Inspired by India’s longest running Bollywood movie the heartwarming romcom Dilwale Dulhania Le Jayenge (or DDLJ to those in the know), Come Fall In Love is the latest production to join the incredibly successful ‘Manchester Gets It First’ scheme, and judging by tonight’s rapturous audience response is another sure-fire hit.
With an award-winning creative team which includes original director of the much-loved 1995 movie Aditya Chopra, Come Fall In Love which was originally performed in San Diego in 2022 has been reworked for UK audiences. We’re introduced to Simran, (Jena Pandya) a young British Asian woman who is off inter-railing round Europe with her best friend for a final summer of freedom before she flies to India for an arranged marriage. However, as with all good romcoms, things don’t quite go according to plan and her carefree adventure suddenly gets a little more interesting with the addition of white British boy Rog (Ashley Day) unexpectedly coming along for the ride. After prickly beginnings the pair grow closer over a bottle or two of champagne and Simran enters a battle between head and heart which is when the fun really begins.
This vibrant production is full of light, burst with colour and radiates joy as we follow the twists and turns of this unconventional love story. Act 1 gently sets the scene for an exhilarating Act 2 as the action relocates to India filling the stage with colour as this cross-cultural love story plays out.
Jena Pandya is a wonderful Simran, playful and proud she’s enormously likeable, she looks like she’s having the time of her life in the role and shines brightly both in the big ensemble numbers and in the quieter more emotive scenes. The chemistry with Ashley Day as Rog although with most romcoms happens quickly feels believable and charming. Ashley Day is a fantastic lead, the role of Rog is hugely demanding and he rises to the challenge convincingly. He goes on quite the journey from our first meeting him as his true character is revealed ensuring we all fall a little bit in love with him.
There is strong support from the ensemble cast with special mentions going to Simran’s parents Baldev (Irvine Iqbal) and Lajjo (Harveen Mann-Neary) who bring both humour and a gentle tenderness to the story. Simran’s planned Indian finance Kuljit is played by an outstanding Kinshuk Sen while Kara Lane camps it up brilliantly as Rog’s Mum, Minky.
Reimagining this classic love story and adding a more contemporary multicultural twist has given the creatives an opportunity to bring this uplifting story bang up to date. The book and lyrics by Nell Benjamin (Mean Girls, Legally Blonde), are witty and engaging with the music by legendary composers Vishal Dadlani and Sheykhar Ravjiani blends stunning Indian melodies with multiple Western genres reflecting the love story happening on stage perfectly.
Choreographer Rob Ashford along with associate choreographer and Indian dancing specialist Shruti Merchant have created magic here which is delivered by the talented ensemble in stunning style while Derek Mclane’s striking set design further adds to the visual beauty of this piece.
With heaps of heart and joyous humanity, Come Fall In Love is an uplifting story beautifully told. It will delight audiences of the original Bollywood film and now doubt gain a new army of fans from audiences seeing the show for the first time. This high-energy production has all the fun of a romcom but adds in a welcome emotional depth resulting in an enormously entertaining production.
Come Fall In Love is on at Manchester’s Opera House until Saturday 21st June tickets available here.
The revival of the 2023 Olivier Award-winning Best New Play has opened at The Lowry for a month-long away fixture offering regional audiences their first chance to catch this inventive production outside of the Capital.
Following the fascinating story of Gareth Southgate’s memorable eight years as England Manager this National Theatre production has all the exhilarating highs and gut-wrenching lows familiar to football fans; however, it goes far beyond the sport itself offering a thrilling and insightful exploration of culture, connection and what it means to hold the hopes and dreams of a nation in your hands.
Having updated the ending to reflect England’s 2024 Euro’s journey, writer James Graham grabs every opportunity to show the audience that this truly is a game of two halves, at times joyous, other times brutal but always authentically honest.
Beginning with a flashback to Euro ’96 as a young Southgate steps up to take the now infamous missed penalty, this moment cleverly sets the tone and returns as a running theme to challenge Southgate (Gwilym Lee) throughout the piece. As we fast-forward to 2016 we see Southgate drafted in as caretaker manager following Sam Allardyce’s sacking after just one game in charge. Determined to make a positive change and do things differently, Southgate brings in sports psychologist Pippa Grange (Liz White), what follows is an incredible journey that goes way beyond football.
Taking on the role of Southgate is an impressive Gwilym Lee, having seen Lee portray Brian May so accurately in Queen biopic Bohemian Rhapsody it comes as no surprise that he hits the mark once again. With every measured tilt of the head, folding of the arms and blink of the eyes his nuanced performance is perfection. He leads this fine cast with a gentle hand and captures the essence of Southgate perfectly.
Liz White as Pippa Grange is a consistent presence of calm, challenged by resistance from both players and coaching staff she never wavers. Graham in his writing uses Grange’s character to gently remind us that while Southgate was becoming a mentor and father figure to many in the team he was also battling his own demons, struggling to show himself the kindness he was so brilliantly instilling in others.
The ensemble cast compliment Lee and White perfectly, they portray their real-life counterparts with incredible accuracy. Josh Barrow as Jordan Pickford is mesmerising. He fizzes with energy throughout, his subtle shift from raw, untamed, chomping at the bit goalie to trusted teammate and backbone of the squad by the end if fascinating to watch.
Ryan Whittle steps into Harry Kane’s Captain’s boots with a well-observed nervous hesitation and grows in stature throughout while Gamba Cole as Raheem Sterling opens up to reveal his fears and disappointments as he learns to trust in his team mates.
