Author: openingnightreviews

Death on the Nile

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐

As the nights grow darker and winter edges closer, many of us start daydreaming about a spot of winter sun. Would Devon be charming this time of year? What about a glamorous rail trip across Europe, or a cruise along one of the world’s most iconic rivers — the Nile, with its breath‑taking views of the pyramids and whispered secrets of ancient Egypt? Just one warning: if a gentleman with an outrageous Belgian accent and an even more impressive moustache joins your party, consider changing your plans immediately as chances are high somebody on board won’t make it home!

Following the success of last year’s Murder on the Orient Express tour, writer Ken Ludwig and director Lucy Bailey return with another thrilling Agatha Christie adaptation, and once again, everyone’s favourite Belgian detective, Hercule Poirot, is at the heart of the mystery.

Death on the Nile sees Poirot (Mark Hadfield) and a host of high society types take a trip down the Nile on the luxurious, S.S. Karnak, as the party returns a sarcophagus which has been loaned to the British museum. Amongst the party is wealthy museum benefactor Linnet Ridgeway (Libby Alexandra-Cooper) and her husband Simon Doyle, (Nye Occomore) celebrating their honeymoon.

Also in attendance is Doyle’s former fiancée, Jacqueline de Bellefort (Esme Hough), who was also best friends with Linnet till she ‘stole’ her fiancé. Poirot’s friend Colonel Race (Bob Barrett) is also on board, as is renowned British thespian Septimus Troy (Terence Wilton), and his companion, former novelist turned aspiring actress Salome Otterbourne (Glynis Barber). Salome’s daughter, Rosalie (Camilla Anvar) has joined the trip along with Doctor Ramses Pread (Nicholas Prasad) and his father, British museum curator Atticus Pread (Howard Cossington). Finally, there is Annabelle Pennington (Helen Katamba), a business associate of Linnet.

As the paddle steamer makes its way down the Nile it is apparent that one passenger has made a few enemies and when they end up dead it’s up to Poirot to untangle the web of lies and crack the case.

Sometimes the trouble with some adaptations of Christie’s more famous works is that you are so familiar with them that you already know who the killer is. I’ve seen at least three different film/tv versions of Death on the Nile, which may have some slight differences yet ultimately the mystery elements remain the same, which is the same here. What Ken Ludwig’s script does so well is lean on humour, poking fun at the familiar tropes of the ‘whodunit’ and calling out Poirot’s penchant for the big reveal. It adds a welcome freshness to proceedings that doesn’t seem at all out of place.

With the crime genre there are lots of expedition and plot dumps which though necessary can seem shoe-horned in, however Ludwig’s script just about pulls off the trick of making it natural, as Poirot hovers about picking up nuggets of information, while various cast members air their grievances.

Mark Hadfield does a solid job as the super sleuth even though at times his accent does wander slightly. Both he and Bob Barrett make a good team as old friends attempting to crack the case. The love triangle at the heart of the story is well played with by Esme Hough, Nye Occomore, and Libby Alexandra-Cooper. Hough is on form as the unhinged women scorned. Whilst Occomore plays the part of the cad very well. Alexandra-Cooper manages to evoke sympathy as the brash troubled socialite.

The ensemble cast do a fine job of selling themselves as possible suspects with each one making sure, they are an essential part of the plot. Special mentions for Glynis Barber and Terence Wilton who make a great comedic pairing as the two aging actors.

Where this production excels is the well-crafted set design by Mike Britton, first bringing to life the interior of the British museum, and later the interior of the paddle steam. The set looks fantastic, with its shifting panels, coupled with Oliver Fenwick’s superb lighting design, as prominent suspects lurk in the shadows. It adds a film-noir quality to proceedings and further ratchets up the intrigue and suspense. Finally, Mic Pool’s atmospheric sound design hits mark the bringing to life the hustle and bustle of life luxury cruise down the Nile, whilst throwing in the odd moment of shock to boot.

Death on the Nile, whilst not perfect, is an entertaining night at the theatre. Fans of Christie’s work will notice little differences from previous adaptations, whilst those coming at this fresh are in for an enjoyable couple of hours even if the big reveal can be telegraphed from a mile away. However, very much like a cruise down the Nile itself, surely the fun isn’t the destination and all about the journey.

Death on the Nile is on at the Lowry Saturday 4th October.

Tickets available https://thelowry.com/whats-on/death-on-the-nile-q4jt

13 Going on 30

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on the iconic 2004 film starring Jennifer Garner and Mark Ruffalo, 13 Going on 30 introduces us to 13-year-old Jenna Rink who, following on from her not so successful 13th birthday party wakes up as her 30-year-old self, a highly motivated New York magazine editor. Successful she may be, but she soon realises that life as a high-flyer isn’t all it’s cracked up to be. At 13 she wished to be thirty, flirty and thriving yet the reality isn’t quite as fulfilling as she hoped for. In a desperate bid to figure out who she really is Jenna tracks down an old friend which sends her on a path of self-discovery, lucky for us she’s taking us along for the ride.

