Twelfth Night

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Having brought audiences a boundary breaking version of A Midsummer Night’s Dream in 2022, Not Too Tame return to Shakespeare North Playhouse this month with their inspired interpretation of Twelfth Night, with the aim to rock your socks off!

This modernised version centres the action within the music industry, there’s raunch, romance and a whole lot of riffing as this Shakespeare classic is given the rock star treatment. Utterly irreverent and a whole lot of fun this is Shakespeare for today. There’s a glorious mix of modern language which marries perfectly with Shakespeare’s script, it’s extremely funny, a little bit naughty and as far from stuffy as you can possibly get.

This is the second co-production between Warrington based Not Too Tame and Shakespeare North Playhouse and it’s clear both know this stage and setting well. Director Jimmy Fairhurst ensures his cast use every inch of the stunning Cockpit Theatre, making this production all the more exhilarating as you wait in anticipation of who will appear next, from where and when. The theatre becomes the cast’s playground and it’s clear for all to see just how much fun they’re having with it.

Twelfth Night is often described as one of Shakespear’s greatest comedies and Not Too Tame have gone full throttle with this, the production is bursting with top quality comedic moments, well-timed delivery and wisecracks galore. There is of course the classic Shakespeare tropes of unrequited love, mistaken identities, and subterfuge as separated twins Viola (Georgina Frost) and Sebastian (Tom Sturgess) arrive in Illyria each thinking the other is dead. This is Illyria as you’ve never seen it before, no longer is it a shipwreck that separates the siblings but a euphoric night on the nose candy.

Frost and Sturgess are both excellent in their roles, the addition of multiple genres of music to this innovative production allows them to show their talent as singers while Dean Fairhurt’s musical composition gifts them with great opportunities to lyrically progress the story.

Jack Brown as Sir Toby Belch and Reuben Johnson as Sir Andrew Aguecheek are hilarious, Brown nails it as the odious Sir Toby, the hard-drinking, hard-partying, high-spirited (or is that just high?) uncle of Olivia (Purvi Parmar). His pairing with Reuben Johnson is perfection, as Jonson gives us a hilarious Tim, Nice-But-Dim-esque interpretation of Sir Andrew, the two together are a joy.

Purvi Parmar as Olivia is excellent, while Louise Haggerty as Feste gets the party started right from the off. Returning to Shakespeare North Kate James takes on the roles of both Maria and Antonia and delivers both brilliantly.

Then of course we come to Les Dennis who shines as Malvolio, there is little Les hasn’t done in his incredible career and now he can well and truly say he’s not only ticked performing Shakespeare off his list but he’s well and truly knocked it out the park. His Malvolio is multifaceted, starting off as a confident, sharp suited tour manager and transforming entirely in Act 2 in a scene I don’t think anyone will forget in a long time – iconic! A gifted actor he has the ability to draw you in and break your heart a little as he shifts impressively from victimiser to victim.

This is Shakespeare with sass, spunk and seriously bangin’ beats. The relocating of the action does at times in Act 1 make the story a little more complex to follow but once you’re on board the anthemic beats and knock-out cast will whip you up and carry you along for this feelgood ride. If music be the food of love, play on, and on and on!

Twelfth Night is on at Shakespeare North Playhouse until Saturday 29th June tickets available here.

2:22 A Ghost Story

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Having wowed the West End with multiple record-breaking runs as well as an ongoing UK tour that continues to sell out, 2:22 returns to The Lowry for another two-week run and judging by tonight’s standing ovation a third visit would be most welcome.

Written by award-winning writer Danny Robins, this supernatural thriller is fast becoming a modern classic, with its clever narrative and inspired cast changes keeping audiences on their toes.

The action takes place over one evening at the home of Sam (George Rainsford) and Jenny (Fiona Wade). Having recently moved into an old house with their baby daughter Phoebe, extensive renovations have begun. Amidst the sleepless nights and with her husband away with work, Jenny has begun to experience some strange goings on, footsteps heard in daughter Phoebe’s room and the sound of a male crying, more curiously always at the same time, 2:22.

When Sam return’s home the couple host a dinner party inviting Sam’s university friend Lauren, (Vera Chok) and her new partner Ben (Jay McGuiness). When Jenny reveals the mysterious goings on to the group husband Sam is sceptical, insisting there must be logical explanations. Support comes primarily from Lauren and Ben, with Ben particularly having a keen interest in the supernatural. Jenny convinces the group to stay up until 2:22 so they can witness for themselves the scary shenanigans.