While there is incredible humour and lots of it, the play doesn’t shy away from the harsher themes that sadly have dogged both football and English culture for many years. Most notably here the appalling racism faced by young black players specifically during the 2020 Euros final. Tane Siah, Jude Carmichael and Kadell Herida as Bukayo Saka, Marcus Rashford and Jadon Sancho highlight these dark moments with an honesty that reminds you just how quickly supposed loyal fans can turn and just how important standing up collectively to that hopefully small minority truly is.
The ensemble cast work tirelessly to showcase Rupert Goold’s inventive staging (with Elin Schofield as revival director) with a slick, swift brilliance. Co-movement directors Ellen Kane and Hannes Langolf score no own goals with their incredibly tight sequences as this cast convincingly recreate matches, penalty shootouts and meaningful dressing room moments. Es Devlin’s inspired set design is perfectly lit by Jon Clark while Dan Balfour and Tom Gibbons sound design and Ash J Woodward’s video design hit the back of net.
From euphoria to crushing heartbreak, Dear England takes audiences on a thrilling journey inviting us into the very heart of the action, allowing us to scratch way beyond the surface with its carefully crafted storytelling and visual brilliance. We live through the highs and the lows as one with the team, willing for the result to be different, hopeful, heart-warmed and inspired by the end of this groundbreaking piece. This is theatre at its absolute finest which taps right into the heart of what it is to be human, to believe in yourself and to have the bravery to face your fears regardless of the magnitude of the situation.
Whether you’re a football fan, a theatre fan or just love a fascinating story brilliantly told this is a must-see production that will capture the imagination of audiences night after night, so good, so good, so good!
Dear England is on at The Lowry until Sunday 29th June, tickets are available here.
It’s hard to believe that The Rocky Horror Show first hit the screen 50 years ago—but this latest production proves the cult classic still packs a punch. Bursting with colour, camp, and energy, Richard O’Brien’s gleefully outrageous homage to 1950s science fiction remains as fun and provocative as ever.
The story follows the familiar beats of a classic B-movie: newly engaged Brad and Janet find themselves stranded with a flat tyre and stumble upon the eerie mansion of Dr. Frank N. Furter and his peculiar household Riff Raff, Magenta, and Columbia. What begins as a simple detour quickly spirals into a surreal, sexually charged journey that puts their relationship to the test.
Connor Carlson and Lauren Chia are spot-on as Brad and Janet, capturing the pair’s initial innocence and their gradual unraveling as they’re drawn deeper into Frank’s wild world. The pair demonstrate great comedic timing and tremendous vocals throughout. They’re supported by a strong ensemble: Job Greuther brings a wonderfully sinister edge to Riff Raff, Natasha Hoebergis shines in dual roles as Magenta and the Usherette, opening the show with a stellar “Science Fiction/Double Feature”. Whilst Jayme-Lee Zanoncelli adds eccentric flair and powerful vocals as Columbia.
Jason Donovan returns to the role of Frank N. Furter apart he first tackled in the late ’90s with a performance that leans heavily into the character’s unhinged eccentricity. Channeling shades of Grayson Perry and a generous dose of Heath Ledger’s Joker, Donovan brings a more chaotic, unpredictable energy to Frank than previous incarnations. At times, he appeared slightly flustered—thanks in part to some malfunctioning stilettos, however he turned these moments into a positive, using them to heighten the character’s manic volatility, much to the audience’s delight. While his vocals may not be as strong as those of his fellow cast members, Donovan more than compensates with a committed, absurdly entertaining performance.
Actor and comedian Jackie Clune, does a stellar job as the Narrator, holding her own with wit and playful authority. The audience was clearly in on the fun, with interactive call-outs and spontaneous reactions creating a palpable buzz throughout the evening. Tonight’s performance led to some observations about Donald Trump’s second term and Prince Andrew which landed well with the audience.
Director Christopher Luscombe’s high-octane production keeps things moving at a breakneck pace. The campy, chaotic energy is perfectly matched by Hugh Durrant’s classic horror/sci-fi set design: blood-red walls, a giant brain, and even a mounted dodo head. It’s as weird and wonderful as you’d hope.
While the final act veers into near-total madness, losing a bit of narrative cohesion. It’s a gripe I’ve always had with the film and previous productions, however tonight’s finale hit the mark, mainly down to Donovan’s stellar work on “I’m Going Home”.
Whilst the summer is nearly upon us, here is the perfect opportunity to dig out the fishnets one more time and see why The Rocky Horror Show is still the ultimate feel-good, anarchic theatre experience. Give yourself over to absolute pleasure. You won’t regret it.
The Rocky Horror Picture Show is at the Palace Theatre until 31st May tickets are available at here.
Peggy Seeger’s 25th and final solo album, released the month before her 90th birthday, is a fitting tribute to over 70 years as a working musician, feminist and activist. Peggy’s 25-date tour of the UK and Ireland in May & June will be her very last. After the tour, Peggy will retire from recording and live performance.
This is no apologetic or quiet farewell – she’s going out with a thoughtful, philosophical and very satisfying BANG. Peggy’s voice and songwriting are still major forces to be reckoned with. Nine brand new songs and two reinterpretations span the pillars that have sustained her career. Written and recorded with family members – established musician sons Neill and Calum (Calum also produced the album) and daughter-in-law Kate St John – this album is sheer class, suffused with love and respect.
Teleology is the belief that everything that has happened is an arrow aimed at a target called now, and this album celebrates both the now and the timeline that has led her here.