Lucie Jones is perfectly cast as Jenna, kooky and charismatic with soaring vocals she takes the role and truly makes it her own. Her Jenna is warm, witty and enormously likeable. The pairing of Lucie Jones and David Hunter as Matt is perfection, they bounce off each other brilliantly and have you rooting for them from the start. Hunter is a joy as Matt, retaining the witty sarcasm Ruffalo gave us in the film while ensuing the character brings a genuine charm and vulnerability to this uplifting production. Their relationship feels entirely believable and as an audience we fall just a little bit in love with them both.

Of course, every good story needs a little jeopardy, and we have that in the form of Grace Mouat as Lucy Wyam, a mean girl from Jenna’s high school days who now works alongside her at Poise magazine. As a faux friend Mouat is deliciously devilish, her razor-sharp comebacks are hilarious while her sour-faced sass slays.

Both young Jenna, Amelia Minto and young Matt, Max Bispham at tonight’s performance are absolute knockouts, immensely talented and totally mesmerising on stage. Long and successful careers no doubt lie ahead of this talented duo. A special mention must also go to the young company who are incredible throughout, their energy and talent is unrivalled.

While the film soundtrack brought us absolute bangers from Pat Bentar’s Love Is a Battlefield to Madonna’s Crazy for You, the musical mostly uses original music and lyrics from Alan Zachary & Michael Weiner. Opening number Wanna Be is superbly delivered by the young company, (Team Thirteen at tonight’s performance) while Too Late is the perfect Act 1 closer giving us beautifully moving moments as we see the younger and older versions of Jenna and Matt perform together.

One song we absolutely couldn’t lose from the film soundtrack gladly remains giving us the iconic Thriller scene. Choreographer Jennifer Weber adds to the beloved original choreography making this a real stand out moment in the show that could even afford to go a little bigger, really taking this scene to the next level.

 

The original songs are melodic and warmly uplifting, while the nostalgic amongst us may well go away wishing a sprinkling more of the original soundtrack would have made an appearance new audiences won’t feel anything is missing.

Book writers Josh Goldsmith & Cathy Yusp have done a great job of staying true to the film while adding depth and creativity for theatre audiences. 

Director Andy Fickman has done a brilliant job of ensuring this talented cast deliver each scene with real heart and precision.

13 Going on 30 is like a cosy hug with your favourite fluffy pillow, uplifting, joyful and a whole lot of fun. It’ll remind you that life is all about the connections we make along the way while thoroughly entertaining you from start to finish.

13 Going on 30 is on at Manchester’s Opera House until Sunday 12th October tickets are available here

Ideal

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

Back in 2005, Ideal burst onto our screens. A pitch-black sitcom that quickly gained both commercial success and critical acclaim. Created by actor-writer Graham Duff and set in Salford, the show revolved around Moz, a small-time cannabis dealer played by Johnny Vegas. Over seven series, viewers were treated to a cavalcade of wonderfully bizarre characters who dropped by Moz’s grimy flat to score weed, hang out, or both. With its surreal tone and dark humour, Ideal became a cult classic.

In 2011, the BBC abruptly cancelled the show, a move that left its loyal fanbase frustrated. But in 2024, at the Bay International Film & TV Festival in Morecambe, Duff and Vegas made a surprise announcement: Ideal would return in 2025 as a brand-new live show.

Premiering this week at The Lowry, Ideal is officially back and I’m happy to report that it’s lost none of its twisted, unhinged charm. This isn’t a nostalgia-driven rehash of old episodes. It’s a fresh new story, with a few familiar faces along for the ride.

Moz hasn’t changed a bit. He’s still dealing weed and drifting through life in his rundown flat. The revolving door of oddballs is still spinning, there’s Colin (Ben Crompton), a petty criminal just out of prison and struggling to reintegrate into normal life; Brian (Graham Duff), Moz’s loud, flamboyant, and razor-tongued best friend; and Judith (Joanna Neary), the jittery and slightly deranged neighbour, who also happens to be Moz’s ex.

One notable addition is Liza (Lucy Farrett), Moz’s younger, attractive yet possessive new girlfriend. She appears devoted, but jealous, especially toward Moz’s past flames.

Meanwhile, Moz’s old rival Psycho Paul (Ryan Pope) and the ominously silent Cartoon Head (complete with trademark mouse mask) have launched a new venture: a body disposal service called “Dead & Gone,” catering to Salford’s criminal underworld. Trouble arrives when Brian’s sister, Tania (Emma Fryer), turns up with a corpse, which may contain some hidden diamonds.

A party at Moz’s to celebrate Colin’s early release takes a dark turn when one of the guests is later found dead. Can the killer be found?

Duff’s script is sharp and unapologetically odd, delivering rapid-fire laughs through a heady mix of silliness, unease, and outright grotesquery. As expected, the dialogue is peppered with biting one-liners and absurd exchanges.

Performance-wise, Johnny Vegas is as gloriously shambolic as ever — chaotic, loud, but endearingly watchable. Ben Crompton shines as Colin, and his interplay with Vegas is a highlight. Their shared scenes often veer delightfully off-script, to the audience’s clear delight.

