Finally, a decade after it’s theatrical premiere at Liverpool’s Playhouse Theatre, Ghost Stories is embarking on a full national tour, and trust me it was well worth the wait!
From the twisted minds of childhood friends Jeremy Dyson and Andy Nyman, comes the ultimate scary theatrical experience, that will chill to your core.
Both Dyson and Nyman are no strangers to horror and the supernatural: Dyson is arguably best known for his work with, The League of Gentleman. Whilst Nyman is an actor and writer, who recently starred opposite Renée Zellweger in the Oscar winning film Judy. However, it’s his previous work with Derren Brown, which undoubtedly feeds into this production.
It would do the show a disservice to offer a review complete with plot synopsis and spoilers, the less you know going in beforehand the better. So, this review like a government investigation into Russian donors to the Conservative Party will be heavily redacted.
Beginning with a lecture from Professor Goodman (Joshua Higgott), Goodman specialises in the study of the supernatural, especially debunking people’s stories, or exposing fakers and frauds. However, of all the cases that he has investigated there have been three that have stuck with him.
The first is that of security guard, Tony Matthews (Paul Hawkyard), and his unsettling final shift. The second is that of teenager, Simon Rifkind (Gus Gordon) and the strife his troublesome car gets him into. Finally, businessman, Mike Priddle (Richard Sutton) and the events that lead up to a family tragedy.
Can Professor Goodman offer up a rational explanation behind each of these stories, if so what can be?
If the aim of Ghost Stories is to have you jumping out of your skin then it achieves its goal ten times over, like a rollercoaster the thrills come thick and fast, just when you think you’re safe there’s another scare right around the corner. It’s not all shocks, there are several laughs too, with a pitch-black script and lots of fun gags, horror and comedy have often made strange bed fellows, Ghost Stories undoubtedly have got the balance spot on.
With a production of this nature it of course relies hugely on its creative team and high production values and what they have created is something quite special. With James Farncombe’s lighting design, sound design by Nick Manning, then add into the mix Jon Bausor’s impressive set design and you have an atmospheric, gasp-inducing full-on sensory experience.
The cast are on fine form, Higgot has an engaging stage presence as our guide to the paranormal, whilst the three storytellers each bring something different to their tale. There’s comedy, drama, and terror from each turn but all done very differently, which is a credit to all three actors as well the sublime writing and direction.
This is so much more than a fright-fest: it’s smart, innovative and most of all an enormously fun piece of theatre that pulls out all the stops to give you a night out that will live long in the memory.
Ghost Stories is at the Lowry until the 22nd February 2020 tickets available here.
There’s a real appetite for crime dramas currently. From Netflix to the BBC, there’s always something new within this genre to thrill and enthral audiences. ‘Looking Good Dead’ is the crime drama audiences are craving, live on stage.
Peter James is known as WH Smith’s ‘Best Crime Author of all time’; his 2006 novel ‘Looking Good Dead’ reached No2 in the Sunday Times paperback best seller list. It’s clear to see why as you unpick the story.
The story centres around the Bryce family: a typical family from Brighton, with your regular family squabbles, moody teenagers and standard day to day life – but their lives turn from the everyday to the sinister with one phone call. Tom Bryce (Adam Woodyatt) and son Max (Luke Ward-Wilkinson) inadvertently witness a murder after finding a USB stick on a train. Detective Superintendent Roy Grace (Harry Long) steps in to try and crack the case in time to save the family’s lives.
With a star-studded cast including Adam Woodyatt as Tom, best known for playing Ian Beale in ‘Eastenders’, and a recent stint on 2021’s ‘I’m A Celebrity Get Me Out Of Here’. Adam is joined by fellow soap actress Gaynor Faye as his wife Kellie, who recently starred in The BBC’s ‘The Syndicate’.
The staging is brilliant, with a modern house acting as the main focus where most of the action unfolds. Divided by a sheer cloth, behind the house of the Bryce family lies an ominous warehouse setting complete with steel beams and chains. Completing the set is a movable police office which joins the stage with its own soundtrack music, further adding to that typical BBC crime drama atmosphere of the play.
The first act did take some time to develop into the gripping drama it became, filling the majority of the act with steamily unnecessary scenes and information. However, as the second act opens, we’re immediately thrust into the crime drama etiquettes, audiences know and love.
The second act was filled with twists and turns, the climax of which leaving unfamiliar audiences with a shocking revelation. One thing that is missed from the magic of television and filming within this genre is the use of clever and creeping camera angles that build suspense, unfortunately an element live theatre just cannot provide, leaving some of the more suspenseful moments lacking flair.
