Musical Theatre

Identical

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️1/2

This brand new musical is based on the original book “Das Doppelte Lottchen” by Erich Kastner; two huge Hollywood movies both titled “Parent Trap” have been made of this tale and both are absolute family must sees.

Directed by Trevor Nunn, wiith music and lyrics by George Stiles and Anthony Drewe, Identical is the tale of twin girls separated as babies, who then meet at a summer camp age ten. Initially the are appalled that they look alike (well, more than alike: identical). Eventually the penny drops and they realise that they are twins who must have been separated. They devise a cunning plan to switch places when returning to their respective homes. They do a great job of convincing those around them that they are who they say they are, until one becomes unwell and it’s up to the other to bring the families back together as one.

There are three sets of twins who play the roles of Lisa and Lottie. In the performance I attended it was the turn of Kyla and Nicole Fox and these two young women are incredible. Everything about their performances was exceptional. They were, without doubt, the absolute stars of this show. Every note they sang, they hit perfectly and their chemistry with their respective parents as well as with each other was magical. 

The first half is a little slow at times, but it’s setting up the narrative for what will come in the second half and it is worth the wait. The songs are pleasant and performed well by all of the cast, but there didn’t seem to be any big numbers to take away and sing on the car journey home.

The play is played straight, it sticks to the story and at times it misses the opportunity to make us laugh, but it’s simple and enjoyable. The cast are all excellent and there are moments of tenderness between characters that brought a lump to my throat.

The set design is like nothing I have seen before and quite frankly it took my breath away. The use of digital moving images on backgrounds that change and shift is so dynamic. It really helped to set the scene and tell the story. It was obvious where each scene was set – using this kind of technology means that there is no limit to the number of settings you can have. I think this will be seen more and more in touring theatre productions – it is phenomenal.

All in all this is an enjoyable show with fine performances from all the cast. Beautifully written songs and is entertaining. I think children age 9 and over would really enjoy this show – it is a little long for younger children with a running time of approximately 2 and a half hours.

Brief Encounter

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️


In 1945 Brief Encounter hit the British cinema screens for the first time. Based on the one act play by Noel Coward called Still Life and directed by David Lean, the film was a huge commercial and critical success. It regularly features in polls as being one of the greatest British films of all time.

Over the years there have been numerous radio, TV – and even an operatic version of this timeless classic. There has also been numerous theatrical offerings too and this latest production has come from Director Paul Robinson adapted for the stage by writer Emma Rice. This production sets out to captivate audiences of all ages at Bolton’s Octagon Theatre, where it embarks on a three week run.

After a chance meeting in a train station cafe, a local GP, Alec (Pete Ashmore) and respectable housewife, Laura (Anne-Marie Piazza) set out on a journey of passion and forbidden love; doomed to fail from the start. Both are married, both have children and both are upstanding pillars of the community. Will the world around them, and more importantly they themselves, accept the love they have for one another?

Key to the success of this fabulous production is its pacing; the story has time to breathe. That, coupled with the undoubted chemistry between the two leads, ensures you care about the two lovers. You feel their pain, anguish and like our “Romeo and Juliet”, as one character points out, you want a different outcome for the two, even though you know it’s never going to happen. There’s brilliant storytelling, excellently executed throughout this production which is packed with emotion and a great deal of style.

The really production works if you fully invest in the predicament that Alec and Laura find themselves in; Pete Ashmore and Anne-Marie Piazza draw you in perfectly. Nothing flashy or over-the-top, just raw, honest emotion. They both capture the fun and tenderness their tryst has produced, as well the guilt and hurt that it also brings.

It’s not just the Alec and Laura affair that’s in play here. There is also the blossoming romance between cafe owner Myrtle Bagot ( Natasha Lewis) and ticket inspector Albert Godby (Robert Jackson), as well as the courtship between cafe worker, Beryl, (Lara Lewis) and train porter Stanley (Joey Hickman). These are both played mainly for laughs bringing lots of joy throughout the first act. It’s during act two where the drama kicks in.

The supporting cast like the leads are superb, not only playing the aforementioned characters, but numerous other characters who, great or small, all impact Alec and Laura’s relationship. In addition to this, the cast along with musical director, Alex Weatherall, perform some Noel Coward and Simon Slater penned numbers including a stunning rendition of Go Slow Johnny and a slow, haunting performance of A Room with a View.

Other musical highlights included a version of George Formby’s Leaning on a Lamppost at the start of the show which brought on a pleasing, impromptu audience sing-along. As well as a fun saxophone trombone face off between Jackson and (Natasha) Lewis.

