Dance

The Red Shoes

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Credit: Johan Persson

It’s nine years since Matthew Bourne’s The Red Shoes first graced the stage to great critical and commercial success. Now, those elegant yet troublesome rouge ballet slippers have been taken out of storage once more for a nationwide tour in 2025/26, stopping off at The Lowry, where a Matthew Bourne ballet has become something of an autumn tradition.

Based on the 1948 British film The Red Shoes by Michael Powell and Emeric Pressburger, the ballet is set between London, Paris and Monte Carlo and follows ballerina Victoria Page (Ashley Shaw), who catches the eye of dance Svengali Boris Lermontov (Andy Monaghan). Captivated by her immense talent, Lermontov offers Page a place in his prestigious dance troupe. There, she meets another of his protégés, composer Julian Craster (Dominic North), who has been tasked with creating a new ballet.

Credit: Johan Persson

Lermontov is a perfectionist who demands that his dancers devote themselves entirely to their art – anything else is merely a distraction. Inspired by his patron’s obsessive tendencies, Craster pens a new work based on the grisly Hans Christian Andersen fairytale The Red Shoes. Page takes the lead role in the young composer’s creation, and the production becomes a runaway success, with Page emerging as a star.

But as Page and Craster’s collaboration deepens into romance, their growing bond enrages the controlling and possessive Lermontov, setting in motion a chain of events with devastating consequences for all involved.

Credit: Johan Persson

Once again, Matthew Bourne and the team at New Adventures have delivered a production brimming with talent. With a story rich in passion, tragedy and a generous dose of humour, it offers something for everyone to enjoy.

This is very much a love letter to theatre and dance, highlighting the sacrifices performers and creatives make to bring a show to the stage. We’re given a behind-the-scenes glimpse into auditions and rehearsals, complete with all the tension, jealousy and rivalries that inevitably arise. Then comes the staging of the show itself, followed by the poignant question of what happens when a performer can no longer do what they love to the acclaim they once received. It makes for truly fascinating viewing.

Credit: Johan Persson

As you would expect, the production features several exceptionally choreographed set pieces, with the gloriously colourful “Ballon de Plage” standing out as a particular highlight. This is later contrasted with the beautiful, gothic staging of Craster’s masterpiece in The Ballet of The Red Shoes. My personal favourite, a scene titled A Music Hall, is a perfect example of what this production does so brilliantly – beginning with humour and lightness before descending into a twisted nightmare, merging comedy with horror, the light with the dark.

There are several outstanding performances throughout. Ashley Shaw is fantastic as the lead, guiding us through her character’s journey from a young upstart to the driven, passionate star she becomes. Making her fall from grace is all the more heartbreaking, Shaw portrays it with remarkable sensitivity and depth. Equally impressive is Dominic North as the ambitious writer; his descent from confident, showy musician to frustrated, spurned lover is filled with a quiet sadness.

Credit: Johan Persson

Andy Monaghan cuts a brooding, menacing figure as the embittered Lermontov, while Glenn Graham is a captivating stage presence as Grischa Ljubov, the cherographer/character artist who drifts delightfully between over-the-top comedy and devilish seducer.

Another element that deserves special mention is the superb set design by Lez Brotherston. The almost ever-present movable arch and grand drape become characters in their own right, gliding around the stage, interacting with the dancers and serving as essential components of the storytelling. Visually, it is consistently impressive.

Credit: Johan Persson

The production is further enriched by the music of Hollywood composer Bernard Herrmann, renowned for his work on Citizen Kane, Taxi Driver and more, with selections from Fahrenheit 451 adding depth, atmosphere and dramatic weight.

Yet again, this is another triumph for Bourne and his team, one that will see these Red Shoes continue to dance on and on, dazzling audiences for years to come. It is fantastic storytelling, delivered by a supremely talented company at the very top of their game.

Matthew Bourne’s The Red Shoes is on at the  Lowry until Saturday 29th November tickets are available here.

Fiddler on the Roof

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Credit: Johan Persson

Jordan Fein’s multi award-winning Fiddler on the Roof, which began its life last summer at Regent’s Park Open Air theatre arrived at Manchester’s Palace Theatre this week proving to audiences just how incredibly special this timeless giant of the theatre world really is.