It’s here that Danny Robins brilliant script really shines, witty and sharp the tension builds as you wait for the jumps that this clever script continually threatens. Act 1 sets the scene while Act 2 ramps up the scares impressively. This is not just a ghost story but an exploration on humans, their beliefs, struggles, strengths and weaknesses. The digital clocks displaying the time ticking towards 2:22 brilliantly aid the uneasy feeling that something bad is about to happen.

Fiona Wade is excellent as Jenny, filled with angst and frustration she portrays the character with believable authenticity. George Rainsford is equally as impressive as the initially arrogant and unlikeable Sam, his journey from start to finish shows an interesting exploration of character which he delivers convincingly. Vera Chok as booze loving Lauren increases the drama as we see her shift from confident to emotionally crushed while Jay McGuiness as Ben brings heaps of charm, humour and likeability as the working-class outsider of the middle-class group.

With an excellent plot twist, masses of misdirection and swathes of suspense 2:22 is a brilliantly crafted piece of theatre. Entertaining, well-acted and surprising right to the end, it’ll make you think twice about things that go bump in the night.

2:22 is on at The Lowry until Saturday 15th June tickets available here.

Testmatch

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

I’ve watched a great many shows at the Octagon Theatre since its redevelopment and have always been impressed by the quality and variety of its output and I’m more than happy to say that writer Kate Atwell’s comedy/drama Testmatch continues this trend.

Testmatch begins in the present day, it’s England vs India and the stakes couldn’t be higher as it’s the final of the women’s Cricket World Cup final from England. However, rather inevitably, rain has stopped play. As the two teams sit and wait for the umpires decision on whether the game will continue or not. Some of the players from both teams shun the dressing rooms, instead opting to keep an eye on the conditions themself.

With no sign of play resuming, the opposing teams vent their frustrations at the situation, as well as bemoan/gloat on the balance of the match.  Soon the six women let their guards down and discuss other matters aside from the match, which include the passion they have for the sport, the rules of the game, and of course their personal lives and situations.

The six women present never use their names or nicknames, instead are identified by the squad number on the back of their shirts. Both of the team captain’s are present. India 1 (Aarushi Riya Ganja), the best bowler in the world right now, who needs the victory in her retirement match: and her opposite number, England 1 (Bea Svistunenko), the best with the bat for her country, but plagued with self doubt over fear of failure.

Also present are England 2 (Mia Turner) who is dealing with troubles off the field, as her recent relationship breakup is plastered over the front pages of gossip magazines and the tabloids. India 2 (Aiyana Bartlett) has to keep her sexuality secret for fear of the scandal it will cause. Finally there is India 3 (Tanya Katyal), whose love and passion for the game knows no bounds, and England 3 (Haylie Jones) who is just trying to make sure everyone gets along till play can resume.

As the long wait continues, tensions begin to rise, not just from the desire to win, but from  allegations of cheating and as well as racism, which spill over into a shocking confrontation and sets up a very unexpected change of direction for the production’s second part.

There is so much to admire about Testmatch. Kate Atwell’s script is as hilarious as it is thought provoking. At first packed with great one liners and risque dialogue, we are treated to a sneak-peek into the life of professional sports people. However this is somewhat of a red herring, as the play moves into darker territory, with prejudice and colonialism discussed in a thought provoking and rightly confrontational manner. 

Under Diana Page’s slick direction the production is always engaging and holds your attention throughout. The ensemble cast are superb, striking the right balance between comedy and drama, never straying into melodrama. It was a pleasure to see a cast bringing out the best in each other which makes for captivating viewing.

I’m not going to discuss the play’s second act in any detail, but it really is a shift in pace with a different set of characters (played by the same cast), and a different setting, however still continuing the themes from act 1. Just to say it’s a smart, ambitious and a bold choice, which is at first quite jarring, but brilliantly pays-off.  

This is an entertaining and enjoyable night at the theatre, that sadly highlights some of the issues that still blight our society today. Whilst the English weather is certainly hampering the current cricket season, get on down to the Octagon, where there is plenty of high quality drama on display, why not bring your cricket whites and pads too, you may even get a game during the interval if you’re lucky!

Teatmatch is at the Bolton Octagon until the 1st June. Tickets available here.

Judy & Liza

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Sixty years ago this November, mother and daughter duo Judy Garland and Liza Minnelli performed together at the London Palladium. Taking this historic performance and centering it as the shows backdrop, Judy and Liza takes us on an emotional and impressive journey from The Wizard of Oz to Cabaret and much more in between.

