books

The Lion, The Witch and The Wardrobe

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️

What a treat this is – midweek show – hot chocolate and mince pies. I’m here at press night – settling down to watch the Lowry’s Christmas show “The Lion, The Witch and the Wardrobe”. As we approach this festive season there tends to be a tradition of household favourites on the theatre scene, this year is no exception, the Lowry is once again hosting the children’s classic, The Lion, The Witch and The Wardrobe, which in 2021 impressed audiences with its contemporary take on an old favourite. Retuning direct from the West End, “the nations favourite novel” promises once again to delight audiences and bring festive cheer to the Salford scene. 

The novel is one of C S Lewis’ fantasy favourites which since the 1950s has gripped children and adults alike. It was the first story to be published from the seven novel collection “The Chronicles of Narnia” and it has seen many adaptations in its time on TV, in film and now on stage. The versatile Lyric stage is transformed as director Mike Fenton brings Sally Cookson’s original production to life. 

Set against the backdrop of wartime England, when children were being evacuated for safety, Lewis takes this one step further and sends the readers into the magical land of Narnia – which lets face it is a character all on its own. The story is mainly driven by the youngest of the 4 children, Lucy, who enters this mysterious land three times through a simple wardrobe in the spare room. The wardrobe acts as a portal to the magical land of Narnia, a land where time stands still and woodland fantasy creatures are in a war of their own, in a bid to bring back hope to their once pleasant land.

Here lies the power of Lewis’ storytelling – how many of you tried getting to Narnia through a wardrobe in your childhood homes – hoping you – like Lucy, could escape the reality of daily life through a doorway of hope. Narnia is brought to life superbly by the creative team. Visually this production is stunning, the contrast between black and white, light and dark throughout is so clever. The contemporary dance routines creates a wonderful parallel to the classic tale. The art of illusion especially with the witches scenes really are special and are delivered perfectly by the cast. A special moment must be taken to appreciate the sheer brilliance of the puppeteers (directed by Toby Olie and designed by Max Humphries). From household pets to woodland creatures the use of puppetry throughout is so creative. The subtle movement they give to all the animals allows them to become incredibly life like – so much so that you forget you’re watching puppets, instead you are drawn into the illusion and believe they are real. This combined with the arial artistry (directed by Gwen Hales) gives the whole production a fourth dimension feel – you are in Lucy’s shoes, you’ve entered Narnia. This show truly is a spectacle.

As Act 1 progresses the mentions of Aslan increase, building the tension ahead of his much anticipated arrival. “The King of the beasts’ finally comes to the stage in the second act through a cloud of smoke and I must admit I was excited – finally the title character is here portrayed by both a puppet and an actor. Aslan (Stanton Wright) commands the stage with a majestic presence that you can’t help but be transfixed by. I felt at times however that I was looking more at Wright than the Aslan puppet, which moments before I was so excited to see. This conflict continued throughout the show and personally as brilliant as Stanton Wright was, having both him and the puppet in equal spotlight made it feel like they were separate characters. In fact at times it felt like Aslan the puppet was a pet to Wrights’ character.

Second in the title ranking is the Witch played by Kate Stephens who with her impressive resume naturally bring a regal essence to the role. Literally at times towering above the audience with her crown of icicles and long fur coat, she definitely makes her presence felt, owning her stage. 

The children are equally as brilliant and the talent within the company is phenomenal. Kudzai Mangombe portrayal of Lucy brings a wonderful playful innocence that develops into a adolescent charm. Peter (Jesse Dunbar) and Susan (Joanna Adaran) bring reason and drive to the story, providing Lucy with a solid foundation – almost like parental figures – a beacon of truth and honesty. Contrasting completely with this is the rebellious Edmund who is played to perfection by Bunmi Osandolor. 

I cannot leave out one of literatures finest fawns – Mr Tumnus played by Alfie Richards – who brings a mystical quality to his performance, and by doing so adds a fantasy element to the show. Honestly the entire cast must be commended – not only for their wealth of talent, but because of their ability to play multiple characters and instruments. Mr and Mrs Beever also deserve a special mention – they bring a comedic element, that breaks up the plot which at times is quite bleak, with the wartime synergy.  

The Lion, The Witch and the Wardrobe fits perfectly into the play with music genre, making it a wonderfully entertaining festive experience. Take that leap this Christmas and step through the wardrobe to see Narnia for yourselves! 

The Lion, The Witch and The Wardrobe is on at The Lowry until Sunday 11th January 2026 tickets are available here.

Sherlock Holmes

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Opening Night verdict ⭐⭐⭐⭐

The game is afoot at  Grosvenor Park Open Air Theatre 2025 as Chester Storyhouse bring an all-new adventure by ever-popular sleuth Sherlock Holmes to life.

From misdirection to missing valuables, criminal masterminds to secret codes, ‘The Chester Conundrum’ is everything you’d want from an adventure featuring the deer stalker donning detective – ably assisted by his right hand woman Dr Jo Watson.

Written with wit and imagination by Molly Taylor and directed with pacy fun by Ellie Taylor, the open air theatre is the perfect setting for such an enjoyable summer romp.

The scene is set in modern day Chester (no musty Victorian parlours for our ‘Sherly’) at a popular ‘Crime Con’ convention (it’s fun to spot the various other famous crime icons including Poirot, Kojack and yes, Velma from Scooby Doo!)