Fiddler on the Roof introduces us to impoverished Jewish milkman Tevye, (Matthew Woodyatt), a proud father, committed to honouring the traditions of his culture in an ever-changing and often incredibly testing world. This powerful story truly stands the test of time as its themes resonate just as strongly today as they did when it first premiered over 60 years ago. At its core is a poignant portrayal of a family man trying to raise his five daughters to honour the traditions of his Jewish faith, there is humour, joy, enormous poignancy and an abundance of heart.

Tom Scutt’s rustic design sets the scene beautifully, the straw ceiling upon which the fiddler plays gently moves up and down ensuring our focus never shifts from Tevye’s intimate and fascinating world. Aideen Malone’s stunning lighting design is subtle yet superb, bathing the Palace Theatre stage with rising dawn sunsets and flickering firelight glows.

Matthew Woodyatt’s Tevye is breathtakingly brilliant, warm, nuanced, reflective, loving and painfully real. His observations, considerations and deliberations are delivered with captivating authenticity. This is a performance packed with huge emotion, every moment is perfectly measured whilst he balances the turmoil Tevye goes through with a palpable realism. The journey he takes Tevye on is entirely mesmerising, ending the show a different man from the one we first meet at the start of Act I.

Jodie Jacobs’ performance as Tevye’s wife, Golde, is equally as impressive. Respectful of her husband’s desperate need to uphold tradition yet strong and resolute in her own sense of self, the two make for a perfect pairing. Their rendition of Do You Love Me? is a joy, relatable and real.

As Tevye’s daughters begin one by one to move away from the traditional Matchmaker approach to finding a suitable husband the battle between head and heart really begins for Tevye. Woodyatt does an incredible job of taking us with him on this captivating journey, we share in his joy, his frustrations and his pain.

Woodyatt and Jacobs are supported by an incredible cast. Each and every person on stage is entirely committed to telling this beautiful story. Special mention must go to Natasha Jules Bernard, Hannah Bristow and Georgia Bruce who play Tevye’s daughters Tzeitel, Hodel and Chava. Each bring their very different characters to life beautifully, adding further depth and heart to this moving tale while their partners Motel, Perchik and Fyedka are portrayed superbly by Dan Wolff, Greg Bernstein and Gregor Milne.

Choreographer Julia Cheng respectfully mixes the traditional with the modern resulting in exhilarating ensemble numbers that will make you wish you too were part of the uplifting celebrations. The traditional bottle dance remains and is just as thrilling as ever. The additional orchestrations from music supervisor Mark Aspinall really take this score to the next level while sound designer Nick Lidster ensures that every note is crystal clear.

This is without doubt the best production of Fiddler on the Roof I’ve ever seen, from the fiddlers haunting melodies delivered superbly by Roman Lytwyniw to the sheer beauty of Tom Scrutt’s set design this production is perfection. This timeless classic is stunningly reimagined yet maintains a respectfully traditional feel cementing its place as a musical theatre masterpiece.

Fiddler on the Roof is on at Manchester’s Palace Theatre until Saturday 1st November tickets 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.

Cinderella

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

It’s my favourite time of year, that time of year when we gather together and head into Manchester to be entertained at the annual Opera House Panto. Oh yes it is!

This year we are treated to the age old tale of Cinderella. It has all the traditional ingredients needed to tell the story. From a wicked step mother, a Prince Charming, two step sisters, a Fairy Godmother and our old mate Buttons. 

But as we have now come to expect, from a Manchester Opera House Panto, this show has so much more to give than an old school Panto. This is Manchester. We do things differently here, and Panto is no exception.

Everything about this show is slick. Crossroads Pantomimes deliver a well carved and crafted show with a glitzy set and dazzling costumes. The effects team have gone to town this year, and the scene with Cinderella’s carriage is one of the most magical moments I have ever seen in Panto (and I have seen A LOT of pantos).

I am not sure I am ever going to be ready for a world of Manchester Panto where Nickless (Buttons, this year) and Manford aren’t on stage together. This duo is a match made in Panto heaven. You can see the bond that these two men have with each other both in character and out. They work together elegantly on stage – there is no other Mancunian duo that could capture the audience like these two do.  And boy do we love it! Who knew it was possible to cry tears of laughter while singing Sweet Caroline on a Tuesday night in town! 