Written by Emma Dears who also brilliantly portrays Liza, the show details both the highs and lows in the lives of these two legendary performers through their incredible back catalogues which are seamlessly interwoven between narration and anecdotes from years gone by.

Helen Sheals is superb as Judy, her mannerisms, voice and vocals matching the mega stars perfectly. The pairing of Sheals and Dears is wonderful, their chemistry as mother and daughter draws you in from their first moments on stage. Both incredible actors they tell the turbulent story of these two global icons with real heart and genuine emotion. There are moments of joy, tears and laughter as they explore the light and shade of these fascinating women.

This piece has been lovingly created with each song choice being perfectly placed, from Get Happy to Smile, each number is treated with love and care ensuing the audience hear old favourites in ways they may not have experienced before.

Vaunderville lightbulbs glow amidst a backdrop of photographic projections adding context to the narrative, bringing us into the heart of Judy and Liza’s world.

This simple yet effective staging allows the focus to remain on the two talented performers who give their all.

This is not a direct tribute show, more a lovingly curated homage to the talented pair. Act 1 primarily focussed on Garland’s early year, allowing Helen Sheals to take us on an incredible journey as Garland’s youth and innocence becomes tainted by Hollywood and the insecurities that plagued her life. Her haunting delivery of Somehwere Over The Rainbow which closes the Act is a heartbreaking highlight.

Act 2 shifts our focus more to Liza’s career, allowing Dears the opportunity to take centre stage. Her performance is authentic and impressive while she wonderfully embodies Liza with her convincing mannerisms and incredible vocals.

Judy and Liza is a hugely entertaining show. It will thrill long standing fans of the duo and no doubt win over new fans learning about their incredible lives for the first time. This show, which is now in its tenth year succeeds entirely in delivering an engaging, emotive experience for music fans of all ages, heartfelt and joyous.

Judy and Liza is touring until 29th June, further information and tickets can be found here.

Disney’s Aladdin

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Photography by Deen Van Meer

There really isn’t anything more Disney than this incredible production of Aladdin. It has all the key ingredients of a magical Disney tale, with bells on, and maybe just a little bit of glitter thrown in! 

This stage adaption has a plot true to the original Disney film. With our main characters: Aladdin (Gavin Adams) The Genie (Yeukayi Ushe), Jafar (Adam Strong), Jasmine (Desmonda Cathabel) , Sultan (Jo Servi) and the hilarious Iago (Angelo Paragosa) coming together to tell us the tale of poor street urchin Aladdin being tricked by Jafar, meeting a Genie and falling in love – with a few magnificent musical numbers, many jazz hands, beautifully choreographed ensemble pieces, sword fights, magical carpets and big belly laughs (even the wicked ones).

This production is mesmerising, it’s like nothing I’ve seen before. You are taken to a whole new world (couldn’t help it – sorry) where you can forget all your worries and just be transported to the land of Agrabah and enjoy the ride – specifically the carpet ride. 

Act one introduces us to the lives of our characters and we are treated to some wonderful musical numbers  – including favourites from the original movie like Arabian nights . 

The show stopper of Act 1 is, without doubt, Yeukayi Ushe (Genie) performance of Friend Like Me I don’t want to spoil it for anyone, but this number is a feast for the soul: glamour, costumes, dancing, the set design, and more enthusiasm than I have ever seen on stage. Yeukayi Ushe, take a bow Sir – you are incredible. Hands down the star of this show for me! 

Act 2 treats us to more ensemble magic with Prince Ali and everyone’s favourite A Whole New World – the melody, the lyrics, the carpet. I found myself sitting with a great big, wide smile plastered on my face – there is something so comforting about hearing a song that you loved as a child brought to life on stage. 

This production is colourful in every way, the set changes are phenomenal – I will never understand how they can store so many set structures backstage for this show. The use of technology was clever in the small touches on the back drops in several different scenes. Everything is so carefully constructed by the set design team, there is so much attention to detail everywhere from the props to the costumes. If there is stronger word for “vibrant” I would use it – but vibrant is what it is, from start to finish. Everything comes together so perfectly and much of that is thanks to the fabulous ensemble, and the choreography. Both are flawless. 

I have to say that I feel the real love story in this tale is not that of Jasmine and Aladdin, but of Aladdin and the Genie. Their friendship is a rollercoaster ride and in the end their bond is stronger than they could ever have imagined and quite frankly, it was beautiful to watch. 

