NOW That’s What I Call a Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐

Written by Pippa Evans and directed and choreographed by Craig Revel Horwood, NOW That’s What I Call a Musical takes everyone’s favourite compilation collections and delivers a jukebox musical bursting with 80s bangers.

At the heart of the production is a story based on friendship through the generations, and how while life and its challenges can often get in the way, true friendships stand the test of time (even if they do need a little assistance from an 80’s icon to remind them of the good times).

The story is set in Birmingham and simultaneously takes place in both 1989 and 2009 when a school reunion is on the horizon. In 1989 we meet younger Gemma and April (Nikita Johal and Maia Hawkins). The best friends are about to turn 18, both are ambitious and excited for what life has to offer. Gemma is keen to become a nurse while April has her sights set on stardom in the States. Both Johal and Hawkins shine in their respective roles, wide eyed and hopeful they perfectly encapsulate the characters teenage dreams.

Twenty years later their ambitions haven’t quite materialised and older Gemma and April (Nina Wadia and Sam Bailey) are no longer the close friends we first met. Gemma lives an unfulfilled life while April hasn’t been seen in the last decade. Sam Bailey and Nina Wadia make for a great pairing, although we see very little of Bailey until Act 2 with Act 1 largely being used to build an opportunity for her to return, an unusual choice and one that leaves you thinking the show would have been richer for including her character more throughout. When the two are together Bailey’s voice stuns while Wadia’s comic timing is superb. Once reunited the duo navigate their complex friendship with heart and humour as they’re forced to look back at their younger selves in a bid to work out what happened to those joyful dreamers portrayed so wonderfully by Johal and Hawkins.

The show very much follows the classic jukebox musical format. The characters are relatable, there’s plenty of humour, and of course brilliant bops which the talented cast deliver enthusiastically throughout. The result is a fun, feelgood show offering audiences a night of nostalgic escapism. While the humour is uncomplicated it’s well received by tonight’s audience.

The supporting characters complement the leads well with Gemma’s husband Tim (Keiran Cooper in 1989 and Chris Grahamson in 2009) portraying the villain of the piece convincingly making it very easy to hate him while April’s brother Frank (Luke Latchman in 1989 and Shakil Hussain in 2009) is a likeable addition to the story.

A notable positive to this production is the body diversity reflected on stage, something we’re thankfully seeing more and more and long may it continue.

As with many jukebox musicals there’s a significant level of shoehorning into scenes without adding anything to the narrative other than another tick on the song list count. However, when they are such bops as Video Killed the Radio Star and Hey Mickey, do we really care that much about their placement in the show? Judging by the audience’s reaction tonight I’m guessing probably not. They are here for a fun time and that’s exactly what this cast deliver.

The Act Two cameo by an 80’s icon; on this occasion Scouse sensation Sonia, adds to the fun of this piece as audiences get to indulge in even more uplifting nostalgia, even if it does feel a little like a fever dream (albeit a very fun one).

The plot while fairly predictable is entertaining and enjoyable as this confident cast deliver each much-loved track in this mixtape with bouncy enthusiasm ensuring a happy audience who, by the finale are bursting to boogie during the hit-filled megamix.

NOW That’s What I Call a Musical is on at Manchester’s Opera House until Saturday 1st February tickets available here.

The National Lottery’s Big Night of Musicals

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Back for the 4th year the National Lottery’s Big Night of Musicals yet again proved the perfect way to beat the January blues and celebrate the wonderful work done by the National Lottery AND the very best of musical theatre.

Superbly hosted by comedian Jason Manford as well as offering performances from some of the hottest West End shows, the event showcased a range of touring productions – some which are headed to Greater Manchester soon.

The show also highlighted the support the National Lottery has given to more than 20,000 theatre-related projects over the last 30 years.

North West theatregoers got to see sneak peaks of some of the touring shows heading our way in 2025 – with exciting peformances from Chicago (Lowry, August), Bat Out of Hell (Palace Theatre, February), Mary Poppins (Palace Theatre, April), Dear Evan Hansen (Palace Theatre, February) and Here & Now – The Official Steps Musical (Opera House, September).