Peggy says: “It is unavoidable that at 90 I am preoccupied with life, love, loss, old age and death but I’ve never abandoned politics or the compulsion to speak up when something isn’t right. How I got here is still a bit of a mystery, but I’m exactly where I should be right now, and I’m at peace with that.”
Peggy plays The Lowry on Wednesday 21st May with tickets available here.
The highly anticipated new musical A Knight’s Tale, based on the 2001 cult movie of the same name starring Heath Ledger, has officially opened in Manchester and judging by tonight’s thunderous standing ovation, this jukebox musical is here to stay.
Adapted for the stage by Brona C Titley with direction from Rachel Kavanaugh and choreography by Matt Cole, A Knight’s Tale quickly sets the tone and lets the audience know from the off that they’re in for a very fun night, with an absolute bounty of a back catalogue and a whole heap of tongue in cheek medieval moments.
A Knights Tale takes us on a romp of a 14th Century road-trip following the antics of peasant squire Will Thatcher (Andrew Coshan) who passes himself off as a nobleman following the death of his master in his bid to beat the odds and become a jousting World Champion. The only thing standing in his way (aside from the fact he isn’t a nobleman and could go to prison for pretending to be one) is the current World Champ who also doubles up as a deliciously devious bad boy and villain of the piece, Count Adhemar (Oliver Tompsett).
As the wannabe Knight, Andrew Coshan is superb, dashing, dreamy and with vocals that pack a punch. He bursts with charisma and has the kind of twinkle in his eye that audiences go wild for. His pairing with pals What and Roland (Eva Scott and Emile Ruddock) is perfection, packing in the humour, both Scott and Ruddock are superbly cast. Their comic timing is unmatched as they deliver each and every witty line with absolute precision.
As the trio set off on their quest they gain two additions to their crew, Kate (Emily Benjamin), a local badass blacksmith and a frequently unclothed Geoffrey Chaucer, (Max Bennett) who is on the cusp of writing his ‘Canterbury Tales’ but for now is happy to join in with the jousters japes.
Emily Benjamin gives knockout vocals as Kate, while Max Bennett as Chaucer is pure joy. He quickly becomes the ultimate hype man while his wit and warmth as he skilfully breaks the fourth wall firmly sees him confirmed as an audience favourite.
West End legend Oliver Tompsett proves ones again to be a world class performer, his delivery of Chesney Hawkes’ The One and Only and Adele’s Rolling In The Deep are iconic.
Of course, no story is complete without a love interest, enter Meesha Turner as the sexy, strutting Princess Jocelyn. With all going so well can Thatcher conceal his true identity or does his destiny lie firmly in the stocks?
While the cast are superb, the creatives have also pulled out all the stops to ensure this production is visually just as striking. Tom Rogers impressive set design is lit brilliantly by Howard Hudson while Gabriella Slade’s costume design feels modern, sexy and yet authentic as the medieval silhouette is carried through each scene. It’s very clear to see why choreographer Matt Cole is an Olivier Award-winner, each set piece is thrilling and the energy never wanes.
As with many jukebox musicals featured hits can often be eclectic and A Kight’s Tale is no exception, from Bonnie Tyler to Bon Jovi and almost everything in between there’s a whole host of familiar bops with some working more effectively than others, all however are delivered with 100% commitment from this talented cast. I can honestly say a Bowie – Golden Years/Ricky Martin – La Vida Loca mash up is something I never thought I’d witness but here in jukebox musical land I guess anything goes.
There are moments where you do wonder what target audience they’re going for particularly with the frequency of swearing and adult humour which at times felt a little unnecessary and made the genuinely funny sweary moments have less of an impact. Reduce some of these and you’ve got a fantastic musical comedy offering for almost all ages, that’s visually stunning and enormously entertaining.
A Knight’s Tale provides another wonderful opportunity where we get to boast that Manchester gets it first. This silly, funny, feisty show will no doubt become a Knight to remember as this riotous new musical makes its raucous mark on theatre land, next stop surely must be the West End.
A Knight’s Tale is on at Manchester’s Opera House until Saturday 10th May tickets are available here
If anyone can put their own stamp on an Alfred Hitchcock thriller it’s Wise Children’s Emma Rice, her vibrant interpretation of the cinematic classic, North by Northwest is as witty and as whimsy as you’d wish for and has arrived in Manchester for a two week stay.
This high stakes spy-thriller introduces us to a very suave Roger Thornhill (Ewan Wardrop) who manages to find himself caught up in a rather serious case of mistaken identity, not ideal at any time but even less so in the midst of a Cold War conspiracy. Villain of the piece Vandamm, (Karl Queensborough) is out to get him with the assistance of his pals and fellow heavies (Mirabelle Gremaud as Anna and Simon Oskarsson as Valerian). Thornhill must out smart Vandamm in a bid to save himself however just as he’s gaining the upper hand, he meets the intriguing Eve Kendall (Patrycja Kujawska) who could just as easily be a sinner or a saviour. Completing the cast is The Professor (Katy Owen), who guides both the audience and Roger brilliantly through the perilous predicament he finds himself in.
This dynamic reworking of the original Hollywood movie is a joy, inventive, surprising and above all a whole lot of fun. As with all Wise Children productions music plays a significant role, with the choices made here really cementing the creativity of these visionary theatre-makers. Paired with inventive staging, where suitcases become Greyhound buses, Mount Rushmore and everything else in between, you really have got an impressive piece of theatre.
