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Only Fools and Horses: The Musical – The Opera House, Manchester

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Reviewed by Matt Forrest

Opening Night verdict: ⭐⭐⭐⭐

Undoubtedly the most famous Reliant Regal in the world has rolled into Manchester this week, for a two week stop, as Only Fools and Horses: The Musical arrived as part of a UK tour.

Often voted Britain’s best loved sitcom, the show has countless fans who love it, whilst those that don’t will still have some reference point as memorable scenes are seldom far from our TV screens. So it almost seemed inevitable that it would receive the musical treatment and in 2019 writers Paul Whitehouse and Jim Sullivan (son of the TV show mastermind John Sullivan) created Only Fools and Horses: The Musical which had a very successful West End run and now embarks on its first UK tour.

We are transported back to Peckham at the end of 1980’s. Del Boy (Sam Lupton) is attempting to wheel and deal his way, rather unsuccessfully to becoming a millionaire. However, younger brother Rodney (Tom Major) is sick of being the family lackey for Del and Grandad (Paul Whitehouse). Both Del Boy and Rodney are in need of a change: Del, tired of seeing everyone settle down, joins a dating agency in a bid to find love. It is here that he meets aspiring actress Raquel (Georgina Hagen) and the two instantly hit it off.

Rodney needs £2000 in order to secure a flat for him and fiancée, Cassandra (Nicola Munns). However things don’t run so smoothly for the brothers as Del’s penchant for exaggeration catches up with him and the involvement of local gangsters, Danny (Peter Watts) and Tony Driscoll (Darryl Paul) throws a massive spanner in the works.

Whilst it may have initially seemed a foolhardy venture, Whitehouse and Sullivan have played it safe by drawing on two of the show’s most cherished episodes Dates and Little Problems for the plot. They have also cherry picked some of the most memorable gags, one liners, and set pieces from the TV show’s 22 year broadcast back catalogue to fill out the show. It’s a smart move as these gags still stand the test of time now. The pair have managed to strike the right balance between comedy, pathos and sentimentality which was always the beating heart of the series.

As well as the trademark catchphrases, much loved characters all pop up, including dodgy used car salesman Boycie (Craig Berry), complete with his trademark laugh, his long suffering wife, Malrene (Nicola Munns in a dual role) and everyone’s favourite dim-witted street sweeper, Trigger (Lee VG). 

The cast is superb. Sam Lupton is excellent as Del Boy, a performance packed full of charm and charisma. The main concern would be this impression of Derek Jason, playing Del Boy, but those fears soon disappear as Lupton puts his own stamp on Derek Trotter and you soon become immersed in his world. Tom Major is somewhat underused as Rodney, whilst it’s an impressive turn, you just wish there was more for him to do.

Paul Whitehouse brings a touch of star power to proceedings and is clearly having a ball as Grandad, lighting up every scene he’s in, but make no mistake this is Sam Lupton’s show from start to finish. 

The supporting cast are in great form throughout but special mention to Craig Berry and Lee VG, who are both outstanding as Boycie and Trigger.

Where the production struggles is the musical numbers are something of a mixed bag.  The Only Fools and Horses/Hooky Street mash up at the beginning perfectly sets the tone of the show, however some of the original songs are forgettable, especially when it comes to the more sentimental numbers. The songs that do work well are ones that have a bit of cheek to them like the Del Boy led Mange Tout and later Bit of a Sort. I also enjoyed the bonkers Gaze into my Ball, a send up of the future gentrification of Peckham. The Tadpole Song is anything but subtle, but no less enteraining. The undoubted music highlight was Gloria Acquaah-Harrison’s spine tingling rendition of Simply Red’s Holding Back the Years.

Whilst not perfect, this is an enjoyable, nostalgic trip down memory lane, which showcases some of Britain’s finest comedy writing. Gags and one liners a-plenty are performed by a great ensemble cast that will have you grinning throughout. 

Only Fools and Horses: The Musical is on at Manchester Opera House until 23rd November. Tickets available Here

Frank 4 Sophie 4 Eva

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

As the interval started a lady sat in front of me and said to her friend “There is something in there I think everyone can relate to”. The more I thought about this, the more she was bang on the money. Frank 4 Sophie 4 Eva is an honest, sometimes hilarious, occasionally uncomfortable look at the struggles and pitfalls of married life.

