Musical Theatre

A Christmas Carol

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There something so very special about A Christmas Carol, with its timeless story and perfect message for the festive season, this classic Dickens tale is a firm audience favourite. 

This Christmas, Hope Mill Theatre bring Scrooge’s redemption to magical life at The Lowry with the added twist of the Ebenezer Scrooge we all know and love becoming Evelina Scrooge, played superbly by Claire Moore. 

Seeing Scrooge as a woman offers an incredible opportunity to revisit a story we think we know so well and see it through fresh eyes as the tale takes on new meaning. We see an increased depth to Scrooge and gain a deeper understanding of what led to her life of stingy frugality. 

Set amidst the inky pages of a book this stunning musical adaptation is everything you want from a Christmas production. This traditional take oozes quality with its stunning set, impressive projections, wigs and costumes while the cast are truly phenomenal.

From Claire Moore as Scrooge right down to Team Holly’s Marnie Fletcher as an 8 year old Eveline, this cast is second to none. Their vocals are sublime while the ensemble deliver George Lyons choreography to perfection. 

Director Joseph Houston alongside co-director William Whelton have created a production that would be at home on any West End stage, how lucky we are to have it right here in Salford.

Scrooge’s night of reckoning begins with a visit from a ghostly Jacob Marley, played superbly by Barry Keenan. His words ring true as the clock strikes one and the Ghost of Christmas Past (Mari McGinlay) appears. McGinlay is wonderful, full of memories and merriment as she reminds Scrooge of monumental moments from past which seem long buried by the Scrooge of present. Both painful and perfect memories emerge culminating in a celebratory scene at the Fezziwig’s Annual Christmas Ball.

This big company number is tremendous, showcasing George Lyons’ choreography while allowing Alan Menken and Lynn Ahrens stunning music the ideal opportunity to shine. Alexander Evans and Josie Benson play the perfect hosts as Mr and Mrs Fezziwig, comedic and commanding.

Next we meet James Hume as the Ghost of Christmas Present. Hume is an absolute joy while the staging of his scenes is a total triumph and a real highlight in an already wonderful show. His witty approach combined with a stunning company number will live long in the memory.

As Josie Benson returns to the stage as the Ghost of Christmas Future we see Evelina Scrooge repent as she lightens and brighten before us. Claire Moore shows such incredible versatility in her characterisation, from the cantankerous early Scrooge to the jovial Scrooge of the finale she takes us with her, every step of the way on this heartwarming journey. 

The entire company all deserve high praise, their vocals are breathtaking while their skilful set changes become beautifully crafted choreography. Special mention must go to Matthew Jeans and Team Holly’s Joel Tennant whose pairing as Bob Cratchit and Tiny Tim is a joy.

From Andrew Exeter’s stunning set design to Alex Musgrave’s rich lighting magic has been made. The band led by Joseph Clayton solidify the sheer quality of this production.

After 9 award-winning years producing their own in-house productions, this is the first Hope Mill Theatre have created and produced for another venue and to say the bar has been set high would be a wild understatement. A Christmas Carol : The Musical is sublime. It will lift your spirits, warm your heart and remind you just how magical live theatre can be, sensational!

A Christmas Carol : The Musical is on at The Lowry until Sunday 5th January tickets available here.

The Bear

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Waterside Arts in Sale, brings us another Christmas feast of entertainment for the family. This year it is The Bear, a stage adaptation of the wonderful Raymond Briggs book. The tale has similar themes to that of another beautiful story of Briggs’, the Snowman. 

This show, a Pins and Needles Production, features young Tilly, a girl with an imagination and a friendly Teddy Bear, who kept the children entertained while waiting for the show to begin. One blustery night a polar bear comes to stay, blundering through her bedroom window in the deep of the night. 

Tilly adores the Bear from the moment he arrives. She desperately wants him to stay. Together they play games such as hide and seek (he’s very good at it). Tilly quickly comes to realise that taking care of a bear is not the easiest of tasks.  

This story is one of friendship and love. You can’t help but be touched by the closeness and companionship these two characters create on stage. There are so many moments that give us, the audience, the complete warm and fuzzies. There is a woven thread through this whole story of the power of the imagination and the importance of closeness for a child. 

The heartwarming scenes are linked together with comedy, song and some good old fashioned dance moves. We are treated to bubbles and snow and even a blast of a water pistol (bad luck if you’re near the front). 

But what the most spectacular thing about this production is, is the Bear itself. The puppetry is divine, it’s carefully considered, gentle, dynamic and purposeful. The fact that we can clearly see the puppeteers does not distract from the way in which we are captivated by the bear, the characterisation from both actors allows us to simply see them as part of the bear. It’s very clever and powerful. 

