Kes

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️


‘You can’t train them, Kestrels, they’re the hardest bird to train…’

Adapted for the stage by Robert Alan Evans, ‘Kes’ is based on Barry Hines’ 1968 much loved and adored classic ‘ A Kestrel for a Knave.’ Set in a small mining town in South Yorkshire, Kes follows fifteen year-old Billy Casper, who is emotionally and physically mistreated by his mother, his school and society in general. A by-product of our unjust and discriminatory class system, Billy lives a pretty desolate life, until he finds meaning in rearing and training a kestral. Kes is a story of youth, social injustice, and humanity…

In his Director’s note, Banerjee explains, ‘…this isn’t Kes as we know it’ and he’s correct; this is a bold conceptual visceral piece of art, which most certainly maintains the essence of Hinde’s modern classic at it’s core, but with a raw modern twist. Banerjee has successfully assembled a talented team both on and off stage, who execute well to create this brave modern piece; Braithwaite’s beautifully rich and deeply moving sound composition is definitely a highlight and is really rather impressive and impactful throughout. This coupled with Field’s and Platt’s atmospheric set design and lighting design respectively, provide a wonderful back drop for this story to be reborn in a new imaginative theatrical way.

Although at times the piece can feel a little too abstract, making it hard to fully engage with, maintain focus and follow as the scenes and characters develop and interchange abruptly, the skilful actors continue to draw us back in time and time again for the duration of this one hour performance. All three performers work extremely hard throughout and their stage presence is quite remarkable. Each individual takes full ownership of and graces the space with finesse, allowing the story-telling of this powerful tale to unfold with style, poise and a whole lot of heart.

Whilst set in the 1960s, the themes of Kes most definitely still resonate in a 2022 post pandemic modern society. At the route, the same profound questions, of the same injustices, of the same failing social class system are still being explored, and therefore the story is still very much as relevant, fitting and powerful for today’s present-day audience as it was over 50 years ago.

A special mention has to go to Bolton Octagon. They’ve done a wonderful job with the opening of their brand new building;the welcome was warm, the space was inviting, it is everything regional theatre should be and boy how lucky are we to have this here in the North West, right on our doorsteps!

The Octagon Theatre and Theatre by the Lake’s Kes is a dark, powerful and bolshy adaptation of a much loved classic that certainly packs a heart felt punch.

Catch ‘Kes’ at the Octagon Theatre until Saturday 2nd April tickets available here.

Or at Theatre by the Lake from Wednesday 6th- Saturday 30th April tickets available here.

Carmen

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️1/2


Opera can often come across as an elite, members only club: well not anymore. Opera North have created an opera for the masses in this production of Carmen. It is a Spanish tale, told in French, of a prostitute, Carmen, who uses her charms and assets to make local soldiers fall for her and shower her in love.

Don Jose is one of those soldiers, who initially ignores her performance and attention seeking behaviour as he enters the bar. A fight erupts and Carmen is arrested and ordered to be locked up, but she charms Jose and manages to convince him to let her free, resulting in his own detention and prison sentence. The story then follows Carmen and Jose’s journey from prostitute and soldier to lovers and drug smugglers. Carmen eventually tires of Jose and moves on to the charismatic and showy Escamillo, leaving Jose heartbroken and to return to his sick mother. But their story does not end their as Jose later returns and is full of hatred which leads to tragedy.


This production is nothing like you’d expect from a classic opera, but everything you’d expect from Opera North. It’s contemporary, gritty and mesmerising. The talent on the stage is indescribable. Carmen, played by Chrystal E. Williams connects with the audience from the moment she enters the stage: She is vibrant and glamorous. She plays the character with a conviction that makes the audience invest in her journey so much so that the ending leaves us devastated, even though we know what’s coming. 

