Closets

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Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Nikki Cotter

Written by Lloyd Eyre-Morgan and Neil Ely, Closets is an emotive and colourfully courageous journey of self-discovery, strength and celebration.

It’s 1988 and 16 year old Henry (Sam Redford) is struggling to express freely who he is for fear of his bolshy Mum’s (Hayley Tamaddon) refusal to accept his sexuality. In a desperate bid to disappear and escape the daily battles Henry steps inside his closet, travelling forward in time to the very same bedroom 20 years later where he finds shy, tormented Ben (Lloyd Daniels). The year may be different but the difficulties are the same. So begins a coming-of-age journey of exploration as Hope Mill Theatre becomes the scene of the 1969 Stone Wall Riots, Ben’s school toilets and modern day Manchester as the boys travel through time experiencing life defining moments along the way.

Closets is a cleverly constructed, deeply emotive and heart-warmingly joyful piece of theatre. The story touches on many relatable themes such as bullying, suicide and first love as we are swept along on a rollercoaster on emotions. The lovingly crafted script focusses not only on challenges faced by the LGBTQ+ community but examines changing attitudes across the years in an honest and relatable way.

Sam Retford is exceptional as Henry, hard to believe this is his musical debut; his performance is confident and assured, engaging the audience entirely. Complementing Retford perfectly is X-Factor’s Lloyd Daniels, as the quiet but tormented Ben whose heartfelt delivery of Neil Ely, Lloyd Eyre-Morgan and Jack Bennetts lyrics packs an emotional punch.

Hayley Tammerdon shines as Henry’s Mum Susan, confused and angry she gives an honest & engaging portrayal of a mother who is ultimately scared of losing her son. Adding many delightful slices of humour is the sensational Sophie Ellicott, she brings genuine wit and laugh out loud joy to the production, her delivery of Protection is a real highlight of the show.

Special mention must also go to powerhouse Kim Tatum, her soulful delivery and witty one-lines add further depth and poignancy to the story.

Ashley M A Walsh’s score creates the perfect soundtrack to this relevant and thought-provoking journey through both hostile and happy times. The 13 original songs ranging from up beat pop numbers to contemporary ballads evoke the sounds of the 80’s perfectly. While Joseph Thomas perfectly lights William Whelton’s punchy choreography.

Closets strikes the perfect balance, delivering both humour and powerful drama, highs are beautifully woven into emotion lows ensuring the story is told with sensitivity and real heart. There is little to criticise here, a quickening up of a couple of scene changes and some tightening tweaks here and there would very quickly take this already brilliant show to the next level, but none of this affects your enjoyment of this uplifting piece of theatre in which the message of love and loving freely is strong, powerful and perfectly judged.

Closets is on at Hope Mill Theatre until Thursday 23rd August, tickets available here.

Madagascar

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Eve and Maisy Powell

Family favourite Madagascar burst onto our screens and incredible 13 years ago, it spawned several sequels and now takes the leap from screen to stage in an all-new Dreamworks musical adaptation.

For those who haven’t seen the film, Madagascar tells the story of four friends from New York’s Central Park Zoo, Alex the Lion, Gloria the Hippo, Marty the Zebra and Melman the Giraffe. The four find themselves on a rather unexpected journey to the crazy world of King Julien’s Madagascar after Marty the Zebra’s dreams of living in the wild don’t quite go according to plan.

We sent out mini reviewers Eve (aged 10) and Maisy (age 7) to give us their verdict on this brand new Selladoor and Hartshorn-Hook Production.

Eve Powell

I absolutely loved the show, it was so colourful and so funny. The dancing was incredible, the cast really worked hard and at one point the animals even did the floss which was a big hit with everyone in the audience.

The adults in the audience enjoyed the show just as much as all the kids. All the characters were brilliant and so inventive but my favourite has to be King Julian who was just so funny. It’s a really, really fun show suitable for all ages.

Maisy Powell

I just loved all the animal costumes, they were brilliant, the songs were great and the dancing was really good too but my favourite thing about the show was how funny it was, my tummy was hurting at the end because I laughed so much especially at King Julian.

