This compelling and touching adaptation of Christy Lefteri’s bestseller draws the audience in to the dire reality of the plight of the masses of people fleeing their homes around the world. The play shifts between past and present as the central protagonist, Nuri is forced to relive his traumatic journey as a refugee for the officials who are interviewing him. The anguish of the articulation of this journey is palpable thanks to the accomplished performance of Alfred Clay who does not allow us to look away.
Emotionally, a difficult watch as we confront the notion that the family whose plight we follow are familiar and human and universal in so many ways. The relationship between Alfred Clay’s ‘Nuri’ and Roxy Faridany’s ‘Afra’ is delicately balanced with humor and intimacy that really does crystallise the deeply human and flawed characters at the heart of this narrative. The unexpected turns in the plot are both tense and utterly devastating.
The staging and costumes are pared back and undistracting which allows the clever use of light and sound to synchronise beautifully with the script to create tension, sadness and some degree of hope. While it deals with some difficult experiences, it does so without being gratuitously graphic which would make this an excellent and hard-hitting watch for teenagers and young adults.
The undoubted tragedy of this play is drawn out never more artfully than by the performance of Joseph Long as Mustafa who walks the hair-thin line between glimmering humour and dreadful sorrow which for me was a true highlight of the production. A story well worth the telling and a story well told. This is bound to capture audiences around the country and force them to consider carefully its unflinching political message as well as its charming portrait of what it is to be human.
The Beekeeper of Aleppo is on at The Lowry until Saturday 22nd April tickets available here.
Loose Women has announced the first ever Loose Women Live tour, as ITV1’s award-winning Daytime show hits the road.
Swapping the studio for the stage across 16 spectacular nights, Loose Women Live will bring its iconic panel directly to a theatre near you this autumn with two North West dates at Liverpool Philharmonic Hall on Sunday September 03 and Opera House Manchester on Friday September 08.
Liverpool audiences can let loose with Kaye Adams, Nadia Sawalha, Denise Welch and Sunetra Sarker, while the Manchester panellists will include Denise Welch, Christine Lampard and Frankie Bridge with more to be revealed – for an evening filled with laughter, hot topics, fun and surprises – as they share their stories and secrets live and in-person. Tickets go on general sale at 10am Friday 21st April via livenation.co.uk
A pantomime on a wet Wednesday in April might seem unusual but there’s nothing here that will dampen your spirits as the brilliant Ian McKellen leads the charge in this riotous night of fantastic family fun.
Penned by Jonathan Harvey and directed by Cal McCrystal, this updated version of the panto classic tells the wholesome story of Mother Goose (Ian McKellen) and her devoted husband Vic (John Bishop), who run an animal sanctuary for loveable strays inside an abandoned Debenhams. Unfortunately, they’ve fallen on hard times, owing an energy company an eye-watering amount of money, (don’t we all); if they can’t afford to pay up, they face eviction!
Thankfully good fairy Encanta (Sharon Ballard) enters their lives, gifting them with Cilla Quack (Anna-Jane Casey), a glorious goose who lays magnificent golden eggs! However, bad fairy Malignia (Karen Mavundukure) predicts Mother Goose’s new-found riches will change her, and not for the better; here’s where the fun and frolics really begin.
Ian McKellen is an utter joy to watch, generous in his performance he gifts us with an entirely captivating turn as Mother (Caroline) Goose. Watching his performance as the family matriarch is an absolute thill as the chance to forsake everything for her ultimate dream of fame and fortune is realised. There’s reminiscing about Middle Earth days as well as nods to Shakespeare, all while the gags keep on coming.
The laughter only stops for a spot of booing, hissing and of course a few bursts of ‘he’s behind you’ in this camp, colourful creation as Mother Goose frequents A-lister events including the Oscars, the World Cup as well as London Fashion Week before ultimately realising perhaps the trappings of fame aren’t quite all they’re cracked up to be.