The action scenes, which were few and far between consisted of lacklustre punches and tackles which could be further refined and dramatic, however the strength of the plot and its surprise moments carried the play.
The adaptation from novel to stage did miss the mark in some places, with cheesy jokes (which to be fair did produce chuckles from the audience) and often over-descriptive dialogue which weren’t inspiring in a theatrical setting.
Although maybe not as dark and serious as many of the crime dramas around today, ‘Looking Good Dead’ still makes for an enjoyable piece of theatre that can definitely appeal to crime-drama-genre lovers.
You can catch ‘Looking Good Dead’ at The Lowry Theatre in Salford until Saturday 22nd January tickets available here.
Slip the word meta into conversation and most people may think you were talking about Mark Zuckerberg’s name for Facebook, and lots of other stuff in the ‘meta-verse’ I don’t understand, and quite frankly have no interest in understanding either! The meta I wish to talk about relates to Noises Off, a play within a play, from the pen of playwright Michael Frayn, that is as clever and smart as it is silly and absurd, and I absolutely loved it!
First performed in 1982, Fryan’s script focuses on Britain’s obsession with farce, and the sex comedies of the 60’s and 70’s such as the Carry On and Confession films. He has taken some of these familiar elements and crafted a piece of work that still has a place in modern Britain, some 40 years on and the result is a riot from start to finish.
Noises Off focuses on a small touring theatre company as they attempt to bring their production of Nothing On to the stage. We see the production at three different stages of its lifespan. The first being the final rehearsal before opening night as director Lloyd Dallas (Simon Shepherd), attempts to get something half decent from his woefully underprepared cast.
We are slowly introduced to this cast of misfits each with their own little quirk and foibles: First there is Dotty Otley (Liza Goddard), the star of the show, who has pumped a lot of her own money into the production. Next is the leading man, Garry Lejeune (Dan Fredenburgh) , a good actor, prone to bouts of jealousy. They are joined by Brooke Ashton (Lisa Ambalavanar) an inexperienced actress, who will plough through her lines regardless of what is going on around her.
Other cast members include: Belinda Blair (Lucy Robinson), a professional to the hilt, as well as being a hopeless gossip. Also there is Frederick Fellows (Simon Coates) a rather slow creature, low on confidence after his wife left him. The final actor making up the cast of Nothing On is Selsdon Mowbray (Matthew Kelly), a seasoned actor whose hearing problem matches his drink problem. The are joined by the easily flustered duo of Poppy Norton-Taylor (Nikhita Lesler) and Tim Allgood (Daniel Rainford) as the assistant stage manager and manager, with both also on hand as understudies should any misfortune befall the cast.
From the rehearsal space of Act 1, we are transported to back stage mid-tour for Act 2, where the cast and creatives’ personal lives and animosity towards each other are impacting the show, finally reaching it’s crescendo during the final act, which takes place on the final week of the tour.
Despite an initial gentle start, where characters are introduced and various plot strands are seeded, Fryan’s script pokes fun at the genre with its more than familiar tropes of affairs, middle-aged men wandering around with their pants round their ankles,and young women managing to walk around with very little clothing. Don’t get me wrong there are gags-a-plenty in the first act, but nothing on the scale of what happens next.
It’s following the interval where we are treated to a tour-de-force of brilliant physical comedy from the entire cast beautifully directed by Lindsay Posner and choreographed by Ruth Cooper-Brown. As the illicit backstage shenanigans and petty squabbles begin to seep into the performances front-of-house, we have everything from shoe laces tied together, to prickly cactuses, at times it’s hard to keep track of what’s going on at such a frenetic pace, but it’s a visual feast, and worth the price of admission alone.
It’s easy to see why Noises Off has survived for so long as all the right ingredients are there: a smart, intelligent script which never seems dated or out of touch, a fantastic ensemble cast, who just know how to do comedy, who all get their moment to shine and finally a wonderfully directed series of set pieces that will tickle every funny bone they can reach. With all that is going in the world, Noises Off is just the tonic that is needed for 2 ½ of silly escapism.
Noise Off is at the Lowry until Saturday 21st October. Tickets available here.
If there are two types of television programmes we love: the classic quiz show and a good courtroom drama are right up there, well imagine the two combined, but live on stage. Add into the mix the fact that it’s a real life incident focusing on one of television’s most infamous moments and you have the recipe for writer James Graham’s Quiz.