Stand out moments from West End productions included a first look at Marisha Wallace’s Sally Bowles from Cabaret – with Maybe This Times – and a brilliantly bonkers number from the new cult hit Titanique – starring Layton Williams and the brilliant Lauren Drew (you might remember her from starring in Lizzie at Hope Mill Theatre last year).

Perhaps most exciting was the chance to for a first look at the brand-new Disney’s Hercules, which is coming to the West End this summer, with a spectacular performance of ‘Zero to Hero’ and ‘Go The Distance’  from Luke Brady (Hercules) and his fiercely fabulous Muses.

Undoubtedly one of the most moving parts of the evening was when musicals legend Michael Ball made a special appearance, singing a spine-tinglinh rendition of ‘The Impossible Dream’ alongside National Lottery-funded charity, Our Dementia Choir, founded by actress Vicky McClure. It’s not an exaggeration to say the performance moved many audience members to tears.

There was also a beautiful performance of Electricity from Billy Elliot by two youth theatre groups from Stockport and Yorkshire – the young people absolutely did themselves proud.

The National Lottery’s Big Night of Musicals celebrates 30 years of The National Lottery funding theatre and performing arts across the UK and serves to thank players who have helped support theatre-related projects to the tune of £1.3BN. National Lottery funding has helped restore theatres as well as enabling hundreds of performing arts projects.

The National Lottery’s Big Night of Musicals will air on BBC One, BBC Radio 2, BBC iPlayer and BBC Sounds this Spring.

Calamity Jane

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Whether you’re a longtime fan of the classic 1953 film starring Doris Day or toe-tapping your way into Deadwood for the first time, one thing is certain, you’ll have a whip-crackin’ whale of a time at this charming revival.

While sharp-shooting Calamity Jane can beat any man in the county, it’s Cavalry Officer Danny Gilmartin she is desperate to impress. She travels to Chicago to recruit glamorous cabaret star, Adelaide Adams, with the aim of bringing her back to Deadwood. However, things don’t quite go according to plan and when the majority of the locals including Danny fall for the new arrival’s charms, Wild Bill Hicock (Calamity’s sparring partner) is now left with the challenge of making a jealous Calamity see sense.

While staying faithful to the beloved musical movie this touring production starring West End favourite Carrie Hope Fletcher offers a revitalised energy which will undoubtedly appeal to modern audiences. Director Nikolai Foster’s decision to use actor musicians is one that pays off hugely giving this joyous production an immersive, wholesome feel. This musicality drives the narrative wonderfully, with bigger numbers like The Deadwood Stage (Whip-Crack-Away!) and Just Blew in from the Windy City impressing with a joyous, celebratory sound allowing this talented cast to show off their incredible versatility. Nick Winston’s lively choreography adds further to these impressive numbers as the cast deliver each routine with perfect precision.

Carrie Hope Fletcher slips perfectly into Calamity’s boots, with just the right amount of sass and spirit, she leads this talented cast skilfully. Her pairing with Vinny Coyle as Wild Bill Hickok is a joy to watch as they barb and bicker brilliantly making the more tender moments all the more special. Her big ballad Secret Love is perfection and will make you wish it was a verse of two longer while Coyle’s gentle version of ‘Higher than a Hawk’ is a gorgeous Act II opener.

Samuel Holmes is on fine form as Francis Fryer bringing laugh out loud humour to the role through his enormous sense of fun while Seren Sandham-Davies shines as Katie Brown. Her transition from wide-eyed new arrival to Deadwood diva is delicious while her pairing with Luke Wilson as Danny Gilmartin acts as further confirmation to the quality of this cast.

Matthew Wright’s music hall set remains unchanged throughout the show however the cast draw on some clever techniques to create multiple locations and settings, from the Deadwood Stage to Calamity’s cabin, everything is carefully considered and perfectly executed. Technically, the sound seemed a little muted at times in Act I however come Act I we were all perfectly primed for a hoe-down finale for hopefully just first night niggles.

This feel-good production is packed with toe-tapping tunes, lots of laughs and heaps of heart. Appealing to audiences of all ages it’s a whip-cracking theatrical treat that will have you wanting to head back to the Black Hills of Dakota quicker than Calamity can crack her whip.

Calamity Jane is on at Manchester’s Opera House until Saturday 25th January tickets available here.

