Claus – The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️

Based on the children’s book, The Life and Adventures of Santa Claus by L. Frank Baum; (who famously wrote The Wonderful Wizard of Oz), comes a new, festive family show in the form of Claus – The Musical.

This new musical takes us right back to the days when Claus was a baby, abandoned in the magical forest of Burzee. Wood nymph Necile takes him in, despite the fact he is a human baby and is committed to love him as her own. With the helping hands of the other mystical forest inhabitants, fairies, knooks and ryls, Claus is taught all about the importance of kindness and love.

As Claus grows up he realises there is life beyond the immortals of the forest but sadly the human world in which he’s yet to fully explore is often a cruel and unforgiving place. Claus believes he has the ability to make a difference to the darkness in the human world and sets up home complete with his lioness guardian Shiegra by his side as his protector.

Claus starts spreading joy by gifting local children with carved wooden toys however the evil Awgwas are lurking nearby. Masters of disguise & adept at using their wicked influence to make children do naughty things; as soon as they discover the joy Claus is spreading they’re determined to put an end to his gifting and loving ways.

There are some lovely elements to this production, the cast sing the score beautifully and commit wholeheartedly to the storytelling which begins from the minute you enter the theatre. The set designed by Stuart J. Charlesworth is impressive using both the full height and width of the Lowry’s Quays theatre. The source material however is complex leaving the narrative at times tricky to follow. Narrator Alwyne Taylor guides us through as best she can but there’s such complexity involved even with her wonderful narration things just don’t quite make sense at times. It’s also fairly heavy in parts, laughs are few and the lightheartedness of a festive family show never really materialises.

The cast however shine & work their socks off throughout, Georgie Buckland gives us beautiful vocals as Necile while Harry Winchester is a wonderfully likeable Claus. Jazz Evans gives strong baddie vibes as King Awgwa lighting up each scene he is part of and inching us towards the audience interaction so many of us enjoy at Christmas.

Adapter Simon Warne has packed an awful lot in here confirming that sometimes less is definitely more. The message of kindness and love however is developed clearly enough for us all to take away & spread some for ourselves. Developing a new musical is no mean feat and praise must be given to the producers for offering audiences an alternative to the typical festive fayre even if it doesn’t quite fully hit that Christmas spot.

Claus – The Musical is on at The Lowry until Sunday 8th January tickets available here.

The Pantomime Adventures of Peter Pan

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Pic copyright Phil Tragen 2022

Crossroads Pantomimes brings us The Pantomime Adventures of Peter Pan. Based (loosely) on the book by JM Barrie, about the boy who could fly and never grows up. 

As the glittery curtain rises we meet Tink (Samara Casteallo), a flying fairy who can produce pixie dust, which allows other characters in Neverland to fly. Tink enrols the help of Wendy (Jessica Croll) to come to Neverland to help save Peter Pan (Ross Carpenter) and make him fly once more. Arch nemesis Captain Hook (Jason Manford) has other plans and aims to steal all of the pixie dust and get his revenge on Peter Pan.

At least I think that is the plot. The fact of the matter is that it doesn’t really matter what the plot is, this show is way bigger than the plot. The plot gets stretched and bent and twisted and we get distracted and we laugh and we clap and we dance and then we return to the plot for a moment and then off we go again.

Pic copyright Phil Tragen 2022

This is hands down THE best pantomime I have ever seen. I was worried that it was missing a “pop star” but that didn’t matter. I was worried that it was missing a “dame” but that didn’t matter. What really mattered was the astonishing partnership between Captain Hook (Jason Manford) and the incredibly talented Ben Nickless as Smee. From the minute the two are together on stage there are explosions of comic fireworks, which had us crying with laughter time and time again. 

Nickless returns to the Opera House for his fourth panto, but this year it’s different, this year he is a big star. He has had an incredible year on Britain’s Got Talented, and it’s given him the platform to take command of the stage. I loved him last year and didn’t think he could get any better, but somehow he has. Having two hilarious comedians in the show has made it doubly funny. They don’t compete with each other, the fit perfectly together.