Out of all the costumes Melman the Giraffe was my favourite and I thought the penguins were really cute although they are a bit naughty. Children will really love this show and will laugh all the way through.

Madagascar without doubt won over our mini reviewers with its host of colourful characters who impress from the word go. Director Kirk Jameson makes full use of Max Humphries exceptional puppetry design ensuring even the youngest of children will be captivated by this visually engaging and totally charming piece of theatre, while choreography from Fabian Aloise makes certain that the anthem ‘I Like To Move It’ isn’t the only opportunity for the characters to throw some impressive shapes as they twist and twirl to George Noriega and Joel Someillan’s high energy soundtrack.

Matt Terry impresses as the charismatic Alex, he is clearly loving every moment of this his professional stage debut while Jo Parsons has the audience in the palm of his hand with his sensational performance as the brilliantly bonkers King Julien.

Kevin Del Aguila’s script is incredibly witty and keeps young and old entertained from start to finish, with an enormously talented cast, hugely impressive design and an important message of friendship at its heart Madagascar will without doubt leave a great big smile on your face, charming, feel-good family fun!

You can catch Madagascar at Manchester’s Palace theatre until Saturday 18th August tickets available here.

An Officer and a Gentleman

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Opening Night verdict ⭐️⭐️⭐️⭐️

Writer Nikki Cotter

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Based on the 1982 Oscar-winning film and bursting with feel-good 80’s favourites including ‘The Final Countdown’, ‘Livin’ On A Prayer’ and of course the ultimate ear-worm from the original score ‘Up Where We Belong’, An Officer and a Gentleman marches into Manchester this week.

In true 80’s romantic fashion we have a troubled bad boy in need of taming and a feisty female determined to live life her way until of course romance comes calling, complicating everything. When Zack Mayo rocks up at military boot camp full of swagger, he doesn’t bank on falling for local factory girl Paula nor being put through his paces by drill Sergeant Foley who has had his fill off wannabee officers. The challenge is on; can this angst filled rebel make it as not only an officer but also a gentleman?

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Jonny Fines makes for a convincing Zack, with strong vocals and impressive acting skills he convinces as both the macho cadet and the dependable gentleman, he is playful and hugely likeable. Alongside Fines is an impressive Emma Williams as the strong-willed Paula Pokrifiki who knows her mind and is damned if she’s gonna be stuck in a factory for the rest of her life. Her vocals are sublime as she belts out hit after hit effortlessly. The chemistry between the two is strong and their interactions engaging and believable.

Equally convincing are Jessica Daley and James Darch as Lynette and Sid. Jessica’s stellar vocals and sassy attitude perfectly embody the role of Lynette while James Darch, covering the role of Sid at tonight’s press night, impresses with his strong vocals and powerful performance.

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Yes in parts it’s pretty cheesy with some songs feeling a little shoe-horned in but if you’re looking for an uplifting and entertaining night at the theatre then this certainly hits the spot. The immensely talented cast deliver some stunning performances and offer a fresh take on several 80’s classics via George Dyers inventive orchestration and arrangement, the use of Martika’s ‘Toy Soldiers’ is particularly poignant.

Douglas O’Connell’s video design is projected to great effect against Michael Taylor’s set which is beautifully lit by Ben Cracknell and gives a great sense of entrapment and the need to escape the humdrum of small town life.

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The script may be thin in parts and the action predictable but An Officer and a Gentleman does exactly what it says on the tin, it undoubtedly uplifts and entertains. This is feel-good jukebox fun, the fizz in the air as ‘that scene’ approaches is palpable ensuring the audience get exactly what they came for, escapism, incredible talent, a little bit of drama, a whole lot of romance.

An Officer and a Gentleman is on at the Opera House until Saturday 18th August tickets available here.

Interview | Jonathan O’Boyle | Aspects of Love

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With music by Andrew Lloyd Webber and lyrics by Don Black and Charles Hart, Aspects of Love has been wowing audiences at Manchester’s Hope Mill Theatre. Now as it approaches its final week of performances we caught up with Director Jonathan O’Boyle to hear a little more about his experience directing his third production at the award-winning Ancoats theatre.

