Musical Theatre

The Secret of Christmas Eve

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eve 16

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

After the huge success of last year’s festive fairy-tale Hansel and Gretel Oldham Theatre Workshop return with an original Christmas musical which promises to be the perfect family treat.

The Secret of Christmas Eve introduces us to a very special little girl called Eve (Natasha Davidson) who is about to experience the most magical of adventures which sees elves brough to bright and brilliant life, adventures on flying carpets and a whole host of colourful characters as she’s tasked with the small job saving Christmas!

Brian the elf (Jabez Sykes) is bereft, this year’s Christmas wish letters have failed to reach the North Pole and without them the elves are redundant, there will be no presents and no Christmas! Thankfully and although she may not yet know it, Eve is the perfect person for the job.

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The intimate studio space at Oldham Library feels cosy and inviting as the small performance space is transformed into a welcoming home, grumpy Mrs Grimble’s Post Office and Nula Nu’s Shop of Lost Things throughout this enchanting production.

Creatives Sarah Nelson and James Atherton have worked together to create a piece of theatre which wouldn’t be out of place on a West End stage. Their imaginative storytelling is both poetic and utterly joyful capturing the Christmas spirit with warmth and wit. They have a unique ability to interweave heartfelt and important messages into seemingly simple stories packing them with an emotional depth you don’t often find in family shows.

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Audiences of all ages will take away something special from this show with its themes of family, hope, adoption and belonging all beautifully wrapped up in a feel-good story that will stay with you long after the Christmas decorations have come down.

The clever and catchy original songs are teamed with a melodic score and a hugely witty script which is delivered to perfection by a committed cast. Natasha Davidson captures entirely the wide-eyed wonder of Eve, fiercely determined to succeed despite the challenges life has given her. Jabez Sykes is a joy as Brian the Elf with bucketloads of charisma and a great gift for comedy he lights up the stage as the ever-so dramatic Elf.

Laura England is gloriously grumpy as Mrs Grimble while also displaying a wonderful warmth as Eve’s foster Mother Suzia. Purvi Parmar breathes life into the adorable Digby the Dog and is great fun as Eve’s friend Nisha while Madeleine Edmondson captivates as the mysterious and magical Nula Nu.

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Collectively the cast take on multiple roles whist also acting as narrators leading you through this delightful tale, delivering faultless harmonies with ease. There’s also an appearance from several members of the young company who add additional festive magic to this heart-warming production.

If you’ve yet to find your festive cheer then I prescribe a visit to The Secret of Christmas Eve immediately! This beautiful show packed full of heart and humour is a piece of theatrical magic. A truly enchanting Christmas adventure that will leave you feeling merry and bright well into the New Year. A truly wonderful production from Oldham Theatre Workshop and at an accessible £8 per ticket an absolute gift to us all.

The Secret of Christmas Eve is on at Oldham Library until Saturday 28th December tickets available here, you can also call the Box Office on 0161 770 3240.

 

The Bodyguard

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Over the last few years there have been a spate of Hollywood blockbusters that have been given the West End / Broadway treatment. Some have made little impact whilst others have become huge! The Bodyguard: The Musical, unquestionably falls into the successful camp. It opened in the West End in 2012, and has since toured the UK on numerous occasions as well as several international tours.

Now the pop musical extravaganza arrives in Manchester, as the Palace Theatre’s big production for the festive period, bringing with it the glitz, glamour, and some absolute classic tunes.

Following the plot of the 1992 Hollywood film, music megastar Rachel Marron (Alexandra Burke) has attracted the unwelcome attention of a deranged stalker: he has stolen one of her dresses, as well as sent her numerous death threats. Marron’s worried manager Bill Devaney (Neil Reidman), seeks out former secret service agent Frank Farmer (Ben Lewis) to be part of Rachel’s protection team.

The spoilt singer and her bodyguard soon clash, as Rachel is not happy with Frank’s over cautious approach, as well as the day-to-day impact he is having on her life. In addition, Farmer is less than impressed with his new clients ‘diva’ like attitude.

For Farmer the job isn’t just about protecting Rachel, but her family as well, which includes Rachel’s sister, Nicki (Emmy Willow), who develops feelings for Farmer. However, following an incident at a nightclub concert where Farmer protects Rachel from an unruly class, the two begin to fall for each other. As the romance blossoms between the the two, the threat intensifies to Rachel and her family, can Farmer maintain a relationship and stay sharp enough in order to catch the deranged stalker?

