Dance

The Social

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️


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

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

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

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

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

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

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

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

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

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

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

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

I Should Be So Lucky

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

Strictly Ballroom

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

Giselle

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Following its 2016 premiere right here at Manchester’s Palace Theatre, Akram Khan’s Giselle has gone on to wow audiences the world over. This hauntingly beautiful reimagining of the classic 1840’s ballet which was originally co-produced by Manchester International Festival and Sadler’s Wells is brought brilliantly up to date.

We see Giselle (Erina Takahashi) portrayed as a migrant worker, disposable to her employers and banished with the rest of her community behind a thick and impenetrable wall. Their only use seemingly to provide entertainment on demand for the elite, the landholders, as and when they require it.

Despite this barren, bleak life Giselle still finds a hope to cling to in the form of her lover, Albrecht (James Streeter), a wealthy suitor who has been so bewitched by Giselle’s beauty he disguises himself as an outcast in order to be with his love . The pairing of the two young lovers has not gone unnoticed by Hilarion (Ken Saruhashi) an opportunist peasant ‘fixer’ who is fluid with his allegiance in order to benefit himself. Sadly, for Giselle and Albrecht, the opportunity to raise himself up by exposing Albrecht is too much for Hilarion to resist.

Everything about this reimagined piece is so wonderfully stylised it’s hard to imagine another version of this stunning ballet. Vincenzo Lamagna’s reworking of Adolphe Adam’s score injects an intense theatricality while Mark Henderson’s dynamic lighting design adds depth with its impactful moments of light and shade.

Tim Yip’s visual design and incredible costumes ensure the characters and classes within this production are clearly defined adding superbly to the strength of the storytelling.

Act I introduces us to our principle characters and is a feast of contemporary movement featuring galloping, contorting, artists of the company in contrast to the gliding, considered steps of the elite. There are moments of joy as we see Giselle falling in love, celebrated by a light, gentle pas de deux delivered to perfection by Takahashi and Streeter.

This enthralling physical and emotional expression continues through to Act 2 as we see the wall which has been used to separate the classes until now acting as a gateway into the underworld where ghostly Wills dance en pointe, eerie yet beautiful with each determined movement. The skill displayed by the company in particular Emma Hawes as Myrtha, Queen of the Wills is nothing short of spectacular.

Saruhashi as Hilarion weaves his way impressively throughout the company, commanding in his presence delivering a clearly defined character. While the pairing of Takahashi and Streeter is enthralling, the delicacy and precision of their movements highlighted wonderfully by two stunning yet entirely contrasting pas de deux.

Khan, who hails from a background in Indian classical dance has choreographed this piece generously, allowing the physical storytelling to reach an extraordinary emotional depth. Paired with an immensely talented company accompanied by the sublime English National Ballet Philharmonic you have a production that’s utter perfection.

Giselle is on at Manchester’s Palace Theatre until Saturday 21st October tickets available here.

Free Your Mind

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

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

Featuring 50 professional dancers, as well as a world class creative team, this bold and brilliant reimagining takes place throughout the purpose-built facility with performances commencing from the very moment you walk through the doors into the expansive foyer.

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

This fresh perspective on the iconic 90’s movie offers a thought-provoking take on the rise on artificial intelligence and its infiltration into life as we know it. Opening with an intricately choreographed piece featuring Alan Turing (portrayed by Ian Harris) words of warning are shared about algorithms and ultimately our increased reliance upon them as malfunctions soon begin to appropriate the performers. From here we explore the modern world not just though the eyes of Neo (Corey Owens) but also from the viewpoint of a technology consumers, all of course with a Manchester twist.

Part one is both visually and artistically stunning setting us up brilliantly for the sheer spectacle that is part two as we move from the studio’s sumptuous theatre into a sprawling warehouse space, brilliant in both scale and style. The anticipation of what is to come fizzing through the audience as we wait for the next instalment.

