stars Andrew Scott in Netflix’s Ripley. Yet it was arguably Matt Damon’s 1999 portrayal in The Talented Mr. Ripley that propelled this chilling character back into public consciousness and introduced him to a new generation.
In 2015, writer and director Mark Leipacher adapted Highsmith’s The Talented Mr. Ripley for the stage. That production has now been revived and is currently touring nationwide.
“Have you ever had the feeling you’re being watched?” is a recurring line uttered by Tom Ripley (Ed McVey), an unemployed loner with a talent for mathematics—and an even greater talent for spinning lies. Ripley’s paranoia comes from the implied list of crimes he has committed that he fears will eventually catch up with him.
However, one day, Ripley is tracked down to his favourite bar not by the law but by Herbert Greenleaf (Christopher Bianchi), a wealthy shipping magnate and the father of Ripley’s old school acquaintance, Dickie Greenleaf. Believing the two young men to be close friends, Greenleaf offers Ripley a financial incentive to travel to Italy and convince Dickie to return home, visit his dying mother, and join the family business. Sensing a chance to escape New York and the trail of crimes he’s left behind, as well as make some easy money, Ripley eagerly accepts.
In Italy, Ripley meets Dickie (Bruce Herbelin-Earle) and Dickie’s lover, Marge Sherwood (Maisie Smith). Dickie is initially cool toward Ripley’s attempts at friendship, but a shift in approach brings the two men closer. Soon, Ripley finds himself drawn into Dickie’s carefree, playboy lifestyle, one that appears to revolve entirely around Dickie Greenleaf, with little regard for anyone else, including Marge.
However, Tom is clearly beginning to develop feelings for his new best friend, but is it romantic feelings, or the desire to have his lifestyle or both that is driving him. Eventually a confrontation between the two sees Ripley having to use his charm, intellect and many gifts to stay one step ahead of the chasing pack.
This intriguing stage adaptation reaches moments of real brilliance, but these are occasionally undermined by its bloated running time and some convoluted artistic choices. Certain scenes labour their point a little too heavily, while others blur the line between reality and Ripley’s imagination in ways that can become confusing.
What is never in doubt, however, is the exceptional performance of Ed McVey. Across the two-and-a-half-hour running time, he delivers a towering portrayal, present in nearly every moment. McVey shifts effortlessly from cool charmer to unhinged narcissist, anchoring the production with a charismatic turn made even more impressive by his command of the dense, dialogue-heavy script.
He is supported by strong performances from Bruce Herbelin-Earle and Maisie Smith. Herbelin-Earle is impressive as the conceited, self-centred pleasure seeker, treading the line between arrogance and charm with remarkable finesse. Smith, meanwhile, brings a much-needed calm and understated presence to the production. In a role that could easily slip into melodrama, she keeps things measured and controlled throughout.
Holly Pigott’s minimal stage design is another standout, enabling characters to enter and exit in inventive and visually striking ways. One of the production’s cleverest tricks is how the set can appear expansive one moment and suddenly feel claustrophobic the next, reflecting Ripley’s spiralling paranoia. At several points, the stage transforms into a 1950s film set, offering a glimpse into Ripley’s inner thoughts, a stylistic choice that works particularly well.
This is an entertaining if slightly drawn-out night out at the theatre. There are some fantastic performances, at times visually stunning complete with a script packed full of intrigue and suspense.
The Talented Mr Ripley is on at the Lowry until Saturday 22nd November
Touring for the first time since 2018, anticipation was high for this Miss Saigon revival, a classic amongst theatre fans with its gritty subject matter, glorious score and gut-wrenching conclusion.
Set during the final weeks of the Vietnam War, 17-year-old orphan Kim (Julianne Pundan) has taken a job in the sleezy Engineer’s (Seann Miley Moore) Saigon bar, where drunken, drug-fuelled GI’s pay for seedy fumbles with local sex workers, forced into the sex trade through poverty and desperation. GI John (Dom Hartley-Harris) buys Kim for the night for his buddy Chris (Jack Kane) and what unfolds is an unexpected 24-hour love story that sees them fall deeply for each other despite the horrors playing out around them.
