Musical Theatre

Mary Poppins: Place Theatre, Manchester

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

First things first, I have a confession to make: I have never watched the 1964 film adaptation of Mary Poppins. I mean, of course, I have seen some scenes featuring the big song and dance numbers and I have watched The Simpsons parody episode featuring Shary Bobbins several times, but I’ve never actually sat through the film from start to finish. Now we have that unpleasantness out of the way, and you can lift your jaw off the ground, please allow me to continue my review.

So, not having the full picture of what to expect actually worked in my favour. Because nothing could have prepared me for how magical and grand this production is. Based on author P.L. Travers’s original books, the stage adaptation of Mary Poppins is co-produced by Disney and Cameron Mackintosh, with book by Downton Abbey creator Julian Fellows, together they have created an enchanting spectacle that will cast a spell over the whole family.

Set in early 20th-century London, we are introduced to the Banks family—father George (Michael D. Xavier) is a hard working junior officer for a major London bank. He has very little time for his devoted wife, Winifred, (Lucie-Mae Sumner) and they have two children Jane and Michael (played at this evening’s performance by Katie Ryden and Charlie Donald).

The Banks children have a reputation for causing mischief in the local area, and seeing off the many Nannies previously employed to look after the pair. However, the arrival of the enigmatic Mary Poppins, (Stefanie Jones) whose no-nonsense, unconventional methods soon add a touch of sparkle to the Banks family.

Mary Poppins along with her trusted friend, the ever chipper chimney-sweep Burt (Jack Chambers) take the children on a series of adventures involving dancing statutes, singing toys, tap dancing chimney sweeps and a spot of word invention, which teaches the children a few valuable lessons and provides the love and attention they lack from their father.

What an absolute joyous experience this production is! Director Richard Eyre along with co-director/choreographer Matthew Bourne, and co-choreographer Stephen Mear have crafted some spectacular set-pieces. The colour explosion from “Jolly Holiday” looks glorious, whilst the dazzling roof-top dance of Burt and his fellow chimney sweeps during “Step in Time” is magnificent: the magnitude and scale, with the huge ensemble cast showcase what the show is all about: high end production values, performed by creatives at the top of their game.


The musical numbers sound terrific under musical director Isaac McCullough’s skillful baton. The Sherman’s brothers penned, “Supercalifragilisticexpialidocious”, “A Spoonful of Sugar”, and “Let’s Go Fly A kite” sound as good as you want them to be, whilst new songs penned by George Stiles and Anthony Drewe give the production a contemporary feel, the pick of the bunch being touching, “Being Mrs Banks”, beautifully sung by Lucie-Mae Sumner.

Stefanie Jones is in sparkling form as Mary Poppins: it’s a sassy turn which beautifully shows the complexity of the character. Her vocals throughout are outstanding and her physical performance as the super-nanny is captivating. She has a true star quality which fills the stage. The same can also be said of Jack Chambers: it’s a performance full of charm, charisma and athleticism, a full on song-and-dance tour-de force highlighted in the previously mentioned “Step in Time”.

Michael D. Xavier is impressive as the uptight, repressed Mr Banks. His performance has a contemporary quality which adds more layers to the production. Lucie-Mae Sumner is the perfect foil, with her sweet, strong, yet mildly eccentric Mrs Banks, ready to show she is more than just a wife, but a strong, capable woman. Finally Katie Ryden and Charlie Donald are a fun watch throughout and more than hold their own with their fellow adult-actors, with both showcasing great comedic timing.

Bob Crowley’s enchanting dolls house set design looks gorgeous and sets the tone of the show perfectly, whilst some very clever stage trickery shows just how magical, and unique Mary Poppins truly is.

Mary Poppins is a testament to the enduring appeal of its source material, offering a theatrical experience that is both timeless and innovative. With stellar performances, imaginative design, and memorable music, it’s a fantastic showcase for how good live theatre can be……as the song says – Practically Perfect!

Mary Poppins is at Manchester’s Palace Theatre till 17th May, tickets are available here.

Cruel Intentions

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️

Cruel Intentions: The 90s Musical is an energetic and fun adaptation of the 1999 cult film, blending the drama of the original with an upbeat 90s pop soundtrack. Set in an elite prep school, the story revolves around Sebastian Valmont, a charming and manipulative teen whose latest game involves seducing and ruining the lives of his peers. Alongside him is Kathryn Merteuil, his scheming step-sister, who sets the stakes higher by making a bet on Sebastian’s ability to corrupt Annette, a new and innocent student. As Sebastian begins his pursuit of Annette, the characters are pulled deeper into a web of lies, deceit, and temptation—all set to a backdrop of hit songs from the 90s.

