So here we find ourselves as Blood Brothers embarks on its 42nd year on opening night at the Lowry Lyric Theatre. The one thing I love when going to the theatre is sitting in the foyer waiting for the show to start. The anticipation from the audience chatting and excitement knowing they are in for a great show. Blood Brothers is no exception to this, hailed the “standing ovation musical” this show promises to be “unmissable”, bringing audiences worldwide to it feet with “applause” and “approval”. With such acclaim its a wonder that this is my first time seeing Blood Brothers, I too share the same anticipation and hope as the audience members currently waiting to take their seats.
Blood Brothers originated as a short play written by Willy Russell in 1981, a play that 2 years later he developed into a full musical; its very first performance was January 8th 1983 at Liverpool Playhouse with Barbara Dickson and Andrew Schofield taking the lead roles. Russell often explores themes of social class inequality, fate, the importance of family and friendships. So the big question for me is, after over 4 decades and countless worldwide performances does Blood Brothers still fit into today’s society.
Bob Thompson’s and Bill Kenwright’s direction of Blood Brothers bring this show to life, as the plot centres around twins who were separated at birth only to be reunited with tragic and disastrous consequences. Russell’s talent is further seen in the Blood Brothers score which is driven by the raw and real problems of working class life, it is this generic quality that has resulted in the show being dubbed “the Liverpudlian Folk Opera”. Instead of using the music to drive the plot, I would argue the songs act as characters themselves allowing them to serve as a chance for the protagonists to reflect. Moreover the music is very simplistic, mainly comprised of piano and saxophone. This combination of an understated score and little to no moments for applause from the audience made the show more haunting. The first applause being at end of the first half and the second at the end of the show.
The set was very minimal and understated – the main focal point was the Liverpool skyline, the green country landscape and the terrace housing. This occasionally changed to show the Lyon’s residence or Mrs Johnstone’s new country abode. Again a very clever production choice as it allows the plot to drive itself.
Russell’s signature style of social values and inequality are presented in such a way that it almost feels like he is trying to stun the audience into the reality of working class hardships. The difference between Mickey and Eddie’s upbringing highlights the age old question of nature versus nurture. We see the twins navigate through their childhood and adolescence with the normal teenage rebellion and peer pressures as Russell appears to be asking the audience – how far does fate play a part in the journey to adulthood.
Reprising their roles are Sean Jones as Mickey Johnstone and Joe Sleight as Eddie Lyon. Sean Jones’ portrayal of Mickey is quite brilliant as he brings a raw and real authenticity to the character; and honestly watching him I can’t help but draw multiple parallels with todays society and the social and political problems we are seeing in 2025. Similarly Joe Sleight’s characterisation of Eddie pairs perfectly with Jones’ and at times you forget you are watching a show – more if feels as though you’re a fly on the wall for conversations you shouldn’t be hearing.
Straight from the west end – Vivienne Carlyle’s Mrs Johnstone is emotionally charged, she presents Mrs Johnstone in such a haunting way that you cant help but feel sorry for her. Her continuous reprise of Marilyn Monroe further shows how tragic this character really is. The audience see Mrs Johnstone’s bravery in making hard family decisions and instantly see the devastation these decisions cause. The song “Tell Me It’s Not True” can’t fail but bring a tear to your eyes. Paula Tappenden returns as Mrs Lyon’s, her Thatcherite fashion and conservative values demonstrate the difference between the 2 mothers. Kristofer Hardings continues his role as the narrator, continuously breaking the fourth wall with his Shakespearean style rhymes, he almost forces the audience to question their own morals. Gemma Brodrick’s portrayal of Linda brings humour and light to the show – but again fate does not spare her from hardships.
In conclusion, Blood Brothers is not for the faint hearted – it is not a happy mood boosting musical, rather it is a gut wrenching take on society and how far are we in control of our destiny. It’s almost Dickensian in its portrayal of working class hardship presented alongside wealth and entitlement. Coming back to my original question at the start – does Blood Brothers still have a place in 2025? Yes, absolutely it does. Kenwright and Thompson bring Russells play to life remarkably well, through an emotionally charged score and characters who could quiet easily fit into today’s society. It’s rightly earned the title of ‘standing ovation musical’ and I couldn’t help but join in. It could be argued that not only is Blood Brothers still relevant today but I would go further and say we need more shows like this in theatres – and the fact that this show was written in 1981 and is still selling out venues worldwide in its 42nd year completely justifies this view, and it rightly deserves a 5 star review.
There is undeniably something compelling about Tom Ripley. Patricia Highsmith’s most famous creation first emerged in 1954 in The Talented Mr. Ripley, followed by four additional novels and several film adaptations featuring actors such as Dennis Hopper and John Malkovich. The latest screen version stars Andrew Scott in Netflix’s Ripley. Yet it was arguably Matt Damon’s 1999 portrayal in The Talented Mr. Ripley that propelled this chilling character back into public consciousness and introduced him to a new generation.
In 2015, writer and director Mark Leipacher adapted Highsmith’s The Talented Mr. Ripley for the stage. That production has now been revived and is currently touring nationwide.
“Have you ever had the feeling you’re being watched?” is a recurring line uttered by Tom Ripley (Ed McVey), an unemployed loner with a talent for mathematics—and an even greater talent for spinning lies. Ripley’s paranoia comes from the implied list of crimes he has committed that he fears will eventually catch up with him.
However, one day, Ripley is tracked down to his favourite bar not by the law but by Herbert Greenleaf (Christopher Bianchi), a wealthy shipping magnate and the father of Ripley’s old school acquaintance, Dickie Greenleaf. Believing the two young men to be close friends, Greenleaf offers Ripley a financial incentive to travel to Italy and convince Dickie to return home, visit his dying mother, and join the family business. Sensing a chance to escape New York and the trail of crimes he’s left behind, as well as make some easy money, Ripley eagerly accepts.