A rapid history of Manchester plays out to the sounds of New Order’s Iconic Blue Monday as we whizz through reminders of the cotton merchants, Joy Division gigs, the cobbles of Coronation Street and the late great Tony Wilson.

Big tech are ingeniously represented as we see life imitating art when dancers move through the space transfixed by their phones while many of the audience busy filming the action suddenly see themselves represented on the central catwalk. There’s a stark reminder of the increasing control the tech giants have over our lives as they parade in front of us demanding complete and total attention. The precision of the performers is sublime as they march to the beat of AI, while choreographer Kenrick “H2O” Sandy’s portrayal of Morpheus is both fluid and majestic.

While we’re pushed to reflect on our own relationships with technology we’re reminded that the control still lies on our own hands with the opportunity to ‘free our minds’ still within reach.

This vivid spectacle will well and truly ensure Aviva Studios, the permanent home of Factory International is firmly placed on the cultural map. With its endless creative possibilities highlighted spectacularly in this ground-breaking opening show this really does feel like a landmark moment in Manchester’s cultural history.

Free Your Mind is on at Factory International, Aviva Studios until Sunday 5th November. Tickets available here.

The Great Gatsby

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

We may have been plagued with more rain than ever this summer but at Chester’s Grosvenor Park Open Air Theatre a long, hot, New York summer has arrived as F Scott Fitzgerald’s The Great Gatsby plays out.

Audiences are transported to the decadence of Long Island during the Roaring 20s where the lavish lives and lurid loves of the residents of West and East Egg are brought to vibrant and believable life by brilliant storytelling, extravagant costumes, melodic song and superb musicality: all delivered by an incredibly talented cast.

Writer Deborah McAndrew and director Conrad Nelson have taken this potentially dark tale and delivered something fun, thrilling and enormously entertaining.

Nick Carraway (Thomas Cotran) arrives in New York after the war determined to make a new life for himself, he calls upon his distant cousin, wealthy socialite Daisy Buchanan (Molly-Grace Cutler) and soon encounters the infamous and charismatic millionaire Jay Gatsby. What follows is a scintillating tale of scandal, high-society and dark revelations. Cotran is superb as Carraway, barely a moment off stage he guides us through the retelling of this heady tale beginning in the court room as he convinces us entirely that his is the opinion to trust. He’s our constant and steady guide, mirroring perfectly our own fascination with these characters who we both love and loathe in equal measure.

The mystery and intrigue surrounding Gatsby is brilliantly developed, by the time Daniel Burke as the man in question makes his first appearance, we’re all as equally enthralled as his fawning party guests. Suave, sophisticated, yet always maintaining an air of mystery as he greets strangers as friends littering conversations with his favourite term of endearment where everyone is an ‘old sport’. He places himself at the heart of a world he so desperately wants to belong to, no matter the cost.

Odious and seemingly untouchable womaniser Tom Buchanan is portrayed perfectly by Laurie Jamieson, while Molly-Grace Cutler gets to the heart of shallow Daisy Buchanan. Alice Lyburd’s Myrtle Wilson is wholly convincing in her desperation for life beyond her class while Matthew Ganley’s portrayal of George Wilson tragically demonstrates the failure of the so called, American Dream.

The Great Gatsby is another triumph for Grosvenor Park Open Air Theatre, this talented company of actor musicians will sweep you away with their vibrant storytelling, weaving fun and frivolity throughout this dramatic tale. The accessibility of the theatre space makes for a welcoming environment for all while the addition of captioning each show further cements the message that theatre truly is for all, wonderful!

The Great Gatsby is on at Chester’s Grosvenor Park Open Air Theatre until 27th August. Tickets available The Great Gatsby – Grosvenor Park Open Air Theatre

Strictly Come Dancing -The Professional 2023

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Not to be out sequinned by the small matter of the Eurovision Song Contest happening at the opposite end of the M62 this week, Strictly Come Dancing – The Professionals hits the Lowry stage with a promise of stunning choreography and lavish costumes all delivered by everyone’s favourite pros from the show.

