Musical Theatre

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.

 

The Book of Mormon

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

“I love all these Mormon stories, they’re so f*cking weird!”

Its hard to believe The Book Of Mormon first premiered on Broadway only a little over ten years ago. However, its no surprise whatsoever that it won 9 Tony Awards including ‘Best Musical’ just three months after it’s opening night and has since gone on to smash box offices and garner mass critical acclaim, having played both here in the London’s West End and across continents continuously ever since. It’s only actually in recent years that we have been lucky enough to maybe catch a touring version of the show in this country… and boy are we lucky to have this on our doorsteps for nearly a whole month here in Manchester!

From the writers of ‘South Park,’ The Book of Mormon is the story of two young Mormons, Elder Price and Elder Cunningham (played by Robert Colvin and Conner Peirson respectively), who have been paired together and sent to Uganda on their mission. We watch them encounter a completely different culture out in Africa and see the trials and tribulations that comes with being a Mormon missionary in a place far far away from sunny, comfortable America, and where “everyone has aids!”

In an age of supposed ‘Political correctness,’ this laughs, dances and spits in its face. If you’re afraid of hearing the ‘C’ word shouted at you, then you might want to sit this one out. Yes it’s crude, but its fantastically, hilariously and unapologetically crude.

The merging of UK and US talent both on and off stage, brings almost the perfect synergy to this touring production and it’s results are frighteningly electrifying. One third of the writing team, Trey Parker, co-directs with Broadway’s Casey Nicholaw, who also choreographs again for this production, bringing a combined wealth of unmatched expertise and experience and the results most definitely pay off, having masterfully ignited and nurtured one of the strongest companies I have ever witnessed on any stage.

Although it has to be said that Peirson brings an incredible and unparalleled energy to the stage, having clearly honed in on inhabiting Elder Cunningham down to the bone; with every movement, every action, so beautifully and ingeniously crafted, so much so that its hard to believe he’s a long-term veteran of the role. Special mention must also go to Jordan Lee Davies(Elder Mckinley/Moroni) who particularly excels as McKinley performing an uproarious turn, subsequently having the audience right in the palm of his hands at all times. That being said, it’s hard to pick stand-outs as the entire ensemble are extraordinary — it is certainly no mean feat keeping a show of this scale running so exceptionally well as they do.

This production is a treat for all the senses. Musically we are gifted a feast, O’Regan’s band under Finlow’s supervision don’t miss a beat and are simply perfection. Visually too, Pask delivers exceptionally with his scenic design, having worked on over 50 productions on Broadway, including… yep you guessed it— The Book of Mormon. Broadway has well and truly been brought to the streets of Manchester, his attention to detail and artistry, together with Roth’s costume design are equally impressive.

The Book of Mormon has everything you’d expect from a big-scale, bright and buzz-y musical, ticking every box along the way…the eye-catching, entertaining WOW ensemble routines, including, ‘Spooky Mormon Hell Dream’ and ‘Turn it Off’ (which has an excellent and impressive tap sequence sneaked in for good measure). In addition,there are epic solo ballads such as ‘I Believe’ executed with power and exuberance by Colvin (Elder Price), culminating with a heartfelt and uplifting ending we all so desperately crave (especially in these current turbulent times). What this show has above all else, in between all of that, and better than any other show out there at this moment in time – is genuine, ridiculous, ludicrous, laugh-out-loud hilarity splattered throughout it’s entirety. Find me a funnier show… and I’ll call you a liar!

Never mind your Christmas parties 😉 … rest assured this has all the ‘feel good factor’ you’ll be needing to see you through to the new year. Don’t sleep on it — beg, borrow or steal a ticket whilst this show is in town!

‘This Book (of Mormon) WILL change your life’

The Book of Mormon runs at the Palace Theatre Manchester until 1st January 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

The Wiz

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

As The Wiz fast approaches it’s 50th anniversary, Hope Mill Theatre together with Ameena Hamid Productions and Chuchu Nwagu Productions have reimagined this multi award-winning musical, based on the much loved classic, The Wizard of Oz.

As Dorothy struggles with her identity a storm whips up, whisking her away to the magical land of Oz where she embarks on an unforgettable journey of self discovery, realising its not magic but self-belief that will bring her home.

Cherelle Williams takes on the role of Dorothy, slipping into silver sparkly trainers as she eases on down the yellow brick road. Her characterisation is superb while her voice is simply stunning, her rendition of Home is absolute perfection.

