Musical Theatre

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.

My Fair Lady

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

My Fair Lady tells the story of Eliza Doolitte, a cockney flower seller plucked from Covent Garden by pompous linguistics professor Henry Higgins who is determined to transform this ‘guttersnipe’ into a proper lady, no matter the cost.

This multi-award-winning production of Lerner & Loewe’s classic musical comes to Manchester following a critically acclaimed West End run and from the opening scene it’s clear to see why audiences from New York to the London have been captivated by this luverly revival.

Michael Yeargan’s set design immediately impresses, managing to be both elaborate and functional, it is incredible, while Catherine Zuber’s sumptuous costumes are simply stunning, paying true homage to the authentic look of the My Fair Lady we’ve come to know and love.

Taking on the role of Eliza, made famous by Audrey Hepburn in the 1964 movie version, Charlotte Kennedy breezes into the flower sellers boots and swiftly makes the role her own. From Wouldn’t It Be Loverley to I Could Have Danced All Night, she captivates entirely; her vocals are sublime. Eliza’s journey from start to finish is incredible to watch, as she brings real emotion to the complexities created by the Professors experiment.

Michael D. Xavier makes for a wonderful Professor Higgins, suave and seemingly sophisticated he gives the character genuine likability and fantastic comedic value. His facial expressions and physicality add layers to the dialogue as he gifts the audience with laugh after laugh due to the absolute absurdity of his firmly held opinions. Despite his misogynistic leanings the effect Eliza has on him is wonderful to see, the pair have you rooting for them wholeheartedly as the bicker and bristle throughout.

Adam Woodyatt is clearly having an absolute ball playing Eliza’s father, Alfred P Doolittle, a role he delivers with ease while impressing with his vocals, Get Me To The Church is a real highlight and also allows the talented ensemble to truly shine. Another stand out ensemble moment comes during the Ascot Gavette which is visually stunning with pitch perfect vocals.

The rest of the supporting cast are equally as strong. John Middleton’s portrayal of Colonel Pickering adds another wonderful element to the piece as he brings a light playfulness to the role.

Tom Liggins is great fun as Freddy Eynsford-Hill, a lovesick puppy desperate for Eliza’s affections. Heather Jackson is a self-assured Mrs Higgins while Lesley Garrett as Mrs Pearce reminds us all just how vocally talented she is.

If classic, classy theatre is what you want then that’s exactly what you’ll get from this stunning production. Everything about it feels top quality, from the cast to the costumes this lavish production hits every note. Bursting with much-loved songs, oozing with style and chock-full of talent this My Fair Lady is not to be missed.

My Fair Lady is on at Manchester’s Palace Theatre until Saturday 1st April tickets available here.

The Comedy of Errors (More or Less)

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Anyone who has ever read a Shakespeare or two will be aware of his love of mistaken identity, whopping errors of judgement and questionable life choices: A Comedy of Errors (More or Less) will absolutely confirm all these things and bring them kicking and screaming into the 1980’s. Think sensational shell suits, stunning shoulder pads, a beltin’ blast of Fergal Sharkey and you’re halfway there.

This new co-production between Prescot’s Shakespeare North Playhouse and Scarborough’s Stephen Joseph Theatre, creatively adapted by Elizabeth Godber and Nick Lane takes the Bard’s much-loved comedy and sprinkles it with lashings of Northern humour, some top quality 80’s bangers while relocating it to the sunny climes of Scarborough.

The original plot has never been the easiest to follow but this clever adaptation gifts us with additional narration along the way as well as some brilliant modernisation allowing the comedy of the piece to really shine.

We’ve got two sets of mismatched twins, a Lancastrian named Antipholus who arrives in Scarborough to deliver his hard-grafted one-man fringe show, trouble is, the twin he doesn’t know he has, is already there, owes money to half of Yorkshire and has plans to star in a packed-out talent show on the very same night. His pal/long suffering assistant Dromio also has a missing twin who, you guessed it, is also in Scarborough. Cue a fantastic farce that will have you laughing out loud from the very start.

This talented cast work incredibly hard delivering this reimagined classic, they are superb. Set in the round in the stunning cockpit theatre, Director Paul Robinson has ensured every inch of the space is used with every seat in the house getting a cracking view of the on-stage action. They literally don’t stop, several taking on multiple roles making proceedings all the funnier for it. The whole premise of the piece may be chaotic as each twin is continually mistaken for the other, but the storytelling is clear, hugely entertaining, and incredibly impressive. As the action becomes more farcical so does the comedy, there were many occasions I was crying with laughter as the exasperated twins get more and more confused.