The huge success of the stadium tour which sees celebrities and their professional partners recreating the most popular routines from the BBC show has birthed another welcome opportunity for fans to get their FAB-U-LOUS fix with a celebration of all things Strictly, bridging the gap until the new series starts in September.

Boasting 10 of SCD’s most popular dancers this show quite literally has it all from Charlestons to Cha Cha Chas and everything else in between. The pros burst onto the Lowry stage delivering high energy routines which thrill the delighted audience, introducing each other as they go, not that this audience of Strictly superfans need any introductions! The highly polished routines come thick and fast showcasing the sheer talent of the multi award-winning dancers on stage.

Strictly’s Creative Director Jason Gilkison has directed the show perfectly, balancing show-stopping group routines with slower paced sensual numbers giving both the audience and the dancers a moment to catch their breath. The level of skill on display is incredible it feels like a real privilege to see such talent up close in this intimate show. While the large screen behind the band gifts the audience with an opportunity to learn a little more about the dancers’ journeys from childhood to being here on the Lowry stage.

Backed by a superb six-piece live band, vocalists Tara McDonald and Patrick Smyth showcase their incredible talent as they take on the likes of Duran Duran, Shania Twain and Beyonce with ease. There’s a fantastic Disney tribute which sees MacDonald and Smyth deliver note perfect renditions of multiple Disney favourites including I Just Can’t Wait To be King and Be Our Guest, all while the pros perform fantastic accompanying routines.

Vicky Gill’s stunning costumes compliment Jason Gilkinson’s choreography wonderfully with costumes changes coming thick and fast throughout. There are feathers, sequins, capes and corsets, each costume perfectly in keeping with the style of that particular dance.

Special mention must go to the beautiful tribute to former Head Judge Len Goodman, which sees the pros deliver a stunning routine to John Farnham’s You’re the Voice performed perfectly by Patrick Smyth and Tara McDonald. Another super fun highlight is a dance off between the pros who have split into two teams, one in support of Beyonce the other Barry Manilow. It’s the mash up you never knew you needed!

Strictly Come Dancing – The Professionals gives dance fans exactly what they want, it’s feelgood, fabulous, fun and will appeal to young and old alike. With 10’s across the board it’s the perfect Strictly fix!

Strictly Come Dancing – The Professionals 2023 is on at the Lowry until Wednesday 10th May tickets available https://thelowry.com/whats-on/strictly-come-dancing-the-professionals-2023/

The King and I

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Credit: Johan Persson

The King and I is a Rodgers & Hammerstein classic, based on Margaret Landon’s book Anna and the King. This production, directed by Bartlett Sher, is true to the original stage version and script which first premiered on Broadway in 1951. You have to accept this and take the show for what it is, and while at times there cliches and prejudices displayed, if you dig a bit deeper you will see a tale of love and loyalty, and a journey of self-discovery, where it is least expected.

The King and I tells the tale of a British widowed schoolteacher, Anna Leonowens (Annalene Beechley) who travels to Thailand from Singapore, for the role of teacher to the many children of the King of Siam (Darren Lee). Anna discovers that she isn’t seen as an equal to the King or in fact any man and must battle to have her voice heard.

Credit: Johan Persson

Anna is adored by the many wives and children of the King. She is committed to educating the children in the way she knows how, which isn’t always in line with the views and beliefs of the Thai King.

Anna however soon develops a strong bond and friendship with the King, where he values her thoughts and advice, even if he doesn’t acknowledge it out loud. With the impending visit of a British visitor, Anna makes it her mission to bring some western values and traditions to the palace, to expel the rumour in Britain of the King being a Barbarian.