Playing alongside McKellen is devoted husband Vic, portrayed perfectly by John Bishop. His comic timing is of course spot on and his warmth with the audience sets us up for a great night from the opening line. The on-stage chemistry between him and McKellen is something else, they’re clearly loving every moment up there and boy does it show. Add to this magnificent mix their son Jack, played wonderfully by Oscar Conlon-Morrey, and you’ve got the perfect recipe to keep an audience in stitches all night. Conlon-Morrey is a fantastic addition to this unconventional family, throwing himself wholeheartedly into the fun of the piece while Anna-Jane Casey gives a knockout performance as Cilla Quack. Her big solo during Act II comes close to raising the roof off the Lowry’s Lyric theatre, showing true star-quality shines through even when you’re wearing orange crocs!
The leads are supported by a multi-talented company of actors who deliver Lizzi Gee’s choreography with ease and add to the feel-good factor of this show with their delightful delivery as the sanctuary’s strays. Special mention must go to Simbi Akande as Jill, her vocals are incredible while, Genevieve Nicole as Puss/Camilla will ensure we never see Camilla Parker Bowles in the same light again, here’s hoping she brings out the castanets for the Coronation!
Mother Goose is the perfect tonic, a real ensemble production with each and every person on stage giving their absolute all. If this show is available on prescription, then order me a lifetimes supply! You’ll laugh your socks off and leave the theatre grinning from ear to ear, heart warmed and serotonin levels replenished. Super, silly, feel-good fun, delivered by a world class cast, superb!
Based on the iconic 1992 blockbuster film starring Whitney Houston and Kevin Costner, the musical adaptation of The Bodyguard premiered in the West End in 2012 and has since played all over the world. It is a mix of theatre and a pop concert, boasting some of Whitney Houstons greatest hits.
The show, quite literally starts with a bang – and sets the tone for the constant stream of jump out of your seat moments that hit us throughout the production.
The show tells the tale of megastar, Rachel Marran, played by the powerful and elegant Melody Thornton. Rachel is being stalked by an obsessive fan (Marios Nicolaides) who is sending her terrifying death threats. Although reluctant at first Rachel agrees to the addition of Frank Farmer (Ayden Callaghan) as her personal bodyguard. While at first they don’t see eye to eye, they of course fall in love – but it isn’t such a fairytale ending for the pair.
There is no getting away from the fact that this script isn’t the most sophisticated, or engaging- but it really doesn’t matter. The cast of this show are incredible. Melody Thornton is a triumph as Rachel Marron. The task of taking on those big Whitney numbers must feel like climbing Everest, but OMG this lady is absolutely incredible. I can still feel the hairs on the back of my neck standing up from watching her deliver the most iconic cover version of “I will love you “. She deserved every single moment of the standing ovation that the audience gave.
While her performance is excellent, she isn’t the only star of this show. I had no expectations of Ayden Callaghan, but my goodness he gave Costner a run for his money. He is sleek, smooth and quite literally made me weak at the knees. He delivers a straight, strong performance and I am sure we will be seeing him on big west end stages in the future – and I’m sure that there is actually quite the singing voice in there too!
Emily-Mae also wowed me in her role as Rachel’s often overlooked and unappreciated sister. Her voice is like velvet. Everything about her performance was first class. Every wink of the eye, side look, eye roll and smirk was noticed and carefully delivered. While he character is often second fiddle to her sister, Emily-Mae’s performance was stand out.
The whole cast and ensemble work well together and create an action packed, charming and entertaining show. The soundtrack is the star of the show, it’s what we are all there for, but there’s some dark moments too that come when you’re least expecting them and that gives it some much needed depth. The use of digital imagery works well and generally the set design is impressive – although there was a bit too much reliance on very large draping curtains. Which did momentarily cause some technical issues for the crew and cast. But like the consummate professionals they are, they took a moment, fixed it and put their best foot forward.
