The National Lottery’s Big Night of Musicals

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Last night Opening Night had the absolute pleasure to be part of the 12,000 strong audience at the AO Arena in Manchester watching The National Lottery’s Big Night of Musicals – a celebration of all that’s brilliant about the British musical theatre scene.

Returning for 2023, the show was once again hosted by North West favourite Jason Manford, and featured amazing performances from 13 shows currently in (or heading for) the West End or touring.

(Photo by Anthony Devlin/Getty Images for The National Lottery)

Our particular favourite moments including the hugely exciting appearance of the West End cast of Hamilton performing ‘My Shot’ for the first time ever on television, a gorgeous medley from Matilda that including the joyous Revolting Children, Laura Pick’s epic rendition of Defying Gravity from Wicked and a goosebump-inducing solo performance of I Will Always Love You from The Bodyguard by Melody Thornton.

We also loved seeing the iconic Brenda Edwards strut her stuff again as Killer Queen alongside the cast of We Will Rock You,  a rousing dance number from Disney’s Newsies and a trip to the Haus of Holbein with the cast of SIX.

(Photo by Anthony Devlin/Getty Images for The National Lottery)

Other highlights included former Strictly Pro Joanna Clifton’s debut as Princess Fiona in Shrek the Musical, Call the Midwife star Helen George’s lovely vocals in Shall We Dance (alongside Broadway star Darren Lee) from The King and I and a confetti-filled finale from Mamma Mia.

The evening certainly gave a great taster for some of the musicals showcased that are heading to Manchester in the not so distant future – like Hamilton, The Bodyguard, The King & I and Wicked.

(Photo by Anthony Devlin/Getty Images for The National Lottery)

But it wasn’t just the stars on stage that were celebrated – some of the evening’s most touching moments were when the spotlight was shone on the theatre work being done in our communities – and the unsung heroes who make it all happen – aided by vital financial support from the National Lottery.

The National Lottery’s Big Night of Musicals, served as a massive thank you to National Lottery players who have helped tens of thousands of arts projects across the UK and supported over 2,000 theatres through the Covid crisis.

(Photo by Anthony Devlin/Getty Images for The National Lottery)

The 90-minute show will be broadcast on BBC One and BBC Radio 2 in March – date TBC. It’s definitely not to be missed if you love your musicals and theatre. Here at Opening Night we are already looking forward to watching it again!

http://www.national-lottery.co.uk/bignightofmusicals

Faulty Towers The Dining Experience

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The world’s worst hotelier, Basil Fawlty, his long suffering wife Sybil, and human punch bag, Manuel have arrived in Manchester at one of the city’s newest hotels, Hotel Brooklyn for Faulty Towers The Dining Experience. 

Interactive Theatre recently celebrated their 25th year of performances, as well as a decade of shows in London’s West End, and on the basis of today’s show you can see exactly why: anarchic, ridiculous and absolutely hilarious; I loved it!

Paying homage to the popular John Cleese and Connie Booth penned sitcom, the fun starts as soon as you step foot in the bar, while waiting to be seated, as Basil, Sybil and Manual demonstrate their unique take on customer service and good old British hospitality.

What follows is a unique dining experience, as a three-course meal is served through 90 minutes of mayhem while Basil abuses his waiter and most of the diners as well. The website states that 70% of the show is improvised, and you can certainly see why as a great deal of the event revolves around audience participation, whether they want to participate or not, and the rest is a mixture of well placed set-pieces from the show.

The cast are superb. It’s a flawless performance from all three actors and a showcase for fine mimicry and physical comedy. It’s exactly what you want from this immersive experience.

Fans of the show will love it. Those coming to it for the first time will hopefully have been briefed about what to expect, or they’ll be in for a rude awakening! If someone you’re going with is celebrating a special occasion, let them know as it will be celebrated in true Fawlty Towers style.

This is a great deal of fun and certainly worth catching whilst it’s in Manchester. A word of warning though be careful of the soup… some of the bowls may have a little bite to them (when you go, you’ll know exactly what I mean).

Faulty Towers The Dining Experience is at Hotel Brooklyn, until Sunday 12th March. Tickets available here.