In Italy, Ripley meets Dickie (Bruce Herbelin-Earle) and Dickie’s lover, Marge Sherwood (Maisie Smith). Dickie is initially cool toward Ripley’s attempts at friendship, but a shift in approach brings the two men closer. Soon, Ripley finds himself drawn into Dickie’s carefree, playboy lifestyle, one that appears to revolve entirely around Dickie Greenleaf, with little regard for anyone else, including Marge.
However, Tom is clearly beginning to develop feelings for his new best friend, but is it romantic feelings, or the desire to have his lifestyle or both that is driving him. Eventually a confrontation between the two sees Ripley having to use his charm, intellect and many gifts to stay one step ahead of the chasing pack.
This intriguing stage adaptation reaches moments of real brilliance, but these are occasionally undermined by its bloated running time and some convoluted artistic choices. Certain scenes labour their point a little too heavily, while others blur the line between reality and Ripley’s imagination in ways that can become confusing.
What is never in doubt, however, is the exceptional performance of Ed McVey. Across the two-and-a-half-hour running time, he delivers a towering portrayal, present in nearly every moment. McVey shifts effortlessly from cool charmer to unhinged narcissist, anchoring the production with a charismatic turn made even more impressive by his command of the dense, dialogue-heavy script.
He is supported by strong performances from Bruce Herbelin-Earle and Maisie Smith. Herbelin-Earle is impressive as the conceited, self-centred pleasure seeker, treading the line between arrogance and charm with remarkable finesse. Smith, meanwhile, brings a much-needed calm and understated presence to the production. In a role that could easily slip into melodrama, she keeps things measured and controlled throughout.
Holly Pigott’s minimal stage design is another standout, enabling characters to enter and exit in inventive and visually striking ways. One of the production’s cleverest tricks is how the set can appear expansive one moment and suddenly feel claustrophobic the next, reflecting Ripley’s spiralling paranoia. At several points, the stage transforms into a 1950s film set, offering a glimpse into Ripley’s inner thoughts, a stylistic choice that works particularly well.
This is an entertaining if slightly drawn-out night out at the theatre. There are some fantastic performances, at times visually stunning complete with a script packed full of intrigue and suspense.
The Talented Mr Ripley is on at the Lowry until Saturday 22nd November
Back in 2005, Ideal burst onto our screens. A pitch-black sitcom that quickly gained both commercial success and critical acclaim. Created by actor-writer Graham Duff and set in Salford, the show revolved around Moz, a small-time cannabis dealer played by Johnny Vegas. Over seven series, viewers were treated to a cavalcade of wonderfully bizarre characters who dropped by Moz’s grimy flat to score weed, hang out, or both. With its surreal tone and dark humour, Ideal became a cult classic.
In 2011, the BBC abruptly cancelled the show, a move that left its loyal fanbase frustrated. But in 2024, at the Bay International Film & TV Festival in Morecambe, Duff and Vegas made a surprise announcement: Ideal would return in 2025 as a brand-new live show.
Premiering this week at The Lowry, Ideal is officially back and I’m happy to report that it’s lost none of its twisted, unhinged charm. This isn’t a nostalgia-driven rehash of old episodes. It’s a fresh new story, with a few familiar faces along for the ride.
Moz hasn’t changed a bit. He’s still dealing weed and drifting through life in his rundown flat. The revolving door of oddballs is still spinning, there’s Colin (Ben Crompton), a petty criminal just out of prison and struggling to reintegrate into normal life; Brian (Graham Duff), Moz’s loud, flamboyant, and razor-tongued best friend; and Judith (Joanna Neary), the jittery and slightly deranged neighbour, who also happens to be Moz’s ex.
One notable addition is Liza (Lucy Farrett), Moz’s younger, attractive yet possessive new girlfriend. She appears devoted, but jealous, especially toward Moz’s past flames.
Meanwhile, Moz’s old rival Psycho Paul (Ryan Pope) and the ominously silent Cartoon Head (complete with trademark mouse mask) have launched a new venture: a body disposal service called “Dead & Gone,” catering to Salford’s criminal underworld. Trouble arrives when Brian’s sister, Tania (Emma Fryer), turns up with a corpse, which may contain some hidden diamonds.
A party at Moz’s to celebrate Colin’s early release takes a dark turn when one of the guests is later found dead. Can the killer be found?
Duff’s script is sharp and unapologetically odd, delivering rapid-fire laughs through a heady mix of silliness, unease, and outright grotesquery. As expected, the dialogue is peppered with biting one-liners and absurd exchanges.
Performance-wise, Johnny Vegas is as gloriously shambolic as ever — chaotic, loud, but endearingly watchable. Ben Crompton shines as Colin, and his interplay with Vegas is a highlight. Their shared scenes often veer delightfully off-script, to the audience’s clear delight.
Ryan Pope delivers a brilliant performance as the braindead hardman, while Emma Fryer is an absolute treat as the Salford femme fatale. Their chemistry and comic timing are a joy to watch, especially as they compete to out-‘Manc’ each other with their dry deadpan delivery. Joanna Neary puts in an outstanding comedic performance; her twitchy, awkward portrayal of Judith practically steals the show.
Tonight’s performance was affected by some technical issues.There were clearly microphone and sound problems during the first half of the show, which were thankfully resolved after the interval. Scene transitions also lacked polish and could have been smoother, hopefully, these will be addressed as the run continues.
One malfunctioning prop left Vegas and co-star Lucy Farrett in a somewhat compromising situation, but Vegas managed to turn it around with a fun adlib.
