Music

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

Lizzie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The true crime story of a double axe murderer may not be your obvious choice for a musical but then a bit of blood & gore never did Sweeny Todd any harm. Now it’s time for some herstory, enter Lizzie Borden, who was put on trial for the murders of both her father and stepmother in Fall River, Massachusetts back in 1892, a time before women had the vote and life for your average female was dictated by males who controlled everything.

Oppressed and abused Lizzie Borden (played by Lauren Drew), is drowning. Life is cruel and the claustrophobia of her crushing environment threatens to engulf her. Seeking sanctuary in the barn amongst the pigeons or during secret stolen moments with neighbour Alice (Maiya Quansah-Breed) something’s gotta give and when Lizzie’s protective sister Emma (Shekinah McFarlane) leaves town, give it does.

Along with maid Bridget (Mairi Barclay) the four bring the infamous story of Lizzie Borden to brilliant and bloody life. From the haunting nursery rhyme opener Forty Whacks to the powerhouse vocals displayed throughout, this is a musical with might.

Director and choreographer William Whelton ensures that the vocals take centre stage here and my goodness does this cast deliver! Lauren Drew is such a talent, carefully nuanced when necessary, making the moments of pure power all the more impactful. She transfixes as Lizzie, giving her both light, shade and believable complexity. Her pairing with Maiya Quansah-Breed is a joy, their voices complement each other beautifully, while the telling of their stories is delivered with a delicate determination leaving you desperately hoping they reach their own happy ending. Maiya Quansah-Breed’s calm, loving Alice offering Lauren Drew’s Lizzie the anchor she needs in life.

Shekinah Macfarlene is superb in the role of Emma, strong and soulful she brings a delicious depth to the sizzling score. While adding a genius touch of humour is the brilliant Mairi Barclay as glorious gossiping Bridget, she completes the quartet ensuring this formidable foursome won’t be forgotten in a hurry. Their harmonies are tight, powerful and utterly perfect.

Set and lighting designer Andrew Exeter transforms the intimate Hope Mill Theatre giving us drama and atmosphere well worthy of this gory tale. Dan Light’s video design takes things to another level while the live band led by Honor Halford-Macleod and made up of Dejante Hinks, Sarah Giles and Rebekah Slater are sublime.

With Act 1 lasting 55 minutes and Act 2 a shorter 40 minutes this cast grip you from the first eerie beat, you find yourself rooting for Lizzie wholeheartedly long before the first swing of the axe. You feel her pain, forgive her failings and empathise entirely with her reasoning.

Hope Mill Theatre have succeeded in adding humanity and personality to the Lizzie Borden of the history books, and they’ve done it all with slick style and pure rock star swagger. Lizzie will sit perfectly alongside the likes of SIX and Heathers, the score and specifically this production has cult classic written all over every rocktastic riff.

As the tempo changes once the verdict is reached our four protagonists become the liberated girl band you never knew you needed, Lizzie is bold, brilliant and totally badass, another monster hit!

Lizzie is on at Hope Mill Theatre until Saturday 30th September 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

The Way Old Friends Do

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Ok, I’ll confess, I’m not ready to move on from the glorious bubble that was Eurovison just yet so when I spotted that The Way Old Friends Do, a new comedy with a heavy emphasis on everyone’s favourite Dancing Queens, Abba, was heading to The Lowry I jumped at the chance.

Penned by and starring Ian Hallard, The Way Old Friends Do introduces us to Peter (Hallard) a self-confessed Abba superfan and his former school friend, the filthy and fabulous Edward (James Bradshaw).

After a chance reunion via Grindr, their friendship is reignited when Edward ropes Peter into forming an Abba tribute band with a twist…they’ll be portraying Agnetha and Frida while wannabe actress Jodie (Rose Shalloo) takes on the role of Björn and rehearsal pianist Mrs. Campbell (Tariyé Peterside at tonight’s performance) is enrolled as a rather bemused and bearded Benny.