First performed in 2017 and later adapted for the small screen in 2020, Quiz is part way through a nationwide tour, and has arrived at the Lowry’s Lyric Theatre this week.
This is the story of Charles Ingram or the “Coughing Major” as he was dubbed, who along with his wife Diana, and fellow contestant, Tecwen Whittock were found guilty of cheating on, Who Wants to Be a Millionaire? following the army officer’s appearance in 2001.
The action takes place in the courtroom and at first looks at the case for the prosecution, whilst at the same time examining the genesis of the ‘millionaire’ format, that would go on to be a global phenomenon. During the trial we learn of an underground quizzing network designed to infiltrate the show’s rather lax vetting procedures, as well as several recreations to incidents from the show involving the Ingram’s and their extended family.
Following the interval we are treated to the case for the defence, where we see the Ingram’s prepare for Charles’ Who Wants to Be a Millionaire? appearance, helped by his wife Diana, a quiz enthusiast, who encourages her husband to entertain the audience in order to remain in the millionaire hot seat. We get to see the toll the accusations and trial has on the couple, as the pair are ridiculed and abused by the press and public, as well as more direct action against them in their family home.
Writer James Graham’s has created a funny, entertaining and at times poignant show, dripping with nostalgia. It’s a mixture of great one liners and pitch perfect, absurd visual gags, the Ingram’s swatting up session being one of many highlights.
It also offers up a brutal critique on ruthless television executives and the treatment of their contestants and their audiences. We are also given a brief history of the origins of reality television which for better or worse have become a firm fixture of our viewing habits.
The show is anchored by three superb central performances. Rory Bremner is in great form as ‘millionaire’ host Chris Tarrant, mimicking Tarrant’s facial expressions, mannerisms, and diction to perfection. On this performance alone it’s easy to see why Bremner is still regarded as one of the nation’s most revered impressionists. His casting certainly adds star power and some heft to proceedings. Lewis Reeves gives an equally impressive turn as the awkward, shy major, at times, it’s a measured, subtle performance which helps garner sympathy and also helps to throw some shade on the trial verdict.
There is also an impressive turn from Charley Webb, making her stage debut, as Diana Ingram. Webb gives Ingram warmth and depth, playing her more as a loving wife and quiz fanatic rather than the criminal mastermind, some media outlets would have you believe at the time. It’s a surprising interpretation, but certainly one that pays dividends and more than adds to your enjoyment.
Directors Daniel Evans and Seán Linnen have created a slick, fast paced production that always entertains and engages. There is a nice touch with an interactive keypad, as we are invited to take part in the quiz ourselves, but more importantly give our judgement on the Ingram’s. The quiz element of the show certainly brought out the competitiveness of the audience in Salford, as at various times answers could be heard muttered throughout the theatre, adding to the show’s charm and authenticity.
Robert Jones’ unique stage design sees the courtroom setting seamlessly morph into television studio, complete with the Who Wants to Be a Millionaire? hot seat and dazzling studio lights, adding to the flow and tempo of the production.
This is a joyous, entertaining take on a story that for a time gripped the entire nation offering something a little different. If the question is, should you go to watch Quiz? then the response is clear “YES, and that’s my final answer!”
Quiz is on at the Lowry’s Lyric Theatre until 28th October. Tickets available at here.
Following its 2016 premiere right here at Manchester’s Palace Theatre, Akram Khan’s Giselle has gone on to wow audiences the world over. This hauntingly beautiful reimagining of the classic 1840’s ballet which was originally co-produced by Manchester International Festival and Sadler’s Wells is brought brilliantly up to date.
We see Giselle (Erina Takahashi) portrayed as a migrant worker, disposable to her employers and banished with the rest of her community behind a thick and impenetrable wall. Their only use seemingly to provide entertainment on demand for the elite, the landholders, as and when they require it.
Despite this barren, bleak life Giselle still finds a hope to cling to in the form of her lover, Albrecht (James Streeter), a wealthy suitor who has been so bewitched by Giselle’s beauty he disguises himself as an outcast in order to be with his love . The pairing of the two young lovers has not gone unnoticed by Hilarion (Ken Saruhashi) an opportunist peasant ‘fixer’ who is fluid with his allegiance in order to benefit himself. Sadly, for Giselle and Albrecht, the opportunity to raise himself up by exposing Albrecht is too much for Hilarion to resist.