Making her professional debut, Julianne Pundan captures Kim’s emotional journey perfectly, innocent and trusting when we first meet her, broken and desperate by the end yet fiercely proud throughout, despite the tragic turns her life has taken. Both her voice and her acting are superb, she commits herself entirely to the role making the finale all the more powerful as we desperately hope for a better life for her.
Jake Kane’s take on Chris is also deeply moving, deflated by the brutality of war he finds hope and inspiration in Kim, their relationship bring calm amidst the chaos, giving joyful innocence during Sun and Moon shifting to heart-wrenching yearning by Last Night of the World, every moment is perfection.
Seann Miley Moore’s interpretation of The Engineer is utterly captivating, cutthroat and callous in his own fight for survival, pushing towards his own happy ending no matter the cost. His show-stopping delivery of the iconic ‘American Dream’ will long live in the memory, glorious, gaudy and a true gift to tonight’s appreciative audience. His take feels raw, real and firmly cements this new interpretation as one to remember.
Dom Hartley-Harris never fails to deliver; his voice is utter perfection as he gives the character of John depth and believability while Mikko Juan ensures every moment on stage as Thuy is truly memorable.
This reinvented Miss Saigon is undoubtedly a theatrical spectacle. Unflinching in its portrayal of the futility of war and its devastating impact long after the fighting stops. The chaos of war is boldly created via world-class design, projection and lighting while the moments of calm and clarity leap joyfully from the stage.
Miss Saigon’s themes of injustice, loss, trauma, misogyny, abandonment and displacement feel as painfully relevant as ever as this word-class cast deliver this deeply moving story with the love and passion it deserves. This timeless tragedy continues to captivate and surprise 36 years on from its debut, winning hearts and minds with every performance, incredible.
Miss Saigon is on at Manchester’s Palace Theatre until Sat 15th November 2025 and will return due to phenomenal demand on Tue 4 until Sat 8 August 2026 tickets available here.
Jordan Fein’s multi award-winning Fiddler on the Roof, which began its life last summer at Regent’s Park Open Air theatre arrived at Manchester’s Palace Theatre this week proving to audiences just how incredibly special this timeless giant of the theatre world really is.
Fiddler on the Roof introduces us to impoverished Jewish milkman Tevye, (Matthew Woodyatt), a proud father, committed to honouring the traditions of his culture in an ever-changing and often incredibly testing world. This powerful story truly stands the test of time as its themes resonate just as strongly today as they did when it first premiered over 60 years ago. At its core is a poignant portrayal of a family man trying to raise his five daughters to honour the traditions of his Jewish faith, there is humour, joy, enormous poignancy and an abundance of heart.
Tom Scutt’s rustic design sets the scene beautifully, the straw ceiling upon which the fiddler plays gently moves up and down ensuring our focus never shifts from Tevye’s intimate and fascinating world. Aideen Malone’s stunning lighting design is subtle yet superb, bathing the Palace Theatre stage with rising dawn sunsets and flickering firelight glows.
Matthew Woodyatt’s Tevye is breathtakingly brilliant, warm, nuanced, reflective, loving and painfully real. His observations, considerations and deliberations are delivered with captivating authenticity. This is a performance packed with huge emotion, every moment is perfectly measured whilst he balances the turmoil Tevye goes through with a palpable realism. The journey he takes Tevye on is entirely mesmerising, ending the show a different man from the one we first meet at the start of Act I.
Jodie Jacobs’ performance as Tevye’s wife, Golde, is equally as impressive. Respectful of her husband’s desperate need to uphold tradition yet strong and resolute in her own sense of self, the two make for a perfect pairing. Their rendition of Do You Love Me? is a joy, relatable and real.
As Tevye’s daughters begin one by one to move away from the traditional Matchmaker approach to finding a suitable husband the battle between head and heart really begins for Tevye. Woodyatt does an incredible job of taking us with him on this captivating journey, we share in his joy, his frustrations and his pain.
