101 Dalmatians

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Reviewed by Jodie Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️

101 Dalmatians – The Musical, is a new-ish musical, based on the stage adaptation of the original novel. Now, I’ve not read the book and I’m ashamed to say I haven’t seen the modern film adaptation. But, I have seen the 1961 animated film (in fact we watched it last week in preparation). While the plot is loosely similar, it’s actually adapted in a way that makes much more sense on stage! 

The show begins as we meet a filthy, abandoned wild dog who is dropped off at the Puppy Love Dogs home, here he is cleaned up and welcomed to the fold. This is where we first hear the main number of the show “Take Me Home” (which we all went home singing at the end of the night) as we see some dogs matched to new owners, but not our friend, the newly named Pongo. Pongo is overlooked, but he clearly has a connection with one special worker at the dogs home, Danielle (Jessie Elland). Eventually, Danielle agrees to take him home and before long they meet another Dalmatian , Perdi (Emma Thornett) and Perdi’s owner/human Tom (Samuel Thomas). It’s love at first sight and soon the four are set up together at home, as a family. 

Soon Perdi falls pregnant with puppies and we meet the one name that sends shivers down the spines or any Disney fan: Cruella De Vil (Kym Marsh). Cruella wants the puppies- to- be to be hers so that she can make a fine outfit of them, designed by our very own, wannabe designer, Tom. The young couple don’t have much to their names and the offer of money temporarily tempts them, but when the fifteen puppies arrive there is no way that they want to let them go. And here the adventure begins as the game of cat and mouse commences. Who will be triumphant? Will the puppies survive or will they be on the catwalk at fashion week? 

This production is great fun. I was concerned it would be a bit much for my 5 year old with all the talk of skinning Dalmatians, but she loved it. There’s something for everyone. It’s a wonderfully joyful family show, and what a great time for it to be here in Manchester during the school holidays. I expect the theatre will be full every night. 

The whole production is very clever, the puppetry is just stunning. Linford Johnson as Pongo was captivating for me. He and the puppet somehow act as one and it’s mesmerising. All of the puppeteers give a stellar performance, with some of the finest vocals I’ve ever heard from an ensemble. The colour matching outfits of the ensemble, the hairstyles and small attention to detail is really captivating.  

It was obvious that much of the crowd were there for Kym Marsh, as Cruella, and she didn’t disappoint. The crowd were showering her in applause before she even let out one note, and that must be terrifying, having so much expectation on you, but she delivered over and over again. And the audience just loved her, quite rightly so. 

There is much to laugh at in this production, and Jasper (Danny Hendrix) and Casper (Charles Brunton) give us much of the humour. They’re slapstick, it’s not subtle, but it works and they were just brilliant. 
Samuel Thomas and Jessie Elland are a perfectly suited duo in their roles of Danielle and Tom. Two very sweet characters, who made us love them as much as they loved each other. 

While at times it can feel a bit Panto, (which I’m a huge fan of by the way), it works. It’s a family show, that is a bit silly, and possibly about 20 minutes longer than it needs to be, but it’s just wonderful in so many lovely ways. 

A well deserved standing ovation for a wonderful cast, accompanied by an incredible band (led by Leigh Stanford Thompson), and produced with a clever use of puppetry. Manchester is going to love this show this summer!

101 Dalmatians is on at Manchester’s Palace Theatre until Saturday 10th August tickets available here.

Bluey’s Big Play

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Reciewed by Jodie, Bridie and Hetty Crawford

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️


It would be quite the understatement if I were to say that we are fans of Bluey in our house. With a five year old and a seven year old to keep entertained each day of the schools holidays, Bluey can often be our saviour and the reality is that us adults love it as much as our kids do. So the excitement levels that we all felt when we heard we would be reviewing Bluey’s Big Play, were through the roof.

I honestly couldn’t think of a better way to spend a morning than watching this show. It has all the ingredients of a classic Bluey episode: a story with a strong emotional undertone, a lesson to be learnt, some questionable dance moves and some of the greatest Dad jokes of our time. 

I wasn’t sure how this firm family favourite of ours was going to translate onto the stage and the answer is that it does so perfectly. 

These puppets are so engaging! You stop seeing the puppeteers (who do an amazing job by the way) and you just get fully engrossed in the lovable, familiar characters. 