Pic copyright Phil Tragen 2022

Manchester loves a northerner, so Manford is an excellent casting choice. The crowd absolutely love him, and for good reason: he can act, he can sing, and he is super funny. The way in which he breaks character every so often, works really well at engaging the audience. He has the crowd participation element of panto spot on!

Both Manford and Nickless were born to star together on stage in pantomime. The mermaid scene and the 12 days of Christmas had me in absolute stitches. I really hope we get to see them collaborate again in the future.

Pic copyright Phil Tragen 2022

The whole cast are tremendous, I can’t imagine it’s an easy feat sharing a stage with the huge personalities of Manford and Nickless, but it doesn’t phase them at all. Ross Carpenter is a beautiful Peter. I found him to be gentle and kind in character, with a spritely energy about him. 

I loved the addition of The Acromaniacs, like many elements of this production, their inclusion brings nothing to the plot, but it doesn’t matter because they’re fabulous. They bring a variety hall feel to the production and I loved it!

The ensemble are exemplary, they are seamlessly woven into the scenes, so much incredible talent and they keep us entertained throughout.

Pic copyright Phil Tragen 2022

Ian Westbrook’s set design is exquisite. The sound design, the special fx, the choreography, the costumes, the props, the lighting: all of it, is utter perfection. 

You don’t need to like panto to love this; this is modern panto – genuinely clever and very funny. It’s a panto for the young and the old. It’s for the northerners, the southerners and even the Aussies (hiya Jordan!). Life feels very heavy at the moment for so many people, there are so many things to be worried about and who knows what next year will bring, but spend two hours in the Opera House this festive season and somehow things will feel just a little bit lighter and brighter. The Pantomime Adventures of Peter Pan is exactly what we all need this Christmas, superb!

The Pantomime Adventures of Peter Pan is on at Manchester’s Opera House until Saturday 31st December tickets available here.

Goldilocks and The Three Bears

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Opening Night verdict ⭐️⭐️⭐️⭐️1/2

Reviewed by Matt Forrest

There are certain things in this country that we are renowned for throughout the land: the traditional Sunday roast, the England men’s football team crash out of major tournaments via a missed penalty kick, and of course, celebrating Christmas with a panto! This year the Epstein Theatre is putting on a show, suitable for kids from one to ninety-two!

Goldilocks and the Three Bears sees circus owner, Dame Gertie (Mama G), and her beautiful daughter (Olivia Sloyan) struggling to keep their ‘Big Top’ open. They have a loyal band of employees ready to muck in and go above and beyond to save the circus which include Silly Billy (Brandon McCaffery) and The Ringmaster (David Tag), who both have fallen in love with Goldilocks.

To make matters worse, there is a rival circus in town, headed by the evil Baron Von Vippenall (Timothy Lucas), who has a penchant for animal whips and cruelty. The rival shows are in need of a knockout act that will bring the crowds in, and with rumour of some bears living in the woods nearby, maybe they can become the star attraction both circuses need, but who will get to them in time?

This has everything you want from a panto, spectacular song and dance numbers, stunning acrobatics, visual gags a plenty, some jokes for the kids and a few for the adults too! Add into the mix some super soakers, some fire juggling and an adorable children’s sing-along to close the show and you have the perfect festive family night out.

The show is anchored by two outstanding performances. Timothy Lucas is clearly having a ball as the villainous Baron Von Vippenall, I’ve not heard a more outrageous German accent since the late great Alan Rickman fell from the Nakatomi Plaza! He goads and taunts the audience throughout and his appearance never failed to bring a smile to my face.

Whilst Britain’s Got Talent star Mama G is in fine form as our traditional panto dame. It’s a charismatic performance filled with sass while Mama G displays some wonderful comic timing to match the spectacular outfits.

Olivia Sloyan and Hollyoaks star David Tag are the perfect pairing, both in fine voice, making a lovely couple and a pair of heroes you can’t help but root for. 

Brandon McCaffery does a grand job of getting kids involved as Silly Billy – he had the kids hollering in all the right places; it’s a performance as daft as it is fun. The supporting cast worked their socks off throughout, with some great routines and some nice bits of ‘improv’ when some cast members hilariously went off script.

