Jesus Christ Superstar

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Reviewed by Matt Forrest

Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

Early on in tonight’s performance the cast belt out What’s the Buzz? The same sentiment perfectly sums up the arrival of Jesus Christ Superstar into Manchester, before it heads out on a full UK tour.

The excitement and expectation is more than understandable as director Tim Sheader’s Olivier Award winning adaptation of the Tim Rice and Andrew Lloyd Webber penned creation has garnered huge commercial and critical success, with its original 2017 run at Regent’s Park Open Air Theatre resulting in a return the following summer followed by a further run at the Barbican before a concert version in between Covid lockdowns and a North America tour. On the basis of tonight’s performance it certainly lives up to the hype and more than delivers.

Originally conceived as an album in 1970, and then in 1971 turned into a rock opera, Jesus Christ Superstar follows the last seven days of Jesus’ life as documented in the Gospels. The main focus is the growing animosity between Jesus (Ian McIntosh) and Judas (Shem Omari James), with Judas disgusted by the path Jesus is taking him and his fellow disciples on. As Jesus’s popularity grows, so does Judas’s resentment. Both men are fully aware that their fates are intertwined with both needing the other to fulfil their destiny even though both are reluctant to do so.

This a production of the highest quality, from the cast to the creatives all involved are on the top of their game. Ian McIntosh is outstanding as the reluctant messiah, in what is a physically draining role, he is a force of nature, exemplified in his heart breaking rendition of Gethsemane, his vocals on this are phenomenal.

Opposite Jesus plays Shem Omari James, who is equally as impressive as Judas, his guilt riddled, gut wrenching turn adds depth to the unfolding drama. In addition there is a strong turn from Hannah Richardson as Mary Magdalene, a devotee of Jesus, who may/may not be in love with him. Richardson’s tender rendition of I Don’t Know How to Love Him is again another highlight.

There is a fleeting cameo from Julian Clary, as Herod, playing him as a grotesque chat show host/inquisitor, it’s a darkly comedic slightly jarring moment, taking you out of the action; however, Clary’s star power will have the desired effect of putting bums on seats, I’m sure.

The production is littered with spectacular, well choreographed set pieces, put together by Drew McOnie, which showcase the talents of this incredibly hard working cast. One particular scene which recreates the Last Supper is crafted superbly and looks absolutely stunning.

Visually this production is flawless, filled with religious tableau and iconography, the sight of Judas’s hands bathed in silver and the intense crucifixion scene will live long in the memory. Add into the mix the fabulous set design which works perfectly with the atmospheric lighting adding a gritty, urban quality to proceedings.

At times this feels like a rock concert, with the musicians ever present throughout lurking in the shadows of the stage. It certainly leans heavily on its rocky opera origins which more than works in its favour.

JCS is a triumph, at times brutal and doesn’t pull its punches, it’s easy to see why after 50 years this piece of work is still beloved. This version feels fresh and contemporary and ticks all the boxes for an incredible night at the theatre and will be talked about for many years to come.

Jesus Christ Superstar is at the Palace Theatre till 23rd September, before heading out on a UK tour. Tickets are available here.

Rachel Fairburn

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

I was super excited to be asked to review a stand up comic – one, because I haven’t seen any stand up since before I had my kids seven years ago and two, because I’ve never reviewed a stand up gig before and I’m always keen to try something new. And this show really is new! Tonight was opening night for a nationwide tour – a tour that you absolutely have to go and see, and take every friend you have with you, because they are not going to want to miss out.

My only knowledge of Rachel Fairburn is that she once sat next to a friend of mine on a train to London and moved seats once my friend started eating crisps! Which is possibly the best “I once met” story I have ever heard. And before tonight, before getting a small insight into Rachel’s soul, I considered this to be a big precious. But now I know that there is absolutely nothing precious about Rachel Fairburn. She just literally won’t do anything she doesn’t want to do – including have kids, sit in the pub with other people’s kids and have anyone stay over at her house! 

Rachel draws a good size crowd for opening night in Manchester and from the minute we entered the auditorium I realised that Rachel clearly has a strong following and while most of the audience were women, they were woman of all ages.  

The show begins with Rachel entering onto stage as the warm up to her warm up act. And she captures us with her warm, no nonsense storytelling from the minute she opens her mouth. Mancunians, love another Mancunian- and Rachel is no exception. You can tell the audience are willing her to be funny- and there was nothing to fear because this woman is bloody hilarious.