The story focuses on Peter and Edward’s friendship and the complexities of navigating suddenly being thrust together after many years, albeit wearing a wig and platform boots. At school both came out to each other, but while Edward announced he was gay, Peter unsure then about his sexuality declared himself a devoted Abba fan. Fast-forward to adulthood and Edward is living his authentic life while Peter is still struggling to share his truth with his beloved nan (voiced by Miriam Margolyes).

Halland’s touching portrayal of sweet-natured Peter is a beautiful watch, as he explores both this rekindled friendship and the lessons, he can learn from it. Culminating in a touching coming out scene as he calls his Nan to finally confide in her.

Bradshaw’s Edward in contrast is full on, flamboyant and seemingly fearless making his character not just entertaining but hugely endearing as we see the layers unpeel a little, revealing much more than meets the eye.

Tariyé Peterside is hilarious as Mrs Campbell, she makes the most of every witty line she’s gifted & seems happy to go with the flow as long of course as she’s having fun. Rose Shalloo gives us lots of laughs as struggling actor Jodie, Donna Berlin shines as Peter’s no nonsense BFF Sally, while Andrew Horton as the Aussie hunk with questionable intentions adds an unexpected layer to the story.

Hallard’s script is laugh out loud funny, he excels at witty one liners while there are meaningful moments littered throughout. Each character goes on their own journey, growing and developing as their friendships build. Bursts of Abba during the scene changes whet your appetite for a full cast performance which never fully materialises, something I can’t help but think would be the icing on the cake of this super fun production, however the fun facts delivered by super-fan Peter throughout will leave you hoping there’s an Abba round at your next pub quiz.

Janet Bird’s rotating set design is simple yet hugely effective, becoming a rehearsal room one moment and a sophisticated spa the next. This is complimented perfectly by her wonderful costumes which get progressively more fabulous as the band develops. Director Mark Gatiss has ensured the pace never drops while the more emotional scenes are given just the right amount of time to breathe. There’s a welcome sigh of affection as we hear Paul O’Grady’s voice as the radio DJ setting the year for each Act, adding to the sentimentality of this production .

The Way Old Friends Do will entertain you enormously, reward you with some inspired character development and remind you of the importance of true friendship. Uplifting, joyous theatre packed with plenty of heart.

The Way Old Friends Do is on at The Lowry until Saturday 27th May tickets available here.

Greatest Days

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Quite surprisingly this jukebox musical is not the actual story of Take That, nor is it the story of “The Band” which feature as a background soundtrack to this production. But, this is a glorious, heartwarming story of friendship, loss, love, fear and how it feels to love a boy band more than any thing else in the world.

Now – disclaimer- I am not a huge Take That fan. I’m more of a New Kids on the Block girl, but after tonight I realised how the sound track of this musical has in fact been the sound track of so much of my late teenage years. A bit like: I’m not a fan of Angels by Robbie, yet I know all the words! What I also categorically know is that the Manchester audience tonight were absolutely gagging to see this Bobby Dazzler of a show.

Putting Greatest Days in on Manchester is a Take That fans version of a United fan watching United in a premier league title match at Old Trafford. There is no better place for this show to be. It’s a wonderful homecoming.

The plot takes us back to the 90s, where we were wearing knee high socks and pleated tartan mini skirts or adidas trackies, where we were recording our favourite hits on our ghetto blasters on a Sunday afternoon while listening to the charts, where we were making up dances with our mates so that we could dance along when the Smash Hits poll winners party was on the telly. Here, we meet five friends, as different as the spice girls to one another. Who, thanks to the beautiful, talented Debbie (played by the magnificent Mary Moore) have the chance to go and see their favourite band play in Manchester. A treat like no other; all they have to do is tell a few lies to their parents and make their way to the concert. Their aim is to finally meet the boys, face to face. The night however doesn’t go as planned and their lives are never the same again.