Everything about this reimagined piece is so wonderfully stylised it’s hard to imagine another version of this stunning ballet. Vincenzo Lamagna’s reworking of Adolphe Adam’s score injects an intense theatricality while Mark Henderson’s dynamic lighting design adds depth with its impactful moments of light and shade.
Tim Yip’s visual design and incredible costumes ensure the characters and classes within this production are clearly defined adding superbly to the strength of the storytelling.
Act I introduces us to our principle characters and is a feast of contemporary movement featuring galloping, contorting, artists of the company in contrast to the gliding, considered steps of the elite. There are moments of joy as we see Giselle falling in love, celebrated by a light, gentle pas de deux delivered to perfection by Takahashi and Streeter.
This enthralling physical and emotional expression continues through to Act 2 as we see the wall which has been used to separate the classes until now acting as a gateway into the underworld where ghostly Wills dance en pointe, eerie yet beautiful with each determined movement. The skill displayed by the company in particular Emma Hawes as Myrtha, Queen of the Wills is nothing short of spectacular.
Saruhashi as Hilarion weaves his way impressively throughout the company, commanding in his presence delivering a clearly defined character. While the pairing of Takahashi and Streeter is enthralling, the delicacy and precision of their movements highlighted wonderfully by two stunning yet entirely contrasting pas de deux.
Khan, who hails from a background in Indian classical dance has choreographed this piece generously, allowing the physical storytelling to reach an extraordinary emotional depth. Paired with an immensely talented company accompanied by the sublime English National Ballet Philharmonic you have a production that’s utter perfection.
Giselle is on at Manchester’s Palace Theatre until Saturday 21st October tickets available here.
Manchester’s much anticipated new arts and cultural hub and the home of Factory International, Aviva Studios, officially opened in iconic style last night with the world premiere of Free Your Mind, a jaw-dropping semi-immersive piece of performance theatre, based on the 1999 sci-fi classic, The Matrix.
Featuring 50 professional dancers, as well as a world class creative team, this bold and brilliant reimagining takes place throughout the purpose-built facility with performances commencing from the very moment you walk through the doors into the expansive foyer.
Director Danny Boyle, teamed with choreographer Kenrick ‘H2O’ Sandy, composer Michael ‘Mikey J’ Asante, costume designer Gareth Pugh and writer Sabrina Mahfouz have created something truly unique and utterly breathtaking. The addition of Es Devlin’s jaw-dropping set design really takes this already inspiring piece to the next level, the likes of which I’ve never seen before.
This fresh perspective on the iconic 90’s movie offers a thought-provoking take on the rise on artificial intelligence and its infiltration into life as we know it. Opening with an intricately choreographed piece featuring Alan Turing (portrayed by Ian Harris) words of warning are shared about algorithms and ultimately our increased reliance upon them as malfunctions soon begin to appropriate the performers. From here we explore the modern world not just though the eyes of Neo (Corey Owens) but also from the viewpoint of a technology consumers, all of course with a Manchester twist.
Part one is both visually and artistically stunning setting us up brilliantly for the sheer spectacle that is part two as we move from the studio’s sumptuous theatre into a sprawling warehouse space, brilliant in both scale and style. The anticipation of what is to come fizzing through the audience as we wait for the next instalment.
A rapid history of Manchester plays out to the sounds of New Order’s Iconic Blue Monday as we whizz through reminders of the cotton merchants, Joy Division gigs, the cobbles of Coronation Street and the late great Tony Wilson.
Big tech are ingeniously represented as we see life imitating art when dancers move through the space transfixed by their phones while many of the audience busy filming the action suddenly see themselves represented on the central catwalk. There’s a stark reminder of the increasing control the tech giants have over our lives as they parade in front of us demanding complete and total attention. The precision of the performers is sublime as they march to the beat of AI, while choreographer Kenrick “H2O” Sandy’s portrayal of Morpheus is both fluid and majestic.
While we’re pushed to reflect on our own relationships with technology we’re reminded that the control still lies on our own hands with the opportunity to ‘free our minds’ still within reach.
This vivid spectacle will well and truly ensure Aviva Studios, the permanent home of Factory International is firmly placed on the cultural map. With its endless creative possibilities highlighted spectacularly in this ground-breaking opening show this really does feel like a landmark moment in Manchester’s cultural history.
Free Your Mind is on at Factory International, Aviva Studios until Sunday 5th November. Tickets available here.