We were mesmerised, transfixed and entertained through out the entire production, it’s one we will talk about for Christmases to come.

The Waterside always knows how to do Christmas, and this year they have excelled themselves by bringing this show to town.

The Bear is on at The Waterside, Sale until Sunday 29th December tickets available here.

Wicked

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

It may come as quite the shock to find out that Wicked has been gracing theatres across the globe for 21 years, yes that’s right folks Wicked has the key to the door! 2024 has been a huge year for this musical theatre titan: there was of course Hollywood’s much anticipated take, with part one hitting the silver screen last month. Then there is an epic 10 venue UK tour which arrives in Manchester, its final stop for a six week run

Based on the novel, Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire, and adapted for the stage by Winnie Holzman, this tale from the land of Oz resembles a Greek tragedy more than a fantasy adventure. Beginning with the citizens of Oz celebrating the demise of The Wicked Witch of the West. Glinda the Good (Sarah O’Connor) isn’t fully invested in the celebrations, when questioned about her friendship with the tyrannical witch, we are taken on a journey to see how these two rivals go from foes, to friends, and right back to perceived enemies once more.

Before she became the Wicked Witch of the West, she was Elphaba (Laura Pick), a young woman shunned by her father and ridiculed by everyone she meets because of her green skin.  Elphaba is sent to the Shiz University, where she is a carer for her younger paraplegic half-sister Nessarose (Megan Gardiner).

Here Elphaba meets Gailnda, a popular social climber that seemingly everyone adores. The pair soon clash when they are placed as roommates. The relationship is further strained when Elphaba is picked by Madame Morrible (Donna Berlin) for one-to-one sorcery tutorials. In addition, the arrival of a playboy prince, Fiyero (Carl Man) adds to the tension, as Galinda is bowled over by his charm and striking good looks, whilst Elphaba is less than impressed by his cocky, arrogant swagger.

Despite their many differences the pair soon see that they aren’t too dissimilar, and a great friendship is forged, together they make quite a formidable team.

However, something sinister is happening to the animals of Oz, with all of them losing their voices and seemingly dark forces behind their persecution. Elphaba and Glinda (having ditched the A) are granted an audience with the great Wizard of Oz (Simeon Truby) to seek his help with this matter, but the meeting doesn’t go as planned and sets the pair on separate paths that will test their friendship to the limits.

It’s easy to see why the magic of Wicked shows no sign of fading any time soon: It’s a production dripping with quality. At its heart two fabulous central performances from Laura Pick and Sarah O’ Conner. Pick is punchy as the prickly no nonsense Elphaba, she absolutely knocks it out of the park on her solo numbers  “I’m Not That Girl” and “No Good Deed”. O’ Conner is equally impressive, in a role which not only showcases her tremendous vocal range but allows for some great comedic flourishes, as she plays the dizzy mean-girl-turned-good to perfection.

There are of course some great musical numbers from Stephen Schwartz, the best of the bunch being “Popular”, delivered impeccably by O’ Conner, and the scene-setting ensemble number “No One Mourns the Wicked”. Of course there is the now iconic “Defying Gravity” which more than delivers. The orchestration and musician arrangements are first class, delivered superbly by the orchestra, which is no mean feat as throughout the dry ice rolled into the orchestra pit. It’s an impressive visual but does make you wonder how they could see what they were doing!

The production values are of the highest order: Susan Hilferty’s costume design is fabulous, especially the steampunk themed citizen of Oz design and the terrifying flying monkey design. Eugene Lee’s stage design is epic in scale which marries perfectly with Kenneth Posner’s impressive lighting design and Tony Meola’s bold, booming sound design.

Despite a smart, witty script, there are parts where the plot seems a little contrived as it tries to cover a lot of narrative strands. In places it does seem a little bloated, but this is a minor quibble.

This is live theatre at its finest, a treat for the eyes and ears and one that will enchant audience members young and old alike. There may not be a yellow brick road leading to the palace theatre, but all roads should take you to Wicked this festive season.

Wicked is at the Palace Theatre, Manchester till 12th January 2025. Tickets available: Here

Come From Away

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Telling the incredible real-life story of remarkable human kindness in the face of unimaginable tragedy, Come From Away has arrived in Salford for a heartwarming festive season. 

Having thrilled audiences from Broadway to the West End, Come From Away transports us to the small community of Gander, a town in Newfounland, Canada, which on September 11th 2001 suddenly found itself home to over 7,000 international visitors, grounded due to the 9/11 attacks.