We are first introduced to Sophie (Alexandra Maxwell) and later Frank (Simon Naylor) as they attend a couples therapy session. Frank’s lateness starts the session off on the wrong foot and things go from bad to worse as there are petty squabbles a plenty to be had over personal hygiene habits and each other’s minor irritations. However the crux of their problems stems from sex, or lack of it.

Frank cannot understand why Sophie no longer wants to be intimate with him, when he is still madly in love with his wife. His frustrations are further exacerbated by the fact that Sophie may not be attracted to him, but seems to have a lot of time for Scottish beefcake Jamie from TV show Outlander or that she changes her personality everytime they bump into her old boyfriend when shopping in Tesco.

What starts off as childish bickering turns into a game of one-upmanship between the pair, where it soon becomes more serious, eventually with both leaving the session with the outcome neither wanted. The second act takes place in a bar three years after the session where we get to catch up with the warring couple, but to say any more would spoil the show.

The play is anchored by two outstanding central performances. Simon Naylor is in fine form as loutish Frank, clearly relishing the spicey dialogue. However the shift from male bravado, to a caring, lost sensitive soul is one that feels natural and thoroughly believable.

Alexandra Maxwell is equally impressive as the hard-faced, cold Sophie. She more than holds her own in the verbal jousts, however it takes a little more time for her to show her vulnerability, it’s a subtle, measured turn. The pair have exceptional chemistry and this is the bedrock of the whole show.   

Writer Ian Watson’s clever, punchy script has a trojan horse quality to it. It lulls you in at first with some caustic one-liners as Sophie and Frank trade shots, which are at times gross, scathing but hilarious, with no subject off limits – porn, haemorrhoids and toilet habits are all covered to brilliant comic effect. However throughout there is a gradual shift in tone, and eventually the play makes observations about mental health, sexual abuse and trauma, handling them in a sensitive yet unsentimental way. Whilst at first it may come across as ‘laddish even, crude’, it certainly softens towards the conclusion.

With such strong themes running through the show it’s great to see that the run is in partnership with Andy’s Man Club, a suicide prevention charity doing a great work across the UK.

This is a sharp, entertaining and intelligent comedy/drama that comes from a good place. By the end you want more and genuinely care for its characters, which for me is the hallmark of a great production.

Frank 4 Sophie 4 Eva is at 53two until 8th November, tickets available here.

For more information about Andy’s Man Club visit: https://andysmanclub.co.uk/

Here You Come Again

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Set during the first Covid lockdown, 40 something Kevin is down on his luck, work sucks and to top it all off he’s just been dumped. Seeking refuge in the attic of his childhood home, Kevin soon realises quarantining can be a lonely business, especially when you’ve only got your old Dolly Parton records and posters for company.

Fortunately for Kevin, Dolly quickly makes her presence felt, think Mary Poppins but with more sass, bigger boobs and a whole lot of sparkle. Through Dolly, Kevin gradually begins to remember just how wonderful and varied life can be, as he finds the courage within to pick himself up, dust himself off and transform his life for good. It reflects on the madness of the pandemic while demonstrating that we all have the ability to expand our own personal horizons even while stuck in our parents’ attic.

Written by multi-Emmy award-winning comedy and songwriter Bruce Vilanch with Gabriel Barre (who also directs) and writer/actor Tricia Paoluccio (who co-writes and stars as Dolly), Here You Come Again has already enjoyed successful runs in the US, ahead of embarking on this current UK tour the creatives called on much-loved writer Jonathan Harvey who added additional material for UK audiences. The result is a joyful, feel-good, heartwarming musical that will delight theatregoers for years to come.

Steven Webb is tremendous as Kevin, he bursts with loveable energy endearing him to audiences immediately. While incredibly funny Webb also skilfully taps (quite literally) into Kevin’s vulnerabilities which adds depth and relatability to this beautiful story. Sharing the stage with Webb is Tricia Paoluccio as Dolly, she absolutely shines in the role, her characterisation of Parton is perfection. She has real star quality and gives an unforgettable performance. The relationship between Webb and Paoluccio is what really anchors this show, cementing it as a wholesome, heartfelt production. They bounce of each other brilliantly, keeping you guessing as to what’s to come while skilfully engaging the audience with their animated performances.

