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.

Alice In Wonderland

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐

Shakespeare North Playhouse is at it again this Christmas, tackling another literary juggernaut for their festive offering. Their debut year saw A Christmas Carol, the year after it was, The Wind in the Willows. This holiday season they have upped the ante, bringing Alice In Wonderland to the stage.

Writer Nick Lane has taken elements of Lewis Carroll’s Alice’s Adventures In Wonderland and sequel Through the Looking-Glass and crafted an original, modern adaptation of Alice’s adventure with its roots firmly in Prescot.

We are introduced to a grown up Alice (Helen Carter), out shopping in Prescot on Christmas Eve with her two children. The stresses of the time off year are taking their toll:  the kids are bored and wanting to go home, whilst Alice is having difficulties with her sister, whom she no longer sees as often as she should. As the family walks over to a fun fair. Alice becomes distracted by the appearance of a familiar visitor: The White Rabbit, who she remembers from her last visit to Wonderland, as a young girl.

Alice once again follows the rabbit down the rabbit-hole and so begins another adventure. On her journey Alice encounters some old friends, The Cheshire Cat  (Kelise Gordon Harrison), Caterpillar (Tia Larsen), and of course The Mad Hatter (Milton Lopes). However, a new threat has emerged in the form of The Duchess(Martha Godber). The Duchess has not only captured Alice’s smile, but also feeds the residents of Wonderland jam tarts to make them forget about the joyous things in life, such as Christmas, while keeping them under control. Alice must defeat The Duchess in order to free the people of Wonderland as well find a way back home to her family.

Nick Lane and director Nathan Powell have created a fun, family friendly production, which isn’t perfect, but will certainly bring a sprinkling of magic over the festive period. It’s a slow start, but once Alice arrives in Wonderland you become invested in the story. The script as you would expect is bonkers packed full of great gags and superb visual jokes. The Bill Shankly-esque introduction of the Caterpillar and the joyous stupidity of the Dodo is superb. There are some scenes, such as the Christmas dinner scene which could do with a bit of a trim but these are minor quibbles for what on the whole is an enjoyable tale.

Always within Shakespeare North Playhouse productions is a sense of pride about its home in Prescot and the community, so there plenty of jokes about in-jokes and harmless potshots at local surrounding towns which I always find endearing and really shows just what the theatre means to the community and what the community mean to the theatre: which is something special and should be cherished.

The small cast of five put in a shift, with all except Carter, playing multiple characters. Helen Carter is in good form as an older world weary yet sassy Alice. Martha Godber is equally impressive as the villain of the piece, somewhere between Liz Truss, Donald Trump, and a spot of Boris Johnson thrown in for good measure, complete with a  great singing voice she absolutely nails it.

Milton Lopes brings the absurdity as both The Dodo, and The Mad Hatter, it’s two very different roles that provide a platform for Lopes to showcase a gift for physical comedy and his circus skills. Kelise Gordon-Harrison is a great value as the kung-fu loving, game show host Cheshire Cat, complete with backflips and a catchphrase. Whilst Tia Larsen very nearly steals the show as the over enthusiastic, Card Two, and her turn as the Caterpillar (along with Lopes’ Dodo) were my personal highlights.

Sascha Gilmour’s beautiful, vibrant costumes are an absolute treat with the pick of the bunch being the glorious JubJub Bird, Caterpillar and Dodo. Whilst the fairground setting adds a sense of unpredictability to proceedings.

Alice in Wonderland has everything you want from a Christmas show: big laughs, silly set pieces, a spot of panto style audience participation and a heartwarming message to send you on your way. A treat for all the family and well worth a peek into the looking glass for.

Alice in Wonderland is at the Shakespeare North Playhouse until 11th January. Tickets available here.

Images by Patch Dolan and Kristian Lawrence

Matthew Bourne’s Swan Lake: The Next Generation

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

It may come as a shock but Matthew Bourne’s ground breaking retelling of Tchaikovsky’s Swan Lake premiered some 30 years ago. The show sent shockwaves through the ballet world, and is about to do the same again as Matthew Bourne’s Swan Lake: The Next Generation is spreading its wings and taking flight for a full UK tour, in 2024/25. Hopefully it won’t break any arms (strangely the third most internet searched thing about swans), but may well leave you heartbroken.

Arriving at the Lowry this week, this contemporary version sees a young Prince (Stephen Murray) woken from his slumber by a nightmarish vision of a swan. Not long after the dream, the Prince is thrust into public life by his emotionally distant mother the Queen, (Ashley Shaw), who is far more interested in flirting with the guards than showing her son any affection.

The Private Secretary (Benjamin Barlow Bazeley) sets the Prince up with a young woman, known as The Girlfriend (Bryony Wood), with the pair hitting it off. However, a series of very public gaffs by the Prince’s girlfriend leads to a near violent altercation between the Prince and the Queen, which sees the Prince flee in a drunken rage. With thoughts of suicide, the Prince goes to a local lake, only to be saved by a swan, (Jackson Fisch) the same swan from his dream. The pair are instantly attracted to each other and fall in love.