Ryan Pope delivers a brilliant performance as the braindead hardman, while Emma Fryer is an absolute treat as the Salford femme fatale. Their chemistry and comic timing are a joy to watch, especially as they compete to out-‘Manc’ each other with their dry deadpan delivery. Joanna Neary puts in an outstanding comedic performance; her twitchy, awkward portrayal of Judith practically steals the show.

Tonight’s performance was affected by some technical issues.There were clearly microphone and sound problems during the first half of the show, which were thankfully resolved after the interval. Scene transitions also lacked polish and could have been smoother, hopefully, these will be addressed as the run continues.

One malfunctioning prop left Vegas and co-star Lucy Farrett in a somewhat compromising situation, but Vegas managed to turn it around with a fun adlib.

Fans of the show will, of course, love it, but even those unfamiliar with the characters can enjoy it, as Duff’s script stands strong on its own. It pulls off the impressive feat of being accessible to both longtime fans and newcomers alike.

Hopefully, the technical issues can be resolved for the rest of the run, as they occasionally distract from what is otherwise a consistently entertaining and often hilarious night out.

Ideal is on at the Lowry Saturday until 13th September. Tickets available here

Here & Now

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Set in seaside superstore, Better Best Bargains, Here and Now follows the lives and loves of four co-workers and firm friends Caz, Vel, Robbie, and Neeta all set to a camptastic back catalogue of Steps classics. From 5,6,7,8 to One for Sorrow there’s nothing tragic about this feelgood musical, from the moment the first bop begins you know you’re in for a fun time. With Claire, H, Faye, Lee and Lisa all involved in the creative process this really is a celebration of their iconic hits and has clearly been crafted with love and careful consideration.

The story centres around Caz whose husband has walked out on her just as they’re on the verge of adopting, she makes a vow with her besties Vel, Robbie and Neeta to have a summer of love that they’ll never forget. Deep in the throes of heartbreak Caz meets Max who adds a little jeopardy to proceedings by offering her all she dreams on the condition she blackmails store manager Patricia, which unbeknown to Caz will devastate her friendships as a result.

Rebecca Lock is outstanding Caz, she truly shines on stage and gives the character depth and genuine likeability. Her vocals are rich while her acting is nuanced and heartfelt, she is a true leading leady and heads up this talented cast with gentle confidence and perfect control. Her delivery of Heartbeat is a real showstopper and a tender moment of calm amidst the sparkle and glitter.

Blake Patrick Anderson beautifully portrays the character of Robbie, showing sensitively how deeply abandonment issues can run. His pairing with River Medway as Jem is joyful, River brings a lightness to Jem that scoops not only Robbie up but every audience member too.

Rosie Singha hits every mark as loveable Neeta, desperately in love with co-worker Ben (Ben Darcy) but lacking in confidence to tell him how she truly feels while Jacqui Dubois is great fun as Vel, displaying some brilliant comic timing. Special mention must also go to Finty Williams who gives us the iconic and hilarious store manager Jackie, très bien!

The hits come thick and fast and unlike many other jukebox musicals never feel shoehorned in. Their placing is just right, giving this entertaining show perfect pacing and so much to enjoy. The classics are given the attention they deserve while the beloved ballads allow the quieter moments to truly shine.  

This is the epitome of feelgood, every creative element has been carefully considered resulting in a slick, stylish and hugely entertaining show. The talented ensemble take the legendary Steps routines we all know and love to the next level while Adam Fisher’s sound design ensures no beat it missed. This super fun show will ensure audiences head home happy, remind of us of just how many brilliant bops this iconic band have brought us while feeling joyful for the true friendships life brings our way.  

Here & Now is on at Manchester’s Opera House until Saturday 13th September tickets available here.

Moulin Rouge

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

The multi award-winning stage version of Baz Luhrmann’s 2001 film has arrived in Manchester for a six-week stop as part of its first ever World Tour and my goodness is it worth the wait! This spectacular show mixes hedonism with heart oozing style and sass from the moment the sumptuous red curtain goes up.

Manchester’s Palace Theatre has been totally transformed into the iconic Montmartre cabaret club, upon entering the auditorium it soon becomes clear that audiences are in for a jaw-dropping, eye-popping treat. Derek McLane’s opulent set is deliciously decadent, with the world-famous windmill sitting high in the circle, watched over by a fabulously bejewelled elephant all centred around a glittering, glistening heart.

We’re swiftly whisked away to 1899 where Christian (Josh Rose at tonight’s performance), a talented but penniless songwriter from America who dreams of making his name in the Parisian city. He quickly falls for the charms of Satine (Verity Thompson), a cabaret star at the Moulin Rouge. The club however is under threat of closure, it’s here that wealthy aristocrat The Duke (James Bryers) steps in offering to save the debt-ridden club, however, he also wants Satine as part of the deal.

Satine now faces a dilemma, choose love and true happiness or loveless security while saving the club and careers of her cabaret family. As the club prepares for Christian’s new show this lavish love story plays out, it’s exhilarating, exuberant and utterly engaging.