The events of that night breaks the bond the girls have, until the once in a lifetime chance brings them together 25 years later.

I don’t mind admitting it, I did shed quite a few tears at various moments of the show. And judging by the sniffing sounds around the auditorium, I wasn’t the only one.

The entire cast were incredible. The connections between the friends as their younger selves and then older selves was electric. And the scene where the younger version comes together with the older one was so enchantingly beautiful.

Special mention goes to the wonderful Jamie-Rose Monk for her hilarious and touching portrayal of older Claire. Never have I laughed more than at the line “I like to sleep with a man and then eat him”. Rachel Marwood is a brilliant older Heather; I am not surprised that Rachel has been awarded a “funny woman” award previously – she is a great comic actress.

Holly Aston, Hannah Brown, Emilie Cunliffe, Kitty Harris and Mari McGinley, were all outstanding in their performances. They work well together on stage and deserve every moment of the standing ovation given. While Kym Marsh was dazzling: she can sing, she can dance and Manchester love her, she’s one of ours and Mancunians couldn’t be prouder.

The “boys” did exactly what their role asks of them, they gave us a sound track, they didn’t take the limelight, they let the women shine in all their glory. And they did so with so much talent and humbleness. They help to tell the story, they know it’s not all about them and they take that with grace. And they also lead a fabulous finale!

It’s also worth the ticket price to see Alan Price in his many roles, a true legend of the stage in every sense of the word.

The music is what ties everything together in this production, the goosebumps on the back of my neck when “Never Forget” started up. You could feel the electricity sweep through the audience. Most people will go and see this show because they love Take That, but it’s more than a homage to a boy band-it’s a tribute to those of us who bonded with our ill fitting friends over our love of pop music. It’s a dedication to the girls who queued for hours for tickets or at stage door at the end of the night for a glimpse of their favourite member of the band. It’s a reflection of lives lived, and those not lived fully. It’s a chance to reminisce of how we saw ourselves 25 years ago and be proud of the women we became. It is nostalgic, but it’s also insightful and moving, a perfect night out.

Greatest Days is on at Manchester’s Palace Theatre until Saturday 27th May tickets available here.

Michael Rosen’s Unexpected Twist

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

You have to wonder what Charles Dickens would make of modern day Britain, poverty, child exploitation, these were issues the author highlighted some 200 years ago with his undoubted classic Oliver Twist which are sadly still very prominent today. 

In 2018 the author Michael Rosen took Dickens’ story and weaved it into his own novel Unexpected Twist! An Oliver Twisted Tale, which has now been adapted for the stage with a freshness and energy that demands your full attention.

This is the story of Shona (Drew Hylton), a young teenager, who along with her father (Thomas Vernal) are constantly on the move to avoid their creditors while attempting to keep their heads above water. In addition, Shona also has the added anxiety of going to a new school, where she is desperate to hide her impoverished background and the  death of her mother.

It’s during English lessons with Miss Carvani (Rosie Hilal) that Shona begins to draw on the parallels between her own life and that of Oliver Twist. It’s also in English class where Shona meets Tino (Alexander Lobo Moreno), a young man who models himself on the Artful Dodger, and like his idol is a recruiter for a criminal gang of pickpockets, and mules, carrying cash, and stolen goods for its leader, Pops ( Jame Meteyard).

With Shona desperate to shake off the shackles of poverty and with the lure of easy money and a new phone, will she join the gang to help her family and most of all prove she is nothing like the 19th century orphan boy who just wanted more.

Despite an initial slow start, this is a bold, unique take on a familiar classic, told featuring beat-box, rap, ballards, and well-choreographed set pieces  all performed by a super talented, young cast, some of whom are recording artists in their own right.  We are told at the start of the performance that there is no accompanying band and that everything you hear during the performance will be done by the cast, which is an incredible achievement. I absolutely loved the beatboxing, it sounded fantastic and was enormously effective.