The undoubted star of the show is Alexandra Burke, she is without a doubt is the headline act and heart of this performance and quite rightly so. She has the star quality needed for the role and the voice to match. She certainly does justice to crowd favourites Queen of the Night and One Moment in Time giving an outstanding performance.

It’s not just Burke who deserves plaudits, equally impressive is Emmy Willow, who also has a tremendous voice. She absolutely nails Saving All My Love for You and duet with Burke on I have Nothing is beautiful. Willow brings a warmth and vulnerability to the overshadowed Nicki.

Ben Lewis is solid as Farmer, a believable reluctant action hero, and he also gives a great comedic version of I Will Always Love You.  There is an undoubted chemistry between him and Burke, however the romantic element of the story seems rushed, with both let down by some some clunky dialogue.

The ensemble cast work their socks off throughout, with some fantastic choreographed routines, whilst one of the biggest cheers of the night came with the introduction of the show’s villain, the stalker (Phil Atkinson), complete with a bare chest and abs you could grate cheese on (during the interval I heard one lady say, “he can stalk me any time”, judging audience reactions, stalking is ok if it’s done by a hunk!)

This production, as you would expect, has some high-end production values, pyrotechnics, dry ice, an ever-changing stage, and some gorgeous costumes, from tailored suits to glamourous dresses adding to the glitz and razzmatazz, creating the world of this global superstar.

The finale is of course a spine-tingling rendition of I will Always Love You, which is almost ruined by a giant projected image of our Bodyguard hero, it’s corny and as cheesy as a large pan of fondue, and an unwelcome distraction for the shows big closing moment.

There is of course time for one more feel good moment, as the entire cast nail a fun rendition of I wanna Dance with Somebody which had everybody up on their feet and dancing in the isles.

This is escapism theatre at its finest and the perfect way to forget your trouble for a few hours and get away from the hustle and bustle of Christmas, a decent excuse (like you need one) to have sing and dance.

The Bodyguard The Musical is at the Palace Theatre until the 4th January. Tickets can be found here.

Cinderella

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

The Epstein Theatre’s Christmas panto is now a staple part of my festive schedule; it has become as much a part of Christmas as a turkey dinner, a drink with friends on Christmas Eve and avoiding the Queen’s speech. The Epstein’s festive extravaganza has never failed  to put a smile on my face and get me in the holiday spirit and I’m happy to say this year’s production of Cinderella is no different.

It’s a story we all know, that of the kind-hearted but downtrodden, Cinderella (Sammy Winward) who is a skivvy for her wicked sisters, Megan and Kate (Chrissy Rock and Sarah White). Cinderella’s only friend in the world is Buttons (Lewis Devine), who is secretly in love with Cinderella.

Cinderella 14a - photo by David Munn

However, fate, or more accurately the Fairy Godmother (Samantha Palin) has a plan to help Cinder’s find her true love, in the form of Prince Charming (Andrew Geater). A chance meeting between Cinderella and the Prince sets sparks a flying and soon the Prince and his ever-faithful companion, Dandini (Warren Donnelly) decide to host a ball in order for the Prince to find his Princess.

Despite an initial slow start, this production has something for everyone, great songs and dance routines, with numbers including, Dolly Parton’s 9 to 5, and George Ezra’s Shotgun.  A fantastic, hard working cast, and  some great visual and verbal gags some for the younger audience members and a few adults in attendance too.

Cinderella 12a - photo by David Munn

It is hard to believe that this is Sammy Winward’s first Pantomime but she has taken to it like a duck to water and makes the perfect princess. Lewis Devine is the show’s lynchpin, full of charisma; he certainly knows how to work the crowd. Whilst Chrissy Rock and Sarah White are having a ball as the ugly sisters, suitably vile throughout, the pair get the lion’s share of the best lines and are clearly relishing their roles.

There are some great set pieces throughout, a meeting between Cinderella and Prince Charming, which Button’s tries to ruin, is great fun. In addition, the scene at the ball is filled with beautiful costumes, and solid dance routines. However, unquestionably the highlight of the show is the fantastic 3D projection, which is a treat to see and had the younger audience members very excited, I don’t want to say too much but certainly gives a unique slant on the “he’s behind you!” trope so familiar with panto.

Cinderella 01a - photo by David Munn

This is a great fun, family show, with a wonderful ensemble cast, that will have you grinning throughout. Based on the reaction from the children in attendance for tonight’s show this is the perfect way to escape the winter weather, a festive treat for all the family!

Cinderella is on at The Epstein theatre until Sunday 5th January tickets available here.