Staying true to the film this remains a jukebox musical featuring inspired mashups of over 70 iconic songs, from David Bowie to Lady Gaga and everything in between. This high-energy romp through pop history grips you from the first note and holds every ounce of your attention right through to the curtain call. The mashups are truly inspired and will leave you thinking completely differently about classic songs you thought you knew.

Verity Thompson is entirely captivating as showgirl Satine. Entering spectacularly to Diamonds are Forever she truly shines on stage. Her delivery of Katy Perry’s Firework switches up the song completely as it becomes a touching, profound ballad, while her vocals throughout are sublime. The chemistry between her and Josh Rose is palpable, this is a love story you truly believe in.

Rose is superb as Christian, heartfelt and hopeful with an incredible vocal range. His delivery of Elton John’s Your Song is simply stunning while both Rose and Thompson break your heart a little with their incredible delivery of Come What May.

Cameron Blakely is a delight as he heaps on the flamboyance as the mischievous show master Harold Zidler while Kurt Kansley and Rodrigo Negrini and equally as wonderful as Christian’s brilliant Bohemian buddies, Toulouse-Lautrec and Santiago.

The enormously talented ensemble deliver each and every set piece with flair and incredible precision. From high kicks to hip hop, all genres are explored by choreographer Sonya Tayeh and perfectly executed by this talented cast. The Backstage Romance section which features amongst others Lady Gaga’s Bad Romance and Britney’s Toxic is quite probably one of the most impressive set pieces I’ve ever seen on stage, absolutely mesmerising and well worth the ticket price alone.

The creatives involved in this show deserve each and every award they’ve received from Catherine Zuber’s stunning costume design to Peter Hylenski’s unbeatable sound design everything hits the mark.

This crowd-pleaser of a show ticks every box, it’s lavish, loud, inclusive and exhilarating. A true spectacle, guaranteed to make you rush to the box office to book a return visit, sensational!

Moulin Rouge is on at Manchester’s Palace Theatre until Saturday 4th October tickets are available here.

The Addams Family

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

With hints of Halloween creeping into every supermarket home section despite the 30-degree temperatures outside it feels somewhat fitting that the spooky, ooky Addams family should also make an appearance, arriving at Salford’s Lowry theatre for one gloriously ghoulish week.

Written by Marshall Brickman and Rick Elice with original music and songs from Andrew Lippa, this musical comedy is packed with humour, heart and kooky theatrical flair.

The story is centred around the unconventional teenage love story of sadistic, gothic, Wednesday Adams (played by a brilliant Maria Garrett on as cover for tonight’s performance) and All-American Lucas Beineke (played by a charismatic Jacob Fowler). As the two families come together over dinner at the Addams family mansion, it’s here that the fun and games really begin.

Garrett takes the role of Wednesday and runs with it, passionate and intense with an loveable warmth, her punchy performance is perfection. Her delivery of ‘Pulled’ is every bit as spine tingling as Diego Pitarch’s captivating set design. Her pairing with Jacob Fowler as love-interest Lucas works wonderfully, the two combined give us heavenly harmonies and wicked chemistry.

The rest of the kooky clan are equally as impressive with Alexandra Burke as a sensuous, sophisticated Morticia while Ricardo Afonso hits every mark as a scene stealing Gomez, his vocals are without doubt are some of the best you’ll ever hear while his comedic timing is second to none.

Clive Rowe is a delightfully loveable Fester, while fan-favourite Lesley Joseph as Grandma Addams and Nicholas McLean as Pugsley, pack in the humour delivering their witty one-liners to perfection. Special mention must also go to Kara Lane as Lucas’ mother Alice Beineke who shifts deliciously from ‘normal to ‘unhinged’ right before our eyes at the close of Act One. While Dickon Gough returning to the role of Lurch is spooktacular.

The ensemble of seven skilled performers who make up the Ancestors fill the stage with enthusiasm and energy, helping to cleverly move the story on and bring the undead to glorious life, adding wonderfully to this already strong cast and cementing the true meaning of family by the end of Act Two.

While the Addams Family may have been around for almost 90 years there’s nothing ancient about this quirky, uplifting show. Matthew White’s direction combines nostalgia with fresh energy resulting in an enormously entertaining production. Add to this a cast at the top of their game and you’ve got a captivating, contemporary adventure for young and old alike, creepy, kooky and most fabulously spooky!

The Addams Family is on at The Lowry until Saturday 16th August tickets available here.

Sherlock Holmes

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Opening Night verdict ⭐⭐⭐⭐

The game is afoot at  Grosvenor Park Open Air Theatre 2025 as Chester Storyhouse bring an all-new adventure by ever-popular sleuth Sherlock Holmes to life.

From misdirection to missing valuables, criminal masterminds to secret codes, ‘The Chester Conundrum’ is everything you’d want from an adventure featuring the deer stalker donning detective – ably assisted by his right hand woman Dr Jo Watson.

Written with wit and imagination by Molly Taylor and directed with pacy fun by Ellie Taylor, the open air theatre is the perfect setting for such an enjoyable summer romp.