Opening Night: How familiar with Aspects of Love were you before joining this production? Is it a show you’ve always wanted to work on?

Jonathan O’Boyle: I’ve always loved the score of Aspects, but I’ve never seen it on stage. I grew up listening to mix tapes of musicals, several being Andrew Lloyd Webber compilations. So invariably Love Changes Everything was on there. I grew up seeing his work and when I trained as an actor, I wanted desperately to be in one of his shows. Now, as a director, it’s an honour to be working on one of his shows. Aspects has a fantastic story and a brilliant score. To me, it’s his most narrative, actor driven show and this really appealed to me. We treated it like a play, where the characters just happened to be singing rather than speaking.

ON: How do you approach directing a new and reimagined production of a classic show like Aspects of Love?

Jonathan: I wanted it to be intimate. Now, I know everyone always says ‘intimate and stripped back’ but that’s really what I wanted and how I saw the show. The audience at the Hope Mill is so close to the action they can touch the actors. This influenced the design. I wanted the audience to be on stage with actors. Many of the locations in Aspects happen to be in cafes, so we decided to have a couple of the front rows of seats at cafe tables as if they were part of the action.

We then approached the rehearsals as if we were working on a play. We looked at character, character backstories, timelines and what the characters wanted and how they went about achieving this. This really deepened the actors connection to the material.

ON: Did the intimate space the production would be presented in play a major part in your directing decisions?

Jonathan: Absolutely. You have to respond to the space you’re directing in, and the Hope Mill is a very specific space with its own unique challenges. I think about the space at every stage of the process, from the casting to the design to the lighting rig to the sound design. Every choice I make has to be for the theatre.

ON: The reviews have been absolutely phenomenal, people are really responding to the show, this must be very gratifying to the cast and creative team?

Jonathan: It’s been incredible yes. We’re all thrilled with how it’s gone down. I’m so proud of the brilliant cast and creative team. We had a joyous rehearsal process (one of my favourite so far) and we said – if no one gets it, at least we had a great time rehearsing it! Thankfully, the audiences are responding to it in the way I’d hoped. I’m in constant awe of the cast and their talent.

We never presume it’s going to be good. In fact, I never know what the audiences are going to make of it or how it’s going to be received until we get an audience in the room. I trust my instinct and hope it resonates with people.

ON: This is your third production at Hope Mill Theatre – what makes this space/team so appealing to direct in?

Jonathan: I love the theatre and the team there. They’re all so welcoming and it’s always a pleasure being back. I’m from Derbyshire myself but my parents grew up in Salford and Rochdale, so I’ve been going to Manchester all my life. I love the vibe and the people there, so Manchester feels like my second home.

ON: Your previous shows at Hope Mill – Hair and Pippin – have both transferred to London. How much of a challenge was restaging them for London? Do you have a favourite of the three?

Jonathan: It is challenging re-staging for a different venue, primarily because the space is never the same and there are often idiosyncrasies that pop up here and there. What’s so brilliant though, is revisiting the material with the company and developing the show even further. You’re able to improve on things from the first time and the actors often find a deeper connection with the show and their characters.

They’re all so different! They had different challenges and were very different in tone. It’s hard to pick between them because I loved all three companies.

ON: What’s next for you?

Jonathan: I’m currently directing the UK Tour of Rain Man starring Mathew Horne and Ed Speleers. Then later in the year I’ll be directing the UK premiere of Ken Urban’s A Guide for the Homesick at Trafalgar Studios and Peter Pan at The Park this Christmas.

Catch Aspects of Love at Hope Mill Theatre until 9th August tickets available here.

Theatre of Hate | The Ruby Lounge

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Writer Matt Forrest

It would be fair to say that we had a reprieve from the hot, muggy, sweaty weather this weekend, however those in attendance at the Ruby Lounge may be forgiven for thinking that nothing had changed as Theatre of Hate, are in town and turning the place into an inferno! Tonight the Ruby Lounge was something akin to a leisure-centre steam room, albeit one you could sweat out the weekend’s alcohol consumption and top it up at the same time!