Setting the play ‘in the round’ is more a blessing than a curse. With most of the action taking place in the train station cafe, stage designer Jessica Curtis has created a multipurpose set: the cafe’s chairs, counter piano, and serving counter double up as a restaurant, and family home. The ‘in the round’ setting gives the production an energy and vibrance, some genuinely unexpected and innovative touches. My only small complaint is that sometimes the vocals on some of the musical numbers were a bit of a challenge to hear.

This is a timeless tale told with heart, soul and plenty of style, well worth a ‘little’ dalliance to the theatre.

Brief Encounter is at the Octagon Theatre, Bolton until 5th November. Tickets available here.

Blood Brothers

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Blood Brothers is Willy Russell’s “Liverpudlian folk opera” which tells the story of Mrs Johnstone, a newly single mother of many children struggling to make ends meet. Pregnant once again, she manages to find a cleaning job for a well to do couple – Mr and Mrs Lyons. When Mrs Johnstone discovers that she is infact expecting twins she is persuaded by childless Mrs Lyons to give her one of the babies to raise as her own, promising her that she will always be able to visit and spend time with her baby.

Things, very quickly, take a dramatic turn and Mrs Lyons sacks Mrs Johnstone leaving her devastated at not being able to see her son anymore.

The lives of the twins, Mickey (Sean Jones) and Eddie (Jay Worley) are very different, but are intertwined and they somehow keep finding each other, and end up being a large part of each other’s lives as “Blood Brothers”.

Blood Brothers is a story that has been told in theatres around the world, it had a 24 year run in the West End, as well as touring throughout the UK and internationally. I personally, have seen this show more than any other show. And do you know what? It hasn’t lost a single inch of its magic. Everything about this production is outstanding.

The script is the glue that holds everything together. It’s hilarious, moving and heartbreaking all at the same time, something we can always rely on Willy Russel to provide. The set is simple and really hasn’t changed over the years, but it doesn’t need to. It helps to tell the narrative – along with the ever present and haunting narrator played by Richard Munday. Every single hair on my head stood on end during his performance of “Shoes on the Table”.

Niki Colwell Evans is magnificent as Mrs Johnstone. She is entertaining, engaging and her delivery of Tell Me It’s Not True at the finale was spine tingling and utterly heartbreaking. She had the audience sobbing openly.

Jay Worley, as Eddie, is a breath of fresh air. He brings life to the role, and his chemistry with both Mickey and Linda ( Carly Burns) makes the story so much more believable and entertaining. 
Carly Burns is just wonderful as the ever optimistic and loving Linda, who at times has her loyalty tested with catastrophic results. 

Sean Jones was born for the role of Mickey, he kept us laughing in his portrayal of young Mickey, taking on his big brother Sammy, played by the fabulous Timothy Lucas. Every note he sang was pitch perfect. Jones did a magnificent job of playing Mickey as a drug dependent young man, struggling with depression and self doubt. Blood Brothers can often be thought of as comedic show with a tragic ending, but it is so much more than that. Jones shows us just how vulnerable and desperate Mickey is and we are invested in his success and failures. Which is why the ending results in the entire auditorium gasping (loudly).

The whole cast is outstanding; this show is a well oiled machine and it just doesn’t age. The musical numbers are brilliantly performed and are the reason that people like me keep coming back again and again. I’m guessing that the rest of the audience felt the same, judging by the way they literally jumped from their seats before the last note was played.

Blood Brothers is the greatest of British musical theatre all in one show. It is a must see for all, especially if you’re a northerner!

Blood Brothers is on at The Lowry until Saturday 22nd October tickets available here.

The Time Traveller’s Wife

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Based on the best selling novel by Audrey Niffenegger and the film screenplay by Bruce Joel Rubin, The Time Travellers Wife takes the leap into musical theatre and does so with unquestionable style.

Pop legends Dave Stewart and Joss Stone have linked up to create the music and lyrics, gifting the piece with soulful melodies and deeply layered numbers that drive and develop the story beautifully.

Portraying a tale about a time traveller could quite easily become confusing & chaotic, not here; this slick production with its clear storytelling and impressive design translates into something that’s hugely impressive and emotionally resonant.

David Hunter takes on the role of Henry, a time traveller who has no control over when or where he’ll be ripped out of the present and pulled into his past or maybe even his future. Hunter is superb in the role, every disappearance and reappearance is more impressive than the last, he’s right before your eyes one moment then appears at the opposite side of the stage in a completely different costume the next. This is a truly demanding role which he pulls off with ease & heaps of charm.

Joanne Woodward is perfectly cast as Clare. She gives the character depth and complexity while making her instantly likeable, showing both strength and vulnerability. The chemistry between the two is wonderful, their voices gel together so beautifully, lifting Stone and Stewart’s lyrics to the next level. You desperately want happiness for this duo as they portray the multi-layered characters with pure heart.