The scene is set in modern day Chester (no musty Victorian parlours for our ‘Sherly’) at a popular ‘Crime Con’ convention (it’s fun to spot the various other famous crime icons including Poirot, Kojack and yes, Velma from Scooby Doo!)

Dr Watson (a sparky Alyce Liburd) is one of the guests at the convention, organised by a childhood friend (Eddy Westbury) who also doubles up as a delightfully daffy Duke of Westminster.

Organisers hope her partner Sherlock Holmes (a snarky and sardonic Ethan Reid) will also make an attendance – and they aren’t disappointed, although I won’t spoil the manner of his arrival.

But the duo’s Crime Con appearance sparks a madcap mystery featuring, among other things (and minus any spoilers that would ruin the fun) a missing painting, a grisly murder, a supremely silly bust-up in a Liverpool Irish boozer and even a mass karaoke session.

And of course, this being the open air theatre, some audiences members are also recruited to play a part in proceedings – which they gamely did, getting lots of laughs.

The cast are all first rate – we particularly enjoyed Howard Chadwick’s exasperated police detective DCI Chadwick, Victoria Brazier’s dotty Mrs Hudson and Jessica Jolley’s Scouse crimelord. And Lauren Chinery and Hannah Baker were also excellent in their various roles.

(It’s worth noting that not only do the cast play all the instruments that help bring the story to life, they also double up in the theatre’s other summer outdoor production Pride & Prejudice – in case you want to see them in alternative guises.)

It’s particularly nice to see two young actors, Morgan Lewis & Alex James Mason making their professional debut thanks to the Storyhouse Young Company training scheme – which the audience was encouraged to donate to on the night.

Packed with local gags and insider jokes, slapstick physical comedy but with moments of real menace – as well as all the twists and turns you’d expect from a Sherlock mystery, this is a crime caper that fully lives up to the Sherlock name.

The Adventures of Sherlock Holmes is on at Grosvenor Park Open Air Theatre until Sunday 31st August tickets available here.

The Last Laugh

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It would be fair to say that if Tommy Cooper, Eric Morecambe, and Bob Monkhouse, were still alive today they would be selling out arenas across the land. These three are legends of the business we call show: Cooper regarded as the comedian’s comedian, Morecambe part of one of the greatest double acts of all time, whilst Monkhouse is unquestionably one our greatest writers/performers to ever grace the stage. So, a stage play featuring the lives of these three colossuses of comedy promises something a little special, and I’m pleased to say it more than delivers.

The Last Laugh opens in a dingy dressing room of an unnamed theatre, the wall is adorned with pictures of British comedy legends: Sid James, Arthur Askey and George Formby. Rather strangely one picture is blank. A half-dressed Tommy Cooper (Damian Williams) complete with giant chicken feet is preparing for another performance. Soon he is joined by Bob Monkhouse (Simon Cartwright) complete with precious joke book and later Eric Morecambe (Bob Golding). The trio, though surprised to be on the same bill, share stories, discuss their craft, their careers and inevitably some light hearted ribbing of each other.

We get classic routines and jokes from them which include: Cooper’s magic duck, numerous Monkhouse’s ‘wife gags’ and of course Morecambe’s killer André Previn line, which the audience lapped up. There will be some who will have witnessed these routines multiple times over, for others this will be the first time, but judging by the audience reaction they went down a storm!

With the highs of course comes the lows, and the play offers moments of poignancy as each man looks back on the sacrifices, struggles and personal tragedies each has endured: Cooper’s battle with alcohol and the toll it’s taken. Morecambe’s health struggles coupled with time away from family. However, it’s Monkhouse’s tragic losses that puncture his life story which really hit-home.

This production is an absolute joy from start to finish: A superb script from writer/director Paul Hendy, who celebrates the work of these three comic maestros. With all three performers, there is that element of the ‘sad clown’, that is essential but in no way defines their story. However, Hendy’s play is a love letter to the three. It’s a showcase of their talents, and explains why we find them still appealing long after they passed, which simply put is their ability to make us laugh and smile, then and now.

Lee Newby’s set design complements the story beautifully. It captures the less glamorous, more intimate side of showbiz: a cramped, cluttered, almost claustrophobic space, strewn with props and steeped in faded charm. Portraits of comedy icons line the walls, offering both inspiration and a subtle reminder of the pressure to live up to their legacy. You get the sense that if these walls could talk, they’d reveal a treasure trove of secrets—some dark, mostly joyful, all rich with history.

Undoubtedly, the heart of the show lies in the three lead performances, each of which are pitch-perfect. Damian Williams brilliantly captures the chaotic, absurd charm of Tommy Cooper. Filling those iconic shoes is no small task, but Williams more than rises to the occasion—his timing, and that unmistakable laugh are spot on. Simon Cartwright’s portrayal of Bob Monkhouse is equally impressive. From the voice and mannerisms to the polished delivery of quick-fire jokes, every detail is meticulously rendered. His performance is as smooth and refined as one of Monkhouse’s own gags. The real-life friendship between Cartwright and Monkhouse adds an extra layer of authenticity to the role. Bob Golding shines as Eric Morecambe, effortlessly capturing the comedian’s playful spirit, trademark charm, and unmistakable comic quirks. His performance is brimming with charisma and warmth.