Fair play to front-man Kirk Brandon, who surely must win the award for the hardest working man in music today. Having just finished a series of dates with Spear of Destiny, he has marched straight into a tour with Theatre of Hate and add into that a few solo shows that will see him on the road till December…..judging by the performance tonight it’s a wonder that there’s anything left of him. This is a performance of raw energy-filled passion. Sporting a rather fine Mickey Mouse t-shirt, he’s in fine voice and looking in incredible shape for a 61 year-old.

The band arrive on to stage and launch into the anthemic Original Sin, which brings out the first of many, not sing-a-longs, more shout-a-longs: this is followed up by Judgement Hymn, which opens with a full on dirty saxophone solo from John ‘Boy’ Lennard. From there on in we are treated to a barn storming set anchored by Stan Stammers thunderous baseline, at its peak in the high octane 63.

The band have been promoting the 2016 album Kinshi for quite some time now but they managed to mix the set with tracks from the album and classic hits. Each song was greeted like a returning hero by the baying faithful: all things considered, both band and crowd are on good form for a Sunday, without a thought or care for the Monday morning hangover.

The band encore with The Klan and the Do You Believe In The Westworld, which brings out the largest cheer and caps off a blistering evening of punk, that’s more polished than raw.

As Brandon is on the road for quite some time, he’d be well worth catching. Regardless of what guise you see him in, you’ll be guaranteed a full-throttle performance which may just inspire you to raise some hell!

Theatre of Hate tour dates and information can be found here.

FAME

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Opening Night verdict ⭐️⭐️⭐️1/2

Reviewed by Nikki Cotter

Charting the incredible highs and emotional lows of student life in the New York School of Performing Arts, Fame returns to the stage in a brand new Selladoor production celebrating the 30th year of the gritty and gutsy musical.

Demonstrating the talent, determination & drive needed to succeed in showbiz, the production acts as a vibrant showcase for the multi-talented cast who impress from the start. There are complex relationships, desperate struggles and hard-won triumphs as the production covers themes of prejudice, drug addiction, sexuality and perseverance as we see the pupils develop from nervous newbies to seriously talented seniors.

Mica Paris raises the roof as Miss Sherman with her stirring and soulful delivery of These Are My Children, receiving a well deserved and rarely seen mid-show standing ovation. She is fierce, feisty and unforgettably fabulous.

Other notable performances come from Keith Jack and Molly McGuire as Nick and Serena, the chemistry between the two believable and charming as slow on the uptake & innocently uptight Nick begins to realise all work and no play isn’t perhaps the key to success.

Stephanie Rojas gives a powerful performance as troubled Carmen full of sass and bubbling anger while Jorgie Porter and Jamal Kane Crawford as Iris & Tyrone give an elegant injection of dance, both clearly having great fun with their roles.

Aside from the title track the soundtrack is fairly forgettable, although the cast deliver each song with gusto, there’s nothing in there that can match the ear worm worthiness of the legendary Fame. The years from enrolment to graduation move swiftly, never really allowing quite enough time with any character to fully invest in their story, just as we begin to feel a connection we’re onto the next scene, that said each scene is well acted and creativity delivered there’s just not quite the emotional depth of other coming of age musicals.

This fast paced action does however ensure the story never gets dull as some characters rise while others fall proving unquestionably that Fame is fickle.

Designer Morgan Large’s set is impressive, bold and striking, lit beautifully by Prema Mehta while Nick Winston’s choreography delivers the high-energy ensemble pieces we know and love from the 1980’s film and subsequent award-winning TV series.

Ending with a blistering performance of the title track, Fame will undoubtedly entertain while the powerful performances will certainly impress. Pacy, punchy and packed full of energy, catch Fame at the Palace Theatre until Saturday 28th July tickets can be found here.

When We Built A Rocket Ship

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Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

The Oldham Theatre Workshop is celebrating it’s 50th anniversary, and what better way to celebrate than by going on an adventure, When We Built A Rocket Ship is exactly that, a celebration of adventure and just how far your imagination can take you.