This production ended as it started, big, bold and about as Whitney as it gets. An absolute tribute to the star she was. You don’t have to be a big Whitney fan to enjoy the show, but if you are, then you are going to absolutely love it!
The Bodyguard is on at Manchester’s Palace Theatre until Saturday 15th April tickets available here.
Last year, the Royal Exchange had for its autumn offering of Tennessee Williams’ The Glass Menagerie, (it was originally scheduled for the stage in 2020 but was temporarily shelved due to Covid-19). The production garnered huge commercial and critical success. Hoping that lighting will strike twice, the Royal Exchange has once again turned to the great American playwright to kick off their spring programme with another Williams’ classic, Cat on a Hot Tin Roof.
Set over the course of one evening, the Pollit family has gathered at the huge family estate for their patriarch, Big Daddy’s (Patrick Robinson) double celebrations. First of all, it’s his 65th birthday, and secondly Big Daddy has received the news that he is cancer free following a health scare. However, the event isn’t the joyous affair one might expect.
First of all you have Big Daddy’s youngest son, Brick (Bayo Gbadamosi) a retired American Football star, who has recently injured his leg in an athletics accident, hobbling around on crutches. This is the least of his worries, for he has descended into alcoholism following the death of his close friend Skipper. Adding to his woes is his wife Maggie, (Ntombizoda Ndlovu). With the pair trapped in a loveless, sexless marriage, with Maggie desperate to reignite the flames of passion and restore the marriage to its former glory, and hopefully produce a child.
Other attendees at the party are Brick’s older, ambitious brother Gooper (Daniel Ward), his scheming wife, Mae (Danielle Henry), and their five children or “no necks” as they are comically referred to throughout. The final family member is Big Mama (Jacqui Dubois), Big Daddy’s wife, who is trying to hold the family together unaware that her overbearing nature is doing more harm than good.
This play follows a three-act structure, with the first undoubtedly belonging to Ntombizoda Ndlovu, as Maggie. She dives headfirst into Willams’ script with many, many monologues highlighting the troubles between her and Brick, and foreshadowing the drama that is about to unfold. It’s a mesmerising performance filled with heartbreak and humour, and one that will quite rightly earn Ntombizoda a great deal of plaudits.
The second act sees a standoff between Brick and Big Daddy, with a sombre, beautifully understated turn from Bayo Gbadamosi, going up against, powerhouse performance from Patrick Robinson, as the straight-talking father, ready to right his wrongs, for better or worse, now he has a new lease of life. Robinson, delivers some brutal dialogue with so much charisma, that you almost, (and I do stress almost ) side with Big Daddy.
The final act sees all the players gather for a restrained, darkly comedic showdown, which sees grievances aired and issues come to the fore. It may not be the big set-to, you would expect, the rather toned down conclusion is no less satisfying.
The production is not without flaws, the script is a seemingly never-ending torrent of monologues, which repeat the same thing over again, as Talking Heads said in the song Psycho Killer, “Say something once, why say it again?”. Whilst the play does offer an interesting take on mortality, grief, and wasted life to name but a few it certainly takes a long time making its point, some of Williams’ self-indulgent tendencies could do with a bloody good trim.
Director Roy Alexander Weise has done a fine job creating a claustrophobic environment for which this toxic group thrive in, as you would expect it’s a dramatic piece that never strays into melodrama and has more darkly comic humour than I certainly expected.
At over three hours long it’s a challenging watch, but one that rewards with enjoyable performances and some stringing lines of dialogue.
Cat on a Hot Tin Roof is on at the Royal exchange till 29th April, tickets available here.
My Fair Lady tells the story of Eliza Doolitte, a cockney flower seller plucked from Covent Garden by pompous linguistics professor Henry Higgins who is determined to transform this ‘guttersnipe’ into a proper lady, no matter the cost.
This multi-award-winning production of Lerner & Loewe’s classic musical comes to Manchester following a critically acclaimed West End run and from the opening scene it’s clear to see why audiences from New York to the London have been captivated by this luverly revival.