 

Snow White

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

When it comes to family fun Qdos Entertainment don’t do things by halves. Delivering Manchester Opera House’s pantomime for the third successive year they give audiences another Christmas cracker of a show in which no expense is spared; a glittering and gaaawwwjus production of Snow White starring Strictly’s very own Craig Revel Horwood.

This festive extravaganza has everything you’d want from a Panto, lavish sets, elaborate costumes and lots and lots of laughs. Writer Alan McHugh (with additional material from Ben Nickless) ensures the script is teaming with Mancunian references from the wonderful opening number playing homage to the Opera House to the tune of The Lambeth Walk to the ‘mad for it!’ Magnificent Seven who are ready to ‘ave it!’ all night long!

Pic copyright Phil Tragen 2019

Revel Horwood makes for a deliciously devilish baddie, fabulously theatrical and outrageously naughty as wicked Queen Lurcretia he commands the stage throughout. Strutting, preening and pouting before belting out his several solos with style and some serious sass proving what an incredibly talented all-rounder he truly is.

There is strong support from audience favourite Ben Nickless who returns for the second year running, this time playing the hapless Muddles along with a welcome return for Manchester’s favourite Dame, Eric Potts who makes for a magnificent Nora Crumble. The two bounce off each other brilliantly, their silly humour and cheeky charm is measured just right for this family audience. They bring this classic story bang up to date with hilarious mentions of Donald Trump, Boris Johnson and there’s even a scene with a over keen Alexa!

Zoë George and Joshua St Clair make for a perfect pairing as Snow White and the dashing Prince Harry. Although a little underused when we do hear from them their vocals are superb and they both have bucketloads of charm.

The ensemble cast and young company add to the spectacle of the lavish numbers with slick delivery of Ashley Nottingham’s choreography, great to see some same-sex pairings on stage during the dance numbers too.

Pic copyright Phil Tragen 2019

Of course as to be expected with Panto there are some cheeky moments with a few close to the bone one-liners however the innuendo never goes too far & is pitched at just the right level to give the adults a giggle while the kids laugh along with the slapstick and physical comedy that’s so brilliantly delivered.

Revel Horwood, Potts, Nickless & St Clare’s riotous version of The Twelve Days of Christmas brings the house down quite literally, it is pure panto perfection!

The combination of impressive special effects, classic panto entertainment and a wonderfully talented cast result in another hit for Qdos.

Snow White is a riotous romp of camp, colourful, comedy, a FAB-U-LOUS night out for all the family.

Pic copyright Phil Tragen 2019

Snow White is on at Manchester’s Opera House until Sunday 29th December tickets available here.

 

Hope Mill Theatre launches ‘FIRST CURTAIN’ free ticketing scheme for young people

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Hope Mill Theatre launches ‘First Curtain’ scheme to help fund tickets for young people to the UK theatrical premiere of the Broadway version of Rodgers + Hammerstein’s Cinderella which opens in Manchester on Saturday 9th May.

Tickets are now on sale for Cinderella which will be the first musical produced by A Factory of Creativity – the charity recently formed to take over the running of Hope Mill Theatre. Co-founders of Hope Mill Theatre Joseph Houston and William Whelton will direct and choreograph Cinderella, respectively.

To coincide with Cinderella tickets going on sale, Hope Mill Theatre is launching its new ‘First Curtain’ scheme. The scheme allows customers to purchase an additional ticket at checkout with the extra tickets purchased helping fund a first trip to the theatre for local young people. Hope Mill Theatre will be working with local primary schools and community groups within Greater Manchester to help welcome children of all ages to the show.

Joseph Houston and William Whelton at Hope Mill Theatre. Photo Phil Tragen Photography 2

Joseph Houston, Artistic Director, said: “At Hope Mill Theatre we are passionate about making theatre accessible and instilling at a young age the magic, escapism and education which live theatre can offer – as well as nurturing theatregoers of the future.

“I recently visited a local primary school and spoke to many children who said that they loved acting and performing at school but had never actually seen a piece of live theatre – many families do not have spare funds to visit the theatre. We believe in the importance of young people feeling that arts are accessible and so wanted to help give some children the chance to have their first theatre experience in a smaller more intimate setting.

“Our ‘First Curtain’ scheme will allow us to work with schools within Greater Manchester as well as local community groups to fund trips to our production of Cinderella as well as running workshops.”  

Cinderella will be the first show staged at Hope Mill Theatre to have allocated seating – meaning early booking is advised, tickets are available here.