Opening in 1968, we are introduced to a group of childhood friends who meet up in a secluded woodland setting: they have a den, they each have each other, and they have a place to let their imagination run free: there are battles with pirates, encounters with mermaids and sea monsters, and later even an appearance from Charlie’s Angels. Accompanying the gang on the journey is a troop of forest friendly sprites who are always there to lend a hand.

With imagination knowing no limits, the gang decide to embark on an adventure into out-of-space: an adventure that will span 50 years and see them go through personal heart ache and tragedy, with the only constants being their friendship and the group’s haven.

As we go from decade to decade with the group and whilst struggling with the cruel blows that life can send their way from time to time: however, with every one of them knowing that they have each other’s back and no matter what happens they will face each problem together.

This is an ambitious, smart piece of musical theatre that is heavy on the feel-good factor, and has something for everyone: catchy tunes, an engaging story we can all relate to and a heavy dose of nostalgia.

With a cast boasting over 40 actors they all work their socks off throughout, especially during the exceptionally well-choreographed dance routines. The costumes are outstanding, especially on the forest elves: there is more than a wink to the lost boys from Peter Pan, the forest setting looks fabulous and has everything you would want for a secret hideaway.

The production is not without its flaws: Act 1 and 2 are slick and engaging whereas the final act felt a little laboured. There is a huge dramatic event that has is front and centre to the narrative and when this is first broken to the audience it isn’t done with the magnitude it fully deserves.

In addition, there were a few notable mis-queues and mis-steps which were quite distracting, although these may be down to opening night nerves.

Overall this is an entertaining and rewarding piece of theatre and the perfect birthday celebration for the OTW: with such a young talented cast, the OTW can go from strength to strength and we can all look forward to 50 more years of success.

When We Built A Rocket Ship is on till July 28th tickets are available here.

 

 

DUSTY – The Musical

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Opening Night verdict ⭐️⭐️⭐️⭐️DUSTY

Reviewed by Nikki Cotter

Hailed as one of Britain’s most successful female singers, Dusty Spingfield’s turbulent life is absolutely perfect fodder for a musical biography. From political trailblazer to pop chart dominator, the deeply private life of the insular diva offers exuberant highs and heartbreakingly emotional lows; all delivered to a sensational soundtrack of 19 of the chart legends most loved songs.

BAFTA & Olivier nominated writer Jonathan Harvey’s script directed by Maria Friedman moves at a swift pace, giving a whistle stop tour of the legends life, which beyond the kohl eyes and blonde bouffant many of us actually know little about.

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There is intimacy and intensity in the form of Dusty’s relationships with partner Lois (Joanna Francis) and Mother (Roberta Taylor) intermingled with the great humour and fun she finds in her longstanding friendships with best pals and vital support network Pat (Esther Coles) and Ruby (Ella Kenion). One thing Harvey doesn’t shy away from is the dark depths of Dusty’s self-doubt, insecurities and dramatic breakdown. This is not a santitsed jukebox musical but a gritty and powerful piece of musical theatre which succeeds in giving you a rich insight into the complex life of the legendary icon.

Katherine Kingsley as lead Dusty is phenomenal. The three-time Olivier-nominated actress captures the very essence of Dusty to perfection, she belts out the big numbers with effortless style and portrays convincingly and with great depth the pain and loneliness of the fallen diva, ready to rise again to the top of her game when the call finally comes. Her emotionally charged performance more than does justice to the late great Dusty, every iconic hand gesture and breathy note feels authentic as she entirely captivates.

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Dusty’s impressive back catalogue is used to great effect to move the storyline along, while some songs are delivered by different cast members it’s the more concert style delivery from Kingsley that really takes this production to another level, ensuring a standing ovation during You Don’t Have To Say You Love Me even before the song ends. Other stand out moments include her descent into drugs, drink and debauchery during I Close My Eyes and Count To Ten, her creatively staged comeback during What Have I Done To Deserve This and the touchingly tender and deeply poignant Goin’ Back which is movingly sung from her death bed.