Having been in New York myself on September 11th I put off seeing this much loved musical for several years, concerned I’d find it upsetting or triggering. I finally took the plunge as its award-winning run on the West End came to a close, my one regret was that I waited so long. I left the theatre uplifted, inspired and desperate to watch it again.

Come From Away while created as a result of the real-life stories of grounded passengers, crew and the wider Gander community is anything but dark. It shines the most beautiful light on the absolute best parts of humanity as the locals embrace their ’come from aways’ while their visitors find hope and heart in the most challenging of circumstances.

The cast of 12 take on multiple roles from Captain Beverley Bass, the first female pilot to fly for American Airlines to Claude Elliot, who was Mayor of Gander at the time of the attacks. Personal accounts are beautifully interwoven with stories of community all set to an addictively catchy score while the script is littered with witty, heartwarming moments which draw you in from the start. 

Irene Sankoff and David Hein’s book, music and lyrics are seamlessly delivered by this brilliant company. From opening number ‘Welcome to The Rock’ right through to the joyous finale where the talented band led by Andrew Corcoran are given their moment in the spotlight, this life-affirming production delivers over and over.

The cast move both themselves and the props around the simple yet highly effective set to great effect. One moment we’re in Tim Horton’s at breakfast time, the next we’re on a flight, about to make an unplanned landing, every tightly woven movement pushes the narrative on wonderfully. 

Christopher Ashley’s slick direction ensures despite the multiple characters every scene is delivered with clarity and precision. The perfect pacing and intricate transitions keep the flow just right while the cast carry you through this emotional journey with them as if you too are a Newfoundlander.

This is a story of kindness, human connection and compassion delivered by a cast at the absolute top of their game. Amidst the witty, melodic scenes there are more serious, emotive moments which are given just the right amount of time to breathe before the next wave of joviality whips you up again. There is also an important and frank spotlight shone on Islamophobia, something I remember vividly witnessing flying back from JFK in the days after 9/11.

This is real, authentic ensemble theatre where cast members collectively create a truly memorable production. At a time where darkness can often feel so prevalent Come From Away will restore your faith in humanity and remind you that every single one of us has the ability to make a difference. This is is incredible storytelling, beautifully told. Let Come From Away whisk you off to Gander, fill your heart with joy and remind you there is always light amidst the darkness.

Come From Away is on at The Lowry until Sunday 5th January tickets available here.

Elf: The Musical –  Palace Theatre, Manchester

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Reviewed by Matt Forrest

Opening Night verdict: ⭐⭐

The film Elf has established itself as a firm family favourite in homes across the land every holiday season. The same could also be said of Elf: The Musical, which since its West End debut in 2015, which has led to  numerous UK tours playing theatres and arenas. Once again Buddy the elf is out on the road again arriving in Manchester, and hoping to spread a little festive cheer, however sadly this time around the magic just isn’t there.

Elf: The Musical tells the story of Buddy (Jordan Conway), a human who is raised by Santa and his elves in the North Pole. Soon Buddy begins to notice he isn’t like his fellow  work colleagues. He  often wonders why he isn’t as good at making toys as everyone else; and questions why he is much taller than everyone around him? Eventually Santa (Philip Day) puts Buddy straight, informing him that his real dad lives in New York and even more important than that….he is on Santa’s naughty list.

Buddy travels to New York, where he meets his Dad, Walter Hobbs (Barry Bloxham) , a workaholic book publisher who spends more time at work than he does with his wife and son. Walter isn’t too thrilled to meet Buddy or the chaos that comes with him. Buddy is sent to a department store, where he meets Jovie (Kelly Banlaki), a slightly world-weary shop employee, fed up with New York and indeed of some Christmas spirit. Can Buddy work his magic and help Jovie find some Christmas cheer, save his dad from the naughty list and more importantly save Christmas!

Like Buddy himself Elf: The Musical has a crisis of personality as to what it wants to be: a musical or a panto? It pitches itself somewhere between both camps coming across as disjointed. There were some fabulous feats of acrobatics from Romy Bauer, and other cast members  which look impressive but didn’t really add anything to the story.

At times actors went off script, even breaking into laughter, which gave the proceedings a shambolic quality and charm, which on occasions I did enjoy, however these are best saved for pantomime.  The big screen at the back of the stage shows videos throughout, that don’t look good, and at times pointless.

Jordan Conway is good as the title character, in a performance packed full of energy and mischief. He just about strikes the balance between innocent charm and playful irritant. Kelly Banlaki is fine, if somewhat under utilised as Jovie. Whilst Barry Bloxham does a good job as the embittered Walter Hobbs. To be fair the ensemble cast work their socks off throughout, you only wish their energy levels were matched by the production values. 