 

Gypsy

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01 RET GYPSY - Ria Jones (Rose) - Image Johan Persson

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️1/2

Since it first debuted on Broadway back in 1959, Gypsy, based on the memoirs of world-famous striptease artist Gypsy Rose Lee has cemented itself amongst theatre goers and critics alike as a cult classic.

The combination of Arthur Laurents emotionally rich book, Julie Styne’s sublime score and Sondheim’s clever lyrics are a magical starting point for any director, ensuring any recreation comes with high expectations. The challenge of staging the show in the round adding more than a little pressure to those expectations.

Director Jo Davies ensures her cast more than rise to the occasion in the Royal Exchange’s production as all sections of the audience are equally played to with the use of a huge revolving proscenium arch bedecked with Hollywood lights designed by Francis O’Connor.

03 RET GYPSY - Melissa James (Louise) - Image Johan Persson

The show bursts into vibrant life with a flurry of child stars twirling and tossing, vying for their moment in the spotlight, at the heart of them of course is Momma Rose, prompting and pushing Louise and Baby June to smile wider and kick higher.

Intentions set out from the start Baby June is without doubt the main event here with sister Louise playing second fiddle to her star-turn. The ultimate in pushy showbiz mothers, Momma Rose will make certain everyone knows what a talent her baby is, that is until pushed too far she abandons both her mother and sister in a bid to escape her mother’s obsessional drive. Forced to turn to her alternative due to her desperation for success wallflower Louise who lives life firmly in the background is thrust centre stage with astonishing results.

08 RET GYPSY - Melissa Lowe (June) - Image Johan Persson

The energy from the young cast (the Red Team for tonight’s performance) is exceptional. They leap and bounce their way through opening number Let Me Entertain You (Rose’s Entrance) like they’ve been vaudeville stars all of their little lives with Marley Quinlan-Gardner giving a hilariously brilliant performance as the pouting, petulant Baby June. The changeover from children to adults is cleverly done, you barely realise it’s happening when suddenly it’s a grown-up cast twisting and twirling before you.

Ria Jones is outstanding as Momma Rose, addicted to the glamour of showbiz and prepared to sacrifice anything for the success of her daughters. So consumed by her need for success she dangerously risks losing everything due to her single-minded obsession for glory. Ria Jones gets to the very heart of Rose, witty and wonderfully charismatic with an unwavering determination her delivery of final number Rose’s Turn where she finally takes centre stage brings the house down, breathtakingly brilliant.

013 RET GYPSY -Melissa James (Louise), Ria Jones (Rose) and Ensemble - Image Johan Persson

Often in productions of Gypsy it’s all about Momma Rose however Jo Davies ensures shy Louise is given full attention. Her character goes on the most incredible journey while her transformation into sensational striptease artist Gypsy Rose Lee is nothing short of magnificent. Melissa James is a sensation, delivering the role with great style, pure class and heaps of sass. She showcases Andrew Wright’s choreography to perfection while wowing in Gabrielle Dalton’s stunning costumes during her thrilling transformation number Let Me Entertain You (Gypsy’s Strip).

Lewis Gaunt as Tulsa offers a real standout moment with his beautifully executed performance of All I Need Is The Girl while Dale Rapley gives an incredibly touching performance as loyal Herbie.

011 RET GYPSY - Louis Gaunt (Tulsa) - Image Johan Persson

One small quibble would be that while the revolving arch looks spectacular it does somewhat restrict your view if it stops directly in front of you, thankfully it moves frequently but it does feel a bit of a design flaw in an otherwise spectacular show.

Gypsy is a dazzling, daring production with both design and choreography beautifully evoking the long since vanished world of vauderville. Broadway is brought back to Manchester with a big, bold and beautiful bang. Another absolute triumph for the team at the Royal Exchange.

Gypsy runs at the Royal Exchange until 1st February after adding an extra week due to popular demand, tickets available here.

 

 

 

SIX The Musical

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SIX

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In just two short years SIX the musical has gone from launching at a 100 seater venue at the Edinburgh Fringe Festival to preparing to open on Broadway at the 1000 seater Brooks Atkinson Theatre next February. To say the show has been a success is a mega understatement; rarely does a new musical capture the imaginations of the public in quite the way SIX has. With loyal fans eagerly joining the Queendom and social media awash with cosplay costumes and videos of the show’s final number (the megaSix) a second UK tour was inevitable and lucky for us SIX chose to return to The Lowry for a festive six week run.

