Musical Theatre

I Should Be So Lucky

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Take the mega hits of Stock, Aitken and Waterman, the writing skill of Nativity creator Debbie Isitt, the choreography of Strictly’s very own creative director Jason Gilkison, an insanely talented cast, sprinkle it with a little Kylie magic and you’ve just about got the recipe for the most fun show in town!

Featuring beloved hits from Kylie, Jason, Rick Astley and Bananarama to name but a few, I Should Be So Lucky has arrived, bringing the party with it and judging from last night’s thunderous standing ovation is here to stay.

Ella’s (Lucie-Mae Sumner) fairytale wedding quickly becomes a nightmare as groom, Nathan (Billy Roberts) gets more than just cold feet, the wedding may be off but Ella’s friends and family sweep in, reminding her there’s more to life than a white wedding. What follows is a couple of hours of pure, fun-filled escapism all played out to the sounds of the biggest Hit Factory the UK has ever seen.

Featuring ten number 1 singles and over 25 beloved bangers, I Should Be So Lucky gives the audience exactly what they want, fun with a capital F. This isn’t a show that takes itself too seriously, its camp, colourful and just wants you to have a bloomin’ good time.

Leads Lucie-Mae Sumner and Billy Roberts are supported by the most insanely talented cast who put their stamp well and truly on this world premiere production. Scott Paige is an absolute scream as Michael, he has the audience in the palm of his hand from his first tongue pop and keeps the laughs coming right through to the finale. His duet with Ralph Bogard as Hassan is comic genius, if there’s ever a sequel can I request a Michael and Hassan spin off please?

Jessica Daley is excellent as Ella’s sister Britney belting out the powerhouse vocals while Mum Shelley (Melissa Jacques) lifts the pop lyrics we know and love with the most stunning of voices. Giovanni Spano is perfection as Best Man Ash, a cheeky chappie who doesn’t realise he’s looking for love until Bonnie, played superbly by Kayla Carter makes him realise it’s been under his nose the whole time.

Matthew Croke as smooth-talking Nadeem is the perfect holiday romancer while Jamie Chapman controls the chaos with his own unique and utterly brilliant charm. There’s even guest appearances from Queen of Pop Kylie who sprinkles her own form of magic on this glittering production.

The sub-plots add depth to the storyline with some more successful than others but ultimately, they all combine to ensure that this is a show that will uplift, entertain, and leave you reminiscing about the good old day of pop. The creatives have worked hard to ensure this show delivers a strong message of friendship, self-belief, and love, all within a wonderfully inclusive story.

In a time when we all need a little hope and happiness, I Should Be So Lucky delivers entirely, if this show comes on prescription, sign me up for a double dose!

I Should Be So Lucky is on at Manchester’s Opera House until Saturday 25th November tickets available here. The tour then continues across the UK and Ireland until May 2024

To Wong Foo

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Based on the 1995 cult classic film To Wong Foo Thanks for Everything Julie Newmar, To Wong Foo The Musical proves once again that nobody does intimate musical theatre quite like Hope Mill. This world premiere directed by original film writer Douglas Carter Beane, brings the almost 30-year-old film to vivid and vibrant life with both the story and its themes proving just as relevant today.

To Wong Foo introduces us to three New York drag queens, Vida Boheme (Peter Caulfield), Noxeema Jackson (Gregory Haney) and Chi Chi Rodriquez (Pablo Goméz Jones) who embark on a road trip across the States in a bid to attend the Drag Queen of the Year finals in Hollywood. What they don’t bargain for is breaking down in Middle America, Snydersville to be precise. It’s here where the adventures really begin, there’s heartache, humour, high camp and the most wonderful lesson for us all about finding common ground and true connection.

Opening number Feel The Light sets the bar high letting us know from the off we’re in for a thrilling, fun-filled ride as Theo Maddix struts onto the stage as a captivating Rachel Tensions. Composer and lyricist Lewis Flinn has created some very special original songs covering multiple genres along the way that sit right at home within this vibrant production.

Taking on the role made famous by Patrick Swayze, Peter Caulfield as Vida is superb, he gives her warmth, openness and a strong sense of identity, leading the trio with a loving yet knowing hand and always quick with a quip when needed. His pairing with Gregory Haney as Noxeena is perfection, they bounce off each other brilliantly, their friendship feels honest, authentic and gifts us with magical moments throughout. Haney’s razor-sharp timing and deadpan delivery is utterly hilarious, he doesn’t miss a beat when it comes to delivering his brutal put downs and fierce observations, much to the delight of the appreciative audience.

