Vignettes 6

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Reviewed by Jodie Crawford

Opening Night ⭐⭐⭐⭐⭐

Vignettes returns to Hope Mill theatre with 6 exceptional pieces of theatre, which are short in minutes but packed with character, emotion and in parts good old Mancunian humour. These 6 pieces of stand alone theatre, are a celebration of the great talent that female identifying playwrights have to offer us in Manchester. The cast, production team, and direction live  up to the writing – each piece captivating in its own right. 

We begin Act 1 with Race for Life. Written by Christine Mackie, Directed by Joyce Brannagh. Our two main characters, Alice (Christine Mackie) and Stevie (Ellaney Hayden), have a chance encounter after taking part in their local Race for Life event. The two women have very different reasons for entering the event, but ultimately both women find something in the other that they were searching for. 

This piece is so beautifully and humorously written by the incredibly talented Mackie. The characters are so well connected and real. Often stories about women feature women who are downtrodden or who have achieved the unexpected. But this piece tells the story of two types of women that society don’t really talk about or identify with greatly. This story is about two women that people maybe don’t notice. There is a real vulnerability in both characters (not that they’d ever want you to see it). A well told story, with lots of heart and humour. 

Our second piece in Act 1 is a powerful piece written by Nasima Bee, and Directed by Nikki Mailer. Haiesha Mistry is a triumph in this piece. She just pulls you in from the minute she begins in her role of Ranad. She is mighty and strong. She fully encompasses this role and I was mesmerised by her from start to finish. Lamin Touray, as Ali, also works well on stage with Mistry. They together deliver a narrative about freedom, expression and the importance of having a voice. The written dialogue is compelling and is delivered with such energy. It is worth the ticket price alone to see this performance. 

The final piece of the first act is Interesting written by Alex Keenan and directed by Jess Gough. This piece is clever, well developed and insightful. It explores so many themes that are relevant with so many of us. The loss of a child in pregnancy, depression, marital difficulties and so much more. The character of Bo, the daughter of a counsellor, is played by the talented Eleanor Booth. Bo is angry and depressed, she is struggling to connect with her mother and in an act of childish retaliation towards her she impersonates her mother in an online counselling session. The couple attending the session, played by Stacey Harcourt and Barney Thompson, are experiencing so many emotions relating to the loss of a child in pregnancy at 5 months. The husband Max just can’t communicate how he is feeling and the wife Laura is desperate to talk about their loss. Bo’s prank doesn’t go to plan and exposes so many complex feelings and emotions for all three characters. A wonderfully written and acted piece that gives us insight into the difficulties experienced in grief and mental well being. 

Act 2 begins with Anatomy of Desire written by Obesi Osi-Lyere and directed by Justina Alna. This piece introduces us to HER played by the brilliant Ntombizodwa Ndlovu. HER is easy to identify with, HER is desperate to be successful, loved and respected, but things aren’t smooth sailing. HER takes us on a journey through time and events that are at times quite confronting. At times the chronology is hard to follow, but the acting is powerful and the main themes are present. I think we can all identify with the hopes and dreams of HER in this highly emotive piece of theatre. 

The second piece of Act 2 is one of the highlights of this entire production: Birds Don’t Run. They Fly. This beautifully crafted script is written by Lauren-Nicole Moyes and directed by Laura Woodward. Here we meet Ashleigh (Laurie Ogden) and Helena (Kate James), two women with a connection from school, reunited at a Blackpool Park Run. This piece starts with so much humour and banter, that when we begin to peel away the layers of these women’s armour we are aghast to the hidden reality they are in. 

I found this piece moving, confronting and heartbreaking. It is so cleverly constructed by Lauren-Nicole Moyes- the use of the bird analogies throughout is inspired. Both actors deliver exceptional performances, but Ogden was truly breathtaking in her portrayal of Ashleigh: this piece will stay with me for a long time. 

And the final play is Maharani of Manchester. Written by Anshan d’souza-lodhi and directed by Gituka Buttoo. Described in the programme as  “If the Godfather was a South Asian woman with morals.” This play takes place in the wilds of Rochdale. Here we meet Maharani (Ifeoma Uzo) who is determined to take Joshua (Raphael Santiago) out into the wild to see whether he is good enough for her daughter. Joining them on the expedition is Princess (Riah Amelle) who isn’t completely unbiased! This play is fun, simple and shows us that the truth is often the best place to start. 

Vignettes 6 is an incredible evening of a diverse selection of plays. Each wonderful in its own right. It is a feast of entertainment with something for everyone. So many characters delivered by an incredibly talented group of actors. An absolute celebration of 6 playwrights, telling six very different stories. How lucky we are to have this wonderful selection of theatre here in Manchester, all on one stage together. 

Vingettes is on at Manchester’s Hope Mill Theatre until 24th April tickets available here.