Rachel spins us a few very funny tales and then leaves the stage all warmed up for Tom Lawrinson, her support act. Tom is funny, slightly odd (in a good way) and the crowd love him. He nudges the boundaries of appropriate and the crowd lap it up. The people sat next to me were chanting his name in joy after his set. 

When Rachel returns to the stage, she returns as the title of her show “the showgirl” – how she wore that outfit for the whole show in the 30 degree heat, and under the lights of the stage, I will never know. This show is unlike any I’ve seen before, she is so spot on with her observations and her reflections on nostalgic culture. The comparisons between the haves and the have nots, the observations of TV culture and her hilarious tales of her childhood. I don’t want to give away any of her gags – but if your name is Paula, then you’re in for a treat or two! 

Rachel Fairburn is clever, bold, brilliant and does one of the best Mancunians swaggers I’ve ever seen anyone, who doesn’t have the surname Gallagher, do. This show is a triumph, a masterpiece and an ode to turning middle aged. In a world where often people try to put us down and tell us to stop showing off – we could all just be a bit more Rachel, a bit more of a Showgirl. 

Tickets are on sale from ATG for the remainder of the tour – don’t hesitate – go see it. And take tissues because you will 100% be crying with laughter – just “ask Jeeves”.

Tickets for Rachel Fairburn’s tour are on sale now, click here for more info.

Lizzie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The true crime story of a double axe murderer may not be your obvious choice for a musical but then a bit of blood & gore never did Sweeny Todd any harm. Now it’s time for some herstory, enter Lizzie Borden, who was put on trial for the murders of both her father and stepmother in Fall River, Massachusetts back in 1892, a time before women had the vote and life for your average female was dictated by males who controlled everything.

Oppressed and abused Lizzie Borden (played by Lauren Drew), is drowning. Life is cruel and the claustrophobia of her crushing environment threatens to engulf her. Seeking sanctuary in the barn amongst the pigeons or during secret stolen moments with neighbour Alice (Maiya Quansah-Breed) something’s gotta give and when Lizzie’s protective sister Emma (Shekinah McFarlane) leaves town, give it does.

Along with maid Bridget (Mairi Barclay) the four bring the infamous story of Lizzie Borden to brilliant and bloody life. From the haunting nursery rhyme opener Forty Whacks to the powerhouse vocals displayed throughout, this is a musical with might.

Director and choreographer William Whelton ensures that the vocals take centre stage here and my goodness does this cast deliver! Lauren Drew is such a talent, carefully nuanced when necessary, making the moments of pure power all the more impactful. She transfixes as Lizzie, giving her both light, shade and believable complexity. Her pairing with Maiya Quansah-Breed is a joy, their voices complement each other beautifully, while the telling of their stories is delivered with a delicate determination leaving you desperately hoping they reach their own happy ending. Maiya Quansah-Breed’s calm, loving Alice offering Lauren Drew’s Lizzie the anchor she needs in life.

Shekinah Macfarlene is superb in the role of Emma, strong and soulful she brings a delicious depth to the sizzling score. While adding a genius touch of humour is the brilliant Mairi Barclay as glorious gossiping Bridget, she completes the quartet ensuring this formidable foursome won’t be forgotten in a hurry. Their harmonies are tight, powerful and utterly perfect.

Set and lighting designer Andrew Exeter transforms the intimate Hope Mill Theatre giving us drama and atmosphere well worthy of this gory tale. Dan Light’s video design takes things to another level while the live band led by Honor Halford-Macleod and made up of Dejante Hinks, Sarah Giles and Rebekah Slater are sublime.

With Act 1 lasting 55 minutes and Act 2 a shorter 40 minutes this cast grip you from the first eerie beat, you find yourself rooting for Lizzie wholeheartedly long before the first swing of the axe. You feel her pain, forgive her failings and empathise entirely with her reasoning.

Hope Mill Theatre have succeeded in adding humanity and personality to the Lizzie Borden of the history books, and they’ve done it all with slick style and pure rock star swagger. Lizzie will sit perfectly alongside the likes of SIX and Heathers, the score and specifically this production has cult classic written all over every rocktastic riff.

As the tempo changes once the verdict is reached our four protagonists become the liberated girl band you never knew you needed, Lizzie is bold, brilliant and totally badass, another monster hit!

