Plays

One Man, Two Guvnors

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Back in early spring 2020, I was fortunate to attend the season launch for the reopening of the Octagon, which included the programme for the year ahead through to 2021. Instantly one production stuck out, writer Richard Bean’s smash-hit One Man, Two Guvnors. We’re all fully aware what happened next, just under two years have passed and finally the production arrives on the Octagon stage and boy was it worth the wait!

Based on the Servant of Two Masters, a 1743 comedy by the Italian playwright Carlo Goldoni. Set in 1960’s Brighton, One Man, Two Guvnors follows the escapades of dim-witted chancer Francis Henshall (Jordan Pearson) who has somehow landed the job as a hired goon for East End gangster Roscoe Crabbe. All is not what it seems with Roscoe, Roscoe is dead and this is actually his twin sister, Rachel Crabbe (Siobhan Athwal) who is impersonating her dead brother in order to cash in some of brothers debts, so she and her lover, Stanley Stubbers (Laurie Jamieson), can start afresh. To further complicate matters Stubbers’ is responsible for Roscoe’s death.

Francais spots an opportunity to earn a few extra quid and more importantly have a decent meal, working a second job as Stubbers valet. Stubbers is on the run from the law for murder and is just bidding his time to reunite with Rachel. Can Francais keep his two employers from finding out his deception long enough to earn a big pay and end his 16 hours without eating?

Under the direction of Lotte Wakeman with Bean’s near flawless script this is as good as theatre gets and a real treat for comedy fans. Slapstick, farce and some killer one-liners, the show has something for everyone. The beauty lies in the fact that you’re never quite sure where the show is going, such is it’s anarchic nature which really adds to the fun.

The production is anchored by a powerhouse performance from Jordan Pearson who is engaging throughout, his childlike innocence is infectious, as he is driven by hunger, never fully aware or concerned by the chaos he has created.  

Pearson is supported by strong performances from the ensemble cast, with Lauire Jamieson getting the lion’s share of the best lines as slightly unhinged toff, Stanley Stubbers. Whilst Javier Marzan as the hapless waiter Alfie, and Qasim Mahood, as the jilted actor, Alan Dangle, both put in superb physically comedic turns.

I cannot recommend this production enough, over-the-top, ridiculous fun from start to finish that will have you grinning from ear-to-ear, an absolute must-see!

One Man, Two Guvnors is at the Bolton Octagon until the 25th June, tickets available here.

Electric Rosary

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️1/2

Writer Tim Foley’s new play, Electric Rosary had quite the inception, back in 2017 it won the Bruntwood Prize Judge’s Award and now it arrives at the Royal Exchange Theatre for a three-week run. This sci-fi comedy promises something original and something we had no idea we needed in our lives till now, nuns and robots sharing the stage for the first time!

Set in the dilapidated grounds of St Grace’s convent, a depleted troop of nuns are struggling to keep the convent afloat. Whilst the recent passing of the mother superior has left the nuns in a state of flux as to who will lead them through these are turbulent times. In addition, the convent had set up strong ties with a missionary in Ecuador which all the nuns have dreamt about visiting, however with funds so low this seems highly unlikely.

With Easter approaching acting mother superior, Elizabeth (Jo Mousley) may have a solution to their problems in the guise of a council funded robot, Sister Mary (Breffni Holahan). Whilst young nun Theresa ( Saroja-Lily Ratnavel) is made up with android Mary, older nuns, Phillippa (Suzette Llwellyn) and Constance (Olwen May) are more sceptical.

The views of the nuns seemingly represent their views of the outside world in general, as the use of robots as workers is commonplace in this world, with some members of the public protesting about the “reapers” as they are called, and as the protests head closer to the convent what will the nuns do about it, and just how will they solve a problem like Mary?

This is a bold, unique at times hilarious production, with some fantastic performances, and razor-sharp script. However, the further you dive into the narrative the darker it becomes, exploring themes such as tolerance, the over reliance on artificial intelligence, and other factors that divide us.

The play opens like an extended episode of Victoria Wood’s classic sitcom, Dinner Ladies, sweet, charming and hilariously funny packed full of well observed punchlines. There numerous strong comedic set pieces as Sister Mary adapts to her new environment and how it reacts to her. However, it’s the final act where the tone shifts becoming more of a thriller.