Dr Watson (a sparky Alyce Liburd) is one of the guests at the convention, organised by a childhood friend (Eddy Westbury) who also doubles up as a delightfully daffy Duke of Westminster.

Organisers hope her partner Sherlock Holmes (a snarky and sardonic Ethan Reid) will also make an attendance – and they aren’t disappointed, although I won’t spoil the manner of his arrival.

But the duo’s Crime Con appearance sparks a madcap mystery featuring, among other things (and minus any spoilers that would ruin the fun) a missing painting, a grisly murder, a supremely silly bust-up in a Liverpool Irish boozer and even a mass karaoke session.

And of course, this being the open air theatre, some audiences members are also recruited to play a part in proceedings – which they gamely did, getting lots of laughs.

The cast are all first rate – we particularly enjoyed Howard Chadwick’s exasperated police detective DCI Chadwick, Victoria Brazier’s dotty Mrs Hudson and Jessica Jolley’s Scouse crimelord. And Lauren Chinery and Hannah Baker were also excellent in their various roles.

(It’s worth noting that not only do the cast play all the instruments that help bring the story to life, they also double up in the theatre’s other summer outdoor production Pride & Prejudice – in case you want to see them in alternative guises.)

It’s particularly nice to see two young actors, Morgan Lewis & Alex James Mason making their professional debut thanks to the Storyhouse Young Company training scheme – which the audience was encouraged to donate to on the night.

Packed with local gags and insider jokes, slapstick physical comedy but with moments of real menace – as well as all the twists and turns you’d expect from a Sherlock mystery, this is a crime caper that fully lives up to the Sherlock name.

The Adventures of Sherlock Holmes is on at Grosvenor Park Open Air Theatre until Sunday 31st August tickets available here.

The Merchant of Venice 1936

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

When picking a film at the cinema, we often like to know what genre of film we’re
off to see, so hopefully there’ll be no nasty surprises for us. Surely the same would
have been said when William Shakespeare was knocking out plays with such
gusto. One play that has often proved difficult to pigeonhole is The Merchant of
Venice, listed as a comedy, mainly because there is a wedding, a spot of farce
and (spoiler alert), no one dies!

However, over time the play has been reappraised due to its problematic
antisemitism. Director Brigid Larmour and Tracy-Ann Oberman are the latest to
tackle this troublesome play, their ambitious artistic choices pay dividends
with this bold, thought-provoking adaptation.

In their reworking, The Merchant of Venice 1936, the action is shifted to London’s
East End: where the rise of Oswald Mosley’s British Union of Fascists sees the
persecution of the local Jewish community. Here Oberman’s Shylock runs her
money-lending business. She is a strong, feisty Jewish businesswoman, who’s
devotion to her faith is only matched by her love for her family, especially her
daughter, Jessica (Gráinne Dromgoole) evident in a beautifully staged family
gathering at the start of the production.

Shylock is approached by Bassanio (Gavin Fowler), a socialite who has designs
on a wealthy heiress, Portia (Georgie Fellows). Bassanio, asks his friend, Antonio
(Joseph Millson), a local merchant and member of the BUF, to act as a guarantor
in order for him to secure a loan from Shylock. Antonio and Shylock despise each
other, yet the savvy money lender agrees to the loan, but the price Antonio must
pay if he is late with the repayment is a pound of his own flesh. As tensions rise in
the community, romances blossom, and fortunes fall, whilst Shylock and Antonio
are heading for a collision that neither are willing to back down from.

Oberman’s steely Shylock anchor’s the production from the outset, her revenge
mission sets the tone for the unpleasantness that follows. It’s a performance filled
with passion and swagger, ensuring that when the inevitable sucker punch comes you feel her heartbreak all the more. She is more than equalled by Millson’s slimy,
restrained but no less menacing black-shirted Antonio. They are supported by a tremendous cast, with special mentions for Evie Hargreaves’ portrayal of Mary Gobbo (also in a duel as Nerissa) who manages to get under your skin with her treacherous ways. Whilst Georgie Fellows, excels as the thoroughly unpleasant Portia.

Under Brigid Larmour stewardship the production thrives in its 1936 setting. It’s a
harsh world, where you are on high alert ready for the situation to escalate. It’s a
testament to the cast and direction that when that moment comes it rather takes you by surprise.

Liz Cooke’s grimy set design works tremendously well at selling the audience the
fear, and isolation of Cable Street. Whilst her costume design especially for the
more affluent characters look stunning: they dazzle as they showcase not just their
wealth, but their prejudices too. The production is intercut with video footage of the rise of the BUF, on the march through Britain. It’s a terrifying yet timely reminder of a part of Britain’s past that some conveniently choose to forget.

Despite the unsatisfying end to Shakespeare’s play, Larmour and Oberman give
us an optimistic conclusion, with a Oberman delivering a personal powerful
message of unity that will remain with me for some time to come and goes to
highlight the importance of theatre to not just entertain but remind us what it is to be
human.

The Merchant of Venice 1936 runs until 1st March, tickets are available here.

Alice In Wonderland

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐⭐

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

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

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

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

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

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

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

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

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

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

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

Images by Patch Dolan and Kristian Lawrence