Drew Hyland is brilliant, perfectly encapsulating the struggle between what is right and that desire to escape her perceived destiny of a life of poverty. In addition, Rosie Hilal is in fine form as Miss Carvani, a Nancy-esque character who although full of good intentions towards her pupils, also has her own troubles to deal with.

It’s important that a piece of theatre can shine a spotlight on issues such as child poverty, the cost of living crisis, child exploitation, knife crime and domestic abuse. Whilst this is a sanitised version aimed at a younger audience it sometimes lacks a real edge and sense of menace, however, it by no means diminishes the strong message the show is trying to convey.

Despite its tough subject matter the production is also a great deal of fun. This is a vibrant, engaging production, performed  by an exceptionally talented cast full of energy and humour telling a story that is all too real and sadly one that is a reality for so many young people today.

Michael Rosen’s Unexpected Twist is at the Lowry, Lyric Theatre until the 7th May. Tickets available here.

The Bodyguard

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on the iconic 1992 blockbuster film starring Whitney Houston and Kevin Costner, the musical adaptation of The Bodyguard premiered in the West End in 2012 and has since played all over the world.  It is a mix of theatre and a pop concert, boasting some of Whitney Houstons greatest hits. 

The show, quite literally starts with a bang – and sets the tone for the constant stream of jump out of your seat moments that hit us throughout the production. 

The show tells the tale of megastar, Rachel Marran, played by the powerful and elegant Melody Thornton. Rachel is being stalked by an obsessive fan (Marios Nicolaides) who is sending her terrifying death threats. Although reluctant at first Rachel agrees to the addition of Frank Farmer (Ayden Callaghan) as her personal bodyguard. While at first they don’t see eye to eye, they of course fall in love – but it isn’t such a fairytale ending for the pair.

There is no getting away from the fact that this script isn’t the most sophisticated, or engaging- but it really doesn’t matter. The cast of this show are incredible. Melody Thornton is a triumph as Rachel Marron. The task of taking on those big Whitney numbers must feel like climbing Everest, but OMG this lady is absolutely incredible. I can still feel the hairs on the back of my neck standing up from watching her deliver the most iconic cover version of “I will love you “. She deserved every single moment of the standing ovation that the audience gave. 

While her performance is excellent, she isn’t the only star of this show. I had no expectations of Ayden Callaghan, but my goodness he gave Costner a run for his money. He is sleek, smooth and quite literally made me weak at the knees. He delivers a straight, strong performance and I am sure we will be seeing him on big west end stages in the future – and I’m sure that there is actually quite the singing voice in there too! 

Emily-Mae also wowed me in her role as Rachel’s often overlooked and unappreciated sister. Her voice is like velvet. Everything about her performance was first class. Every wink of the eye, side look, eye roll and smirk was noticed and carefully delivered. While he character is often second fiddle to her sister, Emily-Mae’s performance was stand out. 

The whole cast and ensemble work well together and create an action packed, charming and entertaining show. The soundtrack is the star of the show, it’s what we are all there for, but there’s some dark moments too that come when you’re least expecting them and that gives it some much needed depth. The use of digital imagery works well and generally the set design is impressive – although there was a bit too much reliance on very large draping curtains. Which did momentarily  cause some technical issues for the crew and cast. But like the consummate professionals they are, they took a moment, fixed it and put their best foot forward. 

This production ended as it started, big, bold and about as Whitney as it gets. An absolute tribute to the star she was. You don’t have to be a big Whitney fan to enjoy the show, but if you are, then you are going to absolutely love it! 

The Bodyguard is on at Manchester’s Palace Theatre until Saturday 15th April tickets available here.

The Comedy of Errors (More or Less)

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Anyone who has ever read a Shakespeare or two will be aware of his love of mistaken identity, whopping errors of judgement and questionable life choices: A Comedy of Errors (More or Less) will absolutely confirm all these things and bring them kicking and screaming into the 1980’s. Think sensational shell suits, stunning shoulder pads, a beltin’ blast of Fergal Sharkey and you’re halfway there.