 

 

 

 

 

 

 

Song From Far Away

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Forced to return to the place he had long since abandoned due to the sudden and untimely death of his brother, bereaved, nomadic banker Willem (Will Young) controls all that he can in this bitter-sweet monologue by playwright Simon Stephens and singer-songwriter Mark Eitzel

Where Willem is sarcastic, superficial and shallow his brother Pauli was artistic, musical and rooted firmly in the very heart of his family in Amsterdam. Willem moved to New York 12 years prior for a life of seeming anonymity and preferred disconnect. Reconnecting with his old life is neither embraced nor welcomed. Invitations are ignored while communication with anyone other than his late brother in the letters that he writes feels forced and misunderstood. He is a complex character, displaced both physically and emotionally yet draws you into his introspective world effortlessly.

We learn so much about him through this 80 minute piece, his complicated relationship with his parents, his regret over a lost love, yet it’s his surprising affection for his niece Anka, which truly gives us hope that relationships won’t always be impossible for Willem, indicating that this is a piece much more about living than dying.

The simple staging of the faceless hotel suite is given depth by the movement of tall billowing curtains while the lowering and raising of the ceiling adds at times to the feelings of claustrophobia and intensity. The smattering of snowfall beyond the confides of the suite midway through hints almost at a euphoric feeling of hope, just out of reach.

Will Young is entirely captivating in the role, commanding the attention of the audience effortlessly. The source material doesn’t leave room for sentimentality despite dealing with the loss of a sibling, making the moments of song and melody all the more poignant, cathartic in their delicate simplicity and delivered note perfect by Young. His performance feels intimate, authentic and real.

Director Kirk Jameson’s choice to set the piece several years after the passing of Pauli offers an opportunity of self-reflection, rediscovery and most importantly hope. This intimate and beautifully delivered piece will stay with you long after the curtain call.

Song From Far Away is on at HOME until Saturday 11th March tickets available here.

Beginning

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Credit and copyright: Helen Murray http://www.helenmurrayphotos.com

If you told me before the performance of Beginning, that I’d be emotionally invested in two people dancing around a kitchen to I Owe You Nothing by Bros, then I’d have called you a liar. However, two hours later I’d owe you an apology, and then would have chewed your ear off demanding a ‘chat’ about what we’d just witnessed!  Taken in isolation, this 10-minute sequence demonstrates all that is great about the David Eldridge penned production; playful, tender, at times desperate, an emotional rollercoaster, more than worth jumping onboard.

Beginning starts at the dying embers of a housewarming party in the leafy suburb of West Didsbury. All that’s left is Laura (Erin Shanagher), the party hostess, and Danny, (Gerard Kearns) a-friend-of-a friend of Laura’s, unsure why he’s still there. We soon learn that the pair have caught each other’s eye as the party has progressed and now it’s all about how the night will end.

Set in real time, we learn how these two very different characters share some striking similarities. Laura is a sexually confident, managing director, laser focused on a romantic encounter with her guest, whilst Danny is a confidence starved 42-year-old man, who lives with his mum, sceptical about why Laura is so keen for them to spend the night together.

As the night progresses, the pair peel away layers of their character to see if this potential union could work: a mutual love of scotch eggs being a plus point, their choice of football teams a potential roadblock, Laura’s chosen team, being one of the more shocking and funnier revelations for the Manchester audience. However, it’s their past heartbreaks that are shaping their present anxieties, holding them both back and keeping them very much alone.

Bryony Shanahan’s direction is flawless throughout. This is very much an extended version of a mating ritual you’d see on one of David Attenbrough’s Sunday night wildlife documentaries, as the would-be-lovers circle each other using the glorious in-the-round setting of the Royal Exchange. There are even hints of those extended dance sequences you get in many period dramas.  The play is allowed to breathe, throughout there are long moments where more is said in a silence than could ever be by any dialogue. It gives it a more real life, naturalistic quality.

The two leads are fantastic, with both Kearns and Shanagher giving layered, nuanced performances – both drifting seamlessly from comedic to heartbreak within the blink of an eye. The aforementioned Bros sequence will have you grinning from ear-to-ear as a result of Shanager’s fantastic dance routine, and equally devastated by Kearn’s reaction. The chemistry between the pair is off the chart – the production lives or dies on whether you believe in the pair of them, and you absolutely do.

David Eldridge’s script is bang on point, warm, funny and poignant. It has a great deal to say about the human condition, and our desire for meaningful human connection, something we all can empathise with post-pandemic. It takes a seemingly mundane everyday occurrence, and makes it the most important thing in the world for its near 2 hour running time. The fact that you’re never really sure how you want it to end, or indeed how it will end, is a major strength.