Lizzie is on at Hope Mill Theatre until Saturday 30th September tickets available here.

Heathers The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Based on the 1980’s cinematic cult classic starring Winona Ryder and Christian Slater, Heathers The Musical – written and composed by Kevin Murphy and Laurence O’Keefe, makes for a deliciously dark and daring piece.

Set in the brutal and unforgiving Westerberg High School, Heathers introduces us to Veronica, a sarcastic outcast who after years of falling foul to the food hall bullies unexpectedly finds favour with the popular girls; leader of the pack Heather Chandler, Heather McNamara and Heather Duke, who fulfil Chandlers every command. Suddenly sucked into this chaotic clique this dark comedy quickly lures you in and once the brooding J.D. enters the mix, the unexpected events come thick and fast.

Leading the cast as wannabe social climber Veronica, Jenna Innes is superb, she bursts with both talent and charisma resulting in a truly unforgettable performance. Her pairing with Jacob Fowler, (most recently seen in Manchester as Hope Mill Theatre’s Prince Topher), is inspired, his dark, brooding J.D. is tremendous, nuanced and unpredictable. Their on-stage chemistry ramping up the believability of a love story turned obsession as we see J.D. push Veronica to reach for her dreams no matter what the cost. Both deliver stunning vocals while their acting skills are second to none.

Verity Thompson makes for a perfect Heather Chandler, calculating and cruel she’s a queen bee with a sassy sting in her tail and a voice as perfect as her permanent pout. Her intro entrance with sidekicks Heather McNamara and Heather Duke has gained iconic status amongst Heathers fans who burst into spontaneous applause the second they appear, gliding across the stage, their bright blazers begging for attention amidst a swirling cloud of dry ice. Elise Zavou plays spoilt, spiteful Heather Duke superbly while Billie Bowman’s delivery of Lifeboat is one of the most touching, emotionally charged moments in the show.

Kinglsey Morton gives us a dose of reality with her excellent portrayal of Martha Dunnstock while Alex Woodward and Morgan Jackson as Jocks, Kurt Kelly and Ram Sweeney are hilarious.

There are several dark themes entwined within the script, references to date rape, bulimia, suicide, and homophobia amongst them, illustrating the messy reality of teenage life at Westerberg High but all are covered with sardonic wit.

The show bursts with brilliant numbers each with their own infectious hooks making you soon realise just why this show like the film it’s based on now has its own cult following. Seeing the theatre packed out with young theatregoers some of which cosplaying as the cast was a joy, the vibe felt fun, inclusive, and so welcoming.

This dark comedy delivers entirely, with its superb cast, slick choreography, and sublime vocals, you’ll be rushing to enrol yourself at Westerberg High. Fun, fierce and totally fabulous.

Heathers The Musical is on at Manchester’s Palace Theatre until Saturday 12th August tickets available here.

Images Pamela Raith

The Great Gatsby

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

We may have been plagued with more rain than ever this summer but at Chester’s Grosvenor Park Open Air Theatre a long, hot, New York summer has arrived as F Scott Fitzgerald’s The Great Gatsby plays out.

Audiences are transported to the decadence of Long Island during the Roaring 20s where the lavish lives and lurid loves of the residents of West and East Egg are brought to vibrant and believable life by brilliant storytelling, extravagant costumes, melodic song and superb musicality: all delivered by an incredibly talented cast.

Writer Deborah McAndrew and director Conrad Nelson have taken this potentially dark tale and delivered something fun, thrilling and enormously entertaining.

Nick Carraway (Thomas Cotran) arrives in New York after the war determined to make a new life for himself, he calls upon his distant cousin, wealthy socialite Daisy Buchanan (Molly-Grace Cutler) and soon encounters the infamous and charismatic millionaire Jay Gatsby. What follows is a scintillating tale of scandal, high-society and dark revelations. Cotran is superb as Carraway, barely a moment off stage he guides us through the retelling of this heady tale beginning in the court room as he convinces us entirely that his is the opinion to trust. He’s our constant and steady guide, mirroring perfectly our own fascination with these characters who we both love and loathe in equal measure.

The mystery and intrigue surrounding Gatsby is brilliantly developed, by the time Daniel Burke as the man in question makes his first appearance, we’re all as equally enthralled as his fawning party guests. Suave, sophisticated, yet always maintaining an air of mystery as he greets strangers as friends littering conversations with his favourite term of endearment where everyone is an ‘old sport’. He places himself at the heart of a world he so desperately wants to belong to, no matter the cost.