David Kirkbride as Anitpholous of Scarborough/Prescot is hilarious, his loyal defining of what it is to be a Prescotarian has the audience in stiches while his performance as the chaos ramps up is a joy. Oliver Mawdsley who plays alongside Kirkbride as Dromio of Scarborough/Prescot is perfectly cast. The two make for a genius pairing, playing off each other with ease as the banter and laughter flows.

The changing up of Luciana’s (Ida Regan) character is a stroke of genius, she’s not the meek and mild version we know from Shakespeare’s pen but strong, assertive and gives as good as she gets leading to some fantastic scenes between her and Adriana, (Alyce Liburd). Both are excellent in their roles and clearly having a lot of fun with them.

Andy Cryer absolutely shines in his multiple roles, drawing your attention whenever he hits the stage. Valerie Antwi and Claire Eden bring brilliantly unexpected elements to the story while both ramping up the laughter levels even more.

This is a true ensemble piece, with each cast member bringing their absolute A game to the stage. The local referencing, playful narration and inventive reimagining have made this production both accessible and immensely enjoyable. The placing of several 80’s favourites adds to the fun with Alyce Liburd and Ida Regan’s Act II opener, a rendition of Cher’s Jesse James being a real highlight while I’ll now never hear Nick Kershaw’s Wouldn’t It Be Good without it raising a smile.

Shakespeare North Playhouse and Stephen Joseph Theatre have delivered an absolute cracker with this production, ensuring this modern-day Shakespeare is a must-see. The Comedy of Errors (More or Less) is an absolute riot, pure joy from start to finish.

The Comedy of Errors (More or Less) is on at Shakespeare North Playhouse until Saturday 25th March tickets available here.

Drag Addict – world première of new musical announced for Manchester

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It’s summer in Manchester. It’s raining (obviously) and on Canal Street storm clouds of another sort are gathering. Club Fierce is under threat. But Dolly Ravage, who runs the club and is the unofficial godmother of the Gay Village, isn’t going down without a fight.

Dolly has a plan to to save it from property developers by recruiting six amazing queens to slay the runway and reinvent Club Fierce as the all-new House of Ferocity.

But will the arrival of the mysterious Bobby Carter from America – hiding a secret that could change everything – derail her battle to save the soul of the Manchester scene?

Boasting a handbag full of original high energy bangers, ballads and earworm songs, ‘Drag Addict’ is written by Matt Cain and David Andrew Wilson, with concept development and choreography by Arlene Phillips – who has just been announced as the recipient of this year’s Special Award Olivier “for her inspiring work in dance and choreography” – and is directed by Jonathan O’Boyle.

Matt Cain said: “In my novels and journalism I’ve always loved exploring themes of LGBTQ+ identity, culture and community, asking what it means to be gay or queer in our modern, digital world. So it’s a real thrill to be opening up this new channel for my creativity and exploring the same themes in musical theatre. I’m also overjoyed to be creating a show that pays tribute to my home city of Manchester, a city that saved my life as a teenager and helped shape both the person and the writer I’ve become today.”

David Andrew Wilson said: “I am so excited to be bringing ‘Drag Addict’ to HOME in Manchester.  So much of this musical was written in lockdown when Matt, Arlene and I were just dreaming about what it would be like to be back on Canal Street. And now, here we are, about to open in Manchester!  Writing pop music has always been my number one passion and I am so excited that I’ve had the opportunity to write a show that incorporates modern pop to 90s dance to Broadway big band in an entirely original score.  It’s time to Slay the Runway!”

Arlene Phillips said: “When I moved from Manchester to London in the 1970’s, many people found an escape in my dance classes from a society that still frowned upon their sexuality. It became a place where they were free to express themselves through dance in any way they wanted. It has been my dream to create a musical that embraces my love of drag and the LGBTQ+ community. I was lucky enough to have two creative friends in my life, Matt Cain and David Wilson, that I could I bring together to make it a reality.”

Drag Addict is on at Manchester’s HOME from Tuesday 18th July to Saturday 12tb August. Cast and full creative team to be announced.