This is a production that sees everyone at the top of their game, a witty, thought provoking, relatable and unashamedly honest script, anchored by two strong, enjoyable central performances who bring to life characters you actually care about. This is surely what good storytelling is all about.

Beginning is on at the Royal Exchange Theatre till 11th March tickets available here.

The Smartest Giant in Town

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

A trip to the Lowry on a Tuesday afternoon to see the musical version of Julia Donaldson and Axel Scheffler’s The Smartest Giant in town was just what me and my four year old needed today.

This musical is so beautifully crafted, it is an absolute must-see for preschoolers and early years children. It is captivating and joyous.

The show tells the tale of a kind hearted giant, who is known to be rather scruffy and unkempt. With the help of two shopkeepers, the giant manages to get himself a new smart outfit. When he leaves the shop to make his way home, feeling rather pleased with himself, he comes across various characters who need some help and the giant knows just how to do that: this is a story of generosity, friendship and selflessness.

Turning this story into a musical is a stroke of genius! The use of the same short song between scenes not only allows the cast to change the props and set, but also enables the audience to learn one of the songs, which my young one was still singing five hours later.

The puppets are beautiful, and the way in which they are used by the cast is engaging. Everything is simple and effective: the set, the costumes, the songs, the plot. There is just the right amount of interaction between characters and audience. It isn’t an easy job to keep the attention of hundreds of tiny people at once, but this show does just that.

This is a giant sized treat for half term at the Lowry. I walked away hoping that maybe, just maybe we could all just be a bit more like the giant today.

The Smartest Giant in Town is on at The Lowry until Sunday 26th February tickets available here.

 Rocky Horror Show – Manchester Opera House

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Reviewed by: Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It’s 50 years since the Rocky Horror Show premiered in the West End. The cult classic is currently mid-way through a UK tour arriving in Manchester this week, for a week-long run that sees this latest production still as vibrant, outrageous and despite being in its golden years, as culturally significant as ever.

The story focuses on a typical All-American couple, Brad and Janet, newly engaged the pair, when out for a drive one evening, in the midst of a brutal storm, experience a flat tyre. In desperation they seek help from the occupants of a sinister castle belonging to Dr Frank N Furter, where he lives with his servants, Riff Raff, Magenta, and Columbia. However, things are a little odd at the good Doctor’s residence and soon the host’s hospitality and his latest experiment will test Brad and Janet’s relationship to the limit.

Richard O’ Brien’s love letter to the horror/science fiction films of the 1950’s is still as flamboyant, fun and bursting with life. All the familiar tropes are here, mad scientists, crazed aliens, and a hero couple who have bitten off way more than they can chew! O’Brien’s script takes pot shots at the genre and plays fast and loose with gender roles and expectations.

First timers coming to the show won’t know what’s hit them! The show has a huge cult following, again evident tonight with several audience members dressed as their favourite characters (I’d be interested to see the sales figures for French maid costumes, when the show is out on tour). They bring so much more than just dressing up, becoming a character themselves anticipating the script’s next line bringing a touch of unpredictability to proceedings. The part of the Narrator this evening was expertly played by Reece Budin who handled tonight’s outbursts fantastically well, leading to numerous gags about the current Conservative government and the production of The Lion King showing down the road at the Palace, which again keeps the performance fresh and dangerous.

It highlights the hard work that has gone on during rehearsal, when the cast look like they’re having so much fun, which is evident from tonight’s performance. Richard Meek and Hayley Flaherty are in superb form as the awkward, virginal, yet far from innocent couple Brad and Janet.

Stephen Webb is exceptional as the iconic Dr Frank N Furter, it’s a performance packed full of charisma with a huge spoonful of menace, he more than delivers.

They are solidly supported by Kristian Lavercombe, Suzie McAdam, and Darcy Finden. Lavercombe has now appeared in more performances of the show then any other actor, and it shows as he plays the sleazy butler Riff-Raff, to perfection. Whilst McAdam pulls double duty as Magenta and bookends the show as the Usherette, performing a fantastic rendition of Science Fiction/Double Feature. The two of them do a fantastic duet, on the unmistakable Time Warp, leading to all the audience up dancing way before we’d even got to the interval. Finden puts in a feisty, energetic turn as the unpredictable Columbia.

The show does have its flaws, the final act is considerably weaker than what precedes it. In addition I found the lyrics difficult to hear in the ensemble number, Rose Tint My World which does frustrate.