Pablo Goméz Jones brings a real sense of fun to the role of Chi Chi, drag queen in training, taken warmly under Vida’s sequinned wing while Noxeema’s agreement to the trio is more ‘three’s a crowd’ than ‘you’re welcome’. The journey the three go on is both beautifully poignant and utterly hilarious.

There’s incredibly strong support from the rest of the talented ensemble most notably Carolyn Maitland who makes for a superb Carol Ann. Stuck in a violent marriage she opens her life and her heart to the visiting trio with the most heartwarming of consequences. Her duet with Caulfield, Maybe Tomorrow is such a gentle, beautiful moment, their delivery pitch perfect, conveying a genuine sense of hope despite her despair.

This is a true ensemble production with each and every cast member being given their own opportunity to shine and boy do they shine! My face ached from smiling as I watched their transformations once Vida, Noxeema & Chi Chi sprinkled some of their ‘career girl’ magic.

Duncan Burt and Lee Harris as Sheriff Dollard and Ed Earl are first-rate villains of the piece with their backward attitudes and brutal behaviour while Alexander Kranz makes a wonderful stage debut as Bobby Ray, sweetheart of Bobby Lee portrayed perfectly by Emily Ooi. Susie Fenwick and Samantha Bingley ramp up the laughs as they add genius yet entirely different doses of humour.

Costume designer Gregory Gale along with wig designer Bobbie Zlotnik and make up designer Andrew Sotomayor have pulled out all the stops to ensure the cast look stunning. Their use of colour palettes perfectly illustrating the huge differences between the locals and their exotic visitors.

At a time when Drag performances are being censored in many parts of the United States it feels so important to shine a light on this skilful art while also offering a real celebration of authentic individuality.

To Wong Fo is a joy, it will uplift, empower and remind you that life is there for the taking. In a world so full of shade right now To Wong Fo offers much needed light in the most celebratory of ways, it’s hilarious, gloriously camp and bursting with heart. It feels like this is the start of something truly special, this cast and this production have West End and beyond written all over them, and you know when it happens It Will Be Beautiful!

To Wong Foo is on at Manchester’s Hope Mill Theatre until Sunday 17th December tickets available here.

Strictly Ballroom

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Oozing with colour, sparkle and sass Strictly Ballroom is a feisty and fun production which will leave you grinning from ear to ear and digging out your dance shoes.

Based on Baz Luhrman’s iconic 1992 film, the first of his Red Curtain Trilogy which would also include Romeo & Juliet and Moulin Rouge, Strictly Ballroom is all about breaking the rules and following your heart.

Ballroom dancer Scott Hasting (Jonny Labey) dreams of dancing his own steps, he yearns to break away from the rigid rules of the ballroom dancing federation and feed his passion for performance on his own terms. Unfortunately his pushy mother Shirley (Anna Francolini) has other ideas.

Forever in the background Fran (Zizi Strallen) picks up on Jonny’s burning ambitions and begs for the chance to dance with him, cue an ultimately sparkling relationship which takes them both on a journey neither could have predicted. Labey and Strallen burst with vibrancy and breath-taking talent; they excel in the grand extravagant numbers and fizz with passion in the sharp, intimate duets, their movements precise and expressive. Director Drew McOnie has woven dance so beautifully into every aspect of this production with feelings and thoughts being expressed through the most sublime of movements, it’s a joy to watch.

Will Young takes on the role of Willy Strand, specially created for the stage production Strand acts as MC and narrator for the evening, guiding the audience through the story with beautifully interwoven songs including Love Is in the Air, I Wanna Dance with Somebody and Slave To The Rhythm. Young’s vocals are smooth as honey, he has a great ability to add depth and emotion to each and every song, this paired with his cheeky, glint in the eye narration ensures a perfect pace is maintained throughout. There is little interaction between Strand and the characters but the role works remarkably well.

The cast are enormously strong and burst with talent in this camp and creative extravaganza. Each character larger than life adding injections of humour in every scene. Charlotte Gooch is mind-blowingly perfect as Tina Sparkle as she pulls out moves that would leave most of us calling for an ambulance, Gary Watson is deliciously camp as ballroom dance champ Ken Railings while Lauren Stroud delivers the part of Liz Holt, Jonny’s original pouting partner with perfection.

Costume designer Catherine Martin must have cleared out the sequin section of every haberdashery south of the Watford Gap with her dazzling costumes matching gloriously the high-energy of the on-stage performances.

