Rock of Ages

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Reviewed by Nicky Jones

Opening Night verdict ⭐️⭐️⭐️⭐️

Bringing the audience straight back to 1987, Rock of Ages opens with a guitar solo which had the audience whooping, cheering and clapping from the very beginning!

This riotous rock ‘n’ roll extravaganza is back entertaining audiences of Manchester once again, featuring all your favourite 80s rock hits including Don’t Stop Believing (Journey), We Built This City (Starship) and Hit Me With Your Best Shot (Pat Benatar).

The show is put together in true jukebox style, with incredible vocals coming from both the leads and the ensemble.

The plot of Rock of Ages is a classic love story – a small-town girl Sherrie (Rhiannon Chesterman) has moved to the big city to achieve her dreams of being a Hollywood actress.

She meets wannabe rock star Drew (Luke Walsh) and they clearly have chemistry right from the start, however throughout the show the couple face challenges which prevent them being together. These include friend-zoning, following their dreams, love-rival rock stars like Stacee Jaxx (Kevin Clifton), who focuses his interests on making his ego bigger and doesn’t care who he hurts along the way – much to the disappointment of Sherrie – and two German property developers wanting to take away their hotspot venue and the place that’s given them a chance; The Bourbon Room.


Throughout the show, humour was embedded into both the writing and the performances. Lonny (Joe Gash) interacts with the audience with tongue and cheek jokes – even picking on an audience member and repeatedly returning to her as the subject of his jokes. All of his lines were delivered with endless amounts of energy and brought so much joy to the auditorium. This was a real highlight of the show. He had impeccable comedic timing and had everyone belly laughing after each delivered line. This is a really fun side to the script that really keeps the show moving, especially as the show doesn’t have a strong narrative. However, this doesn’t matter as the cast totally rock the stage without a strong plot – which is what the audiences are really there to see!


A stand out scene was Regina (Rhiannon Chesterman) and Franz (Andrew Carthy)’s Hit Me With Your Best Shot – it’s outrageous, camp and just a scream – it’ll keep you laughing right until the end of the show!


The staging and production totally make you feel like you’re back in the 1980s at a rock gig – the lighting is bright, retro amplifiers are all over back wall and the live band are centre stage.

The night was tied up with an audience favourite ‘Don’t Stop Believing’, which had everybody up dancing and clapping with huge smiles back on their faces.

Kevin Clifton gave a touching speech after the final few notes – thanking everybody for supporting live theatre once again.

Overall, this show is a complete team effort from the cast. There isn’t one or two stand out leads, but instead the whole cast continually bring each scene to life.

It’s big, it’s bold and it’s been entertaining audiences for years! It’s a fantastic night out of nostalgia – don’t miss it whilst it’s back in Manchester.


Rock of Ages is at the Opera House until Saturday 9th October 2021 tickets available here.

Going The Distance

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Written by Henry Filloux-Bennett and Yasmeen Khan, digital production Going The Distance, directed by Felicity Montagu is a touching and often hilarious look at the plight of local theatres during the pandemic.

March 2020 saw theatres across the UK forced to close their doors, with no real promise of reopening in sight, the fight for survival well and truly began.

Going The Distance introduces us the players of Matchborough Community Theatre, desperate to survive and on an incredibly limited budget a decision is made to create their very own version of the Wizard of Oz; offering opportunities for local residents to get involved and come together to create something magical, which will in turn secure the future of the much-loved theatre.

Well, that’s the theory, in practice complex relationships, mismatched ideas and a wannabe diva who is more Hollyoaks than Hollywood provide a recipe for a hilariously bumpy ride. Add to this a genuine warmth and poignancy as the impact of the pandemic is seen through various character’s eyes and this heart-warming piece begins to feel much deeper than at first you may have anticipated.

Head of Marketing Rae is portrayed brilliantly by Sarah Hadland, her eye-rolling frustration at the less tech savvy members of the team clear for all to see. Penny Ryder delivers a touching performance as Maggie, demonstrating perfectly how a theatre is much more than just bricks and mortar. Her monologue towards the end of the piece beautifully reminding us of the importance of local theatres not just as performance spaces but as a place at the very heart of the community; this opportunity for community creativity is wonderfully displayed via Gail’s journey, delivered perfectly by Emma McDonald, complimented beautifully by Merch Husey’s sensitive Kem.

