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Hamilton

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Both revolutionary in subject matter and in its impact on the theatre world, Hamilton has fast become one of the most beloved musicals of all time. Certified Hamilfan’s know the cast recording off by heart before even setting foot inside a theatre while favourite quotes have entered popular culture as its strength of message and sheer brilliance are praised the world over.

Embarking on its first ever (and much-anticipated) UK and Ireland tour, Hamilton has arrived at Manchester’s Palace Theatre for an incredible 15 week run, ensuring theatre fans from across the region get their opportunity to be in the room where it happens.

Hamilton tells the fascinating story of American founding father Alexander Hamilton, with a book, music, and lyrics by Lin-Manuel Miranda. This is a history lesson like no other as hip-hop, jazz, R&B and traditional musical theatre blend together to create a stunning score, reframing the traditional and driving it forward for a new generation. Throw in direction from Thomas Kail, orchestrations by Alex Lacamoire and incredible choreography by Andy Blankenbuehler and you’ve got the recipe for the perfect piece of theatre. Add to this a cast of insane talent and the result is a complete work of art.

Taking on the titular role is Shaq Taylor: Taylor’s Hamilton is a strong, commanding visionary who proves undoubtedly that the pen is far mightier than the sword. He takes us on an incredible journey starting off, “young, scrappy and hungry” and ending the show leaving us questioning our own lives and legacies, “Who lives, who dies, who tells your story?”. He delivers Lin-Manuel Miranda’s complex lyrics with a relaxed ease and an immense precision.

Sam Oladeinde as Aaron Burr is tremendous, arrogant and scoffing one moment, defeated and broken the next, his delivery of Wait For It perfectly highlights the brilliance of this piece, as his focus shifts from contemplative silence to roaring energy within the blink of an eye. His character development and nuanced delivery as Hamilton’s foe is second to none.

Billy Nevers is a remarkable Marquis de Lafayette/Thomas Jefferson, all bounding energy and slick beats he truly shines on stage. Perfectly cast, he brings real depth and well-judged humour to both roles giving an unforgettable performance.

KM Drew Boateng shows incredible versatility as Hercules Mulligan/James Madison, two polar opposites whom Boateng more than masters while DeAngelo Jones as John Laurens/Phillip Hamilton is a joy, full of fun, bravado and brilliance.

Maya Britto gives a world class performance as Eliza Hamilton, her solo Burn is heartbreakingly beautiful while her soaring vocals during the finale will make your heart swell. Aisha Jawando compliments Britto entirely as loving older sister Angelica, punchy and powerful delivering riffs to die for. Making up the trio of sisters is Gabriela Benedetti as Peggy Schuyler/Maria Reynolds who gets her well-deserved moment in the spotlight during Say No to This with vocals as smooth as silk.

This cast bring out the humour in Lin-Manuel Miranda’s script like I’ve never seen before, they are a tight knit team and the trust they clearly have in each other takes their collective performance to the next level.

Daniel Boys further ramps up the laughs as the stomping, spoilt King George, while special mention must also go to Charles Simmons as George Washington, a calming presence amongst the compelling force that is Alexander Hamilton.

Hamilton truly is an ensemble production with the company taking on multiple roles and pushing the story forward through Blankenbuehler’s immaculate & intricate choreography. Their level of skill is mind-blowing. The diversity of this cast enriches this production wholeheartedly and will leave you wishing you could retake your seat and watch it immediately all over again. Manchester waited for it and Hamilton has well and truly delivered. Rise up and get yourselves to Manchester where Hamilton will turn your world upside down, epic in scale, breathtaking in brilliance.

Hamilton is on at Manchester’s Palace theatre until Saturday 24th February tickets are available here.

The Social

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️


Wigan Casino and the music of Northern Soul have seemingly been in the public eye quite a bit this calendar year and with good reason: it’s the 50th anniversary of Wigan Casino’s first all-nighter way back on the 23rd of September 1973.

Back in July the BBC commissioned a Northern Soul Prom which was broadcast to huge critical and commercial acclaim, whilst the town itself has put on a series of events and exhibitions.

Another highlight of the celebrations is the collaboration between Down To Earth (Wigan’s Creative People and Place Programme), and immersive theatre specialist, Not Too Tame, with The Social. This unique, interactive experience is a celebration of not just Wigan, and Northern Soul music, but the social clubs, community spirit and characters that are the heartbeat of towns across the north of England.

The Social will be playing at venues in Hindley, Bickershaw, Leigh and Wigan throughout November and December.

The plot focuses on sisters Orla (Samantha Seager) and Maxine (Rebecca Hesketh-Smith), as they try to keep their social club/pub afloat in a post pandemic world. Tonight’s event is a Northern Soul disco, compered by Orla’s wheeler-dealer boyfriend, Dezzy (Jimmy Fairhurst), who is helped along by his younger brother Ziggy (Tyler Dobbs), who is in charge of the meat raffle, as well as a nice sideline in dodgy fire sticks.

