Musical Theatre

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.

The Osmonds : A New Musical | Casting Announced

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The five actors who will be playing Osmond brothers in the world premiere of THE OSMONDS: A New Musical have been announced.

Ryan Anderson as Merrill Osmond, Jamie Chatterton as Alan Osmond, Alex Lodge as Jay Osmond, Danny Nattrass as Wayne Osmond and Joseph Peacock as Donny Osmond will lead the UK &  Ireland Tour which begins at Leicester’s Curve on 3 February 2022 and will arrive at Manchester’s Palace Theatre on Tuesday 9th until Saturday 13th August 2022.

THE OSMONDS: A New Musical with story by Jay Osmond tells the true story of the five brothers from Utah who were pushed into the spotlight as children and went on to create smash hits, decade after decade.  From their star residency on The Andy Williams Show from 1962 to 1969, to pop stars and ‘Osmondmania’ from 1971 to 1975, to the arrival of The Donny & Marie Show, a popular variety TV show, from 1976 to 1979, The Osmonds lived a remarkable life recording chart-topping albums, selling out vast arena concerts and making record-breaking TV shows – until one bad decision cost them everything. 

The musical features a list of 1970s anthems, including One Bad Apple, Down by the Lazy River, Crazy Horses, Let Me In, Love Me for a Reason, (We’re) Having a Party, Puppy Love, Long Haired Lover From Liverpool, Paper Roses and many more. 

Website:  TheOsmondsMusical.co.uk 

Facebook:  https://www.facebook.com/theosmondsmusical/

Twitter:  @OsmondsMusical 

Instagram:  Theosmondsmusical                   

Rock of Ages

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Reviewed by Nicky Jones

Opening Night verdict ⭐️⭐️⭐️⭐️

Bringing the audience straight back to 1987, Rock of Ages opens with a guitar solo which had the audience whooping, cheering and clapping from the very beginning!

This riotous rock ‘n’ roll extravaganza is back entertaining audiences of Manchester once again, featuring all your favourite 80s rock hits including Don’t Stop Believing (Journey), We Built This City (Starship) and Hit Me With Your Best Shot (Pat Benatar).

The show is put together in true jukebox style, with incredible vocals coming from both the leads and the ensemble.

The plot of Rock of Ages is a classic love story – a small-town girl Sherrie (Rhiannon Chesterman) has moved to the big city to achieve her dreams of being a Hollywood actress.

She meets wannabe rock star Drew (Luke Walsh) and they clearly have chemistry right from the start, however throughout the show the couple face challenges which prevent them being together. These include friend-zoning, following their dreams, love-rival rock stars like Stacee Jaxx (Kevin Clifton), who focuses his interests on making his ego bigger and doesn’t care who he hurts along the way – much to the disappointment of Sherrie – and two German property developers wanting to take away their hotspot venue and the place that’s given them a chance; The Bourbon Room.


Throughout the show, humour was embedded into both the writing and the performances. Lonny (Joe Gash) interacts with the audience with tongue and cheek jokes – even picking on an audience member and repeatedly returning to her as the subject of his jokes. All of his lines were delivered with endless amounts of energy and brought so much joy to the auditorium. This was a real highlight of the show. He had impeccable comedic timing and had everyone belly laughing after each delivered line. This is a really fun side to the script that really keeps the show moving, especially as the show doesn’t have a strong narrative. However, this doesn’t matter as the cast totally rock the stage without a strong plot – which is what the audiences are really there to see!


A stand out scene was Regina (Rhiannon Chesterman) and Franz (Andrew Carthy)’s Hit Me With Your Best Shot – it’s outrageous, camp and just a scream – it’ll keep you laughing right until the end of the show!


The staging and production totally make you feel like you’re back in the 1980s at a rock gig – the lighting is bright, retro amplifiers are all over back wall and the live band are centre stage.

The night was tied up with an audience favourite ‘Don’t Stop Believing’, which had everybody up dancing and clapping with huge smiles back on their faces.

Kevin Clifton gave a touching speech after the final few notes – thanking everybody for supporting live theatre once again.

Overall, this show is a complete team effort from the cast. There isn’t one or two stand out leads, but instead the whole cast continually bring each scene to life.