Bickering former couple Frank and Vic, (Matthew Kelly and Shobna Gulati) add a familiar reality to the piece while Nicole Evans as Billie is an all too recognisable character for anyone who has ever been involved in a community project, brilliantly written, and fantastically delivered.

Going The Distance is a cleverly crafted reflection on the past 18 months and the far-reaching effects of the pandemic. It’s wittily told while importantly the laughs don’t detract from its thought-provoking poignancy. At around 75 mins straight through Going the Distance is a real love letter to local theatres and the individual characters who make them what they are, a place for all to feel entertained, involved and uplifted.

You can watch Going the Distance online from Monday 4th October until Sunday 17th October, tickets available here.

The Wiz – Full casting revealed

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Hope Mill Theatre, Ameena Hamid Productions & Chuchu Nwagu Productions today announces the cast for a radical new version of the award-winning Broadway musical The Wiz, which will be this year’s festive offering.

Directed by Matthew Xia (‘Into the Woods’, Royal Exchange), The Wiz is a joyous retelling of L. Frank Baum’s classic children’s novel ‘The Wonderful Wizard of Oz’ reflecting contemporary African-American culture. Its 1975 Broadway premiere production won seven Tony Awards, including Best Musical.

Matthew Xia said: “The Wiz is approaching its 50th anniversary, it now exists within the canon of mainstream musicals and it’s due time for some bold reinvention. Originally a funk and soul-based analogy for the African-American experience, in 2021 Manchester we’re offering a contemporary take
on the discovery of self-determination and Black joy with this celebration of Black culture across the
African diaspora.”

The cast is made up of Cherelle Wiliams is Dorothy; Tarik Frimpong, Scarecrow; Llewellyn Graham, Tin Man; Jonathan Andre, Lion; Cameron Bernard Jones, The Wiz; Anelisa Lamola, Addaperle; Bree Smith,
Aunt Em & Glinda; Kofi Dennis, Lord High; Ashh Blackwood, Evillene. Ensemble: Andile Mabhena,
Shayna McPherson, Dylan Gordon-Jones, Samantha Shuma, Marisha Morgan.

The show is produced by Hope Mill Theatre, Ameena Hamid Productions & Chuchu Nwagu Productions.
Creative team: Director Matthew Xia; Musical Supervisor and Orchestrations Sean Green; Musical
Director Ehsaan Shivarani; Choreographer Leah Hill; Design Simon Kenny; Associate Costume Design
Maybelle Laye; Lighting Design Simisola Majekodunmi; Sound Design Tony Gayle; Casting Director
Ryan Carter; Casting Mentor Anne Vosser.

Musical Supervisor Sean Green has created new orchestrations. “In thinking about how much the music is loved, I had the thought What if the music was a love letter to black music? I started hearing all sorts of music within the DNA of the score. This exploration has allowed me to incorporate various genres from across the African Diaspora in the new orchestrations which, alongside the funk and soul in the original, really adds depth and colour to the world that we’re creating with this production.”

The Wiz will run from Wednesday 24 November 2021 to Sunday 16 January 2022 tickets are available here.

Love n Stuff

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️

‘…Thought your home was India?’ ‘No, it’s wherever you are.’

Tanika Gupta hits the sweet spot and gets the right blend of heart-filled sentiment and outlandish laugh-out-loud humour to make ‘Love n stuff’ a warm and uplifting way to re-open the Coliseum after so long.

‘Love n Stuff’ which first premiered at Theatre Royal Stratford East in London in 2013, centres around the marriage of Bindi and Mansoor, played by Komal Amin and Maanuv Thiara respectively.

“Beef with the missus?” “No she doesn’t eat beef. She’s Hindu.” Its a story of marriage; the good, the bad and the everything in between. A story of the things that divide us and the things that unite us, but ultimately a story of (yep you guessed it) ‘love!’

As we take our seats waiting for the performance to start, we find ourselves inside a departure lounge at Heathrow Airport, the irony and nostalgia of which isn’t lost on us as we wait patiently after the last 18 months of travel restrictions, for a holiday… Oh and for the show to start!

Mansoor is waiting for his ‘delayed’ one-way flight to India, whilst his wife (and seemingly their entire neighbourhood) have other plans.