I felt that the production somewhat loses its way a little after the interval, which is a real shame, it would benefit from another edit. It does manage to get back on track though with a powerful, haunting final 30 minutes. The ensemble cast are excellent throughout: Saroja-Lily Ratnavel gives a fantastic performance, as the innocent, sweet natured Sister Theresa, displaying a gift for comedy. Breffni Holahan as Sister Mary, commands the stage, demanding your attention throughout, with a very physical performance. Olwen May is in fine form as the strong yet cynical world-beaten Sister Constance. In addition, there is a powerful performance from Yandass Ndlovu in two very different yet pivotal roles

This is a strong showing from all six actors who all work hard throughout with each one getting their moment to shine. Electric Rosary despite some minor flaws is a hilarious, ambitious production with a great deal to say about modern times and well worth a watch.

Electric Rosary is at the Royal Exchange Theatre till the 14th May tickets available here.

Sheila’s Island

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Sheila’s island is an adaptation of Tim Firths comedic play “Neville’s Island” – This laugh aloud version is written for an all female cast.

At the beginning of the performance we meet four middle aged women, whom having misinterpreted clues on a team building exercise have ended up washed up and stranded on a small island in the Lake District. We witness the stages that each of these unique characters go through over the days they are marooned as they become desperate to be rescued.

Now clearly there is a target demographic for this show, and it won’t be for everyone. But luckily for me I’m a forties something woman and this show sang to me. I could identify a little bit with every character and I’ve certainly met each of these women in the workplace in my lifetime.

I found it engaging and hilarious – the gags just keep coming and it explores so many relevant every day issues that Middle Aged women face.

The cast were outstanding – Abigail Thaw’s Denise was the character that you hated but loved in equal measure – Thaw’s comedic timing and expression were incredible. There is a clear chemistry between the cast members – but the too-ing and fro-ing between Thaw and Rina Fatania as Julie was hilarious. It’s like the script was written for them.

Judy Flynn holds the story together in her portrayal of Sheila – her monologues keep the plot moving and the audience interested in those occasional moments where the scenes start to drag a little. Sara Crowe’s character Fay provides us with an insight into emotional loss and guilt, but sometimes it feels like these issues needed to be developed further in the script.


The comedy that comes out of the contents of Julie’s backpack is side splitting. We all know someone who goes camping or adventuring with every single item they could possibly buy at the outdoor adverture shop. But the scene with the sausage is absolute genius! I’m not sure I will ever be able to eat a sausage from a hotel breakfast in the same way again. 

Special mention needs to be given to the set design by Liz Cooke- the uneven ground brings a realistic surface to the set, the actors have to watch each step, helping to portray the setting of a remote island. It’s very clever and means that the set, along with the sound and lighting, become a huge part of the show and without that it wouldn’t have the same organic feel to it.

All in all this was a fabulous production, with excellent acting and comedy. All that was missing was greater pace in some scenes and perhaps some further character development. 

If you’ve ever been on a corporate team building weekend away you will definitely recognise these unhinged yet lovable characters.

Sheila’s Island is on at The Lowry until Saturday 2nd April tickets available here.

Vignettes

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Reviewed by Paris Rogers

Vignettes follows the format of six short plays written and directed by females. The show screamed from the rooftop how diverse and talented Greater Manchester is. When walking into the theatre, you are immersed into the show immediately, the casts each play remain on stage throughout adding background detail and intensity to the individual pieces.

The show starts powerfully with Misha Duncan Barry’s, Limerence starting Keziah (Maz Hedgehog). Kaziah had a way of pulling me in to the action straight away, it usually takes a while for me to be drawn in alongside a long build up, but Kaziah did this effortlessly with her epic expressive body language and firework energy. Because of this energy being so high, some words were lost from the fast speech, but this was quickly and professionally rectified.

The second piece was The Demon dog of Waterhead by Cathy Crab. Firstly, hats off to the actors, Dom (James Quinn) and Sue (Sarah Legg) for their commitment to these roles, I had an aching stomach from laughing so much at their comedic timings. As much as the comedy carried the piece, it lacked structure and left me a little confused with the overall message and purpose for the piece and characters.