Michael Yeargan’s set design immediately impresses, managing to be both elaborate and functional, it is incredible, while Catherine Zuber’s sumptuous costumes are simply stunning, paying true homage to the authentic look of the My Fair Lady we’ve come to know and love.
Taking on the role of Eliza, made famous by Audrey Hepburn in the 1964 movie version, Charlotte Kennedy breezes into the flower sellers boots and swiftly makes the role her own. From Wouldn’t It Be Loverley to I Could Have Danced All Night, she captivates entirely; her vocals are sublime. Eliza’s journey from start to finish is incredible to watch, as she brings real emotion to the complexities created by the Professors experiment.
Michael D. Xavier makes for a wonderful Professor Higgins, suave and seemingly sophisticated he gives the character genuine likability and fantastic comedic value. His facial expressions and physicality add layers to the dialogue as he gifts the audience with laugh after laugh due to the absolute absurdity of his firmly held opinions. Despite his misogynistic leanings the effect Eliza has on him is wonderful to see, the pair have you rooting for them wholeheartedly as the bicker and bristle throughout.
Adam Woodyatt is clearly having an absolute ball playing Eliza’s father, Alfred P Doolittle, a role he delivers with ease while impressing with his vocals, Get Me To The Church is a real highlight and also allows the talented ensemble to truly shine. Another stand out ensemble moment comes during the Ascot Gavette which is visually stunning with pitch perfect vocals.
The rest of the supporting cast are equally as strong. John Middleton’s portrayal of Colonel Pickering adds another wonderful element to the piece as he brings a light playfulness to the role.
Tom Liggins is great fun as Freddy Eynsford-Hill, a lovesick puppy desperate for Eliza’s affections. Heather Jackson is a self-assured Mrs Higgins while Lesley Garrett as Mrs Pearce reminds us all just how vocally talented she is.
If classic, classy theatre is what you want then that’s exactly what you’ll get from this stunning production. Everything about it feels top quality, from the cast to the costumes this lavish production hits every note. Bursting with much-loved songs, oozing with style and chock-full of talent this My Fair Lady is not to be missed.
My Fair Lady is on at Manchester’s Palace Theatre until Saturday 1st April tickets available here.
Peaky Blinders has a lot to answer for: on the one hand it’s one of the most popular TV series of the 21st century, what with its sublime performances and killer soundtrack, a great deal of viewers would have it in their top ten list of favourite series of all time, such is the acclaim and love for the show.
The flip side to this, is the rise of “Peaky Blinders” fan boys dressed in flats-caps, and waist coats invading town centre pubs across the land each weekend. Then, there is the almost criminal use of Cillian Murphy pictures in full Thomas Shelby getup, alongside some horrendous quote about respect, usually posted on social media, when someone’s had a fall out with a friend/family member and is trying to prove a point, sorry it just winds me up!
However, one offshoot I would never have foreseen would be a dance show. Well, respected dance company Rambert have done just that with their spectacular, Peaky Blinders: The Redemption of Thomas Shelby.
Condensing storylines from the first four series, the show opens as Tommy Shelby’s gang emerge from the trenches of The First World War. They are a damaged, battered, bloodied bunch, forced to commit violent acts that leave physical and mental scars and shape the way the Peaky Blinders will operate in the future. It’s a stunning opening sequence that perfectly sets the tone for what is to follow, exquisite yet brutal routines, beautifully choreographed by Benoit Swan Pouffer, with moody, atmospheric lighting by Nataha Chivers.
From the battlefields of the Somme, we are transported to the brutal factory conditions of the Black Country, where the female gang members, Polly and Ada take centre stage. They fight a different war, a war of oppression and greed perpetrated by a sleazy, factory foreman, showing just how vital women were to the Great War cause, and how they kept the country going whilst men were away fighting. Again, this is a visually stunning sequence as the Birmingham industrial scene is brought to life with huge metal chains, fiery pyrotechnics and a wide range of stunning costumes from Richard Gellar.