This new co-production between Prescot’s Shakespeare North Playhouse and Scarborough’s Stephen Joseph Theatre, creatively adapted by Elizabeth Godber and Nick Lane takes the Bard’s much-loved comedy and sprinkles it with lashings of Northern humour, some top quality 80’s bangers while relocating it to the sunny climes of Scarborough.

The original plot has never been the easiest to follow but this clever adaptation gifts us with additional narration along the way as well as some brilliant modernisation allowing the comedy of the piece to really shine.

We’ve got two sets of mismatched twins, a Lancastrian named Antipholus who arrives in Scarborough to deliver his hard-grafted one-man fringe show, trouble is, the twin he doesn’t know he has, is already there, owes money to half of Yorkshire and has plans to star in a packed-out talent show on the very same night. His pal/long suffering assistant Dromio also has a missing twin who, you guessed it, is also in Scarborough. Cue a fantastic farce that will have you laughing out loud from the very start.

This talented cast work incredibly hard delivering this reimagined classic, they are superb. Set in the round in the stunning cockpit theatre, Director Paul Robinson has ensured every inch of the space is used with every seat in the house getting a cracking view of the on-stage action. They literally don’t stop, several taking on multiple roles making proceedings all the funnier for it. The whole premise of the piece may be chaotic as each twin is continually mistaken for the other, but the storytelling is clear, hugely entertaining, and incredibly impressive. As the action becomes more farcical so does the comedy, there were many occasions I was crying with laughter as the exasperated twins get more and more confused.

David Kirkbride as Anitpholous of Scarborough/Prescot is hilarious, his loyal defining of what it is to be a Prescotarian has the audience in stiches while his performance as the chaos ramps up is a joy. Oliver Mawdsley who plays alongside Kirkbride as Dromio of Scarborough/Prescot is perfectly cast. The two make for a genius pairing, playing off each other with ease as the banter and laughter flows.

The changing up of Luciana’s (Ida Regan) character is a stroke of genius, she’s not the meek and mild version we know from Shakespeare’s pen but strong, assertive and gives as good as she gets leading to some fantastic scenes between her and Adriana, (Alyce Liburd). Both are excellent in their roles and clearly having a lot of fun with them.

Andy Cryer absolutely shines in his multiple roles, drawing your attention whenever he hits the stage. Valerie Antwi and Claire Eden bring brilliantly unexpected elements to the story while both ramping up the laughter levels even more.

This is a true ensemble piece, with each cast member bringing their absolute A game to the stage. The local referencing, playful narration and inventive reimagining have made this production both accessible and immensely enjoyable. The placing of several 80’s favourites adds to the fun with Alyce Liburd and Ida Regan’s Act II opener, a rendition of Cher’s Jesse James being a real highlight while I’ll now never hear Nick Kershaw’s Wouldn’t It Be Good without it raising a smile.

Shakespeare North Playhouse and Stephen Joseph Theatre have delivered an absolute cracker with this production, ensuring this modern-day Shakespeare is a must-see. The Comedy of Errors (More or Less) is an absolute riot, pure joy from start to finish.

The Comedy of Errors (More or Less) is on at Shakespeare North Playhouse until Saturday 25th March tickets available here.

Song From Far Away

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Forced to return to the place he had long since abandoned due to the sudden and untimely death of his brother, bereaved, nomadic banker Willem (Will Young) controls all that he can in this bitter-sweet monologue by playwright Simon Stephens and singer-songwriter Mark Eitzel

Where Willem is sarcastic, superficial and shallow his brother Pauli was artistic, musical and rooted firmly in the very heart of his family in Amsterdam. Willem moved to New York 12 years prior for a life of seeming anonymity and preferred disconnect. Reconnecting with his old life is neither embraced nor welcomed. Invitations are ignored while communication with anyone other than his late brother in the letters that he writes feels forced and misunderstood. He is a complex character, displaced both physically and emotionally yet draws you into his introspective world effortlessly.