Odious and seemingly untouchable womaniser Tom Buchanan is portrayed perfectly by Laurie Jamieson, while Molly-Grace Cutler gets to the heart of shallow Daisy Buchanan. Alice Lyburd’s Myrtle Wilson is wholly convincing in her desperation for life beyond her class while Matthew Ganley’s portrayal of George Wilson tragically demonstrates the failure of the so called, American Dream.

The Great Gatsby is another triumph for Grosvenor Park Open Air Theatre, this talented company of actor musicians will sweep you away with their vibrant storytelling, weaving fun and frivolity throughout this dramatic tale. The accessibility of the theatre space makes for a welcoming environment for all while the addition of captioning each show further cements the message that theatre truly is for all, wonderful!

The Great Gatsby is on at Chester’s Grosvenor Park Open Air Theatre until 27th August. Tickets available The Great Gatsby – Grosvenor Park Open Air Theatre

Cruise

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Images Pamela Raith Photography

Written by and starring Jack Holden, Cruise was the first new play to open in the West End post lockdown and has since gone on to complete sell-out runs in London’s Duchess and Apollo Theatres as well as picking up an Olivier nomination along the way. 

Based on a phone call Holden received when working atLGBTQ+ charity, Switchboard, the play brings caller Michael’s memories of his time in Soho during the 1980’s to brilliant and believable life. As Michael embarks on a journey of self-discovery, Holden skillfully evokes Soho of the 80’s in all its decadent, drug-fueled glory while recounting a devastating HIV diagnosis at a time when seeing out more than a handful of years post diagnosis was crushingly unlikely for most.

Given only four years to live, Michael and his partner ‘Slutty Dave’ are determined to live what life they do have left to the absolute fullest, making the square mile of Soho their playground while they still can.

This one man play is far for a single character performance as Holden introduces us to multiple characters with blistering speed and enthusiasm. The eclectic mix of personalities are all delivered with captivating skill by Holden as they share with us their own stories of hope, joy and tragedy.

Holden’s poetic script never faulters, one moment you’re laughing at a glorious drag performance, the next you’re breaking your heart at the brutality of a diagnosis with no apparent cure. Holden has an incredible ability to draw you in and keeps every member of tonight’s Manchester audience enthralled, never knowing quite where this rollercoaster of hedonism and heart will take us. We soon realise we’re headed for 1988 and what should be Michael’s last night on earth and the complexity and sense of urgency this brings.

Bronagh Lagan has directed Holden with confidence, allowing him the freedom to really tell this story. Each character is well-rounded and filled with life, making the losses we learn of feel all the more real. While this is a one man play, Holden is not alone on stage, aside from the multiple characters he creates he’s also joined by musician and composer John Patrick Elliot who brings Soho to thumping life with his electronic soundtrack, stamping his influence on this powerful piece with pounding house and rhythmic disco.

This one act play running at approximately 100 minutes will lift you up, touch your heart and remind you of the importance of human connection. An exhilarating piece of theatre that serves as a perfect tribute to all it so brilliantly celebrates.

Cruise is on at Manchester’s HOME until Saturday 12th August tickets available here.

Charlie and the Chocolate Factory The Musical

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewer: Matthew Forrest

You know you’re in for something special when as soon as you step foot in the theatre you are greeted by the smell of chocolate. The unmistakable aroma hit my nostrils as soon as I arrived and I immediately knew I was in safe hands. Don’t think this ploy will work for every musical, (Oliver!producers, I’m thinking of you), but for tonight’s performance of Charlie and the Chocolate Factory: The Musical it certainly added a sprinkle of magic.

Roald Dahl’s magical creation has been wowing audiences for nearly 60 years, enthralling audiences young and old alike, either in book form, through its two cinematic offerings or in its musical outing, which is currently on its first UK tour a decade after its West End debut.

Under the stewardship of director James Brining, this is the beloved story of Charlie Bucket (Haydn Court), a young boy helping his Mum (Leonie Spilsbury) to care for Charlie’s four elderly grandparents. They live in poverty and squalid conditions. The only joys they have in life are each other and a fascination with the chocolate factory situated in the town, run by the reclusive Willy Wonka.