While the plot doesn’t sit easily with me, the performances are exceptional. Beechley and Lee have an electric chemistry, they bring much laughter and joy to the production. They set such a high standard of performance and are enchantingly captivating throughout.

Credit: Johan Persson

Cezarah Bonner is impeccable as Lady Thiang, torn between her love of the King and her admiration for Anna. Marienella Phillips is sublime as TupTim, her vocals are glorious.

Special mention goes to the ensemble of children, so much talent and energy is shown throughout the production.

It is a large cast with an excellent senior ensemble also, the musicality and dancing are perfectly delivered, making the performances truly captivating.

Catherine Zuber has done an incredible job of the costumes, they are vibrant and splendid in every way, from the large European style dresses of Anna – to the most majestical tradition Thai outfits. The Thai theatre costumes are just spectacular and show great respect for the Thai culture and puppetry used in traditional Thai theatre. These were a huge highlight for me.

Credit: Johan Persson

Michael Yeargan’s set is well designed and along with the clever lighting design by Donald Holder, helps to transform us to another era in imperial times in Thailand.

The Manchester audience were on their feet at the end, awarding the cast with highly deserved standing ovation and that is testament to the great talent on the stage tonight.

The message of love and hope and the ability for things to change are the key central themes of this classic tale – and the music is truly wonderful.

The King and I is on at Manchester’s Palace Theatre until Saturday 13th May, tickets available here.

Peaky Blinders: The Redemption of Thomas Shelby

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Peaky Blinders has a lot to answer for: on the one hand it’s one of the most popular TV series of the 21st century, what with its sublime performances and killer soundtrack, a great deal of viewers would have it in their top ten list of favourite series of all time, such is the acclaim and love for the show.

The flip side to this, is the rise of “Peaky Blinders” fan boys dressed in flats-caps, and waist coats invading town centre pubs across the land each weekend. Then, there is the almost criminal use of Cillian Murphy pictures in full Thomas Shelby getup, alongside some horrendous quote about respect, usually posted on social media, when someone’s  had a fall out with a friend/family member and is trying to prove a  point, sorry it just winds me up!

However, one offshoot I would never have foreseen would be a dance show. Well, respected dance company Rambert have done just that with their spectacular, Peaky Blinders: The Redemption of Thomas Shelby.

Condensing storylines from the first four series, the show opens as Tommy Shelby’s gang emerge from the trenches  of The First World War. They are a damaged, battered, bloodied bunch, forced to commit violent acts that leave physical and mental scars and shape the way the Peaky Blinders will operate in the future. It’s a stunning opening sequence that perfectly sets the tone for what is to follow, exquisite yet brutal routines, beautifully choreographed by Benoit Swan Pouffer, with moody, atmospheric lighting by Nataha Chivers.

From the battlefields of the Somme, we are transported to the brutal factory conditions of the Black Country, where the female gang members, Polly and Ada take centre stage. They fight a different war, a war of oppression and greed perpetrated by a sleazy, factory foreman, showing just how vital women were to the Great War cause, and how they kept the country going whilst men were away fighting. Again, this is a visually stunning sequence as the Birmingham industrial scene is brought to life with huge metal chains, fiery pyrotechnics and a wide range of stunning costumes from Richard Gellar.

With introductions done and dusted, the story focuses on the relationship of Tommy and mysterious lounge singer, Grace. What follows is a whirl-wind story of betrayal, romance, and murder, with the backdrop of glitzy, glamorous night clubs and  police man-hunts, gang warfare culminating in a wedding and assassination, and that’s just the first act!

This is a treat for the senses, with Peaky Blinders’ creator Steven Knight on writing duties, he has given us both a greatest hits of the show’s big moments, whilst offering up something new, that of a detailed examination of grief, addiction and trauma, especially prominent in the second act.

The superb, ensemble cast work incredibly hard throughout, with stunning, beautifully choreographed routines, they tread a fine line between elegant and rugged. Visually it packs a punch with so much going on around you it’s hard to know where to focus your gaze.