It’s big, it’s bold and it’s been entertaining audiences for years! It’s a fantastic night out of nostalgia – don’t miss it whilst it’s back in Manchester.


Rock of Ages is at the Opera House until Saturday 9th October 2021 tickets available here.

The Wiz – Full casting revealed

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Hope Mill Theatre, Ameena Hamid Productions & Chuchu Nwagu Productions today announces the cast for a radical new version of the award-winning Broadway musical The Wiz, which will be this year’s festive offering.

Directed by Matthew Xia (‘Into the Woods’, Royal Exchange), The Wiz is a joyous retelling of L. Frank Baum’s classic children’s novel ‘The Wonderful Wizard of Oz’ reflecting contemporary African-American culture. Its 1975 Broadway premiere production won seven Tony Awards, including Best Musical.

Matthew Xia said: “The Wiz is approaching its 50th anniversary, it now exists within the canon of mainstream musicals and it’s due time for some bold reinvention. Originally a funk and soul-based analogy for the African-American experience, in 2021 Manchester we’re offering a contemporary take
on the discovery of self-determination and Black joy with this celebration of Black culture across the
African diaspora.”

The cast is made up of Cherelle Wiliams is Dorothy; Tarik Frimpong, Scarecrow; Llewellyn Graham, Tin Man; Jonathan Andre, Lion; Cameron Bernard Jones, The Wiz; Anelisa Lamola, Addaperle; Bree Smith,
Aunt Em & Glinda; Kofi Dennis, Lord High; Ashh Blackwood, Evillene. Ensemble: Andile Mabhena,
Shayna McPherson, Dylan Gordon-Jones, Samantha Shuma, Marisha Morgan.

The show is produced by Hope Mill Theatre, Ameena Hamid Productions & Chuchu Nwagu Productions.
Creative team: Director Matthew Xia; Musical Supervisor and Orchestrations Sean Green; Musical
Director Ehsaan Shivarani; Choreographer Leah Hill; Design Simon Kenny; Associate Costume Design
Maybelle Laye; Lighting Design Simisola Majekodunmi; Sound Design Tony Gayle; Casting Director
Ryan Carter; Casting Mentor Anne Vosser.

Musical Supervisor Sean Green has created new orchestrations. “In thinking about how much the music is loved, I had the thought What if the music was a love letter to black music? I started hearing all sorts of music within the DNA of the score. This exploration has allowed me to incorporate various genres from across the African Diaspora in the new orchestrations which, alongside the funk and soul in the original, really adds depth and colour to the world that we’re creating with this production.”

The Wiz will run from Wednesday 24 November 2021 to Sunday 16 January 2022 tickets are available here.

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.

Everybody’s Talking About Jamie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

If you’re looking for a post pandemic pick-me-up then look no further, get yourself down to The Lowry and immerse yourself in this heart-warming gem of a show.

After debuting at Sheffield’s crucible theatre in 2017 the West End beckoned for the inspiring story of Jamie New, a 16 year old boy with dragtastic plans in life.

Based on the true story of Jamie Campbell and inspired by the BBC3 documentary Jamie: Drag Queen at 16 the show delves into the life of Jamie New; on the surface fearless and fabulous, underneath sensitive and scarred, but always true to himself.

Layton Williams returns to the role after playing Jamie in the West End and absolutely shines. His sass and sarcasm ensuring every brilliantly witty line lands while his vulnerability leaves you yearning for him to succeed.

Amy Ellen Richardson brings grit and soul to Jamie’s Mum, Margaret; her 2nd half delivery of He’s My Boy left me with more than a lump in my throat & thankful I’d packed the tissues; absolutely stunning.

Jamie’s relationship with Margaret, a strong, determined, single mum lies at the very heart of the piece and shapes the story beautifully. Williams and Richardson convince entirely; the ease in which they share the stage together illustrates the fiercely unconditional love between mother and son to perfection.

Shobna Gulati as Ray, Margaret’s best friend and often substitute parent for Jamie is fantastic, bringing humour and iconic Northern female strength to the role she’s as loyal as they come and as much family as any blood relative.

Shane Ritchie acts as Drag Mother Hugo/Loco Chanel bringing depth to the role as the former drag queen with their own multi-layered story to tell, a cheerleader to Jamie and instant hit with the audience. Another important cheerleader in Jamie’s life is best friend Pritti portrayed wonderfully by Sharan Phull. Her calm resilience and loving encouragement are incredibly touching.