Woodyatt and Jacobs are supported by an incredible cast. Each and every person on stage is entirely committed to telling this beautiful story. Special mention must go to Natasha Jules Bernard, Hannah Bristow and Georgia Bruce who play Tevye’s daughters Tzeitel, Hodel and Chava. Each bring their very different characters to life beautifully, adding further depth and heart to this moving tale while their partners Motel, Perchik and Fyedka are portrayed superbly by Dan Wolff, Greg Bernstein and Gregor Milne.
Choreographer Julia Cheng respectfully mixes the traditional with the modern resulting in exhilarating ensemble numbers that will make you wish you too were part of the uplifting celebrations. The traditional bottle dance remains and is just as thrilling as ever. The additional orchestrations from music supervisor Mark Aspinall really take this score to the next level while sound designer Nick Lidster ensures that every note is crystal clear.
This is without doubt the best production of Fiddler on the Roof I’ve ever seen, from the fiddlers haunting melodies delivered superbly by Roman Lytwyniw to the sheer beauty of Tom Scrutt’s set design this production is perfection. This timeless classic is stunningly reimagined yet maintains a respectfully traditional feel cementing its place as a musical theatre masterpiece.
Fiddler on the Roof is on at Manchester’s Palace Theatre until Saturday 1st November tickets availablehere.
Mel Brooks is undeniably one of the greatest comedy writer-directors of all time, in my opinion. The Producers, Blazing Saddles, and Young Frankenstein form a trio of comedic masterpieces. After The Producers received the Broadway musical treatment in 2001, it was almost inevitable that Young Frankenstein: The Musical would follow, making its debut in 2007.
Now, as part of Hope Mill Theatre’s spectacular 10-year anniversary celebrations, Young Frankenstein is brought back to life once more, and I’m happy to report that it’s just as hilarious and joyfully outrageous as ever.
Staying true to the plot of the original film, we meet Dr. Frederick Frankenstein (Ore Oduba)—“pronounced Fronkensteen”—who leaves his fiancée Elizabeth (Rhiannon Chesterman) and travels to Transylvania to claim his inheritance following the death of his infamous grandfather, Victor Frankenstein.
There, Frederick encounters a wild cast of eccentric characters, each eager for him to continue Victor’s notorious experiments. These include the intimidating, horse-frightening Frau Blücher (Jessica Martin), the loyal yet delightfully deranged Igor (Curtis Patrick), and the flirtatious lab assistant Inga (Julie Yammanee),complete with outrageous accent!
Will the daring Doctor succeed in raising the dead and restoring honour to the Frankenstein name?
Ore Oduba is in sparkling form as the leading man, it’s a turn packed with charisma and excellent comic timing. He certainly hasn’t lost a beat from his Strictly Come Dancing triumph in 2016, showcasing all the slick moves that led him to the glitterball trophy.
Oduba is backed by a strong supporting cast, with standout comedic turns throughout. Curtis Patrick shines as Igor, displaying a natural flair for physical comedy—his facial expressions alone are worth the price of admission. Julie Yammanee is equally impressive as Inga, particularly during the cheeky and delightfully risqué number “Roll in the Hay.”
The musical numbers, much like the laughs, come thick and fast. Highlights include the hilariously lewd “Please Don’t Touch Me” and the wonderfully playful “Together Again for the First Time.” But the undeniable showstopper is the iconic “Puttin’ on the Ritz”. It’s still one of my all-time favourite scenes in film, and recreated here with precision, panache, and sheer joy by the entire cast.
Director Nick Winston pulls off the impressive feat of enhancing Mel Brooks’ brilliant original script. Every element is spot on: from the loving homage to the classic Universal horror films of the ’30s and ’40s, to the absurdist humour, rapid-fire gags, and new show-stopping song-and-dance numbers.
With Young Frankenstein, Hope Mill Theatre once again proves that bold, ambitious programming pays off. This production is a triumphant celebration not only of Mel Brooks’ comic genius but of the theatre’s first decade, filled with laughter, creativity, and heart. The future looks very bright indeed.
Young Frankenstein is at Hope Mill Theatre till 30th November tickets are available here.
Opening Night 