Make no mistake, Manford is an all round performer, he’s so much more than just a comedian (which he also does very well obviously) he has become a seasoned Panto pro. He has a rich and deep voice and while his dancing still gives off full on dad dancing vibes, (which is part of the charm) he is enormously entertaining throughout the entire production. But he isn’t alone. Nickless, his right hand man, shines brightly in his role as Buttons. He is a first class panto star. It’s like he was born for it. The gags keep coming, his comic timing is genius, and he clearly loves what he is doing and that makes us, the audience, love him even more. And his James Blunt impression is more James Blunt than James Blunt could do himself. If laughter is the best medicine than Nickless is a healer! 

The whole cast of Cinderella is exquisite, they come together so perfectly to create a night of magical Christmas memories.   

There were stand out performances from Liz Carney and Chloe Chesworth, as the wicked step sisters. Manford and Nickless might need to watch their backs with these two storming onto the Opera House panto scene. I thoroughly enjoyed this comedic duo throughout the show.  

And Panto wouldn’t be panto without a villain for us all to hate (love) and Myra DuBois delivers: the costumes, the gags, the bullying of the bloke who wished he hadn’t sat front centre in the audience, the boos and hisses- all came together perfectly! The dame is an integral part of a Panto, but it takes a special Dame to do what DuBois does – and makes it look so effortless. 

Cinderella is absolutely top notch, a must see, be prepared to laugh your socks off and leave wanting more. 

Cinderella is on at Manchester’s Opera House until Sunday 5th January (with best availability in January) tickets available here.

Matthew Bourne’s Swan Lake: The Next Generation

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It may come as a shock but Matthew Bourne’s ground breaking retelling of Tchaikovsky’s Swan Lake premiered some 30 years ago. The show sent shockwaves through the ballet world, and is about to do the same again as Matthew Bourne’s Swan Lake: The Next Generation is spreading its wings and taking flight for a full UK tour, in 2024/25. Hopefully it won’t break any arms (strangely the third most internet searched thing about swans), but may well leave you heartbroken.

Arriving at the Lowry this week, this contemporary version sees a young Prince (Stephen Murray) woken from his slumber by a nightmarish vision of a swan. Not long after the dream, the Prince is thrust into public life by his emotionally distant mother the Queen, (Ashley Shaw), who is far more interested in flirting with the guards than showing her son any affection.

The Private Secretary (Benjamin Barlow Bazeley) sets the Prince up with a young woman, known as The Girlfriend (Bryony Wood), with the pair hitting it off. However, a series of very public gaffs by the Prince’s girlfriend leads to a near violent altercation between the Prince and the Queen, which sees the Prince flee in a drunken rage. With thoughts of suicide, the Prince goes to a local lake, only to be saved by a swan, (Jackson Fisch) the same swan from his dream. The pair are instantly attracted to each other and fall in love.

However, the course of true love doesn’t run smooth, a grand ball is hosted by the Queen, with princesses from across the land in attendance. At the ball, the Private Secretary’s son arrives, who has more than passing resemblance to the swan the Prince has fallen for. The man, dressed in all in black soon, begins to wow the princesses and even the Queen with his sexually charged dance moves and confident swagger, which upsets the males in attendance as well as the Prince, leading to the evening ending in tragedy. 

Even after 30 years this bold, innovative adaptation still manages to cast a spell on an audience like no other. The sight of muscular male dancers playing the part of the elegant swans is a powerful image and one that will stay long in the memory. It’s a master stroke, that the swan’s shift from elegant beautiful creatures to aggressive protectors, hissing and stomping at anyone who dares cross them. Visually it looks stunning as Bourne’s exceptionally choreography moulds perfectly with long-time collaborator Lez Brotherston’s gorgeous swan costumes.  It’s as intense as it is captivating.

For me the greatest trick Bourne pulls is how accessible his ballets are and Swan Lake is no different. There is a mixture of classical ballet, jazz and contemporary dance, which allows for a different viewing experience.  In addition, despite the tragedy at its core, the production is littered with some great comedic moments, from the appearance of a puppet dog, to a hilarious scene at the theatre. Whilst there is always something going on in the background with arguing couples or many a suggestive glance.  I laughed more at the comedic elements in this than I have at many supposed comedies.