One of the undeniable highlights of the show is the vocal performances. Luke Conner Hall as Blaine Tuttle delivers a standout performance with his powerhouse voice, perfectly capturing the essence of the character with both charm and intensity. Likewise, Lucy Carter, playing both Cecile and Marci, is another scene-stealer, with her incredible vocal range and comedic timing adding energy and warmth to the production.

The musical is bursting with nostalgic 90s hits that really bring the era to life. From No Scrubs by TLC to I Want It That Way by the Backstreet Boys, the audience is treated to an unforgettable soundtrack. These songs are seamlessly integrated into the storyline, with some clever and humorous nods to their lyrics. It’s clear that the production is aware of its playful tone, and for many, these moments of self-aware humour hit the mark, providing a light-hearted and entertaining atmosphere throughout the show.

The high-energy choreography and over-the-top performances create a vibrant, comedic feel in the first act, which some audience members absolutely adored. The audience was buzzing with excitement, and many found themselves caught up in the fun of it all. The show’s ability to bring laughter and joy, especially for fans of the original film and 90s music, cannot be overstated.

That being said, Cruel Intentions: The 90s Musical isn’t for everyone. The humour, while fun for many, includes outdated, offensive jokes, particularly homophobic and racist remarks, that may leave some feeling uncomfortable. These moments feel out of place in today’s context, and while they may have been acceptable in the original film, they detract from the otherwise light-hearted tone of the musical.

Another issue with the production lies in its storytelling. The plot, while following the original film’s general premise, lacks depth and development, leaving certain emotional moments feeling underdeveloped. The musical’s tone also fluctuates, with Act 1 leaning into a slapstick, tongue-in-cheek approach and Act 2 attempting to make the characters’ emotional struggles more serious. This shift can feel jarring, and it’s unclear whether the show is a comedy, a parody, or a more faithful interpretation of the film. For some audience members, the inconsistency in tone might make it difficult to fully engage with the characters’ emotional arcs.

Additionally, some of the song choices and dance routines felt derivative, almost mimicking the original versions of the hits rather than offering a fresh take. Sometimes this felt intentional and other times I just wasn’t sure. I found it confusing. While these numbers were undeniably fun, they didn’t always add much depth to the show’s overall narrative or emotional impact.

Cruel Intentions: The 90s Musical is a wild and vibrant ride through the best hits of the 90s, filled with memorable performances and an infectious energy that many in the audience loved. For fans of the original film, 90s music, or anyone who enjoys a fun, upbeat show, there’s a lot to enjoy. However, its humour and narrative tone might not resonate with everyone, and those seeking a more serious or cohesive experience might find it lacking. If you’re in the mood for a nostalgic, playful evening with catchy tunes and tongue-in-cheek humour, this musical delivers plenty of fun. Just be prepared for a show that embraces its campy, bold style—whether or not it fully lands with every viewer.

Cruel Intentions is on at Manchester’s Palace Theatre until Saturday 29th March tickets available here.

Dear Evan Hansen

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Just over two years since it closed in London’s West End, multi-Tony, Grammy and Olivier award-winning musical Dear Evan Hansen has embarked on a UK tour, stopping this week at Chester’s Storyhouse.

Dear Evan Hansen follows the story of socially anxious high school student Evan who accidentally gets caught up in a lie which quickly snowballs beyond all control. Following the death of fellow pupil, Connor Murphy, a therapy letter Evan wrote to himself is mistakenly confused as the pupil’s suicide note and Evan soon becomes deeply entrenched in the grieving families lives. The musical has received some criticism over the years with some audiences finding the subject matter and elements within the story problematic however there’s no doubt it’s beautiful score with music and lyrics by Benj Pasek and Justin Paul (La La Land/The Greatest Showman) has confirmed its status as a modern classic.

This new production has clearly examined the previous problematic elements and softened Evan, that combined with Ryan Kopel’s superb physical and emotional interpretation of the schoolboy results in a gentler, more likeable Evan and one who we feel more compassion towards. Kopel’s portrayal really is mesmerising, his Evan is a fidgeting, hand-wringing, blinking bundle of nervous energy while his deep longing for connection is sensitively and gently explored. His characterisation is incredible while he delivers stunning vocals throughout, notably Word’s Fail which is breath-taking as we witness him visually unravel under the pressure of the lie that’s seemingly unstoppable.

The rest of the cast compliment Kopel perfectly. West End favourite Alice Fearn’s portrayal of Heidi, Evan’s Mum is perfection, her rendition of So Big/So Small brought many in the audience to tears while her unconditional love for her troubled teen Evan plays out beautifully, frustratingly and authentically.

Killian Thomas Lefevre is fantastic as troubled teenager Connor Murphy, popping up when we least expect it enriching the story with each surprising appearance. Lauren Conroy plays Connor’s sister Zoe Murphy with strength and sensitivity while Richard Hurst and Helen Anker’s performances as Connor’s parents are deeply moving, portraying parents who have so tragically lost a child with raw and honest emotion. Will Forgrave covering tonight as Evan’s ‘family friend’ Jared Kleinman brings some welcome light relief while Vivian Panka is a driven and determined Alana with vocals to die for.

