Music

SIX

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

I have felt for a very long time like I was the only person in the world who hadn’t seen this musical. Trust me, I’ve tried, but covid had other plans. My delight when asked to review it was not pretty: it involved much whooping and a little overhelmed sob. But, as the day approached I was little anxious about whether it was going to live up to everything I’d read and heard. Live up to the hype? OMG: lived up to and sky rocketed above any expectations I had. Absolutely outstanding, like nothing I’ve ever seen. I’m going back for more, without a doubt.

A show about women, by women, empowering women, telling the tale of women, but not just for women. I took my 70 year old dad with me and he is equally as excited about this show as I am!
History/herstory, it’s a must see for all.

The show is based on the lives of Henry VIII wives, all six of them. The staging is that of a pop concert where the Queens use songs to compete to prove that they are infact the most important and tragic wife of Henry VIII – there are no set changes, no costume changes, no time off stage for the characters or musicians. What you see is what you get. And what you get is phenomenal. It is no wonder that this has become a global sensation.

So much of our history is dominated by men, and the role of women can often be depicting them as villains or muses or meek and mild. This show is ripping up those history books and reclaiming the stories of these six women. The parallels to modern life, divorces played out in court rooms, the media, the use of social media, is uncanny.



Toby Marlow and Lucy Moss are a force to be reckoned with. The lyrics to the songs are modern, engaging and hilarious and at times very raw and vulnerable. The music is class, melodious, banging, brazen, comical, classical, it’s like nothing I’ve seen before. This show was written by these two, then undergraduate students, and first appeared at the fringe in Edinburgh and tonight it was in the lyric theatre in Salford with the audience on its feet in absolute awe of this show.

And what makes this show the most incredible show I’ve seen is also this dynamic and talented cast. Each “Queen” brings something different, both in character performances and talent.

Catherine Aragon is played by Chloe Hart and this woman took by breath away. She is fearless, sassy and bold in her performance. She was a stand out performer for me and my absolute Queen!

Anne Boleyn is played by Jennifer Caldwell, who is hilarious throughout the entire show, reminding us time and time ago that she was behedded, a fact that entertains the audience again and again. Her performance of “Don’t Lose Your Head” was flawless.



Casey Al-Shaqsy plays Jane Seymour and her note perfect, raw performance of “Heart of Stone” was moving and showed the great vulnerability of a character who often we consider to be the lucky one. Once again showing us that a male narrative of historical events can omit the struggle of women through history.

Jessica Niles plays Anna of Cleves. Her and the company’s introduction to her character through the magnificent number “House of Holbein” is exquisite. It is for me, the cleverest number in the whole production. The fact that her story is told by using online dating sites to help us understand her story is ingenious. Niles’ goes on to deliver a brilliant performance of the number “Get Down” showing us an insight into the life of Anna from a whole new perspective.

Katherine Howard is played by Leesa Tulley, who is magical in her performance of “All You Wanna Do” – it’s very, very Brittney – if not a more polished version! With the Me Too movement this highlighted that it has been a struggle faced by women for centuries – literally!

And our last queen – Catherine Parr played by the mighty Alana M Robinson. The Queen who makes the show stop and reevaluate it’s narrative – bringing together the women to support and empower each other. And all this done while busting some moves and hitting all of the high notes.

Six is the show of the moment and for many many good reasons. This show is helping to cultivate a new intelligent form of theatre for future generations. It is a show that has longevity, that will be talked about over and over, a show that we will encourage each other to go and see, the show we will go and see again and again. All of this because it’s well staged, beautifully and cleverly written and because this cast and the casts before it and the casts that will come after it will engage us and inspire us and educate us. Yes it’s all women but it’s not just for women, it’s a show for all. You might have forgotten what you learnt about Henry at school – you won’t forget about what you learnt about these woman in this show.

SIX is on at The Lowry until Sunday 14th August tickets available here.

The Cher Show

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

I’m not sure what I was expecting from “The Cher Show”; but it certainly wasn’t what I got. I have never ever considered myself to be a fan of Cher’s music, but what I learned tonight is that my entire life has been punctuated by Cher songs. You do not realise just how many Cher songs you know until you hear approximately 35 of them and you know every single one. 

The success of this show is the clever use of the three versions of Cher: Star (Debbie Kurup), Lady (Danielle Steers) and Babe (Millie O’Connell). These characters share with us the life story of this incredibly courageous and successful woman – The legend that is Cher.

They take us on a journey together, each representing a different period of Chers life, romantically, professionally, musically and stylistically. But these women are not karaoke versions or impersonators of Cher: yes they each use Cher’s well known mannerisms, such as the hair flick and the sway, but each of them showcase their own talent in their performances, and their talent is MIGHTY.

You cannot compare them to each other, they each stand out for their performances in equal measure. The script, the choreography and the costumes for each are perfection. Each performer supports the other and together they are magical.

The whole cast is spectacular – when Lucas Rush sang his first note as Sonny I was left speechless, his comic timing and chemistry with all three versions of Cher was marvellous. Tori Scott as Cher’s mother was kind, funny and engaging. Special mention to Jake Mitchell as fashion designer Bob Mackie, an all-round performer who the audience loved! I’m embarrassed to say that I had no ideas that Sam Ferriday played as many roles as he did until the curtain call when only one of his characters appeared – four characters played in one production so sleekly is a triumph.