Ewan Wardrop is hugely entertaining as Roger Thornhill, the only cast member who doesn’t play multiple roles despite the characters very real identity crisis. Katy Owen as The Professor gives another standout performance, her comedic timing is second to none, her skill in breaking the fourth wall to ensure we, the audience are fully engaged and alert to our mission ensures that we’re captivated from the start. The four remaining cast members, Queensborough, Gremaud, Oskarsson and Kujawska, are equally as impressive bringing their own unique skills to the multiple roles they take on. Even via the slightest of adjustments, a different accent, a jaunty hat, they transform themselves into another surprising and entertaining character.
Rob Howell’s inventive set and creative costume design further adds to the playful, whimsical nature of this piece while Etta Murfitt’s Fosse-inspired choreography brings this piece further to life. The high energy is maintained throughout and by the curtain call the audience are up, enthusiastically applauding with as much energy as this talented cast have given for the entirety of this 2.5hr show. Visually impressive and incredibly playful until the final knife-edge moments when we’re reminded of the relevance of the themes of the piece, North By Northwest is a triumph.
Back in 2019 I was lucky enough to see Stephen Fry’s Mythos shows. Fry gave a brief history of Greek mythology, regaling a captive audience with tales of spiteful gods, gruesome monsters and heroic mortals. Well, Sir Stephen may want to revisit the Lowry, as Zeus and Hera have arrived in Salford filled with malice and wrath!
Commissioned by the Lowry as part of their 25th Anniversary celebrations, Gods of Salford, sees ancient Greece relocated to the Greater Manchester city nestled on the banks of the river Irwell. The mortals work and toil away in order to pay tribute to the King and Queen of the Gods, Zeus (Emmerdale’s Anthony Quinlan) and Hera (West End star Laura Harrison). However, soon the humans grow tired of being at the whim of the Gods and a few brave individuals begin voicing their concerns about their treatment at the hands of the immortal rulers.
Zeus, upon hearing the discontent of the people, proposes a series of tasks whereby the humans could win their freedom. However, the humans soon realise that God’s don’t always play fair, whilst the omnipotent overlords soon learn that you underestimate human endeavour at your peril.
Not Too Tame are gaining a reputation for putting on fun, interactive shows that deliver a hugely entertaining night out and Gods of Salford carries on with that tradition. High energy, action packed and innovative, the myths and legends of ancient Greece are intertwined with stories of folklore from the pubs and streets of Salford.
The show has something for everyone: a punchy, witty script from Andrew Butler and Louise Haggerty, which playfully weaves the bizarre and absurdities of Greek Myth, with no nonsense Northern charm and honesty. Brutal one-liners and well observed social commentary mesh to make the classic underdog story.
Under director and co-writer Jimmy Fairhurst, we are treated to a cross between a Saturday night entertainment show and gladiator style combat as Zeus’ tasks are revealed. The show has the luxury of having a super talented cast of young actors at its disposal, giving performances packed full of energy and attitude. They fully embody the resilience and ‘never give up’ attitude at the heart of the story.
This innovative piece features impressive, choreographed set pieces, fine solo offerings, some ballet, contemporary dance, powerful vocal performances and even the theme tune to 80’s kids show Fun House for the nice little nostalgia hit.
Anthony Quinlan is an imposing figure of Zeus. It’s a turn packed full of menace, reminiscent of the local hardman you meet down the pub, who you want to be friends with only so he doesn’t smash you in the face, which he probably will do anyway. He is more than matched by Laura Harrison’s devious Hera, her stunning vocals are equalled by her ruthless streak. Jimmy Fairhurst and Max Healey bring a touch of razzmatazz to the mischievous compares for the tasks, Hermes Alpha and Hermes Beta while ensemble cast of young adults all get their chance to shine right from the get-go.
The set looked fabulous as the Quays Theatre transforms into Mount Olympus, if Mount Olympus were a building site. Jen McGinley’s impressive set design looks both gritty and majestic, but also allows for the cast to interact with the audience, and the audience to feel they are part of the drama, not immune from the Gods’ wrath.
Tonight’s show did have a few issues: at times during the first 15 minutes, it was hard to hear some of the cast members due to the frenetic nature of the show, however this was a minor quibble and understandable when you have a 20+ strong cast zipping around the stage.
This is a joyous, fun filled night at the theatre which showcases the talents of some fine young adults and allows them to do what they love and perform, and they do so with so much gusto and energy. Every Not Too Tame production I’ve previously seen has plenty of heart, soul and takes enormous pride in its working-class roots, everyone involved should be proud of what they have achieved: it is a no-nonsense, highly entertaining night out, which the Gods would more than approve of…👍
First things first, I have a confession to make: I have never watched the 1964 film adaptation of Mary Poppins. I mean, of course, I have seen some scenes featuring the big song and dance numbers and I have watched The Simpsons parody episode featuring Shary Bobbins several times, but I’ve never actually sat through the film from start to finish. Now we have that unpleasantness out of the way, and you can lift your jaw off the ground, please allow me to continue my review.
So, not having the full picture of what to expect actually worked in my favour. Because nothing could have prepared me for how magical and grand this production is. Based on author P.L. Travers’s original books, the stage adaptation of Mary Poppins is co-produced by Disney and Cameron Mackintosh, with book by Downton Abbey creator Julian Fellows, together they have created an enchanting spectacle that will cast a spell over the whole family.
Set in early 20th-century London, we are introduced to the Banks family—father George (Michael D. Xavier) is a hard working junior officer for a major London bank. He has very little time for his devoted wife, Winifred, (Lucie-Mae Sumner) and they have two children Jane and Michael (played at this evening’s performance by Katie Ryden and Charlie Donald).