Morgan Lane’s box set design is lined with mirrors and sliding doors which allows us to see each scene from various fractured angles while allowing the action to easily shift location. The use of video screens is hugely effective cementing that feeling of social media’s all consuming impact while Matt Daw’s lighting design is equally as impressive.

The small ensemble replicate Evan’s frantic, racing mind through Carrie-Anne Ingrouille’s modern choreography, although they feel a little underused in the piece when the do feature they impress.

This thought-provoking, intricately crafted piece of theatre will long live in the memory. At times a gut-wrenching watch, it’s important messages about visibility and self-acceptance remain strong while the spotlight it shines on the influence of social media, isolation, anonymity and connection feel ever poignant. This is a quality piece of theatre with a story that will connect with many and by far one of the best scores of recent years. With tickets selling fast you won’t want to miss this musical masterpiece.

Dear Evan Hansen is on at Storyhouse Chester until Saturday 22nd March limited tickets available here.

Chitty Chitty Bang Bang

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Formula One, a sport I have zero interest in, apparently kicks off its new season this coming weekend, and whilst I certainly won’t be watching there is however one former Grand Prix winner’s arrival into Manchester that I have been most looking forward to: I am of course referring to Chitty Chitty Bang Bang.

The Ian Flemming penned family favourite is back on the road bringing with it a ton of magic, some big musical numbers and a whole lot of fun for all the family.

Set in 1919 we find the rather eccentric widowed father, Caractacus Potts trying to forage enough money to save a bent and broken race car from the scrap heap. The car has become the beloved plaything of his two children Jeremy and Jemima. In order to raise the funds must put his brilliant(ish) inventor mind to work, and come up with an invention that will not just change the world, but also the Potts, bank balance as well. Caractacus reluctantly accepts the help of Truly Scrumptious, the daughter of a local sweet and confectionery maker in order to get an appointment with her father. Whilst the meeting doesn’t go according to plan, it soon becomes clear that there is a spark between the pair.

It’s not just money troubles however blighting the Potts family. They find themselves in great danger from the evil Baron and Baroness Bombast of Vulgaria who also have designs on the famed race car: dispatching a couple of dodgy spies, the power of the Vulgarian navy, and the truly terrifying Childcatcher. The Vulgarians will stop at nothing to achieve their goal, even going as far, as kidnapping Grandpa Potts. However, Chitty Chitty Bang Bang has more than few surprises under her bonnet to help Caractacus and company save the day.

From start to finish, what an absolute joy this production is. There are some fine performances throughout: Former Strictly winner Ore Oduba, channels his inner showman, bringing a touch of sparkle as the eccentric Caractacus Potts. As you might expect he has some slick dance moves, but he had a tremendous voice to match, perfectly showcased in the spectacular number Me Ol’ Bamboo.

Liam Fox brings plenty of warmth and humour, as the caring old soldier, Grandpa Potts. Whilst Ellie Nunn puts in a feisty turn as Truly Scrumptious, it’s pleasing to see the character has been updated from the film, to be more spirited. Nunn has a stunning voice, and her vocals on the touching Lovely, Lonely Man are beautiful.

Every good story needs a good villain, and thankfully Chitty Chitty Bang Bang, has one of the most terrifying: The Childcatcher, played here with sleek brilliance by Charlie Brooks. Brooks does villainous so well, stalking the stage like a cat ready to pounce on her prey as she tries to weed-out the children. She gets to deliver some truly iconic and chilling dialogue, which she does so menacingly  well.

What director Thom Southerland has done such an excellent job of is enhancing the humour and ridiculousness of Chitty Chitty Bang Bang. He weapons for this are four solid comedic performances from  Adam Stafford and Michael Joseph as the inept spies Boris and Goran, bringing a whole load of silliness in the first half of the show. Later it’s the turn of Martin Callaghan and Jenny Gayner as the Baron and Baroness to ratchet the fun up to 11. All four inject a great deal of absurdity and fun to proceedings. 

Of course, the star of the show is the car itself, which looks immaculate, her arrival along with the beloved Chitty Chitty Bang Bang song drew lots of spontaneous clapping and singing from the audience. Morgan Large has done a great job bringing the car to life, as well as other fun little props and touches that litter the production. Some of the set transitions I do feel could be slicker and at times can be distracting but this is a minor quibble for over all a production that sparkles

There is something for everyone here, bold musical ensemble numbers like the aforementioned Me Ol’ Bamboo and Toot Sweets, superbly choreographed, whilst the slower Hushabye Mountain and Doll on a Music Box work effectively well.