With introductions done and dusted, the story focuses on the relationship of Tommy and mysterious lounge singer, Grace. What follows is a whirl-wind story of betrayal, romance, and murder, with the backdrop of glitzy, glamorous night clubs and police man-hunts, gang warfare culminating in a wedding and assassination, and that’s just the first act!
This is a treat for the senses, with Peaky Blinders’ creator Steven Knight on writing duties, he has given us both a greatest hits of the show’s big moments, whilst offering up something new, that of a detailed examination of grief, addiction and trauma, especially prominent in the second act.
The superb, ensemble cast work incredibly hard throughout, with stunning, beautifully choreographed routines, they tread a fine line between elegant and rugged. Visually it packs a punch with so much going on around you it’s hard to know where to focus your gaze.
Set designer Moi Tran’s bold, ambitious staging allows the action to shift from the tunnels and trenches of World War One, to opium houses, to glamourous night clubs. It’s a fantastic use of space as dancers spring out of hidden pockets, it certainly gives the show a frenetic quality.
Other aspects associated with the series are also ever present, an absolute banging soundtrack with reworking of songs by Black Rebel Motorcycle Club, Radiohead and of course the signature Red Right Hand by Nick Cave and the Bad Seeds brought to life by Yaron Engler and a brilliant live band. Also present is TV series regular, the poet Benjamin Zephaniah, who’s always recognisable voice guides us through this bloody, violent world.
My only real issue is the use of dialogue from the TV series, clips of Cillian Murphy and brilliant, greatly missed Helen McCrory are occasionally played throughout, but due to the sound mix are at times inaudible, which as is as you might expect is rather frustrating.
This is a unique, bold attempt to do something a little different with a much loved franchise, that sees all involved on top of their game and well worth a night at the theatre.
Peaky Blinders: The Redemption of Thomas Shelby is at The Lowry until Saturday 18th March, Tickets available here.
Opening with a surreal dinner party, newly appointed MD of Top Girls employment agency Marlene is celebrating her success with her girlfriends ; an interesting mix of strong women from history and literature. Each has their own unique story which they retell with vigour; seemingly competing in their efforts to impress one another before descending into a wine-fuelled confessional of the absolute misery befallen them at the hands of men.
Marlene too has her own secret tragedy but has boxed it up, moving onwards and upwards in the hope it’s forgotten as she climbs the male dominated corporate ladder. However the past has a habit of catching up with us and reveals itself in Act 2 resulting in some hard truths being spoken that even the finest whiskey can’t soften.
Director Suba Das has relocated elements of Caryl Churchill’s much celebrated play to 1980s Liverpool, an effective choice and one that gives the story some relatability. The scenes between Marlene (Tala Gouveia) and her seemingly embittered sister (Alicya Eyo) offering both depth and convincing realism amongst a play of vignettes that at times lack cohesion. Marlene’s return to her sister in the home city she resents is acted out brilliantly by Gouveia and Eyo. The scene feels raw and believable with the narrative given time to breathe and sting appropriately.
The employment agency vignettes are entertaining and thought provoking as the female staff gate-keep roles and opportunities while discussing their own personal lives and the control they feel they have on them.
Special mention must go to Elizabeth Twells who stood in for Natalie Thomas at short notice, script in hand and gave a strong, confident performance in each of her multiple roles.
Set and costume designer Ellie Light has given this production an impressive and slick look, switching the style from modern city office to Liverpool terrace superbly while the thumping 80’s soundtrack and additional composition from Nicola T. Chang is a real highlight.
The overall piece will challenge, however I felt nothing for any of the characters and wished this revival had tried less hard to be cerebral and better at connecting with the audience. While brilliantly acted and visually impressive the emotional connection never materialised.
Top Girls is on at Liverpool’s Everyman until 25th March tickets available here.