Tim Mahendran and Hiba Elchikhe add to the fun of the piece as bickering but hopelessly devoted Gomez and Charisse while as Henry’s Father, Ross Dawes makes sure his featured scene packs an emotional punch.

The set design, projections and illusions elevate this production far beyond a love story. They are thrilling, surprising and absolutely stunning. Journeyman which opens Act 2 is something very special, acting as real showcase as complex choreography, incredible vocals and impressive technology combine. Designers Anna Fleischle, Lucy Carter, Andrzej Goulding, Richard Brooker and illusionist Chris Fisher have ensured that the time travelling elements have been treated with the care they deserve, and the results are simply magical, with constant surprises keeping the audience on their toes from start to finish.

This ambitious production directed by Bill Buckhurst succeeds entirely, the technology is matched by a cast at the top of their game while the clear storytelling captivates completely. The Time Traveller’s Wife is a superb addition to musical theatre, with I hope, a long future ahead. Filled with love, heart and hope, this stunning new musical is a total triumph.

The Time Traveller’s Wife is on at Chester’s Storyhouse until Saturday 15th October tickets available here.

The Color Purple

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Back in 2019 I was lucky enough to watch The Color Purple during its original run at the Birmingham Hippodrome, one thing that struck me, (amongst many others) was how perfect this production would be for the Lowry’s Lyric theatre; 3 years later I can finally confirm it’s as stunning as I’d hoped.

Based on the much-loved novel by Alice Walker, The Color Purple was adapted into a film in 1985, directed by Steven Spielberg and starring Whoopi Goldberg and Oprah Winfrey. Next, came the Broadway musical adaptation in 2005 with a critically acclaimed revival following in 2015 starring Jennifer Hudson and Cynthia Erivo. It’s recent presence in the UK has been a difficult one largely due to the emergence of the pandemic but now thankfully, opening night at The Lowry marks the shows 4th successful stop on its current UK tour.

This powerful story told over the course of 40 years introduces us to Celie, an oppressed Black girl from the Deep South as she journeys through life in a bid to discover her own sense of purpose. There’s joy, heartache, kindness, and cruelty as Celie discovers the voice within amidst the chaos that surrounds her.

Me’sha Bryan is superb as Celie, leading the cast with true heart and emotion. She draws you in immediately with her warmth and loving spirit, taking you on this journey with her; you want her so desperately to succeed & find the happiness she so richly deserves. Aaliyah Zhané plays Celie’s ambitious little sister Nettie wonderfully, her time on stage is impactful and helps drive the themes of love and loyalty beautifully.

Bree Smith is a joy as Shug Avery, oozing charm and inner confidence, she’s the ray of sunshine and chance at happiness Celie so desperately needs. The chemistry between both Bryan and Smith is perfect, their performance of ‘What About Love’ at the close of Act 1 is both powerful and emotive.

Special mention must go to Anelisa Lamola who gives a knock-out performance as Sofia. Her fearless rejection of the violence she experiences in ‘Hell no,‘ is hugely significant. Her characterisation is incredible, she embodies Sofia entirely, giving us both laugh out loud hilarity and crushing heartbreak with nuanced vulnerability, she is mesmerising .

While it’s the women who take centre stage there are also some excellent male performances which mustn’t go unmentioned. Ahmed Hamad gives a wonderfully charismatic performance as an unassuming Harpo while Ako Mitchell as Mister, delivers a truly difficult character flawlessly, sinister and cruel his characterisation is perfect making his learning curve all the more significant.

This story is emotive, at times dark and upsetting but this joint production from the Birmingham Hippodrome and Curve Leicester (with book by Marsha Norman) leaves us in no doubt who the true heroes are and offers much light amongst the shade. The journey Celie goes on is inspiring as she overcomes adversity through the strength she takes from the relationships she builds within her life.

Tinuke Craig and Lakesha Arie Angelo have directed this piece with care and creativity while Alex Lowde’s set and costumes are gifted incredible lighting and video design from Joshua Pharo ensuring the source material is given the absolute best opportunity to shine.

This deeply moving piece of theatre is delivered by an exceptional cast. The strong leads are supported by an incredible ensemble who bring life and light to the stunning harmonies within the score. The voices amongst this cast are honestly worth the ticket price alone, they are sublime. Special mention here to the magnificent trio of ‘gossip girls’ a modern-day Greek chorus who are an absolute joy, played at tonight’s performance by Karen Mavundukure, Rosemary Annabella Nkrumah and Kayla Carter.

The Color Purple is a beautiful production, where there is darkness always comes light as we are taken on a journey of self-discovery and female empowerment, full of heart, hope and humanity.

