Dance

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.

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.