The whole production is intelligent and original. Tom Rogers set design is simple, but powerful. The use of the ensemble to guide us through the eras worked really well. Wigs, hair, make up and costume are all outstanding, everything was flawless. I’m sure Cher herself will be putting in a special request to have some of the outfits flown out to her.

The audience were informed at the beginning of the show that the singing should be left to the cast until the finale – most took this on board, but some just couldn’t help themselves, even I had to hold back when “strong enough” came on!

And then we had the finale – and what a finale it was. It was hands down the finale of all finales, and Manchester lapped it up. Everyone was up on their feet, there was dancing in the aisles, singing along and cheering for the cast and the wonderful orchestration.


Arlene Phillips, Rick Elise and Oti Mabuse have created something magical here, something that will delight audiences again and again and perhaps just give us all a little bit of Cher in our lives when we need it most.

A special little mention to the proud husband of Debbie Kurup, who was sitting behind us, his knowledge of Chers music during the interval was incredible and much appreciated for this Cher convert!

The Cher Show is on at Manchester’s Opera House until Saturday 21st May, tickets available here.

Strictly Come Dancing – The Professionals

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Strictly Come Dancing – The Professionals arrived at The Lowry last night for the start of a 36-date UK tour and is as sequined and as sparkly as the glitterball trophy!

The huge success of the BBC TV show has led not just to the live arena tour which features celebrities from the show but also this highly polished and slick dance extravaganza featuring ten of the shows much-loved professionals.

From salsas to sambas SCD – The Professionals has it all, no expense is spared in this glittering celebration of all things dance. There are show-stopping group numbers which fizz with energy, sensual slow routines as well as perfect pairings where the technique and skill of each professional truly shines.

Backed by a six-piece live band of incredible musicians, vocalists Tara McDonald and Patrick Smyth breeze through a whole host of singalong favourites from Beyoncé to Coldplay. Their vocal range is outstanding, with McDonald delivering a pitch perfect Defying Gravity that Idina Menzel would be proud of, while Smyth almost convinces us Michael Hutchence is in the room with his stunning rendition of Never Tear Us Apart.

And now to the dancing…in a word, sensational! The pace is quick and the energy high ensuring momentum never wanes. In between the lavish group dances each of the professionals are given the opportunity to discuss their dance journey, their experience with Strictly and their favourite moments from the show as beautiful childhood pictures appear on a huge screen behind them. The Professionals give the audience exactly what they want, stunning routines that wow and a glimpse into their personal lives summed up beautifully by Gorka Marquez who proudly announces without the show he’d never have met the love of his life.

Vicky Gill’s costumes add a visual richness with changes coming thick and fast, each time as stunning as the last complimenting Jason Gilkison’s incredible choreography which both tugs on the heartstrings and makes you beam with joy. From Dianne Buswell’s Aussie Rock inspired sequence to Karen Hauer’s sizzling Latin American style we’re taken around the world in this dance spectacular.

Personal highlights for me were the 1920’s Speakeasy spin on Beyoncé’s Crazy In Love and the joyful finale celebrating British Pop all the way from the Spice Girls to The Proclaimers!

This glittering night makes for a FAB-U-LOUS fixture on the touring circuit filling the Strictly void until the new series begins in the autumn. Appealing to both young and old alike and judging by the roaring standing ovation on opening night it’ll be 10’s across the board on every stop of the tour!

Strictly Come Dancing The Professionals is on at The Lowry today (Friday 29th) at 2pm and 7:30pm tickets available here.

School of Rock

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

‘I thought you all were a bunch of little douche bags, but now I know that you’re soul brothers and sisters.’

It’s no secret that turning the 2003 comedy cult classic ‘School of Rock’ into a musical had been on Andrew Lloyd Webber’s agenda pretty much ever since film’s inception. However, after making its debut on Broadway in 2015 and having since taken the West End by storm, it seems hard to believe Webber’s School of Rock is only just now embarking on it’s UK tour debut.

Based on the cult film, School of Rock the Musical follows the story of Dewey Finn (Alex Tomkins), a low-life loser who’s just lost his job and been kicked out of his own band. He becomes the ultimate opportunist when he poses as his substitute teacher flatmate, Ned Shneebly (Matthew Rowland) in order to pay his rent. However, teaching fourth-graders at the $50,000 dollar-a-year prestigious Horace Green would appear to be harder than he had hoped, that is until he witnesses their musical talent and forms…. ‘The School of Rock!’

‘Music is what speaks to you and that’s what matters most’

A story ultimately about music’s transformative influence and power, particularly on young people; Webber is wise to keep in many of the classic iconic tunes (some a little re-mastered) but still holding their authentic power and affability, whilst complimented by some perfectly punchy and well-conceived new theatrical songs, all helping to aid the plot and character development, such as that of Principle Mullin’s (played wonderfully by Rebecca Lock) powerful solo number ‘Where did the rock go?’. The music is what brings all the elements of Director Laurence Connor’s production together and nothing is more impressive than the big group ensemble numbers, which certainly bring the ‘WOW’ factor. It also has to be mentioned that whilst Webber introduces us to the show via a recorded voice message letting us know that ‘yes the children really are playing their instruments live’, Riley’s ‘Grown Up Band’ doesn’t miss a beat and are the consistent backbone of the show.