Joining Webb and Paoluccio on stage are Charlotte Elizabeth Yorke and Aiden Cutler. Both brilliantly bring multiple characters in Kevin’s world to life adding further heart and humour to proceedings. They also add gorgeous backing vocals which in turn further lifts the energy of this joyous production. Special mention must also go to the onstage band made up of Luke Adams, Ben Scott and Kevin Oliver Jones who frequently become part of the scenes with great effect.

Paul Wills’ set design is intricate and effective, transporting the rest of us forty somethings in the audience to a place of sentimentality as the attic plays host to artefacts from our childhoods, a Bluebird Toys Big Yellow Teapot, a creepy Chucky doll and of course a box of discarded tangled tinsel.

This show is all about fun and ensures that’s exactly what the audience experience, the cast cleverly acknowledge that there may be Dolly fans in the audience bursting to sing along and that opportunity is given while being gently controlled by the cast, so it remains within the predetermined moments.

The placement of Dolly’s songs has clearly been done with great care. The lesser known are given their moment in the spotlight while the big hitters like 9 To 5 arrive just when you want them to.

Here You Come Again while set during the pandemic is anything but heavy, it’s uplifting, hopeful and sparkles with joy. A reminder to us all to: ‘Stop looking in mirrors and start looking out of the window.’

Here You Come Again is on at The Lowry until Saturday 2nd November tickets available here.

Sones in His Pockets

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

After premiering at Cirencester’s Barn Theatre, before a sellout transfer to Belfast’s Lyric Theatre in 2022, Marie Jones’s 25th anniversary, award-winning Stones in His Pockets embarked on a limited regional UK tour stopping in Bolton for the next two weeks.

Set in a nameless town in picturesque County Kerry, a Hollywood film company has arrived to make a movie. The film offers great employability opportunities for the locals especially those selected to be extras; however, tensions soon arise as the reality of creating the ‘outsiders’ shiny Tinseltown version of Ireland forces the ‘natives’ to assess what’s real and what’s cinematic fantasy in their own worlds.

Told through the eyes of local extras Charlie Conlon (Gerard McCabe) and Jake Quinn (Shaun Blaney), this is a beautifully told and cleverly crafted production. While there have been some small updates to freshen the script the essence remains the same, as the frank observation on the film making industry, it’s impact on the rural community, and the heartfelt pursuance of one’s dreams remain.

Charlie’s DVD shop has gone bust; however he sees it as an opportunity to explore Ireland and focus on the script he hopes to pitch to the film makers, he meets Jake Quinn during filming as they both form part of a crowd scene, it is here that their friendship is set. Charlie is optimistic (some may say deluded) while Jake is rather resigned and more realistic having attempted to live his own American dream which sadly never materialised. The two provide a tremendous commentary about the drama unfurling around them in addition to taking on the role of every other character in the script. From English movie director Clem to the glamorous American lead Caroline, the two do it all via quick costume changes, sometimes merely the shift of a hat, and an impressive array of accents.

Both are superb, the energy, authenticity and believability of each character is incredible. Their comic timing and characterisation is sensational while their energy never wanes. The darker moments in the script are handled delicately and feel all the more poignant as they come unexpectedly amidst the comedy.

Director Matthew McElhinney, who is the son of the playwright Marie Jones and the play’s original director Ian McElhinney has crafted this piece with love and the audience reap the rewards. The pacing is perfect as we shift from hilariously comedic scenes to moments of penetrating social commentary which feel poignant and sensitively delivered. The staging featuring vibrant video design further adds to the quality of this joyous production.

This is theatre at it’s absolute best, heartfelt, enormously entertaining, hugely emotive and beautifully delivered. A total masterclass.

Stones in His Pockets is on at Octagon Theatre Bolton until Saturday 2nd November tickets available here.

Lizzie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Hope Mill Theatre’s Lizzie gained an army of fans with its original run in September 2023, with many theatre fans making multiple visits, often in Lizzie inspired costumes, while social media was awash with praise, now, comes the turn of an all-new 2024 cast to make their mark on this firm audience favourite. Driven by a killer score delivered by four absolute power-house female performers, Lizzie raises the roof of this much-loved Manchester venue and takes every audience member along for an exhilarating ride.

The infamous story of Lizzie Borden who was famously accused of brutally murdering her father and stepmother in the summer of 1892 may not be the most obvious material for a musical, but my goodness does it deliver! With a small cast of four this is a vibrant exploration of fierce women controlling their destiny at a time when oppression was the norm.