SIX

The premise although seemingly simple is brilliantly innovative. The Queens until now have been confined to the history books, summoned occasionally when children recite the old ‘Divorced, beheaded, died, divorced, beheaded, survived’ rhyme; deciding enough is enough the Queens finally find their voices each taking their turn in a lyrical battle in a bid to prove once and for all who really did have the toughest ride at the hands of their infamous husband Henry VIII.

Part pop concert, part staged musical SIX is a fierce and fabulous retelling of history, remixed and reimagined for a whole new generation. Every song is outstanding in its originality and pure genius. Each Queen is offered the opportunity to walk away with the crown allowing every cast member to breathe life, heart, soul and some serious sass into their namesakes. Individually they are uniquely brilliant together they create the ultimate girl band; guiding us through a sisterly retelling of their forgotten stories while poking fun and posturing for the top spot along the way.

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Lauren Drew commands the stage as Catherine of Aragon, statuesque and strong she switches from stone cold serious to super fun with a skilful ease. Maddison Bulleyment has perfect comedy timing as Anne Boleyn even managing to make getting behead get plenty of laughs while Lauren Byrne’s soaring vocals are a real goosebump inducing moment.

Shekinah McFarlane is a joy as Anna of Cleves with bags of sass and the richest of voices while Jodie Steele captures perfectly the lost innocence of Katherine Howard in her heartbreakingly brilliant version of All You Wanna Do.

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At tonight’s performance alternate Harriet Watson takes on the role of Catherine Parr, her crystal clear vocals and genuine warmth more than doing justice to Marlow & Moss’s lyrics.

The diversity of the cast is enormously refreshing to see, while each individual delivers a fully realised, complex character. The wide range of pop influences ranging from Beyoncé to Britney will ensure the melodies stay with you for days while the lyrics give make these historical women much more than ‘just wives’ giving them heaps of personality and depth.

Gabriella Slade’s edgy costume design has a fun, modern feel while Carrie-Anne Ingrouille’s choreography cements the strong girl power vibe.

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SIX hits every mark as a perfect piece of theatre, innovative, uplifting, funny & immensely empowering. If this is what herstory looks like then sign me up now for the school of Marlow and Moss!

You can catch SIX The Musical at The Lowry until Saturday 11th Jan with the extra week added due to phenomenal demanding having the best availability tickets can be found here.

 

Hope Mill Theatre to stage UK premiere of Rodgers & Hammerstein’s Cinderella

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Manchester’s award-winning Hope Mill Theatre is to stage the UK theatrical premiere of the Broadway version of Rodgers +Hammerstein’s Cinderella in 2020.

Cinderella will be the first musical produced by A Factory of Creativity – the charity recently formed to take over the running of Hope Mill Theatre. Co-founders of Hope Mill Theatre Joseph Houston and William Whelton will direct and choreograph Cinderella, respectively.

The production will run at Hope Mill Theatre from Saturday 9th May to Saturday 6th June 2020 and then at Clonter Opera Theatre, Cheshire from Tuesday 9th to Sunday 14th June.

This will be the first time a fully-staged version of the show has been performed in the UK (following a recent one-night concert version in London).

Hope Mill Theatre will be holding open auditions in its search for the title role of Cinderella. The venue is committed to finding new and emerging talent across the regions and will be sharing details very soon of how to register interest in auditioning. 

Ted Chapin, President of the Rodgers & Hammerstein Organization, said: “I am thrilled that the modern Broadway version of Rodgers + Hammerstein’s Cinderella will be getting its U.K. theatrical premiere at the Hope Mill Theatre in Manchester. When this version opened on Broadway in 2013, its tagline was “Glass slippers are so back.”  With a wink to the Cinderella traditions of the past – except pantos! – and a solid foot in a world where people take more control over their own lives, Rodgers + Hammerstein’s Cinderella has already charmed new generations of musical theatre enthusiasts.”

Joseph Houston, Artistic Director, said: “The first ever show I watched as a boy was the story of Cinderella and so to be able to work on the UK premiere of the most recent Broadway version of Rodgers & Hammerstein’s story is a dream come true. Having the opportunity to also collaborate alongside Will, who is both my business partner and life partner – and of whose work I have long admired – makes this journey even more special. I want this unique version of Cinderella to captivate audiences young and old, just as the timeless story did for me. This is the perfect spring treat and I cannot wait to see this story come to life at Hope Mill Theatre.”