The evening comes to an end with a touching speech from Liam Fox, paying tribute to friend/co-star, James Lee Williams: The Vivienne, which is a classy touch and highlights the love and warmth of what this production is all about.

This is an always entertaining retelling of a classic, and one that children of all ages will enjoy. I’m pleased to say this old car has passed its MOT with flying colours.

Chitty Chitty Bang Bang is at the Palace until 16th March tickets available here.

Glorious!

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

In life some of us often don’t do the things we want to, for fear of failure or at worst ridicule. You can’t help wondering what opportunities have slipped away because of our own self-doubts. Maybe a few of us could take a leaf out of the fabulous Florence Foster Jenkins’ book, dubbed ‘the worst singer in the world’. Florence never let a lack of talent be a barrier as she turned her dreams into a reality, whilst bringing joy and happiness to so many!

Mrs Jenkins’ remarkable true-life tale is brought to life in the Peter Quilter penned play, Glorious! First performed in 2005, the play is Hope Mill Theatre’s first spring offering of the year, and what an absolute treat it is.

We are introduced to Florence via a young down on his luck pianist: Cosmé McMoon (Charlie Hiscock). McMoon has been invited to meet/audition for a wealthy socialite over at her luxury Manhattan apartment. Here McMoon meets the rather eccentric Florence Foster Jenkins (Wendi Peters), whose quirky nature is matched by her passion for music and performing. After a brief feeling out period between the pair, where Jenkins’ outlines plans for a concert, album recording and name drops celebrity fans, which include: Tallulah Bankhead and Cole Porter. However, McMoon soon realises that Jenkins’ passion for music doesn’t quite match her very limited vocal range.

The ambitious ivory tickler must quickly decide if a huge sum of cash accompanying Mrs Jenkins is worth the almost certain career suicide. As the unlikely duo get to know each other, a friendship blossoms and McMoon soon realises that they have more in common than he at first thinks.

This is a hugely enjoyable, joyous night at the theatre. Peter Quilter’s heart-warming script is inspiring, and a fun examination into friendship, loyalty and above all else a celebration of those who wish to follow a dream. Whilst there is very little in the way of plot development from the first act, the script is hilarious right from the get-go, packed full of one-liners which more than makes up for the lack of surprise or jeopardy, climaxing in an inspirational, uplifting ending.

The show is anchored by three outstanding performances: Wendi Peters is superb as Jenkin’s, she breathes life into this sweet-natured if slightly off-the-wall dreamer, never poking fun at her. We know Peters is a talented actor and singer, but to sing purposely so badly, is equally impressive: Her rendition of Habanera from Carmen is off the scale; it’s so terrible, which is meant with the highest of compliments.

Charlie Hiscock is equally impressive: his comic timing and delivery is exceptional throughout.  His facial expressions are the perfect foil to Peters’ glass shattering vocals. As well as the comedic elements he puts in a restrained, compassionate turn, and also showcases he is more than a dab hand behind the piano.  Making up this fine trio is Anita Booth on triple duty, first there is an outstanding turn as Jenkin’s surly Italian housekeeper, Maria, which had me in stitches throughout. Whilst she also plays Jenkin’s faithful best friend, Dorothy. She gets to show her mean streak as the Jenkin’s nemesis Mrs Verrinder-Gedge.

The show’s finale is one that will long in the memory as Peters’ dons an angel costume, complete with massive wings for Jenkin’s triumphant Carnegie Hall show. It cements the show’s feel-good message and positivity. As the old saying goes God loves a trier and based on tonight’s production you will fall in love with FFJ, this show truly is Glorious!

Glorious! Is on at Hope Mill Theatre till 30th March tickets are available here.

Joseph and the Amazing Technicolour Dreamcoat

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Joseph and the Amazing Technicolor Dreamcoat has undergone a thrilling reimagining in this incredible production by Michael Harrison, David and Hannah Mirvish, and Jake Wine. This version is not just a revival; it’s an exhilarating adaptation that breathes new life into the beloved classic. From its vibrant choreography to its pitch-perfect performances, it’s a show that keeps audiences on the edge of their seats, from start to finish. This is a must-see production that will leave you smiling long after the curtain falls, and humming the tunes all the way home on the tram, like we did!

At the heart of this spectacular show is the story of Joseph, the dreamer whose colourful coat sets the stage for a rollercoaster of emotions, betrayals, and triumphs. Based on the biblical tale, it follows Joseph’s journey from being his father Jacob’s favourite son, to being betrayed by his jealous brothers, and ultimately rising to power in Egypt, thanks to his incredible ability to interpret dreams. The story is filled with humour, pathos, and delightful surprises, making it a timeless classic. This adaptation takes everything you love about the original and amplifies it with a burst of modern energy, a splash of humour, and eye-popping visuals that make it feel fresh and exciting for today’s audiences. This is a far cry from the first adaptation I saw in 1991 as a child!