Fans of the show will, of course, love it, but even those unfamiliar with the characters can enjoy it, as Duff’s script stands strong on its own. It pulls off the impressive feat of being accessible to both longtime fans and newcomers alike.
Hopefully, the technical issues can be resolved for the rest of the run, as they occasionally distract from what is otherwise a consistently entertaining and often hilarious night out.
Ideal is on at the Lowry Saturday until 13th September.Tickets available here
The game is afoot at Grosvenor Park Open Air Theatre 2025 as Chester Storyhouse bring an all-new adventure by ever-popular sleuth Sherlock Holmes to life.
From misdirection to missing valuables, criminal masterminds to secret codes, ‘The Chester Conundrum’ is everything you’d want from an adventure featuring the deer stalker donning detective – ably assisted by his right hand woman Dr Jo Watson.
Written with wit and imagination by Molly Taylor and directed with pacy fun by Ellie Taylor, the open air theatre is the perfect setting for such an enjoyable summer romp.
The scene is set in modern day Chester (no musty Victorian parlours for our ‘Sherly’) at a popular ‘Crime Con’ convention (it’s fun to spot the various other famous crime icons including Poirot, Kojack and yes, Velma from Scooby Doo!)
Dr Watson (a sparky Alyce Liburd) is one of the guests at the convention, organised by a childhood friend (Eddy Westbury) who also doubles up as a delightfully daffy Duke of Westminster.
Organisers hope her partner Sherlock Holmes (a snarky and sardonic Ethan Reid) will also make an attendance – and they aren’t disappointed, although I won’t spoil the manner of his arrival.
But the duo’s Crime Con appearance sparks a madcap mystery featuring, among other things (and minus any spoilers that would ruin the fun) a missing painting, a grisly murder, a supremely silly bust-up in a Liverpool Irish boozer and even a mass karaoke session.
And of course, this being the open air theatre, some audiences members are also recruited to play a part in proceedings – which they gamely did, getting lots of laughs.
The cast are all first rate – we particularly enjoyed Howard Chadwick’s exasperated police detective DCI Chadwick, Victoria Brazier’s dotty Mrs Hudson and Jessica Jolley’s Scouse crimelord. And Lauren Chinery and Hannah Baker were also excellent in their various roles.
(It’s worth noting that not only do the cast play all the instruments that help bring the story to life, they also double up in the theatre’s other summer outdoor production Pride & Prejudice – in case you want to see them in alternative guises.)
It’s particularly nice to see two young actors, Morgan Lewis & Alex James Mason making their professional debut thanks to the Storyhouse Young Company training scheme – which the audience was encouraged to donate to on the night.
Packed with local gags and insider jokes, slapstick physical comedy but with moments of real menace – as well as all the twists and turns you’d expect from a Sherlock mystery, this is a crime caper that fully lives up to the Sherlock name.
The Adventures of Sherlock Holmes is on at Grosvenor Park Open Air Theatre until Sunday 31st August tickets available here.
It would be fair to say that if Tommy Cooper, Eric Morecambe, and Bob Monkhouse, were still alive today they would be selling out arenas across the land. These three are legends of the business we call show: Cooper regarded as the comedian’s comedian, Morecambe part of one of the greatest double acts of all time, whilst Monkhouse is unquestionably one our greatest writers/performers to ever grace the stage. So, a stage play featuring the lives of these three colossuses of comedy promises something a little special, and I’m pleased to say it more than delivers.
The Last Laugh opens in a dingy dressing room of an unnamed theatre, the wall is adorned with pictures of British comedy legends: Sid James, Arthur Askey and George Formby. Rather strangely one picture is blank. A half-dressed Tommy Cooper (Damian Williams) complete with giant chicken feet is preparing for another performance. Soon he is joined by Bob Monkhouse (Simon Cartwright) complete with precious joke book and later Eric Morecambe (Bob Golding). The trio, though surprised to be on the same bill, share stories, discuss their craft, their careers and inevitably some light hearted ribbing of each other.
We get classic routines and jokes from them which include: Cooper’s magic duck, numerous Monkhouse’s ‘wife gags’ and of course Morecambe’s killer André Previn line, which the audience lapped up. There will be some who will have witnessed these routines multiple times over, for others this will be the first time, but judging by the audience reaction they went down a storm!
With the highs of course comes the lows, and the play offers moments of poignancy as each man looks back on the sacrifices, struggles and personal tragedies each has endured: Cooper’s battle with alcohol and the toll it’s taken. Morecambe’s health struggles coupled with time away from family. However, it’s Monkhouse’s tragic losses that puncture his life story which really hit-home.
This production is an absolute joy from start to finish: A superb script from writer/director Paul Hendy, who celebrates the work of these three comic maestros. With all three performers, there is that element of the ‘sad clown’, that is essential but in no way defines their story. However, Hendy’s play is a love letter to the three. It’s a showcase of their talents, and explains why we find them still appealing long after they passed, which simply put is their ability to make us laugh and smile, then and now.
Lee Newby’s set design complements the story beautifully. It captures the less glamorous, more intimate side of showbiz: a cramped, cluttered, almost claustrophobic space, strewn with props and steeped in faded charm. Portraits of comedy icons line the walls, offering both inspiration and a subtle reminder of the pressure to live up to their legacy. You get the sense that if these walls could talk, they’d reveal a treasure trove of secrets—some dark, mostly joyful, all rich with history.