The performances of Jackson Fisch and Stephen Murray as the ill-fated lovers is a triumph, with both putting their heart and soul into the performance. Bryony Wood puts in a scene stealing turn as the Girlfriend: it’s a comedic turn that entertains throughout. Benjamin Barlow Bazeley cuts an imposing presence as the villainous Private Secretary. The whole ensemble cast work tirelessly throughout, mastering the various dancing styles and making this a truly memorable experience.

In addition to the fabulous costumes, Lez Brotherston’s huge set design is impressive: from grand palace interiors to seedy back street night spots. It fills the stage, making it feel huge. The lake setting is hauntingly beautiful.

It’s another triumph for Matthew Bourne: rich, engaging storytelling, beautifully assembled by a true master of his craft.


Matthew Bourne’s Swan Lake: The Next Generation is at The Lyric Theatre, Lowry until 30th November. Tickets 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.

A Chorus Line

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Created by Michael Bennet in 1975, A Chorus Line lifts the curtain on the sacrifices performers make in a bid to book a job within the chorus of a Broadway show. Using real life interviews with Broadway dancers as it’s source material, A Chorus Line offers audiences a wholly authentic glimpse into both the audition process and the lives of the performers we so often see on stage yet know very little about beyond their beaming smiles at the curtain call.

This Leicester Curve production with Director Nikolai Foster at the helm has taken this much-loved story and executed a beautiful, memorable revival.

A Chorus Line is a complete ensemble show, there are no real leads, a stripped back set and few costume changes ensuring the characters and their stories are at the absolute heart of this piece. The whole cast are on stage for almost the entirety of the production as they deliver their own individual stories that go way beyond blood, sweat and tears in a bid to make it to the illustrious Broadway stage.

Opening impressively with I Hope I Get It the standard is quickly set for this revamped production. As numbers get cut the chorus line of hopefuls under the watchful eye of director Zach (Adam Cooper), take their moment in the spotlight, giving us a glimpse into their lives beyond the stage, their struggles to get there and the life experiences which have shaped their personalities.

Ellen Kane’s exquisite choreography is integrated superbly within the individual testimonies, it feels fresh, punchy and exhilarating. This is further enhanced by Howard Hudson’s stunning lighting design, which is at times breathtaking. The addition of close-up filming at times which is then projected largely onto the back of the stage could be polarising for audiences, for me it didn’t feel necessary and at times proved to be a distraction rather than an enhancement.

This cast are undoubtedly excellent, each has a unique ability to draw you in. From Chloe Saunders brilliant and witty delivery of Dance: Ten; Looks: Three to Manuel Pacific’s emotive personal disclosure scene as wannabe star Paul San Marco, each character feels authentic and believable.

Returning to the production are audience favourites Carly Mercedes Dyer as Cassie, and Adam Cooper as Zach, they are joined by an immensely talented cast who each showcase their skills both physically and vocally. Jocasta Almgill as Diana Morales gives a powerhouse performance with her knockout rendition of What I Did For Love. Amy Thornton, Lydia Bannister and Kate Parr are equally as affecting during At the Ballet while Redman Rance showcases Kane’s choreography to perfection during, I Can Do That.

This cleverly crafted revival feels fresh and exciting and takes the audience on a journey of exhilarating highs and painful lows as we feel for each and every auditionee. The devastation for those who don’t make it is swiftly followed by elation for those who do, that’s showbusiness as they say.

Running straight through at 1hr 50mins we are rewarded with a thrilling finale as the familiar intro for One begins. Stories of struggle and sacrifice make this dazzling finale seem all the more magical as the cast high-kick in unison while the pyrotechnics illuminate the stage in a finale that will long live in the memory.

A Chorus Line is on at The Lowry until Saturday 27th July tickets available here.

Hairspray

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Based on the 1988 cult classic by John Waters, which featured Rikki Lake and Debbie Harry, Hairspray transports us to 1960’s Baltimore focusing on the Turnblad family, who are the living embodiment of the American dream: a happy family, with both parents running and owning their own business, and a child who dreams she can be anything she wants.

In 2002 writers Mark O’Dohnell and Thomas Meehan took to adapting Hairspray for Broadway, which led to a West End run, several UK tours and even a glitzy Hollywood remake starring John Travolta and Queen Latifah.

Right from the opening number, Good Morning Baltimore, we are treated to a snapshot of what life is like across America in 1962, with racial inequality sadly rife. Our guide on this journey is high school misfit Tracy Turnblad (Alexandra Emmerson-Kirby) constantly at odds with the school authorities due to her massive hairdo!