Director and choreographer William Whelton takes these historical figures and ensures that their stories are told in bold, blistering style. Opening with the eerie, infamous nursery rhyme we’re immediately transported into an intense and pressured environment. As the thrilling opening bars of House of Borden kick in, the scene is set for an electrifying production bursting with powerful vocals, edgy choreography, emotional depth and boundless female energy.

Kayleigh McKnight commands the stage as Lizze, you’re never quite sure what she’ll do next while her vocals are to die for. Fiery and ferocious one moment, calm and composed the next, she convincingly and comfortably shifts to vengeful as she takes action to gain control of her life.

McKnight has a wonderful connection with Katie Tonkinson, who plays Lizzie’s best friend and love interest Alice, their relationship is gently and delicately revealed by Tonkinson who brings light to this dark tale with her pitch-perfect, emotive performance. She truly shines in the role.

Emilie Louise Israel is superb as Lizzie’s older sister Emma, she’s strong and decisive while her rich vocals are utterly sublime. Jennifer Caldwell engages the audience from the start as housemaid come narrator Bridget. She packs in the humour with her brilliantly expressive performance, while relishing the menacing threat that something’s about to happen and we quickly get the feeling that she’ll be delighted when it does.

Accompanying this powerhouse cast is an all-female band led by Musical Director Ella Ingram, they are electrifying and further amplify the rebellious, empowering vibe.

Andrew Exeter’s set design and incredible lighting is complimented brilliantly by Dan Light’s vibrant video design, transporting Lizzie from the claustrophobic confides of the Borden House to a place where her hopes and dreams can take flight.

This gripping musical is loud, unapologetic and utterly brilliant. The layered storytelling keeps you engaged throughout while the searing score and gritty lyrics hook you in from the start. This talented cast deliver demanding vocals with an impressive ease; their harmonies are to die for while their transformation into a kick-ass girl group by the finale is deliciously satisfying. Lizzie is back, and as bloody brilliant as ever, unmissable!

Lizzie is on at Hope Mill Theatre until Sunday 17th November, tickets available here.

Grease

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️

It is incredible to think that for over 50 years, people have been visiting theatres and cinemas to see one of the many productions of Grease. 

What started out on a downtown stage in Chicago has travelled around the world and has become part of the musical references in our lives. You can’t tell me that you’ve not uttered the words “tell me about it stud”, while crushing a cigarette under the sole of your shoe, with a wiggle of the hips at some point in your life. 

This production, currently touring, is directed by Nikolai Foster and choreographed by Arlene Phillips. It (loosely) follows the plot of the movie production of 1978.

We begin out journey as we meet Danny (Marley Fenton) and Sandy (Hope Dawe) who are engaged in a summer romance and think they won’t see each other again. Complete opposites to one another, they have spent the summer away from the influences of their peers and fallen for one another. But will true love conquer all? 

Before long we meet the “Burger boys ” (the original name for the T Birds) and the “Pink Ladies” and all our favourites are there.  From Frenchy to Kenickie, from Rizzo to Patty Simcox. 

We are taken on a musical adventure of nostalgia and heartbreak as we follow the ups and downs of the relationships between the “kids”. 

Now, it’s not possible to create every scene from Grease on a stage in the two and a bit hours it’s on for. But, the plot of this production is a little thin on the ground and while the musical numbers do make up for it in some ways, it does mean that we don’t see a lot of insight into the characters. The relationship between Danny and Sandy never really shows us the love he has for her and how he struggles to be vulnerable. And in turn we aren’t invested in them as much as we should be.  So when Sandy changes certain things for Danny, I’m left wondering if she should have bothered. 

I really don’t think anyone who hasn’t seen the film would go to see this, but if they did the plot could be confusing.  But, for those of us who know the plot and the characters inside out, we can fill the gaps in ourselves. 

Putting that aside, the staging, the lighting, the music, the choreography and the company were fabulous. 

It was great to see the order of the songs moved around a little bit and gave them a different perspective, which I really liked, especially “Hopelessly Devoted” and ” Look at Me” 

Vocally, Emerald B and Lewis Day were perfect in their duet “Mooning” – it was a stand out performance.