It’s a mark of a great show, that even after all these years, it can still shock, entertain and remain relevant and Rocky Horror Show certainly manages this and so, so much. Absurd, timeless and well worth a watch. Go see for yourself, and give in to Pleasure!

Rocky Horror Show is at the Manchester Opera House until 25/02/23

Tickets available at: https://www.atgtickets.com/shows/the-rocky-horror-show/opera-house-manchester/

Interview | Momoko Hirata

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We spoke to Momoko Hirata, a principle dancer for Birmingham Royal Ballet ahead of the much-loved company’s return to The Lowry with their stunning Swan Lake next week.

Opening Night – Can you tell us a bit about Birmingham Royal Ballet’s Swan Lake and your role in the show?
Momoko Hirata – Swan Lake is an iconic love story between Prince Siegfried and the Swan Queen Odette, performed in 4 acts. I play the role of Odette/Odil so both the White Swan and the Black Swan.

ON – What would you say is the hardest part and what do you enjoy the most?
MH – The hardest part is definitely the technical challenge. It’s incredibly demanding as you play two different sides, one as the White Swan and the other as the Black Swan. Showing two different characters in one performance is a challenge in itself and Act 3 is especially technically challenging as you have to famously complete thirty two fouettés. But getting the chance to play two different people is also what I
enjoy the most.

ON – How do you prepare for a big role like this?
MH – We have a very intense rehearsal process but this part for me is familiar as I last played Odette/Odil three years ago just before Covid hit so we had to finish early. It’s weird as my body still kind of remembers the steps and everything. I’m really excited to pick up where we left off and push myself even further than three years ago.

ON – Can you tell us a bit about your dance background and history with
Birmingham Royal Ballet?
MH– I started dancing when I was five back in Japan which is where I’m from. I then came
to England to study at the Royal Ballet School. It’s really funny as the first ballet performance that I saw in London was actually Birmingham Royal Ballet’s Swan Lake. So for me Swan Lake is a very special ballet that I’ve always dreamt of being a
part of. I studied at the Royal Ballet School for two years and then joined Birmingham Royal Ballet. Again, Swan Lake was one of the first ballet’s I performed with the company. I joined BRB back in 2003 and this is now my fifth Swan Lake with the company. I’ve pretty much done every role as I joined in the Corps de Ballet and this is my third time playing Odette and Odil.

ON – What made you want to get into ballet?
MH – I always wanted to wear a tutu! I have two older sisters who both started ballet before me and I used to go and see their school performances when I was really young and just fell in love with the costumes. So that’s how I got into ballet really – I just wanted to be a princess in a tutu.

ON – Can you describe what a typical day looks like during the Swan Lake tour?
MH – Once we go on tour it’s slightly different to what we do here in Birmingham during the
rehearsal period. When we’re in the studio we have a class at 10.30am and then rehearse until 6.30pm five days a week so it’s pretty full on. Once we go on tour and are performing, principals do one or two shows a week so we have a bit more free time but obviously the pressure is really high.

ON -What are you hoping audiences will take away from Swan Lake?
MH – I always enjoy performing Swan Lake on stage and the music is so special so I hope that comes across to audiences. Everyone on stage is giving their heart out, not just the principles, but the Corps de Ballet too. You have sixteen swans dancing together all in line and I know from experience how hard it is to be in sync. I hope audiences appreciate that as well.

ON – Why should people come see Swan Lake?
MH – Swan Lake is so iconic – everything that you think of when you think of ballet is in there – and there’s something for everyone, from the big numbers to the sets and costumes and beautiful music.

BRB’s Swan Lake opens at The Lowry on Thursday 2nd March – Sat 4th March tickets available here.

Spring and Port Wine

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

What better place to revive this Bill Naughton classic, than his home town of Bolton, and in the beautiful setting of The Octagon Theatre. This venue compliments the play greatly: bringing us into the bossom of the Crompton family home. Here we meet the Cromptons: four adult children still living at home and their seemingly polar opposite parents – Daisy (Mina Anwar) and Rafe (Les Dennis).

The Crompton household is ruled by the iron fist of patriarch Rafe. It is where every penny is checked and accounted for, nobody goes without, and everyone contributes. While the siblings in the house feel bullied and stifled by their father and sorry for what their mother puts up with: Rafe, in his mind, feels like he is protecting his family and keeping them from hardship. Quite the opposite to their nosey and overfamiliar neighbour Betsy-Jane (Isabel Ford), who lives her life hiding behind the curtains in order to avoid the last person she borrowed a fiver from.