In-between the ‘Love’ there certainly is A LOT of other ‘Stuff’ going on. Amin and Thiara mutli-roleplay the entire show (13+ characters) themselves. It is indeed no mean feat that they are on stage and hold the audience’s attention for the entire 1 hour and 20 minutes. Their multi-roleplaying is of exceptional standard and range; from an over zealous duty-free assistant, to an erotic-obsessed temple guide. There is no limit as Amin cross-genders with the embodiment of the young South-Londoner ‘Baggy’ with panache. Both Amin and Thiara really do flourish in their portrayals of such a vast array of characters, whilst at the same time showcasing their ability to switch back and forth between each one, using mainly just their physicality and voice, with pin-point precision and great efficacy.

Although with so much going on it occasionally may feel a little challenging to connect emotionally with the piece, Buttoo’s direction ensures that whilst chaos ensues, its organised. Sibai’s slick, smart and simple, yet versatile set, allows the storytelling to unravel smoothly, equally aided by Sayeed and McCready’s culture-rich music and Taylor’s precise lighting design, the scenes are established and evolve quickly and effectively.

It’s hard to believe ‘Love n Stuff’ is the Coliseum’s first in-house produced show since February 2020. A joyful and poignant way to burst open the much loved doors of the Coliseum and the hearts of it’s audience, which on a side note, felt more diverse then ever. Kudos to the Coliseum for their continuous hard work engaging and connecting with different parts of it’s identity, culture and the outer community.

This Autumn, for a laugh-out-loud, heart warming theatrical experience, all you need is LOVE (n Stuff).

‘Love n Stuff’ runs at Oldham Coliseum until Saturday 2nd of October – here.

‘Love n Stuff’ also visits:

Watford Palace Theatre – Tuesday 5th – Saturday 9th October 2021 here.

Sheffield Crucible Studio- Wednesday 13th- Saturday 16th October here.

Glee & Me

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Reviewed by Alison Ruck

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Oh, how wonderful it is to be back at The Royal Exchange Theatre, and what better timing than to be back on their 45th birthday! And what a way to celebrate with the world premiere of Glee & Me.

Let’s dive straight into the deep stuff – the eternal question…what is the meaning of life? A question I’m sure we’ve all pondered at some point in our lives… but the thought of it leads to some sort of existential dread. Well, that question is one that Lola seeks to find the answer to, after she gets the horrific news that she is terminally ill. So, she sets herself a promise to do two things: discover the meaning of life – and have all the sex!

Glee & Me is written by Stuart Slade and won The Bruntwood prize for playwriting in 2019. It tells the story of a sharp-witted, sixteen-year-old Lola, who is diagnosed with a malignant brain tumour. Despite the way the title reads, it’s not at all a play filled with ‘glee’, on the contrary as glee stands for the shortened version of the particular brain tumour Lola is battling against, glioblastoma multiforme.

The one-woman play is as equally heart breaking as it is quick witted and humorous. Liv Hill as Lola is absolutely sensational. At no point did I believe I was watching an actress on stage: I was there with Lola, listening intently as she tells us her story. Raw, beautiful and poignant.

Slade’s story is a sad one, but its also one of love, hope and gratitude. There are some beautifully written lines, of an almost poetic nature, leaving you to ponder your own life and the love within it.  Contrasted with the sharp-witted character he has created, the humorous elements not only add light to what is a dark topic but draws you into Lola’s story even more, helping you relate to her relationships, her youthful nature and her troubles.

There is no better space for this production than The Royal Exchange, as the in-the round environment of the theatre only added to the conversational dimensions of the play. The stage and lighting design, by Anna Yates and Jess Bernberg, were carefully considered not only for the space but for the desolate moments with the play to draw you back to the painful reality that Lola was experiencing. The subtle lighting changes revealed and extenuated the pain and difficulties that Lola faced, becoming more frequent throughout the play and climaxing to a peaceful and enriching ending.

Yet even in these darkest moments of the play, you’re quickly snapped out of them back to the hilarious one liners and relatable topics that had the audience thoroughly amused. It’s an ode to a great writer and a great actress for a play such as this (and a relatively short 1 hour 25 minutes straight through), to make you both laugh out loud and then cry within minutes.

The heart wrenchingly beautiful play is one that needs to be experienced by audiences, and I hope and expect to see this production do great things in the future. Glee & Me is a reminder to us all to find joy even in the darkest of times, something which we have all strived for in the last year or so. As Lola says, “You’ve got to laugh, or it’ll destroy you”.