It is announced that Willy Wonka will throw open the doors to his factory to five lucky ticket holders. Thus a world wide scramble ensues as to who will find these golden tickets, and will Charlie be one of the lucky winners?

Despite an initial slow start, this is an absolutely joyous production packed full of vibrancy and energy as arguably Dahl’s most famous creation is brought to life. Highlight of the first act is the introduction of each golden ticket winner, focusing on how grotesque and undeserving each of the winners are with hugely entertaining results.

Following the interval the action really shifts gears as we enter the factory and get a guided tour around Wonka’s palace of creativity and fantastical confectionery emporium. The factory is mainly brought to life through Simon Wainwright’s huge video production filling the stage of the Palace Theatre. The images look outstanding, and drew huge gasps from some of the younger audience members, and whilst there is somewhat of an over-reliance on the screens to tell the story as opposed to actual set design. It still looks mighty impressive as we hop, skip and jump from one set piece to another.

There are some truly wonderful performances throughout. Gareth Snook is in fantastic form as Willy Wonka, striking a fine balance of malice, mayhem and whimsy. He commands the stage in nearly every scene he appears in and gives a nuance to the disillusioned chocolatier – you’re never quite sure what his motivations are.

Haydn Court is outstanding as Charlie, playing with so much joy and wonder in a role that in lesser hands could be full of saccharine. He is aided by a beautiful singing voice. He is supported by an equally impressive turn from Leonie Spilsbury in a dual role, as the doting hard working Mrs Bucket, and is unrecognisable as the gin-soaked, downtrodden Mrs Teavee.

In addition there is a strong performance from Michael D’Cruze as Grandpa Joe, who brings enthusiasm and a childlike wonder to the role, and is an absolute treat in his pairing with Court’s Charlie. All the cast do a great job bringing this ambitious production to life.

The production is at times hamstrung by what has gone before, with most people of a certain age familiar with the songs of the 1971 film, Willy Wonka & the Chocolate Factory. We are treated to renditions of The Candy Man and Pure Imagination from the classic film, which both sound fantastic, however you can’t help wishing that the new original numbers have the same impact which sadly they do not.

This a joyous, special night out at the theatre that the whole family will absolutely love as much as they would a Wonka Scrumdiddlyumptious bar, snap up a golden ticket before it’s too late.

Charlie and the Chocolate Factory The Musical is at the Palace Theatre until Sunday 30th July tickets available here.

UNTITLED F*CK M*SA S**GON PLAY

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Marking the opening of Manchester International Festival, Kimber Lee’s ‘Untitled F*ck M*ss S**gon Play’ officially opened at the Royal Exchange this weekend, resulting in a thunderous standing ovation which will no doubt be repeated nightly during the four week run.

Lee highlights the absurdity of the stereotypical portrayal of Asian women in Western created entertainment with razor sharp skill and wonderful wit, resulting in a fierce and fast paced piece that somehow remains laugh out loud funny while poignantly challenging the interpretations we’ve been served for generations.

Taking a dive into the likes of Madam Butterfly, South Pacific, Miss Saigon and M*A*S*H, Lee quickly and convincingly shows us just how absurd the characters in these oh so familiar pieces are.

Opening with an initial examination of Madam Butterfly which received its US premiere in 1906, Kim (Mei Mac) is offered as a bride by her mother Cio Cio (Lourdes Faberes) to the square jawed, all-American Clark (Tom Weston-Jones) in a bid for a better life for the whole family. Their American dream however never materialised as the inevitable tragic, yet devastatingly poetic, consequences of that fateful romance play out. This scene is then repeated multiple times albeit in different decades as South Pacific, M*A*S*H and Miss Saigon take their turn under the microscope. The repetition cleverly highlighting the cliches accepted so willingly by many audiences over the years.

Narrator Rochelle Rose guides us brilliantly through each scene, acting both as translator for Clark who throws out random words linked vaguely to the general location whilst assuming he’s speaking fluently to his new bride and author of the piece. Her easy delivery highlighting further the absurdity of the assumptions made by the writers of each tragic story. Each repetition grows more frenetic and absurd as Director Roy Alexander Weise ramps up the physicality for our tragic heroine Kim (Mei Mac).

Following the blistering first hour the second part of the play moves to the more sedate surroundings of a modern day New York loft apartment where the opportunity for Kim to examine whether anything has actually changed occurs. Interestingly it is also at this point that Lourdes Faberes delivers a speech reminiscing about how the older generation had no objections to how they were portrayed and instead took delight in seeing themselves represented on stage.