Strictly Ballroom is joyful, over the top escapism, bursting with colour, enormously funny with an uplifting story of self-expression at its heart. It will make you smile from start to finish through every bright, bold and sensational moment of this visually stunning show. Exhilarating theatre which delivers as every level.

On at the Piccadilly theatre, currently booking until October, tickets available here.

42nd Street

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Photo Credit: Johan Persson

42nd street is set in America during the hardest of times, the Great Depression. Many young people were out of work and scraping to get by. This show tells the tale of one such gal “Peggy Sawyer”, played by the incredible talented Nicole-Lily Baisden, who in search of her dream finds herself missing out on an audition for a new Broadway show. But things start to look up when she catches the eye of a big time director, Julian Marsh and Peggy lands herself a role in the chorus line, her dream come true. 

Now I would struggle to tell you the plot of the show they are putting together, but the plot of it isn’t important! Not to anyone ! What matters is that due to an incident with the leading lady Peggy has the chance of a lifetime at her fingertips…will she pull it off ? There’s only one way to know: get down to the Opera house this week to find out! 

42nd Street has graced stages around the world since the 1980s and still it manages to hold everything that is magical about musical theatre firmly in its grasp. I’ve seen this show countless times and still I get goosebumps during the big numbers. This show doesn’t need modernising, it doesn’t need tweaking, it just needs to be watched in all its splendour. The costumes are sublime: they are glitzy and glamorous and transport us back to a bygone era of gentlemen’s waistcoats and pleated trousers and ladies in evening gowns that twinkle in the moonlight. Hair, make up, props: All work together to take us back to a time gone by. 

The cast of this production is the greatest I have seen over the years. The lead characters come together brilliantly on the stage. Samantha Womack as Dorothy Brock is a delight. She’s funny and sassy and my word, can she sing. 

Michael Praed, who plays Julian Marsh, works hard to keep the narrative moving and he creates the pace of the plot with utter professionalism. His performance is flawless in every single way. Faye Tozer and Les Dennis, make for an awesome pairing, they were just so wonderful both together and in their own right. 

And Nicole-Lily Baisden is without a doubt the most energetic, enthusiastic and majestic Peggy Sawyer, that I ever did see. Everything about Baisden screams Broadway. She is the quintessential Peggy Sawyer. 

None of the glitz, glamour, and joyousness would be possible without the hard work of the ensemble. Note perfect, step perfect. Everything perfect. This show is relentless for an ensemble member, it’s upbeat, high impact and takes a hardworking performer to make it look so easy. The choreography is demanding, but this ensemble make it look like it’s all in a days work. 

Everyone should see 42nd Street. It’s got everything. It’s not trying to be something it isn’t. It’s just there to be seen and heard. And this cast make it the most magical 42nd Street that there is. 

If ever there was a show to make you wish you’d learnt how to tap dance – this is most definitely it!! 

42nd Street is on at Manchester’s Opera House until Saturday 21st October tickets available here.

Annie

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

It’s a tale we all know, a tale that is engrained in us from an early age. The tale of young orphan Annie, abandoned as an infant at the run down orphanage run by the equally run down Miss Hannigan. Annie and her fellow orphans live a life of chores and hard knocks. Annie’s luck suddenly changes when the Billionaire, Mr Warbucks enters it, from here Annie’s life is turned upside down. 

This production is a classic; it’s filled with everything we want. A cheeky, no-nonsense Annie (played by multi talented Sharangi Gnanavarathan on the night we reviewed) this, amazingly, is her professional debut, which you wouldn’t be able to tell as she was an absolute shining star on the stage, a haggard, meany Miss Hannigan (played by non other than the superstar Craig Revel-Horwood), a gang of energetic and mischievous orphans, and the familiar, nostalgic songs that have been etched into our memories over the years.

This production doesn’t disappoint. It’s fun, high energy, tender and charming. The choreography of Nick Winston is just beautiful, and is perfectly executed by a stellar cast. The set and costume design from Colin Richmond is both clever and captivating and is complemented wonderfully by Ben Cracknell’s lighting design. Everything about this production screams that it’s been directed by the hugely talented and accredited Nikolai Foster; he just brings out such elegance and tenderness in all he directs and this is no exception.

There is no getting a way from the fact that some of the American politics gags are wasted on us as an audience and at times the dialogue can feel a little outdated, but it doesn’t matter – because it’s Annie. And we all know and love Annie and deep down we don’t really want to see it updated for the stage. We want the familiarity of it, we want to be surrounded by the love that Daddy Warbucks has for little orphan Annie.