There are numerous big song and dance numbers with the highlights being a dark and brooding version of Queen’s The Show Must Go On,which features some stunning visuals, whilst a near full cast rendition of There’s No Business Like Show Business is just one of many highlights.

With this being Liverpool, there are plenty of cheeky local gags and a few marking this year’s political upheaval for you to enjoy, which go down a treat with the older members of the audience. It’s a hilarious, silly, and thoroughly entertaining production from start to finish, the perfect antidote to World Cup disappointment and Christmas reruns on the telly!

Goldilocks and The Three Bears is on at The Epstein Theatre until 1st January tickets available here.

Cinderella

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

When it comes to festive family fun you can always rely on Regal Entertainments to deliver the goods. There’s no expense is spared in this year’s panto, giving us not one but two stars of Britain’s Got Talent (three including Chuck), Corrie’s Kimberley Hart-Simpson and St Helen’s panto favourite Lewis Devine. Add to this a fabulous Prince Charming in the form of Joe Sleight, a magical Fairy Godmother played by Rachael Wood and two glorious ugly sisters, Kristopher Bosch and Richard Aucott and you’ve certainly got all the ingredients for a whole heap of fun.

This glittering production is everything you’d want from a panto from lavish sets to elaborate costumes, Cinderella ticks every box. The witty script is littered with local references, stuffed with silliness and there’s even a TikTok dance thrown into the mix. There’s audience participation a-go-go as well as a perfect mix of much-loved chart hits from recent No.1’s to musical theatre favourites.

Kimberley Hart-Simpson makes for a wonderful Cinderella, she’s extremely likeable with great comic timing and a superb singing voice. Lewis Devine is brilliant fun as Buttons, the two of them have some fantastic scenes together made even funnier with the addition of love rival Prince Charming (Joe Sleight) thrown into the mix. All three seriously impress on the vocal front and are clearly loving every manic minute on stage.

Britain’s Got Talent stars Jon Courtenay, Jamie Leahay and Chuck are used to great effect both as characters within the storyline then entertainers at the palace ball where both are given the opportunity to let their talent shine. The ugly sisters Borisina (Richard Aucott) and Trussiana (Kristopher Bosch) are wicked fun with some of the best pantomime dame costumes I’ve ever seen.

Director Chantelle Nolan has thrown in some really magical moments which are greeted with gasps of delight, plus of course some mischievous surprises to keep us on our toes. Choreographer Nazene Langfield has gifted both the adult and juvenile dancers with some beautiful routines which lift the already sparkling ensemble scenes. Special mention must go to Lewis Devine, Jon Courtenay and Rachael Wood who somehow manage to get through a hilariously chaotic 12 Days of Christmas, a real highlight of the show and exactly what panto is all about.

This is a real family friendly show, suitable for all ages with plenty to keep little ones engaged as well as the cheeky gags us older theatre goers like to listen out for. The final transformation scene is as special and as sparkly as it gets, giving us the happy ending we’d all hoped for. If you’re in need of some Christmas cheer then get yourself down to St Helens Theatre Royal where they’re dishing it out daily!

Cinderella is on at St Helens Theatre Royal until Sunday 8th January tickets available here.

Betty! A sort of Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

In their local village hall, The Dewsbury Players: a unique blend of am-dram performers, have come together to celebrate their finest export and local hero, Betty Boothroyd, the first female Speaker of the House of Commons and arguably one of politics most fascinating characters.

With their individual visions on how best to do Miss Boothroyd justice, not to mention their wildly varied beliefs, the players are committed to uniting artistically to create a musical Dewsbury will never forget. The problem is, director Meredith (Maxine Peake) has falsely informed the BBC that the group offer a tad more diversity and community value than in reality; so, when BBC exec Adrita (Lena Kaur) turns up to rehearsals things take a rather creative and chaotic turn.

This play-within-a-play created by Maxine Peake and Seiriol Davies (who also stars as Calvin) is a riot. It’s bonkers, brilliant fun with a gorgeous message of love and acceptance at its heart. There’s laugh out loud political parody and some absolute genius lines while the script touchingly shines a light on each of the wonderful characters making up the group. Their observations on life are spot on, sharp, witty and entirely relatable.