Undoubtedly, the heart of the show lies in the three lead performances, each of which are pitch-perfect. Damian Williams brilliantly captures the chaotic, absurd charm of Tommy Cooper. Filling those iconic shoes is no small task, but Williams more than rises to the occasion—his timing, and that unmistakable laugh are spot on. Simon Cartwright’s portrayal of Bob Monkhouse is equally impressive. From the voice and mannerisms to the polished delivery of quick-fire jokes, every detail is meticulously rendered. His performance is as smooth and refined as one of Monkhouse’s own gags. The real-life friendship between Cartwright and Monkhouse adds an extra layer of authenticity to the role. Bob Golding shines as Eric Morecambe, effortlessly capturing the comedian’s playful spirit, trademark charm, and unmistakable comic quirks. His performance is brimming with charisma and warmth.
These are far more than mere impressions. Each actor delivers a performance that truly honours the legacy of the comedy legends they portray. The Last Laugh is a heartfelt tribute to the genius and legacy of three truly great entertainers, brought to life with not just skill, but a deep sense of love and affection. For newcomers, it serves as the perfect introduction to a cheeky, family-friendly, and delightfully playful style of comedy. For more seasoned audience members, it’s a joyful, nostalgic trip down memory lane. For me, it was a powerful reminder that if a joke or sketch makes you genuinely laugh, it’s worth its weight in gold—and The Last Laugh is nothing short of priceless.
The Last Laugh is on at the Manchester Opera House until Saturday 2nd August
The revival of the 2023 Olivier Award-winning Best New Play has opened at The Lowry for a month-long away fixture offering regional audiences their first chance to catch this inventive production outside of the Capital.
Following the fascinating story of Gareth Southgate’s memorable eight years as England Manager this National Theatre production has all the exhilarating highs and gut-wrenching lows familiar to football fans; however, it goes far beyond the sport itself offering a thrilling and insightful exploration of culture, connection and what it means to hold the hopes and dreams of a nation in your hands.
Having updated the ending to reflect England’s 2024 Euro’s journey, writer James Graham grabs every opportunity to show the audience that this truly is a game of two halves, at times joyous, other times brutal but always authentically honest.
Beginning with a flashback to Euro ’96 as a young Southgate steps up to take the now infamous missed penalty, this moment cleverly sets the tone and returns as a running theme to challenge Southgate (Gwilym Lee) throughout the piece. As we fast-forward to 2016 we see Southgate drafted in as caretaker manager following Sam Allardyce’s sacking after just one game in charge. Determined to make a positive change and do things differently, Southgate brings in sports psychologist Pippa Grange (Liz White), what follows is an incredible journey that goes way beyond football.
Taking on the role of Southgate is an impressive Gwilym Lee, having seen Lee portray Brian May so accurately in Queen biopic Bohemian Rhapsody it comes as no surprise that he hits the mark once again. With every measured tilt of the head, folding of the arms and blink of the eyes his nuanced performance is perfection. He leads this fine cast with a gentle hand and captures the essence of Southgate perfectly.
Liz White as Pippa Grange is a consistent presence of calm, challenged by resistance from both players and coaching staff she never wavers. Graham in his writing uses Grange’s character to gently remind us that while Southgate was becoming a mentor and father figure to many in the team he was also battling his own demons, struggling to show himself the kindness he was so brilliantly instilling in others.
The ensemble cast compliment Lee and White perfectly, they portray their real-life counterparts with incredible accuracy. Josh Barrow as Jordan Pickford is mesmerising. He fizzes with energy throughout, his subtle shift from raw, untamed, chomping at the bit goalie to trusted teammate and backbone of the squad by the end if fascinating to watch.
Ryan Whittle steps into Harry Kane’s Captain’s boots with a well-observed nervous hesitation and grows in stature throughout while Gamba Cole as Raheem Sterling opens up to reveal his fears and disappointments as he learns to trust in his team mates.
While there is incredible humour and lots of it, the play doesn’t shy away from the harsher themes that sadly have dogged both football and English culture for many years. Most notably here the appalling racism faced by young black players specifically during the 2020 Euros final. Tane Siah, Jude Carmichael and Kadell Herida as Bukayo Saka, Marcus Rashford and Jadon Sancho highlight these dark moments with an honesty that reminds you just how quickly supposed loyal fans can turn and just how important standing up collectively to that hopefully small minority truly is.
The ensemble cast work tirelessly to showcase Rupert Goold’s inventive staging (with Elin Schofield as revival director) with a slick, swift brilliance. Co-movement directors Ellen Kane and Hannes Langolf score no own goals with their incredibly tight sequences as this cast convincingly recreate matches, penalty shootouts and meaningful dressing room moments. Es Devlin’s inspired set design is perfectly lit by Jon Clark while Dan Balfour and Tom Gibbons sound design and Ash J Woodward’s video design hit the back of net.
From euphoria to crushing heartbreak, Dear England takes audiences on a thrilling journey inviting us into the very heart of the action, allowing us to scratch way beyond the surface with its carefully crafted storytelling and visual brilliance. We live through the highs and the lows as one with the team, willing for the result to be different, hopeful, heart-warmed and inspired by the end of this groundbreaking piece. This is theatre at its absolute finest which taps right into the heart of what it is to be human, to believe in yourself and to have the bravery to face your fears regardless of the magnitude of the situation.
Whether you’re a football fan, a theatre fan or just love a fascinating story brilliantly told this is a must-see production that will capture the imagination of audiences night after night, so good, so good, so good!
Dear England is on at The Lowry until Sunday 29th June, tickets are available here.
If anyone can put their own stamp on an Alfred Hitchcock thriller it’s Wise Children’s Emma Rice, her vibrant interpretation of the cinematic classic, North by Northwest is as witty and as whimsy as you’d wish for and has arrived in Manchester for a two week stay.