Tarik Frimpong is exceptional as the Scarecrow, using his whole body to tell the story he perfectly embodies the role while his skill in delivering Leah Hill’s impressive choreography is jaw-dropping.

Llewellyn Graham makes an incredible professional debut as the seriously soulful Tinman, he is an absolute joy and brings such fun to the role.

Jonathan Andre completes the quartet as the cowardly Lion & has the audience in the palm of his hand from the moment he arrives on stage. His playfulness and fun shining throughout.

Special mention must also go to Cameron Bernard Jones who is super sassy as The Wiz plus Ashh Blackwood, Anelisa Lamola and Bree Smith who all bring buckets of personality to the witches of Oz.

The Wiz is a true ensemble show, each and every member of the cast give their all. They exude joy and it’s infectious, I smiled all the way through this pacy show & would happily have stayed in my seat to watch it immediately again. Kudos to casting director Ryan Carter who has put together this outstanding cast.

Simon Kenny’s set & costume design are bright & bold, setting the tone of this vibrant piece from the start while Sean Green’s orchestrations are magnificent.

The original Broadway musical was written at a time when the civil rights of black people were still being hard fought and today almost 50 years later the importance of the Black Lives Matter campaign could never be underestimated. The Wiz celebrates loudly and proudly Black voices while choreographer Leah Hill gifts us with a rich feast of genres from across the African Diaspora.

Director Matthew Xia has created something truly magical with this talented cast. It’s joyful, soulful and bursting with pure heart, a must see!

The Wiz is on at Hope Mill Theatre until Sunday 16th January tickets available here.

The Not So Ugly Sisters

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Not So Ugly Sisters is a musical alternative tale of Cinderella and what happened after the “happily ever after” told from a whole new perspective, brought to us by Wrongsemble, Leeds playhouse and Red Ladder.

Situated in a hair salon the story is told by the captivating Barb (Lucy Rafton) and Dolly (Daisy Ann Fetcher), Cinders step sisters, on the day of Cinders marriage to Prince Smarming. An event which Barb and Dolly have not been invited to, much to their great disappointment.


They share their childhood memories of growing up with Cinders, through funny stories and fabulous musical numbers. Barb (Lucy Rafton) brings hilarious sarcasm and Dolly (Daisy Ann Fletcher) an energetic positivity that is both comic and moving. The script by Elvi Piper is witty, intelligent and contemporary which engages the younger generation with references to “hashtags and dms”. KS2 and KS3 Christmas school trip audiences are going to love the hilarity and wittiness of the dialogue.

Make no mistake, the success of this show is largely thanks to the pure talent of Lucy Rafton and Daisy Ann Fletcher: Their vocals are flawless, their comic timing incredible. An absolutely magical partnership which brings the tale to life and engages the audience (which spans generations) fantastically. They are a dynamic, well rehearsed duo – bouncing off of one another.

The set and lighting design works brilliantly for this intimate show and the use of props to enhance the storytelling works equally as well.

The people of Sale are lucky to have this on the doorstep over the Christmas period. If you haven’t booked it yet, you absolutely should! A must see, belly laughing alternative to the traditional tale for the modern day audience.

The Not So Ugly Sisters is on at Waterside, Sale, until Saturday 1st Jan tickets available here.

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

White Christmas

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

White Christmas takes us on the journey of two American soldier pals Bob Wallace and Phil Davis, who served under General Henry Waverley in World War Two, from their days entertaining their fellow GIs in Germany to their lives as entertainers on the stage in America some ten years later, as the famous duo Wallace and Davis.

Taking in a show in a run down club in New York City, they encounter the Haynes sisters, who just happen to be the sisters of an old GI buddy. Phil Davies is instantly enamoured with Judy Haynes and together they hatch a plan to travel (as a four) to Vermont without the knowledge of sister Betty and Bob Wallace: who seemingly clash at their first encounter.

The train journey is a riot of song about snow – delivered marvellously by the very talented company. Once they all arrive in Vermont there is great disappointment from the fellow train passengers about the lack of snow and they turn right around and leave. Leaving the Inn void of guests.

It is a great surprise to Phil and Bob to discover that the inn is owned by the one and only General Waverley from their army days – the general is having financial difficulties and from here a plan is hatched. Bob and Phil will put on the show of shows on Christmas Eve to help raise cash for the General and give his business the boost it needs.