The musical numbers are where the creative team have really had some fun, poking a gentle ribbing at traditional musicals; there’s enthusiastic choreography, musical theatre clichés and heart-warming solos all delivered with tongue firmly in cheek. Musical director Sarah Dyer leads a slick four-piece band who demonstrate an incredible range as they deliver both rousing ballads and rock-tastic numbers with precision.

Maxine Peake leads this ensemble cast brilliantly, firstly as demanding director Meredith, sniping constantly at her cast despite desperately needing them to fulfil her dramatic ambitions. Then second act she is transformed into the straight-talking, charismatic Boothroyd ready to take on the House in the challenges that befall her.

Co-writer Davies is a treat as Calvin, bursting with enthusiasm and a mediator to all, he delivers some of the shows most memorable and outrageously over the top moments brilliantly. Eva Scott portrays Angela, Meredith’s subdued and self-conscious daughter beautifully, showing her versatility throughout as she channels her inner confidence spurred on by the arrival of former friend Adrita.

Joan Kempson displays sharp comic timing as Hazel, the salt of the earth grandma who blasts out the one-liners and is poles apart from condescending Meredith. Carla Henry is a joy as Tracy, a former West End star who’s light still shines in Dewsbury despite her issues with her hubby at home and her weak ankle. I cried laughing at her Ian Paisley, no spoilers here but I’ll never hear Riverdance and not think of her performance. Lena Kaur’s take on BBC exec is spot on whilst her second act transformation is inspired.

Betty! A sort of Musical does exactly what it says on the tin, gives you a belly full of laughs and leaves you with a smile on your face. There are musical numbers which could maybe benefit from a little trimming, but this is a minor quibble on what’s a brilliantly entertaining show. This heady reminder of days when politicians stood for decency and duty is a whirlwind of hilarious, heart-warming fun. A welcome and well observed reminder of the importance of community and common ground.

Betty! A sort of Musical is on at the Royal Exchange until Saturday 14th January tickets available here.

Images Johan Persson

The Night the Frost Fell

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Oldham Theatre Workshop’s Christmas show is always a highlight of the festive season and this year is no exception. The Night The Frost Fell is a beautiful production which will warm even the coldest of hearts.

This magical family musical is set in a town living under a curse when one night Jack Frost arrives and as the frost falls, time too is frozen. The curse which was due to man’s greed has resulted in a loss of balance within the seasons, affecting the lives of all the townsfolk. There’s only Bobbi who can save the day and lift the curse so off she goes with some gingerbread in her pocket and her trusty friend Mala for company.

Writer Sarah Nelson and composer James Atherton have produced a magical piece of theatre with a wonderful message which is gently interwoven into the narrative. The songs and music are beautiful while the multiple surprises drew gasps of delight from the little ones (and some big ones) in the audience. The intimate setting at Oldham Library’s Performance Space makes this show feel super special while the talented cast of seven whisk you away on this wintry adventure.

Hope Yolanda is superb as Bobbi, her storytelling is clear while her beautiful voice is note perfect. Naomi Bynon is a joy in each of her roles and has a real warmth with the audience as well as stunning vocals. Ella Lovelady’s characterisation as Aunt Truda especially is fantastic while the addition of Farhaan Shah playing the violin alongside his multiple parts adds a real richness to James Atherton’s melodic score.

This original story is engaging and uplifting. The talented cast slip into different roles with ease while the simplicity of the set is used to great effect allowing the storytelling to really shine. With magical surprises and a heroine to truly believe in The Night the Frost fell will charm young and old alike. Enchanting family theatre.

The Night the Frost Fell is on at Oldham Library Performance Space, from Saturday 3rd to Saturday 24th December tickets available here.

Neil Gaiman | The Ocean at the End of the Lane | Interview

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The forthcoming tour of the National Theatre’s adaptation of the award-winning book The Ocean at the End of the Lane is coming to The Lowry in Salford. Author Neil Gaiman answers our questions.

The book is loosely based on your childhood. What was the starting point?