We learn so much about him through this 80 minute piece, his complicated relationship with his parents, his regret over a lost love, yet it’s his surprising affection for his niece Anka, which truly gives us hope that relationships won’t always be impossible for Willem, indicating that this is a piece much more about living than dying.

The simple staging of the faceless hotel suite is given depth by the movement of tall billowing curtains while the lowering and raising of the ceiling adds at times to the feelings of claustrophobia and intensity. The smattering of snowfall beyond the confides of the suite midway through hints almost at a euphoric feeling of hope, just out of reach.

Will Young is entirely captivating in the role, commanding the attention of the audience effortlessly. The source material doesn’t leave room for sentimentality despite dealing with the loss of a sibling, making the moments of song and melody all the more poignant, cathartic in their delicate simplicity and delivered note perfect by Young. His performance feels intimate, authentic and real.

Director Kirk Jameson’s choice to set the piece several years after the passing of Pauli offers an opportunity of self-reflection, rediscovery and most importantly hope. This intimate and beautifully delivered piece will stay with you long after the curtain call.

Song From Far Away is on at HOME until Saturday 11th March tickets available here.

Fisherman’s Friends

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The acapella group Fisherman’s Friends rise is nothing short of remarkable. From humble beginnings in the Cornish village of Port Isaac through to playing the Pyramid stage at Glastonbury. Along the way there is a gold selling album, numerous national and international tours, two feature films and now Fisherman’s Friends: The Musical, a fantastic, feel-good production, that will see your emotions bob up and down like a buoy on a choppy night in the North Sea.

Based on a true story, the story begins showing the two passions of our protagonists, fishing and singing, as the group bring in the catch of the day, during some pretty hazardous conditions, all done with a song in their hearts. It’s a neat introduction to Lucy Osborne’s fabulous looking set that manages to fill the huge stage of the Lyric theatre. Fishing boat, local pub and even a Soho night club, the staging is top draw.

Back on dry land we meet the gang, led by Jim, his father, Jago, as well numerous villagers and salty sea dogs where loyalty, and friendship is as important as keeping their traditions alive and having a well-earned pint. They are all kept in check by Jim’s daughter, Alwyn, who is also a great singer in her own right. The arrival of Danny, a former A & R executive at Island Records will see the seafaring folk enter uncharted territory; Danny who is blown away by the group’s harmonies and just a little smitten with Alwyn hatches a plan.

Danny hopes to have the group record a demo, land them a record deal and hopefully save his own flagging career. However, it’s not all plain sailing and Danny must gain the trust of the group and Alwyn; and that’s just the start of his problems.

Whilst the plot isn’t the most original or ground-breaking story telling you’re ever likely to see, with its fish-out-of-water meets rags to riches familiar tropes, the production has plenty of a heart, soul and a huge sense of fun, it’s certainly one of the most up lifting nights at the theatre I’ve had in quite some time. Fantastic musicians, stirring vocal blends and powerful solo’s, this production more than delivers when honouring the legacy of the band.

As you might expect there are a great number of sea shanties featured including Blow the Man Down and (What Shall We Do with the) Drunken Sailor and songs that the band have made their own, Keep Hauling and the absolute banger that is No Hopers, Jokers & Rogues.

The performances are outstanding throughout, Jason Langley’s Danny is often the comic foil throughout the show. Langley turns in a fine comedy performance and has a great singing voice to match. Parisa Shahmir as the feisty Alwyn is the perfect match for Langley and the chemistry between the two is the driving force of the whole production. Her stunning vocal performance on The Tidal Pool is absolutely gorgeous.

There is strong support from Hedrian Delacey, as Jim the band’s unofficial leader who expresses his mistrust over unfolding events. Delacey walks the tightrope between caring father figure and cynical patriarch exceptionally well.  In addition, we have Robert Duncan and Susan Penhaligon as Jim’s parents Jago and Maggie, the beating heart of the community, both clearly having a ball as the mischief makers in chief, who have been around the block enough times to know that you shouldn’t squander life’s opportunities.