42nd street is set in America during the hardest of times, the Great Depression. Many young people were out of work and scraping to get by. This show tells the tale of one such gal “Peggy Sawyer”, played by the incredible talented Nicole-Lily Baisden, who in search of her dream finds herself missing out on an audition for a new Broadway show. But things start to look up when she catches the eye of a big time director, Julian Marsh and Peggy lands herself a role in the chorus line, her dream come true.
Now I would struggle to tell you the plot of the show they are putting together, but the plot of it isn’t important! Not to anyone ! What matters is that due to an incident with the leading lady Peggy has the chance of a lifetime at her fingertips…will she pull it off ? There’s only one way to know: get down to the Opera house this week to find out!
42nd Street has graced stages around the world since the 1980s and still it manages to hold everything that is magical about musical theatre firmly in its grasp. I’ve seen this show countless times and still I get goosebumps during the big numbers. This show doesn’t need modernising, it doesn’t need tweaking, it just needs to be watched in all its splendour. The costumes are sublime: they are glitzy and glamorous and transport us back to a bygone era of gentlemen’s waistcoats and pleated trousers and ladies in evening gowns that twinkle in the moonlight. Hair, make up, props: All work together to take us back to a time gone by.
The cast of this production is the greatest I have seen over the years. The lead characters come together brilliantly on the stage. Samantha Womack as Dorothy Brock is a delight. She’s funny and sassy and my word, can she sing.
Michael Praed, who plays Julian Marsh, works hard to keep the narrative moving and he creates the pace of the plot with utter professionalism. His performance is flawless in every single way. Faye Tozer and Les Dennis, make for an awesome pairing, they were just so wonderful both together and in their own right.
And Nicole-Lily Baisden is without a doubt the most energetic, enthusiastic and majestic Peggy Sawyer, that I ever did see. Everything about Baisden screams Broadway. She is the quintessential Peggy Sawyer.
None of the glitz, glamour, and joyousness would be possible without the hard work of the ensemble. Note perfect, step perfect. Everything perfect. This show is relentless for an ensemble member, it’s upbeat, high impact and takes a hardworking performer to make it look so easy. The choreography is demanding, but this ensemble make it look like it’s all in a days work.
Everyone should see 42nd Street. It’s got everything. It’s not trying to be something it isn’t. It’s just there to be seen and heard. And this cast make it the most magical 42nd Street that there is.
If ever there was a show to make you wish you’d learnt how to tap dance – this is most definitely it!!
42nd Street is on at Manchester’s Opera House until Saturday 21st October tickets availablehere.
What I love about theatre is that there is show out there for every audience. And what one of us will adore, another will not. By The Waters Of Liverpool won’t be for everyone, but it will be a must see for fans of Helen Forrester’s writing. It’s a simple tale, told beautifully and carefully. It’s a story that so many families faced during the 1930s: of hardship, sacrifice, poverty and love.
This play follows the story of Helen. A young woman whose family have lost all their wealth and status and have moved to Liverpool during a time when the country was facing so much uncertainty. Crippled by debt, Helen’s family are struggling to make ends meet, but aren’t used to being poor, so fall into bad ways by borrowing more and more money, and ultimately losing more. Helen is the anchor of the family, the one holding it all together. But she wants more, she deserves more, but it’s up to her to get it.
This production has the most fantastic of casts. Legends of the stage who together bring us warmth and humour and plenty of accents too!
While Emma Mulligan takes on the role of lead character Helen, the other actors take on multiple roles, but there is never any confusion. Lynne Fitzgerald, Daniel Taylor and Joe Owens are exceptional in this production. Every single role Lynne Fitzgerald plays is magnificent, she has comedic timing perfected. Her delivery of Ma, the cafe owner, is possibly the most Victoria Wood-Esque performance I have ever seen.
Although this is a tale of hardship, loss and tragedy, it is also a story filled with laughs, dancing, great love and friendship. The stage and lighting help to create the atmosphere and the use of narration through the central characters works well. The use of props and actors for scene transitions helps to move the story along and keep a steady flow. I enjoyed the simplicity of this production combined with the outstanding acting from the whole cast. It was a wonderful way to spend a Saturday evening in Sale.
By The Waters of Liverpool is currently on tour, further dates can be found here.
Co-written by Harry Hill and Steve Brown, Tony Blair (The Tony Blair Rock Opera) examines both the incredible rise and significant fall of Labour’s most successful Prime Minister in a sequence of musical comedy sketches varying from the downright bonkers to the outrageously brilliant.