The strong supporting cast is chock-full of talent which special mention to Joanna Francis who gives a strong and gritty performance as Lois, Dusty’s backing-singer and partner. Esther Coles and Ella Kenion as Pat & Ruby, Dusty’s PA and hairdresser but ultimately friends and confidents who bring real wit and joy to the production.

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Tom Pye’s and costume design perfectly sets the scene and ensures the passage of time is clear. Video projections generate movement to the static set allowing bedrooms to become theatres, even broadcasting real footage of Dusty’s funeral.

As a first outing this is an enormously entertaining production, there are a few moments in the first half which feel a little clunky where Harvey’s incredibly witty script could be pulled back a little to allow the emotion to rise or allow the audience a moment to feel and experience the tension but these are very minor niggles in what is a superb show which will not only educate and inspire but will undoubtedly remind you of why the legendary Dusty and her smoky lyrics have such timeless appeal.

This is a slick and stylish production with real depth and genuine heart, add to this a leading lady who will quite simply blow you away and you have an absolute must-see show.

On at The Lowry until Saturday 28th July here.

Sherlock Holmes – The Final Curtain

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©NOBBY CLARK +44(0)7941-515770 +44(0)20-7274-2105 nobby@nobbyclark.co.uk

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️

If I had a pound for every incarnation there has ever been of Sherlock Holmes on either the big or small screen, then I’d be a very wealthy man indeed. However, for his celluloid endeavours, Holmes has seldom trod the boards. Surely the world’s number one consulting detective is ripe for a turn on the stage, and writer Simon Reade has undertaken this task with mixed but entertaining results.

In Sherlock Holmes: The Final Curtain, it’s early 1920’s and we find Holmes (Robert Powell) and Dr Watson (Timothy Kightley) apart from one another. Watson is entering the brave world of broadcast radio, telling the world of his adventures with the super sleuth, whilst Holmes is a broken shell of his former self, riddled with arthritis and living a reclusive life keeping bees on the Sussex coast. With the discovery of a dead body on Holmes’ private beach, the sudden appearance of Mary Watson (Liza Goddard) and the fact that its 30 years since Holmes last encounter with nemesis, Moriarty at the Reichenbach Falls….something doesn’t quite add up. In addition Holmes’ legendary powers of deduction seemingly failing him and his growing paranoia that someone is out to get him, is it time for him to come out of retirement and crack one final case?

©NOBBY CLARK +44(0)7941-515770 +44(0)20-7274-2105 nobby@nobbyclark.co.uk

This interesting, entertaining, if unremarkable production could be so much more. It takes a look at old-age, retirement, and how your body and mind can fail you when you need them the most. Also the issues of coping with an ever-changing world. You cannot help but feel more could have been done to explore Holmes’ vulnerability. That said, I found the plot engaging, with some neat little twists and turns, and fun ‘tips of the cap’ to the source material and its creator Sir Arthur Conan Doyle.

Powell is solid and engaging as Holmes, giving a seemingly effortless performance; you just want to see him make more of Holmes’ paranoia. Goddard is equally good as Mary, giving her strength and steel. The scenes between Goddard and Powell are a treat as they spar with one another; these scenes certainly highlight the undeniable chemistry between the two leads.

©NOBBY CLARK +44(0)7941-515770 +44(0)20-7274-2105 nobby@nobbyclark.co.uk

The supporting cast are solid; Anna O’ Grady puts in a fun turn as Miss Hudson, whilst Roy Sampson is clearly having a ball as Mycroft Holmes. I do think more time could have been given to Kightley as Dr Watson, there seems to be more that could have been put his way, instead he is left with nothing more than a narrators role: surely more could have been made of Watson’s relationship with his wife.

It is odd really that this show should be called the final curtain, as there were a few opening night nerves with the curtain which notably affected scene changes. Hopefully these snags will be ironed out for the productions remaining run.

Overall this was an entertaining, enjoyable night at the theatre, however you can’t help but feel that there is a more interesting story ready to burst from the pages onto the stage. Certainly, worth seeing, but one that won’t live long in the memory.

Sherlock Holmes – The Final Curtain is on at the Opera House until 28th July, tickets available here.