Live Forever

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Reviewed by Matt Broadly-Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Images Jake Hodge

Going into 2025 seeing a sea of parka coats and bucket hats flooding the auditorium of the Bridgewater Hall, certainly wasn’t on anyone’s bingo card. However, it was a thing, and it did happen, and the reason being one of the country’s top Oasis, tribute acts Live Forever were in town with The Rise of Britain’s Greatest Rock ‘n’ Roll Bandshowcase.

 As the title suggests the show is a look back at Oasis’s early back catalogue. The first half of the show  incorporated songs from milestone gigs, such as the band’s 1991 hometown Boardwalk gig where Noel Gallagher first played with Oasis.  There are also songs from the Glasgow show at King Tut’s Wah Wah Hut where the band were signed to their first record deal.    

 

Rather inevitably the band open with Rock ‘N’ Roll Star, and thrash through songs from Definitely Maybe, including Digsy’s Dinner, and Bring It On Down, however what sets this apart from other tribute acts is the visual attention to detail, it’s impressive to say the least. The stage is littered with Marshall and Orange Amps, a staple of the look and sound of Oasis. The stage design has incorporated the same black and white swirls used at Oasis’ huge Maine Road and Knebworth concerts from 1996. The fact that the second song of the night is a previously unreleased Oasis track, Take Me is impressive in itself but goes to strengthen how this is far from a covers show.

 The experience is further enhanced by the commitment to performance from Derek McCabe and Degsy Williamson as Noel and Liam. McCabe’s mimicking of Noel Gallagher’s appearance, guitar playing style and most importantly sound is first class, even going as far as recreating some of Noel’s outfits from previous  shows. He doesn’t put on a faux manc (he’s Scottish) accent, or sneak in some Noel Gallagher quips because he really doesn’t need to, because everything else is bang on point.

Degsy Williams on the other hand went into full Liam Gallagher persona, bantering with the audience, cheeky comments about learning his ‘lines’ in the toilet, or changing lyrics which Liam had done several times. He may not have looked entirely like Liam, but he did a great job with his vocals, a highlight being a storming rendition of Cigarettes and Alcohol. He gamefully interacted with young children and a few boozy revelers in the crowd. A highlight for me was the recreation of the Oasis Unplugged moment which saw Noel taking on singing duties for a TV recording whilst Laim heckled and became a bit of nuisance from the baloney, again showing an authenticity attention, to detail and playfulness you won’t find elsewhere.

 

The rest of the band also do a superb job of recreating the ‘Oasis’ sound, with special mention to lead guitarist Steve Allen and Kevin O’Rourke on keys. They are the driving force of the sound of the band and absolutely smash it.

Following an interval it’s just hit after hit, with the likes of Wonderwall, Don’t Look Back in Anger, and Stand By Me, the only track from Oasis’s third album to receive an airing. Throughout the second half the majority of the Bridgewater Hall audience were up on their feet clapping, singing along and having a good time. What was striking about the show was the audience was made up of children and pensioners and everyone in between who all in unison, lapped up the show, which is a testament to the Oasis back catalogue, and the quality of the Live Forever experience.

The whole world knows that Oasis have some huge dates this summer, and for those lucky enough to get tickets, Live Forever is the perfect aperitif to get you in the mood. For those not so lucky getting tickets, Live Forever is as nearperfect a way of experiencing what Oasis were like at the peak of their popularity, and well worth checking out.

Live Foverever are on  tour throughout 2025. Tickets available here here.

 

Full Casting Announced for World Premiere of David Baddiel’s ‘The Parent Agency – The Musical’ at Storyhouse Chester

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Producers John Berry and Anthony Lilley of Scenario Two and Suzie Henderson and Helen Redcliffe of Storyhouse are delighted to today announce the full cast for The Parent Agency – The Musical. This brand new musical adapted by comedian and author David Baddiel from his best-selling book with music and additional lyrics by the composer of Everybody’s Talking about Jamie’s Dan Gillespie Sells, will receive its world premiere at Storyhouse Chester on Saturday 15 February 2025, where it will be playing for two weeks until Sunday 2 March 2025.

Max Bispham (Les Miserables, Mrs Doubtfire), Osian Salter (Les Miserables, The Osmonds a New Musical), Eli Sowden-Mehta (Wonka, Blitz, Wicked)and Louis Wilkins (Chitty Chitty Bang Bang) will share the role of Barry.