Glee & Me is on at The Royal Exchange until Saturday 30th October tickets available here.

Bat Out Of Hell

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Reviewed by Michelle Ewen

Opening Night Verdict ⭐️⭐️⭐️⭐️⭐️

The ‘Bat’ is back in town! Four long years since its world premiere at the Opera House Manchester in 2017, Bat Out of Hell – the award-winning hit musical – has finally come home to Quay Street. Announcing its return with a victorious lap of roaring motorcycles, smoking tyres, gasoline fumes and lashings of leather, this is a production you could see, hear and taste before anyone had even set foot on stage!  

A frenetic fusion of Peter Pan meets Mad Max, Jim Steinman originally conceived Meatloaf’s Bat Out of Hell as a musical. It took four decades for that vision to be fulfilled – and it was worth the wait.

Enter Strat (Glenn Adamson), the charismatic leader of The Lost – a collective of rock n’ roll-loving misfits who, following a DNA-freezing earthquake, are condemned to be forever 18. Living in a network of tunnels beneath Obsidian (formerly known as Manhattan), The Lost are the scourge of city leader Falco (Rob Fowler), whose disaffected daughter Raven (Martha Kirby) and hilariously disenchanted wife Sloane (Sharon Sexton) reside with him in Falco Towers.

When Raven discovers a discarded T-shirt following The Lost’s latest protest in Falco Square, she locks eyes with its owner – Strat – setting the two on a romantic collision course that bristles with high-octane energy. Raven is as determined to become one of The Lost as her parents are to stop her, but with their own relationship in dire need of a fuel injection, can Falco and Sloane get on the same page when it comes to their daughter’s future?

Scored with nearly 20 Meatloaf and Jim Steinman classics, this rambunctious rock opera comes screaming out of the gates with ‘All Revved Up with No Place to Go/Wasted Youth’. Act One continues to pack a punch with a sizzling ‘Paradise by the Dashboard Light’ – memorably staged atop of a convertible car – and an achingly tender rendition of ‘Two Out of Three Ain’t Bad’ by out-of-step lovebirds Zahara (Joelle Moses) and Jagwire (James Chisholm). 

By contrast, Act Two starts its engine in comparative idle – a flurry of duets slowing the pace right down. Once again, Fowler and Sexton – reprising their original roles – stand out with ‘What Part of My Body Hurts the Most’, whilst Tink (Killian Thomas Lefevre) infuses ‘Not Allowed to Love’ with palpable yearning. When ‘Dead Ringer for Love’ kicks in, the production bursts back into life; then it’s a home run of stone-cold classics right to the final curtain.

This is one sexy, fleshy, no-holds-barred production with flashes of pink thong, straddled laps galore and blood-smeared abs all making an appearance on stage. Not for the faint-hearted, Jay Scheib’s superb direction errs towards comedy rather than grotesque – lending a light-hearted feel to the whole production.

There was so much to love about the cast in Version 1.0 of this musical, but rest assured, those who are returning for Version 2.0 can find joy in the performances of the latest additions to the billing. 

Glenn Adamson’s Strat is fresh and enchanting, embodying the ‘forever young’ aesthetic of The Lost, whilst Martha Kirby’s Raven is his perfect ‘Wendy’ – a wistful romantic on the cusp of love; however, the standout performance is BOOH veteran Sharon Sexton as Sloane, who goes for every laugh and smashes every vocal.  

Jon Bausor understood the assignment – bringing us a set and costume design that hits every dystopian note. Falco Towers, suspended above ‘The Deep End’ and revealed to us via roaming videocam, is a particular triumph. It feels like a truly innovative use of space, as throbbing motorcycles, a vintage car and a sofa take it in turns to appear and disappear stage left and right.

Xena Gusthart’s clever choreography gives every member of the ensemble the opportunity to shine – especially during the riot scenes and the ‘push me-pull me’ love ballads.  

Of course, this production is all about Steinman’s music. Under the supervision of Michael Reed, the band are an absolute knockout – bringing us home with a final surprise number dedicated to the hitmaker who passed in April this year. Having bounced around in their seats and sung their hearts out, the audience is finally unleashed to give a roaring ovation. 

For this reviewer, Bat Out of Hell continues to be the benchmark by which all musicals are measured… For Crying Out Loud, You Know I Love You.  