These are far more than mere impressions. Each actor delivers a performance that truly honours the legacy of the comedy legends they portray. The Last Laugh is a heartfelt tribute to the genius and legacy of three truly great entertainers, brought to life with not just skill, but a deep sense of love and affection. For newcomers, it serves as the perfect introduction to a cheeky, family-friendly, and delightfully playful style of comedy. For more seasoned audience members, it’s a joyful, nostalgic trip down memory lane. For me, it was a powerful reminder that if a joke or sketch makes you genuinely laugh, it’s worth its weight in gold—and The Last Laugh is nothing short of priceless.

The Last Laugh is on at the Manchester Opera House until Saturday 2nd August

Tickets are available here.

Quadrophenia, A Mod Ballet

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐

Quadrophenia has taken on many guises down the years: From its origins as The Who’s sixth studio album/ rock opera. It later became a hugely popular film, and later a classical opera. Now ballet has a crack at breathing life into this ever changing, highly influential piece of work.

In 2016 composer Rachel Fuller, composer, scored a classical adaptation of The Who’s 1973 album Quadrophenia, written by The Who guitarist and Fuller’s husband Pete Townsend. The reimagined album was called Classic Quadrophenia, and it provides the score for the ballet.

We are introduced to the troubled young man, Jimmy (Paris Fitzpatrick). He is struggling to make his way in the world, his home life with his parents isn’t great, he is being treated for mental health issues, and is struggling with the daily grind of boring dead end jobs. Jimmy is desperate to escape. He sees his way out coming through the mod way of life: drugs, sharp clothes, and great music. In addition, Jimmy is smitten by a young woman (Taela Yeomans-Brown) who is also a fellow mod, who also happens to be dating the leader of a gang of mods, the charismatic Ace Face (Dan Baines).

Director Rob Ashford and choreographer Paul Roberts have done a superb job bringing to life Townsend’s vision and putting it up on the stage. Throughout, the dances range from the frenetic to subtle and measured. There are a mix of huge ensemble routines such as the brilliantly crafted 5:15pm, which sees Jimmy take a packed train to Brighton and the act one closer of Who favourite Can’t Explain intertwined with the ballet’s beating heart: the song Love Reign O’er Me. Where Jimmy finally gets noticed by the Mod Girl of his dreams.

In addition to the big ensemble numbers, the production has some surprising moments of warmth. Cut My Hair, which sees Jimmy meet up with his friend (Euan Garret), who happens to be a rocker, the sworn enemy of the mods, is a tender moment, a brief respite from the conflict raging in Jimmy both internally and externally. Whilst a sequence showing Jimmy’s father PTSD from the war, is a surprising, yet welcome addition.

There are fine performances throughout: Paris Fitzpatrick is fantastic as the angst-riddled Jimmy, he’s managed to bottle up the raw emotion and channel it into his turn, from teenage kicks to a broken heart, you have sympathy with the young mod’s situation throughout. Taela Yeomans-Brown as the Mod Girl gives a delicate performance filled with grace and charm. Whilst Dan Baines is a must-watch as the effortlessly cool mod of the moment: Ace Face. The interaction between Brown and Baines showcases the intensity in their relationship.

One of the absolute joys of the production is just how good it looks.  The costumes from designer Paul Smith are fabulous throughout, the suits look crisp and sharp, the dresses are bold and stunning, they pull that neat trick of capturing the spirit of the 60’s whilst still managing to look contemporary. In addition to the costumes the video design and staging is superb. The opening/closing sequence on the rocks at the seaside, are beautifully haunting, whilst other highlights include a scene outside a late-night diner as Jimmy dances with his reflection just adds extra depth to proceedings.

Overall, this is a faithful yet unique take on this captivating story. Fans of the original album will enjoy the fresh arrangements the fuller orchestration brings, whilst ballet fans will enjoy a super talented set of performers at the top of their game. Like the RAF roundel at the heart of mod culture, Quadrophenia, A Mod Ballet more than hits the target.

Quadrophenia, A Mod Ballet is at the Lowry until 19th July tickets are available here.

Quadrophenia A Mod Ballet, Lyric Theatre, Lowry, Quadrophenia, Rachel Fuller, Pete Townsend, Paris Fitzpatrick, Taela Yeomans-Brown, Dan Baines, Rob  Ashford,  Paul Roberts, 5:15pm, Can’t Explain, Love Reign O’er Me, Cut My Hair, Euan Garret, Paul Smith

Come Fall In Love

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Inspired by India’s longest running Bollywood movie the heartwarming romcom Dilwale Dulhania Le Jayenge (or DDLJ to those in the know), Come Fall In Love is the latest production to join the incredibly successful ‘Manchester Gets It First’ scheme, and judging by tonight’s rapturous audience response is another sure-fire hit.