Visually, it’s a feast for the eyes too. Louizos’ set effortlessly turns from classroom to rock stage in a matter of seconds and with the help of Katz’s lighting design and Potter’s sound design, which are equally impressive, we feel like we have been transported to a live rock concert!

It’s never a good idea to fixate on one specific actor playing one specific role, but having become so synonymous with the film, sitting down in the auditorium and much to my childhood disappointment, I had to remind myself that no, 52-year-old Hollywood actor Jack Black would not be bouncing up on this Manchester stage some 18 years later to reprise the role of Dewey Finn. That disappointment was however swiftly and skillfully dismantled by the buoyant and hilarious Alex Tomkins (alternate Dewey Finn) who stormed the stage, literally, exuding the most incredible amount of sheer and consistent energy and vivacity for the entirety of the two and a half hour production that I have probably ever seen.

The classroom scenes certainly prove to be the most heart-warming and enjoyable, as indeed the all ‘acting’, ‘singing’, ‘dancing’ and ‘musical instrument playing’ kids are the beating heart of this production. They pepper about the stage with bucket loads of enthusiasm from the off, but truly establish themselves in Act 2 as we see their character’s personal stories develop. As an ensemble they are quite the force and as such it is extremely hard to pick any standouts, but on this occasion it has to be said that Souparnika Nair’s Tomika had the entire auditorium firmly fixated in bewilderment at her breathtaking vocals as she performed ‘Amazing Grace.’ Special kudos must also go to the casting team here who have cast over 40 children alone (to allow for obvious cast rotations).

Webber, Fellows and Slater have masterly created a production that maintains the best of the film’s original warm fuzzy and familiar moments that in turn makes it a nostalgia inducing and an emotionally uplifting evening to all those ex-15 year olds, who like myself, would have grown up watching the film on repeat and known it word for word, whilst simultaneously establishing a current, up-to-date, modern musical, that equally speaks to the youth of today and families alike.

A whole lot more than just Rock n Roll, this is real life affirming stuff…

The perfect ‘January blues’ pick-me-up for the whole family, School of Rock the Musical plays at the Palace Theatre, Manchester until the 15th of January tickets available here.

The Lion, The Witch and The Wardrobe

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In the novel series, A Song of Fire and Ice, it was often said that “Winter is coming”. Well, over in Narnia winter has well and truly arrived and never has it looked so spectacular!

For the holiday season, the Lowry are staging Sally Cookson’s adaptation of C S Lewis’s family favourite, The Lion, the Witch and the Wardrobe which is a visual feast for the eyes.

Sticking relatively close to the source material, this musical production is set during World War Two and follows the evacuation of the Pevensie children: Peter, (Ammar Duffus) Edmund, (Shaka Kalokoh) Susan (Robyn Sinclair) and Lucy (Karise Yansen) from London to Scotland, to the home of the rather odd, but whimsical Professor Kirk (Johnson Willis).

Whilst exploring the house the youngest sibling, Lucy is drawn to the wardrobe where she discovers a gateway to the cold, bleak land of Narnia. There she meets the kindly but scared faun, Mr Tumnus (Jez Unwin). Here Mr Tumnus tells Lucy that Narnia is being held hostage by the White Witch, who has placed the land under a curse destined to experience the harshness of winter forevermore.

Lucy goes back to her family, but none of them believe her. She later returns through the wardrobe followed by Edmund, however Edmund meets with The White Witch (Samantha Womack) who with the temptation of Turkish Delight, decrees that Edmund must bring his brother and sisters to meet her.

Eventually all Pevensie children land in Narnia, where they encounter Mr and Mrs Beever (Sam Buttery and Christina Tedders respectively) as well as a whole host of woodland creatures who are part of the rebellion, battling to end the tyranny of the White Witch and bring about the return of their leader, the lion, Aslan (Chris Jared). With the battle lines drawn it’s time for the children to pick their sides for the ultimate battle of good versus evil.

This is a show packed full of quality with top-end production values which allows the audience to be transported between blitz time Britain and the fantasy world of Narnia. From the fantastic puppetry work of Toby Olié and Max Humphries responsible for the beautiful, graceful, Aslan to the amazing work of Joanna Coe and Susanna Peretz in the costume and make up department who bring the creatures of Narnia to life, from the plucky forest freedom fighters to the haunting, grotesque disciples of The White Witch.

With a production of this scale there are huge expectations of magic, fantasy and huge set pieces which are more than met. The first meeting with The White Witch as she arrives on a huge chariot is excellently executed, as is The White Witch’s elevation to the skies of Narnia covering the stage below with a blanket of snow. These are just two of the numerous awe-inspiring moments.

It’s not just visually where the production excels, Benji Bower and Barnaby Race’s blend of folk and roots compositions work beautifully well, giving the production a human, rustic quality.

In addition there is a superb cast, at first it’s always quite jarring seeing adults playing children, but you soon forget this as we see the four children go from somewhat annoying teenagers to ‘badass’ heroes. Chris Jared, working side-by-side with the puppet incarnation of Aslan, gives the beast an authority and dignity, obviously with Aslan there are comparisons to Christ, but Jared’s lion is more Churchillian, with his roaring battle cry.