Things do not go according to plan for Bob though when concierge Martha (played by the incredible Sally Ann Triplett) misinterprets a telephone message from an old pal and relays the mixed up message to Betty. Betty flees and it’s up to Bob to find her and make sure the show goes on.

This show has all the ingredients of a Broadway show- it’s filled with glitz and glamour and big band numbers. The ensemble are exquisite – absolute masters of every dance genre that they perform- from jazz to ballet to tap and more! The costumes and the choreography are exceptional. The dresses are timeless and clearly no expense has been spared in the wardrobe department.


The cast is lead by Matthew James (Bob), Dan Burton (Phil), Jessica Daley (Betty) and Emily Langham (Judy) each of who are sublime. They have so much chemistry and stage presence- the dynamic between the four works just beautifully. Credit to the casting director.

Dan Burton plays the wise guy, joker incredibly well and he dances with grace and effortlessness. Jessica Daley wows the crowd with her entrancing vocals, drawing us in to her heartbreak through her stunning performance of “love, you didn’t do right by me”.

Sally Ann Triplett, who plays Martha, is outstanding in every way and had the entire audience eating out of her hand from her first scene. She is comic, charming, vulnerable and engaging, and can she move? Well, yes she sure can!


This show has real heart and shouldn’t be missed. Not a fan of Christmas shows? Then never fear this isn’t really about Christmas, this is about love, friendship and camaraderie.

The Manchester crowd absolutely loved this show, the entire theatre was on its feet before the last number had even begun. It’s an absolute must see!.

Waitress

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Having been delayed by a year due to the pandemic, theatre fans can finally satisfy their cravings for first-class musical theatre as Broadway and West End smash-hit show Waitress serves up an absolute treat of a night at Manchester’s Opera House.

Based on the 2007 film by Adrienne Shelly, with musical with direction by Diane Paulus, book by Jessie Nelson’ and music and lyrics by Sara Bareilles, Waitress is a delicious concoction of self-empowerment, sisterhood, and some seriously satisfying sass.

The story is based around talented baker Jenna (Lucie Jones), who waitresses at Joe’s Pie Diner alongside pals Becky (Sandra Marvin) and Dawn (Evelyn Hoskins), the trio of Southern Belles may be tough talkin’ but their friendship is as sweet as apple pie.

While Jenna is famous locally for her showstopping flavour combinations her private life is nothing worth celebrating. Trapped in an abusive marriage, her thuggish husband Earl (Nathanael Landskroner) belittles her at every opportunity, mocking her baking, pocketing her tips and leaving her under no illusions as to who is the boss; so understandably she’s not delighted when she realises, she has her own bun in the oven.

Jenna’s daily fantasies about ways to escape not only offer up the names to her daily specials but also drive the show, while trysts with her gynaecologist, Dr Pomatter (Matt Willis) bring an unexpected twist.

This feel-good feminist tale has empowerment running right through it as Jenna moves from trying to bake her troubles away to gaining a genuine self-awareness and acceptance of who she is and what she stands for. There are important themes covered in Jessie Nelson’s script such as domestic abuse, unwanted pregnancy, and infidelity, these are balanced perfectly with laugh out loud moments and hilarious close to the bone conversations which will have you blinking back the tears one moment and crying with laughter the next.

This is a musical with pure heart, led extraordinarily buy the sensational Lucie Jones, who delivers stand-out ballad She Used To Be Mine with such raw emotion it’s literally show-stopping. Her ode to the girl she once was is truly breath-taking. She is perfection as Jenna and measures the amount of vulnerability and spirit just right.

Perfectly complimenting Jones are Sandra Marvin and Evelyn Hoskins as no-nonsense Becky and wonderfully kooky Dawn. Both are a joy, and the trio together are superb, they breathe brave and brilliant life into each character. Matt Willis is excellent as the clumsy but endearing Dr Pomatter while George Crawford is an absolute delight as scene stealing Ogie. It was wonderful to see Michael Starke back in Manchester delivering a cracking performance as diner owner Joe while Christopher D. Hunt is great fun as Cal.

The lives depicted may be messy and mixed up but they somehow come together to make the perfect recipe leaving the audience uplifted, deeply moved and leaping to their feet for a roaring standing ovation. Waitress is a perfect slice of theatrical magic.

Cathc Waitress at Manchester’s Opera House until Saturday 20th November tickets available here.

Hairspray

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Reviewed by Nicky Jones

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Being whisked away from a dark autumnal night into 1960s glitz and glamour, whilst surrounded by fabulous drag queens strutting along the red carpet can only mean one thing; one of our all-time favourite musicals Hairspray is back in Manchester!