As the play begins, a series of events unfold, after youngest daughter Hilda (Natalie Blair) refuses to eat her Friday night tea of herring, much to her fathers annoyance. The consequences of this act of defiance are felt by all family members throughout the play. 

The script is sharp and witty. The set is well thought out and works so well in the round. There is much nostalgia with the set and costumes and music too. 

The cast are excellent, they tell the story so well. It is warm and funny and at times heartbreaking. And although this play is set in a time gone by, there are so many themes that we can identify with in our own more modern family lives. The lack of communication, parental disapproval, unconditional love and sibling rivalry.

Mina Anwar is outstanding as Daisy Crompton, she is hilarious when she needs to be, vulnerable in moments and at times you can feel her warmth wrap around you like the big hug only a mother could give. She and Les Dennis work wonderfully together on stage, and really engage us as an audience. Dennis shines when the armour of his character softens.

All four of the Crompton siblings should be congratulated in their performances, from Natalie Blair’s hilarious expressions and mannerisms of Hilda, to Gabriel Clark and Harold Ryan’s characterisations of the Crompton brothers, to Monica Sagar’s beautifully performed interpretation of serious sister Florence. Adam Fenton is excellent as the fiancé of Florence, who is seemingly the first person to stand up to Rafe. While the greatest laughs went to Isabel Ford for her hilarious portrayal of Betsy-Jane.

This play, performed 60 years after it was written doesn’t break down any barriers, or challenge our thinking in anyway, but it entertains, it’s wholesome, heartwarming and it’s told very well, by an excellent cast and in a fabulous setting. I laughed and laughed and I can’t think of a better reason to visit Bolton on a Tuesday night.

Spring and Port Wine is on at The Octagon until Saturday 4th March tickets available here.

All images by Pamela Raith Photography

Pride and Prejudice* (*sort of)

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

One things us Brits love is a bit of Pride and Prejudice, from BBC dramas to cinematic adaptations there’s a whopping appetite for Jane Austen’s iconic novel. However, it’s time for Colin Firth and his soggy shirt to step aside as this fabulous all-female cast prepare to retell events in their own unique and hilarious style.

Taking on the role of servants this five-strong company deliver their inventive spin on Austen’s work complete with befitting karaoke classics as they play the part of each character in this fast and furious homage. A little bit miffed that they never get to play characters with any depth or complexity, let alone enjoy a much longed for happy ending they set about righting this wrong to hilarious effect.

The fast-paced production is razor sharp from the off, there’s quick changes a plenty as the comedic chaos unfolds.

Directors Isobel McArthur and Simon Harvey never allow the pace to drop resulting in a hugely entertaining and surprisingly accurate piece of theatre. It’s daft, dynamic and oozes cheeky charm.

The cast complement each other perfectly, never once losing their stride, their comic timing is exceptional while their delivery of the multiple karaoke classics will make you wish you were heading to the nearest bar after the curtain call. Some of the song choices are an absolute stroke of genius making me wish there were a few more bangers to enjoy.

Each of the five cast are superb, taking on multiple characters with apparent ease. Dannie Harris’ fizz guzzling potty mouthed Mrs Bennet is a scream while her dashing Mr Darcy is every bit the mysterious and misunderstood man of the hour. Emmy Stonelake makes for a superb Elizabeth Bennet, her strong Welsh accent adding to her brilliant comedic delivery, she’s a no nonsense, tell it like it is kind of girl who certainly isn’t wasting her time holding out for a hero.

Megan Louise Wilson is super sweet as lovesick Jane in complete constant to imposing her Lady Catherine De Bourgh who gets one of the biggest laughs of the night. Lucy Gray shows incredible versatility as the lonely and longing Charlotte Lucas one moment followed by snide, spoil Caroline Bingley the next, while Leah Jamieson ramps the humour to another level with her ingenious characterisation of Mr Collins, drab, dull and desperate highlighting just how utterly absurd the minimal rights of women back then were.

Pride and Prejudice* (*sort of) is a joy: clever, current and absolutely hilarious. It takes the traditional and tips it on its head. This reinvented classic will no doubt become a firm favourite on the theatre scene as this new tour and talented cast enjoy standing ovations night after night. Perfect escapism that will leave you with a smile on your face and a strong urge to head to the nearest karaoke bar.

Pride and Prejudice* (*sort of) is on at The Lowry until Saturday 21st January, tickets available here.