Bat Out of Hell is on at the Opera House until Saturday, 2 October. Find out more and purchase tickets here.

Everybody’s Talking About Jamie

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

If you’re looking for a post pandemic pick-me-up then look no further, get yourself down to The Lowry and immerse yourself in this heart-warming gem of a show.

After debuting at Sheffield’s crucible theatre in 2017 the West End beckoned for the inspiring story of Jamie New, a 16 year old boy with dragtastic plans in life.

Based on the true story of Jamie Campbell and inspired by the BBC3 documentary Jamie: Drag Queen at 16 the show delves into the life of Jamie New; on the surface fearless and fabulous, underneath sensitive and scarred, but always true to himself.

Layton Williams returns to the role after playing Jamie in the West End and absolutely shines. His sass and sarcasm ensuring every brilliantly witty line lands while his vulnerability leaves you yearning for him to succeed.

Amy Ellen Richardson brings grit and soul to Jamie’s Mum, Margaret; her 2nd half delivery of He’s My Boy left me with more than a lump in my throat & thankful I’d packed the tissues; absolutely stunning.

Jamie’s relationship with Margaret, a strong, determined, single mum lies at the very heart of the piece and shapes the story beautifully. Williams and Richardson convince entirely; the ease in which they share the stage together illustrates the fiercely unconditional love between mother and son to perfection.

Shobna Gulati as Ray, Margaret’s best friend and often substitute parent for Jamie is fantastic, bringing humour and iconic Northern female strength to the role she’s as loyal as they come and as much family as any blood relative.

Shane Ritchie acts as Drag Mother Hugo/Loco Chanel bringing depth to the role as the former drag queen with their own multi-layered story to tell, a cheerleader to Jamie and instant hit with the audience. Another important cheerleader in Jamie’s life is best friend Pritti portrayed wonderfully by Sharan Phull. Her calm resilience and loving encouragement are incredibly touching.

The themes of inclusivity and individuality are delivered with true authenticity. There’s nothing gimmicky about this show, the story feels real and truly heartfelt. While the slick ensemble numbers thrill, with the excellent ensemble showcasing Kate Prince’s choreography superbly it’s the quieter moments that draw you in, ensuring you’re #TeamJamie from the start.

The journey school bully Dean (George Sampson) goes on isn’t brash or obvious but one of a new understanding through education and removal of fear.

Like many of us, theatre makers have had an incredibly difficult time during the pandemic but seeing a show as joyful and uplifting as this reminds you just how affecting and inspiring theatre can be.

Packed full of witty one liners, superb songs & stunning choreography Everybody’s Talking About Jamie is a life-affirming celebration. An absolute must-see bursting with joy and heart.

Everybody’s Talking About Jamie is on at The Lowry until Sunday 12th September tickets available https://thelowry.com/whats-on/everybodys-talking-about-jamie/

The Rocky Horror Show

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Reviewed by Nicky Jones

Opening Night verdict ⭐️⭐️⭐️⭐️

Manchester’s Opera House re-opening week has been filled with glitz, glamour and fabulous fancy dress – the raucous Rocky Horror Show is back in town on Manchester Pride week!

As we headed into the venue surrounded by fishnet stockings, French maid’s outfits and copious amounts of sparkle, it was certain we were in for an incredible night of entertainment.

Rapidly heading towards its 50th anniversary, cult phenomenon The Rocky Horror Show is still as popular as ever. Even before the show began the audience erupted in cheers and applause, as the best-dressed audience member stole the limelight – entering the auditorium in his very own fabulous Frank-N-Furter costume.

The show begins with high energy from the audience, as the opening number Science Fiction/Double Feature proved a big hit. The story begins with Janet (Hayley Flaherty) and Brad (Ore Oduba)’s day not really going as planned, as the prim and proper couple break down in their car and attempt to seek help at the creepy castle two miles down the road. Considering all they wanted to do was borrow a phone, the pair get a lot more than they bargained for.

The show really kicks in once we meet Frank-N-Furter (Stephen Webb) and the full ensemble – everybody was up dancing and singing along within the first 30 minutes of the show. There was no waiting for the inevitable Time Warp curtain call here! The audience also built up a gorgeous atmosphere during Brad and Janet’s A Light Over at the Frankenstein Place, taking out their phone torches and glow sticks out for the number.