The Banks children have a reputation for causing mischief in the local area, and seeing off the many Nannies previously employed to look after the pair. However, the arrival of the enigmatic Mary Poppins, (Stefanie Jones) whose no-nonsense, unconventional methods soon add a touch of sparkle to the Banks family.
Mary Poppins along with her trusted friend, the ever chipper chimney-sweep Burt (Jack Chambers) take the children on a series of adventures involving dancing statutes, singing toys, tap dancing chimney sweeps and a spot of word invention, which teaches the children a few valuable lessons and provides the love and attention they lack from their father.
What an absolute joyous experience this production is! Director Richard Eyre along with co-director/choreographer Matthew Bourne, and co-choreographer Stephen Mear have crafted some spectacular set-pieces. The colour explosion from “Jolly Holiday” looks glorious, whilst the dazzling roof-top dance of Burt and his fellow chimney sweeps during “Step in Time” is magnificent: the magnitude and scale, with the huge ensemble cast showcase what the show is all about: high end production values, performed by creatives at the top of their game.
The musical numbers sound terrific under musical director Isaac McCullough’s skillful baton. The Sherman’s brothers penned, “Supercalifragilisticexpialidocious”, “A Spoonful of Sugar”, and “Let’s Go Fly A kite” sound as good as you want them to be, whilst new songs penned by George Stiles and Anthony Drewe give the production a contemporary feel, the pick of the bunch being touching, “Being Mrs Banks”, beautifully sung by Lucie-Mae Sumner.
Stefanie Jones is in sparkling form as Mary Poppins: it’s a sassy turn which beautifully shows the complexity of the character. Her vocals throughout are outstanding and her physical performance as the super-nanny is captivating. She has a true star quality which fills the stage. The same can also be said of Jack Chambers: it’s a performance full of charm, charisma and athleticism, a full on song-and-dance tour-de force highlighted in the previously mentioned “Step in Time”.
Michael D. Xavier is impressive as the uptight, repressed Mr Banks. His performance has a contemporary quality which adds more layers to the production. Lucie-Mae Sumner is the perfect foil, with her sweet, strong, yet mildly eccentric Mrs Banks, ready to show she is more than just a wife, but a strong, capable woman. Finally Katie Ryden and Charlie Donald are a fun watch throughout and more than hold their own with their fellow adult-actors, with both showcasing great comedic timing.
Bob Crowley’s enchanting dolls house set design looks gorgeous and sets the tone of the show perfectly, whilst some very clever stage trickery shows just how magical, and unique Mary Poppins truly is.
Mary Poppins is a testament to the enduring appeal of its source material, offering a theatrical experience that is both timeless and innovative. With stellar performances, imaginative design, and memorable music, it’s a fantastic showcase for how good live theatre can be……as the song says – Practically Perfect!
Mary Poppins is at Manchester’s Palace Theatre till 17th May, tickets are available here.
Following a record-breaking run in the West End the National Theatre, Olivier award-winning production of Dear England comes to Salford from 29th May for a four-week run.
Written by award-winnng writer James Graham (Sherwood, BBC) and directed by Rupert Goold (Patriots, Cold War), this incredible play tells the uplifting, inspiring and often emotional story of Gareth Southgate’s revolutionary tenure as England manager. We all know the feelings of hope, heartbreak and elation being an England fan entails, Dear England dramatises this incredibly through one of the most ground-breaking and exhilarating pieces of theatre you’re ever likely to see as the reality of expectation and reality play out.
Ahead of its arrival in Salford next month we headed to the capital to catch this 5-star production and chat with four of the plays talented cast. Gwylim Lee (Gareth Southgate), Liz White (Dr Pippa Grange), Josh Barrow (Jordan Pickford) and Jude Carmichel who makes his stage debut as Marcus Rashford.
How challenging is it to play such well-known characters who are so prevalent in the media?
Josh Barrow (Jordan Pickford) : You don’t get much in terms of characterisation when they’re on the pitch they are very much their player self and the same really in the post-match interviews so you’re gonna have to go digging for scenes like in the locker room for example when it’s just them and you have to kind of make your choices with the characterisation that you make that’s when you get to play around a little bit. I think you don’t want to ever become a caricature of that person because they are so prevalent at the other top of their field, and they are still at the top so you still want to be able to serve them and also holding in mind the ideas from the play of what they have learnt and their ark from what Southgate has taught them.
Gwylim Lee (Gareth Southgate): I think we benefited during Southgate’s tenure from them opening up to the England fans with social media and everything else because we now get to see those YouTube videos for instance that go behind the scenes at St Georges and that’s really illuminating because when you watch them do post-match interviews they present in a version of themselves which is quite considered and placed for the media whereas when you see them in those videos when they’re with the inflatables in the swimming pool or just messing around that’s when you see them kind of free and without those constraints.
While you’re not a caricature of Gareth Southgate and I just wonder how much study you did because your interpretation is so convincing.
Gwylim Lee (GS): You start from the outside in when you’re working with a real person, which is kind of the opposite way round to how I would probably usually approach a character ’cause so much of it is just there for you to find but I suppose the trick is to find the whys, you know constantly ask that question, the physicalities like ticks and twitches and whatever his mannerisms might be, I wonder why he moves like that what is it about his character that makes him move like that. When you start filling in that kind of light and shade and that detail then it becomes less a mechanical thing and more a matter of character or intent you can let the mannerisms play out through the intentions that you are playing in the scene and the person that you’re in a scene with and all that stuff so that’s the hope anyway. We’re not impersonators, we’re actors and so the aim of an actor I hope is to try and find humanity of the character and also to find you in that character a little bit so it’s like this is very much my version of Gareth, I’m not trying to be a Rory Bremner or whoever else and yes they’re talented in what they do but I think it’s a different kind of craft so it’s just about trying to find your version cause we’re all playing those real people.