However, the course of true love doesn’t run smooth, a grand ball is hosted by the Queen, with princesses from across the land in attendance. At the ball, the Private Secretary’s son arrives, who has more than passing resemblance to the swan the Prince has fallen for. The man, dressed in all in black soon, begins to wow the princesses and even the Queen with his sexually charged dance moves and confident swagger, which upsets the males in attendance as well as the Prince, leading to the evening ending in tragedy. 

Even after 30 years this bold, innovative adaptation still manages to cast a spell on an audience like no other. The sight of muscular male dancers playing the part of the elegant swans is a powerful image and one that will stay long in the memory. It’s a master stroke, that the swan’s shift from elegant beautiful creatures to aggressive protectors, hissing and stomping at anyone who dares cross them. Visually it looks stunning as Bourne’s exceptionally choreography moulds perfectly with long-time collaborator Lez Brotherston’s gorgeous swan costumes.  It’s as intense as it is captivating.

For me the greatest trick Bourne pulls is how accessible his ballets are and Swan Lake is no different. There is a mixture of classical ballet, jazz and contemporary dance, which allows for a different viewing experience.  In addition, despite the tragedy at its core, the production is littered with some great comedic moments, from the appearance of a puppet dog, to a hilarious scene at the theatre. Whilst there is always something going on in the background with arguing couples or many a suggestive glance.  I laughed more at the comedic elements in this than I have at many supposed comedies.

The performances of Jackson Fisch and Stephen Murray as the ill-fated lovers is a triumph, with both putting their heart and soul into the performance. Bryony Wood puts in a scene stealing turn as the Girlfriend: it’s a comedic turn that entertains throughout. Benjamin Barlow Bazeley cuts an imposing presence as the villainous Private Secretary. The whole ensemble cast work tirelessly throughout, mastering the various dancing styles and making this a truly memorable experience.

In addition to the fabulous costumes, Lez Brotherston’s huge set design is impressive: from grand palace interiors to seedy back street night spots. It fills the stage, making it feel huge. The lake setting is hauntingly beautiful.

It’s another triumph for Matthew Bourne: rich, engaging storytelling, beautifully assembled by a true master of his craft.


Matthew Bourne’s Swan Lake: The Next Generation is at The Lyric Theatre, Lowry until 30th November. Tickets available: Here

Elf: The Musical –  Palace Theatre, Manchester

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Reviewed by Matt Forrest

Opening Night verdict: ⭐⭐

The film Elf has established itself as a firm family favourite in homes across the land every holiday season. The same could also be said of Elf: The Musical, which since its West End debut in 2015, which has led to  numerous UK tours playing theatres and arenas. Once again Buddy the elf is out on the road again arriving in Manchester, and hoping to spread a little festive cheer, however sadly this time around the magic just isn’t there.

Elf: The Musical tells the story of Buddy (Jordan Conway), a human who is raised by Santa and his elves in the North Pole. Soon Buddy begins to notice he isn’t like his fellow  work colleagues. He  often wonders why he isn’t as good at making toys as everyone else; and questions why he is much taller than everyone around him? Eventually Santa (Philip Day) puts Buddy straight, informing him that his real dad lives in New York and even more important than that….he is on Santa’s naughty list.

Buddy travels to New York, where he meets his Dad, Walter Hobbs (Barry Bloxham) , a workaholic book publisher who spends more time at work than he does with his wife and son. Walter isn’t too thrilled to meet Buddy or the chaos that comes with him. Buddy is sent to a department store, where he meets Jovie (Kelly Banlaki), a slightly world-weary shop employee, fed up with New York and indeed of some Christmas spirit. Can Buddy work his magic and help Jovie find some Christmas cheer, save his dad from the naughty list and more importantly save Christmas!

Like Buddy himself Elf: The Musical has a crisis of personality as to what it wants to be: a musical or a panto? It pitches itself somewhere between both camps coming across as disjointed. There were some fabulous feats of acrobatics from Romy Bauer, and other cast members  which look impressive but didn’t really add anything to the story.

At times actors went off script, even breaking into laughter, which gave the proceedings a shambolic quality and charm, which on occasions I did enjoy, however these are best saved for pantomime.  The big screen at the back of the stage shows videos throughout, that don’t look good, and at times pointless.

Jordan Conway is good as the title character, in a performance packed full of energy and mischief. He just about strikes the balance between innocent charm and playful irritant. Kelly Banlaki is fine, if somewhat under utilised as Jovie. Whilst Barry Bloxham does a good job as the embittered Walter Hobbs. To be fair the ensemble cast work their socks off throughout, you only wish their energy levels were matched by the production values. 

Most of the musical numbers are instantly forgettable, with the exception of the excellent Nobody Cares About Santa, which looked and sounded great. The orchestra are in good form throughout, fair play to them for not missing a beat during the snow fight.

Elf: The Musical does have its moments, with younger audience members lapping up the more anarchic scenes. However for a 2 hour 20 minute show, there aren’t enough big set piece moments that really hold your attention.  We’re not even in December yet and I’m sad to say this elf should be left on the shelf this Christmas.

Elf: The Musical  is at  Palace Theatre until 17th November. Tickets available: Here