This play never tells us what we should think or feel, its beauty lies in its ability to make us question ourselves and our own complicity in misrepresentation and issues of race. The complexity presented before us is made engagingly accessible, whilst offering a hope for the future that the misrepresentations and the damage caused can become confined to the history books. Hugely entertaining theatre that speaks loudly and proudly from the heart.

UNTITLED F*CK M*SS S**GON PLAY is on at Manchester’s Royal Exchange theatre until 22nd July tickets available here.

Vardy v Rooney: The Wagatha Christie Trial

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Never have I gasped louder than when reading those infamous words; “……… It’s Rebekah Vardy’s account”. Instantly a cultural moment was set and the term Wagatha Christie spectacularly coined. Forget the action on the pitch, this was all about social media shenanigans and Coleen Rooney’s cleverly planned plot to identify who was playing foul by taking her private stories and sharing them with The Sun.

Through investigations Miss Marple herself would be proud of, Colleen planted false stories on her private Instagram account, allowing access to only one follower; Rebekah Vardy; sure enough these fabricated stories soon appeared in the press and so the crime was cracked!

However, in the world of WAGs, wannabees and whistle blowers this revelation didn’t call full time on the matter as the country became well and truly obsessed with the announcement there would be extra time as Vardy sued Rooney for Libel. Cue a spectacular court case in which underhand tactics, own goals and howlers a plenty were exposed.

Now Liv Hennessy has condensed the transcripts of this dramatic seven day court case into a hilarious piece of verbatim theatre, with the genius addition of two football style pundits who commentate on the grittier parts of the legal jargon brilliantly from the side lines.

The script is gold, all of the iconic moments are there, from Vardy’s, “Who’s Davy Jones?” to the barrister’s utter confusion at the term FFS. Vardy’s transcripts in particular gift us with some incredibly entertaining moments, all delivered superbly by Lucy May Barker who switches from catty comments to resting bitch face in the blink of an eye.

Laura Dos Santos portrays the more self-aware Rooney with fluid ease, her nuanced mannerisms and Scouse lilt in complete contrast to the outrageous and brash Vardy.

Lisa Spirling’s direction is inspired, ensuring the court transcripts are well and truly lifted off the page, she recreates the action inside the court as a game of two halves while Polly Sullivans set cleverly transforms the courtroom into a football pitch.

Barristers Tomlinson and Sherborne portrayed by Jonnie Broadbent and Tom Turner are superb, delivering their grilling to perfection. Special mention must also go to Nathan McMullen who takes on multiple roles, his Wayne Rooney resulting in roars of laughter from the audience as he physically transforms himself into the infamous player.

This is a brilliantly crafted piece of theatre, the pace is fast, the cast are premier league and the entertainment value is top flight, totally wagtastic!

Vardy V Rooney – The Wagatha Christie Trail is on at The Lowry until Sunday 11th June tickets available here.

The Way Old Friends Do

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Ok, I’ll confess, I’m not ready to move on from the glorious bubble that was Eurovison just yet so when I spotted that The Way Old Friends Do, a new comedy with a heavy emphasis on everyone’s favourite Dancing Queens, Abba, was heading to The Lowry I jumped at the chance.

Penned by and starring Ian Hallard, The Way Old Friends Do introduces us to Peter (Hallard) a self-confessed Abba superfan and his former school friend, the filthy and fabulous Edward (James Bradshaw).

After a chance reunion via Grindr, their friendship is reignited when Edward ropes Peter into forming an Abba tribute band with a twist…they’ll be portraying Agnetha and Frida while wannabe actress Jodie (Rose Shalloo) takes on the role of Björn and rehearsal pianist Mrs. Campbell (Tariyé Peterside at tonight’s performance) is enrolled as a rather bemused and bearded Benny.

The story focuses on Peter and Edward’s friendship and the complexities of navigating suddenly being thrust together after many years, albeit wearing a wig and platform boots. At school both came out to each other, but while Edward announced he was gay, Peter unsure then about his sexuality declared himself a devoted Abba fan. Fast-forward to adulthood and Edward is living his authentic life while Peter is still struggling to share his truth with his beloved nan (voiced by Miriam Margolyes).