Dick Whittington

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

The last mince pie may be long gone but the festive spirit continues at Warrington’s Parr Hall with this season’s panto offering, Dick Whittington.

Taking on the titular role of Dick is a hugely likeable and charismatic Amy Thompson from Channel 5’s Milkshake, who has walked from Gloucester to London with faithful cat Tommy in a bid to discover if the streets truly are paved with gold. Once there, Dick meets and falls in love with Alice (Amy Leek), however the course of true love never did run smooth as evil Queen Rat (Natalie Walton) is keen to try all she can to frame Dick as a thief, allowing her and her loyal mischief of rodent friends to take over the capital.

This Tony Peers Production gives exactly what you want from a traditional panto, there’s sparkly costumes, silly slapstick, plenty of opportunities to boo the baddie and a fabulously flamboyant dame in the form of the wonderful Mark Newell.

Jam-packed with witty one-liners and those traditional panto elements we all love – the doomed cookery scene, a hilarious take on the 12 Days of Christmas as well as a classic ghost and ghoulies scene, Dick Whittington delivers entirely.

This talented cast are clearly having great fun on stage and together with support from dancers from the Felicia Burns School of Dance offer a wonderful night of family entertainment.

Amy Thompson is brilliantly cast as Dick, engaging and entertaining with a strong voice to boot. The scenes between her and Amy Leek (Alice) work wonderfully with their voices complimenting each other beautifully. Leo Atkin and Daniel Dean keep the laughs coming as brilliant comedy duo Captain and Mate while Mark Newell makes for the perfect pantomime dame, sarcastic and dry he delivers a pitch perfect comedy performance.

Freya Ebbrell gives us a sparkling performance as the good fairy while Natalie Walton is the shade to Ebrell’s light as the evil Queen Rat, giving the audience as good as she gets and displaying her own incredible vocals when she gets her moment in the spotlight

Running at just over 2 hours including an interval, Dick Whittington is paced perfectly for families. Little ones were kept engaged throughout while there were plenty of cheeky jokes for the grownups to enjoy.

If you’re wanting to banish those January blues then get yourselves down to Warrington’s Parr Hall where this wonderful cast will treat you to a terrific time, oh yes they will!

Dick Whittington is on at the Parr Hall until Sunday 15th January tickets available here.

The Ocean at the End of the Lane

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

At the festive time, The Lowry, has always made some bold choices for their big Christmas show. Past shows have seen family favourites and classic works of literature brought to the Lyric Theatre stage with great success. Well, this Christmas the Lowry has made their boldest choice to date, with the National Theatre production of The Ocean at the End of the Lane and boy does it pay off. If the old saying of, “fortune favours the brave” is anything to go by then those rewards go to the audience members who will be treated to a gripping, powerful, fantasy, brought to life in truly jaw dropping fashion, with spectacular visuals and performances that will live long in the memory.

Based on the 2013 novel by Neil Gaiman and adapted by Joel Horwood, the production opens in the present day, as a nameless man (Trevor Fox), buries his father, he comes across a place familiar to him from his childhood, where he encounters a rather eccentric, yet familiar old lady. It is here that man is transported back to his 12th birthday where his world would change forever. 

Set in the early 1980’s the nameless boy (Keir Ogilvy) has stumbled on a truly shocking incident, his father (Fox in a dual role) attempts to shield him from this, fortunately a young woman, Lettie Hempstock (Millie Hikassa) offers to take the boy to her family farm until the incident is cleared up.

It’s down on the farm that the boy meets Lettie’s family: her mum Ginnie (Kemi-Bo Jacobs) and her granny, Old Mrs Hempstock (Finty Williams), the eccentric lady we met at the start. Through his friendship with Lettie that the boy witnesses a series of pretty freaky occurrences such as lifeless fish, dead from swallowing a 50 pence piece, Lettie and her family’s ability to predict the future right before it happens, talk of creatures that regularly infiltrate our world, and finally a puddle of water that is a portal to alternate reality.

Back at home the boy struggles with recent events, in addition there is a far from perfect homelife: he is motherless, has clashes and petty squabbles with his sister (Laurie Ogden), and an inability to communicate with a father trying to do the best he can with his children.