The music is performed by cast members, who are ever present on stage throughout giving the production a feel of authenticity. I’ve been to enough folk nights to see people getting up and joining in. There is some outstanding musicianship on display throughout the show.

You don’t have to be familiar with the story of the Fisherman’s Friends or even know the music, to enjoy this rousing, upbeat story, just get comfy and let it wash over you. Watching it made me think of hot chocolate, an open log fire, and a cosy night on the couch under a blanket, just some life’s little joys and treasures that offer comfort and are good for the soul, and Fisherman’s Friends: The Musical is no exception to this.

Fisherman’s Friends: The Musical is on at The Lowry until Saturday 1st October, tickets available here.

Girl from the North Country

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

To many Robert Zimmerman, or Bob Dylan to use his stage name is the greatest songwriters of all time. With a career spanning six decades and spawning well over 40 albums, Dylan undoubtedly deserves his spot in the conversation for who is the GOAT. Either love his music or loathe it you can’t deny the volume and quality of his work.

With that in mind there is something of the inevitable about Dylan’s music, being turned into a musical; however, the result isn’t quite what you had in mind and that’s down to writer/director Conor McPherson (The Weir, Port Authority).

McPherson’s Girl from the North County takes place in Dylan’s home town of Duluth, Minnesota, some seven years before the singer was born. It’s 1934 and Duluth, like the rest of America, is still suffering from the impact of the Wall Street crash and the great depression.

Guest house proprietor, Nick Laine, (Colin Connor), has a great number of problems. Along with trying to keep the business afloat, he must care for his dementia riddled wife, Elizabeth (Frances McNamee), help his son, Gene (Gregor Milne) stay sober long enough to hold down a steady job, appease his mistress, the good natured Mrs Neilsen (Nichola MacEvilly), and see that his pregnant, adopted daughter Marianne (Justina Kehinde) is wed to a local ageing business man, Mr Perry (Teddy Kempner), in a bid to secure a stable future for the young women.

In addition to his immediate family, the guest house must remain open in order to keep a roof over the head of the various hard-on-their-luck waifs and strays the lodgings has collected, including an ex-con boxer, a sinister priest, and a family with a troubled son. Under the watchful eye of the local GP and morphine addict, Dr Walker (Chris McHallem) their stories intertwine with one another leading to a fateful Thanksgiving dinner that will change their lives forever.

Those expecting a jukebox musical of Dylan’s greatest hits are in for a rude awakening. For sure there are some crowd pleasers, Hurricane, I Want You, and Like a Rolling Stone to name but a few, but the music chosen spans Dylan’s career up to 2012, with the song Duquesne Whistle. Whilst most musicals use their songs to drive the narrative along, the song choice here is to show a shared connection between the characters.

McPherson’s bleak script tackles some meaty subject matter, with dementia, mental illness, financial hardship, and racism (all so very relevant to this day), which in lesser hands could stray into melodrama, however, Girl From The North Country treads that line very carefully aided by a fantastic, hardworking ensemble cast, some powerful central performances, great song-and-dance routines, and a script punctured with a enough humour to keep it entertaining for all the right reasons.

Despite the rather grim setting and subject matter, the production has a great deal of energy to it, with the 20 strong cast frequently on stage together joining in backing vocals, playing various musical instruments, or dancing, whilst the production’s band The Howlin’ Winds expertly delve through Dylan’s back catalogue.

The production values are right out of the top draw, with Rae Smith’s scene and costume design, marrying perfectly with Mark Henderson’s lighting design and Simon Baker’s sound design to create an authentic dreary, dank claustrophobic setting with shoots of colour throughout. At times some of the set pieces resemble a painting in scale composition. The authenticity of the production helped by the use of instruments only around in the 1930’s.