The show tells the story of a scenario that I’m sure we are all faced with as parents, at times. Dad wants nothing more than to sit down and check through an article on his phone, in peace and quiet. But, Bluey and Bingo have other plans. They conspire to steal and hide Dad’s phone so that he has no choice but to play with them. Dad is determined to get his phone back and we are taken on an adventure of laughter, music and dance with our favourite canine family. Until, eventually the phone is found and returned to Dad, who realises that actually there will be plenty of time for sitting on his phone later. Cue – an epic Bluey finale for us all to get involved in. 

My children loved this production so much and, I’m not ashamed to say it, so did I! 

This is the perfect show for fans of this Aussie cult classic. We will be talking about this show for the remainder of the school holidays and I’m pretty sure that there’ll be a return visit, even if it’s just to get involved in the giant game of keepy uppy! 

It also needs mentioning that the Lowry is such the perfect venue for this kind of production. It’s such an accessible space that is managed so brilliantly. It’s always a joy to take the children along to a show here. 

This is an absolute “ripper” of a show, as our friend Bandit would say! For real! And yes, I’m “cereal”!

Bluey’s Big Blue House is on at The Lowry until Sunday 11th August tickets are available here.

Blackstock Market

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Having opened its doors back in April this year when an incredible 2,000 punters flocked to the venue on it’s very first day, Blackstock Market has continued to go from strength to strength.

The brainchild of Hot Water Comedy Club founders Paul and Binty Blair, this stunning entertainment venue offers something for everyone, there’s comedy nights, live music, sports screenings, mouth-watering street food and extensive drinks options. Future months will bring even more with the opening of Liverpool’s largest roof-top terrace, additionoal theatre spaces as well as podcast studios which will all compliment the already enormously successful 590 seat purpose-built auditorium, the new home of Hot Water Comedy Club.

Phase 2 recently saw the opening of a stunning bespoke bar, Whisky & Water which houses more than 320 whiskies, boasting the premier whisky collection inside the UK. The atmospheric bar looks stunning and gives off a gorgeous speakeasy vibe with the addition of two secret rooms which are set to open over the coming months. The first, which will be accessed through a hidden entrance, will transport guests back to the Prohibition era with classic cocktails while the second will be a basement jazz bar offering a cosy space to enjoy live music up close at ticketed events. This brand-new bar which opens Wednesday to Sunday 5pm until midnight really does feel special, the staff know their stuff while the clientele as with the rest of Blackstock Market are all about the good vibes.

Heading into the impressive auditorium you’re spoilt for choice with comedy offerings, on our visit the laughs came thick and fast from MC Phil Chapman, comedians Garry Little, Tony Carroll and Simon Wozniak. There’s an extensive mixture of free and ticketed show both throughout the week as well as multiple weekend shows, if you’re brave enough, you could even give the Monday night open mic night a try.

The recent addition of family friendly comedy shows Hot Water’s Comedy For Kids which take place on Sunday’s at 2pm add another brilliant string to Blackstock Market’s bow. With 50% of the venue still to open in further phases, Blackstock Market is fast becoming the most-loved destination venue in the city, you can guarantee we’ll be back, make mine a Whisky Sour with a dash of comedy on the side!

The Gangs of New York

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐⭐

Images by Mark McNulty

Storyhouse and Grosvenor Park Open Air Theatre productions have become somewhat of a must for theatre lovers during the summer months. With its purpose built theatre set in the beautiful picturesque surroundings of this Victorian park, it is the perfect setting for live theatre.

The venue has hosted some fantastic productions over the years which have included Little Women and The Great Gatsby. Continuing with the theme of adapting celebrated works of literature, one of this year’s offerings is The Importance of Being Earnest, the other is a far more daring prospect: the world premiere of The Gangs of New York, based on the factual book of the same name by celebrated American journalist, Herbert Asbury.

Set in the mid 1800’s, we are introduced to John Morrisey (Oisín Thompson) and Hellcat Maggie (Hanora Kamen) , a pair of Irish immigrants fresh off the boat arriving in America. It would appear that they have a certain skills set which will help them to survive the mean streets of New York, Maggie, is a light-fingered pickpocket, whilst Morrisey is equally as good with his hands as a boxer.

Almost immediately Morrisey’s growing reputation draws the ire of local gangland chieftain, William Poole (James Sheldon) a.k.a ‘Bill the Butcher’, as he puts it “a true American ”. Poole’s love of violence is only matched by his hatred for all immigrants landing in America hoping to make a better life for themselves. Soon the pair enter into a blood feud, which threatens to cost both of them not just their business ventures, but their lives as well.