The book began with me wanting to try and explain to my wife where I grew up and what that world was like. She could take me to her childhood home because it’s still the same, but I couldn’t take her to where I grew up [in East Grinstead] because the place had long since been demolished; lots of lovely neat little housing estates covered the gardens and the fields and lanes. So for me it was kind of an effort to try and evoke a past and a sense of place.  An interesting side of it for me too was that I realised that I hadn’t heard, for a very long time, the Sussex accent of my childhood. Mrs Weller came in and cleaned once a week and Mr Weller came in and did the gardens. They were probably in their 80s and they had proper Sussex accents – almost like a West Country burr. I resolved to write a novel with that in too.

How did you create the Hempstocks?

I was told by my mother – quite erroneously, I discovered, when I did my research – that the farm half-way down our lane was in the Doomsday Book. And that was the start of the Hempstocks in my head; who they were and what I wanted to do with them.

Do you find writing about family especially fascinating?

I don’t think I’ve ever been able to avoid writing about family, even when I thought I was writing about something else. Whether it’s biological family or the family we make. In the novel I created a semi-fictional family for myself, and in the play version it was one step further away from my family, which I think looking back on is incredibly healthy! But the boy is definitely me.

Neil Gaiman

The play received amazing reviews when it premiered. Without any spoilers, do you have any favourite moments?

There is something astounding about the moment when they enter the ocean. That completely fascinates me. And you’re going to see miracles made out of bits of rubbish and old plastic bags and nightmarish birds beyond your imagination. It still takes me by surprise every time I watch.

Is it true that you were so moved by the play when you saw it in rehearsals that you cried?

I saw the first full run through. About ten minutes from the end I had tears running down my face. I thought that this was terribly embarrassing and I was discreetly trying to flick them away.

You describe yourself as a storyteller. What inspired you to be a writer?

I’m not sure that all writers are frustrated performers, but for me it was the joy in getting to be all of the characters. As a writer you get to do that. Being a kid who loved books I could think of nothing cooler than giving people the pleasure that I got.

The Ocean at the End of the Lane opens at The Lowry on Monday 12th December and runs until Sunday 8th January tickets available here.

A Christmas Carol

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

On the 1st Day of Christmas Shakespeare North gave to me…a fabulous, festive, fun adaptation of Dickens iconic A Christmas Carol filled with heart, and heaps of humour!

This being their 1st ever Christmas season Shakespeare North Playhouse have pulled out all the stops to ensure their version of A Christmas Carol is one theatre goers won’t forget in a hurry. It’s fast-paced, laugh out loud funny and wonderfully entertaining as four talented actor-musicians take on multiple roles and multiple instruments, spreading more than a little Christmas cheer as they go.

Nick Lane’s creative adaptation directed wonderfully by Ellie Hurt takes the original story and gives it a real Prescot feel with the addition of localised references and regional jokes all of which are lapped up by the invested audience. Add a little music, melodic songs plus plenty of audience participation (yes we even get to shout ‘It’s behind you!’) and you’ve got the perfect recipe for a real Christmas cracker!

This cast of four go all-out in ensuring no one will leave the Cockpit theatre without a smile on their face as they act, sing, dance and play their way through this super slick production.

We begin in Scrooge’s house where his staff (well most of them) are keen to tell his story; with a little encouragement from each other as well as the audience the storytelling begins.

Zoe West is superb as Ebeneezer Scrooge, snarling and sarky living up to every inch of the name. Her characterisation is wonderful, embodying the miserable miser to perfection ensuring Scrooge’s journey resonates entirely.

Jessica Dives creeps us all out as the ghost of Christmas past, weird and wacky in her haunting, complete with a horror homage, red ballon. Abigail Middleton as the Ghost of Christmas Present ensures we all absolutely get the joke while Eddy Westbury as the Ghost of Christmas yet-to-come has a little problem with autocorrect which has the audience howling.

In addition to the ghosts this versatile cast play Jacob Marley, Bob Cratchit and Tiny Tim to name but a few, each is as creative and hilarious as the last. Their musicianship is a joy as they effortlessly pick up multiple instruments throughout & play them with ease.