My notes were minimal for Perspective by Alex Keelen. This is because I was hugely captivated from start to finish. This play was perfectly pitched. The story telling by Janice (Emily Heyworth) was exactly what story telling should be, engaging, climatic and stimulating. Kevin (George Miller) was a breath of fresh air in the whole show, he brought a true charismatic spin. Not only were the actors outstanding, but it was also equally matched with impeccable writing and directing.

My favourite piece of the night was Tangled by Debbie Oates. The acting felt effortless and unbelievably easy to watch, I enjoyed the hilarious heartfelt journey I was taken on by Sally Ann Matthews. It reminded us how important young people are today. This piece stuck with me throughout the night and continued to be discussed into the busy streets of Manchester. 

The Reference by Hannah Ellis Ryan stood out amongst the others as it shone a light on competition between sisterhood and cleverly made me question what each character’s intentions truly were. It could have easily gotten lost amongst the comedy from the other pieces but instead made me go silent with the intense atmosphere the actors portrayed so brilliantly.

The show was finished with a bang, Halal Hens by Zoe Iqbal. Often amongst comedy the purpose of the piece can be lost. This was not the case with Halal Hens, controversial topics were cleverly addressed throughout while keeping us entertained. The actors had a clear strong connection on stage which really helped the flow of the piece and energy. I especially enjoyed the directing in this, it was quick paced, thought provoking and well timed.

Overall Vignettes was a varied evening, taking me on a fascinating emotional roller coaster and truly reminding me of the importance of storytelling like never before. I left feeling empowered, educated and more importantly with a strong belief in womanhood.

Vignettes is on at Hope Mill Theatre until Saturday March 26th tickets and further info can be found here.

Fatal Attraction

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Reviewed by Paris Rogers

Opening Night verdict ⭐️⭐️⭐️

I feel lucky that I’ve not watched Fatal Attraction via Film or in the theatre before. It allowed me to have a completely clear slate and no comparison when writing this review.

Fatal Attraction by James Dearden follows Alex Forrest (Kym Marsh) as she takes us on an absolute roller-coaster of emotions ending in becoming unhealthy obsessed with Dan Gallagher (Oliver Farnworth) all resulting from a one night stand. 

The play had an extremely strong start, drawing me in with a spotlight on Dan Gallagher. His voice was clear and crisp and had a way of silencing the audience into their seats. It also started, light, upbeat and with Dan Gallagher in a happy marriage to Beth (Susie Amy). I sometimes struggle to gauge what’s going on in the beginning of a play and what relationship the characters have but the stereotypical marriage between the two was clear from the start and portrayed nicely on stage.

The set was almost black box theatre. Simple yet effective. The simplicity encouraged the audience to use more of their imagination and focus on the actors. It also permitted incredibly smooth scene changes. Video calls were used to transform the story from the 1980’s to modern day. I felt this was not needed and took the focus away from the dialogue and flow of the play. It felt awkward and pardon the pun, staged. However, I can understand that it is difficult to bring every scene of the film to the stage, these calls were a quick interject to keep the story moving.

There was an incredible amount of background noise used which set the scene but again took away the focus from the actors. I felt they had to work twice as hard to carry the scene along. This sometimes came across rushed and their accent fell now and then. 

Speaking of which, it is difficult enough to see facial expressions on stage without a lump of hair constantly covering an actor’s face. This meant the actors body language had an even greater role to play. At times this disappointingly did not match the dialogue. There were uncomfortable movements, especially walks off stage and jarred hand gestures throughout. 

One of the most iconic scenes in the film fell flat in the stage adaptation, when Dans wife Beth discovers her daughters pet rabbit has been boiled alive. I’m not certain how I would react if I found a cute bunny boiled on my stove, but I it wouldn’t be a single scream.

In comparison, Marsh put buckets of detail into her performance as Alex. The dialogue and scenes she had to deliver were undeniably challenging but she managed to make me feel compassion for her even at the evillest parts of her actions. Her approach to the character was not only exceptionally clever and thought through but made me constantly question her motives. Was she just ill and been taken advantage of or was she a calculated woman with hatred for men running through her veins? 

The ending to the play allowed me to interrogate two different scenarios in my mind. This permitted ongoing questions after leaving the theatre. The street was filled with different views and endings, it clearly provoked debates and conversations during and after.