Tracy has dreams of being a TV star, with her only insight into this world coming in the form of popular teen magazine show, “The Corny Collins Show”,  a music and dance show catering for the tennagers of Balitmore, evening boasting of “Negro Day”.

Soon fate intervenes for Tracy, after befriending Seaweed (Reece Richards), a black dancer on the show, who teaches Tracy some killer dance moves which help her to land a  part of her favourite show. Here she meets her crush, teen heartthrob, Link Larkin (Solomon Davy). Tracy becomes an instant hit with the audience, however not everyone is pleased about the new TV sensation with, the show’s bitchy producer, Velma Von Tussle (Gina Murray), and her dim daughter Amber Von Tussle (Allana Taylor), doing everything in their power to halt Tracy’s meteoric rise in popularity.

There is so much to admire about this production, from its messages about body positivity and its strong core themes of tackling prejudice and bigotry head on.  Packed full of catchy tunes including the delightful Mama, I’m a Big Girl Now, and the huge, joyous finale You Can’t Stop the Beat.

The production is littered with great performances, with newcomer Alexandra Emmerson-Kirby giving a star making debut as Tracy.  Equally impressive is Freya McMahon as Tracy’s best friend Penny Pingleton, again on debut, with both showcasing superb comic timing and great vocals.

Gina Murray is deliciously devious as the vile Velma Von Tussle, played with no redeeming qualities whatsoever, yet still a captivating watch. Whilst Allana Taylor, as daughter Amber,  equally as hideous as her mother, who’s little comic touches are a treat to watch.

Reece Richards, gets to showcase some excellent dance moves throughout, spearheading Drew Mconie’s excellent choreography. The choreography throughout is bang on point, all the more impressive from the huge ensemble cast. Full of energy and vibrancy it really is the heartbeat of the show.

For me the show’s standout moment was the comedic yet beautifully touching duet between Tracy’s parents Edna (Neil Hurst) and Wilbur (Dermot Canavan) on the song, You’re Timeless to Me. The pair have great chemistry with one another, occasionally breaking into the odd unscripted aside, making it all the more special.

My only wish was that more thought was given to the staging and set. The costumes all look fabulous, but their staging and set design are somewhat lacking and don’t represent the high production values the rest of the production has.

Tackling weighty issues, such as equality and acceptance, whilst shining a light on the struggle of the Civil Rights Movement and  the importance of plus sized role models appearing in the mainstream media, Hairspray is a constant joy from start to finish, and a great reminder that theatre can tackle and address some of the biggest challenges we face, but also have a lot of fun at the same time!

Hairspray is on at Manchester’s Palace Theatre till 27th July tickets are available here.

São Paulo Dance Company

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Reviewed by Alicia Graham & Jan Halloran

Opening Night verdict ⭐️⭐️⭐️⭐️1/2


Sâo Paulo Dance Company, filled the Lyric Theatre at the Lowry, and by the reaction of the audience we sincerely hope they will return after this, their first UK tour. Presented by Dance Consortium and led by Artistic Director Ines Bogea, this beautiful contemporary company of exceptional dancers, delivered a triple bill that was contrasting yet cohesive.

Dance, which in terms of popularity is on a par with football in Brazil, is an integral part of the culture, think of capoeira, Samba and Carnival. The twenty-two strong company exhibited incredible musicality, technical talent that was outstanding and an equality of strength that shone through in all the contact work indicating the trust amongst the couplings and highlighting the creative contribution the dancers made to the choreography.

Anthem, choreographed by Spain’s Goyo Montero, opened with a sound score (Owen Belton) of breath, the dancers breathing as one with cellular like gestures. With a theme of lifecycles and identity we saw, the solidarity of togetherness, individuality, rebellion, conflict and separation. A comedic nod to national anthems led to military stylised movement. A music box, haunting, lullaby, had a soporific effect on one dancer as automatons danced around her. Exquisite lighting design pulled together the theme, seamlessly shifting the atmosphere from one section to the next. Costumes gave an illusion of being barely there, enabling the viewer to focus on the body and movement, whilst alleviating, gender, character and status.

Nacho Duato, created the spiritual, hypnotic, second piece, Gnawa, accompanied by ritualistic music from North Africa, created by seven composers.