The staging is so impressive featuring three revolves, how much of a challenge is that when you’re performing?
Josh Barrow (JP): We had a whole portion of the rehearsals to learn how to use the revolves as it’s three tiers so one goes this way, the other goes this way, the other goes that way so we do we have to really practice hard how to walk on a moving stage.
Liz White (Dr Pippa Grange): I wasn’t there that morning and when we were in the rehearsal room doing the second scene when Pippa meets the security guard and then she walks through the locker and then has to cross all revolves, literally every time I was doing a Frank Spencer, going flying, thankfully I’m alright now ha ha.
Gwylim Lee (GS): You’ve just got to be braced for it at all times, just keep your knees slightly flexed, jut in case it goes!
Liz White (Dr PG): I don’t know if anyone else gets it, but I find when I’m on a train platform I suddenly get that moving sensation like the floor is moving.
Jude, how does it feel knowing you’re going to be playing Marcus Rashford a stones throw from Old Trafford?
Jude Carmichal (MR): When my agent called me to say I’d got the job it was like the fear came through, I was thinking when we go to Manchester everyone’s gonna be like ‘Go on then’ ha ha.
Gwylim Lee (GS): When you get closer to the weekend you get some football crowds in and that’s really that’s really fun ’cause you know you’ll have people that react when the players come out and say I’m Leicester City or Man City etc, I love it.
Josh Barrow (JP): We feed off that really, when you go to the theatre you sit down, you watch the show, you applaud the actors but I think with this it almost demands participation, it’s like we’re gonna throw this out to you and there’s laughs and cheers even boos but then it culminates in this a massive party at the end which is Sweet Caroline and I think the more a crowd lean into that and the more a crowd really give themselves over to you the more fun. As you said (Gwylim) when we do get some football fans in an audience that end moment is just wild, almost like a rock concert.
Gwylim Lee (GS): We talked in rehearsals a lot about having A’s, B’s and C’s so A’s would be your football buffs people that you just know everything all the way back and then C’s being that polar opposite. I’m probably a C+, maybe even a B now. But the play appeals to all three it has to appeal to all three of those audiences at any one time people come not knowing anything about football but it resonated on a different level and then polar opposite people come expecting it to be a football play which it is but then it’s a kind of Trojan Horse it’s about so much more.
This play feels so special because while we know the outcome we all watched and still felt hopeful, thinking just maybe just maybe…
Josh Barrow (JP): You clock audience members at the end of like the penalties at the end of Act One and everybody knows how it goes as it was such a big moment, but everyone is sat watching gripped and is so engaged, it’s just perfect.
Jude Carmichal (MR): You kind of get swept up in it, while you know the outcome obviously, you know what it means to be a fan watching and then even the aftermath whether that be good or bad you know that meaning, you can’t help but get caught up in it.
Josh Barrow (JP): With penalties it’s almost like the Colosseum there’s a roaring crowd cheering and cheering then this one person steps up in front of everybody and its gladiatorial and you feel that with the audiences that everybody’s watching you.
Jude Carmichal (MR): When Harry misses his penalty every time backstage I’m like arrggghhhhh.
Gwylim Lee (GS): It’s testament to these guys as well, because it’s a show it has to have a shape to it and a choreography to it which has to be kind of the same every night you know ’cause there’s a production that fits in around it but you can’t just go through the motions and do the moves, these are young athletes at the pinnacle of their game at the highest level of performance with adrenaline coursing through their bodies and you can’t just run to the penalty spot and take it, you’ve gotta fill it with all of that and they do every night they do and every rehearsal they do like there is no let up for the boys they work so so hard and that’s what sells it really.
Josh Barrow (JP): With Jordan Pickford when he’s on stage there’s so much tension, he’s almost rattling in the best kind of way and again that goes back to what we were saying before about making them real people I’m sure Jordan Pickford doesn’t go home and he’s like that, when he’s in the scenes in the class room that’s when you get to play around with it a little bit more, there’s not just that one version of him so you think about how he’d respond to Pippa to Gareth to the other players. It almost feels like an engine constantly running, I keep that image in my mind, everybody else is charged as well and you have that feeling that the keeper at the back like the last line of defence.
Have any of you performed at the Lowry before?
Gwylim Lee (GS): I was part of a tour years ago where we did King Lear up there with Derek Jacobi, I’m looking forward to going back, I love it, it’s a beautiful theatre and a perfect match to the Olivier, it’s a very similar kind of spaces and a great city it’s gonna be fun taking it to a new audience up there and seeing how they’ll respond to it.
There are so many themes in this play what do you want audiences to take away from it?
Gwylim Lee (GS): It was very interesting watching Gareth Southgate’s lecture last week and it feels like everything that was kind of touched on in that lecture is the heart of this play and it really is about resilience and belief and it’s trying to give people resilience and really encourages resilience and belief in people.
Liz White (Dr PG): Masculinity is an interesting part of it too, I’ve really enjoyed researching Pippa because I get to listen to all her strategies and her approaches for a better, calmer life and one that’s filled with deeper joy and deeper loss as well. She talks about how to lose, someone laughed today as I said well England have to learn how to lose and I thought, yes I can imagine it sounds quite defeatist but actually what she’s just saying is if you can look at it in a very reflective way and let that feed the way you approach your next battle or your next match…so I feel kind of infused by her lessons really and I hope that for people watching it as well to look at the way they approach things differently in a more whole, holistic way.