The themes of inclusivity and individuality are delivered with true authenticity. There’s nothing gimmicky about this show, the story feels real and truly heartfelt. While the slick ensemble numbers thrill, with the excellent ensemble showcasing Kate Prince’s choreography superbly it’s the quieter moments that draw you in, ensuring you’re #TeamJamie from the start.

The journey school bully Dean (George Sampson) goes on isn’t brash or obvious but one of a new understanding through education and removal of fear.

Like many of us, theatre makers have had an incredibly difficult time during the pandemic but seeing a show as joyful and uplifting as this reminds you just how affecting and inspiring theatre can be.

Packed full of witty one liners, superb songs & stunning choreography Everybody’s Talking About Jamie is a life-affirming celebration. An absolute must-see bursting with joy and heart.

Everybody’s Talking About Jamie is on at The Lowry until Sunday 12th September tickets available https://thelowry.com/whats-on/everybodys-talking-about-jamie/

The Rocky Horror Show

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Reviewed by Nicky Jones

Opening Night verdict ⭐️⭐️⭐️⭐️

Manchester’s Opera House re-opening week has been filled with glitz, glamour and fabulous fancy dress – the raucous Rocky Horror Show is back in town on Manchester Pride week!

As we headed into the venue surrounded by fishnet stockings, French maid’s outfits and copious amounts of sparkle, it was certain we were in for an incredible night of entertainment.

Rapidly heading towards its 50th anniversary, cult phenomenon The Rocky Horror Show is still as popular as ever. Even before the show began the audience erupted in cheers and applause, as the best-dressed audience member stole the limelight – entering the auditorium in his very own fabulous Frank-N-Furter costume.

The show begins with high energy from the audience, as the opening number Science Fiction/Double Feature proved a big hit. The story begins with Janet (Hayley Flaherty) and Brad (Ore Oduba)’s day not really going as planned, as the prim and proper couple break down in their car and attempt to seek help at the creepy castle two miles down the road. Considering all they wanted to do was borrow a phone, the pair get a lot more than they bargained for.

The show really kicks in once we meet Frank-N-Furter (Stephen Webb) and the full ensemble – everybody was up dancing and singing along within the first 30 minutes of the show. There was no waiting for the inevitable Time Warp curtain call here! The audience also built up a gorgeous atmosphere during Brad and Janet’s A Light Over at the Frankenstein Place, taking out their phone torches and glow sticks out for the number.

A stand-out performance comes from Narrator – Philip Franks. His quick wit, cheeky jokes and comedic timing had the audience shouting out heckles from his first line, and his jokes rely on an equally quick-witted loyal audience playing along with him. He did not get caught out once, and he gave it back as quick as he got it!

The Time Warp arrived in the show much earlier than I expected, and it had the whole auditorium up and dancing. Frank-N-Furter’s entrance was another stand out moment, with Sweet Transvestite being lapped up by the audience. It was raunchy, sassy and vocally powerful.

The creative team have done a superb job to create such a visually stunning show, from the set to the costumes. The set transitions beautifully from rainy windswept roads to the castle interior, and each one sets the scene perfectly. The costumes have a modern twist, but keep a close match to the character’s classic outfits from the original 1975 film. All of the costumes are clearly well loved throughout the show’s loyal fanbase, with some remarkable fancy dress being showcased within the auditorium and all over the cities bars following the show, I’m sure.

This show is a guaranteed party which features many timeless classics, including the show-stopping Time Warp. Catch The Rocky Horror Show in Manchester until Sunday 29th August – it’s the perfect way to start your Pride weekend! Tickets available here: https://www.atgtickets.com/shows/the-rocky-horror-show/opera-house-manchester/

RENT

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

9 months after its original opening night which heartbreakingly coincided with the eve of the 2nd national lockdown it’s fair to say the cast, crew and creatives of Rent have never given up hope that their show would be seen by live audiences; cue a weekend of sell-out previews followed by a spectacular gala night, confirming that Rent is back, with renewed passion, urgency, and an overwhelming sense of triumph.