Ammanda Rosa and Neilson Souza were outstanding in the central, ethereal duet, where Rosa rose as a flame, a nymph like creature of nature. Her contrast, to the other more human dancers, highlighted by her costume. Fire and water linked the segments of choreography where the unison dancing gave a sense of collective community, with antler like arm movements and grounded wide plies. It was a spiritual celebration of humans and nature alike. 

Metronomic movements opened the third and final exhilarating piece, Agora, choreographed by Cassi Abranches. The dancers echo the Afro-Brazilian percussive beats of Sebastian Piraces’ score in their bodies, with hanging arms and open collar bones the movement emanates from the hips with a staccato swagger redolent of catwalk models and adolescencesass. A funk, retro vibe was interpreted as the dancers ran in fast forward and rewind, entering and exiting with speed. Astonishing jumps, feet first as if careering into their partners, only to be caught horizontally are an explosive highlight which build throughout the piece, making the audience gasp. Yoshi Suzuki was standout, his sinuous spine, the centre of every move. A trick was missed by ending the piece by going back to the beginning, the party fell a bit flat at the end rather than being a climatic celebration, however it was still an impressive and well-choreographed piece. 

Even though the clarity of the stimulus for each piece was apparent there was still plenty of room for individual interpretation by the audience. Sao Paulo Dance Company relates to a diverse audience fromyoung adults upwards. The dancer’s fluidity, technicality and equality of strength were outstanding. 

Anyone with an inquisitive, creative, curious mind will find much to appreciate in this thematic yet non-narrative production. Unmissable.

São Paulo Dance Company are at The Lowry until Wednesday 13th March tickets are available here.

Birmingham Royal Ballet – Sleeping Beauty

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Reviewed by Alicia Graham and Jan Halloran

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Birmingham Royal Ballet’s 40th anniversary production of The Sleeping Beauty delivered a pure classical ballet experience. Artistic Director Carlos Acosta brings the iconic, Sir Peter Wright production to life in all its gilded glory to The Lowry. Salford.

Originally choreographed in 1892, Marius Petipa’s chorographical footprint is prevalent throughout this production accompanied with Tchaikovsky’s stunning orchestral composition that paints exquisite pictures. 

Sleeping Beauty is a master class in dance history, whilst being truly accessible to all. BRB do not disappoint with this exquisite production. Supremely talented dancers, exhibit artistry, dramatic characterisation and technical prowess. 

The Royal Ballet Sinfonia are a joy, truly integral to the classical experience, the overture enveloping you in familiar strains that hint of the narrative to come.

A golden production, the imperial, sumptuous, set shimmered and the costumes, many restored from the original production, created a true spectacle and the lighting design complemented the story beautifully.

This classic well known fairytale where good triumphs over evil, begins with the prologue, the curtain opening onto a majestic court where the baby Princess Aurora is to be christened. Catalabutte, the Master of Ceremonies, keeps checking his list of invites, something is worrying him. Courtiers sweep and glide across the stage in heavy brocade and velvet, the costumes dancing with every choreographed step. The choreography brings the music to life through incredible musical visualisation.

Fairies shower Aurora with their gifts, showcased in a solo dance, of beauty, honour, modesty, song (a particularly enchanting performance), temperament and joy.

Ominous tones from the tympani drums signal foreboding. Enter Carabosse on an imposing chariot, ready for battle carried high by her crow-like attendants.  Threateningly evil movements inhabit her body. Incensed because she was not invited, Carabosse threatens that her gift is that Aurora will die if pricked by a needle. A mimed battle ensues between Carabosse (Daria Stanciulescu) and the Lilac Fairy (Ellis Small), who triumphs as her spell is the last to be granted. Aurora will not die, she will sleep for a hundred years.

Act one celebrates Auroras 16th birthday at the court. As the familiar notes of the beautifully choreographed garland dance are heard, you can hear the audience humming along to the familiar soundtrack. Mokomo Hirata makes a joyful entrance, full of youthful innocence.

As the famous Rose Adagio begins there is no apprehension in Hirata of the technical challenges to come. The adagio is danced with fluidity and a cheeky smile as she coyly eyes up the suitors.