97+

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Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️


It’s a brave move to tackle the events surrounding a national tragedy as your debut production, yet debut writer/director Tom Cain has done just that with his play 97+. Working in partnership with the Hillsborough Survivors Support Alliance, Cain’s play looks at the traumatic effects that fateful day had on a group of survivors as well as a family still wrapped up in grief over the loss of loved ones.

Staged as a collaboration between Tom Cain Theatre and Bill Elms Productions, the play set in 2012, focuses on three separate stories which become interwoven with each other. First is John (Colin Kilbride) who was involved in the crush at the stadium, and, despite his best efforts, had a young man die in his arms. John, haunted by night terrors, seldom talks to anyone about his ordeal other than to his wife Liz (Claudia Molyneax), who tries to offer support, but is often rebuked by John. 

Next up is loner Steve (Leslie Longley), also a survivor of Hillsborough, suffering a different type of trauma – survivor’s guilt. Steve’s life has fallen apart through the break up of his marriage and alcoholism. A chance meeting between John and Steve leads to an unlikely friendship, as the pair try to support each other with their ordeal.

The final story is that of Sally (Lynne Fitzgerald) and Stuart (Graham Padden), a couple whose son died at Hillsborough. They are raising their granddaughter Charlotte (Alice McKillop); all are dealing with the loss of a son/father, as well as abuse relating to myths and lies about the tragedy. 

With the impending release of findings from the Hillsborough Independent Panel, the three different groups share their stories, in the hope that one day they will find peace, as well as justice, for not just those that lost their lives that day, but for those affected by one of the darkest days in our recent history.

Tom Cain’s script quite rightly doesn’t pull its punches, addressing issues of PTSD, injustice and police cover-ups. It’s clearly a personal project for Cain, whose grandfather was a Hillsborough survivor. Cain handles the subject with sensitivity and respect. The strength of the production lies in the hard-hitting personal testimonies of the characters, each done as a monologue. Colin Kilbride and Lesley Longley both put in powerful turns with harrowing accounts that will live long in the memory. 

The few opening night nerves were ironed out as the performance progressed, on an emotional night for all involved, including some audience members. This hard hitting piece of theatre clearly and impressively aims to inform, educate and shine a spotlight on the continued fight of the Hillsborough Survivors Support Alliance. A powerful, carefully crafted and hugely emotive production.

97+ was performed on Friday 12th April at the Olympia, Liverpool for more information head to https://linktr.ee/tomcaintheatre?

The Mousetrap

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Reviewed by Dan Grimes

Opening Night verdict ⭐⭐⭐

Agatha Christie’s The Mousetrap embarked on a triumphant 70th Anniversary tour two years ago and this week it takes a welcome sojourn at The Lowry’s Lyric theatre.

The Mousetrap really needs no introduction. The play has long since passed the point where it has become a brand in its own right, having played continuously on London’s West End for almost 72 years (COVID notwithstanding). In fact, the production now has its own catchy tagline. “Have YOUdunnit?” probes the poster on the way into the auditorium, reminding me that participation in the audience is as much about being part of a collective experience as it is about enjoying a well-crafted murder mystery.  

Now, having seen the play (for the first time I might add, and without any idea at the outset of WHOdunnit) I feel as though I have been initiated into a secret society which precludes me from giving away too much of the plot. However, I think it’s safe to state that the action centres on events that take place at Monkswell Manor Guest House, a newly opened hospitality venture run by relative newlyweds Mollie and Giles Ralston (Hollie Sullivan and Barnaby Jago) and involving their intake of idiosyncratic lodgers. As news spreads of a murder in London, this group of strangers find themselves snowed in at the remote countryside location. When a fresh-faced police sergeant arrives, the guests discover – to their horror – that one of them, is in fact, the one WHATdunnit.  

This touring production, with well-paced direction from Ian Talbot and Denise Salvey, does a very solid job of bolstering the Mousetrap brand. The staging is at the same time sumptuous and robust. The set elegantly recreates the interior of an English country manor house, complete with gothic oak panelling and stone architraves. The actors work the set hard throughout with doors slammed, staircases tramped, curtains yanked, and windows clambered through. However, testament to the skill of the designers and the construction engineers, there was not even a hint of a wobble. The costumes were in-keeping with the period and each outfit was precisely chosen to enhance the characterisations. Well-cut tailoring and hard-wearing fabrics, these clothes evoked a time before fashion became disposable. The props and furniture items were equally evocative of the time and similarly high quality, with every component coming together to create an overall sense of opulent dependability.