Rebecca McKinnis (Dear Evan Hansen, Everybody’s Talking About Jamie) will play Susan and Rakesh Boury (Matilda, The Creakers) will play Geoff.  

Completing the cast are Kazmin Borrer (Everybody’s Talking About Jamie), Elliot Broadfoot (Kathy and Stella Solve A Murder), Natasha Cayabyab (Shrek the Musical), Dylan Collymore (Shrek The Musical), Sarah McFarlane (SIX), Joshian Angelo Omaña (Why Am I So Single?) Alan Vicary (Girl From The North Country), Ralph Birthwell (Life of Pi), Althea Burey (The Gruffalo), Elliot Copeland (Becoming Nancy), Jessica Daugirda (Everybody’s Talking About Jamie), Sophia Lewis (Around The World in 80 Days) and Robbie Scott (Sunshine on Leith).

Eleven-year-old Barry Bennett hates his name. In fact, it’s number one on the list of things he blames his parents (Susan and Geoff) for along with “being boring, never buying him cool stuff, being tired all the time and being too strict”. So, he makes a wish for a better mum and dad and finds himself whisked away to Youngdon in the ‘United Kid-dom’, an alternate universe where kids get to pick out their perfect parents with the assistance of the staff of the eponymous Parent Agency.

For Barry, this seems like a dream come true, although he soon learns that choosing a new mum and dad isn’t as simple as it sounds…

The Parent Agency – The Musical will appeal to anyone who is, or has been, a child.
And also, to anyone who is, or has had, at least one parent.
And definitely, to anyone who wishes they weren’t called Barry.

The Parent Agency – The Musical opens at Storyhouse Chester from Saturday 15th February tickets available here.

Cinderella

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Tony Peers Productions returns to Warrington’s Parr Hall this month with this year’s Panto offering, a sparkling spin on the classic fairytale, Cinderella. Combining traditional panto elements with wonderful modern touches this is a production all the family will undoubtedly enjoy.

The show tells the tale of Cinderella, who, despite being bossed around by her horrid stepsisters, lives a happy and hopeful life with the help of her loyal friend Buttons. With a yearning to meet the man of her dreams never too far from her thoughts she luckily meets a fabulous Fairy Godmother (TV’s Anne Hegarty) and a happy ending is hopefully in sight.

This entertaining production is well tailored for young audiences, there’s lots of gentle humour, a sprinkling of magic and plenty of brilliant bops woven perfectly into the familiar narrative. While the traditional sets are simple the glittering costumes and intricate choreography superbly delivered by local youth dancers from Felicia Burns School of Dance really ramp up the visuals in this super fun show.

The cast are clearly having a ball onstage with standout performance coming from the Ugly Sisters, played by Philip Meeks and Matt McInnes who provide laughs a plenty and that all important audience interaction. Buttons, played by Daniel Dean packs in the comedy with his much-loved silliness while The Chase’s very own Governess, Anne Hegerty really gets into the spirit of things delighting us all with superb vocals and great comedic timing.

There’s so much to enjoy about this production from the witty script to the vibrant costumes (shoutout to the Ugly Stepsisters and their epic costume changes). There’s plenty of innocent fun for the kids and just the right amount of innuendo for the adults. The localised references in the script allow the cast to really connect with the audience while the physical humour ensures the laughs keep on coming. It’s always wonderful to see families experiencing live theatre together and this show will guarantee magical memories for years to come.

Cinderella runs until Sunday January 12th, with concessions and family tickets available. Tickets and further information can be found here.

Accessible Performances 

Relaxed/Dementia Friendly performance – Saturday 11th January @ 9.45am – Created for people with special educational needs, this performance uses lower volumes for sound effects and fewer flashing lights. Special effects will also be reduced, so pyrotechnics and strobe lighting will not be used. For more information, please contact our box office on 01925 442345.

Signed performance – Sunday 12th January @ 11am – This performance will feature a British Sign Language interpreter who will stand to one side of the stage to translate the script as it is being performed. For more information, please contact our box office on 01925 442345.

