Jason Donovan

High School Musical

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Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In 2006, Kenny Ortega sent audiences “soaring… flying” with his “fabulous” creation of High School Musical. The plot centres around two main characters: Troy Bolton, who rules the school as the captain of the basketball team, and Gabriella Montez, a transfer student who excels in her academic studies. When both decide to audition for the school play, neither could have anticipated the impact it would have on the “Status Quo”. Now, 20 years on, Hope Mill Theatre and The Lowry are staging a wonderfully immersive “non-replica” production of the iconic millennial masterpiece.

Walking into The Lowry, you can feel the excitement. The audience are kitted out in replica costumes and themed T-shirts, and there is a sea of red, white and pink weaving through the stalls. Hope Mill’s producers and co-directors, Joseph Houston and William Whelton, remarked, “High School Musical is a show loved and adored across generations. It’s our ambition to create a new stage production to bring together those generations to experience the live spectacle in a completely fresh way.” This enthusiasm is clear and joyously displayed in this exciting production. There is a comforting combination of generational excitement alongside fresh energy from those who are new to the show, bringing an emotional charge to the pre-show atmosphere.

Your eyes are immediately drawn to the stage, in particular the sheer scale of it, mimicking a school gymnasium. Andrew Exeter and the production team bring the film to vivid life through imaginative, interchangeable sets and vibrant background graphics, but the standout feature has to be the onstage seating. Yes, the audience get to sit on stage and witness the action court-side. This idea works well, as from the stalls it mimics the effect of watching a sports game. From the onstage perspective, there is a possibility of losing a little of the show’s essence as you are watching from a side-on view, but a fun experience nonetheless.

Aaron Renfree’s routines are so engaging to watch, well-timed and superbly executed, especially the basketball choreography. Having memorised the “We’re all in this together” routine in my younger years, I was ready to join the cast on stage and dance, as my inner 2006 High School Musical child desperately wanted the original choreography for the chorus but, billed as a “non-replica” production, I completely respect the artistic decision not to replicate the routines. However, with it being such an iconic song from the film, it would have created a delightful synergy with the generation who grew up watching the original.

Let us move onto the cast, and what a cast this is! Every single person on stage thrives in their portrayal, with their passion shining throughout. Starting off strong with the main man himself, Troy Bolton, played by Tobias Turley, who brings a mature, masculine quality to the role. He doesn’t portray Troy as a pompous adolescent wanting to be the star; rather, he brings a quite soft energy that allows us to see why Gabriella (Leonor Correia) falls for him.

Correia and Turley work well together, with Correia offering a new side to Gabriella by bringing elegance, poise and confidence to the role. Their characterisations make you feel safe watching them and, in doing so, reinforces the “fresh” perspective Houston and Whelton wanted the show to have. Their vocals are clear and strong, creating a strong musical theatre quality to the show. Again, this is a difference from the film, where the vocals favoured a pop-culture sound.

Their chemistry is subtle but effective, the complete antithesis to their onstage rivals, the Evans twins: Sharpay (Caitlin Tipping) and Ryan (Luke Bayer). These two are arguably the most recognisable pairing for original aficionados, and Tipping and Bayer do not disappoint. Sharpay is spoilt, arrogant and detestable, everything you want from her. Bayer’s portrayal of Ryan, Sharpay’s impeccably dressed minion, is accurate and adorable.

Coach Bolton (Jason Donovan) does well as Troy’s overbearing father, and Kaycee Stroh, formerly Martha in the original film and now Ms Darbus, proves that she can still “pop and lock and jam and break”. Special mention must go to Curtis Patrick, who plays Jack Scott. His energy is limitless; he uses every inch of the stage and theatre and was a real standout for me.

The casting team must be commended for their inventive work on this production. Every role is perfectly cast, and the standing ovation tonight demonstrates this further. While Sophia Pardon’s stunning Y2K inspired costumes reimagine the mid-2000s aesthetic for the modern stage.

Houston and Whelton wanted to bring together different generations in reimagining the story of High School Musical. With a film that has such an iconic following, this production succeeds entirely in bringing a fresh take to the original. Clever casting, stunning costumes and vibrant interchangeable sets mean this spectacular production hits all the right notes. The dance numbers are so well thought out, with the routines involving the basketballs being a wonderful nod to the Disney staple. The entire creative team have worked passionately to keep what’s important for fans while creating something exciting, new and thrilling for audiences.

Come on and get’cha head in the game and bop to the top of the queue to get tickets to see this show. You could even be part of the action and watch the show court-side! Go Wildcats!

High School Musical is on at The Lowry until Saturday 19th September, tickets are available here.

The Rocky Horror Show

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Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

It’s hard to believe that The Rocky Horror Show first hit the screen 50 years ago—but this
latest production proves the cult classic still packs a punch. Bursting with colour, camp,
and energy, Richard O’Brien’s gleefully outrageous homage to 1950s science fiction
remains as fun and provocative as ever.

The story follows the familiar beats of a classic B-movie: newly engaged Brad and Janet
find themselves stranded with a flat tyre and stumble upon the eerie mansion of Dr. Frank
N. Furter and his peculiar household Riff Raff, Magenta, and Columbia. What begins as a
simple detour quickly spirals into a surreal, sexually charged journey that puts their
relationship to the test.