Most of the musical numbers are instantly forgettable, with the exception of the excellent Nobody Cares About Santa, which looked and sounded great. The orchestra are in good form throughout, fair play to them for not missing a beat during the snow fight.

Elf: The Musical does have its moments, with younger audience members lapping up the more anarchic scenes. However for a 2 hour 20 minute show, there aren’t enough big set piece moments that really hold your attention.  We’re not even in December yet and I’m sad to say this elf should be left on the shelf this Christmas.

Elf: The Musical  is at  Palace Theatre until 17th November. Tickets available: Here

Only Fools and Horses: The Musical – The Opera House, Manchester

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Reviewed by Matt Forrest

Opening Night verdict: ⭐⭐⭐⭐

Undoubtedly the most famous Reliant Regal in the world has rolled into Manchester this week, for a two week stop, as Only Fools and Horses: The Musical arrived as part of a UK tour.

Often voted Britain’s best loved sitcom, the show has countless fans who love it, whilst those that don’t will still have some reference point as memorable scenes are seldom far from our TV screens. So it almost seemed inevitable that it would receive the musical treatment and in 2019 writers Paul Whitehouse and Jim Sullivan (son of the TV show mastermind John Sullivan) created Only Fools and Horses: The Musical which had a very successful West End run and now embarks on its first UK tour.

We are transported back to Peckham at the end of 1980’s. Del Boy (Sam Lupton) is attempting to wheel and deal his way, rather unsuccessfully to becoming a millionaire. However, younger brother Rodney (Tom Major) is sick of being the family lackey for Del and Grandad (Paul Whitehouse). Both Del Boy and Rodney are in need of a change: Del, tired of seeing everyone settle down, joins a dating agency in a bid to find love. It is here that he meets aspiring actress Raquel (Georgina Hagen) and the two instantly hit it off.

Rodney needs £2000 in order to secure a flat for him and fiancée, Cassandra (Nicola Munns). However things don’t run so smoothly for the brothers as Del’s penchant for exaggeration catches up with him and the involvement of local gangsters, Danny (Peter Watts) and Tony Driscoll (Darryl Paul) throws a massive spanner in the works.

Whilst it may have initially seemed a foolhardy venture, Whitehouse and Sullivan have played it safe by drawing on two of the show’s most cherished episodes Dates and Little Problems for the plot. They have also cherry picked some of the most memorable gags, one liners, and set pieces from the TV show’s 22 year broadcast back catalogue to fill out the show. It’s a smart move as these gags still stand the test of time now. The pair have managed to strike the right balance between comedy, pathos and sentimentality which was always the beating heart of the series.

As well as the trademark catchphrases, much loved characters all pop up, including dodgy used car salesman Boycie (Craig Berry), complete with his trademark laugh, his long suffering wife, Malrene (Nicola Munns in a dual role) and everyone’s favourite dim-witted street sweeper, Trigger (Lee VG). 

The cast is superb. Sam Lupton is excellent as Del Boy, a performance packed full of charm and charisma. The main concern would be this impression of Derek Jason, playing Del Boy, but those fears soon disappear as Lupton puts his own stamp on Derek Trotter and you soon become immersed in his world. Tom Major is somewhat underused as Rodney, whilst it’s an impressive turn, you just wish there was more for him to do.

Paul Whitehouse brings a touch of star power to proceedings and is clearly having a ball as Grandad, lighting up every scene he’s in, but make no mistake this is Sam Lupton’s show from start to finish. 

The supporting cast are in great form throughout but special mention to Craig Berry and Lee VG, who are both outstanding as Boycie and Trigger.

Where the production struggles is the musical numbers are something of a mixed bag.  The Only Fools and Horses/Hooky Street mash up at the beginning perfectly sets the tone of the show, however some of the original songs are forgettable, especially when it comes to the more sentimental numbers. The songs that do work well are ones that have a bit of cheek to them like the Del Boy led Mange Tout and later Bit of a Sort. I also enjoyed the bonkers Gaze into my Ball, a send up of the future gentrification of Peckham. The Tadpole Song is anything but subtle, but no less enteraining. The undoubted music highlight was Gloria Acquaah-Harrison’s spine tingling rendition of Simply Red’s Holding Back the Years.

Whilst not perfect, this is an enjoyable, nostalgic trip down memory lane, which showcases some of Britain’s finest comedy writing. Gags and one liners a-plenty are performed by a great ensemble cast that will have you grinning throughout. 