The lighting design was simple but effective. With all the action contained within the same box set, the use of wall lighting and lamps helped punctuate the passing of time and the way the ambient lighting gradually faded as the dark winter night drew in, created the right atmosphere to frame the suspense. I especially enjoyed the care taken over the critically timed blackout at the end of Act 1 with the remaining auditorium lighting also being temporarily dimmed to enhance the depth of the blackout and add to the disorientation.  Unfortunately, sound on this occasion was less reliable, with more than one occasion when miscued microphones pulled you out of the action. I was also a little disappointed with the realism of the snow used on stage. Seeing each newly arrived character lightly dusted with snow from the imminent blizzard was initially pleasing. Unfortunately, the fact that the snow lingered a little too long on clothes when characters were stood in front of the roaring fire, and that some of the dustings appeared more like dollops was ultimately more jarring than was likely intended.  

Performances from all eight actors admirably matched the solidity of their surroundings, with each actor delivering their own well-crafted characterisation. Stand-out performances came from Shaun McCourt as the eccentrically camp Christopher Wren, Amy Spinks as the enigmatic Miss Casewell and TV stalwarts Gwyneth Strong and Todd Carty as the acerbic Mrs Boyle and bumbling Major Metcalf respectively. However, the real star of our show was Hollie Sullivan who was pulled off the understudy bench to play Mollie Ralston. Hollie looked and sounded every inch the 1950s inheritress but also managed to find a depth of emotional connection to the role that caused her to shine that little bit brighter.

Overall, this was an extremely competent production with excellent staging and well delivered performances. That being said, I was left feeling much more enrolled than entertained. I can now say that I have ‘dunnit’ and I will dutifully keep its secret locked in my heart as bid, but overall it was an experience more akin to visiting Madame Tussauds than watching an edge-of-the-seat thriller penned by the Queen of Crime. Whilst I appreciated the craftsmanship and I’m glad to have ticked it off the bucket list, it all felt a bit lacklustre in the end. Very much like the solid oak table mentioned in the script, the play is undoubtedly a genuine antique but it may now be starting to show some signs of woodworm.  

Agatha Christie’s The Mousetrap (70th Anniversary Tour) runs at The Lowry, Salford, from Monday 8th to Saturday 13th April 2024. Tickets are available here.

Cluedo 2

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

Following the huge success of Cluedo (stage play), writers Maurice Gran and Laurence Marks have followed it up with the rather aptly named Cluedo 2, which hopefully will contain more mayhem, more murders, as well as some laughs.

This time around the action takes place in the ‘Swinging Sixties’, at the country estate of fading rockstar, Rick Black (Liam Horrigan), as he is about to offer an exclusive first airing of his latest album. In attendance are Black’s shady American manager Colonel Mustard (Jason Durr), Black’s wife, the scheming socialite Mrs Peacock (Hannah Boyce) and Black’s friend and tech expert, Professor Plumb (Edward Howells).

In addition, there is the seemingly ever-present housekeeper, Mrs White (Dawn Buckland) and interior designer, Miss Scarlett, (Ellie Leach), who has been brought in to give the crumbling manor house a bit of a makeover. Later they are joined by Wadsworth (Jack Bennett), a jobbing actor typecast as a butler, and finally the Reverend Green (Gabriel Paul), a friend and musical collaborator of Rick Black.

As more guests arrive, the body count increases, and soon everybody becomes a suspect. Everyone has a motive, and everyone has the means, but will they all survive long enough to catch the killer?

Cluedo 2, is very much a mixed bag, it does a great job of introducing all the familiar tropes associated with the boardgame: each of the characters are given a fresh take, subverting expectation, but still present are the classic murder weapons and rooms within the manor house.

Writers Gran and Mark’s script is fun throughout but doesn’t always deliver the big laughs that it needs. There are no wasted lines, and every bit of dialogue could be a clue, so be sure to pay attention! I expected more bite from the team behind one of my favourite sitcoms, The New Statesman. Director Mark Bell, arguably best known for directing The Play That Goes Wrong has tried to incorporate what worked so well on the Mischief Theatre smash hit into Cluedo 2, with again, mixed results: there are elements of farce, quick gags, and physical comedy which work well, you just wish there was more of it.

What this production does have is several strong performances. Dawn Buckland steals nearly every scene as the no nonsense Mrs White, she has the lion’s share of the best lines, and she delivers them with exceptional comic timing. Equally impressive is Jack Bennett as the former butler-turned actor, now playing a butler, Wadsworth. It’s a great comedic turn full of energy, which demands your attention throughout.

There are strong performances from Liam Horrigan as Rick Black as well as several other characters (no spoilers) who fully invest into the silliness you expect from the show. Hannah Boyce is in fine form as the mean, selfish Mrs Peacock.

The big draws for the productions are former Heartbeat star Jason Durr, who goes OTT as the big Texas music manager Colonel Mustard; it’s a performance as absurd as it is enjoyable. Whilst former Coronation Street and 2023 Strictly Come Dancing winner, Ellie Leach makes a fine stage debut as Miss Scarlett.