Set designer Moi Tran’s bold, ambitious staging allows the action to shift from the tunnels and trenches of World War One, to opium houses, to glamourous night clubs. It’s a fantastic use of space as dancers spring out of hidden pockets, it certainly gives the show a frenetic quality.

Other aspects associated with the series are also ever present, an absolute banging soundtrack with reworking of songs by Black Rebel Motorcycle Club, Radiohead and of course the signature Red Right Hand by Nick Cave and the Bad Seeds brought to life by Yaron Engler and a brilliant live band. Also present is TV series regular, the poet Benjamin Zephaniah, who’s always recognisable voice guides us through this bloody, violent world.

My only real issue is the use of dialogue from the TV series, clips of Cillian Murphy and brilliant, greatly missed Helen McCrory are occasionally played throughout, but due to the sound mix are at times inaudible, which as is as you might expect is rather frustrating.

This is a unique, bold attempt to do something a little different with a much loved franchise, that sees all involved on top of their game and well worth a night at the theatre.

Peaky Blinders: The Redemption of Thomas Shelby is at The Lowry until Saturday 18th March, Tickets available here.

BRB’s Swan Lake

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Director, Calos Acosta states in the programme notes “Swan Lake, ballet’s greatest
love story.” A statement few would argue against, however it would be fair to say that this
production is that and oh so much more!

The story is that of Prince Siegfried (Mathias Dingman), who, when out hunting with his
friend Benno, (Enrique Bejarano Vidal), witnesses a white swan transform into a beautiful
Princess. named Odette ( Momoko Hirata). Siegfried, captivated by her beauty, falls in love
with Odette, however we learn that the young woman and her friends are under a spell
cast by the evil magician, Baron von Rothbart (Jonathan Payn).

A masked ball is held for the young Prince’s birthday where he meets Rothbart’s daughter,
Odile ( Hirata in a duel role), who looks remarkably like Odette. It’s a plan by the magician
in order for his daughter to marry the Prince. However, as you may expect the wicked
warlock’s scheme doesn’t quite pan out.

There is a great deal to admire about this production despite an initial slow start with the
opening act, set at the Prince’s court. It’s a laboured opening with the most of the standout
moments coming from the performance of Enrique Bejarano Vidal, as Benno, who
commanded every inch of the Lowry stage.

However, from Act II, it’s simply outstanding. During this sequence we are introduced to
the gaggle of swans at the banks of a hauntingly moonlit lake. Here we are treated to
some exquisite routines played out to some of Tchaikovsky’s best known and most
treasured music. It felt a privilege to hear such rich, vibrant music played by a full
orchestra, who were flawless throughout tonight’s performance.


Momoko Hirata as Odette/Odile is at the top of her game, she made seemingly impossible
movements look effortless. The numerous fouetté en tournant drawing several shouts of
“bravo!” from knowledgeable, enthusiastic audience members. The numerous pas de deux between the Prince and Odette/Odile are gorgeous and wonderfully choreographed. Their duet during Act III at the castle ballroom, is expertly put together and a real showcase for Hirata and Dingman, set against the backdrop of a fabulous grand, gothic ballroom.

As well as the exquisite routines the costumes throughout look fantastic, from the iconic
swan’s outfits to the rich, glamorous costumes of the Act III ball, with lots of bold red and
brown colours, which makes the arrival of Odile and her father decked out in black all the
more striking. Add into the mix the stunning set design for the two interior castle
sequences as well as the enchanting and ethereal lakeside set design and visually it looks
near perfect.

The final act is simply outstanding, and one I don’t wish to spoil, However it opens with a
truly breathtaking sequence, that drew loud audible gasps of delight from the audience
and is certainly one of my favourite moments from nearly 10 years of reviewing. The final
act is a fitting showcase for all involved with the Prince and Odette performing their final
sequence together, whilst the swan’s around were held still in their position, pure focus etched on their faces, making it seem effortless, it really was a sight to behold.