One of the true highlights of this production is the brilliant performance by Christina Bianco as the Narrator. Bianco, an internationally acclaimed performer known for her stunning vocal range and ability to impersonate iconic singers, brings her unique magic to the stage. Her portrayal is a masterclass in musical theatre. With her effortless charm and impeccable comedic timing, Bianco shines in every moment she’s on stage. Her voice is absolutely flawless, effortlessly handling the musical’s demanding score, from the soaring ballads to the fast-paced, high-energy numbers. What makes her performance even more captivating is how she seamlessly engages with the audience, pulling them into the story with her infectious energy. If you’ve seen Bianco’s viral impressions of divas like Celine Dion and Barbra Streisand, you’ll recognize her ability to evoke laughter and applause, but here, she’s a storyteller at heart, and her voice radiates warmth and heart throughout the show.

But it’s not just Bianco’s performance that stands out—Joseph as a whole is a visual and auditory feast. The choreography, expertly executed, is nothing short of electrifying. From the lively “Go, Go, Go Joseph” to the energetic “Song of the King,” the dancers are bursting with enthusiasm, their movements sharp and graceful. The choreography pulses with the rhythms of the music, filling the theatre with an infectious energy that makes it impossible not to tap your feet. There is no genre left behind, it is an eclectic feast of rock and roll, and country to the hilarious French themed “Those Canaan Days”. The numbers are fast-paced and thrilling, incorporating elements of contemporary dance, jazz, and even a touch of acrobatics, ensuring the audience is constantly engaged.

The set design is another triumph. The colourful, clever backdrop brings to life the vibrant world of Joseph. From the moment the show begins, you’re transported to the dramatic landscapes of Egypt, the lively streets, and the dreamlike visions Joseph experiences. The use of colour is particularly striking, with the multi-coloured coats, bright lighting, and vivid scenery creating a fantastical atmosphere that enhances the whimsical nature of the show. The costumes are equally impressive, with each character’s attire matching their personality and adding an extra layer of storytelling. The entire stage design, from the props to the lighting, is visually stunning and designed to captivate audiences of all ages.

In addition to the standout performance by Bianco, the entire cast delivers powerhouse performances. The role of Joseph is perfectly executed, bringing charm and sincerity to the character’s journey. The ensemble is equally remarkable, with a talented group of actors who sing and dance their hearts out. Of particular note are the young children in the cast, whose incredible talent shines brightly. They bring a delightful sense of energy and joy to the show, and their flawless performances ensure that Joseph is a celebration for the whole family.

The show is bursting with heart, humour, and energy, and the audience couldn’t have loved it more. Every moment is filled with charm, from the hilarious jokes to the heartwarming songs. The laughter, applause, and cheers that echoed throughout the theatre were a testament to the production’s success. The adaptation is not just a trip down memory lane—it’s a thrilling, vibrant reimagining that feels just as relevant and entertaining today as it did when it first premiered.

Joseph and the Amazing Technicolor Dreamcoat in this new adaptation is an absolute triumph, it’s a performance that you will remember long after you leave the theatre. It is a modern masterpiece in its own right. This production is a reminder of the timeless appeal of Joseph, and it’s a show that everyone—no matter their age—will enjoy from start to finish. You simply cannot afford to miss it!

Joseph and the Amazing Technicolor Dreamcoat is on at Manchester’s Palace Theatre until Sunday 9th March tickets available here.

Coming To England

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Coming to England at the Lowry is a heartwarming, exploration of migration, the windrush generation, identity, and the pursuit of a better life. 

The production is based on the children’s book by Florella Benjamin about her life and her family’s journey from Trinidad and the struggles they faced when they arrived in England. 

It is important that stories like this are shared, and this production is a success because it’s at a level that children can access the themes. The plot isn’t heavy, but the key messages about equality and inclusion are prominent. 

The standout feature of the show is undoubtedly its cast, who bring passion and authenticity to their roles. Each actor shines in their portrayal of individuals facing personal and societal challenges, infusing their performances with depth and emotion as well as humour. The chemistry between the ensemble members is palpable, drawing the audience into the struggles and triumphs of their respective characters. The theme of family underpins every scene- you can feel the love shared between the characters. 

Equally impressive are the songs, which are catchy and full of energy. The musical numbers are some of the strongest moments of the show, with a mix of heartfelt ballads and upbeat tunes that capture the emotional range of the story. The music does an excellent job of supporting the narrative, offering both emotional resonance and moments of levity. 

However, while the cast and songs are excellent, the plot itself feels a bit uneven at times. Some parts of the story could benefit from further development, it would be wonderful to see how Florella rose to fame. Despite this, the production as a whole is a hugely enjoyable experience, thanks to its talented performers and the strength of its music. It’s an important story to tell.  The production is aimed at children, and that is where it is pitched- it addresses important themes about discrimination and racism, but equally highlights the love of a family and the way in which they don’t let the discrimination define who they are. 