This witty take on the former MP for Sedgefield won’t fail to raise a smile as political and cultural figures from the period are given a silly and satirical going over. We see a bagpipe toting Alastair Campbell, the coining of the ‘People’s Princess’ Diana, there’s balloon modelling from Peter Mandleson while true to life poor old Gordon Brown’s calls for meaningful change go largely ignored.
Jack Whittle is fantastic as the wide-eyed wannabe Tony Blair, grinning and green as he embarks on his Premiership while a seriously Scouse Cherie (Tori Burgess) utters an ominous “What could possibly go wrong?” as the giddy heights of No.10 are reach as we head into the interval.
This wacky waltz through Blair’s ill-fated premiership is like Ed Balls’s appearance on Strictly Come Dancing, you simply can’t stop watching and the more ridiculous the more riveted you become.
The cast are on fine form, taking on multiple roles throughout, there’s strong support from all with special mention going to Howard Samuels who spectacularly stirs the pot as Peter Mandleson. Rosie Strobel pulls off a brilliant John Prescott reminding us just how little we’d like to mess with ‘Two Jags’ and Phil Sealy shows his brilliant versatility as both Gordon Brown and Saddam Hussein.
The script is off the wall and inventive, while the songs are clever and catchy, some however would benefit from a little trimming to ensure they pack more of a punch. While the show is great fun it does at times linger slightly longer than feels necessary within several of the scenes. The committed cast however work their Labour red socks off to keep the piece moving forward.
This whistle stop tour of Blair’s giddy heights and unforgettable lows is nicely summarised in the final song, ‘The Whole Wide World’ it might not fill you with hope for a better tomorrow but it will give you a jolly good giggle today. Sir Keir take note!
TONY! (The Tony Blair Rock Opera) is on at The Lowry until Saturday 7th October tickets available here.
The final ever UK tour of acclaimed author Helen Forrester’s captivating life story has opened to rave reviews – and it’s been a drama in itself getting the play to stage.
By The Waters Of Liverpool Autumn 2023 UK Tour opened in Liverpool last week. The tour will run for eight weeks visiting 13 venues across the country. New production images have also been released.
The tour will now visit The Lyceum in Crewe; Albany in Coventry; Waterside in Sale; Rhyl Pavilion; Hippodrome in Darlington; The Garrick in Lichfield; St Helens Theatre Royal; The Atkinson in Southport; Victoria in Halifax; and The Lowther in Lytham.
The final run of By The Waters Of Liverpoolwill conclude at The Floral Pavilion in New Brighton – just a few miles from where Helen Forrester was born in Wirral.
By The Waters Of Liverpool is a stunning period drama produced by the team who brought the smash-hit Twopence To Cross The Mersey to the stage.
The creative team are producers Rob Fennah and Lynn McDermott for Pulse Stage Productions and Bill Elms. The show is directed by Gareth Tudor Price and written by Rob Fennah.
It’s been a long time coming to get the play out on the road. Its inaugural tour was scheduled to run for 12 weeks across 17 venues in Spring 2020. After some years in the planning, the tour was abandoned after visiting only three theatres when the country was forced into a national lockdown due to the Covid-19 pandemic, it was also rescheduled twice when the pandemic failed to abate.
But before curtain up on this new and final tour, further challenges lay ahead for the team – including a life-saving operation and theatre closure.
Co-producer Lynn McDermott needed a kidney transplant. And it was writer and partner Rob Fennah who stepped in to be tested and was a close match. Lynn and Rob underwent the transplant less than six months ago in March 2023 – but were determined to get back to work on the tour as soon as possible, defiant with the message: “The show must go on.”
A short time later, tour opening venue The Epstein Theatre in Liverpool closed after funding was cut. So the team were tasked with finding a new venue with very little time. The Auditorium at M&S Bank Arena on the banks of the River Mersey stepped in to save the day and open the tour. The Gladstone in Port Sunlight on Wirral also played a key role by welcoming the play this week.
The tour is now open with a further 11 venues to come – and the four-star reviews are flooding in…
“It was a beautiful piece of theatre” North West End
“An uplifting account of how one ordinary Merseyside girl fought to keep her dreams alive and inspired so many in the process” Wirral Globe
“Great nostalgia and romanticism of a by-gone era, lovingly crafted with care by all involved.
This is a must-see show” The Reviews Hub
The team behind By The Waters Of Liverpool and the earlier stage productions of Twopence To Cross The Mersey – which premiered in Liverpool almost 30 years ago – have announced this will be the ‘final chapter’ of Helen’s story on stage. Making it the last chance for fans of Helen’s million-selling books to experience her story first-hand.