This is an incredibly exciting multi-coloured and multi-layered production, with a serious and important message at its core. Based on the 1988 John Waters film, Hairspray follows Baltimore teenager Tracy Turnblad’s dream to dance on The Corny Collins Show. Tracy isn’t as conventionally looking as the show’s usual crew and faces an uphill battle from the start. What begins as a burning ambition to win a role on her favourite teen show soon becomes a campaign for social change which sees Tracy crusade to promote racial integration as she battles not only bigots but body shamers too.

After receiving the job offer at the beginning of 2020 and having to wait until mid-2021 to start in the role, Katie Brace finally makes her professional debut as Tracy Turnblad – and oh was it worth the wait! With her infectious smile, powerful voice and boundless energy she fits this role perfectly. Her comedic acting is flawless, this young actress has a huge career ahead of her.

The show opens with Tracy waking up in her bed in Baltimore, bursting onto the stage with the first number Good Morning Baltimore. The strong Baltimore accents are prominent from the first note, and aren’t dropped once throughout the show. You’re really taken into Tracy’s world in Baltimore there and then.

Alex Bourne and Norman Pace star as the hilarious duo Edna and Wilbur Turnblad. The audience roared with laughter as they lapped up Timeless To Me – clearly a favourite throughout the auditorium. They both deliver their witty characters perfectly, never breaking character despite the audience being hysterical and the scene being rather raunchy!

The costumes throughout the production are bright and bold, and are coupled with strong, punchy, fast paced choreography – which together really take you straight back to the 1960s. The show promotes an important message of equality and inclusion with wit and charm, but it’s not at all preachy. The entire show has you beaming with happiness.

The set, the lights and the live band accompany the cast to make this incredible show really come to life. Hits like You Can’t Stop The Beat, Run and Tell That and Welcome to the Sixties are all feel-good songs that will keep you in smiling all week long.

This timeless show never fails to entertain – it’s empowering, it’s exciting, it’s hilarious and overall it’s a bloomin’ great night out!

Hairspray is at the Palace Theatre in Manchester from Mon 25 – Sat 30 October & Mon 8 Nov – Sat 13 November 2021 tickets available here.

Bedknobs and Broomsticks

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

If there’s one thing theatre audiences love, it’s a Disney adaptation. From full-scale productions such as the long-running Lion King to the newly opened five-star smash, Frozen, right through to magical musical numbers and glittering finale scenes in local pantos; Disney’s influence runs right through British family theatre and is often the first theatrical experience many children have.

Latest adaptation, Bedknobs and Broomsticks flew into Manchester’s this week, stopping at the Palace Theatre on it’s World Premiere UK tour, amazing to think despite celebrating it’s 50th anniversary there’s never been a full-scale production before!

While the lesser recreated of the Sherman Brothers penned Disney hits (Mary Poppins, The Jungle Book, Chitty Chitty Bang Bang) it’s charm and appeal have made it a firm favourite for fans, while it’s classic score is still a childhood staple. Yes, the plot is a bit bonkers at times, but for many that’s a huge part of this cult classic’s charm.

Film fans will be happy to hear that this stage adaptation remains largely faithful to the film with some padding out of backstories which works beautifully.

Set in the 1940’s, evacuees and siblings Charlie, Carrie and Paul have been sent to the countryside after losing their parents during an air raid in London. Miss Eglantine Price takes them in and they soon discover all is not as it seems as apprentice witch Price reveals she just needs one final spell from former tutor Professor Emelius Browne in order to use her magic in a bid to help the war effort. With the help of an enchanted bedknob their adventures begin!

Additional songs by Neil Bartram fit well with the much-loved classics, Portobello Road, The Beautiful Briny, The Age Of Not Believing and my personal favourite Substitutiary Locamotion with new addition Negotiality feeling like it’s been there all along.

Jamie Harrison’s impressive set and dazzling illusions really add to the magic of the piece. The bed really does fly as does Miss Price who swoops up into the air on her broomstick and as for the final battle scene, well seeing really is believing!

Gabriella Slade’s costumes are stunning, intricate, elaborate and utterly gorgeous while there’s a wonderful use of puppetry weaved into the production. Designer Kenneth MacLeod has created some spectacular puppets while the cast bringing them magically to living, breathing life. Norton the Fish portrayed fabulously by Rob Madge deserving of a spin off show of their own! While actors being turned into rabbits right before your eyes is a whole lot of fun! This really is physical theatre at its finest.