As a huge fan of the 2002 Martin Scorsese, Gangs of New York, I was intrigued to say the least by how the production was going to unfold, and I’m more than happy to say it does not disappoint. The story doesn’t just focus on the prejudice and bigotry that many immigrants faced, but also the seedy criminal underworld of New York. Crooked cops, and bent politicians are all thrown into the mix, rather sadly it would appear that 1840’s USA isn’t too different from modern society.

At its core writer Kieran Lynn’s adaptation focuses on two love stories: Morrisey and Suzie Smith (Yolanda Ovide), a young women, from a wealthy family who has ambition to be more than just some rich man’s trophy wife. Whilst the other is the forbidden romance between Maggie and Lew Baker (Lucas Button), a local beat police officer, indebted to Bill the Butcher. It’s a bold move and one that pays dividends as you firmly invest and care about what will become of them all.

Director John Young’s production despite its weighty subject matter is filled with energy and a surprising amount of humour, there are sly, on point one liners which hit the mark throughout. In addition, the glorious in-the-round setting allows for some audience interaction, with some (un)willing audience members dragged up to be part of the show.

Throughout there are various cast members playing all manner of musical instruments, and performing songs giving an authentic folk/roots feel to the production. These light touches mean that when an act of violence does take place, it’s all the more brutal and comes as a bit of a shock.

The cast are in fine form throughout, Oisín Thompson gives a performance packed full of charisma. James Sheldon has a commanding stage presence, full of menace and rage. Hanora Kamen puts in a turn full of sass and grit, whilst Yolanda Ovide gives a restrained, measured performance, as one of the few voices of reason. Lucas Button is equally impressive as the troubled police officer, with a performance full of nervous energy and subtle comic timing, his arc is the one that underpins the entire production.

It’s a bold, brave choice to adapt this weighty, historical book for the stage, but one that rewards its audience with an entertaining and surprisingly fun watch. It’s a production performed by a super talented ensemble cast of actors and musicians, in an as perfect (weather permitting) setting as you’re going to get, live theatre doesn’t get much better than this!

The Gangs of New York is on at Grosvenor Park Open Air Theatre until 31st August tickets are available here.

A Chorus Line

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Created by Michael Bennet in 1975, A Chorus Line lifts the curtain on the sacrifices performers make in a bid to book a job within the chorus of a Broadway show. Using real life interviews with Broadway dancers as it’s source material, A Chorus Line offers audiences a wholly authentic glimpse into both the audition process and the lives of the performers we so often see on stage yet know very little about beyond their beaming smiles at the curtain call.

This Leicester Curve production with Director Nikolai Foster at the helm has taken this much-loved story and executed a beautiful, memorable revival.

A Chorus Line is a complete ensemble show, there are no real leads, a stripped back set and few costume changes ensuring the characters and their stories are at the absolute heart of this piece. The whole cast are on stage for almost the entirety of the production as they deliver their own individual stories that go way beyond blood, sweat and tears in a bid to make it to the illustrious Broadway stage.

Opening impressively with I Hope I Get It the standard is quickly set for this revamped production. As numbers get cut the chorus line of hopefuls under the watchful eye of director Zach (Adam Cooper), take their moment in the spotlight, giving us a glimpse into their lives beyond the stage, their struggles to get there and the life experiences which have shaped their personalities.

Ellen Kane’s exquisite choreography is integrated superbly within the individual testimonies, it feels fresh, punchy and exhilarating. This is further enhanced by Howard Hudson’s stunning lighting design, which is at times breathtaking. The addition of close-up filming at times which is then projected largely onto the back of the stage could be polarising for audiences, for me it didn’t feel necessary and at times proved to be a distraction rather than an enhancement.

This cast are undoubtedly excellent, each has a unique ability to draw you in. From Chloe Saunders brilliant and witty delivery of Dance: Ten; Looks: Three to Manuel Pacific’s emotive personal disclosure scene as wannabe star Paul San Marco, each character feels authentic and believable.

Returning to the production are audience favourites Carly Mercedes Dyer as Cassie, and Adam Cooper as Zach, they are joined by an immensely talented cast who each showcase their skills both physically and vocally. Jocasta Almgill as Diana Morales gives a powerhouse performance with her knockout rendition of What I Did For Love. Amy Thornton, Lydia Bannister and Kate Parr are equally as affecting during At the Ballet while Redman Rance showcases Kane’s choreography to perfection during, I Can Do That.

This cleverly crafted revival feels fresh and exciting and takes the audience on a journey of exhilarating highs and painful lows as we feel for each and every auditionee. The devastation for those who don’t make it is swiftly followed by elation for those who do, that’s showbusiness as they say.