William Whelton, Executive Director and Choreographer, said: “For many years I have wanted to produce  Rodgers + Hammerstein’s Cinderella, so for this to be the first musical to be brought to life by Hope Mill Theatre’s new charity is very special. It is a more modern take on the classic fairy tale that everyone is familiar with, add to the story the musical and lyrical genius of Rodgers & Hammerstein and you have real musical theatre magic. We are also thrilled to announce that as part of our casting process we will be holding open auditions in our search for Cinderella. As a regional venue we are passionate about finding and nurturing professional talent from all over the country so find this really exciting and we can’t wait to meet new artists.”

Rodgers + Hammerstein’s Cinderella runs at Manchester’s Hope Mill Theatre from Saturday 9th May to Saturday 6th June 2020

The production then moved to Clonter Opera Theatre, Trap Road, Congleton from Tuesday 9th to Sunday 14th June 2020

Tickets on sale soon!

http://www.hopemilltheatre.co.uk

 

 

Avenue Q

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Today’s review for Avenue Q is brought to you by the letter X, F and the number 4!

Avenue Q makes a much welcome return to Manchester this week like an old friend you haven’t seen in while, it’s reassuring to see that it hasn’t lost any of its charm, shock factor and ability to make you smile.

Avenue Q is the tale of a group of friends just trying to get by in the world, that fact that the group are made up of humans, puppets, and monsters is irrelevant, they all have the same problems, including relationship issues, unemployment and in one case an over reliance on internet porn! This is the version of life that the likes of Sesame Street don’t prepare you for when growing up.

The show set in New York, introduces us to Princeton, a fresh faced graduate armed with an English degree, ready to take on the world, however having limited funds and no job has seen him arrive on Avenue Q: a rough part of town that makes skid row look like Madison Avenue. Also living on Avenue Q, are a young couple, Brian and Christmas Eve, Brian an inspiring stand-up comic, whilst Christmas Eve dreams of being a therapist but cannot hang onto her clients. There is also Nicky and Rod, a pair of best friends who live together, however Rod has feelings for Nicky that are more than plutonic.

In addition, there is also Trekkie Monster, a reclusive monster, who seemingly just stays at home watching porn, and Gary Coleman, former child star who has fell on hard times and is now landlord of the street. Finally, there is Kate Monster, a teaching assistant, who dreams of opening her own school for monsters, who is also Smitten by Princeton and it looks like the feeling is mutual. However, as we know the course of true love doesn’t always run smoothly at the best of times, but when you have  a couple of mischievous forces at work in the shape of the Bad News Bears, then it would be fair to say life is pretty tough for the residents of Avenue Q.

Jeff Whitty has taken the world of Sesame Street stuck it through a meat grinder and what has come out the other end is a script that is sharp, witty and pulls no punches.  There is the right mix of sentimentality and near-the-knuckle humour. Add to that the songs of Robert Lopez and Jeff Marx that include the bang on point Everyone’s a Little Bit Racist, the heart-breaking There’s A Fine, Fine Line. The firm favourite of the audience this evening was The Internet is for Porn, which could have dated, but still hasn’t lost its sense of fun, and with a little help from our cuddly puppets its shock value.

The small ensemble cast is superb with many of them pulling double duty performing as various puppets. Cecily Redman is outstanding in her duel role of Kate Monster/Lucy the Slut, crisscrossing seamlessly from upbeat optimistic heroine to trashy vamp Lucy the Slut.  Equally impressive is Lawrence Smith, as the idealistic, well-meaning Princeton as well as the uptight repressed Rod. There is also excellent support from Chole Gentles and Tom Steedon who bring life into a plethora of furry creatures Bad Idea Bears, Nicky and crowd favourite Trekkie Monster.  It’s a credit to the actors/puppeteers, that you forget they’re on stage and lose yourself in the cute, yet foul-mouthed creatures.

It’s not just the exceptionally talented puppeteers and actors who deserve praise, but the human characters are exceptional as well. Ellis Dackombe and Saori Oda, are equally impressive as engaged couple Brian and his Asian American partner, Christmas Eve. Oda is a tour-de -force, in a scene stealing turn, whilst Dackombe is perfect as laid-back Brian, very much in a Seth Rogen, ‘stoner’ role. Finally, we have Nicholas Mclean as Gary Coleman, who lights up the stage with every scene he’s in and gets some huge laughs mainly down to the absurdity of his characters appearance

Director Cressida Carré has done a tremendous job making this a memorable production. Some very funny song and dance number, with some hilarious set pieces, including a pot of puppet on puppet bedroom gymnastics that will live long in the memory. I loved the video screen cartoons used throughout the production which are glorious nod to Sesame Street and certainly add an anarchic touch to proceedings.