Halland’s touching portrayal of sweet-natured Peter is a beautiful watch, as he explores both this rekindled friendship and the lessons, he can learn from it. Culminating in a touching coming out scene as he calls his Nan to finally confide in her.

Bradshaw’s Edward in contrast is full on, flamboyant and seemingly fearless making his character not just entertaining but hugely endearing as we see the layers unpeel a little, revealing much more than meets the eye.

Tariyé Peterside is hilarious as Mrs Campbell, she makes the most of every witty line she’s gifted & seems happy to go with the flow as long of course as she’s having fun. Rose Shalloo gives us lots of laughs as struggling actor Jodie, Donna Berlin shines as Peter’s no nonsense BFF Sally, while Andrew Horton as the Aussie hunk with questionable intentions adds an unexpected layer to the story.

Hallard’s script is laugh out loud funny, he excels at witty one liners while there are meaningful moments littered throughout. Each character goes on their own journey, growing and developing as their friendships build. Bursts of Abba during the scene changes whet your appetite for a full cast performance which never fully materialises, something I can’t help but think would be the icing on the cake of this super fun production, however the fun facts delivered by super-fan Peter throughout will leave you hoping there’s an Abba round at your next pub quiz.

Janet Bird’s rotating set design is simple yet hugely effective, becoming a rehearsal room one moment and a sophisticated spa the next. This is complimented perfectly by her wonderful costumes which get progressively more fabulous as the band develops. Director Mark Gatiss has ensured the pace never drops while the more emotional scenes are given just the right amount of time to breathe. There’s a welcome sigh of affection as we hear Paul O’Grady’s voice as the radio DJ setting the year for each Act, adding to the sentimentality of this production .

The Way Old Friends Do will entertain you enormously, reward you with some inspired character development and remind you of the importance of true friendship. Uplifting, joyous theatre packed with plenty of heart.

The Way Old Friends Do is on at The Lowry until Saturday 27th May tickets available here.

Greatest Days

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Quite surprisingly this jukebox musical is not the actual story of Take That, nor is it the story of “The Band” which feature as a background soundtrack to this production. But, this is a glorious, heartwarming story of friendship, loss, love, fear and how it feels to love a boy band more than any thing else in the world.

Now – disclaimer- I am not a huge Take That fan. I’m more of a New Kids on the Block girl, but after tonight I realised how the sound track of this musical has in fact been the sound track of so much of my late teenage years. A bit like: I’m not a fan of Angels by Robbie, yet I know all the words! What I also categorically know is that the Manchester audience tonight were absolutely gagging to see this Bobby Dazzler of a show.

Putting Greatest Days in on Manchester is a Take That fans version of a United fan watching United in a premier league title match at Old Trafford. There is no better place for this show to be. It’s a wonderful homecoming.

The plot takes us back to the 90s, where we were wearing knee high socks and pleated tartan mini skirts or adidas trackies, where we were recording our favourite hits on our ghetto blasters on a Sunday afternoon while listening to the charts, where we were making up dances with our mates so that we could dance along when the Smash Hits poll winners party was on the telly. Here, we meet five friends, as different as the spice girls to one another. Who, thanks to the beautiful, talented Debbie (played by the magnificent Mary Moore) have the chance to go and see their favourite band play in Manchester. A treat like no other; all they have to do is tell a few lies to their parents and make their way to the concert. Their aim is to finally meet the boys, face to face. The night however doesn’t go as planned and their lives are never the same again.

The events of that night breaks the bond the girls have, until the once in a lifetime chance brings them together 25 years later.

I don’t mind admitting it, I did shed quite a few tears at various moments of the show. And judging by the sniffing sounds around the auditorium, I wasn’t the only one.

The entire cast were incredible. The connections between the friends as their younger selves and then older selves was electric. And the scene where the younger version comes together with the older one was so enchantingly beautiful.

Special mention goes to the wonderful Jamie-Rose Monk for her hilarious and touching portrayal of older Claire. Never have I laughed more than at the line “I like to sleep with a man and then eat him”. Rachel Marwood is a brilliant older Heather; I am not surprised that Rachel has been awarded a “funny woman” award previously – she is a great comic actress.

Holly Aston, Hannah Brown, Emilie Cunliffe, Kitty Harris and Mari McGinley, were all outstanding in their performances. They work well together on stage and deserve every moment of the standing ovation given. While Kym Marsh was dazzling: she can sing, she can dance and Manchester love her, she’s one of ours and Mancunians couldn’t be prouder.