Only Fools and Horses: The Musical is on at Manchester Opera House until 23rd November. Tickets available Here

Here You Come Again

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Set during the first Covid lockdown, 40 something Kevin is down on his luck, work sucks and to top it all off he’s just been dumped. Seeking refuge in the attic of his childhood home, Kevin soon realises quarantining can be a lonely business, especially when you’ve only got your old Dolly Parton records and posters for company.

Fortunately for Kevin, Dolly quickly makes her presence felt, think Mary Poppins but with more sass, bigger boobs and a whole lot of sparkle. Through Dolly, Kevin gradually begins to remember just how wonderful and varied life can be, as he finds the courage within to pick himself up, dust himself off and transform his life for good. It reflects on the madness of the pandemic while demonstrating that we all have the ability to expand our own personal horizons even while stuck in our parents’ attic.

Written by multi-Emmy award-winning comedy and songwriter Bruce Vilanch with Gabriel Barre (who also directs) and writer/actor Tricia Paoluccio (who co-writes and stars as Dolly), Here You Come Again has already enjoyed successful runs in the US, ahead of embarking on this current UK tour the creatives called on much-loved writer Jonathan Harvey who added additional material for UK audiences. The result is a joyful, feel-good, heartwarming musical that will delight theatregoers for years to come.

Steven Webb is tremendous as Kevin, he bursts with loveable energy endearing him to audiences immediately. While incredibly funny Webb also skilfully taps (quite literally) into Kevin’s vulnerabilities which adds depth and relatability to this beautiful story. Sharing the stage with Webb is Tricia Paoluccio as Dolly, she absolutely shines in the role, her characterisation of Parton is perfection. She has real star quality and gives an unforgettable performance. The relationship between Webb and Paoluccio is what really anchors this show, cementing it as a wholesome, heartfelt production. They bounce of each other brilliantly, keeping you guessing as to what’s to come while skilfully engaging the audience with their animated performances.

Joining Webb and Paoluccio on stage are Charlotte Elizabeth Yorke and Aiden Cutler. Both brilliantly bring multiple characters in Kevin’s world to life adding further heart and humour to proceedings. They also add gorgeous backing vocals which in turn further lifts the energy of this joyous production. Special mention must also go to the onstage band made up of Luke Adams, Ben Scott and Kevin Oliver Jones who frequently become part of the scenes with great effect.

Paul Wills’ set design is intricate and effective, transporting the rest of us forty somethings in the audience to a place of sentimentality as the attic plays host to artefacts from our childhoods, a Bluebird Toys Big Yellow Teapot, a creepy Chucky doll and of course a box of discarded tangled tinsel.

This show is all about fun and ensures that’s exactly what the audience experience, the cast cleverly acknowledge that there may be Dolly fans in the audience bursting to sing along and that opportunity is given while being gently controlled by the cast, so it remains within the predetermined moments.

The placement of Dolly’s songs has clearly been done with great care. The lesser known are given their moment in the spotlight while the big hitters like 9 To 5 arrive just when you want them to.

Here You Come Again while set during the pandemic is anything but heavy, it’s uplifting, hopeful and sparkles with joy. A reminder to us all to: ‘Stop looking in mirrors and start looking out of the window.’

Here You Come Again is on at The Lowry until Saturday 2nd November tickets available here.

Lizzie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Hope Mill Theatre’s Lizzie gained an army of fans with its original run in September 2023, with many theatre fans making multiple visits, often in Lizzie inspired costumes, while social media was awash with praise, now, comes the turn of an all-new 2024 cast to make their mark on this firm audience favourite. Driven by a killer score delivered by four absolute power-house female performers, Lizzie raises the roof of this much-loved Manchester venue and takes every audience member along for an exhilarating ride.

The infamous story of Lizzie Borden who was famously accused of brutally murdering her father and stepmother in the summer of 1892 may not be the most obvious material for a musical, but my goodness does it deliver! With a small cast of four this is a vibrant exploration of fierce women controlling their destiny at a time when oppression was the norm.

Director and choreographer William Whelton takes these historical figures and ensures that their stories are told in bold, blistering style. Opening with the eerie, infamous nursery rhyme we’re immediately transported into an intense and pressured environment. As the thrilling opening bars of House of Borden kick in, the scene is set for an electrifying production bursting with powerful vocals, edgy choreography, emotional depth and boundless female energy.

Kayleigh McKnight commands the stage as Lizze, you’re never quite sure what she’ll do next while her vocals are to die for. Fiery and ferocious one moment, calm and composed the next, she convincingly and comfortably shifts to vengeful as she takes action to gain control of her life.