Alex Bourne (Daddy Warbucks) and Sharangi Gnanavarathan (Annie) shared such wonderful chemistry in the production, and the final scenes together were just pure magic. 

And then there’s our villain, our baddie, our drunken Miss Hannigan played by the incredible Craig Revel Horwood. I won’t lie, I had reservations about this casting, I feared that it would all be a bit panto dame. I was wrong, so wrong. There isn’t anything panto about how Craig plays it. It’s perfection. And that voice! His rendition of Little Girls was outstanding.

I know that many people will buy their tickets based on Craigs presence on stage and yes you guessed it he is utterly fab-u-lous (sorry couldn’t resist!). The production as a whole is a joy, offering something for everyone. The children, the ensemble, all the individual characters and all elements of the staging come together to give us a classic version of one our favourite musicals – Annie.

Annie is on at The Opera House until Saturday 30th September tickets available here.

Jesus Christ Superstar

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Reviewed by Matt Forrest

Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

Early on in tonight’s performance the cast belt out What’s the Buzz? The same sentiment perfectly sums up the arrival of Jesus Christ Superstar into Manchester, before it heads out on a full UK tour.

The excitement and expectation is more than understandable as director Tim Sheader’s Olivier Award winning adaptation of the Tim Rice and Andrew Lloyd Webber penned creation has garnered huge commercial and critical success, with its original 2017 run at Regent’s Park Open Air Theatre resulting in a return the following summer followed by a further run at the Barbican before a concert version in between Covid lockdowns and a North America tour. On the basis of tonight’s performance it certainly lives up to the hype and more than delivers.

Originally conceived as an album in 1970, and then in 1971 turned into a rock opera, Jesus Christ Superstar follows the last seven days of Jesus’ life as documented in the Gospels. The main focus is the growing animosity between Jesus (Ian McIntosh) and Judas (Shem Omari James), with Judas disgusted by the path Jesus is taking him and his fellow disciples on. As Jesus’s popularity grows, so does Judas’s resentment. Both men are fully aware that their fates are intertwined with both needing the other to fulfil their destiny even though both are reluctant to do so.

This a production of the highest quality, from the cast to the creatives all involved are on the top of their game. Ian McIntosh is outstanding as the reluctant messiah, in what is a physically draining role, he is a force of nature, exemplified in his heart breaking rendition of Gethsemane, his vocals on this are phenomenal.

Opposite Jesus plays Shem Omari James, who is equally as impressive as Judas, his guilt riddled, gut wrenching turn adds depth to the unfolding drama. In addition there is a strong turn from Hannah Richardson as Mary Magdalene, a devotee of Jesus, who may/may not be in love with him. Richardson’s tender rendition of I Don’t Know How to Love Him is again another highlight.

There is a fleeting cameo from Julian Clary, as Herod, playing him as a grotesque chat show host/inquisitor, it’s a darkly comedic slightly jarring moment, taking you out of the action; however, Clary’s star power will have the desired effect of putting bums on seats, I’m sure.

The production is littered with spectacular, well choreographed set pieces, put together by Drew McOnie, which showcase the talents of this incredibly hard working cast. One particular scene which recreates the Last Supper is crafted superbly and looks absolutely stunning.

Visually this production is flawless, filled with religious tableau and iconography, the sight of Judas’s hands bathed in silver and the intense crucifixion scene will live long in the memory. Add into the mix the fabulous set design which works perfectly with the atmospheric lighting adding a gritty, urban quality to proceedings.

At times this feels like a rock concert, with the musicians ever present throughout lurking in the shadows of the stage. It certainly leans heavily on its rocky opera origins which more than works in its favour.

JCS is a triumph, at times brutal and doesn’t pull its punches, it’s easy to see why after 50 years this piece of work is still beloved. This version feels fresh and contemporary and ticks all the boxes for an incredible night at the theatre and will be talked about for many years to come.

Jesus Christ Superstar is at the Palace Theatre till 23rd September, before heading out on a UK tour. Tickets are available here.

Lizzie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The true crime story of a double axe murderer may not be your obvious choice for a musical but then a bit of blood & gore never did Sweeny Todd any harm. Now it’s time for some herstory, enter Lizzie Borden, who was put on trial for the murders of both her father and stepmother in Fall River, Massachusetts back in 1892, a time before women had the vote and life for your average female was dictated by males who controlled everything.