This gritty rock musical, set in New York’s East Village introduces us to a group of bohemian artists who despite their daily struggles, battle through life with determination and heart, strengthened by a deep-seated love and genuine friendship which connects them wholeheartedly. They too are living through unprecedented times as the AIDS epidemic sweeps through their streets and the elite want them cleared out of the neighbourhood.

Director Luke Sheppard and his team have created a truly mesmerising production, adding depth and energy to characters many musical theatre fans feel they know so well. The passion and thrill at being back on stage radiates from each performer with Tom Jackson Greaves’ punchy choreography offering a physical outlet for their frustrations as they fiercely defend their right to be heard. Similarly Musical Supervisor Katy Richardson and Musical Director Chris Poon ensure that familiar pounding score is note perfect while David Woodhead’s set and costume design paired with Howard Hudson’s lighting transports us to the atmospheric streets of New York.

Luke Bayer sets the tone right from the start as Mark, and angst filled filmmaker whose energy never wanes. Kooky and complex his video camera acting as a safety blanket protecting him from connecting too deeply and exposing his lonely reality.

Tom Francis is sensational as Roger, his rock God-like swagger draws you in while his brooding vulnerability catches you completely off-guard. His scenes with Maiya Quansah-Breed are simply beautiful, the two manage to make you feel like you’re observing a couple’s private moments; so in tune with each other are they. They draw out every ounce of emotion from their scenes, taking you along on their impassioned journey.

The deeply moving relationship between Angel and Collins which weaves through the storyline is both joyful and devastating in equal measure. Hartley-Harris’ delivery of I’ll Cover You – Reprise is breathtakingly beautiful while Alex Thomas-Smith’s Angel is pure perfection.

Cutting through the intensity is Millie O’Connell’s, Maureen who bickers and squabbles with girlfriend Joanne (Jocasta Almgill) throughout, her delivery of Over The Moon is hilarious. Both O’Connell and Almgill give their characters real strength, authenticity and bucketloads of personality while their rich vocals deliver some killer harmonies.

Michael Ahomka-Lindsay ensures Benny is seen as more than just a former friend turned landlord as his connection to the group warms and solidifies. Completing the casting is the featured ensemble who add bite and pure passion to the production; Issac Hesketh, Alison Driver, Iona Fraser, Joe Foster and Karl Lankester’s versatility and skill really authenticates this production as a true ensemble piece.

There is a strong sense of coming together in the face of adversity which drives the show, something we can all relate to given recent testing times. The poignancy of the piece truly connecting with the audience in the intimacy of the former cotton mill. The full ensemble pieces are thrilling, intimate and bursting with life while the stripped back moments are spine-tinglingly perfect.

At a time when theatre needs as much support as possible Rent is leading the charge for Hope Mill Theatre’s Covid recovery proving entirely that there’s nothing quite like the thrill of live theatre. Proud, punchy and powerful, Rent has it all!

Rent is on at Hope Mill Theatre until Sunday 19th September, tickets available now https://hopemilltheatre.co.uk/events/rent

The Secret Society of Leading Ladies

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

Almost a year since theatres went dark due to the Coronavirus pandemic the innovation and commitment to making art for audiences continues to shine.

Using online platforms, theatres across the country have been creating incredible and varied content offering theatregoers access to performances despite the current challenges.

The Barn Theatre have taken this online streaming approach a step further with their latest offering, ‘The Secret Society of Leading Ladies’. This impressive piece of theatre marries an online concert with ‘Choose Your Player’ computer game style technology allowing audiences to curate their very own theatre experience.

Conceived and directed by the Barn Theatre’s Ryan Carter, the concert offers a showcase for the archetypes of Female Musical Character, one moment you are in blissful harmony with princesses and dreamers the next divas and infamous villains demand your attention, the choice is entirely yours.

I chose to begin my experience with the sublime voice of Jarnéia Richard-Noel singing a defiant and celebratory version of ‘I Didin’t Plan It’ from Waitress, next up was a note perfect performance of the beautiful ‘Journey To The Past’ from Anastasia by Lauren Byrne. After Byrne’s emotive number I decided to introduce some sass with Ellie Mitchelle’s delicious performance of When You’re Good to Mama’ from Chicago.