The production touches on race, depression, sexuality and plays with our own prejudices and how we see the world, genuinely having something to say, and if that can be done with a song and in such bad taste then count me in.

Today’s review was brought to you by the letters, X and F, the X is for X-rated, and the F is for funny, funny, funny! Whilst the 4 well that’s 4 stars, all the way, so take a stroll down Avenue Q you won’t be disappointed!

Avenue Q is on at the Palace Theatre until the 26th October. Tickets available here.

 

 

 

Sleeping Beauty

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Reviewed by Kate Goerner

Opening Night verdict ⭐️⭐️⭐️⭐️

The Theatre Royal in St Helens and Regal Entertainments continues with its welcome tradition of producing pantomines outside of the festive season with Sleeping Beauty for the October Half Term.

A much-loved tale of beautiful princess Aurora cursed to prick her finger on a spinning wheel by evil fairy Carabosse and sleep for a hundred years is brought to life by a hard-working cast – with all the requisite panto elements like glitter, songs and bags of audience participation.

Familiar faces in the cast include St Helens resident dame Si Foster. With a ‘You Hoo’ he is a good humoured figure who the audience clearly has real affection for.

As always Foster has great rapport with comic Lewis Devine (Chester the Jester) – a now familiar face in Theatre Royal pantos a clear audience favourite. His scene with the children from the audience on stage was as funny as you’d hope.

Samantha Palin is an impressive baddie Carabosse – striding about the stage and delivering some one-liners as wicked as her character. Clearly having bags of fun being the baddie, she almost made you root for Team Carabosse!

Mia Molloy and James Lacey play it straight as Love’s Young Dream Aurora and The Prince, both bringing like ability and great vocals to the stage.

Making up the principle cast is Warren Donnelly as The King and Abigail Middleton as Fairy Sparkle, who got to enjoy the spotlight at the end of of Act 1 with a powerhouse rendition of When You Believe.

A good panto in my eyes is one where I spend quite a bit of the show watching my little boy’s reaction to the on-stage action! And he was fully immersed in this show – booing, cheering, singing and laughing. His favourite bit? The “rude” nursery rhymes had him and the other young audience members in hysterics.

It’s a cheerful, crowd pleasing affair performed and received with warmth. And as ever the ticket prices are commendably affordable – starting at just £13.

Up next for Christmas at the Theatre Royal is Aladdin starring Strictly professional dancer Robin Windsor – we are looking forward to it already.

Just one cautionary note for parents of younger children – you can no longer borrow free booster seats at the theatre – instead having to purchase an inflatable one (which you get to take away with you) for £5 – a cost which could add up for larger groups. Just something to perhaps consider when deciding where to sit if you are with younger children and don’t want to shell out for a seat.

Sleeping Beauty is on at the St Helens Theatre Royal until Saturday 29th October. Tickets available here.

 

Curtains

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

We’ve all heard of opening night disasters when it comes to the theatre, from forgotten lines to sickly cast members, I’m certain actors and directors will have their fair share of horror stories. However, I’m sure none will match having their leading lady bumped off during the final curtain!

This is the premise for musical whodunit,  Curtains. This Tony Awarding winning  production is from the song writing duo John Kander and Fred Ebb, who  also wrote Chicago and Cabaret.

Set in 1950’s Boston we are backstage on the set oftroubled Broadway hopeful  Robbin Hood.  Leading lady Jessica Cranshaw (Nia Jermin) is murdered on opening night and, due to her rather shambolic performance, everyone is a suspect. Luckily, Boston’s finest, Lieutenant Frank Cioffi (Jason Manford), who happens to be a theatre super-fan, is on hand to crack the case.

Placing the theatre on lock down, Cioffi begins to work his way through the list of suspects that include estranged couple and writing partners Georgia Hendricks (Carley Stenson) and Aaron Fox (Ore Oduba). Then there are show producers Carmen Bernstein (Rebecca Lock) and shady Sidney Bernstein (Mark Sangster) and flamboyant director Christopher Belling (Samuel Holmes). In addition, we have ambitious rising stars, Bambi Barnét (Emma Caffrey) and Niki Harris (Leah West), with the latter catching the eye of Lieutenant Cioffi. Everyone is a suspect with cast and crew beginning to drop like flies, can Cioffi catch the killer and save the show?

On the surface, this is a classic murder mystery, very much in the Agatha Christie mould, but on the other hand this is both a love letter to, and a critique of showbusiness, in particular the  theatre. 