Sebastian Gueze (Don Jose) and Gyila Nagy (Escamillo) play the roles of Carmen’s love interest and together they are a force to be reckoned with. Throughout the production they take command of the audience and Gueze takes us on an extraordinary journey of the pain that love can inflict and the consequences that this can present.

Both Frasquita ( Amy Freston) and Mercedes (Helen Evora), Carmens friends and fellow prostitues/smugglers have the most incredible voices, along with the remarkable Alison Langer. These three women along with Williams encapture the essence of what it is to be a woman living in a man’s world.

Andres Duckworths solo dance opening at the beginning of Act 3 is a beautiful addition to this production. They moved with such grace and control, to give us a moment of pure beauty that will stay with the audience beyond the end of the show. An incredible talent. 

The chorus of Opera North are the stand out of this show, their voices work together to produce something that is spine tingling. The final scene is as incredible as it is due to the atmosphere created by the chorus. So many talented individuals brought together to create something outstanding. 

Colin Richmond (set design), Laura Hopkins (costume design), and Rick Fisher (lighting design) have got this absolutely perfect. The staging is incredible. I did not expect it have such an impact, there are moments where the set and all on it look like something out of a Hollywood movie. 

Antony Hermus and the orchestra are astonishing. The ease in which they navigate us through the narrative is magical and faultless.

Overall Opera North have taken this age old tale and dragged it into the modern world. There were however moments in the production where it was difficult to hear some of the solo voices and some of the choreography was stilted and felt forced. But that didn’t take away from the overall impact of the performance.


A special mention has to go to the BSL interpreter, who was nearly as engaging as the cast. It felt like he was as much part of the company as the lead performers and was an excellent and inclusive addition to this production at the Lowry.

Carmen is a feast for the senses and is like nothing I have ever seen. I wasn’t an opera fan before, but I certainly am now. I’ve quickly turned into Opera Norths biggest fan!

Further information and performances can be found here.

The Curious Incident of the Dog in the Night-Time

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The National Theatre’s multi award-winning production The Curious Incident of the Dog in The Night-Time, retuned to the North West this week, taking up residency until Saturday 12th March at Manchester’s Opera House.

The stage adaptation of Mark Haddon’s international best-selling novel is both captivating and deeply moving. Telling the story of fifteen-year-old Christopher Boone (David Breeds) who at the very beginning of the play discovers the murder of his neighbour’s dog, Wellington. Immediately under suspicion himself, Christopher sets about on a thorough and detailed investigation to discover exactly who has caused Wellington’s demise.

Christopher is an extraordinary boy; complex and remarkable; he sees the world in super fine detail. Colours are more vivid, sounds are louder, people are confusing, and the world is often a very overwhelming place.

As the story develops, we learn more about Christopher’s complexities as he struggles with communication and physical touch, even from his parents in the most difficult of situations. This proves extremely challenging for his parents at times, which results in an extremely powerful alternative connection being portrayed where he uses only his fingertips to connect with them. You can really feel the pain his mother is going through in these scenes which are beautifully portrayed.

David Breeds makes for an excellent Christopher, physically giving his all to the role you desperately want him to succeed and are utterly transfixed by his every move. His interaction with his schoolteacher Siobhan portrayed perfectly by Rebecca Root is wonderful, this gorgeous pairing really complement each other, her belief in his abilities is unshakable while her ability to calm him when life gets overwhelming is truly special.

Movement is a huge part of what makes this play so exceptional, Director Marianne Elliot along with Movement Directors Scott Graham, Steven Hoggett and Adrian Sutton have created something extremely memorable. The piece is visually stunning while the cast mesmerise as their fluid movement is seamless throughout.

Designer Bunny Christie, Lighting Designer Paule Constable, Video Designer Finn Ross and Sound Designer Ian Dickinson give the audience a remarkable insight into the heightened sensory world Christopher lives in. A real standout scene being when Christopher goes on a journey to London. The use of sound, lighting and physical theatre really brings the busy, bustling London Underground to life and allows us to see the world through Christopher’s eyes. It shows starkly just how harrowing navigating the world can be with a social disorder.