Whilst never hitting the big laughs, there are enough gags and comedic set-pieces to keep you entertained for the two-hour running time, and despite a slow start, the pace quickens as soon as the body count rises, leading to a suitably absurd and thoroughly satisfying conclusion.

Cluedo 2 is at the Lowry till 6th April. Tickets available here.

Peter Pan Goes Wrong

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Reviewed by Gill & Freddie Selkirk

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Mischief Theatre Company are the hilarious gift that keeps on giving, from their original offering, The Play That Goes Wrong to this current UK Tour of Peter Pan Goes Wrong it seems everything they touch turns to comedy gold.

Like the multi award-winning Play That Goes Wrong, Peter Pan Goes Wrong focusses on the Cornely Drama Society and their valiant attempt to deliver J.M. Barrie’s classic, Peter Pan, which of course gets a chaotic and calamitous Mischief Theatre makeover.

This play within a play introduces us to our cast who quite literally live and almost die by the mantra ‘the show must go on!’. With ambition that far outweighs their actual talents the scene is set for two hours of malfunctioning sets, lack of ability, faulty electrics and some painfully close near-misses as our players go about delivering their lines to hilarious effect. There are clashing egos, intense insecurities as well as unwanted affections within the company, all of which add to the glorious chaos of the piece.

Gareth Tempest portrays Jonathan who is our self-obsessed, narcissistic Peter Pan. With an eye for the ladies and an inability to fly in a straight line he continually plunges the show into absolute chaos. Wendy (a very keen to please Sandra) is played brilliantly by Ciara Morris, her enthusiasm paired with her exuberant arm waving never tire. Jack Michael Stacy, as Chris the director (who also plays Captain Hook and Mr Darling) displays a brilliant lack of self-awareness. His continued instance on treating the play as a serious piece and increased disappointment with both his fellow cast members and the audience who clearly don’t agree is genius.

Matthew Howell is superb as Robert (co-director/Nana the Dog, Peter’s shadow) with an ego bigger than Neverland he has the audience in the palm of his hand while Theo Toksvig-Stewart as Max, (playing Michael Darling/mermaid/the crocodile), has a soft-spot for Sandra and is only in the show because his uncle is financing it.

Dennis (Clark Devlin) offers some real comedy moments as he’s fed his lines through a very unreliable headset while Jamie Birkett as Annie (playing Mrs Darling, Lisa, and a superbly funny Tinkerbell) has more consume changes than a pantomime dame. Jean-Luke Worral as the narrator though blighted with technical issues, still adds a touch of sparkle every time he appears, pertified actor Lucy (Rosemarie Akwafo) has trouble finding her voice while Jake Burgum tries to keep it all together as stage manager Trevor, resulting in almost as much unforgettable stage time as the stars of the show themselves.

This really is a comic masterpiece; it’s fast pace never wanes while the gags and physical humour come thick and fast. It’s slapstick central and the audience lap it up, you’re just about recovering from one laugh when the next quickly and hilariously presents itself. Every cast member gets their moment to shine thanks to the witty writing and brilliant direction. High praise must also go to Simon Scullion’s impressive set design, its adaptability and revolve adding superbly to the carefully choreographed chaos.

Mischief Theatre have once again produced a comedy classic, which will appeal to all ages and leave you belly laughing long after the curtain call. My almost 11 year old, Freddie said it was the best thing he’s ever seen at the theatre, “I laughed from the very start to the very end, it’s ridiculously funny.”

Peter Pan Goes Wrong is on at Manchester’s Opera House until Sunday 31st March tickets are available here.

Sister Act

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

The sisters are well and truly back in the habit as they take the theatre world to heaven in this UK & Ireland tour which runs right through to the autumn. 

This musical remake of the much-loved 1992 movie tells the story of Deloris Van Cartier, (Landi Oshinowo) a sassy entertainer in downtown Philadelphia who witnesses her married boyfriend, Curtis Jackson (Ian Gareth-Jones), murder one of his motley crew. In an inspired choice Deloris is put into witness protection at a city convent where she soon starts spicing up the lives of her fellow sisters, much to the dismay of their Mother Superior (Sue Cleaver). 

This nun on the run is reborn as Sister Mary Clarence, taking us on a glorious adventure, where the black and white of convent life is gradually and often hilariously transformed into vibrant technicolour, where Delores helps the sisters to secure their future and find their own voices while offering an opportunity to discover where she fits in, in this crazy world.

Returning as the iconic Deloris Van Cartier, Landi Oshinowo is superb. She more than does justice to the role. Her voice is sensational, full of power and smooth as silk she belts out the big numbers with ease, while she delivers writers Bill and Cheri Steinkellner’s script with both style and sensitivity. Deloris’ changing relationship with Mother Superior (Sue Cleaver) is a wonderful thread that weaves throughout the story, there’s huge support for Cleaver in the audience and she convincingly shows her acting chops through the transitional journey she goes on.