With Samantha Womack’s White Witch, we have a cold, icy villain, void of emotion, this along with her movement around the stage seemingly gliding, yet stalking make her a truly memorable villain.

It’s shows like this that make going to the theatre one of the most joyous experiences we can have; The Lion, the Witch and the Wardrobe will captivate and enthral audiences from 9 to 90. I’ve no doubt the film version will be on TV during the festive season but treat yourself to this theatrical production and you won’t be disappointed.

The Lion, the Witch and the Wardrobe is at the Lowry until the 15th January 2022 tickets available here.

 

Spinach

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

How do you describe a production like Spinach? A musical pharmaceutical thriller maybe? Operatic Rom-com? Both of the descriptions would actually work for this bonkers, hilarious production, that will guarantee to have you grinning from ear-to-ear!

The play opens with Mancuninan Tom (Joe Parker) and Londoner Kate (Charlotte Linighan), both tied back-to-back to one another in a dark, dingy basement. Neither have a clue how they got there, or who the other one is but together they must work out how they landed themselves in the predicament and more importantly how they get out of it!

All dialogue is sung from the start of the production through to the end, and as the pair sing, their memories come back. We learn that Kate is a part time journalist, but full-time good Samaritan, who helps homeless people as and when she can, whilst Tom is a pharmaceutical worker, who along with his colleague, Darren (Chris Whittaker) believe the company they work for is in cahoots with a Cuban drug cartel. With their lives in danger, can Tom and Kate stop bickering with each other, solve the mystery and maybe have a chance at finding love.

There is so much to admire about Janine and Simon Water’s production: a smart script, filled with twists and turns, married with some fun, punchy lyrics (you’ll kill for a Halloumi kebab by the end). The premise may be absurd but is no less silly than some Hollywood blockbusters.

Parker and Linigihan make a likeable, engaging couple, who have bundles of chemistry. Whittaker is equally in fine form as the co-worker, also dragged into this crazy situation. In addition, there is a scene-stealing turn from Rachael McGuinness as Maureen, another co-worker of Tom and Darren, whose no nonsense, hardened attitude hides an attraction for Darren. All four show a gift for comedy throughout and deserve heaps of credit for 80 minutes of singing, without an interval. The superb cast are backed up by some exceptional musicians with Lawrence Woof on piano and Bess Shooter on Saxophone. The music is at times menacing, playful but always on point.

The Edge Theatre and Arts Centre has a lot to celebrate this year, following an upgrade to the theatre as well as 2021 marking it’s 10-year anniversary as Manchester Theatre for participation. If Spinach is an indication of the ambition of The Edge, then the future is bright indeed.

This is a silly, fun show that provides the perfect excuse to brave the cold and have a night out at a great venue, watching a show of real quality.

Spinach is on at The Edge until the 18th December tickets available

Spinach | The Edge | 30th Nov – 18th Dec

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‘SPINACH’ is not a musical.
It is not an opera.
It is a play where every word just happens to be sung…

Waking up tied together, Tom and Kate can’t remember a thing…. not about the last few days anyway. Everything is a total blank, except for a halloumi kebab and a double-decker bus. As piece by piece they unravel their memories, each step brings them closer to knowing their captors, closer to their terrifying fate… and closer to each other.

‘Spinach’, written and directed by Janine Waters with music by Simon Waters, premiered at Manchester’s Royal Exchange Theatre in 2011 then transferred to London’s King’s Head Theatre for a critically acclaimed season.

This 10th anniversary production at The Edge Theatre and Arts Centre in Manchester, 30th November – 18th December, will celebrate the 10th anniversary of both the play’s premiere and the venue.

Reviews of the 2011 production of Spinach’ at the King’s Head Theatre

“A truly unique piece of musical theatre”

5 stars – Whatsonthefringe

“Sung-play ‘Spinach’ is one of the most enthralling, unique musical theatre experiences to hit the Off-West End stage. It is a riveting psychological romantic comedy that will certainly have you on the edge of your seat”
5 stars – Mellow Day London

“A gloriously theatrical experience and ultimately heartwarming”

Gary Naylor, Broadwayworld

“Very often funny and deeply engaging, this is an entertaining piece with great originality”
4 stars – Whatsonstage

Tickets £16/14 available now

Spinach

Bat Out Of Hell

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Reviewed by Michelle Ewen

Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

The ‘Bat’ is back in town! Four long years since its world premiere at the Opera House Manchester in 2017, Bat Out of Hell – the award-winning hit musical – has finally come home to Quay Street. Announcing its return with a victorious lap of roaring motorcycles, smoking tyres, gasoline fumes and lashings of leather, this is a production you could see, hear and taste before anyone had even set foot on stage!  

A frenetic fusion of Peter Pan meets Mad Max, Jim Steinman originally conceived Meatloaf’s Bat Out of Hell as a musical. It took four decades for that vision to be fulfilled – and it was worth the wait.

Enter Strat (Glenn Adamson), the charismatic leader of The Lost – a collective of rock n’ roll-loving misfits who, following a DNA-freezing earthquake, are condemned to be forever 18. Living in a network of tunnels beneath Obsidian (formerly known as Manhattan), The Lost are the scourge of city leader Falco (Rob Fowler), whose disaffected daughter Raven (Martha Kirby) and hilariously disenchanted wife Sloane (Sharon Sexton) reside with him in Falco Towers.