Tickets are on sale now available here.

Produced by JAS Theatricals, Aria Entertainment and HOME

 Rocky Horror Show – Manchester Opera House

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Reviewed by: Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It’s 50 years since the Rocky Horror Show premiered in the West End. The cult classic is currently mid-way through a UK tour arriving in Manchester this week, for a week-long run that sees this latest production still as vibrant, outrageous and despite being in its golden years, as culturally significant as ever.

The story focuses on a typical All-American couple, Brad and Janet, newly engaged the pair, when out for a drive one evening, in the midst of a brutal storm, experience a flat tyre. In desperation they seek help from the occupants of a sinister castle belonging to Dr Frank N Furter, where he lives with his servants, Riff Raff, Magenta, and Columbia. However, things are a little odd at the good Doctor’s residence and soon the host’s hospitality and his latest experiment will test Brad and Janet’s relationship to the limit.

Richard O’ Brien’s love letter to the horror/science fiction films of the 1950’s is still as flamboyant, fun and bursting with life. All the familiar tropes are here, mad scientists, crazed aliens, and a hero couple who have bitten off way more than they can chew! O’Brien’s script takes pot shots at the genre and plays fast and loose with gender roles and expectations.

First timers coming to the show won’t know what’s hit them! The show has a huge cult following, again evident tonight with several audience members dressed as their favourite characters (I’d be interested to see the sales figures for French maid costumes, when the show is out on tour). They bring so much more than just dressing up, becoming a character themselves anticipating the script’s next line bringing a touch of unpredictability to proceedings. The part of the Narrator this evening was expertly played by Reece Budin who handled tonight’s outbursts fantastically well, leading to numerous gags about the current Conservative government and the production of The Lion King showing down the road at the Palace, which again keeps the performance fresh and dangerous.

It highlights the hard work that has gone on during rehearsal, when the cast look like they’re having so much fun, which is evident from tonight’s performance. Richard Meek and Hayley Flaherty are in superb form as the awkward, virginal, yet far from innocent couple Brad and Janet.

Stephen Webb is exceptional as the iconic Dr Frank N Furter, it’s a performance packed full of charisma with a huge spoonful of menace, he more than delivers.

They are solidly supported by Kristian Lavercombe, Suzie McAdam, and Darcy Finden. Lavercombe has now appeared in more performances of the show then any other actor, and it shows as he plays the sleazy butler Riff-Raff, to perfection. Whilst McAdam pulls double duty as Magenta and bookends the show as the Usherette, performing a fantastic rendition of Science Fiction/Double Feature. The two of them do a fantastic duet, on the unmistakable Time Warp, leading to all the audience up dancing way before we’d even got to the interval. Finden puts in a feisty, energetic turn as the unpredictable Columbia.

The show does have its flaws, the final act is considerably weaker than what precedes it. In addition I found the lyrics difficult to hear in the ensemble number, Rose Tint My World which does frustrate.

It’s a mark of a great show, that even after all these years, it can still shock, entertain and remain relevant and Rocky Horror Show certainly manages this and so, so much. Absurd, timeless and well worth a watch. Go see for yourself, and give in to Pleasure!

Rocky Horror Show is at the Manchester Opera House until 25/02/23

Tickets available at: https://www.atgtickets.com/shows/the-rocky-horror-show/opera-house-manchester/

The Snow Queen

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Chester Storyhouse are offering audiences a fabulously festive alternative to panto this year with an imaginative retelling of Hans Christian Andersen’s classic fairy tale, The Snow Queen.

Writer Charles Wray has adapted and opened up the story ensuring all four seasons get their moment in the spotlight while it’s themes of kindness and friendship remain a strong constant throughout as we see Gerda on her journey to find her best friend Cei who has been taken under the spell of the evil Snow Queen.

This modernised version feels bright and inventive with a strong cast who play multiple roles with an easy versatility. Rosemarie Akwafo gives us a loyal and determined Gerda who despite the odds never loses hope of finding her best friend again. Taona Matope displays strong versatility as carefree schoolboy Cei whose life is completely turned around by the evil Snow Queen.

Lucy Tuck makes for a super sinister baddie and in true Snow Queen fashion is sparklier than the Strictly Mirrorball but colder than ice. Special mention also to Chloe Wade, her comic timing as each of her various characters is superb. The supporting cast who each take on multiple roles are a joy, clearly having great fun in this heart-warming, inventive production. There’s a tap dancing reindeer, an almost homage to Barbie and Ken and a fabulous dance off.