There are a few minor quibbles, I wasn’t a fan of the video imagery of Odette used during
Act III, it just didn’t look right, and this is one very minor but throughout the ball sequences
the Prince would sit on a chair which very much resembled a camping chair you’d seen
scattered around the pyramid stage at Glastonbury. It seemed such a shame that
everything else looks so exquisite, that this chair stands out like a sore thumb. Only a
small detail I know, but once I noticed it I couldn’t unsee it!

The is an elegant, graceful production, telling a timeless story through beautiful
performances and the glorious music of Tchaikovsky, a true master of his craft. On the
basis of tonight’s show, you can more than see why Swan Lake is an endearing and
mesmerising piece of work and one that with productions like this, will always stand the
test of time.

Swan Lake is at the Lyric Theatre, Lowry until the 4th March. Tickets available here.

Interview | Momoko Hirata

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We spoke to Momoko Hirata, a principle dancer for Birmingham Royal Ballet ahead of the much-loved company’s return to The Lowry with their stunning Swan Lake next week.

Opening Night – Can you tell us a bit about Birmingham Royal Ballet’s Swan Lake and your role in the show?
Momoko Hirata – Swan Lake is an iconic love story between Prince Siegfried and the Swan Queen Odette, performed in 4 acts. I play the role of Odette/Odil so both the White Swan and the Black Swan.

ON – What would you say is the hardest part and what do you enjoy the most?
MH – The hardest part is definitely the technical challenge. It’s incredibly demanding as you play two different sides, one as the White Swan and the other as the Black Swan. Showing two different characters in one performance is a challenge in itself and Act 3 is especially technically challenging as you have to famously complete thirty two fouettés. But getting the chance to play two different people is also what I
enjoy the most.

ON – How do you prepare for a big role like this?
MH – We have a very intense rehearsal process but this part for me is familiar as I last played Odette/Odil three years ago just before Covid hit so we had to finish early. It’s weird as my body still kind of remembers the steps and everything. I’m really excited to pick up where we left off and push myself even further than three years ago.

ON – Can you tell us a bit about your dance background and history with
Birmingham Royal Ballet?
MH– I started dancing when I was five back in Japan which is where I’m from. I then came
to England to study at the Royal Ballet School. It’s really funny as the first ballet performance that I saw in London was actually Birmingham Royal Ballet’s Swan Lake. So for me Swan Lake is a very special ballet that I’ve always dreamt of being a
part of. I studied at the Royal Ballet School for two years and then joined Birmingham Royal Ballet. Again, Swan Lake was one of the first ballet’s I performed with the company. I joined BRB back in 2003 and this is now my fifth Swan Lake with the company. I’ve pretty much done every role as I joined in the Corps de Ballet and this is my third time playing Odette and Odil.

ON – What made you want to get into ballet?
MH – I always wanted to wear a tutu! I have two older sisters who both started ballet before me and I used to go and see their school performances when I was really young and just fell in love with the costumes. So that’s how I got into ballet really – I just wanted to be a princess in a tutu.

ON – Can you describe what a typical day looks like during the Swan Lake tour?
MH – Once we go on tour it’s slightly different to what we do here in Birmingham during the
rehearsal period. When we’re in the studio we have a class at 10.30am and then rehearse until 6.30pm five days a week so it’s pretty full on. Once we go on tour and are performing, principals do one or two shows a week so we have a bit more free time but obviously the pressure is really high.

ON -What are you hoping audiences will take away from Swan Lake?
MH – I always enjoy performing Swan Lake on stage and the music is so special so I hope that comes across to audiences. Everyone on stage is giving their heart out, not just the principles, but the Corps de Ballet too. You have sixteen swans dancing together all in line and I know from experience how hard it is to be in sync. I hope audiences appreciate that as well.