When Raven discovers a discarded T-shirt following The Lost’s latest protest in Falco Square, she locks eyes with its owner – Strat – setting the two on a romantic collision course that bristles with high-octane energy. Raven is as determined to become one of The Lost as her parents are to stop her, but with their own relationship in dire need of a fuel injection, can Falco and Sloane get on the same page when it comes to their daughter’s future?

Scored with nearly 20 Meatloaf and Jim Steinman classics, this rambunctious rock opera comes screaming out of the gates with ‘All Revved Up with No Place to Go/Wasted Youth’. Act One continues to pack a punch with a sizzling ‘Paradise by the Dashboard Light’ – memorably staged atop of a convertible car – and an achingly tender rendition of ‘Two Out of Three Ain’t Bad’ by out-of-step lovebirds Zahara (Joelle Moses) and Jagwire (James Chisholm). 

By contrast, Act Two starts its engine in comparative idle – a flurry of duets slowing the pace right down. Once again, Fowler and Sexton – reprising their original roles – stand out with ‘What Part of My Body Hurts the Most’, whilst Tink (Killian Thomas Lefevre) infuses ‘Not Allowed to Love’ with palpable yearning. When ‘Dead Ringer for Love’ kicks in, the production bursts back into life; then it’s a home run of stone-cold classics right to the final curtain.

This is one sexy, fleshy, no-holds-barred production with flashes of pink thong, straddled laps galore and blood-smeared abs all making an appearance on stage. Not for the faint-hearted, Jay Scheib’s superb direction errs towards comedy rather than grotesque – lending a light-hearted feel to the whole production.

There was so much to love about the cast in Version 1.0 of this musical, but rest assured, those who are returning for Version 2.0 can find joy in the performances of the latest additions to the billing. 

Glenn Adamson’s Strat is fresh and enchanting, embodying the ‘forever young’ aesthetic of The Lost, whilst Martha Kirby’s Raven is his perfect ‘Wendy’ – a wistful romantic on the cusp of love; however, the standout performance is BOOH veteran Sharon Sexton as Sloane, who goes for every laugh and smashes every vocal.  

Jon Bausor understood the assignment – bringing us a set and costume design that hits every dystopian note. Falco Towers, suspended above ‘The Deep End’ and revealed to us via roaming videocam, is a particular triumph. It feels like a truly innovative use of space, as throbbing motorcycles, a vintage car and a sofa take it in turns to appear and disappear stage left and right.

Xena Gusthart’s clever choreography gives every member of the ensemble the opportunity to shine – especially during the riot scenes and the ‘push me-pull me’ love ballads.  

Of course, this production is all about Steinman’s music. Under the supervision of Michael Reed, the band are an absolute knockout – bringing us home with a final surprise number dedicated to the hitmaker who passed in April this year. Having bounced around in their seats and sung their hearts out, the audience is finally unleashed to give a roaring ovation. 

For this reviewer, Bat Out of Hell continues to be the benchmark by which all musicals are measured… For Crying Out Loud, You Know I Love You.  

Bat Out of Hell is on at the Opera House until Saturday, 2 October. Find out more and purchase tickets here.

Bloody Elle – A Gig Musical

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Demi Franks

Sitting inside one of Manchester’s most beautiful buildings, the excitement and anticipation for what is for many the first time back inside a theatre in over fifteen months cannot be underplayed.

From front of house, to centre stage, you could see the effort, love and pure joy that has gone into this re-opening. The atmosphere was palpable, and that wasn’t because England had just beaten Germany in a knockout game of football for the first time in over fifty-five years (although that might have just added a little extra something). Being in the audience, for the Royal Exchange and Rebel Productions’ world premiere in the current climate felt like a secret special treat.

‘Bloody Elle’ isn’t like your usual Royal Exchange offering, immediately the audience barrier is not only broken but well and truly smashed, as Elle addresses the audience directly from the off, refreshingly introducing the sound and lighting operating team as if it were part of the set of her gig.

‘Bloody Elle – A gig Musical,’ is a one-woman-show, set to an original score, written and performed by the astonishing Lauryn Redding. The story is of self-professed ‘potty mouth’ Danielle (Elle) who has been brought up on ‘cloud rise,’ by her widowed mother. Elle or ‘Gobshiiiite’ as her mother calls her, works at Chips and Dips which is ‘pretty good craic…and you get free chips.’ Here she meets newbie Eve, and the rest as they say is…. a two and a half hour, hilarious, uncompromising, fresh, original, genre-breaking, ‘gig musical.’

Redding is a force of nature and you can’t take your eyes off her. Not only does she fully command the auditorium for two and a half hours, she has the audience firmly in the palm of her hand. Full of witty, punchy one-liners, and hard-hitting truths that make you laugh out loud, and your insides squirm simultaneously, Redding’s writing is sensational, and the audience not only clings on to Elle’s every word, but we feel it deeper than maybe we are comfortable admitting. The way the piece takes a free-flowing route in and out of spoken word, prose and song is remarkable and as if performing a one-woman-show, playing an acoustic and an electric guitar whilst cleverly looping your whole set isn’t enough, Redding’s singing voice is equally sublime, effortlessly moving from northern busker vibes to more soulfully fueled riffs that really show off her excellent vocal capabilities. This original score is raw and current, yet also feels long-established and familiar as you find yourself nodding in enjoyment.