The Color Purple is on at The Lowry until Saturday 15th October, tickets available here.

Something’s Coming (to Tameside), Something Good…

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Leonard Bernstein and Stephen Sondheim’s hit musical, ‘West Side Story’ is coming to Tameside from 29th March to 1st April 2023. Presented by Hyde Musical Theatre Society the classic love story will take to the stage at Hyde’s Festival Theatre.

Following their sell out production of the Elvis juke box musical ‘All Shook Up’ earlier this year, Hyde Musical Theatre Society return to the stage next year with the romantic and tragic musical ‘West Side Story’.

Recently released in it’s second film adaptation by Steven Spielberg, ‘West Side Story’ takes the well-known Shakespeare play ‘Romeo & Juliet’ into the 1950’s streets of New York. Exploring the fierce rivalry of gangs, the Jets and the Sharks, and the young, forbidden love between Tony and Maria. The musical features songs such as Somewhere, America and I Feel Pretty.

Chair of Hyde Musical Society, Julie Wilkinson Said “We chose this musical not only because is it one of the greats from the fantastic pairing of Bernstein and Sondheim, but it has themes that are so important in the current climate. It’s a tragic but beautiful story that teaches us to love without hate.”

She continues, “The 2021 film was a massive hit, there is still an appetite for this to be brought to the stage. The last time it came to Manchester was in 2020 at The Royal Exchange, so we thought its time to bring the Jets and the Sharks back to Greater Manchester!”

The company, like many other local theatre societies, were pulled from the stage during the dress rehearsals of their 2020 musical ‘All Shook Up’ due to the Covid-19 outbreak. They took to the stage with the production more than 2 years later.

Hyde Musical Society celebrated their 80th year in 2020, and are hoping to bring theatre audiences back into their local theatres following the two years of closures.

Daniel Oliver-Grant, Director of this production of West Side Story said “I’m so excited to be working with Hyde Musical Society, their last show ‘All Shook Up’ was brilliant, well received by audiences and had a phenomenal cast. I think ‘West Side Story’ can be even bigger and better.”

He continues “We’ve got a fantastic group of dancers, and an incredible principal cast that I have no doubt will bring this much-loved musical to life. I’ve got big plans and some great ideas to make this production feel fresh, but keep the charm that audiences know and love.”

Rehearsals start in Hyde this October, and the cast take to the stage for a weeklong run at Hyde Festival Theatre, from 29th March to 1st April.

Tickets are available from Sparks Theatre Management or head to hydemusicalsociety.org.uk for more information.

Fisherman’s Friends

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The acapella group Fisherman’s Friends rise is nothing short of remarkable. From humble beginnings in the Cornish village of Port Isaac through to playing the Pyramid stage at Glastonbury. Along the way there is a gold selling album, numerous national and international tours, two feature films and now Fisherman’s Friends: The Musical, a fantastic, feel-good production, that will see your emotions bob up and down like a buoy on a choppy night in the North Sea.

Based on a true story, the story begins showing the two passions of our protagonists, fishing and singing, as the group bring in the catch of the day, during some pretty hazardous conditions, all done with a song in their hearts. It’s a neat introduction to Lucy Osborne’s fabulous looking set that manages to fill the huge stage of the Lyric theatre. Fishing boat, local pub and even a Soho night club, the staging is top draw.

Back on dry land we meet the gang, led by Jim, his father, Jago, as well numerous villagers and salty sea dogs where loyalty, and friendship is as important as keeping their traditions alive and having a well-earned pint. They are all kept in check by Jim’s daughter, Alwyn, who is also a great singer in her own right. The arrival of Danny, a former A & R executive at Island Records will see the seafaring folk enter uncharted territory; Danny who is blown away by the group’s harmonies and just a little smitten with Alwyn hatches a plan.

Danny hopes to have the group record a demo, land them a record deal and hopefully save his own flagging career. However, it’s not all plain sailing and Danny must gain the trust of the group and Alwyn; and that’s just the start of his problems.

Whilst the plot isn’t the most original or ground-breaking story telling you’re ever likely to see, with its fish-out-of-water meets rags to riches familiar tropes, the production has plenty of a heart, soul and a huge sense of fun, it’s certainly one of the most up lifting nights at the theatre I’ve had in quite some time. Fantastic musicians, stirring vocal blends and powerful solo’s, this production more than delivers when honouring the legacy of the band.

As you might expect there are a great number of sea shanties featured including Blow the Man Down and (What Shall We Do with the) Drunken Sailor and songs that the band have made their own, Keep Hauling and the absolute banger that is No Hopers, Jokers & Rogues.