McKnight has a wonderful connection with Katie Tonkinson, who plays Lizzie’s best friend and love interest Alice, their relationship is gently and delicately revealed by Tonkinson who brings light to this dark tale with her pitch-perfect, emotive performance. She truly shines in the role.

Emilie Louise Israel is superb as Lizzie’s older sister Emma, she’s strong and decisive while her rich vocals are utterly sublime. Jennifer Caldwell engages the audience from the start as housemaid come narrator Bridget. She packs in the humour with her brilliantly expressive performance, while relishing the menacing threat that something’s about to happen and we quickly get the feeling that she’ll be delighted when it does.

Accompanying this powerhouse cast is an all-female band led by Musical Director Ella Ingram, they are electrifying and further amplify the rebellious, empowering vibe.

Andrew Exeter’s set design and incredible lighting is complimented brilliantly by Dan Light’s vibrant video design, transporting Lizzie from the claustrophobic confides of the Borden House to a place where her hopes and dreams can take flight.

This gripping musical is loud, unapologetic and utterly brilliant. The layered storytelling keeps you engaged throughout while the searing score and gritty lyrics hook you in from the start. This talented cast deliver demanding vocals with an impressive ease; their harmonies are to die for while their transformation into a kick-ass girl group by the finale is deliciously satisfying. Lizzie is back, and as bloody brilliant as ever, unmissable!

Lizzie is on at Hope Mill Theatre until Sunday 17th November, tickets available here.

Grease

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️

It is incredible to think that for over 50 years, people have been visiting theatres and cinemas to see one of the many productions of Grease. 

What started out on a downtown stage in Chicago has travelled around the world and has become part of the musical references in our lives. You can’t tell me that you’ve not uttered the words “tell me about it stud”, while crushing a cigarette under the sole of your shoe, with a wiggle of the hips at some point in your life. 

This production, currently touring, is directed by Nikolai Foster and choreographed by Arlene Phillips. It (loosely) follows the plot of the movie production of 1978.

We begin out journey as we meet Danny (Marley Fenton) and Sandy (Hope Dawe) who are engaged in a summer romance and think they won’t see each other again. Complete opposites to one another, they have spent the summer away from the influences of their peers and fallen for one another. But will true love conquer all? 

Before long we meet the “Burger boys ” (the original name for the T Birds) and the “Pink Ladies” and all our favourites are there.  From Frenchy to Kenickie, from Rizzo to Patty Simcox. 

We are taken on a musical adventure of nostalgia and heartbreak as we follow the ups and downs of the relationships between the “kids”. 

Now, it’s not possible to create every scene from Grease on a stage in the two and a bit hours it’s on for. But, the plot of this production is a little thin on the ground and while the musical numbers do make up for it in some ways, it does mean that we don’t see a lot of insight into the characters. The relationship between Danny and Sandy never really shows us the love he has for her and how he struggles to be vulnerable. And in turn we aren’t invested in them as much as we should be.  So when Sandy changes certain things for Danny, I’m left wondering if she should have bothered. 

I really don’t think anyone who hasn’t seen the film would go to see this, but if they did the plot could be confusing.  But, for those of us who know the plot and the characters inside out, we can fill the gaps in ourselves. 

Putting that aside, the staging, the lighting, the music, the choreography and the company were fabulous. 

It was great to see the order of the songs moved around a little bit and gave them a different perspective, which I really liked, especially “Hopelessly Devoted” and ” Look at Me” 

Vocally, Emerald B and Lewis Day were perfect in their duet “Mooning” – it was a stand out performance.

The highlights of the show were the whole company numbers. The cast work so well as an ensemble, the energy and the pizazz was just as it should be. And the audience lapped it up. There were a few numbers in there that we haven’t heard before and they worked well too. 

I loved the casting of Joe Gash as Vince Fontaine and Teen Angel. He was exceptional and he and Alicia Belgrade (Frenchy) gave us a real treat with Beauty School Drop Out. I had high hopes for the number and it delivered and much more ! 

If you like Grease then you’ll love this show. It’s got bucket loads of fun, laughter and nostalgia. Don’t take it too seriously, sway along to the ballads and tap your feet to the familiar tunes and get up and boogie during the medley at the end then go home with a big smile on your face.  It’s like a good old catch up with those schools friends you haven’t seen for a while. 

Grease is on at Manchester’s Palace Theatre until Saturday 19th October tickets available here.

Heathers The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Images Pamela Raith

From its beginnings as a concert version back in 2010 to its multiple West End runs and now third UK tour, Heathers the Musical continues to gain fans and cement its cult status as one of the most loved productions for younger theatregoers.