Fatal Attraction is on at the Opera House until Saturday 26th February tickets available here.

Private Lives

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©Tristram Kenton

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It goes to show that a good joke will always stand the test of time, funny is funny, no matter if it’s a gag told today, or one well over 90 years old and judging by the reaction of the audience tonight, they lapped up the sly asides, and caustic put downs of Noel Coward’s Private Lives which gets another run 92 years after it was first performed.

Private Lives is the debut production of the Nigel Havers Theatre Company. It seems fitting that Havers should turn out for his first production along with the theatrical force of nature that is Patricia Hodge. They play former sweethearts Elyot and Amanda. Long divorced, the pair find themselves honeymooning at the same time. Elyot with his new bride, Sybil whilst Amanda is with new husband, Victor. Not only are they at the same hotel, but they are also neighbours as they share a balcony.

As Elyot and Amanda reconnect again it’s apparent that the spark between them is still there, however if the passion is still there, so are the reasons the couple separated – jealousy and petty squabbles. As Elyot and Amanda decide to elope to Paris and give their relationship one more chance, what will become of them and their jilted partners?

Havers is clearly having a ball as the ‘cad’ Elyot, a role he was born to play – a chance to flex his comedic muscles. Throughout tonight’s performance on several occasions, it looked like he was going to burst out laughing, which somewhat added to the charm, and all done with a twinkle in the eyes. Equally good is Hodge, who gets the lion’s share of the best lines which she delivers with acerbic glee. The pair have tremendous chemistry together and great comic timing.

They are supported by the equally impressive Natalie Walter, as Sybil and Dugald Bruce-Lockhart’s Victor as the suitably irritating jilted other halves. Despite being ‘the other ones’ in this quadratic formula, Walter’s Sybil is naive yet spirited. Whilst Bruce-Lockhartas’ Victor comes across as a decent yet insecure chap. For the production to work you have to care about all four characters which you do, despite their many (many) flaws.

In addition, there is a scene stealing cameo by Aïcha Kossoko as the french speaking maid Louise, who adds to the chaos.

When Noel Coward wrote Private Lives in 1930, he saw himself in the lead playing alongside a contemporary of his, Gertrude Lawrence. At the time of writing Coward was 30, clearly this production sees our characters at more advanced stages of their lives. The change works tremendously well as there is an added ‘‘growing old disgracefully’ dynamic to proceedings whilst also proving that no matter how old we get we can all still drop a ‘clanger’ from time-to-time.

There is a sixth character and that is the fabulous set design of Simon Higlett. There are two settings the production, the first being hotel exterior, complete with a balcony which Higlett has managed to resemble the tier of rather garish wedding cake. The second is a beautiful, luxury apartment in Paris.

The production does have its flaws; two scenes where the warring couples strike each other seems out-of-place, even if played out for comedic effect. On the whole, an interesting examination of the perils and pitfalls of relationships. A superbly acted, polished, fun night at the theatre, and a cautionary tale that the grass isn’t always greener on the other side.

Private Lives is at the Lowry until 19th February. Tickets available here.

The Hound of The Baskervilles

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Back in July 2021 Artistic Director at the Octagon Theatre, Lotte Wakeham, chose The Hound of the Baskervilles to open the revamped theatre in Bolton.  Directed by Wakeham, it proved to be a smart choice, as it received huge critical acclaim and was the perfect way to showcase the talent at the Octagon. On the back of its success the production is now undertaking a nationwide tour hitting The Lowry, Quays Theatre this week for a run of shows that will delight and entertain!

Under the stewardship of UK tour director, Tim Jackson and adapted for the stage by Steven Canny and John Nicholson, the plot remains faithful to Sir Arthur Conan Doyle’s original. Sherlock Holmes and faithful companion Dr Watson are recruited to investigate the mysterious death of Charles Baskerville. Has Baskerville fallen victim to the infamous Baskerville curse that has befell so many of his ancestors, or is there a more rational explanation?

Those expecting a faithful and straight laced reworking of this classic tale are in for a shock. This is an innovative, funny and downright absurd reworking of one of Conan Doyle’s best loved works. Within the opening five minutes our trio of actors break ‘the fourth wall’ and directly address the audience to explain that for both artist and financial reasons the three of them will bring all the characters to life.