Special Offers

Family – Buy 2 adult and 2 child tickets for just £43 (plus fees)

10th Ticket Free – Buy 9 or more tickets and get your 10th ticket free

Seniors BOGOF – Buy one senior citizen ticket and get one free (max 4 free tickets per customer) – Tuesday 7th Jan @ 1.30pm only

Cinderella

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

It’s my favourite time of year, that time of year when we gather together and head into Manchester to be entertained at the annual Opera House Panto. Oh yes it is!

This year we are treated to the age old tale of Cinderella. It has all the traditional ingredients needed to tell the story. From a wicked step mother, a Prince Charming, two step sisters, a Fairy Godmother and our old mate Buttons. 

But as we have now come to expect, from a Manchester Opera House Panto, this show has so much more to give than an old school Panto. This is Manchester. We do things differently here, and Panto is no exception.

Everything about this show is slick. Crossroads Pantomimes deliver a well carved and crafted show with a glitzy set and dazzling costumes. The effects team have gone to town this year, and the scene with Cinderella’s carriage is one of the most magical moments I have ever seen in Panto (and I have seen A LOT of pantos).

I am not sure I am ever going to be ready for a world of Manchester Panto where Nickless (Buttons, this year) and Manford aren’t on stage together. This duo is a match made in Panto heaven. You can see the bond that these two men have with each other both in character and out. They work together elegantly on stage – there is no other Mancunian duo that could capture the audience like these two do.  And boy do we love it! Who knew it was possible to cry tears of laughter while singing Sweet Caroline on a Tuesday night in town! 

Make no mistake, Manford is an all round performer, he’s so much more than just a comedian (which he also does very well obviously) he has become a seasoned Panto pro. He has a rich and deep voice and while his dancing still gives off full on dad dancing vibes, (which is part of the charm) he is enormously entertaining throughout the entire production. But he isn’t alone. Nickless, his right hand man, shines brightly in his role as Buttons. He is a first class panto star. It’s like he was born for it. The gags keep coming, his comic timing is genius, and he clearly loves what he is doing and that makes us, the audience, love him even more. And his James Blunt impression is more James Blunt than James Blunt could do himself. If laughter is the best medicine than Nickless is a healer! 

The whole cast of Cinderella is exquisite, they come together so perfectly to create a night of magical Christmas memories.   

There were stand out performances from Liz Carney and Chloe Chesworth, as the wicked step sisters. Manford and Nickless might need to watch their backs with these two storming onto the Opera House panto scene. I thoroughly enjoyed this comedic duo throughout the show.  

And Panto wouldn’t be panto without a villain for us all to hate (love) and Myra DuBois delivers: the costumes, the gags, the bullying of the bloke who wished he hadn’t sat front centre in the audience, the boos and hisses- all came together perfectly! The dame is an integral part of a Panto, but it takes a special Dame to do what DuBois does – and makes it look so effortless. 

Cinderella is absolutely top notch, a must see, be prepared to laugh your socks off and leave wanting more. 

Cinderella is on at Manchester’s Opera House until Sunday 5th January (with best availability in January) tickets available here.

Snow White and the Seven Dwarfs

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

It’s that time of year again when Dame’s don their sparkliest frocks and soap stars leave the chaos of the cobbles for something altogether more dramatic, panto!

St Helens Theatre Royal and Regal Entertainment have pulled out all the stops this festive season to bring audiences an absolute Christmas cracker with their glittering version of Snow White and the Seven Dwarfs.

The cast boasts Maureen Nolan as the Wicked Queen, Corrie star Emrhys Cooper as Prince Fredrick, Hits Radio’s Leanne Campbell as the Magic Mirror, everyone’s favourite funny man Lewis Devine as Muddles, Richard Aucott as Nurse Nelly and Chantelle Morgan as Snow White.

With superb sets and stunning costumes there’s something for everyone in this hugely entertaining production. 

Writer Liam Mellor has packed in many of the traditional panto elements with ample opportunity for booing the Wicked Queen and of course plenty of ‘it’s behind you” while also adding to the traditional with the addition of Jena Leopold & Doggy Delights who utterly charm the audience with their cute canine acrobatics.

Chantelle Morgan who was found in an open casting absolutely shines as Snow White, her vocals are stunning while she embodies the character perfectly. Emrhys Cooper is superb as Prince Fredrick, he’s a real triple threat with a wonderful stage presence, incredible vocals and moves worthy of winning a Stictly glitterball, he’s clearly not afraid to have fun with the role endearing himself to the audience immediately.