Special mention has to go to the orchestra led by the talented Dave Rose – every single note spot on and seamlessly woven into the plot. 

I took my seven year old to see this and I will never forget the smile on her face, the squeals of delight and the awe in her eyes. As we left the auditorium she whispered to me “This has just been the most magical night, I won’t forget it, ever” and yes I did have to wipe a little tear away. So thank you cast, crew, orchestra, costume, production team, and everyone else involved – including the wonderful lady from front of house who was so very kind and sang to us all so beautifully during the interval, while selling ice creams- you all made my little girls dreams comes true. Her last words before she fell asleep to me were “It’s just like when we went to Disney- can we go again tomorrow”. Well no, we can’t – but if you’re quick, you might be able to snap up a ticket before it completely sells out – you’ll regret it if you don’t – trust me! 

Aladdin is on at Manchester’s Palace Theatre until Sunday 7th July tickets available here.

Jesus Christ Superstar

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Ever since I saw Timothy Sheader’s bold reimagining of Andrew Lloyd Webber’s Jesus Christ Superstar at Regent’s Park Open Air Theatre I thought how perfect it would look on the Lowry’s Lyric stage, fast-forward several years and here we are in sunny Salford where there’s undoubtedly a buzz in the air.

This innovative restaging of the much-loved classic thrills right from the very first moments as the ensemble excitedly rush through the stalls onto Tom Scutt’s industrial looking set, complete with high scaffold columns and an imposing fallen cross.

As the iconic intro notes to Heaven On Their Minds play out, we see a brooding, hooded Shem Omari James as Judas surveying the scene. Judas and Jesus poignantly lock eyes for the 1st time before Shem Omari James’ crystal clear vocals give us a striking indicator of the quality of the production we’re about to see.

Ian McIntosh is superb in the role of Jesus, his vocals are insanely good, while his performance is rich in empathy and emotion as he accepts the fate he knows lies before him. His delivery of Gethsemane is electric, ensuring every audience member feels his turmoil at this pivotal point in the show. Lee Curran’s lighting design adding to the already spine-tingling scene making this an absolute chef’s kiss moment.

The scenes between Judas and Jesus are intense and loaded, each character is well-defined, and has their own powerful story to tell. The symbolism and poignancy of each heated exchange between the two further engaging us in this beautifully directed piece.

Hannah Richardson gives a heavenly performance as Mary Magdelane, she softens each scene with her gentle, loving characterisation, further opening up the opportunity to show Jesus as a multifaceted, complex man. Her delivery of I Don’t Know How To Love Him is sublime.

Ryan O’Donnell gives a commanding, considered performance as Pilot his incredible vocals during Trial Before Pilot are a thrilling highlight of the show. Timo Tatzber makes the most of every minute on stage as the brilliantly brattish, bawdy Herod, his physicality and flamboyance perfectly embodying the character.

Jad Habchi and Stephen Lewis-Johnston as High Priests Caiaphas and Annas are incredible, strong and striking as they plot to bring Jesus down, they have the most unbelievable ranges and deliver Tim Rice’s lyrics in memorable style.

In addition to the leads the tremendous ensemble ensure this visually arresting production surprises and impresses throughout. They deliver Drew McOnie’s modern choreography with stunning accuracy, switching from celebratory crowd to baying mob with powerful precision.

The inspired choreography paired with stunning performances ensure this Jesus Christ Superstar is one which will live long in the memory. Breathtakingly brilliant from start to end.

Jesus Christ Superstar is on at The Lowry until Saturday 25th May, tickets available here.

Robin/Red/Breast

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It would be fair to say that over the last decade, actor Maxine Peake has been involved in some of the boldest, most unique and much discussed pieces of theatre to grace the stages and spaces of Manchester. Peake, along with fellow collaborators Sarah Frankcom and Imogen Knight, are the co-founders of MAAT (Music, Art, Activism and Theatre) whose body of work has been showcased in the city for well over a decade with the promise of being brave and innovative and something that will live long in the memory. Recent efforts have included Percy Bysshe Shelley’s The Skriker and a look back at the singer, Nico’s 1968 album The Marble Project for their project The Nico Project.

For their latest offering the group, along with writer Daisy Johnson, bring us Robin/Red/Breast: a reimagining of John Bowen’s folk horror classic Robin Redbreast first broadcast on the BBC in 1970 as part of the Play for the Day series.