Director Hannah Noone has really brought the fun to this story while singer-songwriter Mared Williams heads up a fantastic live band who add enormously to this musical adventure. They play some stunning music with equally as impressive vocals all while perched within the set above the audience.

Designer Jacob Hughes has transformed the Storyhouse theatre into a stunning winter scene, it’s visually beautiful and hugely atmospheric. The raised staging offers a fantastic view from every seat in this beautiful theatre, so important when there’s little ones in many of the seats.

The Snow Queen offers something for all, from young children to seniors every single member of the audience enjoyed getting swept away on this magical adventure. The small section of audience interaction was so much fun and made me wish there had been a little bit more but this is a really minor point amidst many, many positives. This exploration of good versus evil is adventurous as well as entertaining and will warm you from the tip of your toes to the top of your head.

The Snow Queen is on at Chester’s Storyhouse until Sunday 15th January tickets available here.

Claus – The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️

Based on the children’s book, The Life and Adventures of Santa Claus by L. Frank Baum; (who famously wrote The Wonderful Wizard of Oz), comes a new, festive family show in the form of Claus – The Musical.

This new musical takes us right back to the days when Claus was a baby, abandoned in the magical forest of Burzee. Wood nymph Necile takes him in, despite the fact he is a human baby and is committed to love him as her own. With the helping hands of the other mystical forest inhabitants, fairies, knooks and ryls, Claus is taught all about the importance of kindness and love.

As Claus grows up he realises there is life beyond the immortals of the forest but sadly the human world in which he’s yet to fully explore is often a cruel and unforgiving place. Claus believes he has the ability to make a difference to the darkness in the human world and sets up home complete with his lioness guardian Shiegra by his side as his protector.

Claus starts spreading joy by gifting local children with carved wooden toys however the evil Awgwas are lurking nearby. Masters of disguise & adept at using their wicked influence to make children do naughty things; as soon as they discover the joy Claus is spreading they’re determined to put an end to his gifting and loving ways.

There are some lovely elements to this production, the cast sing the score beautifully and commit wholeheartedly to the storytelling which begins from the minute you enter the theatre. The set designed by Stuart J. Charlesworth is impressive using both the full height and width of the Lowry’s Quays theatre. The source material however is complex leaving the narrative at times tricky to follow. Narrator Alwyne Taylor guides us through as best she can but there’s such complexity involved even with her wonderful narration things just don’t quite make sense at times. It’s also fairly heavy in parts, laughs are few and the lightheartedness of a festive family show never really materialises.

The cast however shine & work their socks off throughout, Georgie Buckland gives us beautiful vocals as Necile while Harry Winchester is a wonderfully likeable Claus. Jazz Evans gives strong baddie vibes as King Awgwa lighting up each scene he is part of and inching us towards the audience interaction so many of us enjoy at Christmas.

Adapter Simon Warne has packed an awful lot in here confirming that sometimes less is definitely more. The message of kindness and love however is developed clearly enough for us all to take away & spread some for ourselves. Developing a new musical is no mean feat and praise must be given to the producers for offering audiences an alternative to the typical festive fayre even if it doesn’t quite fully hit that Christmas spot.

Claus – The Musical is on at The Lowry until Sunday 8th January tickets available here.

The Pantomime Adventures of Peter Pan

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Pic copyright Phil Tragen 2022

Crossroads Pantomimes brings us The Pantomime Adventures of Peter Pan. Based (loosely) on the book by JM Barrie, about the boy who could fly and never grows up. 

As the glittery curtain rises we meet Tink (Samara Casteallo), a flying fairy who can produce pixie dust, which allows other characters in Neverland to fly. Tink enrols the help of Wendy (Jessica Croll) to come to Neverland to help save Peter Pan (Ross Carpenter) and make him fly once more. Arch nemesis Captain Hook (Jason Manford) has other plans and aims to steal all of the pixie dust and get his revenge on Peter Pan.

At least I think that is the plot. The fact of the matter is that it doesn’t really matter what the plot is, this show is way bigger than the plot. The plot gets stretched and bent and twisted and we get distracted and we laugh and we clap and we dance and then we return to the plot for a moment and then off we go again.