This high stakes spy-thriller introduces us to a very suave Roger Thornhill (Ewan Wardrop) who manages to find himself caught up in a rather serious case of mistaken identity, not ideal at any time but even less so in the midst of a Cold War conspiracy. Villain of the piece Vandamm, (Karl Queensborough) is out to get him with the assistance of his pals and fellow heavies (Mirabelle Gremaud as Anna and Simon Oskarsson as Valerian). Thornhill must out smart Vandamm in a bid to save himself however just as he’s gaining the upper hand, he meets the intriguing Eve Kendall (Patrycja Kujawska) who could just as easily be a sinner or a saviour. Completing the cast is The Professor (Katy Owen), who guides both the audience and Roger brilliantly through the perilous predicament he finds himself in.
This dynamic reworking of the original Hollywood movie is a joy, inventive, surprising and above all a whole lot of fun. As with all Wise Children productions music plays a significant role, with the choices made here really cementing the creativity of these visionary theatre-makers. Paired with inventive staging, where suitcases become Greyhound buses, Mount Rushmore and everything else in between, you really have got an impressive piece of theatre.
Ewan Wardrop is hugely entertaining as Roger Thornhill, the only cast member who doesn’t play multiple roles despite the characters very real identity crisis. Katy Owen as The Professor gives another standout performance, her comedic timing is second to none, her skill in breaking the fourth wall to ensure we, the audience are fully engaged and alert to our mission ensures that we’re captivated from the start. The four remaining cast members, Queensborough, Gremaud, Oskarsson and Kujawska, are equally as impressive bringing their own unique skills to the multiple roles they take on. Even via the slightest of adjustments, a different accent, a jaunty hat, they transform themselves into another surprising and entertaining character.
Rob Howell’s inventive set and creative costume design further adds to the playful, whimsical nature of this piece while Etta Murfitt’s Fosse-inspired choreography brings this piece further to life. The high energy is maintained throughout and by the curtain call the audience are up, enthusiastically applauding with as much energy as this talented cast have given for the entirety of this 2.5hr show. Visually impressive and incredibly playful until the final knife-edge moments when we’re reminded of the relevance of the themes of the piece, North By Northwest is a triumph.
Following a record-breaking run in the West End the National Theatre, Olivier award-winning production of Dear England comes to Salford from 29th May for a four-week run.
Written by award-winnng writer James Graham (Sherwood, BBC) and directed by Rupert Goold (Patriots, Cold War), this incredible play tells the uplifting, inspiring and often emotional story of Gareth Southgate’s revolutionary tenure as England manager. We all know the feelings of hope, heartbreak and elation being an England fan entails, Dear England dramatises this incredibly through one of the most ground-breaking and exhilarating pieces of theatre you’re ever likely to see as the reality of expectation and reality play out.
Ahead of its arrival in Salford next month we headed to the capital to catch this 5-star production and chat with four of the plays talented cast. Gwylim Lee (Gareth Southgate), Liz White (Dr Pippa Grange), Josh Barrow (Jordan Pickford) and Jude Carmichel who makes his stage debut as Marcus Rashford.
How challenging is it to play such well-known characters who are so prevalent in the media?
Josh Barrow (Jordan Pickford) : You don’t get much in terms of characterisation when they’re on the pitch they are very much their player self and the same really in the post-match interviews so you’re gonna have to go digging for scenes like in the locker room for example when it’s just them and you have to kind of make your choices with the characterisation that you make that’s when you get to play around a little bit. I think you don’t want to ever become a caricature of that person because they are so prevalent at the other top of their field, and they are still at the top so you still want to be able to serve them and also holding in mind the ideas from the play of what they have learnt and their ark from what Southgate has taught them.
Gwylim Lee (Gareth Southgate): I think we benefited during Southgate’s tenure from them opening up to the England fans with social media and everything else because we now get to see those YouTube videos for instance that go behind the scenes at St Georges and that’s really illuminating because when you watch them do post-match interviews they present in a version of themselves which is quite considered and placed for the media whereas when you see them in those videos when they’re with the inflatables in the swimming pool or just messing around that’s when you see them kind of free and without those constraints.
While you’re not a caricature of Gareth Southgate and I just wonder how much study you did because your interpretation is so convincing.
Gwylim Lee (GS): You start from the outside in when you’re working with a real person, which is kind of the opposite way round to how I would probably usually approach a character ’cause so much of it is just there for you to find but I suppose the trick is to find the whys, you know constantly ask that question, the physicalities like ticks and twitches and whatever his mannerisms might be, I wonder why he moves like that what is it about his character that makes him move like that. When you start filling in that kind of light and shade and that detail then it becomes less a mechanical thing and more a matter of character or intent you can let the mannerisms play out through the intentions that you are playing in the scene and the person that you’re in a scene with and all that stuff so that’s the hope anyway. We’re not impersonators, we’re actors and so the aim of an actor I hope is to try and find humanity of the character and also to find you in that character a little bit so it’s like this is very much my version of Gareth, I’m not trying to be a Rory Bremner or whoever else and yes they’re talented in what they do but I think it’s a different kind of craft so it’s just about trying to find your version cause we’re all playing those real people.
The staging is so impressive featuring three revolves, how much of a challenge is that when you’re performing?
Josh Barrow (JP): We had a whole portion of the rehearsals to learn how to use the revolves as it’s three tiers so one goes this way, the other goes this way, the other goes that way so we do we have to really practice hard how to walk on a moving stage.
Liz White (Dr Pippa Grange): I wasn’t there that morning and when we were in the rehearsal room doing the second scene when Pippa meets the security guard and then she walks through the locker and then has to cross all revolves, literally every time I was doing a Frank Spencer, going flying, thankfully I’m alright now ha ha.
Gwylim Lee (GS): You’ve just got to be braced for it at all times, just keep your knees slightly flexed, jut in case it goes!