Oppressed and abused Lizzie Borden (played by Lauren Drew), is drowning. Life is cruel and the claustrophobia of her crushing environment threatens to engulf her. Seeking sanctuary in the barn amongst the pigeons or during secret stolen moments with neighbour Alice (Maiya Quansah-Breed) something’s gotta give and when Lizzie’s protective sister Emma (Shekinah McFarlane) leaves town, give it does.

Along with maid Bridget (Mairi Barclay) the four bring the infamous story of Lizzie Borden to brilliant and bloody life. From the haunting nursery rhyme opener Forty Whacks to the powerhouse vocals displayed throughout, this is a musical with might.

Director and choreographer William Whelton ensures that the vocals take centre stage here and my goodness does this cast deliver! Lauren Drew is such a talent, carefully nuanced when necessary, making the moments of pure power all the more impactful. She transfixes as Lizzie, giving her both light, shade and believable complexity. Her pairing with Maiya Quansah-Breed is a joy, their voices complement each other beautifully, while the telling of their stories is delivered with a delicate determination leaving you desperately hoping they reach their own happy ending. Maiya Quansah-Breed’s calm, loving Alice offering Lauren Drew’s Lizzie the anchor she needs in life.

Shekinah Macfarlene is superb in the role of Emma, strong and soulful she brings a delicious depth to the sizzling score. While adding a genius touch of humour is the brilliant Mairi Barclay as glorious gossiping Bridget, she completes the quartet ensuring this formidable foursome won’t be forgotten in a hurry. Their harmonies are tight, powerful and utterly perfect.

Set and lighting designer Andrew Exeter transforms the intimate Hope Mill Theatre giving us drama and atmosphere well worthy of this gory tale. Dan Light’s video design takes things to another level while the live band led by Honor Halford-Macleod and made up of Dejante Hinks, Sarah Giles and Rebekah Slater are sublime.

With Act 1 lasting 55 minutes and Act 2 a shorter 40 minutes this cast grip you from the first eerie beat, you find yourself rooting for Lizzie wholeheartedly long before the first swing of the axe. You feel her pain, forgive her failings and empathise entirely with her reasoning.

Hope Mill Theatre have succeeded in adding humanity and personality to the Lizzie Borden of the history books, and they’ve done it all with slick style and pure rock star swagger. Lizzie will sit perfectly alongside the likes of SIX and Heathers, the score and specifically this production has cult classic written all over every rocktastic riff.

As the tempo changes once the verdict is reached our four protagonists become the liberated girl band you never knew you needed, Lizzie is bold, brilliant and totally badass, another monster hit!

Lizzie is on at Hope Mill Theatre until Saturday 30th September tickets available here.

Charlie and the Chocolate Factory The Musical

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewer: Matthew Forrest

You know you’re in for something special when as soon as you step foot in the theatre you are greeted by the smell of chocolate. The unmistakable aroma hit my nostrils as soon as I arrived and I immediately knew I was in safe hands. Don’t think this ploy will work for every musical, (Oliver!producers, I’m thinking of you), but for tonight’s performance of Charlie and the Chocolate Factory: The Musical it certainly added a sprinkle of magic.

Roald Dahl’s magical creation has been wowing audiences for nearly 60 years, enthralling audiences young and old alike, either in book form, through its two cinematic offerings or in its musical outing, which is currently on its first UK tour a decade after its West End debut.

Under the stewardship of director James Brining, this is the beloved story of Charlie Bucket (Haydn Court), a young boy helping his Mum (Leonie Spilsbury) to care for Charlie’s four elderly grandparents. They live in poverty and squalid conditions. The only joys they have in life are each other and a fascination with the chocolate factory situated in the town, run by the reclusive Willy Wonka.

It is announced that Willy Wonka will throw open the doors to his factory to five lucky ticket holders. Thus a world wide scramble ensues as to who will find these golden tickets, and will Charlie be one of the lucky winners?

Despite an initial slow start, this is an absolutely joyous production packed full of vibrancy and energy as arguably Dahl’s most famous creation is brought to life. Highlight of the first act is the introduction of each golden ticket winner, focusing on how grotesque and undeserving each of the winners are with hugely entertaining results.

Following the interval the action really shifts gears as we enter the factory and get a guided tour around Wonka’s palace of creativity and fantastical confectionery emporium. The factory is mainly brought to life through Simon Wainwright’s huge video production filling the stage of the Palace Theatre. The images look outstanding, and drew huge gasps from some of the younger audience members, and whilst there is somewhat of an over-reliance on the screens to tell the story as opposed to actual set design. It still looks mighty impressive as we hop, skip and jump from one set piece to another.