St Helens favourite Lewis Devine has the audience in the palm of his hand as Muddles, his pairing with Richard Aucott as Dame Nelly is a joy. The gags come thick and fast keeping the little ones entertained while there is plenty of humour for the adults in the audience too.

Leanne Campbell appears in prerecorded scenes in the form of a magic mirror which works perfectly. The dwarfs are also prerecorded voices of several local celebrities from Johnny Vegas to Pete Price, brought to life by talented puppeteers. 

Maureen Nolan saves her most loved hit last gifting us with the chance to boogie during the finale while the senior dancers deliver Nazene Langfield’s choreography with precision adding depth to the production and really upping the wow factor to the ensemble numbers.

The show is packed with laugh out loud moments, heaps of audience interaction and impressively high production values ensuring that this Snow White is another crowd pleaser. This fabulous family show is the perfect opportunity to gather with your loved ones and make some wonderful festive memories together.

Snow White and the Seven Dwarfs is on at St Helens Theatre Royal until Sunday 12th January tickets available here.

A Christmas Carol

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

There something so very special about A Christmas Carol, with its timeless story and perfect message for the festive season, this classic Dickens tale is a firm audience favourite. 

This Christmas, Hope Mill Theatre bring Scrooge’s redemption to magical life at The Lowry with the added twist of the Ebenezer Scrooge we all know and love becoming Evelina Scrooge, played superbly by Claire Moore. 

Seeing Scrooge as a woman offers an incredible opportunity to revisit a story we think we know so well and see it through fresh eyes as the tale takes on new meaning. We see an increased depth to Scrooge and gain a deeper understanding of what led to her life of stingy frugality. 

Set amidst the inky pages of a book this stunning musical adaptation is everything you want from a Christmas production. This traditional take oozes quality with its stunning set, impressive projections, wigs and costumes while the cast are truly phenomenal.

From Claire Moore as Scrooge right down to Team Holly’s Marnie Fletcher as an 8 year old Eveline, this cast is second to none. Their vocals are sublime while the ensemble deliver George Lyons choreography to perfection. 

Director Joseph Houston alongside co-director William Whelton have created a production that would be at home on any West End stage, how lucky we are to have it right here in Salford.

Scrooge’s night of reckoning begins with a visit from a ghostly Jacob Marley, played superbly by Barry Keenan. His words ring true as the clock strikes one and the Ghost of Christmas Past (Mari McGinlay) appears. McGinlay is wonderful, full of memories and merriment as she reminds Scrooge of monumental moments from past which seem long buried by the Scrooge of present. Both painful and perfect memories emerge culminating in a celebratory scene at the Fezziwig’s Annual Christmas Ball.

This big company number is tremendous, showcasing George Lyons’ choreography while allowing Alan Menken and Lynn Ahrens stunning music the ideal opportunity to shine. Alexander Evans and Josie Benson play the perfect hosts as Mr and Mrs Fezziwig, comedic and commanding.

Next we meet James Hume as the Ghost of Christmas Present. Hume is an absolute joy while the staging of his scenes is a total triumph and a real highlight in an already wonderful show. His witty approach combined with a stunning company number will live long in the memory.

As Josie Benson returns to the stage as the Ghost of Christmas Future we see Evelina Scrooge repent as she lightens and brighten before us. Claire Moore shows such incredible versatility in her characterisation, from the cantankerous early Scrooge to the jovial Scrooge of the finale she takes us with her, every step of the way on this heartwarming journey. 

The entire company all deserve high praise, their vocals are breathtaking while their skilful set changes become beautifully crafted choreography. Special mention must go to Matthew Jeans and Team Holly’s Joel Tennant whose pairing as Bob Cratchit and Tiny Tim is a joy.

From Andrew Exeter’s stunning set design to Alex Musgrave’s rich lighting magic has been made. The band led by Joseph Clayton solidify the sheer quality of this production.

After 9 award-winning years producing their own in-house productions, this is the first Hope Mill Theatre have created and produced for another venue and to say the bar has been set high would be a wild understatement. A Christmas Carol : The Musical is sublime. It will lift your spirits, warm your heart and remind you just how magical live theatre can be, sensational!