The “boys” did exactly what their role asks of them, they gave us a sound track, they didn’t take the limelight, they let the women shine in all their glory. And they did so with so much talent and humbleness. They help to tell the story, they know it’s not all about them and they take that with grace. And they also lead a fabulous finale!

It’s also worth the ticket price to see Alan Price in his many roles, a true legend of the stage in every sense of the word.

The music is what ties everything together in this production, the goosebumps on the back of my neck when “Never Forget” started up. You could feel the electricity sweep through the audience. Most people will go and see this show because they love Take That, but it’s more than a homage to a boy band-it’s a tribute to those of us who bonded with our ill fitting friends over our love of pop music. It’s a dedication to the girls who queued for hours for tickets or at stage door at the end of the night for a glimpse of their favourite member of the band. It’s a reflection of lives lived, and those not lived fully. It’s a chance to reminisce of how we saw ourselves 25 years ago and be proud of the women we became. It is nostalgic, but it’s also insightful and moving, a perfect night out.

Greatest Days is on at Manchester’s Palace Theatre until Saturday 27th May tickets available here.

The SpongeBob Musical

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Opening Night Verdict ⭐️⭐️⭐️⭐️

The Opera House in Manchester has been transformed into Bikini Bottom for the week with the arrival of SpongeBob Squarepants the Musical, the hit Broadway show currently on its first outing in the U.K.

For those living under a …pineapple? SpongeBob Squarepants is a hit/cult cartoon series that launched on Nickelodeon in 1999. While it probably isn’t the most obvious source material for a musical, nevertheless it opened in New York in 2017 and was nominated for a dazzling 12 Tony Awards.

It isn’t a jukebox musical – the show has original songs written by some of the biggest names in music including Steven Tyler and Joe Perry of Aerosmith, Cyndi Lauper, John Legend and Sara Barellis.

The result is a veritable smorgasbord of eclectic musical styles, each one different from the next with everything steered in shipshape fashion by director Tara Overfield Wilkinson.

And there’s some real bangers in there there – from the opening number Bikini Bottom Day (Jonathan Coulton) to SpongBob’s uplifting Hero is My Middle Name (by Cyndi Lauper).

The plot really doesn’t matter – but it centres around a volcano that’s due to erupt putting Bikini Bottom at risk – and there’s some nice messaging in there like sticking together, being a good friend and how family is more important than money.

As the titular sponge Lewis Cornay (Book of Morman) puts in a charismatic lead performance. Not only does he nail SpongeBob’s trademark squeaky voice but the fact he makes it all look so easy is testament to the skill involved by him.

Tom Read Wilson – four-legged Squidward – is best known for his role as ‘client co-ordinator’ in Celebs Go Dating, but he trained in musical theatre and boy does it show! He gets one of the best numbers on of the night in the They Might Be Giants-penned I’m Not a Loser – a full on company tap number that is pure joy. 

Clear local favourite Divina De Campo is having lots of fun as the dastardly Shelton J Plankton, who doesn’t let his small stature (and the fact he’s a one cell organism) stop his scheming.

The principles are complimented by a hard-working supporting cast including Irfan Damani as the sweet starfish Patrick, Tik Tok & Heathers favourite Hannah Lowther as Karen, Chrissi Bhima as Sandy Cheeks, Sarah Freer as Pearl and Richard J Hunt as Eugene Krabs. The company is terrific and it looks like genuine fun is being had by all.

Sarah Mercade’s witty and wonderful costumes help bring the characters to life and there’s lots of in-jokes to spot during proceedings (we loved that the Mayor of Bikini Bottom lives at 10 Drowning Street…. and that Tuna Turner and Cod Stewart were in the band!)

Theres much fun to be had for die hard SpongeBob fans but if you’re new to the phenomenon then just sit back and let the madness wash over you!

A few opening night sound gremlins didn’t detract too much from the fantastic vocals on display, and while a delayed start for technical reasons meant a bit of a later than planned finish for little ones, at the end everyone was up on their feet singing the TV theme tune.

Fabulous, fluorescent fun for SpongeBob devotees or newbies alike – trust us, you’ve got to ‘sea’ it!

The SpongeBob Musical is on at Manchester’s Opera House until Sunday 21st May tickets available here.