There are some truly wonderful performances throughout. Gareth Snook is in fantastic form as Willy Wonka, striking a fine balance of malice, mayhem and whimsy. He commands the stage in nearly every scene he appears in and gives a nuance to the disillusioned chocolatier – you’re never quite sure what his motivations are.

Haydn Court is outstanding as Charlie, playing with so much joy and wonder in a role that in lesser hands could be full of saccharine. He is aided by a beautiful singing voice. He is supported by an equally impressive turn from Leonie Spilsbury in a dual role, as the doting hard working Mrs Bucket, and is unrecognisable as the gin-soaked, downtrodden Mrs Teavee.

In addition there is a strong performance from Michael D’Cruze as Grandpa Joe, who brings enthusiasm and a childlike wonder to the role, and is an absolute treat in his pairing with Court’s Charlie. All the cast do a great job bringing this ambitious production to life.

The production is at times hamstrung by what has gone before, with most people of a certain age familiar with the songs of the 1971 film, Willy Wonka & the Chocolate Factory. We are treated to renditions of The Candy Man and Pure Imagination from the classic film, which both sound fantastic, however you can’t help wishing that the new original numbers have the same impact which sadly they do not.

This a joyous, special night out at the theatre that the whole family will absolutely love as much as they would a Wonka Scrumdiddlyumptious bar, snap up a golden ticket before it’s too late.

Charlie and the Chocolate Factory The Musical is at the Palace Theatre until Sunday 30th July tickets available here.

Greatest Days

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Quite surprisingly this jukebox musical is not the actual story of Take That, nor is it the story of “The Band” which feature as a background soundtrack to this production. But, this is a glorious, heartwarming story of friendship, loss, love, fear and how it feels to love a boy band more than any thing else in the world.

Now – disclaimer- I am not a huge Take That fan. I’m more of a New Kids on the Block girl, but after tonight I realised how the sound track of this musical has in fact been the sound track of so much of my late teenage years. A bit like: I’m not a fan of Angels by Robbie, yet I know all the words! What I also categorically know is that the Manchester audience tonight were absolutely gagging to see this Bobby Dazzler of a show.

Putting Greatest Days in on Manchester is a Take That fans version of a United fan watching United in a premier league title match at Old Trafford. There is no better place for this show to be. It’s a wonderful homecoming.

The plot takes us back to the 90s, where we were wearing knee high socks and pleated tartan mini skirts or adidas trackies, where we were recording our favourite hits on our ghetto blasters on a Sunday afternoon while listening to the charts, where we were making up dances with our mates so that we could dance along when the Smash Hits poll winners party was on the telly. Here, we meet five friends, as different as the spice girls to one another. Who, thanks to the beautiful, talented Debbie (played by the magnificent Mary Moore) have the chance to go and see their favourite band play in Manchester. A treat like no other; all they have to do is tell a few lies to their parents and make their way to the concert. Their aim is to finally meet the boys, face to face. The night however doesn’t go as planned and their lives are never the same again.

The events of that night breaks the bond the girls have, until the once in a lifetime chance brings them together 25 years later.

I don’t mind admitting it, I did shed quite a few tears at various moments of the show. And judging by the sniffing sounds around the auditorium, I wasn’t the only one.

The entire cast were incredible. The connections between the friends as their younger selves and then older selves was electric. And the scene where the younger version comes together with the older one was so enchantingly beautiful.

Special mention goes to the wonderful Jamie-Rose Monk for her hilarious and touching portrayal of older Claire. Never have I laughed more than at the line “I like to sleep with a man and then eat him”. Rachel Marwood is a brilliant older Heather; I am not surprised that Rachel has been awarded a “funny woman” award previously – she is a great comic actress.

Holly Aston, Hannah Brown, Emilie Cunliffe, Kitty Harris and Mari McGinley, were all outstanding in their performances. They work well together on stage and deserve every moment of the standing ovation given. While Kym Marsh was dazzling: she can sing, she can dance and Manchester love her, she’s one of ours and Mancunians couldn’t be prouder.

The “boys” did exactly what their role asks of them, they gave us a sound track, they didn’t take the limelight, they let the women shine in all their glory. And they did so with so much talent and humbleness. They help to tell the story, they know it’s not all about them and they take that with grace. And they also lead a fabulous finale!

It’s also worth the ticket price to see Alan Price in his many roles, a true legend of the stage in every sense of the word.