Liz White (Dr PG): I don’t know if anyone else gets it, but I find when I’m on a train platform I suddenly get that moving sensation like the floor is moving.
Jude, how does it feel knowing you’re going to be playing Marcus Rashford a stones throw from Old Trafford?
Jude Carmichal (MR): When my agent called me to say I’d got the job it was like the fear came through, I was thinking when we go to Manchester everyone’s gonna be like ‘Go on then’ ha ha.
Gwylim Lee (GS): When you get closer to the weekend you get some football crowds in and that’s really that’s really fun ’cause you know you’ll have people that react when the players come out and say I’m Leicester City or Man City etc, I love it.
Josh Barrow (JP): We feed off that really, when you go to the theatre you sit down, you watch the show, you applaud the actors but I think with this it almost demands participation, it’s like we’re gonna throw this out to you and there’s laughs and cheers even boos but then it culminates in this a massive party at the end which is Sweet Caroline and I think the more a crowd lean into that and the more a crowd really give themselves over to you the more fun. As you said (Gwylim) when we do get some football fans in an audience that end moment is just wild, almost like a rock concert.
Gwylim Lee (GS): We talked in rehearsals a lot about having A’s, B’s and C’s so A’s would be your football buffs people that you just know everything all the way back and then C’s being that polar opposite. I’m probably a C+, maybe even a B now. But the play appeals to all three it has to appeal to all three of those audiences at any one time people come not knowing anything about football but it resonated on a different level and then polar opposite people come expecting it to be a football play which it is but then it’s a kind of Trojan Horse it’s about so much more.
This play feels so special because while we know the outcome we all watched and still felt hopeful, thinking just maybe just maybe…
Josh Barrow (JP): You clock audience members at the end of like the penalties at the end of Act One and everybody knows how it goes as it was such a big moment, but everyone is sat watching gripped and is so engaged, it’s just perfect.
Jude Carmichal (MR): You kind of get swept up in it, while you know the outcome obviously, you know what it means to be a fan watching and then even the aftermath whether that be good or bad you know that meaning, you can’t help but get caught up in it.
Josh Barrow (JP): With penalties it’s almost like the Colosseum there’s a roaring crowd cheering and cheering then this one person steps up in front of everybody and its gladiatorial and you feel that with the audiences that everybody’s watching you.
Jude Carmichal (MR): When Harry misses his penalty every time backstage I’m like arrggghhhhh.
Gwylim Lee (GS): It’s testament to these guys as well, because it’s a show it has to have a shape to it and a choreography to it which has to be kind of the same every night you know ’cause there’s a production that fits in around it but you can’t just go through the motions and do the moves, these are young athletes at the pinnacle of their game at the highest level of performance with adrenaline coursing through their bodies and you can’t just run to the penalty spot and take it, you’ve gotta fill it with all of that and they do every night they do and every rehearsal they do like there is no let up for the boys they work so so hard and that’s what sells it really.
Josh Barrow (JP): With Jordan Pickford when he’s on stage there’s so much tension, he’s almost rattling in the best kind of way and again that goes back to what we were saying before about making them real people I’m sure Jordan Pickford doesn’t go home and he’s like that, when he’s in the scenes in the class room that’s when you get to play around with it a little bit more, there’s not just that one version of him so you think about how he’d respond to Pippa to Gareth to the other players. It almost feels like an engine constantly running, I keep that image in my mind, everybody else is charged as well and you have that feeling that the keeper at the back like the last line of defence.
Have any of you performed at the Lowry before?
Gwylim Lee (GS): I was part of a tour years ago where we did King Lear up there with Derek Jacobi, I’m looking forward to going back, I love it, it’s a beautiful theatre and a perfect match to the Olivier, it’s a very similar kind of spaces and a great city it’s gonna be fun taking it to a new audience up there and seeing how they’ll respond to it.
There are so many themes in this play what do you want audiences to take away from it?
Gwylim Lee (GS): It was very interesting watching Gareth Southgate’s lecture last week and it feels like everything that was kind of touched on in that lecture is the heart of this play and it really is about resilience and belief and it’s trying to give people resilience and really encourages resilience and belief in people.
Liz White (Dr PG): Masculinity is an interesting part of it too, I’ve really enjoyed researching Pippa because I get to listen to all her strategies and her approaches for a better, calmer life and one that’s filled with deeper joy and deeper loss as well. She talks about how to lose, someone laughed today as I said well England have to learn how to lose and I thought, yes I can imagine it sounds quite defeatist but actually what she’s just saying is if you can look at it in a very reflective way and let that feed the way you approach your next battle or your next match…so I feel kind of infused by her lessons really and I hope that for people watching it as well to look at the way they approach things differently in a more whole, holistic way.
Gwylim Lee (GS): I think one of my favourite things of Pippa’s is when she talks about winning that’s kind of inferred in the play is the idea of winning deep and winning shallow and there’s a difference to just winning at all costs. It’s like winning with integrity and winning you know with depth.
Liz White (DR PG): I feel like that means that actually if you got out there and play with integrity after all your prep and put the effort in regardless of the outcome you’ve won. I think interestingly when COVID gets mentioned it’s so poignant as we’re not far away from it and yet we have enough time for hindsight to come in and when the Euro’s came to Britain as a bit of a surprise for us all it was the first time a lot of people have been able to go out together and even watching it from home we really needed it you needed to see.