Suddenly a stranger enters with flowers for Aurora, concealing a spindle, which intrigues her. Despite the best efforts of the courtiers Aurora pricks her finger, the hooded stranger is revealed as Carabosse, and again the Lilac Fairy enters to spread calm and send Aurora and the whole palace to sleep.The castle is cocooned in thorns, (the descending set here is dramatic) until a handsome prince will come and awaken Aurora with a kiss.

A hundred years pass. Hunters enter the wood in front of the hidden castle. A cleverly light-hearted scene, the hunters in wonderfully accentuating bustles, wield their whips. Prince Florimund (Max Maslan) as the handsome prince, looking for true love is introduced, showing precise, authoritative technique with exquisite, ariel batterie.

Finding himself alone, he is entranced by a misty vision of Aurora introduced to him by the commanding yet ethereal and elegantly empathetic, Lilac Fairy and her atmospheric woodland fairies. He begs the Lilac fairy to take him to Aurora. Despite Carabosse’s wildly treacherous and evil protestations, his love parts the thorns. Good prevails, on finding Aurora he seals his love with a kiss, awakening Aurora and the court, signalling the triumph of good over evil.

A sparkling, rejoicing court dressed in opulent finery,welcomes the new Prince and Princess to their royal wedding celebrations with guests providing the entertainment for the court, displaying the talents of BRB’s dancers.

An exuberant Pas de Quatre was danced with beautiful synchronicity. Puss-in-boots and the white cat positively purred, delighting in their pas de chats, whilst their spines meowed. Red riding hood and the Wolf brought lovely humour. Bluebird soared with winged gestural arms and the Enchanted Princess with her beautiful smile was truly enchanting. Their pas de deux was breath-taking.

Hirato and Maslan steal the show as their solos and pas de deux showcase their talents. Increasingly complex choreography is performed effortlessly, the partnership setting the stage and audience alight. The production comes to an end in the most glittering finale leaving the audience feeling like they’ve attended a very important occasion. This is a ballet not to be missed which will thrill experienced and inexperienced ballet goers alike.

Birmingham Royal Ballet’s Sleeping Beauty is on at The Lowry until Saturday 9th March, tickets available here.

Edward Scissorhands – Matthew Bourne’s New Adventures

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Telling an incredible story without saying a single word is a skill not gifted to many, how lucky we are then to have Sir Matthew Bourne, who succeeds entirely in taking beloved stories and transforming them into the most stunning visual treats.

Bringing Edward Scissorhands back to the stage after 9 years feels like glorious gift, this cinematic favourite is translated with such care and creativity that it will no doubt gain an army of new fans experiencing this stunning production for the first time. Everything you love from the movie is here with the added thrill of watching the New Adventures Company’s magical interpretation play out vibrantly on stage.

Set in the 1950’s, a heart-broken inventor sets about bringing the spirit of his lost son back to life in the body of a newly created boy, but before he is fully formed disaster strikes, Edward flees the only home he’s ever known for the perfectly pruned streets of suburbia in the hope he’ll find happiness.

Taking on the eponymous role is Liam Mower who succeeds entirely in capturing the innocent curiosity of Edward, his ability to story-tell through movement alone is exceptional. He brings great humour and pathos to the character ensuring each and every audience member roots for him from the start. His pairing with Katrina Lyndon is perfection. Taking on the role of Kim, Edward’s love interest, Lyndon shines in every sequence. Her performance is flawless as she delivers Bourne’s intricate choreographer with an impressive fluidity.

Fundamental to this piece are the New Adventures company who make up the families and townsfolk of Hope Springs, they bring both light and shade as required as well as offering an opportunity to really emphasise the stark reality of how those who appear different within a community are treated by some. Their characterisation is incredible, each and every person on stage stays completely in character, all with their own mini interactions happening. I honestly think you could watch this show a hundred times and you’d still see something new, so defined and detailed is this piece.

Lez Brotherston’s costumes and set design, both impressive and inventive add further authenticity. Terry Davies musical arrangements of Danny Elfman’s original movie score brings a magical atmosphere to the piece complimenting Howard Harrison’s dynamic lighting wonderfully.

This whole production is truly magical, director and choreographer Matthew Bourne packs the production with warmth, wit and heartfelt emotion as well of course, as sublime choreography. Flawless from start to finish, this sparkling retelling of a deeply moving tale will stay with you long after the curtain call, enchanting you entirely.

Edward Scissorhands is on at The Lowry until Saturday 2nd December tickets available here.