The highlights of the show were the whole company numbers. The cast work so well as an ensemble, the energy and the pizazz was just as it should be. And the audience lapped it up. There were a few numbers in there that we haven’t heard before and they worked well too. 

I loved the casting of Joe Gash as Vince Fontaine and Teen Angel. He was exceptional and he and Alicia Belgrade (Frenchy) gave us a real treat with Beauty School Drop Out. I had high hopes for the number and it delivered and much more ! 

If you like Grease then you’ll love this show. It’s got bucket loads of fun, laughter and nostalgia. Don’t take it too seriously, sway along to the ballads and tap your feet to the familiar tunes and get up and boogie during the medley at the end then go home with a big smile on your face.  It’s like a good old catch up with those schools friends you haven’t seen for a while. 

Grease is on at Manchester’s Palace Theatre until Saturday 19th October tickets available here.

The Salon – The Sequel

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

St Helens Theatre Royal do an incredibly impressive job of creating quality theatre for their loyal audiences, this autumn is no exception as they’ve rewarded theatre goers with a sequel to a firm audience favourite. The Salon, first seen in 2009 has opened its doors again for a sequel which brings more chaos, calamity and killer comedy. There’s a surprise pregnancy, the return of the local gangster and an eye watering appendage!

Leading the cast and returning to the role of salon owner Carol, is Leanne Campbell. While Campbell is a firm favourite on the airwaves she’s equally at home on the stage where she confidently leads this production. She’s perfectly suited to the role and has the audience in the palm of her hand from the start. Witty and warm she gives a superb performance. Her paring with best mate Sheila, played by Sarah White is perfection. White is an absolute scream as potty mouthed hairdresser Sheila, her anger management sessions aren’t quite having the desired effect but she certainly ensures she finds her stress relief in other areas. She has the audience roaring with laughter from the minute she arrives on stage.

The rest of the cast are equally as impressive and as an ensemble really deliver. They’re clearly having a ball, going above and beyond to ensure the audience have just as good a time as they’re clearly having. Special mentions must go to Darren John Langford as the bad boy all the ladies love to hate and Conor Barrie who as Damitree gives an epic performance of Genuine’s Pony that the audience won’t forget in a hurry !

This is adult theatre at its most fun and deliciously cheeky. There’s innuendos on innuendos and the audience absolutely lap them up. Director Chantelle Nolan ensures every line in Drew Quayle’s hilarious script is savoured by this cast and delivered with perfect comedic timing, tone and sass. Regal Entertainments set design and costumes are gaudy and garish and suit this play entirely.

The Salon – The Sequel is pure escapism delivered by a hugely talented cast. It’s outrageous, hilarious and will leave you hoping those salon doors soon reopen for a part 3!

The Salon – The Sequel is on at St Helens Theatre Royal until Sunday 13th October tickets available here.

Halloween Lakeside Trail

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The Halloween Lakeside Trail returned to Partridge Lakes, Culcheth this weekend for is second spooktacular year. 

Taking up residence at the stunning Cheshire site from Friday 4th October until Thursday 31st October this family-friendly enchanted walk takes you on an unforgettable adventure through the magical forest.

You can shake your boo-tay with the dancing ghosts, play pranks with the silly skeletons and shiver with delight at all the super surprises along the way.

As you make your way through the woodland spiders tunnel toward the witches’ lair the Halloween magic brilliantly comes to life with fabulous performers, incredible installations, spooky sounds and wicked lighting. Even better this fabulous event is dog-friendly so your pet pooches won’t miss out on the fun either.

In addition to all the fun of the trail there’s an incredible selection of sweet and savoury treats to satisfy even the grizzliest of ghouls. We tucked into delicious hot chocolates while we toasted gooey marshmallows, delicious!

This family-friendly trail will without doubt appeal to all ages, and really gets you in the mood for the spooky season. It’s a fang-tastic addition to the autumn calendar which sells out quickly, so book now for a fa-boo-lous time!

HALLOWEEN LAKESIDE TRAIL

Friday 4 October – Thursday 31 October 2024 

 Partridge Lakes

Glaziers Lane,

Culcheth,

Warrington, 

WA3 3AQ

Tickets are available www.halloweenlakesidetrail.co.uk

War Horse

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Reviewed by Matt Broadley-Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It’s been 17 years since Nick Stafford’s adaptation of writer Michael Morpurgo’s novel, War
Horse first hit the stage. When the book was originally published in 1982, it’s impact was moderate, however, with time and a little attention from The National Theatre, this
heartbreaking, beautiful story was brought to brilliant life, and still today both the book and play manage to wow and amaze audiences of all ages.