The action focuses on Norah (Peake) a writer who, following the end of a relationship, has decided to escape the rat race and move out to the country. There she buys a little cottage in the heart of a little village. The cottage may not be perfect, with it’s wasps and mice infestation, but it’s hers. However things soon turn sour as the city outsider’s presence soon draws the ire of the villagers, who interfere in and around the cottage on a regular basis. The only distraction from this comes in the form of Robin (Tyler Cameron) , a local woodsman and towering figure of a man, who seems as interested in Norah as she is with him. As Norah and Robin’s relationship grows so do the hostilities from the village and its residents leading to a battle for Norah’s mind, body and soul.

At the time of its broadcast, the original Robin Redbreast was compared to the 1971 cinema masterpiece The Wickerman. I haven’t seen the original Robin Redbreast, but I have seen The Wickerman, and themes of fertility, power and isolation are present there and are present here. However there are tips of the hat to other staples, Rosemary’s Baby and the more recent Midsommar. However, rather surprising for me was the presence of Sam Peckinpah’s notorious British western Straw Dogs.

What this production does so well right from the start is nurtures and cultivates the feeling of impending doom with with the arrival of a 10 strong all female brass band, complete with striking red and white majorette outfits playing a haunting piece that conjure up images of sacrifice: it really is as stunning as it is unsettling.

Upon entering the theatre the audience are given a set of headphones, which are used for the first act. We are introduced to Norah, who silently demonstrates life in her new home and with the addition of the headphones we get to hear Norah’s inner thoughts and feelings –  about how she ended up here and also what she thinks about her new neighbours. Norah doesn’t prove to be the most reliable of witnesses. Her actions often betray her thoughts, and sets up a nightmare that is about to unfold.

At a running time of 55 minutes right through, this is a compelling watch, with creatives at the top of their game. Maxine Peake is a tour-de-force, giving a performance dripping in physicality and raw emotion. The sequence between her and Tyler Cameron are beautifully choreographed. The sound design by Pete Malkin superbly blends the tranquillity of birdsong with the harshness of Norah’s rejection. Whilst Gazelle Twin’s composition is suitably unnerving and on one occasion physically unsettling, this (un)holy marriage with Carol Jarvis’ arrangement works well throughout.

This is at times a tough, unrelenting watch, with plenty of scope for interpretation. A bold, visceral piece of theatre sees creative talent at the top of their games creating a piece of theatre that will be talked about for many years to come.

Robin/Red/Breast is on till 26th May. Tickets are available here.

Kinky Boots

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

With a Tony nominated book by Harvey Fierstein plus Tony and Grammy award-winning songs by Cyndi Lauper, Kinky Boots, based on the film of the same name by Geoff Deane and Tim Firth struts into Storyhouse this month and this all-new revival is just as fun as you’d hope it to be.

When Charlie Price’s father passes away, he inherits the failing family shoemaking business. Torn between saving the factory and leaving it all behind for a new life in London with girlfriend Nicola, Charlie is at a crossroads. A chance meeting with a flamboyant drag queen called Lola, opens Charlie’s mind to the fact that he might just have it within him to save the business while also unexpectedly saving himself.

Danny Becker is a wonderful Charlie Price. His impressive journey is filled with heart as he explores, (at times without realising) who he truly is. He draws you in and has you rooting for him throughout while his vocals soar, particularly during Soul of a Man and the incredibly beautiful Not My Father’s Son. This duet with Duane-Lamonte O’Garro as Lola, while one of the simplest moments in the show genuinely packs an emotional punch.

Duane-Lamonte O’Garro is perfectly cast as Lola, bursting with soul and sass he convincingly embodies Lola and gives us a character we wholly believe in. Fiercely fabulous one moment, sucker punching us the next with his heartfelt performance during Hold Me In Your Heart. A multifaceted performer who really shines.

Leah Vassell brings warmth and heaps of humour as a charismatic Lauren, raising the energy of the show during her solo The History of Wrong Guys. From here the show really gets into its stride.

Gareth Cassidy as factory foreman George is a joy while Roddy Lynch is a perfect Don.

Of course there’s no Kinky Boots without Lola’s Angels; James Lowrie, Remi Martin and Thomas Sankey are heavenly as they join Lola on stage, giving us slick vocals and complex choreography all while wearing six inch heels.