This thought-provoking, funny, inspiring play proves once again why it’s one of The National Theatre’s most loved productions. It’s full of heart, packed with humour and most importantly hope. Visually stunning with unforgettable storytelling, Curious Incident is theatre at its finest.

The Curious Incident of the Dog in the Night-Time is on at Manchester’s Opera House until Saturday 12th March, tickets available here.

Footloose

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Reviewed by Alison Ruck

Opening Night verdict ⭐️⭐️⭐️⭐️

Everybody cut loose… Footloose has returned to Manchester!

The feel-good all singing, all dancing musical follows the story of teenage rebel Ren McCormack who arrives in the small town of Bomont, and to his dismay finds that music, dancing and rock n roll is banned following a tragedy that struck the town 5 years prior. Ren, along with the town’s teenagers, take matters into their own hands and fight to bring joy back to the town. And what brings more joy than dancing!

The cast is led by Joshua Hawkins as Ren McCormack, the charming big city boy who shakes up the small town. Joshua is joined by Lucy Munden as the girl next door-cum-hellraiser Ariel Moore. The duo make a good pair and their effortlessly beautiful voices shine, particularly within their romantic duet ‘Almost Paradise’.

The leads are joined by TV personality, and star of numerous West End productions, Darren Day, as the firm Reverend Shaw Moore. Darren gave a strong performance, but the character as a whole leaves something to be desired. The deep scenes only seem to scratch the surface of the emotion that could be portrayed, although Day’s musicality and voice hold its own within this very talented cast.

The biggest surprise and star of the show has to be Jake Quickenden in the role of Willard Hewitt. Quickenden – best known for his role in Hollyoaks, winner of Dancing on Ice and previous Dream Boy – is a great fit for the role of tough boy Willard, really giving the character the energy and spark it needs and deserves. His comedy was sincere and easy and he displayed top notch vocals and dancing whilst even playing guitar on stage too.

One of the best elements of the show has to be the musicality that runs through the core of the production, as each member of the cast take on the role of orchestra within the midst of the onstage action. From flutes to guitar and saxophones, the cast wows as they bring the music right into the story. Not only playing an instrument but singing and dancing whilst doing so, making the cast not only triple threats but quadruple threats (if that’s even a thing?).

The choreography is fun and athletic, with lots of playful thrusting and the odd typical 80’s dance move thrown in, simply adding to the overall joyous nature of the musical.

The cast is very small, which sometimes can be felt in the dance numbers, as it misses the full stage production feel that can be expected with such large-scale musicals. With a main cast of 6 doing most of the dancing throughout, as other cast members do their best to join in whilst playing instruments, this does restrict the energy and scope of the choreography.

If you’re familiar with the film version, either the 1980’s Kevin Bacon classic or the more modern 2011 remake, you’ll know the musical features 80’s pop hits such as ‘Holding Out for a Hero, ‘Almost Paradise’, ‘Let’s Hear It For The Boy’ and of course the unforgettable title track ‘Footloose’. However, the other songs are more than forgettable in-between, which really holds the production back from its full potential.

Despite this, the songs that are known and loved from the show are its stand out moments. ‘Lets Hear it For The Boys’ is a real crowd pleaser – and not only because the audience is treated to a dance from a particularly popular cast member in gold hot pants…

‘Holding Out For A Hero’ is the perfect female powerhouse song, bringing together the wonderful voices of Lucy Munden, Oonagh Cox and Jess Barker combined with some pure 80’s music video vibes.

Overall Footloose is a joyful spectacle that will leave your toes tapping and face smiling. Just as in the story, the musical will remind you how amazing it can feel to really let loose and dance the night away.

You can catch Footloose at the Opera House, Manchester until Saturday 5th March, tickets available here.