What follows is a comedy masterclass from the three leads, Nial Ransome, plays it relatively straight as the rather dim-witted Dr Waton, whilst Jake Ferretti and Serena Manteghi are a force of nature, as they undertake the majority of the character swapping, with Ferretti playing Sherlock Holmes, as well as various suspects. Whilst Manteghi, plays the role of Sir Henry Baskerville, the heir to the Baskerville fortune, and the next in line to be ‘bumped off’, as well various other Baskerville family members and three subtly different Dartmoor Yokel’s.

The script in conjunction with energetic performances of the three actors is the main strength to show. Paying homage to silent cinema, slapstick and the ‘whodunit’, Canny and Nicholson have taken Conan Doyle’s to be frank ridiculous plot and ramped it up to 11, allowing for even more absurdity, from OTT accents (not Canadian as Manteghi as points out), dance routines, and farce. Often throughout the show I was reminded of the productions of the Spymonkey theatre company, albeit a more toned down, child friendly version.

This is a fast paced, fun filled at times surreal show, which gives an irrelevant take on this world famous piece of literature. The only rational explanation is to go see the show at your nearest convenience!

The Hound of the Baskervilles is on at the Lowry till Saturday 5th February. Tickets can be found here.

Spinach

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

How do you describe a production like Spinach? A musical pharmaceutical thriller maybe? Operatic Rom-com? Both of the descriptions would actually work for this bonkers, hilarious production, that will guarantee to have you grinning from ear-to-ear!

The play opens with Mancuninan Tom (Joe Parker) and Londoner Kate (Charlotte Linighan), both tied back-to-back to one another in a dark, dingy basement. Neither have a clue how they got there, or who the other one is but together they must work out how they landed themselves in the predicament and more importantly how they get out of it!

All dialogue is sung from the start of the production through to the end, and as the pair sing, their memories come back. We learn that Kate is a part time journalist, but full-time good Samaritan, who helps homeless people as and when she can, whilst Tom is a pharmaceutical worker, who along with his colleague, Darren (Chris Whittaker) believe the company they work for is in cahoots with a Cuban drug cartel. With their lives in danger, can Tom and Kate stop bickering with each other, solve the mystery and maybe have a chance at finding love.

There is so much to admire about Janine and Simon Water’s production: a smart script, filled with twists and turns, married with some fun, punchy lyrics (you’ll kill for a Halloumi kebab by the end). The premise may be absurd but is no less silly than some Hollywood blockbusters.

Parker and Linigihan make a likeable, engaging couple, who have bundles of chemistry. Whittaker is equally in fine form as the co-worker, also dragged into this crazy situation. In addition, there is a scene-stealing turn from Rachael McGuinness as Maureen, another co-worker of Tom and Darren, whose no nonsense, hardened attitude hides an attraction for Darren. All four show a gift for comedy throughout and deserve heaps of credit for 80 minutes of singing, without an interval. The superb cast are backed up by some exceptional musicians with Lawrence Woof on piano and Bess Shooter on Saxophone. The music is at times menacing, playful but always on point.

The Edge Theatre and Arts Centre has a lot to celebrate this year, following an upgrade to the theatre as well as 2021 marking it’s 10-year anniversary as Manchester Theatre for participation. If Spinach is an indication of the ambition of The Edge, then the future is bright indeed.

This is a silly, fun show that provides the perfect excuse to brave the cold and have a night out at a great venue, watching a show of real quality.

Spinach is on at The Edge until the 18th December tickets available

Spinach | The Edge | 30th Nov – 18th Dec

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‘SPINACH’ is not a musical.
It is not an opera.
It is a play where every word just happens to be sung…

Waking up tied together, Tom and Kate can’t remember a thing…. not about the last few days anyway. Everything is a total blank, except for a halloumi kebab and a double-decker bus. As piece by piece they unravel their memories, each step brings them closer to knowing their captors, closer to their terrifying fate… and closer to each other.

‘Spinach’, written and directed by Janine Waters with music by Simon Waters, premiered at Manchester’s Royal Exchange Theatre in 2011 then transferred to London’s King’s Head Theatre for a critically acclaimed season.