Eloise Runnette makes for a hugely impressive Sister Mary Robert, she gives an authentic and memorable performance, fully immersing herself in the role as she quietly blossoms before our eyes. Special mention must also go to Alfie Parker as Eddie who comes close to stealing the show during his crowd pleasing solo, as well as nuns Sister Mary Lazarus (Julie Stark) and Sister Mary Partick (Isabel Canning) both are fantastic.

With its heavenly score from Alan Menken, Alistair David’s upbeat choreography as well as hilarious and heartwarming moments throughout, this fan favourite musical will have you praying for more. The infusions of gospel, soul, disco and Motown blend seamlessly to create a wonderfully uplifting score. While there’s a part of you that wishes they’d suddenly burst into ‘I Will Follow Him’ the group numbers more than make up for this. The ensemble pieces really elevate this show, at times when the pace begins to slow a little you know the next cleverly choreographed scene is just around the corner.

Sister Act is a hugely entertaining, camp, colourful celebration of friendship and finding one’s purpose. This enormously talented cast will raise your spirits and warm your heart with this joyful production. 

Sister Act is on at Manchester’s Palace Theatre until Saturday 30th March tickets available here.

Something About George

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

The world’s fascination with the Beatles has never waned, and while our appetite for the fab four as a group is well catered for, individual stories, particularly George Harrison’s are much harder to come by. Thankfully Something About Productions, made up of theatre producer Bill Elms, writer and musician Jon Fellowes and singer songwriter Gary Edward Jones have combined forces once again following on from their hugely popular first offering, Something About Simon, to give George Harrison his moment in the spotlight.

Written by Jon Fellowes and co-produced by Bill Elms and Gary Edward Jones this is a true celebration of the ‘quiet’ Beatle, lucky for us the multi-talented Daniel Taylor who portrays George has plenty to say. Taking centre stage, Taylor, dressed all in black gives a lovingly curated performance. Acting as both narrator and vocalist this isn’t a tribute act but a genuine homage to the music legend, sensitively directed and brilliantly delivered.

Taylor is supported by an incredibly talented band made up of Joe Smithson (MD, guitar and vocals), Callum MacMillan (percussion/drums), Tom Kinton (bass guitar and vocals) and James Breckon (keyboard and vocals) who together really bring Harrison’s story to vibrant life while Jamie Jenkins’ huge video projections play out behind them adding context and artistry to the piece.

Harrison’s incredible talent is celebrated amongst anecdotes and narrative about the man himself, the stories Taylor shares adding further warmth and depth to this impressive production with Taylor drawing on his versatile acting skills adding humour and authenticity throughout. It’s clear for many of the audience it’s the music that they came here for and that’s delivered in abundance in two superb sets. We hear solo material, Beatles classics and are even treated to stunning vocal harmony numbers form Harrison’s time with the Travelling Wilburys.

From the releasing of Harrison’s debut album All Things Must Pass to his relationships with Pattie Boyd and Olivia Harrison, his spiritualism and charitability to his sad and untimely death this well-crafted production tenderly and affectionately details it all interwoven between a pitch perfect delivery of Harrison’s back catalogue. Stories are shared with enthusiasm with Taylor often recreating the voices of characters who featured heavily in Harrison’s life, his voicing of the quiet Beatle himself is uncanny and delivered with real passion. Each story adding to the next to offer the audience a full and complete biography of Harrison’s post Beatles life.

This show is a must not just for Beatles fans but for music fans alike, enormously entertaining with outstanding delivery and incredible musicianship, superb.

Something About George is currently touring the UK and Ireland, dates and further information can be found her here.

São Paulo Dance Company

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Reviewed by Alicia Graham & Jan Halloran

Opening Night verdict ⭐️⭐️⭐️⭐️1/2


Sâo Paulo Dance Company, filled the Lyric Theatre at the Lowry, and by the reaction of the audience we sincerely hope they will return after this, their first UK tour. Presented by Dance Consortium and led by Artistic Director Ines Bogea, this beautiful contemporary company of exceptional dancers, delivered a triple bill that was contrasting yet cohesive.

Dance, which in terms of popularity is on a par with football in Brazil, is an integral part of the culture, think of capoeira, Samba and Carnival. The twenty-two strong company exhibited incredible musicality, technical talent that was outstanding and an equality of strength that shone through in all the contact work indicating the trust amongst the couplings and highlighting the creative contribution the dancers made to the choreography.