It’s uplifting and silly but also offers a thought provoking focus on the plight of those in need bringing us bang up to date with voices from local residents affected by the cost of living crisis. This element is so cleverly interwoven that its poignancy feels strongly effective.

Simisola Majekodunmi’s lighting design adds just the right amount of atmosphere while designer Hannah Sibai makes wonderful use of the Playhouse’s versatile space, no mean feat when working in the round.

The cast do an excellent job of sweeping us up and taking us along on Scrooge’s life-changing journey, involving us wholeheartedly in the witty telling of the beloved tale.

This is feel-good festive theatre that strikes a perfect balance between professional and accessible. It is theatre for all in a stunning new regional space that feels exciting and inviting. If this is what Shakespeare North Playhouse do in year one I can’t wait to see what lies ahead!

A Christmas Carol is on at Shakespeare North Playhouse until Saturday 7th Jan tickets available here.

Images by Patch Dolan

The Man Who Wanted To Be A Penguin

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

This is the story of an interesting and eccentric man, who is an explorer and inventor at heart. Living in “The Shed” spending his time “solving problems” The Man (Steve Salt) is beginning to realise that perhaps his neighbours and friends aren’t as interested in the same things that he is and when he plans a birthday party (albeit at very short notice) and nobody turns up, it is the final straw. 

Spurred on by the delivery, from the lovely postal worker (Loretta Hope), of a globe, The Man decides that he is going to visit Antarctica and become a penguin.

Along the way he meets a bearded explorer, and together they face the harsh challenges of snow and blizzards. From here The Man begins to finally feel a part of something, for the first time. 

Steve Salt and Loretta Hope are just wonderful, they are so at ease together on stage and together they capture the imaginations of the audience. The physical theatre of this piece is exquisite, Director Niki McCretton has devised a way in which the narrative is told through very little dialogue in parts and it works so well: it’s like a beautifully choreographed dance.

The set and puppets and props by Holly Miller are just wonderful; the use of duvets for snow works so majestically.

This company does what it aims to do – “make memorable and rewarding shows” – it is a show written for children, about being true to yourself, challenging yourself, accepting others and building friendships. What else could we possible want for our children this Christmas?

The stars of the show were, of course, the penguins. So many sizes, so many designs, all so utterly adorable. My children were keen to get home to write “a penguin” on their Christmas list.

The Man Who Wanted To Be A Penguin is on at Waterside Arts until Saturday 31st December tickets available here.

The Mousetrap

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

It is incredible to think that this play has been performed by so many actors in its 70 year run. 70 years of different generations of theatre goers sitting in auditoriums gripped by this timeless murder mystery. Laughing at the same jokes, and all asking themselves over and over “who dunit?”.

As the curtain rises for Act one, we encounter the splendid view of Mr and Mrs Ralston’s drawing room, which has been converted into Monkswell Manor guest house in order to for them to be able to afford to keep this family home. Firstly, Mrs Ralston (Joelle Dyson) enters wearing a dark overcoat, a felt hat and a light scarf and hurriedly hides something in a bureau, before quickly leaving the room. Next to enter is Mr Ralston (Laurence Pears) wearing a dark overcoat, a felt hat and a light scarf and he too hurriedly hides something before disappearing off stage. I’m fact all of the guests who arrive, arrive wearing the same garments, something that becomes extremely significant as the plot unfolds.

The Ralstons are keen to welcome their first ever guests, but with no staff to help them they appear slightly out of their depth, with the cooking, cleaning and entertaining to take care of. As they ready themselves for their opening night, we learn from the news report on the wireless of a brutal murder that has taken place in London earlier that day. 

Before long the guests begin to arrive; firstly, is the nit-picking Mrs Boyle, played by Gwyneth Strong. From the moment she arrives she is less than impressed with the guest house and her fellow guests, especially the second guest to arrive: the animated and hilarious Christopher Wren, played by Elliot Clay. His arrival is followed by the kind-hearted, and ever helpful Major Metcalf (Nicholas Maude) and finally the last scheduled guest – the unconventional Miss Casewell.