Little Baby Bum

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Little Baby Bum

Many parents with babies and toddlers will know of – and probably be exceedingly grateful to! – the nursery rhyme world of Little Baby Bum.

For the uninitiated, Little Baby Bum – or LBB as it’s known – is one of the world’s most popular educational YouTube channels.

LBB features colourful computer-animated versions of traditional nursery rhymes and original songs, and featuring a cast of recurring fun character.

From The Wheels on the Bus (2.1 billion views online and counting!) to Twinkle Twinkle Little Star, many a parent (this reviewer included!) can probably credit LBB for helping their little ones learn the words to the classics.

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And now LBB has followed other major family brands like Teletubbies and Peppa Pig in taking to the stage – with the first tour of Little Baby Bum Live hitting the Lowry this weekend, in the large Lyric theatre no less!

I’ve often thought there was a gap in the market for a live show dedicated to nursery rhymes, so was curious to see if the LBB magic could translate to the stage.

My little reviewer (3 and a half) started bopping his head as soon as he entered the auditorium, thanks to the jolly pre-show music, which was a good sign.

The show introduces audiences to popular LBB characters including Mia, Jacus, Baa Baa Sheep the Baker, Incy Wincy Spider, Stan the Monster, Pig, Baby Panda and my son’s favourite, a high-energy, high-kicking, high-faulting Old Macdonald.

Little Baby Bum Live

Using an effective mix of colourful projections, props and puppets, LBB favourites are performed within the framework of preparing for a parade at the end of the show.

The cast are all excellent, switching roles, costumes and puppets with ease – and are in fine voice, so those all-important nursery rhymes are done justice.

Most of our favourites were included, and we particularly loved the section of non-stop songs towards the end that included faves like Ring a Roses, Grand Old Duke of York and many more.

This finale was so fantastic that on reflection I wonder if there could have been a little less talking about the parade in the first half the show, and a little more singing! But maybe I’m just being greedy!

Little Baby Bum Live

The only real negative aspect to the LBB Live experience was the impact on the show the persistent flash photography had on things – sadly many parents ignoring the explicit request at the start of the show by cast members, while photos and videos were encouraged, flashes should be turned off. Perhaps a no photography at all rule should be considered as all the screens and flashes was very distracting.

But this gripe aside, Little Baby Bum Live Was an extremely enjoyable show for pre-schoolers, especially if they are familiar of the LBB world. It effectively captures the charm and magic of singing these songs – and I’m happy to report singing and dancing along was encouraged throughout!

More information and further tour dates can be found here.

Blackpool – What a Shit Place to Die

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Three Minute Theatre, Manchester – Fri 20 July 2018

Starring Mark Newsome

Writer – Phil Pearson

Director – Grace Cordell

Reviewed by Eric Potts

Opening Night verdict ⭐️⭐️⭐️⭐️

At only fifty minutes long with no interval this is a real emotional roller-coaster.  We follow the mental descent of Billy Costello – a young, gay, depressed, autistic actor with a drug problem during what could prove to be his last few days on the planet…in Blackpool.

Oldham based actor Mark Newsome portrays Billy with truth, integrity, clarity and a real passion.  Although a one-man play, Newsome delivers duologues within the text as Billy encounters both random strangers and problematic family.  He does this with aplomb, the audience quickly buying into the theatrical device and enjoying the well-scripted content.

Writer, Phil Pearson has delivered a tight and fast-moving script, which Newsome delivers with apparent ease.  Costello’s downward spiral towards attempted suicide is, as you would expect, emotionally charged but deliciously peppered with acidic one-liners and asides that allow the audience to laugh through the tears and create a real empathy with the main character and his demons within.

The main thrust of Costello’s mental anguish would appear to be both his and his family’s struggle with his sexuality.  His other issues, drug-use and autism are featured secondarily within the play by means of some clever writing which came across as half-rap, half incantation.  It worked well.

A few minor directorial tweaks would solve some positioning issues and allow better use of the cleverly conceived projection sequences within the narrative, which should be expanded in any future production to augment the staging.  That said, director Grace Cordell has done a very good job and presented an almost full house with both a production and a performer that should go much further in the future.