Add to this a multi-talented ensemble of muso-actors and you’ve got everything you need for a great piece of theatre. That said there are moments when instruments felt a little distracting during certain scenes such as Don entering the boxing ring with his guitar around his neck and Nicola suddenly whipping out a trumpet after declaring she’d found her perfect shoes.

Director Amber Sinclair-Case has made some inspired choices with the finale really giving us that memorable moment we all wish for.

This is hugely entertaining, uplifting theatre that not only entertains but gently educates in the most wholesome of ways, showing beautifully how challenging prejudice and embracing difference can lead to true acceptance of both ourselves and each other. Kinky Boots will raise you up, an up, and up!

Kinky Boots is on at Storyhouse Chester until Saturday 18th May, tickets available here.

Bonnie & Clyde

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐1/2

Following the Wall Street crash of 1929, the USA was hit by the great depression, money was scarce, unemployment was rife. As a result of these tough times America saw an increase of violent crime and armed robbery, notorious criminals such as John Dillinger, The Ma Barker Gang and arguably the most infamous of them all Bonnie Parker and Clyde Barrow. Dillinger, Ma Barker and Bonnie and Clyde have all had Hollywood films made about them, however it’s only that later has a musical about them. 

Direct from the West End Bonnie & Clyde, arrive in Manchester as part of a full UK tour. With the involvement of Oscar winning lyricist Don Black and Grammy,Tony and Emmy nominated composer Frank Wildhorn, expectations for this one are obviously high. 

©Richard Davenport

Set in and the ‘Dust Bowl’ of America, the production opens with Bonnie and Clyde, dead in their car, taken down in a hailstorm of bullets, but how did these 20-somethings end up in this situation? 

We are introduced to the violent pair as Bonnie (Katie Tonkinson) dreams about being a big movie star like her idol Clara Bow, whilst Clyde (Alex James Hatton) wants to go down in history like his hero, Billy the Kid. A chance meeting between the pair, sees them become fascinated with each other, he a fugitive from the law, a career criminal, intent on making a life following his family’s eviction from their farm. She, an aspiring actress, singer and poet determined to quit her waitress job and find excitement, adventure and the American dream.  

©Richard Davenport

Clyde, and his brother Buck (Sam Ferriday) have broken out of prison, and whilst Clyde  continues robbing grocery stores and continues his relationship with Bonnie, his brother Buck is persuaded to turn himself in by his wife, Blanche (Catherine Tydesley) a devout, god-fearing Christian women, determined to carve out a good, honest life for her and her husband.  

However, eventually the law catches up with Clyde, who is sent back to prison. Finding life on the inside is tough going, especially without his brother. He and Bonnie hatch a plot to spring him from jail, and so begins the pair’s infamous crime spree of bank robberies and murder.  

©Richard Davenport

Whilst not perfect there is a great deal to admire about the show. The music is a mix of late 1920’s early 30’s illicit speak-easy tunes infused with elements of gospel rock. There are several stand out musical numbers including the narrative setting Picture Show, the powerful huge ensemble number, Made In America and the heart-breaking Bonnie/Blanche duet You Love Who You Love.  

The cast are exceptional and certainly the highlight of the production. Alex James Hatton is in fine form, playing Clyde with a hefty dose of charisma and charm, aided by the fact he has a tremendous singing voice. Katie Tonkinson is in superb as Bonnie, her portrayal is one of determination and borderline fanatical belief that she is destined to be a star. The chemistry between the two leads is there for all to see, making the pair a captivating watch. Tonkinson’s powerful duet with Catherine Tydesley on the aforementioned You Love Who You Love is the highlight of the show.  

©Richard Davenport

Catherine Tydesley displays not just her fine vocal range, as well as measured, at times comedic turn as the increasingly desperate Blanche.  Whilst Sam Ferriday is sympathetic is the dim-witted yet loyal Buck, torn between doing the best by his wife and his brother. The foursome are supported by a hardworking and impressive ensemble that include Daniel Reid-Walters as the well-meaning Deputy Sheriff, Ted Hinton determined to save Bonnie from her bloody fate. 

At times I do think the pace and tone of the show is somewhat hit and miss. Once the characters are established it takes a while for the plot to really start moving along. The production is desperate for you to love the central protagonists, attempting to make the pair Robin Hood like characters, at times glossing over just how evil the pair really were. Whilst some of the comedic elements to the production work at times, on other occasions it does feel out of place.  

©Richard Davenport

Overall, this is an enjoyable night at the theatre, a tremendous hard-working cast with some great tunes and exceptional performances. Whilst the story doesn’t always hit its mark, the cast certainly go out with all gun’s blazing! 