Gwylim Lee (GS): I think one of my favourite things of Pippa’s is when she talks about winning that’s kind of inferred in the play is the idea of winning deep and winning shallow and there’s a difference to just winning at all costs. It’s like winning with integrity and winning you know with depth.
Liz White (DR PG): I feel like that means that actually if you got out there and play with integrity after all your prep and put the effort in regardless of the outcome you’ve won. I think interestingly when COVID gets mentioned it’s so poignant as we’re not far away from it and yet we have enough time for hindsight to come in and when the Euro’s came to Britain as a bit of a surprise for us all it was the first time a lot of people have been able to go out together and even watching it from home we really needed it you needed to see.
Gwylim Lee (GS): We need these national moments of togetherness because when have them you realise how brilliant this country is and how great the people in it are and it’s a divided world at the moment, even at times a divided society. When Gareth wrote that Dear England letter it was a galvanizing moment, encouraging people to come together, there’s something about this country and when we do come together it’s brilliant and has power and strength and it can be glorious. He says I tell my players that what we are all a part of is an experience that lasts in the collective consciousness of our country and there is such a thing as a collective consciousness of England. I think that’s why this play has such power because it taps into that collective consciousness and hopefully that’s what audiences take away from it. There’s hope, there’s joy, there’s power in being together.
Liz White (Dr PG): On a very base level all of those things say, you’re not alone. Someone else is there having the same experience as you, it’s so powerful.
Gwylim Lee (GS): There are a lot of parallels, sport is about performance, we’re dealing with fear, I was scared about taking on this job,I read the script and thought yes you’ve got to take on your fears and go for it. Put yourself in the uncomfortable position and see what happens.
Dear England opens at The Lowry on Thursday 29th May and runs until Sunday 29th June tickets and further information are available here.
Following a sold out West End season, Steve Pemberton and Reece Shearsmith are taking the critically acclaimed Inside No.9 Stage / Fright, to theatres around the UK this autumn. Tickets for the 12 week tour go on sale at 12 noon on Wednesday, 2 April.
Pemberton and Shearsmith will once again star in the “Dazzlingly Entertaining” (The Sunday Times) stage version of their award-winning television comedy Inside No.9. Receiving rave reviews across the board, with the Mail on Sunday’s five star review lauding the show as “absurdly entertaining. There’s simply nothing like it”, this is the chance for fans outside of London to witness the “wildly clever” (Financial Times) show. “A Bold West End debut… Bravo” (The Daily Telegraph).
Nominated for a prestigious Olivier Award this year in the Best New Entertainment or Comedy Play category, Stage / Fright features comedic, spooky and dramatic moments as fans of the TV show have come to expect, with some familiar characters and stories mixing with brand new material. Further casting will be announced soon.
Steve Pemberton and Reece Shearsmith said: “We have been bowled over by the success of Inside No 9 Stage / Fright at the Wyndham’s Theatre. Selling out every performance before the run started and being nominated for an Olivier Award was fantastic enough, but the nightly reaction from fans and newcomers alike has been exhilarating and really quite moving.
So we are delighted to be able to bring the show to a wider audience around the country. The phrase ‘swan-song’ refers to a final performance, often associated with the ancient belief that swans sing beautifully just before their death. Which is a load of bollocks of course as all swans do is shit and honk. So come along to the swan-song tour of Inside No 9 and see for yourselves how we bow out. There won’t be a dry seat in the house.”
Each performance will see a different celebrity ‘hostage’ perform with Steve and Reece. The West End run included cameos from Stephen Fry, Lenny Henry, Mel Giedroyc, Matt Lucas, Michael Sheen, Tamsin Greig, Adrian Dunbar, Bob Mortimer, David Walliams, Micky Flanagan, Meera Syal, Mackenzie Crook, Emilia Fox and Rob Brydon, as well as many others. Which famous faces will join them on stage for the regional dates?
Inside No.9 Stage/Fright will come to Manchester’s Opera House on Tuesday 14th October and run until Saturday 18th October, the show will also play Liverpool’s Empire Theatre from Tuesday 18th November until Saturday 22nd November.
Cruel Intentions: The 90s Musical is an energetic and fun adaptation of the 1999 cult film, blending the drama of the original with an upbeat 90s pop soundtrack. Set in an elite prep school, the story revolves around Sebastian Valmont, a charming and manipulative teen whose latest game involves seducing and ruining the lives of his peers. Alongside him is Kathryn Merteuil, his scheming step-sister, who sets the stakes higher by making a bet on Sebastian’s ability to corrupt Annette, a new and innocent student. As Sebastian begins his pursuit of Annette, the characters are pulled deeper into a web of lies, deceit, and temptation—all set to a backdrop of hit songs from the 90s.
One of the undeniable highlights of the show is the vocal performances. Luke Conner Hall as Blaine Tuttle delivers a standout performance with his powerhouse voice, perfectly capturing the essence of the character with both charm and intensity. Likewise, Lucy Carter, playing both Cecile and Marci, is another scene-stealer, with her incredible vocal range and comedic timing adding energy and warmth to the production.