The music is what ties everything together in this production, the goosebumps on the back of my neck when “Never Forget” started up. You could feel the electricity sweep through the audience. Most people will go and see this show because they love Take That, but it’s more than a homage to a boy band-it’s a tribute to those of us who bonded with our ill fitting friends over our love of pop music. It’s a dedication to the girls who queued for hours for tickets or at stage door at the end of the night for a glimpse of their favourite member of the band. It’s a reflection of lives lived, and those not lived fully. It’s a chance to reminisce of how we saw ourselves 25 years ago and be proud of the women we became. It is nostalgic, but it’s also insightful and moving, a perfect night out.

Greatest Days is on at Manchester’s Palace Theatre until Saturday 27th May tickets available here.

The SpongeBob Musical

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Opening Night Verdict ⭐️⭐️⭐️⭐️

The Opera House in Manchester has been transformed into Bikini Bottom for the week with the arrival of SpongeBob Squarepants the Musical, the hit Broadway show currently on its first outing in the U.K.

For those living under a …pineapple? SpongeBob Squarepants is a hit/cult cartoon series that launched on Nickelodeon in 1999. While it probably isn’t the most obvious source material for a musical, nevertheless it opened in New York in 2017 and was nominated for a dazzling 12 Tony Awards.

It isn’t a jukebox musical – the show has original songs written by some of the biggest names in music including Steven Tyler and Joe Perry of Aerosmith, Cyndi Lauper, John Legend and Sara Barellis.

The result is a veritable smorgasbord of eclectic musical styles, each one different from the next with everything steered in shipshape fashion by director Tara Overfield Wilkinson.

And there’s some real bangers in there there – from the opening number Bikini Bottom Day (Jonathan Coulton) to SpongBob’s uplifting Hero is My Middle Name (by Cyndi Lauper).

The plot really doesn’t matter – but it centres around a volcano that’s due to erupt putting Bikini Bottom at risk – and there’s some nice messaging in there like sticking together, being a good friend and how family is more important than money.

As the titular sponge Lewis Cornay (Book of Morman) puts in a charismatic lead performance. Not only does he nail SpongeBob’s trademark squeaky voice but the fact he makes it all look so easy is testament to the skill involved by him.

Tom Read Wilson – four-legged Squidward – is best known for his role as ‘client co-ordinator’ in Celebs Go Dating, but he trained in musical theatre and boy does it show! He gets one of the best numbers on of the night in the They Might Be Giants-penned I’m Not a Loser – a full on company tap number that is pure joy. 

Clear local favourite Divina De Campo is having lots of fun as the dastardly Shelton J Plankton, who doesn’t let his small stature (and the fact he’s a one cell organism) stop his scheming.

The principles are complimented by a hard-working supporting cast including Irfan Damani as the sweet starfish Patrick, Tik Tok & Heathers favourite Hannah Lowther as Karen, Chrissi Bhima as Sandy Cheeks, Sarah Freer as Pearl and Richard J Hunt as Eugene Krabs. The company is terrific and it looks like genuine fun is being had by all.

Sarah Mercade’s witty and wonderful costumes help bring the characters to life and there’s lots of in-jokes to spot during proceedings (we loved that the Mayor of Bikini Bottom lives at 10 Drowning Street…. and that Tuna Turner and Cod Stewart were in the band!)

Theres much fun to be had for die hard SpongeBob fans but if you’re new to the phenomenon then just sit back and let the madness wash over you!

A few opening night sound gremlins didn’t detract too much from the fantastic vocals on display, and while a delayed start for technical reasons meant a bit of a later than planned finish for little ones, at the end everyone was up on their feet singing the TV theme tune.

Fabulous, fluorescent fun for SpongeBob devotees or newbies alike – trust us, you’ve got to ‘sea’ it!

The SpongeBob Musical is on at Manchester’s Opera House until Sunday 21st May tickets available here.

The King and I

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Credit: Johan Persson

The King and I is a Rodgers & Hammerstein classic, based on Margaret Landon’s book Anna and the King. This production, directed by Bartlett Sher, is true to the original stage version and script which first premiered on Broadway in 1951. You have to accept this and take the show for what it is, and while at times there cliches and prejudices displayed, if you dig a bit deeper you will see a tale of love and loyalty, and a journey of self-discovery, where it is least expected.

The King and I tells the tale of a British widowed schoolteacher, Anna Leonowens (Annalene Beechley) who travels to Thailand from Singapore, for the role of teacher to the many children of the King of Siam (Darren Lee). Anna discovers that she isn’t seen as an equal to the King or in fact any man and must battle to have her voice heard.