Coming to England is a show that delivers strong performances and memorable songs. For fans of Florella Benjamin and those interested in heartfelt stories about migration and the windrush generation it’s a wonderful watch.  

Coming To England is on at The Lowry until Sunday 9th February tickets available here.

Kinky Boots

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

To say there was a buzz when Strictly icon Johannes Radebe was announced as Lola in this all-new Kinky Boots revival would be a wild understatement, as a firm audience favourite and a passionate promoter of authentic self-expression this casting felt like an absolute match made in heaven. Tonight’s Manchester press night proved in utterly fabulous style just how perfect that inspired casting really was as Radebe and the rest of this talented company bring the party to town in glorious, glittering style.

Based on the 2005 film this beloved Broadway and West End musical with music and lyrics from the legendary Cyndi Lauper introduces us to Charlie Price (Dan Partridge). Charlie is unexpectedly made responsible for saving the family business, a shoe factory that was the lifelong passion of his late father. Charlie, however, has little interest in shoes and things quickly begin to fall apart, that is until a chance meeting with a flamboyant drag queen named Lola (Johannes Radebe). With the help of Lola, Charlie soon begins to realise that he might just have what it takes to save the factory while unexpectedly saving himself as he learns to accept who he really is.

This uplifting production is an absolute joy and delivers the most wonderful message of friendship, acceptance and love, as we see Charlie and Lola embrace each other’s differences while creating the most sensational (and sturdy) stilettos on the market.

Johannes Radebe fills Lola’s six-inch stilettos spectacularly. Every moment he is on stage is thrilling, he delivers Leah Hill’s intricate choreography with ease, totally transfixing the audience, he is utterly mesmerising and an absolute star. He also has a beautiful vulnerability when it comes to the quieter more heartfelt moments, his duet with Dan Partridge during Not My Father’s Son is deeply moving. The addition of young Charlie and young Lola (played superbly by Joshua Beswick and Sekhani Dumezweni) taking this already touching moment to the next level.

Partridge wonderfully embodies Charlie Price, taking us on an emotional journey as he shifts from frustrated heir to a confident can-do factory owner. Stuck between the expectations of family and trying to keep his relationship afloat, Partridge gives an emotional and complex performance. His vocals sore and he has an undeniable likeability that has the audience rooting for him from the start.

Courtney Bowman is a delight as factory worker Lauren. Her comedic timing is sensational while her delivery of History of Wrong Guys is truly iconic. Joe Caffrey’s portrayal of Don is a fantastic secondary story to the main plot, his character arch from angry ‘real man’ to someone accepting of both difference and change is wonderful to see while Manchester’s own Scott Paige is as entertaining as ever in the role of factory foreman George, he takes every magical moment in the spotlight and runs with it.

The energy given by this cast is infectious, they radiate positivity while celebrating each and every character’s individuality. The feel-good vibes this show delivers are unmatched, you’ll leave the theatre uplifted, empowered and feeling a whole lot more positive about the world around us. There couldn’t be a better time for a revival of this celebratory show, with its vital and important message. This incredible cast, stunning production and slick delivery will ensure audiences fall in love with Kinky Boots all over again. Be quick to book as these Kinky Boots must surely strut into the West End soon, sensational!

Kinky Boots is on at Manchester’s Palace Theatre until Saturday 8th February tickets available here.

NOW That’s What I Call a Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐

Written by Pippa Evans and directed and choreographed by Craig Revel Horwood, NOW That’s What I Call a Musical takes everyone’s favourite compilation collections and delivers a jukebox musical bursting with 80s bangers.

At the heart of the production is a story based on friendship through the generations, and how while life and its challenges can often get in the way, true friendships stand the test of time (even if they do need a little assistance from an 80’s icon to remind them of the good times).

The story is set in Birmingham and simultaneously takes place in both 1989 and 2009 when a school reunion is on the horizon. In 1989 we meet younger Gemma and April (Nikita Johal and Maia Hawkins). The best friends are about to turn 18, both are ambitious and excited for what life has to offer. Gemma is keen to become a nurse while April has her sights set on stardom in the States. Both Johal and Hawkins shine in their respective roles, wide eyed and hopeful they perfectly encapsulate the characters teenage dreams.

Twenty years later their ambitions haven’t quite materialised and older Gemma and April (Nina Wadia and Sam Bailey) are no longer the close friends we first met. Gemma lives an unfulfilled life while April hasn’t been seen in the last decade. Sam Bailey and Nina Wadia make for a great pairing, although we see very little of Bailey until Act 2 with Act 1 largely being used to build an opportunity for her to return, an unusual choice and one that leaves you thinking the show would have been richer for including her character more throughout. When the two are together Bailey’s voice stuns while Wadia’s comic timing is superb. Once reunited the duo navigate their complex friendship with heart and humour as they’re forced to look back at their younger selves in a bid to work out what happened to those joyful dreamers portrayed so wonderfully by Johal and Hawkins.