The situation becomes all the worse, when the eponymous young man and Lettie do battle with one of these invading beasts and unwittingly unleash another creature. The being infiltrates the boy’s home in the guise of glamorous lodger, Ursula (Charlie Brooks) who morphs into exactly what the family crave, a mother figure to the children and a companion and lover to the father.  Along with Lettie, and her family of strong-willed mystics, the boy must confront his fears in order to save his family, and himself from a monster that knows his every fear and every desire.

As productions go this is truly EPIC, and one that will astound, amaze and exhilarate its audience. After an initial gentle start where you try to figure out what’s going on, and what’s going to happen (I know all the fun stuff!) the action kicks off with a stunning and beautifully choreographed battle that begins a series of mind-blowing set pieces, which will enthral as they will send a shiver down the spine!

The performances are fantastic: Keir Ogilvy and Millie Hikasa are wonderful as the misfit, best friends, it’s a beautiful partnership filled with warmth, quirkiness and genuine friendship. The pair bounce off each other throughout and are the beating heart of the show. EastEnders Charlie Brooks, complete with Glen Close hair from Fatal Attraction is brilliant as wicked seductress, Ursula. Sometimes you wish Brookes would get to play a nice character for a change, but why should she when she does evil so well.

There are strong supporting performances throughout from Trevor Fox in a measured, restrained turn as the tired, beleaguered Dad, whilst Finty Williams and Laurie Ogden between them have the lion’s share of comedic lines.

Director Katy Rudd has masterfully brought this much cherished book to the stage using talent at the top of their game. The set design by Fly Davis is eerie, and intimidating, bringing the woods to life where most of the drama unfolds. Whilst the scenes in the Hampstock kitchen resemble that of a painting or a Peter Greenaway film.

The lighting and sound design by Paule Constable and Ian Dickinson respectively are pretty much perfect, atmospheric, and a proper shock to the senses when they need to be.

For older people like myself this is a hark back to fantasy adventure films of the 1980’s from Never Ending Story, Legend and The Return to Oz (the Wheelers I’m thinking of you!). Whilst younger audience members will associate this with Stranger Things. For fans of this genre, you’ll absolutely love this. However, it’s all that and so much more tackling issues such as loss, grief and the importance of talking to our loved ones.

It’s an unsettling, magical piece of theatre, which will blow you away and fully demonstrates just how good live theatre can be. I cannot urge you enough to go see this production this holiday season, so what you are waiting for go book your tickets NOW!

The Ocean at the End of the Lane is at the Lowry until 8th January, tickets available here.

The Snow Queen

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Chester Storyhouse are offering audiences a fabulously festive alternative to panto this year with an imaginative retelling of Hans Christian Andersen’s classic fairy tale, The Snow Queen.

Writer Charles Wray has adapted and opened up the story ensuring all four seasons get their moment in the spotlight while it’s themes of kindness and friendship remain a strong constant throughout as we see Gerda on her journey to find her best friend Cei who has been taken under the spell of the evil Snow Queen.

This modernised version feels bright and inventive with a strong cast who play multiple roles with an easy versatility. Rosemarie Akwafo gives us a loyal and determined Gerda who despite the odds never loses hope of finding her best friend again. Taona Matope displays strong versatility as carefree schoolboy Cei whose life is completely turned around by the evil Snow Queen.

Lucy Tuck makes for a super sinister baddie and in true Snow Queen fashion is sparklier than the Strictly Mirrorball but colder than ice. Special mention also to Chloe Wade, her comic timing as each of her various characters is superb. The supporting cast who each take on multiple roles are a joy, clearly having great fun in this heart-warming, inventive production. There’s a tap dancing reindeer, an almost homage to Barbie and Ken and a fabulous dance off.

Director Hannah Noone has really brought the fun to this story while singer-songwriter Mared Williams heads up a fantastic live band who add enormously to this musical adventure. They play some stunning music with equally as impressive vocals all while perched within the set above the audience.

Designer Jacob Hughes has transformed the Storyhouse theatre into a stunning winter scene, it’s visually beautiful and hugely atmospheric. The raised staging offers a fantastic view from every seat in this beautiful theatre, so important when there’s little ones in many of the seats.

The Snow Queen offers something for all, from young children to seniors every single member of the audience enjoyed getting swept away on this magical adventure. The small section of audience interaction was so much fun and made me wish there had been a little bit more but this is a really minor point amidst many, many positives. This exploration of good versus evil is adventurous as well as entertaining and will warm you from the tip of your toes to the top of your head.

The Snow Queen is on at Chester’s Storyhouse until Sunday 15th January tickets available here.