Based on the 1980’s classic film of the same name starring cinematic icons Winona Ryder and Christian Slater, Heathers introduces us to Veronica Sawyer, (Jenna Innes). An awkward, outcast who just wants to make it through her final year at Westerberg High unscathed.

There are the traditional school cliques, the nerds, the jocks and of course the queen bees who in Westberg come in the form of the three Heathers, leader of the pack Heather Chandler (Esme Bowdler) and her loyal sidekicks Heather Duke (Sedona Sky) and Heather McNamara (Daisy Twells). It’s safe to say they rule the school.

After unexpectedly finding favour with the three Heathers, Veronica quickly realises that this newfound friendship could be the key to beating the food hall bullies once and for all. What she doesn’t bargain for however, is the arrival of mysterious new kid, J.D. who brings a whole new level of trouble to her door.

Heathers’ multi-layered storyline cleverly covers numerous dark themes with sardonic wit and a killer score. The quality of the cast ensures that each fan favourite from Candy Store to Seventeen is delivered in truly memorable style, whipping the audience of devoted fans into a Big Fun frenzy.

Making a return to the role of Veronica is a sensational Jenna Innes. She absolutely shines on stage, her development from hopeful opening number Beautiful to the self-assured I Say No is mesmerising to watch while her vocals are sensational throughout. Her pairing with Keelan McAuley is superb, he makes for a marvellously menacing J.D. Brooding and brilliant. His delivery of Meant To Be Yours is next level, really showcasing his impressive talent and incredible range. The two are a match made in heaven…or hell if you’re a Westerberg teen.

Esme Bowdler is a perfect Heather Chandler, sharp and sassy she has the audience in the palm of her hand from the moment she arrives on stage with fellow Heathers, Sedona Sky and Daisy Twells. Their iconic entrance, all dry ice and glamazonian gliding really sets you up for the wild ride they’re about to take you on.

Sedona Sky makes an impressive stage debut as the spoilt Heather Duke while Daisy Wells delivers a stunning and emotionally charged rendition of Lifeboat during her Act II solo. The trio together are terrifically terrorising.

Amy Miles gives us all the feels with her beautiful delivery of Kindergarten Boyfriend while Ivan Fernandez Gonzalez and Jason Battersby as Kurt Kelly and Ram Sweeney ramp up the laughs as deliciously dumb high school jocks.

Heathers is one of the must fun shows of recent years, its connection with its target audience is undeniable. The score is exhilarating while the script feels modern and sharp. Yes, there are dark themes, but the comedic moments and gallows humour comes thick and fast ensuring you’re never more than a few moments away from an iconic put down or some serious sass.

This cast is one of the best I’ve seen, they really elevate an already fun show to the next level capturing perfectly the intensity of High School feeling like your whole entire world. While Heathers may not leave you yearning for your teenage years, it’ll certainly leave you thrilled that you took a trip to Westerberg, albeit from the safety of your seat. Hugely entertaining theatre, jam-packed with unforgettable performances and an assured self-awareness that ensures it really hits the mark, sensational!

Heathers The Musical is on at Chester’s Storyhouse until Saturday 21st September tickets are available here.

Lord of The Dance – A Lifetime of Standing Ovations

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Reviewed by Christine Leatherbarrow

Opening Night verdict ⭐⭐⭐⭐⭐

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After entertaining more than 60 million fans worldwide in over 60 countries Lord of The Dance returns to Manchester this week with a spectacular revival of their 25th Anniversary show – A Lifetime of Standing Ovations. This Michael Flatley created extravaganza is without doubt one of the most successful and most loved dance productions in history and tonight’s stunning show skilfully proves why.

While Mr Flatley isn’t physically part of the cast for this tour he does make several cleverly crafted appearances on the large screens on stage, much to the delight of the audience. It’s clear for all to see that his trademark choreography and creativity is weaved brilliantly through every part of this production. Partnering once again with composer Gerard Fahy the result is an absolute feast for the eyes and ears from the very moment this dazzling revival begins.

@BrianDoherty

This tale of good versus evil sees Cassidy Ludwig as the playful Spirit dreaming of a challenge between the Lord, (Matt Smith) and the Dark Lord, (Joseph Howarth). Of course, no story is complete without a little bit of romance and jeopardy as we also see Saoirse (Tiernagh Canning) and Morrighan (Andrea Papp Kren) compete for the Lord’s affections.

The story unfolds through a series of jaw-dropping dance performances, totally transfixing the audience with their almost unfathomable skill and precision. Every member of the cast is top-tier and doesn’t miss a beat.