Connor Carlson and Lauren Chia are spot-on as Brad and Janet, capturing the pair’s initial
innocence and their gradual unraveling as they’re drawn deeper into Frank’s wild world.
The pair demonstrate great comedic timing and tremendous vocals throughout.
They’re supported by a strong ensemble: Job Greuther brings a wonderfully sinister edge
to Riff Raff, Natasha Hoebergis shines in dual roles as Magenta and the Usherette,
opening the show with a stellar “Science Fiction/Double Feature”. Whilst Jayme-Lee
Zanoncelli adds eccentric flair and powerful vocals as Columbia.

Jason Donovan returns to the role of Frank N. Furter apart he first tackled in the late ’90s
with a performance that leans heavily into the character’s unhinged eccentricity.
Channeling shades of Grayson Perry and a generous dose of Heath Ledger’s Joker,
Donovan brings a more chaotic, unpredictable energy to Frank than previous incarnations.
At times, he appeared slightly flustered—thanks in part to some malfunctioning stilettos,
however he turned these moments into a positive, using them to heighten the character’s
manic volatility, much to the audience’s delight. While his vocals may not be as strong as
those of his fellow cast members, Donovan more than compensates with a committed,
absurdly entertaining performance.

Actor and comedian Jackie Clune, does a stellar job as the Narrator, holding her own with
wit and playful authority. The audience was clearly in on the fun, with interactive call-outs
and spontaneous reactions creating a palpable buzz throughout the evening. Tonight’s
performance led to some observations about Donald Trump’s second term and Prince
Andrew which landed well with the audience.

Director Christopher Luscombe’s high-octane production keeps things moving at a
breakneck pace. The campy, chaotic energy is perfectly matched by Hugh Durrant’s
classic horror/sci-fi set design: blood-red walls, a giant brain, and even a mounted dodo
head. It’s as weird and wonderful as you’d hope.

While the final act veers into near-total madness, losing a bit of narrative cohesion. It’s a
gripe I’ve always had with the film and previous productions, however tonight’s finale hit
the mark, mainly down to Donovan’s stellar work on “I’m Going Home”.

Whilst the summer is nearly upon us, here is the perfect opportunity to dig out the fishnets
one more time and see why The Rocky Horror Show is still the ultimate feel-good,
anarchic theatre experience. Give yourself over to absolute pleasure. You won’t regret it.

The Rocky Horror Picture Show is at the Palace Theatre until 31st May tickets are available at here.

Joseph and the Amazing Technicolour Dreamcoat

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Reviewed by Demi Franks

Opening Night verdict ⭐️⭐️⭐️⭐️

‘But if you think it, want it, dream it, then it’s real. You are what you feel…’


Fresh from London’s Palladium, this new production of Joseph and the Amazing Technicolor Dreamcoat kicks off it’s UK & Ireland tour right here in Manchester. Although it feels as though Joseph has been around since ‘way way back many centuries ago…’ with it being the first of Lloyd Webber and Rice’s musical collaborations to be performed publicly over 50 years ago, originating in 1968 (albeit in a school setting and only 15 minutes in length), it is still as much loved and adored by audiences today as ever.


Joseph, the biblical story of Jacob’s first born (and favourite) son, who is sold by his jealous brothers for being gifted a (pretty fabulous) multi-coloured coat by his father and being a bit of a show off claiming to be able to read people’s dreams… you know the rest, has become not only a staple in schools and colleges alike but theatres and tours around the world too. However this latest version certainly throws a spanner in the works and isn’t afraid of shaking things up…

Yes, this version of Joseph has its ‘star cast’ appeal with Jason Donovan and Alexandra Burke billed as headliners and whilst it must be said the later of which provides an astonishing turn not just as Narrator but doubling up as multiple roles, leading the entire show with panache whilst simultaneously entering her third trimester of pregnancy to our (and probably her own) amazement, this version of Joseph is much more than just names. Paying homage to it’s humble beginnings, at the heart of the show is the talented cast of children, often playing roles you wouldn’t necessary expect them too; they provide a warm and sweet cornerstone to this production.

Jac Yarrow who has quickly made a name for himself in the title role, is most certainly the real deal. His onstage charisma is matched by his sensational vocals, with his version of Close Every Door proving to be ‘goose-pimpley-good’ and providing a stand-out moment. The ensemble are tight and slick and deliver some of the most entertaining scenes of the evening, including One More Angel In Heaven and Go, Go, Go Joseph.

A first class creative team has also been assembled here with Laurence Connor directing at the helm. Large’s set and costume design provides all the colour and more that you’d expect from a production of Joseph, whilst Rigby’s orchestra hits powerful perfection with every note, remaining pitch perfect throughout, culminating in Act 2’s Entr’acte getting its own (and much deserved) rapturous applause from an eager audience still clearly lapping up being back watching live theatre. However, what is most revolutionary for me is Hunter’s choreography which adapts and evolves impressively at each modern twist the production takes.

Michael Harrison’s refashioned production keeps the sentimentality and romanticism that a production of Joseph should have, whilst at the same time re-invigorates and brings it up-to-date, with (spoiler alert) tap-dance, cheerleading and can-can routines thrown in for good
measure. Although it may be said at times the modernisation can seem a little over the top and in your face, making it occasionally hard to digest, this newest production certainly can’t be accused of resting on its laurels.

There is still something really warm and reminiscent at the core of this modernised updated version of a much loved classic, that particularly in a world currently full of so much uncertainly, feels hugely soothing, nostalgic and incredibly uplifting.

This newest interpretation of Joseph certainly throws some curve balls to what we are used to expecting with this one, however what we do get is a quirky, funny, bold, modern take on an old familiar musical tale, which certainly makes for an entertaining evening!

Joseph And The Amazing Technicolor Dreamcoat is at the Manchester Opera House until the 2nd tickets are available here.