A stand-out performance comes from Narrator – Philip Franks. His quick wit, cheeky jokes and comedic timing had the audience shouting out heckles from his first line, and his jokes rely on an equally quick-witted loyal audience playing along with him. He did not get caught out once, and he gave it back as quick as he got it!

The Time Warp arrived in the show much earlier than I expected, and it had the whole auditorium up and dancing. Frank-N-Furter’s entrance was another stand out moment, with Sweet Transvestite being lapped up by the audience. It was raunchy, sassy and vocally powerful.

The creative team have done a superb job to create such a visually stunning show, from the set to the costumes. The set transitions beautifully from rainy windswept roads to the castle interior, and each one sets the scene perfectly. The costumes have a modern twist, but keep a close match to the character’s classic outfits from the original 1975 film. All of the costumes are clearly well loved throughout the show’s loyal fanbase, with some remarkable fancy dress being showcased within the auditorium and all over the cities bars following the show, I’m sure.

This show is a guaranteed party which features many timeless classics, including the show-stopping Time Warp. Catch The Rocky Horror Show in Manchester until Sunday 29th August – it’s the perfect way to start your Pride weekend! Tickets available here: https://www.atgtickets.com/shows/the-rocky-horror-show/opera-house-manchester/

The Woman In Black

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Reviewed by Alison Ruck

Opening Night verdict ⭐️⭐️⭐️⭐️


A horror on stage? How on earth will that work? A question I asked myself before seeing this production. Susan Hill’s acclaimed ghost story: you may or may not be familiar with the 2012 film starring Daniel Radcliffe, whilst the big screen benefits from visual trickery and CGI effects that would have you believe everything you see, a live theatrical performance with a mere cast of two doesn’t benefit from these luxuries.

As stated from The Actor played by Antony Eden, an audience can use their imagination, and as truth be told your imagination will be the thing that haunts you the most through this production.


Arthur Kipps, played by Robert Goodale, is a lawyer obsessed with a curse that he believes was cast over him by The Woman in Black. He engages a young actor, played by Mr Eden, to help him tell his terrifying story. As we begin to observe the innocent and jovial play within a play, the story delves deeper into Kipps’ darkest memories, and you find yourself whisked away to an eerie estate in the country as they share his chilling tale.

Goodale and Eden present two very well-rounded characters. Goodale’s initial reservations about ‘acting’ out his tale of dread soon give way to a brilliant multi-role performance through which he changes with ease. His farcical moments give the piece much needed release from tension, ultimately lulling you into a false sense of security!

Eden offers a solid performance from start to finish, mimicking the reality of the audience by experiencing the horror as he tells it.

The sparce, seemingly small spacing is drenched with cloth and minimal décor, immediately creating that unsettling atmosphere, and as the production unravels the wonder of the staging is made apparent. The clever use of staging combined with simple yet effective lighting, creates the illusion of the manor house where the terrifying events took place. The shadows, created by the lighting designer (Kevin Sleep) epitomises a true and classic horror façade, amplifying those eerie scenes of anticipation and fear.

The Palace theatre seams the perfect setting: the theatre that dates back to 1891, seemed to creek through the silences, and every footstep or rustling from the audience was magnified by the expectant thrill of horror within the production.

The simple yet well-timed elements of surprise and jumpy moments were presented ingeniously. The audience follow each one with a laugh at their own vulnerability, which instinctively and somewhat disappointingly releases you from the clutches of Kipps’ tale. 

The sound design, by Sebastian Frost, is yet another element that makes your spine tingle and your hands grip ever so slightly tighter to the seat. This in some ways achieves that big screen cinema feel of surround sound, with the clinkering noises and deathly screams echoing all around you and the theatre, thus mirroring perfectly the horror unfolding on stage from the two brilliant actors.

The power of the production truly lies in the suspense and expectancy. As a piece of theatre I really enjoyed it, but as a big horror fan watching a horror play, I wanted more: more suspense, more jumps, more thrill. However, this could be seen as a testament to the production that it left me wanting more of the elements it does so well. 

Overall a brilliant piece of theatre – though not for the weak of heart. If you’re looking for a thrilling evening of suspense and classic horror then this thrilling ghost story will satisfy your imagination. 

Playing at the Palace Theatre, Manchester until Saturday 28thAugust. 