Making up the cast is Greg (Elliot Bailey), a jack-of-all-trades and all round good guy. Greg’s martial arts training will hopefully help him out in his future career as a PCSO. Finally there is Sally Malloy (playing herself), the 2022 Northern Soul World Champion, who tells her story of her love for the music, whilst busting out some amazing moves.

This was a glorious, entertaining evening filled with plenty of humour, pathos and some amazing tunes. The script has more than a hint of classic sitcoms Phoenix Nights and Early Doors – which is high praise indeed. There are some cracking one-liners, but it also gets to the heart of the importance of family, community and the struggles we all face in life. Each character gets to tell their story, how they ended up where they are, a mixture of joy and sadness, but all with an attitude that highlights what it is to be Northern and working-class.

The cast are superb. Samantha Seager and Rebecca Hesketh-Smith are perfectly cast as the no nonsense sisters who at times have the warring attitude to each other that only siblings will understand, they also love the bones of each other, the relationship between the two is the driving force behind the play. Elliot Bailey is in fine comic form as Greg and he has the lionshare of the best gags.

Jimmy Fairhust, puts in a solid comic turn as the slippery, but misunderstood Dezzy, whilst Tyler Dobb’s Ziggy is full of raw northern charm, and passion as he dreams of bigger, better things for himself. Sally Malloy was an inspiration – I absolutely loved her story and it was an absolute pleasure to see her trade the talc and grace the dance floor. All the cast get to showcase some pretty fine moves, with some excellent choreography throughout, all to a fabulous soundtrack that included Northern Soul standards A Ghost in My House, Seven Days Is Too Long, and Do I Love You (Indeed I Do).

From the get-go the cast were interacting with the audience as the venue doors opened. One minor quibble – the start of the show was quite frantic and a challenge to hear some of the dialogue over the music. However, once you get used to the cast using the entire social club as the stage, at some points jumping over the surrounding furniture, and that at times you may become part of the show (I won the meat raffle!) you’ll enjoy the experience all the more.

The Social is fantastic: a fun night out and a brilliant showcase for some of the North West’s fine talent. It has plenty of heart and spirit, and a fine excuse if one were needed to hit the dance floor and bust some moves. I can’t promise you a meat raffle win but I can promise that with a trip to see The Social, you’ll have a great night out.

The Social is playing at numerous venues throughout November and December. Tickets available here.

I Should Be So Lucky

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Take the mega hits of Stock, Aitken and Waterman, the writing skill of Nativity creator Debbie Isitt, the choreography of Strictly’s very own creative director Jason Gilkison, an insanely talented cast, sprinkle it with a little Kylie magic and you’ve just about got the recipe for the most fun show in town!

Featuring beloved hits from Kylie, Jason, Rick Astley and Bananarama to name but a few, I Should Be So Lucky has arrived, bringing the party with it and judging from last night’s thunderous standing ovation is here to stay.

Ella’s (Lucie-Mae Sumner) fairytale wedding quickly becomes a nightmare as groom, Nathan (Billy Roberts) gets more than just cold feet, the wedding may be off but Ella’s friends and family sweep in, reminding her there’s more to life than a white wedding. What follows is a couple of hours of pure, fun-filled escapism all played out to the sounds of the biggest Hit Factory the UK has ever seen.

Featuring ten number 1 singles and over 25 beloved bangers, I Should Be So Lucky gives the audience exactly what they want, fun with a capital F. This isn’t a show that takes itself too seriously, its camp, colourful and just wants you to have a bloomin’ good time.

Leads Lucie-Mae Sumner and Billy Roberts are supported by the most insanely talented cast who put their stamp well and truly on this world premiere production. Scott Paige is an absolute scream as Michael, he has the audience in the palm of his hand from his first tongue pop and keeps the laughs coming right through to the finale. His duet with Ralph Bogard as Hassan is comic genius, if there’s ever a sequel can I request a Michael and Hassan spin off please?

Jessica Daley is excellent as Ella’s sister Britney belting out the powerhouse vocals while Mum Shelley (Melissa Jacques) lifts the pop lyrics we know and love with the most stunning of voices. Giovanni Spano is perfection as Best Man Ash, a cheeky chappie who doesn’t realise he’s looking for love until Bonnie, played superbly by Kayla Carter makes him realise it’s been under his nose the whole time.

Matthew Croke as smooth-talking Nadeem is the perfect holiday romancer while Jamie Chapman controls the chaos with his own unique and utterly brilliant charm. There’s even guest appearances from Queen of Pop Kylie who sprinkles her own form of magic on this glittering production.