ON – Why should people come see Swan Lake?
MH – Swan Lake is so iconic – everything that you think of when you think of ballet is in there – and there’s something for everyone, from the big numbers to the sets and costumes and beautiful music.

BRB’s Swan Lake opens at The Lowry on Thursday 2nd March – Sat 4th March tickets available here.

Matthew Bourne’s Sleeping Beauty

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Celebrating its 10-year anniversary, Matthew Bourne’s Sleeping Beauty is out on a national tour, and as night follows day with Bourne’s productions it arrives at the Lowry just in time for the transition from Autumn to Winter.

This is the third in Bourne’s Tchaikovsky trilogy of ballets, which transports us to 1890. King Benedict (Danny Reubens) and Queen Eleanor (Kayla Collymore) have everything other than what they desire the most, a child. For this they enter into a pact with Carabosse (Paris Fitzpatrick), a dark fairy with extraordinary powers. Princess Aurora is delivered to the happy couple, but the situation soon turns sour as Carabosse feels slighted by the lack of recognition she receives from the king and queen and plots a revenge on the royal family, targeting Princess Aurora.

However, Princess Aurora has a great number of guardian angels looking out for her. First there is her nanny, Miss Maddox (Stephanie Billers), and the palace serving staff. In addition, the Princess is under the protection of Count Lilac, (Dominic North), the King of the Fairies and his troupe of fairies. A failed attempt by Carabosse to get to Aurora is thwarted by Count Lilac, and her many protectors. However it is revealed what fate awaits Aurora, that of an eternal slumber unless she is awakened by her true love.

The action shifts to 1911. Carabosse is no more, however Caradoc, (Paris Fitzpatrick in a dual role) her son has vowed to continue his mother’s vendetta.

Princess Aurora (Ashley Shaw) has now come of age. She is being courted by numerous suitors from the aristocracy, however she only has eyes for the Royal Gamekeeper, Leo (Andrew Monaghan), and he feels the same way. Despite the love they have for one another they must keep their relationship a secret, which allows Caradoc to take advantage of the situation, implementing his mother’s plot and extracting the ultimate revenge. If Leo has any hope of breaking the curse he must use the help of Count Lilac, which sees the story take an unexpected but not unwelcome detour.

There is so much to enjoy and admire about Bourne’s take on this classic fairy-tale. The movement of the entire cast is exquisite, light, and fun throughout. It manages to draw you in and hold your attention from start to finish.

The playful energy is apparent from the get-go with the introduction of baby Aurora, a feisty, ball of energy, climbing the curtains and causing all manner of mischief. Other highlights are the introduction of Count Lilac and his fairies, a real treat for the eyes, a great sense of fun set against the backdrop of a huge intimidating full moon, it looks fantastic. Whilst the courtship between Aurora and Leo is a joy, played like a farce, it’s a lot of fun which could lead to an alternative title of ‘Carry on Princess’.

This is billed “A Gothic Romance”, and boy does it deliver, visually it looks stunning. The sumptuous costumes and set design by long time Bourne collaborator Lez Brotherston is a mix of vibrance and colour in stark contrast with the dark, brooding castles and forbidden forests. It fully captures that aesthetic we come to expect from classic fairy tales. One sequence where we see two faceless dancers, is as beautiful as it is haunting, and such a powerful image.

Personally, I always like the humour Bourne pumps into his productions, from the huge set pieces, with baby Aurora, to little visual gags, that puncture the production, it always makes the shows warmer and more accessible.

This is everything you’d expect from one of the world’s leading Choreographers. He takes a traditional fairy tale, tinkers with its format slightly, injects it with warmth, humour and gives it a soul, finally to be played out by a team of performers and creatives all at the top of their game. It’s a winning formula that will entertain and delight, culminating in a fantastic visual experience, well worth a trip to the theatre.

Matthew Bourne’s Sleeping Beauty is at the Lowry until the 26th November. Tickets available here.