Pic copyright Phil Tragen 2022

This is hands down THE best pantomime I have ever seen. I was worried that it was missing a “pop star” but that didn’t matter. I was worried that it was missing a “dame” but that didn’t matter. What really mattered was the astonishing partnership between Captain Hook (Jason Manford) and the incredibly talented Ben Nickless as Smee. From the minute the two are together on stage there are explosions of comic fireworks, which had us crying with laughter time and time again. 

Nickless returns to the Opera House for his fourth panto, but this year it’s different, this year he is a big star. He has had an incredible year on Britain’s Got Talented, and it’s given him the platform to take command of the stage. I loved him last year and didn’t think he could get any better, but somehow he has. Having two hilarious comedians in the show has made it doubly funny. They don’t compete with each other, the fit perfectly together.

Pic copyright Phil Tragen 2022

Manchester loves a northerner, so Manford is an excellent casting choice. The crowd absolutely love him, and for good reason: he can act, he can sing, and he is super funny. The way in which he breaks character every so often, works really well at engaging the audience. He has the crowd participation element of panto spot on!

Both Manford and Nickless were born to star together on stage in pantomime. The mermaid scene and the 12 days of Christmas had me in absolute stitches. I really hope we get to see them collaborate again in the future.

Pic copyright Phil Tragen 2022

The whole cast are tremendous, I can’t imagine it’s an easy feat sharing a stage with the huge personalities of Manford and Nickless, but it doesn’t phase them at all. Ross Carpenter is a beautiful Peter. I found him to be gentle and kind in character, with a spritely energy about him. 

I loved the addition of The Acromaniacs, like many elements of this production, their inclusion brings nothing to the plot, but it doesn’t matter because they’re fabulous. They bring a variety hall feel to the production and I loved it!

The ensemble are exemplary, they are seamlessly woven into the scenes, so much incredible talent and they keep us entertained throughout.

Pic copyright Phil Tragen 2022

Ian Westbrook’s set design is exquisite. The sound design, the special fx, the choreography, the costumes, the props, the lighting: all of it, is utter perfection. 

You don’t need to like panto to love this; this is modern panto – genuinely clever and very funny. It’s a panto for the young and the old. It’s for the northerners, the southerners and even the Aussies (hiya Jordan!). Life feels very heavy at the moment for so many people, there are so many things to be worried about and who knows what next year will bring, but spend two hours in the Opera House this festive season and somehow things will feel just a little bit lighter and brighter. The Pantomime Adventures of Peter Pan is exactly what we all need this Christmas, superb!

The Pantomime Adventures of Peter Pan is on at Manchester’s Opera House until Saturday 31st December tickets available here.

Goldilocks and The Three Bears

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Opening Night verdict ⭐️⭐️⭐️⭐️1/2

Reviewed by Matt Forrest

There are certain things in this country that we are renowned for throughout the land: the traditional Sunday roast, the England men’s football team crash out of major tournaments via a missed penalty kick, and of course, celebrating Christmas with a panto! This year the Epstein Theatre is putting on a show, suitable for kids from one to ninety-two!

Goldilocks and the Three Bears sees circus owner, Dame Gertie (Mama G), and her beautiful daughter (Olivia Sloyan) struggling to keep their ‘Big Top’ open. They have a loyal band of employees ready to muck in and go above and beyond to save the circus which include Silly Billy (Brandon McCaffery) and The Ringmaster (David Tag), who both have fallen in love with Goldilocks.

To make matters worse, there is a rival circus in town, headed by the evil Baron Von Vippenall (Timothy Lucas), who has a penchant for animal whips and cruelty. The rival shows are in need of a knockout act that will bring the crowds in, and with rumour of some bears living in the woods nearby, maybe they can become the star attraction both circuses need, but who will get to them in time?

This has everything you want from a panto, spectacular song and dance numbers, stunning acrobatics, visual gags a plenty, some jokes for the kids and a few for the adults too! Add into the mix some super soakers, some fire juggling and an adorable children’s sing-along to close the show and you have the perfect festive family night out.

The show is anchored by two outstanding performances. Timothy Lucas is clearly having a ball as the villainous Baron Von Vippenall, I’ve not heard a more outrageous German accent since the late great Alan Rickman fell from the Nakatomi Plaza! He goads and taunts the audience throughout and his appearance never failed to bring a smile to my face.