Gwylim Lee (GS): We need these national moments of togetherness because when have them you realise how brilliant this country is and how great the people in it are and it’s a divided world at the moment, even at times a divided society. When Gareth wrote that Dear England letter it was a galvanizing moment, encouraging people to come together, there’s something about this country and when we do come together it’s brilliant and has power and strength and it can be glorious. He says I tell my players that what we are all a part of is an experience that lasts in the collective consciousness of our country and there is such a thing as a collective consciousness of England. I think that’s why this play has such power because it taps into that collective consciousness and hopefully that’s what audiences take away from it. There’s hope, there’s joy, there’s power in being together.
Liz White (Dr PG): On a very base level all of those things say, you’re not alone. Someone else is there having the same experience as you, it’s so powerful.
Gwylim Lee (GS): There are a lot of parallels, sport is about performance, we’re dealing with fear, I was scared about taking on this job,I read the script and thought yes you’ve got to take on your fears and go for it. Put yourself in the uncomfortable position and see what happens.
Dear England opens at The Lowry on Thursday 29th May and runs until Sunday 29th June tickets and further information are available here.
Following a sold out West End season, Steve Pemberton and Reece Shearsmith are taking the critically acclaimed Inside No.9 Stage / Fright, to theatres around the UK this autumn. Tickets for the 12 week tour go on sale at 12 noon on Wednesday, 2 April.
Pemberton and Shearsmith will once again star in the “Dazzlingly Entertaining” (The Sunday Times) stage version of their award-winning television comedy Inside No.9. Receiving rave reviews across the board, with the Mail on Sunday’s five star review lauding the show as “absurdly entertaining. There’s simply nothing like it”, this is the chance for fans outside of London to witness the “wildly clever” (Financial Times) show. “A Bold West End debut… Bravo” (The Daily Telegraph).
Nominated for a prestigious Olivier Award this year in the Best New Entertainment or Comedy Play category, Stage / Fright features comedic, spooky and dramatic moments as fans of the TV show have come to expect, with some familiar characters and stories mixing with brand new material. Further casting will be announced soon.
Steve Pemberton and Reece Shearsmith said: “We have been bowled over by the success of Inside No 9 Stage / Fright at the Wyndham’s Theatre. Selling out every performance before the run started and being nominated for an Olivier Award was fantastic enough, but the nightly reaction from fans and newcomers alike has been exhilarating and really quite moving.
So we are delighted to be able to bring the show to a wider audience around the country. The phrase ‘swan-song’ refers to a final performance, often associated with the ancient belief that swans sing beautifully just before their death. Which is a load of bollocks of course as all swans do is shit and honk. So come along to the swan-song tour of Inside No 9 and see for yourselves how we bow out. There won’t be a dry seat in the house.”
Each performance will see a different celebrity ‘hostage’ perform with Steve and Reece. The West End run included cameos from Stephen Fry, Lenny Henry, Mel Giedroyc, Matt Lucas, Michael Sheen, Tamsin Greig, Adrian Dunbar, Bob Mortimer, David Walliams, Micky Flanagan, Meera Syal, Mackenzie Crook, Emilia Fox and Rob Brydon, as well as many others. Which famous faces will join them on stage for the regional dates?
Inside No.9 Stage/Fright will come to Manchester’s Opera House on Tuesday 14th October and run until Saturday 18th October, the show will also play Liverpool’s Empire Theatre from Tuesday 18th November until Saturday 22nd November.
What if you took Jane Austen’s most popular novel, added a tower of Ferrero Rocher, a plethora of iconic pop hits and a life-sized horse on wheels? The answer, my dear, is Pride & Prejudice* (*sort of) – a wickedly funny and outrageously irreverent take on the classic story of the Bennet sisters and their rocky road to lasting love.
In a genius move, writer/director Isobel McArthur tells the story from the perspective of five ‘below the stairs’ maids who have an invisible hand in helping each sister get several steps closer to marriage (with more success than the meddlesome Mrs Bennet!).
With an all-female cast of just five players portraying every single character in the Austen universe (both above and below the stairs), the stage is set for a rip-roaring entertainment-fest in which your next giggle is never more than a second away.
With Naomi Preston Low expertly anchoring the action as the irrepressible Elizabeth Bennet and Christine Steel bringing sweetness and light as Jane Bennet, Rhianna McGreevy is free to showcase her exceptional range – switching effortlessly from potty-mouthed Mrs Bennet to the taciturn Fitzwilliam Darcy.
Whether thrusting her breasts as chief antagonist Caroline Bingley or wrestling with a tube of Pringles as the hapless Charles Bingley, Emma Rose Creaner is hysterical. But the scene-stealing plaudits must go to Eleanor Kane, whose Mr Collins, once experienced, can never be forgotten!
An honourable mention must go to Mr Bennet, who is represented by nothing more than an armchair, newspaper and cloud of smoke in one of several inventive sight gags throughout the play.
Other running themes include an impressive array of 1980s confectionery – from a plate of Wagon Wheels to a box of Viennetta ice cream. And, of course, there is always the (welcome) threat of a song around every corner, with the cast taking every opportunity to underpin each character or plot development with a tongue-in-cheek number. Highlights include Carly Simon’s ‘You’re So Vain’, Chris de Burgh’s ‘Lady in Red’ and Pulp’s ‘Something Changed’.
Comedy supervisor Jos Houben’s lightness of touch ensures no laugh is forced, while McArthur’s direction is imbibed with creativity and ease. Character transitions are helped enormously by the inventive wardrobe choices of multi-award-winning Ana Inés Jabares-Pita. A simple white dress for each maid creates the perfect canvas on which to layer on additional garments, which are whipped off and on before you can blink an eye.
Above all, this play is about sisterhood – and the bond between the players feels very genuine. They look like they are having a ball on stage, which is an energy that translates to the audience, who need no prompting to rise to their feet for a well-deserved standing ovation.