Tickets from £13: https://www.atgtickets.com/shows/the-woman-in-black/palace-theatre-manchester/

The Play That Goes Wrong

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Reviewed by Nicky Jones

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Tony-award winning The Play That Goes Wrong is always undoubtably going to provide a night of hysterical laughter and shock moments – and the Cornley Polytechnic Drama Society are currently back at The Lowry with their production Murder at Haversham Manor!

It’s no secret that things are going to go wrong, and as you take to your seat the disasters have already begun. A Duran Duran CD and Winston the dog are lost within the auditorium and a frantic search for them has begun. The fourth wall is broken and audience participation is encouraged from the moment you take your seat, and that’s when you know this is not going to be any ordinary murder mystery…

Laughter takes over the auditorium before the lights have even gone down. The technicians are working away on-stage, repairing bits of the set which already aren’t staying where they’re supposed to. Once the lights go down, we are welcomed by the Director Chris Bean (Tom Bulpett) and once we hear the alternative names of some of their past productions (James, Where’s Your Peach?, Cat, The Lion and the Wardrobe), we know that things may not go quite as planned.

Throughout the play we are introduced to the society members, and it’s incredible how much hilarity they bring to the stage. These include first time performer Max Bennett, who plays Cecil Haversham (Tom Babbage), Sandra Wilkinson as the newly widowed Florence Colleymoore (April Hughes), and Dennis Tyde as Perkins (Edward Howells). In addition, they are supported by the technical crew of Trevor (Gabriel Paul) and Annie (Laura Kirman) – whose backstage roles may have to be left behind more than once during the performance.

It’s one of those productions that you could see over and over again, and each time you see it you’ll spot more hilarious moments, catch more witty lines and laugh even harder. At the beginning of act two, you think to yourself “the set is already barren and hanging by its hinges, how much more wrong can it go?!”. As the set crumbles around the actors, the comedy gets more and more chaotic. Props are bursting into flames, the study has collapsed onto the ground below, actors are getting knocked out – and you cannot quite believe that this is all happening in front of your eyes.

The comedic timing of the actors is impeccable, and the fun they are having on stage really shines through into the audience. It’s an absolute delight of a show, and will bring a smile to faces of all ages.

Mischief Theatre’s A Play That Goes Wrong is at The Lowry until Sunday 22nd August – https://thelowry.com/whats-on/the-play-that-goes-wrong/

Anna X

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Reviewed by Michelle Ewen

Opening Night verdict ⭐️⭐️⭐️⭐️

A cautionary tale for the digital age, Anna X opens with the chance meeting of an art world protégé and a tech start-up entrepreneur on their first night in New York. They are both chasing celebrity, money and power but, for one of them, success will depend on fooling the other. Wrapped up in their own fakery, the question is: Which carefully spun ‘avatar’ – fuelled by social media – will unravel first? 

This ambitious production brings together the powerhouse pairing of Golden Globe award winner Emma Corrin (Netflix’s The Crown) in the titular role of Anna X and the Royal Television Society’s 2019 Breakthrough star Nabhaan Rizwan (Informer, BBC), who is Ariel – founder of @GenesisApp. 

Between them, Corrin and Rizwan also play a cast of colourful supporting characters. Ranging from Anna’s sleazy magazine editor boss to Ariel’s key investor and former lover, they slip into each new role with a swift accent change.

It is a tall order to carry the entire production, delivering Joseph Charlton’s (Brilliant Jerks, VAULT Festival) sparkling dialogue without a beat, but this dynamic duo is more than up to the challenge – injecting their delivery with a lightness and deftness of touch that is a joy to behold.

On paper, both main characters should be contemptible. One is a fake oil heiress who is hellbent on fooling the New York art world. The other has created ‘Illuminati Tinder’ – an exclusive matching service where only the elite class get to date and have sex. Yet somehow, Corrin and Rizwan manage to make these pair of rogues likeable. Statuesque and commanding, Corrin imbues her Anna X with a beguiling sense of adventure, whereas Rizwan’s Ariel is a naïve dreamer who is only too willing to follow her lead. 

The laughs and comedic undertones are genuine, plus Charlton’s pointed commentary on everything from Instagram ‘likes’ to modern art serves to remind us that in today’s world, values and morality are increasingly subjective. (As Anna herself says: “If you lie in America and it gets you what you want, you’re an entrepreneur, not a criminal.”)