Whilst Britain’s Got Talent star Mama G is in fine form as our traditional panto dame. It’s a charismatic performance filled with sass while Mama G displays some wonderful comic timing to match the spectacular outfits.

Olivia Sloyan and Hollyoaks star David Tag are the perfect pairing, both in fine voice, making a lovely couple and a pair of heroes you can’t help but root for. 

Brandon McCaffery does a grand job of getting kids involved as Silly Billy – he had the kids hollering in all the right places; it’s a performance as daft as it is fun. The supporting cast worked their socks off throughout, with some great routines and some nice bits of ‘improv’ when some cast members hilariously went off script.

There are numerous big song and dance numbers with the highlights being a dark and brooding version of Queen’s The Show Must Go On,which features some stunning visuals, whilst a near full cast rendition of There’s No Business Like Show Business is just one of many highlights.

With this being Liverpool, there are plenty of cheeky local gags and a few marking this year’s political upheaval for you to enjoy, which go down a treat with the older members of the audience. It’s a hilarious, silly, and thoroughly entertaining production from start to finish, the perfect antidote to World Cup disappointment and Christmas reruns on the telly!

Goldilocks and The Three Bears is on at The Epstein Theatre until 1st January tickets available here.

Betty! A sort of Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

In their local village hall, The Dewsbury Players: a unique blend of am-dram performers, have come together to celebrate their finest export and local hero, Betty Boothroyd, the first female Speaker of the House of Commons and arguably one of politics most fascinating characters.

With their individual visions on how best to do Miss Boothroyd justice, not to mention their wildly varied beliefs, the players are committed to uniting artistically to create a musical Dewsbury will never forget. The problem is, director Meredith (Maxine Peake) has falsely informed the BBC that the group offer a tad more diversity and community value than in reality; so, when BBC exec Adrita (Lena Kaur) turns up to rehearsals things take a rather creative and chaotic turn.

This play-within-a-play created by Maxine Peake and Seiriol Davies (who also stars as Calvin) is a riot. It’s bonkers, brilliant fun with a gorgeous message of love and acceptance at its heart. There’s laugh out loud political parody and some absolute genius lines while the script touchingly shines a light on each of the wonderful characters making up the group. Their observations on life are spot on, sharp, witty and entirely relatable.

The musical numbers are where the creative team have really had some fun, poking a gentle ribbing at traditional musicals; there’s enthusiastic choreography, musical theatre clichés and heart-warming solos all delivered with tongue firmly in cheek. Musical director Sarah Dyer leads a slick four-piece band who demonstrate an incredible range as they deliver both rousing ballads and rock-tastic numbers with precision.

Maxine Peake leads this ensemble cast brilliantly, firstly as demanding director Meredith, sniping constantly at her cast despite desperately needing them to fulfil her dramatic ambitions. Then second act she is transformed into the straight-talking, charismatic Boothroyd ready to take on the House in the challenges that befall her.

Co-writer Davies is a treat as Calvin, bursting with enthusiasm and a mediator to all, he delivers some of the shows most memorable and outrageously over the top moments brilliantly. Eva Scott portrays Angela, Meredith’s subdued and self-conscious daughter beautifully, showing her versatility throughout as she channels her inner confidence spurred on by the arrival of former friend Adrita.

Joan Kempson displays sharp comic timing as Hazel, the salt of the earth grandma who blasts out the one-liners and is poles apart from condescending Meredith. Carla Henry is a joy as Tracy, a former West End star who’s light still shines in Dewsbury despite her issues with her hubby at home and her weak ankle. I cried laughing at her Ian Paisley, no spoilers here but I’ll never hear Riverdance and not think of her performance. Lena Kaur’s take on BBC exec is spot on whilst her second act transformation is inspired.

Betty! A sort of Musical does exactly what it says on the tin, gives you a belly full of laughs and leaves you with a smile on your face. There are musical numbers which could maybe benefit from a little trimming, but this is a minor quibble on what’s a brilliantly entertaining show. This heady reminder of days when politicians stood for decency and duty is a whirlwind of hilarious, heart-warming fun. A welcome and well observed reminder of the importance of community and common ground.

Betty! A sort of Musical is on at the Royal Exchange until Saturday 14th January tickets available here.

Images Johan Persson