‘Bloody Elle’ is directed by the Royal Exchange’s joint Artistic Director Bryony Shanahan, who does a wonderful job here of bringing all the elements together seamlessly. Stoodley’s stripped back design, together with Webster’s atmospheric lighting, are both extremely effective. It makes the whole evening feel really intimate, almost like you’ve cheated your way inside a live gig and a theatre show all in the one ticket and it’s almost too good to be true.

Towards the end you can see Redding shedding her character’s layers and allowing the rawness and truth of the story to surface. ‘Coming out isn’t easy… it cuts you open from the inside,’ this is a story of love, heartbreak, acceptance and everything in between and the poignancy of watching Elle’s story unfold whilst Pride is being celebrated throughout the world is certainly not lost.

The entire experience is a cathartic and hugely uplifting one at the same time.

Yes, ‘the gig’ could quite possibly have been condensed a little, but your eyes are never left wandering, aand your attention doesn’t stray for that matter, either.

Shanahan admits in her Director’s note that without Covid this piece may not have even been written and it’s no mistaking that a piece like this would possibly never have been programmed on the main stage at the Royal Exchange; certainly a little nugget of joy to come out of this past year.

Bold, bright and brash, the Royal Exchange’s first socially distanced, re-opening offering certainly packs a hefty punch.

‘Bloody Elle- A Gig Musical’ runs until the 17th July tickets available via » Bloody Elle (royalexchange.co.uk)

Interview | Martin Kaye talks Elton John – It’s A Little Bit Funny

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Elton John: It’s A Little Bit Funny tells the incredible story of Elton John’s rise and fall (and rise again) as one of the most successful singer/songwriters ever.

What would you do if you got the chance to meet your all-time hero? That’s exactly what crossed Martin Kaye’s mind when he found himself performing in Las Vegas at the same time as Elton John a few years go – Kaye as Jerry Lee Lewis in Million Dollar Quartet and John in his The Million Dollar Piano show.

It’s this concept that has formed the basis for Elton John: It’s A Little Bit Funny, a new show starring Kaye that comes to The Bowdon Rooms in Altrincham from Monday 19th to Saturday 24th July 2021.

The show tells the (imagined) tale of one extraordinary night in Las Vegas when Elton superfan Kaye bumps into the bespectacled star and happens to spend the evening with him.

It’s a night of confessions, anecdotes, jokes and – of course – fabulous songs. And Kaye is the biggest Elton John fan ever – so who better to sing and play Elton’s greatest songs and narrate this tall tale of an unforgettable celebrity encounter. 

Here we learn a bit more about the show from writer and star Martin Kaye:

ON: Where did you get the idea for the show from?

Martin: “Well, I’m a massive Elton John fan, he’s the reason I play the piano and have done since I was a wee lad growing up in Manchester, so his music has always had a through line in my life. I was living and working in Las Vegas in ‘Million Dollar Quartet’ at Harrahs, and Elton John was also performing across the street at Caesars Palace, and I always wondered what it would be like if I ran into him, so… when I saw that Katy Lipson (one of my long time Mancunian friends) was creating so much incredible theatre in the UK, I told her I would love to work together on some kind of Elton show. She put me in touch with her script writer Chris Burgess, and the rest is history!”

 

ON: Can you tell us a bit more about the show and how it’s developed?

Martin: “Well, we firstly had to figure out how to tell a story without doing any kind of Elton John impersonation – I’m not a fan of those kinds of things, and I don’t sound or look anything like him anyway! (So anyone hoping for an Elton impersonator will be disappointed!) We wanted to just tell the story as earnestly as possible, and we thought “what better way than to tell it than through the music of Elton John and Bernie Taupin themselves”. So that’s what we did! It’s got the ups and downs, musically and narratively speaking, weaving through the story of my and Elton’s life. I’m at the front on the piano, singing and playing my little heart away, backed by the most incredible three piece band, and we play all the hits, as well as some really great deep cuts and b-sides which, if you know Elton’s music well, you may know, but if you don’t, it’s an opportunity to hear some new music, which just happen to be really great brilliantly-written songs by one of the world’s most beloved writing partnerships.”

ON: Why do you think Elton John’s songs are so well-loved and still as popular now as when he first recorded them?

Martin: “In terms of Elton himself, I think that, at the time, he was just so incredible to watch. He was nothing like anyone had ever seen since the likes of Jerry Lee Lewis and Little Richard – it was even a step beyond that – so people latched on to that. But it wasn’t just the performance. Match that high-octane performance with amazing songs. Life-changing songs. Songs that people could sing along to. It’s just one of those magical collaborations, isn’t it?! The Lennon/McCartney of the 70s and beyond. And the music was so diverse, so broad. It stretched from country to rock to pop to jazz to orchestral, even to musical theatre. It covered so many genres that there was something for everyone. And those early albums – gosh, those songs were just so good. Beautiful and original melodies, but somehow familiar. And at the very root of it, Elton just knows how to write an amazing chord progression. It’s so simple, yet it’s also not! And it always works. It just… works.”

ON: Which is your favourite Elton John song and why? Is this also your favourite one to perform?