Next came a real highlight of the experience for me with Jocasta Almgill’s personality packed performance of ‘Everybody’s Girl’ from Steel Pier, hugely entertaining and fantastically delivered. My final selection was Emma Kingston’s stunning version of ‘Dyin Aint So Bad’ from Bonnie and Clyde, her striking vocals left me wanting more, thankfully the finale of ‘Big Finish’ gave me just that with a superb ensemble number where each of the leading ladies had the chance to take centre stage, uplifting, joyous and entirely fitting to bring this glittering showcase to a close.

The performances alone are knockout, the variety a joy but in addition to this the ladies interact with each other in between numbers cementing this format as one of the most innovative you’re likely to see. A truly unique and hugely entertaining offering.

The Secret Society of Leading Ladies is running online from Monday 22 February until Sunday 7th March, tickets available via https://barntheatre.org.uk/barn-at-home

Beauty and The Beast

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Beauty and the Beast Production Image (8) - credit David Munn Photography

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

Regal Entertainments and St Helens Theatre Royal’s usual run of family-favourite pantomimes throughout the year came to an abrupt halt when the Coronavirus pandemic closed theatres across the country back in March. The creatives rallied together producing an innovative virtual show: Rapunzel: The Lockdown Panto, back in April and now through lots of hard work, commitment and Covid compliance bring Beauty and The Beast to the stage, opening the doors of the Theatre Royal to audiences once again.

Directed by Chantelle Nolan and written by Liam Mellor, Beauty and The Beast tells the famous fairy-tale of a prince cursed to live as a monstrous beast, the only thing that can break the curse is…of course true-loves kiss! But just how does a furry monster find true love, especially when we are all social distancing!

Beauty and the Beast Production Image (1) - credit David Munn Photography

Regal Entertainments have well and truly pulled out all the stops to ensure their first live show in a long 9 months is an unforgettable one. The script is positively jam-packed with Covid gags with Boris Johnson getting a hilarious ribbing while Joe Wicks, Chris Witty and even the track and trace app all feature.

French Frank and Pretty Polly played by Scott Gallagher and Jamie Greer respectively are a perfect comedy duo, guiding us through the ups and downs of life in the village of Petit Pois as they try and save their master (Andrew Geater) from a hairy ending. They bounce off each other brilliantly, the quick-witted pair are clearly having a ball being back in front of an audience, throwing themselves full throttle into the slapstick silliness as well as offering plenty of cheeky gags for the grownups.

Beauty and the Beast Production Image (5) - credit David Munn Photography

Timothy Lucas as a scene stealing Gaston is an absolute joy, self-obsessed, pumped up and completely outrageous he has the audience in the palm of his hand from his first swivel-hipped lunge onto stage. His mother the Cruella De Ville-esque Madam Botox (Abigail Middleton) is as detestable as her air-head son, the two make a perfectly ghastly pair of pantomime villains.

Olivia Sloyan makes for a superbly sassy Belle while Andrew Geater’s charm shines through as the reclusive Beast. Jenna Sian O’Hara acts as narrator in her role as Fairy Rose, her no nonsense Northern attitude sees her giving as good as she gets in an unforgettable 12 Days of Covid which leaves the audience roaring with laughter (behind our Covid compliant masks of course).

Beauty and the Beast Production Image (2) - credit David Munn Photography

Choreographer Nazene Langfield has created some beautiful numbers for the talented senior dancers, sadly no juvenile dancers this year due to Covid restrictions but the seniors do a wonderful job of filling the stage adding real depth to the musical numbers. There’s some great song choices this year, many with a Covid twist which are an absolute stroke of genius and while the audience can’t participate in the usual way a TikTok dance off fills the gaps perfectly.

By the time of the final transformation scene, you’ll be wishing you could stay in your seat and watch it all over again. This hilarious production at a time when theatre making is more challenging than ever before is an utter treat, just what’s needed to lift spirits, create magical memories and remind us all just how precious the arts are. Kudos to all at St Helen’s Theatre Royal for creating a perfectly safe environment for families to enjoy some much-needed escapism.

Beauty and the Beast Production Image (9) - credit David Munn Photography

Beauty and the Beast is an absolute Christmas cracker, in the words of my Godson Freddie “The best one we’ve ever seen”

Beauty and The Beast is on at St Helens Theatre Royal until Sunday 3rd Jan tickets from £16 available via Ticketsolve – St Helens Theatre Royal