Dianne Pilkington is sublime as Miss Englantine Price, witty, charismatic and with a voice that’s pure perfection. Charles Brunton compliments her wonderfully as Emelius Browne, his eccentricities and magic skills endearing him to the audience immediately.

Conor O’Hara gives eldest child Charlie true depth as he demonstrates powerfully the influence war has on the life of a child. His journey as Charlie breathing fresh ideas into to this classic tale.

The quieter moments are given the time that they deserve to be impactful while the big full ensemble numbers really take the entertainment levels up a notch. The Portabello Road scene and the Beautiful Briny dance competition are a joy and leave you wishing there were a few more full ensemble numbers to enjoy. I must also mention how wonderful it is to see such a representative cast on stage, more of this please!

The ensemble work hard in this show, moving sets and becoming scenery throughout. This took a little getting used to and on occasion felt like there was a little too much to look at. The pace of Act 1 slows a little at times while Act 2 burst into gorgeous, glittering life and before you know it the bows are being taken.

This is a beautifully crafted show, technically brilliant, superbly designed and wonderfully delivered. There’s peril, romance, incredible puppetry and thrilling magic. Film fans will come away happy while an army of new fans no doubt will be gained. An enchanting production which will delight young and old alike.

Bedknobs and Broomsticks is on at the Palace Theatre until Sunday 24th October tickets available here.

Tell Me On A Sunday

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️

“Mum, I know you’ll think I’m potty… but at last I think I’ve found him!”

Tell Me on a Sunday is Andrew Lloyd Webber and Don Black’s first (and often forgotten) musical love child. This bittersweet tale is the story of Emma, played by the powerhouse that is Jodie Prenger, as she travels across the globe, from London, to New York, to California and back, on a quest for long-lasting, meaningful love. A one hour, one-woman show, which brings to the surface all the nostalgia and sentimentality of falling in and out of love and all the wonderfully uncomfortable bits in-between.

Although maybe not as well known to a wider audience as some of Webber’s other works, musically the show does have some beautifully powerful numbers, including the stunningly heartbreaking title song Tell Me on a Sunday, which witnessing Prenger nail is an absolute treat and a stand-out moment.

Francis Goodhand musically directs with panache. But there are plenty of ‘Goodhands’ here in the band too who play beautifully throughout. In fact, in conversation after the interval, Goodhand describes this as musical theatre at its best – ‘no smoke or mirrors,’ just really rather good music, which is most definitely true. Its also nice to have the band onstage throughout, who are a very worthy backdrop to Prengers’ wonderful Emma.

Anyone familiar with Prenger, knows that she not only oozes bucket loads of charm and charisma, but is a formidable performer. Least not her vocals, which are effortless and consistently sublime during this hour long song-cycle; in fact they are Streisand-esq at parts (and I don’t say that lightly!) Her portrayal of Emma is full of subtlety and raw sentiment, as she carefully navigates us through a whole range of emotions, from hopeful to desperate, vulnerable to strong, taking us on the journey with her every step of the way. Prenger provides a wonderfully crafted, fully realised performance, as she commands the stage and without us even realising the hour has passed; she is a pure delight to watch.

Unusually and unique to this production, after the interval we are invited to re-join Prenger for what is a mini ‘An Evening with…’ style second act and proves equally as enchanting as the first. Bursting back onto the stage, Prenger welcomes us back with vigour and so much likability and humour, its (ironically) hard not to fall in love with her!

She spoils us with some more songs and answers some interesting questions from the audience. This evening Harry, 11, asks for any tips about entering the acting industry, to which Prenger quickly exclaims: “DON’T DO IT!” prompting fits of laughter from the audience; she most certainly has them in the palm of her hands. We are also introduced to the very talented Jodie Beth Meyer (Understudy Emma), who performs for us alongside Prenger, and whose voice is equally impressive. In a clever turn by the producers, this addition of an ‘Act 2’ really makes you feel like you’re making a night of it and getting your money’s worth!

It must be acknowledged that its been a tough old time for the arts and as such producers are in requirement of that much needed revenue boost, which performing in large-scale spaces can enable. However, this revival of the 2016 Watermill Theatre’s acclaimed production does at times seem a little lost in the Lyric theatre here in the Lowry. It’s certainly easy to see how this intimate, personal show lends itself better to a smaller-scale space and possibly would have been better suited to one of the smaller spaces that the magnificent Lowry has to offer.