9 to 5 The Musical

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewer: Matthew Forrest

Back in 1980, the film 9 to 5, was released, it starred Jane Fonda, Lily Tomlin and Dolly Parton and was a huge box office success. It still often makes the top 100 list of funniest films of all time. In addition, it took Parton from being a hugely popular singer to the global superstar and cultural icon that she is today.

On the basis of crowd reaction tonight, there is a great deal of affection for the film and that has rubbed off onto 9 to 5: The Musical, as throughout tonight’s performance many audience members could be heard uttering the next line before it was delivered, and those that didn’t still lapped up this fun and at times outrageous show!

Adapted for the stage by its original screenwriter Patricia Resnick, the plot remains true to the original as three secretaries extract revenge on their sexist, bigot of a boss, Frank Hart Jnr. Opening with narration from Dolly herself, via a video message we are introduced to Violet Newstead (Claire Sweeny), a widowed single mum, who runs the office in everything but pay grade and title. Then there is Doralee Rhodes (Stephanie Chandos), a happily married secretary to Hart Jnr, who he constantly sexually harasses.  Finally, Judy Bernly (Vivian Panka) is a timid young woman starting her first job after separating from her husband.

Following a series of injustices inflicted on all three women by Hart Jnr (Sean Needham) the ladies set out to not just extract revenge on the ‘boss from hell’ but also change the culture of the office and parity with their male counterparts plus better working conditions for all employees.

This is a fun romp that judging from tonight’s audience will go down a storm for its run at the Palace. Chandos does a great job of bringing “Dolly” to life with her turn as Doralee, full of sass and charm. Sweeney is equally good as Violet, the focal point of the production, her comic timing and fantastic voice highlight why she continues to have such a notable career in musical theatre. Making up the tremendous trio is UK stage debutant Panka who brings the house down with her rousing and powerful rendition of ‘Get Out and Stay Out’.

For me the highlight of the night belonged to Needham as the vile boss. His comic timing was bang on point, although his accent slipped at times it didn’t matter he was brilliant throughout even making the loathsome Hart Jnr, likeable.  His rendition of ‘Here for You’, was as hilarious as it was grotesque.

I would like to give special mention to Julia J Nagle, as Roz, whose unrequited love for the boss is a subplot that runs throughout, who very nearly steals the show, with the ridiculous ‘Heart to Hart’. Nagle, like the rest of the ensemble cast, are solid throughout.

9 to 5 The Musical is a fun show that provides much-needed escapism for 2 ½ hours, so what you are waiting for? Dig out your hairspray and your shoulder padded suit, for an office party like no other!

9 to 5 The Musical is on at the Palace Theatre till 5th March 2022

Tickets available: here.

Casting News | South Pacific

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Jamie Wilson, Jonathan Church Theatre Productions and Gavin Kalin are delighted to announce that Julian Ovenden will star as ‘Emile de Becque’ throughout the Sadler’s Wells season and UK Tour of the critically acclaimed, landmark Chichester Festival Theatre production of RODGERS & HAMMERSTEIN’S SOUTH PACIFIC alongside the previously announced Gina Beck as ‘Ensign Nellie Forbush’.

Julian and Gina will be joined by fellow members of the original Chichester Festival Theatre company; Rob Houchen as ‘Lieutenant Joseph Cable’, Joanna Ampil as ‘Bloody Mary’and Sera Maehara as ‘Liat’.

The production opens at Manchester Opera House on 16 July 2022 with tickets available here.

Chichester’s Artistic Director Daniel Evans, will once again direct Julian, Gina, Rob, Joanna and Sera as they reprise the roles they played to enormous critical and audience acclaim at Chichester Festival Theatre in the summer of 2021.

South Pacific | Manchester Opera House | Sat 16 Jul – Sat 24 Jul 2022

Mon – Sat at 19:30

Thu and Sat at 14:30

Tickets available here.