Martin: “As you discover early on in the show, ‘Your Song’ was the reason I fell in love with music, so it’s easily my favourite song because of its importance to my life. And yes, it’s definitely one of my favourites to perform. There are others, sure, coz I also love the high energy stuff – Saturday Night’s Alright is a belter!”

ON: What was performing in Las Vegas like?

Martin: “I can’t even put it into words. It was a dream come true. It was everything I imagined it to be, and so, so much more. As soon as Million Dollar Quartet arrived, we became celebrities there – it was so strange, and as I mentioned earlier, the local Vegas community is so tight and really gets behind its artists, it’s so unbelievably supportive. It’s like nothing I’ve ever experienced before. So while I was there, I worked on other projects, I performed at charity shows and other events, I made friends for life – and I got to go to work on the strip! As an entertainer, living and working in the entertainment capital of the world – yep, that’ll do!”

ON: Are you looking forward to bringing the show to the Bowdon Rooms? What can audiences expect?

Martin: “I can’t WAIT. To be able to bring any show to my hometown of Manchester is special, and to be able to perform a show that’s so close to my heart – it doesn’t get much better than that really! I don’t want the audiences to expect anything, except a really fun night of incredible music, performed by a really tight band, with a wild story told by a local bald bloke.”

Elton John: It’s a Little Bit Funny stars Martin Kaye and his band, directed by Ben Stock, written by Chris Burgess, musical arrangements by Andy Collyer, production design by Ben M. Rogers, produced by Katy Lipson for Aria Entertainment.

Elton John: It’s a Little Bit Funny runs at the Bowdon Rooms, Altrincham from Monday 19th to Saturday 24th 2021. Please visit The Bowden Rooms for more information and tickets.

Listing Information

Elton John: It’s a Little Bit Funny

Monday 19th to Saturday 24th July 2021

The Bowdon Rooms, Altrincham

Tickets: £25.00 + Booking Fee 

Concessions: £22.00 + Booking Fee

For groups of 10+ please contact the venue direct on 0161 926 8992 http://www.thebowdonrooms.co.uk

An Evening With Bruce Dickinson in Salford

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Legendary Iron Maiden lead singer BRUCE DICKINSON is today delighted to announce a very special one man show for Summer 2021 – which comes to The Lowry on August 4.

‘An Evening With Bruce Dickinson’ is Bruce’s first-ever UK spoken word tour and follows sold-out shows across Europe and Australia.

This unmissable six-date tour – peppered with anecdotes from Bruce’s extraordinary life both on and off-stage, and delivered in his own inimitable anarchic style – visits Brighton, Salford, Bradford, Nottingham, Birmingham and London in August.

‘AN EVENING WITH BRUCE DICKINSON’ – FEATURING Q&A

 SIX 2021 UK SHOWS ANNOUNCED ON SPOKEN WORD TOUR

LIVE NATION today announces a very special Evening With show by IRON MAIDEN singer, BRUCE DICKINSON on his first-ever UK spoken word tour.

THE SUMMER 2021 DATES ARE:

AUG 1       BRIGHTON               THEATRE ROYAL

AUG 4       SALFORD                 THE LOWRY

AUG 5       BRADFORD              ST GEORGE’S HALL

AUG 8       NOTTINGHAM          THEATRE ROYAL

AUG 9       BIRMINGHAM           THE ALEXANDRA

AUG 10     LONDON                   O2 SHEPHERD’S BUSH EMPIRE

Tickets go on general sale at 10am, Thursday April 29 via ticketmaster.co.uk

Interview | Rebecca Ledgard talks Noah Bear and Singing Medicine loop

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In a year where arts organisations and charities have been hit extraordinarily hard by lockdowns and restrictions on social interaction, new innovative approaches have been put in place to ensure their vital work continues.

No-one knows this more than the team at Singing Medicine who have created a limited-edition singing teddy bear to raise vital funds for their work supporting the health and wellbeing of ill children.  The bear, named Noah because of its meaning rest and comfort, plays the team’s signature song ‘Music Inside’ when the jacket button is pressed providing comfort to children while encouraging them to sing and play.

We spoke to Rebecca Ledgard, Director of Education, about how the pandemic has impacted and reshaped their approach helping vulnerable children in hospital.

Tell us about Singing Medicine and how it started?

We (Ex Cathedra) were running our Singing Playgrounds project for primary schools which is all about playing through singing. Sally Spencer, one of the singers in Ex Cathedra choir, was working on our community programme and had been involved in some of our Singing Playgrounds work. She was, and still is, a nurse in Birmingham Children’s Hospital. She said, ‘The children I work with need this too!’. We began to explore how we could include the children in the hospital in the Symphony Hall Singing Playgrounds workshops and soon decided actually we should create a special project where we took the singing play to them in their hospital beds.

Why is Singing Medicine important? How do we benefit from singing?

We think singing, and singing-play is really important! Sally describes singing in Ex Cathedra choir as her own singing medicine. We are all really passionate that all children should play and develop through singing and have the chance to enjoy singing. When we sing cortisol is reduced (stress) and feel-good hormones are released. It’s the body’s natural pain killer, all areas of the brain are stimulated, the deeper breathing aids healing and fights infection. And it’s just wonderful to sing with other people. It makes us feel good. When we started Singing Medicine we just wanted not to leave out children in hospital from our education and participation work, but we soon realised how enormously beneficial it was for them for being distracted, soothed and calmed, or stimulated and having fun, and being able to use their imaginations and make decisions through the singing games we create.