Telling the story of Devon farm hand, Albert Narracott (Tom Sturgess) and his relationship
with a foal, Joey. A family feud between Albert’s father Ted (Karl Hynes) and his brother,
Arthur (Gareth Radcliffe), sees the pair try and outbid each other for a young horse, at
market. Ted wins the battle for the horse, but at a hefty financial price.

With Ted not really interested in the care of the horse it falls on Albert, who with time,
patience and a unique understanding strikes up a special friendship with Joey. As Joey
becomes a fully-grown colt the pair can be seen coursing through the fields of the village,
and eventually he becomes a great asset to the family in the upkeep of the farm.

However, with the outbreak of World War One, Joey is sold to the war effort by Ted,
seemingly ending the friendship between Albert and his beloved horse. With Joey out on
the frontline somewhere in mainland Europe, Albert refuses to give up hope of being
reunited with his horse and a year later enlists in the army, much to the anguish of his
mum, Rose (Jo Castleton). So begins a journey that will see them both face great peril and adversity which will change the pair forever.

War Horse is live theatre at its finest: high production values from start to finish,
captivating storytelling and an ensemble cast at the top of their game.
Visually it’s as close to perfection as you’re likely to see. The mesmerising puppet control
of the Handspring Puppet Company who bring not only Joey to life, but other animals
including the great stallion, Topthorn and the Norrcott family’s sassy goose. This
exceptionally talented group of puppeteers/actors pack these creatures full of character
and personality: this married with the superb attention to detail on each puppet makes for
a visual treat.

The set is minimal, with the idyllic Devonshire countryside and later the barbaric
battlefields of the Western front made real using a mixture of drawings and animation,
screened across white fabric at the top of the stage. The visuals lurch from the tranquil to
the brutal and work in a unison with some spectacular lighting and thunderous sound
design.

War Horse doesn’t pull its punches on the brutal nature of war. Characters come and go,
with very little pomp and ceremony, all the death and destruction seen through the eyes of
either Albert or Joey. We are fully exposed to the horrors of the frontline from both sides of
the conflict, as well as the dangers for all the serving horses too. As you would expect, at
times it’s bleak, even shocking but there is also plenty of warmth, humour and kindness,
from Nick Stafford’s classy script, which shows the best and worst of humanity.

Tom Sturgess gives a fine central performance as Albert, a turn filled with warmth, and
determination. In addition there is a solid outing from Alexander Ballinger as the German
Captain Freidrich Müller. It’s a performance filled with anguish and compassion. With the
subject matter it would be easy for the production to drift into melodrama but under Katie
Henry’s direction the whole ensemble cast give measured and at times understated
performances, which is one of the show’s key strengths.

The production showcases the extraordinary vocal talents of Sally Swanson who brings to
life the compositions of Adrian Sutton and the lyrics of folk music legend Jonathan Tams.
Swanson has a tremendous voice, as she glides from scene to scene, soundtracking
moments of beauty between Albert and Joey, and the anguish and fallout from the war.

This is a sublime production that can be enjoyed by audiences young and old alike with
some startling imagery that will live long in the memory coupled with a powerful message
of hope. With a tour going to the end of 2024 and well into 2025 this magnificent beast of a
show shows no signs of being put out to pasture, and on today’s performance it’s easy to
see why.

War Horse is at the Lowry until Saturday 28th September. Tickets are available
here.

Heathers The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Images Pamela Raith

From its beginnings as a concert version back in 2010 to its multiple West End runs and now third UK tour, Heathers the Musical continues to gain fans and cement its cult status as one of the most loved productions for younger theatregoers.

Based on the 1980’s classic film of the same name starring cinematic icons Winona Ryder and Christian Slater, Heathers introduces us to Veronica Sawyer, (Jenna Innes). An awkward, outcast who just wants to make it through her final year at Westerberg High unscathed.

There are the traditional school cliques, the nerds, the jocks and of course the queen bees who in Westberg come in the form of the three Heathers, leader of the pack Heather Chandler (Esme Bowdler) and her loyal sidekicks Heather Duke (Sedona Sky) and Heather McNamara (Daisy Twells). It’s safe to say they rule the school.