Anyone who has ever read a Shakespeare or two will be aware of his love of mistaken identity, whopping errors of judgement and questionable life choices: A Comedy of Errors (More or Less) will absolutely confirm all these things and bring them kicking and screaming into the 1980’s. Think sensational shell suits, stunning shoulder pads, a beltin’ blast of Fergal Sharkey and you’re halfway there.
This new co-production between Prescot’s Shakespeare North Playhouse and Scarborough’s Stephen Joseph Theatre, creatively adapted by Elizabeth Godber and Nick Lane takes the Bard’s much-loved comedy and sprinkles it with lashings of Northern humour, some top quality 80’s bangers while relocating it to the sunny climes of Scarborough.
The original plot has never been the easiest to follow but this clever adaptation gifts us with additional narration along the way as well as some brilliant modernisation allowing the comedy of the piece to really shine.
We’ve got two sets of mismatched twins, a Lancastrian named Antipholus who arrives in Scarborough to deliver his hard-grafted one-man fringe show, trouble is, the twin he doesn’t know he has, is already there, owes money to half of Yorkshire and has plans to star in a packed-out talent show on the very same night. His pal/long suffering assistant Dromio also has a missing twin who, you guessed it, is also in Scarborough. Cue a fantastic farce that will have you laughing out loud from the very start.
This talented cast work incredibly hard delivering this reimagined classic, they are superb. Set in the round in the stunning cockpit theatre, Director Paul Robinson has ensured every inch of the space is used with every seat in the house getting a cracking view of the on-stage action. They literally don’t stop, several taking on multiple roles making proceedings all the funnier for it. The whole premise of the piece may be chaotic as each twin is continually mistaken for the other, but the storytelling is clear, hugely entertaining, and incredibly impressive. As the action becomes more farcical so does the comedy, there were many occasions I was crying with laughter as the exasperated twins get more and more confused.
David Kirkbride as Anitpholous of Scarborough/Prescot is hilarious, his loyal defining of what it is to be a Prescotarian has the audience in stiches while his performance as the chaos ramps up is a joy. Oliver Mawdsley who plays alongside Kirkbride as Dromio of Scarborough/Prescot is perfectly cast. The two make for a genius pairing, playing off each other with ease as the banter and laughter flows.
The changing up of Luciana’s (Ida Regan) character is a stroke of genius, she’s not the meek and mild version we know from Shakespeare’s pen but strong, assertive and gives as good as she gets leading to some fantastic scenes between her and Adriana, (Alyce Liburd). Both are excellent in their roles and clearly having a lot of fun with them.
Andy Cryer absolutely shines in his multiple roles, drawing your attention whenever he hits the stage. Valerie Antwi and Claire Eden bring brilliantly unexpected elements to the story while both ramping up the laughter levels even more.
This is a true ensemble piece, with each cast member bringing their absolute A game to the stage. The local referencing, playful narration and inventive reimagining have made this production both accessible and immensely enjoyable. The placing of several 80’s favourites adds to the fun with Alyce Liburd and Ida Regan’s Act II opener, a rendition of Cher’s Jesse James being a real highlight while I’ll now never hear Nick Kershaw’s Wouldn’t It Be Good without it raising a smile.
Shakespeare North Playhouse and Stephen Joseph Theatre have delivered an absolute cracker with this production, ensuring this modern-day Shakespeare is a must-see. The Comedy of Errors (More or Less) is an absolute riot, pure joy from start to finish.
The Comedy of Errors (More or Less) is on at Shakespeare North Playhouse until Saturday 25th March tickets available here.
Director, Calos Acosta states in the programme notes “Swan Lake, ballet’s greatest love story.” A statement few would argue against, however it would be fair to say that this production is that and oh so much more!