Bonnie and Clyde is on at Manchester’s Palace Theatre until Saturday 11th May. Tickets available here.

42 Balloons

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Bursting with bops, bangers and brilliant ballads, 42 Balloons tells the incredible true story of Larry Walters, his determination to fulfil his dreams and the amazing people who helped him to take flight.

Using just a lawn chair and 42 helium filled weather balloons, Larry Walters achieved the seemingly impossible, flying sixteen thousand feet above Los Angeles; and so, ‘Lawn Chair Larry’ was born.

How he achieved his dream, and what happened during and after his 1982 flight are all wonderfully revealed in this exhilarating new musical.

This uplifting production which was originally performed as a semi-stage concert back in 2022 makes its world premier at Salford’s Lowry theatre and soars from the moment the Prologue begins. The original score with its strong 80’s influence feels both inventive and nostalgic while Godfrey’s catchy lyrics ensure you’ll be singing these tracks long after the curtain call.

The impressive staging ties-in superbly with the 80’s influence as Andrzej Goulding’s retro video projections illuminate Milla Clarke’s impressive set design, lit to perfection by Bruno Poet. 

Charlie McCullagh takes on the role of Larry and delivers a heartfelt, heartwarming performance. He immediately hooks you in, taking you along for this emotional ride while ensuring you are rooting for Larry from the off. His depth of character allowing us to truly believe in Larry, his dream swiftly becomes a goal we all collectively wish for while his vocals are simply stunning.

Portraying Larry’s partner, Carol Van Deusen, is an excellent Evelyn Hoskins. She brings warmth and wit to the role while giving us world class vocals. Her solo Helium in particular offers the perfect opportunity to showcase her incredible range, ensuing this power ballad packs an emotional punch any 80’s diva would be proud of.

Gillian Hardie has incredible stage presence as Carol’s Mom, singing the Blues in superb style while Lejaun Sheppard, as Larry’s friend Ron adds a further level to this fascinating story. His rich vocals and slick delivery reminding us of Hamilton one moment, The Fresh Prince of Bel-Air the next, so creative and inventive is this score.

The leads are supported by an incredible ensemble. They feature almost consistently throughout taking on various roles and elevating this already glorious production to the next level. They deliver Alexzandra Sarmiento’s 80’s inspired choreography with sass as they cleverly move the story along with each impressive scene.

It really does feel like you’re watching the next big thing with its inspired writing, brilliant songs and wonderful storytelling. 42 Balloons truly soars.

The highs are exhilarating while the lows are sensitively and delicately portrayed resulting in a contemporary piece of theatrical perfection. The nostalgic feel will appeal to audiences who lived through the era while its innovative design along with bops a plenty will cement 42 Balloons popularity with younger audiences too.

Special mention must also go to orchestrator, arranger and musical supervisor Joe Beighton. This score will no doubt become a firm favourite amongst theatre fans across the county and no doubt beyond. Delivered on the night by an impressive band led by Flynn Sturgeon with superb sound design from Paul Gatehouse.

The Sky’s the limit for this truly special piece of theatre, get yourself to the Lowry immediately and watch Larry take flight.

42 Balloons is on at The Lowry until Sunday 19th May tickets available here.

Images by Pamela Raith

Little Shop of Horrors

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

At the start of April the world witnessed the unusual phenomenon of a total solar eclipse. This rare occurrence plunged parts of North America into total darkness. It’s probably too early to tell if that event has led to any strange goings on: a martian invasion or even the introduction of a “strange and interesting plant” into the echo’s system. I mention the latter because this is the premise of one of the Octagon Theatre’s big spring shows, Little Shop of Horrors.

Set in 1950’s New York, we are transported to the dark side of the city, Skid Row, where we meet timid florist Seymour, (Oliver Mawdsley). Seymour works for the rather unpleasant Mr Mushnik (Andrew Whitehead), who blames his failing shop on the meek botanist. To add to Seymour’s worries, he is desperately in love with his friend and work colleague, Audrey (Laura Jane Matthewson). However, Audrey is blinded to his affection due to her turbulent relationship with the sadistic dentist Orin Scrivello, (Matthew Ganley).