With an award-winning creative team which includes original director of the much-loved 1995 movie Aditya Chopra, Come Fall In Love which was originally performed in San Diego in 2022 has been reworked for UK audiences. We’re introduced to Simran, (Jena Pandya) a young British Asian woman who is off inter-railing round Europe with her best friend for a final summer of freedom before she flies to India for an arranged marriage. However, as with all good romcoms, things don’t quite go according to plan and her carefree adventure suddenly gets a little more interesting with the addition of white British boy Rog (Ashley Day) unexpectedly coming along for the ride. After prickly beginnings the pair grow closer over a bottle or two of champagne and Simran enters a battle between head and heart which is when the fun really begins.

This vibrant production is full of light, burst with colour and radiates joy as we follow the twists and turns of this unconventional love story. Act 1 gently sets the scene for an exhilarating Act 2 as the action relocates to India filling the stage with colour as this cross-cultural love story plays out.

Jena Pandya is a wonderful Simran, playful and proud she’s enormously likeable, she looks like she’s having the time of her life in the role and shines brightly both in the big ensemble numbers and in the quieter more emotive scenes. The chemistry with Ashley Day as Rog although with most romcoms happens quickly feels believable and charming. Ashley Day is a fantastic lead, the role of Rog is hugely demanding and he rises to the challenge convincingly. He goes on quite the journey from our first meeting him as his true character is revealed ensuring we all fall a little bit in love with him.

There is strong support from the ensemble cast with special mentions going to Simran’s parents Baldev (Irvine Iqbal) and Lajjo (Harveen Mann-Neary) who bring both humour and a gentle tenderness to the story. Simran’s planned Indian finance Kuljit is played by an outstanding Kinshuk Sen while Kara Lane camps it up brilliantly as Rog’s Mum, Minky.

 Reimagining this classic love story and adding a more contemporary multicultural twist has given the creatives an opportunity to bring this uplifting story bang up to date. The book and lyrics by Nell Benjamin (Mean Girls, Legally Blonde), are witty and engaging with the music by legendary composers Vishal Dadlani and Sheykhar Ravjiani blends stunning Indian melodies with multiple Western genres reflecting the love story happening on stage perfectly.

Choreographer Rob Ashford along with associate choreographer and Indian dancing specialist Shruti Merchant have created magic here which is delivered by the talented ensemble in stunning style while Derek Mclane’s striking set design further adds to the visual beauty of this piece.

With heaps of heart and joyous humanity, Come Fall In Love is an uplifting story beautifully told. It will delight audiences of the original Bollywood film and now doubt gain a new army of fans from audiences seeing the show for the first time. This high-energy production has all the fun of a romcom but adds in a welcome emotional depth resulting in an enormously entertaining production.

Come Fall In Love is on at Manchester’s Opera House until Saturday 21st June tickets available here.

Dear England

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Reviewed by Nikki Cotter

Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

The revival of the 2023 Olivier Award-winning Best New Play has opened at The Lowry for a month-long away fixture offering regional audiences their first chance to catch this inventive production outside of the Capital.

Following the fascinating story of Gareth Southgate’s memorable eight years as England Manager this National Theatre production has all the exhilarating highs and gut-wrenching lows familiar to football fans; however, it goes far beyond the sport itself offering a thrilling and insightful exploration of culture, connection and what it means to hold the hopes and dreams of a nation in your hands.

Having updated the ending to reflect England’s 2024 Euro’s journey, writer James Graham grabs every opportunity to show the audience that this truly is a game of two halves, at times joyous, other times brutal but always authentically honest.

Beginning with a flashback to Euro ’96 as a young Southgate steps up to take the now infamous missed penalty, this moment cleverly sets the tone and returns as a running theme to challenge Southgate (Gwilym Lee) throughout the piece. As we fast-forward to 2016 we see Southgate drafted in as caretaker manager following Sam Allardyce’s sacking after just one game in charge. Determined to make a positive change and do things differently, Southgate brings in sports psychologist Pippa Grange (Liz White), what follows is an incredible journey that goes way beyond football.

Taking on the role of Southgate is an impressive Gwilym Lee, having seen Lee portray Brian May so accurately in Queen biopic Bohemian Rhapsody it comes as no surprise that he hits the mark once again. With every measured tilt of the head, folding of the arms and blink of the eyes his nuanced performance is perfection. He leads this fine cast with a gentle hand and captures the essence of Southgate perfectly.

Liz White as Pippa Grange is a consistent presence of calm, challenged by resistance from both players and coaching staff she never wavers. Graham in his writing uses Grange’s character to gently remind us that while Southgate was becoming a mentor and father figure to many in the team he was also battling his own demons, struggling to show himself the kindness he was so brilliantly instilling in others.

The ensemble cast compliment Lee and White perfectly, they portray their real-life counterparts with incredible accuracy. Josh Barrow as Jordan Pickford is mesmerising. He fizzes with energy throughout, his subtle shift from raw, untamed, chomping at the bit goalie to trusted teammate and backbone of the squad by the end if fascinating to watch.