Fatal Attraction

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Reviewed by Paris Rogers

Opening Night verdict ⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

Private Lives

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©Tristram Kenton

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

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

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

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

Blood Brothers

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️

“So, did y’ hear the story of the Johnstone twins? As like each other as two new pins…”

I mean if you haven’t…where have you been!?

Willy Russell’s Blood Brothers seems to have been around forever, be that in the West End, touring or internationally for over 30 years and yet still maintains it’s huge magnetic pull, attracting repeated audiences and new ones alike.

Set in 1960’s Liverpool, Blood Brothers is the all engrossing and poignant tale of the Johnstone twins, ‘Mickey’ (Josh Capper) and ‘Eddie’ (Joel Benedict), who are painstaking separated at birth, by their struggling single mother Mrs Johnstone (Nikki Evans). Whilst one is given away to Mrs. Lyons (Paula Tappenden), the other is kept, highlighting just how different growing up on the opposite side of the class system can be. This story sees the coming together of love, friendship, social circumstances, superstition, destiny and their fateful consequences…

It’s now the middle of February 2022, and yet again we are still reminded of the ‘fateful’ consequences and uncertainty of making theatre in a pandemic, as for this evening’s performance there were a couple of last minute on the day cast changes, with Mickey being played by Josh Capper and Sammy by Pete Washington. It has to be said whilst both did a fantastic job fitting into the company seamlessly, special kudos must go to Capper for not only stepping into one of musical theatre’s most iconic shoes to keep the show alive, but also managing to do it successfully with the style, verve and charisma that is needed to pull off the role of Mickey.

Setting the scene of down-trodden council estate 1960’s Liverpool, we see the ensemble cast flourish. In particular Tim Churchill’s hilarious turn as the ‘Milkman’ and quick change to the ‘Gynaecologist’ is a crowd pleaser. It’s these scenes that light up the stage, beautifully juxtaposed and offsetting the audience for what’s to come later. Musically the ensemble numbers are really enjoyable and allows for a welcome escape, with ‘Kids’ Game’ and ‘Bright New Day’ being two of the highlights.

Malone’s band are faultless and the score provides some great songs. Mrs Johnstone (Nikki Evans) has the best of them, her beautifully rich, empathetic voice is perfect for the role and we feel all her emotions through it, particularly with her powerful rendition of the iconic ‘Tell Me its Not True,’ which is a show stand-out and devastates the whole auditorium.

Whilst Tomson’s production is sharp, slick and polished, with all aspects of the production extremely well crafted and excellently brought together, one could argue that this production is pretty much a carbon copy of the countless Bill Kenwright productions that have come before it and doesn’t necessarily bring anything new to the table. But the question is does it need to? After all there’s a reason Blood Brothers has stood the test of time both in the UK and internationally. It’s longevity is due to the grit and soul at the heart of the show, which however many times you watch it, is still there posing the same relevant questions about the same prevalent collective issues; be that the social class system or mental heath. This production still remains punchy, laugh-out-loud funny, heartwarming and heartbreaking all at the same time.

The ultimate standing ovation show, Blood Brothers has a bit of something for everyone. Whether you’ve seen it 10 times or you’re a first timer, Russell’s long standing smash-hit classic certainly makes for a wonderfully entertaining evening at the theatre.

Blood Brother’s runs at the Palace theatre, Manchester until Saturday 26th February tickets available here.

The Hound of The Baskervilles

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

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

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

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

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

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

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

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

The Rocky Horror Show

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There ain’t no party like a Rocky Horror Show party!

What an absolute feast for the senses this is. The cast, the music, the gags, the costumes, the lighting design, the choreography, the audience……everything was just as it should be – absolutely thrilling!

There is no other show in this world that grabs the audience and takes them on an journey of absolute wackiness and wild escapism like this ones does. 