There are caricatures aplenty from over-the-top directors, to ruthless money grabbing producers and mean-spirited critiques. Despite a few minor issues, this is an enjoyable, entertaining romp, filled with neat one liners, catchy tunes and some plot red herrings that will keep you engaged throughout.

The cast are at the top of their game, Jason Manford is a likeable leading man, whose comic timing is matched perfectly with a fine singing voice. Carley Stenson and Ore Oduba are also on good form as the warring writing partnership, with Stenson really given the opportunity to flex her vocal cords. There are scene stealing turns from Rebecca Lock and Samuel Holmes who between them get the lions share of the best lines and certainly make the most of them.

They are supported buy an exceptionally hard working cast who put in tremendous effort throughout which are exemplified in the company numbers The Women’s Dead, He Did It, and In the Same Boat III, which are the undoubted highlights of the show, and showcase Paul Foster’s exceptional direction and Alistair David’s intricate choreography.

The production is not without flaws; it’s a bit flabby in parts and there seems to be a bit of filler, it doesn’t quite hold your attention throughout its entire running time, in fairness the show gets off to such an intriguing start that it would be difficult to maintain that level of interest throughout. 

On the whole this is an entertaining, clever, production packed with solid performances, great tunes and some fantastic set pieces, which despite its darkly comic narrative has a heart of gold at its core and is a slice of fun, feel-good musical theatre!

Curtains is on the Place Theatre till 12th October tickets available here. 

MAME

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In the same week they celebrate their 4th birthday Hope Mill Theatre open their biggest and most ambitious show to date. Tony award-winning Broadway musical Mame hasn’t been seen in the UK since it’s original 1969 West End production starring the late, great Ginger Rodgers, but Hope Mill Theatre and Aria Entertainment don’t do things by halves. Teaming up with Ray Rackham Theatrical collectively they have created quite simply their most impressive and jaw-droppingly brilliant production since opening their doors in 2014.

Beginning in 1920’s New York City Mame Dennis really is the belle of every ball. Life truly is a banquet for Mame and her party loving friends so when her deceased brother’s 10 year old son Patrick is thrust into her care you may think the party may be over but then you haven’t met the magnificent Mame.

Even when she loses her fortune in the Wall St crash she perseveres with irrepressible positivity and her own unique sense of style, whoever let getting repeatedly fired get in the way of living their life anyway? Spanning several years through relationships, love and loss Mame captivates entirely, her exuberant soul is addictive, she thrills, delights, excites and entertains along the way.

Hope Mill Theatre has been transformed for this enchanting revival. Philip Witcomb’s design ensures that the intimate space seems to open up before your eyes as the jaw-dropping first number begins. Nick Winston’s choreography is sublime; transporting the audience from a rainy Manchester to a glittering Broadway with each full-out and fabulous number. Winston who also directed the piece leaves the audience open-mouthed at the sheer scale and brilliant of the production, it feels lavish, luxurious and deliciously decadent.

Tracie Bennett is entirely mesmerising as Mame she absolutely gives her everything to the role and is truly brilliant. Hilariously comedic one moment and utterly gut-wrenching the next her delivery of If He Walked Into My Life is spellbinding.

The pairing of Bennett and Harriet Thorpe who takes on the role of bosom buddy Vera is nothing short of iconic. They are a joy to watch as they barb off each other with booze fuelled brilliance. Tim Flavin is a suave and sophisticated Beauregard, the connection between Flavin and Bennett feels warm and genuine.

Special mention must also go to junior cast member Lochlan White who at tonight’s performance played Young Patrick. Demonstrating fine acting skills, a pitch perfect voice and the kind of charisma Mame would be proud of.

Every member of this talented cast deserves high praise. They work together in such slick harmony that each scene flows seamlessly into the next yet feels full of surprises. They deliver Nick Winston’s choreography to dazzling perfection, teamed with Tim Mitchell’s impressive lighting design and strong musical direction from Alex Parker each ensemble number packs a powerful and perfect punch.

The boldness and bravery shown by Katy Lipson of Aria Entertainment and Joseph Houston and William Whelton of Hope Mill Theatre in bringing this all-new revival to such vibrant life must be commended. How lucky we are in a Manchester to have such committed and passionate theatre makers.

Mame is an absolute triumph, dazzling, daring and utterly delightful, world-class theatre right on our doorstep. A perfectly peachy slice of theatrical heaven. Mame feels like the start of something very, very special and I for one am here for the ride!

Catch MAME at Hope Mill Theatre until Saturday 9th November tickets available here.