The sub-plots add depth to the storyline with some more successful than others but ultimately, they all combine to ensure that this is a show that will uplift, entertain, and leave you reminiscing about the good old day of pop. The creatives have worked hard to ensure this show delivers a strong message of friendship, self-belief, and love, all within a wonderfully inclusive story.

In a time when we all need a little hope and happiness, I Should Be So Lucky delivers entirely, if this show comes on prescription, sign me up for a double dose!

I Should Be So Lucky is on at Manchester’s Opera House until Saturday 25th November tickets available here. The tour then continues across the UK and Ireland until May 2024

Free Your Mind

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

Featuring 50 professional dancers, as well as a world class creative team, this bold and brilliant reimagining takes place throughout the purpose built facility with performances beginning fromthe moment you walk through the venues expansive doors.

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

This vivid spectacle will well and truly ensure Aviva Studios, the permanent home of Factory International is firmly placed on the cultural map.

2:22 A Ghost Story

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

There has been a great hype around 2:22 A Ghost Story since it opened on the West End in August 2021. Whilst plot details remain scarce, so as not to spoil audience members enjoyment, it was the production’s casting that grabbed all the headlines. Pop superstars, Lily Allen, Cheryl (formerly of Girls Aloud) have appeared in the show’s London run, in addition, actors such as Eastenders Jake Wood and James Buckley of The Inbetweeners, have also appeared. 

Now embarking on its first UK tour, I suppose the big question is does it justify the hype? Simply put, yes it does, not just because of the cast, but behind it is a smart, intriguing funny script with plenty of thrills and scares to keep you entertained for a great couple of hours.

The plot focuses on married couple Jenny (Louisa Lytton) and Sam (Nathaniel Curtis). The pair are busy renovating their new home, as well as managing the sleepless nights brought on by the arrival of their newborn daughter. Whilst Sam is away with work, Jenny experiences some strange occurrences, she hears the sound of a man crying and footsteps coming through the baby monitor, even stranger this occurs nightly always at the same time.

Upon Sam’s arrival home the couple host a dinner party for Sam’s friend from university Lauren (Charlene Boyd), and her new boyfriend Ben, (Joe Absolom). At the party Jenny tells her guests of what she has experienced, whilst her husband is sceptical and tries to rationalise them, Jenny finds support from Lauren and Ben.  On top of the possible paranormal activity there is continuing personal gripes and tension that threatens to boil over.

Danny Robin’s script is intelligent, sharp, with some darkly comedic one-liners. Whilst the ‘big jump’ scares aren’t as frequent or as-in-your-face as The Woman in Black or Ghost Stories, when they do come, it does give you a jolt. The situation seems highly plausible, with the focus more on the characters paranoia and regrets than anything. For me the production is equally about the struggles of modern life as well as the paranormal, which makes for a more authentic viewing experience.

Louisa Lytton is in great form as Jenny, it’s a believable turn filled with angst, worry and frustration that never strays into being OTT. Nathaniel Curtis is equally impressive as Sam, a character so arrogant with an air of superiority, he’s totally unlikeable at first, however as the narrative progresses you see him become more vulnerable. It’s a portrayal that in lesser hands could irritate, but Curtis gets the balance spot on.

Joe Absolom brings a touch of humour mixed with a slight intensity to proceedings as Ben, the working-class outsider of the quartet. Absolom gives a measured performance, while the continuing tension between Ben and Curtis’s Sam is fun to watch. Whilst Charlene Boyd’s Lauren adds to the drama and complexity, as throughout the course of the evening we see her slowly descend into desperation brought on by alcohol. She strikes the right blend of confidence and insecurity throughout.

Under Isabel Marr’s direction this is slick production, where the tension lifts but never becomes melodramatic, you are consistently anticipating when the next scare will arrive. The mere inclusion of the clock counting down till the fateful time is a simple but deeply effective plot device.

2:22 A Ghost Story, works so well because of its domestic setting, believable characters and a very real feeling scenario. It’s a well-crafted, solidly acted, chilling and highly entertaining night at the theatre, filled with plot twists and misdirection it’s perfect for this spooky time of the year.

2:22 A Ghost Story is at the Lowry till 4th November 2023, tickets available here.

To Wong Foo

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

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

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

Romeo & Juliet

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Credit: Johan Persson

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

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

Credit: Johan Persson

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

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

Credit: Johan Persson

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

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

Credit: Johan Persson

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

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

Strictly Ballroom

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

Hobson’s Choice

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

 

Ghost Stories

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

Looking Good Dead

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Reviewed by Alison Ruck

Opening Night verdict ⭐️⭐️⭐️1/2

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

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

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

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

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

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

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

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

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

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

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

Noises Off

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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