The story is that of Prince Siegfried (Mathias Dingman), who, when out hunting with his friend Benno, (Enrique Bejarano Vidal), witnesses a white swan transform into a beautiful Princess. named Odette ( Momoko Hirata). Siegfried, captivated by her beauty, falls in love with Odette, however we learn that the young woman and her friends are under a spell cast by the evil magician, Baron von Rothbart (Jonathan Payn).
A masked ball is held for the young Prince’s birthday where he meets Rothbart’s daughter, Odile ( Hirata in a duel role), who looks remarkably like Odette. It’s a plan by the magician in order for his daughter to marry the Prince. However, as you may expect the wicked warlock’s scheme doesn’t quite pan out.
There is a great deal to admire about this production despite an initial slow start with the opening act, set at the Prince’s court. It’s a laboured opening with the most of the standout moments coming from the performance of Enrique Bejarano Vidal, as Benno, who commanded every inch of the Lowry stage.
However, from Act II, it’s simply outstanding. During this sequence we are introduced to the gaggle of swans at the banks of a hauntingly moonlit lake. Here we are treated to some exquisite routines played out to some of Tchaikovsky’s best known and most treasured music. It felt a privilege to hear such rich, vibrant music played by a full orchestra, who were flawless throughout tonight’s performance.
Momoko Hirata as Odette/Odile is at the top of her game, she made seemingly impossible movements look effortless. The numerous fouetté en tournant drawing several shouts of “bravo!” from knowledgeable, enthusiastic audience members. The numerous pas de deux between the Prince and Odette/Odile are gorgeous and wonderfully choreographed. Their duet during Act III at the castle ballroom, is expertly put together and a real showcase for Hirata and Dingman, set against the backdrop of a fabulous grand, gothic ballroom.
As well as the exquisite routines the costumes throughout look fantastic, from the iconic swan’s outfits to the rich, glamorous costumes of the Act III ball, with lots of bold red and brown colours, which makes the arrival of Odile and her father decked out in black all the more striking. Add into the mix the stunning set design for the two interior castle sequences as well as the enchanting and ethereal lakeside set design and visually it looks near perfect.
The final act is simply outstanding, and one I don’t wish to spoil, However it opens with a truly breathtaking sequence, that drew loud audible gasps of delight from the audience and is certainly one of my favourite moments from nearly 10 years of reviewing. The final act is a fitting showcase for all involved with the Prince and Odette performing their final sequence together, whilst the swan’s around were held still in their position, pure focus etched on their faces, making it seem effortless, it really was a sight to behold.
There are a few minor quibbles, I wasn’t a fan of the video imagery of Odette used during Act III, it just didn’t look right, and this is one very minor but throughout the ball sequences the Prince would sit on a chair which very much resembled a camping chair you’d seen scattered around the pyramid stage at Glastonbury. It seemed such a shame that everything else looks so exquisite, that this chair stands out like a sore thumb. Only a small detail I know, but once I noticed it I couldn’t unsee it!
The is an elegant, graceful production, telling a timeless story through beautiful performances and the glorious music of Tchaikovsky, a true master of his craft. On the basis of tonight’s show, you can more than see why Swan Lake is an endearing and mesmerising piece of work and one that with productions like this, will always stand the test of time.
Swan Lake is at the Lyric Theatre, Lowry until the 4th March. Tickets available here.
It’s summer in Manchester. It’s raining (obviously) and on Canal Street storm clouds of another sort are gathering. Club Fierce is under threat. But Dolly Ravage, who runs the club and is the unofficial godmother of the Gay Village, isn’t going down without a fight.
Dolly has a plan to to save it from property developers by recruiting six amazing queens to slay the runway and reinvent Club Fierce as the all-new House of Ferocity.
But will the arrival of the mysterious Bobby Carter from America – hiding a secret that could change everything – derail her battle to save the soul of the Manchester scene?
Boasting a handbag full of original high energy bangers, ballads and earworm songs, ‘Drag Addict’ is written by Matt Cain and David Andrew Wilson, with concept development and choreography by Arlene Phillips – who has just been announced as the recipient of this year’s Special Award Olivier “for her inspiring work in dance and choreography” – and is directed by Jonathan O’Boyle.