This 10th anniversary production at The Edge Theatre and Arts Centre in Manchester, 30th November – 18th December, will celebrate the 10th anniversary of both the play’s premiere and the venue.

Reviews of the 2011 production of Spinach’ at the King’s Head Theatre

“A truly unique piece of musical theatre”

5 stars – Whatsonthefringe

“Sung-play ‘Spinach’ is one of the most enthralling, unique musical theatre experiences to hit the Off-West End stage. It is a riveting psychological romantic comedy that will certainly have you on the edge of your seat”
5 stars – Mellow Day London

“A gloriously theatrical experience and ultimately heartwarming”

Gary Naylor, Broadwayworld

“Very often funny and deeply engaging, this is an entertaining piece with great originality”
4 stars – Whatsonstage

Tickets £16/14 available now

Spinach

Dial M for Murder

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Reviewed by Nicky Jones

Opening Night verdict ⭐️⭐️⭐️⭐️

This brand-new production of Frederik Knott’s 1952 play Dial M For Murder is filled with tension, fast-paced narrative and gripping moments – and it’s at The Lowry for one week only!

Dial M For Murder isn’t a straight forward murder mystery, as the audience follow the planning of the crime and see the repercussions unravel throughout the play.

The plot entails ex-tennis pro Tony Wendice (Tom Chambers) wanting to have his wealthy wife, Margot (Diana Vickers), murdered so he can get his hands on her inheritance. When he discovers her affair with Mark Halliday (Michael Salami), he comes up with the perfect plan to kill her. He blackmails an old acquaintance Captain Lesgate (Christopher Harper) into carrying out the murder, but the carefully-orchestrated set-up goes awry, and Margot stays alive. Now Wendice must frantically scheme to outwit the Inspector (also Christoper Harper) and police to avoid having his plot detected.

Lead Tom Chambers gives a sinister performance as Tony, putting the audience on edge throughout – this man is really not somebody who can be trusted. He pulls off the intensity of this character extremely well, giving extra wide smiles and long stares to those around him. His on-stage relationship with Diana Vickers (Margot) is brilliant, and she herself portrays her character delicately. Diana does a fantastic job of making her character’s two relationships believable, and her vulnerability in each is portrayed elegantly. I particularly felt for her after her murder scene, where the switch from her confident character to her being controlled and defeated down by her husband was really well played.

I really felt drawn into Margot’s relationship with Max (Michael Salami), and you could really feel the connection throughout their scenes together.

Christopher Harper did a superb job of portraying Captain Lesgate and Inspector Hubbard, and his performance of the Inspector was particularly stand out, where some welcome comedy was brought in at some tense moments.

David Woodhead’s set of Margot and Tony’s 1960’s ground floor flat is very important to this play, and it stays the same throughout the performance. Only once are you taken away from the flat, which is a brief cut away moment to Margot in her trial. You really feel like you are at home with the family from the very beginning, as they just go about their lives playing records, drinking alcohol and making phone calls.

Lizzie Powell’s lighting design is really poignant throughout, where it’s used to set the mood of the scene, the time of day and also cleverly used to show the passing of time as we move from one day to the next.

Overall this is a delightful and memorable show, and it’s brilliant to see West End talent visiting local venues! Don’t miss it if it’s coming near you.

Dial M For Murder is at The Lowry from Mon 15 – Sat 20 November tickets available here.

Dracula: The Untold Story

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

There have been many riffs on Bram Stoker’s Dracula. Audiences still can’t get enough of the bloodthirsty Count, despite him being with us for well over 120 years, there is still an insatiable appetite for more! It is now the turn of Leeds Playhouse and collaborators, Andrew Quick, Peter Brooks and Simon Wainwright to give their take with Dracula: The Untold Story.

Set in London, 1965, New Years Eve to be precise, the capital is holding a double celebration, the changing of the year, as well as an exhibition at the British Museum to mark the destruction of Dracula. However, not everyone is in the mood for a party. As a mutilated cadaver is discovered, a young lady walks into a police station claiming responsibility for the murder; that women is Mina Harker, and not only is she there to unburden her guilt over this gruesome turn of events, but also a killing a spree that has lasted nearly 70 years.