Running straight through at 1hr 50mins we are rewarded with a thrilling finale as the familiar intro for One begins. Stories of struggle and sacrifice make this dazzling finale seem all the more magical as the cast high-kick in unison while the pyrotechnics illuminate the stage in a finale that will long live in the memory.

A Chorus Line is on at The Lowry until Saturday 27th July tickets available here.

Hairspray

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Based on the 1988 cult classic by John Waters, which featured Rikki Lake and Debbie Harry, Hairspray transports us to 1960’s Baltimore focusing on the Turnblad family, who are the living embodiment of the American dream: a happy family, with both parents running and owning their own business, and a child who dreams she can be anything she wants.

In 2002 writers Mark O’Dohnell and Thomas Meehan took to adapting Hairspray for Broadway, which led to a West End run, several UK tours and even a glitzy Hollywood remake starring John Travolta and Queen Latifah.

Right from the opening number, Good Morning Baltimore, we are treated to a snapshot of what life is like across America in 1962, with racial inequality sadly rife. Our guide on this journey is high school misfit Tracy Turnblad (Alexandra Emmerson-Kirby) constantly at odds with the school authorities due to her massive hairdo!

Tracy has dreams of being a TV star, with her only insight into this world coming in the form of popular teen magazine show, “The Corny Collins Show”,  a music and dance show catering for the tennagers of Balitmore, evening boasting of “Negro Day”.

Soon fate intervenes for Tracy, after befriending Seaweed (Reece Richards), a black dancer on the show, who teaches Tracy some killer dance moves which help her to land a  part of her favourite show. Here she meets her crush, teen heartthrob, Link Larkin (Solomon Davy). Tracy becomes an instant hit with the audience, however not everyone is pleased about the new TV sensation with, the show’s bitchy producer, Velma Von Tussle (Gina Murray), and her dim daughter Amber Von Tussle (Allana Taylor), doing everything in their power to halt Tracy’s meteoric rise in popularity.

There is so much to admire about this production, from its messages about body positivity and its strong core themes of tackling prejudice and bigotry head on.  Packed full of catchy tunes including the delightful Mama, I’m a Big Girl Now, and the huge, joyous finale You Can’t Stop the Beat.

The production is littered with great performances, with newcomer Alexandra Emmerson-Kirby giving a star making debut as Tracy.  Equally impressive is Freya McMahon as Tracy’s best friend Penny Pingleton, again on debut, with both showcasing superb comic timing and great vocals.

Gina Murray is deliciously devious as the vile Velma Von Tussle, played with no redeeming qualities whatsoever, yet still a captivating watch. Whilst Allana Taylor, as daughter Amber,  equally as hideous as her mother, who’s little comic touches are a treat to watch.

Reece Richards, gets to showcase some excellent dance moves throughout, spearheading Drew Mconie’s excellent choreography. The choreography throughout is bang on point, all the more impressive from the huge ensemble cast. Full of energy and vibrancy it really is the heartbeat of the show.

For me the show’s standout moment was the comedic yet beautifully touching duet between Tracy’s parents Edna (Neil Hurst) and Wilbur (Dermot Canavan) on the song, You’re Timeless to Me. The pair have great chemistry with one another, occasionally breaking into the odd unscripted aside, making it all the more special.

My only wish was that more thought was given to the staging and set. The costumes all look fabulous, but their staging and set design are somewhat lacking and don’t represent the high production values the rest of the production has.

Tackling weighty issues, such as equality and acceptance, whilst shining a light on the struggle of the Civil Rights Movement and  the importance of plus sized role models appearing in the mainstream media, Hairspray is a constant joy from start to finish, and a great reminder that theatre can tackle and address some of the biggest challenges we face, but also have a lot of fun at the same time!

Hairspray is on at Manchester’s Palace Theatre till 27th July tickets are available here.

& Juliet

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

After bursting onto the musical theatre scene back in 2019, & Juliet has gone from strength to strength. There’s been a hugely successful West End residency, an on-going Broadway run, a recently announced US tour, a critically acclaimed Aussie offering and now a triumphant return to where it all began for the start of its first ever UK tour.

This joyful jukebox musical featuring Max Martin’s biggest bops rewrites The Bard’s tragic tale introducing some much-needed herstory, style and sass to proceedings.