The show very much follows the classic jukebox musical format. The characters are relatable, there’s plenty of humour, and of course brilliant bops which the talented cast deliver enthusiastically throughout. The result is a fun, feelgood show offering audiences a night of nostalgic escapism. While the humour is uncomplicated it’s well received by tonight’s audience.

The supporting characters complement the leads well with Gemma’s husband Tim (Keiran Cooper in 1989 and Chris Grahamson in 2009) portraying the villain of the piece convincingly making it very easy to hate him while April’s brother Frank (Luke Latchman in 1989 and Shakil Hussain in 2009) is a likeable addition to the story.

A notable positive to this production is the body diversity reflected on stage, something we’re thankfully seeing more and more and long may it continue.

As with many jukebox musicals there’s a significant level of shoehorning into scenes without adding anything to the narrative other than another tick on the song list count. However, when they are such bops as Video Killed the Radio Star and Hey Mickey, do we really care that much about their placement in the show? Judging by the audience’s reaction tonight I’m guessing probably not. They are here for a fun time and that’s exactly what this cast deliver.

The Act Two cameo by an 80’s icon; on this occasion Scouse sensation Sonia, adds to the fun of this piece as audiences get to indulge in even more uplifting nostalgia, even if it does feel a little like a fever dream (albeit a very fun one).

The plot while fairly predictable is entertaining and enjoyable as this confident cast deliver each much-loved track in this mixtape with bouncy enthusiasm ensuring a happy audience who, by the finale are bursting to boogie during the hit-filled megamix.

NOW That’s What I Call a Musical is on at Manchester’s Opera House until Saturday 1st February tickets available here.

The National Lottery’s Big Night of Musicals

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Back for the 4th year the National Lottery’s Big Night of Musicals yet again proved the perfect way to beat the January blues and celebrate the wonderful work done by the National Lottery AND the very best of musical theatre.

Superbly hosted by comedian Jason Manford as well as offering performances from some of the hottest West End shows, the event showcased a range of touring productions – some which are headed to Greater Manchester soon.

The show also highlighted the support the National Lottery has given to more than 20,000 theatre-related projects over the last 30 years.

North West theatregoers got to see sneak peaks of some of the touring shows heading our way in 2025 – with exciting peformances from Chicago (Lowry, August), Bat Out of Hell (Palace Theatre, February), Mary Poppins (Palace Theatre, April), Dear Evan Hansen (Palace Theatre, February) and Here & Now – The Official Steps Musical (Opera House, September).

Stand out moments from West End productions included a first look at Marisha Wallace’s Sally Bowles from Cabaret – with Maybe This Times – and a brilliantly bonkers number from the new cult hit Titanique – starring Layton Williams and the brilliant Lauren Drew (you might remember her from starring in Lizzie at Hope Mill Theatre last year).

Perhaps most exciting was the chance to for a first look at the brand-new Disney’s Hercules, which is coming to the West End this summer, with a spectacular performance of ‘Zero to Hero’ and ‘Go The Distance’  from Luke Brady (Hercules) and his fiercely fabulous Muses.

Undoubtedly one of the most moving parts of the evening was when musicals legend Michael Ball made a special appearance, singing a spine-tinglinh rendition of ‘The Impossible Dream’ alongside National Lottery-funded charity, Our Dementia Choir, founded by actress Vicky McClure. It’s not an exaggeration to say the performance moved many audience members to tears.

There was also a beautiful performance of Electricity from Billy Elliot by two youth theatre groups from Stockport and Yorkshire – the young people absolutely did themselves proud.

The National Lottery’s Big Night of Musicals celebrates 30 years of The National Lottery funding theatre and performing arts across the UK and serves to thank players who have helped support theatre-related projects to the tune of £1.3BN. National Lottery funding has helped restore theatres as well as enabling hundreds of performing arts projects.

The National Lottery’s Big Night of Musicals will air on BBC One, BBC Radio 2, BBC iPlayer and BBC Sounds this Spring.

Calamity Jane

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Whether you’re a longtime fan of the classic 1953 film starring Doris Day or toe-tapping your way into Deadwood for the first time, one thing is certain, you’ll have a whip-crackin’ whale of a time at this charming revival.

While sharp-shooting Calamity Jane can beat any man in the county, it’s Cavalry Officer Danny Gilmartin she is desperate to impress. She travels to Chicago to recruit glamorous cabaret star, Adelaide Adams, with the aim of bringing her back to Deadwood. However, things don’t quite go according to plan and when the majority of the locals including Danny fall for the new arrival’s charms, Wild Bill Hicock (Calamity’s sparring partner) is now left with the challenge of making a jealous Calamity see sense.