After unexpectedly finding favour with the three Heathers, Veronica quickly realises that this newfound friendship could be the key to beating the food hall bullies once and for all. What she doesn’t bargain for however, is the arrival of mysterious new kid, J.D. who brings a whole new level of trouble to her door.

Heathers’ multi-layered storyline cleverly covers numerous dark themes with sardonic wit and a killer score. The quality of the cast ensures that each fan favourite from Candy Store to Seventeen is delivered in truly memorable style, whipping the audience of devoted fans into a Big Fun frenzy.

Making a return to the role of Veronica is a sensational Jenna Innes. She absolutely shines on stage, her development from hopeful opening number Beautiful to the self-assured I Say No is mesmerising to watch while her vocals are sensational throughout. Her pairing with Keelan McAuley is superb, he makes for a marvellously menacing J.D. Brooding and brilliant. His delivery of Meant To Be Yours is next level, really showcasing his impressive talent and incredible range. The two are a match made in heaven…or hell if you’re a Westerberg teen.

Esme Bowdler is a perfect Heather Chandler, sharp and sassy she has the audience in the palm of her hand from the moment she arrives on stage with fellow Heathers, Sedona Sky and Daisy Twells. Their iconic entrance, all dry ice and glamazonian gliding really sets you up for the wild ride they’re about to take you on.

Sedona Sky makes an impressive stage debut as the spoilt Heather Duke while Daisy Wells delivers a stunning and emotionally charged rendition of Lifeboat during her Act II solo. The trio together are terrifically terrorising.

Amy Miles gives us all the feels with her beautiful delivery of Kindergarten Boyfriend while Ivan Fernandez Gonzalez and Jason Battersby as Kurt Kelly and Ram Sweeney ramp up the laughs as deliciously dumb high school jocks.

Heathers is one of the must fun shows of recent years, its connection with its target audience is undeniable. The score is exhilarating while the script feels modern and sharp. Yes, there are dark themes, but the comedic moments and gallows humour comes thick and fast ensuring you’re never more than a few moments away from an iconic put down or some serious sass.

This cast is one of the best I’ve seen, they really elevate an already fun show to the next level capturing perfectly the intensity of High School feeling like your whole entire world. While Heathers may not leave you yearning for your teenage years, it’ll certainly leave you thrilled that you took a trip to Westerberg, albeit from the safety of your seat. Hugely entertaining theatre, jam-packed with unforgettable performances and an assured self-awareness that ensures it really hits the mark, sensational!

Heathers The Musical is on at Chester’s Storyhouse until Saturday 21st September tickets are available here.

Brassed Off

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Reviewed by Matthew Broadley-Forrest

The superb collaboration between the Octagon Theatre and Theatre by the Lake, has once again produced something special with their brilliant production of writer/director Mark Herman’s 1996 film Brassed Off.

First adapted for the stage in 1998 by Paul Allen, the production under the direction of Liz Stevenson is embarking on a three week run at the Octagon, and I’m pleased to say it more than delivers.

Set during the mid 1990’s 10 years after the brutal miners strikes, the fictional pit town of Grimley, is one of the last coal towns left standing. The pit is the life blood of the community, and still turns a huge profit, however with the threat of closure on the horizon and talk of redundancy, how will this impact not just the workforce but their loved ones?

Told through the recollections of Shane (Andrew Turner), the son of pit worker Phil (Joey Hickman). Phil and his family have been hit hardest mainly through his involvement in the strike of 1984. He, along with wife Sandra and their four children (Daneka Etchells), are struggling to keep their heads above water.

In addition to Phil, there are fellow miners, Jim (Greg Patmore) and Harry (Matt Ian Kelly) best mates and a formidable double act, equally matched by Rita (Maxine Finch) and Vera (Joanna Holden) their wives, with Rita tirelessly campaigning to save the pit, whilst Vera has dreams and ambitions for the nicer things in life. Then there is Andy (Barney Taylor), a bit of a jack-the-lad, who has known nothing else other than working down the mine and living in the town of his birth. Andy’s world is turned upside down with the arrival of Gloria (Hannah Woodward), a former childhood sweetheart, who has returned home to do some good for her community.