As all the guests settle into their rooms and get to know each other a loud knock at the door catches them unawares. There are no other guests due to arrive….Enter Mr Paravicini (John Altman) who claims to have rolled his flash car further down the lane and is in need of a place to stay. Something doesn’t seem right about this chancer, but there is no option but to welcome him in from the cold. 

The guests are barely settled when a telephone call from the police puts everyone on edge. A detective is to descend on the guest house with some important news.

Young and dashing Detective Sergeant Trotter, arrives on skis to inform all at Monkswell house that they are infact now murder suspects, and at least one of them could be the next murder victim. With everyone now cut off from civilisation, thanks to a timely blizzard and the unfortunate cutting of the telephone wire, it’s is up to the detective to solve the crime and keep everyone safe. But who could possibly be a violent killer and what is their motive?

I was not expecting this play to be as witty and funny as it is. The pace is mostly quick, the set really helps with the pacing of the narrative, as the cast enter and leave through varying doors and corridors.

The cast are absolutely superb, each and every one of them. Dyson and Pears make a wonderful duo as husband and wife, they are perfectly charming. Elliot Clay is exceptional – he was the stand out performer for me tonight: he is funny and energetic and portrays Christopher Wren’s vulnerability in a way that we are able to see the depth of his character. Gwyneth Strong is excellent as the cantankerous Mrs Boyle, she really gets the audience against her from the get go! Nichola Maude and Essie Barrow are perfectly cast in their roles and both have a wonderful presence on stage. John Altman plays Paravincini with the right balance of humour and sleaziness. And finally Joseph Reed: he takes command of this play, his dialogue is sharp and controlled. He controls the pace and the narrative with professionalism throughout. 

I watched this play continually questioning who was the nurderer and who was a red herring – and low and behold I didn’t have a clue and would never have guessed it! But it’s a secret, so I’m not telling! 

I’m generally not a big Agatha Christie fan, but this isn’t a typical Christie play, it’s got something more wonderful to it. The issues raised in this 70 year old play are still relevant today, the characters are easy to identify with, it isn’t just about posh people and a murder plot. It’s about acceptance, truth, the class system, gender stereotypes and dealing with your past before it catches up with you. This play is genuinely funny, and captivating yet tragic at the same time, a great night out.

The Mousetrap is on at Manchester’s Opera House until Saturday 3rd December tickets available here.

Robin Hood

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

Oldham Coliseum Theatre pantomime ‘Robin Hood’.

This year’s Christmas extravaganza from Oldham Coliseum, is the tale of everyone’s favourite thief, Robin Hood, who steals from the rich to give to the poor – what’s not to love! 

I took my three-year-old along, and I was a little worried that she would be too young, but she absolutely loved it. She was totally mesmerised from start to finish. This show is filled with tonnes of energy and heaps of pizazz!

This is a wonderful ensemble cast with strong performances from all in this high-energy and hugely entertaining production.

Oldham Coliseum Theatre pantomime ‘Robin Hood’.

The young dancers (the Merry Men), choreographed by Adele Taylor, are simply wonderful. They have the audience dancing in their seats: every performance is delivered with great energy and enthusiasm as they blend with the adult company seamlessly.

Nelly Nurse (Charlie Ryan) and Friar Tuck (William Travis) were the stars of the show for me. Their interaction with the audience helped to keep the young ones engaged throughout. Nelly’s outfits, by Celia Perkins, are exceptional and exactly what you’d expect for the Dame. Charlie Ryan is a really fantastic dame – he gives us so many laughs from cheeky jokes to poking fun at politicians, he’s also really loveable.

Liz Carney gives us a perfect pantomime villain as The Sheriff, she’s wonderfully wicked and laps up the boos from the audience while Shorelle Hepkin who saves the day as Robin Hood has a wonderful warmth and on stage rapport.

Celia Perkins’ colourful stage design is bright and inviting, gifting this cast with a wonderful Sherwood in which to entertain us.

Oldham Coliseum Theatre pantomime ‘Robin Hood’.

Oldham Coliseum give us everything you’d hope for from a classic panto; from shouts of “he’s behind you” to thigh slapping gags and plenty of opportunities for booing and hissing. What works really well in this production is the use of contemporary music to entertain the audience adding to the many laugh out loud moments. There were a few schools’ groups in for the show I saw, and they were absolutely loving it, joining in with the songs and cheering the cast.