Anthem, choreographed by Spain’s Goyo Montero, opened with a sound score (Owen Belton) of breath, the dancers breathing as one with cellular like gestures. With a theme of lifecycles and identity we saw, the solidarity of togetherness, individuality, rebellion, conflict and separation. A comedic nod to national anthems led to military stylised movement. A music box, haunting, lullaby, had a soporific effect on one dancer as automatons danced around her. Exquisite lighting design pulled together the theme, seamlessly shifting the atmosphere from one section to the next. Costumes gave an illusion of being barely there, enabling the viewer to focus on the body and movement, whilst alleviating, gender, character and status.

Nacho Duato, created the spiritual, hypnotic, second piece, Gnawa, accompanied by ritualistic music from North Africa, created by seven composers.

Ammanda Rosa and Neilson Souza were outstanding in the central, ethereal duet, where Rosa rose as a flame, a nymph like creature of nature. Her contrast, to the other more human dancers, highlighted by her costume. Fire and water linked the segments of choreography where the unison dancing gave a sense of collective community, with antler like arm movements and grounded wide plies. It was a spiritual celebration of humans and nature alike. 

Metronomic movements opened the third and final exhilarating piece, Agora, choreographed by Cassi Abranches. The dancers echo the Afro-Brazilian percussive beats of Sebastian Piraces’ score in their bodies, with hanging arms and open collar bones the movement emanates from the hips with a staccato swagger redolent of catwalk models and adolescencesass. A funk, retro vibe was interpreted as the dancers ran in fast forward and rewind, entering and exiting with speed. Astonishing jumps, feet first as if careering into their partners, only to be caught horizontally are an explosive highlight which build throughout the piece, making the audience gasp. Yoshi Suzuki was standout, his sinuous spine, the centre of every move. A trick was missed by ending the piece by going back to the beginning, the party fell a bit flat at the end rather than being a climatic celebration, however it was still an impressive and well-choreographed piece. 

Even though the clarity of the stimulus for each piece was apparent there was still plenty of room for individual interpretation by the audience. Sao Paulo Dance Company relates to a diverse audience fromyoung adults upwards. The dancer’s fluidity, technicality and equality of strength were outstanding. 

Anyone with an inquisitive, creative, curious mind will find much to appreciate in this thematic yet non-narrative production. Unmissable.

São Paulo Dance Company are at The Lowry until Wednesday 13th March tickets are available here.

Birmingham Royal Ballet – Sleeping Beauty

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Reviewed by Alicia Graham and Jan Halloran

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Birmingham Royal Ballet’s 40th anniversary production of The Sleeping Beauty delivered a pure classical ballet experience. Artistic Director Carlos Acosta brings the iconic, Sir Peter Wright production to life in all its gilded glory to The Lowry. Salford.

Originally choreographed in 1892, Marius Petipa’s chorographical footprint is prevalent throughout this production accompanied with Tchaikovsky’s stunning orchestral composition that paints exquisite pictures. 

Sleeping Beauty is a master class in dance history, whilst being truly accessible to all. BRB do not disappoint with this exquisite production. Supremely talented dancers, exhibit artistry, dramatic characterisation and technical prowess. 

The Royal Ballet Sinfonia are a joy, truly integral to the classical experience, the overture enveloping you in familiar strains that hint of the narrative to come.

A golden production, the imperial, sumptuous, set shimmered and the costumes, many restored from the original production, created a true spectacle and the lighting design complemented the story beautifully.

This classic well known fairytale where good triumphs over evil, begins with the prologue, the curtain opening onto a majestic court where the baby Princess Aurora is to be christened. Catalabutte, the Master of Ceremonies, keeps checking his list of invites, something is worrying him. Courtiers sweep and glide across the stage in heavy brocade and velvet, the costumes dancing with every choreographed step. The choreography brings the music to life through incredible musical visualisation.

Fairies shower Aurora with their gifts, showcased in a solo dance, of beauty, honour, modesty, song (a particularly enchanting performance), temperament and joy.

Ominous tones from the tympani drums signal foreboding. Enter Carabosse on an imposing chariot, ready for battle carried high by her crow-like attendants.  Threateningly evil movements inhabit her body. Incensed because she was not invited, Carabosse threatens that her gift is that Aurora will die if pricked by a needle. A mimed battle ensues between Carabosse (Daria Stanciulescu) and the Lilac Fairy (Ellis Small), who triumphs as her spell is the last to be granted. Aurora will not die, she will sleep for a hundred years.

Act one celebrates Auroras 16th birthday at the court. As the familiar notes of the beautifully choreographed garland dance are heard, you can hear the audience humming along to the familiar soundtrack. Mokomo Hirata makes a joyful entrance, full of youthful innocence.

As the famous Rose Adagio begins there is no apprehension in Hirata of the technical challenges to come. The adagio is danced with fluidity and a cheeky smile as she coyly eyes up the suitors.