Ryan Whittle steps into Harry Kane’s Captain’s boots with a well-observed nervous hesitation and grows in stature throughout while Gamba Cole as Raheem Sterling opens up to reveal his fears and disappointments as he learns to trust in his team mates.

While there is incredible humour and lots of it, the play doesn’t shy away from the harsher themes that sadly have dogged both football and English culture for many years. Most notably here the appalling racism faced by young black players specifically during the 2020 Euros final. Tane Siah, Jude Carmichael and Kadell Herida as Bukayo Saka, Marcus Rashford and Jadon Sancho highlight these dark moments with an honesty that reminds you just how quickly supposed loyal fans can turn and just how important standing up collectively to that hopefully small minority truly is. 

The ensemble cast work tirelessly to showcase Rupert Goold’s inventive staging (with Elin Schofield as revival director) with a slick, swift brilliance. Co-movement directors Ellen Kane and Hannes Langolf score no own goals with their incredibly tight sequences as this cast convincingly recreate matches, penalty shootouts and meaningful dressing room moments. Es Devlin’s inspired set design is perfectly lit by Jon Clark while Dan Balfour and Tom Gibbons sound design and Ash J Woodward’s video design hit the back of net. 

From euphoria to crushing heartbreak, Dear England takes audiences on a thrilling journey inviting us into the very heart of the action, allowing us to scratch way beyond the surface with its carefully crafted storytelling and visual brilliance. We live through the highs and the lows as one with the team, willing for the result to be different, hopeful, heart-warmed and inspired by the end of this groundbreaking piece. This is theatre at its absolute finest which taps right into the heart of what it is to be human, to believe in yourself and to have the bravery to face your fears regardless of the magnitude of the situation.  

Whether you’re a football fan, a theatre fan or just love a fascinating story brilliantly told this is a must-see production that will capture the imagination of audiences night after night, so good, so good, so good!

Dear England is on at The Lowry until Sunday 29th June, tickets are available here.

The Rocky Horror Show

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

It’s hard to believe that The Rocky Horror Show first hit the screen 50 years ago—but this
latest production proves the cult classic still packs a punch. Bursting with colour, camp,
and energy, Richard O’Brien’s gleefully outrageous homage to 1950s science fiction
remains as fun and provocative as ever.

The story follows the familiar beats of a classic B-movie: newly engaged Brad and Janet
find themselves stranded with a flat tyre and stumble upon the eerie mansion of Dr. Frank
N. Furter and his peculiar household Riff Raff, Magenta, and Columbia. What begins as a
simple detour quickly spirals into a surreal, sexually charged journey that puts their
relationship to the test.

Connor Carlson and Lauren Chia are spot-on as Brad and Janet, capturing the pair’s initial
innocence and their gradual unraveling as they’re drawn deeper into Frank’s wild world.
The pair demonstrate great comedic timing and tremendous vocals throughout.
They’re supported by a strong ensemble: Job Greuther brings a wonderfully sinister edge
to Riff Raff, Natasha Hoebergis shines in dual roles as Magenta and the Usherette,
opening the show with a stellar “Science Fiction/Double Feature”. Whilst Jayme-Lee
Zanoncelli adds eccentric flair and powerful vocals as Columbia.

Jason Donovan returns to the role of Frank N. Furter apart he first tackled in the late ’90s
with a performance that leans heavily into the character’s unhinged eccentricity.
Channeling shades of Grayson Perry and a generous dose of Heath Ledger’s Joker,
Donovan brings a more chaotic, unpredictable energy to Frank than previous incarnations.
At times, he appeared slightly flustered—thanks in part to some malfunctioning stilettos,
however he turned these moments into a positive, using them to heighten the character’s
manic volatility, much to the audience’s delight. While his vocals may not be as strong as
those of his fellow cast members, Donovan more than compensates with a committed,
absurdly entertaining performance.

Actor and comedian Jackie Clune, does a stellar job as the Narrator, holding her own with
wit and playful authority. The audience was clearly in on the fun, with interactive call-outs
and spontaneous reactions creating a palpable buzz throughout the evening. Tonight’s
performance led to some observations about Donald Trump’s second term and Prince
Andrew which landed well with the audience.

Director Christopher Luscombe’s high-octane production keeps things moving at a
breakneck pace. The campy, chaotic energy is perfectly matched by Hugh Durrant’s
classic horror/sci-fi set design: blood-red walls, a giant brain, and even a mounted dodo
head. It’s as weird and wonderful as you’d hope.

While the final act veers into near-total madness, losing a bit of narrative cohesion. It’s a
gripe I’ve always had with the film and previous productions, however tonight’s finale hit
the mark, mainly down to Donovan’s stellar work on “I’m Going Home”.

Whilst the summer is nearly upon us, here is the perfect opportunity to dig out the fishnets
one more time and see why The Rocky Horror Show is still the ultimate feel-good,
anarchic theatre experience. Give yourself over to absolute pleasure. You won’t regret it.

The Rocky Horror Picture Show is at the Palace Theatre until 31st May tickets are available at here.