A Christmas Carol : The Musical is on at The Lowry until Sunday 5th January tickets available here.

The Bear

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Waterside Arts in Sale, brings us another Christmas feast of entertainment for the family. This year it is The Bear, a stage adaptation of the wonderful Raymond Briggs book. The tale has similar themes to that of another beautiful story of Briggs’, the Snowman. 

This show, a Pins and Needles Production, features young Tilly, a girl with an imagination and a friendly Teddy Bear, who kept the children entertained while waiting for the show to begin. One blustery night a polar bear comes to stay, blundering through her bedroom window in the deep of the night. 

Tilly adores the Bear from the moment he arrives. She desperately wants him to stay. Together they play games such as hide and seek (he’s very good at it). Tilly quickly comes to realise that taking care of a bear is not the easiest of tasks.  

This story is one of friendship and love. You can’t help but be touched by the closeness and companionship these two characters create on stage. There are so many moments that give us, the audience, the complete warm and fuzzies. There is a woven thread through this whole story of the power of the imagination and the importance of closeness for a child. 

The heartwarming scenes are linked together with comedy, song and some good old fashioned dance moves. We are treated to bubbles and snow and even a blast of a water pistol (bad luck if you’re near the front). 

But what the most spectacular thing about this production is, is the Bear itself. The puppetry is divine, it’s carefully considered, gentle, dynamic and purposeful. The fact that we can clearly see the puppeteers does not distract from the way in which we are captivated by the bear, the characterisation from both actors allows us to simply see them as part of the bear. It’s very clever and powerful. 

We were mesmerised, transfixed and entertained through out the entire production, it’s one we will talk about for Christmases to come.

The Waterside always knows how to do Christmas, and this year they have excelled themselves by bringing this show to town.

The Bear is on at The Waterside, Sale until Sunday 29th December tickets available here.

Wicked

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

It may come as quite the shock to find out that Wicked has been gracing theatres across the globe for 21 years, yes that’s right folks Wicked has the key to the door! 2024 has been a huge year for this musical theatre titan: there was of course Hollywood’s much anticipated take, with part one hitting the silver screen last month. Then there is an epic 10 venue UK tour which arrives in Manchester, its final stop for a six week run

Based on the novel, Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire, and adapted for the stage by Winnie Holzman, this tale from the land of Oz resembles a Greek tragedy more than a fantasy adventure. Beginning with the citizens of Oz celebrating the demise of The Wicked Witch of the West. Glinda the Good (Sarah O’Connor) isn’t fully invested in the celebrations, when questioned about her friendship with the tyrannical witch, we are taken on a journey to see how these two rivals go from foes, to friends, and right back to perceived enemies once more.

Before she became the Wicked Witch of the West, she was Elphaba (Laura Pick), a young woman shunned by her father and ridiculed by everyone she meets because of her green skin.  Elphaba is sent to the Shiz University, where she is a carer for her younger paraplegic half-sister Nessarose (Megan Gardiner).

Here Elphaba meets Gailnda, a popular social climber that seemingly everyone adores. The pair soon clash when they are placed as roommates. The relationship is further strained when Elphaba is picked by Madame Morrible (Donna Berlin) for one-to-one sorcery tutorials. In addition, the arrival of a playboy prince, Fiyero (Carl Man) adds to the tension, as Galinda is bowled over by his charm and striking good looks, whilst Elphaba is less than impressed by his cocky, arrogant swagger.

Despite their many differences the pair soon see that they aren’t too dissimilar, and a great friendship is forged, together they make quite a formidable team.

However, something sinister is happening to the animals of Oz, with all of them losing their voices and seemingly dark forces behind their persecution. Elphaba and Glinda (having ditched the A) are granted an audience with the great Wizard of Oz (Simeon Truby) to seek his help with this matter, but the meeting doesn’t go as planned and sets the pair on separate paths that will test their friendship to the limits.

It’s easy to see why the magic of Wicked shows no sign of fading any time soon: It’s a production dripping with quality. At its heart two fabulous central performances from Laura Pick and Sarah O’ Conner. Pick is punchy as the prickly no nonsense Elphaba, she absolutely knocks it out of the park on her solo numbers  “I’m Not That Girl” and “No Good Deed”. O’ Conner is equally impressive, in a role which not only showcases her tremendous vocal range but allows for some great comedic flourishes, as she plays the dizzy mean-girl-turned-good to perfection.