After Anne Hathaway (Lara Denning) tells hubby William Shakespeare (Matt Cardle) that his penned ending isn’t exactly a barrel of laughs, she sets about rewriting Juliet’s (Gerardine Sacdalan) story herself, opening up a whole new world for the star-crossed lover. As Juliet (with a little help from Hathaway) realises she wasn’t the only recipient of Romeo’s sweet nothings, she takes herself off on a road trip of self-discovery with nurse Angelique (Sandra Marvin), bestie May (Jordan Broatch) and ‘other best friend April’, Anne Hathaway, who cleverly writes herself into the story.

What follows is an absolute masterclass in musical theatre, from knock-out vocals to killer choreography, & Juliet has it all. This wonderfully diverse cast fuelled with classic pop hits and an infectious energy make this a sparkling night to remember.

The book, penned by Emmy Award-winning Schitt’s Creek writer David West Read is as witty as you’d expect with micro-storylines introducing us to brilliantly written characters. While Jenn Webber’s iconic choreography perfectly emulates the nineties and noughties biggest bangers.

As Hathaway and Shakespeare, Lara Denning and Matt Cardle weave in and out of the narrative guiding us as both authors of the piece and players in the story, with Ann ultimately redesigning her own destiny too.

The pair have an incredible warmth and superb chemistry as they bounce off each other brilliantly. Their vocals blend beautifully while Denning receives a well-deserved mid-show standing ovation for her stunning rendition of Celine Dion’s That’s The Way It Is.

Gerardine Sacdalan is a smart and sassy Juliet, her powerhouse vocals more than do justice to the pop classics she so perfectly delivers, every note is pure pop perfection. From her first moments on stage you know this performance is going to be something special.

Jordan Broatch gives a beautifully executed performance as May with their delivery of Britney’s I’m Not A Girl, Not Yet A Woman packing an incredibly emotional punch while Kyle Cox as love interest Francois adds an unexpected yet brilliant twist to proceedings.

Sandra Marvin as Angelique is a scream. Her pairing with Ranj Singh (otherwise known as TV’s Dr Ranj) is pure joy, as she unleashes her inner urges the duo provides some of the biggest laughs of the night, it’s clear they’re having as much fun on stage as the audience is watching them.

Then of course there is Romeo who Jack Danson plays superbly. He’s a dorky douche bag who has made himself familiar with many a balcony, much to Juliette’s surprise.

The leads are supported by in incredibly talented ensemble who under Luke Sheppard’s direction really take this show to the next level. Their vocals are effortlessly on point through every complex piece of choreography, they are totally mesmerising.

& Juliet is a breath of fresh air, its infectious sense of joy will lift your spirit and warm your heart while it’s empowering themes will ensure you leave the theatre with a little more sass and sparkle than when you arrived. It’s well-researched historical references mixed with its celebratory themes, mega hits and hilarious script result in a truly gorgeous piece of theatre, the perfect night out for music lovers of all ages, poptastic!

& Juliet is on at Manchester’s Opera House until Saturday 20th July before heading across the UK and Ireland on tour tickets available here.

The Brit Fest – Ashley Show Ground

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Opening Night verdict ⭐⭐⭐⭐⭐

If there’s one thing us Brits love, it’s a summer festival, come rain or shine, if there’s a festival to attend, we’ll make a party of it whatever the weather. Thankfully Cheshire’s brand-new family friendly festival, The Brit Fest, was blessed with sunshine (mostly), a superb lineup and a little something for everyone to enjoy.

This three-day extravaganza hosted by presenters Jenny Powell and Mike Toolan was packed with top class musical acts, surprise special guests, creative workshops, fun activities and fabulous food offerings. The brainchild of brothers Anthony and Edward Prophet, The Brit Fest is a true celebration of music, community and culture.

paulvelasco@mac.com

Staged at Ashley Hall & Showground in Cheshire over the weekend of 5th, 6th 7th July and bringing acts as varied as Scouting For Girls and Bonnie Tyler to the stage it was clear to see the appetite for a family friendly festival right here in the heart of Chesire is huge and The Brit Fest well and truly delivered. The brilliant big names such as Kim Wilde and Heather Small were complimented by up-and-coming acts such as The Lottery Winners fresh from their Glastonbury set as well as a brilliant mix of fantastic regional talent.

With over 15,000 attendees joining the party over its inaugural weekend the festival looks set to become a permanent fixture in Cheshire’s social calendar with a return in 2025 officially confirmed.