The performances are outstanding throughout, Jason Langley’s Danny is often the comic foil throughout the show. Langley turns in a fine comedy performance and has a great singing voice to match. Parisa Shahmir as the feisty Alwyn is the perfect match for Langley and the chemistry between the two is the driving force of the whole production. Her stunning vocal performance on The Tidal Pool is absolutely gorgeous.

There is strong support from Hedrian Delacey, as Jim the band’s unofficial leader who expresses his mistrust over unfolding events. Delacey walks the tightrope between caring father figure and cynical patriarch exceptionally well.  In addition, we have Robert Duncan and Susan Penhaligon as Jim’s parents Jago and Maggie, the beating heart of the community, both clearly having a ball as the mischief makers in chief, who have been around the block enough times to know that you shouldn’t squander life’s opportunities.

The music is performed by cast members, who are ever present on stage throughout giving the production a feel of authenticity. I’ve been to enough folk nights to see people getting up and joining in. There is some outstanding musicianship on display throughout the show.

You don’t have to be familiar with the story of the Fisherman’s Friends or even know the music, to enjoy this rousing, upbeat story, just get comfy and let it wash over you. Watching it made me think of hot chocolate, an open log fire, and a cosy night on the couch under a blanket, just some life’s little joys and treasures that offer comfort and are good for the soul, and Fisherman’s Friends: The Musical is no exception to this.

Fisherman’s Friends: The Musical is on at The Lowry until Saturday 1st October, tickets available here.

The Book Thief

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Originally programmed for Spring 2021 before Covid was even a word in our vocabulary, The Book Thief has finally had its world premiere at Bolton’s Octagon Theatre and gosh was it worth the wait.

Set in Nazi Germany during WWII, The Book Thief tells the powerful tale of Liesel Meminger who we first meet as a young child, sent to live with a foster family in a desperate bid by her parents to protect her from the creeping evil taking over the country. Liesel’s lower social class means the only way she can get her hands on the literary escapism she yearns for is by stealing it, she is a child without words but through love they will come. Her first opportunity presents itself from the pocket of a gravedigger as her brother is buried, and so the Book Thief is born.

Markus Zusak’s global best-seller is such a beautiful story it feels like it was always destined to make the leap from page to stage especially after being given the Hollywood treatment back in 2013. It is such a beloved book this new musical had to be treated with the utmost care and respect, something director Lotte Wakeham and the creative team have done with abundance, it is quite simply, stunning.

Jodi Picoult and Timothy Allen McDonald have adapted Zusak’s work faithfully doing absolute justice to the globally adored novel while Elyssa Samsel and Kate Anderson have gifted the piece with stunning melodies and exquisite songs that gently entwine themselves into the narrative.

Every inch of this production feels of the highest quality from Nic Farman’s atmospheric lighting design to Samuel Wilde’s exquisite puppetry, every detail has been crafted to perfection.

Narrating the piece and guiding us through is ‘Death’, portrayed wonderfully by Ryan O’Donnell. Full of warmth, wit, wisdom and warnings, Death reminds us he’ll visit us all one day but the living we do before he arrives is what really counts. O’Donnell is entirely convincing in the role, commanding our attention yet generously guiding our focus to the story unfolding before us.

The role of Liesel is tonight played by Niamh Palmer who is outstanding. On stage for almost the entirety of the evening she embodies the Liesel millions of readers have fallen in love with. Her voice is superb while her acting convinces entirely. The scenes between those she grows to love are meaningful and heartfelt making the themes of love, language and mortality all the more poignant.

This evening’s Rudy is a wonderful Charlie Murphy, he is pure joy on stage & bursts with charisma. His scenes with Niamh Palmer are both heartwarming and heartbreaking.

Jack Lord and Danielle Henry as Hans and Rosa Humbermann bring wonderful wit and warmth while Daniel Krikler as Max Vandenberg adds a genuine depth to the piece as the stark reality of life in Nazi Germany plays out. His poignant delivery of ‘Hello, Stars’ offering a whole new meaning to the words since we first heard them at the start of the piece sung so sweetly by Liesel.

While the leads are outstanding this is a true ensemble production, each and every member of the cast give their all. They deliver Tom Jackson Greaves’ stunning choreography with precision; at times it’s joyful, light and celebratory, others, each and every motion portrays the gut-wrenching pain of persecution and loss. The storytelling through movement combined with the powerful script and score make for a perfect marriage, communicating to the audience clearly and carefully.

While there is an ever present feeling that mortality may never be too far away this is a truly beautiful story of hope and the power we all have through the words we use & the choices we make. Words of love not hate, seeds of kindness, a reminder to look to the stars and to never let evil win.

The Book Thief is a total triumph, full of heart, humour and hope. There was laughter, tears and a swelling of genuine emotion as the thundering standing ovation was received. Everything about this show says West End transfer, it’s a truly special piece of theatre which deserves to be seen far and wide. Superb.