There are of course some great musical numbers from Stephen Schwartz, the best of the bunch being “Popular”, delivered impeccably by O’ Conner, and the scene-setting ensemble number “No One Mourns the Wicked”. Of course there is the now iconic “Defying Gravity” which more than delivers. The orchestration and musician arrangements are first class, delivered superbly by the orchestra, which is no mean feat as throughout the dry ice rolled into the orchestra pit. It’s an impressive visual but does make you wonder how they could see what they were doing!

The production values are of the highest order: Susan Hilferty’s costume design is fabulous, especially the steampunk themed citizen of Oz design and the terrifying flying monkey design. Eugene Lee’s stage design is epic in scale which marries perfectly with Kenneth Posner’s impressive lighting design and Tony Meola’s bold, booming sound design.

Despite a smart, witty script, there are parts where the plot seems a little contrived as it tries to cover a lot of narrative strands. In places it does seem a little bloated, but this is a minor quibble.

This is live theatre at its finest, a treat for the eyes and ears and one that will enchant audience members young and old alike. There may not be a yellow brick road leading to the palace theatre, but all roads should take you to Wicked this festive season.

Wicked is at the Palace Theatre, Manchester till 12th January 2025. Tickets available: Here

Come From Away

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Telling the incredible real-life story of remarkable human kindness in the face of unimaginable tragedy, Come From Away has arrived in Salford for a heartwarming festive season. 

Having thrilled audiences from Broadway to the West End, Come From Away transports us to the small community of Gander, a town in Newfounland, Canada, which on September 11th 2001 suddenly found itself home to over 7,000 international visitors, grounded due to the 9/11 attacks.

Having been in New York myself on September 11th I put off seeing this much loved musical for several years, concerned I’d find it upsetting or triggering. I finally took the plunge as its award-winning run on the West End came to a close, my one regret was that I waited so long. I left the theatre uplifted, inspired and desperate to watch it again.

Come From Away while created as a result of the real-life stories of grounded passengers, crew and the wider Gander community is anything but dark. It shines the most beautiful light on the absolute best parts of humanity as the locals embrace their ’come from aways’ while their visitors find hope and heart in the most challenging of circumstances.

The cast of 12 take on multiple roles from Captain Beverley Bass, the first female pilot to fly for American Airlines to Claude Elliot, who was Mayor of Gander at the time of the attacks. Personal accounts are beautifully interwoven with stories of community all set to an addictively catchy score while the script is littered with witty, heartwarming moments which draw you in from the start. 

Irene Sankoff and David Hein’s book, music and lyrics are seamlessly delivered by this brilliant company. From opening number ‘Welcome to The Rock’ right through to the joyous finale where the talented band led by Andrew Corcoran are given their moment in the spotlight, this life-affirming production delivers over and over.

The cast move both themselves and the props around the simple yet highly effective set to great effect. One moment we’re in Tim Horton’s at breakfast time, the next we’re on a flight, about to make an unplanned landing, every tightly woven movement pushes the narrative on wonderfully. 

Christopher Ashley’s slick direction ensures despite the multiple characters every scene is delivered with clarity and precision. The perfect pacing and intricate transitions keep the flow just right while the cast carry you through this emotional journey with them as if you too are a Newfoundlander.

This is a story of kindness, human connection and compassion delivered by a cast at the absolute top of their game. Amidst the witty, melodic scenes there are more serious, emotive moments which are given just the right amount of time to breathe before the next wave of joviality whips you up again. There is also an important and frank spotlight shone on Islamophobia, something I remember vividly witnessing flying back from JFK in the days after 9/11.

This is real, authentic ensemble theatre where cast members collectively create a truly memorable production. At a time where darkness can often feel so prevalent Come From Away will restore your faith in humanity and remind you that every single one of us has the ability to make a difference. This is is incredible storytelling, beautifully told. Let Come From Away whisk you off to Gander, fill your heart with joy and remind you there is always light amidst the darkness.

Come From Away is on at The Lowry until Sunday 5th January tickets available here.