Credit: Johan Persson

Anna is adored by the many wives and children of the King. She is committed to educating the children in the way she knows how, which isn’t always in line with the views and beliefs of the Thai King.

Anna however soon develops a strong bond and friendship with the King, where he values her thoughts and advice, even if he doesn’t acknowledge it out loud. With the impending visit of a British visitor, Anna makes it her mission to bring some western values and traditions to the palace, to expel the rumour in Britain of the King being a Barbarian.

While the plot doesn’t sit easily with me, the performances are exceptional. Beechley and Lee have an electric chemistry, they bring much laughter and joy to the production. They set such a high standard of performance and are enchantingly captivating throughout.

Credit: Johan Persson

Cezarah Bonner is impeccable as Lady Thiang, torn between her love of the King and her admiration for Anna. Marienella Phillips is sublime as TupTim, her vocals are glorious.

Special mention goes to the ensemble of children, so much talent and energy is shown throughout the production.

It is a large cast with an excellent senior ensemble also, the musicality and dancing are perfectly delivered, making the performances truly captivating.

Catherine Zuber has done an incredible job of the costumes, they are vibrant and splendid in every way, from the large European style dresses of Anna – to the most majestical tradition Thai outfits. The Thai theatre costumes are just spectacular and show great respect for the Thai culture and puppetry used in traditional Thai theatre. These were a huge highlight for me.

Credit: Johan Persson

Michael Yeargan’s set is well designed and along with the clever lighting design by Donald Holder, helps to transform us to another era in imperial times in Thailand.

The Manchester audience were on their feet at the end, awarding the cast with highly deserved standing ovation and that is testament to the great talent on the stage tonight.

The message of love and hope and the ability for things to change are the key central themes of this classic tale – and the music is truly wonderful.

The King and I is on at Manchester’s Palace Theatre until Saturday 13th May, tickets available here.

The Bodyguard

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on the iconic 1992 blockbuster film starring Whitney Houston and Kevin Costner, the musical adaptation of The Bodyguard premiered in the West End in 2012 and has since played all over the world.  It is a mix of theatre and a pop concert, boasting some of Whitney Houstons greatest hits. 

The show, quite literally starts with a bang – and sets the tone for the constant stream of jump out of your seat moments that hit us throughout the production. 

The show tells the tale of megastar, Rachel Marran, played by the powerful and elegant Melody Thornton. Rachel is being stalked by an obsessive fan (Marios Nicolaides) who is sending her terrifying death threats. Although reluctant at first Rachel agrees to the addition of Frank Farmer (Ayden Callaghan) as her personal bodyguard. While at first they don’t see eye to eye, they of course fall in love – but it isn’t such a fairytale ending for the pair.

There is no getting away from the fact that this script isn’t the most sophisticated, or engaging- but it really doesn’t matter. The cast of this show are incredible. Melody Thornton is a triumph as Rachel Marron. The task of taking on those big Whitney numbers must feel like climbing Everest, but OMG this lady is absolutely incredible. I can still feel the hairs on the back of my neck standing up from watching her deliver the most iconic cover version of “I will love you “. She deserved every single moment of the standing ovation that the audience gave. 

While her performance is excellent, she isn’t the only star of this show. I had no expectations of Ayden Callaghan, but my goodness he gave Costner a run for his money. He is sleek, smooth and quite literally made me weak at the knees. He delivers a straight, strong performance and I am sure we will be seeing him on big west end stages in the future – and I’m sure that there is actually quite the singing voice in there too! 

Emily-Mae also wowed me in her role as Rachel’s often overlooked and unappreciated sister. Her voice is like velvet. Everything about her performance was first class. Every wink of the eye, side look, eye roll and smirk was noticed and carefully delivered. While he character is often second fiddle to her sister, Emily-Mae’s performance was stand out. 

The whole cast and ensemble work well together and create an action packed, charming and entertaining show. The soundtrack is the star of the show, it’s what we are all there for, but there’s some dark moments too that come when you’re least expecting them and that gives it some much needed depth. The use of digital imagery works well and generally the set design is impressive – although there was a bit too much reliance on very large draping curtains. Which did momentarily  cause some technical issues for the crew and cast. But like the consummate professionals they are, they took a moment, fixed it and put their best foot forward. 

This production ended as it started, big, bold and about as Whitney as it gets. An absolute tribute to the star she was. You don’t have to be a big Whitney fan to enjoy the show, but if you are, then you are going to absolutely love it! 

The Bodyguard is on at Manchester’s Palace Theatre until Saturday 15th April tickets available here.