A true sign of a good panto is always how the audience engages, and there is no one harder to engage than a teenager – but this cast had them eating out of their hands. Oldham Coliseum have well and truly delivered with this panto. It is a must see for all the family, a real Christmas cracker!

Robin Hood is on at Oldham Coliseum until Saturday 7th January tickets available here.

Matthew Bourne’s Sleeping Beauty

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Reviewed by Matthew Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Celebrating its 10-year anniversary, Matthew Bourne’s Sleeping Beauty is out on a national tour, and as night follows day with Bourne’s productions it arrives at the Lowry just in time for the transition from Autumn to Winter.

This is the third in Bourne’s Tchaikovsky trilogy of ballets, which transports us to 1890. King Benedict (Danny Reubens) and Queen Eleanor (Kayla Collymore) have everything other than what they desire the most, a child. For this they enter into a pact with Carabosse (Paris Fitzpatrick), a dark fairy with extraordinary powers. Princess Aurora is delivered to the happy couple, but the situation soon turns sour as Carabosse feels slighted by the lack of recognition she receives from the king and queen and plots a revenge on the royal family, targeting Princess Aurora.

However, Princess Aurora has a great number of guardian angels looking out for her. First there is her nanny, Miss Maddox (Stephanie Billers), and the palace serving staff. In addition, the Princess is under the protection of Count Lilac, (Dominic North), the King of the Fairies and his troupe of fairies. A failed attempt by Carabosse to get to Aurora is thwarted by Count Lilac, and her many protectors. However it is revealed what fate awaits Aurora, that of an eternal slumber unless she is awakened by her true love.

The action shifts to 1911. Carabosse is no more, however Caradoc, (Paris Fitzpatrick in a dual role) her son has vowed to continue his mother’s vendetta.

Princess Aurora (Ashley Shaw) has now come of age. She is being courted by numerous suitors from the aristocracy, however she only has eyes for the Royal Gamekeeper, Leo (Andrew Monaghan), and he feels the same way. Despite the love they have for one another they must keep their relationship a secret, which allows Caradoc to take advantage of the situation, implementing his mother’s plot and extracting the ultimate revenge. If Leo has any hope of breaking the curse he must use the help of Count Lilac, which sees the story take an unexpected but not unwelcome detour.

There is so much to enjoy and admire about Bourne’s take on this classic fairy-tale. The movement of the entire cast is exquisite, light, and fun throughout. It manages to draw you in and hold your attention from start to finish.

The playful energy is apparent from the get-go with the introduction of baby Aurora, a feisty, ball of energy, climbing the curtains and causing all manner of mischief. Other highlights are the introduction of Count Lilac and his fairies, a real treat for the eyes, a great sense of fun set against the backdrop of a huge intimidating full moon, it looks fantastic. Whilst the courtship between Aurora and Leo is a joy, played like a farce, it’s a lot of fun which could lead to an alternative title of ‘Carry on Princess’.

This is billed “A Gothic Romance”, and boy does it deliver, visually it looks stunning. The sumptuous costumes and set design by long time Bourne collaborator Lez Brotherston is a mix of vibrance and colour in stark contrast with the dark, brooding castles and forbidden forests. It fully captures that aesthetic we come to expect from classic fairy tales. One sequence where we see two faceless dancers, is as beautiful as it is haunting, and such a powerful image.

Personally, I always like the humour Bourne pumps into his productions, from the huge set pieces, with baby Aurora, to little visual gags, that puncture the production, it always makes the shows warmer and more accessible.

This is everything you’d expect from one of the world’s leading Choreographers. He takes a traditional fairy tale, tinkers with its format slightly, injects it with warmth, humour and gives it a soul, finally to be played out by a team of performers and creatives all at the top of their game. It’s a winning formula that will entertain and delight, culminating in a fantastic visual experience, well worth a trip to the theatre.

Matthew Bourne’s Sleeping Beauty is at the Lowry until the 26th November. Tickets available here.