By The Waters Of Liverpool has sold more than a million books. It is set in the 1930s after Helen’s father went bankrupt during the Depression. Her family were forced to leave behind the nannies, servants and comfortable middle-class life in the South West of England. The Forrester’s chose Liverpool to rebuild their shattered lives. They were in for a terrible shock. Taken out of school to look after her young siblings, Helen is sick of being treated as an unpaid slave and begins a bitter fight with her parents for the right to go out to work and make her own way in life. But by 1939 and with Britain on the verge of war Helen, now aged 20, has still never been kissed by a man. But things start looking up for her when she meets a tall strong seaman and falls in love.
Coronation Street’s Tom Roberts will play John Forrester, Helen’s father; Emmerdale’s Joe Gill will play Harry O’Dwyer, Helen’s love interest; with Emma Mulligan in the lead role of Helen Forrester.
The line-up also features Lynn Francis, Daniel Taylor, Lynne Fitzgerald, Joe Owens, Samantha Alton, and Roy Carruthers.
The nine-strong cast play more than 50 characters between them – just Emma Mulligan portrays the one single character throughout as Helen Forrester.
Co-producer Bill Elms commented:“It’s been such a challenging journey for By The Waters Of Liverpool. But the tour has now opened, we have an incredibly talented cast, and the four-star reviews are flooding – we’re delighted to be back on the road.
“From pandemic lockdowns, a theatre closure, and Lynn and Rob’s extraordinary kidney transplant, it’s been a story in itself getting the play to stage and tour. This is the final ever opportunity for fans of Helen Forrester’s fascinating work to see her life story on stage
“By The Waters Of Liverpool is captivating – the story of a young woman struggling to live her life. The story is heartbreaking, heartwarming, it does have plenty of comedy moments thanks to the myriad of characters, but most of all there is so much hope and love. Something everyone needs.”
Writer and producer Rob Fennah enjoyed a long friendship with Helen Forrester since adapting her first book Twopence To Cross The Mersey in 1994. Helen travelled from her home in Edmonton, Canada, to see first-hand her story brought to life on stage.
Prior to author’s death in 2011, Rob and Helen often discussed the possibility of another play to conclude her life story. By The Waters Of Liverpool is the result of many conversations and numerous letters between the author and playwright and, as such, the show is packed with provenance.
Rob has remained friends with Helen’s son, Robert Bhatia, and this production is fully endorsed by the Helen Forrester Estate.
Robert Bhatia, said: “The partnership between playwright Rob Fennah and my mother Helen, and her legacy, has been outstanding.”
By The Waters Of Liverpool is an adaptation of Helen Forrester’s third autobiography and the final chapter of Helen’s life in Liverpool during the Great Depression. It also features sizeable chunks from Helen’s earlier book Liverpool Miss, flashbacks to Twopence To Cross The Mersey, along with a storyline from Helen’s fourth autobiography Lime Street At Two.
Helen’s literary achievements were further celebrated in 2020 to mark her 100th Birthday when an iconic Blue Plaque was unveiled at the Forrester family home in Hoylake on the Wirral, a place which featured heavily in her work.
Written by Rob Fennah · Directed by Gareth Tudor Price
It’s a tale we all know, a tale that is engrained in us from an early age. The tale of young orphan Annie, abandoned as an infant at the run down orphanage run by the equally run down Miss Hannigan. Annie and her fellow orphans live a life of chores and hard knocks. Annie’s luck suddenly changes when the Billionaire, Mr Warbucks enters it, from here Annie’s life is turned upside down.
This production is a classic; it’s filled with everything we want. A cheeky, no-nonsense Annie (played by multi talented Sharangi Gnanavarathan on the night we reviewed) this, amazingly, is her professional debut, which you wouldn’t be able to tell as she was an absolute shining star on the stage, a haggard, meany Miss Hannigan (played by non other than the superstar Craig Revel-Horwood), a gang of energetic and mischievous orphans, and the familiar, nostalgic songs that have been etched into our memories over the years.
This production doesn’t disappoint. It’s fun, high energy, tender and charming. The choreography of Nick Winston is just beautiful, and is perfectly executed by a stellar cast. The set and costume design from Colin Richmond is both clever and captivating and is complemented wonderfully by Ben Cracknell’s lighting design. Everything about this production screams that it’s been directed by the hugely talented and accredited Nikolai Foster; he just brings out such elegance and tenderness in all he directs and this is no exception.