While staying faithful to the beloved musical movie this touring production starring West End favourite Carrie Hope Fletcher offers a revitalised energy which will undoubtedly appeal to modern audiences. Director Nikolai Foster’s decision to use actor musicians is one that pays off hugely giving this joyous production an immersive, wholesome feel. This musicality drives the narrative wonderfully, with bigger numbers like The Deadwood Stage (Whip-Crack-Away!) and Just Blew in from the Windy City impressing with a joyous, celebratory sound allowing this talented cast to show off their incredible versatility. Nick Winston’s lively choreography adds further to these impressive numbers as the cast deliver each routine with perfect precision.

Carrie Hope Fletcher slips perfectly into Calamity’s boots, with just the right amount of sass and spirit, she leads this talented cast skilfully. Her pairing with Vinny Coyle as Wild Bill Hickok is a joy to watch as they barb and bicker brilliantly making the more tender moments all the more special. Her big ballad Secret Love is perfection and will make you wish it was a verse of two longer while Coyle’s gentle version of ‘Higher than a Hawk’ is a gorgeous Act II opener.

Samuel Holmes is on fine form as Francis Fryer bringing laugh out loud humour to the role through his enormous sense of fun while Seren Sandham-Davies shines as Katie Brown. Her transition from wide-eyed new arrival to Deadwood diva is delicious while her pairing with Luke Wilson as Danny Gilmartin acts as further confirmation to the quality of this cast.

Matthew Wright’s music hall set remains unchanged throughout the show however the cast draw on some clever techniques to create multiple locations and settings, from the Deadwood Stage to Calamity’s cabin, everything is carefully considered and perfectly executed. Technically, the sound seemed a little muted at times in Act I however come Act I we were all perfectly primed for a hoe-down finale for hopefully just first night niggles.

This feel-good production is packed with toe-tapping tunes, lots of laughs and heaps of heart. Appealing to audiences of all ages it’s a whip-cracking theatrical treat that will have you wanting to head back to the Black Hills of Dakota quicker than Calamity can crack her whip.

Calamity Jane is on at Manchester’s Opera House until Saturday 25th January tickets available here.

Full Casting Announced for World Premiere of David Baddiel’s ‘The Parent Agency – The Musical’ at Storyhouse Chester

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Producers John Berry and Anthony Lilley of Scenario Two and Suzie Henderson and Helen Redcliffe of Storyhouse are delighted to today announce the full cast for The Parent Agency – The Musical. This brand new musical adapted by comedian and author David Baddiel from his best-selling book with music and additional lyrics by the composer of Everybody’s Talking about Jamie’s Dan Gillespie Sells, will receive its world premiere at Storyhouse Chester on Saturday 15 February 2025, where it will be playing for two weeks until Sunday 2 March 2025.

Max Bispham (Les Miserables, Mrs Doubtfire), Osian Salter (Les Miserables, The Osmonds a New Musical), Eli Sowden-Mehta (Wonka, Blitz, Wicked)and Louis Wilkins (Chitty Chitty Bang Bang) will share the role of Barry.

Rebecca McKinnis (Dear Evan Hansen, Everybody’s Talking About Jamie) will play Susan and Rakesh Boury (Matilda, The Creakers) will play Geoff.  

Completing the cast are Kazmin Borrer (Everybody’s Talking About Jamie), Elliot Broadfoot (Kathy and Stella Solve A Murder), Natasha Cayabyab (Shrek the Musical), Dylan Collymore (Shrek The Musical), Sarah McFarlane (SIX), Joshian Angelo Omaña (Why Am I So Single?) Alan Vicary (Girl From The North Country), Ralph Birthwell (Life of Pi), Althea Burey (The Gruffalo), Elliot Copeland (Becoming Nancy), Jessica Daugirda (Everybody’s Talking About Jamie), Sophia Lewis (Around The World in 80 Days) and Robbie Scott (Sunshine on Leith).

Eleven-year-old Barry Bennett hates his name. In fact, it’s number one on the list of things he blames his parents (Susan and Geoff) for along with “being boring, never buying him cool stuff, being tired all the time and being too strict”. So, he makes a wish for a better mum and dad and finds himself whisked away to Youngdon in the ‘United Kid-dom’, an alternate universe where kids get to pick out their perfect parents with the assistance of the staff of the eponymous Parent Agency.

For Barry, this seems like a dream come true, although he soon learns that choosing a new mum and dad isn’t as simple as it sounds…

The Parent Agency – The Musical will appeal to anyone who is, or has been, a child.
And also, to anyone who is, or has had, at least one parent.
And definitely, to anyone who wishes they weren’t called Barry.

The Parent Agency – The Musical opens at Storyhouse Chester from Saturday 15th February tickets available here.