Suddenly a stranger enters with flowers for Aurora, concealing a spindle, which intrigues her. Despite the best efforts of the courtiers Aurora pricks her finger, the hooded stranger is revealed as Carabosse, and again the Lilac Fairy enters to spread calm and send Aurora and the whole palace to sleep.The castle is cocooned in thorns, (the descending set here is dramatic) until a handsome prince will come and awaken Aurora with a kiss.

A hundred years pass. Hunters enter the wood in front of the hidden castle. A cleverly light-hearted scene, the hunters in wonderfully accentuating bustles, wield their whips. Prince Florimund (Max Maslan) as the handsome prince, looking for true love is introduced, showing precise, authoritative technique with exquisite, ariel batterie.

Finding himself alone, he is entranced by a misty vision of Aurora introduced to him by the commanding yet ethereal and elegantly empathetic, Lilac Fairy and her atmospheric woodland fairies. He begs the Lilac fairy to take him to Aurora. Despite Carabosse’s wildly treacherous and evil protestations, his love parts the thorns. Good prevails, on finding Aurora he seals his love with a kiss, awakening Aurora and the court, signalling the triumph of good over evil.

A sparkling, rejoicing court dressed in opulent finery,welcomes the new Prince and Princess to their royal wedding celebrations with guests providing the entertainment for the court, displaying the talents of BRB’s dancers.

An exuberant Pas de Quatre was danced with beautiful synchronicity. Puss-in-boots and the white cat positively purred, delighting in their pas de chats, whilst their spines meowed. Red riding hood and the Wolf brought lovely humour. Bluebird soared with winged gestural arms and the Enchanted Princess with her beautiful smile was truly enchanting. Their pas de deux was breath-taking.

Hirato and Maslan steal the show as their solos and pas de deux showcase their talents. Increasingly complex choreography is performed effortlessly, the partnership setting the stage and audience alight. The production comes to an end in the most glittering finale leaving the audience feeling like they’ve attended a very important occasion. This is a ballet not to be missed which will thrill experienced and inexperienced ballet goers alike.

Birmingham Royal Ballet’s Sleeping Beauty is on at The Lowry until Saturday 9th March, tickets available here.

Work It Out

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Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Many of us have been there, stood in a random community centre or school hall early evening, trainers on, ancient leggings dug out of a long-forgotten drawer as we await the arrival of the class instructor and just hope they’re not quite as bouncy as we’ve imagined. 

It’s the perfect material for a piece of theatre, from the characters we meet to the problems and predicaments they find themselves in. It’s something we can relate to, empathise with, and laugh along with as we reflect on our own brushes with ‘fitness’. Writer Eve Steele (who also stars in the production as Siobhan) has taken this basic premise a step further with the exercise class being one specifically for people who have been referred due to the mental health challenges they face.

This distinct group of characters go on a unique and engaging journey, from beginning as strangers who struggle to be in the same room together to becoming their own unique and fiercely proud community. Each has their own story and moment to shine as the weeks pass by and the heart of each character is carefully revealed. From alcoholism to hoarding, sexual abuse to overeating the issues they’ve face are many, however together they find a sense of belonging and a genuine sense of purpose without this production ever feeling cliche.

Writer Eve Steele and Director Sarah Frankcom have lovingly worked with these characters to ensure they are relatable, believable and touch the hearts of the audience in ways we don’t see coming. The subtleties of their journeys collectively make for a powerful, emotive piece of theatre packed with heaps of heart and humour.

There’s Rebecca (Raffie Julien), who is deaf and refuses to speak who brings along her Grandma Marie (Eithne Browne), Rebecca gradually finds freedom and confidence as the weeks progress while Marie evolves from angry and anxiety ridden to loving, caring and contemplative. Shaq, portrayed sensitively by Dominic Coffey is a care-leaver who is struggling to survive in a wholly unsuitable home environment. His moving dance solo to a jazz version of Radiohead’s Creep is a real highlight of the show.

Eva Scott’s portrayal of Colette a shy, sensitive soul who struggles with body image is deeply moving, seeing her find her place and purpose within the group as they bid to secure funding feels like a monumental triumph. Aaron McCusker’s journey as Rob is perhaps one of the most profound, his transformation is poignantly realised in the final touching scenes as Siobhan (Eve Steele) with whom Rob has become close takes a step back from the group while her personal progress stalls. Class leader Alice (Elizabeth Twells) who seems so composed and complete at the start goes on her very own unique journey of vulnerability where she too realises, she needs the strength of the group to get her through.

The powerful final scenes illustrate both the positive change community and inclusion can bring while exposing the stark reality of the damage done to a society failed by ineffective Governments and underfunded services. The focus on individual stories brings a real sense of hope to this piece as the characters unify becoming closer and tighter as the weeks go by.