There is no getting a way from the fact that some of the American politics gags are wasted on us as an audience and at times the dialogue can feel a little outdated, but it doesn’t matter – because it’s Annie. And we all know and love Annie and deep down we don’t really want to see it updated for the stage. We want the familiarity of it, we want to be surrounded by the love that Daddy Warbucks has for little orphan Annie.
Alex Bourne (Daddy Warbucks) and Sharangi Gnanavarathan (Annie) shared such wonderful chemistry in the production, and the final scenes together were just pure magic.
And then there’s our villain, our baddie, our drunken Miss Hannigan played by the incredible Craig Revel Horwood. I won’t lie, I had reservations about this casting, I feared that it would all be a bit panto dame. I was wrong, so wrong. There isn’t anything panto about how Craig plays it. It’s perfection. And that voice! His rendition of Little Girls was outstanding.
I know that many people will buy their tickets based on Craigs presence on stage and yes you guessed it he is utterly fab-u-lous (sorry couldn’t resist!). The production as a whole is a joy, offering something for everyone. The children, the ensemble, all the individual characters and all elements of the staging come together to give us a classic version of one our favourite musicals – Annie.
Annie is on at The Opera House until Saturday 30th September tickets available here.
Everybody’s Talking About Jamie debuted in Sheffield six years ago, since then the show has gone on to have a West End run, a UK tour, a North American outing in Los Angeles and a film adaptation. On the basis of tonight’s performance it’s blatantly obvious why Jamie is still the talk of the town: and that reason is this is an outstanding piece of work, and a great, fabulous, fun night at the theatre
Inspired by the BBC Three documentary entitled Jamie – Drag Queen at 16, which told the story of Jamie Campell, a teenager hoping to make it in the world of drag whilst finding acceptance from his family, classmates and teachers.
Kicking off its second full UK tour at the Lowry, this coming-of-age musical focuses on Sheffield based schoolboy Jamie New, as he attempts to break out from the conformities and expectations placed on him by school and other aspects of society. With a career path of fork lift truck driver, seemingly determined by his careers teacher Miss Hedge, Jamie has other ideas, he wants to become a star of the stage and one of the greatest drag artists the world has ever seen.
There is so much to love about this production, writers Tom Macrae and Jonathan Butterell’s script is punchy, packed full of heart, soul and humour. It’s filled with great one-liners and outstanding musical numbers. Director Matt Ryan, keeps the action flowing at a blistering pace, which is matched by the vibrance and energy of this hard working cast. Right from the get go, Kate Prince’s choreography is exceptional, with some spectacular set pieces sprinkled throughout the production.
Ivano Turco is a revelation as Jamie, this a flawless performance packed full of charisma, charm, and attitude. Turco owned the stage at the Lowry tonight, his fantastic vocals, comedic timing, and delivery are an absolute treat to watch, leaving you in little doubt that this young man like the character is going to be a big star!
The production is blessed with outstanding performances from top-to-toe: Rebecca Mckinnis gives a heartfelt, measured performance as Jamie’s mum, Margaret; her delivery of the song, He’s My Boy is sublime. Whilst Shobna Gulati is hilarious as Ray, Margaret’s straight talking, no nonsense best friend, who has the lion’s share of the show’s best lines.
There is a solid turn from John Partridge as Hugo/Loco Chanelle, a local drag legend who befriends Jamie. His blend of warmth, compassion and take-no- prisoners attitude, perfectly typifies what the production is all about. In addition Talia Palamathanan is fantastic as Jamie’s best friend, Pritti, the character development of Pritti, is a journey you invest in equally as much as you do Jamie’s which is down to Palamathanan’s pitch perfect performance, whose breakout moment towards the end of the production drew the biggest cheer of the night. The chemistry between Turco and Palamathanan is exceptional as you fully in their shared journey and friendship.
Every story needs a good villain, and with this we have three. Jordan Ricketts, brings a degree of menace as school bully Dean. Whilst Hayley Tamaddon is equally nasty as the ‘smiling assassin’, of Jamie’s ambition Miss Hedge. Finally there is Akshay St Clair as Jamie’s dad, a thankless role highlighting the bigotry that Jamie has to face. All three highlighting the various obstacles Jamie must overcome.
This is a joyous, feel good night at the theatre, and one not to be missed. It won’t be doing a “Sashay Away” anytime soon, with the Everybody’s Talking About Jamie tour continuing well into the summer of 2024.
Everybody’s Talking About Jamie is at the until 17th September 2023 and continues on a UK Tour until July 2024
Opening Night 