Finally there is Phil’s father, Danny (Russell Richardson), a retired pitman, and Grimley’s colliery brass band leader, a no nonsense proud man who is laser focused on restoring some pride to the community though his band.

There is so much to admire from this production, especially the strong, super talented ensemble cast. The production benefits from casting superb actors who can also play a bit, alongside musicians who can act as well. For the numerous brass arrangements the production has enlisted the help of two local bands: Eagley Band and Windgates Band who perform some rousing pieces including Florentiner March and a beautiful rendition of Danny Boy (I’m not ashamed to say left me with a bit of grit in my eye).

There are fine performances throughout, Joey Hickman as Phil, gives a desperate, yet measured turn as Phil. Barney Taylor and Hannah Woodward give spirited turns as young lovers, Andy and Gloria. The pairing of Greg Patmore and Matt Ian Kelly is a real plus point of the show, the pair have great chemistry and comedic timing. The same can also be said of Maxine Finch and Jonna Holden. However it’s Russell Richardson’s turn as Danny which will live long in the memory: the passionate tirade against the Tory Party and destruction of communities is a thing of beauty.

Paul Allen’s gritty script doesn’t pull its punches, it is filled with heartbreak and humour. In the blink of an eye, it shifts from despair to hope and reliance, anchored by a much needed dose of gallows humour.

Rather sadly some of the themes in Brassed Off, are still as prevalent now as they were 30 years ago, yet hope as ever remains. With a dynamite script, a cast of actors and musicians at the top of their game, this an essential night out to the theatre. Unmissable.

Brassed Off is at the Octagon Theatre till Saturday 28th September, tickets are available here.

Lord of The Dance – A Lifetime of Standing Ovations

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Reviewed by Christine Leatherbarrow

Opening Night verdict ⭐⭐⭐⭐⭐

@BrianDoherty

After entertaining more than 60 million fans worldwide in over 60 countries Lord of The Dance returns to Manchester this week with a spectacular revival of their 25th Anniversary show – A Lifetime of Standing Ovations. This Michael Flatley created extravaganza is without doubt one of the most successful and most loved dance productions in history and tonight’s stunning show skilfully proves why.

While Mr Flatley isn’t physically part of the cast for this tour he does make several cleverly crafted appearances on the large screens on stage, much to the delight of the audience. It’s clear for all to see that his trademark choreography and creativity is weaved brilliantly through every part of this production. Partnering once again with composer Gerard Fahy the result is an absolute feast for the eyes and ears from the very moment this dazzling revival begins.

@BrianDoherty

This tale of good versus evil sees Cassidy Ludwig as the playful Spirit dreaming of a challenge between the Lord, (Matt Smith) and the Dark Lord, (Joseph Howarth). Of course, no story is complete without a little bit of romance and jeopardy as we also see Saoirse (Tiernagh Canning) and Morrighan (Andrea Papp Kren) compete for the Lord’s affections.

The story unfolds through a series of jaw-dropping dance performances, totally transfixing the audience with their almost unfathomable skill and precision. Every member of the cast is top-tier and doesn’t miss a beat.

@BrianDoherty

Matt Smith makes even the most complex of choreography looks effortless as he commands the stage entirely. He is an incredible showman and whips the already excited audience into an absolute frenzy at multiple points throughout the show. Joseph Howarth is equally as impressive as the Dark Lord, channelling his inner villain to bring a delicious sense of foreboding to proceedings as he thunders across the stage with his henchmen in tow.

Tiernagh Canning is graceful and elegant as Saoirise while Andrea Papp as the seductive Morrighan impresses entirely with both her talent and characterisation. Cassidy Ludwig as Little Spirit guides us brilliantly from scene to scene with her boundless energy.

@BrianDoherty

The large screens that make up the set are used to great effect transporting us from mystical forests to rugged coastlines while the updated costumes give a modern touch to this classic show.

There are breathtaking dance routines, stunning music, incredible vocals and even a little humour along the way resulting in a truly unforgettable experience. As the show culminates in the most incredible finale the audience whoop with delight while leaping to their feet on more than one occasion. Lord of The Dance – A Lifetime of Standing Ovations is a true celebration of Celtic culture and creativity, an absolute must-see!

Lord of The Dance – A Lifetime of Standing Ovations is on at Manchester’s Palace Theatre until Sunday 18th August, tickets are available here.