Interview | Jonathan Harvey | DUSTY

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JH

BAFTA and Olivier nominated writer Jonathan Harvey (Beautiful Thing, Coronation Street) has recently taken on a new challenge, bringing the legendary Dusty Springfield to life in a new and hotly anticipated production, DUSTY the musical.

Based on the personal memories of those who knew her best and chock-full of timeless classics including, I Only Want to Be with You, Son of a Preacher Man and You Don’t Have to Say You Love Me, DUSTY the musical heads to The Lowry’s Lyric theatre for one week only as part of its premiere UK tour starring the magnificent Katherine Kingsley, Rufus Hound and Roberta Taylor.

We caught up with writer Jonathan Harvey ahead of the show opening at the Lowry on Tuesday 24th July to hear a little more about the new musical which critics are describing as ‘outstanding’.

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ON: What was your starting point when it came to writing DUSTY the musical?

JH: I spoke to the producers who had their own ideas for what they wanted the story to be, I mostly researched through books and DVD documentaries from over the years, I read and watched as much as I could. Dusty was really popular in Australia so I found lots of Australian TV interviews and watched those. When she died the BBC did an amazing documentary about her which is still on YouTube which was a great piece for my research. I also spoke with her Personal Assistant who is also a character in the show that was invaluable really.

Dusty I think was all things to all people, I can really identify with that, you might behave one way with your mates then a completely different way with your partner, so I read some descriptions and thought, that’s nothing like the one I just read so it was really important to get to the true essence of Dusty so we can deliver that in the show.

ON: Is it a challenge to tell the story of someone so private?

JH: Yes, you are conscious of that but everything we’re featuring in the play has already been said before so we’re not exposing anything, everything I’ve included is out there, I’ve just brought it together and made a drama about it. What’s brilliant about someone who is private is what goes on behind closed doors is often some of the most interesting things about them so we get a glimpse into that which I think will really entertain and engage audiences.

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ON: Have you had any surprises whilst researching?

JH: Absolutely I’ve found out some really interesting information, I didn’t know she’d been kicked out of South Africa for refusing to play to segregated audiences, incredibly she was really slagged off for doing it, the British press went ballistic about it at the time because it was such a political thing to do and pop stars at the time weren’t expected to act like that, many household names at the time were happily playing to separated audiences.

She hosted Ready, Steady, Go and had a Motown special on there featuring black artists she’d met in America, then suddenly after this their careers here took off all thanks to Dusty. Things like that I’ve found just so interesting, she was a real innovator.

Some people I’ve spoken to when I mention Dusty didn’t know she was British, didn’t know she was gay or didn’t know she was white. She did a lot of things ahead of her time. To get into a recording studio and be in charge and tell people exactly what she wanted was a new thing for the men working with her. She seemed to do a lot of firsts, mix this in with all her amazing songs and getting involved for me was a no brainer.

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ON: Do you feel then the show is a celebration of women?

JH: The story works best when she’s surrounded by her two best friends, her PA and her hairdresser. It’s interesting that when she went off to America in the 70’s and her mates weren’t with her she spiralled into drug and alcohol addiction, lost everything and only really got back on track when she got back to Britain with her mates around her. So I’d say it’s a real celebration of friendship.

ON: What can audiences expect from the show?

JH: They can expect something more than your average jukebox musical. The last workshop we did I invited two of my mates, one of which being the actress Kathy Burke who is always brutally honest with me and I also invited my mate Tina, Tina hates musicals. Two songs in I looked at them both sat on the front row and they were both crying their eyes out and then the next minute they were really laughing. Tina said to me, ‘I hate musicals but I really, really like this’ and Kathy said ‘She’s a f***ing star’ ha ha. It’s very moving but you’ll also have such a laugh, we’re having such a scream with this show. Kathryn is incredible, right from the audition she really made me laugh and her talent really stood out I couldn’t think of anyone more perfect for the role.

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DUSTY opens at the Lowry on Tuesday 24th July and runs until Saturday 28th July tickets available here.