The musical is bursting with nostalgic 90s hits that really bring the era to life. From No Scrubs by TLC to I Want It That Way by the Backstreet Boys, the audience is treated to an unforgettable soundtrack. These songs are seamlessly integrated into the storyline, with some clever and humorous nods to their lyrics. It’s clear that the production is aware of its playful tone, and for many, these moments of self-aware humour hit the mark, providing a light-hearted and entertaining atmosphere throughout the show.
The high-energy choreography and over-the-top performances create a vibrant, comedic feel in the first act, which some audience members absolutely adored. The audience was buzzing with excitement, and many found themselves caught up in the fun of it all. The show’s ability to bring laughter and joy, especially for fans of the original film and 90s music, cannot be overstated.
That being said, Cruel Intentions: The 90s Musical isn’t for everyone. The humour, while fun for many, includes outdated, offensive jokes, particularly homophobic and racist remarks, that may leave some feeling uncomfortable. These moments feel out of place in today’s context, and while they may have been acceptable in the original film, they detract from the otherwise light-hearted tone of the musical.
Another issue with the production lies in its storytelling. The plot, while following the original film’s general premise, lacks depth and development, leaving certain emotional moments feeling underdeveloped. The musical’s tone also fluctuates, with Act 1 leaning into a slapstick, tongue-in-cheek approach and Act 2 attempting to make the characters’ emotional struggles more serious. This shift can feel jarring, and it’s unclear whether the show is a comedy, a parody, or a more faithful interpretation of the film. For some audience members, the inconsistency in tone might make it difficult to fully engage with the characters’ emotional arcs.
Additionally, some of the song choices and dance routines felt derivative, almost mimicking the original versions of the hits rather than offering a fresh take. Sometimes this felt intentional and other times I just wasn’t sure. I found it confusing. While these numbers were undeniably fun, they didn’t always add much depth to the show’s overall narrative or emotional impact.
Cruel Intentions: The 90s Musical is a wild and vibrant ride through the best hits of the 90s, filled with memorable performances and an infectious energy that many in the audience loved. For fans of the original film, 90s music, or anyone who enjoys a fun, upbeat show, there’s a lot to enjoy. However, its humour and narrative tone might not resonate with everyone, and those seeking a more serious or cohesive experience might find it lacking. If you’re in the mood for a nostalgic, playful evening with catchy tunes and tongue-in-cheek humour, this musical delivers plenty of fun. Just be prepared for a show that embraces its campy, bold style—whether or not it fully lands with every viewer.
Cruel Intentions is on at Manchester’s Palace Theatre until Saturday 29th March tickets available here.
Just over two years since it closed in London’s West End, multi-Tony, Grammy and Olivier award-winning musical Dear Evan Hansen has embarked on a UK tour, stopping this week at Chester’s Storyhouse.
Dear Evan Hansen follows the story of socially anxious high school student Evan who accidentally gets caught up in a lie which quickly snowballs beyond all control. Following the death of fellow pupil, Connor Murphy, a therapy letter Evan wrote to himself is mistakenly confused as the pupil’s suicide note and Evan soon becomes deeply entrenched in the grieving families lives. The musical has received some criticism over the years with some audiences finding the subject matter and elements within the story problematic however there’s no doubt it’s beautiful score with music and lyrics by Benj Pasek and Justin Paul (La La Land/The Greatest Showman) has confirmed its status as a modern classic.
This new production has clearly examined the previous problematic elements and softened Evan, that combined with Ryan Kopel’s superb physical and emotional interpretation of the schoolboy results in a gentler, more likeable Evan and one who we feel more compassion towards. Kopel’s portrayal really is mesmerising, his Evan is a fidgeting, hand-wringing, blinking bundle of nervous energy while his deep longing for connection is sensitively and gently explored. His characterisation is incredible while he delivers stunning vocals throughout, notably Word’s Fail which is breath-taking as we witness him visually unravel under the pressure of the lie that’s seemingly unstoppable.
The rest of the cast compliment Kopel perfectly. West End favourite Alice Fearn’s portrayal of Heidi, Evan’s Mum is perfection, her rendition of So Big/So Small brought many in the audience to tears while her unconditional love for her troubled teen Evan plays out beautifully, frustratingly and authentically.
Killian Thomas Lefevre is fantastic as troubled teenager Connor Murphy, popping up when we least expect it enriching the story with each surprising appearance. Lauren Conroy plays Connor’s sister Zoe Murphy with strength and sensitivity while Richard Hurst and Helen Anker’s performances as Connor’s parents are deeply moving, portraying parents who have so tragically lost a child with raw and honest emotion. Will Forgrave covering tonight as Evan’s ‘family friend’ Jared Kleinman brings some welcome light relief while Vivian Panka is a driven and determined Alana with vocals to die for.
Morgan Lane’s box set design is lined with mirrors and sliding doors which allows us to see each scene from various fractured angles while allowing the action to easily shift location. The use of video screens is hugely effective cementing that feeling of social media’s all consuming impact while Matt Daw’s lighting design is equally as impressive.
The small ensemble replicate Evan’s frantic, racing mind through Carrie-Anne Ingrouille’s modern choreography, although they feel a little underused in the piece when the do feature they impress.
This thought-provoking, intricately crafted piece of theatre will long live in the memory. At times a gut-wrenching watch, it’s important messages about visibility and self-acceptance remain strong while the spotlight it shines on the influence of social media, isolation, anonymity and connection feel ever poignant. This is a quality piece of theatre with a story that will connect with many and by far one of the best scores of recent years. With tickets selling fast you won’t want to miss this musical masterpiece.
Dear Evan Hansen is on at Storyhouse Chester until Saturday 22nd March limited tickets available here.
Opening Night 