However soon the fortunes of Mushnik’s soon change when Seymour discovers an unusual looking plant. Naming it Audrey II the strange flower soon becomes a media hit, bringing in more customers, more money as well as bringing Audrey and Seymour closer together. However, following an accident with a rose bush, Seymour soon learns that Audrey II has an appetite for something a little stronger than Miracle Grow. With Seymour running out of veins he looks at other means to feed the wanting weed, but the big question is, is it worth it for fame, fortune and him landing the girl of his dreams?

What absolute joy this production is: jam packed with great catchy tunes and a super talented cast, this is another triumph for the Octagon Theatre.

Oliver Mawdsley is in fine form as Seymour, showcasing great comic timing and a fine singing voice to boot. Laura Jane Matthewson is equally impressive as Audrey, with the pair’s stunning duet on Suddenly Seymour being just one of the production’s several highlights.

Matthew Ganley is suitably deranged and perfectly OTT as cruel Orin Scrivello DDS and very nearly steals the show, however the undoubted star is of course Audrey II, masterfully controlled by puppeteer Matthew Hewood, and superbly voiced Anton Stephans. His vocals on Feed Me (Get it) and Suppertime are sublime.

Musical director, Levi Van Warmelo has done a great job with the score, who along with drummer Migdalia Van Der Hoven and the supporting cast do a great job transitioning  between slow tempo tunes and funky upbeat numbers.

Throughout the performance Janna May, Zweyla Michell Dos Santos and Chardi Shaw showcase their talents as the do-wop trio Chiffon, Crystal and Ronnette, acting as our guides around Skid Row as the drama unfolds. Not only do these actors have tremendous voices, and a commanding stage presence, they are also talented musicians pitching in on guitar, bass, and keyboards.

All that said, the show isn’t without its flaws: I did find the closing sequences between Audrey, Audrey II and later Seymour and Audrey II looked awkward. In addition, the subject matter of domestic violence does make it unsuitable for younger audience members.

This is a highly entertaining, joyous night at the theatre, filled with black comedy, catchy toe-tapping tunes and plenty of bite!

Little Shop of Horrors is at the Octagon Theatre till May 18th tickets available here.

The Wizard of Oz

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

The Wizard of Oz is as classic a tale as they come, invoking warm fuzzy memories quicker than you can say ruby slippers, this bold, bright reimagining however shakes things up, bringing it bang up to date with its terrific technicolour and futuristic feel.

Adapted by Andrew Lloyd Webber and Jeremy Sams this new revival directed by Nikolai Foster retains many of the much-loved classic’s elements while updating it for modern audiences. The result is a full-on, fast-paced feast of colour. The black and white of Kansas is gone, while Oz is presented as a neon dream with the Emerald City projected in vivid technicolour as an impressive backdrop which envelopes the simple staging.

Stepping into the ruby slippers is Aviva Tulley, with pitch perfect vocals she leads the cast as Dorothy with genuine warmth and huge charisma. She skilfully makes the part her own while remaining true to the essence of the character, adding plenty of self-assured sparkle along the way.

Benjamin Yates has heaps of charm as the Scarcrow, embodying the role brilliantly and bringing plenty of laughs along the way. Aston Merrygold’s Tin Man is enormously endearing and takes full advantage of the opportunity to showcase his impressive dance skills, while Manchester favourite Jason Manford is hilarious as the Cowardly Lion. He has the audience in his paws from the very first roarsome growl. The trio make a perfect team bringing a whole heap of fun to the production as they join Dorothy in her quest to get home. We also mustn’t forget Toto, who is brought to brilliant life by puppeteer Abigail Matthews.

The Wizard of Oz wouldn’t be complete of course without the witches, as good witch Glinda, Emily Bull is a joy, her crisp vocals are delivered with an effortless ease as she whizzes round the stage on her perfect pink scooter. The Vivienne takes on the iconic role of Wicked Witch of The West and brings just the right amount of villainy to the piece. She pitches her wickedness perfectly ensuring a sense of menace and mischief without traumatising any children in the audience. Her impressive solo, Red Shoes Blues gives the opportunity to really show her talent and versatility as a performer.

Visually this show really dazzles, Rachael Canning’s costumes are incredible while Douglas O’Connell’s video projections impress throughout. Lloyd Webber has composed some new additions to the score however it’s the originals such as We’re Off to See the Wizard and Ding-Dong! The Witch is dead that truly shine.

This revamped revival is enormous fun with heaps of heart and some serious style. The talented cast joyously prove that there’s no place like Oz. Uplifting escapism for all ages.

The Wizard of Oz is on at Manchester’s Palace Theatre until Sunday 5th May tickets available here.