My only real criticism is that at times there are too many narratives, and not enough time devoted to them, so some plot strands don’t quite reach a satisfying conclusion which is a little disappointing.

Girl From The North Country, is a satisfying night at the theatre, and one not just for fans of Dylan’s music. It’s a well-crafted piece of work anchored by some of the best songs of the last century.

Girl From The North Country is at the Lyric Theatre Lowry until 24th September 2022. Tickets available here.

Dreamgirls

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Dream girls is a roller coaster of a story that introduces us to three talented young singers, who are starting out singing in a world where not everyone wants to hear them and not everyone has their best interests at heart.

The girls enter a singing competition, but they don’t stand a chance when small time star “Jimmy Early” (Brandon Lee Jones) loses his backing singers s and his manager Marty (Jo Servi) fails to entice the girls to go on tour with Jimmy. Enter Curtis Taylor Jr (Matt Mills) the man who will stop at nothing to convince the Dreamettes to do the tour and let him be their new manager. And he has big plans, which don’t always include everyone.

Curtis Taylor and songwriter C.C White (Shem Omari James) begin their dream to get the girls to the top of the charts, and in Curtis’ case, at all costs. The story tells the tale of fames, fortune and heartbreak. And most of all friendship.

And I am telling you , I am not going to ever stop raving about this show. 

Wow, wow, wow. I have never seen a show with such power and strength, in storyline, cast and music. This show is something else.

The casting are incredible: each and every cast member plays their part perfectly and with immense talent and emotion. The hits just keep coming. One after another. The staging is clever and functional. We are told the story through seeing, not by being told. We feel the emotions of the characters because the actors show us and pull us along for the ride.

The Dreamettes have a bond, both in script and onstage. Their performances as a group are electric and note perfect. Paige Peddie, who plays Lorrell, works the audience perfectly and we adore her within seconds. She starts of as a timid young girl, and we see her grow into a strong woman. Natalie Kassandra, who plays Deena, is excellent in her portrayal of a young woman who is manipulated by a man who is controlling and coercive. That is until she absolutely comes into her own in Act two in her duet of Listen, with Effie White (Nicole Raquel Dennis). I was mesmerised and moved by this number. These women are incredible.

Now I knew that Nicole Raquel Dennis was going to be good, because I follow her on Twitter and I’ve seen what she can do, but I was not prepared to see her live. This woman is something else. I have no idea how it is humanly possibly to do what she does, day in and day out. I have never, ever seen an audience jump to its feet in the middle of a song in Act One. “And I am telling you I’m not going”, was the single greatest performance I have ever seen. Nothing could have prepared me for how I would feel during that performance. I’ve heard Nicole compared to Jennifer Hudson, she doesn’t need comparing to anyone. She is exceptional in every single way, she’s beautiful, majestic and talented.  I can’t wait to see what she does next. 

Now, while it may seem that the women dominate this show, their talent is matched by the male leads also. Brandon Lee Sears performance as Jimmy is energetic, humorous and at times heart wrenching. And boy can that man move his hips! Shem Omari James is beautiful in his role of Effie’s brother C.C, he is a great talent, and I’m sure we are going to see him in the West End over and over again in the coming years.

Matt Mills, who plays Curtis Taylor is multi talented and plays the greedy, desperate manager fantastically. Another excellently cast performer, who delivers in every scene.

The entire cast deserves a mention, they are slick and powerful and deserve every standing ovation that they receive. This show is big, bold, loud and full to the brim with talent. 

The music, oh the music, I grew up with my parents listening to Motown, so I was always going to love the music. I wanted to get up and dance many a time during the show. Tom Eyen and Harry Krieger deserve every accolade they receive, they know how to write a hit.

This show is everything it should be- glitzy, glamorous and oozing with talent. It’s not to be missed. I want to go back again and again and again.

Dreamgirls is on at Manchester’s Palace Theatre until Saturday 24th September tickets available here.