The choir has been visiting sick children weekly at the Birmingham Children’s Hospital for the past 16 years, how has the pandemic affected these visits?

The whole team (or nearly) happened to be together on Friday 13th March 2019 celebrating team birthdays when we found out we would not be able to go back on the wards for a very long time. Together there and then we discussed how the children would need Singing Medicine even more so now that they were about to become even more isolated – and we should not stop. We decided there and then that Singing Medicine mission, aims and values didn’t need to change, only how we got Singing Medicine to the children. We started to plan how we could make interactive singing films for the children as though we were still sat next to them.

What is the inspiration behind Noah Bear?

For years we dreamed of having a singing teddy to leave with the children when we left them but this seemed an impossibility. During lockdown Joanna Harrison (The Snowman) imagined and drew us a bear. Vada Recording Studios helped us with the recording to put inside and Louis Kennedy offered to make the singing bear in support of Singing Medicine. Noah Bear has been a real boost to us (we have also felt the impact of these difficult times) and he has inspired our creativity – he now has his own youtube playlist of singing games for the little children!

When you squeeze him Noah Bear sings and then says, ‘Will you sing with me?’ and then continues to sing. We were sent a film of a little girl singing with Noah Bear which was wonderful!

Noah Bear sings a beautiful song. Did the Singing Medicine team compose it?

I composed it to use in one of our SingMaker workshops and Rob Challinor added his magic and brought it alive. We filmed children in the hospital singing the song, coincidentally and amazingly the week before lockdown working with the chaplaincy team.

When we were thinking what song we should put inside the teddy bear Music Inside seemed fitting because the lyrics are ‘Music in me bubbles inside. Music in me makes me smile. Music in me makes my heart sing. I’ve got music inside.’

What is your favourite thing about being a part of  ‘Singing Medicine’?

Everything! I get to work with a special group of people, who are joyous and creative and want to make a difference to children. The teamwork is wonderful.

What is one of your most unforgettable ‘Singing Medicine’ moments of the last 16 years?

Each team member has their own special memory that stays with them. I can’t forget how three of us were brought into a room where a large family had gathered, to sing to a child because the grandfather wanted Singing Medicine to be the last thing his grandchild experienced. He sang with us while his daughter rocked her child.

One of the last sessions before lockdown was a little boy sat in his leather jacket on his bed. He was very sick. He was from Syria and neither of us spoke each other’s language, although I attempted thank you at the end. We played a singing game and played some percussion and we laughed together too. He grinned and waved when we left.

Singing Medicine member Gemma always recalls the time we were asked to sing with a patient who had not spoken for 2 weeks after undergoing surgery. The patient was scared of hospital and everything that was going on there. The nurses explained that we would probably not get much response from them. However, we sang and played a jungle game and dad did an Oscar-winning performance of a monkey. The child’s tummy moved as though they were laughing. We then moved on to a picnic song and each adult took a turn as though they were all playing together and including the child.  When it came to their turn in the song, mum sang as though helping her, “have you brought the” and she got interrupted by the child at the top of her voice shouting “bananas!”. Other than one whispered “Daddy'” it was the first word she had uttered in 2 weeks.

There are also so many wonderful moments every visit though where a child sings and smiles and we laugh together. The others in the team talk of situations where they were able to distract a child with singing-play when something perhaps painful or horrible was happening to them, or the first time a child spoke after being in a coma and the joy and laughter and happy tears from parents and nurses dancing. It’s not uncommon for a child to sing even though they are not talking. There are so many I couldn’t single out just one.

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You’re based in the West Midlands but your work reaches far beyond this location. Can you give us some examples of this?

Birmingham Children’s Hospital is like our home but we have also delivered Singing Medicine to Great Ormond Street, Warwick, and Heartlands. We’ve also presented it in Auckland and Singapore.

And we are now online and so everyone can get involved around the world. Our interactive films are free to access and easily accessed via our YouTube channel Ex Cathedra Singing Medicine – YouTube

We also host a Facebook Live session every Friday at 10:30am (pandemic restrictions permitting) (1) Ex Cathedra – Singing Medicine and Singing Pathways | Facebook

Where can you buy Noah Bear? How can people get involved and support the work you do?

There are multiple ways people can get involved and support us. We would be really grateful if people bought their own Noah Bear for a child they know. Every child can benefit from singing with Noah Bear – singing through play. And the sale of every Noah Bear will bring financial support to enable us to keep bringing Singing Medicine to children in hospital – at the moment through our interactive singing films, and one day soon when we can go back onto the wards.

You can also find lots more merchandise to purchase and Christmas gifts to browse at www.bekindsingwithnoah.com

You can also make a donation to the project here: https://cafdonate.cafonline.org/9566#!/DonationDetails

Or Text: SING, followed the by the amount you wish to donate e.g. SING5 to donate £5 to 70470

What would Noah Bear’s wish for Christmas be?

That everyone realises how important singing is for children – all children, and just gets singing.

Website
www.bekindsingwithnoah.com

Facebook: /singingmedicine
Twitter: @singingmed & @RebeccaLedgard
Instagram: @excathedrasingingmedicine