The Book Thief is on at Bolton’s Octagon theatre until Saturday 15th October tickets available here.

Girl from the North Country

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

To many Robert Zimmerman, or Bob Dylan to use his stage name is the greatest songwriters of all time. With a career spanning six decades and spawning well over 40 albums, Dylan undoubtedly deserves his spot in the conversation for who is the GOAT. Either love his music or loathe it you can’t deny the volume and quality of his work.

With that in mind there is something of the inevitable about Dylan’s music, being turned into a musical; however, the result isn’t quite what you had in mind and that’s down to writer/director Conor McPherson (The Weir, Port Authority).

McPherson’s Girl from the North County takes place in Dylan’s home town of Duluth, Minnesota, some seven years before the singer was born. It’s 1934 and Duluth, like the rest of America, is still suffering from the impact of the Wall Street crash and the great depression.

Guest house proprietor, Nick Laine, (Colin Connor), has a great number of problems. Along with trying to keep the business afloat, he must care for his dementia riddled wife, Elizabeth (Frances McNamee), help his son, Gene (Gregor Milne) stay sober long enough to hold down a steady job, appease his mistress, the good natured Mrs Neilsen (Nichola MacEvilly), and see that his pregnant, adopted daughter Marianne (Justina Kehinde) is wed to a local ageing business man, Mr Perry (Teddy Kempner), in a bid to secure a stable future for the young women.

In addition to his immediate family, the guest house must remain open in order to keep a roof over the head of the various hard-on-their-luck waifs and strays the lodgings has collected, including an ex-con boxer, a sinister priest, and a family with a troubled son. Under the watchful eye of the local GP and morphine addict, Dr Walker (Chris McHallem) their stories intertwine with one another leading to a fateful Thanksgiving dinner that will change their lives forever.

Those expecting a jukebox musical of Dylan’s greatest hits are in for a rude awakening. For sure there are some crowd pleasers, Hurricane, I Want You, and Like a Rolling Stone to name but a few, but the music chosen spans Dylan’s career up to 2012, with the song Duquesne Whistle. Whilst most musicals use their songs to drive the narrative along, the song choice here is to show a shared connection between the characters.

McPherson’s bleak script tackles some meaty subject matter, with dementia, mental illness, financial hardship, and racism (all so very relevant to this day), which in lesser hands could stray into melodrama, however, Girl From The North Country treads that line very carefully aided by a fantastic, hardworking ensemble cast, some powerful central performances, great song-and-dance routines, and a script punctured with a enough humour to keep it entertaining for all the right reasons.

Despite the rather grim setting and subject matter, the production has a great deal of energy to it, with the 20 strong cast frequently on stage together joining in backing vocals, playing various musical instruments, or dancing, whilst the production’s band The Howlin’ Winds expertly delve through Dylan’s back catalogue.

The production values are right out of the top draw, with Rae Smith’s scene and costume design, marrying perfectly with Mark Henderson’s lighting design and Simon Baker’s sound design to create an authentic dreary, dank claustrophobic setting with shoots of colour throughout. At times some of the set pieces resemble a painting in scale composition. The authenticity of the production helped by the use of instruments only around in the 1930’s.

My only real criticism is that at times there are too many narratives, and not enough time devoted to them, so some plot strands don’t quite reach a satisfying conclusion which is a little disappointing.

Girl From The North Country, is a satisfying night at the theatre, and one not just for fans of Dylan’s music. It’s a well-crafted piece of work anchored by some of the best songs of the last century.

Girl From The North Country is at the Lyric Theatre Lowry until 24th September 2022. Tickets available here.

Dreamgirls

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Dream girls is a roller coaster of a story that introduces us to three talented young singers, who are starting out singing in a world where not everyone wants to hear them and not everyone has their best interests at heart.

The girls enter a singing competition, but they don’t stand a chance when small time star “Jimmy Early” (Brandon Lee Jones) loses his backing singers s and his manager Marty (Jo Servi) fails to entice the girls to go on tour with Jimmy. Enter Curtis Taylor Jr (Matt Mills) the man who will stop at nothing to convince the Dreamettes to do the tour and let him be their new manager. And he has big plans, which don’t always include everyone.

Curtis Taylor and songwriter C.C White (Shem Omari James) begin their dream to get the girls to the top of the charts, and in Curtis’ case, at all costs. The story tells the tale of fames, fortune and heartbreak. And most of all friendship.

And I am telling you , I am not going to ever stop raving about this show. 

Wow, wow, wow. I have never seen a show with such power and strength, in storyline, cast and music. This show is something else.