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With general entry and a VIP option available The Brit Fest offers choice and great affordability with both weekend and day tickets on offer. What we loved so much about the festival was the vast age range of attendees and the super friendly vibes, from babes in arms to their glorious grandparents everyone was made welcome at this innovative event. There is also the option to camp, glamp or even bring your own motorhome to the event with pitches just a short stroll from the main arena. The entertainment options went way beyond the music with a fairground, artisan market, a family cinema, comedians, and classic cars as well yoga and self-love workshops in the ‘Mindful Meadow’.

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With such a successful first year we can’t wait to see where 2025 takes The Brit Fest when it returns on 4th, 5th and 6th July. This feel-good festival is the perfect summer celebration.

Sign up now via the link below to be the one of the first to know the 2025 line-up and also be in for a chance to win VIP tickets for next year’s event.

https://thebritfest.co.uk/

Burlesque

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Credit: Johan Persson

Based on the iconic 2010 film starring Cher and Christina Aguilera, Burlesque introduces us to Ali, a small-town girl who finds herself in the big city where life is about to get spicy, and the stakes are gonna get a whole lot higher.

This much-anticipated stage adaptation switches up elements of the film’s storylines so those looking for a faithful retelling will without doubt find something new to discover here. Some storylines and characters have been removed while others are further developed adding new dynamics to the production.

Credit: Johan Persson

We follow Ali (Jess Folley) as she leaves her home in the Midwest in search of her birth mother Tess (Jackie Burns). A stressed-out debt-ridden Burlesque club owner isn’t quite who Ali expects to find but she sticks around nonetheless as she awaits an opportunity to tell Tess the real reason she’s there. Life suddenly begins to take a dramatic turn and almost accidentally Ali becomes the star of the Burlesque show.

Taking a keen interest in Ali is Jackson (Michael Mather) the friendly bartender who has more than bourbon on his mind while there’s added depth given to Tess’ husband Vincent (George Maguire) who becomes the villain of the piece, adding an entertaining element of jeopardy as well as an opportunity for a gloriously camp male tap ensemble piece.

Credit: Johan Persson

Jess Folley is superb as Ali, her vocals are incredible, she has big shoes to fill taking on the role made famous by Christian Aguilera and she does so convincingly, while managing successfully to make the part her own. She is a true star. Her talents don’t end on stage as she also takes writing credits for several of the show’s new songs, it really feels like we’re witnessing the launch of a world-class talent here.

As Tess, Jackie Burns delivers a Broadway quality performance right here in the heart of Manchester, she has a strong chemistry with Jess Folly and the duet Got It All From You between the two is one of the most heartfelt moments in the production. Burns brings strength and sass to the role while gradually allowing her softer side to show.

Credit: Johan Persson

Ramping up the fabulous is a sensational Todrick Hall as Tess’ right-hand man and club assistant Shaun. An incredible performer who commands attention from the moment he appears on stage. His epic numbers are flawless, showcasing his extraordinary talents perfectly. His performance feels fresh, effortless and uniquely creative. A generous performer, he pitches things just right ensuring while his lead numbers pop his shared scenes are balanced and nuanced.

Special mention must also go to Nina Ann Nelson who is clearly having great fun as mean girl Nikki. While B Terry makes for a wholesome Midwest bestie, reminding us just how different life is becoming for Tess.

Credit: Johan Persson

The ensemble numbers are sensational, proving that Burlesque really is BIG. Film favourites Express and Show Me How You Burlesque whip the audience into a frenzy with Nick Winston’s sizzling choreography matching the quality of the stunning vocals perfectly. Add to this Soutra Gilmour’s lavish set design combined with Ryan Dawson Laight’s incredible costumes and Jack Knowles’ dramatic lighting and these pieces have wow factor worthy of winning awards. The additional element of Nina Dunn’s video design further takes the visuals up a notch.

Steve Antin’s book is fairly light and frothy but manages to steer away from cheesy however it’s the epic ensemble scenes that really steal the show. Some punchier dialogue in parts would bring a little more balance to the piece however judging by tonight’s audience reaction no one really came her for the convos.

Credit: Johan Persson

This incredibly talented cast go all out to deliver an exhilarating night of fierce, feel-good, fabulousness. The audience lap up the dazzling design and killer choreography with expectations of outrageous escapism fulfilled as we all head off into the Manchester night feeling a whole lot sassier than when we arrived. Burlesque will go far with the West End and Broadway surely beckoning, catch it in Manchester while you can!

Burlesque The Musical is on at Manchester’s Opera House until Saturday 29th June, it will then return from Thursday 3rd October until Saturday 2nd November tickets are available here.

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.