Work It Out is on at HOME until Saturday 16th March https://homemcr.org/theatre/

Pretty Woman

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Following successful runs on Broadway and in London’s West End, Pretty Woman arrives in Manchester this week as part of its first ever UK tour.

The musical stays faithful to the iconic 1990 movie starring Julia Roberts and Richard Gere, much to the delight of the audience who clearly revel in the nostalgia of the familiar.

For those unfamiliar (and I can’t imagine there are many) this is a classic Cinderella story with a twist, the twist being our ‘Cinderalla’, Vivian, is a sassy sex worker on the Hollywood Boulevard and our Prince Charming, Edward, is a money motivated entrepreneur, neither are looking for love but can just about cope with a week of no strings company.

Taking on the role of Vivian Ward at tonight’s performance Paige Fenlon captures the essence of the character so iconically created by Julia Roberts brilliantly. She draws the audience in, getting them on side immediately with her warmth and wit. Her confident delivery of ‘I Can’t Go Back’ is a real highlight while her characterisation guarantees we all fall completely in love with her Vivian.

Ben Darcy makes for a wonderful Edward, ensuring the audience soon warm to him once his walls begin to come down. His vocals really shine while he makes Edward’s journey convincing and thoroughly enjoyable. The two have great on stage chemistry ensuring we’re really rooting for their happy ever after.

Previous Strictly champion Ore Oduba is a huge asset to this production as (Happy Man/Mr Thompson). A versatile performer with heaps of charisma he is a real joy to watch. Popping up when you least expect him to, each scene he delivers with a confident ease, endearing him wonderfully to this engaged audience. His pairing with Noah Harrison as bell-boy Giulio, is inspired. The talented pair really elevate this production, each scene more brilliant than the last, I wouldn’t say no to a Mr Thompson and Giulio spin-off, they are superb!

Special mention must also go to Natalie Paris who blows us away with her stunning vocals as Vivienne’s best friend, Kit De Luca. She really is a world class talent and adds to this production enormously.

Director and choreographer Jerry Mitchell ensures this faithful retelling gives fans of the film everything they’d hope for in musical form. The iconic lines are there as are the classic scenes we all know and love. The opera scene particularly is stunning with Lila Falce-Bass and Josh Damer-Jennings delivering pitch perfect performances.

Pretty Woman ticks all the boxes for a perfect night of theatre escapism. It doesn’t take itself too seriously and delivers a super fun show as a result. It will entertain, charm and uplift you, make no mistake!

Pretty Woman The Musical is on at Manchester’s Palace Theatre until Saturday 16th March, tickets available here.

Unfortunate – The Untold Story Of Ursula The Sea Witch

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Malifcent and Cruella have both had their moments in the spotlight, so now feels like the perfect time to spill the tea on Disney’s most iconic villain, the queer queen herself, Ursula.

This is a deep dive like no other and a musical parody you won’t forget in a hurry as Ursula’s mysterious past is explored in the most hilarious way. It’s camp, colourful and completely outrageous.

Shawna Hamic takes on the titular role and succeeds entirely. She’s sassy, self assured and super fun with a hint of vulnerable where necessary. She blasts out powerhouse vocals with ease and quickly makes you realise perhaps you were wrong about Ursula all along.

Her scenes with Thomas Lowe as Triton are superb. They bounce off each other brilliantly ensuring this sharp script gets the quality delivery it deserves. They’re deliciously OTT, Hamic delivering Ursula’s cool, effortlessly while Lowe camps it up as Triton, all hair flicks and wanting sighs, hamming it up to perfection.

Allie Dart as Sebastian and multiple other characters is incredible, she delivers and then some. Such a brilliant actor, she doesn’t miss a beat in this fast paced parody. Her scenes with Jack Gray are a joy, their interpretations of Ursula’s faithful eels Flotsam and Jetsam are hilarious, a real highlight of the show as they weave effortlessly through Melody Sinclair’s brilliant choreography.

River Medway as the flame haired Ariel is hilarious. Ditsy, dim and desperate for a fumble ensuring the audience understand completely why Ursula sent her down the path she chose. Of course where there’s a whiff of Disney there’s always a Prince Charming, step forward Jamie Mawson as Eric. Mawson hams it up perfectly as the brattish, flute playing royal. Every line and every lyric exaggerated to level ten, he is a scream.

The cast are supported by a talented ensemble who bring further sass to this brilliant piece, they hold nothing back and make you feel like you’re part of this inclusive party.

There are bops and bangers, all delivered by a top notch cast. At two and a half hours this is a fairly long parody which might pack a little more punch with a slightly shorter running time but this really is a minor quibble.

Unfortunate is bold, brilliant theatre. Outrageous, unapologetic and a whole heap of fun.

Unfortunate – The Untold Story of Ursula The Sea Witch is on at The Lowry until Saturday 2nd March tickets available here.