The casting are incredible: each and every cast member plays their part perfectly and with immense talent and emotion. The hits just keep coming. One after another. The staging is clever and functional. We are told the story through seeing, not by being told. We feel the emotions of the characters because the actors show us and pull us along for the ride.

The Dreamettes have a bond, both in script and onstage. Their performances as a group are electric and note perfect. Paige Peddie, who plays Lorrell, works the audience perfectly and we adore her within seconds. She starts of as a timid young girl, and we see her grow into a strong woman. Natalie Kassandra, who plays Deena, is excellent in her portrayal of a young woman who is manipulated by a man who is controlling and coercive. That is until she absolutely comes into her own in Act two in her duet of Listen, with Effie White (Nicole Raquel Dennis). I was mesmerised and moved by this number. These women are incredible.

Now I knew that Nicole Raquel Dennis was going to be good, because I follow her on Twitter and I’ve seen what she can do, but I was not prepared to see her live. This woman is something else. I have no idea how it is humanly possibly to do what she does, day in and day out. I have never, ever seen an audience jump to its feet in the middle of a song in Act One. “And I am telling you I’m not going”, was the single greatest performance I have ever seen. Nothing could have prepared me for how I would feel during that performance. I’ve heard Nicole compared to Jennifer Hudson, she doesn’t need comparing to anyone. She is exceptional in every single way, she’s beautiful, majestic and talented.  I can’t wait to see what she does next. 

Now, while it may seem that the women dominate this show, their talent is matched by the male leads also. Brandon Lee Sears performance as Jimmy is energetic, humorous and at times heart wrenching. And boy can that man move his hips! Shem Omari James is beautiful in his role of Effie’s brother C.C, he is a great talent, and I’m sure we are going to see him in the West End over and over again in the coming years.

Matt Mills, who plays Curtis Taylor is multi talented and plays the greedy, desperate manager fantastically. Another excellently cast performer, who delivers in every scene.

The entire cast deserves a mention, they are slick and powerful and deserve every standing ovation that they receive. This show is big, bold, loud and full to the brim with talent. 

The music, oh the music, I grew up with my parents listening to Motown, so I was always going to love the music. I wanted to get up and dance many a time during the show. Tom Eyen and Harry Krieger deserve every accolade they receive, they know how to write a hit.

This show is everything it should be- glitzy, glamorous and oozing with talent. It’s not to be missed. I want to go back again and again and again.

Dreamgirls is on at Manchester’s Palace Theatre until Saturday 24th September tickets available here.

Unfortunate: The Untold Story of Usual the Sea Witch

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

There is a famous Monty Python sketch called The Fish Slapping Dance, whereby Michael Palin slaps John Cleese in the face with two tiny fish, whilst performing an absurd little jig, only for Cleese to retaliate with a massive slap to Palin’s face with a huge trout! Now I know this isn’t the normal way to begin a review but after watching Unfortunate: The Untold Story of Ursula The Sea Witch, you’ll feel like you’ve been walloped over the head by something bigger than a giant trout! Vulgar, absurd, and hilarious, this in-your-face musical parody is as crude as it is fun and I loved it, and dare I say so would the Python team too!

With cinematic releases from Disney such Maleficent and Cruella, told from the point of the villain proving to be a huge commercial successes, Fat Rascal Theatre’s march on the Mouse-eared media Megalodon with their alternative take on everyone’s favourite sea witch, is also proving to be a huge audience favourite.

In this retelling, the action rewinds 20 years:  Ursula, is a sassy, no nonsense strong woman, who heads to Atlantica in the hope that a marriage with the Kings son, Triton will save the kingdom. However the course, of true love doesn’t run smoothly, first some body shaming aimed at our straight talking heroine, followed by being framed for murder, sees  Ursula exiled from Atlantica

Fast Forward 20 years, Triton returns to his former lover, in need of her help with his daughter, Ariel. Ariel is his only living heir and will inherit the kingdom, however it’s fair to say Ariel isn’t quite ready to be a reigning monarch, more interested in men, and what they have between their legs than ruling the sea. Will Ursula’s plan work and make Ariel, become the princess those Disney bigwigs want her to be?

This production is an absolute riot from start to finish: catchy, no nonsense show tunes with big laughs, not just there because they have to be but there because they enhance the plot. Stand out numbers include the crude, but hilarious, Where the Dicks Are, the scene setting Nasty, and my personal favourite, We Didn’t Make it to Disney.

The cast more than matches the excellent written material.  Allie Dart-Munro as Ursula, gets the balance of sass and vulnerability just right. Whilst George Whitty as Triton, has a tremendous singing voice, hitting all the right notes. His is a dead-pan performance when compared to his co-stars. Miracle Chance is exceptional as Ariel, a gift at comedy, a real ‘jesters’ performance. Whilst Jamie Mawson as Eric, the handsome prince of the story is as OTT as he is ridiculous.