The plot (loosely) centres around young, introverted couple – Brad, played by the truly delightful Ore Oduba, and Janet, played by the divine Haley Flagerty, who on their way home from a wedding become engaged just moments before their car breaks down. With no help to speak of, the couple take refuge in a nearby castle, where mayhem and sexual adventure awaits them.

The couple are greeted by Riff Raff (Kristian Lavercombe) who welcomes them in his own menacing manner and introduces them to the wild world of Frank N Furter (Stephen Webb) .

Frank is determined to sexually liberate these two young, naive souls on this special night, as he reveals his newest creation “Rocky” and boy does he liberate them indeed.

Lavercombe and Webb show us that it doesn’t matter how much time has passed since this show debuted (nearly 50 years!) or how many people have played these roles, it is possible for these characters to still be as mesmerising and engaging as they have ever been. Webb is simply outstanding – everything about his performance is sensational. He oozes confidence and swagger, and the audience are eating out of his hands from the moment he begins “Sweet Transvestite”. Even during the curtain call you can feel the audience willing him to sing us just one more number.

The audience participation in this show is something that has grown over time and the actors expect it and rise to the bait. Narrator, Philip Franks, is ready and waiting for the heckles and is hilarious in his quick comebacks and gags: the audience love him for it.

It’s obvious that many of the audience have been to the show plenty of times (and they certainly dressed for the occasion) but it’s not just for the veterans. It’s an experience for all adult theatre goers, who have a sense of adventure and aren’t easily offended. Not many shows have the entire audience up on it’s feet within the first fifteen minutes. Who doesn’t want to do the Timewarp on foggy Monday night in Manchester ?

There is, quite FRANKly, no other show in the world quite like this one.

The Rocky Horror Show is on at Manchester’s Palace Theatre until Saturday 22nd January tickets available here.

Aladdin

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

This year Sale Nomads celebrate their 75th birthday, and they kick off the festivities by delivering a fabulous production of Aladdin directed by Derek Stuart-Cole (his 40th year of Nomad pantomimes). This is panto at its most pure: gender role reversal, a storyline of good vs evil, slapstick comedy, elaborate costumes, audience participation and of course a comedic dame. 

This tale is set in China’s old Peking and follows the journey of Widow Twanky (Mike Sammon) and her sons; Aladdin (Jess Dyer) and Wishee Washee (Sean Botham) as they embark on their quest for wealth in order to free themselves from the evil clutches of Abanaazar (Peter Birch). Aladdin is torn between his love for Sheherezade (Niamh Rushton-Nutt) and his loyalty to his widowed mother.

The casting of Mike Sammon as the dame is a triumph. The audience falls in love with the hilarious dame from the minute she enters the stage. The costume department have excelled themselves and the snappy banter between Twanky and Abanaazar had us in stitches – some jokes in there just for the adults as is expected! And didn’t disappoint. 

There is an array of young talent in this production. The dances are well choreographed and the dancers themselves captured the attention of our mini reviewers, who were up and dancing in the aisle. The chorus and the children all deliver well rehearsed and confident performances. 

Abanaazar’s “henchmen”, Echo and Ditto (Jon Gardner) are an hilarious duo – their constant misunderstanding and comedic timing had us giggling away throughout the show. The two genies bring a sprinkling of magic to the show. 

Eventually, Aladdin finds his fortune in colourful Baghdad and we are treated to a magical carpet ride and a wonderful rendition of Flying without Wings by the talented Jess Dyer.

Aladdin is reunited with his true love and together Dyer and Rushton-Nutt (Sheherezade) deliver an astonishing version of Everything I do, I do for you. These two young women have talent by the bucketload- it’s hard to believe that this is amateur theatre. They are pitch perfect and ooze confidence. 

Sale is so fortunate to have a production of this standard on their doorstep – there is something for everyone in this and Sale Nomads should be congratulated on the standard of this wonderful production. If you haven’t seen it yet, get your tickets ! It’s an absolute must-see to wash away those January blues ! Tickets available for Wednesday 12th – Sunday 16th