Yes there are elements of the show that appear a little outdated, but the premise still remains universal and the message rather poignant as Prenger aptly reminds us towards the end of show, ‘Dreams Never Run On Time’ which hits us differently, especially with the world still in a strange, unsettling and unpredictable place. However, the audience are still hugely thankful to be back inside an auditorium watching and listening to live musical theatre and here Don Black’s clever, cute, conversational lyrics, are beautifully matched by Webber’s distinctive and indisputable music, both of which are perfectly complimented by Prenger’s show-stopping talent and makes for a lovely mid-week treat – never mind a Sunday!

Tell Me on a Sunday runs at the Lowry Theatre until Saturday 23rd October tickets available here.

Grease

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️

“If you’re having fun then you’re Number one!”  proclaims a certain Mr. Peter Andre as Vince Fontaine to a packed out Manchester Opera House – and boy he wasn’t wrong!

This Tuesday evening Quay Street was buzzing with excitement and that wasn’t just because it had actually managed to stop raining for an hour, but probably to do with the fact that yes it’s still an absolute treat to have live theatre return to the heart of the city. Amongst the many excitable attendees queuing to take their seats were multiple sets of Manchester’s own Pink Ladies, whom will have waited patiently for over a year to see this latest production.

Although now synonymous with the Travolta/Newton-John illustrious partnership, it’s easy to forget Grease the movie actually succeeded the theatrical production’s New York debut by six years. However, the story of the Pink Ladies and the Burger Palace Boys (the original T-Birds) and their subsequent trials and tribulations as they make the painstaking journey from adolescence to adulthood, still lies at the heart of this cult classic.

Nikolai Foster’s production, originally planned for 2020, but halted due to the Covid pandemic, clearly pays homage to the production’s original predecessors. Foster does a superb job at bringing together all the elements to make this a great comeback for the latest UK touring production.

The production is a visual delight, the characters look every bit the part; the jeans, the jackets and the ‘Grease-y’ hair styles are out in full force. All of which is smoothly complimented by Richmond’s clever and versatile set design, which centres around a 1950’s school gym, manoeuvring and evolving throughout, becoming the school hall, canteen, the local diner, the girls’ bedroom etc. accordingly.

Equally, it’s pure joy to watch Arlene Phillips’ Choreography, which again brilliantly honours the original era, but also packs a little extra punch with some modern elements sprinkled in, providing us with some stand-out ‘WOW’ ensemble moments, including the dance break of both ‘Greased Lightning’ and ‘We Go Together.’

Musically the production was faultless; beautifully arranged by Travis and directed by Glover to get the best out of both the band and the vocal harmonies. It’s easy to forget amongst the classic sing-along smash-hits that there are some delightfully stunning little melodies gifted within the score. Doody’s (Alex Christian) rendition of ‘Those Magic Changes’ produced a beautifully sweet moment, sensitively crafted and wonderfully performed.

Leading the cast, Dan Partridge excellently personifies Danny Zuko with the poise and self-assurance needed, together with Ellie Kingdon (alternate Sandy) whom whilst making her professional debut on this production, stepped in as Sandy for tonight’s performance with hours to spare as part of a couple of last minute cast changes, simultaneously managing to deliver one of the most powerful Hopelessly Devoted To You’s I have ever witnessed, fully deserving the rapturous applause she received at the end of the number.

The cast as a whole are bright, exuberant and energetic, they constantly drive the show forward with confidence and charisma, most certainly breathing fresh life into this old classic. It is utterly refreshing watching this dynamic and vibrant cast doing their thing! Whom, apart from Andre, who did in fact deliver a rather good all-round charming performance once he came down from his raised DJ booth and onto the stage in Act 2, mainly consists of a relatively unknown, fresh, young group of thriving triple threat musical theatre actors.

Although special mention has to go to the ‘scene-stealing’ Jan and Roger (played by Byrne and Barnett respectively), both of which embody these two hilariously-sweet characters so wonderfully.

At times this production veers slightly away from the recognisable ground that die-hard Grease fanatics would be expecting, with a few chop and changes along the way and the inclusion of some lesser known musical numbers. However at the centre of this production remains the same familiar, loveable, funny, warming story of the Rydell High class of 1959.

Forget your Pumpkin Spiced Lattes…this is certainly not only the one that you want, but the one that you need to lift your spirits and give you that warm fuzzy feeling this Autumn.

Grease runs at the Opera House Manchester until 23rd October tickets available here.