Harker (Riana Duce) tells her story to an intrigued WPC Williams ( Adela Rajnović) and a rather sceptical DS Donaldson (Matt Prendergast). Through Mina, we learn that an encounter with Dracula has led to her gaining superpowers, not aging, an acute sense of smell, vision, the ability to move at speed and visions of the future to see the evil that man can do. She uses her supernatural powers to hunt down the likes of Stalin, Mussolini and Hitler before they can commit mass genocide.

There is a great deal to admire about this production; it’s innovative, entertaining and a feast for the eyes. Performed like a graphic novel, the three actors perform in front of a projection screen. It’s very much a dual performance as the actors are performing to both the audience and the camera, to give us a live action comic strip, which is as captivating as it is visually stunning.

The influences of Frank Miller’s Sin City and the 1922 film, Nosferatu are clear and add an authenticity to this ambitious production.

The cast are in fine form with Duce giving a strong central performance, she exudes passion, strength and guilt from the outset and it’s because of this you fully invest in the production’s premise. She is skillfully supported by Rajnović and Prendergast who play multiple roles throughout. All three demonstrate a gift for language and dialects with Russian, French and Italian used flawlessly throughout.

Dracula: The Untold Story is bold, fun, captivating and skillfully marries live performance with digital technology to tell the classic story of good confronting evil. However, it’s the dilemma of how that fight can take its toll on the protagonist that is most intriguing. It is often said that if the hero lives long enough they see themselves become the villain…..Is this the case for Mina Harker?

Further information & the opportunity to watch at online can be found here.

Death Drop

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

It’s 1991, our killer-heels are high, Charles and Diana are celebrating 10 years of wedded bliss (cough, cough) and we’re off to Tuck Island for a dragtastic night to remember!

This is a whodunnit like no other, where guests quickly begin sashaying away at a sickening pace. Phone lines are cut, roads are blocked while a dramatic storm rages, we’re soon left wondering who’ll be next to get the chop.

Having never met their hostess before, personalities soon begin to clash as dark secrets are revealed in all their camp, chaotic glory. There’s a killer on the loose and our delectable diners will need to work together to figure out just who it is bumping them off before there’s no one left to tell their raucous tale!

The extravagant soiree is hosted by the mysterious Lady Von Fistenburg (Vinegar Strokes), but nobody knows who she is nor why they’ve been invited. First guest is Morgan Pierce, the sharp-tongued, no-nonsense editor of World of the News played brilliantly by Karen from finance. Next to arrive is thrusting, testosterone fuelled producer Phil Maker delivered superbly by Georgina Frost.

Ra’jah O’Hara makes a strong theatrical debut as weather girl Summer Raines, while Richard Energy is hilariously convincing as Tory old boy Rich Whiteman. Last to arrive is faded pop star Shazza, played perfectly by Willam, an American one hit wonder who’ll happily burst into song at the teeny tiniest opportunity.

Completing the cast is the wonderful Holly Stars, playing the Bottomely triplets, Blue, Brie and Spread, event caterers who are more Fray Bentos than Foie Gras. Also the writer of the piece, she is an absolute joy to watch & threatens to steal every scene with her dead-pan delivery and physical comedy.

There are deliciously camp musical numbers, more witty one liners than you could shake a contour stick at, groan inducing toilet humour, perfectly timed theatrical thunderclaps plus a whole lot of silly, and the audience eat it up!

Act 1 flies by, as each guest is introduced, while the audience roar their approval. It’s swift pace giving you gag after gag while the action keeps you guessing. Act 2 loses a little momentum at times and would benefit from a little trimming to ensure it feels as punchy as Act 1.

The strong cast deliver some superb performances, with each individual demonstrating clearly what talented entertainers they are. While it’s totally farcical it’s also very clever and feels like a quality production, kudos to costume designer Isobel Pellow and wig designer Florencia Melone who have done an exceptional job.

Fun is absolutely the order of the day in this raucous romp that’s as camp as it is colourful. The dead have a hilarious habit of rising again while the witty wordplay will have you absolutely roaring with laughter.

Death Drop delivers exactly what theatre audiences are looking for right night, a great night of escapism, guaranteed laughter and a gorgeous feeling of shared experience.

Fierce, farcical and a whole lot of fabulous!

Catch Death Drop at The Lowry until Saturday 16th October, tickets available here.