There is great support from Danni Payne and Jack Grey who play multiple characters and puppets including Sebastian the lobster, now sporting an Irish descent.

My only gripe really is the sound mix seemed off during the first half, with some of the lyrics lost in the mix, it was rectified following the interval, but I’m sure there were more laughs to be had if I could hear the gags.

With strong messages about body positivity, water pollution, the environment and #MeToo blended with a great deal of risque songs, and more ‘knob’, gags then the average Graham Norton monologue, this is highly entertaining and fun night at the theatre, just leave the kids at home with a babysitter and the subscription to a popular child friendly streaming platform would be my advice.

Unfortunate: The Untold Story of Ursula The Sea Witch is at the Lowry till Saturday 10th September, tickets available here.

SIX

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

I have felt for a very long time like I was the only person in the world who hadn’t seen this musical. Trust me, I’ve tried, but covid had other plans. My delight when asked to review it was not pretty: it involved much whooping and a little overhelmed sob. But, as the day approached I was little anxious about whether it was going to live up to everything I’d read and heard. Live up to the hype? OMG: lived up to and sky rocketed above any expectations I had. Absolutely outstanding, like nothing I’ve ever seen. I’m going back for more, without a doubt.

A show about women, by women, empowering women, telling the tale of women, but not just for women. I took my 70 year old dad with me and he is equally as excited about this show as I am!
History/herstory, it’s a must see for all.

The show is based on the lives of Henry VIII wives, all six of them. The staging is that of a pop concert where the Queens use songs to compete to prove that they are infact the most important and tragic wife of Henry VIII – there are no set changes, no costume changes, no time off stage for the characters or musicians. What you see is what you get. And what you get is phenomenal. It is no wonder that this has become a global sensation.

So much of our history is dominated by men, and the role of women can often be depicting them as villains or muses or meek and mild. This show is ripping up those history books and reclaiming the stories of these six women. The parallels to modern life, divorces played out in court rooms, the media, the use of social media, is uncanny.



Toby Marlow and Lucy Moss are a force to be reckoned with. The lyrics to the songs are modern, engaging and hilarious and at times very raw and vulnerable. The music is class, melodious, banging, brazen, comical, classical, it’s like nothing I’ve seen before. This show was written by these two, then undergraduate students, and first appeared at the fringe in Edinburgh and tonight it was in the lyric theatre in Salford with the audience on its feet in absolute awe of this show.

And what makes this show the most incredible show I’ve seen is also this dynamic and talented cast. Each “Queen” brings something different, both in character performances and talent.

Catherine Aragon is played by Chloe Hart and this woman took by breath away. She is fearless, sassy and bold in her performance. She was a stand out performer for me and my absolute Queen!

Anne Boleyn is played by Jennifer Caldwell, who is hilarious throughout the entire show, reminding us time and time ago that she was behedded, a fact that entertains the audience again and again. Her performance of “Don’t Lose Your Head” was flawless.



Casey Al-Shaqsy plays Jane Seymour and her note perfect, raw performance of “Heart of Stone” was moving and showed the great vulnerability of a character who often we consider to be the lucky one. Once again showing us that a male narrative of historical events can omit the struggle of women through history.

Jessica Niles plays Anna of Cleves. Her and the company’s introduction to her character through the magnificent number “House of Holbein” is exquisite. It is for me, the cleverest number in the whole production. The fact that her story is told by using online dating sites to help us understand her story is ingenious. Niles’ goes on to deliver a brilliant performance of the number “Get Down” showing us an insight into the life of Anna from a whole new perspective.

Katherine Howard is played by Leesa Tulley, who is magical in her performance of “All You Wanna Do” – it’s very, very Brittney – if not a more polished version! With the Me Too movement this highlighted that it has been a struggle faced by women for centuries – literally!

And our last queen – Catherine Parr played by the mighty Alana M Robinson. The Queen who makes the show stop and reevaluate it’s narrative – bringing together the women to support and empower each other. And all this done while busting some moves and hitting all of the high notes.

Six is the show of the moment and for many many good reasons. This show is helping to cultivate a new intelligent form of theatre for future generations. It is a show that has longevity, that will be talked about over and over, a show that we will encourage each other to go and see, the show we will go and see again and again. All of this because it’s well staged, beautifully and cleverly written and because this cast and the casts before it and the casts that will come after it will engage us and inspire us and educate us. Yes it’s all women but it’s not just for women, it’s a show for all. You might have forgotten what you learnt about Henry at school – you won’t forget about what you learnt about these woman in this show.

SIX is on at The Lowry until Sunday 14th August tickets available here.