Back in 2018, McArthur and her fellow graduates fromThe Royal Conservatoire of Scotland were initially challenged by Andy Arnold, the Artistic Director of Glasgow’s Tron Theatre, to restage a classic. With an instant hit on their hands, the young company lost traction during the pandemic but, thanks to a collective effort from the theatre industry – and the considerable determination of producer David Pugh – this Laurence Olivier Award-winning play lived to see another day. It now stands as a testament to what can happen when talent meets opportunity meets resilience.
Sometimes considered complex and unwieldly in its classic form, Pride & Prejudice* (*sort of) is a modern-day rom-com triumph that anyone can enjoy. Just be prepared to go home with your cheeks sore from incessant smiling!
Pride & Prejudice* (*sort of) is on at The Lowry until Saturday, 22 March tickets are available here.
As the interval started a lady sat in front of me and said to her friend “There is something in there I think everyone can relate to”. The more I thought about this, the more she was bang on the money. Frank 4 Sophie 4 Eva is an honest, sometimes hilarious, occasionally uncomfortable look at the struggles and pitfalls of married life.
We are first introduced to Sophie (Alexandra Maxwell) and later Frank (Simon Naylor) as they attend a couples therapy session. Frank’s lateness starts the session off on the wrong foot and things go from bad to worse as there are petty squabbles a plenty to be had over personal hygiene habits and each other’s minor irritations. However the crux of their problems stems from sex, or lack of it.
Frank cannot understand why Sophie no longer wants to be intimate with him, when he is still madly in love with his wife. His frustrations are further exacerbated by the fact that Sophie may not be attracted to him, but seems to have a lot of time for Scottish beefcake Jamie from TV show Outlander or that she changes her personality everytime they bump into her old boyfriend when shopping in Tesco.
What starts off as childish bickering turns into a game of one-upmanship between the pair, where it soon becomes more serious, eventually with both leaving the session with the outcome neither wanted. The second act takes place in a bar three years after the session where we get to catch up with the warring couple, but to say any more would spoil the show.
The play is anchored by two outstanding central performances. Simon Naylor is in fine form as loutish Frank, clearly relishing the spicey dialogue. However the shift from male bravado, to a caring, lost sensitive soul is one that feels natural and thoroughly believable.
Alexandra Maxwell is equally impressive as the hard-faced, cold Sophie. She more than holds her own in the verbal jousts, however it takes a little more time for her to show her vulnerability, it’s a subtle, measured turn. The pair have exceptional chemistry and this is the bedrock of the whole show.
Writer Ian Watson’s clever, punchy script has a trojan horse quality to it. It lulls you in at first with some caustic one-liners as Sophie and Frank trade shots, which are at times gross, scathing but hilarious, with no subject off limits – porn, haemorrhoids and toilet habits are all covered to brilliant comic effect. However throughout there is a gradual shift in tone, and eventually the play makes observations about mental health, sexual abuse and trauma, handling them in a sensitive yet unsentimental way. Whilst at first it may come across as ‘laddish even, crude’, it certainly softens towards the conclusion.
With such strong themes running through the show it’s great to see that the run is in partnership with Andy’s Man Club, a suicide prevention charity doing a great work across the UK.
This is a sharp, entertaining and intelligent comedy/drama that comes from a good place. By the end you want more and genuinely care for its characters, which for me is the hallmark of a great production.
Frank 4 Sophie 4 Eva is at 53two until 8th November, tickets available here.
After premiering at Cirencester’s Barn Theatre, before a sellout transfer to Belfast’s Lyric Theatre in 2022, Marie Jones’s 25th anniversary, award-winning Stones in His Pockets embarked on a limited regional UK tour stopping in Bolton for the next two weeks.
Set in a nameless town in picturesque County Kerry, a Hollywood film company has arrived to make a movie. The film offers great employability opportunities for the locals especially those selected to be extras; however, tensions soon arise as the reality of creating the ‘outsiders’ shiny Tinseltown version of Ireland forces the ‘natives’ to assess what’s real and what’s cinematic fantasy in their own worlds.
Told through the eyes of local extras Charlie Conlon (Gerard McCabe) and Jake Quinn (Shaun Blaney), this is a beautifully told and cleverly crafted production. While there have been some small updates to freshen the script the essence remains the same, as the frank observation on the film making industry, it’s impact on the rural community, and the heartfelt pursuance of one’s dreams remain.
Charlie’s DVD shop has gone bust; however he sees it as an opportunity to explore Ireland and focus on the script he hopes to pitch to the film makers, he meets Jake Quinn during filming as they both form part of a crowd scene, it is here that their friendship is set. Charlie is optimistic (some may say deluded) while Jake is rather resigned and more realistic having attempted to live his own American dream which sadly never materialised. The two provide a tremendous commentary about the drama unfurling around them in addition to taking on the role of every other character in the script. From English movie director Clem to the glamorous American lead Caroline, the two do it all via quick costume changes, sometimes merely the shift of a hat, and an impressive array of accents.
Both are superb, the energy, authenticity and believability of each character is incredible. Their comic timing and characterisation is sensational while their energy never wanes. The darker moments in the script are handled delicately and feel all the more poignant as they come unexpectedly amidst the comedy.
Director Matthew McElhinney, who is the son of the playwright Marie Jones and the play’s original director Ian McElhinney has crafted this piece with love and the audience reap the rewards. The pacing is perfect as we shift from hilariously comedic scenes to moments of penetrating social commentary which feel poignant and sensitively delivered. The staging featuring vibrant video design further adds to the quality of this joyous production.
This is theatre at it’s absolute best, heartfelt, enormously entertaining, hugely emotive and beautifully delivered. A total masterclass.
Stones in His Pockets is on at Octagon Theatre Bolton until Saturday 2nd November tickets available here.
Opening Night 