Matt Cain said: “In my novels and journalism I’ve always loved exploring themes of LGBTQ+ identity, culture and community, asking what it means to be gay or queer in our modern, digital world. So it’s a real thrill to be opening up this new channel for my creativity and exploring the same themes in musical theatre. I’m also overjoyed to be creating a show that pays tribute to my home city of Manchester, a city that saved my life as a teenager and helped shape both the person and the writer I’ve become today.”
David Andrew Wilson said: “I am so excited to be bringing ‘Drag Addict’ to HOME in Manchester. So much of this musical was written in lockdown when Matt, Arlene and I were just dreaming about what it would be like to be back on Canal Street. And now, here we are, about to open in Manchester! Writing pop music has always been my number one passion and I am so excited that I’ve had the opportunity to write a show that incorporates modern pop to 90s dance to Broadway big band in an entirely original score. It’s time to Slay the Runway!”
Arlene Phillips said: “When I moved from Manchester to London in the 1970’s, many people found an escape in my dance classes from a society that still frowned upon their sexuality. It became a place where they were free to express themselves through dance in any way they wanted. It has been my dream to create a musical that embraces my love of drag and the LGBTQ+ community. I was lucky enough to have two creative friends in my life, Matt Cain and David Wilson, that I could I bring together to make it a reality.”
Drag Addict is on at Manchester’s HOME from Tuesday 18th July to Saturday 12tb August. Cast and full creative team to be announced.
Last night Opening Night had the absolute pleasure to be part of the 12,000 strong audience at the AO Arena in Manchester watching The National Lottery’s Big Night of Musicals – a celebration of all that’s brilliant about the British musical theatre scene.
Returning for 2023, the show was once again hosted by North West favourite Jason Manford, and featured amazing performances from 13 shows currently in (or heading for) the West End or touring.
(Photo by Anthony Devlin/Getty Images for The National Lottery)
Our particular favourite moments including the hugely exciting appearance of the West End cast of Hamilton performing ‘My Shot’ for the first time ever on television, a gorgeous medley from Matilda that including the joyous Revolting Children, Laura Pick’s epic rendition of Defying Gravity from Wicked and a goosebump-inducing solo performance of I Will Always Love You from The Bodyguard by Melody Thornton.
We also loved seeing the iconic Brenda Edwards strut her stuff again as Killer Queen alongside the cast of We Will Rock You, a rousing dance number from Disney’s Newsies and a trip to the Haus of Holbein with the cast of SIX.
(Photo by Anthony Devlin/Getty Images for The National Lottery)
Other highlights included former Strictly Pro Joanna Clifton’s debut as Princess Fiona in Shrek the Musical, Call the Midwife star Helen George’s lovely vocals in Shall We Dance (alongside Broadway star Darren Lee) from The King and I and a confetti-filled finale from Mamma Mia.
The evening certainly gave a great taster for some of the musicals showcased that are heading to Manchester in the not so distant future – like Hamilton, The Bodyguard, The King & I and Wicked.
(Photo by Anthony Devlin/Getty Images for The National Lottery)
But it wasn’t just the stars on stage that were celebrated – some of the evening’s most touching moments were when the spotlight was shone on the theatre work being done in our communities – and the unsung heroes who make it all happen – aided by vital financial support from the National Lottery.
The National Lottery’s Big Night of Musicals, served as a massive thank you to National Lottery players who have helped tens of thousands of arts projects across the UK and supported over 2,000 theatres through the Covid crisis.
(Photo by Anthony Devlin/Getty Images for The National Lottery)
The 90-minute show will be broadcast on BBC One and BBC Radio 2 in March – date TBC. It’s definitely not to be missed if you love your musicals and theatre. Here at Opening Night we are already looking forward to watching it again!
Opening Night 