@BrianDoherty

Matt Smith makes even the most complex of choreography looks effortless as he commands the stage entirely. He is an incredible showman and whips the already excited audience into an absolute frenzy at multiple points throughout the show. Joseph Howarth is equally as impressive as the Dark Lord, channelling his inner villain to bring a delicious sense of foreboding to proceedings as he thunders across the stage with his henchmen in tow.

Tiernagh Canning is graceful and elegant as Saoirise while Andrea Papp as the seductive Morrighan impresses entirely with both her talent and characterisation. Cassidy Ludwig as Little Spirit guides us brilliantly from scene to scene with her boundless energy.

@BrianDoherty

The large screens that make up the set are used to great effect transporting us from mystical forests to rugged coastlines while the updated costumes give a modern touch to this classic show.

There are breathtaking dance routines, stunning music, incredible vocals and even a little humour along the way resulting in a truly unforgettable experience. As the show culminates in the most incredible finale the audience whoop with delight while leaping to their feet on more than one occasion. Lord of The Dance – A Lifetime of Standing Ovations is a true celebration of Celtic culture and creativity, an absolute must-see!

Lord of The Dance – A Lifetime of Standing Ovations is on at Manchester’s Palace Theatre until Sunday 18th August, tickets are available here.

101 Dalmatians

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

101 Dalmatians – The Musical, is a new-ish musical, based on the stage adaptation of the original novel. Now, I’ve not read the book and I’m ashamed to say I haven’t seen the modern film adaptation. But, I have seen the 1961 animated film (in fact we watched it last week in preparation). While the plot is loosely similar, it’s actually adapted in a way that makes much more sense on stage! 

The show begins as we meet a filthy, abandoned wild dog who is dropped off at the Puppy Love Dogs home, here he is cleaned up and welcomed to the fold. This is where we first hear the main number of the show “Take Me Home” (which we all went home singing at the end of the night) as we see some dogs matched to new owners, but not our friend, the newly named Pongo. Pongo is overlooked, but he clearly has a connection with one special worker at the dogs home, Danielle (Jessie Elland). Eventually, Danielle agrees to take him home and before long they meet another Dalmatian , Perdi (Emma Thornett) and Perdi’s owner/human Tom (Samuel Thomas). It’s love at first sight and soon the four are set up together at home, as a family. 

Soon Perdi falls pregnant with puppies and we meet the one name that sends shivers down the spines or any Disney fan: Cruella De Vil (Kym Marsh). Cruella wants the puppies- to- be to be hers so that she can make a fine outfit of them, designed by our very own, wannabe designer, Tom. The young couple don’t have much to their names and the offer of money temporarily tempts them, but when the fifteen puppies arrive there is no way that they want to let them go. And here the adventure begins as the game of cat and mouse commences. Who will be triumphant? Will the puppies survive or will they be on the catwalk at fashion week? 

This production is great fun. I was concerned it would be a bit much for my 5 year old with all the talk of skinning Dalmatians, but she loved it. There’s something for everyone. It’s a wonderfully joyful family show, and what a great time for it to be here in Manchester during the school holidays. I expect the theatre will be full every night. 

The whole production is very clever, the puppetry is just stunning. Linford Johnson as Pongo was captivating for me. He and the puppet somehow act as one and it’s mesmerising. All of the puppeteers give a stellar performance, with some of the finest vocals I’ve ever heard from an ensemble. The colour matching outfits of the ensemble, the hairstyles and small attention to detail is really captivating.  

It was obvious that much of the crowd were there for Kym Marsh, as Cruella, and she didn’t disappoint. The crowd were showering her in applause before she even let out one note, and that must be terrifying, having so much expectation on you, but she delivered over and over again. And the audience just loved her, quite rightly so. 

There is much to laugh at in this production, and Jasper (Danny Hendrix) and Casper (Charles Brunton) give us much of the humour. They’re slapstick, it’s not subtle, but it works and they were just brilliant. 
Samuel Thomas and Jessie Elland are a perfectly suited duo in their roles of Danielle and Tom. Two very sweet characters, who made us love them as much as they loved each other. 

While at times it can feel a bit Panto, (which I’m a huge fan of by the way), it works. It’s a family show, that is a bit silly, and possibly about 20 minutes longer than it needs to be, but it’s just wonderful in so many lovely ways. 

A well deserved standing ovation for a wonderful cast, accompanied by an incredible band (led by Leigh Stanford Thompson), and produced with a clever use of puppetry. Manchester is going to love this show this summer!

101 Dalmatians is on at Manchester’s Palace Theatre until Saturday 10th August tickets available here.