Whilst this play has some serious storytelling ‘chops’ – having been inspired in part by the exploits of real-life New York socialite Anna Sorokin – it is the set and video by Mikaela Liakata and Tal Yarden, and Jessica Hung Han Yun’s kinetic lighting that earns this reviewer’s plaudits. 

An ever-changing video screen serves as a shape-shifting backdrop – morphing from New York’s skyline to San Francisco’s Golden Gate Bridge, with pulsating nightclubs and dingy smoking stoops in between. The technology is used at its inventive best to depict rapid-fire WhatsApp messages or subtitled dialogue yelled over throbbing music and slicing strobe lights.

Simple cubes create levels on the otherwise sparse stage, which Corrin and Rizwan reimagine as balconies, hotel beds and office desks – all under Daniel Raggett’s playful direction.

It all adds up to an artful deception and, as Anna X says: “The world wants to be deceived… Give them what they want.”

Coming to the North by way of Sonia Friedman Productions’ RE:EMERGE season at the West End, Anna X is playing at The Lowry until Saturday, 14 August. Further information can be found here.

RENT

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

9 months after its original opening night which heartbreakingly coincided with the eve of the 2nd national lockdown it’s fair to say the cast, crew and creatives of Rent have never given up hope that their show would be seen by live audiences; cue a weekend of sell-out previews followed by a spectacular gala night, confirming that Rent is back, with renewed passion, urgency, and an overwhelming sense of triumph.

This gritty rock musical, set in New York’s East Village introduces us to a group of bohemian artists who despite their daily struggles, battle through life with determination and heart, strengthened by a deep-seated love and genuine friendship which connects them wholeheartedly. They too are living through unprecedented times as the AIDS epidemic sweeps through their streets and the elite want them cleared out of the neighbourhood.

Director Luke Sheppard and his team have created a truly mesmerising production, adding depth and energy to characters many musical theatre fans feel they know so well. The passion and thrill at being back on stage radiates from each performer with Tom Jackson Greaves’ punchy choreography offering a physical outlet for their frustrations as they fiercely defend their right to be heard. Similarly Musical Supervisor Katy Richardson and Musical Director Chris Poon ensure that familiar pounding score is note perfect while David Woodhead’s set and costume design paired with Howard Hudson’s lighting transports us to the atmospheric streets of New York.

Luke Bayer sets the tone right from the start as Mark, and angst filled filmmaker whose energy never wanes. Kooky and complex his video camera acting as a safety blanket protecting him from connecting too deeply and exposing his lonely reality.

Tom Francis is sensational as Roger, his rock God-like swagger draws you in while his brooding vulnerability catches you completely off-guard. His scenes with Maiya Quansah-Breed are simply beautiful, the two manage to make you feel like you’re observing a couple’s private moments; so in tune with each other are they. They draw out every ounce of emotion from their scenes, taking you along on their impassioned journey.

The deeply moving relationship between Angel and Collins which weaves through the storyline is both joyful and devastating in equal measure. Hartley-Harris’ delivery of I’ll Cover You – Reprise is breathtakingly beautiful while Alex Thomas-Smith’s Angel is pure perfection.

Cutting through the intensity is Millie O’Connell’s, Maureen who bickers and squabbles with girlfriend Joanne (Jocasta Almgill) throughout, her delivery of Over The Moon is hilarious. Both O’Connell and Almgill give their characters real strength, authenticity and bucketloads of personality while their rich vocals deliver some killer harmonies.

Michael Ahomka-Lindsay ensures Benny is seen as more than just a former friend turned landlord as his connection to the group warms and solidifies. Completing the casting is the featured ensemble who add bite and pure passion to the production; Issac Hesketh, Alison Driver, Iona Fraser, Joe Foster and Karl Lankester’s versatility and skill really authenticates this production as a true ensemble piece.

There is a strong sense of coming together in the face of adversity which drives the show, something we can all relate to given recent testing times. The poignancy of the piece truly connecting with the audience in the intimacy of the former cotton mill. The full ensemble pieces are thrilling, intimate and bursting with life while the stripped back moments are spine-tinglingly perfect.

At a time when theatre needs as much support as possible Rent is leading the charge for Hope Mill Theatre’s Covid recovery proving entirely that there’s nothing quite like the thrill of live theatre. Proud, punchy and powerful, Rent has it all!

Rent is on at Hope Mill Theatre until Sunday 19th September, tickets available now https://hopemilltheatre.co.uk/events/rent